Results 217 to 240 of 547

«« « ...7 8 91011 12 13... » »»

VIRGIN MARY OR SAINT (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH ...

Saint or Virgin of dress. Wood, metal. Spanish school, 17th century. It has faults. The female figure is standing (with her right leg forward) on a small polygonal base. Made of partially polychrome wood, note the elaborate work on the feet (which peek out from the “dress”), the hands up to the wrists, and the head and neck. The skull is prepared to receive hairpieces or clothing. As for the carvings of clothing, these were very common during the Spanish Baroque, and there may be cases of works in which the unseen part was barely roughed out and others in which the entire carving is found, with many intermediate points (see the present case). Remember the San Antonio Abad by Benito Silveira made in the second half of the 18th century that is in the National Museum of Sculpture in Valladolid, a San Francisco de Paula from the 18th century in the Museo del Carmen in Maipú (Santiago de Chile), etc.

· Size: 33x25x87 cms
ANTIQUES

Ref.: ZF1181
PAIR OF CARVED WOOD BRACKETS. VENICE, 19TH CENTURY.

Pair of carved wooden corbels. Venice, 19th century. Pair of 19th century figurative corbels, carved in round wood, with a beautiful dark patina that enhances the relief and details of the sculptural work. They are signed on the back “Felici Venezia”. The lintels, with a moulded profile and a Baroque plan, with numerous recesses and projections, rise above two vegetal herms in the classical style, with the lower part in the form of a brace decorated with large acanthus leaves worked with a soft, gentle-looking carving, which moves away from the general classical inspiration to approach the naturalism of Art Nouveau. From these braces emerge the busts of two winged cupids, children's bodies carved in the round with grace and attention to detail, with a delicate dynamism. The two putti are represented in the same position, with one arm bent over their chest and the other raised above their head. They form a symmetrical composition, each a mirror image of the other. The high quality of the carving of these pieces is particularly appreciated in these figurative representations: the anatomical work is impeccable, as is the expressiveness of the faces, and the carving of the wings, hair and ribbons that adorn their torsos reflects meticulous, naturalistic and precious work in detail.

· Size: 25x15x48 cms.
ANTIQUES

Ref.: ZF1229
SAINT, DOMINICAN ORDER. OIL ON CANVAS. SPANISH SCHOOL, 18TH CENTURY.

Saint Dominic. Oil on canvas. Spanish school, 18th century. Oil on canvas with a horizontal layout depicting a Dominican wearing the characteristic habit of the order holding a Holy Host and a chalice in the other hand. He is surrounded by figures, some of whom appear frightened. Note the fire to the right and a child figure with goat or ram legs and horns (demon). This may possibly be Saint Vincent Ferrer fighting against heretics. It is possible that this is a sketch for a large-format work.

· Size: 65,5x3,5x42 cms. Int 56,5x33,5 cms
ANTIQUES

Ref.: ZF1346
VICTORIAN DRESSING TABLE. MAHOGANY, METAL, GLASS. ENGLAND, 19TH CENTUR...

Victorian dressing table. Mahogany, metal, glass. England, 19th century. A carved mahogany dressing table with turned front legs like banded columns topped with vase-like shapes, a drawer at the front and a recessed upper body with three drawers on each side and an enclosed space in the centre under the rectangular mirror, which has been enhanced with openwork plant decorations on the sides and a small tuft of architectural motifs on the top. The Victorian style is known as the style imposed during the reign of Victoria I of Great Britain towards the second half of the 19th century, popular in the country and very influential beyond its borders. The clean lines contribute to highlighting the grain of the wood, of great quality, and refer to a long tradition in English furniture, almost always characterised by fewer decorative elements than French furniture.

· Size: 52x120x75 cms.
ANTIQUES
FURNITURE

Ref.: Z6691
PAIR OF GRILLES. WROUGHT IRON. 17TH CENTURY.

Pair of railings. Wrought iron. 17th century. Pair of wrought iron railings, situated between two flat rectangular pieces and composed of six bars each. These have discs along their length and balustrade shapes, flanking a rectangular cube from which another bar starts to join it to the bar situated next to it. The shapes of the bars are typical of the Baroque in this type of elements.

· Size: 83x180 cms.
ANTIQUES

Ref.: ZA1049
SILVER LAMP. WITH HALLMARKS. POSSIBLY MALAGA, SPAIN, 19TH CENTURY.

Candle. Silver. Possibly Málaga, Spain, 19th century. With contrast marks. Two-light candelabra with a back piece that stands on a raised circular base decorated with smooth concave moldings, lines of pearls and a curved frieze of leaves, with an engraved crowned “F” (possible owner’s mark). The smooth, square foot gives way to a leaf-shaped key and two arms for the candles decorated with leaves, and is topped with an eagle spreading its wings. The aforementioned hollow tubular piece has a pineapple finial on the hinged lid and a piece along a channel. The decoration, lines and shape of the candle show a strong French influence and a very close relationship with Neoclassicism and other styles derived from it. The eagle, for example, is reminiscent of pieces from the French Empire, although it is a very common animal in the decorative arts of the 19th century. The hallmarks present on the piece would allude to the master or silversmith responsible for its creation (Baños), perhaps to the year in which the piece was made (1833) and, possibly, the third is either the crowned rampant lion on a shield related to the Royal Decree-Law of June 4, 1926 on the trade of precious metals in Spain (indicating then that it is of first grade) or that it comes from the city of León, dating in this case between the 19th century and the beginning of the 20th century. The rampant lion is a common hallmark on silverware, appearing in Spain on 19th century pieces from Cordoba (without a crowned shield), Calatayud, Cordoba (rampant lion with turned head and circular outline), Pamplona, etc. It is possible that this piece was made in Malaga. Weight: 1340 gr.

· Size: 27x16x31 cms
ANTIQUES

Ref.: ZF0342
NAPOLEON III WRITING SLOPE OR BOX. MARQUETRY. FRANCE, 19TH CENTURY.

Napoleon III box. Marquetry. France, 19th century. Rectangular wooden box with a flat lid and supported by circular legs, with a front opening with a locking key and a hinged, folding top lid. Inside, there is a horizontal, flat space with edges highlighted with two lines of light marquetry (as is the lower area of the lid and the inside of the folding part of the front), and three drawers beneath it, also highlighted with light details. These types of pieces were used to hold different items (writing materials, jewellery, documents, etc.) either during travel or to be placed on a table and used there. The exterior decoration, centred on the front and top, consists of delicate compositions with a plant theme and a strong classicist influence made with wood of different tones: shields, flowers, scrolls, cartouches, leaves, etc. The sides of the box are highlighted only with lines of wood in a lighter tone. In general, the decorative elements, arranged with harmony and symmetry in various tones and light colours (rosewood, fruit, etc.), are sought to stand out against the dark tone of the rosewood. These types of boxes or chests were very common throughout the 19th century in Europe. During the time of Napoleon III (emperor from 1852 to 1870), they were usually decorated with both Boulle-style marquetry and wood, with works from houses such as the Maison Berthet & Peret standing out (a work preserved in private collections).

· Size: 58,5x38,5x22 cms
ANTIQUES

Ref.: ZF0895
NARCISSUS AT THE FOUNTAIN. OIL ON PANEL. 19TH CENTURY.

Narcissus at the Fountain. Oil on panel. 19th century. Oil on panel showing a landscape with trees and architectural elements with a strong classicist influence (wall with reliefs, vase with garlands, sculptures, fountain) in which two figures appear. A young man dressed in a red tunic that reveals his chest and appears looking at his reflection in the bowl of the fountain is accompanied by a winged boy who holds a bow and makes the gesture of taking an arrow from the quiver on his back with his right hand. The painting depicts the classical myth of Narcissus. According to classical mythology, Narcissus was a very beautiful young man who cruelly rejected the love of the nymph Echo, and was therefore condemned by Nemesis to fall in love with his own image. Thus, upon seeing his reflection in a fountain or spring (many representations show him crouching on the banks of a lake; note the peculiarity of the present work in showing an architectural and not a “natural” fountain), he became absorbed and ended up committing suicide, ending up transformed into the flower that bears his name or emerging from the place where his body fell.

· Size: 99x5,5x71 cms / int: 81,5x59,5 cms
ANTIQUES

Ref.: ZF0923
18K GOLD BROOCH WITH GARNETS

18 kt gold brooch with garnets. 18-carat gold brooch made up of a symmetrical composition of bows and scrolls with a fine decoration in light relief of vegetal elements, slightly reminiscent of Neoclassical works. The upper part features a circular faceted garnet, accompanied by three oval ones (the central one with gold pearls around it) in the central part (these are highlighted thanks to the presence of other circular carved gems), and another one in the shape of a teardrop in the lower part. From this body hang, thanks to four rings, two gold cords with scale-shaped links, which end in two tassels, recalling textile examples often used in curtains and other elements both in the 19th century and later. Jewellery with hanging elements joined together “in a quiver” so that they move when they are fastened or placed was common in 19th century jewellery, with the aim of adding some movement and avoiding the rigidity of the pieces, adding a touch of originality to the compositions. At this time, the composition based on classicist plant elements accompanied by flowers and lacework was common. Compared with the present example, it is more reminiscent of models inspired by works that follow a style known as Neo-Renaissance, following the artistic style that was born in Italy in the 15th century, with these scrolls and the powerful composition based on smooth shapes and scrolls, also responding to this relationship the fine plant elements in relief already mentioned. However, the chromatic combination achieved by the gems provides the softness required by the aesthetic taste of the time, without the striking contrasts more characteristic of the oldest jewellery that has been preserved. Weight: 19.4 grams.

· Size: 8x4 cms.
ANTIQUES

Ref.: JBR1713
BRONZE BRAZIER 18TH CENTURY

18th century Spanish brazier. Bronze. Spanish Baroque bronze brazier, raised on three legs in the form of a curled volute on the outside, topped at the base with grotesque masks with synthetic features. The vessel is flattened and stepped, with a clear cut separating the neck from the belly and a flared and slightly curved mouth. On both sides are the handles, mobile and highly decorative, composed of the figures of two Hermes with vegetal bodies. Weight: 12 kg

· Size: 55x55x40 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0650
SEWING TABLE, “PALOSANTO” WOOD, 19TH CENTURY.

Sewing table with wings in rosewood, 19th century. Narrow coffee table with two folding wings resting on four cabriole legs decorated with carved plant garlands and metal rollers. The front has two drawers and a removable top. The purity of the furniture's lines and the few decorative elements it features show the influence of classical art.

· Size: 65x40x81 cms. / 93x65x81 cms
ANTIQUES

Ref.: Z0731
ALTAR FRONT FOR PRIVATE CHAPEL, POLYCHROMED WOOD, BAROQUE, SPAIN, BEGI...

Baroque private altar frontal in carved and polychrome wood, Spain, early 18th century. The work is crowned by a broken pediment in the centre on a projecting entablature that rests on the lower body, flanked by two columns with a helical shaft and a composite capital, and composed of a moulding that frames a semicircular arch on pilasters and a trompe l'oeil background. This type of frontal was normally used in private chapels to highlight sacred images, and its decorative elements refer to 18th century Spain.

· Size: 140x35x155 cms. (Int. 46x26x85 cms.)
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0747
WATERCOLOUR. LANDSCAPE BY CIRILO MARTINEZ NOVILLO

MARTINEZ NOVILLO, Cirilo (Madrid, 1921 - 2008). “Landscape”, 1972. Watercolor. Signed and dated in the lower right corner. Cirilo Martínez Novillo is one of the most prominent representatives of the so-called Madrid School, where he began his training at the School of Arts and Trades. During the Civil War he entered the Escuela Superior de Pintura and attended the studio of Daniel Vázquez Díaz, who became his teacher and supported him throughout his career. In 1946 he presented his work for the first time, as part of a collective exhibition held at the Bucholz gallery in Madrid. The following year he held his first solo exhibition at this same gallery. In 1948 he held an exhibition in the print room of the Museum of Modern Art in Madrid. Critics began to take note of his work and he was selected to participate in the exhibition “Arte Español”, held in Buenos Aires and organized by the Ministry of Education. From this moment on he held exhibitions in various Spanish cities and in France, and participated in collective exhibitions such as the Venice Biennial (1950) or the Salón de los Once (1951). Between 1952 and 1953 he travelled to Paris on three occasions thanks to various scholarships. His mature period began with a new visit to Paris at the beginning of the sixties, and then he travelled to Switzerland, Germany, Holland and Belgium, where he won several medals at the National Fine Arts Exhibitions, as well as the Painting Prize at the Hispano-American Biennial in Cuba. Cirilo Martínez Novillo is represented at the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.

· Size: 24 x 30 cm; 55 x 61,5 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z3533
FRAME, POLYCHROMED AND GILT WOOD. 18TH CENTURY.

Polychrome and gilded wood frame. Late 18th century. Rectangular frame with golden rocailles on a red background and elements related to the Passion of Christ in shields in the corners and centre of the longer sides: dice, nails, bag (with Judas' coins), mallet and tongs, cross with lances and two whips. These motifs clearly show that it was made to highlight a religious painting of the Passion, probably in a private chapel given the lack of relief, and the strong relationship of the work with the Rococo.

· Size: 187x3x87 cms LUZ 51X154 cms.
ANTIQUES

Ref.: Z3627
TWO STRIPS. PINE WOOD. 17TH CENTURY.

Two frame strips. Pine wood. 17th century. Strips of carved pine wood in a dark polychrome tone decorated with smooth mouldings on their front, combining curves with counter-curves as is usual in the Baroque, also highlighting the classicist influence of the composition. Possibly, they were created to form part of the construction of an altarpiece or to frame a painting, without being able to know if they come from a civil or religious environment.

· Size: 15x12 cms. Long. 310 y 350 cms.
ANTIQUES

Ref.: Z3767
CROWN. POLYCHROMED WOOD. 18TH CENTURY.

Finial. Carved and polychrome wood. 18th century. Carved, polychrome and gilded wooden finial decorated with a light relief based on lying "C" volutes joined in pairs at one end and plant elements arranged in a rigid symmetrical composition with a clear classicist influence with movement of lines and a volume that is not too pronounced.

· Size: 145x10x68 cms.
ANTIQUES

Ref.: Z4926
MAHOGANY NEOCLASSICAL BED, 19TH CENTURY.

“Ship” bed in carved mahogany, 19th century. The headboard and footboard are of the same height and are decorated with a circular moulding, while the back, for harmony, follows the lines of the front, which has been decorated with four columns flanking a central motif based on scrolls and palms with a strong classical influence. It follows the lines of Neoclassicism, the main style of this century.

· Size: 218x152x128 para colchòn 135x195 cms.
ANTIQUES
FURNITURE

Ref.: Z5054
SILVER TWO-HANDLED CUP. WITH HALLMARKS. 17TH-18TH CENTURIES.Y

Bernegal or glass or wine tasting. Silver. 17th-18th centuries. With contrast marks. Bernegal made of silver in its colour, with a circular base, a body that widens upwards and two flat handles in an "S" shape with the central part widened. It has contrasting marks on the handle (unidentified) and a burin mark on the base. . Both bernegales and tembladeras were very common types of 17th century Spanish baroque silverware, and continued to be popular in the following century, mainly in centres far from the important creative centres. Also known as catavinos, this type of drinking glass was used in special occasions (ceremonies...), hence their material and the decoration they had, they were objects for civil use, although it was not strange or exceptional that they were donated or commissioned for use in churches or in liturgical settings. Compare this piece with two cups or tembladeras from the Monterrey Palace Collection in Salamanca (one Parisian made around 1750 and another from Salamanca) decorated with gallons and two raised “S” handles; with the bernegal from the Metropolitan Museum made in London in 1680 from the Irwin Untermyer collection (very similar in shape to the present one); or with the pair of bernegales by Antonio López Díaz (made in Jaén and dated 1758/1772) from the Valencia de Don Juan Institute in Madrid. Weight: 162 grams.

· Size: 14x11x9 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6022
VERAWOOD AND MARQUETRY EDUARDIAN CREDENZA, BEGINING 20TH CENTURY.

Edwardian sideboard in rosewood and fruitwood marquetry, early 20th century. Four turned legs support the sideboard, which consists of a niche under two drawers flanking another space, and a top decorated with mirrors and architectural lines. The surface features a series of plant motifs, scrolls and vases made of fruitwood marquetry, whose light tones contrast and stand out against the dark tone of the sideboard. The Edwardian style takes its name from King Edward VII of England (early 20th century), and was characterized by achieving the modernization of medieval styles, elements taken from Georgian, etc.

· Size: 137x42x205 cms.
ANTIQUES
FURNITURE

Ref.: Z6209
SILVER INCENSE BOAT (NAVICULAE). WITH HALLMARKS. POSSIBLY PORTUGAL, 18...

Naveta. Silver. Possibly Portugal, 18th century. Counterweighted base. With hallmarks. A boat with an oval base decorated with elements in relief and mouldings, a balustraded base and a body with a slight boat shape, presenting a lid with hinges at the front, a widening in the lower area towards the foot and a decoration distributed throughout the exterior based on rocaille motifs and vegetal elements (the same theme is presented on the foot and the base) on a lustre-painted background, with an angel's head on two small wings in relief towards the spout, accompanied by vegetal elements (which protrude from the edge of the lid). Although the shape of the piece generally follows the most common prototypes of these incense vessels used in the liturgy, it should be noted that it was more common to find them more similar to a boat. The belonging of the naveta to the Rococo influence is clear both from the lines of the object and from the decoration already mentioned (rocailles, moving plant elements, volutes with pronounced curves, contrasts between concave and convex lines...), and it is also possible to find some points in common with Portuguese works (a silver naveta with a spoon by Leandro Gagliardi made in Rome between 1744 and 1750, which is preserved in the Sao Roque Museum in Lisbon, Portugal, has a finial with an angel's head in relief; compare this with the gilded silver censer that the same master made between 1749 and 1751 for the Chapel of St. John the Baptist in the Church of St. Roque in Lisbon). The hallmarks present on the upper part of the naveta (the capital letters “de” in a rectangular space), although it should also be noted that this work does not follow the most striking typology of navetas related to this centre (18th century silver naveta from the Church of Alcántara in Maranhao, Brazil; naveta by Sebastiao Bernardes dos Santos dated 1747 from the Sé do Funchal which is preserved in the Museu de Arte Sacra Do Funchal in Madeira –Portugal-). Weight: 715 gr (base with counterweight).

· Size: 19x9x14 cms.
ANTIQUES

Ref.: ZE244
POCKET WATCH, ANDRÉ HESSEN. GOLD, ENAMEL, ETC. PARIS, FRANCE, CIRCA LA...

Pocket watch, engraved André Hessen. Gold, enamel. Paris, France, towards the end of the 18th century. It has some flaws. Pocket watch with a case decorated with enamel on the back (within a band of pearls you can see a composition with a clear classicist influence with a female figure, perhaps an allegory of the arts), and a white dial with Roman numerals for the hours and lines and Arabic numerals for the minutes, on which you can see the text Adré Hessen. The delicately decorated movement has a number (549) and the name Adré Hessen (1745-1805), a watchmaker who settled in Paris, France, in 1767 and who was very well-known and appreciated in his time.

· Size: 7x5x1.5 cms.
ANTIQUES

Ref.: ZE326
FIGURE FOR HOLDING A CANDLE. POLYCHROMED WOOD, WROUGHT IRON. CASTILLIA...

Torch-bearing figure. Carved and polychrome wood, wrought iron. Castilian school, 16th-17th centuries. A carved and polychrome wooden sculpture placed on a simple base showing a half-naked male figure, holding in his hands a cloth that covers the lower part of his body in front and holding up a wrought iron cone intended to hold a candle. The nude, the study of anatomy, the contrapposto and the twist of the torso and waist of the figure are details that would speak of a classicist influence in the sculpture. It is also worth highlighting the movement that the posture brings to the piece, placing one foot behind the other and turned with respect to it and slightly turning the waist. Wood was the most worked material in Spanish Renaissance sculpture, normally with a polychrome finish and with gilding and upholstery. It was not until the second third of the 16th century when sculptors emerged in Spain who reached great heights in the Spanish Renaissance, inspired by Italian forms, but adding their own national touch, creating different schools, and with a clear preference for polychrome and upholstery wood. At this time, one of the main workshops was Valladolid, with names such as Alonso Berruguete and Juan de Juni. Later, art evolved towards a classicist or Romanist mannerism, with a significant influence from Italian masters, with a clear influence from Michelangelo and names such as Gaspar Becerra, Esteban Jordán, Juan de Ancheta, etc.

· Size: 18x18x48 cms.
ANTIQUES

Ref.: ZF0461
PORCELAIN BOX. POTSCHAPPEL-DRESDEN, GERMANY, 19TH.

Box. Enameled porcelain. Potschappel-Dresden, Germany, 19th century. With mark on the base. Rectangular box with a slightly curved lid made of enamelled porcelain with gold metal trim and hinges. The box features a decoration on the outside of figurative scenes of couples in natural landscapes with a clear Rococo feel, enhanced by gold frames and scale elements in pink tones. On the inside, on the lid, another scene of this type appears. The base of the piece bears a mark alluding to the factory responsible for it. In 1872, Carl Thieme (Carl Johann Gottlieb Thieme) converted his porcelain painting business into a porcelain factory, keeping the headquarters in Dresden and calling it Sächische Porzellanfabrik zu Potschappel (Dresden) von Carl Thieme. A mark such as the one seen on this piece was used there between 1888 and the beginning of the 20th century.

· Size: 12x8x7 cms
ANTIQUES

Ref.: ZF0702
PAIR OF PORCELAIN VASES.19TH CENTURY.

Pair of vases. Enameled porcelain. 19th century. Pair of circular vases with a cylindrical body in the centre and a long neck and mouth open towards the outside, decorated with bands in pink tones, gold edges, grouped flowers and two genre scenes (humble characters dancing in rural landscapes; on the other side, similar scenes). They have been presented placed on metal feet, decorated with openwork elements and with claw-shaped legs finished with vegetal elements of classicist influence. They have marks on the base.

· Size: 24x24x62 cms
ANTIQUES

Ref.: ZF0884