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BRONZE DEVOTIONAL PLAQUE, IMMACULATE CONCEPTION. SPANISH SCHOOL, 18TH ...

Devotional plaque, Immaculate Conception. Bronze. Spanish school, 17th century. Bronze devotional plaque with a washer on the top, which features a relief on the front. In it, the Virgin Mary can be seen on a crescent moon, surrounded by light and joining her hands in a gesture of prayer, and with the Franciscan cord (eight knots) around it, linking this medal to the Franciscan Order. This is a frequent iconography and representation on devotional plaques and medals since the Baroque period (similar examples are preserved in institutions such as the Lázaro Galdiano Museum, etc.). Weight: 133 grams.

· Size: 7x0,7x11 cms.
ANTIQUES

Ref.: ZF117103
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BRONZE DEVOTIONAL PLAQUE, ADORATION OF THE MAGI. SPANISH SCHOOL, 17TH ...

Devotional plaque, Adoration of the Magi. Bronze. Spanish school, 17th century. Rectangular devotional plaque made of bronze, which presents in relief the scene of the Birth of Jesus. The Virgin Mary has the Child standing on her knees in the foreground, and they are surrounded by various figures among which the Three Wise Men and Saint Joseph can be seen; towards the background, there are some architectures with a classicist influence. Weight: 156 grams.

· Size: 6,9x0,5x10,8 cms.
ANTIQUES

Ref.: ZF117109
BRONZE DEVOTIONAL PLAQUE, VIRGIN OF MONTSERRAT. SPANISH SCHOOL, 19TH C...

Devotional plaque, Virgin of Montserrat and the Mountain. Bronze. Spanish school, 19th century. Devotional plaque made of bronze, rectangular in shape, with a washer at the top and a frame of mouldings highlighting a figurative composition in relief. It shows a Virgin and Child sitting on a throne, with a mountainous shape in the background. It is a particular iconography of the Virgin of Montserrat with the mountain (compare with the bronze of the same theme made in the second half of the 18th century that is kept in the Diocesan Museum of Barcelona). Weight: 232 grams.

· Size: 6,2x0,8x10,1 cms.
ANTIQUES

Ref.: ZF117115
BRONZE DEVOTIONAL PLAQUE, SAINT BRUNO OF COLOGNE. SPANISH SCHOOL, 19TH...

Devotional plaque, Saint Bruno. Bronze. Spanish school, 19th century. Rectangular devotional plaque made of bronze with a ring at the top and a frame of smooth mouldings around a relief. The piece depicts the image of Saint Bruno standing, holding a skull and with a mitre at his feet, following known iconographies (compare, for example, with the carving of this saint made in stone by Manuel Pereira that is kept at the Royal Academy of Fine Arts of San Fernando). Weight: 169 grams.

· Size: 6,7x0,6x11 cms.
ANTIQUES

Ref.: ZF117116
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BRONZE DEVOTIONAL PLAQUE, IMMACULATE CONCEPTION. SPANISH SCHOOL, 19TH ...

Devotional plaque, Immaculate Conception. Bronze. Spanish school, 19th century. Devotional bronze plaque with a washer at the top and a rectangular shape with a relief on the front. In it, the Virgin Mary can be seen on a crescent moon, surrounded by light and joining her hands in a gesture of prayer, and with the Franciscan cord (eight knots) around it, linking this medal to the Franciscan Order. In the corners, four winged angel heads appear. This is a frequent iconography and representation on devotional plaques and medals since the Baroque period (similar examples are preserved in institutions such as the Lázaro Galdiano Museum, etc.). Weight: 191 grams.

· Size: 6,5x0,6x10,4 cms.
ANTIQUES

Ref.: ZF117119
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BRONZE DEVOTIONAL PLAQUE, SAINT PETER REPENTING OR DENIAL OF PETER. SP...

Devotional plaque, Saint Peter in tears. Bronze. Spanish school, 19th century. Devotional plaque made of bronze with a rectangular shape that has a washer at the top and a frame of smooth mouldings around a figurative relief. It shows a Christian theme known as “Saint Peter in tears” or “The repentance of Saint Peter”, being the moment in which the Apostle laments having denied Christ three times (hence the rooster on the column). Apparently, the piece shows a common iconography in a group of Castilian devotional plaques made since the end of the 16th century and throughout the 17th century, based on a chalcographic print (simplified and inverted) by Lèonard Gaultier (ca. 1561 - ca. 1635), and which was published by Jean Leclerc (1560 - ca. 1622). A similar piece to the present one is kept at the Museum of Fine Arts in Valencia. Weight: 152 grams.

· Size: 7,1x0,8x11,4 cms.
ANTIQUES

Ref.: ZF117123
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BRONZE DEVOTIONAL PLAQUE, SAINTS JUSTUS AND PASTOR. SPANISH SCHOOL, 19...

Devotional plaque, Holy Children Justo and Pastor. Bronze. Spanish school, 19th century. Rectangular bronze devotional plaque with a ring at the top and a frame of smooth mouldings highlighting a figurative composition in relief. Two male figures appear, dressed in the old style, standing, with palms and a knife on the ground. They are the two Child Martyrs Justo and Pastor, patrons of Alcalá de Henares (Madrid). The composition is typical of a series of plaques: compare with the bronze plaque dated between 1576 and 1700 with the same theme and very similar iconography from the Lázaro Galdiano Museum in Madrid, two in the Marés Museum in Barcelona (18th century), etc. Weight: 137 grams.

· Size: 6,9x0,5x10,9 cms.
ANTIQUES

Ref.: ZF117124
BRONZE DEVOTIONAL PLAQUE, SAINT TELMO OR SAINT ELMO. SPANISH SCHOOL, 1...

Devotional plaque, San Telmo or Sanct'Elmo. Bronze. Spanish school, 19th century. Saint Peter Gonzalez became bishop of Palencia, later entering the Order of Preachers. He is known as Saint Telmo and is considered the patron saint of sailors, having been confused with Saint Erasmus of Formia (Sanct'Elmo). In the present case, Saint Peter Gonzalez is usually shown in the Dominican habit, while Saint Erasmus is usually shown dressed as a bishop but with an allusion to his martyrdom on one hand. Weight: 163 grams.

· Size: 6,5x0,8x10,8 cms.
ANTIQUES

Ref.: ZF117125
BRONZE DEVOTIONAL PLAQUE, SAINT BISHOP. SPANISH SCHOOL, 19TH CENTURY.

Devotional plaque, Holy Bishop. Bronze. Spanish school, 19th century. Rectangular devotional plaque with a ring at the top and smooth mouldings highlighting a figurative relief. It shows a male figure with a halo, carrying a bishop's staff, and is accompanied by a book and a tiara (located on the ground), and a sun emerging from a corner. Iconographically, it presents details in common with devotional plaques of Saint Anthony and Saint Dominic of Guzmán. Weight: 170 grams.

· Size: 6,7x0,9x10,7 cms.
ANTIQUES

Ref.: ZF117127
ROMANESQUE STYLE CHEST. WOOD, METAL, BONE. SPAIN

Romanesque style chest. Wood, bone, metal. Spain Rectangular chest with a trough-shaped lid, decorated on the outside with rectangular plates of carved and tinted bone in some details (to enhance the figurative and vegetal elements it presents) and with simple metal fittings, finished in teardrop shapes. Typologically, this type of chest, intended to store valuable objects, was common in the arts since the Middle Ages. Given the Muslim presence in Spain, examples were made combining ivory and wood (Nasrid box from the Ancient Monastery of San Salvador de Oña in Burgos, etc.), and examples of ivory are also preserved in caskets in Christian territories (Arca de los Marfils de San Isidoro de León). It is also worth remembering the casket made by Mohamed ibn Assarch that is preserved in the Collegiate church of San Isidoro in León, dating from the Almohad period. Iconographically speaking, the piece would be more reminiscent of Sicilian or Hispano-Muslim objects, given the absence of human figures. Throughout the 19th century, and following a trend that is occurring throughout Europe, a series of works were produced in Spain in all artistic fields inspired by important styles from the ancient history of this country. Thus, numerous objects inspired by Romanesque, Gothic, etc. art were created.

· Size: 21x13,5x11 cms
ANTIQUES

Ref.: ZF1179
FOUR IRON COLUMNS. 17TH CENTURY.

Four columns. Iron. 17th century Four iron supports with a polygonal shaft, balustrade shape and upper part with two sections on the sides of the central one ending in volutes and a horizontal part in the same material as the rest. This type of architectural element was very common in Spain even well into the 20th century in certain areas. Total weight: 620 kg

· Size: 76x21x249 cms
ANTIQUES

Ref.: ZF1271A
PAIR OF IRON COLUMNS. POSSIBLY SPANISH SCHOOL, 17 TH CENTURY.

Pair of columns. Wrought iron. Possibly Spanish school, 17th century. Pair of architectural supports made of iron with a polygonal central axis, ending in a spherical shape on one side and in a support for a horizontal crossbar on the other. At this point two volutes flanking the aforementioned axis end. Weight: 310 kg.

· Size: 79x21x249 cms.
ANTIQUES

Ref.: ZF1271B
POWDER HORN. SPAIN, 19TH CENTURY.

Powder keg. Engraved horn, rope, cork. Spain, 19th century. A container for storing gunpowder made from a cow horn and decorated on the outside with a series of figurative, geometric and vegetal engravings and inscriptions enhanced with dark or black ink or dye. The decoration is arranged in horizontal bands, with some elements enhanced with “frames” of crossed lines, and one can clearly see Latin crosses, floral elements, a coiled snake, various human figures (note in particular the male figures at the top, with firearms), quadrupeds, birds, fish and inscriptions in capital letters (names such as Manuel, intertwined initials...). Also known as “horns”, these types of vessels were usually made not by skilled and specialised workers, but by shepherds, ranchers, etc., using their own names, important elements from their area or for themselves, or motifs of great tradition in a certain area in their decoration. Compare this with the one by Pedro Doncel, dated 1855 and preserved in the Museum of Olivenza (Spain), or the one from 1883 in the Museo del Traje in Madrid (Spain).

· Size: 27x8x7 cms.
ANTIQUES

Ref.: ZF1286
ATLAS GEOGRÁFICO DE ESPAÑA AND DICCIONARIO GENERAL DE TODOS LOS PUEBLO...

Two volumes: Geographical Atlas of Spain (…) and General Dictionary of all Peoples. Editors Gaspar y Roig. Spain, Madrid, 1864 and 1862. Two volumes framed in a similar way, with leather spines and gold elements. Here a reference to each work (lower area) and the name Carrasco (upper part) appear clearly. One of the volumes is the Geographical Atlas of Spain. Adjacent Islands and Spanish Overseas Possessions. It is indicated that it belongs to the “Collection of maps engraved in steel constructed by Don Martín Ferreiro”, and that it was published in Madrid by the Printing and Bookshop of Gaspar y Roig (the editors), in 1864. It presents a series of maps, engraved in steel (see the touches of color), constructed by Martín Ferreiro and Peralta (1830-1896) and engraved by R. Alabern (indicated under the images). The other volume is the General Geography of Spain. General dictionary of all peoples., belonging to the so-called Illustrated Library of Gaspar and Roig. Published in Madrid, by the Printing and Bookshop of Gaspar and Roig (editors), in 1862.

· Size: 18x5x27 cms.
ANTIQUES

Ref.: ZF1298
”MECHELEN” BELL. BRONZE. 16TH CENTURY.

Hand bell or bell, “from Malinas”. Bronze. 16th century. Hand bell with clapper made of bronze and decorated on the outside with a slight relief. The base has, between bands, an inscription in capital letters and in Latin (“Sit nomen Domini benedictum”, “Blessed be the name of the Lord!”); above it, on the body of the bell, there is a decoration with angels, vases with plant elements, garlands, a figure playing a musical instrument, etc., with a great classical influence; the hand has a balustrade shape with mouldings. The text refers to the Apostolic or Papal Blessing, typical of Catholic liturgy. The export trade of handicrafts and artistic pieces during the 15th and 16th centuries that took place in the Netherlands was of great importance, especially between the territories that were then united under the same crown. Among the pieces (experts speak of almost industrial production) that enjoyed the greatest diffusion were these bells called "de Malinas" because they came from this Flemish city. The success of the model is indisputable and proof of this is that, from imported examples, molds were made with which to obtain absolutely identical copies. These bells usually have common characteristics such as their small size and their beveled profile; however, the peculiarity that easily identifies them is the decoration they have on their surface. Weight: 425 grams.

· Size: 8x8x14 cms.
ANTIQUES

Ref.: ZF1302
PAIR OF CANDLE HOLDERS. METAL, ENAMEL. LIMOGES, FRANCE, 19TH CENTURY.

Pair of candlesticks. Metal, enamel. Limoges, France, 19th century. They present faults. Pair of metal candlesticks decorated with polychrome enamel on the outside, each with an octagonal base that begins with a step and rises gently to the axis, which has discs and mouldings between jar-shaped shapes, ending in tubular candlesticks with a mouth that extends outwards in a smooth moulding. Throughout the piece, there are plant decorations in relief with a clear classicist influence, interspersed with medallions of male profiles in grisaille on the upper part and roundels on the base. Likewise, scrolls and plant, geometric and architectural motifs without relief can be seen, in a gold tone. These tondos of the base show a heraldic shield crowned and supported by two quadruped animals, and three-quarter figurative elements, identified with the name of the character represented in Latin. Thus, we see “Cephale”, “Lavrore” and “Adonis”. In Greek mythology, Cephalus was the lover of Eos, goddess of dawn, condemned by Aphrodite to only love mortals. Adonis was the lover of Aphrodite, eternally young and symbolizing death and the annual renewal of vegetation, and whose nature was tied to the calendar. This pair of candlesticks is closely inspired by a candlestick that the Louvre Museum in Paris (where it is preserved, inventory RFML.OA.2022.2.7) considers to have been made in the mid-16th century in Paris or Sèvres (France) and attributed with doubt to the master enameller Julien Robillard (active ca. 1850-1880). The inspiration in models and motifs of the Italian Renaissance is clear.

· Size: 12,5x12,5x15,5 cms
ANTIQUES

Ref.: ZF1328
FRAME. POLYCHROMED AND GILT WOOD. 18TH CENTURY.

Frame. Carved, polychrome and gilded wood. 18th century. Rectangular frame made of wood and decorated with two bands of plant and architectural elements of classicist influence carved on the outside and towards the inside, finished in gold and located flanking a dark and smooth area.

· Size: 86x7x108,5 cms. Int 65x88 cms
ANTIQUES

Ref.: ZF1343
PAIR OF CANDLESTICKS IN GILT AND BRUSHED BRONZE. FRANCE. 19TH CENTURY

Pair of candlesticks. Gilt and blued bronze. France, 19th century. Pair of ten-light candelabras each, made up of a base and arms in gilt bronze and a figure in the centre in burnished bronze. The oval bases have leaf-shaped legs that extend upwards creating curves, a heraldic mirror in the centre and plant and architectural relief decoration with classicist influences. The two half-naked child figures stand, raising one knee and holding with both hands a horn from which the arms of the candelabras emerge. These are made up of stems with leaves, with the burners that finish them off more in the shape of flowers, with the central one higher than the rest. Stylistically, they show clear Rococo influences, and so would be framed within the Louis XV style, very common in French decorative arts of the 19th century. Other similar examples are known, such as one (with a different base, which is made of malachite in this case) from the Napoleon III period in a private French collection, and another pair with fewer lights and the elements only in gilded bronze in another private collection. This was common, since French workshops in the 19th century stood out for their quality, largely due to the specialisation of the trades: it was common to make figures, for example, and these were used in different clock or candlestick factories. Weight: 33 kg.

· Size: 45x40x84,5 cms
ANTIQUES

Ref.: ZF1380
BRONZE OINOCHOE. POSSIBLY ITALY, 19TH CENTURY.

Oinochoe. Bronze. Possibly Italy, 19th century. An oenochoe, oinochoe, oinochoe or oenochoe is a vessel used to draw wine from a krater (where it was stored) before serving in ancient Greece. Its heyday was during the Geometric period and various types are distinguished according to the shape of the mouth and the belly. Most Greek oenochoes were made of terracotta, but there are also some made of precious metals, presumably for the social classes that could afford them, although very few have survived. The present example seems to be inspired by ancient works (compare one in the Metropolitan Museum from around 460 BC with inventory number 1970.11.1 and another in the Museum of Fine Arts, Budapest with inventory number 66.142.A).

· Size: 12x12x20 cms
ANTIQUES

Ref.: ZF1390
BRONZE DEVOTIONAL PLAQUE, SAINT JEROME. SPANISH SCHOOL, 16TH CENTURY.

Devotional plaque with Saint Jerome. Bronze. Spanish school, 16th century. Rectangular devotional plaque made of bronze, with a frame and a ring at the top and a figurative decoration in relief on the front. In this piece we can see an elderly man, with a crucified figure in one hand, a skull and a book at his side, a lion peeking out in one corner and allusions to a rural setting in the background, as well as a hat on the left. This “model” of plaque was very popular in ancient times (the Lázaro Galdiano Museum in Madrid preserves a 17th-century example, etc.).

· Size: 7x0.5x11.5 cms.
ANTIQUES

Ref.: ZF1391
VICTORIAN BROOCH IN 18 KT GOLD WITH AMETHYST

Victorian brooch in 18kt gold with amethyst. 19th century. 18-carat gold brooch with a thin metal chain hanging down, ending in a gold safety pin intended to hold light decorative elements or to be fixed to the fabric, giving some movement to the jewel. The centre of attention is an oval faceted-cut amethyst, with a fine setting so as not to distract attention from the gem's frame. This is made up of an elaborate and delicate composition: in the centres of the sides there are four rectangular pieces with the smaller ends curved, decorated with fine plant elements and scrolls reminiscent of classicism; these elements are interspersed with two concave scrolls that flank a leaf (which also has a fine plant decoration in light relief); this frame is visually joined to the gem by a series of elements that resemble fine bows with a decoration similar to that of the aforementioned rectangular pieces. Historically, the Victorian era began in 1837 with the coronation of a young Queen Victoria in England, and ended in 1901 with her death. It was the era of greatest development of the Industrial Revolution, something that also influenced jewelry thanks to important technological advances in practically all fields (hydraulic energy, steam engines, gas, etc. influenced the machinery to be used), and England's broad political dominance allowed for the use of "exotic" materials from the colonies. Advances in machinery allowed for slightly lower costs in jewelry, new cuts in gems with a greater number of facets (thanks to faster lathes), new developments in alloys (lowering of gold alloys since 1854 in England, introduction of galvanization...), etc. As for the designs, these were always marked by Queen Victoria's taste. Thus, in general, three stages can be distinguished: the Early Victorian or Romantic Period (c. 1837-1860), often inspired by the world of nature; the Middle Victorian or Great Period (c. 1860-1885), marked by mourning for the death of the Queen's mother and her husband Albert in the same year and the Civil War in the United States among other events, influenced by the archaeological discoveries of the time and technical innovations in enamelling and gold granulation, and the frequent presence of gems; the Late Victorian or Aesthetic Period (1885-1901), marked by the discovery of diamond mines in Africa, which made stones cheaper, allowing for more frequent use in jewellery, more frequent use of ivory and soft colour combinations, and a reduction in the size of the works as a general rule. Measurements: 4.7 x 4.4 cm. Weight: 21.07 grams.

· Size: 4,7 x 4,4 cm.
ANTIQUES

Ref.: JBR0196
14 KTS GOLD BROOCH WITH PENDANT AND 10 GARNETS

Gold brooch (14kts) with pendant and 10 garnets. Ladies' brooch made of 14 carat gold, consisting of a first oval piece, which is attached to the oval-shaped fabric. The profile has been highlighted by a turned gold cord, leaving a composition at the top: two plant shapes on the sides, leaving the centre for a lobed line (reminiscent of a flower), which frames a composition with a central round faceted garnet, flanked by four smaller ones, which alternate with gold pearls, placed on another smooth turned cord. From the lower part of this area hangs, “en tremblant”, another circular element formed by a disc decorated in fine relief and highlighted by a cord, which also has a central garnet surrounded by four smaller ones, also alternating with gold pearls. A pineapple shape hangs from this piece, completing the composition of the jewel, which is reminiscent of Neoclassical works of the 19th century. Weight: 10.92 g.

· Size: 5,9 x 4,3 cms
ANTIQUES

Ref.: JBR1113
14KTS GOLD BROOCH WITH FIVE GARNETS

14kt gold brooch with five garnets. 14-carat gold brooch made up of a tubular base arranged in the shape of a knot, leaving the curves on the outside and highlighted with a fine decoration of waves that provide a slight movement. A series of stems emerge from this base, ending in leaves, in which the carved garnets are located. Weight: 7.51 grams.

· Size: 4 x 3 cms
ANTIQUES

Ref.: JBR1326
14KTS GOLD BROOCH WITH THREE GARNETS

14kt gold brooch with three garnets. Ladies' brooch made of 14kt gold, consisting of base shapes arranged in a knot, leaving waves on the outer profile, with the surface decorated with fine plant shapes of leaves and flowers. In the centre, simple plant scrolls have been arranged, framing two teardrop-shaped garnets flanking another central oval garnet. The fastening element on the back positions the brooch to be, in principle, vertical. Weight: 17.11 grams.

· Size: 6 x 4 cms
ANTIQUES

Ref.: JBR1432