Results 1 to 24 of 38

«« « 12 » »»

SAINT JEROME. OIL ON BOARD. CIRCLE OF WILLEM KEY, 16TH CENTURY.

Saint Jerome. Oil on panel. Circle of Willem Key. 16th century. With monogram (illegible) and dated (right ear of the saint). Oil on oak panel showing a thin, middle-aged male figure, clothed from the waist down, seated on a stone bench on which a skull and a parchment scroll appear along with other items. To the right of the composition, a cloth can be seen in the background, a crucified Christ on a book, a red hat on a wall, placed on a closed book and a mechanical pencil; below, a lion. Eusebius Hieronymus (c. 340-420), better known as Saint Jerome or Saint Jerome of Stridon, was a Christian saint and Father of the Church who translated the Bible from Hebrew and Greek into Latin at the request of Pope Damasus I (known as the Vulgate, declared in 1546 at the Council of Trent as the authentic edition for the Latin Catholic Church). He is often depicted as in this panel because of his desire during his life to live an ascetic life and do penance for his sins. The lion is the beast he rescued while meditating on the banks of the Jordan River, and which never left the saint again. In the area of the saint's right ear, an inscription can be seen, which appears to be a monogram with a date (possibly 1576). This panel is associated with the circle of Willem Key (Breda, 1516–Antwerp, 1568), a Flemish Renaissance painter specializing in portraits who, like his brother Wouters, trained in Antwerp (he with Pieter Coecke). Registered in 1549 as a citizen of Antwerp, he died suddenly in 1568 after achieving wealth and a solid social position thanks to his portraits and historical paintings, executed with a learned hand according to the verses of Lamposonio dedicated to his portrait. His religious paintings were also highly valued. Important institutions such as the Dordrecht Museum, the Alba Collection, and the Rijksmuseum in Amsterdam hold his work.
ANTIQUES
PAINTINGS

Ref.: ZF126
MARY MAGDALENE TRAVELLING TO MARSEILLE. OIL ON BOARD. CASTILLIAN SCHOO...

Mary Magdalene on her way to Marseille. Oil on panel. Castilian school, towards the last third of the 15th century. Oil on panel depicting a landscape in the background with a walled city, mountains, and the bank of a waterway (the subject matter suggests it is the seashore). In the foreground, full-length figures appear: a boat with a sail and a circus, richly dressed figures with their respective halos (decorated with engraved geometric and vegetal motifs), two women, and three men. Note the anecdotal detail of the fish swimming in the water beneath the boat. Chapter XCVI of the Golden Legend is dedicated to Mary Magdalene, including the journey she undertook with Saint Maximinus, Lazarus, Martha, her servant Martila, and Saint Cedonius ("the man born blind, cured of his blindness by Christ"), along with other Christians, after being expelled by the infidels living in the region they went to evangelize. They left their ship at sea, without oars, sails, or anything else to aid navigation, hoping it would sink, but God ensured its arrival in Marseille. Catholic Christian tradition concludes this journey from the Holy Land at Saintes-Maries-de-la-Mer (near Arles), from where Mary Magdalene went to Marseille, beginning the evangelization of Provence. Note that the figures depicted here are Saint Mary Magdalene, as the central figure of the group, Saint Maximinus, Lazarus, Saint Cedonius, and Martha. There are some known examples where the Saint is depicted with other figures, all of them on a ship or associated with one. However, this iconography is not very common and apparently became even less so after the Council of Trent. Examples include the 16th-century altarpiece by Pere Mates (Girona Cathedral Museum) with this legend (a Provençal legend) in which the saint appears already on land, with the ship in the background; she is shown boarding the vessel in the altarpiece by Jean Béguin (Rosary Altarpiece in the Basilica of Saint Maximin in Var, France); she appears preaching in the port of Marseille in a painting by Ronzen (early 16th century, Marseille History Museum); and in the Scrovegni Chapel in Padua, Giotto painted the Miracle of the Governor of Marseille (a theme related to this arrival) with figures in the boat and the governor's wife on the island. Altarpiece of Mary Magdalene by Lucas Moser (Church of St. Mary Magdalene in Tiefenbronn). Stylistically, the painting shows a clear Flemish influence: note the details of the jewels on the garments, the textures, the faces and the naturalism sought in them (within the idealization appropriate to sacred figures), the landscape and the imposing background, etc. The influence of Flemish art on the Castilian school began thanks to the patronage of the Mendoza family, shortly after the middle of the century, and its development was also aided by both the growing relations with Flanders (it is important to remember Jan van Eyck's journey in 1427) and the importation of Flemish works. Thus, the Hispano-Flemish style reached a high level of development in the last quarter of the 15th century in the Kingdom of Castile, with a series of interconnected minor schools, thereby contributing a certain unity to the art of this style in this geographical area. As for names (and remembering that there are a large number of anonymous works and authors about whom we have no information), we have the one considered to be the introducer, Jorge Inglés, as well as figures like Fernando Gallego, centers like Valladolid and prominent workshops like those of Burgos or Toledo.
ANTIQUES
PAINTINGS

Ref.: ZF1052
FOUR MOMENTS OF THE DAY. OIL ON CANVAS. MANUEL BARRÓN, SPAIN, 19TH CEN...

Four moments of the day, Seville. Oil on canvas. BARRÓN Y CARRILLO, Manuel. 19th century. Signed (lower right area). Labels on the backs. Manuel Barrón y Carrillo (Seville, 1814-1884) was a Spanish painter considered the leading figure of Romantic landscape painting and Andalusian genre painting. He trained with Antonio Cabral Bejarano and at the School of Fine Arts in Seville (where he would later become a professor and director). He was one of the founders of the Artistic Lyceum of Seville (1838) and a member of the Economic Society of Friends of the Country of Seville, as well as an academician of the Royal Academy of Saint Isabel of Hungary. It is known that he presented works at the exhibitions of the Lyceum and the Economic Society of Seville as early as 1838, although his first known work is dated 1852. He primarily painted landscapes, although his genre paintings (particularly those depicting everyday life in Seville), still lifes, and portraits are also highly regarded. His paintings are held in several private collections and in institutions such as the Prado Museum in Madrid, the Museum of Fine Arts in Seville, the National Museum of Romanticism (Madrid, Spain), the Carmen Thyssen Museum in Málaga, and others. These four landscapes are a good example of what is typical and what is usually highlighted in this painter's work. Compare one of the paintings with the View of the Guadalquivir, painted in 1854 and now in the Carmen Thyssen Museum in Málaga (inventory CTB.2002.18), which has a very similar composition, even in the figures depicted. The Museum of Fine Arts in Seville also holds a pair of vertical landscapes by the same artist, dated 1854, entitled Sunset (inventory DJ1306P) and Sunrise (DJ1307P).
ANTIQUES
PAINTINGS

Ref.: ZF1431
AN ARCHITECTURAL CAPRICCIO OF ROMAN RUINS. OIL ON CANVAS. ATT TO GINER...

Landscape with classical ruins. Oil on canvas. Attributed to GINER, Vicente (ca. 1636-1681). Relining. A landscape with rocks and buildings in the background features, in the foreground, buildings with a distinctly classical style, accompanied by two female sculptures on pedestals. At the foot of this building stands a group of people, dressed in classical attire (women, children, and a soldier with a spear). Vicente Giner, a canon and artist originally from Castellón, is documented as working in Rome during the last quarter of the 17th century (until his death there in 1681), where he and others petitioned Charles II for the creation of an Academy of Spanish artists in the city. Experts consider him a collaborator and accomplished follower of Viviano Codazzi (in whose workshop he worked in the 1670s, possibly after having worked in that of Cornelio de Wael). He painted perspectives of classical temples and palaces, accompanied by scenes typically depicting popular themes, in which the figures (few in number) are merely anecdotal elements against the backdrop of the architecture. His work is held in several private collections and institutions, such as the Museum of Fine Arts of Valencia, the Bank of Spain Collection (Madrid), and collections of the National Trust (Scotland), among others.
ANTIQUES
PAINTINGS

Ref.: ZF0795
VALDELATEJA. OIL ON CANVAS. SANTA MARÍA, MARCELIANO. 1925.

View of Valdelateja. Oil on canvas. SANTA MARÍA SEDANO, Marceliano (Burgos, 1866-Madrid, 1952). 1925. Titled, signed and dated (lower right area). Bibliography: La Esfera Magazine (Madrid.1914), number 589 of 18/4/1925, page 28 (color illustration). Marceliano Santa María showed early signs of his artistic talent, beginning his training in this field at the Provincial Drawing Academy of Burgos. He moved to Madrid in 1885, where he continued his studies at the Círculo de Bellas Artes (Circle of Fine Arts), the San Fernando Royal Academy of Fine Arts, and in the studio of Manuel Domínguez Sánchez. He furthered his studies thanks to a grant from the Burgos Provincial Council, which allowed him to study in Rome between 1891 and 1895. He returned to Spain that year, settling in Burgos, where he painted and taught until he was appointed director of the School of Arts and Crafts in Madrid in 1934. During the Spanish Civil War, he had to reduce his output due to health reasons, but he resumed his work after the war ended. His work was recognized with several awards (a unique medal at the 1933 Chicago World's Fair, the Medal of Honor at the 1934 Spanish National Fine Arts Exhibition, the Grand Cross of Alfonso X the Wise, etc.), and is held in important private collections, as well as in institutions such as his monographic museum in Burgos (San Juan Monastery), the Museum of the Royal Academy of Fine Arts of San Fernando in Madrid, the Museum of Modern Art in Barcelona, etc. Although he was highly regarded for his portraits, he is also known for his Castilian landscapes. This painting depicts a landscape of Valdelateja, a village in the province of Burgos located in the Páramos region, and was published in the magazine La Esfera in issue number 589, under the title "Castilian Landscapes" and with the title "A Corner of Valdelateja (Burgos)."
ANTIQUES
PAINTINGS

Ref.: ZF1404
MINIATURE AFTER SIR JOSHUA REYNOLDS. POSSIBLY, 19TH CENTURIES. NEOCLAS...

Miniature with bronze frame in the Neoclassical style (19th century). “Mrs. Smith (Charlotte's Delaval) and her children (George, Henry, Louisa, and Charlotte).” Following the work of Sir Joshua Reynolds. Possibly 19th century. Signed in the lower right corner (Reynolds). A rectangular frame, arranged vertically, features a series of moldings with various decorations and a crest at the top adorned with interlacing patterns, leaves, and openwork flowers. Inside, there is a band of fabric embroidered with plant motifs, and an antique textile on the back protects the artwork. The central miniature depicts a natural landscape background (trees and an opening to the horizon to the right are visible) and figures in the foreground. An elegantly dressed lady raises her hand to her cheek; the three children to her right, also in formal attire, are playing together (two of them are looking directly at the viewer). The miniature is closely inspired by a painting now in the Metropolitan Museum of Art in New York. It is a portrait of “Lady Smith (Charlotte's Delaval) and her children (George, Henry, Louisa, and Charlotte)” by Sir Joshua Reynolds (Plympton 1723–London 1792) from 1787 (Inventory 25.110.10). It is known that engravings were made of this painting (Francesco Bartolozzi in 1789; R. Josey in 1880) and that Samuel Shelley (1750/56–1808) made an oval miniature closely inspired by it (Lady Smith appears hatless in it), which is in a private collection (sold by Sotheby's in London in 1977). The most noticeable changes in the miniature, compared to Sir Joshua's work, are the color of Mrs. Smith's dress, the children's faces (more delicate), the background landscape, the overall tone of the painting, and the addition of flowers in the lower right corner. Another miniature (by the British artist Frank W. Wilkin) depicting the three children of Sir Robert Smith and Lady Charlotte, also inspired by Sir Joshua Reynolds' painting, is held in a separate private collection. Samuel Shelley was born in London and was largely self-taught, best known for his miniature watercolor portraits. He first exhibited his work at the Society of Artists in 1773, and a year later entered the Royal Academy Schools, where his work was influenced by Sir Joshua Reynolds. His work is held in numerous private collections worldwide, as well as by the Yale Center for British Art, the National Portrait Gallery in London, the Royal Collection of the British Royal Family, the Metropolitan Museum of Art in New York, and others. Francis William Wilkin, or Frank Wilkin (1791–1842), was an engraver specializing in portrait painting who began by working on miniatures, although he also explored other genres.
ANTIQUES
PAINTINGS

Ref.: ZF0157
ALLEGORY OF TIME. OIL ON BOARD. CIRCLE OF JACOB DE BACKER (ACT. 1571-1...

Allegory of Time. Oil on panel. Circle of Jacob de Backer (active Antwerp, 1571-1585). Exhibition: “Reality, time and artifice. Still life and vanitas in Baroque culture” (October 21, 2021 to January 30, 2022), Caja de Burgos Foundation, Cultural Cordón (Palace of the Constables of Castile), Burgos. Bibliography: brochure and catalogue of the aforementioned exhibition. Oil on panel depicting, in the foreground, a nude child and a scene in the background to the right, with a partially visible landscape of trees and rocks. The child sits on a pedestal, covered with a cloth, holding a branch in his right arm, which rests on an hourglass; his right foot rests on a skull; his left arm is outstretched, drawing the viewer's gaze to the scene. This scene features Christ silhouetted against a rocky form, semi-nude and with a halo; below, several male figures appear (some reclining, others barely visible), among whom the most prominent is a soldier with his back to the viewer, covering his face with his own shield. Both the hourglass and the skull are common elements in allegories related to the passage of time, dating back to the Renaissance, and are often reinforced with a Christian scene or allusion (here, the Resurrection on the right). Thus, the meaning conveyed would be very close to a well-known and common Baroque genre: the "Memento Mori" (remember that you will die), depicted in both allegorical and still-life forms. Compare the infant figure with the St. John the Baptist in the "Virgin and Child with St. John the Baptist" in the Kunsthistorisches Museum, Vienna, dated between 1590 and 1600, to see similarities and differences. Also compare the figure of the Risen Christ with the engraving by Hieronymus Wierix, following Jacob de Backer, which was published by Hans van Luck around 1580-1590 (British Museum, London). Jacob de Backer, or Jacques de Backer, was a Flemish painter active in Antwerp between 1571 and 1585. It is believed he trained under Antonio van Palermo and Hendrik van Steenwijk, and his work shows a marked influence of Vasari's High Mannerism, despite never having traveled to Italy. Although little is known about his life, the engravings based on his paintings are always noteworthy, a body of work that focused on religious subjects and allegories. His work is preserved in institutions such as the Museo di Capodimonte in Naples, the Hermitage Museum, the Royal Monastery of El Escorial (Madrid, Spain), the Getty Center (Los Angeles, USA), the Leuven Museum (Belgium), the Museum of Fine Arts in Houston (Texas, USA), the National Museum in Warsaw (Poland), etc., and some outstanding private collections.
ANTIQUES
PAINTINGS

Ref.: ZE364
OIL PAINTING ON CANVAS, 17TH CENTURY. JEWS IN THE DESERT GATHERING MAN...

Jews in the desert gathering manna. Oil on canvas. 17th century. Oil on canvas, arranged horizontally, depicting a figurative subject with a mountainous landscape in the background. In the foreground, a series of figures are arranged in various planes, their postures and gestures highlighting the two central figures. Further back, to the right, tents and a series of cropped figures appear. Note the presence of vases and other vessels, decorated and with forms clearly influenced by classical art. The iconographic series of Moses (Exodus) has a large number of themes, and one of them is the fall and collection of Manna in the desert, which had to take place before the sun melted this food that God gave to the Jews six days a week. Stylistically, note the anatomical study of the figures with their backs turned in the foreground, which creates a space before the "protagonist" Moses, positioned with his hand raised and his gaze towards the sky, and the variety of positions and the careful composition, which results in a very clear work despite the number of figures present in it.
ANTIQUES
PAINTINGS

Ref.: ZE283
HEALING THE PARALYTIC. OIL ON WOOD. CASTILLIAN SCHOOL, SPAIN, 16TH CEN...

Healing of the Paralytic. Oil on panel. Castilian School, 16th century. Partially rebuilt. This religious scene, set in a relatively elegant interior, is carved from two-tone stone and depicts a group of male figures interacting with one another. Ten stand with golden halos and are engraved with architectural motifs (one carries a palm, another a staff); one rests a bare foot on a footstool, which also appears to support the head or upper part of another reclining figure, his gaze raised and one foot bandaged. It is important to note the restorations the panel has undergone, in which several elements have been redrawn, continuing the original design where possible. Iconographically, it is a somewhat unclear subject: given the presence of a crutch in the hand, the bandaged foot of the reclining figure is logical and, if Christ is the central figure, we could be looking at a healing (perhaps that of the paralytic in Capernaum that took place in a house, or the healings in the temple of God mentioned by Matthew[21:14-15]…), although the presence of the palm suggests a burial (according to some apocryphal gospels, church fathers… an angel appeared to Mary three days before dying/ascending to give her a palm from Paradise and that she was to give to the Apostles to take before her body) or a saint who has been martyred. Stylistically, the panel clearly displays Flemish influences (faces, fabrics, etc.), alongside details more characteristic of Spanish Gothic painting (golden halos, architecture, etc.), placing the work within the Hispano-Flemish school. The oculus with its two-tone red and white voussoirs was common in Spanish architecture, and this element in the panel can be compared to that of the Church of Santa María la Mayor de Abiesgo in Huesca (without colors), the Mudéjar Church of the Virgen de Tobed in Zaragoza (with oculi featuring latticework in these colors), or the Church of San Pedro in Palencia (with an oculus bearing lines similar to its interior). The Virgin of the Catholic Monarchs, housed in the Prado Museum, dated between 1491 and 1493 and attributed to a Castilian Hispano-Flemish painter, features pink and green tiles (though not arranged as in this work). The National Art Museum of Catalonia holds a Virgin of the Milk with a donor, linked to León and dated to the second half of the 15th century, in which Jesus has a halo similar to those in this panel. Some see a strong influence of Pedro Berruguete (Paredes de Nava, Palencia c. 1450 - Madrid? 1503) in this panel; compare it with the Nativity of the Virgin from the altarpiece of the church of San Martín de Becerril de Campos (circa 1495, Diocesan Museum of Palencia), the Lamentation over the Dead Christ (Palencia Cathedral, circa 1490), etc.
ANTIQUES
PAINTINGS

Ref.: ZF1396
ALLEGORY OR VENUS WITH CUPIDS. OIL ON CANVAS. 18TH CENTURY

Allegory or Venus with Cupids. Oil on canvas. Surroundings of BOUCHER, François (Paris, 1703-1770). The scene features an idyllic natural landscape in the background, with trees to the left and an open horizon to the right, revealing orange clouds alluding to a sunset over rocky mountains. In the foreground, a young woman reclins, dressed in a white tunic, red skirt, and blue cloak, with a red ribbon in her gathered hair. To her left are two cupids or cherubs, one holding a garland of flowers and the other seemingly grasping the young woman's cloak. Iconographically, it could be Venus, although the goddess is more commonly depicted semi-nude or fully nude, so it's also possible that it's an allegory (given the crown of flowers, perhaps representing Spring). Or, being a Rococo painting, it could allude allegorically to a more abstract concept (virtue in the purity of love, etc.). The oil painting belongs to the circle of François Boucher, a French painter considered one of the most important figures of the galant style, a branch of the Rococo movement. He was highly regarded for his idyllic paintings, the voluptuousness of his style, his mythological, allegorical, and pastoral works, and for several portraits of Madame de Pompadour. He sought a highly detailed finish in his works, employing a somewhat distinctive palette. After a rather difficult apprenticeship, he won the Prix de Rome in 1723 (which he was unable to enjoy due to lack of funds until four years later). Upon his return, he joined the Royal Academy of Painting and Sculpture, eventually becoming its rector, and also directed the Royal Gobelins Tapestry Factory, being appointed First Painter to the King in 1765. In addition to paintings, usually small-format, he also produced book illustrations, designed costumes and theatrical sets, tapestries, porcelain, and more. His work is preserved in institutions such as the Alte Pinakothek in Munich, the Louvre Museum in Paris, the Thyssen-Bornemisza Museum in Madrid, the Metropolitan Museum of New York, etc.
ANTIQUES
PAINTINGS

Ref.: ZF1127
LANDSCAPE, PEÑAFIEL. OIL ON CANVAS. JOSÉ MARÍA “CASTILVIEJO” (ZAMORA, ...

“Rural scene, Peñafiel”. Oil on canvas. José María “Castilviejo” (Zamora, 1925-Valladolid, 2004). José María García Fernández, better known as José María Castilviejo, was a Spanish painter who worked in various techniques (oil, watercolor, engraving, drawing) and on a wide range of subjects (best known for his portraits, still lifes, and landscapes). Critics noted his remarkable ability to capture in his work the union of the traditional with the contemporary, reflecting a profound sense of community. Awarded prizes such as the Castilla y León Prize for the Arts (2002), his work is held in private collections and institutions such as the Robinson and Rothschild Collections, the Museum of Modern Art in New York, and the Labor University of Zamora, among others.
ANTIQUES

Ref.: Z5633
LAST SUPPER. OIL ON BOARD. CASILLIAN SCHOOL, SPAIN, 16TH CENTURY.

The Last Supper. Oil on panel. Castilian school, 16th century. It has faults. This oil painting on panel presents a figurative image against a neutral background, with a checkered tiled floor arranged, like everything else, in a focal perspective. Around a rectangular table (with two figures at its corners, their backs to the viewer), a total of twelve figures dressed in tunics and cloaks are positioned, and in the center of the painting, another man, bathed in light. On the table, covered with a white cloth, food is arranged on plates, along with jugs, bottles, round loaves of bread, goblets, and other items. This Last Supper follows typical European Renaissance conventions (compare it, noting the differences, with Leonardo da Vinci's, painted between 1495 and 1498 for the refectory of the Dominican convent of Santa Maria delle Grazie in Milan, Italy, for example). Italian influence is evident, but it does not directly adhere to those models. Compare it with the Last Supper attributed to the workshop of Pedro Berruguete, circa 1495-1500, now in the Los Angeles County Museum of Art (USA), or, especially considering the lack of expressiveness in this panel, with Juan de Juanes's Last Supper of circa 1562 (Prado Museum, Madrid, Spain). Iconographically, the abundant use of yellow in the clothing is striking, given that it was usually reserved for the clothing of Judas (character on the left, with his back to the viewer, holding a bag of coins in his hand) and that the moment of the revelation of the betrayal of one of the disciples has been chosen (expressiveness is absent from the faces but not from the hands of the rest of the characters).
ANTIQUES
PAINTINGS

Ref.: ZE383
NURSING VIRGIN MARY. OIL ON BOARD. HISPANO-FLEMISH SCHOOL, 16TH CENTUR...

Virgin of the Milk. Oil on panel. Hispano-Flemish school, 16th century. It has flaws and restorations. Panel depicting the Virgin Mary in a tunic and mantle, her hair partially covered, in three-quarter view, with curtains in the background, breastfeeding the Child Jesus. The heads of both figures are highlighted with a thin halo, and in the foreground is a bench with a book, some cherries, and a vase of flowers (lilies and roses, possibly alluding to Mary's purity and virginity). This iconography originated in Byzantium (where it was known as Galactotrofusa) and enjoyed popularity in Europe until the decrees of the Council of Trent (Italy, 1545-1563), at which point it seems to have ceased appearing so frequently in some parts of the continent due to concerns about modesty. Engravings by Dürer and many other works with a composition similar to that of this panel have been preserved. Stylistically, the influence of the Flemish school and Spanish touches are clear, placing it within the Hispano-Flemish school. There is evidence of a number of panels in private collections linked to followers of Joos Van Cleve (also known as Joos van der Beke; c. 1485–1490 – 1540/1541; active in Antwerp) that are very similar in composition to this one, suggesting inspiration from one or more shared works. Compare, noting the differences, with van Cleve's panel of the Holy Family in the Metropolitan Museum of Art in New York (inventory 32.100.57), dated around 1512. It is also worth mentioning the one in the Museum of Fine Arts of A Coruña (Spain), dated to the 16th century.
ANTIQUES
PAINTINGS

Ref.: ZF1395
STILL LIFE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (SPAIN, 1884-MÉXICO,...

Still life with fruit bowl. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed towards the bottom right corner and on the back. Aurelio García Lesmes was a Spanish painter who began his training in Valladolid and, thanks to a grant from the Provincial Council, continued it at the San Fernando Royal Academy of Fine Arts in Madrid. It was in Madrid that he gained wider recognition at the National Fine Arts Exhibitions (winning a Third Medal in 1917, a Second in 1922, and a First in 1926). In the capital, he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, and others, and alternated his time there with extended periods in Valladolid, where he painted his well-known canvases of Castilian countryside. Over time, he established himself as one of the most prestigious Spanish landscape painters of his era and set up his studio in Valladolid. After the Spanish Civil War, he went into exile in Mexico. His work can be seen in prominent institutions such as the Reina Sofía National Art Centre (Madrid) and the Patio Herreriano Museum (Valladolid).
ANTIQUES
PAINTINGS

Ref.: ZE296
STILL LIFE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (SPAIN, 1884-MÉXICO,...

Still life. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed towards the top right corner and on the back. Aurelio García Lesmes was a Spanish painter who began his training in Valladolid and, thanks to a grant from the Provincial Council, continued it at the San Fernando Royal Academy of Fine Arts in Madrid. It was in Madrid that he gained wider recognition at the National Fine Arts Exhibitions (winning a Third Medal in 1917, a Second in 1922, and a First in 1926). In the capital, he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, and others, and alternated his time there with extended periods in Valladolid, where he painted his well-known canvases of Castilian countryside. Over time, he established himself as one of the most prestigious Spanish landscape painters of his era and set up his studio in Valladolid. After the Spanish Civil War, he went into exile in Mexico. His work can be seen in prominent institutions such as the Reina Sofía National Art Centre (Madrid) and the Patio Herreriano Museum (Valladolid).
ANTIQUES
PAINTINGS

Ref.: ZE297
THE TEMPTATION OF SAINT ANTHONY. OIL ON CANVAS. 17TH CENTURY, AFTER DA...

Temptations of Saint Anthony Abbot. Oil on canvas. 17th century, following a model by David Teniers II (Antwerp, 1610-Brussels, 1690). Oil on canvas depicting a figurative scene set inside a cave. To the right, a standing cross is visible; to the left, a hut; and in the center of the painting, an older, bearded man leans against a table on which there is a ceramic jug and a skull, with an open book at its base. The man is looking at a woman, who is pointing to something outside, and she is accompanied by a large frog and a number of ghostly or monstrous beings dressed in brightly colored cloths and garments. Saint Anthony the Great (251-356) was a Christian monk, considered the founder of the eremitic movement. He was tempted numerous times by the devil while in the desert, a theme frequently depicted in art (as seen in this oil painting). He is represented in a black habit because the Order of the Knights Hospitaller of Saint Anthony placed itself under his patronage, and black was the color of the habits of the members of this order (the tau or Egyptian cross was also their chosen symbol). David Teniers II, or the Younger, was a prominent Flemish painter and engraver, son of David Teniers the Elder, or I, and father of David Teniers III. He was highly regarded in his time for his scenes of villagers and common people, his paintings of monkeys as painters, and other works. He frequently depicted the Temptations of Saint Anthony, and his works are now in the Prado Museum in Madrid, the National Museum of Western Art in Tokyo, Japan, and the Wallraf-Richartz Museum in Cologne, Germany. In the case of this particular work, it is necessary to mention and compare it with both an oil painting held in a private Parisian collection and another sold at Christie's in 2018. This latter painting, which came from a Belgian collection, has been dated between 1630 and 1680 and is signed. It is also important to note that there are known engravings on this subject made from works by the painter (work in the Fine Arts Museum of San Francisco, United States of America, after Frans van der Wyngaerde and dated to the 17th century; in UCLA in California, United States of America, also by Frans van der Wyngaerde and from the 17th century).
ANTIQUES
PAINTINGS

Ref.: ZF0996
THREE FRAMED MINIATURES.19TH CENTURY

Frame with three miniatures. 19th century. Rectangular frame with a textile background displaying three oval miniatures with female portraits, enhanced with gilt bronze frames (the side ones with interlaced borders, the central one crowned). On the back, there are two rings at the top for hanging the piece on a wall. Starting from the left and identified by small metal signs with black lettering, we have “Madame Elisabeth” (Elizabeth of France [1764-1794] was sister of Louis XVI and eldest daughter of Louis, Dauphin of France, and Duchess Maria Josepha of Saxony), “Marie Antoinette” (Marie Antoinette [1755-1793], Archduchess of Austria and Queen of France, was daughter of Emperor Francis I and Empress Maria Theresa), and “Madame Lebrun” (Louise-Elisabeth Vigeé LeBrun [1755-1842], was painter to Queen Marie Antoinette and a member of the French Academy from 1783). The three paintings, signed “Lebrun,” are inspired by 17th-century works. In the same order as before: a portrait painted by Vigée LeBrun around 1782 (Versailles, Musée National des Châteaux de Versailles et de Trianon, inv. mv 8143); a portrait of Marie Antoinette with roses painted by Vigée LeBrun in 1783 (Versailles, Musée National des Châteaux de Versailles et de Trianon, inv. 3063); this miniature, made from a print, is a copy of Vigée LeBrun’s self-portrait painted in 1782 and currently in the National Gallery, London (NG1653). It is worth noting that the Prado Museum (Madrid) holds a similar composition to this one, both in the miniatures and in the frame (inventory O000657, O000658, and O000659).
ANTIQUES
PAINTINGS

Ref.: ZF1151
LANDSCAPE WITH A LAKE. OIL ON CANVAS. 18TH CENTURY.

Landscape with lake. Oil on canvas. 18th century. A sunset landscape set on a lake, with mountains in the background and trees and a hut in the foreground. Adding a touch of vibrancy to the composition are various types of boats with figures on board, as well as two groups of buildings towards the right side of the painting. The painting shares numerous similarities with landscapes from European schools painted during the second half of the 18th century.
ANTIQUES
PAINTINGS

Ref.: ZF0973
CHRIST WITH AN ANGEL. OIL ON CANVAS. 18TH CENTURY.

Christ with Angel. Oil on canvas. 18th century. The painting depicts Christ, clothed, supported by the shoulders or back by an angel, both figures situated in an indeterminate space, accompanied by various symbols of the Passion (cross, chalice). The theme of the dead Christ supported by an angel has been treated several times in art (Antonello da Messina in the 15th century, Fernando Yáñez de la Almedina, Alonso Cano, Jacob Backer the Elder, etc.), with the particularity that, following the text that inspired it, Jesus appears with the loincloth and not fully clothed as in this work.
ANTIQUES
PAINTINGS

Ref.: ZF1331
SAINT, DOMINICAN ORDER. OIL ON CANVAS. SPANISH SCHOOL, 18TH CENTURY.

Saint Dominic. Oil on canvas. Spanish School, 18th century. Oil on canvas, horizontally oriented, depicting a Dominican friar in the order's characteristic habit, holding aloft the Blessed Sacrament and a chalice in the other hand. He is surrounded by figures, some of whom appear frightened. Note the fire to the right and a child figure with goat or ram legs and horns (a demon). This may represent Saint Vincent Ferrer fighting heretics. It is possible that this is a sketch for a larger work.
ANTIQUES
PAINTINGS

Ref.: ZF1346
WATER PAINTING.\'LANDSCAPE WITH SHRINE\'. AGUSTÍN REDONDELA

REDONDELA, Agustín (Madrid, 1922). "Hermitage". Watercolor. Signed and titled in the lower area. A largely self-taught painter, Agustín González Alonso trained alongside his father, the painter and set designer José González “Redondela.” After the Spanish Civil War, he attended classes at the School of Arts and Crafts in Madrid with the landscape painter José Ordoñez, and in 1945 he submitted his first painting to the National Fine Arts Exhibition, signed with the pseudonym Redondela. That same year, he held his first solo exhibition at the Estilo Gallery in Madrid. It was during this period that he came into contact with the Madrid School, and in 1947 he was selected to exhibit in the Salon of Eleven at the Breve e Crítica de Arte (Brief and Critical Academy of Art) of Eugenio d'Ors. In the 1950s, Redondela received a grant from the Catherwood Foundation in Philadelphia (1954), the National Painting Prize (1953), and a first-place medal at the National Exhibition (1957). In 1996, the Royal Academy of Fine Arts of San Fernando awarded him the José González de la Peña Prize, and two years later the Cultural Center of the City of Madrid dedicated a major retrospective exhibition to him. His work is currently represented in the Museum of Fine Arts of A Coruña, the Museum of Contemporary Spanish Landscape in Priego de Córdoba, the Bilbao Fine Arts Museum, the Camón Aznar Museum in Zaragoza, the museums of Buenos Aires, Caracas, and Havana, and the Oswaldo Guayasamín House-Museum in Quito, among other public and private collections.
ANTIQUES

Ref.: Z3942
LANDSCAPE. OIL ON CANVAS. FRAU, JOSÉ (SPAIN, 1898-1976).

Landscape. Oil on canvas. FRAU, José (Spain, 1898-1976). Signed (lower right area). José María Isidro Frau y Ruiz (Vigo, May 15, 1898 – Madrid, March 24, 1976) was a Spanish painter and academic, renowned for his landscapes and for being part of the Paular School of Painters (established by Royal Decree on February 22, 1918, within the Landscape Chair that the San Fernando Royal Academy of Fine Arts had created in 1845 as part of its official art curriculum; it ceased operations in 1936 and was revived in 2018). Known as José Frau, he began his artistic training in Huelva with Antonio de la Torre and Eugenio Hermoso Huelva. In 1916, he entered the San Fernando Royal Academy of Fine Arts, and from 1917, he participated in the National Exhibitions in Madrid, also exhibiting his work in Barcelona, Buenos Aires, Montevideo, Mexico City, New York, and other cities. He traveled through South America in 1947, settling in Mexico three years later and returning to Spain in 1966. His work is preserved in prominent private collections and institutions such as the Quiñones Municipal Museum of León (Spain), the Museum of Fine Arts of La Coruña, the Reina Sofía National Art Centre Museum (Madrid, Spain), the Museum of the Royal Academy of Fine Arts of San Fernando in Madrid, etc. He has been considered one of the leading figures of the Spanish equivalent of "magical realism." His paintings are based on figurative principles and a naturalistic and symbolic background. He participated in the renewal of Spanish painting during the 1920s and 30s, evolving towards a post-impressionist style. Later, he focused on a serene, post-Cézanne-inspired modernity, portraying landscapes with figures set in fantastical and magical environments. During the post-war years, he returned to a looser, more energetic brushstroke. In his later works, he employed a Fauvist palette dominated by highly contrasting greens, blues, earth tones, and blacks, while his work underwent a progressive stylization process and the human figure became less prominent.
ANTIQUES
PAINTINGS

Ref.: ZF1266
OIL ON CANVAS. ALEJANDRO GOMEZ MARCO

Signed in lower left corner "GOMEZ MARCO". Alejandro Gomez Marco Born in Madrid. Studied at the National School of Graphic Arts and the San Fernando School of Fine Arts. Awarded a scholarship in 1968 by the “Institute of International Education” to visit the USA where he resided for several years. Represents Spain at the International Congress of Art Education in New York 1970. Professor of Art at Jersey City State College and lecturer in Spanish at the Metropolitan Museum of New York. Numerous solo exhibitions since 1964. He has also participated in numerous international exhibitions since 1965: Alexandria Biennial, Paris Biennial, Krakow Print Triennial in Poland, Ljubljana Biennial, former Yugoslavia, etc. Painting and drawing awards: Ciudad Real Provincial Council, Francisco Alcantara (Circle of Fine Arts), Granada City Council, Printmaking Salon of the General Directorate of Fine Arts, Bronze Medal of the City of Bordeaux, and a long etc. He is an Associate Professor at the Faculty of Fine Arts of the Complutense University in the subject of Printing Techniques II and Planographic Techniques from 1988 until 2007, the year of his retirement.
ANTIQUES

Ref.: Z3546
TRITONS AND NEREIDS. PAINTING, GLASS. POSSIBLY ITALIAN SCHOOL, LATE 16...

Tritons defending Nereids. Oil on glass (reverse). Possibly Italian school (perhaps Naples), towards the end of the 16th-17th century. A framed glass panel with a painting, most likely oil, beneath it, depicting a landscape in the background and a series of figures in the foreground, from the waist up. A man is holding two women on the right, while on the left, two semi-nude male figures appear to be attacking a sea monster (very similar to those inspired by ancient Roman works, common in painting since the Renaissance). It is necessary to first distinguish between two painting techniques that employ glass: one that uses it as a base, like canvas, and another in which the glass is placed "on top" of the paint, which is applied "beneath" and in reverse. This work belongs to the second method, highly valued in cabinetmaking for decorating chests, wastepaper baskets, etc., and for its resemblance to enamels. It should also be remembered that glass painting was especially prized by the upper class between the late 17th and early 18th centuries. Ferdinand de' Medici, for example, included some glass paintings by Luca Giordano in his collection in 1702. Followers of this master specialized during these years in decorating important furniture with under-glass painting. In 1679, for instance, Giovanni Battista Tara was paid for creating "a pair of ebony scribes inlaid with different paintings on glass," while Carlo Garofalo, a pupil of Luca Giordano and considered the best glass painter active in Naples in the second half of the 17th century, was summoned by Charles II of Spain to paint glass for chests and other decorations in prominent royal halls; again, Domenico Coscia is mentioned in documents as a painter "who made very good glass pieces, which were used for scribes." The list of Neapolitan painters who were disciples of Giordano, remembered for their painting activity on glass, can also be enriched with many other names, such as Domenico Perrone, Francesco della Torre, or Andrea Vincenti.
ANTIQUES
PAINTINGS

Ref.: ZF1420