Pair of Urban Views, "Venice", Marianne Lucy Le Poer Trench 'England, 1888-1940'

View of the pier of Antwerp. Oil on canvas. Flemish school, 18th century. Numerous ships and boats appear in the landscape, accompanied by small characters. In the background a city...

Landscapes, Xalapa, Mexico. Pair of oils on canvas. Spanish school, around 1840. Provenance: Conde de la Cortina collection, Jalapa, Mexico. Couple of landscapes framed within the Spanish school of the first half of the 19th century, with a clear romantic affiliation. Both evidence the knowledge of the Dutch classicist landscape, one of the main influences on the Spanish romantic landscape. Thus, we see compositions in "V", closed on the sides and open in the center, very low horizons that allow a wide development of the sky, spaces built in depth based on successive planes subtly differentiated by light and color, and small figures perfectly integrated into the natural setting. In addition, the skies are scenographic and dramatic, with low clouds behind which the golden light characteristic of the classicist landscape filters. One of the most radical aspects of romantic painting was the attempt to replace large canvases with historical or religious themes with landscapes. They wanted the pure landscape, almost figureless or totally devoid of them, to achieve the heroic significance of history painting. They were based on the idea that human feeling and nature should be complementary, one reflected in the other. In other words, the landscape should arouse emotion and transmit ideas. Thus, landscapers like the author of these canvases tried to express their feelings through the landscape, instead of imitating it. The romantic landscape had two main aspects: the dramatic one, with turbulent and fantastic views, and the naturalistic one, which emphasized images of a peaceful and serene nature. This second conception is what we see embodied in these works; the painter tries to communicate a religious reverence for the landscape, nature in its fullness. In fact, the author's own use of light here conveys a foggy, cloudy, dreamlike atmosphere that invites the viewer to meditate and contemplate himself in the landscape. The romantic landscape is constituted, however, by manifestations of very different types and not comparable to each other; it does not affect all national schools equally, staying more faithful to tradition in schools such as the French or the Dutch. Thus, in this canvas we do not find the grandiose scenery of the British and Germans, the steep mountains or the monumental Gothic ruin...

Still life of flowers. Oil on canvas. GARCÍA-OCHOA IBÁÑEZ, Luis (San Sebastián, 1920-Madrid, 2019). 1949. Signed and dated towards the lower left corner. Label on the back. Still life that shows a round table covered...

Couple of landscapes. Oil on canvas. Spanish school (BILSO), 20th century. Signed in the lower corners. Pair of landscapes or notes of rural landscapes with trees, mountains and bu...

Circle of VAN DE KASTEELE, Frans (Brussels, c. 1541 – Italy, 1621). "Virgin with angels and saints". Oil on copper. Curly frame in ebony. Devotiona...

Bandit and soldier, couple. Oils on tables. LUCAS VILLAAMIL, Eugenio (Madrid, 1858-1919). They present signature and remains of signature. Labels on the back. This pair of tables shows, on a blue background, two male busts. Despite their detail and naturalism, they are not portraits in themselves, but rather "type paintings", showing the conception that was held at the time of a bandit or a general, in line with certain common postulates in Romanticism. Spanish. Eugenio Lucas Villaamil began his training with his father, Eugenio Lucas Velázquez...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1995, signed to the front and inscribed verso Title - In a Monastery Garden. A view through timber framing int...

Oil on canvas depicting a Venetian view, more specifically of the island of Giudecca, made by Miro Romagna around 1950. The author, who was born in Venice in 1927 and died in 2006,...

Pair of bas-reliefs in scagliola with figures of women, England, 1940.

Italian painting from the first half of the 20th century. Oil artwork on panel depicting a view of Venice, House of Carlo Goldoni, of good pictorial quality. Frame from the second ha...

Aquarelle view of Venice by late-XIX-century artist The aquarelle created by an artist of the late XIX century depicts the view of Saint Mark square in Venice. The overall condition...

Artist/ School: Norman A. Olley ( British, 20th Century, 1908-1996), 1994, signed to the front and inscribed verso Title - "Imelda" Girl with Auburn Hair at All Saints Church...