Table lamp, “wolf and her cub”. The base resembles a rock formation in a natural setting, and on it are placed sculptures of a she-wolf followed by her cub. Behind them, a stem decorated with ivy leaves emerges, ending in the lampshade, made of yellow and green glass and shaped like a flower.
Table lamp with musician angel. A low-shafted column stands on a polygonal base, on which sits a little angel playing the flute. Behind the sculpture stands a stem with leaves, which ends in a lampshade made of white and blue glass and shaped like a flower.
Lamp with a child musician. The square base has been worked to resemble the paving stones of a street. Above it, and in front of a bench, is a sculpture of a boy playing the accordion. Behind it, the base of the lamp emerges, resembling a street lamp. The lampshade, made of yellow and green veined glass, is shaped like a flower.
Table lamp with children on a rocking chair. Patinated metal. Glass On an oval base treated to resemble the ground and a tree stump, a seesaw has been placed on which two children are playing. Behind the figures, two stems with leaves intertwine, ending in the lampshades, made in the shape of flowers in translucent green and yellow glass.
Walking stick. Bone, antler pommel. Walking stick with a knob made of spherical horn and a shaft made of carved bone resembling bamboo that has been decorated with a series of figurative elements (human figures in simplified landscapes) with a clear Chinese influence.
Bronze sculpture. “Heron”. Lost wax casting. Marble base The heron is positioned in the usual position chosen for such animals: with its wings slightly open, walking, and its head pointing upwards. The representation of animals in small bronze sculptures became a fully-fledged genre in France in the 19th century, from where the fashion spread. Whether domestic or wild, exotic or European, they were notable for their realism, and the work belongs to this tradition.
Candlestick in patinated bronze. The circular base rises to meet the base of the shaft and is decorated with flowers, which are repeated throughout the rest of the candlestick. The barrel has grooves that turn into leaves towards the top, and the candle is held in a small vase with a flat container to collect the wax drippings. In addition to the patina, which resembles ceramics, the decorative elements stand out, some of classicist inspiration and others with a modernist air. Weight: 2590 grs
Pair of enamelled porcelain figurines. “Dancing children”. Inspired by antique European porcelain models. The two children are dancing on circular bases decorated with chain-stitching on the front. The theme of dancing children was very common in European porcelain from the 18th century onwards, and the present examples can be compared with works created in prominent centres such as Meissen or Sèvres, for example.
Enameled porcelain figurine. “Fisherwoman”. Inspired by antique European porcelain models. The young woman is standing on a stone base with flowers and plants, carrying a net on her shoulder, a basket in one hand, a jug in the other, and another basket hanging from the other shoulder. The figure is inspired by porcelain models from northern Europe, from centres such as the Manufacture Nationale de Sèvres in France.
Death of Cleopatra. Framed engraving. Engraving by Jean Georg Wille, after painting by Gaspar Netscher. To Paris: chez l\\'Auteur Quay des Augustines à coté de l\\'Hotel d\\'Auvergne. Imp. 1754. Framed engraving with a historical theme very common in European art since the Renaissance. Cleopatra is seated in a luxurious interior, with a small snake in her hand, and accompanied by a maid, who brings her hands to her face in a gesture of of pain for the outcome of the story. In the lower area, more details of the work are carried (heraldic shield in the center, engraver, place, information about the work it is inspired by, 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.
Mars. Framed engraving. Pineda. Spain, 1876. Engraving of the god Mars after the painting by Velázquez, preserved in the Prado Museum in Madrid. It is said to be print number 4 in the third volume of El Grabador al Aguafuerte, sold in the first issue in 1876. The engraver's surname was Pineda and the printer was Calcografía Nacional.
Self-portrait by Esteban March (attributed). Framed engraving. MAURA Y MONTANER, Bartolomé. Spain, 1874. Engraving inspired by a painting considered a self-portrait that in the 19th century was believed to be by Esteban March (as indicated by the inscription), but which is now attributed to Orazio Borgianni. It was originally published as number thirteen, in the first volume of El Grabador al Aguafuerte, put on sale in the fourth issue of 1874. The copper plate is preserved in the Calcografía Nacional of Madrid (R. 5072), the printer of the work. It was published by the Society of Artists.
Portrait. Framed engraving. Spain, possibly 1870s. Male portrait based on a design by Bernardo Blanco y Pérez (Madrid, 1828-1876) made by Juan José Martínez de Espinosa y Tacón (Cádiz, 1826-?; active in Madrid 1856-1876), as indicated in the area below the image. Below the oval, there is a signature.
Saint John. Framed engraving. MAURA Y MONTANER, Bartolomé. Spain, 1876. Handwritten inscription in lower area. Print inspired by a work by Murillo by Bartolomé Maura y Montaner (Palma de Mallorca, 1844-Madrid, 1926), published by the Society of Artists and with the Calcografía Nacional as the printer. It originally belonged to the third volume of El Grabador al Aguafuerte, which went on sale in the third installment of 1876.
The Naked Maja. Framed engraving. DEZARROIS. Paris, France, circa 1900. Engraving inspired by the famous Goya painting which, when it was made, was in the Royal Academy of Fine Arts of San Fernando in Madrid (Spain). As indicated below the image, it is the work of Antoine-François Dezarrois for an article about the painter in La Revue de l'art ancien et moderne, a periodical founded by Jules Comte in 1987 and directed by him (until his death in 1912).
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