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Lot 217
Tribal hardwood mask of a man, 20th century, modelled with oval eyes and wide mouth, with stylised headdress, 31 cm high, together with another mask of a man with a horned headdress, a Southeast Asian mask of a devil figure, painted, a pair of hardwood salad servers, a hardwood bangle, a hardwood figure of a spirit, in the Tiki style, an abstract sculpture, Southeast Asian model of a God with a bird beneath and a hardwood batten, possibly New Zealand (9)
Lot 122
Circle of ISIDORO DE TAPIA (Valencia, 1712 - Madrid, 1778)."Holy Family".Oil on canvas.Size: 28 x 22,5 cm.Under a sky with a break of glory, there are three figures dressed with cloaks and tunics; the Virgin Mary in red and blue carries the Child Jesus by the hand, with St. Joseph to the right, identified by his flowered rod, repeating the gesture. Just above the Child, between his parents, we see the dove symbolising the Holy Spirit. 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. The composition chosen is common at the time, and can also be seen in works by Murillo (National Museum, Stockholm), Bernardo Manuel de Silva, etc. However, it is worth noting the suggestion in this painting of showing the Heavenly Trinity in the upper part (the Holy Spirit and God the Father) just above Jesus, linking it to the "Earthly Trinity" (Jesus, Mary and Saint Joseph).According to Ceán Bermúdez, the Valencian painter Isidoro de Tapia trained with Evaristo Muñoz. In Valencia he executed several works commissioned by the public, and in 1743 he moved to Madrid. He joined the San Fernando Royal Academy of Fine Arts, where he was appointed a meritorious academician in 1755. It is thought that he also spent some time working in Portugal. He taught drawing at the Academy until his death, and also worked for the Royal Stables of the Royal Palace. Although few signed works by his hand are known, Ismael Gutiérrez Pastor compiled a small catalogue of twenty-eight works that provide an insight into the personality of this painter, and also reconstructed his life from known and unpublished documents. Works by Isidoro de Tapia are currently held in the San Fernando Academy and other collections.
Lot 96
Circle by ISIDORO DE TAPIA (Valencia, 1712 - Madrid, 1778)."The Virgin with Saint Joachim and Saint Anne".Oil on canvas.Measurements: 28 x 22,5 cm.The Christian tradition has considered Joachim and Anne as the progenitors of Mary. These names are taken from the Protoevangelium of Santiago, one of the most famous and ancient apocryphal gospels. The present work shows Mary as a child at the centre of a symmetrical composition, flanked by her parents, looking up to the heavenly plane, where the dove appears as a symbol of the Holy Spirit.According to Ceán Bermúdez, the Valencian painter Isidoro de Tapia trained with Evaristo Muñoz. In Valencia he executed several works commissioned by the public, and in 1743 he moved to Madrid. He joined the San Fernando Royal Academy of Fine Arts, where he was appointed a meritorious academician in 1755. It is thought that he also spent some time working in Portugal. He taught drawing at the Academy until his death, and also worked for the Royal Stables of the Royal Palace. Although few signed works by his hand are known, Ismael Gutiérrez Pastor compiled a small catalogue of twenty-eight works that provide an insight into the personality of this painter, and also reconstructed his life from known and unpublished documents. Works by Isidoro de Tapia are currently held in the San Fernando Academy and other collections.
Lot 113
DANIEL VÁQUEZ DÍAZ (Nerva, Huelva, 1882 - Madrid, 1969)."Profile Portrait, 1923.Pencil on paper.Signed and dated in the lower left corner.Size: 30.5 x 23 cm; 46 x 38 cm (frame).Daniel Vázquez Díaz began to paint in his student years, after discovering the work of Zurbarán and El Greco. In 1903 he moved to Madrid to concentrate on painting and copying the masters of the Prado, where he became friends with Juan Gris, Solana and Darío de Regoyos. Three years later he settled in Paris, where he worked with the sculptor Antoine Bourdelle and met Picasso, Braque, Modigliani and Max Jacob, among others, and assimilated a certain avant-garde spirit. Around this time he began to develop his personal style, which blends the constructive brushstrokes of Cézanne with the geometric and flat structure of Cubism. On his return to Spain in 1918, he began to teach, first in his studio and later at the San Fernando School of Fine Arts, where he was awarded the chair of mural painting in 1932. Through his classes, Vázquez Díaz disseminated a Cubism of architectural monumentality, which served as a bridge between the young artists and the trends that were developing in the rest of Europe. In addition to being an excellent landscape painter, Vázquez Díaz excelled as an illustrator and portraitist of some of the most important figures of his time. His murals for the monastery of La Rábida in Huelva between 1927 and 1930, which established him as a painter, are particularly noteworthy. In 1968, a year before his death, he was appointed a member of the San Fernando Academy. He is currently represented in the Reina Sofía National Museum, the museum that bears his name in Nerva, the Patio Herreriano in Valladolid, the Telefónica Foundation and the Fine Arts Museums of Bilbao and Seville, among others.
Lot 51
Pair of Venetian torchbearers, late 19th century.Carved, polychromed and gilded wood.Electrified for lamps.Measurements: 174 x 31 x 32 cm. q.c. (total measurements).African models were used to characterise this type of sculptural furniture which was popular among the aristocratic classes in the Baroque period, but which the decorative art of the 19th century recovered, endowing them with new aesthetic connotations. As we can see, they have been carved, stewed and polychromed with exquisite care. The suppleness of the bodies, the curled hair, the brocade of the garments, the folds and pleats of the drapery, the soft cushions... every detail reveals the high quality of the carving. In keeping with the contemporary taste of the time, the neoclassical imprint can be seen in the lightness of the postures, the elegance of the movement, the harmony of the proportions and the physiognomic features. This type of subject matter, or the representation of oriental characters, began to develop in the aesthetic currents of 17th century Venice, and became very successful in the following centuries. It came to dominate different areas of the decorative arts, which was initiated by the cabinetmaker and sculptor Andrea Brustolon (1662-1732). His furniture was characterised by the abundant presence of sculpture applied practically in the round. His most characteristic figures were black figures such as the one shown here, ebonised and painted, which served as supports for large pieces of furniture or were free-standing. These figures were so popular throughout Europe that they became a key element in luxury furniture from the Baroque period until well into the 18th century and, as part of the historicism of the 19th century, they were given a new lease of life in the 19th century. They are pieces of exceptional carving quality, conceived as independent works of art. The iconography is the result of the taste for the exotic that characterised the 18th century, and which continued into the 19th century through the Romantic spirit, which liked to reflect and fantasise about everything that was different and distant, both in time and space. This piece recreates the idealised eighteenth-century Venetian world, which in the new industrial century symbolised an elegance and luxury that could never be recovered. This type of piece was meticulously and exquisitely worked, paying as much attention to the carving as to the polychromy, which freely and fancifully reproduced rich embroidered fabrics.
Lot 125
MONTEGRAPPA FOUNTAIN PEN "VATICAN PAPAL".Silver embossed and rose gold-plated barrel.Limited edition. Exemplary 410/476.Two-tone gold nib. Tip M.Screw cap. Piston loading.No box.Dimensions: 14 cm in length, 14 mm. in diameter.Uniquely captures the essence of the last two millennia by depicting the origin of this recorded time. Through the use of intricate engravings, it celebrates and commemorates the basis of the calendar by which we have achieved and marked this milestone.This numbered limited edition bears the signature of Pope John Paul II and the seal celebrating the Great Jubilee. The body and cap are overlaid with hand-engraved sterling silver 1.In a tapestry of images, hand-engraved into the precious metals of the cap and body of the pen, are the cherished values and images of the church.Turning the cap counterclockwise from the clip reveals the unmistakable silhouette of St Peter's Basilica. The name of the engraver's workshop is accompanied by the pen's serial number. An exclusive image of Pope John Paul II in front of the Holy Door at the opening of the Great Jubilee of the Year 2000 is central to the design of the cap, followed by the official logo of the Great Jubilee Celebrations of the Year 2000.Below the logo, the Latin inscription reads "PER CHRISTVM - IN SPIRITV SANCTO - AD DEVM PATREM" (FOR CHRIST - IN THE HOLY SPIRIT - TO GOD THE FATHER), quoted from the Apostolic Letter "Incarnationis Mysterium". The lower part of the cap proudly bears the signature of the Holy Father, Joannes Paulus II, who stamps this edition.The body presents the Holy Trinity: God the Father (top), Jesus Christ (centre) between Mary and John, the Holy Spirit represented by a dove (bottom). A multitude of angels surround the Holy Trinity, and the four angels near the dove hold the Gospels.Technically, the Papal Pen represents the latest advances in modern technology. It features a two-tone nib crafted in solid 18k gold, tastefully engraved to reproduce the keys of St. Peter's Basilica, masked platinum and an iridium tip for smooth writing.These piston-fed fountain pens employ a state-of-the-art ink feed system using hand-turned ebonite for uninterrupted ink flow, complemented by a high-capacity ink reservoir.
Lot 156
Three assorted bottles of Scotch whisky and four whisky miniatures, to include Glenmorangie, 10 year old, single Highland malt, 70cl, 40%, in Handcrafts of Scotland - Selecting the Spirit tin; Glenlivet, 12 year old, 70cl, 40%, in carton; Marks & Spencers Islay, 12 year old, single malt, ltd ed, 70cl, 40%, in tube; two Glenfiddich 12 year old miniatures, in tubes; and two Glenfiddich Special Reserve miniatures, in tubes.Qty: 7
Lot 40
ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012).Untitled.Lithograph, copy 22/75.Signed and numbered by hand.Size: 77 x 143 cm; 94 x 162 cm (frame).Co-founder of "Dau al Set" in 1948, Tàpies began to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travels to Paris in 1950, with a grant from the Institut Français. In 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the 1970s, anthologies have been devoted to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). Self-taught, Tàpies created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style full of symbolism, giving great importance to the material substratum of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly appreciated internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous prizes and distinctions, including the Praemium Imperiale of Japan, the National Prize for Culture, the Grand Prix for Painting in France, the Wolf Foundation for the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). A great defender of Catalan culture, of which he is deeply imbued, Tàpies is a great admirer of the mystical writer Ramón Llull, as well as the Catalan Romanesque and Gaudí's architecture. At the same time, he appreciates Eastern art and philosophy, which, like his own work, blur the boundary between matter and spirit, between man and nature. Influenced by Buddhism, his paintings show how pain, both physical and spiritual, is inherent to life. Antoni Tàpies is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.
Lot 467
A silver plated spirit kettle on stand, having a yoke-form handle with elongated tubular supports, the fattened circular body centred by a finial topped and hinged cover, all raised on a fused tubular stand with circular burner and ball feet, marked EPNS, maker William R. Shirtcliffe & Son - Sheffield
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