Null The image of the Protection of the Most Holy Theotokos. Midthird quarter of…

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The image of the Protection of the Most Holy Theotokos. Midthird quarter of the 19th century. Possibly Vetka. The image, especially revered in Rus`, is a centric, Novgorod composition, in which the memory of getting rid of the Slavic raid on Constantinople in the 7th century is recorded. Then the weekly veneration of the protection of the Mother of God, which grew into a religious procession, saved the city. This solemnly fixes the upper case of the icon. In the lower one, the sweet singer Roman before the emperor and the queen sings hosanna to the Mother of God and Her intercession. In the right stamp, behind the pillar - the scene of the prophetic visitation of Roman by the Mother of God. Clean and precise writing on gold depicts the outline of a temple with five domes, with a bell tower and an annex at the top. The catchy pictorial coloring, including the upcoming ones (St. Nicholas, Evdokia, Agripina and the Archangel Radeniya) is similar to the manner of the Vetka masters of the middle third quarter of the 19th century. Icon dimensions: 44x37 cm. Width: 37cm, Height: 44cm, Depth: 3.5cm, Weight: 5kg, Condition: Good, Material: Wood, gesso, gilding, tempera, ID: ID-ANTQ-7884

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The image of the Protection of the Most Holy Theotokos. Midthird quarter of the 19th century. Possibly Vetka. The image, especially revered in Rus`, is a centric, Novgorod composition, in which the memory of getting rid of the Slavic raid on Constantinople in the 7th century is recorded. Then the weekly veneration of the protection of the Mother of God, which grew into a religious procession, saved the city. This solemnly fixes the upper case of the icon. In the lower one, the sweet singer Roman before the emperor and the queen sings hosanna to the Mother of God and Her intercession. In the right stamp, behind the pillar - the scene of the prophetic visitation of Roman by the Mother of God. Clean and precise writing on gold depicts the outline of a temple with five domes, with a bell tower and an annex at the top. The catchy pictorial coloring, including the upcoming ones (St. Nicholas, Evdokia, Agripina and the Archangel Radeniya) is similar to the manner of the Vetka masters of the middle third quarter of the 19th century. Icon dimensions: 44x37 cm. Width: 37cm, Height: 44cm, Depth: 3.5cm, Weight: 5kg, Condition: Good, Material: Wood, gesso, gilding, tempera, ID: ID-ANTQ-7884

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Estim. 20 000 - 30 000 EUR

Laurent Delvaux (Ghent 1696 - Nivelles 1778), Rome, 1728-1732 Sphinx Terracotta model Headed by Némès; resting on a fully molded rectangular base; monogrammed D Dimensions: 21.5 x 42 x 16.5 cm (8 ½ x 16 ½ x 6 ½ in.) Provenance: Estate of Laurent Delvaux: on March 2, 1778, the work devolved by inheritance to Jean-Godefroid Delvaux ; Brussels, Laurent Delvaux-de Saive collection; Louis Jacques Delvaux Collection; Ixelles, Octave Delvaux-de Breyne (Willa me) collection; Brussels, Mme Madeleine Verstraete collection, then by descent to the current owner. Bibliography: G. Willame, Laurent Delvaux, 1696-1778, Bruxelles-Paris: G. Van Oest et Cie, 1914, p. 59, no. 68. M. Devigne, De la parenté d'inspiration des artistes flamands du XVIIe et du XVIIIe siècle. Laurent Delvaux et ses élèves, Mémoire de l'Académie royale de Belgique, Classe des Beaux-Arts, 2e série, II, fasc. 1, 1928, p. 8. A. Jacobs, Laurent Delvaux 1696-1778, Paris, Arthena, 1999, p. 206, p. 249, n°S 35. A terracotta model of a Sphinx, Laurent Delvaux (Gand 1696 - Nivelles 1778), Rome, 1728-1732 "La Sphinge" is monogrammed D but does not bear any mention of Rome. However, the terracotta, with its lovely blond color, is Roman and not Flemish. While the work is just as delicate and conscientious in its craftsmanship and finished appearance, Delvaux seems to have taken a more assertive liberty in interpreting an antique model. The antique sculpture that most closely resembles his figure is one of the two "Sphinxes" that adorned the walls of the museum. Sphinx" that adorned the gardens of the Villa Borghese in Rome (Paris Musée du Louvre, inv. N 32). He transformed the Egyptian archetype into a more graceful, lively image, with a more assertive naturalism and sensuality befitting 18th-century taste. A second Delvaux's later terracotta Sphinge is listed in his work (loc. cit.). The sphinx in Greek mythology is a female monster, an infernal deity with the face and breast of a woman and the body of a lion (androcephalus), which has inspired artists over the centuries. The sphinx / sphinge was sent to Boeotia to punish the city for the crime of its king, Oedipus' father Laios, who had loved Chryssipos in an unnatural way. Installed on a rocky mount, the monster asked a question to all travelers passing by. Those who failed to solve the riddle were immediately killed and devoured. In ancient Egypt, the sphinx was a mythical figure, a symbol of power and vigilance. The oldest representation is the Giza Sphinx, east of the Khephren Pyramid, dated to around 2500 BC. A cross between sculpture and architecture, it features a monumental reclining lion whose head is that of the ruler Khephren or his father Khufu, wearing the royal headdress Nemes. He is depicted here as the guardian of the necropolis, charged with defending it against potential assailants or evil forces. He is the symbol of sovereign strength, protective and formidable to enemies. This terracotta testifies to his desire to penetrate the secrets of the emotion that contact with antique marble originals in Rome can arouse in an artist sensitive to the classical ideal. Delvaux's primary aim in creating these terracotta sculptures in Rome was to build up a stock of working models for his subsequent career in the Netherlands. He kept them in his studio until the end of his life. The sphinx presented here is of major importance in the appreciation of the work of the famous Flemish sculptor. Its appearance on the art market is an important event for collectors, connoisseurs and art historians alike. The sculpture was part of Laurent Delvaux's estate from March 2, 1778, and has been handed down from generation to generation, where it has remained to the present day. We thank Professor Alain Jacobs for his collaboration. We thank Professor Alain Jacobs for his collaboration.

Estim. 2 400 - 2 600 EUR

SUSANA CRUZ (Madrid, 1992). "The dream", Equilibrium Series, 2023. Oil on canvas. Signed and dated in the lower right corner. Signed and dated on the back. Measurements: 180 x 150 cm. In the painting the girl shows the innocence before the painting, the happiness of staining herself with oil and enjoying with the canvas. Behind, the woman, already an adult, observing the image, remembering why she continues day by day, accompanied by the sculpture, who has made her discover an infinite world of creations. The lion watches over the scene serenely, providing a protective barrier. All the characters, with a certain baroque air, are in my mind, the different emotions that make me calmly and emotionally begin to create. This is an oil painting painted with a palette knife, except for the smooth background which has been worked with a roller and palette knife. This contrast of textures, along with the contrast of black tone, tan shade and white, reflects strength and expressiveness making the characters acquire the leading role and capture the viewer's attention. Susana Cruz was educated at the Polytechnic University of Madrid, where she studied Materials Engineering and later a Master's Degree in Business Consulting. Her interest and knowledge of painting has been acquired in a self-taught way, according to the artist: "Painting allows me to express myself and immerse myself in my world. I have even cried while painting and most of the time my skin crawls when I listen to good music in the background while I let myself be carried away by the oil painting". He began to define my style thanks to the period when he lived in Italy. Currently, his work is inspired by baroque painting, and the passion for the dramatic use of chiaroscuro, taken to a more personal terrain.

Estim. 1 000 - 1 200 EUR

SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989). "The Ten Commandments", 1975. Collection of 10 silver medals and methacrylate case with printed signature. Signed by the artist. Measurements: 5 cm diameter each medal. Collection composed of ten coins that symbolize the 10 commandments. Exemplifying some of the coins, the one corresponding to the tenth commandment (Thou shalt not covet the goods of others) shows a palace of monumental proportions, in which the construction and decoration are testimony of great wealth, and a knight entering the magnificent halls of the palace. On the right is a precarious and sluggish hut, protecting a poor man; corresponding to the ninth commandment (Thou shalt not covet thy neighbor's wife) on the coin the desired symbolic meaning is reached by the inversion of an image which, seen from right to left, represents the piety due to a slave with his hands tied behind his back. Viewed in reverse, from left to right, the image changes meaning. What was piety is transformed into a desire for erotic concupiscence, since in this way what was previously the head of the figure becomes the back part. Painter and sculptor, Salvador Dalí was one of the greatest exponents of the surrealist movement. His work greatly influenced the course of surrealism during the twenties and thirties, being acclaimed as the creator of the paranoiac-critical method, an essential combination of the real with the imaginary. Most of his production is gathered in the Dalí Theater-Museum in Figueras, followed by the collection of the Salvador Dalí Museum in St. Petersburg (Florida), the Reina Sofía in Madrid, the Salvador Dalí Gallery in Pacific Palisades (California), the Espace Dalí in Montmartre (Paris) or the Dalí Universe in London.

Estim. 2 500 - 3 500 EUR

Lucien Coutaud (1904-1977)

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