Framed drawing, “Colegio Base”. VIDAURRE JOFRE, Julio (Madrid, 1926-2004). 1974. Titled, dated and signed (bottom right). Framed black and white drawing showing a building in a distinctly modern style. Julio Vidaurre Jofre was a Spanish architect who received numerous awards throughout his career (National Architecture Prize in 1971, etc.) and executed numerous projects for educational centers in cities such as Madrid, Vitoria, Alicante, Guadalajara, etc. He also restored the Cistercian monastery of Villaverde de Sandoval in León, and the Romanesque tower of the Santo Sepulcro de Toro in Zamora.
Framed miniature. The miniature depicts a young woman talking to an older man in a garden that is only alluded to by a flowering branch that could be an almond or cherry tree. The influence of the ancient Arab miniature is clear in this work, but there is also an idealization that can be related to the taste for the exotic that flooded art in the 19th century and that was reflected in works with themes of landscapes and scenes considered typical of the Arab world by Europe.
“The Queen of the Woods. Star of Madrid”. Framed engraving. Hippolyte Louis Garnier (1802-1855). London, 1852. Framed print showing a young woman in a wooded natural landscape, reminiscent in certain details of common models in Rococo painting but with a more neoclassical taste and language. The title, the engraver and other details are at the bottom.
Framed lithograph, fresco from the Domus Aurea of Nero (Rome). Engraved by Carlo Romano, based on a design by Francesco Smuglewicz. Painted lithograph showing a frame of grotesques with vegetal elements and mythological creatures in the corners and a seated male figure in the centre of the composition, perhaps Bacchus given the presence of vine leaves. The work follows a design by Francesco Smuglewicz, made from frescoes found in the 18th century in the Domus Aurea of the Roman Emperor Nero.
Framed lithograph, fresco from the Domus Aurea of Nero (Rome). Engraved by Carlo Romano, after a design by Francesco Smuglewicz Painted lithograph showing a frame of grotesques with elements and a male figure on horseback in the centre of the composition. The work follows a design by Francesco Smuglewicz, based on frescoes found in the 18th century in the Domus Aurea of the Roman Emperor Nero.
Variations on Paris; Rincón de Menilmontant. Framed lithograph. Eduardo Vicente (Madrid, 1900-1968). Framed lithograph belonging to the book of fifteen lithographs entitled “Variations on Paris”, published by Rafael Casariego in 1968 with texts by José Hierro.
Our Lady of Sorrows with Saint John. Framed lithograph. 20th century. Religious scene showing the Virgin Mary crying, as Dolorosa, supported by Saint John. Stylistically, influences of neoclassicism can be clearly seen (predominance of drawing, composition, etc.).
Landscape. Oil on panel. 20th century. Mountainous landscape executed using a very loose technique, with a clear predominance of colour and brushstrokes (marked, with variations in the material load, moved) over the drawing, practically absent from the composition, also playing with light and shadows and the way in which these influence the subject shown. The influence of certain novelties brought by the pictorial avant-gardes that began to emerge from the end of the 19th century (Impressionism, etc.) is clear.
Birds. Framed watercolor. 20th century. Watercolor showing two birds, perhaps thrushes, perched on the branch of a flowering tree, with no background in the composition, reminiscent of old biology books. The work is unsigned.
Two carriage scenes; “Christmas Eve. The top of the Hill” and “News of Waterloo! On the Great North Road: June 1815”. Framed lithographs. After WRIGHT, George (England, 1860-1944). George Wright was one of the leading equestrian artists of his time, specialising in hunting, carts and carriages, horses, races, etc. A self-taught artist like the rest of his family, little is known about his life. In 1925 he was in the pay of Ackermanns (England) and Grand Central Galleries (New York, United States of America), two very important lithograph publishing companies. His work is preserved in important private collections and institutions such as the Walker Art Gallery (UK), etc.
Blue-and-yellow macaw or Ara ararauna. Framed watercolour. 20th century. Framed watercolor showing a blue and yellow macaw perched on a branch leaning towards some fruit. Aesthetically, it is reminiscent of natural-themed prints from the first half of the 19th century.
Landscape. Oil on cardboard. Spanish School (P. Font), 1969. Signed (lower left); titled, signed and dated (back). Wooded landscape with a human figure (male due to his clothing) done with a treatment that shows clear influences from certain European pictorial avant-gardes of the 20th century (predominance of colour, absence of drawing, notable brushstrokes, colour, composition, theme, etc.).
Abstract composition, “Rose”. Framed print. BETTINARDI, Graziella (20th century). Signed (lower right area). Composition with an abstract theme and treatment with a predominance of pink tones in which several figurative elements (trees, crescent moon, geometric shapes) can be seen arranged in a square manner.
Pair of framed prints, “Montpelier” and “Raglan Castle”. Engraving by TINGLE, James; after works by GASTINEAU, Henry. Possibly first half of the 19th century. Pair of framed prints identified by a series of texts that appear under the landscapes shown. The one entitled “Raglan Castle” is indicated as an engraving by J. Tingle (name next to number 15), based on a drawing or work by H. Gastineau. Henry Gastineau (1791-1876) was a very prolific English painter and engraver, specialized in watercolours, trained at the Royal Academy in London. James Tingle (1790-1858/60) was an English engraver. The plate entitled “Montpelier” bears the same names (with the number 11 in this case).
“Le Harle”. Framed colour engraving. Wood, paper, etc. 19th century. Coloured engraving of a bird perched on a coastal background with a fortification in the background, inspired by common works from the 18th century, usually made with the intention of illustrating a scientific book but also devoting the attention that a work of art deserves. The French name “harle” refers to a group of species from the Anatidae family.
“Anas Americana”. Framed colour engraving. Wood, paper, etc. 20th century. The American Wigeon (formerly known as Anas Americana, later renamed Mareca Americana) is an anseriform bird native to North America. The engraving is inspired by common works from the 18th century, usually made with the intention of illustrating a scientific book but also devoting the attention that a work of art deserves.
“Aythya Ferina” (European Pochard). Framed colour engraving. Wood, paper, etc. 20th century. The European pochard, also known as the common pochard, is an anseriform bird of the Anatidae family that lives in Eurasia and Africa. The engraving is inspired by common works from the 18th century, usually made with the intention of illustrating a scientific book but also devoting the attention that a work of art deserves.
“Le Cannard Femelle ou La Cane” (Pata). Framed color engraving. Wood, paper, etc. 20th century. Entitled “The Female Duck” (“cane” is the French name for the female duck), this engraving is inspired by common works from the 18th century, usually made with the intention of illustrating a scientific book but also devoting the attention that deserves a work of art (note the details, the background, etc.).
“La Sarcelle, mâle” (male duck). Framed colour engraving. Wood, paper, etc. 20th century. In French, the term “sarcelle” refers to certain small-sized surface ducks. This engraving is inspired by common works from the 18th century, usually made with the intention of illustrating a scientific book but also devoting the attention that a work of art deserves (note the details, the background, etc.).
“Le Dindon” (The male turkey). Framed colour engraving. Wood, paper, etc. 20th century. In French, the male turkey is known as “dindon”, but note that another bird appears a little further in the background. This engraving is inspired by common works from the 18th century, usually made with the intention of illustrating a scientific book but also devoting the attention that a work of art deserves (note the details, the background, etc.).
Cardinal Infante Ferdinand of Austria. Framed engraving. 1870. National Chalcography (Spain); Gangoiti, Juan de (1816-1878); Maura Montaner, Bartolomé (1844-1926). Framed engraving based on the portrait of Cardinal-Infante Ferdinand of Austria as a hunter painted by Diego Rodríguez de Silva y Velázquez between 1632 and 1634, which is kept in the Museo del Prado in Madrid (Spain). This is an 1870 edition of the National Chalcography of Spain, of which the National Library of Madrid keeps the preparatory drawing.
Raphael Mengs. Framed engraving. Spain, 1780. Engraving with a portrait of the neoclassical painter and theorist Anton Raphael Mengs (Aussig, Bohemia, March 12, 1728 - Rome, June 29, 1779). It belongs to a series dated 1870, apparently produced by the Calcografía Nacional, and is believed to have been inspired by an oil self-portrait by Mengs. Some sources indicate that it was a print engraved by Manuel Salvador Carmona.
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