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LOUIS XV STYLE CHANDELIER, TWELVE LIGHTS. GLASS, BRONZE. SIGNED. BACCA...

Louis XV style chandelier; twelve lights. Glass, bronze. Baccarat, France, 19th century. Signed. Adapted to electric light. Chandelier with a golden metal body as an axis from which a series of rods of the same material branch out in different positions, creating a composition of several floors and giving space for the points of light and the elements of white transparent glass. These come in a wide variety of shapes and sizes (star-shaped or flower-shaped; others have a complex design and are engraved with a Greek cross on the lower part of them; there are others with vase-shaped shapes; saucers that were originally under the candles and are now under the rods of the light bulbs), combining smooth areas with other striped and engraved ones. The metal arms have hardly any decoration, thus giving prominence to the glass; in this same material there are polygonal “saucers” under the points of light, a crown in the upper area of the lamp, etc. It has three points of light wrapped in lampshades facing downwards, another three points of light facing upwards in an inner circle, and six more in the outer area. The French Baccarat factory received its first order in 1823, thus beginning a long series of works for royal houses, heads of state, etc. around the world. The first of many accolades would come in 1855 when it was awarded the Gold Medal at the World's Fair in Paris. Between 1846 and 1849 the manufacture marked some of its finest crystal items with the letter “B” and the year in which the piece was created. Crystal production expanded during this period, and earned the firm a well-deserved international reputation for quality glassware, with pieces such as candlesticks and perfume bottles. By 1860 the manufacture began marking its products with a trademark, usually engraved on the base of the piece. During the second half of the 19th century, the Imperial era ended with the fall of Napoleon III, and trends outside French art began to have a significant influence on the company's work (particularly Japanese, a key influence on the development of French decorative arts at the end of this century). During these years, the factory also grew significantly on the Asian continent (India received some of the most striking orders...), and the production of perfume bottles became one of the most important for Baccarat (by 1907 production was around four thousand bottles a day). In 1936, Baccarat began to engrave its work with acid and the shot-blasting technique. Today, historical Baccarat pieces can be seen in the museum that bears its name in Paris, in prominent residences in Europe and Asia, etc.

· Size: 90x90x130 cms.
ANTIQUES

Ref.: ZF0279
GILT WOODEN NICHE, ROCOCO, 18TH CENTURY.

Niche in carved and gilded wood, Rococo, 18th century. A niche formed by a back decorated with a moulding and a support for a sculpture decorated with a mask and plant motifs and topped by a split pediment with a central motif worked on its lower part resembling a cloth. Engraved cornucopias and leaves appear throughout the back. The work would have been part of an altarpiece or could have been created as it has been preserved for a private chapel.

· Size: 216x74x40 cms.
ANTIQUES
FURNITURE

Ref.: Z3413A
FRIEZE. POLYCHROMED PINE WOOD. 16TH CENTURY.

Frieze with reliefs. Carved and polychrome pine wood. 16th century. Rectangular frieze of carved, gilded and polychrome pine wood decorated with figurative reliefs. An architectural piece with a garland serves as the axis for the symmetrical composition, formed by horses turning their heads and biting a cloth and two wingless children or putti pulling on this cloth, which ends in fruit, thus joining the ends with the centre of the piece. In both the iconographic theme and the anatomy, composition and colours, the influence of the Italian Renaissance can be seen, with variations that may be due to the fact that it was a Spanish creation. Compare, for example, with the engraving by Johann Theodor de Bry in the Metropolitan Museum of New York dated between 1580 and 1600, or works by Paolo Farinati; and with Spanish creations such as the carvings from the Ducal Palace of Pastrana (second half of the 16th century), works by Alonso de Covarrubias, the Renaissance doorway of the Church of the Assumption of Beteta (Cuenca), etc.

· Size: 96x9x20 cms.
ANTIQUES

Ref.: ZF0565
WINEPRESS. WOOD, METAL. SPAIN, CIRCA 1800..

Wine press. Wood, metal. Spain, circa 1800. Press for extracting grape juice made of wood with two screws on the sides to manually move the flat part of the press located on top, which also has a piece to fit into a container to put the fruit. Also note the crossbars and legs for transporting it. This type of agricultural machinery was very common in the past, although it is still in small numbers because it was replaced by technological advances that occurred, especially after the Industrial Revolution. They were used both in monasteries and in other centres where grapes were pressed for the production of wine and other drinks.

· Size: 180x270x305 cms
ANTIQUES

Ref.: ZF0757
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SAINT JOSEPH WITH JESUS. POLYCHROMED WOOD, GLASS. SPANISH SCHOOL, 19TH...

Saint Joseph. Polychrome wood, glass. Spanish school, 19th century. Sculpture made of polychrome wood consisting of a base with very classic lines and appearance (smooth mouldings, resembling marble...) on which is a bearded male figure, dressed in sandals, a blue tunic and a cloak draped over one shoulder. The right hand is in the gesture of holding an element that is no longer there, and in the left hand is the Child Jesus, half-naked on a white cloth and with another covering him, raising his hand to touch the beard of Saint Joseph. Note the open mouths, revealing the teeth of both figures, and the presence of false eyes (glass eyes). The rise of the importance of Saint Joseph in Christianity was marked by the introduction of the saint's feast in the liturgy of the Catholic Church (1476), several notable writings, guidelines from the Council of Trent (exalting him as protector and guide of Jesus), etc. In Spain, it is also worth highlighting the work of Saint Teresa of Jesus, founder of the religious branch of the Discalced Carmelites, and that of Saint Peter of Alcántara, reformer of the Franciscan order, among others. One of the most common ways in which Saint Joseph is represented with the Child is the latter in the arms of the former, with works such as the carving by Andrés de Ocampo for the altarpiece of the convent church of Santa Marta in Córdoba (Sleeping Jesus) between 1592 and 1596. This iconography, although not as widespread as that of Saint Joseph walking beside Christ, has early examples in painting and sculpture, already seeing affectionate gestures in examples such as the painting by Vicente Carducho (1632, Narbonne Museum), that of Juan del Castillo from around 1622 for one side of the altarpiece of the Nativity in the convent church of the Holy Spirit in Seville, etc. Throughout the 17th century, representations of the Father with his Son in his arms would increase, also increasing the gestures of affection and the sweetness of the images. Compare this sculpture, noting the differences, with that of Alonso Cano in the Museum of Fine Arts in Granada (Spain) or that of Pedro Duque Cornejo for the Church of San Bautista in Écija. From the 18th century are that of Andrés de Carvajal for the sanctuary of Los Remedios in Antequera (Spain; dated 1760), that of Luis Salvador Carmona found in the church of San José in Madrid, or the sculpture attributed to Juan Pascual de Mena in the Church of San Marcos in Madrid, to mention a few examples. The 19th century, as a general rule, followed neoclassical models, accentuating the emotional relationship between the two figures. Weight: 57 kg

· Size: 57x57x155 cms.
ANTIQUES

Ref.: ZF1045
PAIR OF BOHEMIAN CRANBERRY RUBY RED GLASS ENAMELED AND GOLD URNS. 19TH...

Pair of vases. Glass. Bohemia, Czech Republic, 19th century. Pair of red glass vases decorated with areas of white enamel and spaces in gold, highlighting the two female busts (practically portraits on an undefined background) that both pieces present on their fronts. The two raised handles finished in a circle have a fine decoration of simplified plant elements; the glass shows decoration of the same type, but of a different influence (more classicist); the busts have been enhanced by two frames in gold and dark lines clearly reminiscent of classicism; the white areas (with plant shapes) have gold lines. Both pieces show remarkable similarities in the quality of the colour of the glass and the decoration as well as in the lines of the pieces, with notable red Bohemian glass urns, especially with works linked to Ludwig Moser & Söhne. Moser is a company that manufactures luxury glass objects located in Karlovy Vary (Czech Republic; formerly Karlsbad in Bohemia) that continues its work today (it was founded in 1857 by Ludwig Moser), and is highly appreciated in the art world for its works from the late 19th and 20th centuries. Although Bohemia was a region known for its glass production as early as the 13th century (especially when they discovered that adding potassium created a clearer and more stable colourless glass than Italian glass), this activity became popular in the 17th century (although the term “Bohemian” or similar had been used for a hundred years before to distinguish quality glass from this origin), and it stood out especially in the 19th and 20th centuries thanks to important manufacturers for the quality of their materials and techniques and the care taken in their designs. By the mid-19th century they already had a system for teaching glassmaking, and in the second half they exported very striking pieces in large quantities (usually pairs of glasses or vases in a single colour in opaque glass or in two colours, decorated with enamelled floral elements, painted details; sometimes lithographic techniques were used to copy famous paintings and capture them in works; etc.) created in large factories and in large quantities.

· Size: 15x13x41 cms.
ANTIQUES

Ref.: ZE222
WALNUT WOOD AND IRONWORK CHEST, XVII CENTURY.

Chest in walnut wood and wrought iron fittings, 17th century. Rectangular chest with base and lid with mouldings and fittings and corners in wrought iron on a red cloth background made from stylised and simplified plant and architectural elements. Lock with key at the front. One-piece boards in excellent condition. The characteristic prototype of these pieces is followed in the Spanish examples for chests, which would have a civil or religious use, being used to store clothes, dishes, etc.

· Size: 75x190x80 cms.
ANTIQUES
FURNITURE

Ref.: Z6357
THREE LOCKS CHEST. WOOD, WROUGHT IRON, LEATHER. CA 1600.

Three-lock chest. Wood, leather, wrought iron. Circa 1600. Rectangular chest with a flat lid made of carved wood and covered on the outside with leather and wrought iron fittings (three bolts, corners, two handles, decorations, hinges). Inside, it has a red fabric covering both on the body of the chest and on the lid (an area in which there is embroidery based on geometric elements arranged in a symmetrical composition, including missing details). The type of piece (rectangular box with a flat lid) is one of the most common in Spanish chests and coffers, with examples of this shape being found as early as the early Middle Ages. As for the use of textiles, it was common in Spain as early as the 15th century to make chests lined on the outside and inside, usually in red (the most expensive dyes were red and blue), both to enhance the piece and to protect the contents. Covering the wood with leather on the outside was also common, again to enhance and protect the chest. As for the fittings, the lobed spear-shaped forged iron pieces are reminiscent of examples from the late Gothic period, already influenced by the Renaissance, with some more advanced forms. The three locks have openwork shields decorated with waves and simplified plant elements, and the presence of all three in the same chest refers to a type known as “town hall” or “council” (as there were three keys, it was necessary for the three authorities who had one to come together and agree to access the contents, adding an element of security). It is not very common for this type of piece to be preserved in good condition, and similar examples can be found in some important private collections and in institutions such as the Museum of the Cathedral of Valencia, the City Hall of Los Palacios y Villafranca, the Military History Museum of Seville, etc.

· Size: 125x48x57 cms.
ANTIQUES
FURNITURE

Ref.: Z2316
COMMODE (TAQUILLÓN). WALNUT, WROUGHT IRON. SPAIN, 17TH CENTURY.

Ticket office. Walnut wood, wrought iron. Spain, 17th century. Rectangular low cabinet made of oak wood with wrought iron elements, raised slightly on four legs, with a slightly protruding straight top and fronts decorated with carvings, and two doors under two drawers, all with a key lock (lock shields decorated with simple lines only on the doors). When the doors are opened, access is given to a space divided in two by a shelf decorated with a series of cut-out lines on its lower edge. The upper part, under the top, has corbels carved with scrolls, tabs and simple architectural elements; on the sides of the front, grooves recall architectural motifs. The exterior of the doors and drawers and the sides of the cabinet are decorated with panels of different sizes and shapes (crosses, squares, rectangles), following a tradition deeply rooted in Spanish furniture and which allows the cabinet to be compared with works such as the cupboard (upper part with lattice doors) from the last third of the 17th century made of walnut, pine and iron which is preserved in the Museo Nacional de Artes Decorativas in Madrid, or the cupboard with turned balusters from the 17th century which is in the Museo Casa de Cervantes in Valladolid, for example.

· Size: 113x52x86 cms.
ANTIQUES
FURNITURE

Ref.: Z5279
GOTHIC CHEST. PINEWOOD, METAL. 16TH CENTURY.

Gothic chest. Carved pine wood, iron. 16th century. Rectangular chest with a flat lid made of carved wood and decorated on the outside with a series of divisions into rectangular spaces using smooth mouldings. On the front, these spaces have been decorated with a relief of the type known as “napkin” or “folded cloth” or “parchment”. The rectangular and simple legs still retain some carved detail. In the centre of the front there is a metal lock shield (probably wrought iron) to secure the contents. The relief of folded cloths was common in Gothic furniture, originating in Flanders in the 15th century and commonly used in Spain until well into the 16th century, although there are examples from the 17th century that retain this decorative element. As for the wood, although walnut is common in Spanish furniture, it is not unusual to find examples carved in pine wood. Gothic chests can now be found in several prominent museums: the National Archaeological Museum in Madrid has four Gothic chests from the 15th century (with Gothic architectural decoration and other carved elements); the Lázaro Galdiano Museum has an Italian example from the 15th century with skylights and arches reminiscent of Muslim diamond-shaped panels (Inventory 2141); the Museum of Navarra has a wedding chest made of wood and embossed and polychrome leather from the last third of the 15th century (inventory CE000115); etc. The National Museum of Decorative Arts has an oak sideboard (CE01616) decorated with carved panels “of folds” or “of scrolls”, dated around 1500, and a chest with similar decoration dated between 1476 and 1525 (CE19287).

· Size: 189x62x90 cms
ANTIQUES

Ref.: ZE148
LEATHERED CHEST. WOOD, TEXTILE, WROUGHT IRON. SPAIN, CA 1500.

Rectangular chest with a semicircular lid made of carved wood and covered with worked leather that has been reinforced with a series of wrought iron fittings, a material that is also used to make the handle on the lid and a latch on the front with a lock shield decorated with simplified plant elements on the top. The interior has the fabric upholstery that was common in these pieces and that, as a general rule, has not been preserved in good condition, as in this piece. These types of chests were used both to store and transport precious objects, hence the lock, always seeking quality in materials and decoration that would demonstrate the economic power of its owner, as well as maintaining its usefulness. The shape is one of the most common for chests in Spanish Gothic, maintaining the way the fittings and a series of decorative elements are arranged in this style. The barred and rehearsed chests and small chests had very varied shapes and sizes, being so common in Spain during the 15th and 16th centuries that numerous examples are preserved today. Compare, for example, those in the Lope de Vega House Museum (Madrid), one dating from the beginning of the 16th century and with 19th century touches (CE00170) and another with a decoration (inventory CE00004), or the 15th century chest in the Museum of Decorative Arts in Madrid, for example, as well as several examples from private collections.

· Size: 17x10x11 cms.
ANTIQUES

Ref.: ZF0339
PAIR OF ANGELS. POLYCHROMED WOOD. SPANISH SCHOOL, 17TH CENTURY.

Pair of torch-bearing angels. Carved and polychrome wood. Spanish school, 17th century. They present faults. Pair of human-shaped carvings made of polychrome wood showing two angels each raising one arm and standing on clouds with winged heads, following models that were common since the Renaissance. Known as lamp-bearing angels or thurifers, they were carvings that were usually placed on important altars to hold lamps or incense burners, being identified with angels or archangels. Compare, for example, the lamp-bearing angels of the Hermitage of La Soledad in Cantillana (Seville, Spain) made between 1780 and 1799 to see, more or less, the function of these sculptures. But it must be remembered that, stylistically, they belong to the Spanish Baroque school (material, movement, etc.).

· Size: 32x16x71 cms.
ANTIQUES

Ref.: ZE130
NEOGOTHICH CUPBOARD. OAK. 19TH CENTURY.

Neo-Gothic wardrobe. Carved oak wood. 19th century. A tall piece of furniture made of carved oak with a dark finish, consisting of a hollow lower body decorated with “napkin” or “parchment” plaques, bands of linear motifs and thin columns, and an upper body with two doors (which give access to shelves with two spaces); between them there are two drawers with fronts carved with plant motifs. Raised on legs decorated with plaques on the front, the doors have a symmetrical composition of stems with grapes (around Gothic-type letters) in a setting of smooth mouldings, decorated ironwork and human figures on pedestals; the sides of this area have “parchment” decoration. The piece is finished off with a prominent smooth moulding. Typologically, the present piece follows a form that recalls certain Renaissance works (especially buffets) with variations that were already common in pieces from the 19th century. As for the decoration, focused on the front, the influence of Spanish Gothic works is clear both in the subject matter and in the composition: sculptures on pedestals and the clothing of the figures, the compositions of the drawers, the presence of those panels with “napkin” carvings, the panels with the stems and grapes, the letters, the thin columns, etc. Likewise, it is possible to appreciate a certain air from Neoclassicism, a common style in the 19th century. At this time, it was common to draw inspiration from styles of the past to create outstanding furniture, such as the present one. Although Neo-Gothic was more frequently used for ecclesiastical works, it was not absent from important residences and other institutions, as it was one of the favourite styles at the time. It is possible to find examples that recall this cabinet in museums such as the Romanticism Museum in Madrid, the National Museum of Decorative Arts in the same city, etc.

· Size: 50x132x170 cms.
ANTIQUES
FURNITURE

Ref.: Z4866
FOLDABLE MAHOGANY TABLE, 17TH CENTURY.

Mahogany dining table with straight folding leg, 17th century. The four legs, joined together by straight frames and fixed to the table top with frames, do not have any notable decorative elements, but they do have a series of metal fittings that allow it to be folded for storage. Despite belonging to the Baroque, there is no movement or hardly any decoration, as befits a strictly functional piece of furniture.

· Size: 188x133x79 cms.
ANTIQUES
FURNITURE

Ref.: Z6208
”TWO CHARACTERS”. OIL ON CANVAS. SIGNED. MARTÍNEZ NOVILLO, CIRILO (MAD...

“Two characters”. Oil on canvas. Signed (bottom right corner). MARTÍNEZ NOVILLO, Cirilo (Vallecas, Madrid, 1921 – Madrid, 2008). Cirilo Martínez Novillo was a painter from Madrid who began his training in the capital (School of Arts and Trades, Libertarian Athenaeum of the People of Vallecas during the Civil War, Higher School of Painting, Sculpture and Engraving at the National Library), beginning during the time of the conflict his first artistic works in the world of literature. At the end of the war, he was imprisoned for a year, at which time he devoted himself entirely to painting. In the 40s he went from setting up his first studio and focusing his work on figures and still lifes, with his first solo exhibition in 1942, to becoming known by critics at the end of the decade; the 50s were very important in his pictorial training, he toured Spain and presented his work in several national and international exhibitions, in addition to being from these years when he was framed within the "School of Madrid" (he presented many collective works together with other members of the same, such as Álvaro Delgado, Luis García Ochoa, Agustín Redondela, etc.). A scholarship from the French Institute in Madrid allowed him to travel to Paris for the first time in 1953, where he became acquainted with the paintings of masters such as Van Gogh, Picasso, Braque and Cézanne. In 1960 he obtained another scholarship from the Juan March Foundation, returning to Paris and settling in the city for several years, reflecting in his work an aesthetic transformation that brought his painting closer to a language closer to abstraction, also modifying his concept of light. He has received numerous awards (Painting Prize at the II Hispano-American Biennial in 1953 in Havana, Cuba; in 1962 he obtained First Medal at the National Exhibition of Fine Arts; in 1999 he was awarded the Gold Medal of the Arte-Santander Fair in recognition of his artistic career, etc.) and his work has been seen all over the world (Madrid, Paris, Zurich, New York, Barcelona, Santander, Oviedo, Zaragoza, etc.). His paintings are held in important private collections and prominent institutions such as the Banco Santander Collection, the Museum of Contemporary Art in Madrid, the Museum of Albacete, the Mapfre Foundation, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Telefónica Collection, the AENA Foundation, etc.

· Size: 50x61 cms.
ANTIQUES
PAINTINGS

Ref.: Z6263
”ABSTRACTION”. OIL ON CANVAS. SIGNED. MARTÍNEZ NOVILLO, CIRILO (MADRID...

“Abstraction”. Oil on canvas. Signed (bottom right corner). MARTÍNEZ NOVILLO, Cirilo (Vallecas, Madrid, 1921 – Madrid, 2008). Cirilo Martínez Novillo was a painter from Madrid who began his training in the capital (School of Arts and Trades, Libertarian Athenaeum of the People of Vallecas during the Civil War, Higher School of Painting, Sculpture and Engraving at the National Library), beginning during the time of the conflict his first artistic works in the world of literature. At the end of the war, he was imprisoned for a year, at which time he devoted himself entirely to painting. In the 40s he went from setting up his first studio and focusing his work on figures and still lifes, with his first solo exhibition in 1942, to becoming known by critics at the end of the decade; the 50s were very important in his pictorial training, he toured Spain and presented his work in several national and international exhibitions, in addition to being from these years when he was framed within the "School of Madrid" (he presented many collective works together with other members of the same, such as Álvaro Delgado, Luis García Ochoa, Agustín Redondela, etc.). A scholarship from the French Institute in Madrid allowed him to travel to Paris for the first time in 1953, where he became acquainted with the paintings of masters such as Van Gogh, Picasso, Braque and Cézanne. In 1960 he obtained another scholarship from the Juan March Foundation, returning to Paris and settling in the city for several years, reflecting in his work an aesthetic transformation that brought his painting closer to a language closer to abstraction, also modifying his concept of light. He has received numerous awards (Painting Prize at the II Hispano-American Biennial in 1953 in Havana, Cuba; in 1962 he obtained First Medal at the National Exhibition of Fine Arts; in 1999 he was awarded the Gold Medal of the Arte-Santander Fair in recognition of his artistic career, etc.) and his work has been seen all over the world (Madrid, Paris, Zurich, New York, Barcelona, Santander, Oviedo, Zaragoza, etc.). His paintings are held in important private collections and prominent institutions such as the Banco Santander Collection, the Museum of Contemporary Art in Madrid, the Museum of Albacete, the Mapfre Foundation, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Telefónica Collection, the AENA Foundation, etc.

· Size: 50 x 61 cm; 69 x 79,5 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6264
MAHOGANY AND METAL EXTENSIBLE DINING TABLE. ENGLAND, 19TH CENTURY.

Extendable table. Mahogany wood, metal. England, 19th century. Rectangular extendable table with boards and a mechanical system manually operated by crank, made of carved mahogany wood and with metal elements (leg ends, mechanism, rollers). The top board has been left smooth, with a slight recess towards the edges that curves the area and extends to the corners of the piece of furniture, contributing to the comfort of its use as a dining or conference table; the legs have outstanding carving and turning work, with a stipe shape and a reminder of architectural columns due to its combination of mouldings, highlighting the polygonal base and the fact that it retains the small metal wheels or rollers that help move the piece of furniture. Both the wood chosen for the table (mahogany) and the lack of decorative elements (which highlights the quality of the material and the lines) are common characteristics of antique English furniture. Note the similarities with English Victorian style pieces.

· Size: 150x180x71 / 150x320x71 cms.
ANTIQUES

Ref.: ZE229
PAIR OF NICHES. PINEWOOD. 17TH CENTURY.

Pair of niches. Carved pine wood. 17th century. Pair of altar fragments or niches made of carved pine wood that are decorated with a series of important, voluminous carvings with plant themes, scrolls, ropes, architectural details, cloths, etc., arranged symmetrically around the semicircular arch that acts as the central organizing element of the work and a shell located at the top. These types of pieces were used in the creation and construction of altars in churches, and it is possible that those with niches were in an altar notable for its size and the quality of its carving. It is possible to find certain similar details between this work and other Spanish works, such as, for example, the 18th century niche altarpiece of the Fundación Pintor Julio Visconti (Guadix, Spain), the altar of the Adoration of the Magi of the Church of the Monastery of Sancti Spiritus el Real (Zamora, Spain), elements of some altars of the Cathedral of Cuenca (especially part of the Main Altarpiece of the Main Sacristy), etc.

· Size: 75x30x230 cms.
ANTIQUES

Ref.: ZF0498
ENGLISH REGENCY MONOPODIA CONSOLE. ROSEWOOD, BRONZE, MIRROR. FIRST HAL...

English Regency console table. Rosewood, gilded wood, bronze, mirror. First half of the 19th century. Console with a rectangular top with smooth wooden edges, featuring a waist decorated with gilded bronzes and a band of black architectural elements. At the front, it rests on two gilded legs with a feline head (leopard or panther), plant decorations and a lion's claw finish; the back features a rectangular mirror. The base repeats the pattern of the upper area, and is also decorated with gilded appliqués. Although the model shows the influence of the French Empire consoles common at the time, details such as the wooden top, dark lines, felines on the front, etc., are more reminiscent of English examples from the Regency period, so called because it was set at the time when the future George IV was Prince Regent (1811-1820). Compare the feline legs with illustrations by Charles Heathcote Tatham (1772-1842) and Thomas Hope (1769-1831), and with furniture designs by George Smith (1756-1826).

· Size: 99x38,5x93 cms
ANTIQUES

Ref.: ZF1097
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
ABSTRACTION. PAINTING. LUIS FEITO, 1965.

Abstraction. Painting. FEITO, Luis, 1965. Oil on paper. Signed and dated (lower left, double). Luis Feito López (Madrid, October 31, 1929 - Rascafría, February 7, 2021) was a Spanish painter who began his academic training at the Royal Academy of Fine Arts of San Fernando in Madrid. Afterwards, he devoted himself to Cubist experimentation and later held his first solo exhibition of non-figurative work in Madrid. After completing his studies, he settled in Paris in 1956 with a scholarship, maintaining contact with the group of painters who would later form the well-known El Paso group, founded by him in 1957. Feito's painting, during this period and according to experts, is influenced by automatism, with material surfaces in white, black, and ochre colors, made with a mixture of oil and sand. He introduced red as a counterpoint starting in 1962. In 1970, color became the norm, and from 1975 onward, he tended toward geometric design in his works, ending the decade in what is known as "his refined period of white paintings." Between 1981 and 1983, he lived in Montreal, then moved to New York, where he lived until the early 1990s. He was recognized with the distinction of Officier des Arts et des Lettres of France in 1985, Commander of the Order of Arts and Lettres of France in 1993, the Gold Medal of Fine Arts in 1998, and was also elected to the Royal Academy of Fine Arts of San Fernando in Madrid. His work is held in some important private collections, but also in institutions such as the Montreal Museum of Fine Arts, the Guggenheim Foundation (New York, USA), the Museum of Modern Art in Mexico City, the National Museum of Modern Art in Paris (France), the Museo Nacional Centro de Arte Reina Sofía (Madrid, Spain), etc.

· Size: 70,5x2x51 cms
ANTIQUES

Ref.: ZF136804
WALNUT CUPBOARD. 19TH CENTURY.

Wardrobe. Walnut wood. 19th century. A two-body, carved walnut cabinet with three lockable doors at the top, a space in the centre, and two drawers and two doors with metal handles at the bottom. On the outside, it displays a series of carvings (architectural elements, coats of arms, plant motifs, vases, bands, smooth mouldings, etc.) with a classicist influence and others that recall elements of a strong tradition in Spanish cabinetmaking (“scrolls” on the doors at the top that recall the Gothic tradition, pearls, etc.). The 19th century was a time in European cabinetmaking when a number of influences and styles were mixed together to create new pieces that were rooted in tradition. This example features Renaissance-style reliefs (vases, mouldings, etc.) and other details with a medieval influence (scrolls, etc.), together with a composition (distribution of doors and central space) that was very common in this century.

· Size: 60x160x275 cms.
ANTIQUES

Ref.: ZE284
CASTILLIAN CHEST. WALNUT, WROUGHT AND POLYCHROMED IRON. SPAIN, 17TH CE...

Castilian chest. Walnut wood, wrought iron and polychrome. Spain, 17th century. Rectangular chest with a flat lid, slightly raised on spheres, decorated on the outside with smooth mouldings on the top and bottom, and fittings (handles on the sides and lock shield) cut out to form vegetal and geometric elements. It is worth highlighting the presence of a “space” inside, on one side, with a lock closure and an iron decoration on the outside that retains polychromy (like some of the other fittings on the piece), and presents a drawing of volutes and vegetal elements with a certain Renaissance reminiscence and marked classicist influence.

· Size: 166x64x81 cms.
ANTIQUES

Ref.: ZF0265
GROUP OF 6 CHAIRS AND 2 FAUTEUILS, WALNUT AND EMBOSSED LEATHER, 19TH C...

Chairs in walnut wood and embossed leather, 19th century. Set of 6 chairs and two matching armchairs, made of walnut wood and with seats and backrests in embossed leather (some leathers require restoration). The structure is based on traditional models of the Spanish armchair, adding decorative details from various artistic styles, such as wavy arms (Rococo) or carved and curved chamfers, or lentil-turned fasteners (Baroque). It was common in the 19th century to make furniture by combining elements from different artistic traditions, using highly successful local models as a base in Spain. Embossed leather on seats and backrests is another characteristic element of the Peninsula, widely used throughout the centuries.

· Size: 54x44x128 / 63x59x138 cms.
ANTIQUES
FURNITURE

Ref.: Z0358