Francesc Vidal Jevelli Sold at Auction Prices

Painter of Evening Scenes

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        • FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Modernist folding screen, circa 1890. Walnut wood, cloisonné enamelled glass, with Tiffany glass.
          Oct. 19, 2023

          FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Modernist folding screen, circa 1890. Walnut wood, cloisonné enamelled glass, with Tiffany glass.

          Est: €35,000 - €40,000

          FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Modernist folding screen, circa 1890. Walnut wood, cloisonné enamelled glass, with Tiffany glass. This work was shown in an exhibition held at La Pedrera in Barcelona, "Modernisme. Art, workshops, industries" between 2016 and 2017. Measurements: 182 x 60.5 cm (each panel). Similar screens by Francesc Vidal can be found in the MNAC and the Museu del Modernisme. Two-leaf screen with a wooden structure, with profiles cut out at the top, and large enamelled glass panels with floral motifs that simulate a real lattice, given that the flowers are depicted life-size, with great realism and delicacy in the colours and lighting. In 1880, Francesc Vidal Jevellí's company was the most important factory in Spain in its sector, with more than 700 specialised workers and the best tools and machinery of the time. Gaspar Homar and Joan Busquets worked as apprentices in the factory when they were young. One of the peculiarities of the factory was that they never repeated the same piece and that they were all made according to the drawings made by their designers to their own taste and style. The first pieces he made were with Mozarabic and neo-Gothic details, the most similar to the products of Bing in Paris, in the Japanese style, of which very few pieces remain. A cabinetmaker and decorator, Francesc Vidal travelled to Paris to direct the exhibition of his father's bookbinding exhibits at the Universal Exhibition of 1867, and there he had the opportunity to meet other young artists, to study at the School of Decorative Arts and to travel repeatedly around Europe. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as its complements in glasswork, metalwork and casting. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He exerted a great influence on the society of his time, and was a patron of talented young artists such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in his portrait of this outstanding cabinetmaker, painted perhaps the finest portraits in Catalan painting of his time. Works by Francesc Vidal are currently conserved in the Museu Nacional d'Art de Catalunya and in the Museu Nacional d'Arts Decoratives, as well as in important private collections.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848-1914). Pair of armchairs, ca.1900. Walnut frame, velvet upholstery.
          Jul. 27, 2023

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848-1914). Pair of armchairs, ca.1900. Walnut frame, velvet upholstery.

          Est: €3,000 - €4,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848-1914). Pair of armchairs, ca.1900. Walnut frame, velvet upholstery. Measurements: 96 x 70 x 74 cm. Pair of modernist armchairs designed by Francesc Vidal. The quality of the carving can be appreciated in every detail: the dragons that decorate the armrests, the crenellated profile of the backrest, flanked by volutes, the cylindrical feet that synthesize the claw feet of the classic furniture... The cabinetmaker was inspired by different styles of the past and channelled them towards the current of Catalan modernisme, of which Vidal was a prominent member. A cabinetmaker and decorator, Francesc Vidal travelled to Paris to direct the exhibition of his father's bookbinding exhibits at the Universal Exhibition of 1867, and there he had the opportunity to meet other young artists, to study at the School of Decorative Arts and to travel repeatedly around Europe. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as its complements in glasswork, metalwork and foundry. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He exerted a great influence on the society of his time, and was a patron of talented young artists such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in portraying this outstanding cabinetmaker, painted perhaps the finest portraits in Catalan painting of his time. Works by Francesc Vidal are currently conserved in the Museu Nacional d'Art de Catalunya and in the Museu Nacional d'Arts Decoratives, as well as in important private collections.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist fireplace screen, ca. 1890. Carved wood painted in green and gold. Cloisonné enamelled glass soffit. It shows signs of use and lack of polychromy. Needs to be reworked.
          Jul. 27, 2023

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist fireplace screen, ca. 1890. Carved wood painted in green and gold. Cloisonné enamelled glass soffit. It shows signs of use and lack of polychromy. Needs to be reworked.

          Est: €2,500 - €3,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist fireplace screen, ca. 1890. Carved and painted wood in green and gold. Cloisonné enamelled glass soffit. It shows signs of use and lack of polychromy. Needs to be reworked. Measurements: 120 x 91 x 40 cm. Fireplace screen designed by Francesc Vidal Jevellí. The painted wooden structure has friezes with vegetal carvings on the upper and lower parts. The large glass ceiling has been enamelled in cloisonné with a lake scene resolved in modernist language, presided over by a swan and water lilies. The sensual flowers are delicately rendered in their iridescent colours. The soffit is flanked by two circular shelves on turned supports. A cabinetmaker and decorator, Francesc Vidal travelled to Paris to direct the exhibition of his father's bookbinding exhibits at the Universal Exhibition of 1867, and there he had the opportunity to meet other young artists, to study at the School of Decorative Arts and to travel repeatedly around Europe. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as its complements in glassware, metalwork and foundry. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He exerted a great influence on the society of his time, and was a patron of talented young artists such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in portraying this outstanding cabinetmaker, painted perhaps the finest portraits in Catalan painting of his time. Works by Francesc Vidal are currently conserved in the Museu Nacional d'Art de Catalunya and in the Museu Nacional d'Arts Decoratives, as well as in important private collections.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Display cabinet, ca. 1900-1910. Mahogany wood and cloisonné enamelled glass. With factory plaque.
          Mar. 21, 2023

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Display cabinet, ca. 1900-1910. Mahogany wood and cloisonné enamelled glass. With factory plaque.

          Est: €15,000 - €18,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Display cabinet, ca. 1900-1910. Mahogany wood and cloisonné enamelled glass. With factory plaque. Measurements: 191,5 x 103 x 41 cm. Spectacular display cabinet made of mahogany wood, a design by the great cabinetmaker Francesc Vidal dated around 1890. Rectangular in structure, it consists of a central part with a glazed door and a small drawer at the top, two lateral bodies of shelves, with mirrored backs, and an upper body with two doors, decorated with an enamelling technique derived from cloisonné on metal. This technique was first applied to glass by the English firm The Cloisonné Glass Company at the end of the 19th century, and was introduced in Spain in 1899 by Francesc Vidal. This modern chromatic treatment, so called because of its analogy with cloisonné on metal, consists of adhering copper filaments directly to the base glass plate to delimit the different areas of colour, creating a sort of alveoli which are then filled with the coloured enamel. In this case, the decoration is sandwiched between two plates of colourless glass, and consists of gold tones with floral and geometric motifs. Francesc Vidal was one of the most prominent decorative artists in the city of Barcelona in the late 19th century, being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Vidal exerted a great influence on the society of his time, and practised patronage with talented young people such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in his portrait of this outstanding cabinetmaker, painted perhaps the finest portrait in Catalan painting of his time. His shop had by then become one of the focal points for those who wanted to have the best and most modern interior decorations, thanks to his innovative production impregnated with the English Arts & Crafts spirit and the theories of Adrien de Longpérier. Due to this great demand, Vidal also paid attention to historicist styles, whether of Baroque or Gothic inspiration, and produced eclectic works with an orientalising component that was very fashionable among the bourgeoisie of the time. Today, works by Francesc Vidal can be found in the Museu Nacional d'Art de Catalunya and the Museu Nacional d'Arts Decoratives, as well as in important private collections.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist coffee table. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With plaque with the artist's name.
          Mar. 21, 2023

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist coffee table. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With plaque with the artist's name.

          Est: €10,000 - €12,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist coffee table. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With plaque with the artist's name. Measurements: 54 x 116 x 71 cm. Modernist table with carved, moulded and turned mahogany wood structure, wrought iron fasteners designed by Francesc Vidal. Top made of mahogany wood, bronze and decorated with cloisonné enamel and thousands of Tiffany glass beads. The pieces of Tiffany glass were glued one by one to make the drawing. This piece was made in the workshops of Vidal and Jevelli, at the end of the Alfonsina period and the beginning of Spanish Modernism. These pieces are unique due to the great complexity of their execution. In European Art Nouveau only Morris in the United Kingdom made some furniture with this technique. The structure is inspired by the old Spanish baroque tables, and thus we see four turned legs, inclined and connected to each other by means of footings and to the tabletop by means of braces. The legs are helically turned and enhanced by mouldings, and the curved legs are decorated with rosettes carved in relief. The tabletop is enhanced by a perimeter of stepped mouldings, and is decorated with a classical structure, strictly arranged in bands. The centre of the panel is left free, in a mottled blue tone, which matches the mouldings of the outer border. The two intermediate bands are decorated with borders of flowers, leaves and stems in shades of gold, red and green. Francesc Vidal was one of the most prominent artists and decorators in the city of Barcelona in the late 19th century, being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Vidal exerted a great influence on the society of his time, and practised patronage with talented young artists such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in his portrait of this outstanding cabinetmaker, painted perhaps the best portraits of

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With stamp on the back.
          Mar. 21, 2023

          FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With stamp on the back.

          Est: €13,000 - €15,000

          FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With stamp on the back. Measurements: 69,5 cm diameter. Spectacular circular plate made in bronze and decorated with cloisonné enamel and thousands of Tiffany glass beads. The pieces of Tiffany glass were glued one by one to make the drawing, in this case the eagle. This piece was made in the Vidal and Jevelli workshops between 1885-1890, at the end of the Alfonsine period and the beginning of Spanish Modernism. These pieces are unique due to the great complexity of their execution. In European Art Nouveau only Morris in the United Kingdom made some furniture using this technique. The plate is decorated in a synthetic and expressive style, combining the ornamental and sinuous taste of Art Nouveau with a certain medieval character typical of the period. On the seat is an imperial eagle resting on a branch, which is evidence of a certain Japanese influence, also a constant feature of the Art Nouveau period. The colours of the seat are varied, cheerful and contrasting, combining orange, pink and gold tones against a blue background. This central scene is framed by a border consisting of two bands, clearly delimited by two narrower lines that alternate shades of maroon and violet. The inner, narrower band is decorated with a border of synthetic, typically Art Nouveau, counterpointed leaves on a gold background. The outer band has a more complex border, based on the repetition of a strictly symmetrical synthesised plant motif in shades of violet and green on the gold background that unifies the eaves. Francesc Vidal was one of the most prominent decorative artists in the city of Barcelona in the late 19th century, being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Works by Francesc Vidal are currently housed in the Museu Nacional d'Art de Catalunya and the Museu Nacional d'Arts Deco.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Mirror, ca. 1900-1910. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With factory plaque.
          Mar. 21, 2023

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Mirror, ca. 1900-1910. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With factory plaque.

          Est: €8,000 - €10,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Mirror, ca. 1900-1910. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With factory plaque. Measurements: 104 x 146 cm. Mirror designed by Francesc Vidal, made of mahogany wood, bronze and decorated with cloisonné enamel and thousands of Tiffany glass beads. The pieces of Tiffany glass were glued one by one to make the drawing, in this case butterflies and geometric ornaments. This piece was made in the Vidal and Jevelli workshops between 1900-1910. This piece was made in the workshops of Vidal and Jevelli between 1900-1910, at the end of the Alfonsina period and the beginning of Spanish Modernism. These pieces are unique due to the great complexity of their execution. In European Art Nouveau only Morris in the United Kingdom made some furniture with this technique. Francesc Vidal was one of the most outstanding artists and decorators in the city of Barcelona at the end of the 19th century, for being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also responsible for other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Vidal exerted a great influence on the society of his time, and practised patronage with talented young people such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in his portrait of this outstanding cabinetmaker, painted perhaps the finest portrait in Catalan painting of his time. His shop had by then become one of the focal points for those who wanted to have the best and most modern interior decorations, thanks to his innovative production impregnated with the English Arts & Crafts spirit and the theories of Adrien de Longpérier. Due to this great demand, Vidal also paid attention to historicist styles, whether of Baroque or Gothic inspiration, and produced eclectic works with an orientalising component that was very fashionable among the bourgeoisie of the time. Works by Francesc Vidal can be found in the Museu Nacional d'Art de Catalunya and in the Museu Nacional d'Arts Decoratives, as well as in the Museu Nacional d'Art Contemporani de Catalunya and the Museu Nacional d'Arts Decoratives.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With factory mark.
          Mar. 21, 2023

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With factory mark.

          Est: €7,000 - €8,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With factory mark. Measurements: 7,5 x 71 cm. Spectacular circular plate made in bronze and decorated with cloisonné enamel and thousands of Tiffany glass beads. The pieces of Tiffany glass were glued one by one to make the drawing, in this case butterflies and geometric ornaments. This piece was made in the Vidal and Jevelli workshops between 1885-1890, at the end of the Alfonsine period and the beginning of Spanish Modernism. These pieces are unique due to the great complexity of their execution. In European Art Nouveau only Morris in the United Kingdom made some furniture using this technique. It is an ornamental plate, entirely decorated with glossy enamels, with inclusions of other materials that enhance the jewel-like appearance of the piece. The decoration is radial and organised in two spaces, following the traditional structure of the ceramic dish. Thus, we see a circular tondo occupying what would be the seat of the dish, and around it a wide band that would determine the eaves. In the centre is a star of medieval inspiration, with arms in the shape of a fleur-de-lis, from which a radial decoration of palmettes and scrolls, pointed arches of Gothic heritage and beautiful butterflies with their wings spread out, typically modernist, radially depart. This decoration stands out against an orange background, enclosed by a narrow line of decoration in two shades of yellow. Outside, the complex border of the eaves is developed, combining fleur-de-lis with light-coloured details and large fleurons whose synthesised style recalls the influence of geometric Art Nouveau. The pointed arches in the background and the orange-toned base are repeated once again. Francesc Vidal was one of the most prominent decorative artists in the city of Barcelona in the late 19th century, as he was one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only in the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Actua

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Modernist folding screen, circa 1890. Walnut wood, cloisonné enamelled glass, with Tiffany glass.
          Mar. 21, 2023

          FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Modernist folding screen, circa 1890. Walnut wood, cloisonné enamelled glass, with Tiffany glass.

          Est: €30,000 - €35,000

          FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Modernist folding screen, circa 1890. Walnut wood, cloisonné enamelled glass, with Tiffany glass. This work was shown in an exhibition held at La Pedrera in Barcelona, "Modernisme. Art, workshops, industries" between 2016 and 2017. Measurements: 182 x 60.5 cm (each panel). Similar screens by Francesc Vidal can be found in the MNAC and the Museu del Modernisme. Two-leaf screen with a wooden structure, with profiles cut out at the top, and large enamelled glass panels with floral motifs that simulate a real lattice, given that the flowers are depicted life-size, with great realism and delicacy in the colours and lighting. In 1880, Francesc Vidal Jevellí's company was the most important factory in Spain in its sector, with more than 700 specialised workers and the best tools and machinery of the time. Gaspar Homar and Joan Busquets worked as apprentices in the factory when they were young. One of the peculiarities of the factory was that they never repeated the same piece and that they were all made according to the drawings made by their designers to their own taste and style. The first pieces he made were with Mozarabic and neo-Gothic details, the most similar to the products of Bing in Paris, in the Japanese style, of which very few pieces remain. A cabinetmaker and decorator, Francesc Vidal travelled to Paris to direct the exhibition of his father's bookbinding exhibits at the Universal Exhibition of 1867, and there he had the opportunity to meet other young artists, to study at the School of Decorative Arts and to travel repeatedly around Europe. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as its complements in glasswork, metalwork and casting. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He exerted a great influence on the society of his time, and was a patron of talented young artists such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in his portrait of this outstanding cabinetmaker, painted perhaps the finest portraits in Catalan painting of his time. Works by Francesc Vidal are currently conserved in the Museu Nacional d'Art de Catalunya and in the Museu Nacional d'Arts Decoratives, as well as in important private collections.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With stamp on the back.
          Dec. 21, 2022

          FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With stamp on the back.

          Est: €13,000 - €15,000

          FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With stamp on the back. Measurements: 69,5 cm diameter. Spectacular circular plate made in bronze and decorated with cloisonné enamel and thousands of Tiffany glass beads. The pieces of Tiffany glass were glued one by one to make the drawing, in this case the eagle. This piece was made in the Vidal and Jevelli workshops between 1885-1890, at the end of the Alfonsine period and the beginning of Spanish Modernism. These pieces are unique due to the great complexity of their execution. In European Art Nouveau only Morris in the United Kingdom made some furniture using this technique. The plate is decorated in a synthetic and expressive style, combining the ornamental and sinuous taste of Art Nouveau with a certain medieval character typical of the period. On the seat is an imperial eagle resting on a branch, which is evidence of a certain Japanese influence, also a constant feature of the Art Nouveau period. The colours of the seat are varied, cheerful and contrasting, combining orange, pink and gold tones against a blue background. This central scene is framed by a border consisting of two bands, clearly delimited by two narrower lines that alternate shades of maroon and violet. The inner, narrower band is decorated with a border of synthetic, typically Art Nouveau, counterpointed leaves on a gold background. The outer band has a more complex border, based on the repetition of a strictly symmetrical synthesised plant motif in shades of violet and green on the gold background that unifies the eaves. Francesc Vidal was one of the most prominent decorative artists in the city of Barcelona in the late 19th century, being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Works by Francesc Vidal are currently housed in the Museu Nacional d'Art de Catalunya and the Museu Nacional d'Arts Deco.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With factory mark.
          Dec. 21, 2022

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With factory mark.

          Est: €13,000 - €15,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With factory mark. Measurements: 7,5 x 71 cm. Spectacular circular plate made in bronze and decorated with cloisonné enamel and thousands of Tiffany glass beads. The pieces of Tiffany glass were glued one by one to make the drawing, in this case butterflies and geometric ornaments. This piece was made in the Vidal and Jevelli workshops between 1885-1890, at the end of the Alfonsine period and the beginning of Spanish Modernism. These pieces are unique due to the great complexity of their execution. In European Art Nouveau only Morris in the United Kingdom made some furniture using this technique. It is an ornamental plate, entirely decorated with glossy enamels, with inclusions of other materials that enhance the jewel-like appearance of the piece. The decoration is radial and organised in two spaces, following the traditional structure of the ceramic dish. Thus, we see a circular tondo occupying what would be the seat of the dish, and around it a wide band that would determine the eaves. In the centre is a star of medieval inspiration, with arms in the shape of a fleur-de-lis, from which a radial decoration of palmettes and scrolls, pointed arches of Gothic heritage and beautiful butterflies with their wings spread out, typically modernist, radially depart. This decoration stands out against an orange background, enclosed by a narrow line of decoration in two shades of yellow. Outside, the complex border of the eaves is developed, combining fleur-de-lis with light-coloured details and large fleurons whose synthesised style recalls the influence of geometric Art Nouveau. The pointed arches in the background and the orange-toned base are repeated once again. Francesc Vidal was one of the most prominent decorative artists in the city of Barcelona in the late 19th century, as he was one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only in the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Actua

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Display cabinet, ca. 1900-1910. Mahogany wood and cloisonné enamelled glass. With factory plaque.
          Dec. 21, 2022

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Display cabinet, ca. 1900-1910. Mahogany wood and cloisonné enamelled glass. With factory plaque.

          Est: €15,000 - €18,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Display cabinet, ca. 1900-1910. Mahogany wood and cloisonné enamelled glass. With factory plaque. Measurements: 191,5 x 103 x 41 cm. Spectacular display cabinet made of mahogany wood, a design by the great cabinetmaker Francesc Vidal dated around 1890. Rectangular in structure, it consists of a central part with a glazed door and a small drawer at the top, two lateral bodies of shelves, with mirrored backs, and an upper body with two doors, decorated with an enamelling technique derived from cloisonné on metal. This technique was first applied to glass by the English firm The Cloisonné Glass Company at the end of the 19th century, and was introduced in Spain in 1899 by Francesc Vidal. This modern chromatic treatment, so called because of its analogy with cloisonné on metal, consists of adhering copper filaments directly to the base glass plate to delimit the different areas of colour, creating a sort of alveoli which are then filled with the coloured enamel. In this case, the decoration is sandwiched between two plates of colourless glass, and consists of gold tones with floral and geometric motifs. Francesc Vidal was one of the most prominent decorative artists in the city of Barcelona in the late 19th century, being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Vidal exerted a great influence on the society of his time, and practised patronage with talented young people such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in his portrait of this outstanding cabinetmaker, painted perhaps the finest portrait in Catalan painting of his time. His shop had by then become one of the focal points for those who wanted to have the best and most modern interior decorations, thanks to his innovative production impregnated with the English Arts & Crafts spirit and the theories of Adrien de Longpérier. Due to this great demand, Vidal also paid attention to historicist styles, whether of Baroque or Gothic inspiration, and produced eclectic works with an orientalising component that was very fashionable among the bourgeoisie of the time. Today, works by Francesc Vidal can be found in the Museu Nacional d'Art de Catalunya and the Museu Nacional d'Arts Decoratives, as well as in important private collections.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist coffee table. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With plaque with the artist's name.
          Dec. 21, 2022

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist coffee table. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With plaque with the artist's name.

          Est: €10,000 - €12,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist coffee table. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With plaque with the artist's name. Measurements: 54 x 116 x 71 cm. Modernist table with carved, moulded and turned mahogany wood structure, wrought iron fasteners designed by Francesc Vidal. Top made of mahogany wood, bronze and decorated with cloisonné enamel and thousands of Tiffany glass beads. The pieces of Tiffany glass were glued one by one to make the drawing. This piece was made in the workshops of Vidal and Jevelli, at the end of the Alfonsina period and the beginning of Spanish Modernism. These pieces are unique due to the great complexity of their execution. In European Art Nouveau only Morris in the United Kingdom made some furniture with this technique. The structure is inspired by the old Spanish baroque tables, and thus we see four turned legs, inclined and connected to each other by means of footings and to the tabletop by means of braces. The legs are helically turned and enhanced by mouldings, and the curved legs are decorated with rosettes carved in relief. The tabletop is enhanced by a perimeter of stepped mouldings, and is decorated with a classical structure, strictly arranged in bands. The centre of the panel is left free, in a mottled blue tone, which matches the mouldings of the outer border. The two intermediate bands are decorated with borders of flowers, leaves and stems in shades of gold, red and green. Francesc Vidal was one of the most prominent artists and decorators in the city of Barcelona in the late 19th century, being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Vidal exerted a great influence on the society of his time, and practised patronage with talented young artists such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in his portrait of this outstanding cabinetmaker, painted perhaps the best portraits of

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Mirror, ca. 1900-1910. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With factory plaque.
          Dec. 21, 2022

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Mirror, ca. 1900-1910. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With factory plaque.

          Est: €8,000 - €10,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Mirror, ca. 1900-1910. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With factory plaque. Measurements: 104 x 146 cm. Mirror designed by Francesc Vidal, made of mahogany wood, bronze and decorated with cloisonné enamel and thousands of Tiffany glass beads. The pieces of Tiffany glass were glued one by one to make the drawing, in this case butterflies and geometric ornaments. This piece was made in the Vidal and Jevelli workshops between 1900-1910. This piece was made in the workshops of Vidal and Jevelli between 1900-1910, at the end of the Alfonsina period and the beginning of Spanish Modernism. These pieces are unique due to the great complexity of their execution. In European Art Nouveau only Morris in the United Kingdom made some furniture with this technique. Francesc Vidal was one of the most outstanding artists and decorators in the city of Barcelona at the end of the 19th century, for being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also responsible for other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Vidal exerted a great influence on the society of his time, and practised patronage with talented young people such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in his portrait of this outstanding cabinetmaker, painted perhaps the finest portrait in Catalan painting of his time. His shop had by then become one of the focal points for those who wanted to have the best and most modern interior decorations, thanks to his innovative production impregnated with the English Arts & Crafts spirit and the theories of Adrien de Longpérier. Due to this great demand, Vidal also paid attention to historicist styles, whether of Baroque or Gothic inspiration, and produced eclectic works with an orientalising component that was very fashionable among the bourgeoisie of the time. Works by Francesc Vidal can be found in the Museu Nacional d'Art de Catalunya and in the Museu Nacional d'Arts Decoratives, as well as in the Museu Nacional d'Art Contemporani de Catalunya and the Museu Nacional d'Arts Decoratives.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). "Fish". Bronze plate with cloisonné enamel. Presents losses and damage. Needs restoration.
          Dec. 21, 2022

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). "Fish". Bronze plate with cloisonné enamel. Presents losses and damage. Needs restoration.

          Est: €500 - €550

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). "Fish". Bronze dish with cloisonné enamel. It shows losses and damage. Needs restoration. Measurements: 37 cm (total diameter). Francesc Vidal was one of the most outstanding decorative artists in the city of Barcelona at the end of the 19th century, for being one of the first professionals to promote craftsmanship in the heart of the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also responsible for other important projects such as the decoration of Mayor Rius i Taulet, several rooms in the Círculo del Liceo and also royal commissions such as the bedrooms in the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Works by Francesc Vidal are currently housed in the Museu Nacional d'Art de Catalunya and the Museu Nacional d'Arts Deco.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Dish in bronze, cloisonné enamel and Tiffany glass beads, 1885-1890. It has slight losses of Tiffany glass beads and one of the areas with slight damage.
          Oct. 20, 2022

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Dish in bronze, cloisonné enamel and Tiffany glass beads, 1885-1890. It has slight losses of Tiffany glass beads and one of the areas with slight damage.

          Est: €5,000 - €6,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Dish in bronze, cloisonné enamel and Tiffany glass beads, 1885-1890. It has slight losses of Tiffany balls and one of the areas with slight damage. Measurements: 71.5 cm (diameter). Spectacular circular plate made in bronze and decorated with cloisonné enamel and thousands of Tiffany glass beads. The pieces of Tiffany glass were glued one by one to make the drawing, in this case butterflies and geometric ornaments. This piece was made in the Vidal and Jevelli workshops between 1885-1890, at the end of the Alfonsine period and the beginning of Spanish Modernism. These pieces are unique due to the great complexity of their execution. In European Art Nouveau, only Morris in the United Kingdom made some furniture using this technique. Francesc Vidal was one of the most outstanding artists and decorators in the city of Barcelona at the end of the 19th century, for being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Works by Francesc Vidal are currently housed in the Museu Nacional d'Art de Catalunya and the Museu Nacional d'Arts Deco.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848-1914). Pair of armchairs, ca.1900. Walnut frame, velvet upholstery.
          Oct. 20, 2022

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848-1914). Pair of armchairs, ca.1900. Walnut frame, velvet upholstery.

          Est: €3,000 - €4,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848-1914). Pair of armchairs, ca.1900. Walnut frame, velvet upholstery. Measurements: 96 x 70 x 74 cm. Pair of modernist armchairs designed by Francesc Vidal. The quality of the carving can be appreciated in every detail: the dragons that decorate the armrests, the crenellated profile of the backrest, flanked by volutes, the cylindrical feet that synthesize the claw feet of the classic furniture... The cabinetmaker was inspired by different styles of the past and channelled them towards the current of Catalan modernisme, of which Vidal was a prominent member. A cabinetmaker and decorator, Francesc Vidal travelled to Paris to direct the exhibition of his father's bookbinding exhibits at the Universal Exhibition of 1867, and there he had the opportunity to meet other young artists, to study at the School of Decorative Arts and to travel repeatedly around Europe. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as its complements in glasswork, metalwork and foundry. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He exerted a great influence on the society of his time, and was a patron of talented young artists such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in portraying this outstanding cabinetmaker, painted perhaps the finest portraits in Catalan painting of his time. Works by Francesc Vidal are currently conserved in the Museu Nacional d'Art de Catalunya and in the Museu Nacional d'Arts Decoratives, as well as in important private collections.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Modernist folding screen, circa 1890. Walnut wood, cloisonné enamelled glass, with Tiffany glass.
          Sep. 21, 2022

          FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Modernist folding screen, circa 1890. Walnut wood, cloisonné enamelled glass, with Tiffany glass.

          Est: €20,000 - €25,000

          FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Modernist folding screen, circa 1890. Walnut wood, cloisonné enamelled glass, with Tiffany glass. This work was shown in an exhibition held at La Pedrera in Barcelona, "Modernisme. Art, workshops, industries" between 2016 and 2017. Measurements: 182 x 60.5 cm (each panel). Similar screens by Francesc Vidal can be found in the MNAC and the Museu del Modernisme. Two-leaf screen with a wooden structure, with profiles cut out at the top, and large enamelled glass panels with floral motifs that simulate a real lattice, given that the flowers are depicted life-size, with great realism and delicacy in the colours and lighting. In 1880, Francesc Vidal Jevellí's company was the most important factory in Spain in its sector, with more than 700 specialised workers and the best tools and machinery of the time. Gaspar Homar and Joan Busquets worked as apprentices in the factory when they were young. One of the peculiarities of the factory was that they never repeated the same piece and that they were all made according to the drawings made by their designers to their own taste and style. The first pieces he made were with Mozarabic and neo-Gothic details, the most similar to the products of Bing in Paris, in the Japanese style, of which very few pieces remain. A cabinetmaker and decorator, Francesc Vidal travelled to Paris to direct the exhibition of his father's bookbinding exhibits at the Universal Exhibition of 1867, and there he had the opportunity to meet other young artists, to study at the School of Decorative Arts and to travel repeatedly around Europe. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as its complements in glasswork, metalwork and casting. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He exerted a great influence on the society of his time, and was a patron of talented young artists such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in his portrait of this outstanding cabinetmaker, painted perhaps the finest portraits in Catalan painting of his time. Works by Francesc Vidal are currently conserved in the Museu Nacional d'Art de Catalunya and in the Museu Nacional d'Arts Decoratives, as well as in important private collections.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Display cabinet, ca. 1900-1910. Mahogany wood and cloisonné enamelled glass. With factory plaque.
          Sep. 21, 2022

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Display cabinet, ca. 1900-1910. Mahogany wood and cloisonné enamelled glass. With factory plaque.

          Est: €15,000 - €18,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Display cabinet, ca. 1900-1910. Mahogany wood and cloisonné enamelled glass. With factory plaque. Measurements: 191,5 x 103 x 41 cm. Spectacular display cabinet made of mahogany wood, a design by the great cabinetmaker Francesc Vidal dated around 1890. Rectangular in structure, it consists of a central part with a glazed door and a small drawer at the top, two lateral bodies of shelves, with mirrored backs, and an upper body with two doors, decorated with an enamelling technique derived from cloisonné on metal. This technique was first applied to glass by the English firm The Cloisonné Glass Company at the end of the 19th century, and was introduced in Spain in 1899 by Francesc Vidal. This modern chromatic treatment, so called because of its analogy with cloisonné on metal, consists of adhering copper filaments directly to the base glass plate to delimit the different areas of colour, creating a sort of alveoli which are then filled with the coloured enamel. In this case, the decoration is sandwiched between two plates of colourless glass, and consists of gold tones with floral and geometric motifs. Francesc Vidal was one of the most prominent decorative artists in the city of Barcelona in the late 19th century, being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Vidal exerted a great influence on the society of his time, and practised patronage with talented young people such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in his portrait of this outstanding cabinetmaker, painted perhaps the finest portrait in Catalan painting of his time. His shop had by then become one of the focal points for those who wanted to have the best and most modern interior decorations, thanks to his innovative production impregnated with the English Arts & Crafts spirit and the theories of Adrien de Longpérier. Due to this great demand, Vidal also paid attention to historicist styles, whether of Baroque or Gothic inspiration, and produced eclectic works with an orientalising component that was very fashionable among the bourgeoisie of the time. Today, works by Francesc Vidal can be found in the Museu Nacional d'Art de Catalunya and the Museu Nacional d'Arts Decoratives, as well as in important private collections.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist coffee table. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With plaque with the artist's name.
          Sep. 21, 2022

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist coffee table. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With plaque with the artist's name.

          Est: €10,000 - €12,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist coffee table. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With plaque with the artist's name. Measurements: 54 x 116 x 71 cm. Modernist table with carved, moulded and turned mahogany wood structure, wrought iron fasteners designed by Francesc Vidal. Top made of mahogany wood, bronze and decorated with cloisonné enamel and thousands of Tiffany glass beads. The pieces of Tiffany glass were glued one by one to make the drawing. This piece was made in the workshops of Vidal and Jevelli, at the end of the Alfonsina period and the beginning of Spanish Modernism. These pieces are unique due to the great complexity of their execution. In European Art Nouveau only Morris in the United Kingdom made some furniture with this technique. The structure is inspired by the old Spanish baroque tables, and thus we see four turned legs, inclined and connected to each other by means of footings and to the tabletop by means of braces. The legs are helically turned and enhanced by mouldings, and the curved legs are decorated with rosettes carved in relief. The tabletop is enhanced by a perimeter of stepped mouldings, and is decorated with a classical structure, strictly arranged in bands. The centre of the panel is left free, in a mottled blue tone, which matches the mouldings of the outer border. The two intermediate bands are decorated with borders of flowers, leaves and stems in shades of gold, red and green. Francesc Vidal was one of the most prominent artists and decorators in the city of Barcelona in the late 19th century, being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Vidal exerted a great influence on the society of his time, and practised patronage with talented young artists such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in his portrait of this outstanding cabinetmaker, painted perhaps the best portraits of

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With factory mark.
          Sep. 21, 2022

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With factory mark.

          Est: €13,000 - €15,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With factory mark. Measurements: 7,5 x 71 cm. Spectacular circular plate made in bronze and decorated with cloisonné enamel and thousands of Tiffany glass beads. The pieces of Tiffany glass were glued one by one to make the drawing, in this case butterflies and geometric ornaments. This piece was made in the Vidal and Jevelli workshops between 1885-1890, at the end of the Alfonsine period and the beginning of Spanish Modernism. These pieces are unique due to the great complexity of their execution. In European Art Nouveau only Morris in the United Kingdom made some furniture using this technique. It is an ornamental plate, entirely decorated with glossy enamels, with inclusions of other materials that enhance the jewel-like appearance of the piece. The decoration is radial and organised in two spaces, following the traditional structure of the ceramic dish. Thus, we see a circular tondo occupying what would be the seat of the dish, and around it a wide band that would determine the eaves. In the centre is a star of medieval inspiration, with arms in the shape of a fleur-de-lis, from which a radial decoration of palmettes and scrolls, pointed arches of Gothic heritage and beautiful butterflies with their wings spread out, typically modernist, radially depart. This decoration stands out against an orange background, enclosed by a narrow line of decoration in two shades of yellow. Outside, the complex border of the eaves is developed, combining fleur-de-lis with light-coloured details and large fleurons whose synthesised style recalls the influence of geometric Art Nouveau. The pointed arches in the background and the orange-toned base are repeated once again. Francesc Vidal was one of the most prominent decorative artists in the city of Barcelona in the late 19th century, as he was one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only in the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Actua

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With stamp on the back.
          Sep. 21, 2022

          FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With stamp on the back.

          Est: €13,000 - €15,000

          FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Dish in cloisonné enamel bronze and Tiffany glass beads, 1885-1890. With stamp on the back. Measurements: 69,5 cm diameter. Spectacular circular plate made in bronze and decorated with cloisonné enamel and thousands of Tiffany glass beads. The pieces of Tiffany glass were glued one by one to make the drawing, in this case the eagle. This piece was made in the Vidal and Jevelli workshops between 1885-1890, at the end of the Alfonsine period and the beginning of Spanish Modernism. These pieces are unique due to the great complexity of their execution. In European Art Nouveau only Morris in the United Kingdom made some furniture using this technique. The plate is decorated in a synthetic and expressive style, combining the ornamental and sinuous taste of Art Nouveau with a certain medieval character typical of the period. On the seat is an imperial eagle resting on a branch, which is evidence of a certain Japanese influence, also a constant feature of the Art Nouveau period. The colours of the seat are varied, cheerful and contrasting, combining orange, pink and gold tones against a blue background. This central scene is framed by a border consisting of two bands, clearly delimited by two narrower lines that alternate shades of maroon and violet. The inner, narrower band is decorated with a border of synthetic, typically Art Nouveau, counterpointed leaves on a gold background. The outer band has a more complex border, based on the repetition of a strictly symmetrical synthesised plant motif in shades of violet and green on the gold background that unifies the eaves. Francesc Vidal was one of the most prominent decorative artists in the city of Barcelona in the late 19th century, being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Works by Francesc Vidal are currently housed in the Museu Nacional d'Art de Catalunya and the Museu Nacional d'Arts Deco.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Mirror, ca. 1900-1910. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With factory plaque.
          Sep. 21, 2022

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Mirror, ca. 1900-1910. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With factory plaque.

          Est: €8,000 - €10,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Mirror, ca. 1900-1910. Mahogany wood, bronze, cloisonné enamel and Tiffany glass beads. With factory plaque. Measurements: 104 x 146 cm. Mirror designed by Francesc Vidal, made of mahogany wood, bronze and decorated with cloisonné enamel and thousands of Tiffany glass beads. The pieces of Tiffany glass were glued one by one to make the drawing, in this case butterflies and geometric ornaments. This piece was made in the Vidal and Jevelli workshops between 1900-1910. This piece was made in the workshops of Vidal and Jevelli between 1900-1910, at the end of the Alfonsina period and the beginning of Spanish Modernism. These pieces are unique due to the great complexity of their execution. In European Art Nouveau only Morris in the United Kingdom made some furniture with this technique. Francesc Vidal was one of the most outstanding artists and decorators in the city of Barcelona at the end of the 19th century, for being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also responsible for other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Vidal exerted a great influence on the society of his time, and practised patronage with talented young people such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in his portrait of this outstanding cabinetmaker, painted perhaps the finest portrait in Catalan painting of his time. His shop had by then become one of the focal points for those who wanted to have the best and most modern interior decorations, thanks to his innovative production impregnated with the English Arts & Crafts spirit and the theories of Adrien de Longpérier. Due to this great demand, Vidal also paid attention to historicist styles, whether of Baroque or Gothic inspiration, and produced eclectic works with an orientalising component that was very fashionable among the bourgeoisie of the time. Works by Francesc Vidal can be found in the Museu Nacional d'Art de Catalunya and in the Museu Nacional d'Arts Decoratives, as well as in the Museu Nacional d'Art Contemporani de Catalunya and the Museu Nacional d'Arts Decoratives.

          Setdart Auction House
        • VIDAL JEVELLÍ, Francesc (Barcelona, 1848 - 1914). Cloisonné glass dish, ca. 1885. With factory mark.
          Jun. 20, 2022

          VIDAL JEVELLÍ, Francesc (Barcelona, 1848 - 1914). Cloisonné glass dish, ca. 1885. With factory mark.

          Est: €12,000 - €15,000

          VIDAL JEVELLÍ, Francesc (Barcelona, 1848 - 1914). Cloisonné glass dish, ca. 1885. With factory mark. Measurements: 7,5 x 71 cm. Dish decorated with the cloisonné glass technique, first applied in its modern form by the English company The Cloisonné Glass Company at the end of the 19th century, and introduced in Spain in 1899 by Francesc Vidal. This modern chromatic treatment, so called because of its analogy with cloisonné on metal, consists of adhering copper filaments directly to the base glass plate to delimit the different areas of colour, creating a sort of alveoli which are then filled with the coloured enamel. This is an ornamental dish, entirely decorated with glossy enamel, with inclusions of other materials that enhance the jewellery-like appearance of the piece. The decoration is radial and organised in two spaces, following the traditional structure of the ceramic dish. Thus, we see a circular tondo occupying what would be the seat of the dish, and around it a wide band that would determine the eaves. In the centre is a star of medieval inspiration, with arms in the shape of a fleur-de-lis, from which a radial decoration of palmettes and scrolls, pointed arches of Gothic heritage and beautiful butterflies with their wings spread out, typically Modernist. This decoration stands out against an orange background, enclosed by a narrow line of decoration in two shades of yellow. Outside, the complex border of the eaves is developed, combining fleur-de-lis with light-coloured details and large fleurons whose synthesised style recalls the influence of geometric Art Nouveau. The pointed arches in the background and the orange-toned base are repeated once again. Francesc Vidal was one of the most prominent decorative artists in the city of Barcelona in the late 19th century, as one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Works by Francesc Vidal are currently held in the Museu Nacional d'Art de Catalunya and the Museu Nacional d'Arts Decoratives, as well as in important private collections.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Display cabinet, ca. 1900-1910. Mahogany wood and cloisonné enamelled glass. With factory plaque.
          Jun. 20, 2022

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Display cabinet, ca. 1900-1910. Mahogany wood and cloisonné enamelled glass. With factory plaque.

          Est: €15,000 - €18,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Display cabinet, ca. 1900-1910. Mahogany wood and cloisonné enamelled glass. With factory plaque. Measurements: 191,5 x 103 x 41 cm. Spectacular display cabinet made of mahogany wood, a design by the great cabinetmaker Francesc Vidal dated around 1890. Rectangular in structure, it consists of a central part with a glazed door and a small drawer at the top, two lateral bodies of shelves, with mirrored backs, and an upper body with two doors, decorated with an enamelling technique derived from cloisonné on metal. This technique was first applied to glass by the English firm The Cloisonné Glass Company at the end of the 19th century, and was introduced in Spain in 1899 by Francesc Vidal. This modern chromatic treatment, so called because of its analogy with cloisonné on metal, consists of adhering copper filaments directly to the base glass plate to delimit the different areas of colour, creating a sort of alveoli which are then filled with the coloured enamel. In this case, the decoration is sandwiched between two plates of colourless glass, and consists of gold tones with floral and geometric motifs. Francesc Vidal was one of the most prominent decorative artists in the city of Barcelona in the late 19th century, being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Vidal exerted a great influence on the society of his time, and practised patronage with talented young people such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in his portrait of this outstanding cabinetmaker, painted perhaps the finest portrait in Catalan painting of his time. His shop had by then become one of the focal points for those who wanted to have the best and most modern interior decorations, thanks to his innovative production impregnated with the English Arts & Crafts spirit and the theories of Adrien de Longpérier. Due to this great demand, Vidal also paid attention to historicist styles, whether of Baroque or Gothic inspiration, and produced eclectic works with an orientalising component that was very fashionable among the bourgeoisie of the time. Today, works by Francesc Vidal can be found in the Museu Nacional d'Art de Catalunya and the Museu Nacional d'Arts Decoratives, as well as in important private collections.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist coffee table. Mahogany wood and cloisonne enamels. With plaque with the name of the artist.
          Jun. 20, 2022

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist coffee table. Mahogany wood and cloisonne enamels. With plaque with the name of the artist.

          Est: €17,000 - €20,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Modernist coffee table. Mahogany wood and cloisonné enamels. With plaque with the artist's name. Measurements: 54 x 116 x 71 cm. Modernist table with a carved, moulded and turned mahogany wood structure, wrought iron fasteners and a top entirely decorated with cloisonné enamels, a technique that was first applied, in its modern form, by the English company The Cloisonné Glass Company at the end of the 19th century, and which was introduced in Spain in 1899 by Francesc Vidal. Also called alveolado or tabicado, cloisonné enamel is a technique that consists of depositing the vitreous paste of the enamel in compartments formed by metal sheets that, in relief, make up the silhouette of the design. The structure is inspired by the old Spanish tables of the baroque period, and thus we see four turned legs, inclined and connected to each other by means of footings and to the tabletop by means of braces. The legs are helically turned and enhanced by mouldings, and the curved legs are decorated with rosettes carved in relief. The tabletop is enhanced by a perimeter of stepped mouldings, and is decorated with a classical structure, strictly arranged in bands. The centre of the panel is left free, in a mottled blue tone, which matches the mouldings of the outer border. The two intermediate bands are decorated with borders of flowers, leaves and sinuous stems, enamelled in gold, red and green tones. Francesc Vidal was one of the most prominent decorative artists in the city of Barcelona in the late 19th century, being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also responsible for other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Vidal exerted a great influence on the society of his time, and practised patronage with talented young people such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in portraying this outstanding cabinetmaker, painted perhaps the finest portrait in Catalan painting of his time.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Plate in bronze and enamels cloisonné, 1900-1910. With seal on the back.
          Jun. 20, 2022

          FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Plate in bronze and enamels cloisonné, 1900-1910. With seal on the back.

          Est: €18,000 - €22,000

          FRANCESC VIDAL JEVELLÍ, (Barcelona, 1848 - 1914). Dish in bronze and cloisonné enamels, 1900-1910. With stamp on the back. Measurements: 69.5 cm in diameter. A model similar to the one presented here is kept at the Museu del Modernisme Català. Specifically, this plate belongs to a series made by the artist for the Casa Milà in Barcelona (La Pedrera). Spectacular circular plate made of bronze and decorated with cloisonné enamels, a technique first applied in its modern form by the English company The Cloisonné Glass Company at the end of the 19th century, and introduced in Spain in 1899 by Francesc Vidal. Also called alveolado or tabicado, cloisonné enamel is a technique that consists of depositing the vitreous paste of the enamel in compartments formed by metal sheets that, in relief, make up the silhouette of the design. The plate is decorated in a synthetic and expressive style, combining the ornamental and sinuous taste of Art Nouveau with a certain medieval character typical of the period. On the seat is an imperial eagle resting on a branch, which is evidence of a certain Japanese influence, also a constant feature of the Art Nouveau period. The colours of the seat are varied, cheerful and contrasting, combining orange, pink and gold tones against a blue background. This central scene is framed by a border consisting of two bands, clearly delimited by two narrower lines of alternating shades of maroon and violet. The inner, narrower band is decorated with a border of synthetic, typically Art Nouveau, counterpointed leaves on a gold background. The outer band has a more complex border, based on the repetition of a strictly symmetrical synthesised plant motif in shades of violet and green on the gold background that unifies the eaves. Francesc Vidal was one of the most prominent decorative artists in the city of Barcelona in the late 19th century, being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also responsible for other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only in the Peninsula, but also in America, which led Vidal to expand his business by entering into partnership with Frederic Masriera Manovens, to later become a partner of the company.

          Setdart Auction House
        • FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Mirror, ca. 1900-1910. Mahogany wood, bronze and cloisonné glass. With factory plaque.
          Jun. 20, 2022

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Mirror, ca. 1900-1910. Mahogany wood, bronze and cloisonné glass. With factory plaque.

          Est: €10,000 - €12,000

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848 - 1914). Mirror, ca. 1900-1910. Mahogany wood, bronze and cloisonné glass. With factory plaque. Measurements: 104 x 146 cm. Mirror designed by Francesc Vidal, whose design combines lines typical of geometric modernism with rosettes of the same style and cloisonné glass plates of Renaissance inspiration. This technique was first applied to glass by the English firm The Cloisonné Glass Company at the end of the 19th century, and was introduced in Spain in 1899 by Francesc Vidal. This modern chromatic treatment, so called because of its analogy with cloisonné on metal, consists of adhering copper filaments directly to the base glass plate to delimit the different areas of colour, creating a sort of alveoli which are then filled with the coloured enamel. Francesc Vidal was one of the most outstanding decorative artists in the city of Barcelona at the end of the 19th century, being one of the first professionals to promote craftsmanship within the nascent Catalan aestheticism and modernism. One of the key events in understanding his personality and his innovative character was his stay at the Universal Exhibition in Paris in 1867, where he travelled to direct the exhibition of his father's bookbinding samples. In addition to witnessing the birth of Japonisme in the French capital, Vidal made contact with other young artists and stayed in the city to study at the Ecole des Arts Décoratifs, where his teacher was Louvrier de Lajolais. From Paris he also made a series of trips around Europe that enabled him to become acquainted with the artistic practices that were being promoted in the great capitals of the continent. He finally returned to Barcelona with the desire to modernise and Europeanise a city that was still too tied to tradition, introducing novelties such as the Japanese influence in interior decoration and the decorative arts. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensively from then on in the production of quality furniture, as well as glassware, metalwork and foundry complements. Rigalt and Masriera collaborated in his studio in the foundry, and Joan González, Gaspar Homar and Santiago Marco worked as designers. Vidal's clientele included the gentry and official corporations, and he made the furniture designed by Gaudí for the Güell Palace. He was also in charge of other important projects such as the decoration of Mayor Rius i Taulet, several rooms of the Círculo del Liceo and also royal commissions such as the bedrooms of the Royal Palace in Madrid and the cradle for the future Alfonso XIII. In fact, his works were in demand not only on the Peninsula, but also in America, which led Vidal to expand his business by forming a partnership with Frederic Masriera Manovens, and later to open shops in Madrid and Paris. Vidal exerted a great influence on the society of his time, and practised patronage with talented young people such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, in his portrait of this outstanding cabinetmaker, painted perhaps the finest portrait in Catalan painting of his time. His shop had by then become one of the focal points for those who wanted to have the best and most modern interior decorations, thanks to his innovative production impregnated with the English Arts & Crafts spirit and the theories of Adrien de Longpérier. Due to this great demand, Vidal also paid attention to historicist styles, whether of Baroque or Gothic inspiration, and produced eclectic works with an orientalising component that was very fashionable among the bourgeoisie of the time. Works by Francesc Vidal can be found in the Museu Nacional d'Art de Catalunya and in the Museu Nacional d'Arts Decoratives, as well as in the Museu Nacional d'Arts Decoratives.

          Setdart Auction House
        • Francesc Vidal Jevellí. A walnut side table
          Oct. 27, 2021

          Francesc Vidal Jevellí. A walnut side table

          Est: -

          Francesc Vidal Jevellí. (Barcelona, 1848-1914). Mesa auxiliar modernista en madera de nogal con sobre de vidriera cloisonné, 75x85x49 cm. Leves desperfectos en la vidriera.

          Sala de Ventas
        • Francesc Vidal Jevellí Barcelona 1847 - 1914 Writing desk
          Dec. 19, 2017

          Francesc Vidal Jevellí Barcelona 1847 - 1914 Writing desk

          Est: €1,300 - €1,700

          Carved walnut Gilt-glass panel and maple interiors 173x102.5x56 cm

          Balclis
        • Francesc Vidal Jevellí Barcelona 1847 - 1914 Pair of armchairs
          Oct. 25, 2017

          Francesc Vidal Jevellí Barcelona 1847 - 1914 Pair of armchairs

          Est: €800 -

          Francesc Vidal Jevellí Barcelona 1847 - 1914 Pair of armchairs Carved walnut Finales 19th C. Tapicería renovada 98x67,5x83 cm Francesc Vidal Jevellí Barcelona 1847 - 1914 Pareja de sillones Nogal tallado Finales del siglo XIX. Tapicería renovada 98x67,5x83 cm

          Balclis
        • Francesc Vidal Jevellí, Barcelona 1847-1914, and Frederic Vidal i Puig, Barcelona 1882-1950 Centre table
          Jul. 18, 2017

          Francesc Vidal Jevellí, Barcelona 1847-1914, and Frederic Vidal i Puig, Barcelona 1882-1950 Centre table

          Est: €680 -

          Francesc Vidal Jevellí, Barcelona 1847-1914, and Frederic Vidal i Puig, Barcelona 1882-1950 Centre table Fruitwood with "cloisonné" glass top Desperfectos en el vidrio 75,5x74,5x91 cm Francesc Vidal Jevellí Barcelona 1847-1914 y Frederic Vidal i Puig Barcelona 1882-1950 Mesa de centro Madera de frutal con sobre en vidriera "cloisonné" Desperfectos en la vidriera 75,5x74,5x91 cm

          Balclis
        • Francesc Vidal Jevellí Barcelona 1847-1914 Mirror and console table
          Jul. 12, 2017

          Francesc Vidal Jevellí Barcelona 1847-1914 Mirror and console table

          Est: €275 -

          Francesc Vidal Jevellí Barcelona 1847-1914 Mirror and console table Mahogany, carved and partially gilded and a painted courtship scene "vernis Martin" Sobre en mármol 233x130 cm espejo Francesc Vidal Jevellí Barcelona 1847-1914 Juego de espejo y consola Caoba tallada y parcialmente dorada y escena galante pintada tipo "vernis Martin" Sobre en mármol 233x130 cm espejo

          Balclis
        • Francesc Vidal Jevellí Barcelona 1847 - 1914 Cabinet on stand Carved mahogany
          Jul. 12, 2017

          Francesc Vidal Jevellí Barcelona 1847 - 1914 Cabinet on stand Carved mahogany

          Est: €625 -

          Francesc Vidal Jevellí Barcelona 1847 - 1914 Cabinet on stand Carved mahogany Menajes en latón 170x94,5x49,5 cm Francesc Vidal Jevellí Barcelona 1847 - 1914 Cabinet con bufetillo Caoba tallada Herrajes en latón 170x94,5x49,5 cm

          Balclis
        • Francesc Vidal Jevellí (Barcelona 1847- 1914) and Frederic Vidal i Puig (Barcelona 1882-1950)
          May. 04, 2017

          Francesc Vidal Jevellí (Barcelona 1847- 1914) and Frederic Vidal i Puig (Barcelona 1882-1950)

          Est: €4,000 - €6,000

          Francesc Vidal Jevellí (Barcelona 1847- 1914) and Frederic Vidal i Puig (Barcelona 1882-1950) Magnificent walnut chest on legs with stretcher, with gilded brass and Steel fittings. Circa 1900. The cover is decorated with a central medallion made of "cloisonné" stained glass with plant and fleur de lys motifs among which is intertwined an inscribed band with the saying "Oiu so / qui ferma be segu esta." In the centre is the outline of a woman made of ivory. The base is covered with damask and trim. Chest measurements: 86 x 111 x 54 cm. Stretcher measurements: 86 x 91 x 53 cm.

          La Suite Subastas
        • Atribuida a Francesc Vidal Jevellí Barcelona 1847 - 1914. Jardinera Nogal tallado y dorado y azulejos
          Apr. 19, 2017

          Atribuida a Francesc Vidal Jevellí Barcelona 1847 - 1914. Jardinera Nogal tallado y dorado y azulejos

          Est: €375 -

          Atribuida a Francesc Vidal Jevellí Barcelona 1847 - 1914. Jardinera Nogal tallado y dorado y azulejos 77x72,5x42 cm

          Balclis
        • Francesc Vidal Jevellí, Barcelona 1847-1914, and Frederic Vidal i Puig, Barcelona 1882-1950 Centre table
          Apr. 19, 2017

          Francesc Vidal Jevellí, Barcelona 1847-1914, and Frederic Vidal i Puig, Barcelona 1882-1950 Centre table

          Est: €850 -

          Francesc Vidal Jevellí, Barcelona 1847-1914, and Frederic Vidal i Puig, Barcelona 1882-1950 Centre table Fruitwood with "cloisonné" glass top Desperfectos en el vidrio 75,5x74,5x91 cm Francesc Vidal Jevellí Barcelona 1847-1914 y Frederic Vidal i Puig Barcelona 1882-1950 Mesa de centro Madera de frutal con sobre en vidrio "cloisonné" Desperfectos en el vidrio 75,5x74,5x91 cm

          Balclis
        • Attributed to Francesc Vidal Jevellí Barcelona 1847 - 1914 Chinese-style cabinet
          Apr. 19, 2017

          Attributed to Francesc Vidal Jevellí Barcelona 1847 - 1914 Chinese-style cabinet

          Est: €175 -

          Attributed to Francesc Vidal Jevellí Barcelona 1847 - 1914 Chinese-style cabinet Carved walnut incorporating Indochinese doors with mother-of-pearl incrustations, second half of the 19th Century Bufetillo a juego 79x91x26 cm arquilla y 87x92x27 cm bufetillo Atribuido a Francesc Vidal Jevellí Barcelona 1847 - 1914 Arquilla chinesca Nogal tallado incorporando puertas indochinas con incrustaciones de nácar de la segunda mitad del siglo XIX Bufetillo a juego 79x91x26 cm arquilla y 87x92x27 cm bufetillo

          Balclis
        • Francesc Vidal Jevellí Barcelona 1847 - 1914 Writing desk
          Mar. 15, 2017

          Francesc Vidal Jevellí Barcelona 1847 - 1914 Writing desk

          Est: €800 -

          Francesc Vidal Jevellí Barcelona 1847 - 1914 Writing desk Carved and partially gilded walnut. Interior in rosewood, mahogany and imitation mother of pearl. Applications in gilt bronze on felt Bufetillo a juego. Hacia 1895. Inscripción tallada y dorada en la parte central de la tapa abatible: "Sempre guardant tresors". Faltan un cajón inferior y algunas piezas decorativas. Sin llave 91,5x137x61 escritorio y 84,5x170,5x70 cm bufetillo Francesc Vidal Jevellí Barcelona 1847 - 1914 Escritorio Nogal tallado y parcialmente dorado. Interior en palorrosa, caoba y símil nácar. Aplicaciones en bronce dorado sobre fieltro Bufetillo a juego. Hacia 1895. Inscripción tallada y dorada en la parte central de la tapa abatible: "Sempre guardant tresors". Faltan un cajón inferior y algunas piezas decorativas. Sin llave 91,5x137x61 escritorio y 84,5x170,5x70 cm bufetillo Francesc Vidal i Jevellí Barcelona 1847 - 1914 Schreibtisch. Geschnitzter und teilweise vergoldeter Nussbaum. Inneres aus Rosenholz, Mahagoni und Perlmutt-Imitat. Auftragungen aus vergoldeter Bronze auf Filz. Passender Beistelltisch. Gegen 1895. Geschnitzte und vergoldete Inschrift auf dem zentralen Teil des hochklappbaren Deckels: "Sempre guardant tresors". Es fehlen eine untere Schublade und einige dekorative Elemente. 91,5x137x61 (Schreibtisch) und 84,5x170,5x70 cm (Beistelltisch)

          Balclis
        • Francesc Vidal Jevellí Barcelona 1847 - 1914 Mesa de centro Sobre en vitral "cloisonné" y estructura en nogal
          Mar. 15, 2017

          Francesc Vidal Jevellí Barcelona 1847 - 1914 Mesa de centro Sobre en vitral "cloisonné" y estructura en nogal

          Est: €9,000 -

          Francesc Vidal Jevellí Barcelona 1847 - 1914 Mesa de centro Sobre en vitral "cloisonné" y estructura en nogal 54x71x116 cm

          Balclis
        • Francesc Vidal Jevellí Barcelona 1847-1914 Juego de espejo y consola Caoba tallada y parcialmente dorada y escena galante pintada ti...
          Mar. 15, 2017

          Francesc Vidal Jevellí Barcelona 1847-1914 Juego de espejo y consola Caoba tallada y parcialmente dorada y escena galante pintada ti...

          Est: €400 -

          Francesc Vidal Jevellí Barcelona 1847-1914 Juego de espejo y consola Caoba tallada y parcialmente dorada y escena galante pintada tipo "vernis Martin" Sobre en mármol 233x130 cm espejo

          Balclis
        • Francesc Vidal Jevellí Barcelona 1847 - 1914 Cabinet con bufetillo Caoba tallada
          Mar. 15, 2017

          Francesc Vidal Jevellí Barcelona 1847 - 1914 Cabinet con bufetillo Caoba tallada

          Est: €900 -

          Francesc Vidal Jevellí Barcelona 1847 - 1914 Cabinet con bufetillo Caoba tallada Menajes en latón 170x94,5x49,5 cm

          Balclis
        • Francesc Vidal Jevellí Barcelona 1847 - 1914 Big mirror with a console
          Mar. 15, 2017

          Francesc Vidal Jevellí Barcelona 1847 - 1914 Big mirror with a console

          Est: €800 -

          Francesc Vidal Jevellí Barcelona 1847 - 1914 Big mirror with a console Carved and gold-plated walnut, with bluing bronze decorations. Marble top. Circa 1895 The finishing is separated and broken down 338x124x57 cm Francesc Vidal Jevellí Barcelona 1847 - 1914 Gran espejo con consola* Nogal tallado y dorado, con aplicaciones en bronce pavonado. Sobre en mármol. Hacia 1895 Remate separado y estropeado 338x124x57 cm Francesc Vidal Jevellí Barcelona 1847 - 1914 Großer Spiegel mit Konsole. Geschnitzter und vergoldeter Nussbaum, mit Auftragungen aus polierter Bronze. Oberteil aus Marmor. Gegen 1895. Abschluss separat und beschädigt. 338x124x57 cm

          Balclis
        • Francesc Vidal Jevellí Barcelona 1847 - 1914. Pair of armchairs
          Dec. 21, 2016

          Francesc Vidal Jevellí Barcelona 1847 - 1914. Pair of armchairs

          Est: €1,200 -

          Francesc Vidal Jevellí Barcelona 1847 - 1914. Pair of armchairs Carved walnut Tapicería de terciopelo, renovada 97x68x74 cm Francesc Vidal Jevellí Barcelona 1847 - 1914. Pareja de sillones Nogal tallado Tapicería de terciopelo, renovada 97x68x74 cm

          Balclis
        • FRANCESC VIDAL JEVELLÍ
          Oct. 27, 2016

          FRANCESC VIDAL JEVELLÍ

          Est: -

          FRANCESC VIDAL JEVELLÍ (Barcelona, 1848-1914). Caja de juego en roble con aplicaciones en metal plateado, 35,5x37x28 cm. Sin llave.

          Sala de Ventas
        • Francesc Vidal Jevellí, Barcelona 1847-1914, and Frederic Vidal i Puig, Barcelona 1882-1950 Centre table
          Oct. 26, 2016

          Francesc Vidal Jevellí, Barcelona 1847-1914, and Frederic Vidal i Puig, Barcelona 1882-1950 Centre table

          Est: €1,200 -

          Francesc Vidal Jevellí, Barcelona 1847-1914, and Frederic Vidal i Puig, Barcelona 1882-1950 Centre table Fruitwood with "cloisonné" glass top Desperfectos en el vidrio 75,5x74,5x91 cm Francesc Vidal Jevellí Barcelona 1847-1914 y Frederic Vidal i Puig Barcelona 1882-1950 Mesa de centro Madera de frutal con sobre en vidrio "cloisonné" Desperfectos en el vidrio 75,5x74,5x91 cm

          Balclis
        • Francesc Vidal Jevellí Barcelona 1847 - 1914. Pair of armchairs
          Jul. 12, 2016

          Francesc Vidal Jevellí Barcelona 1847 - 1914. Pair of armchairs

          Est: €1,400 -

          Francesc Vidal Jevellí Barcelona 1847 - 1914. Pair of armchairs Carved walnut Tapicería de terciopelo, renovada 97x68x74 cm Francesc Vidal Jevellí Barcelona 1847 - 1914. Pareja de sillones Nogal tallado Tapicería de terciopelo, renovada 97x68x74 cm

          Balclis
        • Attributed to Francesc Vidal Jevellí Barcelona 1847 - 1914 Chinese-style cabinet
          May. 25, 2016

          Attributed to Francesc Vidal Jevellí Barcelona 1847 - 1914 Chinese-style cabinet

          Est: €350 -

          Attributed to Francesc Vidal Jevellí Barcelona 1847 - 1914 Chinese-style cabinet Carved walnut incorporating Indochinese doors with mother-of-pearl incrustations, second half of the 19th Century Bufetillo a juego 79x91x26 cm arquilla y 87x92x27 cm bufetillo Atribuido a Francesc Vidal Jevellí Barcelona 1847 - 1914 Arquilla chinesca Nogal tallado incorporando puertas indochinas con incrustaciones de nácar de la segunda mitad del siglo XIX Bufetillo a juego 79x91x26 cm arquilla y 87x92x27 cm bufetillo

          Balclis
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