Spain

Stone fountain with a hand-carved surround and a plate decorated with faces. The central part corresponds to the 18th century with the upper plate in Italian Verona marble. The fence...

Como pueden apreciar, la obra va firmada en la parte inferior y fechada del año 1873 Se presenta enmarcada la obra (el marco presenta algunas leves faltas) El estado de la obra es ...

La obra va firmada por el artista en la parte inferior y fechada del año 1855 Se presenta enmarcada la pintura con un marco del siglo xix en madera estucada y policromada (el marco ...

Albert Carrier-Belleuse (1824-1887) "Allegory". French sculpture from the 19th century In rotating gilt bronze. Stands on a marble base. Signed. Alt.: (sculpture) 50.; Height: (t...

19th Century Pair of Polychrome Wooden Columns with Corinthian Capitals

Como pueden apreciar, la obra no va firmada Se presenta enmarcada la obra El estado de la obra es aceptable Medidas obra: 73 cm. de altura x 50 cm. de ancho Medidas obra enmarcad...

Beautiful and Exotic wooden cane with old -aged silver handle with horn horn auction, from indochina and dated around at the end of the 19th century and the beginning of the 20th cen...

Splendid and exotic drop necklace consisting of a central pear cut diamond of 1,90 carats in addition to 136 rose-cut diamonds. Antique, Victorian period (19th century, 1870). Mounte...

ANTONIETTA BRANDEIS Czechoslovakian, 1848 - 1926 FLORENCE´S BRIDGE signed "ABrandeis" lower right oil on canvas 10-3/5 x 14-4/5 inches (27 x 37.5 cm.) unframed PROVENANCE Private Collection, Barcelona Antonietta Brandeis (also known as Antonie Brandeisová) (1848–1926), was a Czech-born Italian landscape, genre and portrait painter, as well as a painter of religious subjects for altarpieces. She was born on January 13, 1848, in Miskovice (near Kutná Hora) in Bohemia, Austria-Hungary.[2] The first bibliographical indication of Antonietta Brandeis dates from her teens, when she is mentioned as a pupil of the Czech artist Karel Javůrek of Prague.[3] After the death of Brandeis' father, her mother, Giuseppina Dravhozvall, married the Venetian Giovanni Nobile Scaramella; shortly afterward the family apparently moved to Venice. In the 1867 registry of the Venetian Academy of Fine Arts, Brandeis is listed as being enrolled as an art student. At this time, Brandeis would have been nineteen, and one of the first females to receive academic instruction in the fine arts in Italy. In fact, the Ministry granted women the legal right to instruction in the fine arts only in 1875, by which time Brandeis had finished her education at the Academy. Brandeis’s professors at the Venetian Academy of Fine Arts include Michelangelo Grigoletti and Napoleone Nani for life drawing, Domenico Bresolin for landscape, Pompeo Marino Molmenti for painting and Federico Moja for perspective. Already during her first years of study there is evidence of Brandeis' skill-in her first year she is awarded prizes and honors in Perspective and Life Drawing. Brandeis’ continuing excellence and diligence in her artistic studies during the five years she spends at the Academy is attested to in the lists of prize-winning students of the Academy “Elenco alunni premiati Accademia Venezia in Atti della Reale Accademia di Belle Arti in Venezia degli anni 1866-1872”.[4] It includes numerous mentions of prizes and high honours won by Brandeis in Art History, Perspective, Life Drawing, Landscape and Anatomical Drawing, Drawing of Sculpture, and “Class of Folds”. It is in Venice at the Academy that Brandeis perfected her skills as a meticulous landscape and cityscape painter, with intricate and luminous details in the tradition of the eighteenth-century “vedutisti”. In 1870, while still a student at the Academy, she participated in her first exhibition; that of the Società Veneta Promotrice di Belle Arti with the oil painting Cascina della Madonna di Monte Varese. She is documented as having exhibited eight paintings during the years 1872 to 1876 with the Società Veneta Promotrice di Belle Arti, both landscapes and genre scenes. In the exhibit of 1875 her landscape Palazzo, Marin Falier is sold to M. Hall of London for 320 lire, a first indication of the success Brandeis will achieve with foreign collectors of her work (particularly the English and German visitors to Italy on the Grand Tour circuit). During these same years, she showed two paintings in the Florentine exhibit Promotrice Fiorentina. The first painting, entitled “Gondola” is a subject which she repeats in new variations throughout her career with great success. The second, perhaps a genre painting, is entitled “Buon dì !” The two paintings remained unsold and were presented at the same exhibition the following year, together with two more genre scene paintings. In 1876 and 1877 she exhibited three landscapes of Venice at the Promotrice Veneta, which sold to foreign collectors. In November 1877 Brandeis showed the large painting Palazzo Cavalli a Venezia at the exhibition of the Hungarian Fine Arts Society in Budapest. In both Florence and Budapest, Brandeis showed her work under the name “Antonio Brandeis”. The biographer De Gubernatis offers the following explanation for the change of name: “her first pictures received praise and criticism; she took the criticism, but when she was praised as a woman she was annoyed, and therefore exhibited under the name Antonio Brandeis.” During the years 1878 to 1893 Brandeis painted and exhibited numerous works, primarily scenes of Venice, and although she resided chiefly in that city she also traveled and painted in Verona, Bologna, Florence, and Rome. As well as in Venice and Florence, she exhibited in Turin, Milan, and Rome. In 1880 she was present at the International Exposition of Melbourne with three paintings: Palazzo Cavalli, A Balcony in Venice and The Buranella- native of Burano Island near Venice. Brandeis was a prolific painter, and often replicated her most popular subjects with only slight variations. She was represented in Venice at the photographer Naya’s studios in Piazza San Marco and in Campo San Maurizio and in Florence she collaborated with the picture dealer Giovanni Masini. During this period of intense activity painting landscapes en plein air and genre scenes, Brandeis also is documented in De Gubernatis as a painter of religious altarpieces. Several of these altarpieces can be found on the Island of Korcula in Croatia. Two are visible in the parish church of Smokvici and of in the church of St. Vitus in Blato. In the sacristy of the Cathedral of Korcula is a Madonna with Christ Child painted by Brandeis. For the same church she also painted a copy of the central panel of Giovanni Bellini’s triptych from the Venetian Church of Santa Maria dei Frari Gloriosa (1488). In 1899, for the main altar of the chapel of St. Luke in the Korcula town cemetery, Brandeis painted a St. Luke, which shows the sparkling colors and free impasto typical of her plein air oil paintings. On October 27th 1897 at the age of 49, Brandeis married the Venetian Antonio Zamboni, a knight and officer of the Italian Crown and knight of the Order of SS. Maurizio and Lazzaro. The couple continued to reside in Venice and Brandeis continued to show at Italian exhibitions in Venice, Florence, and Rome although more sporadically and with fewer works than before. Although she participated in the International Exposition of Watercolourists in Rome in 1906 with a “Study” and in the Società Promotrice delle Belle Arti in Florence in 1907 and 1908 with two oil paintings, De Gubernatis quotes Brandeis as saying in 1906, that even though she resides in Venice “I am a foreigner, and for some time I have not taken part in Italian Exhibitions, sending all my paintings to London.[3] Antonio Zamboni died 11...

Enrique Galwey (1864-1931) - Landscape - Oil canvas Oil measurements 61x74 cm. Frameless. (Barcelona 1864-1931). Spanish painter. He began his training at the San Jorge School of Fi...

Secretaire "à abattant". Fine woods, marquetry, interior with drawers in rosewood and textile, gilded bronze and enameled porcelain; on marble. Signed HYPPOLYTE-EDME PRETOT (Paris, 1...

Spectacular antique writing table from the 19th century or earlier, in Spain, with turned Solomonic-shaped legs. It is made of oak wood and has a drawer. The edge of the top and the ...

Museum quality Console or side table of chestnut with carved lyre base and forged iron Stretcher, Spanish 18th century. It is a beautiful jewel, worthy of any museum Top of the ta...

19th-century Spanish School: "Portrait of a Musketeer," HSP. (chip on the cartouche). Dimensions: 80 x 59 cm. good condition

A fun and decorative curiosity, this late 19th century French Napoleon III (nephew of Bonaparte I) or Second Empire style "throne" is a fine example of elegant furniture making meeting functional necessity. Known as a "Chaise...

A rare late 18th /early 19th C Indian Mughal "Bazuband or Bajuband" with 11 gemstones (North India, Lucknow). The armband of rectangular form with hinged attachments on either, in the manner of a "Navratna". Centring upon a flowerhead white sapphire surrounded by petals on a green enamel ground and a thin blue enamel border. Mounted in + 22K Gold, with an outstanding enamel work on the reverse with flowers and petals in red and blue against a white ground, and with green champlevé enamel; measurements: 7 cm across X 4.5 cm.Weight: 36,26 gr Late 18th/Early 19th Century, North India. Exhibited 2014 with Ref.: 42939 in Mumbay and Delhi in Saffronart. Navaratna is a Sanskrit compound word meaning "nine gems" or "ratnas". Jewellery created in this style has important cultural significance in Asian cultures as a symbol of wealth, status, and also as having other claimed talismanic benefits to health and wellbeing. The setting of the stones is believed to hold mystical powers. References: Seligman, T. K. and Balakrishnan, U. R. Enduring Splendor; Jewelry of India...

A rare French Empire period chest of drawers, in walnut wood with keyholes and gilded brass handles, the chest of drawers has two drawers and a top secret at the top, the sides are f...

This decorative pair of stained glass panels features scenes inspired by the iconic Spanish literary character Don Quixote. Created in the 19th century, the glass pieces are artistic...

Silver perfume box. 19th century. Teardrop-shaped bottles with feet, elaborate handles decorated with vegetal elements and scrolls of Classicist influ...

Ceiling lamp. Bronze, glass. France, late 19th century. Not signed, attributed Baccarat. 36-light ceiling chandelier, electrified, made of bronze with numerous transparent glass bea...

CANAPE AND PAIR OF LOUIS XV STYLE CHAIRS French 19th Century in mahogany wood with gilded and relief bronzes. Upholstered seats and back...

19th century French feminine Boulle bureau (office desk, escritoire).

Beautiful Italian Ceramics Plate from the 19th Century Plate with large fire decoration in the center of a mythological scene and on the side a frieze of interlacing, mask, grotesque...

Safe box. Iron. XIX century. Rectangular safe made of iron, with a rectangular base, two handles on the sides and classicist-influenced molding decorations on the fronts and top. It...

Mother of pearl box with bronze frame, 19th century. Box made of mother of pearl plates joined thanks to a bronze structure decorated with simple plant elements and which still has ...

A pair of Swedish Girandoles Candelabra in cobalt blue glass, glass tears and gilded bronze. The base is made of white marble, from which a column emerges in cobalt blue glass that supports the gilded bronze balustrade...

Devotional plaque, Holy Bishop. Bronze. Spanish school, 19th century. Rectangular devotional plate with a ring at the top and smooth moldings enhancing a figurative relief. You can see a male figure with a halo, carrying a bishop's staff, and is accompanied by a book and a tiara...

Louis XV style gilt hand carved wood canapé from the 19th century and with silk upholstery of the period. Origin: France. Period: 19th century, Na...

19th century French lidded box with boulle-style inlay on lid (sawwork + mirrors). Dimensions: 7 x 31 x 23 cm. In good condition.  

Beautiful Italian Bronze Sculpture of Gladiators on a Marble Base 19th Century Dimensions 25x20 cm very good condition

An elegant pair of French porcelain vases, circa 1860, finely decorated with two detailed figures. These vases exhibit excellent craftsmanship and remain in good condition, with norm...

Porcelain enameled piece with golden details that allows to place flowers inside. Shaped like a bucket, it has a handle decorated with shapes inspired by Rococo from the 18th century...

19th Century FRENCH HITTING TABLE in black and gold lacquered wood with mother of pearl, representing a landscape with houses. Dim.: 69 x 70 x 70 cm good original conditions

1970s Serving Trolley with Two Shelves, Wings and Wheels

Car with upholstered seat and cushioning of two wheels in the rear and a smaller and addressable by means of a crank, in the front part. The support for the feet has been decorated w...

An elegant spiral library staircase, a functional and decorative piece ideal for interiors with character. Made of solid wood, this staircase stands out for its fan-shaped steps cove...

This elegant 19th-century French table is a stunning example of fine craftsmanship, featuring exquisite marquetry and adorned with chiseled bronze accents. The intricate details of t...

Venice rectangular, mirror silvering emailed with flowers, the centre is bevelled, gilted details in the corners... really impressive.  

This exquisite 19th-century Orthodox cross is crafted from bronze and adorned with enamel, a combination that ensures its durability and stunning visual appeal. The dimensions of the...

19th century Chinese red lacquer two-door wedding cabinet decorated with hand drawn vegetable motifs and fitted with bronze lock.  

La obra no va firmada El estado de conservación de la pintura es aceptable, solo comentar que la tela está reentelada Se presenta enmarcada la obra con un antiguo marco en madera p...

La obra no va firmada, es de autor anónimo Se presenta enmarcada la obra (la placa que pone "ESCUELA SEVILLANA XVIII" es errónea, esta obra es del siglo XIX Estado de conservación ...

Early 20th Century Brazilian Metal Hanging Amulet 'Penca de Balangadas' – Circa 1890 Discover the captivating history behind this early 20th-century metal hanging amulet, known as '...

Extraordinary hand-painted Chinese porcelain ginger jar with lid, made during the reign of the Emperor Tongzhi (1862-1875), of the Rose Family type. Rose Family is the name given in ...

With marks. Centerpiece circular base and oval body decorated to the interior with small bouquets of flowers and the outside with an elaborate composition based on architectural and...

Antique, Unique AGL certified Burmese (Mogok) Natural Ruby and Diamond Cluster Ring Untreated, unheated (No clarity enhancement/ No heat enhancement) Burmese 0.94 carats Ruby (Mogo...

19th century antique hand carved white marble double basin kitchen sink.

A farm table or French rustic table, Louis XVI style in walnut wood with an extendable top, the corners were reinforced with iron brackets with fluted legs. Very decorative table in ...

18K yellow gold Hunter-case Swiss pocket watch with three strong lids, external ones in guillochè. Silver guillochè sphere with gold Roman numerals ...

19th Century Spanish Cupboard with Doors and Drawers in Rosewood and Lemonwood

A 19th century Louis XVI style French writing table or desk, known as a "bureau plat”. It has a leather top writing surface, ormolu bronze details, and three locking drawers with fal...

Immerse yourself in the elegance of the 19th century with this refined gilded bronze sculpture depicting the allegory of the harvest. The piece features two children enjoying grapes,...

Exquisite 19th Century Object from a Cabinet of Curiosities – Jeweled Elephant Important, finely carved elephant sculpture, probably made in Germany in the 19th century, intended as ...

Joan Cardona Lladós (1877-1957) - Modernist Paris scene - Mixed media (charcoal and white wax). Drawing measurements 40x29 cm. Frame measurements 66x54 cm. He was born in Barcelona on June 30, 1877, he was registered with the name of Juan Bautista José Pedro. His parents Josep Cardona i Farré (Sant Salvador, 1852-Barcelona, ​​?) and Maria Lladós i Vidal (Isona, 1855-Barcelona, ​​1935) came from Sant Salvador de Toló and Isona, respectively, two towns very close to Tremp, in the Pallars Jussà region, close to the Lleida Pyrenees. The Cardona Lladós family was of humble origins, linked to the rural and peasant world. José Cardona and María Lladós married around 1876, when they were twenty-five and twenty-one years old respectively. The couple decided to improve their precarious situation by moving to live in Barcelona. In 1877 Joan Cardona was born in the family home, at 62 Mediana de San Pedro Street, in the Ribera neighborhood of Barcelona and very close to the Rec Comtal. Joan Cardona was the firstborn of three brothers. When he was six years old, his sister Consuelo was born (1883) and later his younger sister, María (1888), was born. Josep Cardona i Farré was a day laborer and lived at least until the birth of his third daughter, María, in 1888. Her death, for reasons unknown to us, would occur shortly after. After the death of Josep Cardona, León Farré i Duró (Isona, 1867-Barcelona, ​​1932) became part of the family nucleus with his mother María Lladós, who took care of the child Cardona and his sisters Consuelo and María. Farré learned to play the guitar and was the most extraordinary disciple of the composer and guitarist Francesc Tàrrega i Eixea (Vila-real, 1852-Barcelona, ​​1909). Joan Cardona had in her stepfather the man who instilled in her a special musical and artistic sensitivity. The young Cardona took classes at the Academia Baixas, inaugurated in 1892 by the painter Joan Baixas i Carreter and installed on Carrer del Pi, a private center where a good batch of leading Catalan Modernisme artists were trained. Cardona married Clemencia Parade Cazabat at the beginning of the century. Daughter of Carles Parade and Amara Cazabat, she was born in 1870 in Bagnères de Bigorre...

Pair of vases. Glazed porcelain, metal. XIX century. Pair of vases with a circular foot, a cylindrical body in the center and a long neck and mouth open towards the outside, decora...

Rare Wedgwood Black Basalt Plaque — Mythological Scene, Circa 1800 An exceptional and rare large-format Wedgwood black basalt plaque from around 1800. This finely executed relief de...

Embark on a journey through time with this spectacular antique wall mirror, a unique piece that exudes history and character in every detail. The frame, meticulously crafted from pin...

Meiji period pair of Japanese Bronze Vases Finely Cast with High Relief decoration figures of a 3 clawed Dragon and 2 striped tigers and bamboo on the...

Investing in "Blue Triangle and Black Square" by Kazimir Malevich Vintage Serigraphy is an opportunity to own a piece of art history that embodies the essence of the Russian avant-g...

Italian 19th century chest. in ebonised wood with an inlaid decor. Measures: 19 x 36.5 x 25.5 cm. Good condition.