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WATER PAINTING. LANDSCAPE BY AGUSTIN REDONDELA

Agustín Redondela (Madrid, October 29, 1922) A painter who was practically self-taught and considered one of the most original Spanish landscape painters of the 20th century.
ANTIQUES

Ref.: Z3943
BANDIT AND MILITARY, PAIR. OIL ON BOARD.LUCAS VILLAAMIL, EUGENIO (1858...

Bandit and soldier, a couple. Oils on panels. LUCAS VILLAAMIL, Eugenio (Madrid, 1858-1919). They present a signature and remnants of a signature. This pair of panels depicts two male busts against a blue background. Despite their detail and naturalism, they are not portraits per se, but rather "type paintings," reflecting the prevailing conception of a bandit or a general at the time, in line with certain common tenets of Spanish Romanticism. Eugenio Lucas Villaamil began his training with his father, Eugenio Lucas Velázquez, and continued it at the Special School of Painting in Madrid. His work was notable for largely following his father's style, with a strong Goyaesque influence in both style and subject matter (he also copied some of Goya's paintings), and he was a protégé of José Lázaro Galdiano. Thus, in addition to depictions of traditional Madrid, bullfighting, and other subjects, he was also known for his portraits, urban scenes (of both the upper and lower classes), and other works. His work is held in numerous private collections and institutions such as the Prado Museum (Madrid), the Carmen Thyssen Museum (Málaga), the Lázaro Galdiano Museum (Madrid), the Royal Academy of Fine Arts of San Fernando (Madrid), and the National Museum of Romanticism (Madrid), among others.
ANTIQUES
PAINTINGS

Ref.: ZF1117
R.DOMINGO 1901. \'ARTILLERY MANEUVERS\'

DOMINGO FALLOLA, Roberto (Paris, 1883 – Madrid, 1956). “The Load”, Paris. Watercolor on paper. Signed and located in the lower right corner. Domingo trained in Paris with his father, the painter Francisco Domingo Marqués, and later at the San Fernando Royal Academy of Fine Arts, where he was a student of Antonio Muñoz Degraín. He participated in national and international exhibitions, winning a third-place medal at the National Fine Arts Exhibition of 1908, a second-place medal in 1910, and a first-place medal in 1915. He also held exhibitions in Rome and London. A genre painter, he specialized in bullfighting themes, which brought him great fame and prestige. Roberto Domingo's work is represented in the Prado Museum, the Granada Museum of Fine Arts, the Provincial Museum of Cádiz, the Municipal Museum of Madrid, the bullfighting museums of Las Ventas in Madrid, La Maestranza in Seville, Valencia, and Viana de Cega (Valladolid), the Larrés Castle Drawing Museum (Huesca), and the Havana and Hemingway Museums in Cuba, among many others.
ANTIQUES

Ref.: Z4092
MARTYRDOM OF SAINT STEPHEM. OIL ON CANVAS. 17TH CENTURY, AFTER AEGIDIU...

Saint Stephen. Oil on canvas. 17th century, after an engraving by Aegidius Sadeler (inspired by Jacopo Palma). The figure of the Saint appears in the foreground, with his arms raised to heaven; to the viewer's left, the martyrdom of Saint Stephen is depicted, under the celestial apparition of Christ and God the Father; on the other side, some buildings and spectators are shown. Both the composition and the figures reveal an influence, direct or indirect through other paintings, of an engraving by Aegidius Sadeler II (1570-1629) based on a Martyrdom of Saint Stephen by Jacopo Palma the Younger (1548-1628).
ANTIQUES
PAINTINGS

Ref.: ZF0760
OIL ON CANVAS STILL LIFE ASTERIO MAÑANOS

Asterio Mañanós Martínez began his painting studies at the Municipal Drawing School of Palencia with Justo María de Velasco and, from 1877, at the San Fernando School of Fine Arts in Madrid, in the classes of Casto Plasencia and Casado del Alisal. He also frequently visited the Prado Museum, making copies of Velázquez's works. From 1881, he participated in the National Fine Arts Exhibitions. He divided his time between Madrid and Palencia, where he was commissioned to design the curtains and stage curtains for the Teatro de Recreo Palentino. In 1885, he received a grant from the Provincial Council of Palencia to further his artistic training at the Royal Academy of Spain in Rome, which lasted a year. Back in his hometown, he decorated the Teatro de la Peña Palentina with Sabino Ojero. He also opened a drawing academy, named "Casado del Alisal" in honor of his teacher, in collaboration with Isidro Mallol. In 1889, he moved to Paris for a year to study the realist style of Léon Bonnat. Upon returning to Spain, he established his studio in Madrid, where he painted Doña Sancha Before the Corpse of Her Husband and the portrait of Tomás Bretón. From 1908, the Senate's Governing Commission appointed him curator of the Upper House's artworks. The large parliamentary paintings depicting Senate sessions and chambers are a product of this experience. One of his last canvases was an allegory of the Second Republic, now part of the Senate's collection. The place and circumstances of his death are unknown, but it is documented that he was alive in 1935.
ANTIQUES

Ref.: Z6229
TWO MEN. WATERCOLOUR. JIMENEZ ARANDA, LUIS. ROME, ITALY, 1879.

Two men on a bench. Watercolor. JIMÉNEZ ARANDA, Luis. Rome, Italy, 1879. Signed, dated and located (lower right area). Luis Jiménez Aranda (Seville, 1845-Pontoise, France, 1928) was the brother of the painters José and Manuel Jiménez Aranda. He began his training with José, expanding it at the Academy of Fine Arts of Santa Isabel de Hungría in Seville and, even more, going to Rome in 1867 thanks to a four-year stipend provided by a private patron in exchange for a painting a year (here he would train with Marià Fortuny). When this aid ended in 1874, he continued in the city sharing housing with José Villegas Cordero and Francisco Peralta del Campo (all three studying with Eduardo Rosales). In 1876 he settled in Pontoise, near Paris, becoming a naturalized French citizen from 1877 onwards. He participated in several editions of the Paris Salon, in the Universal Expositions of this city in 1889 and of Chicago in 1893 (achieving recognition in both), and in National Exhibitions of Fine Arts of Spain (First Medal in 1892). Well-known for his genre paintings, he specialized in historical subjects, producing numerous important works. His work is held in several private collections and institutions such as the Meadows Museum (Dallas, Texas, USA), the Prado Museum in Madrid, the Museum of Fine Arts in Seville, etc.
ANTIQUES
PAINTINGS

Ref.: ZF1459
VENETIAN URBAN SCENERIES. MARIANNE LUCY LE POER TRENCH (ENGLAND, 1888-...

Pair of urban views. “Venice”. Marianne Lucy Le Poer Trench (England, 1888-1940). Signed in the lower right corner. Pair of paintings with cityscapes of the Italian city of Venice. Marianne Lucy Le Poer was a landscape painter and teacher who studied at Slade and exhibited regularly from 1920 at the Royal Society of British Artists, the Royal College of Art, the Royal Scottish Academy, the Royal Academy, etc., becoming an Associate Professor of the Royal Society of British Artists in 1926.
ANTIQUES

Ref.: Z3730
LANDSCAPE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (1884-1942).

Landscape. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed (lower right area). 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.: ZE428
”MALA FAENA” (BAD BULLFIGHT PERFORMANCE). WATERCOLOUR. SIGNED. LLANECE...

Bad work. Watercolor. Signed towards the lower left corner. LLANECES, JOSÉ DE SAN BARTOLOMÉ (Madrid, Spain, 1863-1919). José de San Bartolomé was a Spanish painter and sculptor who worked from childhood in the studio of the photographer Herbert and began his training at the School of Arts and Crafts in Madrid, expanding it at the San Fernando Royal Academy of Fine Arts, while copying works by the masters at the Prado Museum. In 1886, he moved to Paris, dedicating himself primarily to genre painting in the style of Fortuny, a theme that enjoyed great commercial success. He met Francisco Domingo, who opened the doors of the Buenos Aires art market to him, where he received important commissions for painting and sculpture. He was Secretary of the Society of Artists of Paris, and in 1894 he was named a Knight of the Order of Charles III, in 1901 of the Legion of Honor, and in 1902, a Commander of the Order of Isabella the Catholic. At the beginning of the 20th century, he returned to Spain and devoted himself mainly to portraiture, although he also painted landscapes and scenes of everyday life. He enjoyed the patronage of royalty, as evidenced by the portraits he painted of Queen Maria Cristina and various members of the court. In 1925, the Paris Salon paid him posthumous tribute with an exhibition of his work held in France. Works by Llaneces are held in the Prado Museum, the Pablo Sarasate Museum in Pamplona, and the Spanish Embassy in Paris.
ANTIQUES
PAINTINGS

Ref.: ZF0997
SEATED LADY. WATERCOLOUR. JIMENEZ ARANDA, LUIS. ROME, ITALY, 1873.

Seated Woman. Watercolor. JIMÉNEZ ARANDA, Luis. Rome, Italy, 1873. Signed, dated and located (lower right area). Luis Jiménez Aranda (Seville, 1845-Pontoise, France, 1928) was the brother of the painters José and Manuel Jiménez Aranda. He began his training with José, expanding it at the Academy of Fine Arts of Santa Isabel de Hungría in Seville and, even more, going to Rome in 1867 thanks to a four-year stipend provided by a private patron in exchange for a painting a year (here he would train with Marià Fortuny). When this aid ended in 1874, he continued in the city sharing housing with José Villegas Cordero and Francisco Peralta del Campo (all three studying with Eduardo Rosales). In 1876 he settled in Pontoise, near Paris, becoming a naturalized French citizen from 1877 onwards. He participated in several editions of the Paris Salon, in the Universal Expositions of this city in 1889 and of Chicago in 1893 (achieving recognition in both), and in National Exhibitions of Fine Arts of Spain (First Medal in 1892). Well-known for his genre paintings, he specialized in historical subjects, producing numerous important works. His work is held in several private collections and institutions such as the Meadows Museum (Dallas, Texas, USA), the Prado Museum in Madrid, the Museum of Fine Arts in Seville, etc.
ANTIQUES
PAINTINGS

Ref.: ZF1458
GUANG YU, ZHANG FEI AND LIU BEI. PAINTING. CHINA, 20TH CENTURY.

Guang Yu, Zhang Fei and Liu Bei. Watercolor. China, early 20th century. Framed painting depicting three male figures, with text to the right. The seated figure, reading, sits on a throne covered with a tiger skin and is notable for his beard and rich attire. The two standing figures also wear rich (though somewhat less elaborate) garments; one carries a halberd or spear, while the other holds an object. Guang Yu was a military general under Lui Bei during the late Eastern Han Dynasty and the Three Kingdoms Period of ancient China. His life and achievements were so extolled and glorified that he was deified during the Sui Dynasty, with his exploits further emphasized in the Romance of the Three Kingdoms. He became a prime example of loyalty and righteousness, and is still venerated today, receiving titles such as "Emperor Guan" or "Lord Guan." Along with Zhang Fei, he shared a fraternal relationship with Lui Bei and accompanied him on some of his early campaigns. Weight: 9 kg.
ANTIQUES
PAINTINGS

Ref.: ZF1075
ANCESTORS OR FAMILY PORTRAIT. CHINA, 20TH CENTURY.

Portrait of ancestors or family. Watercolor. China. Early 20th century. Painting with four richly attired figures (two male and two female) seated on thrones or chairs draped in rich fabrics, set in an interior and attended by two small servants (in the foreground). An altar with several valuable artifacts is located in the background. This type of artwork was common in certain schools of Eastern art, reflecting the esteem in which the ancestors of prominent families were revered. Weight: 11.2 kg
ANTIQUES
PAINTINGS

Ref.: ZF1076
HOLY FACE. OIL ON CANVAS. SPANISH SCHOOL, 16TH CENTURY.

Holy Face. Oil on canvas. Spanish School, 16th century. A canvas depicting a face against a light background with no other elements. Iconographically, it is what is commonly called a Holy Face, or the Holy Face of Christ, linked to the Passion, Veronica, or the Mandylion of Edessa. Compare this example with the Holy Face in the Monastery of the Holy Face in Alicante or, much more similarly, with the Holy Face in the Cathedral of Jaén, both in Spain.
ANTIQUES
PAINTINGS

Ref.: ZF136831
CUPID. PORCELAIN. POSSIBLY MEISSEN, 19TH CENTURY.

Cupid. Glazed porcelain. Possibly Meissen, 19th century. With sticker on the base. Shows signs of restoration. A porcelain figurine featuring an oval, gilded base upon which Cupid reclines, depicted as usual with his wings, bow, and quiver of arrows. He also carries a torch and is adorned with a garland of leaves. The piece bears strong similarities to figures found on Meissen clocks dating from the 19th century. VL Veneziani was a shop headquartered on Via Frattina in Rome (with another shop on Via Gregoriana) specializing in antique and period paintings, furniture, and porcelain. Works related to this business are held in several private collections and by the Fondazione Federico Zeri of the University of Bologna.
ANTIQUES
PAINTINGS

Ref.: ZF0910