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OIL ON CANVAS 17TH CENTURY. JEWS IN THE DESERT COLLECTING MANNA

Jews in the desert gathering manna. Oil on canvas. 17th century. Oil on canvas, arranged horizontally, showing a figurative theme with a mountainous landscape in the background. In the foreground, a series of figures have been placed, creating various planes and highlighting the two figures in the centre with their postures and gestures; a little further towards the background, on the right, there are some tents and a series of “cut” figures. Note the presence of vases and other containers, decorated and with shapes clearly influenced by classicism. 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 prior to the "protagonist" Moses, who is raising his hand and eyes towards the sky, and the variety of positions and the care taken with the composition, which results in a very clear work despite the number of figures present in it.

· Size: 208x6x154 cms.
ANTIQUES

Ref.: ZE283
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 lower right corner and on the back. Aurelio García Lesmes was a Spanish painter who began his training in Valladolid and, thanks to a pension from the Provincial Council, continued his training at the San Fernando Academy in Madrid, the city where he became better known at National Fine Arts Exhibitions (he won a Third Medal in 1917; Second in 1922 and First in 1926). In the capital he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, etc., and alternated his stay here with long periods in Valladolid, where he worked on his well-known canvases of Castilian fields. Over time, he established himself as one of the most prestigious Spanish landscape painters of his time and established his workshop in Valladolid. After the Civil War he went into exile in Mexico. His work can be seen in prominent institutions such as the Museo Nacional Centro de Arte Reina Sofía (Madrid), the Museo Patio Herreriano (Valladolid), etc.

· Size: 75,55x65 cms / int: 59x49 cms
ANTIQUES

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 pension from the Provincial Council, continued his training at the San Fernando Academy in Madrid, the city where he became better known at National Fine Arts Exhibitions (he won a Third Medal in 1917; Second in 1922 and First in 1926). In the capital he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, etc., and alternated his stay here with long periods in Valladolid, where he worked on his well-known canvases of Castilian fields. Over time, he established himself as one of the most prestigious Spanish landscape painters of his time and established his workshop in Valladolid. After the Civil War he went into exile in Mexico. His work can be seen in prominent institutions such as the Museo Nacional Centro de Arte Reina Sofía (Madrid), the Museo Patio Herreriano (Valladolid), etc.

· Size: 75,55x65 cms / int: 59x49 cms
ANTIQUES

Ref.: ZE297
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 (act. Antwerp, 1571-1585). Exhibition: “Reality, time and artifice. Still life and vanitas in Baroque culture” (21 October 2021 to 30 January 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 showing, in the foreground, a naked child figure and a scene in the background on the right, with a landscape of trees and rocks only partially visible. The child is seated on a pedestal, protected by a cloth, and is carrying a branch in his right arm, which is resting on an hourglass; he rests his right foot on a skull; his left arm is held out straight, directing the viewer's gaze towards the scene. This has Christ cut out against a rocky figure, half-naked and with a halo; below, there are various male figures (some reclining, others barely visible), among which the one with his back to the viewer stands out, a soldier who covers his face with his own shield. Both the hourglass and the skull are common elements in allegories related to the passage of time since the Renaissance, usually reinforced with some Christian scene or allusion (here, the Resurrection to the right). Thus, the meaning provided would be very close to a very common and well-known Baroque genre such as “Memento Mori” (remember that you are going to die), shown both in the form of allegories and still lifes. Compare the infant figure with the infant St. John from the “Madonna and Child with the Infant St. John” in the Kunsthistorisches Museum, Vienna, dated between 1590 and 1600, for similarities and differences. Also the figure of the Risen Christ with the engraving by Hieronymus Wierix after Jacob de Backer that 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. He is believed to have trained with Antonio van Palermo and Hendrik van Steenwijk and to have been strongly influenced by Vasari's High Mannerism, despite not having travelled to Italy. Despite the little that is known about his life, the engravings that emerged from his works are always notable, and his production 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 in some notable private collections.

· Size: 57x6x73 cms.int; 43x57 cms.
ANTIQUES

Ref.: ZE364
RAISING OF LAZARUS WITH SAINT ROCH. OIL ON WOOD. CASTILLIAN SCHOOL, SP...

Raising of Lazarus with Saint Roch and two donors. Oil on panel. Castilian School, 16th century. Oil on panel depicting an interior scene with semicircular arches and Ionic capitals, an entrance to the left, a tiled floor, and a tomb to the right. In front of it are two three-quarter-length figures dressed in dark clothing, clasping their hands in prayer, contemplating the scene. Towards the center of the panel, Jesus, dressed in green, is blessing the figure emerging from the tomb, accompanied by a series of figures. On the left side, a male figure appears accompanied by a dog (Saint Roch). The scene depicts the resurrection of Lazarus of Bethany, which appears in the New Testament (John 11). It is no longer common in Spanish Renaissance painting to depict a scene with a saint who does not appear in it, as is the case with the Raising of Lazarus and Saint Roch, but it is not entirely unusual either (it could be due to the donor's devotion, etc.). It is common to see donors contemplating the scene. The attire of these figures clearly places them within the Spanish school and in the 16th century (compare "The Gentleman with His Hand on His Chest" from 1580 by El Greco, preserved in the Prado Museum in Madrid). What is not entirely common is to present this New Testament theme in an interior (Pedro Machuca places it in an interior, in his work from around 1520 in the Provincial Museum of Fine Arts in Granada).

· Size: 105x10x138 cms int: 90x122 cms
ANTIQUES

Ref.: ZE382
LAST SUPPER. OIL ON BOARD. CASILLIAN SCHOOL, SPAIN, 16TH CENTURY.

Last Supper. Oil on panel. Castilian School, 16th century. It has faults. An oil on panel painting depicting a figurative image against a neutral background, with a checkered tile floor arranged, like everything else, in focal perspective. Around a rectangular table (with two figures at the corners, their backs to the viewer), are a total of twelve figures dressed in tunics and cloaks, and in the center of the painting, another man, surrounded by light. On the table, covered with a white cloth, food can be seen arranged on plates, jugs, bottles, round loaves of bread, glasses, etc. This Last Supper follows typical European Renaissance patterns (compare, noting the differences, with the painting by Leonardo da Vinci, made between 1495 and 1498 for the refectory of the Dominican convent of Santa Maria delle Grazie in Milan, Italy, for example). Italian influence can be seen, but without directly following those models. Compare with the Last Supper attributed to the workshop of Pedro Berruguete from around 1495-1500, which is housed in the Los Angeles County Museum of Art (USA), or, especially noting the lack of expressiveness in this panel, with the Last Supper from around 1562 by Juan de Juanes (Museo del Prado, Madrid, Spain). Iconographically, the abundant use of yellow in the clothing is striking, given that it was usually reserved for the attire of Judas (the figure 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 was chosen (expressiveness is absent from the faces but not from the hands of the rest of the characters).

· Size: 141x10x90 cms. int. 122x73 cms.
ANTIQUES

Ref.: ZE383
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 pension from the Provincial Council, continued his training at the San Fernando Academy in Madrid, the city where he became better known at National Fine Arts Exhibitions (he won a Third Medal in 1917; Second in 1922 and First in 1926). In the capital he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, etc., and alternated his stay here with long periods in Valladolid, where he worked on his well-known canvases of Castilian fields. Over time, he established himself as one of the most prestigious Spanish landscape painters of his time and established his workshop in Valladolid. After the Civil War he went into exile in Mexico. His work can be seen in prominent institutions such as the Museo Nacional Centro de Arte Reina Sofía (Madrid), the Museo Patio Herreriano (Valladolid), etc.

· Size: 68x4x59 cms. int: 55x46,5 cms.
ANTIQUES

Ref.: ZE428
MINIATURE AFTER SIR JOSHUA REYNOLDS. POSSIBLY, 19TH CENTURIES. NEOCLAS...

Miniature with bronze frame in Neoclassical style (19th century). “Mrs. Smith (Charlotte Delaval) and her children (George, Henry, Louisa and Charlotte)”. Based on the work of Sir Joshua Reynolds. Possibly, 19th century. Signed in the lower right corner (Reynolds). Rectangular frame arranged vertically with a series of mouldings with different decorations and a top with latticework, leaves and openwork flowers. Inside, there is a band of cloth embroidered with plant elements, and there is also an old textile on the back to protect the work. The miniature in the centre has a natural landscape background (some trees and an opening to the horizon can be seen to the right) and some figures in the foreground. An elegantly dressed lady brings her hand to her cheek; the three children to her right are also dressed in gala attire and playing with each other (two of them are also looking towards the viewer). The miniature is closely inspired by a painting now in the Metropolitan Museum of Art in New York, a portrait of “Mrs. Smith (Charlotte Delaval) and her children (George, Henry, Louisa and Charlotte)” by Sir Joshua Reynolds (Plympton 1723-London, 1792) in 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 is shown without a hat in it) and which is in a private collection (sold by Sotheby's in London in 1977). The most obvious changes in the miniature compared to Sir Joshua's work are the colour of Mrs Smith's dress, the children's faces (more delicate), the landscape in the background, the general tone of the work and the addition of the flowers in the lower right corner. In another private collection there is a miniature (by the British artist Frank W. Wilkin) showing the three children of Sir Robert Smith and Lady Charlotte, also inspired by Sir Joshua Reynolds' painting. Samuel Shelley was born in London and was a largely self-taught artist, best known for his watercolour miniature 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 around the world, including the Yale Centre for British Art, the National Portrait Gallery in London, the Royal Collection of the British Royal Family, the Metropolitan Museum in New York, etc. Francis William Wilkin, or Frank Wilkin (1791-1842) was an engraver who specialised in portrait painting and began working in miniatures, although he also worked in other genres.

· Size: 19x13 cms / 37x25 cms.
ANTIQUES

Ref.: ZF0157
MARTYRDOM OF SAINT STEPHEM. OIL ON CANVAS. 17TH CENTURY, AFTER AEGIDIU...

Saint Stephen. Oil on canvas. 17th century, after the engraving by Aegidius Sadeler (inspired by Jacopo Palma). The figure of the Saint appears in the foreground, with his arms raised to the sky; to the left of the viewer, the martyrdom of Saint Stephen is shown, under the heavenly apparition of Christ and God the Father; on the other side, there are some buildings and spectators. Both in the composition and in the figures, one can see an influence, directly or indirectly from 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).

· Size: 67x6x83 cms. int 43x58 cms
ANTIQUES

Ref.: ZF0760
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). Relined. Landscape with rocks and buildings in the background, which shows, in the foreground, buildings with a marked classical air, accompanied by two female sculptures on pedestals. At the foot of this building, there is a group of people dressed in classical style (women, children and a soldier with a lance). 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 here in 1681), where he, along with others, requested that Charles II create an Academy of Spanish artists in the city. Experts place him as a collaborator and outstanding follower of Viviano Codazzi (in whose workshop he worked in the 1670s, possibly coming from that of Cornelio de Wael). He painted perspectives of classicist temples and palaces, accompanied by representations normally of popular themes and in which the figures (in small numbers) are barely anecdotal elements in front of these architectures. His work is preserved in various private collections and institutions such as the Museum of Fine Arts in Valencia, the Collection of the Bank of Spain (Madrid), collections of the National Trust (Scotland), etc.

· Size: 76x3x91 cms. int 71x87 cms.
ANTIQUES

Ref.: ZF0795
CUPID. PORCELAIN. POSSIBLY MEISSEN, 19TH CENTURY.

Cupid. Enameled porcelain. Possibly Meissen, 19th century. With sticker on the base. Has restorations. Porcelain figurine with an oval, gilded base on which Cupid is shown lying down, characterised as usual by his wings, bow and quiver of arrows. He also carries a torch and is shown 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 with its main office on Via Frattina in Rome (and another shop on Via Gregoriana) specialising in selling antique and antique-style paintings, furniture and porcelain. Works related to this trade are held in various private collections and in the Fondazione Federico Zeri of the University of Bologna.

· Size: 19x13x20 cms. s/base: 19x12x17 cms
ANTIQUES

Ref.: ZF0910
THE ABDUCTION OF EUROPA. OIL ON CANVAS. Probably 18TH CENTURY, AFTER V...

Rape of Europa. Oil on canvas. Probably 18th century, based on a model by VERONESE, Paolo Caliari (Verona, 1528-Venice, 1588). Oil on canvas showing a scene from classical mythology set in a natural landscape with leafy trees and a fragment of pyramid-shaped ruins in the background. Note (from her clothing) that the female figure on a white bull in the group on the left is the same one that appears moving away on the animal on the right and, again, in the water, in the background of the composition. Europa was a Phoenician princess who was abducted by Zeus: the god transformed himself into a white bull and mingled with the cattle that the girl's father had. The girl saw him while she was gathering flowers with her entourage of ladies and when she saw the bull, she approached the animal. After verifying that it was tame, she ended up on its back, at which point Zeus took advantage of the opportunity to take her on his back to Crete, going into the sea. Paolo Caliari or Cagliari, better known as Paolo Veronese or Veronese, was a very important painter of Venetian Mannerism. He treated the same theme with a very similar composition in a canvas painted in 1573 and preserved in the Antecollegia of the Doge's Palace in Venice, and in another canvas dated between 1580 and 1585 that is in the Capitoline Museum in Rome. The present work is clearly based on the second painting mentioned, since it was a frequent source of inspiration for numerous painters and, particularly, for Spanish scholarship holders in Rome (the Royal Academy of Fine Arts of San Fernando in Madrid preserves another Rape of Europa inspired by the same work by Veronese, but this one done by Alejandro de la Cruz, a student of Mengs who was granted a scholarship in 1765 by the Academy in Rome).

· Size: 191x7x158 cms. 167x134 cms.
ANTIQUES

Ref.: ZF0971
LANDSCAPE WITH A LAKE. OIL ON CANVAS. 18TH CENTURY.

Landscape with lake. Oil on canvas. 18th century. Landscape with a sunset on a lake, with mountains in the background and trees and a hut in the foreground. The composition is slightly enlivened by the presence of boats of various types with people on board, as well as two groups of buildings towards the right of the painting. The painting has many points in common with landscapes from European schools painted in the second half of the 18th century.

· Size: 116x3x50 cms. int: 35,5x102 cms
ANTIQUES

Ref.: ZF0973
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ASSUMPTION OF MARY. OIL ON COOPER. 17TH CENTURY. AFTER GUIDO RENI (157...

Assumption of the Virgin Mary. Oil on copper, 17th century Following the models of Guido Reni (Bologna, 1575-1642). Oil on copper showing the Virgin Mary seated on clouds, dressed in a red tunic and blue mantle, in a golden-toned Glory and surrounded by clouds and musician and singing angels, dressed in tunics, cloths, etc. and others naked, and represented both as small children and in the form of adolescents. Iconographically, the work combines two main themes: the Coronation of Mary (note the two angels placed above the Virgin's head), and the Assumption (a doctrine developed in the Western Church from the 12th century, according to tradition by Saint Augustine, which later became a dogma of Faith, and which maintains that, at the end of her life, Mary was taken up to heaven in body and soul). This oil painting is inspired by two works titled "Coronation of the Virgin," one housed in the Bonnat Museum in Baoyona (nicknamed "The Guide") and the other in the National Gallery in London. These, in turn, follow the composition of a painting in the Prado Museum in Madrid by the same master, also titled "Coronation of the Virgin," executed around 1602 or 1603.

· Size: 59,5x4,5x77 cms. int 49,5x67 cms.
ANTIQUES

Ref.: ZF0974
VIEW OF THE PIER OF ANTWERP. OIL ON CANVAS. 18TH CENTURY.

View of the port of Antwerp. Oil on canvas. Flemish school, 18th century. Numerous ships and boats appear in the landscape, accompanied by small figures. In the background there is a city, with walls, houses, towers, etc., among which a tall structure stands out, which, together with the presence and shape of the port, allows the view to be clearly identified. The structure mentioned above is one of the towers of the Cathedral of Our Lady (built between 1352 and 1521), and it appears prominently in numerous views of the city. Compare this with a 16th-century copper engraving with copies in several museums, the View of the Port of Antwerp from the Vlaams Hoofd by Bonaventura Peeters the Elder (1614-1652) made between 1614 and 1652 (Museum aan de Stroom), the View by Mathys Schoevaerdts painted between 1660 and 1702 (same museum), etc.

· Size: 100x8x74 cms. int: 82x57 cms.
ANTIQUES

Ref.: ZF0975
THE TEMPTATION OF SAINT ANTHONY. OIL ON CANVAS. 17TH CENTURY, AFTER DA...

Temptations of Saint Anthony the Abbot. Oil on canvas. 17th century, based on the model of David Teniers II (Antwerp, 1610-Brussels, 1690). Oil on canvas showing a figurative scene set inside a cave. To the right, a standing cross can be seen, leaning against it; to the left, a hut; and in the centre of the painting, an older, bearded man appears, leaning on a table on which there is a ceramic jar and a skull, with an open book at the foot of the table. The man looks towards a woman, who points to something outside, and is accompanied by a large frog and a series of ghostly beings or monsters dressed in brightly coloured clothes and clothing. Saint Anthony the Abbot or Anthony the Great (251-356) was a Christian monk, considered the founder of the eremitic movement. He was tempted on numerous occasions by the devil while he was in the desert, which became a frequent theme in art (as can be seen in this oil painting). He is represented in a black habit because the Order of the Knights of the Hospital of Saint Anthony (Hospitallers) placed themselves under his patronage, being the colour of the habits of the members of this order (the tau or Egyptian cross was also the symbol chosen by them). 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, highly appreciated in his time for his scenes of villagers and common people, his paintings of painting monkeys, etc. He dealt with the subject of the Temptations of Saint Anthony on numerous occasions: Museo del Prado in Madrid, National Museum of Western Art (Tokyo, Japan), Wallraf–Richartz Museum (Cologne, Germany), etc. In the case of the present work, it is necessary to mention and compare it both with an oil painting kept in a private Parisian collection and with another sold at Christie's in 2018, which was in a Belgian collection, has been dated between 1630 and 1680 and is signed. It should also be noted that there are known engravings with this theme made from works by the painter (work in the Fine Arts Museum of San Francisco, United States of America, according to Frans van der Wyngaerde and dated in the 17th century; at UCLA in California, United States of America, also by Frans van der Wyngaerde and from the 17th century).

· Size: 52x4x47,5 cms. int: 42x35.5 cms.
ANTIQUES

Ref.: ZF0996
”MALA FAENA” (BAD BULLFIGHT PERFORMANCE). WATERCOLOUR. SIGNED. LLANECE...

Bad job. Watercolor. Signed in the lower left corner. José de San Bartolomé was a Spanish painter and sculptor who worked in the studio of the photographer Herbert from childhood and began his training at the School of Arts and Crafts in Madrid, continuing his studies at the Higher School of Painting at the Academy of San Fernando, while copying works by the masters of the Prado. In 1886 he settled in Paris, devoting himself mainly to genre painting in the wake of Fortuny, a theme that enjoyed great commercial success. He met Francisco Domingo, who opened the doors to the Buenos Aires market for him, where he received important commissions for painting and sculpture. He was Secretary of the Society of Artists of Paris, in 1894 he was named a knight of the Order of Charles III, in 1901 of the Legion of Honour and, in 1902, a commander of the Order of Isabel la Católica. At the beginning of the century he returned to Spain, and devoted himself mainly to portraiture, although he also painted landscapes and popular subjects. He enjoyed the protection of royalty, as evidenced by the portraits he painted of Queen Maria Cristina and various figures of the court. In 1925, the Paris Salon paid him a posthumous tribute with an exhibition of his work held in France. Works by Llaneces are preserved in the Prado Museum, the Pablo Sarasate Museum in Pamplona and in the Spanish embassy in Paris.

· Size: 52x2x42,5 / int 32x22,5
ANTIQUES

Ref.: ZF0997
MARY MAGDALENE TRAVELLING TO MARSEILLE. OIL ON BOARD. CASTILLIAN SCHOO...

Mary Magdalene on the way to Marseille. Oil on panel. Castilian school, towards the end of the 15th century. Oil on panel showing a landscape with a walled city in the background, some mountains and the edge of a waterway (it is clear from the subject that it is the seashore). In the foreground, full-length, there is a boat with a sail and a circus of richly dressed figures with their respective halos (these decorated with geometric elements and engraved plants), two women and three men. Note the anecdotal detail of the fish crossing the waters beneath the ship. In the Golden Legend, chapter XCVI is dedicated to the figure of Mary Magdalene, including the journey she made with Saint Maximinus, Lazarus, Martha, her servant Martila and Saint Cedonius ("the man born blind and cured of his blindness by Christ), along with other Christians, after being expelled by the infidels who lived in the region they went to evangelise. They left the ship at sea, without oars or sails or anything that could help in navigation, with the idea that it would sink, but God saw to it that it reached Marseille. The Catholic Christian tradition ended this journey from the Holy Land in Saintes Maries de la Mer (near Arles), from where Mary Magdalene went to Marseille, undertaking the evangelisation of Provence. Note that the characters represented here are Saint Mary Magdalene, as the main figure of the group, Saint Maximinus, Lazarus, Saint Cedonius and Martha. There are some known examples in which the Saint is seen accompanied, with all the characters placed on a boat or related to it. However, this is not a very common iconography and it seems that it will be even less common after the Council of Trent. Let us cite, as examples, the altarpiece by Pere Mates (Museum of the Cathedral of Girona) from the 16th century with this legend (Provençal legend) in which the Saint appears already on land, with the boat in the background; she appears entering the boat in the altarpiece by Jean Béguin (Altarpiece of the Rosary of the Basilica of Saint Maximin in Var, France); she appears preaching in the port of Marseille in a painting by Ronzen (early 16th century, Museum of History of Marseille); in the Scrovegni Chapel in Padua Giotto painted the theme of the Miracle of the Governor of Marseille (theme related to this arrival) with figures in the boat and the governor's wife on the island; Magdalene Altarpiece by Lucas Moser (Church of St. Mary Magdalene, Tiefenbronn). Stylistically, a clear Flemish influence can be seen in the painting: note the details of the jewels on the garments, the qualities, the faces and the naturalism sought in them (within the idealization that corresponds to the sacred characters), the landscape and the fortress in the background, etc. The influence of Flemish art on the Castilian school began thanks to the patronage of the Mendozas, shortly after the middle of the century, and its development was also contributed to by the growing relations with Flanders (it is worth remembering the journey of Jan van Eyck in 1427) and the importation of Flemish works. Thus, the Hispano-Flemish style reached a great development in the last quarter of the 15th century as far as the Kingdom of Castile is concerned, with a series of interconnected minor schools, thereby providing a certain unitary character 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 of whom we do not know the details), we have the one considered to be the introducer, Jorge Inglés, and figures such as Fernando Gallego, centres such as Valladolid and outstanding workshops such as those of Burgos or Toledo.

· Size: 83x11x128 cms int 73x118 cms
ANTIQUES

Ref.: ZF1052
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 showing three male figures, with a text on the right side. The one reading and sitting on a throne covered with tiger skin, stands out above all for his beard, but also for his rich clothing. The two characters are situated Standing, they also wear rich (although somewhat less) clothing, and one carries a halberd or spear while another carries an object in his hands. Guang Yu was a military general under Lui Bei during the late Eastern Han Dynasty and the Three Kingdoms Period of ancient China, and his life and achievements were so extolled and glorified that he was deified during the Sui Dynasty, emphasizing his exploits further in the Romance of the Three Kingdoms and becoming one of the main examples of loyalty and righteousness, receiving worship even today and receiving names such as "Emperor Guan" or "Lord Guan". Together with Zhang Fei shared a brotherly relationship with Lui Bei, and accompanied him on some of his early exploits. Weight: 9 kg.

· Size: 95,5x2x134 cms.
ANTIQUES

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

Portrait of ancestors or family. Watercolor. China. Early 20th century. Painting with four richly dressed figures (two male and two female) seated on thrones or chairs dressed in rich cloths, located in an interior, attended by two servants (small in size, at the front of the work), and with an altar with several pieces of great value in the background of the composition. This type of work was very common in oriental art of certain schools, in line with the value placed on the ancestors of prominent families. Weight: 11.2 kg

· Size: 90x3,5x130 cms.
ANTIQUES

Ref.: ZF1076
BANDIT AND MILITARY, PAIR. OIL ON BOARD. LUCAS VILLAAMIL, EUGENIO (185...

Bandit and soldier, couple. Oil paintings on panels. LUCAS VILLAAMIL, Eugenio (Madrid, 1858-1919). They present signature and remains of signature. The present pair of panels shows, on a blue background, two male busts. Despite their detail and naturalism, they are not portraits per se, but rather “paintings of types”, showing the concept that was held at the time of a bandit or a general, in line with certain postulates common in Spanish Romanticism. Eugenio Lucas Villaamil began his training with his father, Eugenio Lucas Velázquez, and continued at the Escuela Especial de Pintura in Madrid. His work was notable for largely following his father's line, with a strong Goya 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 his traditional Madrid, bullfights, etc., he was also known for his portraits, his urban prints (of the upper and lower classes), etc. His work is preserved in numerous private collections and institutions such as the Museo del Prado (Madrid), the Museo Carmen Thyssen (Málaga), the Museo Lázaro Galdiano (Madrid), the Real Academia de Bellas Artes de San Fernando (Madrid), the Museo Nacional del Romanticismo (Madrid), etc.

· Size: 23,5x4,5x28 cms. int: 11x15,5 cms
ANTIQUES

Ref.: ZF1117
HERALDIC SHIELD. OIL ON CANVAS. TORRES, A. SPANISH SCHOOL, 1856.

Heraldic shield. Oil on canvas. TORRES, A. Spanish School, 1856. Signed and dated. This work shows a heraldic shield on a blue background with different shades, on an oval framed support. The central (and only) element of the composition consists of a crest with a helmet with gold bars and four feathers, and a quartered shield. Towards the lower right area, there is a signature (A. Torres) and a date (1856). First quarter, cut, with a bird (possibly a sable eagle) with wings displayed and spread over gold, and, below, in green, a gold band crossed between the mouths of two azure serpents (recalling the well-known “band of Castile”), on gules. In the second quarter, twelve eight-pointed gold stars in three columns, on a divided field in sable and silver. In the third, on gules, gold chains around three crossed gold bands. In the fourth, six gold crescents on azure. Around both elements, and joining them, there is a symmetrical composition of architectural elements, plants and scrolls, with a clear classicist influence and with some reminiscence of works from the Spanish Renaissance.

· Size: 46x4,5x58 cms. int: 36x47 cms.
ANTIQUES

Ref.: ZF1118
ALLEGORY OR VENUS WITH CUPIDS. OIL ON CANVAS. 18TH CENTURY

Allegory of Venus with Cupids. Oil on canvas. Enthroned by BOUCHER, François (Paris, 1703-1770). The scene presents, in the background, an idyllic natural landscape, 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 appears reclining, dressed in a white tunic, a red skirt and a blue cloak, and a red ribbon in her hair; to her left, two cupids or cherubs appear, one with a garland of flowers and the other seems to be holding the young woman by the cloak. Iconographically, it could be Venus, although it is more common for the goddess to be presented half-naked or completely naked, so it is also possible that it is an allegory (given the crown of flowers, perhaps of Spring). Or, being a Rococo painting, it could also allude allegorically to a more abstract concept (virtue in the purity of love, etc.). The oil painting is set in the environment of François Boucher, a French painter considered one of the most important of the gallant style, situated within the Rococo. He was highly appreciated for his paintings of idyllic themes, the voluptuousness of his treatment, his mythological, allegorical and pastoral works and for several portraits of Madame de Pompadour. He sought a very detailed finish in his works, with a somewhat peculiar palette. After a somewhat troubled apprenticeship, he won the Prix de Rome in 1723 (which he could not enjoy due to lack of funds until four years later). Upon his return, he entered the Royal Academy of Painting and Sculpture, of which he became rector, and was also director of the Royal Gobelin Tapestry Factory, being named First Painter to the king in 1765. In addition to paintings, usually small in format, he also made illustrations for books, designed theatre costumes and sets, tapestries, porcelain, etc. 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 in New York, etc.

· Size: 87x4x123 cms / int. 67x103 cms.
ANTIQUES

Ref.: ZF1127
THREE FRAMED MINIATURES.19TH CENTURY

Frame with three miniatures. 19th century. Rectangular frame with a textile background showing three oval miniatures with female portraits, enhanced with gilded bronze frames (the side ones with lace trim, the central one crowned). On the back there are two rings at the top to hang the piece on a wall. Starting from the left and identified by small metal labels with black letters, we have “Madame Elisabeth” (Elisabeth of France [1764-1794] was the sister of Louis XVI and eldest daughter of Louis, Dauphin of France, and Duchess Maria Josefa of Saxony), “Marie Antoinette” (Marie Antoinette [1755-1793], Archduchess of Austria and Queen of France, was the daughter of Emperor Francis I and Empress Maria Theresa), and “Madame Lebrun” (Louise-Elisabeth Vigeé LeBrun [1755-1842], was the painter of Queen Marie Antoinette and a member of the French Academy since 1783). The three paintings, signed “Lebrun”, are inspired by works from the 17th century. In the same order as above: portrait painted by Vigée LeBrun around 1782 (Versailles, Musée National des Chateaux de Versailles et de Trianon, inv. mv 8143); portrait of Marie Antoinette with roses painted by Vigée LeBrun in 1783 (Versailles, Musée National des Chateaux de Versailles et de Trianon, inv. 3063); this miniature, made from a print, copies the self-portrait by Vigée LeBrun painted in 1782 and currently kept at the National Gallery in London (NG1653). It should be noted that the Museo del Prado (Madrid) has a composition similar to that present in both the miniatures and the frame (inventory O000657, O000658 and O000659).

· Size: 41,5x1,5x22,5 cms.
ANTIQUES

Ref.: ZF1151