Miniature toys and models

19th century school Set of two oval miniatures on ivory, one depicting Napoleon I, signed Doysie, the other depicting Josephine, signed Aquille. Diameter: 5 cm at sight

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.

Miniature painted with gouache. Classic taste scene reminiscent of the works of Jacques Joseph de Gault. In a Louis XVI style frame from the Napoleon III era in gilt bronze. France, circa 1800. 5.5cm Ø

Miniature painting, around 1820/30, small gouache, view of Baden Baden with troop parade, approx. 9 x 12 cm, under glass, frame approx. 22 x 25 cm

"INSIGNE ORDER OF THE GOLDEN FLIGHT" - The original of which is kept in the Valencia Institute of Don Juan. Valencia: Scriptorium ed., 1998. Smaller folio, full leather on board, case ed. Notarial record and vol. of studies. Composed of 230 pages. Illustrated with 207 coats of arms, full-page portraits of the sovereigns with their coats of arms, and more than 300 miniature capitulars. It is considered the most beautiful codex of the Order of the Fleece, the one called the Empress, because it belonged to Eugenia de Montijo, wife of Napoleon III.

ESCUELA ESPAÑOLA S. XIX Miniature painted with gouache. In ebonized wood and gilded bronze frame. 7x5.5cm

ESCUELA FRANCESA PPS. S. XIX Miniature painted with gouache. In circular gold brass frame. 7cm Ø

ESCUELA FRANCESA S. XIX Miniature painted with gouache. In a carved wooden frame with a gilt bronze pre-frame. 7.5x5.5cm

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.

MAQUETTE DE VOILIER en bois et métal. Longueur : 120 cm. Hauteur : 146 cm.

MAQUETTE de Terre - Neuvas. Longueur : 61 cm.

Richard MacDonald (American, b. 1946). Large bronze sculpture titled "Red Dress, Half Life," from the "Joie de Vivre" series depicting a half life-size ballerina perched delicately on the tip of her toes. A radiant smile lights up her face and she seems to spin gracefully as the fabric of her dress swishes around her. Signed and dated 2001 along the base. From an edition of 90. With a wooden plinth. Provenance: The collection of Clint & Mary Ann Jurgens, Minnesota. Walt and Vi Jurgens, Clint’s parents, began supporting Sullivan Hills, a Lutheran summer camp near their farm in Gurley, Nebraska, 50 years ago. The camp generously welcomes all children of the area with financial help and love. We are directing the proceeds of this sale to the administrators of the camp, Nebraska Lutheran Outdoor Ministries. Find out more at www.nlom.org. Lot Essay: Richard MacDonald's sculptures celebrate the beauty and physicality of the human form. He was classically trained at Art Center College in Pasanda, California. Following the great sculptural masters such as Auguste Rodin and Gian Lorenzo Bernini, he adds a contemporary element to his figural creations. His ability to focus on how the body can be manipulated has led to his work with Cirque du Soleil, MGM, and the Olympic Games. His process involves making a clay "sketch" or maquette of his work. These quarter-size models are the basis for his half life to life-size works. He then utilizes the famously painstaking Lost Wax method in which his work will become first a wax model and then a bronze sculpture. (Including base) Height: 60 in x width: 30 in x depth: 22 1/2 in. Weight (without wooden base): 198 lbs 6 oz.

Trois petites MAQUETTES de voilier en bois, voiles en toile.

ESCUELA FRANCESA PPS. S. XIX Miniature painted with gouache. In octagonal frame with imitation pearl decoration. Beveled glass. *It has a vertical fracture on the left side. 7x5cm

MAQUETTE d'un Terre-Neuvas trois mâts barque, anciennement monté en diorama, en bois. Longueur : 41 cm.

MAQUETTE DE CARGO en bois et métal naviguant, avec sa clé, mécanisme fonctionnel. Longueur : 72,5 cm. Hauteur : 38,5 cm. (accidents et manques).

MAQUETTE en bois et métal de hors- bord télécommandé, avec deux batteries et sa télécommande. Longueur : 1,42 cm.

N. PHILIP (19th century artist), presumed portrait of Caroline of Bavaria, miniature on ivory, size 8.5 x 6.5 cm. Another miniature portrait of an elegant woman, 20th century work, size 8 x 6.5 cm.