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PELIKAN Toledo M700 -Fountain Pen- Pen body with decorative 925 sterli…

Description

Pens PELIKAN Toledo M700 -Fountain Pen- Pen body with decorative 925 sterling silver band on 24kt gold plating. Black resin cap and trim. Piston filling system. 18kt gold F nib. New pen, never inked or tried, sold with its complete set.

1772

Pens PELIKAN Toledo M700 -Fountain Pen- Pen body with decorative 925 sterling silver band on 24kt gold plating. Black resin cap and trim. Piston filling system. 18kt gold F nib. New pen, never inked or tried, sold with its complete set.

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Estim. 600 - 1 000 EUR

Pelikan Toledo M900 Fountain Pen. Pelikan Toledo M900 Fountain Pen. 18k gold nib. Sterling silver sleeve with selective gilding. Size: M. Original case with booklet, mint condition - never been used.

Estim. 6 000 - 7 000 EUR

Circle of PEDRO MACHUCA (Toledo, ca. 1490-Granada, 1550); 16th century. "The Assumption of the Virgin. Oil on panel. The original frame is preserved. It shows faults and losses on the pictorial surface. It shows damage caused by xylophages. Measurements: 187 x 104 cm; 204 x 119 cm (frame). It is a composition full of movement and dynamism, where each one of the characters is studied individually and as a whole, showing different postures and planes. This mastery in the profusion of figures and the mastery of a complex composition. This majestic panel depicts the Assumption of the Virgin, carried body and soul into Heaven, in a triumphal and scenographic manner. Behind her is the Glory, represented by a faint divine light, an elaborate break in the margins of which we see angels in different positions, some looking towards the earth and others towards the Virgin. On the earthly plane, clearly differentiated from the heavenly plane by the line of clouds, the figures gather around the Virgin's open tomb. They are the apostles who, having witnessed Mary's death, marvel at her Assumption. Some of them are depicted with their backs to the tomb, closing a circular composition defined around the tomb, classical and orderly despite the apparent crowding of the figures in favour of the theatricality and, above all, the dynamism of the scene. Most of the figures are shown looking up towards the sky, with their hands raised in surprise as well as veneration, a skilful aspect of the narrative. We see how Mary does not ascend to heaven by her own means, like Christ, but is raised to Paradise by the angels. As is customary in Western art, the artist depicts her bodily Assumption outside the tomb where the apostles had buried her. Formally the work falls within the circle of Pedro Machuca, who is chiefly remembered as the Spanish architect responsible for the design of the Palace of Charles V (begun in 1528) adjacent to the Alcazar in Granada. The details of his life are little known. Born in Toledo, he is said to have been a pupil or friend of Michelangelo and Pontormo. His presence is documented in Italy as early as 1517, when he signed The Virgin and the Souls in Purgatory (Prado), whose style has led him to be associated with the workshop of Raphael. On his return to Spain in 1520, he worked as a painter in the Royal Chapel of Granada, as well as in Jaén, Toledo and Uclés.

Estim. 4 000 - 5 000 EUR

Attributed to ANTONIO MARIA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Academic study". Oil on canvas. Relined. Provenance: Private collection in Belgium. With export permit. Size: 103 x 82 cm; 126 x 104 cm (frame). The portrait shows a physiognomy of the gentleman characterised with verism and detailed brushstrokes, with a miniaturist's pulse. A fig leaf covers his private parts. The moving posture breathes life into the body, which is aided by the pronounced musculature and the concentrated face, as each element is resolved with extreme precision. Esquivel was the most representative and prolific painter of Sevillian Romanticism and one of the most outstanding of his time in Spain. His life was a true Romantic plea; he lost his fortune after his father's death, was orphaned and left poor, and at the age of seventeen he enlisted against the absolutist cause of the Duke of Angoulême, and did not live comfortably until he moved to Madrid in 1831. However, in 1838 he returned to Seville, where he lost his sight shortly afterwards. Cured in 1840 he returned to Madrid, where he worked until his death. Trained at the Seville Academy of Fine Arts, he was appointed chamber painter in 1843 and a member of the San Fernando Royal Academy in 1847, contributed to the publications "El siglo XIX" and "El Panorama" and was a member of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid, which led him to publish the monographs of José Elbo y Herrera el Viejo (1847) and his "Tratado de anatomía práctica" (1848). He was also an art critic and wrote on history painting and the German Nazarenes. As a painter he fully identified with Romanticism, which he expressed through the sentiment and aesthetic correctness of his work. His style, which is partly eclectic, is characterised by a great technical mastery that manages to harmoniously balance the correctness of the drawing and the quality of the colours. Although he dealt with a wide range of subjects, portraiture is an essential part of his career. In addition to his artistic merit, his portraits illustrate the society of his time with historical rigour, without neglecting affective values. He received many commissions for portraits in various formats, and also produced several self-portraits, one of which is in the Museo del Prado. He also executed group portraits, which reflect his fascination with the Dutch Baroque and his corporate portraits. With regard to religious themes, he was a follower of Murillo, in connection with his own status as a Sevillian. His history paintings had a very personal, literary and theatrical character, the result of the Romantic atmosphere in which he lived. His official awards include the plaque of the Siege of Cadiz and the Cross of Commander of the Order of Isabella the Catholic. In 2006, in commemoration of his second centenary, the Seville Academy of Fine Arts, in collaboration with the El Monte Foundation, held a retrospective exhibition dedicated to his work. He is represented in the Prado Museum, the Huesca Town Hall, the Lázaro Galdiano Museum, the Fine Arts Museum in Seville, the Romantic and Naval Museums in Madrid, the National Library and the Santa Cruz Museum in Toledo, among many others.

Estim. 80 - 120 EUR

ST DUPONT - Pair of fountain and ballpoint pens. Nib cap in 925 thousandths vermeil silver, body in fluted gold-plated. Length: 13.4 cm

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