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Flemish school, pps. 17th century."The Birth of the Virgin.Oil on canvas.Re-drawn. Missing paint.Measurements: 110,5 x 170,5 cm; 140 x 193 cm (frame).The birth of Mary is traditionally represented as a genre scene set in an interior of that time. The Flemish school excelled precisely in its genre paintings, but here the spatial composition is complex, combining everyday and supernatural aspects in different skilfully resolved planes. Saint Anne is depicted in the background, in bed, resting after childbirth, attended by a midwife. In the foreground, several servant girls surround Mary's small body, and the gestural grammar of the maidens is indicative of the miraculous significance of the event. Between the two registers, a break of glory breaks through the left-hand side, and a prophetic figure appears out of the mist. On the right, the hearth opens onto an idealised garden, with fountains and marble effigies among the foliage.While in the 17th century the demand for religious art for churches ceased radically in the northern provinces of what is now Holland, in Flanders a monumental art in the service of the Catholic Church flourished, partly because of the need to restore the damage to churches and convents caused by the wars. As a result, the religious art of the Baroque period in the Flemish school was characterised by its triumphal character, its markedly scenographic compositions (largely derived from Rubens), its dynamism and its enormous expressive power. Alongside these triumphal images there were large series on the life of Christ, the Virgin and the saints, as well as other themes, principally religious allegories. This type of series would show a more restrained language, equally narrative but closer to the bourgeois aesthetic, following the naturalistic taste of Baroque painting.

Dutch school; 17th century."The Temptations of Saint Anthony Abbot".Oil on canvas. Re-retouched.It presents repainting and restorations.Measurements: 61 x 77 cm; 75 x 90 cm (frame).Devotional work in which the artist presents a classic composition, easy to read, but of great interest. In the first place, he clearly divides the space in two; the right zone in which a wide landscape is presented, in which we can see a great depth that is dominated, in its end, by an architectural construction that is located on the rocks, and in the left side a cave where we see a procession that swirls around the figure of Saint Anthony. According to legend, Saint Anthony was born around 251 in Egypt, and at a very young age he retired to the solitude of the desert. He was especially venerated in Catalonia, where adventures and miracles were attributed to him, which served as a theme for Jaume Huguet (1412-1492) for his great altarpiece of Saint Anthony in Barcelona. This saint is usually depicted as we see here, as a bearded old man wearing a hooded sackcloth, a common garment of the Antonites. He is usually depicted reading the Holy Scriptures, and the episode of his temptations in the desert is, together with his visit to Paul the hermit, the most frequently depicted. The iconography of the Temptations of Saint Anthony was first depicted in Italy in the 10th century, and in medieval Europe it was frequently depicted in painting, in illuminated books, and later in German engravings. It is a subject of particular interest because it reflects the struggle between Good and Evil, between Christ and Satan. The present work depicts the saintly hermit in the desert, meditating on the Scriptures and the fleeting nature of earthly pleasures, as the accompanying book attests, although the usual skull, cross and hourglass do not appear.The work can be aesthetically related to the painting of Daniel Van Heil (Brussels, ca. 1604-1662)While in the 17th century the demand for religious art for churches radically ceased in the northern provinces of what is now Holland, monumental art in the service of the Catholic Church flourished in Flanders, partly due to the necessary restoration of the ravages that the wars had caused in churches and convents. In the field of secular art, Flemish painters worked for the court in Brussels and also for the other courts of Europe, producing paintings with classical, mythological and historical themes that were to decorate brilliantly the Royal Sites of Spain, France and England. In Holland, on the other hand, the artist's work was mainly for the bourgeoisie, who demanded small to medium-sized works and subjects that illustrated the life and nature of the region. While Flemish painters worked on commissions from patrons, Dutch painters painted in order to sell what they produced to the bourgeoisie. The demand for history or allegorical painting for the decoration of palatial residences almost completely disappeared; little monumental painting was produced in Holland in the 17th century, and much of it was done by Flemish artists.Although Brussels was the political centre of Flanders, Antwerp was the city where the most important artistic activity had been centred since the 16th century. Antwerp had enjoyed a prominent position in Europe during that century, as its port had been the busiest in the Low Countries, and the Netherlands had prospered as a maritime power. The permanent blockade of the Scheldt River by the northern provinces in 1585 was to ruin trade in Antwerp, and it was Amsterdam that inherited the prosperity lost by the Flemish port. Despite this circumstance, Am

Follower of PAUL DE VOS (Antwerp, 1591/95 - 1678); 17th century."The Fox Hunt.Oil on canvas. Re-coloured.It has repainting and restorations.It has xylophagous damage on the stretcher.Measurements: 99,5 x 158,5 cm.During the 17th century in Flanders there was an increasing demand for paintings to decorate the houses of the bourgeoisie. Apart from portraits and large canvases with religious, historical or mythological themes, artists specialised, painting medium-sized works which gradually increased in format, with still lifes, animals, landscapes and genre scenes. Paintings reproducing collectors' cabinets of the period are explicit in this respect, to the point of giving rise to a new, independent genre of painting. Undoubtedly, the future of this type of painting would have been different without Rubens, whose art revolutionised the Flemish art scene by introducing a new, fully Baroque approach and bringing a sense of unity and opulent sumptuousness to the ordered and encyclopaedic collection of his countrymen's precious depictions. The specialists, either indebted to his manner or subordinate to his work, worked along new lines, adding an accessory object, a landscape or a decorative background to their compositions. Within 17th-century Flemish still-life painting, two trends can be distinguished, the static, represented by Clara Peeters and Osias Beert, and the dynamic, with Frans Snyders and Paul de Vos.This work belongs to the second of these schools, which is characterised by following the Rubensian Baroque in a purely dynamic sense. Dynamic still lifes are characterised by compositions full of pronounced diagonals, as we see here, and by the frequent presence of live animals interacting with the objects in the still life, captured in full movement. As we see here, the compositions form zigzags that provide movement, while the objects (here, animals) accumulate, reflecting opulence, without any clarity. These painters often sought to reflect the violence of the animal, which is particularly clear here. Specifically, within this type of animal painting derived from the dynamic still life, the present work is particularly close to the painting of Paul de Vos, a painter trained with Snyders and therefore very close to him in his early works, although throughout his career he incorporated innovative features into his work, with various variations on hunting scenes, the genre in which he specialised. Vos was more velvety in his textures than Snyders and was characterised by a greater development of the landscape, particularly in his hunting scenes. In addition, he used a personal chromaticism based on warm tones, ranging from ochres to earthy tones, but lighter and paler than Snyders. His technique is also looser, blurring the contours and rich textures of Snyders in favour of a more atmospheric and diffuse overall appearance. Vos's work is also more dramatic and tense, as he always preferred scenes of great violence, often depicting animal struggles in a bloody and ferocious manner. His images are therefore highly pathetic, particularly evident in his hunting scenes, which are endowed with a dramatic quality that is also reflected in his illustrations of fables featuring animals. He also took a different approach to the anatomy of animals, depicting them in a less naturalistic manner, with more elongated bodies.

Circle of MARCELLO VENUSTI (Como 1512 - 1515 - Rome)."Christ crucified".Oil on copper.It presents restorations.Measurements: 21,5 x 15,5 cm; 28 x 21,5 cm (frame).It is a painting belonging to the circle of Marcello Venusti, which can be deduced from the aesthetics with which the work has been conceived, which starts from a realistic pictorial language, very influenced by the art of sculpture, with a great symbolic sense that allows us two readings, the symbolic and the realistic one. There is an importance for detail, with a meticulous description of the objects, nothing escapes the painter's eye, and in this case, despite the sobriety of the scene, the treatment of the cross and the skull lying at its feet are delicately detailed, and refinement is also abandoned, and real beings appear without idealistic intentions.The crucifixion of Jesus has been depicted in religious art since the 4th century. It is one of the most recurrent themes in Christian art and the one with the most evident iconography. Although Christ is sometimes depicted clothed, his body is usually depicted naked, although with his genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of depicting the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" - not to be confused with the Maiestas Domini or the Pantocrator), Christus patiens ("resigned" - not to be confused with the Christ of patience) and Christus dolens ("suffering" - not to be confused with the Vir dolorum). The triumphans is represented alive, with his eyes open and his body erect; the patiens is represented dead, with his will totally emptied (kenosis), his head bowed, his face with a serene expression, his eyes closed and his body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in his mouth (curved). The present work, which belongs to the Andalusian school of the 18th century, shows an image full of pathos. A balanced and perfectly studied anatomy denotes the artistic ability of the sculptor, who reflects like no one else the suffering that Christ endured in the last seconds of his life.

Spanish school; second half of the 17th century."Holy Family with Saint Joachim and Saint Anne".Oil on canvas.It presents restorations.It conserves frame of the XVIIIth century, in coloured wood with faults.Measurements: 110 x 150 cm; 143 x 181,5 cm (frame).In the most common sense of the expression, the Holy Family includes the closest relatives of the Child Jesus, that is to say, mother and grandmother or mother and nourishing father. In both cases, whether it is Saint Anne or Saint Joseph who appears, it is a group of three figures. Other figures may be added to this main group, as here St. John the Child, a relative of Jesus. From an artistic point of view, the arrangement of this terrestrial Trinity poses the same problems and suggests the same solutions as the heavenly Trinity. However, the difficulties are fewer. It is no longer a question of a single God in three persons, whose essential unity must be expressed at the same time as his diversity. The three personages are united by a blood link, certainly, but they do not constitute an indivisible block. Moreover, all three are represented in human form, while the dove of the Holy Spirit introduces a zoomorphic element into the divine Trinity that is difficult to amalgamate with two anthropomorphic figures. Some authors such as Leonardo da Vinci had already introduced a more naturalistic approach to the scene, but it was in the Baroque period that these schemes were definitively superseded in favour of a realistic, human, close-up representation. Both the composition and the theme, which seeks to emphasise the importance of Jesus and Mary by placing them in such a clear relationship with the Trinity, was common, although not very common, in Spanish Baroque art, following the Counter-Reformation line of defending Catholicism and the artistic dispositions and norms arising from the Council of Trent.Spanish Baroque painting is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who encouraged its development, with the works sometimes being financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture during this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying throughout the century in the depiction of expressive values.

JUAN SÁNCHEZ COTAN (Orgaz, Toledo, 1560 - Granada, 1627)."Immaculate Conception.Oil on canvas. Relined.It has slight repainting.Exhibitions: "The Baroque in painting". CajaSur, Cordoba, December 2004 - January 2005.Bibliography: Pareja López, Enrique: "El Barroco en la pintura". Exhibition catalogue. Publications Obra Social y Cultural Cajasur, 2004. pp. 176-177.Sizes: 145.5 x 104 cm; 169 x 128 cm (frame).This oil on canvas represents the Virgin as a young woman with long golden hair in a prayerful attitude, a common iconographic model in this Counter-Reformation period. All the elements surrounding the Virgin correspond to the titles of honour glossed in the litanies. The colours used by the painter also correspond to a pre-established symbolism: the tunic is in hyacinth, the colour of purity, and the mantle is an intense sky blue, the colour of eternity.It should be related to the Inmaculada painted by Sánchez Cotán around 1617-1618 for the Cartuja de la Asunción in Granada, published in Orozco Díaz, E.: Las Vírgenes de Sanchez Cotán. Granada, 1954, pp. 54-58, nº 12 and Orozco Díaz, E.: El Museo de Bellas Artes de Granada. Guides to the Museums of Spain. Num. XXVI, Madrid, 1966, p. 42. This one of the Cartuja is the clear model of the Inmaculada which we present here; Orozco says of it... He repeated it many times, either as a literal copy, or with slight variations, in large and small. It must have pleased the city and left its mark... so it is not surprising to find Immaculate Conception inspired by the one in the Charterhouse like the one we present here.As for its style, we can appreciate some archaic features for its time, such as the hieratic and frontal nature of the figure. However, the quality of Cotán's painting in the small details such as the gemstones on the cloak, the vegetal embroidery on the tunic and the flowers, all link the work to the proto-baroque naturalism which the painter so masterfully captured in his still lifes.Juan Sánchez Cotán worked in Toledo, where he had an important clientele, until 1603, when he entered the Carthusian monastery as a lay brother and settled in Granada. The bulk of his oeuvre from that time onwards consisted of paintings of religious subjects, particularly the very numerous ones he produced for the charterhouse in Granada, although he also produced portraits and landscapes. However, he is best known for his still lifes, especially since the exhibition "Floreros y bodegones en la pintura española" ("Vases and Still Lifes in Spanish Painting") was held in Madrid in 1935, which was a key event in the critical reappraisal of the Spanish still life and made Sánchez Cotán one of its cornerstones. Sánchez Cotán enjoyed a comfortable life in Toledo, commissioning religious paintings for churches as well as other minor works, such as painting the arms of the archbishop of Toledo on a cobbler's armoury. However, the documentation does not mention any disciples or assistants. It was also around this time that he produced the aforementioned copies of Venetian works, as well as some landscapes. His works from this period reveal a fully developed, refined and gentle style derived from the painters of the El Escorial school, which remained virtually unchanged throughout his career. Works by Sánchez Cotán are now in the Museo del Prado, the Museo de Bellas Artes in Granada, the Museo de San Diego in California, the Art Institute of Chicago, the Barbara Piasecka Johnson Collection in Princeton (USA), the Bowes Museum in Durham, UK, and other collections.

Follower of FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664)."Saint John the Baptist accompanied by an angel".Oil on canvas.Measurements: 116 x 72 cm; 134 x 90 cm (frame).Picture of sober character in which the author shows the presence of only two figures. In the foreground a kneeling angel carries his hand to his chest in a pious attitude. This pose is reminiscent of the Archangel Gamaliel, painted by Zurbarán and now in the collection of the Museo Nacional de Colombia. Behind the angel, in profile, the figure of Saint John the Baptist can be seen, with his usual red tunic, lambskin and phylactery. The Gospels say that John the Baptist was the son of the priest Zechariah and Elizabeth, cousin of the Virgin Mary. He retired at a very young age to the desert of Judea to lead an ascetic life and preach penance, and recognised in Jesus, who was baptised by him, the Messiah announced by the prophets. A year after Christ's baptism, in the year 29, John was arrested and imprisoned by the tetrarch of Galilee Herod Antipas, whose marriage to Herodias, his niece and sister-in-law, he had dared to censure. Finally St. John was beheaded, and his head given to Salome as a reward for his beautiful dances. This saint appears in Christian art in two different guises: as a child, a playmate of Jesus, and as an adult, an ascetic preacher. The adult Saint John depicted here is dressed in Eastern art in a camel-skin sackcloth, which in the West was replaced by a sheepskin, leaving his arms, legs and part of his torso bare. The red cloak he wears at times, as well as in the scene of his intercession at the Last Judgement, alludes to his martyrdom. In Byzantine art he is depicted as a large-winged angel, with his severed head on a tray held in his hands. However, his attributes in Western art are very different. The most frequent is a lamb, which alludes to Jesus Christ, and he often carries a cross of reeds with a phylactery with the inscription "Ecce Agnus Dei".The technical characteristics of the work are influenced by the style of Francisco de Zurbarán's workshop. He trained in Seville, where he was a pupil of Pedro Díaz de Villanueva between 1614 and 1617. During this period he had the opportunity to meet Pacheco and Herrera and to establish contacts with his contemporaries Velázquez and Cano, apprentices like himself in Seville at the time. After several years of diverse apprenticeship, Zurbarán returned to Badajoz without undergoing the Sevillian guild examination. He settled in Llerena between 1617 and 1628, where he received commissions both from the municipality and from various convents and churches in Extremadura. In 1629, at the unusual suggestion of the Municipal Council, Zurbarán settled permanently in Seville, marking the beginning of the most prestigious decade of his career. He received commissions from all the religious orders present in Andalusia and Extremadura, and was finally invited to the court in 1634, perhaps at Velázquez's suggestion, to take part in the decoration of the great hall of the Buen Retiro. On returning to Seville, Zurbarán continued to work for the court and for various monastic orders. In 1658, probably prompted by the difficulties of the Sevillian market, he moved to Madrid. Francisco de Zurbarán is represented in the most important art galleries around the world, such as the Prado Museum, the Metropolitan Museum in New York, the Louvre, the Hermitage in St Petersburg and the National Gallery in London, among many others.

LALIQUE. France ca. 1970.Perfume bottle.Moulded and satin-finished glass.Signed on the reverse of the base Lalique ® France.Provenance: Spanish private collection, formed between 1970 and 1995.Chipped on the base.Measurements: 17 x 9 x 5 cm .Femme" perfume bottle, designed by Marc Lalique in satin moulded glass, with floral decoration on the sides.Originally, the firm Lalique was founded by René Jules Lalique (1860 - 1945), one of the most outstanding glassmakers of the time, and one of the first to sculpt glass for great monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860- Paris, 1945).Bottle for Worth "Imprudence", ca. 1940.Moulded glass.Signed on the reverse of the base "R. Lalique France" .Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, section perfume bottles Page 954 , Wort-24, with photo.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 6,5 cm (height) ; 4,5 cm (diameter) .Worth "Imprudence" perfume bottle, René Lalique design, 1938, in circular moulded glass. It retains part of the original perfume.The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the foremost glassmakers of the time, and one of the first to sculpt glass for great monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory for mass production, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860 - Paris, 1945).Atomiser-Perfumer, "Marcas et Bardel-7". ca. 1935.Moulded glass.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, section vaporisateurs, Pag. 962 , "Marcas et Bardel-7", with photo.Signed on the reverse of the base R. Lalique France.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 7.5 x 7 x 7 x 7 cm (glass); 14 x 11 x 7 x 7 cm (total). Perfume atomiser designed by Renè Lalique in 1931, in purple moulded glass, acid-etched with daisy decoration.The Lalique firm was originally founded by René Jules Lalique (1860 - 1945), one of the most prominent glassmakers of the time, and one of the first to sculpt glass for great monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÈ LALIQUE. France, ca. 1950.Clairefontaine" perfume box.Moulded glass.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, section perfume bottles, p. 338, no. 526, with photo.Signed in burin on the reverse of the Lalique base and with label.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 12 x 9,5 x 5,5 cm .Clairefontaine" perfume box designed by Renè Lalique in 1931, in translucent moulded glass. Satin-finish glass stopper decorated with 4 sprigs of lily of the valley. This model is a reference to the Clairefontaine garden, located in the south-west of Paris (France), which was one of René Lalique's main sources of inspiration.The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the foremost glassmakers of the time, and one of the first to sculpt glass for large monumental works such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860- Paris, 1945).Perfumery box "Epines, flacon no. 3", ca. 1930.Moulded glass.No signature.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, section perfume bottles, p. 343, no. 592, with photo.Hair on the inner glassProvenance: Spanish private collection, formed between 1970 and 1995.Measurements: 9,5 cm (height) ; 8 cm (diameter).Perfume bottle "Epines, flacon nº 3", in satin moulded glass with purple patina, cylindrical section with moulded decoration of intertwined brambles. No signature.The Lalique firm was originally founded by René Jules Lalique (1860 - 1945), one of the most prominent glassmakers of the time, and one of the first to sculpt glass for large monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory for mass production, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860- Paris, 1945).Bottle for Worth "Dans la Nuit", ca. 1940.Moulded glass.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, section perfume bottles Page 951 , Wort-1, with photo.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 8 cm (height) ; 5 cm (diameter) .Perfume bottle "Dans la Nuit". is moulded in transparent glass, while blue was also widely used (the transparent glass version is rarer). It was designed by René Lalique ca. 1924 for Worth. The design features an orb-shaped bottle covered with stars. The stopper shows a "W". There were three variants of the stopper: a crescent moon and stars design, the words "dans la nuit", and the "W" like this one. Traces of perfume. The Lalique firm was originally founded by René Jules Lalique (1860 - 1945), one of the foremost glassmakers of the time, and one of the first to sculpt glass for great monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory for mass production, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860 - Paris, 1945).Perfumery box model "Chypre" for Houbigant, ca. 1935.Moulded glass.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, section perfume bottles Page 941, Houbigant - 4, with photo.Signed on the reverse of the base R. Lalique.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 8 x 6,5 x 2,5 cm .Chypre" perfume box for Houbugant, designed by Renè Lalique in 1925, in translucent moulded glass with geometric decoration on the front. Sealed stopper. Contains perfume.The Lalique firm was originally founded by René Jules Lalique (1860 - 1945), one of the foremost glassmakers of the time, and one of the first to sculpt glass for great monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory for mass production, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860- Paris, 1945).Bottle for Worth "Dans la Nuit".Blue moulded glass.Signed on the back of the base R. Lalique .Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, section perfume bottles Page 951 , Wort-3, with photo.Provenance: Spanish private collection, formed between 1970 and 1995.Measurements: 16 x 12 x 4 cm .Bottle for cologne, Worth "Dans la Nuit", design René Lalique of 1925, in blue glass moulded of lenticular form.The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the foremost glassmakers of the time, and one of the first to sculpt glass for great monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory for mass production, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

A GROUP OF LAMPS, VASES AND OTHER CERAMICS AND GLASSWARES, to include a brass Duplex oil lamp with shade and chimney, a multicoloured opaque glass hanging lampshade, three small opaque glass lampshades, a Galileo thermometer approximate height 62cm, an art glass vase, a ceramic mantel clock with Japanese scene verso, a contemporary table lamp, a large ceramic piggy bank, a vase containing artificial flowers, a chalkware religious figurine, assorted animal figures and other decorative homewares, etc (sd) (Qty)

BOOKS, five boxes containing approximately 130 miscellaneous titles to include Art and Antiques, Religious studies, History, Poetry, Novels and the Countryside, highlights include William Rothenstein, The Portrait of an Artist in his Time by Robert Speaight, Andrew Wyeth, First Impressions by Richard Meryman and The Arts and Crafts Movement in the Cotswolds by Mary Greensted, varying conditions

Set of thirteen original vintage art exhibition advertising posters. 1. Capital Painting Pictures from Corporate Collections in the City of London held at the Barbican Art Gallery 19 April to 10 June 1984, featuring an artwork titled Old Waterloo Bridge (1921) by a British landscape and urban subject painter Charles Isaac Ginner (1878-1952), depicting cargo and busses full of people crossing the bridge with a ship below, a lantern in the foreground and city in the background. Designed by Trilokesh Mukherjee. Printed by Staples Printers St. Albans. Good condition, creasing, pinholes, folds, small tears on edges. Country of issue: UK, designer: Trilokesh Mukherjee, size (cm): 76x51, year of printing: 1984.; 2. The Medieval Treasury European Art and Design 400-1400AD at the Victoria & Albert Museum featuring a photograph of a colourful French (probably from the Collegiate Church of Saint-Étienne, Troyes) stained glass window depicting religious motif. Good condition, folds, creasing. Country of issue: UK, designer: Unknown, size (cm): 76x51, year of printing: 1980s.; 3. Elizabeth Blackadder (b. 1931) A Scottish Arts Council Exhibition in The Royal Academy of Arts, Piccadilly London W1, 17th July to 22nd August 1982. Open daily 10am - 6pm including weekends. Admission £1.20 (Concessionary rate 80p). The poster features an abstract painting by Blackadder from 1981. Elizabeth Blackadder was a Scottish painter and printmaker. Good condition, creasing, folds, pinholes, minor staining. Country of issue: UK, size (cm): 60x42, year of printing: 1982.; 4. Karakuri Ningyo Antique Festival Robots from Japan 28 November 1985 to 26 Januart 1986 at the Concourse Gallery Barbican Centre, featuring an illustration of a smiling traditional Japanese mechanised puppet with a maple tree in the foreground, yellow Japanese writing, red and white lettering. Designed by Trilokesh Mukherjee. Printed by Expression Printers Ltd, London. Very good condition, light creasing, minor creasing. Country of issue: UK, designer: Trilokesh Mukherjee, size (cm): 76x51, year of printing: 1985.; 5. The Eastern Carpet in the Western World exhibition held at the Hayward Gallery South Bank, London 20 May - 10 July 1983, featuring a photograph of a red, blue, white, and brown Turkish 15th-16th century Bellini prayer rug detail from Museum fur Islamische Kunst, Berlin. Printed by Jolly & Barber Limited, Rugby. Good condition, folds, minor creasing, pinholes. Country of issue: UK, size (cm): 76x51, year of printing: 1983.; 6. Karakuri Ningyo Antique Festival Robots from Japan 28 November 1985 to 26 Januart 1986 at the Concourse Gallery Barbican Centre, featuring an illustration of a smiling traditional Japanese mechanised puppet with a maple tree in the foreground, yellow Japanese writing, red and white lettering. Designed by Trilokesh Mukherjee. Printed by Expression Printers Ltd, London. Good condition, folds, creasing. Country of issue: UK, designer: Trilokesh Mukherjee, size (cm): 76x51, year of printing: 1985.; 7. Richard Wilson artwork exhibition at the Tate Gallery 3 November 1982 - 2 January 1983, featuring Richard Wilson's (1714-1782) View on Hounslow Heath c. 1765, depicting a lady in red clothing and yellow hat seated on a hill with a picnic basket next to her and lush green trees and shrubbery around her. Designed by Sue Fowler. Published by the Tate Gallery Publications. Good condition, folds, creasing, pinholes. Country of issue: UK, size (cm): 76x51, year of printing: 1983. 8. David Cox Oil paintings and watercolours exhibition 9 November 1983 until 3 January 1984 at the Victoria & Albert Museum, featuring a detail from David Cox (1783-1859) Crossing the Sands painting, depicting men and women on horses walking on sand with dark skies behind them. Good condition, folds, creasing, pinholes, small paper loss in bottom left corner. Country of issue: UK, designer: David Cox, size (cm): 76x51, year of printing: 1983.; 9. William Crozier Paintings and Drawings exhibition at the Richard Demarco Gallery 5-22 May 1983, featuring a colourful abstract artwork by an Irish-Scots still-life and landscape artist William Crozier (1930-2011) in bright red, blue, pink and green colours. Design Forth Studios Edinburgh. Good condition, folds, staining, double sided. Country of issue: UK, size (cm): 42x30, year of printing: 1983.; 10. The Orientalists Delacroix to Matisse European Painters in North Africa and the Near East exhibition at the Royal Academy of Arts 24 March - 27 May 1984, featuring a painting by Renoir 'A Girl with a Falcon' 1880. Good condition, folds, creasing, pinholes. Country of issue: UK, size (cm): 76x51, year of printing: 1984.; 11. Take the Slow Boat to China. Chinese Export Art Gallery at Victoria & Albert Museum as part of Season of Special Events organised by Festival of Chinese Arts, featuring a clockwork marvel of model boat making in intricate ivory. Good condition, folds, creasing, pinholes, small tears on corners. Country of issue: UK, size (cm): 76x51, year of printing: 1980s.; 12. The Work of Alison Britton exhibition 14 November 1979 - 12 January 1980 at the Crafts Council Gallery, featuring photographs of colourful ceramic vases and jugs. Alison Britton (b.1948) is a British ceramic artist. Good condition, creasing, small tears, pinholes, discolouration. Country of issue: UK, size (cm): 76x51, year of printing: 1980.; 13.Original vintage advertising poster for Coal. British Mining in Art 1680-1980, an exhibition organised by the Arts Council of Great Britain with the National Coal Board, that took place 8 January - 6 February 1983 at the Science Museum, featuring an artwork depicting a miner sat on his knees mining coal with a pickaxe in a coal mine lighted by a single light. Good condition, fold, minor creasing. Country of issue: UK, designer: , size (cm): 42x30, year of printing: 1983.

ClayBurma , 12th century , Pagan PeriodDimensions: Height 17 cm x 15 cm without baseWeight: 950 grams with baseTraditional Buddhist art from Tibet, tsa tsas are usually made from clay in a metal mold with the reversed image of a deity, stupa or other religious object. The making of tsa tsas is used by Tibetans to collect merits and is one of the initial practices of Vajrayana Buddhism. Tsa tsas were placed in shrines, at stupas, holy caves or used in smaller version to be placed in the mobile shrines called ghaus.This tsa tsa depicts a seated Buddha flanked by two standing disciples showing the abhaya and varada mudra. The Buddha in the center is touching the earth, signifying the subduing of demon Mara. All three figures are set in separate alcoves with beaded pillars and decorative pointy arches. Above them are remains of temple bells. There is a sanskrit inscription below the Buddha. The back is flat.

Costume jewellery - a silver, marcasite and coral brooch, earring and ring set; a silver thimble; silver cheroot case; threepenny bracelet; silver pedant, total gross weight approx 1.93ozt; 18k rolled gold bangle; white metal religious pendants; a dalmatian jasper necklace; rosary beads; Art Deco paste set brooches/clips; brooches; etc 

Oil on canvas, with important frame of the time. Framed measures 53 x 44 cm, canvas measures: 34 x 29 cm. It is accompanied by a comparative technical report. Exceptional discovery of the oil version "Portrait of a Young Lady" of which only the pastel version was known from a New York private collection and auctioned at Christie's in 2010. Jean-Baptiste Greuze (1725, Tournus – 1805, Paris) After studying painting at the Grandon workshop in Lyon, Greuze moved to Paris in 1750 and entered the Royal Academy of Painting and Sculpture as a student of Natoire. His popularity was confirmed by other paintings of a melodramatic nature, depicting young peasant scenes from the provinces. One of his biggest artistic supporters was Diderot; art critic gave a glowing praise of his painting for the moralism of his images. Among his greatest successes may be mentioned The Village Wedding or Acordée de village presented at the salon of 1761, where he once again shows a bourgeois rural interior. Among his outstanding works, "Father of the family explaining the Bible to his children", made in 1755, as well as also known as "The death of the paralytic" of 1763, a painting that represents an elderly father on his deathbed surrounded by of his family. This painting is related to Jean Jacques Rousseau's novel, “La nouvelle Héloïse”, published that same year. After achieving great success with the public and critics, he began to harvest history painting, a genre of higher rank within official painting. His first work in this order is the so-called Seventh-Severe. Contrary to what he was looking for, this piece was a source of conflict with the Academy, since not only was it not accepted into the competition, but it also earned him the enmity and devastating criticism of Denis Diderot. Greuze painted numerous portraits and received much criticism for his paintings of a libertine character. The French Revolution of 1789 made neoclassicism fashionable and Greuze's paintings fell out of fashion, forcing him to live off his classes as an art teacher. The portrait of Napoleon Bonaparte, which he commissioned in his last years, did not prevent him from spending his last years in poverty. Likewise, Greuze harvested the allegorical theme, being outstanding the Offering of love (1769), mythological: Danae; or also religious, such as Santa María Egipciaca. WORKS IN COMPARISON: "Portrait of a Young Lady" in pastel on paper, Christie's, January 27, 2010, lot 145. Provenance: former private collection, Spain.

LÉONARD TSUGUHARU FOUJITA (1886-1968)Maternité signed and inscribed 'Foujita Paris' (lower right)gouache, watercolour, brush, pen and India ink and gold leaf on paper23 x 17.5cm (9 1/16 x 6 7/8in).Executed circa 1957Footnotes:The authenticity of this work has been confirmed by Sylvie Buisson.ProvenanceGalerie Claude Bernard (1957).Private collection.Anon. sale, Christie's, New York, 15 November 1990, lot 147.Sayegh Collection, France.Acquired by the present owner (2020).ExhibitedParis, Musée de Montmartre, Léonard Tsuguharu Foujita et l'École de Paris, 10 April - 23 June 1991, no. 47 (later travelled to Tokyo; titled 'Mère et Enfant').LiteratureS. Buisson, Léonard Tsuguharu Foujita, Vol. II, Paris, 2001, no. 57.92 (illustrated p. 458).Léonard Tsuguharu Foujita may not have converted to Catholicism until 1959, but he took an early interest in painting ecclesiastical subjects from 1917. Maternité was executed circa 1957 and shows the artist's understanding of this traditional religious subject as an intimist and tender depiction of a mother and a child. Born in Japan into a high-ranking Samurai family, Foujita was attracted to Western culture and France in particular at a very early age. As Sylvie Buisson explains, Foujita's love affair with France began very early in Tokyo whilst stood in front of a painting by Claude Monet. As a child, he would also be fascinated by the church that was located on his school path. At school, he studied French with the Marianist brothers, a Catholic branch that looked to the Madonna as a model of faith and spirituality and emphasised the importance of Jesus not only as the Son of God, but as the Son of Mary. A monumental sculpture of the Virgin Mary was placed in the courtyard that he passed daily. Foujita arrived in Paris in 1913 and quickly became a key figure of the bohemian art scene, meeting painters, sculptors and writers of the Montmartre and the Montparnasse districts. Along with his peers Picasso, Soutine, Kisling, Zadkine, van Dongen and Modigliani, he was one of the main figures of the first École de Paris. This term, coined by the art critic André Warnod in 1925, refers to the group of avant-garde artists who came to exercise their talents in the capital between 1905 and 1930. Although all the artists in this movement had their own particular style, they came together around the idea of developing artistic modernity. Foujita's success was almost immediate and his originality soon charmed the public at the Galerie Chéron and Galerie Paul Pétrides. Through meetings in Parisian bars and cabarets he was introduced to the Tout-Paris, the fashionable and affluent elite of the city, and became a well-known figure of this bustling and fascinating milieu of the interwar years. Foujita later returned to Japan to act as an official painter of the Imperial Army during the Second World War. His work was criticised by some of his peers for being war propaganda, but he remained appreciated and protected by wealthy patrons who enabled him to return easily to Paris in the 1950s, accompanied by Kimiyo, his new wife. This was the start of a new era for Foujita, who settled once again in Montparnasse, but to lead a rather quieter life. It was during this more mature and settled period that the present work was executed. Maternité is a gentle and delicate image, reflecting Foujita's unwavering optimism. The present work, with its soft and elegant figures set in a timeless scene, proves that his art remained untouched by the horror of war and man's cruelty. The depiction of the mother and child has always been an important subject in Western art, whose origins are rooted in the religious presentation of the Virgin and Child. The French word 'maternité' emphasises the secular relationship between the woman and her offspring, and indeed in the present work there is no aureole or halo to denote the holiness of the figures. However, the religious connotations remain obvious: the child's outstretched hand, whose two fingers make the distinctive Christian sign of blessing, is an undeniable reference to the religious origins of this subject. For Foujita though, the Madonna, the mother and the woman came together as one entity, hence perhaps the title Maternité, a more secular and universal choice than 'Virgin and Child'. Similarly, the child has a very lively charm, unlike the usual figures of the Christ Child.Delivering an original vision of this traditional subject, Foujita also took inspiration from the past and used artistic codes historically attached to this motif. In the gothic tradition for example, the figures stood out on a golden background, which recalled the supernatural and miraculous character of the subject. This was also used to metaphorically suggest to the viewer that it was from this majestic image that Christian faith radiated. Thus the present work is reminiscent of the static elegance seen in the figures of Giotto and of the Northern Italian schools, which are known to have inspired Foujita. The expressive treatment of the mother's hands in the present work echoes that of artists such as Carlo Crivelli (1435-1495), whose Madonnas cradled their child with exaggeratedly long hands, creating a cocoon for the child and emphasising the figure's protective role. Foujita was similarly inspired by the Italian Renaissance, during which the Virgin was typically painted in a more realistic manner to emphasise the idea that she was first and foremost a mother. The gracefulness of her body was emphasised, giving an impression of serenity and maternal softness to this image of devotion, as in Raphael's Madonna del Granduca. The forms are pure and simple, but the arabesques formed by the figure are strongly accentuated and the neck elongated.Yet Maternité is not devoid of modernity. Of mutual influence, the artists of the Montparnasse circle left a lasting impression upon each other. In the present work, one recalls the long and slender figures of Amedeo Modigliani, whose slim faces and almond eyes bear a strong resemblance to the mother in Maternité. One could also think of Constantin Brâncuși's style, his experimentation in modelling human form and his investigation into purity and cleanliness of line. Although it is more subtle, the influence of the Cubist revolution is also visible in Foujita's use of local colour, which focuses on the subject seen under a flat light with no adjustments for form with shadows or colours. Moreover, the present work is characteristic of Foujita's style from the 1920s onwards. It combines the fine black line reminiscent of the distinctive ink line of traditional Eastern paintings, with an absence of perspective and the sinuous line of traditional Japanese pictorial art. Foujita himself described this dialogue of influence and inspiration in the 1950s - 'My body grew up in Japan, but my painting grew up in France' - as he became a Japanese painter who joined the world of Western painters. His adoption of the name 'Léonard' when he was baptised, as a tribute to Leonardo Da Vinci, confirmed his debt to Italian primitive painting and to the Florentine and Sienese Madonnas of the 15th and 16th centuries. But Foujita remained true to this double culture and strove to blend them both in a style that would remain his. Indeed, regardless of the Western origin of the present subject, the Japanese calligraphic tradition is still evident in the precision and finesse of the l... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

EDVARD MUNCH (1863-1944)Figurer ved Seinen i Saint-Cloud signed with the artist's initials and dated 'EM. 90' (lower right)pastel on paper30.2 x 35cm (11 7/8 x 13 3/4in).Executed in 1890Footnotes:This work is recorded in the archives of the Munch Museet, Oslo.ProvenanceAntonine G. Melet Collection, Paris, no. 2 (possibly acquired from the artist in January 1890).Private collection, Nice.Private collection, Paris (acquired from the above in April 1988).'Munch writes poetry with colour. He has taught himself to see the full potential of colour in art... His use of colour is above all lyrical. He feels colours and he reveals his feelings through colours; he does not see them in isolation. He does not just see yellow, red and blue and violet; he sees sorrow and screaming and melancholy and decay.' – Sigbjørn Obstfelder, 1893 Few names in the history of modern art conjure quite such immediately visceral imagery as that of Edvard Munch. Globally renowned for his pictorial expression of existential dread, depicted in arguably one of the most famous images of art history, as well as his intensely probing and self-scrutinising self-portraits, Munch experienced some of the most revolutionary social and artistic moments of the late 19th and early 20th Centuries. Though his personal life was plagued from the outset by tragedy, grief and mental anguish, Munch became a leading figure in the breakthrough artistic movements of the period and, contrary to the reclusive nature he embodied, was soon revered as one of the greatest artists of his time.The traditional and strictly conservative society of late nineteenth century Europe was the perfect kindling for the liberating Bohemian ideologies that began to murmur throughout many of the small cafés and quasi-underground drinking houses of the European artist quarters. Whilst Paris and Berlin are perhaps most widely known for this cultural phenomenon, the monumental societal shift in Kristiania – as Oslo was known as from 1877-1925 – was possibly even more extreme; the intellectual readjustment hit the Scandinavian regions particularly aggressively, as Ragna Stang writes: 'the movement was met with such single-minded and relentless hostility that what elsewhere had been a few gentle ripples on the surface of society, in Norway became a full-scale storm, a life and death struggle in some circles that had far-reaching effects; social, political, and, above all, artistic and intellectual' (R. Stang, Edvard Munch, The man and his art, Milan, 1979, p. 45).Artists and writers flooded to Paris during the early 1880s before returning home, brimming with not just new theoretical, philosophical and artistic ideas, but with a newfound appreciation for Continental life, with its café society, Parisian brothels and cosmopolitan people. This threatened the middle-class population of the Scandinavian capital which functioned under the stern ideals of the Lutheran Church and was deeply insular. Munch was exposed to this staunchly pious sentiment through his father, an unaccomplished doctor whose devoutness was only exacerbated by the painfully early loss of his wife Laura and daughter Sophie to tuberculosis, driving him to an almost manic-like state of piety. Illness did not escape the artist himself who was sickly throughout his childhood, forcing much of his formative education to take place at his impoverished home. He swiftly grew apart from his father's beliefs and found himself a shy, reclusive outsider. Ultimately, the opportune rise of Bohemianism in Kristiania drew in the impressionable young man and he began his involvement with the bohemian fraternities in the autumn of 1882, setting his sights on the 'modern' metropolis of Paris.'People will be able to see ... that my philosophy of life and my spiritual art had their beginnings during my Bohemian period in the middle and end of the 1880s, and developed even more during my stay in Paris in 1889' (Munch to Ragnar Hoppe in 1929, quoted in ibid., p. 20). Aside from its prominence as a bohemian metropolis, Paris in the 19th Century was the leading cultural centre of the world; it was the place to see the celebrated painters of the period and the 'alternative' exhibitions on view in the cafés and private galleries that flourished in the city.After receiving a bursary and study grants from the Norwegian state Munch made several visits to Paris during the years 1889-1891. As stated by the artist himself, these sojourns had a profound influence on his development, with some of his most iconic works dating to this period and the years following. His senses were bombarded with artistic theory - Impressionism, Post- & Neo-Impressionism and Symbolism were coming to the fore at this time and elements of all can be seen throughout his oeuvre in the radical brushwork, bold colours, and painting en plein air. A clear indication of this contemporary influence can be seen in Rue Lafayette (1891), in which Munch emulates a typically Caillebotte top-hatted gentleman who looks over the bustling city streets, with the loose handling of a radical Neo-Impressionist, such as Paul Signac. However, perhaps Munch's most frequent and poignant comparison, both as the depressed, melancholic and as the proponent of vivid and expressive colour, is with Vincent van Gogh.Though van Gogh died in July of 1890, and it is assumed that they almost certainly never met, the two artists co-existed unimaginably closely in these Paris years, living in the Montmartre area and moving within the same artistic circles, both finding inspiration and guidance from the revolutionary Symbolist, Paul Gauguin. Whilst they would find great stimulation through the prevailing trends of the time, it is Gauguin who encouraged the two artists to translate their intense personal experience into bold colour and expressive handling which, along with their masterful use of perspective and the solitary figure, conveyed the shared theme of isolation and mental seclusion. Prevalent also is the simplification of form that each of the young artists applied to the human figure, which only expressed further the outward expression of inner suffering the painters felt as they placed themselves in their canvas.In December 1889, prompted by an outbreak of cholera in the central area of the city, Munch moved to the picturesque suburb of Saint-Cloud. He formed a close friendship with the Danish poet Emanuel Goldstein and the two talked frequently and intensely: their conversations gave Munch cause to put his thoughts to paper, producing 'not a diary in the accepted sense of the word; [rather] they are partly extracts from the life of my soul, partly poems written as prose...' (Munch quoted in ibid., p. 73). These extensive writings from the cold Saint-Cloud winter came to be known by some as the 'Saint-Cloud Manifesto', where 'he rejected the emotionally neutral subjects of Impressionism, and stated his determination to paint pictures expressive of states of mind' (G.H. Hamilton, Paintings and Sculptures in Europe 1880-1940, New Haven, 1993, p. 122). Munch became increasingly alienated from the materialism of the bohemians and sought to carve his own path. As Stang comments: 'under the influence of the new ideas that he had encountered in Paris and with the strict religious atmosphere of his home gone, Munch began to develop a mystical and pantheistic philosophy and a completely different attitude towards life and art ... He systematically rejected his earlier philosophy and formulated a new artistic creed: 'There should be no more paintings of people reading and women knitting, in future they s... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

MARIÀ FORTUNY (Reus, Tarragona, 1838-Rome, 1874)"Allegory of Christianity".Oil on cardboard.Signed in the lower right corner.Sketch for a painting representing the vision of the Coliseum.Reproduced in "Mariano Fortuny Marsal" Volume II (Carlos González and Montserrat Martí). Colección Maestros del Arte de los siglos XIX y XX pg.: 22. Editorial Diccionari Ràfols. Barcelona, 1989.Size: 16,5 x 24 cm; 37,5 x 44,5 cm (frame).Mariano Fortuny probably painted this oil painting (sketch for a painting set in the Coliseum) in his last period, when he was living in Rome, a city in which he lived intermittently throughout his career. That this is a work of the artist's maturity is evident from the supreme freedom of line and the ingenuity of the composition. The anecdotalism of oriental subjects that he worked on so much in earlier periods has been suppressed in favour of an expressionism "avant la lettre", anticipating to some extent avant-garde solutions. Here, the very free spirit which animates the dramatic play of light, the dissolution of forms in favour of the pure impulse of the gesture, is subordinated to the religious theme. Forming a sort of ascending swirl, the glowing angels and saints on the right are counterpointed by the dark spirits on the left. Both allude to the theme of the Passion, Death and Resurrection of Christ. The allegory seems to speak to us, beyond the biblical theme, of the light and shadow of good and evil, of their eternal struggle. As the scene is set in the Coliseum, it could represent the triumph of Christianity over paganism. Fortuny displayed a profound knowledge of Baroque painting, which he reinterpreted with complete freedom: the ascension theme, the rupture of glory... are Baroque elements reread in a modern key.Fortuny began his training at the Municipal School of Art in Reus, and in 1850 he moved to Barcelona with his grandfather. There he continued his studies as a disciple of Domingo Talarn, and entered the School of Fine Arts, where his teachers were Pablo Milá, Claudio Lorenzale and Luis Rigalt. At the same time he attended Lorenzale's public school, which determined his inclination towards Romantic painting at this early stage. In 1858 he settled in Rome thanks to a scholarship, and attended the Accademia Chigi. While there, the Diputació de Barcelona invited him to travel to Morocco to paint the warlike encounters that were taking place in the area, which was to be a turning point in his career. The light of Morocco and the exoticism of the place and its people led him to take an interest in aspects totally unknown in his previous production. In 1860 he visited Madrid, where he visited the Prado Museum and became interested in the work of Velázquez and Goya. Shortly afterwards he began a trip around Europe and finally returned to Rome for good. He attended classes at the French Academy of Fine Arts at the Villa Medici, and in 1861 he visited Florence and came into contact with the "macchiaioli". From then on he returned to Morocco and Paris, as well as travelling to Toledo, where he discovered the work of El Greco. In 1867 he exhibited in the studio of Federico de Madrazo, who became his father-in-law that same year. The following year he returned to Rome, and in 1870 his international fame was consolidated thanks to his exhibition at the Paris gallery of Goupil. During these years he moved to Granada, to the Fonda de los Siete Suelos in the Alhambra, with the idea of tackling new themes with the greater freedom afforded by commercial and critical success. However, in 1872 he was forced to return to Rome, where he remained until his death. Mariano Fortuny is represented in the Prado Museum, the National Gallery in London, the Hispanic Society Museum in New York, the Palazzo Ruspoli in Rome, the Fine Arts Museums of Bilbao, San Francisco, Cincinnati and Boston and the National Art Museum of Catalonia, among many others.

Spanish School, Follower of BARTOLOMÉ ESTEBAN MURILLO; 18th century."San Juanito".Oil on canvas.Needs restoration, especially on the left side.Measurements: 80 x 58,5 cm; 90 x 66 cm (frame).This piece follows faithfully the aesthetic postulates established by Murillo in his work San Juanito y el cordero, which is in the collection of the National Gallery of London. In his work, the painter constructs in this canvas a tender representation of San Juanito, whose sweetness and innocence contrasts with the dramatic symbolism that underlies the image. The tender lamb that accompanies him alludes directly to Christ's bloody sacrifice, and his red cloak symbolises his own martyrdom. This type of children's image, with its dramatic content but sweet and moving appearance, designed precisely to move the soul of the faithful who prayed before it, was very common in the Spanish Baroque period. Its most frequent form was that of the Child with the symbols of the Passion, which casts the shadow of the cross over the innocent infancy of Jesus. It was especially in the art of the Counter-Reformation that this funereal presentiment of the Passion was expressed by means of transparent allusions.The work follows the models of Murillo's school, especially those of the painter Domingo Matinez (Seville, 1688 - 1749). This artist trained in his native city, Lucas Valdés being one of his teachers. The sources indicate that he was appreciated in his day, as he received important commissions such as those from the archbishop of Seville, for whom he executed several paintings for the cathedral of the Andalusian capital and the church of Nuestra Señora de la Consolación in Umbrete. During Philip V's court stay in Seville (1729-33) he was also in contact with French painters in the king's service, such as Jean Ranc and Louis-Michel van Loo, whose influence was evident in his work, combined with Murillo's direct inheritance. On the other hand, it was precisely Ranc who proposed Martínez as court painter, an offer which the painter rejected, however, as he did not wish to move to Madrid with the king. He had several disciples, and we know that his workshop trained Andrés de Rubira, Pedro Tortolero and Juan de Espinal, the latter of whom would eventually become his son-in-law and heir to the family workshop. His first major work was the decorative ensemble of the church of the Colegio de San Telmo, with paintings on the life of Christ and his relationship with the sea, executed in 1724. Six years later he produced two large paintings for the Convent of Santa Paula in Seville. In the 1730s he also executed individual works and ensembles for churches in Seville and its province, always on religious themes, as well as the portrait of Archbishop Luis de Salcedo y Azcona for the Archbishop's Palace in Seville (1739). He was equally prolific in the last decade of his life, when he executed tempera decorations for the churches of Santa Ana and San Luis de los franceses in Seville, as well as several canvases. His last work, executed around 1748, was a set of eight canvases depicting the great masquerade held in Seville in June of the previous year on the occasion of Ferdinand VI's accession to the throne. Works by Martínez are currently housed in the Seville Museum of Fine Arts.

Attributed to ALONSO CANO (Granada, 1601 - 1667)."Saint Diego de Alcalá".Carved and polychrome wood. Vitreous paste eyes.Measurements: 62 x 23 x 18 cm.This carving follows the same aesthetic precepts as the work carried out by Alonso Cano, of the religious Saint Diego, which currently belongs to the Museum of Fine Arts of Granada. Saint Diego de Alcalá (1400-1463), a Spanish Franciscan friar canonised by Pope Sixtus V in 1588, in the only canonisation carried out by the Catholic Church during the 16th century. Born at the end of the 14th century into a modest family in the small village of San Nicolás del Puerto, north of Seville, from his earliest youth Diego consecrated himself to the Lord as a hermit. Already dressed in the Franciscan habit, as a lay brother in the Order of Friars Minor of the Observance, he made numerous journeys, something rare for his time: he lived in the Canary Islands, Rome, Castile and Andalusia, and during his pilgrimage to Rome he visited various parts of Spain, France and Italy. He finally spent his last years in the convent of Santa María de Jesús in Alcalá de Henares, where he died in 1463. He was a very popular saint, patron saint of numerous localities, such as the city of California that bears his name. As a result, great artists treated his figure, as is the case of Lope de Vega, who dedicated a sonnet and a comedy to him. In the visual arts, he is depicted as a young beardless youth, despite the fact that he reached the age of sixty, with two iconographic attributes: a set of keys, for having been the convent's porter and cook, and the most important, some flowers that he picks in his habit, with both hands. This element alludes to one of the most popular episodes of his life, in which it is narrated that Diego was so generous with those who begged at the door of the convent that his superiors found it annoying and excessive. On one occasion they saw the saint wearing something in his habit, and were about to reprimand him when miraculously the bread rolls that Diego brought to the poor turned into roses.Due to its formal characteristics, we can place this work in the circle of followers of Alonso Cano, a key painter, sculptor and architect of the Spanish Baroque. Cano was also the initiator of the Granada school of painting and sculpture, and his disciples included Juan de Sevilla, Pedro Atanasio Bocanegra, José Risueño, Pedro de Mena and José de Mora. The son of an important assembler of altarpieces and possibly also a draughtsman, Alonso Cano was introduced to architectural drawing and imagery by his father, with whom he collaborated from a very early age. In 1614 or 1615 he moved with his family to Seville, where he soon joined the painting workshop of Francisco Pacheco, then the most prestigious master in the city and Velázquez's de facto teacher, with whom Cano became a close friend. As a sculptor, he is traditionally considered to have trained with Juan Martínez Montañés, although there is no documentary evidence of this. As early as 1624 he signed his first known painting and two years later he qualified as a master painter. In 1638 he moved to Madrid and was soon appointed court painter and drawing teacher to Prince Baltasar Carlos. There he became acquainted with the royal collections, which led his language to evolve from its early Caravaggism towards a more colourful and elegant language, sometimes related to Van Dyck. However, in 1644 he was accused of murdering his wife, which led him to take refuge in Valencia. A year later he returned to Madrid, and in 1652 he returned permanently to Granada, where he obtained a post in the cathedral thanks to the influence of Philip IV. There he completed the decoration of the main chapel and became maestro mayor of the cathedral. Works by Alonso Cano are currently housed in the Prado Museum, the Museum of Fine Arts in Seville, the Hermitage in St Petersburg, the Louvre in Paris, the Metropolitan in New York, the J. Paul Getty in Los Angeles and the Art Institute of Chicago, etc.

§ FRANCIS BACON (BRITISH 1909-1992) TRIPTYCH - 1983 Set of three lithographs on wove, 96/180, each signed and numbered in pencil to margin, printed by Atelier Lelong, Paris(each sheet 86.5cm x 60.5cm (34in x 23.75in))Literature: B. Sabatier, Francis Bacon: Complete Graphic Work Catalogue Raisonne, Paris 2012, no. 17. Provenance: Caroline Wiseman, London; Private Collection. Note: "If you want to convey fact, this can only ever be done through a form of distortion. You must distort to transform what is called appearance into image." – Francis Bacon Francis Bacon is one of the most significant figures in 20th Century British Art. He evolved his own distinctive visual approach which distorted the figure, offering a visceral violence and discomfort to his imagery. His own reputation as a self-taught artist, openly gay in a largely hostile society, comfortable moving between the different strata of society and with extreme highs and lows in his personal life fed the narrative and intrigue around his artwork. An adamant atheist, Bacon was nevertheless pre-occupied by specific religious imagery in his work, returning to the intensity, violence and suffering of the Crucifixion event. He also repeatedly worked in a series of three panels, the traditional triptych form, as we can see here. Triptych – 1983 encompasses many of Bacon’s preoccupations and dates from a significant period in his career, when he was an established artist, highly regarded and with an array of international exhibitions behind him. In 1985, TATE held a major retrospective of his work, with the statement celebrating our ‘greatest living painter.’ Bacon discovered and developed his particular artistic preoccupations relatively early in his career. By 1983, he had refined his approach to become more nuanced, so we see the three figures, each featured within an individual panel, unfolding here, their bodies dramatically abbreviated, with the tops of each head cut off so the viewers’ attention is focussed on the muscularity and movement of the torso and limbs. Placed against a searing orange background, the impact is strikingly visceral. These figures embody both strength and vulnerability, the dichotomy inherent to our bodies and our minds. The result is essentially Bacon and almost timeless. We are delighted to be offering this significant lithographic work, from the edition of 180, with each panel signed and numbered, at this moment where attention is being re-directed to his work with the Royal Academy’s five-star rated exhibition, ‘Francis Bacon: Man and Beast’ on display in London until the 17th April.

Joly, Henri L. Legend in Japanese Art. A description of historical episodes, legendary characters, folk-lore, myths, religious symbolism. XLIII S., 1 Bl., 453 S., 1 Bl. Mit zahlreichen, teils farbigen Illustrationen auf Tafeln. 27,5 x 21,5 cm. Einband unter Verwendung des originalen goldgeprägten Leinenrückens sowie des originalen goldgeprägten Leinenvorderdeckelsbezuges vollständig restauriert (der Schnitt etwas braunfleckig). London und New York, Lane, 1908. Erste Ausgabe. - Leicht gebräunt und braunfleckig.

Roderic O'Conor (1860-1940)Marine, au Clair de LuneOil on canvas laid down on board, 73 x 92cm (28¾ x 36¼'')Stamped 'atelier O'CONOR' twice on the reverse and once on the stretcherProvenance: Hotel Drouot, Paris, Vente O’Conor, 7 February 1956; Musée de Petit Palais, Geneva; Sale, Sotheby’s London The Irish Sale, 22nd May 1997, lot 256; Private Collection, IrelandExhibited : Geneva, Petit Palais, Peintures Britanniques du XXe siecle, 1980; Geneva, Petit Palais, Post-Impressionnisme (1880 - 1910), 1/7/80 - 30/9/80; Osaka, and other venues in Japan, Trésors du Petit Palais, Geneve, 1983, no.65; Musée de Pont Aven, Roderic O’Conor 1860-1940, 1984 no.29; London, Barbican Art Gallery, and toured to Belfast, Dublin and Manchester, Roderic O’Conor 1860-1940, 1985, no.31Literature : L’aube du XXe siecle, vol.1: De Renoir a Chagall, Petit Palais, Geneva, 1968, p.41;Julian Campbell, The Irish Impressionists: Irish Artists in France and Belgium 1850 - 1914, National Gallery of Ireland exhibition catalogue, 1984, p.99;Jonathan Benington, Roderic O’Conor, Irish Academic Press, Dublin 1992, pp.83-84,199.€ 150,000 - 200,000Roderic O’Conor  had been living and working in Pont-Aven, Brittany for nearly three years when he met Gauguin in 1894, recently returned from his first trip to Tahiti. A friendship formed, and it is clear from Gauguin’s letters that he was expecting the Irishman to accompany him on his return to the South Seas. Although O’Conor declined, the relationship had a far-reaching affect on his life and his art: “… Gauguin’s strength of character and convincing style of talk made a deep impression on the young, or youngish, Irishman…” (Clive Bell, Old Friends, 1956, p. 166).Further to Gauguin’s final departure from France in 1895, O’Conor embarked on a group of nocturnes inspired by the scenery around Le Pouldu on the southern coast of Brittany, and the riverside town of Pont-Aven, 25 kilometres inland. The theme first emerged in an etching, Full Moon on the Coast, and was then developed in several moonlit seascapes painted in gouache, as well as a handful of oil paintings including The Bull and the Moon and A Moonlit Breton Landscape (Benington 1992, p. 199, nos. 81 and 84). These artworks stood apart from O’Conor’s earlier Breton landscapes on account of their greater reliance on the imagination, as if conceived from memory rather than direct observation.In Marine au Clair de Lune we see a clifftop house with a light shining in its windows, overlooking a sailing ship caught in the reflected path of the full moon, a glowing orb half hidden by a cloud at the top of the composition. The close juxtaposition of land and sea, safety and uncertainty, may be a recollection of the house at St Julien, a hamlet of Le Pouldu situated at the mouth of the Laita river, where O’Conor had stayed with his friend Armand Seguin in 1893 and, two years later, the two of them watched as Gauguin spontaneously composed an etching. Writing to Seguin four years later, O’Conor revealed that he had plans for a picture of St Julien, perhaps identifiable with the present work. One of its most striking features is the way its dreamlike quality has been given substance through technical innovation: O’Conor has applied his colours very thickly, making extensive use of the palette knife in order to obtain a richly textured surface. The granular effect of this build-up of pigment is particularly suited to capturing the glimmer of light on the water surrounding the two-masted vessel. Like most of his other moonlit pictures, the present work was most probably begun during the years 1895-98 when O’Conor was living in comparative isolation at Rochefort-en-terre, a hilltop village in the heart of rural Brittany. Unable, or unwilling, to accompany Gauguin to Papeete, he may have chosen this location because it was less visited by artists and tourists than Pont-Aven, more authentically Breton in its preservation of time-honoured religious and cultural practices. Here he had the space and freedom to experiment with new ideas, notably Gauguin’s dictum that the remembered image was a more effective embodiment of ideas and emotions than the observed one. By relying to a greater extent on his memory and imagination, O’Conor arrived at a range of themes that were uniquely personal to him. The mystery of a work such as Marine au Clair de Lune lifts it onto a Symbolist plane, recalling O’Conor’s association with writers such as Alfred Jarry, Léon-Paul Fargue and Charles Morice. And like Wordsworth who defined poetry as emotion recollected in tranquillity, here O’Conor seems to evoke the experiences that had meant the most to him just a few years earlier – moonlit walks, the proximity of the sea and windswept cliffs, the stimulating company of fellow artists, and a warm house to return to at the end of the day.    Jonathan Benington, February 2022

Henry Ryland, RI (British, 1856-1924)Christ in the garden of Gethsemane signed and dated 'HENRY RYLAND/1890' (lower right)pencil137 x 64cm (54 x 25 1/4in).Footnotes:ProvenanceSt Michael's School, Otford (the school's founder and friend of the artist, Rev'd Arthur Tooth).Private collection, UK (acquired from the above).Henry Ryland began his formal training at the South Kensington School of Art before going on to attend the Heatherley School of Fine Art. He completed his training under Gustave Boulanger and Jules Joseph Lefebvre at the Académie Julian in Paris. When looking at Ryland's work, one can sense the influence of his education, as although there is a distinct Britishness to his subjects and composition, there is also a level of detail and quality to his draughtsmanship commensurate with training under two of the finest Orientalist painters in Europe. Throughout his career he turned his hand to a broad spectrum of artwork, including his widely exhibited oils and watercolours, but also as a designer in stained-glass, and illustrator for books and print adverts, notably for Pears soap.The present works (lots 58-60) showcase the truly wonderful quality of Ryland's draughtsmanship – so fine, with light, weight, and form beautifully observed. Not only do these drawings highlight his abilities as an artist but they also epitomise the combination of influences that can be seen to run through much of his career; notably, the neo-Classicism of Sir Lawrence Alma-Tadema, which can be seen in the drapery and robes; the aestheticism of Albert Moore, seen in the tall composition of standing figures similar to Moore's female studies; and finally, the Pre-Raphaelites, and the religious subject matter which they often espoused. These are truly exceptional examples of not only Ryland's skill as a draughtsman, but also his awareness and sensibility towards those other artists working in Britain throughout his career.For further information on this lot please visit Bonhams.com

Hispano-Flemish school, ca. 1520."Epiphany.Oil on panel.It has various restorations.Measurements: 88 x 93 cm.This work shows one of the most frequent themes in the Flemish school, the Epiphany or the Adoration of the Magi: the magi, coming from the East, have arrived to the precarious stable that gives shelter to the Holy Family and they pay homage to the Child. Mary holds Jesus on her lap and one of the kings, who has previously removed his crown, kneels before him. In the background are the other two Magi. The three figures, of different ages, thus become the symbol of the whole of humanity, which worships God incarnate. Balthasar is depicted in sumptuous white robes, a cliché popularised by Flemish painting in the 15th and 16th centuries, with some splendid examples in the work of Bosch, for example. Behind the Virgin is the figure of Saint Joseph. In the background, separated from the human figures by a wall, are the heads of the mule and the ox. The scene is set in a landscape that extends to a distant horizon. This landscape is enlivened by tiny figures of herds, hunters on horseback and some animals.Within Spanish Gothic, the Hispano-Flemish school was characterised by the great influence of the Flemish Primitives, which survived in Spain until well into the 16th century, largely due to the political and cultural ties between the two countries. In the 15th century, Flemish painting was the most advanced in Europe and influenced all the national schools, including Italian. It was considered an art of great refinement, with works executed and treated like jewels. This consideration was also due to the very rich materials used in its execution, as well as to the richness of the assemblages of the panels, which, as we can see here, were of great richness.As can be seen in the present panel, the features of the Hispano-Flemish school are similar to those of Flemish painting, beginning with the main concern of the Flemish painters, the quest for reality above all else. In connection with this desire, great attention is paid to the quality of the objects and to the smallest details, which are often endowed with symbolic significance. The iconography is still mainly religious, and the scenes are dominated by a correct, precise and very meticulous drawing. In the same way, they also tried to capture the truest possible illumination, whether artificial or natural, always modelling the flesh tones and producing chiaroscuro to a greater or lesser degree. Other characteristics of this school derive directly from the influence of Van Eyck, the great Flemish painter, who visited Spain in person, and whose paintings, as well as those of his school, were imported as treasures by the high hierarchies. As a result of his influence, Spanish painters worked with a precious detail, with an almost miniaturist meticulousness.

Romanesque pyx. Limoges, France, 13th century.Champlevé enamelled copper.The enamel is faded. The hinge is a later addition.Measurements: 12 cm (height) x 6.2 cm (diameter).Pyx consisting of a cylindrical box with a conical cover, surmounted by a Latin cross. It is decorated with angels framed in circular cartouches on the container and on the lid. These cartouches alternate with interlacing motifs on a cobalt-blue background, elements of Islamic influence typical of Limoges. The lid is hinged at the back with a hinge, and the front has a pin clasp. The host was decorated using champlevé, an enamelling technique used in Romanesque art to decorate jewellery boxes, plaques and vessels. Its name comes from 'raised field', although the process consists of sinking the bottom and then filling it with enamel, which is then polished to produce a smooth, harmonious surface.The pyx or hostiarium is the vessel used to hold the Sacred Form. It is a typological novelty that emerged at the end of the Romanesque period in Limoges, a producer of enamelled silverware. It has its origins in the Greek pyx, a small lidded box that was often used to store jewellery or beauty products. The first hostiariums took the form of a cylindrical box with a conical lid, hinged or linked by a chain. Even in these early examples from Limoges, it was common for them to have a cross-shaped top, although this has rarely been preserved. During the Gothic period, the same structure was maintained, although it could appear with or without a clasp and hinge. Likewise, in the Gothic period, the size of the host was reduced, which indicates a change in its function. It is no longer used during mass, as this function is covered by the ciborium, but is used to give communion to the sick in their homes. The finishing cross, now essential for all Eucharistic pieces, was retained.The Limoges workshop appeared in the last quarter of the 12th century and continued its activity until the 14th century. It flourished again in the 15th century with the new technique of painted enamel. It became the most important enamel workshop, ahead of the Rhineland and Meuse, which disappeared in the 12th century and were dedicated to the production of individual plates on commission, which were then mounted on an object or joined together to form altar frontals. In Limoges, on the other hand, the production of objects, no longer just plaques, decorated with enamels for religious, but also for secular use, began to take off. They were cheaper, copper-based pieces, and very attractive because of the enamelled decoration, which made them a huge and immediate success throughout Europe. Limoges is also mentioned in documents, indicating that it was an important centre known throughout Western Europe. One of the distinguishing characteristics of Limoges is its very shallow background dragging, which does not go beyond two or three millimetres. To depict detail, such fine partitioning is used that it can only be distinguished from the excavated one by close observation through a magnifying glass. In Limoges, the enamels are applied according to the client's taste, filling only the background, only the figures, or both, and the enamels are applied according to the client's taste. As for the colour range, he used that of the Meuse workshops, which was very varied, but added new colours, such as olive green, a light greyish blue or white for the flesh tones. In the long history of these workshops, one of their main successes was precisely the fact that they did not only produce plaques, but also complete pieces.

Circle of JAUME HUGUET (Valls, Tarragona, 1412 - Barcelona, 1493)."Birth of Jesus".Tempera on panel.This work is attributed to Jaume Huguet in the book by José Gudiol and Juan Ainaud de Lasarte. This publication indicates that it comes from Cervera de la Cañada, Zaragoza.Measurements: 100 x 88.5 cm; 104 x 92.5 cm (frame).This panel is a rich representation of the Adoration of the Shepherds, with the child lying on a cloth on the ground, in the Flemish manner. In front of him we see Mary and Saint Joseph, both in adoration. The two shepherds are on the right-hand side, leaning out into the scene. Sharing the stage are the ox and the mule, the latter bringing its muzzle close to the Child, in a naturalistic representation once again influenced by Flemish painting. In the background, in a landscape constructed from planes of depth, the artist depicts a shepherd with his flock.Due to its formal and technical characteristics, we can place this work within the Hispano-Flemish school of the second half of the 15th century, and more specifically relate it to the circle of the Catalan Gothic painter Jaume Huguet, an artist whose language was based on the International Gothic of his training and evolved along the lines of the innovations brought by Flemish painting. He trained in Valencia, Tarragona and Barcelona, although historians also consider that he may have travelled to Sardinia or Naples. He spent most of his career in Barcelona from 1448 onwards, where he had a very important workshop, which practically monopolised all the commissions for altarpieces in Catalonia during the second half of the 15th century, after the death of Bernardo Martorell and Luis Dalmau. Several disciples were trained in this workshop, as well as members of the Vergós family, with whom he maintained a close relationship. Today, Huguet is considered the most representative painter of the Hispano-Flemish language of the Catalan school. Although many of his works were lost with the destruction of the temples that housed them, important examples of his work are still preserved today in the National Art Museum of Catalonia and the Prado Museum.Within Spanish Gothic, the Hispano-Flemish school was characterised by the great influence of the Flemish primitives, which survived in Spain until well into the 16th century, largely due to the political and cultural ties between the two countries. In the 15th century, Flemish painting was the most advanced in Europe and influenced all the national schools, including Italian. It was considered an art of great refinement, with works executed and treated like jewels.The features of the Hispano-Flemish school are close to those of Flemish painting, starting with the Flemish painters' utmost concern for the pursuit of reality above all else. In connection with this desire, great attention was paid to the quality of the objects and to the smallest details, which were often charged with symbolism. The iconography is still mainly religious, and the scenes are dominated by a correct, precise and very meticulous drawing. In the same way, they also tried to capture the truest possible illumination, whether artificial or natural, always modelling the flesh tones and producing chiaroscuro to a greater or lesser degree. Other characteristics of this school derive directly from the influence of Van Eyck, the great Flemish painter, who visited Spain in person, and whose paintings, as well as those of his school, were imported as treasures by the high hierarchies. As a result of his influence, Spanish painters worked with a precious detail, almost miniaturist in its minutiae, and took great pleasure in ornamental elements such as jewellery and vestments, depicted with precision and sumptuousness.

Spanish Renaissance school; 16th century."Christ Salvator Mundi".Carving on wood, gilded and polychrome.It has repainting, restorations and losses.Measurements: 36 x 9 x 10 cm.This Renaissance carving presents the devotional figure of Christ as "Salvator Mundi", an iconography that represents the Christological concept of Jesus Christ as universal saviour, in relation to his role as judge in the Final Judgement and his character of Redeemer. It is characterised by Christ raising his right hand in blessing, while holding with his left an orb symbolising the universe, crowned by a cross, emphasising the universal nature of Christian doctrine and Christ's redemptive act. In this particular case, the piece does not have the orb that would have been held in his left hand, although the position of the orb indicates that it was originally an iconographic attribute held in his left hand.The piece, which is placed on a square pedestal made up of protruding artists, is presented to the viewer in a hieratic manner. The rigidity, in a certain way marked by the great verticality of the work, gives the carving a sober finish which is counterbalanced by the luminosity of the golden mantle. In terms of aesthetics, it should be noted that the work retains certain aspects typical of the Gothic period, which have already been mentioned. However, the treatment of the face, with its rounded, soft forms that tend to idealise the features, brings the figure closer to the aesthetic postulates that developed during the Renaissance. Sculpture reflects perhaps better than other artistic fields this desire to return to the classical Greco-Roman world, which exalts in its nudes the individuality of man, creating a new style whose vitality surpasses mere copying. Anatomy, the movement of the figures, compositions with a sense of perspective and balance, the naturalistic play of folds, the classical attitudes of the figures soon began to be valued; but the strong Gothic tradition maintained expressiveness as a vehicle for the profound spiritualist sense that informs our best Renaissance sculptures. This strong and healthy tradition favours the continuity of religious sculpture in polychrome wood, which accepts the formal beauty offered by Italian Renaissance art with a sense of balance that avoids its predominance over the immaterial content that animates the forms.

School of AMBROSIUS BENSON; ca. 1600. (Lombardy, active in Bruges from 1518 - Bruges, 1550)."Madonna and Child.Oil on oak panel.The frame follows ancient models. Carved and ebonised wood, 20th century.It has an Antwerp stamp under the band and has restorations and slight repainting.Measurements: 58 x 43 cm; 82,5 x 67 cm (frame).Ambroisus Benson was one of the so-called masters of the tradition, successor of Van der Goes, and he showed the influence of Van Eyck, Van der Weyden and the Flemish primitives in general. Nonetheless, his work reveals 16th-century features from Italy, such as the triangular composition in the present work. In fact, he was originally from Lombardy, so his painting sometimes has more Italian features. Particularly important was his personal use of colour, with a predominance of maroon tones in contrast to the whites and light tones of the flesh tones, which are thus very much emphasised in the composition. Also typical of his work is the velvety quality of the cloaks. Benson was a painter of religious subjects and portraits and trained with Gerard David in Bruges from 1518, the year in which he became a citizen. However, he had problems with his master that led to legal proceedings and by 1519 he was registered with the Painters' Guild as an independent master. From the following year onwards there was a clear increase in his activity and between 1522 and 1530 he rented between one and three stalls at the annual market to sell his paintings. Benson held high positions in the painters' guild, his works fetched very high prices and he had several apprentices, including two of his sons, Willem and Jan. Although only two signed works by Benson ("Triptych of Saint Anthony of Padua" in the Musées Royaux des Beaux-Arts in Belgium and "The Holy Family" in a private collection) and seven dated works are known, more than 150 paintings have been attributed to him on the basis of stylistic criteria. Benson's workshop produced a significant output and, like that of Adriaen Isenbrandt, his works were generally intended for the Iberian market. His painting was highly appreciated in Spain, although Benson never visited the country. With regard to his language, despite his adherence to tradition he formed, together with Isenbrandt and Jan Provost, the last generation of Bruges painters characterised by a break with the Gothic tradition and the introduction into their style of the innovations of the Italian Renaissance. This influence can be seen in their artistic style and in effects such as monumentality, as their themes and compositions are generally in the Flemish tradition. On the other hand, the variety of themes and formats that characterises his production may be due to the fact that he worked in a workshop with numerous collaborators. In all his works, whether religious themes, portraits or secular works, Benson is an excellent example of the crossover between north and south, between tradition and innovation. His works are now in the world's leading art galleries, including the Museo del Prado, the Metropolitan Museum in New York, the National Gallery in London, the Kunsthistorisches Museum in Vienna, the Thyssen-Bornemisza, the Ashmolean Museum in Oxford and the Bilbao Fine Arts Museum.During the 15th century, the Dutch realist style had a strong influence abroad, especially in Italy, but in the 16th century the situation was reversed. The Italian Renaissance spread throughout Europe, and Antwerp became the centre of the Flemish school, supplanting Bruges and acting as a centre for the penetration of Italian influences. Mannerist influences thus arrived in the Low Countries, superimposed on the 15th-century style. Many painters continued the style of the Flemish primitives, but others were so open to Renaissance influences that they stopped painting on panel.

Granada School; second half of the 17th century."The Visitation of the Virgin".Oil on canvas.It has an inscription on the back (Athanasius).It has visible restorations on the back and the canvas has faults caused by the passage of time.It has a frame with faults in the carving and the gilding.Size: 43 x 59 cm; 51 x 66,5 cm (frame).In this work the artist portrays the biblical passage that deals with the Visitation of Mary, pregnant with Jesus, to Elizabeth, her cousin, pregnant by John the Baptist. This event is recounted in the Gospel of Luke, and appears frequently in art because of its theological importance (St. John leapt for joy, and Elizabeth recognised Mary as the Mother of the Saviour with the well-known "Blessed art thou among women and blessed is the fruit of thy womb..." as she herself received the influence of the Holy Spirit). The biblical text mentions the "house of Zechariah" in which Elizabeth lived, but does not mention Saint Joseph; however, conventions of the time that were more social than religious (it was not logical for a woman to travel alone) usually present the Putative Father of Christ, thus achieving a certain symmetry with the figure of Zechariah, who also appears in most cases.In this landscape-format work the artist includes the presence of the four figures in the scene, Saint Joseph, Zechariah, Elizabeth and the Virgin, although he relegates the male figures to the background, thus showing the importance of these two women as protagonists in the development of the Christian religion, as it is Saint John the Baptist who baptises his cousin Jesus. The author composes the image with the figures placed in the form of a frieze, and the postures of Mary and Elizabeth, slightly inclined, so that they form a triangle, following the most classical compositional style and thus ensuring an easy reading of the work and the transmission of the message. The piece presents a set of earthy and ochre tones, very common in the Spanish school. However, it is worth mentioning the luminosity given off by the figure of the Virgin, who, with her blue cloak, pearly skin and slight halo of sanctity, becomes the main focus of the scene.

Three teapots, a pair of tureens and a gravy boat, a religious figure, a glass centrepiece, an Art Deco dish, etc. **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR POSTING AND PACKING**

Islamic Art A religious calligraphy dated 1327 AD (1909 AD) and signed Omar Ebn Mahmud . . Cm 69,00 x 48,00. Frame present

Islamic Art A wall hanging textile printed with religious calligraphy Irant, second half 20th century . . Cm 115,00 x 73,00.

Lalique. France, mid-20th century.Paperweight "Holy Supper", original model ca. 1950.In modelled and translucent glass, with scene of the Last Supper, partially satin-finished.Signed Lalique on the side.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, pg. 521, num. 1231.Provenance: Private collection, Spain between 1970-1990.Size: 12 x 13 x 2,5 cm.The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the most prominent glassmakers of the time, and one of the first to sculpt glass for large monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

LALIQUE. France, second half of the 20th century.Chouette" paperweight.Translucent moulded glass with some satin-finished areas.Signed on one side of the base.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, p. 391, no. 1193, with photo.Provenance: Private collection, Spain between 1970-1990.Measurements: 8.5 x 5 x 6 cm.Ornamental figure in moulded glass representing an owl with synthesised forms, created by the French sculptor René Lalique. It has translucent glass in the wing area and satin-finished glass on the back fur.The Lalique firm was originally founded by René Jules Lalique (1860 - 1945), one of the foremost glassmakers of the time, and one of the first to sculpt glass for large monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown for his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

HENRI L. JOLY. 'Legend in Japanese Art: A Description of Historical Episodes, Legendary Characters, Folk-Lore, Myths, Religious Symbolism,' handsomely rebound in half leather with a gilt sectional spine, 700+ illustrations, John Lane The Bodley Head, London, 1908.

Lalique. France, second half of the 20th century.Moulded translucent glass with satin ornamentation.Presents signature on the base.Procedure: Private Collection, Spain between 1970-1990.Measurements: 5 x 19,5 x 9,5 cm.Centrepiece "festons", made of moulded translucent glass with a rectangular base, finished off with a mouthpiece with undulating shapes. The upper decoration of the outer perimeter is finished with a satin-finish ornamentation imitating a garland.The Lalique firm was originally founded by René Jules Lalique (1860-1945), one of the leading glassmakers of the time, and one of the first to sculpt glass for large monumental works such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

STEPHANUS ALBERTUS UITERWAAL (IJsselstein, 1889 - Bunnik, 1960) for GLASFABRIEK LEERDAM."Madonna and Child", Art Deco style, ca. 1930.Manufacture Leerdam (Holland), design 1929.Frosted glass.Presents the artist's mark on the back.Measurements: 38 cm (height).Stephanus Albertus Uiterwaal was a Dutch sculptor, draughtsman and painter. He achieved great recognition for his religious statues and was appreciated for his experimental sculpture.The Glasfabriek Leerdam was established as a glass factory in Leerdam where many prominent designers have worked or supplied designs. The glass factory is now known as Royal Leerdam Crystal. The company established business relations with many countries and many traders came to Leerdam. Initially they worked for the British market, for South America and Mexico, as well as for some foreign customers with agents in Hamburg and Paris. In 1912 artists were contacted to create glass designs, De Bazel was the first, Andries Copier Cornelis de Lorm, Chris Lanooy HP Berlage, Chris Lebeau, Frank Lloyd Wright, followed until 1940.

RENÉ LALIQUE (Ay, France, 1860 - Paris, 1945).Medallion "Pasteur". France, 1922.Moulded opalescent glass, acid-etched with the profile bust of Louis Pasteur, the famous scientist who discovered penicillin. It was designed by René Lalique in 1922 to commemorate the centenary of his birth.Signed on the right side R. Lalique -France.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, p. 474, with photo.Measurements: 10 cm (diameter).The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the most prominent glassmakers of the time, and one of the first to sculpt glass for large monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860 - Paris, 1945).Coupe "Rameaux". France, ca. 1940.Art Deco tabletop centrepiece in satin translucent glass of square form, simple and elegant, with organic branch decoration on the rim. Its mixture of geometric design with flowing wreaths of leaves is one of the quintessential Art Deco designs. The wreath pattern is also reminiscent of a classic victory wreath.Signed R. Lalique-France on the reverse of the base.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, p. 765, no. 3317 with photo.Size: 5 x 24 x 24 cm .The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the most outstanding glassmakers of the time, and one of the first to sculpt glass for great monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860- Paris, 1945).Box "Trois Figurines". For D'Orsay, ca. 1915.In frosted glass, decorated with three dancing figures on the lid.Signed R. Lalique on the reverse.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, pg. 968, with photo.Measurements: 3.5 cm (height); 9.5 cm (diameter).Cylindrical box, cream or powder applicator, by Lalique, for d'Orsay. In frosted glass, with a classically inspired scene on the lid. It shows, in relief, three naked maidens holding hands and dancing, in the manner of the Three Graces.The Lalique firm was originally founded by René Jules Lalique (1860-1945), one of the foremost glassmakers of the time, and one of the first to sculpt glass for great monumental works such as the fountains on the Champs Elysées. He enjoyed great renown for his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

Lalique. France, second half of the 20th century."Virgin and Child".Translucent moulded glass with satin interior. Black resin base.Signed.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, p. 519, nº 1217, with photo.Size: 33.5 x 8.5 x 4 cm (figure); 5.5 x 13.5 x 9 cm (base).The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the most prominent glassmakers of the time, and one of the first to sculpt glass for large monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860- Paris, 1945)."Vase nº2. France, 1921-1923.Circular Art Deco tabletop centrepiece in acid-etched moulded glass with vegetal decorations and borders. Signed VDA France in the central area, signature used by René Lalique from 1921 to 1923 before signing the pieces in his own name.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, p. 702, no. 3019 with photo.Measurements: 2 cm (height); 27 cm (diameter).The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the most prominent glassmakers of the time, and one of the first to sculpt glass for large monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown for his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

Lalique. France, second half of the 20th century.Pair of "Coq nain" radiator caps, original model ca.1940.Moulded and satin-finished glass.Signed "Lalique France" on the reverse of the base.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, Pag.498, nº1135, with photo.Measurements: 20,5 x 7 x 13 cm (each).Pair of cockerels of meticulous, descriptive and above all realistic treatment. Lalique pays special attention to the dynamism, immediacy and anatomical verisimilitude of the animals.The firm Lalique was originally founded by René Jules Lalique (1860-1945), one of the foremost glassmakers of the time, and one of the first to sculpt glass for large monumental works such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860 - Paris, 1945).Set of five "Coquilles 5" bowls. France, ca. 1925.Translucent and opalescent cut glass. Upper profile in silver.Signed on the base "R. Lalique -France nº 3204".Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, Pag. 748, nº 3204.Measurements: 5.5 cm (height); 13.3 cm (diameter).Set of five acid-etched, moulded opalescent glass bowls, each decorated with four reticulated shells. They are an exceptional combination of translucent and opalescent glass, the latter in a shade of blue in keeping with the marine theme. Upper profile in silver.Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the most prominent glassmakers of the time, and one of the first to sculpt glass for great monumental works such as the fountains on the Champs Elysées. He enjoyed great renown for his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860 - Paris, 1945).Tray "Coquilles I". France, ca.1930Translucent and opalescent cut glass.Signed in the centre of the reverse "R. Lalique France, n.3009".Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, p. 701, no. 3009, with photo.Measurements: 30 cm (diameter); 4 cm (height).Circular tray decorated with four reticulated shells. The piece is an exceptional combination of translucent and opalescent glass, the latter in a shade of blue in keeping with the marine theme.The Lalique firm was originally founded by René Jules Lalique (1860 - 1945), one of the foremost glassmakers of the time, and one of the first to sculpt glass for large monumental works such as the fountains on the Champs Elysées. He enjoyed great renown for his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

LALIQUE. France, second half of the 20th century."Anemone flower".Patterned glass, satin and enamel.Signed "Lalique France" in the area of the base.Work reproduced in "Le Catalog Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, page 488, No. 1179.It retains the Lalique signature label.Measures: 10.7 cm (diameter).Sculpture of a glass anemone flower belonging to the firm Lalique. The sculpture represents a delicate flower, conceived as a symbol of purity and innocence. The design of the anemone was created by Lalique in 1931.The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the most prominent glassmakers of the time, and one of the first to sculpt glass for large monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

LALIQUE. France, second half of the 20th century."Pair of Partridges".Moulded and satin-finished glass. Chiselled plumage in relief.Signed on the back of the foot.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, Pag. 494-495, nº 1235-1241.Sizes: 18 x 8 x 15 cm and 13 x 8 x 15 cm.Pair of partridges with a meticulous, descriptive and above all realistic treatment. The pieces are heirs to nineteenth-century animal-themed sculpture, which finally achieved a status of its own. Seeking to break away from the classical sculptural ideal, many artists saw animal themes as a new avenue of expression, linked to the emotional and irrational aspects of nature, in a distinctly romantic sense which, on this occasion, is filtered through Lalique's exceptional glass work.The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the leading glassmakers of the time, and one of the first to sculpt glass for great monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860- Paris, 1945).Art Deco table clock "Feuilles", ca.1930.Moulded glass.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur, Pag. 371, nº725.Size: 16.5 x 21 x 9 cm.Table clock in moulded glass decorated with fern leaves on a satin-finish background. Of semicircular format, it has a white dial, Arabic numerals, Breguet-type hands, central chronographic needle highlighted in red and quartz machinery.Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the foremost glassmakers of his time, and one of the first to sculpt glass for great monumental works such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

RENÉ LALIQUE (Ay, France, 1860 - Paris, 1945).Coupe "Coquilles 1". France, ca. 1925.Moulded opalescent glass centre, acid-etched, decorated with four reticulated shells. The piece is an exceptional combination of translucent and opalescent glass, the latter in a shade of blue in keeping with the marine theme. Top profile in silver.Signed on the base R. Lalique -France no. 3200.Work reproduced in "Le Catalogue Raisonné del L'Ouvre en Verre de R. Lalique", by Felix Marcilhac, Les Editions de l'Amateur , Page 478, nº 3200, with photo.Measurements: 9.5 cm (height); 24 cm (diameter).The firm Lalique was originally founded by René Jules Lalique (1860 - 1945), one of the most prominent glassmakers of the time, and one of the first to sculpt glass for large monumental works, such as the fountains on the Champs Elysées. He enjoyed great renown thanks to his original creations of jewellery, perfume bottles, glasses, plates, etc., in the Art Nouveau and Art Deco styles. He trained with the Parisian jeweller Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his work earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as Saint-Nicasius in Reims, and numerous religious and civil goldsmiths' works. Lalique was not content with simply designing his models, but also founded a factory to produce them in large quantities, patenting several innovative glass manufacturing processes, and various technical effects such as "Lalique satin" or opalescent glass. Pieces by Lalique are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan Museum of Glass in New York, the Louvre and the Orsay Museum in Paris, among many others.

Tamara Jovandić-Everson Tanya Ink and Mixed Media on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Tamara finished the Academy of Art in Sarajevo and has lived and worked in North London since 1992. She has over thirty group exhibitions in the UK, Ireland, France and the USA, and five solo shows. Tamara has exhibited at prestigious art galleries such as Mall Gallery, Cork Street, Royal College of Art, and many more. Tamara's paintings, for a period of years, were about exploring female sexuality and nudity through expressionistic imagery, highlighting spiritual and religious themes which suggest a paradox. Tamara's preoccupation for dramatic contrast and religious themes, using live models and working quickly and directly onto canvas, comes from a fascination with Italian Baroque and Caravaggio's use of chiaroscuro and his rich and dark palette. Intending to relate to the viewer on the most intimate level, these works are always faceless and express the universality of torment through human emotion. Exploring the human body through suffering, sacrifice, isolation, and emptiness is autobiographical: based on life in exile, and a homeland torn apart in the civil war (former Yugoslavia). The works are generated from studies of life models. Drawings are then enlarged and painted on a larger scale. In recent works, there is further development in growing out of the narrative, investigating 'painting within painting', freeing and enlarging further parts of figurative artworks, bringing dramatic contrasts by using a variety of mediums to build texture including sand, plaster, and resin...   Education 1986-1991 Academy of Art, Sarajevo   Select Exhibitions/Awards 2018: Highgate Gallery - solo show 2002: Mediterraneo Gallery, Chiswick, London 2000: Terra Gallery, Chiswick, London 1999: Workhouse Art Gallery, Chelsea, London 1994: Locus Gallery, Hampstead, London 1991: Zvono Gallery, Sarajevo 1991: Silver Medal on graduation 1992: Member of ULUBIH (Society of Contemporary Artists of Bosnia and Herzegovina) 1995: Sponsorship by Prof August Wiedmann (Goldsmiths College) 2000: The Hesketh Hubbard Art Society Award, Mall Galleries, London 2017: International Award - the best painting at Chelsea Town Hall show

Tamara Jovandić-Everson Jessica Ink and Mixed Media on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Tamara finished the Academy of Art in Sarajevo and has lived and worked in North London since 1992. She has over thirty group exhibitions in the UK, Ireland, France and the USA, and five solo shows. Tamara has exhibited at prestigious art galleries such as Mall Gallery, Cork Street, Royal College of Art, and many more. Tamara's paintings, for a period of years, were about exploring female sexuality and nudity through expressionistic imagery, highlighting spiritual and religious themes which suggest a paradox. Tamara's preoccupation for dramatic contrast and religious themes, using live models and working quickly and directly onto canvas, comes from a fascination with Italian Baroque and Caravaggio's use of chiaroscuro and his rich and dark palette. Intending to relate to the viewer on the most intimate level, these works are always faceless and express the universality of torment through human emotion. Exploring the human body through suffering, sacrifice, isolation, and emptiness is autobiographical: based on life in exile, and a homeland torn apart in the civil war (former Yugoslavia). The works are generated from studies of life models. Drawings are then enlarged and painted on a larger scale. In recent works, there is further development in growing out of the narrative, investigating 'painting within painting', freeing and enlarging further parts of figurative artworks, bringing dramatic contrasts by using a variety of mediums to build texture including sand, plaster, and resin...   Education 1986-1991 Academy of Art, Sarajevo   Select Exhibitions/Awards 2018: Highgate Gallery - solo show 2002: Mediterraneo Gallery, Chiswick, London 2000: Terra Gallery, Chiswick, London 1999: Workhouse Art Gallery, Chelsea, London 1994: Locus Gallery, Hampstead, London 1991: Zvono Gallery, Sarajevo 1991: Silver Medal on graduation 1992: Member of ULUBIH (Society of Contemporary Artists of Bosnia and Herzegovina) 1995: Sponsorship by Prof August Wiedmann (Goldsmiths College) 2000: The Hesketh Hubbard Art Society Award, Mall Galleries, London 2017: International Award - the best painting at Chelsea Town Hall show

Tamara Jovandić-Everson Mia Ink and Mixed Media on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Tamara finished the Academy of Art in Sarajevo and has lived and worked in North London since 1992. She has over thirty group exhibitions in the UK, Ireland, France and the USA, and five solo shows. Tamara has exhibited at prestigious art galleries such as Mall Gallery, Cork Street, Royal College of Art, and many more. Tamara's paintings, for a period of years, were about exploring female sexuality and nudity through expressionistic imagery, highlighting spiritual and religious themes which suggest a paradox. Tamara's preoccupation for dramatic contrast and religious themes, using live models and working quickly and directly onto canvas, comes from a fascination with Italian Baroque and Caravaggio's use of chiaroscuro and his rich and dark palette. Intending to relate to the viewer on the most intimate level, these works are always faceless and express the universality of torment through human emotion. Exploring the human body through suffering, sacrifice, isolation, and emptiness is autobiographical: based on life in exile, and a homeland torn apart in the civil war (former Yugoslavia). The works are generated from studies of life models. Drawings are then enlarged and painted on a larger scale. In recent works, there is further development in growing out of the narrative, investigating 'painting within painting', freeing and enlarging further parts of figurative artworks, bringing dramatic contrasts by using a variety of mediums to build texture including sand, plaster, and resin...   Education 1986-1991 Academy of Art, Sarajevo   Select Exhibitions/Awards 2018: Highgate Gallery - solo show 2002: Mediterraneo Gallery, Chiswick, London 2000: Terra Gallery, Chiswick, London 1999: Workhouse Art Gallery, Chelsea, London 1994: Locus Gallery, Hampstead, London 1991: Zvono Gallery, Sarajevo 1991: Silver Medal on graduation 1992: Member of ULUBIH (Society of Contemporary Artists of Bosnia and Herzegovina) 1995: Sponsorship by Prof August Wiedmann (Goldsmiths College) 2000: The Hesketh Hubbard Art Society Award, Mall Galleries, London 2017: International Award - the best painting at Chelsea Town Hall show

Marcelina Amelia Moonlight Watercolour and Acrylic on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Marcelina Amelia is a contemporary artist, based between the UK and Poland, working with mixed media approaches to print, painting and drawing. She often draws inspirations from her Polish heritage, looking to religious iconography and folk tales, as well as childhood memories, the power of dreams, spirituality, sexuality, and the human condition. According to her Mum, Marcelina started drawing before she could properly speak. She has been featured in publications including Booooooom, Bomb, Art Maze, Create Magazine, Digital Arts, Vogue, Refinery29, The NY Times, Der Spiegel and Ballad Of Magazine and is also a founder of art-brand Mesh Studio. She exhibits work throughout the UK as well as internationally and was a featured artist at the 2017 edition of the London Illustration Fair and led The Big Draw sketch walk for Apple. In 2018 Marcelina was Saatchi Art's featured 'Artist in Spotlight' at The Other Art Fair in Bristol and her artwork adorned thousands of tote bags promoting the fair. This year Marcelina was also a featured artist at the Affordable Art Fair Battersea's Live Art event. Added to that her work was displayed at Boxpark Croydon, made an appearance at 2018 London Fashion Week and she has been invited to take part in the infamous 'Art on a Postcard' secret auction alongside some big names in the art world. Rebecca Wilson, the chief curator at Saatchi Art, highlighted Marcelina as an artist to invest in at her talk at The Other Art Fair in London in 2018. In addition, Saatchi curator Monty Preston said she was "unquestionably an artist on the rise" Marcelina says, 'I like to play at the tense borders between lust and innocence; joy and sadness; fun and pain. My interest in juxtaposition comes from my origins and fascination with East European culture which was eloquently described by Grayson Perry as 'nowhere else could such horrific grief be met with such fairly-tale romanticism'. I tend to utilise nature as a metaphor for everyday feelings and headaches. My recent work also dwells into themes of self acceptance, body positivity, representations of the female sexuality, gender, migration, and society. Although some of the subjects I take on are often quite dark I like to think that there is some humour and light in my finished artwork.'