Circle of VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850). "Archangel St. Michael. Oil on canvas. Re-drawn. Size: 102 x 59 cm; 111 x 71 cm (frame). In the catalog raisonné of the author, by J. L. Díez, "Vicente López (1772-1850). Vida y obra. Catalog raisonné" (Madrid: Fundación de Apoyo a la Historia del Arte Hispánico, 1999), two sketches very similar to our composition are reproduced, one in oil (P-262) and the other in gouache (D-251), both dated around 1806-1808 and of reduced dimensions, considerably smaller than those of the canvas we present here. Diez cites them as preparatory sketches for the painting of the Duchess of Hernani (P-261). The oil sketch would only differ from the final painting by the addition of a castle to the one carried by the angels on the right of the painting. However, in our canvas the angels are holding two castles, thus being closer to the sketch than the copy of the Duchess of Hernani. In the preparatory drawing, Díez points out, precisely this area is modified by the artist with an added paper, on which the tower is drawn, without its underlying design being visible. In this work, Vicente López presents us with a composition in the form of an apotheosis, starring the figure of the archangel Saint Michael, who appears full-length, holding a radiant crown and a sword. The saint appears standing on a pedestal of clouds, accompanied by child angels and young men, on a break of Glory of great beauty, worked in nuanced golden tones that have their echo in the soft colors of his tunic and mantle, and that pull flashes of gold from his wings. Behind the archangel's head we see a triangle, symbol of God, with the name of Yahweh in Hebrew written at the top, just above the head of St. Michael. On the right side we see two child angels carrying towers, one crowned with the host and the other with a luminous nimbus, and at their feet a young angel with the palm of martyrdom. Finally, in the lower part of the composition, three child angels appear holding a painting where the profile of a city can be seen. Vicente López began his training as a disciple of Antonio de Villanueva at the Academy of San Carlos in Valencia, where he obtained in 1786 and 1789 the first class prize, obtaining a pension to study in Madrid. Already in the court, the following year he reached the first place in the competition of the Academy of San Fernando. There he learned the baroque and colorful sense of compositions, and the taste for drawing, precise and analytical. The baroque lavishness of the frescoes of Luca Giordano and Corrado Giaquinto also had a decisive influence on his language. Already consecrated, he returned to his native city in 1792. There he received important public and private commissions, including portraits of Ferdinand VII and Marshal Soult. In his portraits López shows his Valencian heritage, the weight of Ribera and Ribalta's naturalism, as well as his mastery in the reproduction of details and qualities. His quality in the field of the portrait makes Fernando VII call him back to the court in 1814, appointing him the following year as first chamber painter. From then on he was the most sought-after painter by the Spanish high society, and he alternated his work at the court with teaching, official posts and private commissions. In 1823 he became the artistic director of the Royal Museum of Paintings, for which he painted a superb portrait of Francisco de Goya, now in the Prado. Works by Vicente López are kept in the Prado Museum, the Fine Arts Museum of Valencia San Pío V, the Academy of San Fernando, the Municipal Museum of Játiva, the National Museum of Art of Catalonia, the New York Historical Society, the Indianapolis Museum of Art, the J. Paul Getty Museum in Los Angeles, the National Gallery of Modern and Contemporary Art in Rome and the Lázaro Galdiano Foundation in Madrid.
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French School, late XVIII century XIX "Portrait Duchess of Montpelier", 1824. Oil on canvas. Size: 84 x 64 cm; 110 x 90 cm (frame). We are in front of a piece in which Gregorius copies the painter Pierre Mingard, portraitist of Louis XIV. It is a portrait of the Duchess of Montpensier. As we have mentioned, it is a copy of 1824 by Gregorius, a copyist of the time. The interesting thing about this piece is the provenance since, as we can see in the anagram on the back, this piece belonged to the collection of the Infante Sebastián Gabriel de Borbón, one of the most important collections of the XIX century in Spain.
ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN.Set of eight Oxford chairs, design 1965. Late 1960s edition.Chromed metal frame and brown upholstery.Reupholstered.With Fritz Hansen label.This set is currently worth approximately 30.000€ in store.Measurements: 127 x 47 x 52 cm.Set of eight Oxford swivel chairs. With metal frame and body entirely upholstered in brown leather, with high back. It is a minimalist design, with a structure reduced to its essence, functional and at the same time elegant for its harmonious combination of straight lines and soft curves. The original design of the Oxford chair was created by Jacobsen for the professors at St. Catherine's College, Oxford, in 1965.An architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction, then entered the Faculty of Architecture at the Royal Academy of Fine Arts. Among his most outstanding architectural works are St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the Danish National Army in the same city, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, including the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also called "Chair number 7", of which more than five million copies were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the movie "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and today we can find them in collections such as those of the Victoria & Albert Museum in London or the MoMA in New York, among many others.
Roman head, I-III centuries AD.Marble.Measurements: 7 x 5 x 7 cm.The Romans brought two important innovations to the world of sculpture: the portrait and the historical relief, neither of which existed in the Greek world. However, they followed the Greek models for a large part of their sculptural production, a base that in Rome was combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the sacking and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applauding of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the point that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals.
Head, Rome, II-III centuries A.D.Marble.Measurements: 11,5 x 7,5 x 9 cm.Roman head in marble representing a man, looking towards his forehead with a serious and authoritative countenance. The work of the face stands out specially, of an idealized and precise naturalism, typical of the Roman sculpture. It is also worth noting the importance of the work of the hair, carved strand by strand to reflect its volume and movement. The portrait was one of the most original and characteristic manifestations of Roman art. The origin of the Roman portrait appears to be linked more to a concept than to a plastic expression, and reflects like no other artistic genre the vital philosophy of that people. In its formation it is possible to detect three roots: the Etruscan-Italic, the Greek and the autochthonous current of the "maiorum imagines" or funerary masks. The combination of all of them will result in an unmistakable and genuine work that, despite the logical differences gradually imbued by the provincial workshops, will evolve in parallel in all the territories of the Roman Empire. It is a work dated between the 2nd century AD and the 3rd century AD. The second century was a period in which Roman sculpture advanced towards a growing baroque style that would culminate in the following century. The hair, for example, is worked longer and separated from the head, with curls or very bulky locks, expressing a greater dynamism than in previous periods.The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed Greek models for much of their sculptural production, a base that in Rome would be combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the sacking and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applauding of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the point that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals.
Etruscan votive head; 6th-5th century BC.Terracotta.Measurements: 21 x 15 x 11 cm.Feminine head of votive character that shows some idealized feminine features, although with a certain naturalism already, with short hair and open eyes, fixed to the front, maintaining a frontality habitual in some Etruscan works of art and some details that slightly remember Greek works. It is an example of the sculptural art of the Etruscan culture, which already in Antiquity was surrounded by an aura of mystery; even their Greek contemporaries were intrigued by the sudden emergence of this people as a maritime and commercial power, by this ancient people who, according to Dionysius of Halicarnassus, "resembles no other in their language and customs". While there are those who consider them as the people that gave rise to the Roman Empire, there are other experts who give more relevance to the differences that exist between the two peoples and consider them mere neighbors or "conqueror and conquered", depending on the time in which one speaks, recognizing a strong influence of some elements of Etruscan culture and art observed on the Romans. In any case, the Etruscans were great artists and craftsmen, known for what has come down to us from them: profusely decorated and very striking tombs, resembling homes in some cases; terracotta sculptures that, apparently, they polychromed with flat and bright tones (similar to ancient Egyptian works), and used to decorate temples, as sculptures etc.; goldsmithing, pottery, etc..Etruscan art received from its beginnings an important influence from Greek art, due to the cultural connection existing between both peoples throughout the history of Etruscan culture. This influence was combined with that of Eastern origin and, from the 1st century B.C. onwards, with Roman influence. However, it will be the Asian and Greek tendencies that will determine the development of Etruscan art to the greatest extent. On this basis, an art of its own was shaped, marked by a taste for stylization and lively colors. One of its main sculptural manifestations will be the portrait, which will have mainly a funerary purpose, since in Etruscan culture funeral rites and iconography will play a key role. However, there are also some examples of commemorative portraiture, such as the bronze head of Lucius Junius Brutus (ca. 300 BC), the legendary first consul of the Roman Republic. The Etruscan portrait is not a simple copy of the Greek one, but an original creation combining serenity and passion, a direct ancestor of the Roman portrait.
Fragment of foot belonging to an Etruscan sculpture, 5th century BC.Terracotta.Measurements: 11 x 24 x 12 cm.The Etruscan art received from its beginnings an important influence of the Greek, due to the cultural connection existing between both peoples throughout the history of the Etruscan culture. This influence was combined with that of Eastern origin and, from the first century B.C., with Roman influence. However, it will be the Asian and Greek tendencies that will determine the development of Etruscan art to the greatest extent. On this basis, an art of its own was shaped, marked by a taste for stylization and lively colors. One of its main sculptural manifestations will be the portrait, which will have mainly a funerary purpose, since in Etruscan culture funeral rites and iconography will play a key role. However, there are also some examples of commemorative portraiture, such as the bronze head of Lucius Junius Brutus (ca. 300 BC), the legendary first consul of the Roman Republic. The Etruscan portrait is not a simple copy of the Greek one, but an original creation combining serenity and passion, a direct ancestor of the Roman portrait.
Three early 18th century rat tail silver spoons, marks rubbed, a pair of rat tail spoons, unmarked, a small pill box with embossed portrait of Queen Anne, various items of small silver to include, three decanter labels, thimble, silver bladed folding fruit knife, silver handled letter opener, butter knife, white metal brooch, mother of pearl pill box and plated fork
J W Benson half hunter pocket watch, with an engine turned gold dial, and enamelling detail to the outer case over the Roman numerals, with an enamel portrait of a women on the inside of the case, the inside inscription reads "special warrants to HM the Queen and HM the Prince of Wales" and signed 'JW Benson 62&64 Ludgate Hill London", in 18 ct yellow gold and in a fitted boxCondition Report: Ewbank's do not guarantee the working order or accuracy of any lots soldGross weight 100 grams Pocket watch does not windThe enamel is wornMetal is covered in scratchesBox is very worn and discoloured
JULIO ROMERO DE TORRES (Córdoba, 1874 - 1930)"Female portrait", 1900-1905.Pencil and charcoal on paper.Signed in the upper right corner.Measurements: 28 x 27 cm. 40.5 x 40.5 cm. (frame)The work corresponds to the portrait of a female figure from the short story "El Pecado de Claudina", published after winning the second prize in the literary contest of El Libro Popular. "El Pecado de Claudina" was written by José Reygadas and illustrated by Julio Romero de Torres, who made four drawings in addition to the one on the cover. The work was published on June 10, 1913, which allows us to date the creation of the work we present.Julio Romero de Torres was born in an intellectual and artistic environment, which decidedly favored his vocation. His father, Rafael Romero de Barros, was also a painter and curator of the Museum of Fine Arts in Cordoba. Julio Romero began his training in 1884, combining classes at the Conservatory of Music with his father's drawing and painting classes. In 1890 we find his first known work, "La huerta de Morales", and in 1895 he entered for the first time in the National Exhibition of Fine Arts, with "Mira qué bonita era", a work that earned him an honorable mention and was acquired by the State. In 1897 he opted for the Rome prize, although he did not win the scholarship, and in 1902 he began his teaching career at the School of Fine Arts in Cordoba. The following year he moved to Madrid to learn first hand about the mural painting of the symbolists, after receiving his first major commission, a series of murals dedicated to the arts for the Círculo de la Amista de Córdoba. In this project his work still shows the influence of Puvis de Chavannes. Julio Romero then remained in Madrid, in contact with the circle of Valle-Inclán and Machado, frequenting the gatherings of the Café de Levante while maturing his own style. In 1906 he sent "Vividoras del amor" to the Nacional, a work that was rejected because of its scandalous theme. In Madrid he will become known through exhibitions such as the one at the Círculo de Bellas Artes in 1907, and he matures the idea of a trip to Europe that will mark a definitive change in his language, a clear desire for change. He continues to participate in the National Exhibitions, and in 1908 his work "The Gypsy Muse" is acquired by the State and earns him a first medal. This triumph will make that his paintings are sent to exhibitions held abroad, in Buenos Aires and Santiago de Chile. The definitive recognition came in 1910, when he was awarded the Order of Alfonso X the Wise and was appointed inspector of the delegation and royal commissariat at the Art Exhibition in Rome. The following year he was awarded the gold medal at the National Fine Arts of Barcelona, and shortly after he was appointed full member of the Academy of Sciences, Fine and Noble Arts of Cordoba. Julio Romero, however, continued to live in Madrid, frequenting the Café Pombo gathering since 1913. Two years later a special room was dedicated to him at the National Exhibition, and in 1916 he was appointed professor at the Academy of San Fernando. During these years of success and recognition, his studio, in Madrid's Pelayo Street, became the center of gatherings and meetings. However, in 1928 he was forced to return to Cordoba for health reasons, although this did not prevent him from continuing to paint in his studio in the Plaza del Potro. In fact, in 1930, the same year of his death, he participated in the Ibero-American Exposition of Seville with a total of twenty-eight paintings. Although, like many of his contemporaries, Julio Romero began his career cultivating a regionalist work that would evolve along the lines of symbolism, the master would reach the maturity of his personal style around 1912, with a language that combines the Andalusian popular feeling and authentic folklore with the Renaissance tradition of Italian art.
DICKENS (Charles) Life and Adventures of Nicholas Nickleby, 8vo, portrait frontis, 39 plates (foxed), ripple calf (spine worn / loose), 1st Edn. from the parts, L., 1839; David Copperfield, 8vo, frontis, add. engr. pict. t.p., 38 plates, half Morocco (rubbed, spine top ripped), 1st Edn. from the parts, L., 1850; Life and Adventures of Martin Chuzzlewit, frontis. add. engr. pict. t.p., 38 plates errata leaf, binding broken, L. 1844; Our Mutual Friend, 2 vols. in 1, 40 plates (incl. frontispieces), binding broken L., 1865 (4).
![[PRINT] reverse glass print portrait of George, Lord Anson, of the Admiralty, 14 x 10 inches [I], f. & g., L., Bowles, n.](https://cdn.globalauctionplatform.com/aebae82b-8b20-42d9-9b80-adfe00be378d/e9fcbfc2-ec6e-413f-982a-adfe00c9cfdc/468x382.jpg)
![[ORNITHOLOGY] SEEBOHM (H.) & BOWDLER SHARPE (R), Coloured Figures of the Eggs of British Birds, lge. 8vo, portrait fronti](https://cdn.globalauctionplatform.com/aebae82b-8b20-42d9-9b80-adfe00be378d/096a04a2-ce2f-40f5-b89a-adfe00c87934/468x382.jpg)
Collection of Mixed Records, Includes The Carpenters, Abba, Top of The Pops, Midnight Cowboy, The Three Degrees, Julio Iglesias, Selection of Classical Music, James Last, The Nolan Sisters, Des O'Connor, Johnny Mathis, Various Columbia Records, Decca etc, Portrait of Sinatra etc. Good Mixed Lot.
Austrian 19th Century Excellent Quality 18ct White Gold - Hand Painted Oval Shaped Large Brooch, Set with Rose Cut Diamond to Border, The Central Portrait Miniature of a Young Couple In Mid 19th Century Dress, The Back of Brooch with Austrian Gold Marks, Also Tests High Ct Gold. Weight 25.7 grams.
° Rabelais, Francois - Oeuvres……New Edition, 6 vols, mottled calf, 12mo, with portrait, 3 folded plates and a folding map, staining to early fly-leaves and half title to vol. 2, small loss to upper left front board of same, 3cms. loss to lower spine to vol. 1, [Pierre-Charles Jamet and Thomas Gueulette] Paris, 1732
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