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Preisdatenbank abonnierenTerence Conran - Habitat - Mac Lamp No.8 - A retro vintage 1960's adjustable anglepoise desk / table work lamp light by Terence Conran for Habitat, Maclamp. The lamp having a white conical shade on a twin wood arm support and white finished base. Sold as untested by ourselves. Measures approx; 55cm.
An original retro vintage 1970's floor standing twin spot lamp light having stainless steel cylindrical shades supported by adjustable ball joints. Each lamp raising and falling upon a single stem column raised on a weighted circular base. Three way switch atop controlling each light. PAT tested, overall good condition. Measures approx; 133cm x 22cm diameter.
Herbert Terry & Sons - Anglepoise - Model 90 - An original 20th Century retro vintage articulated anglepoise desk / table lamp light by Herbert Terry model 90. The lamp in an orange colourway raised on a weighted circular base. Wear commensurate with age, mostly to paintwork. Measures approx; 76cm tall.
A retro vintage mid 20th Century 1950's Tretchikoff era chalkware Thai girl lamp light being polychrome decorated with hand painted facial features. The female seated in the lotus position holding a circular uplight section to the centre having a convex glass panel top. Minor wear to the paintwork with some minor chips, overall a good example. Measures approx; 44cm x 30cm x 18cm.
Fagerhults - A retro vintage 20th Century Swedish floor standing anglepoise lamp light of white polycarbonate construction having a half moon pendant shade supported by a black adjustable arm. All raised upon a white column upon a weighted circular base. Sold as untested, wear commensurate with age with some discolouration. Measures approx; 109cm x 46cm diameter.
A retro mid 20th Century 1960's Danish teak wood floor standing standard lamp light having a stepped single tapering stem with abstract pattern textile thread string drum shape lamp shade atop. All raised on a solid teak circular base. Good condition throughout. Measures approx with shade; 186cm x 38cm diameter.
Prior England - A retro vintage mid 20th Century industrial wall mountable / desk lamp light having an enameled adjustable pendant shade supported by a single chrome stem. All raised and supported by a circular ring metal base. Sold as untested by ourselves. Measures approx; 34cm x 15cm diameter.
A vintage mid 20th Century antique style twin light table / desk lamp light of brass and resin construction. The lamp having two lights over a central resin rams head flanked by resin horns to both sides supporting the brass tops. All raised on a rectangular oak base. Measures approx; 66cm x 33cm.
HCF - A retro vintage 20th Century Danish anglepoise floor standing lamp light finished in red having an aluminium pendant shade with cooling holes to the back. Raised and detecting from a single stem stand upon a weighted circular base. Makers marks present to the arm. Sold as untested, overall a good example. Measures approx; 147cm tall.
A retro vintage 20th Century French upcycled lamp light converted from a brass trumpet of typical form. The mouthpiece top form the light bulb holder with the bell forming the base. Added weight to the base. Inscribed 'J, Gras, Curnisseur De L'Armee, 17. Parvis St. Maurice'. Wear commensurate with age. Measures approx; 50cm x 12cm diameter.
Waso Ledu - Type 231 - A retro vintage 20th Century Swedish articulated anglepoise desk / table lamp light having a council stepped shade with push button atop. Raised on square wooden base with makers marks to the arm and all being finished in red. Sold as untested by ourselves. Measures approx; 107cm tall.
Renos Loizou (Greek, 1948-2013) - "The Big Kiss" - A mixed media on handmade paper abstract painting depicting a couple kissing beneath the moon light. Coloured chalks, watercolour, and charcoal used in this piece. Signed to the bottom left and titled to the verso. Framed and glazed. Painting measures approx; 760mm x 530mm. Frame measures approx; 100cm x 77cm.
Spanish school of the second half of the seventeenth century."The Assumption of the Virgin".Oil on canvas. Relined.Needs restoration and cleaning.Measurements: 215 x 167 cm; 230 x 184 cm (frame).This majestic canvas shows the Assumption of the Virgin, taken body and soul to Heaven, in a triumphal and scenographic way. Behind her opens the Glory, represented by the golden divine light, an elaborate break in whose margins we see a multitude of angels in different positions, some looking to the earth and others upwards. On the earthly plane, clearly differentiated from the celestial by the line of clouds, the characters are accumulated around the open tomb of the Virgin. They are the apostles who, having witnessed Mary's death, are amazed at her Assumption. Some of them are represented on one side, closing a circular composition defined around the tomb, classical and orderly despite the apparent crowding of the characters in favor of the theatricality and, above all, the dynamism of the scene. Most of the characters appear looking at the empty tomb, pointing to it with open hands, expressing both surprise and veneration, an aspect of skillful narrative. We see how Mary does not ascend to heaven by her own means, like Christ, but is raised to Paradise by the angels. As is customary in Western art, the artist depicts her bodily Assumption outside the tomb where the apostles had buried her. Formally the work fits within the production of the Spanish school of the first half of the seventeenth century. The artist, a connoisseur of the Romanist trend, offers us a monumental work of powerful anatomies, worked from a reduced palette of colors. The artist has been able to attenuate the academic rigidity of the models with details of greater naturalism, with delicate intimate nuances and achieved lighting effects.
Andalusian School; second half of the XVII century."The Good Shepherd.Oil on canvas.Relined in the nineteenth century.Repainting: 5%.Measurements: 125 x 100 cm; 150 x 127 cm (frame).This composition testifies the hand of a skilled painter of Andalusian school. It presents a theme that became popular in the Andalusian religious painting of the Baroque period. Following the iconography that identifies Jesus with the Good Shepherd, and the sheep with humanity, the flock is here crowded around the representation of Christ in full body. A faint celestial light falls on his shoulders, emphasizing the central axis occupied by his figure. Jesus extends a bundle of grass to those closest to him, and the rest of the flock is distributed around him in peaceful attitudes. In the distance, and in contrast with the calm tone of this first scene, a confrontation is taking place: a character (possibly St. Michael) defends himself from a serpent, the incarnation of evil. Due to its formal and compositional characteristics, we can relate this work to the Sevillian school of the Baroque period, belonging to the Murillo circle. Although Murillo favored the characterization of the Good Shepherd as an infant of young age, the way of resolving the landscape, veiled by faint atornasoladas ranges, and also the fluffy and cottony fur of the sheep, denote the influence of the Sevillian master. We can also relate the present canvas to a painting by a Sevillian painter of a later generation, Alonso Miguel de Tovar. We refer to La Divina Pastora (Carmen Thyssen-Bornemisza Collection), where two scenes also coexist: the main one, with the Virgin as the Shepherdess and a distant scene of St. Michael the Archangel fighting against a wolf that tries to attack a lamb. The bucolic tone of the landscape and the tenderness of the gestures is also similar to the present painting.The theme of the good shepherd is very old in Christian art, and has its roots in ancient Western art, specifically in the Muscophores of Ancient Greece. Christians will follow these iconographic models for their first representations, as we see in examples such as the catacombs of St. Callixtus. As for its meaning, the good shepherd is a biblical allegory, originally referring to Yahweh and later to Jesus Christ. The good shepherd is interpreted as God, who saves the lost sheep (the sinner). The theme appears in the Old Testament, and in the Gospels the same allegory is applied to Jesus as the Son of God. This iconography shows the Parable of the Good Shepherd that appears in the Gospels (John 10:1-6; Luke 15:3-7), which speaks of the shepherd who goes in search of the lost sheep, and which was prefigured in Psalm 23 and in the Book of Ezekiel (34:12), uniting God with the figure of the shepherd who takes care of the sheep, of his flock. In art, the theme is the most represented in Paleochristian iconography, and testimonies can be found from the 2nd century onwards. From the 4th century onwards, its representation declined until it disappeared completely in the Middle Ages, but it finally recovered between the 15th and 16th centuries. In the 17th century, it will share the limelight with the Divina Pastora, a theme that became popular during the Baroque period.
Italian school of the XVII century."Ecce Homo".Oil on canvas.Painted on both sides.Measurements: 86 x 67,5 cm.The theme of Ecce Homo belongs to the cycle of the Passion, and precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple tunic (here red, symbolic color of the Passion) and placing a reed in his hand, kneeling and exclaiming "Hail, king of the Jews!". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ before the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such in front of that of the leaders who were judging him there. Formally, this work faithfully follows the guidelines of baroque naturalism, defined by the work of Caravaggio and his followers. Thus, visually dominates the light treatment, very contrasted and effective, based on a spotlight that falls directly on the figure of Christ, creating expressive effects of chiaroscuro and leaving the rest in semi-darkness, on a dark and neutral background that further enhances the physical presence of the character. The chromatism also derives directly from Caravaggist models, and is therefore based on a restricted and warm palette, enormously nuanced, of ochre, earthy and carmine tones.
Flemish school of the XVII-XVIII century. Circle of PHILIPPS WOUWERMAN (Haarlem, 1619-1668)."Cavalry in the countryside".Oil on canvas. Relined.Frame ca. 1900.Measurements: 62 x 79 cm; 75 x 92 cm (frame).This painting represents a wild, monumental and savage nature, inhabited only by the horsemen who gallop swiftly, dwarfed by the natural grandeur. Leaving behind definitively the classical landscape painting cultivated by the painters of the Spanish school in Rome, neither classical order nor ruin appear, nor do the countryside landscapes, evocative of the lost Arcadia. It is instead a totally romantic one, dominated by what was the main aesthetic value of the romantic landscape painters, the sublime. It does not seek beauty, calm or divine order reflected in nature, but the expression of it in all its magnitude, in all its raw beauty. The composition is open and solid, built on the basis of a foreground dominated by a path along which the figures run, located to the left of the composition, and a stream to the right of the work. In the background, the cliffs of the nearby mountains can be glimpsed and, above them, a stormy and moving sky. It is also worth mentioning the importance of the lighting aspect; it is a twilight light, which vividly illuminates some areas leaving others in darkness, obtaining an image of enormous naturalism, very different from the compensated, balanced and calm scenes of the classical landscape. Because of its physical and stylistic characteristics, this painting could have been done by a painter close to Philips Wouverman's circle. Wouverman was the son of a modest painter from Alkmaar, Paul-Joosten Wouverman, and became one of the most reputable painters of religious and military compositions, landscapes and animals, especially horses, as well as a genre painter focused on the elegant life of the time and its historical framework (castles, palaces, gardens, etc.). Wouverman's initiation as a painter must have taken place in his father's workshop and also in that of Frans Hals, according to references of the time, although his works do not reveal the influence of this painter. He joined the painters' guild of St. Luke in 1640, and at that time he began a prolific career marked by commercial success. He was not a painter of large commissions, but worked on easel paintings of great beauty and intimacy, for which he had all the nobility as clients. He also had buyers abroad and, apart from enjoying great success in his time, he gained special esteem in the France of Louis XVI and in the Spain of Charles IV. In fact, the paintings by his hand that are now in the Prado come from the Royal Palace. In addition, today we can find works by Wouverman in the Thyssen-Bornemisza Museum, the Hermitage in St. Petersburg, the Louvre in Paris, the Metropolitan and the Frick Collection in New York, the National Gallery, the Wallace and the Royal Collection in London, the Rijksmuseum in Amsterdam and the Kunsthistorisches Museum in Vienna, among many others.
Spanish school, possibly from Madrid, second half of the seventeenth century."Lamentation over the Dead Christ".Oil on canvas.Frame of the nineteenth century.The frame needs restoration.Measurements: 205 x 160 cm; 224 x 180 cm (frame).In this work the theme of the lamentation of the body of Christ is captured in a more intimate way than in previous periods, simplifying the composition and eliminating all non-figurative elements. Thus, the body of the dead Christ articulates the image, located in the center, and around him the other figures are placed: St. John and Mary Magdalene to his left, the Virgin holding the dead body, with her face tilted upwards, in an attitude of deep pain. The landscape background has been eliminated, replacing it with an undefined exterior space, worked in a neutral and dark tone that only lightens in the central area. Iconographically, the scene of the lamentation or weeping over the body of the dead Christ is part of the cycle of the Passion, and is inserted between the Descent from the Cross and the Holy Burial. It narrates the moment in which the body of Christ is deposited on a shroud (in other cases, on the stone of anointing) and they are arranged around him, bursting in laments and sobs, his mother, St. John, the holy women, Joseph of Arimathea and Nicodemus. It is a very emotional theme, the fruit of popular piety, which concentrates attention on the drama of the Passion and the loving and sorrowful contemplation, with a realistic and moving sense. It is a work strongly influenced by naturalism, with a range of monochromatic tendency that revolves around ochre, earthy and crimson tones. Likewise, the composition draws from the same influence: the characters all appear in the foreground, very close to the viewer. It is worth mentioning the importance of the lighting aspect; it is not a tenebrist light, but it is rich in chiaroscuro contrasts, through which the painter models the anatomy of Christ, the faces and the rest of the elements.
Spanish School, XVII century."The angel and the shepherdess".Oil on canvas.Needs restoration and cleaning.Measurements: 76 x 57 cm; 77 x 58 cm (frame).It is represented in this painting a passage of biblical inspiration probably related to the Annunciation to the Shepherds, although it also presents iconographic affinities with the theme of the Divine Shepherdess. The archangel Gabriel, incarnated spirit, appears to a peasant girl accompanied by a small child who is sleeping peacefully lying next to a rock. The angel's red robe flutters in a soft wind that enhances his ethereal condition. The foreshortened figure points with his hand in a direction that the young girl must follow: possibly, the place of the birth of the Christ Child. Although it is not a conventional representation of the angel's irruption to the sleeping shepherds, the gesture of the hand leads us to think of the biblical passage. The forest glade that welcomes the characters is represented following baroque postulates, in terms of expressive lighting, strong light contrasts and a certain idealization of nature, in which the Flemish influence can be clearly appreciated. The young shepherdess is wrapped in tunics and capes whose drapery has been rendered with naturalistic intent. Her face, softly modeled by a warm light, has been slightly idealized, as has that of the sleeping child. The painter shows special skill in the anatomical characterization of the three figures, chiseled by faint tonal shifts. A path zigzags behind the scene, escaping into the distance. This is an intuitive way of working depth and perspective, using above all a rich chromatic range rather than drawing, in accordance with the Flemish tradition.
Spanish or Italian school; XVII century."The arrest of Christ".Oil on canvas. Relined.Presents faults and repainting on the pictorial surface.Preserves frame of the nineteenth century, following models of the seventeenth century.Measurements: 103 x 127 cm; 140 x 161 cm (frame).In the darkness of the Mount of Olives, which is not appreciated in the scene, because the author focuses the image in the presence of the body of Christ, Jesus is seized by two soldiers. The body of Christ lies on the ground tied with ropes and a chain around his neck, which one of the captors pulls. Through a pyramidal composition of classic cut, the author structures the three characters in such a way that the body of Christ, is arranged at the base, being this a predominant place in the scene, also noteworthy is the luminosity of the body, which radiates an artificial light, caused by the whiteness of the flesh, which contrasts with the warmer tones, or orange of the characters who are imprisoning him. The scene that highlights a specific moment, where the tensions of the bodies, the foreshortening of the postures, indicate a fleeting moment of dramatic activity. A tension that the author resolves with the second plane, in which, in spite of the aforementioned darkness, we can appreciate the figure of one of the apostles located in the left zone of the composition, surely Saint Peter, who renounced Jesus before the rooster crowed three times, and behind the three sketchy figures that surely allude to a moment prior to the arrest of Christ, leaving a glimpse of a pictorial story of a narrative order.Baroque painting is one of the most authentic and personal examples of art, because its conception and form of expression arose from the people and the deepest feelings that nestled in it. With the economy of the State in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and confraternities of clerics and laymen who promoted its development, the works sometimes being financed by popular subscription. Sculpture was thus compelled to embody the prevailing ideals in these environments, which were none other than religious ones, at a time when the Counter-Reformation doctrine demanded a realistic language from art so that the faithful would understand and identify with what was represented, and an expression endowed with an intense emotional content to increase the fervor and devotion of the people.
An assortment of twenty three early to mid 20th century British Military badges including Royal Armoured Corps, Durham Light Infantry, Wiltshire Regiment, Labour Corps, Royal Army Service Corps, 21st Lancers, Royal Air Force, Royal Marines, 13th/18th Royal Hussars, Royal Horse Artillery, etc (23)
A set of twelve early 19th century rectangular lacquer counter trays decorated with figures, playing cards and landscape scenes, each 9 by 11.5cms.Condition ReportOne tray has a chip to one edge of approx 2cms in length, the other trays with light wear and a few with minor chips to the corners, general wear commensurate with age, good overall condition
A Victorian silver and enamel vesta case, London 1897 and maker's mark for George Heath, the enamelled top depicting a gentleman salmon fishing, 4cms high.Condition ReportOverall in good condition, no dents or damage to the body, hinge works and it shuts tightly. the enamel top has a very minor chip to the enamel in the top left and bottom left corners, also slight paint loss to the bottom right corner. light surface scratching commensurate with age and use
Workshop of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652)."St. Francis of Paula" ca.1630.Oil on canvas.Measurements: 120 x 103 cm; 128 x 112 cm (frame).In this canvas is represented San Francisco de Paula of half body, in pensive position, with the glance directed upwards, in the direction of a halo of light that emanates from the top right part of the composition and in which the word "Caritas" can be read. He appears dressed in dark sackcloth, typical of his hermit character, accompanied by the staff, his main iconographic attribute, and with the Holy Scriptures in front of him, also illuminated by a spotlight that falls directly on them. It is a work perfectly framed within the naturalistic baroque, heir of José de Ribera, starring a totally earthly man, with a face far from any idealization. San Francisco de Paula is presented as a real person, with personalized features typical of the individualized study, furrowed by deep wrinkles. As usual within the naturalistic baroque, the composition is simple and clear, with the character in the foreground against a neutral and dark background that enhances his physical presence. Apart from the human model and this composition, the lighting is also clearly naturalistic, a tenebrism derived directly from Ribera that is based on an artificial, directed spotlight that penetrates the painting through the lower left corner and falls on the face and hands of the saint, also illuminating the writings and the table in the foreground, leaving the rest in a nuanced penumbra, very worked, as we can see in the perfectly achieved mantle, characterized by its realism, despite being enveloped in shadows. The chromatism is also typical of this school, very limited around the ochers, earthy, reflecting the warm and naturalistic atmosphere.Regarding the subject, it represents Saint Francis of Paola (Calabria, Italy, 1416-Tours, France, 1507), hermit founder of the Order of the Minims and saint of the Catholic Church in the Italian region of Calabria. Legend has it that St. Francis became seriously ill of the eyes, reason for which his parents entrusted themselves to St. Francis, curing their son's eyes. To be grateful for the miracle, at the age of fourteen he went on pilgrimage to Assisi, thus becoming a hermit. For five years he withdrew to the mountain, feeding only on water and wild herbs, sleeping on the hard ground, with a stone as a pillow. He was canonized in 1519, only twelve years after his death, during the pontificate of Pope Leo X. In the early years of the 16th century, the Order of the Minims entered Spain, acquiring great diffusion due to the values of Franciscan preaching that they spread, which, linked to the recent canonization of the saint and his way of life and poverty, strongly influenced the Spanish Christian population.Due to the aforementioned formal characteristics, this painting can be related to the circle of José de Ribera, a key painter for the development of the naturalistic baroque not only in Spain, but also in Italy and in other national schools, given the great diffusion of his work. Called the Españoleto, he was a key master of the Spanish Baroque, and in general of the history of art at the European level. Although no documentary sources or evidence of his youth are preserved, it is believed that he trained with Francisco Ribalta in Valencia, after which he went to Italy, first to the north and later to Rome, where he learned first-hand about the classicists and the Caravaggesque tenebrism of the Dutch who settled there. Finally he settled in Naples, where he arrived in 1616. Then began his period of maturity and splendor; Ribera enjoyed fame and a large workshop, and his works spread throughout Europe through engravings.
English school; circa 1700. "Portrait of a gentleman". Oil on canvas. Presents repainting and restorations. Measures: 186 x 83,5 cm. With a penetrating look the protagonist of the scene fixes his eyes on the spectator. His serious face of pink flesh tones, maintains a gesture of dignity that harmonizes with the posture adopted by the portrayed. His clothing, apparently casual, shows both the artist's virtuosity in reflecting the texture of the velvet, as well as the purchasing power of the main protagonist. At the formal level, the precise brushstroke stands out, focused on an exaggerated detail; a very balanced composition thanks to its triangular structure; and a chromatism with tones arranged in such a way as to enhance the figure, especially the face, by the contrast between the neutral colors of the background and the warm ones in the foreground. The light plays a fundamental role, focusing the gaze from the first moment on the face of the portrayed, since it is the most illuminated area, and the shadows relegate the rest of the elements to a secondary position. In the 17th century, the panorama of European portraiture was varied and broad, with numerous influences and largely determined by the taste of both the clientele and the painter himself. However, in this century a new concept of portraiture was born, which would evolve throughout the century and unify all the national schools: the desire to capture the personality of the human being and his character, beyond his external reality and his social rank, in his effigy. During the previous century, portraiture had become consolidated among the upper classes, and was no longer reserved only for the court. For this reason, the formulas of the genre, as the seventeenth century progressed and even more so in the eighteenth century, would relax and move away from the ostentatious and symbolic official representations typical of the Baroque apparatus. On the other hand, the eighteenth century will react against the rigid etiquette of the previous century with a more human and individual conception of life, and this will be reflected in all areas, from the furniture that becomes smaller and more comfortable, replacing the large gilded and carved furniture, to the portrait itself, which will come to dispense, as we see here, of any symbolic or scenographic element to capture the individual instead of the character.
Child's carriage box France 18th centuryWood, paint, iron, bronze, glass and fabric.Measurements: 163 x 136 x 78 cm .These carriages, the present surely made for children. They were made for the children of the aristocracy and diplomacy.Indistinctly each one has a page of the history of France through a dynastic or political event such as baptism, marriage, coronation or even funerals.In reality they are true peculiar and select travel thrones, in if these carriages are works of art in the ostentatious luxury adorned with profusion of gold and carvings dazzling meeting of all the decorative arts these valued techniques were made by the best artists and craftsmen, architects, carpenters, sculptors, painters, bronze workers, spinners, weavers, embroiderers and a long etcetera. It should be noted that although they are not considered in any case a travel vehicle but consist of small ceremonial saloons.Beyond their artistic quality these cars reveal the latest advances in French coachwork in terms of elegance and comfort and technique.In this particular case it is worth mentioning the possibility of being able to enjoy the coach as a piece of furniture/vitrine of elegant and classic design with interior light which can be displayed as a showcase for displaying jewelry or small works of art with glass shelves placed at different levels for a great distribution. All this will make it possible to enjoy all the splendor of the objects on display through the glass door.
ZACARIAS GONZÁLEZ VELÁZQUEZ (Madrid, 1763 - 1863) "Annunciation. Oil on canvas. Re-drawn. It has slight repainting. Preserves frame following Carlos IV style models. Size: 17 x 21 cm; 26.5 x 30.5 cm (frame). The scene is set in a private interior, as can be deduced by the presence of the furniture, the chair and the lectern that precedes the virgin, although this interior merges with a break of glory in the upper area of the canvas. The work shows a certain influence of baroque models, despite being a work made in a later period. The two large figures are placed in the foreground: the Archangel Gabriel, whose clothes are moved by the wind to suggest that he is flying, raises one of his hands towards the sky and points towards the dove of the Holy Spirit, which appears wrapped in light, next to the figure of God the Father. Mary, dressed in a pink tunic and a dark blue mantle, bows her head slightly with humility and clasps her hands against her chest, gestures that define her intention to accept the message that is being transmitted to her by the Tariff. Next to him, a low table with a book on which he rests his hands refers to the instruction that the Virgin would have received. It is worth mentioning that the archangel carries several white flowers, specifically a bouquet of lilies, allusive to the purity of the Virgin and which are one of the most common iconographic attributes in the representation of this scene. Son, brother, brother-in-law and father of painters, Zacarías González Velázquez developed a career closely linked to the Academia de Bellas Artes de San Fernando, of which he became general director in 1828. The influence of the artists of his family and that of the Academy would be, together with his courtly career, the two key factors in the development of his life and work. Zacarías joined the Academy of San Fernando in 1777, under the guidance of his father. That year he began his training, and the following year he was awarded first prize in the second class of painting. His studies, plagued with success, concluded in 1782, and since then the painter accepted a series of private commissions, including the series of paintings of the life of St. Francis, made in 1787 for the church of San Francisco el Grande in Madrid. The decade of the eighties was for Zacarías González Velázquez a period of intense work, which culminated with his appointment as an academician of San Fernando in 1790. Later he was appointed assistant professor, a position he held from 1793 to 1807. During these years of plenitude he achieved the position of Honorary Chamber Painter, in 1801, and the following year that of Numerary Chamber Painter. By then he had already made his most important works in fresco, among them those of the Chapel of San Isidro in Madrid (1789) and the Royal Oratory of the Caballero de Gracia in the same city (1792). In the early years of the 19th century he painted the frescoes of the Casa del Labrador del Escorial and the King's Room in the Palace of Aranjuez. He also carried out important religious commissions, as well as portraits of his family and himself, the royal family and some of the most distinguished gentlemen of the time. In 1807 he was appointed lieutenant director of painting at San Fernando, although his ascending career at the Academy was paralyzed by the French invasion and the War of Independence. During this period Zacarías González Velázquez will remain in Madrid, joining the Chamber Painters of José I, although after the return of Fernando VII he will have no problems to rejoin the service of that monarch. Thanks to the protection of the Infante Carlos María Isidro de Borbón, his career continued to rise.
JAN MOLENAER (Haarlem, ca. 1654-¿). "Kitchen interior with figures". Oil on panel. Attested by Luigi Caretto. Provenance: Gallery Helena Mola. Size: 40 x 39 cm; 54,5 x 54 cm (frame). In this work the influence that Jan Miense Molenaer (Haarlem, ca. 1610-1668), father of Jan Molenaer, had on his son is appreciated. In fact, the works of Jan Molenaer are so similar to those of his progenitor that, at times, they are even confused, especially since both painters signed with the same monogram J.M.R. Few facts are known about the life of Jan Molenaer, including the fact that he was a member of the Association of Artists of St. Luke in 1684. His artistic style, very close to that of his renowned father, included numerous paintings in which he depicted interior scenes of taverns with drinkers, smokers and card players, as well as domestic and family scenes. In his works one can appreciate the mastery with which he treats color, using a range of ochre and brown tones that give the scene a warm feeling. Undoubtedly, it was in the painting of the Dutch school where the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and material, the sensitivity to the seemingly insignificant, made the Dutch artist commune with the reality of everyday life, without seeking any ideal alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to evade tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect and masterful technique and a conceptual subtlety in the lyrical treatment of light. Because of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone, in accordance with the new society. Thus, portraits, landscapes and animals, still life and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals of almost all classes and social classes.
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