27th May - Decorative Arts

Lot 1 - After MICHELANGELO BUONARROTI (Caprese, 1475-Rome, 1564), 19th century. "Giuliano de Medici" Bronze. Measurements: 92 x 37 x 39 cm (sculpture); 80 x 38 x 42 cm (wooden base). The work under bidding is the representation of the original sculpture made by Michelangelo between 1526 and 1534 and which is part of the decoration of the New Sacristy in the Basilica of San Lorenzo in Florence. The idealized statue of Giuliano follows the canons of perfect proportions of classical antiquity. He appears seated, dressed in Roman military costume and carrying the baton of command, while maintaining an attitude of intervention and movement, which can be seen in the torso and turned head. In addition, he brings forward one of his legs while he pulls back the other in a more relaxed pose, revealing a "contrapposto" position. The whole set shows great detail and realism, which can be appreciated in the gesture and facial expression of the Italian politician. Giuliano de' Medici, a member of one of the most renowned families in Renaissance Italy due to their wealth as bankers, an activity that allowed them to act as patrons of important scientists and artists of the time, is depicted with great skill.

Estim. 8 000 - 10 000 EUR

Lot 2 - LOUIS ERNEST BARRIAS (France, 1841 - 1905). "La Nature se dévoilant devant la Science". Gilt and silver-plated bronze. Signed by the artist. With signature and Susse Freres Editeurs foundry stamp. Measurements: 74 x 26 x 18 cm. Splendid and majestic sculpture in round bulk made in gilded and silver-plated bronze representing a half-naked woman ("Nature undresses before Science"), considered one of the best works of the author Louis Ernest Barrias. It stands on a rectangular base, and represents a woman of exuberant beauty. The face and neck, elaborated with great perfection and delicacy, deserve special attention. This work is evidence of the sculptor's mastery; its charm and seduction lie in the infinite beauty of the figure, which is accentuated by the impeccable craftsmanship of Louis Ernest Barrias. The treatment of the fabrics, in an infinity of folds and undulations, gives the work a great sense of movement, an essential characteristic of the modernist style it represents. The scarab of the mantle is polychromed in a green tone, original of the period. This sculpture is represented in important European museums. The son of a miniaturist painter, Louis Ernest Barrias trained at the Ecole des Beaux-Arts with Jouffroy, and in 1861 he won the second prize in Rome with a bas-relief. Four years later he won the first prize, with the theme "The foundation of Marseilles". That same year, 1865, he made his debut at the Paris Salon with two marble busts, "Jazet" and "Barrias". In 1870 he exhibited in this same exhibition "Fileuse de Megave", a marble that will be sent to Rome. He showed his work at the Paris Salon until 1904, exhibiting works such as "Le Printemps", "La Fortune et l'Amour" or "Mozart infant". Barrias was a prolific artist, and received numerous commissions for monuments, busts, statues and sculptural groups for both the metropolis and the colonies. He produced works in marble, bronze and bronze and ivory, both large and smaller format, edited in various dimensions, such as "Jeune fille de Bou-Saada". His work earned him important awards, including numerous medals and distinctions. He was also a member of the Institute, and succeeded Cavalier as professor at the Ecole des Beaux-Arts in Paris. His work "La Nature se dévoilant devant la Science" is the best known of his production, considered his great masterpiece and also a paradigm of his time, since it represents the purest Art Nouveau. It was presented in 1893 as a large marble for the Faculty of Medicine in Bordeaux. In 1899 the one that is preserved in the Musée d'Orsay in Paris was made. Among his monumental production we can also highlight "Le Serment de Spartacus" (1872, Tuileries Garden), the monument of the "Défense de Paris", the gigantic monument of eleven meters to "Victor Hugo" and other works, both round and bas-reliefs, for the Paris Opera, the Louvre, the church of the Sorbonne and various urban palaces in Paris, Poitiers, Neuilly and other cities. His works are currently held in the Musée d'Orsay in Paris, the Museum of Fine Arts in Boston, the Hirshhorn Museum and Sculpture Garden in Washington D.C., the Allen Art Museum in Ohio, the National Museum of Fine Arts in Buenos Aires, the Valtion Taidemuseum in Helsinki and the Walters Art Museum in Maryland, among other public and private collections.

Estim. 15 000 - 16 000 EUR

Lot 3 - Pair of tureens JOHANN GEORG HANN (active 1780-1812). Vienna, ca. 1800. Silver. With hallmarks. Pieces for export to France and tax stamp 1806/07 to finance the Napoleonic wars. With initials L.S.B. under crown and coat of arms of Maslov Andreii Timofeevich (1770-1828). Total weight: 12-13 kg. approx. Bibliography consulted: "Vienna, circa 1780. An Imperial Silver Service Rediscovered", Wolfram Koeppe, The Metropolitan Museum of Art, New York and Yale University Press, New Haven and London. Measurements: 52 x 45 cm. The realization of the pair of tureens on tender cannot be understood without its fervent historical context: we move to Vienna around the year 1792 when, due to the revolutionary wars in Brabant and France, Maria Christina of Austria and Prince Albert of Saxe-Teschen are forced to flee from Brussels to settle permanently in the Austrian capital. Together with them, the court brought all the ducal goods (dishes, tableware, furniture, porcelain from Saxony and Meissen, among many other luxurious and exquisite items) to the city on the Danube. However, after the sad and unexpected death of his wife in 1798 due to typhus, Prince Albert withdrew into himself in the Albertina, today considered one of the most important museums in the world, arranging and expanding his artistic treasures and those of his late wife, thus creating one of the most important art collections of our days. Among the multitude of craftsmen and artists who roamed the princely milieu of the time, the name of Ignaz Joseph Würth stands out, "one of the most sought-after and influential goldsmiths of his time, whose creations inspired both his colleagues and members of his family and survive today in important museums around the world," says Wolfram Koeppe in his study "Vienna, circa 1780. An Imperial Silver Service Rediscovered." Consequently, "silver forms of extraordinary inventiveness and superb quality were produced in the years between 1775 and the early 1790s, and it is clear that Ignaz Joseph Würth's contemporaries, competitors and followers closely observed the master's style," Koeppe continues. Notable among them is a tureen currently in the collection of the Prince of Liechtenstein, which was once associated with the Albert collection and was in fact used with the Second Saxony-Teschen Service. "Made in 1794 by Johann Georg Hann in Vienna, it constitutes one of the last efforts to achieve the style of the Würth dynasty; at the same time, its oversized foot and tall legs anticipate the next stylistic developments that would spread throughout Europe, those of late Neoclassicism and the Empire period," Koeppe asserts. For this reason, the pair of neoclassical tureens that we now present become a true testimony of what the Albertine court and its important artistic legacy meant for the cultural discourse of the Austrian capital. Made by the most excellent silversmith Johann Goerg Hann in Vienna around 1800, both pieces follow a stylistic discourse of similar characteristics, with the exception of the reclining figure that ornaments the main bodies and that varies slightly one with respect to the other. Both tureens are elevated on a large circular dish supported on claw feet, which gives way to an inverted cup-shaped shaft. The body of the tureens has two side handles and a lid with a handle. The silver is carefully worked, sometimes chiseled with profuse plant motifs, while at other points worked with exquisite figurative bas-reliefs, cornucopias and floral motifs or, in certain parts such as the handles, even maintaining the simplicity of polished silver. It is worth noting the high decorative value of the handle, with a succession of palmettes and fruits that add distinction and finish off the whole in a superb way. A tureen by Johann Georg Hann is now in the Museum Für Angewandte Kunst in Vienna (inv. N. GO 1817) and in the collection of the Prince of Liechtenstein, Vaduz-Vienna.

Estim. 90 000 - 100 000 EUR

Lot 4 - GIOVANNI NISINI ; Rome, XIX century. "Furietti centaurs". Patinated bronze. Signed on the base. Measurements: 57 x 32 x 15 cm; 48 x 32 x 15 x 15 cm. These pieces follow the stylistic models of the centaurs found in the Villa Adriana in Tivoli, made by Aristeas and Papias, during the Hadrianic period (117-138 A.D.), which now belong to the collection of the Capitoline Museum. The originals are made of marble and are known as "The Young Centaur" and "The Old Centaur". They were found in 1746, becoming a source of artistic inspiration. An example of this are these two bronze sculptures that, despite following the model already mentioned, have their own characteristics that make them unique sculptures. The figure of the centaur comes from Greek mythology; this race, with the torso and head of a human and the legs of a horse, was very prone to excesses with wine and to be carried away by low instincts, thus provoking famous battles against the Lapiths, which the centaurs usually lost, in a metaphor of the triumph of the civilized behavior of men, an episode represented for example in the friezes of the Parthenon. An important centaur in ancient iconography was Nessus, famous for abducting Deyanira, fiancée of Hercules.

Estim. 43 000 - 44 000 EUR

Lot 5 - Large vase with peacocks, 1860-1880. Bronze with double patina. In good condition. Measurements: 113 x 63 cm. This large vase is distinguished by the pair of peacocks ostentatiously displaying their great plumage on the body of the vase. The detailed detail of each one of the feathers, as well as the wiry faces and the rigid claws of the animals, tell us about the skill of the sculptor, who reflects with total veracity the careful study of the natural. Stylistically, the vase responds to the animalistic sculpture of the 19th century, naturalistic in the representation, both in the expression of the animals and in the details of their anatomy, fur, etc., although the decorativism of Art Nouveau advances. The peacock is a possessor of some of the most admired human characteristics, and is a symbol of the integrity and beauty we can achieve when we strive to show our true face. In history, myth, legend, tradition and symbolism the peacock carries omens of nobility, sanctity, guidance, protection and vigilance. The peacock is a totem of glory, spirituality, awakening, immortality, refinement, incorruptibility. In Chinese spirituality it is associated with Kwan-yin, (Goddess of mercy, protector of women and children, and of fertility) who is also an emblem of love, vigilance, compassion, goodwill, nurturing, and kindness. The symbolism of the peacock is long, as its majesty has attracted the attention of mankind since ancient times. Although it is associated with the concept of vanity, the peacock is, in almost all cultures, a solar symbol related to beauty, glory, immortality and wisdom. It originated in India and it was Alexander the Great who brought it and its symbolic meaning to the West through Babylon, Persia and Asia Minor, reaching Greece in the Classical Period. Its solar symbolism is undoubtedly related to its long tail of colors and its drawings in the form of eyes that, due to their circular shape and brightness, also connect with the vital and eternal cycle of nature.

Estim. 28 000 - 30 000 EUR

Lot 6 - Moretti. Italy, 19th century. Mother carved, polychrome and gilded. With its original base. In very good condition. Measurements: 167 cm (height). This sculpture is inspired by the iconography called "blackmoor", which became popular in Venice in the seventeenth century, thus also defining exotic people from outside Europe. They are also known as "Moretti" in honor of the "Moor of Venice". In this type of pieces they were used as figures in different artistic disciplines; in sculpture as servants with trays or holding points of light, in architecture "holding" the facades of buildings and as for the decorative arts also as pieces of jewelry. Our piece rises on a pedestal covered by a starry layer.

Estim. 5 000 - 6 000 EUR

Lot 7 - Sculptural fountain. China, first third of the twentieth century. Pink marble. It presents marks of use, wear and some slight lack. Measurements: 200 x 82 x 82 cm. Monumental piece of Chinese manufacture. The carving in pink marble of this sculptural fountain reproduces with virtuosity four dragons with large open jaws and scaled body surrounding the base. Between the dragons a delicate filigree vegetal work is developed. On their heads rests the basin, which opens like a flower with differentiated petals. Foliated moldings alternate with vegetal fretwork carved in bas-relief and the whole is crowned by a pinnacle with a bulbous base.

Estim. 20 000 - 30 000 EUR

Lot 8 - MATHURIN MOREAU (France, 1822-1912). "La tempête". Bronze on marble base. Signed and inscribed "Hors. Concours." With stamp "Medaille D'honneur". Measurements: 81 cm (height). A mother protects her two children from the storm. As on this occasion, Mathurin Moreau's characters thus become modern heroes, humble or proud, indifferent even, but always admirable and captured with a poetic accent that transcends the simple representation of the natural. Mathurin Moreau was a French sculptor, born in Dijon in 1822, son of the famous sculptor Jean Baptiste Moreau. His two brothers, Hippolyte and Auguste, were also renowned sculptors. Mathurin Moreau entered the École des Beaux Arts in Paris in 1841 and the following year won the Second Grand Prix de Rome, and exhibited his work for the first time at the Salon of 1848. Mathurin also won the Gold Medal at the 1855 Paris Exposition Universelle for his Fontaine de Tourny, which is now in Quebec. Mathurin Moreau worked in the traditional academic style with a mixture of realism and classical elegance. In 1897 he received a Salon medal of honor and was a member of the jury during the 1900 Universal Exposition in Paris. Today he is represented in numerous museums and private collections around the world, including the Musee D'Orsay.

Estim. 8 000 - 10 000 EUR

Lot 9 - Pair of Empire urns; circa 1800. Mercury gilded bronze. Measurements: 62 x 17 x 17 cm (x2). Pair of urns made in mercury gilded bronze. Both pieces have the same design with a cup as a central motif that rises on a base also in the same material of cubic shape with an engraving on each of its faces, alternating the presence of a crown and bull's heads on the sides, probably in reference to the metamorphosis of Zeus himself. The cup-shaped oval body follows the models of classical antiquity in terms of typology. In both cases the pieces have a polished base on which the ornamentation in relief is placed. Each of the urns has a vegetal decoration on the base in the form of palmettes at the base that give way to a smooth finish that ends in a fretwork that serves as the basis for the main scene, starring a lady who empties two jugs in each of the cups that carry the little loves that flank the main figure. The iconography indicates that this is Hebe, known as the cupbearer of the gods, responsible for providing ambrosia to the classical pantheon and later replaced by Ganymede. This relief motif is repeated both on the front and on the back of each of the cups and is delimited in the upper area by a fretwork of stylized ovals. Finally, the neck area is adorned by the presence of two little round angels that rest on each of the flanks of the neck and are joined by a garland of fruit, symbol of abundance. Stylistically, this set of urns still shows a certain influence of the Napoleon III period, in the presence of garlands and Greco-Roman motifs. However, both the strict symmetry of form and ornamentation and the architectural conception of both objects bring us too close to the Empire style.

Estim. 15 000 - 16 000 EUR

Lot 10 - CESAR CONSTANTINO R. CERIBELLI (Rome, 1841- Paris, 1918). "Joan of Arc", Paris. Bronze. Signed and located. Measurements: 58 x 47 x 20 cm. Cesare Ceribelli studied at the Academy of France in Rome, being a student of Rodolini and Chelli. He settled in Paris 1866 and became a French citizen. He specialized in genre figures and portraits. Member of the Society of French Artists, he exhibited regularly at the Official Salon of Paris and at the Salon of French artists until 1907. He participated in the Salon des Beaux-Arts and the Salon des Artistes Français. He received a special mention at the Salon of 1888. The French State bought him the bust of Emperor Publius Septimius Geta, which was followed by other commissions. In 1911 he requested permission from the French state and reached an agreement with it to reproduce in reduced size the statue of Joan of Arc made by Henri-Michel-Antoine Chapu and then exhibited at the Louvre Museum and now at the Musée d'Orsay. and then exhibited at the Louvre Museum and now at the Musée d'Orsay.

Estim. 3 500 - 4 000 EUR

Lot 11 - AUGUSTE MOREAU (France, 1834 - 1917). "L'espliègle or The Naughty". Bronze sculpture on marble base. Signed. With plaque of the Salon des Beaux Arts. Measurements: 49 x 27 cm. A boy plays with a duck, printing to his graceful figure a spontaneous torsion, resulting of the set a dynamic and amusing stamp. Son of the painter Jean Baptiste Moreau, Auguste Moreau began his training as a disciple of his older brother Mathurin. He made his debut at the Paris Salon of 1861, where he participated regularly until 1913. He was also a member of the Société des Artistes Français. His themes - genre scenes, pastoral, allegorical - and his style, realistic and full of grace, link him to other members of the Moreau dynasty. He made mainly bronzes, although he also worked in marble and occasionally combined bronze with gold ("Victrix enfant", presented at the 1897 Salon). He made numerous editions of his works, highly demanded by the public both for their themes, very fashionable at the time, and for their naturalism and graceful beauty. We can contemplate Auguste Moreau's works in the Museums of Fine Arts of Bordeaux, Dijon, Gray and Reims, as well as in private collections both in France and in other countries (he was especially edited in the United States).

Estim. 3 200 - 3 500 EUR

Lot 12 - ÉMILE BRUCHON (France, late 19th - early 20th century). "Cupids", Napoleon III period. Pair of sculptures in bronze. Signed. In good condition. Measurements: 62 x 19 x 19 cm. In classical mythology, Cupid - son of Venus, goddess of love, beauty and fertility, and Mars, god of war - was the Roman god of amorous desire, erotic love, attraction and reflection. Cupid is depicted with a bow and arrow or quiver representing his source of power. A person shot by Cupid's arrow will be filled with uncontrollable desire. Émile Bruchon trained as a sculptor as a disciple of Mathurin Moreau. He made his debut at the Paris Salon in 1880, where he showed the model of the sculptural group he made for the tomb of Mademoiselle Ruel (Père-Lachaise cemetery, Paris). He worked mainly on mythological themes, sculptural groups and funerary monuments.

Estim. 3 000 - 3 200 EUR

Lot 13 - Pair of sculptures from the Grand Tour, 19th century. "Emperor of Prima Porta" and "Faustina Livia or Modesty/Castity". Bronze. Marble pedestals. It presents small restorations in the marble. Measurements: 50 x 14 cm. This pair of sculptures was made during the Grand Tour. On one side it represents the Augustus Prima Porta, a statue of the emperor Augustus that owes its name to the place where it was discovered, in the Roman suburb of Prima Porta. It is a magnificent marble sculpture that portrays the first emperor of Rome idealized, in an almost divine attitude. The original is on display today in the Braccio Nuovo of the Vatican Museums; on the other hand, the sculpture of Faustina Livia (also called Modesty or Chastity) was discovered in the grounds of Villa Mattei in Rome around 1575 and is now also preserved in the Vatican Museums. The term "Grand Tour", which first appeared in Richard Lassels' "Le Voyage d'Italie", was used to define the long journey through Europe, especially Italy, that young British aristocrats used to undertake from the 17th century onwards, but especially throughout the 18th and 19th centuries. The aim of the trip was for the young men to get to know the art and culture of France and Italy mainly, to admire classical art at first hand, to learn or improve their language skills, and to establish contacts and relationships with the cultural and political elites of these countries. Often, travelers were looking for pieces with which to start their own art collections, objects to take back to their places of residence as souvenirs. For this reason, workshops specialized in replicating Roman pieces, both in bronze and marble, sprang up, some of which acquired a great reputation.

Estim. 4 000 - 4 500 EUR

Lot 14 - ANTOINE-LOUIS BARYE (France, 1795 - 1875). "Lion crushing a snake". Patinated bronze. Signed. In good condition. Measurements: 30 x 40 cm. The model of this sculpture - possibly the best known of the sculptor - was created in 1832 and was first exhibited life-size in plaster at the Salon of 1833. Subsequently, the French government commissioned Barye to cast it for the Place des Tuileries in Paris, which was cast by Gonon & Sons, exhibited at the 1856 Salon, and is now preserved in the Musée d'Orsay in Paris. The Louvre Museum has a similar copy (inventory number 5740). A key sculptor of French Romanticism, Barye began his training with his father, a goldsmith, and later expanded it with the masters François Joseph Bosio and Antoine-Jean Gros, at the Ecole Nationale Supérieure des Beaux-Arts in Paris, where he entered in 1818. Especially appreciated were his animalistic sculptures, largely initiators of the genre. He had his own foundry, collaborated with Viollet-le-Duc on a project commissioned by Napoleon III and was the teacher of Auguste Rodin. He presented his works at the Paris Salon, and created monuments such as the "Lion with Serpent" in the Tuileries Garden (1833), commissioned by the king. He is currently represented in the Louvre and Orsay Museums in Paris, the National Gallery in London, the Hermitage in St. Petersburg, the Albertina in Vienna, the Art Institute of Chicago and the Smithsonian in Washington D.C., among other museums around the world.

Estim. 4 500 - 5 000 EUR

Lot 15 - RENÉ LALIQUE (Aÿ, France, 1860- Paris, 1945). "Suzanne", 1925. Figure in satin glass. Signed on the back and on the base: "R. Lalique." Measurements: 23 x 18 x 5,5 cm. The firm Lalique was founded by René Jules Lalique (1860 - 1945), one of the most prominent glassmakers of the time, and one of the first to sculpt glass for large monumental works, such as the fountains of the Champs Elysees. He enjoyed great recognition thanks to his original creations of jewelry, perfume bottles, glasses, plates, etc., within the Art Nouveau and Art Deco styles. He trained with the Parisian jeweler Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his works earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as St. Nicasius in Reims and numerous religious and civil goldsmiths. Lalique was not content with designing their models, but also founded a factory to produce large quantities, patenting several innovative manufacturing processes of glass, and various technical effects such as "satin Lalique" or opalescent glass. Lalique pieces are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan in New York, the Louvre or the Orsay in Paris, among many others.

Estim. 4 000 - 5 000 EUR

Lot 16 - Marble cup. Italy, XVII-XVIII century. Measurements: 46 x 40 cm. This cup entirely made of marble rises on a circular foot that gives way to a shaft with a central knot. It has a large semi-ovoid vessel formed by gallons in its lower middle part. The upper part narrows to give way to a wide mouth.

Estim. 4 000 - 4 200 EUR

Lot 17 - PIERRE LE FAGUAYS (1892-1962). "Vaslav Nijinsky", ca. 1930. Sculpture in patinated and partially cold enameled bronze on marble base. Signed: P. LE FAGUAYS. Measurements: 51 x 48 x 16 cm. Although Le Faguays was born in Nantes, he received his higher education in Switzerland, where he was a disciple of James Vibert. From the decade of the twenties he actively participated in the Parisian Salons de l'Automne, gaining the friendship of prominent artists of the time as Max Le Verrier or the Susse brothers. Thanks to his versatility, he successfully worked with different materials, including glass paste, bronze and terracotta. It was precisely this last component that catapulted him to fame, because due to its malleability, and inspired by the figurines of Tanagra, he managed to give his artistic production an unparalleled sinuosity using the ballet as a pretext. In this context may have been born the sculpture that concerns us, possibly representing Vaslav Nijinsky, one of the most famous dancers in history. The company "Ballets Russes", created by Sergey Diáguilev, managed to bring together the best members of the Russian Imperial Ballet of the Mariinski Theater of St. Petersburg, among which was Nijinsky; the philosophy of the company was a break with the traditional dance that was taking place in France, betting on innovation in different currents and genres. Their success was immediate and throughout the first third of the twentieth century their impact was such that they left an indelible mark on the arts and Western culture.

Estim. 4 500 - 5 000 EUR

Lot 18 - Italian school, ca. 1810. "Roman warrior". Patinated bronze on Nero Belgio and Rosso Levanto marble base. Measurements: 54 x 18 x 20 cm; 73 x 22 x 22 x 22 cm (with base). Sculpture representing a Roman soldier completely dressed with the usual clothing: cossis or helmet with plume (it used to have some distinctive element), lorica or breastplate (with articulated metallic pieces) and coligoes or sandals (nailed and reinforced with a 2 cm thick leather sole). Although it is not preserved, it is very likely that a shield and a sword or gladius completed his clothing. It is a work corresponding to the Grand Tour, a term that appears for the first time in the work "El Voyage d'Italie" by Richard Lassels, was used to define the long journey through Europe, especially Italy, which usually made the young British aristocrats from the seventeenth century, but especially throughout the eighteenth and nineteenth centuries. The purpose of the trip was for young people to become acquainted with the art and culture of France and Italy, to admire classical art at first hand, to learn or improve their knowledge of languages, and to establish contacts and relationships with the cultural and political elites of these countries. Travelers were often looking for pieces with which to start their own art collections, objects to take back to their places of residence as souvenirs. For this reason, workshops specialized in the replica of Roman pieces, both in bronze and marble, emerged, some of which acquired a great reputation.

Estim. 4 000 - 4 200 EUR

Lot 19 - Dress carving or cap-i-pota of the Virgen Dolorosa. Andalusia, XX century. Carved and polychrome wood. Dresses in silk and velvet enriched with gold thread. Face covered by tears of vitreous paste. Measurements: 159 cm (total height); 63 cm (from half body to head). Sculpture of typology "Cap i Pota" (head and feet) that responds to the iconography of the Virgin of the Sorrows or of the seven Sorrows, a set of events of the life of the Virgin Mary that are a popular invocation and are frequently collected in the art. The devotion to the sorrows of the Virgin has its roots in medieval times, and was especially spread by the Servite order, founded in 1233. There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the most important being the theme of the Virgin of Sorrows and Solitude, in which the panel presented here is framed. In this iconography Mary is alone, sometimes with her heart pierced by swords symbolizing the pains she suffered, generally seven: the prophecy of Simeon, the flight into Egypt, Jesus lost at the age of twelve, the meeting of Mary and Jesus on Calvary, the Crucifixion, the descent from the cross and the burial of Jesus. In good condition for its age. In the sacred heart of the Virgin, made in silver, one of the daggers has been lost. The "cap i pota" images are figures worked in detail only on the face and hands, on a wooden structure carved to a greater or lesser extent. Although the figures for dress were often used in processions, in this case it is a figure intended for private devotion, given its small size. The visible parts are covered with a thin layer of stucco and polychromed, while the rest is covered by real clothes. They are images that were especially liked for their naturalism, since by wearing authentic clothes a greater degree of realism was achieved than with the simply carved ones, which often did not have enough quality to achieve that degree of naturalism, so sought after in religious art since the Baroque period.

Estim. 8 000 - 10 000 EUR

Lot 20 - GALLÉ vase. France, ca. 1920. Greenish glass with etched floral decoration and polychrome painting in cold enamel. Signed. In good condition. Measurements: 46 x 16 x 16 cm. The master glassmaker Émile Gallé (1846-1904) will take over the factory of his father in 1874, and soon achieve great international success, winning awards at international exhibitions and selling works to major collections and museums. Today, pieces made by Émile Gallé can be seen in the Hermitage Museum in St. Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others.

Estim. 5 500 - 6 000 EUR

Lot 21 - ANTONIN MERCIÉ (France, 1845 - 1916). "David vainqueur", 1872-1880. Patinated bronze. On wooden base. The base shows old xylophages and wear. Measurements: 75 x 36 x 26 cm (sculpture); 121 x 33 x 33 x 33 cm (base). Bronze sculpture made by the famous sculptor Antonin Mercié. The work shows the young David, with beautiful features and harmonious body, at the moment of sheathing his sword after having killed Goliath. The head of the latter lies on the ground being stepped on by David in a victorious attitude. With the Franco-Prussian war of 1870 and the defeat of the country, the French society is invaded by a feeling of humiliation. Such a state of mind shows, in this David, the promise of a France that one day will defeat, despite its weakness, the Prussian Goliath, like the young shepherd of Israel who, with only his slingshot, brought down the enormous enemy. This immediately made the sculpture an immense success: the plaster cast executed in Rome, where the young artist was finishing his training, earned him the French Legion of Honor, and was commissioned in bronze by the State, in 1872, to be placed in the Luxembourg Museum and in the Museum of Living Artists from 1874. It became one of the most widely circulated images in illustrated newspapers, and provoked such enthusiasm that it was published in small format. After the turn of 1870, Antonin Mercié represented the young generation of French sculptors eager to provide, from the heart of a classical teaching, a more vibrant expression to his figure. He sought this combination of wise composition and model with panache in the great models of the Florentine Renaissance, inspired, for example, by Donatello's "David". Thus, the use of the large and beautiful curves of the arm, prolonged by the movement of the sword, the bent leg, the grace of movement with a certain counterpoint, invites the viewer to turn around different planes that gradually adapt the space. Between modern classicism and explicit realism, Mercié finds an original way. We can find the "David Vainqueur" in large format in the Musée d'Orsay in Paris, the one in Montpellier and the one in Troyes, the latter a copy also cast by Barbedienne. Painter and sculptor, Antonin Mercié studied at the Ecole des Beaux-Arts in Paris, where he was a pupil of Alexandre Falguière and François Jouffroy. In 1868 he was awarded the Prix de Rome, which allowed him to further his training in Italy. His first important works were "David" and "Gloria Victis", awarded medals of honor at the Paris Salons of 1872 and 1874. In 1882 he repeated this success with the group "Quand Même!", which like "Gloria Victis" recalls the Franco-Prussian war of 1870. From the end of the seventies he would carry out important commissions, such as "Le Genie des Arts" for the Tuileries (1877), "Le souvenir" for the tomb of Madame Charles Ferry (1885) or "Regret", for that of Alexandre Cabanel (1892). Mercié also realized the monuments to J.L.E. Meissonier (1895), in the Jardin de l'Infante of the Louvre; the one dedicated to Louis Faidherbe (1896), in Lille; and the one of the kings Louis Philippe I and Amélie for their burial in the royal chapel of Dreux. Apart from these monumental commissions, Mercié also made small sculptures, busts and medallions, production that earned him the medal of honor at the Paris Universal Exhibition of 1878, and the Grand Prix at the 1889. He also gained recognition as a painter, being awarded medals at the Salons of 1883 and 1885. In 1891 he became professor of drawing and sculpture at the École des Beaux-Arts in Paris, and that same year he was appointed a member of the Académie Française. He was subsequently awarded the rank of Grand Officer of the Legion of Honor, and in 1913 he became president of the Society of French Artists. Mercié is currently represented in the Louvre, the Musée de l'Orsay, the Musée des Beaux-Arts in Bordeaux, Rennes and Chambéry, the Ecole Nationale des Beaux-Arts in Paris, the Musée des Augustins in Toulouse, the National Gallery in Washington, the Courtauld Institute in London and others.

Estim. 7 000 - 8 000 EUR

Lot 22 - Pair of lamp feet in the form of African warriors of the early 20th century. Patinated and polychrome metal. Both stamped "H. & J. Gardner Paris 153 and 63 Strand London". In good condition. Measurements: 104 x 26 cm. Of this pair of lamp feet in the form of African warriors, the high degree of detail used in its manufacture is especially noteworthy. Both the clothing and the faces and hairstyles have been delicately worked following a realistic style. The flouncing of the skirts and the twisting of the bodies add movement to the compositions.

Estim. 6 500 - 7 000 EUR

Lot 23 - Pair of morillos of chimney, XVIII century. In patinated bronze. Measurements: 105 x 60 x 35 cm. Morillos of chimney, realized in bronze, of rococo epoch and historicist style that combine elements of Renaissance and baroque inspiration. Two Cupids worked in round bulk, with curled hair and a quiver hanging on their sides, finish off the two morillos. The lower part, fretworked, alternates foliate motifs based on tornapuntas with masks of Dionysus and lions, along with amorcillos and satyrs whose hybrid bodies adorn the sides. Fretwork and floral festoons complete the decoration.

Estim. 8 000 - 10 000 EUR

Lot 24 - Russian school, ca. 1830. "Emperor Alexander I of Russia". Patinated bronze. Measurements: 43,5 x 20 x 10 cm; 51 x 17 x 14 x 14 cm (with base). This sculpture depicts Alexander I of Russia, emperor of the Russian Empire since March 23, 1801, king of the Polish Tsarate since 1815 and the first grand duke of Finland. He is dressed in the fashion of the time, in a buttoned frock coat and wearing his decorations. He adopts a determined posture, with one leg forward with respect to the other, in accordance with his political and social position.

Estim. 7 500 - 8 000 EUR

Lot 25 - JEAN VINCENTI (Active in Paris circa 1824 -1870). Table clock, c. 1860 Belgian black marble and gilt and blued bronze. Stamped: Medaille d'Argent Vincenti & cie 1855. It has slight flaws in one of the corners of the marble. Measurements: 66 x 41 x 26 cm. Table clock made of marble and bronze. The spherical clock case rests on a base of black marble from Belgium, carved as a balustrade, with floral motifs in the corners. On the base are arranged both the case, mentioned above, and a round sculpture representing a young warrior laureate. Jean Vincenti, originally from Corsica, founded in 1823 in Montbéliard the Vincenti & Cie watch factory, which is how he signed his work after being awarded the silver medal at the Universal Exhibition in Paris in 1855. Due to financial difficulties a few years later, the company had to declare bankruptcy in 1828. The director of the factory, Jean "Albert" Roux, took over part of Vincenti's shares. As a result, Vincenti & Cie was able to resume production in 1829. The company managed to win a silver medal for its watches in 1834 in Paris. After his death Vincenti's death in 1833, Albert Roux took over the company, which went on to win a gold medal in 1855. Vincenti & Cie existed until 1923.

Estim. 12 000 - 13 000 EUR

Lot 26 - Following models by GERMAIN PILON (Paris, ca. 1528-1590), last quarter of the 19th century. "The Three Graces". Gilded and silvered bronze. With stamp "Mechanics of Reduction" on the base. Measurements: 94 x 44 cm. On a triform pedestal with Latin inscriptions on the sides and vegetal decoration in the corners rises the bronze sculptural group of the Three Graces, which in this case symbolizes conjugal love. It was made in the late nineteenth century in the image of the monument to the heart of King Henry II, executed in the sixteenth century by Germain Pilon, one of the most important sculptors of the French Renaissance who sculpted the tombs of the French kings of the sixteenth century. The monument to the heart of Henri II was commissioned in 1561 by Catherine de Medici for her late husband. Placed in the church of the convent of the Celestines in Paris, it was to receive the hearts of the king and queen of France. Germain Pilon sculpted the group of the Graces, and the Italian Dominique Florentin created the triangular base. The marble original is preserved in the Louvre Museum.

Estim. 12 000 - 15 000 EUR

Lot 27 - Circular center with three Empire Caryatids, after models of PIERRE-PHILIPPE THOMIRE (1751-1843). Possibly Russian Empire, 19th century. Patinated and gilded bronze. Crystal. In good condition. Measurements: 68 x 30 cm. This large and magnificent Empire style centerpiece is defined by the three caryatids that make up its body. It closely follows models of Philippe Thomire, French sculptor known, above all, for his works in gilded bronze, thanks to which he became the main caster in France at the end of the XVIII century, with an important workshop established in 1775. It consists of three stylized draped sculptures rising on a vegetal base embellished with winged sphinxes, angels and imperial eagles. The three women hold above their heads a crystal centerpiece with its main body ornamented with diamond-tipped motifs and the galloned mouth by means of large facets. The piece has been conceived through a sculptural concept characteristic of this time. This type of scenes were very common in the decoration of the centerpieces, in many occasions mythical or religious characters were represented, linked to a historicist sense and aesthetics.

Estim. 10 000 - 11 000 EUR

Lot 28 - Louis XVI votive cup; MACKAY & CHISHOLM, Edinburgh, c. 1780- 1790. Gilt silver. Presents punches. Measurements: 54 x 42 x 23 cm. Weight: 4.900 grams. Ornamental cup of classicist style, whose forms are inspired by the Louis XVI style. They consist of an ovoid bronze vessel decorated with relief appliqués, also in gilded bronze, cast in mold with cold chiseled details. They consist of a base, typically of the style, round and smooth, and on it is placed directly the foot, composed of a tight laurel wreath, worked with the synthetic and refined style typical of the time. The bronze ornamentation stands out especially for the quality of the chisel work, which reproduces with great expressiveness the texture of the leaves. On the ovoid shape of the body there is an intermediate neck that forms the union with the vessel, ovoid following classicist models, and the side handles are also noteworthy. The combination of these apparently disparate elements is, however, effective at the expressive level, and manages to maintain the classical rigor while leaving room for the ornamental fantasy so much to the taste of the bourgeois clientele of the second half of the nineteenth century. The French Louis XVI style is included within Neoclassicism. The decorative elements, as already indicated, are classicist in inspiration, but the curves and sinuosities of the rococo of Louis XV have not disappeared, although they are secondary.

Estim. 13 000 - 15 000 EUR

Lot 29 - MANUEL LUQUE (Córdoba, 1972). "Dolorosa". Candlestick carving, polychrome. Dressed in velvet and gold thread. Measurements: 175 x 85 x 75 cm. Manuel Luque has made numerous commissions for private devotion of virgins in their dedication Dolorosa, as the one that concerns us here, being one of the typologies in which he is more appreciated. The face seems to want to come to life, such is the emotional intensity it transmits. After studying at the Onésimo Redondo Labor University in Córdoba, at the end of the 80's Manuel Luque enrolled at the Mateo Inurria Art School, specializing in wood carving. During his time at the art school, he was taught by his modeling teacher Manuel Vela, a sculptor from Cordoba. At the end of his studies he completed his training as an apprentice in the studio of the Cordovan sculptors Antonio Bernal Redondo and Francisco Romero Zafra. His first processional work is the image of Jesus de las Penas of the Brotherhood of the Angels of Puente Genil in Cordoba, blessed in the year

Estim. 9 000 - 10 000 EUR

Lot 30 - MANUEL MARTÍN NIETO (Morón de la Frontera, 1978). "Pietà". Cedar wood carving, polychrome. Measurements: 160 x 140 x 80 cm. The virtuosity of Manuel Martín Nieto is evident in this subjugating scene of the Pietà. The exanimated body and the thin face of Christ expresses in each portion of skin its history of suffering and forgiveness. The Virgin, in turn, seems to come to life before our astonished eyes because of the unsurpassed workmanship and the neo-baroque pathos it conveys. Sculptor with a workshop in the Sevillian town of Morón de la Frontera with more than 20 years of experience in religious and profane sculpture. Since his childhood he excelled in drawing and with only 13 years he was apprenticed to the great carver Manuel Guzman Bejarano. Later he received the teachings of Manuel Hernández León and José Antonio Navarra Arteaga, the latter being the one who most influenced my works.Manuel Martín Nieto is one of the most responsible for the intense naturalistic outbreak that characterizes the evolution and brilliant transformation of the Andalusian neo-baroque sculpture in the first two decades of the XXI century. Established in Morón de la Frontera, his activity is projected throughout Andalusia and much of Spain, with notes of quality that distinguish and endorse him in the large group of great Sevillian sculptors of our time. His material training in the workshops of Manuel Guzmán Bejarano, Manuel Hernández León and José Antonio Navarro Arteaga, gave him a solid mastery of the craft, an essential condition for the development of a personal style and mastery to which he has reached after two decades of uninterrupted work. With them he was initiated in the neo-baroque aesthetics, to which he has always shown a deep appreciation; however, several factors distinguish him from his masters and related contemporary sculptors. In a strict sense of the neo-baroque concept of sculpture, we must highlight Manuel Martín Nieto's interest in references outside the Sevillian context, such as the great Castilian sculptor Luis Salvador Carmona, a decision that distinguishes him from all his contemporaries and only has the antecedent of Antonio Eslava Rubio, one of whose models was Francisco Salzillo. This breadth of vision within the parameters set by the neo-baroque movement is uncommon and is a characteristic note that defines it.

Estim. 15 000 - 20 000 EUR

Lot 31 - MANUEL TELLEZ BERRAQUERO (Seville, XX century). "Dead Christ". Polychrome wood carving. Signed. Size: 133 x 140 x 40 cm. This Christ is a work of the famous Sevillian imaginer Manuel Tellez, who currently enjoys great recognition among the brotherhoods of his city. It is the dead body of Christ, most probably belonging to the passage of his burial, along with other figures in this case absent. The body of Jesus is represented practically naked, barely covered by the "perizonium" or cloth of purity, but on the sheet that has served to take him down from the cross and now serves as a shroud. The excellent carvings of Tellez madera have been carried in numerous processions and patron saint festivals, such as his celebrated Señora de la Misericordia (Our Lady of Mercy). Spokesmen for the Brotherhood of Jesus of Forgiveness highlighted the "expression" and "look" of the Virgin, as they explained, which has "a great sacred unction" and calls for "prayer". Manuel Téllez Berraquero was also appointed to make the Christ of Mercy, head of the Parish Group of the same title and which is attached to the parish of Our Lady of Amparo. The sculptor was also responsible for carving the image of the Virgin of Sorrows, of the same Association.

Estim. 8 000 - 10 000 EUR

Lot 32 - MANUEL TELLEZ BERRAQUERO (Seville, 20th century). "Dolorosa". Candlestick carving. Silk dress and velvet mantle embroidered in gold. In carved and polychrome wood. Measurements: 190 x 150 x 60 cm; 210 cm (bottom with cape extended). Processional Virgin, work of the famous Sevillian artist Manuel Tellez, who currently enjoys great recognition among the brotherhoods of his city. It is a Virgin of dress, so it is in the face and hands where the author deposits all his feeling, transmitting with the Virgin of half-closed eyelids and arched eyebrows a deep impression, which denotes a unique handling of the art of carving. His excellent wood carvings have taken part in numerous processions and patron saint festivals, such as his celebrated Señora de la Misericordia. The spokesmen of the Brotherhood of Jesus of Forgiveness highlighted the "expression" and "look" of the Virgin, as they explained, which has "a great sacred unction" and calls for "prayer". Manuel Téllez Berraquero was also appointed to make the Christ of Mercy, head of the Parish Group of the same title and which is attached to the parish of Our Lady of Amparo. The sculptor was also responsible for carving the image of the Virgin of Sorrows, of the same Association.

Estim. 10 000 - 12 000 EUR

Lot 33 - Pair of Blackmoors; Venice, 19th century. Carved and polychrome wood. Size: 182 x 50 x 30 cm (x2). This couple of Venetian servants are shown dressed in a completely idealised manner. The figures of black slaves as a support for the furniture, as well as free-standing as candlesticks, appear in Venice at the end of the 17th century, by the cabinetmaker and sculptor Andrea Brustolon (1662 - 1732). His furniture was characterised by the abundant presence of sculpture, often even in round figures. His most characteristic figures were black figures such as the one shown here, ebonised and painted, which served as supports for large pieces of furniture, or were freestanding. These figures were so popular throughout Europe that they became a key element in luxury Baroque furniture until well into the 18th century and, within the historicism, during the 19th century. They are pieces of exceptional carving quality, conceived as independent works of art. The iconography is the result of the taste for the exotic that characterised the 18th century, and which continued into the 19th century through the Romantic spirit, which liked to reflect and fantasise about everything that was different and distant, both in time and space. This piece recreates the idealised eighteenth-century Venetian world, which in the new industrial century symbolised an elegance and luxury that could never be recovered. This type of piece was meticulously and exquisitely worked, paying as much attention to the carving as to the polychromy, which freely and fancifully reproduces rich embroidered fabrics.

Estim. 10 000 - 12 000 EUR

Lot 34 - JULES MOIGNIEZ (Senlis, Oise, 1835-1894). "Heron and frog". Bronze. Signed. Measurements: 73 x 92 x 42 cm. Jules Moigniez was a French animal sculptor who worked during the 19th century. His production was mainly in bronze and he frequently exhibited his sculptures at the Paris Salon. He was best known for his bronzes depicting birds, although his skill and versatility allowed him to produce quality horse sculptures (mainly racehorses), dog sculptures, and hunting scenes. His bird sculptures were among the finest created in his time. Moigniez was known for the fine detail and chiseling of his sculptures. His bronzes, usually cast using the lost wax method, were always immaculately chased and patinated, and were especially popular in England and Scotland. More than half of his output during his lifetime was sold in the United Kingdom. In the late 19th century, his sculpture also became popular in the United States. Unlike other animalists of the period, such as P. J. Mêne and Antoine-Louis Barye, Moigniez's bird sculptures often incorporated highly detailed bases with bushes, extensive foliage, and undergrowth. His castings were generally of excellent quality with a variety of patinas, with gold and silver patinas being the most desired and sought after by collectors. His Chien braque arrêtant un faisan (1859), cast in bronze, was acquired by the French government for the Château de Compiègne.

Estim. 14 000 - 15 000 EUR

Lot 35 - EUGENI ALEXANDROVICH LANCERAY (Russia,1848-1886). "Bear". Blued iron. Presents inscription. It has a foundry seal. Measurements: 56 x 68 x 27 cm. Animal sculpture representing a bear standing realistically represented with its front paws fallen hanging on branches and stumps of broken trees. The piece has a plaque that reads "Killed by the Emperor near Lisina on March 9, 1865". The work is based on a model by the sculptor Nikolai Lieberich (Russia, 1828-1883). In 1865-1866, Lieberich was invited to participate in the imperial hunt, which provided him with a valuable source of observation and inspiration for his work. A bear killed by Emperor Alexander II during a hunt in Lisino became the prototype for this popular model, executed in 1866. Eugene Lanceray, was a Russian graphic artist, painter, sculptor, mosaicist and illustrator, stylistically associated with Mir iskusstva. He came from a prominent Russian artistic family of French origin. The artist spent his childhood in Ukraine, on a small estate of his father Neskuchnoe. After the death of Eugene Lanceray, the artist's father, the mother moved with her children to St. Petersburg, to her father's house, known in artistic circles as "the Benois house near Nikola Morskoy". Lanceray took his first lessons at the Drawing School of the Imperial Society for the Promotion of the Arts in St. Petersburg from 1892 to 1896. He then traveled to Paris, where he continued his studies at the Académie Colarossi and the Académie Julian from 1896 to 1899. After returning from France to Russia, Lanceray joined Mir iskusstva, an influential Russian art movement inspired by an art magazine of the same name, founded in 1899, in St. Petersburg. Like other members of Mir iskusstva, he was fascinated with Rococo art and often turned to 18th-century Russian history and art for inspiration. His creative method and aesthetic views evolved under the influence and guidance of Benois, although, in some aspects of his talent, Lanceray may have surpassed his master. Lanceray was the only prominent member of Mir iskusstva to remain in Russia after the Revolution of 1917. Lanceray left Georgia in 1934 and settled in Moscow, where he was engaged in the decoration of the Moscow Kazansky railway station and the Moskva Hotel. In 1920, he moved to Tbilisi, Georgia. While in Georgia, he lectured at the Tbilisi State Academy of Arts (1922-1934) and illustrated Leo Tolstoy's short Caucasian novels. Lanceray left St. Petersburg in 1917 and spent three years living in Dagestan, During the same period, Lanceray also worked as a theatrical designer. Presents inscription. It has a foundry stamp.

Estim. 16 000 - 17 000 EUR

Lot 36 - ALMO BONALDI (Carrara, Italy, 1890 - Toulon, France, 1966). "Allegory of Music", ca. 1910, Art Nouveau. Carved Carrara marble fireplace screen on red veined marble pedestal. Signed and located: A. BONALDI / CARRARA. Measurements: 98.5 x 72.5 x 26.5 cm. Almo Bonaldi was born in Carrara, opening in 1924 a marble sculpture workshop in his hometown. The turning point for the artist came in 1930, when he presented a magnificent sculpture of a young centaur for a competition organized by the Academy of Fine Arts of Carrara. From this date on he was known to work in Toulon, France, where he opened a company dedicated to marble, which supplied the city with stone for public works. This screen is a witness of the extreme virtuosity that Bonaldi reached before leaving for France, made around the second decade of the twentieth century. It develops in its center, in bas-relief, an allegorical scene where a nymph, perhaps Siringa, who seems to rise in ecstasy when listening to the music coming from two aulos played by a faun and a young woman, both at her feet. This main scene is surrounded by an exuberant frame of acanthus leaves, flanked by two little birds that seem to follow the rhythm of the music and, at the top, three singing "putti" that give voice to the wind instruments.

Estim. 10 000 - 12 000 EUR

Lot 37 - Cosimo II de Medici; Italy, XIX century. Blued bronze. Measurements: 83 x 52 x 22 cm. Bronze bust representing the Grand Duke of Tuscany, Cosimo II de Medici (1590-1621). The model on which this piece is inspired corresponds to a sculpture by the artist Chiarissimo Fancelli. The original, made of marble, is located on the keystone of the arch that acts as the entrance to the famous Loggia del Grano in Florence. The construction of this grain market began in 1619, under the patronage of Cosimo de Medici. Giulio Parigi, architect, realized the building, while Fancello, realized the bust and a fountain that is placed in one of the corners of the loggia. The bust, which inspired this bronze work, shows Cosimo wearing the Cross of St. Stephen, as in the present sculpture. However, the differences are notable, in this case the Cross of St. Stephen hangs from an ornament that represents a bearded and winged head, also the face without a mustache in the present sculpture indicates that it is a much younger Cosimo. Although it should be noted that both sculptures retain the regal bearing, the look and the haughty pose. Chiarissimo d'Antonio Fancelli (Italy, 1588- 1632) was an Italian sculptor and architect of the late Mannerist and Baroque periods, mainly active in Tuscany. Domenico Pieratti and Giovanni Battista Pieratti were his pupils. It is unclear how he fits into the great pedigree of Tuscan sculptors, including Cosimo and Luca Fancelli.

Estim. 18 000 - 20 000 EUR

Lot 38 - Cups; Italy, c. 1800. Brocatel marble and mercury gilded bronze mounts. Measurements: 64 x 34 x 31 cm (x2). Pair of classicist-inspired goblets carved in brocatel marble, highlighting their natural qualities and colors. Both stand on a very simple base of quadrangular format, which gives way to a foot defined by a round perimeter adorned with mercury-gilded bronze mount. The body of each of the cups has a very expressive design with an ovoid lower zone, narrow body and large diameter shoulders. Above these is a bronze applique in the form of a lion's skin, with the face in the center of each of the cups. The two pieces have a completely separable upper lid, with a smooth curved profile, topped with a gilded bronze handle. The pieces follow classicist models, with elegant and clean profiles, directly inspired by works of strong classicist influence (however, probably closer to works of the Renaissance than to Greek and Roman Antiquity itself). This type of work appeared very often, as early as the Renaissance. However, in this period it was more common to find them in lighter marbles and, as a rule, without color combinations in the stone. As usual in the 19th century, the influence of examples from Greek and Roman Antiquity is clear, but combining these details to adapt them to the taste of the time. The combination of these apparently disparate elements is, however, effective at the expressive level, and manages to maintain the classical rigor while leaving room for the ornamental fantasy so much to the taste of the bourgeois clientele of the second half of the nineteenth century.

Estim. 21 000 - 22 000 EUR

Lot 39 - PIERRE JULES MÊNE (Paris, 1810 - 1879). "Picador on horseback". Patinated bronze. Signed on the base. Measurements: 93 x 61 x 27 cm. Pierre Jules Mêne shows in this sculpture a Picador on the back of his horse, dressed in royal clothes and holding a lance with one of his hands and the rein with the other. This model of Jules Mêne was one of the two that he created based on Spanish themes, one of them "the toreador" was exhibited for the first time in Paris at the 1877 Salon, while the present model appeared for the first time in wax at the 1876 Salon and in bronze the following year. Technically, the laborious work of the horse stands out, captured with a precision, naturalism and expressiveness that denote not only mastery on the part of the sculptor, but also a careful study of the natural. This equestrian group compares with other important groups of horses and riders by Mêne, such as Valet de Chasse Louis XV and Groupe de Chiens en defaut. Pierre-Jules Mêne is considered one of the leading representatives of 19th century animal sculpture. He was the father-in-law of the sculptor Auguste Cain (1821-1894), who was his collaborator. he first training of Pierre-Jules, then a young collector of engravings with a particular interest in the works of Horace Vernet, came from his father, then from the wood sculptor René Compaire. In 1838, he first appeared at the Paris Salon and created his own foundry, which he personally directed until 1877. He made numerous animal sculptures, especially popular during the Second Empire, such as those of Antoine-Louis Barye, Auguste Caïn, Pierre Louis Rouillard.

Estim. 22 000 - 23 000 EUR

Lot 40 - Set of four candlesticks; Germany, second quarter of the nineteenth century. Patinated iron. Two of them have inscription and dedication; E. GR and ST Juni 1843. Measurements: 71 x 19 x 19 cm (x4). Set of four bronze candlesticks. A similar model is reproduced on page 171 of the book Eissen Statt Gold (Fig. 359). The four pieces have the same design based on a square base that rises in a truncated form to the shaft conceived as a stipe and richly ornamented with vegetal details in the manner of candilieri. The upper area ends in the form of a classic cup with the simulation of a cloth in the central area of the body of the cup. Two of the candlesticks have leaf ornamentation in the lower part of the cup, while the other two have a smooth finish. The four pieces are modeled after the candlesticks found in the chapel of Charlottenburg Palace in Berlin. The palace was built at the end of the 17th century and was considerably enlarged during the 18th century. It includes a very luxurious internal decoration in baroque and rococo styles. During World War II, the palace was badly damaged, but has since been rebuilt.

Estim. 28 000 - 30 000 EUR

Lot 41 - Candlestick; following models of PIRANESI workshop, XIX century. Blued bronze. Measurements: 163 x 62 x 53 cm. Candlestick of large dimensions that follows the same design as the one found in the Academia de Bellas Artes de San Fernando, although the latter is made of marble. The piece sits on a triangular base on which sit three lion claws and from which emerge three sides adorned with reliefs of classical inspiration. The reliefs feature a satyr, a maenad and vegetal motifs in the form of candilieri. In the upper zone three ram's heads give way to the shaft of the candlestick that is divided into two richly ornamented bodies. The lower zone is conceived as a stipe with the lower perimeter of smaller dimension than the upper one, adorned with large leaves and ovals in the upper zone. Finally, the shaft ends with a body of oval base adorned with acanthus leaves that give way to a fluted body that seats the upper plate of gallonada structure and wide wrapped lip. According to Sánchez-Jaúregui "the candlesticks as a decorative element of the salons became one of the pieces of certain luxury for the neoclassical adornment. There were not many models and they were inspired, more often than not, by the design of paintings, which is what Piranesi usually used for the many examples of candlesticks that he included in his engravings. Such is the fondness of Piranesi and his English clients for this type of pieces, be they candlesticks, urns or antique altars, that for a long time the artist will make many loose plates with this type of pretended antiques". Battista Giovanni Piranesi was a distinguished engraver. After studying architecture, he studied etching with Giuseppe Vasi in Rome. In 1743 he published his first series of prints, "Prima Parte di Architettura e Prospettiva". Produced at the age of 23, it already revealed his mastery as an engraver. Combining descriptive zeal and fantasy, his interpretations of ancient Roman monuments were an important contribution to the development of neoclassicism. In the collection "Carceri d'Invenzione", he transformed the ruins into enormous dungeons full of passages and steep staircases that would have a significant influence on romanticism and even surrealism. The palatial architecture and English country houses are also indebted to Piranesi's engravings. Many plates passed to the current "Calcografia Nazionale" in Rome. In Spain, his engravings are preserved in the National Library and in the Museum of Fine Arts of Valencia. In the engraving that concerns us, we see the artist reinterprets the peculiar superimposition of the church of San Lorenzo on the foundations of the temple of Antoninus on the Via Sacra in Rome.

Estim. 38 000 - 40 000 EUR

Lot 42 - Empire clock attributed to PIERRE-PHILIPPE THOMIRE (Paris, 1751- 1843), after CLAUDE MICHALLON (Paris, 1752-1799). France, ca. 1805. "À l'amour couronné". Gilded bronze. In good condition. Sphere inscribed on the base. Measurements: 96 x 57 x 29 cm. Monumental Empire clock attributed to the bronze artist Pierre-Philippe Thomire, based on the prolific model made by the sculptor Claude Michallon. It is a piece with a stepped base on the upper part of which is the dial, with Roman numerals lacquered in black and bordered by a classic border. As in Michallon's model, on the body of the clock rest the figures of Cupid and Psyche worked in patinated bronze: Psyche places a crown on Cupid, while he brings his hand to her cheek in a delicate gesture full of love and tenderness. Formally, the position of the bodies stands out, denoting Michallon's savoir faire, as well as the careful detail of the modeling in the anatomy and in the qualities. The attribution of the design to Michallon (d. 1799) derives from an 1816 invoice by Feuchère for Würzburg in which he mentions this "pendulum of Psyché couronnant l'amour groupe modelé par feu Michallon". Pierre Philippe Thomire was a French sculptor known, above all, for his work in gilded bronze, thanks to which he became the leading caster in France at the end of the 18th century, with an important workshop established in 1775. His career saw a surprising improvement when he began assisting Jean-Claude-Thomas Duplessis, the artistic director of the Manufacture de Porcelaine de Sèvres, and, when the latter died in 1783, Thomire continued his work, creating the bronze mounts for works that combined it with porcelain. Such was his success that he continued to work during the French Revolution. In 1804 he expanded the business by buying the workshop of a cabinetmaker, which allowed him to work with furniture. He worked for Napoleon and also did so after the fall of Napoleon, retiring at the age of 72 and, even then, continuing with his creation in sculpture (he exhibited at the Salon de Paris). Claude Michallon was a French sculptor trained at the Ecole des Beaux-Arts in Paris, a student of Charles-Antoine Bridan (1730-1805) and Guillaume Coustou. In 1785 he won the grand prize for sculpture with a bas-relief representing Brutus. He studied at the Académie de France in Rome for six years, until 1791. When he returned to Paris, he received commissions for colossal statues and won several prizes awarded by the Committee of Public Information. He competed for several projects in Paris. Claude Michallon presented his marble group d'Aconce et Cydippe at the Paris Salon in 1793, and created several models for watch cases, such as Cupid and Psychée. Among others, Pierre-Philippe Thomire cast bronzes closely following his models.

Estim. 25 000 - 28 000 EUR

Lot 43 - Egyptian-inspired Empire clock, ca. 1810. Patinated bronze. Ormolu dial. Red marble base. It has small restorations. Dial signed "Bailly", watchmaker active in Menars street and Richelieu street in 1810. Measurements: 47 x 25 x 16,5 cm. Napoleon's campaign in Egypt in 1798 was the starting point of the Egyptomania that would dominate French art in the early nineteenth century. The future emperor and his troops were able to see first hand the great temples, monumental sculptures and pyramids, but the main architects of the dissemination of these images were the artists who accompanied the troops, and who devoted themselves to making sketches and watercolors of the various landscapes. When these works arrived in France, they were engraved and used as the basis for large oil paintings and sculptures. Thanks to these images, a new iconographic repertoire arrived in Europe, based on ancient Egyptian art but recreated with freedom and fantasy. This table clock is a clear example of this taste for the Egyptian, which will develop not only in the early nineteenth century but will be taken up again with force at the end of the century, within the context of historicism. Thus, we see a piece that represents a seated woman holding a clock in her arms. These solemn figures became very popular in the 19th century, as attested by the similar clocks that survive to this day. The clock we present here is inspired by others preserved today in museums and palaces, such as the one in the Malmaison Museum or the Pavlovsk Palace in St. Petersburg, among others.

Estim. 15 000 - 16 000 EUR

Lot 44 - Empire table clock. France, ca. 1806. Gilt bronze. In good condition. Measurements: 54 x 37 x 15 cm. French table clock of Empire style and period. All of it is made in bronze, with a sculptural concept typical of this time. It is a piece of classic aesthetics, with a base decorated with a large scallop. Above it rises a classical structure as a plinth that houses the clock face (with Roman numerals in black and Breguet hands, with the dial framed in a garland), embellished with cornucopias and supported on legs that take the form of dolphins. The clock is crowned by a round figure representing the god of the sea, Poseidon, holding his trident next to a pitcher pouring water.

Estim. 7 000 - 7 500 EUR

Lot 45 - Louis XVI clock. France, ca. 1770. Ormolu gilded bronze and white marble. Measurements: 42 x 37 x 14 cm. This table clock has a marble base ornamented with floral reliefs, spikes and winged angels, on which rests the clock itself. The structure rests on four small sphere-like legs. Leaning on this clock is a beautiful sculptural group starring Cupid on a cloud begging Venus to return. The decorativeness of the piece is enhanced by the beautiful gilded bronze work, as well as by the floral forms that complete the composition. Formally, the figuration is directly inspired by ancient classical art, a constant reference in the arts of this period.

Estim. 6 000 - 7 000 EUR

Lot 46 - Table clock. First Empire. France, ca. 1810. Gilt bronze. Enamel dial. Paris movement, with chiming at the half hours and hours. It has a pendulum. The key is missing. The machinery needs to be reworked. Measurements: 61 x 51 x 16 cm. French table clock from the Empire period. The sculptural concept of Greco-Roman inspiration is characteristic of the time. Made all of it in gilded bronze, it consists of a base decorated with a bas-relief presided by the figure of Poseidon brandishing his trident and crossing the ocean on his two horses. Zephyrs and little lovebirds with cornucopiae blow wind to accompany the navigation of the marine god. A couple worked in round bulk flank the clock case. Probably inspired by Greek effigies of Apollo and Artemis (although they do not carry hunting attributes), they have idealized features and athletic bodies with turned limbs. The tunics adhere to the body emphasizing anatomical harmony, and are folded in sensual draperies. Fruit and vegetable festoons, together with laurel wreaths, become symbols of fertility and abundance in this context. In the center stands the clock case, which houses a white dial bordered by a foliate garland. The numerals are Roman numerals and the hands are Breguet type.

Estim. 4 000 - 5 000 EUR

Lot 47 - Italian school, possibly Tuscan, late 16th century. "Christ crucified". Carved and polychrome wood. It does not preserve the arms. Measurements: 43 x 9 cm. Renaissance devotional image of the XVI century, carved in wood and polychrome. It represents Christ on the cross, already dead, with closed eyes and lips. The tilted head draws a soft curve with respect to the legs bent to the opposite side, so that the body is harmonious in anatomy and proportions, something that evidences the Renaissance style. It has a restrained dramatism in the treatment of the traces of suffering, especially in the chest with the marked ribs, the thinness that allows glimpses of muscles and tendons, as if the tension of pain still palpitates in the inert body. The purity cloth is gathered at the side, favoring a play of naturalistic drapery.

Estim. 3 500 - 4 000 EUR

Lot 48 - Corbel of the 17th century. Carved and polychrome wood. Measurements: The front face of this baroque corbel is embellished with a vegetal register of large overlapping palmettes.

Estim. 1 800 - 2 000 EUR

Lot 49 - An antique Turkish carpet, 19th century. Knotted in wool. 500,000 knots/m2. In good state of preservation. Needs cleaning. Measurements: 290 x 220 cm. 100% wool. It has a dark red field covered by a regular, symmetrical and ordered design, very intricate, with a lattice pattern of polygonal stars and entirely composed of synthesised plant motifs, mainly leaves and palmettes. The border consists of seven bands. Harmonious colours: garnets, reds, creams, dark blues, etc.

Estim. 2 500 - 3 000 EUR

Lot 50 - Persian carpet, ca. 1920. Wool. Measurements: 357 x 550 cm. Persian carpet made entirely of wool. It presents a reddish-coloured field on which a central rosette stands out, from which the vegetal decoration expands, combining aesthetic patterns that are repeated rhythmically. The border is made up of three bands occupied by borders with motifs similar to those on the field, the central one wider than the others. Complementary colours: beige, brown, white, blue and green. The Persian carpet is an essential element of Persian art and culture, the weaving of which has become an art form. Carpet weaving is one of the highest manifestations of Persian art and culture, dating back to the Bronze Age. The luxury with which Persian carpets are associated forms a striking contrast to their modest beginnings among the nomadic tribes of Persia. The carpet was a necessary commodity for protection from the harsh winter. Later, it became a means of artistic expression because of the freedom that comes mainly from the choice of bright colours and the motifs used. The secrets of manufacture have been passed down from generation to generation. Craftsmen used insects, plants, roots, bark and other subjects as a source of inspiration. From the 16th century onwards, carpet making developed into an art form in its own right.

Estim. 2 500 - 3 000 EUR

Lot 51 - Heriz Rug. Iran, first half of the 20th century. Wool, hand knotted. Usage marks. wear. Needs cleaning. Measurements: 400 x 280 cm. Hand knotted in wool. Red field with geometric decorations in various colors that fade as they reach the side borders. These rugs are hand-knotted in northwest Persia. They are usually large and very resistant. The city of Heriz is located in the northwest of Iran, not far from the city of Tabriz. In this place and its surroundings, rugs are made with an easily recognizable pattern and with a large medallion in the center at right angles with marked corners.

Estim. 1 000 - 1 200 EUR

Lot 52 - Persian carpet. Iran, ca. 1950. Wool and knotted silk. 360,000 knots per square metre. Some marks. Needs cleaning. Wear and tear. Measurements: 250 x 200 cm. Persian rug from the 50's in wool and silk knotted with a central field of originally red colour decorated with vegetal ornaments and lateral borders of blue and beige colour with geometric and floral ornaments. In the centre of the carpet you can see that it has had a piece of furniture on it for a long time which has left some marks and you can see the original colours of the carpet. Persian rugs have beautiful designs, they are collector's items prized all over the world. No wonder, as this is due to the excellent quality of the rugs. Hand-knotting, natural colours and fine woollen yarns are characteristic of these valuable carpets, which have been made in Persia for centuries. They are full of traditional motifs and beautiful colours.

Estim. 1 200 - 1 500 EUR

Lot 53 - JEAN-BAPTISTE AUGUSTE CLÉSINGER (France, 1814 - 1883). "Naked Huntress". Rome, 1860. Sculpture in patinated bronze. Signed by the author and with seal of Barbedienne foundry. Measurements: 39 x 18 x 31 cm. Sculpture in bronze, work of Jean-Baptiste Clésinger, inspired by the goddess of the hunt, Artemis or Diana, whom he represents however naked, a value opposed to the púdica condition of the Greco-Roman divinity. Mainly a sculptor, although he also cultivated painting, Jean-Baptiste Clésinger, called Auguste, began his training with his father, the sculptor Georges-Philippe Clésinger, who taught at the School of Fine Arts in Bensaçon. He was also a disciple of Bertel Thorwaldsen, although his language is framed rather in romanticism, soon moving away from the neoclassical models of this master. Clésinger began exhibiting at the Paris Salon in 1843, debuting with a bust portrait of Viscount Jules de Valdahon. He regularly showed his works at this Salon until 1864, and in the 1847 edition he caused a scandal for the sensuality of his distinctly romantic work, "Woman Bitten by a Snake", for which he based himself on the study of a real model, Apollonie Sabatier, who was Clésinger's lover and also Baudelaire's. Only two years later, in 1849, he was named Knight of the French Legion of Honor, becoming an officer in 1864. He stood out as a portrait painter, representing prominent figures of the time such as the actress Rachel Félix or Théophile Gautier. Of special importance is his statue of Louise of Savoy in the series "Queens of France and illustrious women" of the Luxembourg Garden in Paris. Also noteworthy is his funerary monument for Chopin's tomb, made in 1850. In 1864 Clésinguer joined the Société Générale de Photosculpture de France, of which he would become artistic director three years later, and in fact he would be one of the main advocates of this new technique, which applied industrial progress to sculptural production. Clésinger's works are currently preserved in the Musée d'Orsay, the Musée de la Vie Romantique and the Petit Palais in Paris, the Musée de la Picardie in Amiens and other public and private collections.

Estim. 3 000 - 4 000 EUR

Lot 54 - JOSEP LLORENS ARTIGAS (Barcelona, 1892-1980). Vase, 1935. Glazed ceramic. Signed and dated on the base. Measurements: 20 cm. (height) x 16 cm. (diameter). Ceramist and art critic, Josep Llorens Artigas was formed in the School of the Fish market, extending his studies in the Artistic Circle of Sant Lluc and in the Superior School of Beautiful Trades of Frances d'Assis Gali, place in which he knew Joan Miró. Settled in 1924 in the city of Paris, during his training he met important ceramists such as Delaherche (1857-1940), pioneer of the Art Nouveau style in France, developing an oriental style, following a very egalitarian aesthetic throughout his production, characterized by formal purification and renewing glazes and colors. Considered one of the main promoters of artistic ceramics during the 1930s, Llorens Artigas innovated in the style, moving away from the neo-historicist tastes that prevailed at the time and thus configuring a work valued for its material and technical qualities. Specifically, the piece presented here is made of stoneware with a green cover with slight chromatic changes that veer around the greens. The formal purity that characterizes the work of Llorens is understood in the rounded volumes and in its smooth and polished surface, full of brightness and nuances.

Estim. 2 500 - 3 000 EUR

Lot 55 - Pair of candlesticks; Spain, XX century. Silver. Presents marks. Measurements: 42 x 31 x 31 cm. Weight: 3026 g. Pair of silver candlesticks, five lights, the central one follows the line of the shaft. This one presents a turned profile based on moldings and protrusions. The surface of the silver is chiseled with motifs of baroque aesthetics. The serpentine arms, decorated with incised notches, have an arabesque shape. They support the lighters with lampshades that are profiled.

Estim. 1 700 - 1 900 EUR

Lot 56 - Pair of candlesticks "Return to Egypt", 19th century. Bronze. Measurements: 48 x 29 x 3 cm. Napoleon's campaign in Egypt in 1798 was the starting point of the Egyptomania that would dominate French art at the beginning of the 19th century. The future emperor and his troops were able to see first hand the great temples, monumental sculptures and pyramids, but the main architects of the dissemination of these images were the artists who accompanied the troops, and who devoted themselves to making sketches and watercolors of the various landscapes. When these works arrived in France, they were engraved and used as the basis for large oil paintings. Thanks to these images, a new iconographic repertoire arrived in Europe, based on ancient Egyptian art but recreated with freedom and fantasy. This pair of candelabra is a clear example of this taste for the Egyptian, which will develop not only in the early nineteenth century but will be taken up again with force at the end of the century, within the context of historicism. The body of the candelabra is made up of winged sphinxes with pharaoh's headdress supporting the body with four arms.

Estim. 2 500 - 2 800 EUR

Lot 57 - GEORGES TRIBOUT (1884-1962) Table lamp, ca. 1930. Patinated plaster and gilded bronze. Signed. Measurements: 20 x 11.5 x 44 cm. Georges Tribout was born in Paris and studied at the University of Notre Dame de Boulogne, attending the Académie Julian between 1904 and 1905. He favored the cubist style and went on to exhibit at the Salon des Indépendants in 1909, which earned him a place as a ceramist at the 1925 Exposition des Arts Décoratifs in Paris. During these years, Tribout also designed posters, costumes, theatrical sets, sculptures and ceramics for the Sèvres manufacture. The piece in question can be framed within the artist's period of maturity, where experimentation with different materials was the maxim of a generation of artists who managed to break free from the coercive rules of the academicism of the past.

Estim. 2 500 - 2 800 EUR

Lot 58 - Pair of cornucopias of baroque period, XVIII century. Carved and gilded wood. Period mirrors, one with crack on the side. In good state of preservation. They show marks of use and wear. Measurements: 102 x 56 x 16 cm. Pair of large size cornucopias of baroque style. They present a structure in carved, fretworked and gilded wood with large acanthus leaves. The cornucopias were rich mirrors to which were added supports for candles (which usually disappears in the 19th century examples), so that the light from the candles would be multiplied by being reflected on their surface. They were especially used in the Baroque period, during the 17th century and most of the 18th century. They were an essential ornament in the great halls of representation that, following the typical theatricality of the Baroque, were full of mirrors and candelabras that produced visual games of all kinds, in addition to enriching the room. Since they were pieces of furniture of representation, they were made of richly carved and gilded wood, decorating their frames with a multitude of delicate motifs in relief, worked as if they were sculptures. The cornucopias, like the rest of the mirrors of the Baroque period, could have frames of different shapes and profiles, but never exceeded the inner profile that delimits the glass, unlike the examples of the Rococo period.

Estim. 3 000 - 4 000 EUR

Lot 59 - JOSUË DUPON (Ichtegem, Belgium, 1864 - Antwerp, Belgium, 1935). "L'effort", ca. 1925. Commemorative medal in gilded bronze. Signed: JOSUË DUPON. Measurements: 53,5 cm . Josuë Dupon was a Belgian sculptor and engraver of Flemish origin. He enjoyed great success thanks to his realistic sculptures of animals, as attested by the two bronze sculptural groups that today crown the entrance to the Zoological Garden of Antwerp. His reputation was such that he became part of the small group of sculptors authorized by Leopold II to work the ivory coming from the Congo, a Belgian colony. Although at the beginning of his career he was more influenced by the academicist ideals of the 19th century, with the arrival of the new century his compositions changed, becoming increasingly modern. It is possible that part of the blame for this change was Rembrandt Bugatti, whom he met in Paris and invited to his home in Antwerp to visit the zoo of the Belgian capital and to study the species found there, since, not in vain, it was considered the best zoo in the world. In addition to animals, busts and public monuments, he also made a multitude of commemorative medals, in fact, he won a bronze medal at the 1936 Olympic Games in the category of "Sculpture" posthumously.

Estim. 2 500 - 2 800 EUR

Lot 60 - GANU GANTCHEFF (20th century). "Le mythe de Sisyphe", ca. 1930. Sculpture in patinated bronze Signed. Measurements: 67 x 12 x 27 cm. Ganu Gantcheff was a Bulgarian sculptor who developed his career in Paris, at least, from the twenties of the last century, as the dates of birth and death are unknown. He is known for chrysoelephantine pieces for the manufacture of Arthur Goldscheider, as well as a participation in the Society of French Artists in Paris with the work "Pudique". This sculpture full of movement and strength represents with great success the myth of Sisyphus under the aesthetics of Art Deco. The result must have deeply satisfied the sculptor, as there are other versions of the work, where the wheel is replaced by a rock.

Estim. 2 200 - 2 500 EUR

Lot 61 - PAUL SILVESTRE (1884 - 1976). "Jeune fille et chevreau", ca. 1930. Sculpture in patinated bronze Signed: P. SILVESTRE and SUSSE FRES. EDTS. PARIS Measurements: 82 x 18 x 30 cm. Paul Silvestre was born in Toulouse, although he developed his career in Paris when he was admitted in 1905 in the School of Fine Arts of the capital. Years later, in 1912, he won a scholarship to Rome and, from 1921, he exhibited regularly at the Salon des Artistes Français, winning the gold medal in 1930. This large-format work manages to condense in the same term two diametrically opposed attitudes: on the one hand, tranquility, drawn in the figure of the woman, naked and kneeling before the animal which, on the opposite side, pushes violently with its hindquarters in an offensive attitude.

Estim. 2 200 - 2 500 EUR

Lot 62 - JEAN LÉON BITTER-ARY (1883-1973). "Nymphe avec fauve", ca. 1920. Sculpture in patinated bronze on veined marble base. Signed: ARY BITTER Measurements: 90 x 20 x 30 cm. Ary-Bitter was born in Marseille, where he studied and excelled as an outstanding student, which earned him a sculpture award in 1900 and, two years later, a scholarship to work in the workshop of Louis-Ernest Barrias in Paris. In the French capital he managed to enter the Ecole Nationale Supérieure des Beaux-Arts. The second decade of the 20th century witnessed his consecration as an artist, as he received a succession of public commissions, such as the realization of the war monument of Sanary-sur-Mer or, in the private sphere, the creation of a "car mascot" for the car of Mme Louis Renault. In 1924, he won the gold medal at the Paris Salon and, a year later, the Susse brothers' foundry began working with him. In this context of prolific creation can be framed "Nymphe avec fauve", which highlights two of the premises of the artist throughout his production: the animalistic representation and gentleness when showing the female nude.

Estim. 1 700 - 1 800 EUR

Lot 63 - 17th century Spanish frame. Carved and gilded wood. Presents old xylophages on the back. Marks of use, wear and some faults. Measurements: 78 x 58 cm (inside frame); 99 x 78 cm (frame). This Spanish baroque frame, dated from the XVII century, is made of carved and gilded wood, with a rectangular design. The frame is organized in three moldings, all of them with profuse relief decoration typically baroque with festoons and acanthus leaves. The ornamentation is integrated within the linear geometry, seeking a balance between the line and the organic element.

Estim. 1 800 - 2 000 EUR

Lot 64 - French school, second half of the nineteenth century. Louis XVI style cup. Marble and gilded bronze. Measurements: 70 x 35 x 27 cm. Cran cup or vase of Napoleon period entirely made of marbled marble and decorated with bronze applications. The piece stands on a bronze pedestal, on which rests a circular foot decorated with a bronze sogueada molding, the same material that covers the birth of the belly as a sheath formed by small stems worked leaf by leaf. The ovoid vessel is decorated, at shoulder height, with two heads of goats with robust horns, expressive muzzles and thick beards. Festoons of flowers run along the belly, from side to side of the zoomorphic heads. The burnished gold of the bronzes harmonizes with the natural beauty of the marble in sienna and ochre tones. The plant motifs and fauna remind us of the god Bacchus. The ensemble manages to maintain the classical rigor while leaving room for the ornamental fantasy so much to the taste of the bourgeois clientele of the second half of the 19th century.

Estim. 1 400 - 1 500 EUR

Lot 65 - Spanish school, XIX century. "Christ crucified". Polychrome wood carving. Wooden cross. Missing nails. Measurements: 95 x 65 x 18 cm (sculpture); 172 x 80 cm (cross). Wooden sculpture of a crucified Christ. The devotional effigy denotes quality in the carving and interest in capturing the beauty of the human body. In spite of being an anatomy in which the imprint of the pathos is impressed by the stigmata, by the highlighting of the veins and the marked ribs, the carver (ascribed to the neoclassical tradition) turns the members with skill and granting to the whole a noble and harmonious bearing. The tilted head is already resting from suffering. The closed eyelids and the wiry face, framed by a beard worked tuft by tuft, give a veristic countenance. It is a Christ with three nails, covered by a cloth of purity that is stirred by an invisible wind, folding in bold draperies. The extended index and middle fingers allude to the dual nature of Jesus, human and divine.

Estim. 1 500 - 2 000 EUR

Lot 66 - Modernist bust, ca.1900. In patinated bronze. Measurements: 63 x 38 x 25 cm. Female bust in bronze, Art Nouveau style and period. The smooth skin of the young woman contrasts with the whimsical locks that draw spontaneous spirals around her fine features, and which are crowned by a sensual bow. The dress, bordering the neckline, is also characterized by organicist and curvilinear folds characteristic of modernist art. .

Estim. 1 400 - 1 800 EUR

Lot 67 - PIERRE LE FAGUAYS (France, 1892 - 1962). "Pair of roosters". In metal, silver plated. Black marble pedestal. Signed on the base. Presents a chipping in the marble. Measurements: 23 x 65 x 11 cm. Pierre Le Faguays was a versatile and prolific French sculptor, creator of Art Deco and avant-garde pieces, mainly active in the 1920s and 1930s, until his death in 1962. Especially known are his dancers and young nymphs or girls, with expressive faces and attitudes and movements full of grace and delicacy. He made his works known at the Paris Salon from 1922, where he was awarded a medal of honor in 1927. He specialized in small sculptures in bronze, wood, stone and bronze. He was a great friend of Max Le Verrier, in whose bronze foundry he made most of his models. He used two pseudonyms, "Fayral" and "Guerbe", the names of his wife and mother, respectively. Le Faguays enjoyed popularity in his time thanks to the originality of his dancers, many of which were inspired by the statues of Tanagra (Greece).

Estim. 1 400 - 1 800 EUR

Lot 68 - VALMORE GEMIGNANI (1878 - 1956). Table clock-lamp, ca. 1905. Patinated terracotta. Signed: V. GEMIGNANI. Some pitting on the base. Measurements: 90 x 37 x 35 cm. Table clock adapted to lamp. In its center, a couple of fishermen hoists a starfish that serves as a clock case, while, behind the sculptural group, stands a mast at the top of which is the light of the lamp. The piece, possibly made in Vienna, follows similar models of the manufacture of Friedrich Goldscheider, whose production enjoyed great success in the late nineteenth century thanks to the collaboration with different artists, as is the case of Gemignani himself.

Estim. 1 200 - 1 300 EUR

Lot 69 - ADELAÏDE MAETERLINCK-LEFÈBVRE (1860 - 1940). "Poisson", ca. 1930. Sculpture in patinated bronze on black marble base. Signed: A. LEFEBVRE. Measurements: 36 x 50 x 12 cm. Belgian sculptor, wife of Louis Maeterlinck, painter and curator of the Museum of Ghent, where a portrait of her by her husband is preserved. She was creator of elegant sculptures in baked clay, betting in her production for the feminine nude, which earned her the rejection, at the end of the XIX century, on the part of the jury in an exhibition of young artists of the city of Ghent, alleging the indecency of her creations.

Estim. 1 100 - 1 200 EUR

Lot 70 - JOSEP LLIMONA BRUGUERA (Barcelona, 1864 - 1934) and JOAQUIM VICENS GIRONELLA (1911-1997). "Crucifixion". Christ in stucco (Llimona) and cross in wood (Gironella), 1932. Cross signed and dated by Gironella. Measurements: 30 x 30 x 6 cm (Christ); 62 x 42 x 8 cm (cross). A self-taught artist, Joaquim Vicens Gironella made cork sculptures, and was discovered and exhibited by Jean Dubuffet. He also wrote many poems and plays. Josep Limona is remembered as the most important Catalan sculptor of modernism. Trained at the Llotja School in Barcelona, he obtained the pension to go to Rome in 1880. During his stay in Italy he was influenced by Florentine Renaissance sculpture. With the works he sent from there he obtained prizes (gold medal at the Universal Exhibition of Barcelona in 1888), as well as a great reputation. With his brother Joan he founded the Círculo Artístico de Sant Lluc, a Catalan artistic association of religious character (the two brothers were deep believers). Towards the middle of the 90's his style already drifts towards full modernism. He received the prize of honor at the International Exhibition of Fine Arts held in 1907 in Barcelona. From 1900 he focused on his famous female nudes, and in 1914 he created, in collaboration with Gaudí, his impressive "Resurrected Christ". His artistic genius also manifested itself in large public monuments such as the equestrian statue of St. Jordi in Montjuic Park in Barcelona, as well as in works of funerary imagery, such as the pantheons he created for several cemeteries. In addition to exhibiting in Barcelona and other Catalan cities, he exhibited his work in Madrid, Brussels, Paris, Buenos Aires and Rosario (Argentina). He was president of the Board of Museums of Barcelona between 1918 and 1924, and again from 1931 until his death in 1934. Throughout his life he received numerous decorations, including those awarded by the governments of France and Italy. He also received the Gold Medal of the City of Barcelona in 1932, in recognition of his extraordinary work in the development of museum activity. Llimona's work is preserved in the Monastery of Montserrat, the National Art Museum of Catalonia and the Reina Sofia Museum, among others.

Estim. 900 - 1 000 EUR

Lot 71 - JACQUES LIMOUSIN (XIX-XX). "Homme déracinant un arbre", ca. 1930. Sculpture in patinated bronze Signed: LIMOUSIN. Measurements: 50 x 38 x 15 cm. The sculpture represents a man perched on the trunk of a dry tree, trying to pull it up or gaining momentum. The composition, full of movement, is common in the sculpture of the third decade of the twentieth century, where the robust lines of Art Deco do not prevent scenes full of tension at its peak, following the path of the Futurist movement of previous years.

Estim. 750 - 800 EUR

Lot 72 - LAURENCE DUPUY (XIX-XX). "Danseuse aux cymbales", ca. 1920. Sculpture in patinated bronze. Presents stamp of the Susse Frères foundry. Signed: L. DUPUY and SUSSE FRES. EDTS. Measurements: 31 x 15 x 15 x 15 cm. The sculpture represents a nude dancer with cymbals or cymbals, captured in full show in a position in which she seems to be about to lose her balance. The dance and the dance were among the main entertainments of the western society at the beginning of the 20th century, being the cymbals accompanied by other instruments like flutes or bells, so it is not surprising that the dancers were one of the most common themes in the artistic production of the moment.

Estim. 900 - 1 000 EUR

Lot 73 - FRANÇOIS ANDRÉ CLÉMENCIN (1878 - 1950). "Diane la chasseresse luttant contre un bélier", ca. 1920. Patinated bronze sculpture Signed: CLÉMENCIN. Measurements: 35 x 30 x 15 cm. François Clémencin was a Lyonnais sculptor who developed his career under the mantle of sculptor and academician Jules Coutan. A member of the Salon des Artistes Français, he began exhibiting there in 1907, receiving an honorable mention that same year. In addition, in 1932, he participated in the artistic competitions, in the category of "sculpture", at the 1932 Summer Olympic Games in Los Angeles, United States, with a bas-relief plaque representing a fencing competition. In this sculpture the author opts for a mythological scene, where he plays with the hallmarks between the candid human nudity and the irrepressible animal impetus, represented by Diana, goddess of wild beasts, and a ram that tries to approach her.

Estim. 900 - 1 000 EUR

Lot 74 - Pair of candlesticks as glasses. Possibly Belgium or France, ca. 1900. Patinated bronze on Belgian black marble bases. Measurements: 39 x 16 x 15 cm; Marble base: 50 cm. Elegant pair of candlesticks as cups in patinated bronze and Belgian black marble, characteristic of the Napoleon III period and that had its echo during the Third French Republic. The tank, studded with tendrils in relief, rises up on a crowned foot and this, in turn, rests on a marble base with lion paws, reminiscent of the Restoration period. The handle, made with different vegetal elements, such as bells in its upper third or acanthus leaves, is on one side, while on the other, as a blinded pouring spout, there is an animal's head. The candlestick is crowned by a lighter or light holder to place the candle.

Estim. 900 - 1 000 EUR

Lot 75 - EMILE BULCKE (1875-1963). "De wind", 1933. Patinated bronze sculpture on marble base. Signed and dated: EM. BULCKE / 1933. Measurements: 45 x 17 x 15 cm. Emile Bulcke was a Belgian painter and sculptor born in Ostend, although his training took place between Bruges and Antwerp. In the late nineteenth century his work was awarded several prizes, which earned him a tribute from his hometown, Ostend, and a scholarship to Paris to study with Léon Bonnat, as well as a trip to Italy. However, the tragic death of his daughter Dinah, victim of the flu epidemic that devastated Europe in 1918, would end up marking his production, turning his efforts to preserve the memory of the girl. This sculpture is, precisely, a small-scale reproduction of the original in the Leopold Park in Ostend, which represents his deceased daughter, thus paying her a posthumous tribute.

Estim. 800 - 900 EUR

Lot 76 - MARK HOPKINS (USA, 1965). "Rider on horseback". Bronze. Signed and numbered, copy 36/250. Measurements: 36 x 44 x 17 cm. Mark Hopkins' work reveals his total fascination with almost every imaginable aspect of life: from history, children, sports, music and religion to the wildlife of the land, sea and air. With a style so fluid and vivid that it has been described as "bronze in motion," the work is as passionate and expressive as the artist himself. In addition to his skill as an artist, Mark became a technical expert in the art of "lost wax" bronze casting. At Mark Hopkins Sculpture foundry, Mark oversees the casting process, ensuring that the integrity of his work is maintained throughout his bronze creation. With the help of many talented craftsmen, Mark strives to establish a lasting legacy of high quality bronze sculpture.

Estim. 1 500 - 1 800 EUR

Lot 77 - Manises dish; late sixteenth century / early seventeenth century. Glazed ceramic. It has a small hole on one side made to hang the piece. Measurements: 31 cm (diameter). Glazed ceramic dish with a hole in the center. It has a design composed of geometric and vegetal elements, the latter located on the outer perimeter. Lustre-painted ceramics will be the great art of the Nasrid period, although it was born in Almohad Spain between the second half of the 12th and the first half of the 13th century. It is a technique of Persian origin, the first documents referring to it being found in the year 1066, although no examples prior to the 12th century have come down to us. It is a glazed ceramic, that is to say, with a white glaze bath, very pure in the best examples, which is fired in the kiln. On it, already cold, it is decorated with a pigment composed of five basic ingredients: copper, silver, sulfur, almazarrón (iron oxide) and vinegar. The final tone will depend on the proportion of these components, resulting more golden if it has a greater amount of silver, and more reddish if copper predominates. Finally, the piece is fired a second time at 650ºC, in a reducing atmosphere, to fix the decoration. Once the piece is fired, the decoration is black, so it has to be burnished to obtain the final shiny metallic gold tone. During the Nasrid period, between the 13th and 15th centuries, in the luster pieces we will see all the ornamental repertoire of Hispano-Muslim ceramics: hand of Fatima, "ohm", knot, ataurique, epigraphy, vegetal motifs, scales, imbricated decorations, etc., always with compositions that fill the entire space, with a certain character of "horror vacui". As we see in this piece, in the following centuries the style will continue in Christian territory, maintaining the dense compositions and the linear, vegetal and geometric motifs, although elements that did not exist in Islamic art will be added, as is the case of the reliefs that are the protagonists of this plate. It has a small hole on one side made to hang the piece.

Estim. 1 400 - 1 600 EUR

Lot 78 - Viennese school, ca. 1900. In the manner of FRANZ BERGMAN (1861-1936). Orientalist sculpture in chiseled bronze, partially gilded and cold enameled. Measurements: 17 x 17 x 20 cm. The tradition of small Viennese bronze sculpture dates back to the middle of the 19th century, with as many as fifty artists residing in the capital at the end of the century. Several foundries began to specialize in the so-called "cold enameling" technique. Several layers were applied to the raw bronze, resulting in a fine, shiny finish charged with naturalism. However, it was important to apply this film when the bronze was still hot, as the temperature contrast contributed to the permanence of the color, which remained fixed to the metal. Since it was not fired, following the usual process, it became known as "cold enameling".

Estim. 700 - 750 EUR

Lot 79 - Pair of vases of the nineteenth century. Alabaster veined. Presents some chipping, marks of use and wear. Measurements: 49 cm (height) x 22 cm (largest diameter). This pair of classically inspired vases is characterized by the beauty of the veined alabaster, an elegant and malleable material very suitable for the realization of this type of pieces.

Estim. 800 - 1 000 EUR

Lot 80 - SALVADOR DALÍ I DOMÈNECH (Figueras, Girona, 1904 - 1989). Titled and dated on the back. Seven porcelain plates decorated by Dalí. Presents the original box and notarial certificate. Measurements: 38,5 cm (diameter). Seven plates of Salvador Dali's work, titled, signed and with serial number and certificate on the back before notary. Original boxes included. These pieces were made for the exhibition of the International Painting Fund on May 8, 1990, held in Barcelona. These plates made in enameled porcelain decorated by Dalí, represent with strength and movement that reflects the characteristic style of the surrealist painter. During his early years, Dalí discovered contemporary painting during a family visit to Cadaqués, where he met the family of Ramon Pichot, an artist who regularly traveled to Paris. Following Pichot's advice, Dalí began to study painting with Juan Núñez. In 1922, Dalí stayed at the famous Residencia de Estudiantes in Madrid to begin studying Fine Arts at the San Fernando Academy. However, before his final exams in 1926, he was expelled for claiming that there was no one there fit to examine him. That same year Dalí traveled to Paris for the first time. There he met Picasso, and established some formal characteristics that would become distinctive of all his work from then on. During this period, Dalí held regular exhibitions in both Barcelona and Paris, and joined the surrealist group based in the Parisian neighborhood of Montparnasse. The painter landed in America in 1934, thanks to art dealer Julian Levy. As a result of his first individual exhibition in New York, his international projection was definitively consolidated, and since then he has been showing his work and giving lectures all over the world. Most of his production is gathered in the Dalí Theatre-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. The original box and notarized certificate must be presented.

Estim. 600 - 700 EUR

Lot 81 - Pair of bookends. France, ca. 1930. Patinated bronze on veined marble base. Signed: BINMORAN. Measurements: 11.5 x 12 cm and 11.5 x 13 cm. Pair of bookends in chiseled bronze representing a hunter about to shoot a panther with his bow. The hieratism of the figures, together with the known production of the artist who signs the pieces, allows to frame them at the beginning of the third decade of the 20th century, within the French Art Deco period.

Estim. 500 - 550 EUR

Lot 82 - French or Belgian school, ca. 1930. Sculpture in gilded and patinated bronze on marble base. Measurements: 30 x 25 x 8 cm; Marble base: 2 cm. The animalistic representation has been a constant in the history of art, especially during the Art Deco period, where many artists focused their production in the creation of scenes where animals were the protagonists. Rembrandt Bugatti is possibly the most famous sculptor in this genre, although others such as the French Irénée Rochard, also opted for a theme with great acceptance by the society of the time for the kindness of the representations.

Estim. 500 - 550 EUR

Lot 83 - OSCAR BERCHMANS (1869-1950). "Jeune femme embrassant un buste de Pan", ca. 1930. Sculpture in patinated bronze. Signed: OS. BERCHMANS. Measurements: 28 x 20 cm. Born in Liege, where he developed most of his career, Oscar Berchmans grew up in a family of painters and sculptors, entering at an early age in the workshop of his father, Émile-Édouard Berchmans. At the end of the century he was involved in the decoration of numerous houses in Liège in the new floral modernist style, following the creations of Victor Horta in Brussels, together with the architects Victor Rogister and Paul Jaspar.

Estim. 500 - 550 EUR

Lot 84 - AFTER BRUNO ZACH (1891-1935). "Le calin", ca. 1960. Sculpture in patinated bronze and partially cold enameled. Signed: B. ZACH. Measurements: 14 x 17 x 9 cm. Bruno Zach was a prolific sculptor born in Ukraine but developed his career in Vienna, where he emigrated at a very young age. In the Academy of Fine Arts of the Austrian capital he soaked in the currents of the beginning of the new century, as they could be the modernism or the orientalism. However, it was thanks to his erotic works that he gained great popularity among the society of the time. "Le callin" or "The Embrace", is one of his best known pieces. Originally made around 1930, a few years before his death, it represents a woman embracing a penis of dreamlike dimensions. It may well have been influenced by the Berlin nightlife, whose prostitutes and gloomy atmospheres often served as inspiration for the artist.

Estim. 600 - 650 EUR

Lot 85 - MICHEL DECOUX (1837-1924). "Femme agenouillée", ca. 1920. Sculpture in patinated bronze on onyx pedestal. Signed. Measurements: 18 x 18 x 8 cm. Sculpture representing a young woman kneeling and half-naked caressing her hair. The lines of the hair announce the geometry of the Art Deco movement that will have full development in the thirties of the twentieth century, abandoning the marked sinuosity of modernism and far from nineteenth-century naturalism.

Estim. 500 - 550 EUR

Lot 86 - French school, ca. 1920. "Jouer pétanque". Patinated bronze sculpture. Measurements: 34 x 15 x 22 cm. The game of petanque originated in the first decade of the twentieth century, born as a variant of the "jeu provençal", a popular ball game where you had to take three steps before the launch. The novelty of petanque was that the thrower remained still, with his feet together, at the moment of throwing the ball, so they began to call it "pieds tanqués" and gradually ended up acquiring the current name of "petanque". The sculpture, finely worked with a beautiful patina, shows us the importance that this game had in the French society at the beginning of the century, transversal to any social class.

Estim. 500 - 550 EUR

Lot 87 - Pair of bookends. France, ca. 1920. Bronze with silver patina on marble base veined. Measurements: 11 x 11 x 5 cm. The animal bookends, along with the "car mascots", were a constant during the first two decades of the twentieth century. Possibly as a consequence of the desire on the part of the modernist artists and of the art deco that any domestic object was susceptible of being a work of art.

Estim. 400 - 450 EUR

Lot 88 - Inkwell in the form of a Nubian head. Possibly France, ca. 1900. Ebonized metal. It shows wear. Measurements: 18 x 10 x 10 cm. Within the European impetus for orientalism, coupled with the desire to convert everyday objects, such as an inkwell, in works of art, such pieces were born, both in ceramics and in bronze or other metals, seeking to provide the most prosaic tasks of a special nature.

Estim. 350 - 400 EUR

Lot 89 - "Escena galante". CAPODIMONTE. Naples, end of XIX century. Biscuit. With signature of the manufacture of Carpié (in the Italian city of Nova) and marks on the back. Wooden stand. In good condition. Measurements: 45 x 39 x 25 cm. + 5 x 40 x 28 cm. pedestal. Ornamental sculptural group made in biscuit, representing a couple of young lovers exchanging tender glances and accompanied by little love. The delicate turn of the legs and the sweetness of the faces, together with the flamboyant draping of the garments, testify to the quality of the biscuit. Founded in 1743 under the reign of Charles VII of Naples, the future Charles III of Spain, the Royal Porcelain Factory of Capodimonte was born with the aim of emulating the great factory of Meissen, whose patron had been Augustus the Strong, grandfather of Queen Maria Amalia of Saxony. It was, after the Saxon factory, one of the first in Europe to use real porcelain, with kaolin, fired at a temperature varying between 700 and 800º, with a second, higher firing, between 1,400 and 1,500º. His production was very extensive, although he was especially noted for his sculptures, both round and in relief, decorating all types of objects.

Estim. 1 500 - 2 000 EUR

Lot 90 - Tabletop center. Germany, late nineteenth century-early twentieth century. Group of biscuit. Gilt and chiseled bronze base. With marks (E. Werner) on the back. In good state of preservation. Measurements: 25 xs 47 x 24 cm. Center of table of German manufacture in biscuit, with sculptural group of women and children walking to the rhythm of the melody that a young flute player is playing. The blouses and dresses flutter with the graceful movement of the bodies. They are also accompanied by an unruly dog. The influence of the sensuality of Art Nouveau can be appreciated.

Estim. 1 000 - 1 500 EUR

Lot 91 - "Venus pudica", early twentieth century. Stucco sculpture. Measurements: 80 x 27 x 35 cm. Sculpture in bronze, worked in round bulk, representing a Venus Puditia just out of the bath. The representation of Aphrodite after the bath derives from Praxiteles, although the sculptures of this author showed the standing figure hiding her nudity with both arms, as shown in the Capitoline Venus. The squatting Venus, on the other hand, became popular especially in the neoclassical period, in which they reinterpreted the Greek models with relative freedom. The young woman folds back on herself to cover her pubis and bust, adopting a graceful gesture. The author manages to convey the carnality of the body and the curves with naturalistic audacity, despite the idealization of the features.

Estim. 1 200 - 1 500 EUR

Lot 92 - "Dying Slave", early 20th century. After MIGUEL ANGEL BUONARROTI (1475-1564). Sculpture in stucco. Measurements: 115 x 38 x 30 cm. This plaster sculpture faithfully reproduces the famous "Dying Slave" by Michelangelo. The Renaissance genius realized this statue as part of a commission to decorate the tomb of Pope Julius II. It is currently housed in the Louvre Museum in Paris. Experts have pointed out the influence exerted by the Laocoon on this magnificent piece, given the torsion and expressiveness of a body in which there are signs of having struggled but which in the end accepts its fate. Both slaves would meet a different fortune than expected. Instead of appearing in the monument of Julius II, they would pass through the hands of different collectors: Roberto Strozzi, Henry II, Anne de Montmorency, Cardinal Richelieu... Finally, they were confiscated by the French government in 1793 when they were intended to be sold by the widow of the last Marshal Richelieu. Since then, they have been in the Louvre.

Estim. 1 200 - 1 500 EUR

Lot 93 - "Discobolus", early 20th century. Model of Myron (V century BC). Sculpture in stucco. Measurements: 127 x 75 x 30 cm. Emulating to perfection the popular model made by Myron of Eléuteras in the 5th century B.C., the present plaster sculpture summarizes in a single moment a complete action, reflecting the human body in its maximum tension and splendor, an effort that, however, is not reflected in the face, which reveals a serene concentration.

Estim. 1 200 - 1 500 EUR

Lot 94 - "Venus de Milo", early twentieth century. Stucco sculpture. Measurements: 110 x 35 x 30 cm. Successful reproduction in plaster of the Aphrodite of Milo. The Venus de Milo is one of the most representative statues of the Hellenistic Greek period, and one of the most famous sculptures of ancient Greece. It was created between 130 and 100 BC, and represents Aphrodite, the Greek goddess of love and beauty. The original statue was found in Milo, in the Cyclades, by a peasant, and sold to France between 1819 and 1829. It is now kept in the Louvre Museum in Paris. In it, the classical contrapposto imprints a slight movement to the body, in studied harmonization with the slight twist of the torso and the bending of a leg, adopting as a whole the serpentine form that scholars call "Praxitelian curve", thus being one of the most outstanding exponents of Greek sculpture in its assumptions of serene beauty.

Estim. 1 200 - 1 500 EUR

Lot 95 - Porzellanfabrik E.&A. Müller. Thuringia, Germany, ca. 1900. "Scene with figures and cart". Biscuit, with gilt decorations on the base. With mark and numbering on the back. In good state of preservation. Measurements: 25 x 30 x 18 cm. Group in biscuit of the house Porzellanfabrik, Thuringia. A girl delivers a floral bouquet to her young mother, whose hair has been gathered with a handkerchief. The mother prepares to decorate with festoons of flowers the wicker cart, from which hangs a draped cloth. Each element of the costume and attrezzo has been delicately described, recreating textures and qualities with skill.

Estim. 800 - 1 000 EUR

Lot 96 - "Cybele". France, late 19th century-early 20th century. Biscuit It has some flaws and slight tears. Measurements: 25 x 49 x 20 cm. The goddess Cybele, the Great Mother originated in the Phrygian mythology and inherited by Greeks and Romans, has been represented here in her chariot, driven by two lions mounted by lovebirds. It follows stylistic models of French neoclassicism. The goddess, with an idealized countenance, wields a torch and wears a short, skillfully draped dress. A third little love guarding one of the sides of the chariot. The biscuit group is dynamic and descriptive, recreating itself with the rendering of textures and qualities in each of the details. The lions embody, respectively, Atalanta and Hippomenes. Cybele was considered the personification of the fertile earth, a goddess protector of nature and animals. In Greek mythology, since her figure was already represented by other divinities, this goddess had to be readapted to be integrated into existing myths, to the point that many authors considered her the same character as Rhea, the mother of the gods. Her Roman equivalent was Magna Mater, the Great Mother or Idaea mater ("Mother of Ida"). Her title "Mistress of the Animals", also held by the Minoan Mother Goddess, reveals her archaic Paleolithic roots.

Estim. 800 - 1 200 EUR

Lot 97 - "Pastoral scene". Germany, SITZENDORF, ca. 1890. Biscuit. With mark and numbering on the back. It has some slight faults. Measurements: 25 x 35 x 15 cm. Group in biscuit, in which the quality of the manufacture of Sitzendorf is appreciated. Three peasant women and a shepherd, besides two little love birds pouring water from a jar, and a couple of goats grazing, compose a lively scene of bucolic subject. The first porcelain factory established in Sitzendorf was founded in 1760 by Georg Heinrich Macheleidt under the protection of the prince of Schwarzburg-Rudolstadt, but in 1762 the factory was moved to Volkstedt by order of the prince. In 1850 a new factory was opened, which began to stand out for its quality in 1884, when Alfred and Carl Wilhelm Voigt took over the management. It then began to manufacture parts in the Dresden style, with such success that by 1909 the factory was equipped with innovative steam-powered machinery.

Estim. 800 - 1 000 EUR

Lot 98 - "Amorcillos and Amaltea". Germany, VOLKSTEDT, ca. 1780. Biscuit. With mark on the back. It has slight flaws. Measurements: 22 x 37 x 20 cm. This sculptural group is probably inspired by Bernini's marble "The Amalthea goat with Jupiter child and a faun" (Borghese Gallery, Rome). Although in Bernini's piece there are only two children, the author of this biscuit takes up the mythological scene developing it in a neoclassical language. Each infant exudes grace and spontaneity in gestures and countenance. According to Greco-Roman mythology, Jupiter's mother, Rhea, left her son in the care of the goat Amalthea, in order to hide him from Cronus, who was devouring all his progeny. It is said that once, when Jupiter and a faun were playing, the boy grabbed tightly to the horn of the goat, unfortunately, this caused it to break. After this, Jupiter created a cornucopia, an object that provided you with any material wealth. Jupiter was raised along with other mythological beings by the goat Amalthea, this being gave him all the necessary care for Jupiter to become a strong and healthy man in the future. The future king of Olympus was indebted to the creature, so he gave him a solid gold dog to make the goat's abode safer.

Estim. 800 - 1 000 EUR

Lot 99 - "Boat with couple". VOLKSTEDT, early 20th century. Biscuit. With mark on the back. In good condition. Measurements: 21 x 30 x 20 cm. This sculptural group made in biscuit shows a fisherman seated on the side of his boat, declaring his love to a dazzled young woman. Every detail has been skillfully described, as is typical of the Volkstedt brand.

Estim. 600 - 800 EUR

Lot 100 - French tabletop centerpiece. Art Nouveau, ca.1900 Gilt bronze, glass and biscuit figure. Sculpture signed Dalfort on the back. Good preservation. Measurements: 38 x 33 x 33 cm (center); 18 x 10 x 10 x 10 cm (figure). Modernist centerpiece with gilded bronze structure that hosts between its columns a sculpture is biscuit worked in round bulk representing a goddess of Greco-Roman inspiration. The bronze is worked with floral and vegetal festoons adorning the gallery and the shafts.

Estim. 600 - 800 EUR

27th May - Decorative Arts

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Lot 48 - Corbel of the 17th century. Carved and polychrome wood. Measurements: The front face of this baroque corbel is embellished with a vegetal register of large overlapping palmettes.