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Lot 229
A quantity of 16th century velvet and metallic braid sections, Florentine, designed with meandering flowerheads, approximately 7m total length; together with a panel of French brocade, circa 1800, a Victorian beadwork banner, a small fragment of 17th century tapestry, a velvet cushion front and an Aubusson cushion front, and a curtain tassel tie-back (7)Simonini collection
Lot 102
Workshop by FRANCISCO BAYEU (Zaragoza, 1734 - Madrid, 1795).Providence presiding over the virtues and faculties of man".Oil on canvas. Relined.It conserves old frame of Carlos IV style.Measurements: 74.5 x 65.5 cm; 88 x 79 cm (frame).The conception of this scene, thought to be contemplated from below, and its figures indicate a great aesthetic relation with the fresco that is in the Royal Palace of Madrid titled "The Providence presiding over the virtues and the faculties of the man", which was concluded in 1771, by the artist Francisco Bayeu.Francisco Bayeu began his training in his native Saragossa, attending the workshop of Juan Andrés Merklein, a painter of Bohemian origin, and the drawing classes of José Luzán Martínez. In 1756 he was awarded the Extraordinary Prize at the San Fernando Academy, which earned him a scholarship in 1758 to study for two years at the San Fernando Academy in Madrid. However, Bayeu left the academy only two months later because of his disagreements with one of the professors, Antonio González Velázquez. He then returned to Saragossa and his financial situation became complicated, as the death of his parents forced him to take charge of his family. He then began his career as a painter, carrying out commissions for churches and convents in the city. Around this time, in 1759, he married Sebastiana Merklein, the daughter of his master. During these years he developed the language of his youth, influenced by Lucas Jordán and Corrado Giaquinto. However, in 1762 Anton Raphael Mengs, the leading court painter, visited Saragossa and asked him to work with him on the decoration of the new Royal Palace. Thanks to Mengs's protection, Bayeu carried out various decorative commissions for the Royal Sites, thus establishing himself as one of the most outstanding painters of the day. These early works for the court included the fresco decoration of the vaults of the dining room in the queen's bedroom ("The Surrender of Granada") and the antechamber of the Princes of Asturias ("The Fall of the Giants"). His Baroque training is still evident in these works, but elements of his mature language can already be glimpsed, such as the elegance of the positions, the meticulousness, the neoclassical lighting effects and the perfect anatomical study. By the 1760s his neoclassical aesthetic was fully formed, marked by a clean, precise drawing and a palette that played with the contrast of reds and yellows over a tonality based on blues and greys, as can be seen in "Hercules on Olympus" (conversation room of the Princes of Asturias in the Royal Palace), "Apollo remunerating the Arts" (El Pardo) or "Providence presiding over the virtues and faculties of man" (room next to the gala dining room of the Royal Palace). Within his religious production of these years, the eleven fresco scenes illustrating the lives and miracles of Toledo saints in Toledo cathedral, works that were already completely indebted to Mengs, are particularly noteworthy. After the latter's departure for Rome in 1777, the Aragonese painter took on all the duties left by Mengs as his first painter, although he did not obtain this appointment. These tasks included designing cartoons for the Royal Tapestry Factory, where he supervised the work of Goya, his brother-in-law from 1773. In 1785 he was commissioned by Charles III to restore the paintings in the royal collections. In 1786 he was appointed director of the San Fernando Academy. Influenced by the painting of Corrado Giaquinto and González Vázquez, Bayeu's first period was one of the most outstanding exponents of Spanish late Baroque painting. He later became the most faithful follower of Mengs, assimilating neoclassical principles. His figures would appear in restrained positions, his colouring would be local and his lighting balanced, leaving behind the strong contrasts of his first period.
Lot 22
Flemish school of the 17th century."Resurrected Christ appears in front of Mary Magdalene".Oil on copper.Illegible signature in lower central part.Frame of epoch with light faults.Measurements: 44 x 64 cm; 65 x 88 cm (frame).We see in this copper a complex composition, placed in a landscape worked with great depth, constructed with the traditional Flemish formula of the parallel planes. In the foreground is Mary Magdalene kneeling in front of the Messiah. Tradition has it that she was the first person to see the risen Christ. The composition is completed by the steep grotto that hid Christ's tomb, now guarded by two winged angels who observe the main event. In the background, three women converse about the scene before them. During the 15th century, the Netherlandish 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 even stopped painting on panel, the traditional medium of Flemish painting, and began to paint on canvas like the Italians. The main introducers of the Renaissance in the Low Countries were Jan Gossaert (c.1478-1532) and Bernard Van Orley (c.1489-1541), painters who may have travelled to the Netherlands to paint on canvas like the Italians.), painters who may have travelled to Italy but who, in any case, may have become acquainted with the new style through other channels of penetration, such as Raphael's cartoons for the tapestry series of "The Acts of the Apostles", woven in Brussels, the work of Dürer, who made two trips to Italy and passed through the Low Countries, and the figure of Jacopo de Barbari (c.1445-1515), an Italian painter who travelled to Flanders.
Lot 698
A set of four circa 1900 French carved walnut framed salon chairs with aubusson style tapestry upholstered backs and seats raised on acanthus carved moulded cabriole legs to scroll feet 57 cm wide x 50 cm deep x 103 cm high together with a 19th Century French mahogany bar back carver chair 53 cm wide x 81 cm high, a painted and carved framed prie dieu chair with upholstered top panel back and seat on turned and fluted legs 45 cm wide x 89 cm high, a stained beech framed bergere desk chair on turned and fluted legs to peg feet 61 cm wide x 85 cm high
Lot 136
* Pine (John). Four Sea Charts, numbers 3 & 4, 5 & 6, 7 & 8 and 9 & 10, originally published in 'The Tapestry Hangings of the House of Lords, Representing the Several Engagements between the English and Spanish Fleets, in the Ever Memorable Year MDLXXXVII ..., London: John Pine, 1739, four hand-coloured engraved sea charts comprising double charts of the English Channel showing the progress of the Spanish Armada and the deployment of the English fleet, after H. Gravelot, each map displayed within highly decorative borders, thread margins, some marginal chipping and fraying with occasional loss to the printed surface, laid on later card, each approximately 385 x 615 mm, uniformly framed and glazedQty: (4)
Lot 353
Japanese Woodblock Books. 5 Japanese woodblock books, c.1905, containing calligraphy, emblems, tapestry, natural history, occasional light spotting and dust-soiling, all in original paper wrappers, some rubbed and worn to extremities, some chipped with slight marginal loss, 4to, 8vo and 12moQty: (5)
Lot 211
An embroidery in 16th century South Netherlandish manner, second half 19th century, depicting a falconer, approximately 162 x 134cmThis embroidery is based on a 16th century South Netherlandish tapestry currently held in the Metropolitan Museum of Art, New York (1974.228.2). Provenance: By repute of the Vendor, from Dromoland Castle, Ireland.
Lot 401
An Aubusson tapestry, 18th century, depicting a courting couple beneath a tree with attendant hound, approximately 250 x 170cm Condition Report: Overall the tapestry is repaired and in distressed condition.There are signs of this tapestry being cut, reshaped and reduced in size. There is a later outer border in two different border fabrics, that is worn and aged.The tapestry is extensively repaired with wear including holes, tears. The repairs including with later stitching in various threads and some patching. Some areas are not repaired with visible damage.Later backed, with some hessian visible through holes to the front, later backed with a discoloured linen stitched to it.Some fading and insect damage.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
Lot 410
Five French tapestry panels, 1970s, various printed marks,largest 113 x 48cm, mounted or framed (5)Condition report: Horses - Backboard is split - tear to the top.Cockerel - framed 82 x 68cm - some knocks to frame.Flowers - 53 x 40.5cm, framed knocks to frame. Smaller cockerel - 36 x 45.5cm, on stretcher, ribbon edging worn.Butterfly - mounted on board 78 x 63.5cm
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39443 item(s)/page