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Lot 740
Medical, A Phrenology Bust by Ambrose Lewis Vago,English, c.1880, in plaster, worn paper label reads 'Phrenology Each side of the head has the same organs. Approved by Fowler & Wells, New York', on the reverse impressed in the plaster 'Published 1872 A.L.Vago 114 Gray’s Inn Road London', the sentiments with paper labels, largely worn or missing, 22cm high
Lot 115
Italian school; 18th century."Virgin of the Annunciation".Oil on canvas. Re-drawn.Measurements: 62 x 54 cm.Devotional image in which the bust of the Virgin is represented, following the aesthetic models of Carlo Maratta (Camerano, 1625 - Rome, 1713). Mary holds her hands to her breast in a pious pose and turns her face slightly downwards. The Annunciation is an episode widely represented throughout the history of Christian art, given that it is one of the main dogmas of the Church, that of the Incarnation. It is also included in both the cycle of the life of Christ and the life of the Virgin, which gives it renewed meaning as a narrative episode. With regard to the theme alluding to the Virgin of the Annunciation, the iconographic tradition includes a more narrative scene in which the Archangel Gabriel appears to the Virgin to tell her that she is pregnant. Normally the Virgin is placed behind an altar or table, where a book or white lilies, iconographic attributes associated with the Virgin, are usually placed. However, over the centuries the elements began to be reduced, as can be seen in important works that depict the same iconography of the Annunciation, based exclusively on the representation of the Virgin. An example of this is The Madonna of the Annunciation in Messina.
Lot 134
Italian school of the 18th century."St Vincent of Paul".Oil on canvas. Without stretcher frame.It presents numerous losses. It needs to be restored.Measurements: 104 x 82 cm.In this work the painter offers us a portrait of descriptive character of a religious man, with white clerical clothes, holding a crucifix in his right hand, in which an elderly man is presented, magnificently captured in his psychology by the author. This is a long bust portrait, in which the figure is set against a neutral background of ochre tones, which monumentalises the figure and invites the viewer to focus all his attention on the subject.
Lot 16
Follower of MATEO CEREZO (Burgos, 1637-Madrid, 1666), 18th century."Penitent Magdalene".Oil on canvas.Re-drawn.It presents old restorations.Measurements: 84 x 63 cm; 96 x 75 cm (frame).Devotional painting representing Mary Magdalene penitent. It follows models by Mateo Cerezo, who made several versions of this theme. Specifically, the present one is based on Cerezo's "Penitent Magdalene" in the Rijksmuseum in Amsterdam. The figure, taken half-length, retains the sensuality of the original, with the blouse slipping below her shoulders but modestly covering her bust, which in Cerezo's version was semi-naked. The satiny fabric is folded in naturalistic draperies. The saint, her eyes misty with emotion, gesticulates in repentance before the open book of Scripture. The female canon here is ultimately drawn from Venetian sources, and her silky hair can be compared to that of Titian's women. In contrast to the eroticism that reminds us of her sinful life, the skull and crucifix express the ascetic ideal to which the figure prostrates herself. Intense contrasts of light, typically Baroque, construct the scene and give volume to the young woman's body.Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also tackled other genres. In this respect, the treatise writer and biographer Palomino stated that he produced "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The works of this artist from Valladolid have also been pointed out as Cerezo's descendants, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Thus, Cerezo developed compositions that open out into large, complex scenographies, conceived with a distinguished refinement that is evident both in the work as a whole and in the smallest details. Like the Antwerp master, he endowed his figures with a rich magnificence in their costumes, applying a fluid, light brushstroke, contrasted by a rich play of light. A superb example of all this is the Prado's The Mystical Betrothal of Saint Catherine, signed and dated 1660.
Lot 104
OTTO PETRI (Berlin 1860 - 1942), for Friederich Goldscheider."Young lady".Bust, Art Nouveau, Austria, 1904 .Patinated terracotta. Terracotta bust designed by Otto Petri for Goldscheider, of a young woman of fine beauty, with elegant features that denote a certain classical idealisation, although her restrained and emotive expressiveness is typical of the fin-de-siècle period. She has long hair, which she covers with a cape. It has a bronze patina, except for the face, which is of a whitish hue. On wooden corduroy lined with ochre-coloured cloth.Signed Petri, dated 904, with stamps and numbering on the reverse.Provenance: Spanish private collection, formed between 1970 and 2010.Good condition Normal wear and tear due to use and the passage of time.Measurements: 39 x 33 x 15 cm (bust); 2 x 36 x 18 cm (base).In 1885, the sculptor Friedrich Goldscheider left his native Pilsen and settled in Vienna, where he founded his own manufacture of terracotta pieces. He soon became one of the most influential artists in the fields of ceramics and bronze, with shops in Austria, Paris, Leipzig, Berlin and Florence. For more than half a century the Goldscheider firm, considered the finest modernist terracotta factory, created masterpieces of historicism, Art Nouveau and Art Deco. The founder was able to attract both acclaimed artists and young innovators to his factory, so that great ceramists of the time, such as W. Bosse, B. Geiger, J. Lorenzl, I. Meisinger and M. Powolny, among others, worked there. After Goldscheider's death, the factory was taken over by his widow Regina, who continued to produce her husband's models, together with new ones created by the artists who worked for the firm, such as D. Chiparus during the Art Deco period. Until its closure with the rise of National Socialism, the factory produced more than four thousand different models, both by Goldscheider himself and by other authors. From the very beginning, the factory won numerous awards, first prizes and gold medals at countless world fairs, exhibitions and trade fairs. Today its pieces are in great demand by collectors all over the world. They can now be admired in museums around the world, such as the Fine Arts Museum in San Francisco, the Metropolitan Museum in New York and the Minneapolis Institute of Arts. In 2007, Goldscheider's works were shown at the Vienna Museum and the following year at the LBI in New York.
Lot 42
Bust of a Roman emperor, 19th century.Alabaster sculpture on a veined marble base.It shows some old restoration, wear, scratches and slight cracks in the alabaster.Measurements: 47 x 24 x 13 cm.Bust of a Roman emperor dated in the 19th century. It is inspired by the classical sculptures made in the Renaissance and Baroque periods, especially in Italy. These were based on those of the Roman Emperors, found in the Italian capital itself, in which different marbles were combined. Stylistically, the idealisation of the emperor stands out, a detail also inspired by these ancient examples, with a somewhat pictorialist treatment of the hair, which was also common on occasions.
Lot 152
Bust of a young man. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 9,6 cm. height with pedestal.Bust of a young man in terracotta. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.
Lot 45
AN AGATE CAMEO BROOCH, oval, carved in high relief, depicting a Classical female bust in profile, within a gold frame with engraved detailing, mounted in 18K gold, French import mark, length 4.8cm* This lot is sold without a reserveCondition Report: Cameo: normal wear, overall in good conditionFrame: some wear in the form of dents visible on the reverse and sidesOwl marks for 18k gold imported in FranceNormal signs of wear, overall in good conditionTotal gross weight approx. 25.40g
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110054 item(s)/page