Results 121 to 144 of 147

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RURAL LANDSCAPE. DRAWING, FRAMED. SIGNED F. CARRASCAL.

Rural view. Drawing, framed. Signed towards the bottom (F. Carrascal). A rural landscape with churches and other human-made buildings, showing no other signs of life or habitation besides these structures, roads, and fields. The treatment of light and the chosen technique are also noteworthy. The influence of various contributions from the 20th-century avant-garde painting movements is clear., detectedSourceLanguage: es

· Size: 39x34 cms.
DECORATIVE ANTIQUES

Ref.: Z5820A47
LANDSCAPE. OIL ON TABLEX, FRAMED. 20TH CENTURY.

Landscape. Oil on hardboard. 20th century. A mountainous landscape executed in a very loose technique, with a clear predominance of color and brushwork (bold, with variations in impasto, and dynamic) over drawing, which is practically absent from the composition. The artist also plays with light and shadow and the way these influence the subject depicted. The influence of certain innovations introduced by the avant-garde movements that began to emerge from the late 19th century (Impressionism, etc.) is evident., detectedSourceLanguage: es

· Size: int 32x23 cms.
DECORATIVE ANTIQUES

Ref.: Z5820A20
DRAWING ON PAPER CLOISTER, detectedSourceLanguage: es

· Size: 48x2x36 cms
DECORATIVE ANTIQUES

Ref.: Z1216A
Framed watercolor. Cockatoo, detectedSourceLanguage: es

Cockatoo. Framed watercolor. 20th century. Watercolor depicting a cockatoo (possibly a sulfur cockatoo) perched on a stone ledge, picking up a cherry with one of its feet. The detail and composition are reminiscent of 19th-century engravings found in zoology textbooks (compare the work of Edward Lear, for example), although it is also worth mentioning Melchior d'Hondecoeter's painting "Collection of Animals" (circa 1960), which is held in the Rijksmuseum in Amsterdam., detectedSourceLanguage: es

· Size: 18x27 cms. ext 36,5x45 cms.
DECORATIVE ANTIQUES
PAINTINGS

Ref.: Z0297
”ABSTRACTION”. OIL ON CANVAS. SIGNED. MARTÍNEZ NOVILLO, CIRILO (MADRID...

“Abstraction”. Oil on canvas. Signed (lower right corner). MARTÍNEZ NOVILLO, Cirilo (Vallecas, Madrid, 1921 – Madrid, 2008). Cirilo Martínez Novillo was a painter from Madrid who began his training in the capital (School of Arts and Crafts, the Libertarian Athenaeum of the People of Vallecas during the Civil War, and the Higher School of Painting, Sculpture, and Engraving at the National Library). During the war, he began his first artistic endeavors in the world of literature. After the war, he was imprisoned for a year, during which time he dedicated himself entirely to painting. In the 1940s, he went from setting up his first studio and focusing his work on figures and still lifes, with his first solo exhibition in 1942, to gaining critical acclaim by the end of the decade. The 1950s were crucial in his artistic development; he traveled throughout Spain and presented his work in several national and international exhibitions. It was also during this period that he became associated with the "Madrid School" (he exhibited many works collectively with other members of the school, such as Álvaro Delgado, Luis García Ochoa, Agustín Redondela, etc.). A scholarship from the French Institute in Madrid allowed him to travel to Paris for the first time in 1953, where he became acquainted with the paintings of masters such as Van Gogh, Picasso, Braque, and Cézanne. In 1960, he received another scholarship from the Juan March Foundation, returning to Paris and settling in the city for several years. This period reflected an aesthetic transformation in his work, bringing his painting closer to a language of abstraction and also modifying his concept of light. He has received numerous awards (Painting Prize at the 2nd Hispano-American Biennial in 1953 in Havana, Cuba; First Medal at the National Fine Arts Exhibition in 1962; Gold Medal at the Arte-Santander Fair in 1999 in recognition of his artistic career, etc.), and his work has been exhibited worldwide (Madrid, Paris, Zurich, New York, Barcelona, Santander, Oviedo, Zaragoza, etc.). His paintings are held in important private collections and by prominent institutions such as the Banco Santander Collection, the Museum of Contemporary Art of Madrid, the Albacete Museum, the Mapfre Foundation, the Reina Sofía National Art Centre Museum in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Telefónica Collection, the AENA Foundation, etc., detectedSourceLanguage: es

· Size: 50 x 61 cm; 69 x 79,5 cm (marco).
ANTIQUES

Ref.: Z6264
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., detectedSourceLanguage: es

· Size: 71x4x51 cms int. 60x40 cms.
ANTIQUES

Ref.: Z6229
”TRAVELLERS”. OIL ON CANVAS. SIGNED “A. BRIONES”. 20TH CENTURY.

“Gypsies”. Oil on canvas. Signed “A. Briones”. 20th century. Oil on canvas depicting a barely sketched natural landscape in the background, giving prominence to the figures advancing in the foreground. The man on the right carries a staff over his shoulder and several other items, and is accompanied by a bear cub. In the center, a woman walks with a walking stick over her shoulder, leading a horse laden with more objects and some children. The painting depicts a Gypsy family on their way to a performance involving a bear cub. Between the 15th and 18th centuries, artistic representations of Gypsies were stereotypical and scarce, with only a few engravings, tapestries, and paintings such as David Teniers III's "Landscape with Gypsies" in the Prado Museum (inv. Poo1818). The 19th century saw the flourishing of Gypsy motifs in the visual arts, driven by the interest of foreign artists drawn to the "exotic" nature of these people. These artists depicted what they considered their most folkloric features, with Fortuny and Sorolla being particularly noteworthy. This work aims to highlight the unique characteristics of the Roma people, but without dwelling solely on stereotypes, clearly depicting the hardships of their lives and the loneliness that accompanied them. Technically, its connection to innovative contributions to French painting from the late 19th century onward is evident. Thematically, it is reminiscent of works of social realism (a painting movement that emerged in France around the mid-19th century)., detectedSourceLanguage: es

· Size: 97x64 cms. 86x117 cms.
DECORATIVE ANTIQUES

Ref.: Z4081
PORTRAIT, LADY. OIL ON CANVAS. SIGNED (F. LLORET) AND DATED. SPAIN, LA...

Lady. Oil on canvas. Signed (F. Lloret.) and dated (February 97) in the lower right corner. Against an indeterminate background, the bust of a lady is depicted, her head slightly turned to the left. In the lower right corner, the painter's signature and the date of the work (February 1897) can be seen. As in the rest of Europe, portraiture was a genre that enjoyed great popularity in 19th-century Spain, mainly due to social changes (the rise of the upper bourgeoisie, etc.) that influenced aesthetics, hence the degree of intimacy that the painting conveys, unlike the "official portraits" preferred by the nobility., detectedSourceLanguage: es

· Size: 47x5x59 cms.
DECORATIVE ANTIQUES
PAINTINGS

Ref.: Z4164
”DISMISSAL OF HAGAR BY ABRAHAM”. MINIATURE. AFTER VAN RIJN, REMBRANDT ...

“Abraham disowning Hagar.” After model by VAN RIJN, Rembrandt (Leinden, 1606 – Amsterdam, 1669). Framed miniature. 18th century. The scene is set in an idealized landscape. In the foreground, a venerable old man, richly attired (blue tunic, yellow belt, and red ermine-trimmed cloak, with a matching colorful turban), gestures toward a woman who covers her face, thus conveying her sorrow. She is accompanied by a child, his back to the viewer, carrying several bundles and a vessel, suggesting a journey. To the left, in some humble buildings, an elderly woman looks out to observe the scene, smiling, while a young boy does the same, opening a wooden door from which a small dog runs out. It depicts a story from Genesis. The narrative recounts that Sarah agreed to allow Abraham to have children with an Egyptian slave, Hagar, from which union Ishmael was born. However, when Sarah miraculously gave birth to Isaac, Hagar convinced Abraham to expel Sarah and her son. The anecdotal detail of showing Sarah peeking out smiling, the dog, Sarah's sorrow, etc., can also be seen in the painting of the same subject by the Flemish artist Pieter-Jozef Verhaghen (1728-1811), in which Abraham also appears with a red cloak and turban, but the composition and setting differ; in the painting by Jan Victors from around 1635 (Museum of Fine Arts, Budapest), with Sarah and her son smiling; etc. However, some drawings by Rembrandt survive (Herbert F. Johnson Museum of Art, Cornell University; this institution has another, probably from the 18th century and anonymous but very similar; and there is another by the artist in the Metropolitan Museum) made in 1637, which follow, almost point by point, the present work except, logically, in the coloring and in the background, where the architecture of the Baroque master is replaced by a landscape., detectedSourceLanguage: es

· Size: 29x5x28 cms. int 15,x18,5 cms
ANTIQUES

Ref.: Z6786
FOUR LANDSCAPES SET.

Set of four oil landscapes. Each painting depicts a different landscape, all featuring human figures, animals, buildings, and clothing reminiscent of Northern European fashion from the 18th century, or even earlier. Two of them include buildings with classical undertones (the bridge with the sculpture and that arch-like structure), but they appear as if conceived by someone who had never seen these elements in reality. While it might be assumed that the landscapes are meant to represent Italy, as this country was a popular destination for young people on the Grand Tour (which flourished between the mid-17th century and the 1820s), Price per unit, detectedSourceLanguage: es

· Size: 45x3x35 cms.
DECORATIVE ANTIQUES

Ref.: Z6514
”LE HARLE”. COLOUR ENGRAVING, FRAMED.WOOD, PAPER, ETC. 19th CENTURY.

“Le Harle”. Framed color engraving. Wood, paper, etc. 19th century. A color engraving of a bird perched on a coastal background with a fortification in the distance, inspired by typical 18th-century works, usually intended to illustrate scientific books but also given the attention a work of art deserves. The French name "harle" refers to a group of species in the duck family (Anatidae)., detectedSourceLanguage: es

· Size: 32x42 cms.
DECORATIVE ANTIQUES

Ref.: Z4764A
”ANAS AMERICANA”. COLOUR ENGRAVING, FRAMED. WOOD, PAPER, ETC. 20TH CEN...

“Anas Americana”. Framed color print. Wood, paper, etc. 20th century. The American whistling duck (formerly known as Anas americana, later reclassified as Mareca americana) is a waterfowl native to North America. The engraving is inspired by typical 18th-century works, usually created to illustrate scientific books but also given the attention a work of art deserves., detectedSourceLanguage: es
DECORATIVE ANTIQUES

Ref.: Z4764B
”AYTHYA FERINA” (COMMON POCHARD). COLOUR ENGRAVING, FRAMED. WOOD, PAPE...

“Aythya Ferina” (European Pochard). Framed color engraving. Wood, paper, etc. 20th century. The common pochard, also known as the European pochard, is a waterfowl of the family Anatidae that lives in Eurasia and Africa. The engraving is inspired by typical 18th-century works, usually created to illustrate scientific books but also with the attention due to a work of art., detectedSourceLanguage: es
DECORATIVE ANTIQUES

Ref.: Z4764C
”LE CANNARD FEMELLE OU LA CANE” (FEMALE DUCK). COLOUR ENGRAVING, FRAME...

“Le Cannard Femelle ou La Cane” (Pata). Framed color engraving. Wood, paper, etc. 20th century. Titled “The Female Duck” (“cane” is the French name for female duck), this engraving is inspired by common works of the 18th century, usually made with the intention of illustrating some scientific book but also dedicating the attention that a work of art deserves (note the details, the background, etc.)., detectedSourceLanguage: es

· Size: 32,5x5x42 cms.
DECORATIVE ANTIQUES

Ref.: Z4764D
”LE DINDON” (MALE TURKEY). COLOUR ENGRAVING, FRAMED. WOOD, PAPER, ETC....

“Le Dindon” (The Male Turkey). Framed color 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 18th-century works, usually created to illustrate scientific books but also given the attention a work of art deserves (note the details, the background, etc.)., detectedSourceLanguage: es

· Size: 32.5x3x42 cms.
DECORATIVE ANTIQUES

Ref.: Z4764F
”ANDALOUSIAN PARTY”, OIL ON TABLEX, JEAN-LOUIS PAGUENAUD (1876-1952).

“Andalusian Festival”, oil on hardboard, Jean-Louis Paguenaud (1876-1952). Signed and dedicated (“cantatrice Dupré”) in the lower right corner. Jean-Louis Paguenaud is the pseudonym of Jean-Philippe Paguenaud (1876-1952). He spent his childhood in Algiers, where he discovered the sea. When his father moved to Limoges, he studied at the School of Decorative Arts and worked in a porcelain factory. He furthered his training with William Bouguereau, delving into the world of seascapes, and made numerous trips to Martinique and North Africa, which he captured in gouaches and drawings. These were exhibited in 1905 at the Salon des Indépendants. His brother Joseph-Louis died in combat in 1914, and to honor his memory, he decided to sign his work with one of his brother's names. Appointed Official Painter of the French Navy in 1922, he lived for a time in Paris before returning to Limoges. He participated in a well-known voyage on the ship "Lamotte-Piquet," which took him to Central and South America. His career can be divided into three periods: the formative period (1876-1902), the "orientalist" period (1902-1921), and a third period (1921-1942), when he was already the official painter of the Navy; he produced some more works between 1942 and 1952. His work can be seen in important private collections and in museums such as the Naval Museum in Paris, the Naval School of Bordeaux, the Town Hall of Coussac-Bonneval, etc. This work depicts an exterior scene, a town square in Andalusia, with numerous figures dressed in the region's traditional costumes celebrating a grand festival. Movement is provided by couples and groups dancing in the center, an orchestra on the left, diners on the right, and several couples on horseback throughout the composition. This entire scene shares the spotlight with the landscape: the facade of a church rises before a house and an old bridge, with a mountain in the background beneath a blue sky. Several characteristics of Paguenaud's work are clearly evident: the light, which he drew from Algiers and all his travels; the compositional mastery with which he arranges a large number of figures; the blue sky, also seen in his seascapes, etc. Furthermore, the originality of oil painting within the painter's artistic career, due to its subject matter, is noteworthy., detectedSourceLanguage: es

· Size: 233x5x175 int 213x152 cms
ANTIQUES

Ref.: Z6476
”TWO CHARACTERS”. OIL ON CANVAS. SIGNED. MARTÍNEZ NOVILLO, CIRILO (MAD...

“Two figures”. Oil on canvas. Signed (lower right corner). MARTÍNEZ NOVILLO, Cirilo (Vallecas, Madrid, 1921 – Madrid, 2008). Cirilo Martínez Novillo was a painter from Madrid who began his training in the capital (School of Arts and Crafts, the Libertarian Athenaeum of the People of Vallecas during the Civil War, and the Higher School of Painting, Sculpture, and Engraving at the National Library). During the war, he began his first artistic endeavors in the world of literature. After the war, he was imprisoned for a year, during which time he dedicated himself entirely to painting. In the 1940s, he went from setting up his first studio and focusing his work on figures and still lifes, with his first solo exhibition in 1942, to gaining critical acclaim by the end of the decade. The 1950s were crucial in his artistic development; he traveled throughout Spain and presented his work in several national and international exhibitions. It was also during this period that he became associated with the "Madrid School" (he exhibited many works collectively with other members of the school, such as Álvaro Delgado, Luis García Ochoa, Agustín Redondela, etc.). A scholarship from the French Institute in Madrid allowed him to travel to Paris for the first time in 1953, where he became acquainted with the paintings of masters such as Van Gogh, Picasso, Braque, and Cézanne. In 1960, he received another scholarship from the Juan March Foundation, returning to Paris and settling in the city for several years. This period reflected an aesthetic transformation in his work, bringing his painting closer to a language of abstraction and also altering his concept of light. He has received numerous awards (Painting Prize at the 2nd Hispano-American Biennial in 1953 in Havana, Cuba; First Medal at the National Fine Arts Exhibition in 1962; Gold Medal at the Arte-Santander Fair in 1999 in recognition of his artistic career, etc.), and his work has been exhibited worldwide (Madrid, Paris, Zurich, New York, Barcelona, Santander, Oviedo, Zaragoza, etc.). His paintings are held in important private collections and by prominent institutions such as the Banco Santander Collection, the Museum of Contemporary Art of Madrid, the Albacete Museum, the Mapfre Foundation, the Reina Sofía National Art Centre Museum in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Telefónica Collection, the AENA Foundation, etc., detectedSourceLanguage: es

· Size: 50x61 cms.
ANTIQUES

Ref.: Z6263
WATERCOLOUR. LANDSCAPE BY CIRILO MARTINEZ NOVILLO

MARTÍNEZ NOVILLO, Cirilo (Madrid, 1921 - 2008). “Landscape”, 1972. Watercolor. Signed and dated in the lower right corner. Cirilo Martínez Novillo is one of the most prominent representatives of the so-called Madrid School, the city where he began his training at the School of Arts and Crafts. During the Spanish Civil War, he enrolled in the Higher School of Painting and attended the workshop of Daniel Vázquez Díaz, who became his mentor and supported him throughout his career. In 1946, he presented his work for the first time in a group exhibition at the Bucholz Gallery in Madrid. The following year, he held his first solo exhibition at the same gallery. In 1948, he held an exhibition in the print room of the Museum of Modern Art in Madrid. Critics began to take notice of his work, and he was selected to participate in the "Spanish Art" exhibition held in Buenos Aires and organized by the Ministry of Education. From this point on, he exhibited in various Spanish cities and in France, and participated in group exhibitions such as the Venice Biennale (1950) and the Salon de los Once (1951). Between 1952 and 1953, he traveled to Paris three times on various scholarships. His mature period began with another visit to Paris in the early 1960s, followed by trips to Switzerland, Germany, the Netherlands, and Belgium, where he won several medals at the National Fine Arts Exhibitions, as well as the Painting Prize at the Hispano-American Biennial in Cuba. Cirilo Martínez Novillo's work is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño, and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Argentaria, Caja España, and Telefónica collections, and the Valdepeñas Museum., detectedSourceLanguage: es

· Size: 24 x 30 cm; 55 x 61,5 cm (marco).
ANTIQUES

Ref.: Z3533
Framed lithograph. Clown with wasp, detectedSourceLanguage: es

· Size: 52x2,5x65 cms. INT 37x50 cms.
DECORATIVE ANTIQUES

Ref.: Z5820-28
OIL PAINTING ON CANVAS. \'MARISCADORAS\' BY J.MUÑOZ

"

· Size: 81x65 cms.
DECORATIVE ANTIQUES

Ref.: Z4680A
OIL PAINTING ON CANVAS \'MARISCADORAS WITH NET\' BY J.MUÑOZ

"

· Size: 81x65 cms.
DECORATIVE ANTIQUES

Ref.: Z4680B
OIL ON PAINTING \'AT THE COUNTRYSIDE\' BY J.MUÑOZ

"

· Size: 81x65 cms.
DECORATIVE ANTIQUES

Ref.: Z4680C
SOLDIER AND PEOPLE. OIL ON CANVAS. 20TH CENTURY.

Figures with soldier. Oil on canvas. 20th century. In this oil painting, a series of figures of humble means and all ages are positioned to the right, and a soldier on horseback has his back to the viewer (a detail which, along with his posture, precludes any possibility of a heroic tone in the work). In the background, ruins with rocks occupy most of the canvas, leaving an opening to the horizon and the light of dawn to the left. The influence of Old Flemish models is clear in the painting, both in the figures themselves and in the composition and the ruins., detectedSourceLanguage: es

· Size: 101x81 cms
DECORATIVE ANTIQUES

Ref.: Z4862
BULLFIGHTING GRAPHIC WORK OF GOYA

Francisco de Goya y Lucientes (Fuendetodos, 1746 - Bordeaux, 1828) 'Bullfighting' National Library. Special facsimile edition produced to commemorate the establishment of the 'Spanish Bullfighting Museum, SA'. Directed and annotated by Antonio de Horna. Madrid, May 1970., detectedSourceLanguage: es

· Size: 45x32 cms
DECORATIVE ANTIQUES

Ref.: Z3879

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