Null SANS RESERVE
BAGUE POMPON
En or gris, ornée de perles de topazes bleues fac…

Description

SANS RESERVE BAGUE POMPON En or gris, ornée de perles de topazes bleues facettées en goutte, de perles de turquoises serties clos d'un petit diamant, et d'une boule pavée de diamants. L'anneau souligné d'onyx. TDD : 54 ; US : 7 (non modifiable). A diamond, 18k gold, blue topaz, turquoise and onyx ring. RC : Poids brut : 38,5 g (18k - 750, dispensé de marque).

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SANS RESERVE BAGUE POMPON En or gris, ornée de perles de topazes bleues facettées en goutte, de perles de turquoises serties clos d'un petit diamant, et d'une boule pavée de diamants. L'anneau souligné d'onyx. TDD : 54 ; US : 7 (non modifiable). A diamond, 18k gold, blue topaz, turquoise and onyx ring. RC : Poids brut : 38,5 g (18k - 750, dispensé de marque).

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Starting price 150 EUR

Collier en or gris 14k (585 millièmes) à fine maille torsadée plate. Long. : 40,5 cm - Poids : 2,5 g On joint un pendentif en métal argenté piqué d'une importante perle de culture rehaussée de petits diamants brillantés dans une monture enrubannée.

Estim. 1 600 - 2 000 EUR

Novo-Hispanic school; late eighteenth century. "Virgin of the homeless". Oil on canvas. It presents restorations and faults on the pictorial surface. Measurements: 86 x 121 cm; 104 x 141 cm (frame). Devotional scene in which the figure of the Virgin of the homeless with the Child held with one of his hands and with the other a flowery branch. The Child, crowned like his mother, holds between his hand the obre while with the other he blesses. Both are inscribed in a border with a blue background that represents the idea of the celestial, although at the base a throne can be seen, representing the earthly. Next to them, to the sides, several cartouches let glimpse different figurative scenes that represent in the superior zone the archangel San Rafael and in the right zone the guardian angel. The intermediate zone is reserved for St. Francis and for the evangelist St. Mark and finally, in the lower zone, scenes of daily life of costumbrista character can be appreciated with a bullfight and a jump on horseback, both crowned by the presence of the Virgin of the homeless whose representation is repeated in these scenes. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening of some of the colonies, that several artists began to represent a new model of painting with its own identity. It presents restorations and faults on the pictorial surface.

Estim. 2 500 - 3 000 EUR

ISIDORO TAPIA (Valencia, ca. 1712 - ca. 1771/77). ‘Virgin and Child. Oil on canvas. Size: 84 x 62 x 2 cm. The format of this piece indicates that it was probably originally a processional banner. This is largely due to the composition, which is based on a compartmentalised scheme, with lower cartouches depicting various saints and an upper area containing the representation of the Virgin and Child, which is crowned by various angels. The piece is notable for its great scenography, typical of Baroque aesthetic schemes. This theatricality is defined firstly by the division between an earthly space, dedicated to the saints, and an area reserved exclusively for the divine plane, where the monumental figure of the Virgin dominates the space. The figure, which has been conceived in a pyramidal form, seated on a cloud with cherubic heads and the crescent of the fourth crescent, common in his iconography as the Immaculate Conception, stands as the central axis of the scene, exercising a strict centrality that is only interrupted in the upper area by the representation of the Eucharist and the dove of the Holy Spirit. A Spanish Rococo painter, the Valencian Isidoro de Tapia trained with Evaristo Muñoz, according to Ceán Bermúdez. In Valencia he executed several works commissioned by the public, and in 1743 he moved to Madrid. He joined the San Fernando Royal Academy of Fine Arts, where he was appointed a meritorious academician in 1755. It is thought that he also spent some time working in Portugal. He taught drawing at the Academy until his death, and also worked for the Royal Stables of the Royal Palace. Although few signed works by his hand are known, Ismael Gutiérrez Pastor compiled a small catalogue of twenty-eight works that provide an insight into the personality of this painter, and also reconstructed his life from known and unpublished documents. Works by Isidoro de Tapia are currently held in the San Fernando Academy and other collections.

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