Antique frame with miniature clothes.

Description

Antique frame with miniature clothes.

745

Antique frame with miniature clothes.

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Estim. 3 000 - 6 000 EUR

A FINE SIX-PANEL BYOBU WITH THE TAGASODE (‘WHOSE SLEEVES?’) MOTIF AND PLUM BLOSSOMS A FINE SIX-PANEL BYOBU WITH THE TAGASODE (‘WHOSE SLEEVES?’) MOTIF AND PLUM BLOSSOMS Japan, early 20 th century, late Meiji (1868-1912) to Taisho period (1912-1926) Ink, gouache, and watercolor on paper with silk and gold thread for the textiles. Mounted on six panels with a burgundy lacquer frame with gilt-metal fittings. The large screen depicting an elaborate kimono hung from an ornate iko (kimono rack) next to a plum tree, beneath which are two further textiles, The textiles are rendered in silk thread and are decorated with a river near an open pavilions with beautiful multicolored grass and flowers as well as a temple complex. Signed and sealed to the lower right-hand corner. SIZE 379 x 172.3 cm Condition: Very good condition with minor wear, minor soiling, and slight fraying to the silk threads. In classical love poetry the phrase Tagasode (“Whose Sleeves?”) refers to an absent woman whose beautiful robes evoke memories of their owner. A number of early screens with this sobriquet depict sumptuously patterned kimonos draped over lacquered clothing stands. This later example displays fashionable textile patterns of the Edo period, and some of the with the pattern of common Kyoto textiles. Beginning in the medieval period, Kyoto was known for its textile industry, centered in what is now the Nishijin district. Empress Consort Tōfukumon’in (1607–1678), wife of Emperor Go-Mizunoo (1596–1680), frequently ordered richly ornamented garments from Kariganeya, a textile shop catering to the old aristocracy, and her purchases initiated official imperial patronage of Kyoto textiles. Museum comparison: Compare an earlier six-panel byobu with the same motif, dated first half of the 17 th century, in the Metropolitan Museum of Art (The MET), accession number 62.36.2, .3.

Estim. 20 000 - 25 000 EUR

MATEO GALLARDO (Madrid?, ca. 1600 - Madrid, 1667) "Jael and Sisara". Oil on canvas. Re-drawn. It presents slight faults on the pictorial surface. Signed in the lower right area. Provenance: Collection Fórum Filatélico, Madrid and Private Collection of Madrid. Measurements: 145 x 163 cm; 156 x 172 cm (frame). Bibliography - Angulo Íñiguez, Diego, and Pérez Sánchez, Alfonso E., Historia de la pintura española. Escuela madrileña del segundo tercio del siglo XVII, Madrid, Instituto Diego Velázquez, csic, 1983, p. 67. - Mónica Walker Vadillo, Jael y Sísara, Digital database of Medieval Iconography, Universidad Complutense de Madrid. With two works in the collection of the Prado Museum, this painting of excellent quality presents the biblical moment in which Jael, the wife of Barak the Kenite, invites Sisera (Jabin's general) to rest in her tent after the battle between the Israelites and the subjects of King Jabin of Canaan. When he falls asleep, Jael drives a stake through his temple; fulfilling the words of the prophetess Deborah, who foretold that General Sisera would die by the hand of a woman and not by the sword of Barak. This Old Testament passage is considered by medieval exegetes to be a prefiguration of the Virgin defeating the devil. Other painters were interested in this theme, such as Artemisia Gentileschi (1593-1656) and Jacopo Vignali (1592-1664). Compositionally, we see General Sisera on the ground, dead, while Jael picks up his tunic under the attentive gaze of her husband. The clothing of the various figures is richly coloured. The spotlight on the left-hand side of the painting depicts different tones on the skin of the sitters. These flesh tones are very restrained, and without being monumental, they are worked in great detail. On the far left, a window opens onto a landscape that adds depth to the scene. The thick folds of the costumes are meticulously treated, lending solemnity to a narrative scene with a profound emotional sense. Mateo Gallardo was a Spanish Baroque painter based in Madrid. Of his works, only one signed and dated canvas survives: The Martyrdom of Saint Catherine (1653, Museo de Bellas Artes de Asturias). His painting is characterised by vivid colouring and the rounded forms of a very elaborate drawing. He is therefore considered to be a painter of the late Mannerist aesthetic. Among his best-known works is the main altarpiece of Plasencia Cathedral.

Estim. 18 000 - 22 000 EUR

Attributed to the Master JUAN TEJERINA, 16th century. "The betrothal of the Virgin and Saint Joseph". Oil on panel. It has a 20th century frame following 15th century models. Measurements. 75 x 53 cm; 95 x 58 cm (frame). In the midst of the transition between the Gothic and Renaissance styles, this work shows us the author's knowledge of the new humanist trends. This is reflected in the way the space is composed, as the scene is organised through a vanishing point based on the viewer's gaze. The symmetry, common in this image of long artistic tradition, and the use of counterposts, movements and folds of the garments distance the work from the hieratic style typical of the Gothic period, although it is true that certain figures are reminiscent of that period. The panel depicts a theme that was particularly popular in the late Middle Ages, although its textual source is not to be found in the canonical biblical texts but in various apocryphal accounts. It concerns the betrothal of the Virgin Mary to the elderly Saint Joseph. From the 12th and 13th centuries until the end of the Gothic period, Mary gained importance as a symbol of the Church and its faithful, but also as an increasingly close, human figure, as the mother who intercedes for her earthly children, humanity, before her heavenly Son, Christ, seeking his forgiveness. In line with this growing importance, interest in her life, the events that marked her earthly existence and her destiny after her death also increased. Numerous devotional and mystical works, in many cases inspired by the ancient apocryphal texts written in the first centuries of Christianity, hastened to fill in the gaps left by the evangelists, recounting episodes of his childhood and youth in detail. In the case of her marriage to Saint Joseph, the sources take special care to emphasise the miraculous character of this marriage, pointing out that the suitor was chosen from among all the just and honourable men of Jerusalem, both unmarried and widowed, thanks to a divine sign. The stylistic characteristics of the piece bring us closer to the work of the master Juan Tejerina, whose production developed especially in the area of Palencia. A follower of Juan de Flandes, his aesthetic proximity has led to the attribution of the two panels of the Visitation of the Virgin to Saint Elizabeth and the Adoration of the Kings, which are included in the upper section of the main altarpiece in Palencia cathedral. The Annunciation and the Nativity in the church of Santa Eulalia in Paredes de Nava are also attributed to him.

Estim. 5 000 - 6 000 EUR

VECELLIO, Caesar. De gli habiti antichi, et moderni di diverse Parti del Mondo. Venice, Damiano Zenato, 1590 8vo large, 165x112 mm; 19th-century English glazed tawny calf binding, gilt fillets. cc. [24], 499. Frontispiece within large architectural frame and 420 wood-engraved costumes in beautiful frames. At c. 432 with own frontispiece: De gli habiti, costumi, et vsanze dell'Asia, et dell'Africa ... Book two. Five full-page woodcut views of Venice, numerous woodcut ornamental headpieces and endpapers, decorative initials of various sizes and small typographic ornaments. Ex-Libris of Alexis von Rosenberg, Baron de Redé, French banker and aristocrat, great collector of furniture, works of art, valuable paintings and books, silverware, porcelain, glass, and heirlooms.Joints restored. Tear at c. 95 marginally affecting next board. Slight moisture halo to upper margin. First edition of this costume book, enriched by a series of over 400 woodcut illustrations of clothes and garments from various parts of the world, with a rich supplementary explanatory text. Cesare Vecellio, cousin of the famous Venetian painter Titian and a member of his prestigious atelier, was active in the Veneto as a painter for most of his life. In his later years he devoted himself to the publication of this history of costume with encyclopedic ambitions, both geographically and chronologically, embracing the whole then known world and broadening his gaze from the Old Testament and the classical world to the Renaissance. The treatise is divided into two books, one devoted to Venice, Rome, Italy and Europe, the other focusing on Asia and Africa.Colas 2976 ("très rare"); Lipperheide Aa33; Hiler p. 873; Adams 314; Benezit, XIV, p. 82. Large 8vo. 165x112 mm. English glazed calf binding of 19th century, gilt rules. Cc. [24], 499. Titlepage within large architectonic frame and 420 woodcut costumes in wonderful frames. On leaf 432 starts with own titlepage: De gli habiti, costumi, et vsanze dell'Asia, et dell'Africa ... Book 2. Five woodcut views of Venice on full page, several woodcut headpieces and endpieces, woodcut initial letter of various sizes and little typographic ornaments. Ex-Libris of Alexis von Rosenberg, Baron de Redé, French banker and aristocrat, great collector of furniture, works of art, paintings and fine books, silverware, porcelain, glass and memorabilia. Restored joints. Little tear on l. 95 that involved marginally the following plate. Slight damp stain on top margin. First edition of this book of clothes, enriched by a series of over 400 woodcut illustrations of dresses and clothes from various parts of the world, with a rich complementary explanatory text.Cesare Vecellio, cousin of the famous Venetian painter Titian and member of his prestigious atelier, was active in Veneto as a painter for most of his life. In recent years he dedicated himself to the publication of this history of customs with encyclopedic ambitions, both in geographical and chronological terms, embracing the entire world known at the time and broadening his gaze from the Old Testament and the classical world to the Renaissance. The treatise is divided into two books, one dedicated to Venice, Rome, Italy and Europe, the other which focuses on Asia and Africa.

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