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Toys and models

Catering to adult whims and nostalgia for the old days, auctions of toys and models provide a wealth of boat and aeroplane models, electric trains and miniature cars – particularly dinky toys: decidedly the rolls-royces of small collectors' cars.
With board games and games of chance, these drouot online sales of toys and models also provide enthusiasts with antique chess and domino sets, packs of cards, snakes and ladders games and automata, those luxury toys for overgrown children.
Auctions of porcelain dolls (the most popular being antique "jumeau" babies with closed mouths and "bru" babies) hold delights for collectors, alongside the celebrated teddy bears made by steiff.
Did you know ? The name teddy bear comes from the 26th us president, Theodore Roosevelt, who was nicknamed "teddy". One day he came home empty-handed from a bear hunt, and his entourage decided to tie a bear cub to a tree so that he could shoot it. Deeply shocked, roosevelt let the animal go. Two russian emigrants immortalised the story by creating a cuddly toy bear in 1902, naming it "teddy".


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Flemish school; first half of the 17th century. "Gipsy.". Oil on oak panel. It has an opening in the central area of the panel and needs to be consolidated. It has some slight leaps in the painting, repainting and restorations. Measurements: 31 x 26,5 cm. In the flemish 17th century, portraiture was one of the pictorial genres most in demand among the gentry. Here we are before a characteristic example of the technical refinement that the painters used in the individual portraits: skill in the handling of the drawing, detail inherited from the art of the miniatures, excellent glazes, the delicate blond hair and a fine gauze headdress. The folds of the neckline of the dress are perfectly geometrical, but this does not detract from the naturalness of the portrait. The same goes for the jewellery which the sitter wears in the form of a rhythmic fretwork. In this way, no element is left to chance, and everything is integrated into an underlying order of lines and colours. The facial oval, thus framed, is modelled by a filtered light which brings out the right tones of the slightly rosy flesh tones. The black eyes look out of the corner of his eye, revealing insight. It was undoubtedly in the painting of the Dutch school that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.

Estim. 1,400 - 1,600 EUR

Cantoral de monasterio; Spanish School; c. 1593. Gouache on vellum. Presents faults. Measurements: 64 x 39 cm. The choir books, also called cantorales, chorales or choral books, are large format musical manuscripts that contain various parts of the mass and the divine office, specific to each liturgical celebration. They were used in Europe during the late Middle Ages and the Renaissance, and their large format allowed the entire choir to read the musical notation from a distance. Although their use began to decline with the invention of the printing press, manuscript cantorales continued to be produced until the 19th century. Especially important was its development in the 15th century; from the beginning of the century a current of enrichment and renovation began in the liturgical celebrations, which led to the fact that in cathedrals, collegiate churches, abbeys and monasteries the old manual books for lecterns were progressively substituted by other larger ones for the lecterns. In this way the temples and religious centers will be endowed with new liturgical books, in the case of the richest centers illuminated books with beautiful miniatures framed within the international Gothic style, first, and already in the XVI century reflecting the new Renaissance taste. For the elaboration of the cantorales the parchment was always used, generally obtained from the skin of the sheep although in occasions, for folios of great size, the one of the deer was used. In fact, in the 16th century the parchment handicraft industry reached a great development in centers such as Granada; the parchment maker sold the folios already prepared, that is to say, polished and cut into sheets of the required size. Writers and miniaturists were involved in the composition of these choir books, and the latter would show in the 16th century the influence of the new quattrocentista style by adopting new decorative forms in the borders, in the exterior elements of the capitular letters and in the architectural backgrounds, conserving however the Flemish influence, key to the development of Spanish painting in the 15th century, in the folding of the clothing, the types and the movement of the figures. Presents faults.

Estim. 3,000 - 3,500 EUR