Z. Sierra · Antiques and Decorative Objects

Results 25 to 48 of 127

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THREE FRAMED MINIATURES.19TH CENTURY

Frame with three miniatures. XIX century. Rectangular frame with a textile background that shows three oval miniatures with female portraits, enhanced with gilded bronze frames (the sides are finished with lacework, the central one crowned). The back has two rings at the top to hang the piece on a wall. Starting on the left and identified by small metal signs 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 the Duchess Mary Josefa of Saxony), to “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 to “Madame Lebrun” (Louise-Elisabeth Vigeé LeBrun [1755-1842], was painter to Queen Marie Antoinette and member of the French Academy from 1783). The three paintings, signed “Lebrun”, are inspired by works from the 17th century. In the same order as before: 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 of Vigée LeBrun painted in 1782 and currently kept in the National Gallery in London (NG1653). It should be noted that the Prado Museum (Madrid) preserves a composition similar to the present one in both the miniatures and the frame (inventory O000657, O000658 and O000659).

· Size: 41,5x1,5x22,5 cms.
ANTIQUES

Ref.: ZF1151
LANDSCAPE WITH A LAKE. OIL ON CANVAS. 18TH CENTURY.

Landscape with lake. Oil on canvas. Century XVIII. Landscape with a sunset located on a lake, with some mountains in the background and some trees and a hut in the foreground. Slightly animating the composition, boats of different types have been placed with characters on board, as well as two groups of constructions towards the right side of the work. The painting has numerous points in common with landscapes from European schools made towards the second half of the 18th century.

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

Ref.: ZF0973
STILL LIFE WITH FLOWERS. OIL ON CANVAS. GARCÍA-OCHOA IBÁÑEZ. LUIS (SPA...

Still life of flowers. Oil on canvas. GARCÍA-OCHOA IBÁÑEZ, Luis (San Sebastián, 1920-Madrid, 2019). 1949. Signed and dated towards the lower left corner. Label on the back. Still life showing a round table covered with cloth and a series of bouquets of flowers and plants, all placed in their respective vases or pots, as well as a small object in front and several loose flowers. In the lower left area, you can see the painter's signature and the date 1949 (49). On the back there are two labels that relate the work to the XXVI Biennale Internazionalde d'Arte in Venice in 1952. One with the numbering of the painting and the other with the author's information. Luis García-Ochoa was a painter and graphic artist who became an academic of Fine Arts in Madrid. He moved to the capital as a child and worked in his father's architecture studio, training there in avant-garde art. Enrolled in the Royal Academy of Fine Arts of San Fernando, he expanded his training in France, Italy and England. Around 1942, thanks to Benjamín Palencia, he participated in the second Vallecas School, a group that served as the basis for the Madrid School. At this time his style evolved from initial cubism to expressionism. He was invited to the Venice Biennale on several occasions (1940, 1950, 1952 and 1954), participated in several National Exhibitions of Fine Arts in Madrid, in group exhibitions and individual exhibitions, etc. In 1993 he founded the School of Figurative Painters of El Escorial. His work is preserved in several private collections and in institutions such as the Reina Sofía Art Center, the Bilbao Fine Arts Museum, etc.

· Size: 94x4,5x78 cms int 80x65 cms
ANTIQUES

Ref.: ZF1110
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 School of Madrid, the city where he began his training at the School of Arts and Crafts. During the Civil War he entered the Higher School of Painting and went to the workshop of Daniel Vázquez Díaz, who would become his teacher, supporting him throughout his entire career. In 1946 he presented his work for the first time, within the framework of a collective held at the Bucholz gallery in Madrid. The following year he held his first individual exhibition in this same gallery. In 1948 he held an exhibition in the print room of the Museum of Modern Art in Madrid, critics began to echo 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 moment on, he held exhibitions in various Spanish cities and in France, and participated in collectives such as the Venice Biennale (1950) or the Salón de los Once (1951). Between 1952 and 1953 he traveled to Paris three times thanks to different scholarships. His period of maturity began with a new visit to Paris at the beginning of the sixties, and then he traveled to Switzerland, Germany, Holland and Belgium, obtaining several medals at the National Fine Arts Exhibitions, as well as the Biennial Painting Prize. Hispanic American from Cuba. Cirilo Martínez Novillo is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art of Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.

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

Ref.: Z3533
OIL ON CANVAS. PITY. 18TH CENTURY

Italian school of the 18th century. "Piety". Oil on panel. The work we present here is a painting of a devotional nature, especially due to its small format, probably intended for a private altar. It represents the theme of Piety with scenographic sense and deep drama, although it is expressed in a narrative way, without removing the image from its context. Thus, instead of the usual iconography of Mary crying with the dead Christ in her lap before a pathetic dark background, we see the two protagonists in an abrupt landscape, in the background of which we can see the cross with the ladder still resting on it, and in the background the profile of the city of Jerusalem. And, above all, Mary and Christ appear accompanied by Saint John, an angel and a suffering figure who could be Mary Magdalene. The composition is therefore more complex, and although the Virgin does not appear alone, she does appear absent to those around her, dominated by pain, raising her eyes and left hand towards the sky. Furthermore, in front of the characters we see the enormous nails, the crown of thorns and Veronica's cloth. These elements are clearly symbolic but at the same time narrative, as is the dark figure that appears next to Christ's hand, a small animal of probable symbolic meaning.

· Size: 26 x 20 cm; 41 x 28 cm (marco)..
ANTIQUES
PAINTINGS

Ref.: Z5911
OIL ON CANVAS. ALEJANDRO GOMEZ MARCO

Signed in the lower left corner "GOMEZ MARCO". Alejandro Gomez Marco Born in Madrid. Studies at the National School of Graphic Arts and the San Fernando School of Fine Arts. Granted in 1968 by the “Institute of International Education” to visit the USA where he lived for several years. Represents Spain at the International Congress of Art Education in New York 1970. Professor of Art at Jersey City State College and lecturer in Spanish at the Metropolitan Museum in New York. Numerous individual exhibitions since 1964. He also participates in numerous international exhibitions since 1965: Alexandria Biennale, Paris Biennale, Krakow Engraving Triennial in Poland, Ljubljana Biennale, former Yugoslavia, etc. Painting and drawing awards: Provincial Council of Ciudad Real, Francisco Alcantara (Circle of Fine Arts, Granada City Council, Engraving Hall of the General Directorate of Fine Arts, Bronze Medal of the Town of Bordeaux, and a long etc. He is an Associate Professor of the Faculty of Fine Arts of the Complutense in the subject of Printing Techniques II and Planographic Techniques from 1988 to 2007, the year of his retirement.

· Size: 114x150 cms.
ANTIQUES
PAINTINGS

Ref.: Z3546
WATER PAINTING.\'LANDSCAPE WITH SHRINE\'. AGUSTÍN REDONDELA

REDONDELA, Agustín (Madrid, 1922). "Hermitage". Watercolor. Signed and titled in the lower area. A mainly self-taught painter, Agustín González Alonso trained alongside his father, the painter and set designer José González “Redondela”. After the civil war he attended classes at the Madrid School of Arts and Crafts with the landscape painter José Ordoñez, and in 1945 he sent a painting for the first time to the National Exhibition of Fine Arts, signed with the pseudonym Redondela. That same year he will hold his first personal exhibition, at the Estilo gallery in Madrid. It was at this time that he came into contact with the Madrid School, and in 1947 he was selected to exhibit in the Salón de los Once of the Academia Breve e Crítica de Arte de Eugenio d'Ors. Already in the fifties Redondela obtained a scholarship from the Catherword Foundation of Philadelphia (1954), the National Painting Prize (1953) and first medal at the National Exhibition (1957). In 1996 the Royal Academy of Fine Arts of San Fernando awarded him the José González de la Peña prize, and two years later the Cultural Center of Villa de Madrid dedicated an important Anthological exhibition to him. It is currently represented in the Museum of Fine Arts of La Coruña, the Museum of Contemporary Spanish Landscape of Priego de Córdoba, the Museum of Fine Arts of Bilbao, the Camón Aznar of Zaragoza, those of Buenos Aires, Caracas and Havana and the House-Museum by Oswaldo Guayasamín in Quito, among other public and private collections.

· Size: 16 x 23 cm; 44 x 52 cm con marco
ANTIQUES
PAINTINGS

Ref.: Z3942
SAINT PEREGRINE LAZIOSI. OIL ON CANVAS. 18TH CENTURY.

Miracle of Saint Peregrino Laziosi. Oil on canvas. Spanish school, 18th century.
Oil on canvas showing a man surrounded by angels and sitting on a cloud next to the crucified Christ, who touches the wound in the man's leg. Below, there is a cartouche with an inscription alluding to the identity of the monk and the moment it is shown. Saint Peregrino Laziosi or San Pellegrino da Fortí (1665/66-1345) was a friar of the Order of the Servants of Mary, also known as Servites. According to tradition, he developed cancer in his foot, and spent the day before his leg amputation in prayer. When he woke up, he was cured, and was therefore considered by some to be the patron saint of those afflicted by this disease. Peregrino was canonized by Pope Benedict XIII in 1726.
The composition of the present work, although not the most common on the subject, can be seen in other examples, such as Girolamo da Rocca's 1682 painting of the church of Santa Maria Annunziata in Guastalla in Italy; a painting in the Servites of Carmona (Seville); etc"

· Size: 65,5x5,5x80 cms / int: 48x64 cms
DECORATIVE ANTIQUES

Ref.: ZF1239
WATER PAINTING. LANDSCAPE BY AGUSTIN REDONDELA

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

· Size: 24x16 cms.
ANTIQUES
PAINTINGS

Ref.: Z3943
BANDIT AND MILITARY, PAIR. OIL ON BOARD. LUCAS VILLAAMIL, EUGENIO (185...

Bandit and military, couple. Oil paintings on boards. LUCAS VILLAAMIL, Eugenio (Madrid, 1858-1919). They present a signature and remains of a signature. This pair of tables shows, on a blue background, two male busts. Despite their detail and naturalism, they are not portraits in themselves, but rather “paintings of types”, showing the conception that was had at the time of a bandit or a general, in line with certain common postulates in Romanticism. Spanish. 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 stood out for following, to a large extent, the paternal line with a strong Goyaesque influence in both style and theme (in addition, he copied some of Goya's paintings), and he was protected by José Lázaro Galdiano. Thus, in addition to traditional Madrid, bullfights, etc., he was also known for his portraits, his urban prints (of upper and lower class), etc. His work is preserved 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), the National Museum of Romanticism (Madrid), etc.

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

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

DOMINGO FALLOLA, Roberto (Paris, 1883 – Madrid, 1956). “The Burden”, 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 Academy of Fine Arts of San Fernando, where he was a disciple of Antonio Muñoz Degraín. He attended national and foreign exhibitions, obtaining third medal in the National Exhibition of Fine Arts of 1908, second in the 1910 edition and first in 1915. He also held exhibitions in Rome and London. A painter of manners, he specialized in bullfighting themes, which gave him great fame and prestige. Roberto Domingo is represented in the Prado Museum, the Fine Arts Museum in Granada, the Provincial Museum in Cádiz, the Municipal Museum in Madrid, the Las Ventas Bullfighting Museum in Madrid, La Maestranza in Seville, Valencia and Viana de Cega (Valladolid), the of Drawing of the Castle of Larrés (Huesca) and those of Havana and Hemingway of Cuba, among many others.

· Size: 42x51 cms. int: 30.5x22.9 cms
ANTIQUES
PAINTINGS

Ref.: Z4092
CHRIST WITH ANGELS. OIL ON COPPER, EBONY FRAME, TEXTILE, ETC. POSSIBLY...

Christ with angels. Oil on copper, ebony frame, textile. Possibly Flemish school, 17th century. Oil painting on copper enhanced with a textile strip that also presents an ebony wood frame decorated with several smooth moldings and a flat area. The image presents Jesus, with a halo of light around his head, arranged as a bust, and with a choir of angels (full body and winged heads) with draperies moved by the wind (some naked) and a series of clouds. Iconographically, it is not the most common thing to see Jesus at an “intermediate age” (neither an adult nor a baby or a small child), the age range of the present image being characteristic of scenes such as Christ among the doctors, or representations of the Holy Family. . It is very common, since the Middle Ages, to accompany it with heavenly choirs of angels. Compare the work with an engraving by Gerard Edelinck, made in France between 1562 and 1707 (exemplary in the Rijkssmuseum in Amsterdam) that shows a medallion with Jesus, very similar to the one on this copper, flanked by angels and on some child figures in an attitude of dance.

· Size: 35x4x39,5 cms. cobre: 13x16 cms
ANTIQUES

Ref.: ZF1206
OIL ON CANVAS STILL LIFE ASTERIO MAÑANOS

Asterio Mañanós Martínez began his painting studies at the Municipal School of Drawing 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. Starting in 1881, he participated in the National Exhibitions of Fine Arts. His stay alternated between Madrid and Palencia, where he was commissioned to create the curtains and backstage for the Teatro de Recreo Palentino. In 1885 he received a pension from the Provincial Council of Palencia to expand his pictorial training at the Royal Academy of Spain in Rome, which lasted a year. Back in his hometown, he decorated, together with Sabino Ojero, the Teatro de la Peña Palentina. He also opened, in collaboration with Isidro Mallol, a drawing academy, called "Casado del Alisal" in honor of his teacher. He moved to Paris in 1889 for a year to study under the brush of Léon Bonnat's pictorial realism. Returning to Spain, she established her workshop in Madrid, where Doña Sancha painted in front of her husband's corpse and the portrait of Tomás Bretón. Starting in 1908, the Senate Government Commission appointed him conservator of the works of art of the Upper House. The result of this experience are the great parliamentary paintings that have the sessions and halls of the Senate as their theme. One of his last canvases was an allegory of the Second Republic, the painting belongs to the Senate collection. The place and circumstances of his death are unknown, it is known that he was alive in 1935.

· Size: int. 60x40 cms.
ANTIQUES
PAINTINGS

Ref.: Z6229
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 urban views of the Italian city of Venice. Marianne Lucy Le Poer was a landscape painter and teacher who studied at the 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 Associate Professor of the Royal Society of British Artists in 1926.

· Size: int. 30x35 cms.
ANTIQUES
PAINTINGS

Ref.: Z3730
”TRAVELLERS”. OIL ON CANVAS. SIGNED “A. BRIONES”. 20TH CENTURY.

“Gypsies.” Oil on canvas. Signed “A. Briones.” Twentieth century. Oil on canvas showing a natural landscape in the background, barely sketched, to leave prominence to the figures that are advancing in the foreground. The man, on the right, carries a cane on his shoulders and a series of items, in addition to being accompanied by a baby bear. In the center, a woman walks with a stick on her shoulder, leading a saddle loaded with more objects and some children by the reins. The painting shows a family of gypsies, on their way to some show in which they would use the baby bear. Between the 15th and 18th centuries the artistic image of gypsies is stereotyped and very scarce, with some engravings, tapestry and paintings such as “Landscape with gypsies” by David Teniers III from the Prado Museum (inv. Poo1818). The 19th century would be the moment of emergence of the gypsy motif in the plastic arts, due to the interest of foreign artists attracted by the “exotic” of these people, exposing what they considered their most folkloric features, especially highlighting works by Fortuny and Sorolla. This work aims to influence the particularities of the gypsy people, but without remaining only in their stereotypes, clearly showing the hardness of their life and the loneliness that it brought with it. Technically, one can appreciate its relationship with innovative contributions that have appeared in French painting since the end of the 19th century. Thematically, it is reminiscent of works of social realism (a pictorial movement that appeared in France around the mid-19th century).

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

Ref.: Z4081
WATERCOLOUR LANDSCAPE WILLIAM FREDERIC CASWELL

CASWELL, William Frederick (United Kingdom, act. 1870 – 1914). "Landscape". Watercolor on paper. Signed with initials in the lower right corner. . In this work Caswell offers us an evocative landscape with romantic roots, typical of English landscaping of the time, worked with a light and translucent chromaticism that gives a special luminosity to the scene, at the same time enhancing its mysterious atmosphere. A British painter active between 1870 and 1914, William F. Caswell worked on landscapes and portraits in oils and watercolors, and also created series of prints such as “Le Barnabooth et other bêtes modernes.” He was a member of the Royal Birmingham Society of Artists, where he regularly exhibited his works.

· Size: 78x103 int 49x71 cms
ANTIQUES
PAINTINGS

Ref.: Z6194
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MANOLO VARGAS IN “BOLERO”. WATERCOLOUR. SIGNED, DATED AND TITLED. CAPU...

Manolo Vargas in “Bolero”. Watercolor. Signed, dated and titled. CAPULETTI LILLO DEL POZO, José Manuel (Valladolid, 1925-Eltville am Rhein, Germany, 1978), 1947.
José Manuel Capuletti was a self-taught Spanish painter who began his career working mainly with drawing, watercolor and portraiture. A good draftsman, his work has strong influences of Surrealism and he designed sets and costumes for ballet works by frequenting the environment of Spanish ballets from 1946 onwards. In 1951 he settled in Paris, beginning to exhibit, becoming recognized in 1954. From 1958 his work could be seen in New York, Paris, etc., and he returned to Spain in 1968, settling first in Seville and then in Madrid. He died on a trip to Germany in 1978. The watercolor appears signed, dated and titled in the lower right corner."

· Size: 49x2x64 cms. int 41x56 cms.
ANTIQUES

Ref.: ZF0770
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VIRGIN WITH CHILD. OIL ON CANVAS. 19TH CENTURY, AFTER SANZIO, RAPHAEL.

Virgin with Child. Oil on canvas. 19th century, following models by SANZIO, Rafael (Urbino, 1433-Rome, 1520). Framed painting showing the Virgin Mary with the Child in her arms, both holding a book, and located on a natural landscape with buildings to the right. The frame leaves a tondo visible, showing the figurative composition, and, upon removing it, you can see in the corners a series of figurative and vegetal elements (grotesques) of clear Renaissance influence, also present in the rest of the work. This Madonna is clearly inspired by another, known as Madonna Conestabile, found in the Hermitage of Saint Petersburg, a work by Rafael Sanzio, dated around 1504 and which was acquired in Perugia by the Count Conestabile della Staffa and later acquired by the Tsar Alexander II and given to his wife, Maria Alexandrovna. The frame in which it is preserved in the museum is the original of the piece, which measures 17.5 centimeters high and 18 centimeters wide. Taking into account the quality of this piece, it is necessary to highlight the subtle differences it presents with respect to the work that inspired it (size, book cover, details in the brush strokes, etc.). Throughout the 19th century it was very common for important houses, artists, etc. They commissioned painters to create works inspired by their favorite pieces (whether they were in museums or in the residences of noble or aristocratic families), in the same way that they commissioned castings of important sculptures.

· Size: 33x5,5x34 cms / int: 20x20 cms.
ANTIQUES

Ref.: ZF1158
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 it at the San Fernando Academy in Madrid, a city where he became more known in National Exhibitions of Fine Arts. (he achieved 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
DANCER, WATCH HILL, 1965. FRAMED DRAWING. SIGNED, DATED. CAPULETTI LIL...

Dancer, Watch Hill, 1965. Framed drawing. Signed, located and dated in the lower right corner. CAPULETTI LILLO DEL POZO, José Manuel (Valladolid, 1925-Eltville am Rhein, Germany, 1978). José Manuel Capuletti was a self-taught Spanish painter who began his career working mainly with drawing, watercolor and portraiture. A good draftsman, his work has strong influences of Surrealism and he designed sets and costumes for ballet works by frequenting the environment of Spanish ballets from 1946 onwards. In 1951 he settled in Paris, beginning to exhibit, becoming recognized in 1954. From 1958 his work could be seen in New York, Paris, etc., and he returned to Spain in 1968, settling first in Seville and then in Madrid. He died on a trip to Germany in 1978. In the lower right corner, you can see a location under the signature that helps provide more information. José Manuel Capuletti designed some costumes for a ballet by the Watch Hill Studio in the United States titled “Macumba” and premiered in May 1966.

· Size: 36x40 ext 48x4x56 cms.
ANTIQUES

Ref.: Z3781B
”MALA FAENA” (BAD BULLFIGHT PERFORMANCE). WATERCOLOUR. SIGNED. LLANECE...

Bad job. 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 since he was a child in the photographer Herbert's workshop and began his training at the School of Arts and Crafts of Madrid, expanding it at the Higher School of Painting of the Academy of San Fernando, while copying works of the Prado masters. In 1886 he settled in Paris, dedicating himself above all to genre painting in the wake of Fortuny, a theme that enjoyed great commercial success. He meets Francisco Domingo, who opens the doors of the Buenos Aires market, where he will receive important painting and sculpture commissions. He was Secretary of the Society of Artists of Paris, in 1894 he was appointed knight of the order of Charles III, in 1901 of the Legion of Honor and, in 1902, commander of the order of Isabel la Católica. At the beginning of the century he returned to Spain, and dedicated himself mainly to portraiture, although he also created landscapes and popular subjects. He enjoyed the protection of royalty, an example of which is the portraits he painted of Queen María Cristina and several court figures. In 1925 the Paris Salon paid him a posthumous tribute with an exhibition of his work held in France. Work by Llaneces is 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
BULLFIGHTING GRAPHIC WORK OF GOYA

Francisco de Goya y Lucientes (Fuendetodos, 1746 - Bordeaux, 1828) \\'Bullfighting\\' National Library. Special facsimile edition made to commemorate the constitution of the \\'Spanish Bullfighting Museum, SA\\'. Directed and commented by Antonio de Horna. Madrid, May 1970.

· Size: 45x32 cms
DECORATIVE ANTIQUES
PAINTINGS

Ref.: Z3879
FRAMED MINIATURE; “HOLY FAMILY”. 18TH CENTURY; LATER FRAME.

Framed miniature; "Sacred Family". Wood, paint. Century XVIII; later framing. The oval frame made of carved and gilded wood has smooth moldings, and has an openwork upper finish made of scrolls and simplified vegetal details. On one side, Saint Joseph is presented in three quarters, wearing a tunic and habit and holding the flowered wand and carrying in his arms the Child Jesus, who is lying down and naked. On the other side you can see, also in three quarters, a miniature of the image of Our Lady of Soledad de la Victoria of Madrid (or of some Soledad inspired by it, which was the first image of this dedication in Spain). Stylistically, the two images present a strong influence of Spanish Baroque models and iconography, as was common in Spanish religious art of the 18th century (compare, for example, with “Saint Joseph with Child Jesus” by Murillo preserved in the Auckland Art Gallery , or with the work on the same theme made by Alonso del Arco and today in the Museum of Navarra). The dedication of Our Lady of Solitude had as its main image the carving of Gaspar de Becerra (which was in the Convent of Our Lady of Victory in Madrid and later in the Collegiate Church of San Isidro, where it was lost), which was used as inspiration for a large number of paintings and sculptures. This type of miniatures decorated with religious images were usually used as elements of particular devotion.

· Size: 6,5x1x10 cms.
ANTIQUES

Ref.: ZE183
LANDSCAPE. OIL ON CANVAS. SIGNED. 19TH CENTURY.

Landscape. Oil on canvas. Signed lower right corner. XIX century. Oil on canvas that shows a rural landscape with a series of buildings in the background (combining important buildings with humble huts) and small figures in the foreground to bring some life to the work. Stylistically, it is inspired by common works in northern European schools of the 17th century.

· Size: 98x4x140 cms.
DECORATIVE ANTIQUES

Ref.: ZF0250

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