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SHEPHERD’S BOX. ANTLER OR HORN. SPAIN, 1822.

Pastoral box. Carved horn. Spain, 1822. Rectangular box made of carved horn with a date (1822) engraved on the lid and front, a legend (Soi de Manuel Zulueta año 1822) and an engraved decoration based on geometric, vegetal, figurative and heraldic elements. The base of the piece has a banded frame that highlights a composition of birds and animals accompanied by simple stems and flowers. The lid has bands interlaced with circles of different sizes and, in the centre, a crowned heraldic shield flanked by two flags, and quartered with three-towered castles and crowned rampant lions; beneath this central element, the aforementioned date is again found. Note that it differs from the Castilian shield (the one used by the kings of Castile since 1230) in the position occupied in the quartering by the different elements.

· Size: 8x5x2 cms
ANTIQUES

Ref.: ZF0730
CAPITAL. GRANITE. SPAIN, 15TH CENTURY.

Capital. Carved granite. Spain, 15th century. Circular-based capital made of carved granite with a polygonal shape enhanced with mouldings, following forms that still retain a memory of Gothic works but with noticeable clean lines.

· Size: 60x60x64 cms.
ANTIQUES

Ref.: ZF0777
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CHRIST CHILD BLESSING. WOOD. MALINES, 16TH CENTURY, WITH RESTORATIONS.

Infant Jesus on a pedestal. Polychrome wood. Mechelen, 16th century, with restorations. Carved and polychrome wooden Infant Jesus standing on a pedestal of the same material, standing, moving forward, with his right hand blessing and an orb in his left. Stylistically, it corresponds to the usual shape, size, iconographies, etc. of the so-called “Malines Dolls” or “Malines Infant Jesus”, polychrome wooden figures designed to be dressed and decorated, which were made in Malines (Belgium) in large numbers and were exported throughout Europe between the mid-15th century and the first half of the 16th century. Compare this example with the 16th century Infant from the Hof van Busleyden Museum (Malines, Belgium), the one dated around 1500 that is preserved in the Louvre Museum (Paris), the one from around 1500 from the Museo de las Ferias Foundation, etc. Weight: 700 grams.

· Size: 14x9x42 cms.
ANTIQUES

Ref.: ZF1184
LANDSCAPE. OIL ON CANVAS. FRAU, JOSÉ (SPAIN, 1898-1976).

Landscape. Oil on canvas. FRAU, José (Spain, 1898-1976). Signed (lower right area). José María Isidro Frau y Ruiz (Vigo, 15 May 1898 – Madrid, 24 March 1976) was a Spanish painter and academic, appreciated for his landscapes and for being part of the School of Painters of El Paular (created by Royal Decree on 22 February 1918, within the Chair of Landscape that the Academy of Fine Arts of San Fernando established in 1845 as part of the official teaching of its pedagogical programs in art; it ceased to operate in 1936 and was recovered in 2018). Known as José Frau, he began his pictorial training in Huelva with Antonio de la Torre and Eugenio Hermoso Huelva. In 1916 he entered the Academy of Fine Arts of San Fernando, and, from 1917, he participated in the National Exhibitions of Madrid, showing his work also in Barcelona, Buenos Aires, Montevideo, Mexico City, New York, etc. He travelled through South America in 1947, settling in Mexico three years later and returning to Spain in 1966. His work is preserved in notable private collections and institutions such as the Museo Municipal Quiñones de León (Spain), the Museo de Bellas Artes de La Coruña, the Museo Nacional Centro de Arte Reina Sofía (Madrid, Spain), the Museo de la Real Academia de Bellas Artes de San Fernando in Madrid, etc. He has been considered one of the representatives of the equivalent of “magical realism” in Spain. His pictorial work is based on figurative premises and a naturalistic and symbolic formation. He participated in the process of renewal of Spanish painting in the twenties and thirties, evolving towards a post-impressionist style. Later he focused on a calm post-Cézanne modernity in which he portrayed landscapes with figures recreated in fantastic and magical environments. During the post-war years he returned to a looser and more nervous brushstroke. In his later works he used a Fauvist chromatic palette in which greens, blues, earth tones and highly contrasting blacks predominated, while at the same time a progressive process of stylization occurred in his works in addition to the loss of the prominence of the human figure.

· Size: 91x3x71 cms. int: 79x59 cms.
ANTIQUES

Ref.: ZF1266
WALNUT CHEST WITH WROUGHT IRONWORK, BAROQUE, 17TH CENTURY.

Chest in walnut wood with wrought iron fittings. Baroque, 17th century. Rectangular chest with a flat lid, reinforcing ironwork on the sides and bottom and a key lock, placed on legs with mixed profiles. The lock shield has shapes that correspond to those made in the Baroque, while the type of chest was already used in Gothic and later examples, as well as showing a cross. This type of furniture was used to store all kinds of valuable objects, from brocade or embroidered cloths to books and quality tableware, both in civil and religious settings.

· Size: 157x60x77,5 cms.
ANTIQUES
FURNITURE

Ref.: Z3444
OIL ON CANVAS. ALEJANDRO GOMEZ MARCO

Signed in the lower left corner "GOMEZ MARCO". Alejandro Gomez Marco Born in Madrid. Studied at the National School of Graphic Arts and the School of Fine Arts of San Fernando. In 1968 he received a scholarship from the Institute of International Education to visit the United States, where he lived for several years. He represented Spain at the International Congress of Artistic Education in New York in 1970. Professor of Art at Jersey City State College and lecturer in Spanish at the Metropolitan Museum of Art in New York. Numerous solo exhibitions since 1964. He also participated in numerous international exhibitions since 1965: Alexandria Biennial, Paris Biennial, Krakow Engraving Triennial in Poland, Ljubljana Biennial, former Yugoslavia, etc. Painting and drawing awards: Provincial Council of Ciudad Real, Francisco Alcantara (Circle of Fine Arts, Granada City Council, Engraving Hall of the General Directorate of Fine Arts, Bronze Medal of the City of Bordeaux, and many others. He is an Associate Professor at the Faculty of Fine Arts of the Complutense University in the subject of Printing Techniques II and Planographic Techniques from 1988 to 2007, the year of his retirement.

· Size: 114x150 cms.
ANTIQUES
PAINTINGS

Ref.: Z3546
WROUGHT IRON KITCHEN “LLAR” (POT HOLDER), 16TH CENTURY.

Wrought iron kitchen hearth, 16th century. A kitchen hearth with three hooks joined together on a horizontal crossbar with engraved decoration and square and rectangular rings and bars, some of which have been twisted. It is not at all common to preserve this type of utilitarian element despite its abundance due to its frequent replacement. Similar pieces have been made in all artistic styles, as it was used to hold the cauldron over the fire.

· Size: 79x200 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3829
WATER PAINTING.\'LANDSCAPE WITH SHRINE\'. AGUSTÍN REDONDELA

REDONDELA, Agustín (Madrid, 1922). "Hermitage". Watercolor. Signed and titled at the bottom. A painter who was mainly self-taught, Agustín González Alonso trained alongside his father, the painter and stage designer José González “Redondela”. After the civil war he attended classes at the School of Arts and Crafts in Madrid with the landscape artist José Ordoñez, and in 1945 he sent his first painting to the National Exhibition of Fine Arts, signed with the pseudonym Redondela. That same year he held his first solo exhibition at the Estilo gallery in Madrid. It was during this period that he came into contact with the Madrid School, and in 1947 he was selected to exhibit at the Salón de los Once at the Academia Breve e Crítica de Arte de Eugenio d'Ors. In the fifties Redondela received a scholarship from the Catherword Foundation in Philadelphia (1954), the National Painting Prize (1953) and the first medal at the National Exhibition (1957). In 1996 the Royal Academy of Fine Arts of San Fernando awarded him the José González de la Peña Prize, and two years later the Cultural Centre of the Villa de Madrid dedicated an important anthological exhibition to him. He is currently represented in the Museum of Fine Arts in La Coruña, the Museum of Contemporary Spanish Landscape in Priego de Córdoba, the Museum of Fine Arts in Bilbao, the Camón Aznar Museum in Zaragoza, the Museums of Buenos Aires, Caracas and Havana and the Oswaldo Guayasamín House-Museum in Quito, among other public and private collections.

· Size: 16 x 23 cm; 44 x 52 cm con marco
ANTIQUES
PAINTINGS

Ref.: Z3942
WALNUT CHEST WITH SHOES AND IRONWORK. 17TH CENTURY.

Chest with walnut wood shoes and wrought iron fittings. 17th century. The rectangular chest with a flat lid and a lockable lock and protective fittings on the corners only has a decorative moulding at the bottom and some very prominent feet. These two details are what place the piece of furniture in the Baroque period. It was a very common creation at the time, used to store clothes and other valuable objects.

· Size: 157x54x80 cms.
ANTIQUES
FURNITURE

Ref.: Z5536
FOLDING TABLE. WALNUT WOOD AND WALNUT ROOT. 19TH CENTURY.

Extendable folding table. Walnut and walnut root. 19th century. Extendable dining table to three metres, known as a book-shaped table due to the way it folds. It has turned legs in the form of balusters topped with metal rollers to move the piece of furniture. It has been made by combining walnut wood and walnut root wood, leaving the striking grain of this type of material visible. The piece is reminiscent in some details of Victorian examples from northern Europe.

· Size: 121x65x76 cms.
ANTIQUES
FURNITURE

Ref.: Z5858
THREE RECTANGULAR PANELS WITH RELIGIOUS FIGURES AND PUTTI, RENAISSANCE...

Three rectangular panels with carved wooden reliefs. 16th century. All three have figurative decorative motifs arranged within rectangles marked by smooth mouldings: the longest has three (the side ones show two seated children flanking a shield and holding knotted cloths, while the central one has Saint Matthew and Saint John writing, identifiable thanks to their Tetramorph symbols) the short ones show two figures of the Church (Fathers, Prophets). Stylistically, they respond to the characteristics of Renaissance art, and would have been part of the drawers of some piece of furniture.

· Size: 25x145; 25,5x144; 24,5x68,5 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z6581
SILVER GLASS WITH TRAY. 18TH CENTURY.

Mouthwash. In silver in its colour. Barcelona, 18th century. With hallmarks and initials of ownership. A container with a small circular foot has simple, flat lines, as well as a space at the base of the interior into which the glass fits, which has the same elegant shapes in its contours. In general, in the 18th century, the territories of the Crown of Aragon were recovered, which influenced its silverwork. In Barcelona silverwork, there was a recovery of importance to levels that had not been seen since the Gothic period. As in the rest of Spain, Rococo would dominate during the reign of Charles III (1760-1788); in the Court, which was already familiar with Neoclassicism around 1735-1740, this style would appear around 1770 and, after coexisting with Rococo for a few years, it would gradually prevail from 1780. Barcelona quickly adopted this new style and, apparently, would become one of the main peninsular centres, although the frequency of changes in markers, the frequent use of confusing symbols on the pieces and the absence of preserved works and studies make a detailed analysis of this centre and its silversmiths difficult. The hallmarks on the piece place it in Barcelona, in the workshop of a silversmith whose punch is “F. Tur”, possibly (Turquet). Weight: 582 grams.

· Size: 18x18x9 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6871
GOLDEN PHEASANT. POLYCHROMED BRONZE. VIENNA, 19TH CENTURY.

Golden pheasant. Polychrome bronze. Vienna, 19th century. Polychrome bronze figure depicting a perched male golden pheasant. A bird originally from Asia, it was already known in the West in the 18th century (it appears in the tenth edition of Linnaeus' Systema Naturae) and appreciated for the bright colours of the male's plumage. In the 19th century, Vienna (and other European centres) produced bronze centrepieces and decorative figures of great originality and quality, usually with an exotic touch provided by anthropomorphic or animal motifs. Weight: 991 grams.

· Size: 33x9x17,5 cms.
ANTIQUES

Ref.: ZE262
BASE FOR SCULPTURE. POLYCHROMED AND GILDED WOOD.

Scallop base. Carved and polychrome wood. Inspired by 17th century models. Rectangular pedestal with a similar cushion on the top (decorated with plant elements) and complex lines of curves and counter-curves enhanced with architectural elements, including “C” volutes arranged in pairs on each side. At the bottom, the corner claws and the cut-out lower profile are noteworthy. Weight: 3.85 kg.

· Size: 42x33x24 cms.
ANTIQUES

Ref.: ZE370
PAIR OF TALL CANDELABRA OR CANDELABRUM, NEOGOTHIC STYLE. WROUGHT IRON....

Pair of Neo-Gothic style floor candelabras. Wrought iron. Spain, 20th century. Pair of wrought iron floor candelabras with a tripod base, a shaft decorated with small discs and ending in a circular plate, and a top made up of three levels of curved arms ending in floral elements, the third being the highest and ending in a spike. The set is inspired by 15th century Spanish lighting elements, specifically pieces known as “floridas” or “florid style”, prior to the development of openwork plates that occurred at the end of that century. Compare with older examples preserved in prominent institutions such as the Museu del Cau Ferrat in Sitges, the Museo Nacional de Artes Decorativas (Madrid) etc.

· Size: 62x62x219 cms.
ANTIQUES

Ref.: ZF0628
BITE. BRONZE, MARBLE. FRANCE, CIRCA LATE 19TH CENTURY.

Grip. Blued bronze, marble. France, late 19th century. A sculpture in burnished bronze on an oval base in green-veined marble showing two lionesses or two panthers engaged in a fight, one biting the other's neck and both with their claws, limbs and muscles tense. It is worth highlighting the quality of the design and composition as well as the modelling and casting, as a series of striking details can be clearly seen in the work. On the base, engraved, there is an inscription linked to Clovis-Edmond Masson (Paris, France, 1838-1913). Trained with Antoine-Louis Barye, Rouillard and Santiago, he regularly showed his work (mainly on animal themes and almost always using bronze, wax or plaster) at the Paris Salon between 1867 and 1909. Thanks to the popularity and quality of his work, numerous bronze figures were made for the interiors of prominent residences. Currently, the most valued works are those of felines in violent attitudes and postures or showing strength, which seem to anticipate what was usual in this type of art in France between 1910 and 1930.

· Size: 65x23x38 cms.
ANTIQUES

Ref.: ZF0930
SILVER HEART SHAPED SPICES BOX. LÓPEZ PORTERO, MANUEL. SPAIN, GRANADA,...

Heart-shaped spice rack. Silver. Spain, Granada, 1870. With hallmarks and engraving marks. Silver spice rack in its heart shape with a spout curved towards one side that has two hinged lids and three spaces inside (partition at the top and not at the bottom); it rests on three legs decorated with classicist elements and has, towards the side, a series of fine smooth mouldings. The hallmarks are those of Granada, of the date, and of the silversmith Manuel López Portero, who also worked as a hallmark in the city. The shape of the piece does not follow the usual prototypes of the period or of the school to which it belongs (there is a known silver box in the shape of a heart in which an eagle with its wings spread out appears on its obverse and reverse, by the hand of Manuel López Portero and dated 1773, which is the portaviaticum of the parish church of the Encarnación in Laujar de Andarax). The decorative elements of the box can easily be included within the Neoclassical period. Weight: 250 grams.

· Size: 10x11.5x4 cms.
ANTIQUES

Ref.: ZF1019
SILVER CUP. SPAIN, 18TH CENTURY.

Bernegal or quaking iron with handles. Silver. Spain, 18th century. Avocado shaker in its colour with a circular base, without a pedestal or foot, and a hemispherical body that is wider at the top, with two handles on the sides. These have two facing Cs of different sizes (the largest one on top) or in the shape of an S, and a decoration based on silver pearls and a bird perched on the top (the two on the piece facing the centre). In Spanish silversmithing, the Baroque trends were maintained for almost the first two thirds of the 18th century, except in the capital, where Rococo forms were introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these innovations in Madrid, which would spread slowly to the rest of the centres (as a general rule), depending on the area and the masters. This survival of the 17th century forms can be seen in the handles of the tembladera, decorative abundance (compared to the rest of the wine-tasting vessel) that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of hallmarks does not allow the work or the artist to be located, although it is precisely this that speaks in favour of a secondary silversmithing centre, where the lack of control of these works was more common due to the lack of masters and the means to ensure compliance with the marking regulations. It does show a fine engraving of initials on the front of the piece. Bernegales and tembladeras were the most common types of silverware in 17th century Spain (although they continued to be popular in the 18th century, especially in centres far from the main creative centres). In the case of this piece, it is the handles that could indicate an American manufacture, although there are similar cases that are thought to have been made in the Iberian Peninsula. Compare this with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of the Clarissan Mothers of Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 213 grams.

· Size: 18,5x15x8 cms.
ANTIQUES

Ref.: ZF1057
IRON APOTHECARY MORTAR. 18TH-19TH CENTURIES.

Iron pharmacy mortar. 18th-19th centuries. An old cast iron mortar for pharmaceutical use. It follows the usual structure for this type of utensil between the 15th and 19th centuries, with a truncated cone-shaped body with very thick walls that has vertical ribs and perpendicular protruding handles to facilitate gripping during use. In this case it shows eight polylobed ribs and two large handles with ends in the shape of a child's head, indicating that it would be a piece from the Baroque period or later, probably from the 18th or 19th centuries.

· Size: 40x31,5x26 cms. Mano: L. 40 cms
ANTIQUES

Ref.: ZF1242
FLEMISH BRONZE MORTAR, 17TH CENTURY

Flemish mortar. Bronze. 17th century. Presents brand. A mortar with a circular base and a mouth that extends outwards from the two upper bands and a body with a slight entasis and a relief decoration with figurative motifs. In addition to a series of mouldings on its outer area, two male protomes can be seen (heads with moustaches and non-human features) and a band with different elements on the lower part (scrolls, leaves, quadruped monsters). Also note a kind of circular “seal” (or so it seems), with letters (HLB / RA/TE) around a flag flanked by plant elements and placed on three oval objects. Compare this example with those by P. van den Ghein from the Royal Carillon School Museum “Jef Denyn” in Mechelen (although they are older), a 17th century example from the Pharmacy Museum in Berlin (Germany), another in the Pharmacy Museum of the Complutense University of Madrid (Spain), etc. Weight: 4.6 kg.

· Size: 17x17x14 cms.
ANTIQUES

Ref.: ZF1258
TABLE. WALNUT, IRON. SPANISH SCHOOL, GUADALAJARA (SPAIN), 17TH CENTURY...

Table. Walnut wood, iron. Spanish school, Guadalajara, 17th century. Table with a smooth rectangular top, four spheres under the four legs (these joined by chamfers that start from rectangular cubes, and carved with spherical elements accompanied by lentil or disk shapes), and a carved waist in the lower area of the front. In this part, there is also a drawer with a key lock, decorated with a carving of plant motifs divided into two rectangular areas; inside, a board creates two spaces. Note the dovetail joints. As this is one of the most common types of furniture in the Castilian school of all ancient Spanish furniture, it is possible to find similar examples in important private collections and in prominent institutions. Compare, for example, with some buffets in the Casa Museo Lope de Vega in Madrid (one with column legs is dated to the first half of the 17th century), or with some of those kept in the Museo Casa de Cervantes in Alcalá de Henares in Madrid (in particular, one has a composition on the legs similar to that of the present one, the one in the museum dated to the 17th century and registered with inventory number CE00113).

· Size: 96,5x60,5x81 cms
ANTIQUES

Ref.: ZF1275
SILVER TUREEN WITH TRAY. POSSIBLY SPAIN, 20TH CENTURY.

Soup tureen with tray. Silver. Possibly Spain, 20th century. With contrast marks. Silver-coloured soup tureen with handles ending in parchment (and with plant elements in the base) and bulging shapes that extend to both the base and the lid, the latter finished in a scalloped finish. It has initials of ownership on the front. The tray repeats the waves of the other piece, and has two handles also in the form of parchment. It has contrasting marks on the base of the tureen and on the tray, without identification. Weight: 1.773 kg.

· Size: 26x18x22 cms.
ANTIQUES

Ref.: ZF1318
PINE WOOD AND WALNUT BENCH. SPAIN, 17TH CENTURY.

High-backed bench. Pine, walnut. Spain, 17th century. Carved wooden bench with a high backrest and arms decorated towards the inside (and in the lower area of the sides) with stripes formed by rectangular panels, following a very common motif in Spanish cabinetmaking. Requires restoration

· Size: 218x54,5x140 cms.
ANTIQUES
FURNITURE

Ref.: Z0605
MAHOGANY TABLE FOR GAMES, 19TH CENTURY.

Mahogany gaming table. 19th century. The upper board is rectangular in shape and has curved profiles, and is supported by two balustrade legs that end in two supports with a shape reminiscent of cabriole legs, decorated with mouldings. Both are secured by a turned frame and have metal rollers. The lines recall baroque examples, while the decorative simplicity refers to neoclassical models, a common mix in 19th century furniture.

· Size: 95,5x48x74 cms.
ANTIQUES
FURNITURE

Ref.: Z3056