8th July - Private Collection I

Lot 1 - Attributed to EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). Untitled. Oil on canvas. Measurements: 74 x 50 cm; 90 x 65 cm (frame). The brushstroke and the theme of this work bring us closer to the painting of Eugenio Lucas. In the center of the scene, a character takes up almost the totality of a space that is diluted in the shadows. On this darkness, the ochre of the body and the white of the protagonist's shirt stand out, as well as the sketchy figures in the background, which are barely perceptible. The dim lighting, the fast and strongly applied brushstroke and the composition in a cross shape are reminiscent of Goya's painting "Vuelo de Brujas" (Flight of Witches), making up an image of great expressiveness and evident artistic skill. Eugenio Lucas is considered the Spanish romantic painter who best understood Goya's art, becoming the most important and passionate follower of the Goyaesque universe after the death of the brilliant Aragonese painter, whose essence he managed to assimilate to the point of making it difficult on certain occasions to correctly attribute some of his works. In Goya's painting, Lucas Velázquez found the starting point to develop an imaginative personal painting, of fantastic visions and unleashed passions, within the purest romantic style. He also took the subject matter from Goya, and painted scenes of the Inquisition, covens, pilgrimages and bullfights. He also painted, in 1850, the now disappeared ceiling of the Royal Theater of Madrid, and later he was named honorary chamber painter and knight of the order of Carlos III by Queen Isabel II. As a good romantic, he made several trips, among which his stays in Italy, Morocco and Paris stand out. His works are characterized by the use of a spirited brushstroke and a casual style, without draftsmanship concerns, with a dense and impastoed matter of great chromatic richness and with the presence of strong chiaroscuro. He achieved great success as a painter of manners and scenes of fantastic and sinister character, although it is true that he was also an excellent landscape painter and portraitist. His work is well represented in the Prado Museum, and also in other centers such as the Bilbao Fine Arts Museum, the National Art Museum of Catalonia, the Lázaro Galdiano Museum, the British Museum, the Metropolitan Museum of New York and the Goya Museum in Castres (France).

Estim. 3 000 - 4 000 EUR

Lot 2 - Vase; France, late nineteenth century. Glass. Signed Daum. Measurements: 28,5 x 8 cm, Art Nouveau style vase made in cameo glass, with representation of plant motifs. Dominate the blue and black tones that create an expressive game of contrast. The Daum manufacture was founded at the end of the 19th century by Augustin Daum (1853-1909), from a small family glassworks in Nancy. He would be joined by his brother Antonin (1864-1931), and Daum's workshops would soon after become a meeting and training place for many young artists, who promoted the Art Nouveau style in Nancy. At first they made ordinary glass, but in 1891 they decided to open a decorative workshop and undertake an artistic production, probably as a result of the success of Émile Gallé (1846-1904) at the 1889 Exhibition.

Estim. 1 500 - 1 600 EUR

Lot 3 - French school; early twentieth century. "Landscape with church". Oil on canvas. Painted on both sides. Measurements: 33 x 41 cm. In this work the artist presents two specific views. In both cases completely empty and without any hint of human presence, the author fixes his sight on the exuberance of the landscape, giving all the prominence to nature. The light that the artist has achieved indicates that it is a precise moment in the day. The choice of a precise moment and the technique of long, loose brushstrokes show the great influence of impressionism as the aesthetics of this painting.

Estim. 150 - 200 EUR

Lot 4 - European school; 20th century. "Composition of elements". Oil on canvas. Presents illegible firm in the lower right corner. Measurements: 50 x 61 cm; 60 x 70 cm (frame). The author of this work presents us with a still life in which the use of various perspectives to deconstruct the objects, the outline of the figures, the flat background that overcomes the beginning and the use of dark tones bring us closer to a taste for cubism, but already influenced by other aesthetic currents.

Estim. 500 - 700 EUR

Lot 5 - After ANTONIN AIGON (France, 1837-1885) "Le rat et l`Huître". Gilded bronze and marble pedestal. Signed. Measurements: 9 x 8 x 11 cm. During the nineteenth and twentieth century the animal-themed sculpture will finally reach a status of its own, within the context of romantic sculpture. Seeking to break away from the classical sculptural ideal, many artists saw in the animal theme a new way of expression, linked to the emotional and irrational nature, in a purely romantic sense.

Estim. 300 - 400 EUR

Lot 6 - Vase; Jugendstill LOETZ; Austria, c.1900. Glass. Measurements: 29 x 16 x 16 cm. Johann Loetz Witwe was the most important maker of art glass in Klostermühle, Bohemia. The works of Johann Loetz are among the most outstanding examples of Art Nouveau. In Wottawattal was one of the oldest glassworks, which was purchased in 1850 by Johann Loetz, the company founder and former owner of glassworks in Deffernik, Hurkental, Annatal and Vogelsang. In 1879, Max Ritter von Spaun, grandson of Johann Loetz, took over the factory from his grandmother and continued to run it under the old company name.

Estim. 300 - 400 EUR

Lot 7 - PEDRO MERCEDES (Cuenca, 1921-2008). "Vase", c. 1980. Fired earthenware scratched and partially monochrome. Presents fracture line in the lip area. Measurements: 38 x 11 x 11 cm. Outstanding potter, Pedro Mercedes worked the ceramics in an exceptional way, transforming the clay, opening it between his hands, always with the masonry at the ready looking for the maximum expression of his works. His extensive production experiments in the world of shapes and volumes, remodeling concepts such as the ancestral Iberian bull, horses, deer, gods and even heroes, which Mercedes himself defined in that magical world in which the potter immerses himself. Artistic personalities approached the pottery where Mercedes modeled his brilliant works, and from it came pieces to all parts of the national and international scene. Even Picasso himself, an artist whom Pedro Mercedes admired, came certain pieces commenting that: 'The same goblin has touched me and the potter of Cuenca'. In fact, in 2018 an acclaimed exhibition was held in Navarrete, La Rioja, in which pieces by Mercedes and Picasso coexisted and others by great artists such as Dalí, Miró, Palencia, Sarachaga, Sanguino or Faus, among other potters, were exhibited. It presents fracture line in the lip area.

Estim. 400 - 500 EUR

Lot 8 - Alfonsino desk furniture; first third of the twentieth century. Bank wood, brass and glass. Measurements: 160 x 110 x 70 (open); 160 x 110 x 50 cm (closed). Writing desk made of riparian wood structured in two bodies. The lower one is based on a table that rests on four legs, being the two rear ones joined by a chambrana and the front ones designed with a greater complexity. Thus we see the top of the foot slightly warped outward and ornaments in the area that joins the foot with the leg as carving and brass filleting. The table has two drawers and a section joined by hinges that allow the tabletop to be extended and converted into a desk. The upper zone is structured in two bodies, the lower one with three drawers and the upper one divided into three sections with a door on each side and a mirror in the center. Finally, the piece ends with a profusely ornamented cornice.

Estim. 700 - 800 EUR

Lot 9 - Sculpture; 20th century. Black walnut wood. Measurements: 55 x 44 x 18 cm. This work made in black walnut wood represents an abstract form, whose lines are influenced by the natural. The piece shows a finish that starts from the organic.

Estim. 300 - 400 EUR

Lot 10 - French school; 20th century. "Dog". Patinated terracotta. It has slight losses. Signed R. Bonet. Measurements: 16,5 x 13,5 x 13 cm. Sculpture of round bulk made in patinated terracotta in which the figure of a Pekingese dog is represented. The body and face are worked taking care of the right anatomy, giving an idea of classical proportion, according to a realistic view of the anatomy of the animal.

Estim. 100 - 200 EUR

Lot 11 - Pair of animals; Spain and France, XX century. Bronze and copper with wooden and marble bases. They present faults. One of them is signed. Measurements: 21,5 x 9,5 x 18 cm; 20 x 18,5 x 12 cm. During the nineteenth and twentieth century the animal-themed sculpture will finally reach a status of its own, within the context of romantic sculpture. Seeking to break away from the classical sculptural ideal, many artists saw in the animal theme a new way of expression, linked to the emotional and irrational nature, in a purely romantic sense. They present faults.

Estim. 300 - 400 EUR

Lot 12 - Spanish school; c. 1900. "Patio with oranges" and "Zaguán". Gouache on paper glued to cardboard. Measurements: 49 x 31 cm; 58, 5 x 41,5 cm (frame). Piece intervened on both sides. In one of them you can appreciate the branch of an orange tree that is cut out on a blue sky of great intensity with which contrasts the warmth of the tone of the oranges. The other scene also has a blue tonality as a base, in this case colder. The piece gives prominence to the hallway of a house where no human figure can be seen.

Estim. 100 - 200 EUR

Lot 13 - Spanish school; 20th century. "Pair of landscapes". Watercolor on paper (x2). Signed in the lower area. Measurements: 37 x 54 cm (x2); 33 x 69,5 cm (frames, x2). In these works the artist presents a concrete view. Completely empty and without any hint of human presence, the author fixes his sight on the exuberance of the landscape, thus giving all the prominence to nature and architecture. The light that the artist has achieved indicates that it is a precise moment in the day. The choice of a precise moment, added to the palette of cold tones, shows us images that have a dreamlike atmosphere.

Estim. 100 - 200 EUR

Lot 14 - SALVADOR FERRER MARTÍ (Valencia, 1939). "Landscape. Oil on canvas. Presents faults, pictorial losses and punctures. Signed in the lower right corner. Measurements: 61 x 49 cm; 75 x 64 cm (frame). In spite of having been formed in Spain, Ferrer Martí moved to Germany in 1971 where he developed his artistic career. In 1985, he returned to his hometown of Cullera. His work is characterized by the use of a sumptuous and exuberant color palette that gives way to creations of great pictorial expressiveness.

Estim. 200 - 300 EUR

Lot 15 - Spanish school; 20th century. "Landscape". Oil on canvas. Presents illegible signature in the lower right corner. Measurements: 25 x 34 cm; 41 x 50 cm (frame). In this work the artist presents a concrete view. Completely empty and without any hint of human presence, the author fixes his sight on the exuberance of the landscape, thus giving all the prominence to nature and architecture. The light that the artist has achieved indicates that it is a precise moment in the day. The choice of a precise moment and the technique of short and vibrant brushstrokes show the great influence of impressionism as the aesthetics of this painting.

Estim. 50 - 100 EUR

Lot 16 - ENRIQUE SÁNCHEZ LEAL (Spain, 1941). "Landscape of the Casa de Campo", 1985. Oil on canvas. Presents faults in the frame. Signed and dated in the lower left corner. Measurements: 27 x 46 cm; 44 x 61 cm (frame). Enrique Sánchez Leal is a self-taught painter, since his professional career was directed towards the Mercantile Professorship, graduating in Economics in Madrid. However, since the 70's Sánchez Leal has combined painting with his work as an economist. It was after a long career in painting when, in 1993, he decided to devote himself entirely to art. Throughout his professional career he has exhibited his work in various cities in Spain such as Madrid, Barcelona, Malaga and also in England and Italy. It presents faults in the frame.

Estim. 100 - 200 EUR

Lot 17 - Vase; France, late nineteenth century. Glass. It has slight scratches. Signed Gallé. Measurements: 32 x 18 cm (diameter). This vase, of unique design, is worked in cameo glass, which is to make a piece with two or more layers of glass of different color so that, after immersion in acid, the decorative motif is in relief on a smooth background of different color. It has acid-etched decoration with floral motifs. Gallé imposed the characteristics of a style that evolved into free and refined expressions, applying a huge variety of themes and decorative techniques on opaque and colored glass, which continue to amaze today. Currently you can see pieces made by Emile Gallé 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. Slight scratches.

Estim. 500 - 600 EUR

Lot 18 - Art deco vase; 20's Enameled glass. It shows wear on the enamel and scratches on the surface. Measurements: 33 x 18 cm. Vase made of glass decorated with enamel. The piece has a round base from which part a body that is narrowing in the area of the shoulders to give way to a small neck that ends with an exvasado lip. The piece made of smoked glass has ornamentation based on lines and plant motifs that are repeated rhythmically. It shows wear on the enamel and scratches on the surface.

Estim. 100 - 150 EUR

Lot 19 - Vase; France, late nineteenth century. Glass. Signed Gallé. Measurements: 41 x 18 cm (diameter). Vase made in acid-etched cameo glass, with a naturalistic and asymmetrical plant design, based on large motifs, typical of the language of Gallé. In fact the cameo glass is known since ancient times, although it was taken up again in the late nineteenth century in France and England. Émile Gallé began his career working for his father, who owned a glass and ceramics factory, making designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he traveled through Italy, England and Germany, becoming interested in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature.

Estim. 700 - 800 EUR

Lot 20 - FRANCISCO MARSÀ FIGUERAS (Tárrega, Lérida, 1900 - 1969). "Landscape. Oil on tablex. Signed and dedicated in the lower left corner. Measurements: 30 x 19 cm; 43 x 33 cm (frame). Francisco Marsà was formed in the School of Fine Arts of Sant Jordi, in Barcelona, where he had Félix Mestres as a teacher. He completed his studies at the Círculo Artístico de Sant Lluc, and made his debut at the Art Exhibition held in Barcelona in 1919. From 1925 he participated assiduously in the exhibitions organized by the Barcelona group Art Vivent. He specialized in the still life genre, with works in which he demonstrates a good compositional mastery and in which he distances himself from the colder procedure of the traditional Spanish still life. His language evolved from the initial impressionism to reach a certain expressionism in his final works. He participated in several group exhibitions and artistic competitions, both in Spain and abroad, being distinguished on several occasions. He was awarded a gold medal at the 1934 Spring Exhibition of the Academy of Sant Jordi, and also participated in the Venice Biennale in 1941, was awarded a prize in Berlin and also exhibited in Stockholm and in the Gaspar room in Barcelona. In 1941 he was awarded a second class medal at the National Exhibition of Fine Arts in Madrid. He was also part of the Third Salon of the Eleven of Madrid (1945), being presented by Eduardo Aunós. Marsà was one of the most appreciated still life painters of the thirties and forties in Spain, and a year after his death his hometown paid tribute to him with an anthological exhibition of his work. Francisco Marsà is represented in the Museo del Prado (work on deposit at the Museo de l'Empordà), as well as in other public and private collections.

Estim. 100 - 200 EUR

Lot 21 - Bird; 20th century. Wrought iron and copper. Measurements: 36 x 42 x 14,5 cm. During the 19th century, animal-themed sculpture finally achieved its own status within the context of Romantic sculpture. Seeking to break away from the classical sculptural ideal, many artists saw in the animal theme a new way of expression, linked to the emotional and irrational nature, in a purely romantic sense.

Estim. 100 - 200 EUR

Lot 22 - Spanish school; 20th century. "Male bust". Patinated plaster. Measurements: 25 x 19 x 21 cm. Male bust made in plaster representing a figure in strict frontality. The piece stands out for the elongation of the forms that give the figure features of great expressiveness and rudeness that are abstracted from a truthful and naturalistic vision of the anatomy. This type of volumetry, slightly influenced by the avant-garde, brings us closer to the aesthetics of the first half of the twentieth century, where female forms were reinterpreted, moving away from the nineteenth-century ideal.

Estim. 500 - 600 EUR

Lot 23 - Spanish school; 20th century. "Man with hat" and "Abstract figure". Clay and plaster. They present faults and restorations. Measurements: 38,5 x 10 x 10 cm; 22,5 x 9 x 6,5 cm. Set formed by two sculptures, one of them made in plaster and the other in clay. The pieces show two of the most relevant currents of the 20th century, the new figuration and the abstract movement. They present faults and restorations.

Estim. 100 - 150 EUR

Lot 24 - MANUEL MINGORANCE ACIEN (Malaga, 1920-2014). "Rosa gets married tomorrow". Watercolor on canvas. Signed in the lower right corner. Signed and titled on the back. Measurements: 46 x 33 cm; 59 x 46 cm (frame). An artist from Malaga trained at the School of Fine Arts in Madrid and in Italy thanks to a scholarship, Manuel Mingorance was a prolific painter and draftsman, and in 2009 he donated a total of 9,287 works, including paintings, drawings and engravings, to the City Council of his native Malaga, including nine works by other artists. This artistic corpus served as the basis for the successive exhibitions dedicated to him, including "Manuel Mingorance Acién. Paintings of the 1960s", organized in the hall that bears his name by the Municipal Board of the Central District of Malaga.

Estim. 200 - 300 EUR

Lot 25 - JOAQUÍN BALSEIRO (Spain, 1918). "Landscape". Oil on tablex. Signed in the lower right corner. Measurements: 21 x 29 cm; 43 x 53 cm (frame). In this work the artist presents a concrete view. Completely empty and without any hint of human presence, the author fixes his sight on the exuberance of the landscape, thus giving all the prominence to nature and architecture. The light that the artist has achieved indicates that it is a precise moment in the day. The choice of a precise moment and the technique of short and vibrant brushstrokes show the great influence of impressionism as the aesthetics of this painting.

Estim. 100 - 200 EUR

Lot 26 - Spanish school; 20th century. Untitled. Oil on canvas glued to board. Presents damages in the frame. Measurements: 15 x 10 cm; 33 x 26 cm (frame). The relationship between the painter and the model is a theme that in the avant-garde of the 20th century is reconsidered, losing the woman the traditional function of placid odalisque. Sensitive painters tend to enter into the psychology of their model, as in this work, where shyness and melancholy replace the languor of yesteryear. It presents damages in the frame.

Estim. 180 - 200 EUR

Lot 27 - Spanish school; 1924. "The civil guard". Watercolor and graphite on paper. Signed and dated in the lower right corner. Measurements: 34 x 27 cm; 46 x 40 cm (frame). Scene that presents a civil guard on the phone, with his back to the viewer. Aesthetically the work is heir to the painting of Normal Rockwell, who used archetypes of contemporary life in completely everyday situations, aesthetically influenced by a style linked to illustration and advertising. Therefore, in this apparently simple image, it is possible to appreciate a certain content of denunciation by the author.

Estim. 100 - 200 EUR

Lot 28 - Spanish school; 20th century. Untitled. Oil on board. It has slight damage on the pictorial layer. Presents illegible signature in the lower right corner. Measurements: 13 x 9,5 cm; 24 x 20 cm (frame). As in the rest of Europe, the portrait became in the 20th century the protagonist genre par excellence of Spanish painting, as a consequence of the new social structures that were implanted in the Western world throughout this century, embodying the maximum expression of the transformation of the taste and mentality of the new clientele, emerged between the nobility and the wealthy bourgeoisie, who would take the reins of history in this period. While official circles gave preponderance to other artistic genres, such as history painting, and the incipient collecting encouraged the profusion of costume paintings, portraiture monopolized the demand for painting destined for the more private sphere, as a reflection of the value of the individual in the new society. This genre embodies the permanent presence of the image of its protagonists, to be enjoyed in the intimacy of a studio, in the daily warmth of a family cabinet or presiding over the main rooms of the house. It has slight damages on the pictorial layer.

Estim. 200 - 250 EUR

Lot 29 - Spanish school; 20th century. Untitled. Oil on board. It presents faults and losses on the pictorial surface. Measurements: 16 x 27 cm; 35 x 46 cm (frame). In this work the painter tries to communicate a religious reverence for the landscape, nature in fullness, free of the industrial elements of modern life. In fact, the author's own use of light here conveys a dreamy atmosphere, inviting the viewer to meditate and contemplate himself in the landscape. It presents faults and losses on the pictorial surface.

Estim. 150 - 180 EUR

Lot 30 - Set of three vases and a box; France, c. 1920. Polychrome glass. Signed. Measurements: 12 x 3.5 x 3.5 cm (larger); 6 x 7.5 x 7.5 cm (smaller). Set consists of three vases and a box all made of glass. Each of the pieces has a different typology and ornamentation, although in all cases is clearly inspired by modernism.

Estim. 100 - 150 EUR

Lot 31 - Set of two vases; twentieth century. Bent glass. One of them signed Delcy. Measurements: 26.5 x 9 x 9 x 9 cm (larger): 21 x 9 x 9 x 9 cm (smaller). Set consists of two vases made of glass that have the same type. Both have a flat round base, globular body and long narrow neck ending in a flat mouth. The two pieces have the same ornamentation on the glass but vary in color.

Estim. 200 - 300 EUR

Lot 32 - Set of three vases; twentieth century. Iridescent glass. One of them is signed Village Tambiz. Measurements: 13.5 x 11 cm; 10 x 12 x 8 cm; 9 x 9 cm. Lot consists of three vases that have different techniques and ornamentation. All of them are made of glass and stand out for their organic forms, thus ascribing to the Art Deco artistic movement.

Estim. 150 - 250 EUR

Lot 33 - Scribe and ashtray; VERLYS, Rouen, France, first half of the twentieth century. Molded glass. They show pitting and scratches. Signed. Measurements: 8 x 18 x 15 cm; 1,5 x 10,5 cm. Set consisting of a writing desk and an ashtray made of glass. The Verlys glass was produced in Rouen by the Sociéte Holophane Français, a company founded in 1920. Later, in 1935, production was transferred to the United States, specifically to Newark (Ohio). Verlys produced blown and molded glass pieces, often decorated with delicate cold carving work. They are pitted and scratched.

Estim. 80 - 150 EUR

Lot 34 - Set of five pieces; France, twentieth century. Glass. Measurements: 14 x 13 cm (larger); 3 x 12 cm (smaller). Set consisting of a bonbonniere, two plates, a vase and a box of colorless glass. Each of the pieces has a different typology and ornamentation, although in all cases it is clearly inspired by plants. The pieces stand out for their organic forms, thus ascribing to the Art Deco artistic movement.

Estim. 200 - 300 EUR

Lot 35 - MAX BLONDAT (Crain, Burgundy, 1872 - Paris, 1925). Paperweight. Paste glass. Presents reintegration. Signed. Measurements: 9 x 14 x 11 cm. Max Blondat was an Art Nouveau and Art Deco sculptor trained at the École Germain-Pilon in Paris. In 1890 he exhibited a plaster medallion at the Salon des Artistes Français. He later perfected his technique in the workshop of Mathurin Moreau. In 1892, he entered the Ecole des Beaux-Arts in Paris, signing his first works with his mother's name Henry. He also produced ceramics with Edmond Lachenal the Sèvres factory or wrought iron works with Edgar Brandt. He worked with the Siot-Decauville foundries and the Valsuani foundry. He also created jewelry for Chambon and Hermès. In 1906, he was a founding member of the French Decorative Art Society. A part of his works is exhibited in the Museum of the Thirties in Boulogne-Billancourt. One of his most famous creations is the fountain of the Jeunesse (youth), representing three children watching three frogs. Presents reintegration.

Estim. 500 - 700 EUR

Lot 36 - After models of AMALRIC WALTER (Sèvres, 1870 - Lury-sur-Arnon, 1959); HENRI BERGÉ (Diarville, 1870 - Nancy, 1937) Paperweight, c. 1920. Paste glass. Signed. Measurements: 5 x 7 x 7 cm. Amalric Walter was a French ceramist and glassmaker who became known primarily for his art glass "Pâte de verre". This is the result of a glass created by a technique in which the ground glass is converted into paste and modeled as a glass or a figure, and then trace the design by carving. Glass created by this method was known in ancient times and revived in France in the late 19th and early 20th centuries.

Estim. 600 - 800 EUR

Lot 37 - Modeled after AMALRIC WALTER (Sèvres, 1870 - Lury-sur-Arnon, 1959). Píspeles, c. 1920. Glass paste. Signed. Measurements: 9 x 5 x 3,5 cm. Amalric Walter was a French ceramist and glassmaker who became known primarily for his art glass "Pâte de verre". This is the result of a glass created by a technique in which ground glass is made into paste and modeled as a vase or figure, then tracing the design by carving. Glass created by this method was known in ancient times and revived in France in the late 19th and early 20th centuries.

Estim. 800 - 1 000 EUR

Lot 38 - Following models by AMALRIC WALTER (Sèvres, 1870 - Lury-sur-Arnon, 1959); HENRI BERGÉ (Diarville, 1870 - Nancy, 1937) Paperweights, c. 1920. Glass paste. Presents later polychrome on the surface. Signed. Measurements: 4.5 x 5 x 5 x 5 cm. Amalric Walter was a French ceramist and glassmaker who became known primarily for his art glass "Pâte de verre". This is the result of a glass created by a technique in which ground glass is made into paste and modeled as a vase or figure, then tracing the design by carving. The glass created by this method was known in ancient times and revived in France in the late nineteenth and early twentieth centuries. Henri Bergé was a decorator and illustrator of Art Nouveau and the French École de Nancy. He was a student of Jules Larcher at the École des Beaux-Arts de Nancy and completed his training at the Compagnie française du cristal Daum. In that company he made an impact as a decorator in glass and stained glass by introducing a new style and concept in floral, pastoral and other motifs inspired by nature. He is the author, among others, of the stained glass windows of the Cure d'air Trianon de Malzéville. As an illustrator, he made several works such as posters, advertising posters, such as those of the Maison d'art de Lorraine. It presents later polychromy on the surface.

Estim. 300 - 400 EUR

Lot 39 - AMALRIC WALTER (Sèvres, 1870 - Lury-sur-Arnon, 1959); HENRI BERGÉ (Diarville, 1870 - Nancy, 1937) Paperweight, c. 1920. Glass paste. Presents piquettes and reintegration. Signed. Measurements: 5 x 11.5 x 8 cm. Amalric Walter was a French ceramist and glassmaker who became known primarily for his art glass "Pâte de verre". This is the result of a glass created by a technique in which ground glass is made into paste and modeled as a vase or figure, then tracing the design by carving. The glass created by this method was known in ancient times and revived in France in the late nineteenth and early twentieth centuries. Henri Bergé was a decorator and illustrator of Art Nouveau and the French École de Nancy. He was a student of Jules Larcher at the École des Beaux-Arts de Nancy and completed his training at the Compagnie française du cristal Daum. In that company he made an impact as a decorator in glass and stained glass by introducing a new style and concept in floral, pastoral and other motifs inspired by nature. He is the author, among others, of the stained glass windows of the Cure d'air Trianon de Malzéville. As an illustrator, he made several works such as posters, advertising posters, such as those of the Maison d'art de Lorraine. It presents pickets and reintegration.

Estim. 600 - 700 EUR

Lot 40 - Modeled after AMALRIC WALTER (Sèvres, 1870 - Lury-sur-Arnon, 1959). Paperweight, c. 1920. Paste glass. Signed. Measurements: 2.5 x 13 x 13 cm. Amalric Walter was a French ceramist and glassmaker who became known primarily for his "Pâte de verre" glass art. This is the result of a glass created by a technique in which ground glass is made into paste and modeled as a vase or figure, then tracing the design by carving. The glass created by this method was known in ancient times and revived in France in the late nineteenth and early twentieth centuries.

Estim. 1 200 - 1 600 EUR

Lot 41 - Modeled after AMALRIC WALTER (Sèvres, 1870 - Lury-sur-Arnon, 1959). Paperweight, c. 1920. Paste glass. Signed. Measurements: 2.5 x 10.5 x 10.5 cm. Amalric Walter was a French ceramist and glassmaker who became known primarily for his art glass "Pâte de verre". This is the result of a glass created by a technique in which ground glass is made into paste and modeled as a vase or figure, then tracing the design by carving. Glass created by this method was known in ancient times and revived in France in the late 19th and early 20th centuries.

Estim. 800 - 900 EUR

Lot 42 - Modeled after AMALRIC WALTER (Sèvres, 1870 - Lury-sur-Arnon, 1959). Paperweight, c. 1925. Glass paste. Apocryphal signature. Measurements: 4 x 19 x 7 cm. Amalric Walter was a French ceramist and glassmaker who became known primarily for his art glass "Pâte de verre". This is the result of a glass created by a technique in which the ground glass is converted into paste and modeled as a glass or a figure, and then trace the design by carving. Glass created by this method was known in ancient times and revived in France in the late 19th and early 20th centuries.

Estim. 300 - 400 EUR

Lot 43 - Following models by AMALRIC WALTER (Sèvres, 1870 - Lury-sur-Arnon, 1959) and HENRY BERGE Paperweight, c. 1920. Enameled glass paste. Signed. Measurements: 2 x 13 x 11 cm. Amalric Walter was a French ceramist and glassmaker who became known primarily for his "Pâte de verre" glass art. This is the result of a glass created by a technique in which the ground glass is converted into paste and modeled as a glass or a figure, and then trace the design by carving. The glass created by this method was known in ancient times and revived in France in the late nineteenth and early twentieth centuries. Henri Bergé was a decorator and illustrator of Art Nouveau and the French École de Nancy. He was a student of Jules Larcher at the École des Beaux-Arts de Nancy and completed his training at the Compagnie française du cristal Daum. In that company he made an impact as a decorator in glass and stained glass by introducing a new style and concept in floral, pastoral and other motifs inspired by nature. He is the author, among others, of the stained glass windows of the Cure d'air Trianon de Malzéville. As an illustrator, he made several works such as posters, advertising posters, such as those of the Maison d'art de Lorraine.

Estim. 800 - 1 200 EUR

Lot 44 - Following models by AMALRIC WALTER (Sèvres, 1870 - Lury-sur-Arnon, 1959); HENRI BERGÉ (Diarville, 1870 - Nancy, 1937). Paperweight, c. 1920. Paste glass. Signed. Measurements: 3.5 x 16 x 13 cm. Amalric Walter was a French ceramist and glassmaker who became known primarily for his "Pâte de verre" glass art. This is the result of a glass created by a technique in which ground glass is made into paste and modeled as a vase or figure, then tracing the design by carving. The glass created by this method was known in ancient times and revived in France in the late nineteenth and early twentieth centuries. Henri Bergé was a decorator and illustrator of Art Nouveau and the French École de Nancy. He was a student of Jules Larcher at the École des Beaux-Arts de Nancy and completed his training at the Compagnie française du cristal Daum. In that company he made an impact as a decorator in glass and stained glass by introducing a new style and concept in floral, pastoral and other motifs inspired by nature. He is the author, among others, of the stained glass windows of the Cure d'air Trianon de Malzéville. As an illustrator, he made several works such as posters, advertising posters, such as those of the Maison d'art de Lorraine.

Estim. 1 000 - 1 500 EUR

Lot 45 - Set of two vases, a perfumery and a bowl; Murano, twentieth century. Crucible and bent glass. Measurements: 18.5 x 10.5 x 10.5 cm (larger); 10 x 7.5 x 7.5 x 7.5 cm (smaller). The high value of Murano glass is explained by the artisanal and secret process of its manufacturers. Made on the Italian island of Murano, this glass has special properties and offers colors and shapes unlike any other glass. The history of Murano glass manufacturing dates back to the 8th century. By the 12th century Venice had become extremely popular for its fine glass. To keep the glassmaking business unique and profitable, a law was passed in 1271 stating that no foreign glass could be imported for manufacturing and no foreign glass workers could be hired. However, in the 13th century all glassmaking furnaces were moved by law from Venice to Murano, because the fires there posed a great risk to the wooden structures of Venice. In combination, these two laws ensure that Murano glass is unique even today; created by artists and craftsmen from a small group of islands in Italy. The secrets of glassmaking have been passed down from father to son and from master to apprentice.

Estim. 150 - 200 EUR

Lot 46 - Modeled after AMALRIC WALTER (Sèvres, 1870 - Lury-sur-Arnon, 1959). Paperweight, c. 1920. Paste glass. Measurements: 5 x 19 x 19 cm. Amalric Walter was a French ceramist and glassmaker who became known primarily for his art glass "Pâte de verre". This is the result of a glass created by a technique in which the ground glass is converted into paste and modeled as a glass or a figure, and then trace the design by carving. Glass created by this method was known in ancient times and revived in France in the late 19th and early 20th centuries.

Estim. 300 - 400 EUR

Lot 47 - Modeled after AMALRIC WALTER (Sèvres, 1870 - Lury-sur-Arnon, 1959). Paperweight, c. 1920. Paste glass. Signed. Measurements: 6 x 9.5 x 9.5 cm. Amalric Walter was a French ceramist and glassmaker who became known primarily for his art glass "Pâte de verre". This is the result of a glass created by a technique in which ground glass is made into paste and modeled as a vase or figure, then tracing the design by carving. Glass created by this method was known in ancient times and revived in France in the late 19th and early 20th centuries.

Estim. 600 - 800 EUR

Lot 48 - Set of a perfumer and a flask; France, c. 1930. Bent and enameled glass with gilt metal mounts. They show some losses in the metal. Measurements: 13 x 9.5 x 9.5 x 9.5 cm; 8 x 10.5 x 10.5 x 10.5 cm. Set consisting of a perfume box and a bottle or box, which have the same ornamental design based on an indigo blue finish on which an organic shape is arranged randomly. The two pieces, which have different typologies, have functional golden metal mounts located in the upper area. They present some losses in the metal.

Estim. 80 - 150 EUR

Lot 49 - EUSTAQUIO MARÍN RAMOS (Seville, 1873 - San Sebastian, 1948). "Castellana", 1928. Watercolor on paper. Signed, titled and dated in the lower left area. Measurements: 12,5 x 9 cm; 30 x 29 cm (frame). In a self-taught way Eustaquio Marín approached painting, at first through a figurative language, influenced by the folklore of his native land. However, later he approached a more expressionist painting, where the brushstroke and the materiality became very important.

Estim. 150 - 200 EUR

Lot 50 - Vase; France, c. 1920. Glass with gilt glitter and wrought iron. Signed Daum and Majorelle. Presents loss in the mouth. Measurements: 18 x 21 x 25 cm. Vase made of glass with gold glitter mounted on a wrought iron structure. Cabinetmaker and designer member of the School of Nancy, of which he was even vice-president, Louis Majorelle was the son of a designer and manufacturer of furniture installed in the locality of Toul, from which he moved to Nancy with his family. There Majorelle made his first artistic training, then went to Paris in 1877, where he studied for two years at the Ecole Nationale Supérieure des Beaux-Arts, where he was taught by Jean-François Millet. However, the death of his father forced him to return to Nancy to run the family china and furniture factory, a task that he would combine with his artistic practice for the rest of his life. In the eighties and until the early nineties, Majorelle manufactured Louis XV style furniture in the family firm, which he took in 1894 to the Exhibition of Decorative and Industrial Arts in Nancy. It presents loss in the mouth.

Estim. 200 - 300 EUR

Lot 51 - Vases; France, c. 1900. Cameo glass. Signed Legras and Richard. Measurements: 20.5 x 9 x 9 x 9 cm; 20 x 7 x 7 x 7 cm. Pair of vases made in cameo glass. In fact, the cameo glass is known since ancient times, although it was taken up again in the late nineteenth century in France and England. It was a form of decoration faster and cheaper than the cameo engraved wheel, so the result was more affordable pieces, mass-produced, but handmade, since no templates were used, but the motif was drawn by hand on each piece. The cameo glass technique consists of blowing a bubble of two or more layers of glass of different colors, which are then carved or removed by acid re-melting the bottom, thus leaving the motif in relief, in the color of the top layer of glass.

Estim. 500 - 600 EUR

Lot 52 - Vase; France, c. 1900. Carved cameo glass. Presents reintegration in the handle and slight loss. Measurements: 13.5 x 8 x 8 cm. Actually, the cameo glass is known since ancient times, although it was taken up in the late nineteenth century in France and England. Gallé was the one who presented his technique of acid cameo at the Paris Exhibition of 1889, with the aim of bringing the modernist glass to the public. It was a form of decoration faster and cheaper than the cameo engraved wheel, so the result was more affordable pieces, mass-produced, but handmade, since no templates were used, but the motif was drawn by hand on each piece. The cameo glass technique consists of blowing a bubble of two or more layers of glass of different colors, which are then carved or removed by acid re-melting the bottom, thus leaving the motif in relief, in the color of the top layer of glass. It presents reintegration in the handle and slight loss.

Estim. 400 - 600 EUR

Lot 53 - Set of two vases and two ointments; France, c. 1900. Enameled glass. One of them has signature: Gallé. Measurements: 10 x 5.5 x 5.5 cm (larger); 6 x 5 x 5 x 5 cm (smaller). Set consists of two small vases and two ointments. The pieces are inspired by the work of the master glassmaker Émile Gallé (1846-1904), who will take over his father's factory in 1874, and in a short time will 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. 400 - 600 EUR

Lot 54 - Set of two centers and a glass; twentieth century. Folded glass and millefiori. Measurements: 12 x 8.5 x 8.5 cm (larger): 4 x 19 x 19 cm (smaller). Set consisting of two centers a glass that has Millefiori ornamentation, a glass technique that produces distinctive decorative patterns in glassware. The term millefiori is a combination of the Italian words "mille" (thousand) and "fiori" (flowers).

Estim. 100 - 150 EUR

Lot 55 - Set of three vases; Giacobbe Holmegaard, Murano, twentieth century. Glass. Measurements: 15 x 10 x 10 cm (larger): 10.5 x 15 x 7 cm (smaller). Set of three vases made of glass. The high value of Murano glass is explained by the artisanal and secret process of its manufacturers. Made on the Italian island of Murano, this glass has special properties and offers colors and shapes unlike any other glass. The history of Murano glass manufacturing dates back to the 8th century. By the 12th century Venice had become extremely popular for its fine glass. To keep the glassmaking business unique and profitable, a law was passed in 1271 stating that no foreign glass could be imported for manufacturing and no foreign glass workers could be hired. However, in the 13th century all glassmaking furnaces were moved by law from Venice to Murano, because the fires there posed a great risk to the wooden structures of Venice. In combination, these two laws ensure that Murano glass is unique even today; created by artists and craftsmen from a small group of islands in Italy. The secrets of glassmaking have been passed down from father to son and from master to apprentice.

Estim. 150 - 200 EUR

Lot 56 - Set of three vases; twentieth century. Glass. Measurements: 19 x 16 x 16 cm (larger); 5 x 14 x 14 x 14 cm (smaller). Set consists of three vases made of glass. Each of the pieces has a different typology and ornamentation, although in all cases it is clearly inspired by minimalism. Two of the works have a smoked finish, while a third vase shows a pink color.

Estim. 100 - 150 EUR

Lot 57 - Centerpiece; Murano, twentieth century. Blown glass and gold. Presents lack in the base. Measurements: 14 x 45 x 42 cm. The high value of Murano glass is explained by the artisanal and secret process of its manufacturers. Made on the Italian island of Murano, this glass has special properties and offers colors and shapes different from those of any other glass. The history of Murano glass manufacturing dates back to the 8th century. By the 12th century Venice had become extremely popular for its fine glass. To keep the glassmaking business unique and profitable, a law was passed in 1271 stating that no foreign glass could be imported for manufacturing and no foreign glass workers could be hired. However, in the 13th century all glassmaking furnaces were moved by law from Venice to Murano, because the fires there posed a great risk to the wooden structures of Venice. In combination, these two laws ensure that Murano glass is unique even today; created by artists and craftsmen from a small group of islands in Italy. The secrets of glassmaking have been passed down from father to son and from master to apprentice. It is missing at the base.

Estim. 100 - 150 EUR

Lot 58 - Set of three vases; France, first half of the twentieth century. Glass. They have slight flaws. Two of them are signed. Measurements: 24 x 7 cm; 13 x 6 cm; 8 x 6 cm. Set consists of three vases all made in cameo glass, which is to make a piece with two or more layers of glass of different color so that, after immersing it in acid, the decorative motif is in relief on a smooth background of different color. All of them have a different design. They have minor faults.

Estim. 600 - 700 EUR

Lot 59 - Vases; France, c. 1900. Cameo glass. Signed Gallé and D'Argental. Measurements: 19 x 5.5 x 5.5 x 5.5 cm; 17 x 5.5 x 5.5 x 5.5 cm. Pair of vases made in cameo glass. In fact, the cameo glass is known since ancient times, although it was taken up again in the late nineteenth century in France and England. It was a form of decoration faster and cheaper than the cameo engraved wheel, so the result was more affordable pieces, mass-produced, but handmade, since no templates were used, but the motif was drawn by hand on each piece. The cameo glass technique consists of blowing a bubble of two or more layers of glass of different colors, which are then carved or removed by acid re-melting the bottom, thus leaving the motif in relief, in the color of the top layer of glass.

Estim. 700 - 800 EUR

Lot 60 - Attributed to MANUEL MORENO BARRANCO; Spanish School, XX century. "Courtyard of horses", 1979. Oil on canvas glued to cardboard. Presents informative label on the back. Signed, dated and titled on the back. Measurements: 23 x 29 cm; 32 x 38 cm (frame). In this work the author uses a language that tends to the abstraction, based on the irregular geometry, of organic character as much in its outline as in the colors. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thoughtful composition and experimentation, with an image of gestural character, are not limited to a composition, but go beyond, indicating to the viewer that it is about forms, ideas or suggestions that go beyond the boundaries of the purely pictorial.

Estim. 150 - 200 EUR

Lot 61 - Attributed to MANUEL MORENO BARRANCO; Spanish School, XX century. "Oh David Hume". Oil on canvas glued to cardboard. Presents label on the back. Signed and dated in the lower left corner. Signed and titled on the back. Measurements: 20 x 28 cm; 29 x 37 cm (frame). In this work entitled "Oh David Hume" we can observe a set of forms that merge together forming an open and dynamic composition of great visual rhythm. Both the composition and the chromatic range used by the artist bring us closer to a tribute to the theory of the Scottish philosopher David Hume, known for his interest in emotions.

Estim. 150 - 200 EUR

Lot 62 - Spanish school; 20th century. Untitled. Oil on panel. It has a frame with traces of woodworm. Measurements: 5 x 20 cm; 14 x 29 cm (frame). Panoramic image of a landscape. The author of this scene fixes his sight in the exuberance of the landscape, giving all the protagonism to nature in spite of the presence of architecture and a young woman. The light that the artist has achieved indicates that it is a precise moment in the day. The choice of a precise moment and the technique of loose and vibrant brushstrokes show the great influence of impressionism as the aesthetics of this painting. It has a frame with traces of woodworm.

Estim. 100 - 150 EUR

Lot 63 - Spanish school; 20th century. Untitled. Oil on board. Measurements: 10 x 7 cm; 33 x 30,5 cm. In this work the artist presents a view of bucolic character. The author fixes his view on the exuberance of the landscape, giving all the protagonism to nature and to a conception of the rural captured from a completely idealized perspective. The warm touches in the upper zone indicate that it is a precise moment in the day, just the dawn. The choice of a precise moment added to the technique of loose and long brushstrokes show the great influence of impressionism as the aesthetics of this painting.

Estim. 100 - 120 EUR

Lot 64 - MIGUEL VILLÀ BASSOLS (Barcelona, 1901 - Masnou, 1988). Untitled. Oil on canvas. It has an informative label on the back. The canvas has a visible tear on the front. Signed on the back. Measurements: 27 x 41 cm; 44 x 58 cm (frame). After finishing his formation in the School of Fine Arts of La Lonja of Barcelona, Villà initiates a long series of trips for Europe and America, in the course of which he realizes his first individual exhibition, in Bogota. Settling in Paris in 1922, he participates in the Salons d'Automne and the Salons des Indépendants. Back in Spain he settled in Masnou. He exhibited at the Sala Parés in 1929, and participated in the Spring Exhibitions of Barcelona in 1933, 1934 and 1935. In addition, he was one of the painters protected by Joan Merli. During the post-war period he organized individual exhibitions in the Syra Galleries in Barcelona (1949 and 1951), and participated in the Barcelona Exhibition of 1951. He was awarded in the First Hispano-American Biennial of Art, celebrated in Madrid in 1951, and participated in the Third (Barcelona, 1955). Chosen by D'Ors, he participated in some of the Salones de los Once in Madrid, where he also had several solo exhibitions. He also exhibited regularly at the Sala Parés in Barcelona, and in 1977 and 1985 two anthological exhibitions were dedicated to him. In 1985 he was awarded the Sant Jordi Cross by the Generalitat de Catalunya. His painting, of a sober constructivism focused on landscapes (usually Catalan or Ibizan), interiors and still lifes, is characterized by its great material density and its matte coloring. His style synthesizes the rigor and classicism of noucentisme with the realism of the 1917 generation. He is represented in the Basque Museum of Contemporary Art and in the Museum of the Abbey of Montserrat, as well as in important private collections. It has a tear in the canvas visible on the obverse.

Estim. 600 - 700 EUR

Lot 65 - Spanish school; 20th century. "Clown". Oil on panel. Signed and located (Madrid) in the lower right area. Measurements: 52 x 37 cm; 70 x 55 cm (frame). The attitude of this "Clown" determined by the gesture of the face, move the image of the clown away from the childish world, giving the portrait a dimension of greater emotional complexity. Aesthetically the piece follows the models of works by the artist Bernard Buffet (1928-1999).

Estim. 300 - 400 EUR

Lot 66 - Vase and bowl; Spain, twentieth century. Colorless, blown and enameled virio. Signed "F. Elias and Carmen" Measurements: 7 x 11,5 x 11,5 cm; 8,5 x 4,5 x 4,5 x 4,5 cm. Set consisting of a vase and a bowl. Each of the pieces presents a circular format typology, although they vary in size and the ornamentation is different. In both cases the decoration is clearly Art Deco inspired, based on vegetal patterns.

Estim. 80 - 120 EUR

Lot 67 - Set of three vases; MOSER. Czechoslovakia, c. 1915. Glass. Signed on the base. Measurements: 26.5 x 12 x 12 cm (largest); 10 x 11 x 11 x 11 cm (smallest). The Moser glass manufacture was established in Karlsbad in 1857, in the northeastern part of Bohemia, its founder was Ludwig Moser. In 1873 Ludwig Moser won a prize for a glass at the International Exhibition in Vienna. This prize meant that Moser penetrated the market with greater force establishing a factory in Meierhofen in 1893 in order to create the glass from its initial production process. In this year the factory reaches the number of four hundred employees and is called Karlsbaderglasindustrie Gesellschaft Ludwig Moser & Söhne. Ludwig's sons (Gustav and Rudolf) start working in the company. After years of success in the 19th century in various international competitions, the company underwent several closures and transfers during the 20th century. Nevertheless, the company always remained among the most important glass companies in Bohemia. It is a brand that has a tradition of more than a century in the production of luxury glassware and high quality, being official supplier of several royal houses and palaces in Europe.

Estim. 150 - 200 EUR

Lot 68 - Vase; Possibly DENBAC; c. 1930. Glazed ceramic. Measurements: 13 x 7 x 7 cm. Denbac was a pottery named after its founders, potter René Denert (1871-1937) and merchant René-Louis Balichon (1885-1949). Denbac was founded around 1910 in Vierzon, about 200 km south of Paris, and closed in 1952. Between 1910 and 1938, the pottery collaborated with the Garnier distillery, founded in 1859 (closed in 1974), producing numerous different types of miniature ceramic bottles for Garnier. In fact, Garnier seems to have been known for its enormous variety of bottles.

Estim. 100 - 150 EUR

Lot 69 - Set of a vase, two jugs and a decanter; Bohemia twentieth century. Glass. They have slight flaws. Measurements: 19 x 12 x 12 x 12 cm (larger); 13 x 6 x 6 x 6 cm (smaller). Bohemian glass, known primarily as Bohemian crystal, is a glass produced in the regions of Bohemia and Silesia, now parts of the Czech Republic. It has a centuries-long history of being recognized internationally for its high quality, craftsmanship, beauty and often innovative designs. Hand-cut, engraved, blown and painted decorative glassware ranges from champagne flutes to huge chandeliers, ornaments, figurines and other glassware. The hegemony of Bohemian crystal began in the late 16th century. It became popular among both the nobility and European royalty of the time and today, allowing its reputation to reach all corners of the world. They have minor faults.

Estim. 100 - 200 EUR

Lot 70 - Vase; Ancora, Vallo, c. 1950. Polychrome ceramic. Signed on the base. Measurements: 12.5 x 12.5 x 12.5 cm. Vase made of polychrome ceramic that presents a synthetic design in terms of shape and ornamentation. The piece has a flat and round base from which the body starts, whose perimeter widens in the center of the body. The upper zone reduces its diameter until it reaches the wide and flat mouth, totally unified to the body. As for the decoration, the piece has a pattern of geometric shapes that are repeated rhythmically playing with a color contrast.

Estim. 100 - 150 EUR

Lot 71 - Set of two vases; France, c. 1920. Glazed and glazed stoneware. One of them is signed "Dembac" on the base. Measurements: 24 x 12.5 x 12.5 cm (larger); 14.5 x 8 x 8 x 8 cm (smaller). Lot formed by two vases that present different techniques and ornamentation. All of them are made of glazed and glazed stoneware. Each of them stands out for its organic and synthetic forms.

Estim. 100 - 200 EUR

Lot 72 - Set of three vases; France; 20th century. Glazed and glazed earthenware and ceramics. With signatures on the base. Measurements: 23 x 13,5 x 13,5 (larger); 18 x 13 x 9 x 9 cm (smaller). Lot formed by a set of three vases that present different techniques and ornamentation. All of them are made in ceramic, earthenware and glazed ceramic. Each one of them stands out for its organic and synthetic forms.

Estim. 200 - 300 EUR

Lot 73 - JUAN ADSUARA RAMOS (Castellón, 1893 - 1973). "Calixta", c. 1919. Polychrome plaster. It has flaws and needs restoration. Signed. Measurements: 68 x 33 x 31 cm. Born in Castellón and encouraged by his school teacher, since he was a child he was exercised in the drawing and in view of his aptitudes he was pensioned by the Provincial Council of Castellón to study in the School of San Fernando in Madrid. In 1912 he obtained the third medal in the National Exhibition of Fine Arts. After returning from military service in his hometown, he made some busts, decorative and monumental sculptures for public buildings. He worked throughout his life and traveled with scholarships and competitions granted to him. Above all, he was a great admirer of religious imagery, being Berruguete his greatest master. He was an outstanding member of the Valencian avant-garde of the thirties. It has flaws and needs restoration.

Estim. 400 - 600 EUR

Lot 74 - JOAQUIM ROS I BOFARULL (Barcelona, 1906-1991). "Female nude". Terracotta. Signed. Measurements: 19 x 13 x 7,5 cm. Joaquim Ros i Bofarull was a Spanish sculptor. He studied in the School of Beautiful Offices, where he was a disciple of Francesc d'Assís Galí. He made a stay in Paris, where he worked with Pablo Gargallo. He participated in the Spring exhibitions of the 1930s. He collaborated in the work of the throne of the Virgin of Montserrat for the monastery of Montserrat (1947), and made the Monument to Miquel Biada i Bunyol (1948) in Mataró, city where he made several sculptures for the basilica of Santa Maria (images of the Virgin Mary and Saints Juliana and Semproniana on the main altar and sculptures of the dome). In Barcelona he was the author of the sculptural groups El estudio and La investigación for the façade of the Rius i Taulet school, in Plaza de Lesseps (1957); El niño del aro, in the Guinardó Park (1961); and El Ave de los temporales, in the Mossèn Costa i Llobera gardens (1970).7 He also created several of the sculptures and reliefs for the headquarters of the Banco Vitalicio (1950), on the corner of Gran Vía de las Cortes Catalanas and Passeig de Gràcia, in collaboration with Enric Monjo, Vicenç Navarro, Llucià Oslé and Miquel Oslé. He was also the author of the Adoration of the Kings and the Adoration of the Shepherds for the façade of the Nativity of the Expiatory Temple of the Sagrada Familia, a work by Antoni Gaudí (1981-1982). He bequeathed a collection of drawings, prints, documents and photographs to the Library of Catalonia. A representation of his works is in the National Museum of Art of Catalonia. He was the father of the sculptor Joaquim Ros i Sabaté.

Estim. 300 - 400 EUR

Lot 75 - Set consisting of six vases; DEMBAC and others; first half of the twentieth century. Glazed and glazed porcelain and ceramics. One of them has slight faults mouth. They have marks on the base. Measures: 12.5 x 10.5 x 10.5 cm (larger); 4 x 3 x 3 x 3 cm (smaller). Lot consists of a set of six vases with different techniques and ornamentation. All of them are made of porcelain and glazed and glazed ceramic. Each one of them stands out for its organic forms, thus ascribing to the Art Deco artistic movement. One of them has slight mouth faults.

Estim. 100 - 200 EUR

Lot 76 - Set of three vases; XX century. Stoneware and glazed ceramic. They have marks on the base. Measurements: 24 x 12 x 12 cm (larger); 16 x 12 x 12 x 12 cm (smaller). Lot consists of a set of three vases that have different techniques and ornamentation. All of them are made of stoneware and glazed ceramic. Each one of them stands out for its organic forms, thus ascribing to the Art Deco artistic movement.

Estim. 100 - 150 EUR

Lot 77 - Set of four vases; RAOUL LACHENAL (1885- 1956) and others, c. 1920. Glazed and glazed ceramic and earthenware. With gilt brass mounts. Presents restorations. It has marks on the base. Measurements: 12 x 4 x 4 cm (larger); 9 x 7,5 x 7,5 cm (smaller). Lot consists of a set of four vases with different techniques and ornamentation. One of them is signed Raol Lachenal, son of Edmond Lachenal, Raoul Lachenal worked in his father's workshop until 1911, when he opened a new workshop in Boulogne-sur-Seine. Although some of Raoul Lachenal's Art Nouveau ceramics resemble those of his father, he also produced a distinctive stoneware that can compete with the works of master glassmakers such as Ernest Chaplet and Albert Dammouse.

Estim. 400 - 500 EUR

Lot 78 - Set of two vases and a teapot; Spain; 20th century. Glazed, glazed and gilded ceramic and earthenware. Presents hair on the lid. Measurements: 12 x 25 x 18 cm (larger); 10 x 10 x 10 x 10 cm (smaller). Lot consists of a set of two vases and a teapot that have different techniques and ornamentation. All of them are made of ceramic and glazed and gilded glazed earthenware. Each of them stands out for its organic forms. It has hair on the cover.

Estim. 100 - 150 EUR

Lot 79 - Set of five vases; Spain or France, twentieth century. Ceramic, earthenware and stoneware. One of them has a signature. Measurements: 9,5 x 8,5 x 8,5 cm (smaller); 16,5 x 11,5 x 11,5 cm (larger). Lot formed by a set of five vases that present different techniques and ornamentation. All of them are made of ceramic, earthenware and stoneware. Each one of them stands out for its organic forms, thus ascribing to the Art Deco artistic movement.

Estim. 100 - 150 EUR

Lot 80 - Set of four vases; SERRA AND SHELLEY; 20th century. Glazed and glazed ceramic. They have slight flaws. They have marks on the base. Measurements: 15 x 10.5 x 10.5 cm (larger); 9 x 10 x 10 x 10 (smaller). Lot formed by a set of four vases that present different techniques and ornamentation. All of them are made in glazed and glazed ceramic. Each one of them stands out for its organic forms, thus ascribing to the Art Deco artistic movement. They have minor faults.

Estim. 100 - 150 EUR

Lot 81 - Set of five vases; ROSHENTAL and others; first half of the twentieth century. Porcelain, ceramic and glazed and glazed earthenware. They have marks on the base. Measurements: 15 x 22 x 16 cm (larger) ;9,5 x 6,5 x 6,5 cm (smaller). Lot formed by a set of five vases that present different techniques and ornamentation The prestigious German manufacture of ceramics, porcelain and glassware Rosenthal was created in 1879 in Selb, Bavaria, by Philip Rosenthal (1855-1937), and is still in operation today. Its first success in the market took place at the beginning of the 20th century, thanks to its delicate figural statuettes and its table services, of simplified and refined forms, very different from the earlier Art Nouveau pieces. After World War II, the factory completely renewed its repertoire and hired important designers such as Löwy or Wirkkala.

Estim. 200 - 300 EUR

Lot 82 - Set of three vases; Spain; 20th century. Ceramic and glazed and glazed stoneware. They present slight faults. One of them is signed "Carrillo". Measurements: 41.5 x 11.5 x 11.5 cm (larger); 21 x 13 x 13 x 13 cm (smaller). Lot formed by three vases that present different techniques and ornamentation. All of them are made of ceramic and glazed and glazed stoneware. Each one of them stands out for its organic and synthetic forms. They have minor faults.

Estim. 200 - 300 EUR

Lot 83 - European School, c. 1977. "Violinist". Plaster. Measurements: 48 x 18 x 13 cm. Plaster sculpture conceived from an abstract perspective that takes shape to outline the figure of a violinist. This type of representations starring archetypes of popular life was very common at the time, heir to the Baroque, but much kinder in the conception and treatment of the subject.

Estim. 300 - 350 EUR

Lot 84 - Spanish school; c. 1940-1950. "Moses". Terracotta. It presents faults and losses. It has inscription on the base. Measurements: 25 x 10 x 7 cm. Round sculpture of devotional character representing Moses. The Scriptures tell that the prophet Moses freed his people from slavery, making them wander through the desert. During the journey in the Sinai Peninsula, rumors arose among Moses' people that it would have been better to remain under the yoke of the Egyptians. Moses then performed countless miracles to appease the hardship of the journey and to demonstrate to the Israelites that Yahweh was guiding them. Thus, to feed them Yahweh rained down manna from heaven, and to quench their thirst Moses struck a rock with his staff, assuring them that water would come forth. When it was slow to come forth and he struck a second time, Yahweh was angry at his lack of faith and punished him. Ultimately Moses went up to Mount Sinai, where he received the tablets of the law, imposed by God. These tablets contained the commandments, although in this scene it can be seen that they are empty. Fouls and losses.

Estim. 100 - 200 EUR

Lot 85 - Art Nouveau side table; first half of the twentieth century. Wood of bank, marquetry and glass. It shows wear on the legs. Measurements: 75 x 54 x 54 cm. Art Nouveau side table, with a structure defined by sinuous and moved shapes typical of this language. The top is marked with stylized geometric designs that give way to a central area defined by a glass applique. It is worth mentioning the openwork design of the skirt. The feet of the upper body are turned, and the base is closed by another lower board. The lower body has feet topped slightly in cabriole. It shows wear on the legs.

Estim. 500 - 600 EUR

Lot 86 - Game table and four chairs; First third of the twentieth century. Beech wood and cloth mat. It has slight flaws in the mat. Measurements: 78,5 x 82 x 82 cm; 88 x 37 x 49 cm (x4). Set consisting of a table and four chairs all made of beech wood. All the pieces have a design based on fluid shapes, as can be seen in the back of the chairs with curved lines and in the perimeter of the table whose corners are rounded. Both the table and the chairs have four legs with a structure that opens outwards, instead of following a straight line, an aspect that adds lightness to the furniture. It is worth noting the presence of the rug on the tabletop, which indicates that this set was conceived for a game room.

Estim. 1 500 - 1 800 EUR

Lot 87 - Art Nouveau table; first half of the 20th century. Oak wood. Presents loss of the upper left area. Measurements: 80 x 91 x 61 cm. Table made of oak wood that sits on four legs reinforced at the feet with gilded metal appliqués. The legs have a stipe-like design that brings lightness to the furniture. Despite the straight lines of both the legs and the rectangular and molded tabletop on the outer perimeter, the piece has an ornamentation of more fluid lines in the skirt area. In this area, both the design of the cut-out fronts and the rounded details that join the legs to the tabletop, together with the carved ornamentation, indicate that this is a piece based on a style inspired by nature. It presents loss of the left upper zone.

Estim. 200 - 300 EUR

Lot 88 - Armchair; first half of the twentieth century. Carved wood. Measurements: 85 x 47.5 x 40 cm. Armchair made of carved wood that presents a design of fluid lines, although the volume of the carving brings robustness to the design. The piece is supported by four legs with a curved and concave profile, which gives lightness to the structure. The carving that adorns the space between the sides of the legs has a design of organic lines inspired by nature, very typical of Art Deco aesthetics. The flat seat gives way to armrests that also have a sinuous profile that adapts fluidly to the backrest.

Estim. 250 - 300 EUR

Lot 89 - Spanish school; second third of the twentieth century. "Still life". Oil on canvas. Measurements: 44 x 53 cm; 53 x 62 cm (frame). The still life or still life occupied the lowest rung of the hierarchy of genres in the history of art, however, it was becoming increasingly popular among buyers. In addition to the independent subject of still life, it addressed other types of painting themes by using prominent, usually symbolic, elements and images that drew on a multitude of elements from nature apparently to reproduce a slice of life.

Estim. 100 - 200 EUR

Lot 90 - Spanish school; late nineteenth century. "Landscape". Oil on board. Presents faults. Measurements: 30 x 46 cm; 48 x 67 cm (frame). In this work the artist presents a concrete view. Completely empty and without any hint of human presence, the author fixes his sight on the exuberance of the landscape, giving all the prominence to nature. The light that the artist has achieved indicates that this is a precise moment in the day. The choice of a precise moment and the technique of fast and vibrant brushstrokes show the great influence of impressionism as the aesthetics of this painting. Presents faults.

Estim. 100 - 200 EUR

Lot 91 - Following models of ANTONIN AIGON (France, 1837- 1885). "Les deux rats et l'ouf". Gilded bronze and marble base. Signed. Measurements: 10 x 14,5 x 9,5 cm. During the XIX and XX century the sculpture of animal thematic will reach finally an own status, inside the context of the romantic sculpture. Seeking to break away from the classical sculptural ideal, many artists saw in the animal theme a new way of expression, linked to the emotional and irrational nature, in a purely romantic sense.

Estim. 150 - 200 EUR

Lot 92 - Peasants on donkey; NALDA, Valencia, XX century. Glazed porcelain. Presents faults. It has marks on the base. Measurements: 21,5 x 11,5 x 18 cm. Sculptural set made in porcelain representing a peasant with a girl both on a donkey. Traditionally, the Spanish sculpture and literature of the 19th century have been interested in the customs and popular types. Sorrolla himself commented "I want to give, always within the verism of my school, a representation of Spain; not looking for philosophies, but the picturesque of each region". This trend spread throughout all the provinces of Spain, Andalusia being the most famous in the representation of popular life. Presents faults.

Estim. 100 - 150 EUR

Lot 93 - Okimono; Japan, Meiji period, 1868- 1912. Blued bronze. It has faults. It has a seal. Measurements: 16 x 12,5 x 10 cm. The Japanese term okimono means "object to exhibit", "art object" or "decorative object". This type of objects are traditionally placed in the tokonoma, a prominent place in the home, usually in the form of a niche, or in the domestic Buddhist altar. The okimono is exclusively decorative and during the Meiji period many okimono were made for export to the West. Presents faults.

Estim. 400 - 500 EUR

Lot 94 - PETRY SALCEDO (1907-1995) "Grapes". Oil on cardboard. Measurements: 26 x 22 cm; 42 x 50 cm (frame). Work starring two bunches of grapes located in the center of the composition, which has an indeterminate broken white background that gives all the prominence to the presence of the fruit. The work aesthetically follows the aesthetic patterns of still life painting from a contemporary aesthetic perspective.

Estim. 100 - 200 EUR

Lot 95 - EMILIANO GARCÍA TUR (Barcelona, 1930). "Landscape". Oil on canvas. Signed in the lower left corner. Measurements: 38 x 55 cm; 45 x 62 cm (frame). Painter and draftsman, García Tur was trained at the School of Arts and Crafts in Barcelona, where he presented his work for the first time in 1955. Since then he has developed a long series of personal exhibitions in San Sebastian, Madrid, Palma de Mallorca, Ibiza, Barcelona and several Catalan cities. His painting is mainly dedicated to landscape, although he also cultivates the still life, within a post-impressionist concept, rich in matter and with a toned chromatism such as the one observed in the piece presented here. His paintings have a special lyricism that envelops the scenes in an intimate atmosphere, full of beauty and sensitivity. He has participated in numerous group exhibitions.

Estim. 50 - 100 EUR

Lot 96 - JULIAN GRAU SANTOS (Canfranc, Huesca, 1937). "Old woman of Belmonte", 1959. Ink on paper. Signed and dated in the lower right corner. Measurements: 19 x 14 cm; 38 x 31 cm (frame). Son of Emilio Grau Sala and Ángeles Santos Torroella, he is formed in Barcelona. In 1949 he makes several trips to Paris, where he has the opportunity to contemplate first hand works of Sisley, Van Gogh and diverse impressionists and postimpressionists. He held his first individual exhibition at the Sala Libros in Zaragoza in 1957. Since then he has held personal exhibitions in the Syra, Rovira and Vayreda galleries in Barcelona; Alas, Abril, El Cisne, Collage and Biosca in Madrid; Justin Lester in Los Angeles, Art Roman in Tokyo, etc. Since 1966 he regularly exhibits individually at the Sala Parés in Barcelona, and in 1968 he participated in the Salon des Artistes Français at the Grand Palais in Madrid. His work, linked to expressionism and very much based on color, is characterized by a very elaborate technique and a deep knowledge of drawing. He also made numerous drawings, which were published in various newspapers and magazines. His awards include the La Rambla Prize (Barcelona, 1961), the Ramón Rogent Medal (Salón de Mayo, Barcelona, 1962), medal of the Fine Arts Exhibition (Madrid, 1961), III Sant Jordi Prize and Van Gogh Prize (Barcelona, 1963), City of Barcelona Medal (1965), Huesca Painting Biennial Prize (1976), Condesa de Barcelona Medal (Madrid, 1983) and Medal of Honor in the BMW Competition (Madrid, 1987). In recent years he has participated in the ARCO fairs in Madrid and ARTEXPO in Valencia, Barcelona, Basel, New York, Chicago, Miami and Hong Kong. In 1993 the Mapfre Vida Foundation in Madrid dedicated a retrospective exhibition to him.

Estim. 200 - 300 EUR

Lot 97 - JOSEP CORES MAS (Lleida, 1935). "Fisherman". Graphite on paper. Measurements: 26 x 17 cm; 45 x 35 cm (frame). Josep Cores develops a striking and sweet work, with figures resting, fishermen and scenes of customs that, done with great ease, give his language its own personality. He works mainly with oil, but also occasionally with watercolor. He has held exhibitions in Barcelona, Girona, Sabadell, Logroño and Mallorca, as well as at the Museum of Modern Art in Caracas and the Contemporary Art Museum in Zurich.

Estim. 50 - 100 EUR

Lot 98 - Spanish school; first half of the 20th century. "Portrait of a gentleman. Graphite on paper. Painted on both sides. Presents faults. Measurements: 21 x 15 cm; 40,5 x 35 cm (frame). As in the rest of Europe, the portrait became in the twentieth century the leading genre par excellence of Spanish painting, as a result of the new social structures that were implemented in the Western world throughout this century, embodying the ultimate expression of the transformation of taste and mentality of the new clientele, emerged between the nobility and the wealthy gentry, who would take the reins of history in this period. While official circles gave preponderance to other artistic genres, such as history painting, and the incipient collecting encouraged the profusion of costume paintings, portraiture monopolized the demand for painting destined for the more private sphere, as a reflection of the value of the individual in the new society. This genre embodies the permanent presence of the image of its protagonists, to be enjoyed in the intimacy of a studio, in the daily warmth of a family cabinet or presiding over the main rooms of the house. Presents faults.

Estim. 100 - 200 EUR

Lot 99 - Attributed to MIGUEL BLAY Y FABREGA (Olot, 1866-Madrid, 1936). "Studies, Pencil and sanguine on paper (x3). Painted on both sides. Measurements: 11 x 18 cm; 9 x 14 cm (x2); 44 x 33 cm (frame). Miguel Blay was a Spanish sculptor. He studied at the School of Drawing and Painting in Olot, directed by Josep Berga and Joaquín Vayreda. He later received a solid artistic training in Italy and France, and in Paris he attended the workshop of the sculptor Henri Chapu. In 1892, she received the first medal at the National Exhibition of Fine Arts in Madrid with the sculpture Los primeros fríos, a modernist work that influenced a whole generation of Catalan sculptors. She was one of the greatest master sculptors and had Julio Antonio as a student. He collaborated with the architect Lluís Domènech i Montaner with the sculpture La canción popular, placed in a corner of the facade of the Palau de la Música Catalana in Barcelona. In 1909 he was appointed member of the Royal Academy of Fine Arts of San Fernando in Madrid and professor of modeling at the School of San Fernando, a position he held until 1925, when he was appointed director of the Academy of Spain in Rome. Painted on both sides.

Estim. 400 - 500 EUR

Lot 100 - JULES VIEILLARD BORDEAUX (1813- 1868). Enameled earthenware. Mortelé bronze and metal. It presents marks on the base. Measurements: 18,5 x 10 x 10 cm; 15 x 9 x 9 x 9 cm. From 1845 until his death, J. Vieillard modernizes and diversifies the production of the factory. In 1849, a report by the central jury of agricultural and industrial products praises the quality of Vieillard earthenware. In October 1852, on the occasion of Louis Napoleon Bonaparte's visit to Bordeaux, J. Vieillard receives the ribbon and the cross of the Legion of Honor from the Prince-President, who had asked to visit the factory. In 1854, he was also awarded a gold medal at the ninth exhibition of the Bordeaux Philomatic Society. All these awards testify to the success of the factory. On the death of J. Vieillard in 1868, his sons Albert and Charles took over until the closure of the company in 1895.

Estim. 100 - 150 EUR

8th July - Private Collection I

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Lot 9 - Sculpture; 20th century. Black walnut wood. Measurements: 55 x 44 x 18 cm. This work made in black walnut wood represents an abstract form, whose lines are influenced by the natural. The piece shows a finish that starts from the organic.