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STILL LIFE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (SPAIN, 1884-MÉXICO,...

Still life. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed towards the top right corner and on the back. Aurelio García Lesmes was a Spanish painter who began his training in Valladolid and, thanks to a pension from the Provincial Council, continued his training at the San Fernando Academy in Madrid, the city where he became better known at National Fine Arts Exhibitions (he won a Third Medal in 1917; Second in 1922 and First in 1926). In the capital he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, etc., and alternated his stay here with long periods in Valladolid, where he worked on his well-known canvases of Castilian fields. Over time, he established himself as one of the most prestigious Spanish landscape painters of his time and established his workshop in Valladolid. After the Civil War he went into exile in Mexico. His work can be seen in prominent institutions such as the Museo Nacional Centro de Arte Reina Sofía (Madrid), the Museo Patio Herreriano (Valladolid), etc.

· Size: 75,55x65 cms / int: 59x49 cms
ANTIQUES

Ref.: ZE297
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

Grille. Wrought iron. Spain, 17th century. Wrought iron grille with double-pear-shaped vertical bars decorated with small discs and other simpler vertical ones (flat above and below, the central one tubular and inserted through the vertical ones). The bars have a light vegetal relief, a technique also present in two discs on the sides of the piece. The shape is slightly reminiscent of works kept in the Victoria and Albert Museum in London and a confessional grille in the Metropolitan Museum in New York dated 1629 (inv. 57.137.51) and another from the same museum by Francisco González (inv. 56-234.12Ad).

· Size: 104x25x143 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z4880
GILT BRONZE MANTEL CLOCK. 19TH CENTURY.

Table clock. Gilt bronze. 19th century. Table clock made of gilded bronze with a powerful base, enhanced by legs decorated with vegetal and architectural motifs of classical inspiration and a series of details on the front (scrolls on the chamfered corners, scrolls and a centre with a globe from which light radiates and a scroll, with inscriptions on both), as well as bands of simple architectural elements and plain spaces to enhance these decorations. On this pedestal is placed a scroll for the dial (white, with Roman numerals for the hours and lines for the minutes, Breguet-type hands), surrounded by a garland. In this area is a male figure, dressed in clothing reminiscent of the Renaissance, holding an unsheathed sword; in addition, a series of elements have been placed on the dial part (a globe, documents with cursive texts in French, etc.). The allusion to science is clear in the prominent presentation of the documents with their respective texts and the sphere. The detail of the sword refers to war. Thus, it would be a figure that would unite wisdom and action, uniting both in the knight of a certain age, as it should be in a ruler or people of a certain social class. The best examples of bronze table clocks were made in France during the 19th century, or so it was believed. This is due to the care with which the manufacture of bronze applications and elements was organised and regulated, the technique of mercury gilded bronze, and the participation in the creation process of top-notch artists who were in charge of the designs of the figures and decorative motifs (it was also not unusual to make figures inspired by or copying more directly great works from the History of Art). The resulting clocks were highly appreciated, and were used to decorate the interiors of palaces and notable residences. Machinery in working order.

· Size: 43x17x55 cms.
ANTIQUES

Ref.: ZF0207
TABLE. WALNUT. POSSIBLY CASTILLE, SPAIN, 17TH CENTURY.

Table with turned leg. Walnut wood. Possibly Castile, Spain, 17th century. Walnut wood table carved in its colour with a straight top, two drawers at the front decorated with interconnected circles (the two on the outside with a star on both and wooden handles) and four turned legs with balustrade shapes joined together by straight jambs (decorated only at the bottom with a simple cut-out on the front side, matching the cut-out edge of this front under the drawers). As this is one of the most common types of furniture in the Castilian school of all ancient Spanish furniture, it is relatively common to find similar examples in important private collections and prominent institutions. Compare, for example, the so-called “Bufete de la Inquisición” from around 1600 that is in the Museo Nacional de Artes Decorativas in Madrid, or with several small 17th-century buffets in the Museo Casa Natal de Cervantes (Alcalá de Henares, Madrid) and the Casa Museo Lope de Vega (Madrid).

· Size: 104x60,5x74,5 cms.
ANTIQUES

Ref.: ZF0463
PAIR OF RELIEVES, SCENE WITH CHARIOT AND SCENE WITH TEMPLE. POLYCHROME...

Pair of reliefs; scene with a cart with a skull and a scene with a portico from the 16th century. Gilded and polychrome wood. Castilian school, 16th century. Pair of rectangular reliefs made of carved, gilded and polychrome wood placed on a dark support at the back, depicting a series of figurative motifs common in the European Renaissance. The upper one shows a figure with a fork or trident pushing a horse-drawn cart on which there is a skull on a pedestal; this element has a kind of temple or building in the background, and is preceded by a child figure holding a cloth. The lower one, starting from the left, shows a winged angel's head, two human figures holding a long cloth (which runs through a kind of domed circular building or temple), and another winged angel's head looking towards this central motif. The first of the reliefs presents the spectator with a clear allusion to death, with the figure on the left being understood as a demon (and linked to the Sins), and the one on the right as an angel. The second could also be linked to the literature of Emblems, common at the time, or be a decorative element. This work bears a certain similarity to others such as the fourth of the Seven Emblems of the University of Salamanca (approximately, first third of the 16th century), based on the Poliphili Hypnerotomachia, and recalling compositions such as the Renaissance railings of the Chapel of the Knights of the Cathedral of Cuenca.

· Size: Soporte 45.5x29x3 cms.
ANTIQUES

Ref.: ZF0525
THE TEMPTATION OF SAINT ANTHONY. OIL ON CANVAS. 17TH CENTURY, AFTER DA...

Temptations of Saint Anthony the Abbot. Oil on canvas. 17th century, based on the model of David Teniers II (Antwerp, 1610-Brussels, 1690). Oil on canvas showing a figurative scene set inside a cave. To the right, a standing cross can be seen, leaning against it; to the left, a hut; and in the centre of the painting, an older, bearded man appears, leaning on a table on which there is a ceramic jar and a skull, with an open book at the foot of the table. The man looks towards a woman, who points to something outside, and is accompanied by a large frog and a series of ghostly beings or monsters dressed in brightly coloured clothes and clothing. Saint Anthony the Abbot or Anthony the Great (251-356) was a Christian monk, considered the founder of the eremitic movement. He was tempted on numerous occasions by the devil while he was in the desert, which became a frequent theme in art (as can be seen in this oil painting). He is represented in a black habit because the Order of the Knights of the Hospital of Saint Anthony (Hospitallers) placed themselves under his patronage, being the colour of the habits of the members of this order (the tau or Egyptian cross was also the symbol chosen by them). David Teniers II or the Younger was a prominent Flemish painter and engraver, son of David Teniers the Elder or I and father of David Teniers III, highly appreciated in his time for his scenes of villagers and common people, his paintings of painting monkeys, etc. He dealt with the subject of the Temptations of Saint Anthony on numerous occasions: Museo del Prado in Madrid, National Museum of Western Art (Tokyo, Japan), Wallraf–Richartz Museum (Cologne, Germany), etc. In the case of the present work, it is necessary to mention and compare it both with an oil painting kept in a private Parisian collection and with another sold at Christie's in 2018, which was in a Belgian collection, has been dated between 1630 and 1680 and is signed. It should also be noted that there are known engravings with this theme made from works by the painter (work in the Fine Arts Museum of San Francisco, United States of America, according to Frans van der Wyngaerde and dated in the 17th century; at UCLA in California, United States of America, also by Frans van der Wyngaerde and from the 17th century).

· Size: 52x4x47,5 cms. int: 42x35.5 cms.
ANTIQUES

Ref.: ZF0996
THREE FRAMED MINIATURES.19TH CENTURY

Frame with three miniatures. 19th century. Rectangular frame with a textile background showing three oval miniatures with female portraits, enhanced with gilded bronze frames (the side ones with lace trim, the central one crowned). On the back there are two rings at the top to hang the piece on a wall. Starting from the left and identified by small metal labels with black letters, we have “Madame Elisabeth” (Elisabeth of France [1764-1794] was the sister of Louis XVI and eldest daughter of Louis, Dauphin of France, and Duchess Maria Josefa of Saxony), “Marie Antoinette” (Marie Antoinette [1755-1793], Archduchess of Austria and Queen of France, was the daughter of Emperor Francis I and Empress Maria Theresa), and “Madame Lebrun” (Louise-Elisabeth Vigeé LeBrun [1755-1842], was the painter of Queen Marie Antoinette and a member of the French Academy since 1783). The three paintings, signed “Lebrun”, are inspired by works from the 17th century. In the same order as above: portrait painted by Vigée LeBrun around 1782 (Versailles, Musée National des Chateaux de Versailles et de Trianon, inv. mv 8143); portrait of Marie Antoinette with roses painted by Vigée LeBrun in 1783 (Versailles, Musée National des Chateaux de Versailles et de Trianon, inv. 3063); this miniature, made from a print, copies the self-portrait by Vigée LeBrun painted in 1782 and currently kept at the National Gallery in London (NG1653). It should be noted that the Museo del Prado (Madrid) has a composition similar to that present in both the miniatures and the frame (inventory O000657, O000658 and O000659).

· Size: 41,5x1,5x22,5 cms.
ANTIQUES

Ref.: ZF1151
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
VIRGIN WOMAN WITH CHILD, 17TH TO 18TH CENTURIES

Spanish school of the late 17th century – early 18th century. “Virgin and Child”. Carved and polychrome wood. Devotional image carved in wood in the round and polychrome, framed within the late Spanish Baroque. It is a sculpture of monumental conception, with large and monolithic figures, with volumes enhanced through the ample folds of Mary's tunic. The Virgin appears standing, holding the Child on her lap, in a naturalistic position, full of movement. Thus, we see how Mary, to compensate for the weight of the Child, leans her back backwards, while Jesus leans forwards in turn, thus compensating the composition. The Child appears raising his right hand in a sign of blessing, while the other hand rests on a sphere, a symbol of the universality of Christian doctrine and of Christ's redemptive act. Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and its form of expression arose from the people and from the deepest feelings that nestled within them. With the State's economy in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and brotherhoods of clergy and lay people that promoted its development, the works being financed on occasion by popular subscription. Sculpture was thus forced to express the ideals that prevailed in these environments, which were none other than religious ones, at a time when the counter-reformist doctrine demanded from art a realistic language so that the faithful could understand and identify with what was represented, and an expression endowed with intense emotional content to increase the fervour and devotion of the people. Religious subject matter is, therefore, the preferred theme of Spanish sculpture in this period, which began in the first decades of the century with a priority interest in capturing nature, to progressively intensify throughout the century the embodiment of expressive values, which was achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

· Size: 32x26x70 cms.
ANTIQUES
SCULPTURE

Ref.: Z2514
HOLY OILS RECIPIENT. PEWTER. 19TH CENTURY.

Holy Oil Container. Pewter. 18th Century. A pewter vessel with a foot, a curved body, two handles and a lid. Its exterior decoration clearly shows the influence of the Rococo style of 18th century Europe (note the rocailles on the handles, the bands on the body, etc.) together with some slightly classicist details. On one of the fronts there is a crowned heraldic shield framed with scrolls and, on the other, an ecclesiastical one.

· Size: 36x22x47 cms.
ANTIQUES

Ref.: ZF0937
ENGINE ORDER TELEGRAPH. FENYA, FABRICACIONES ELÉCTRICAS, NAVALES Y ART...

Synchronous type electric telegraph for a ship's bridge. Fenya, Fabricaciones Eléctricas, Navales y Artilleras, SA Spain, mid-20th century. Bronze, glass, carved wooden base. An electric bridge telegraph, of the synchronous type, used, thanks to a replica in the engine room, to transmit the required speed orders. It has a simple square base made of carved wood, a metal body with a door closed by screws and a circular top with the usual lever. This circular area has a transparent glass and a blue arrow to indicate various speeds (forward and reverse), above the emblem of the manufacturing company and the type of machinery, model and power. It was a very effective and widely used mechanism while there was no internal voice communication between different parts of the ship and it was necessary to operate the engines from the same engine room. Although they were often changed as new technical advances arose, they are pieces appreciated today for their appearance and history. Fenya (Fabricaciones Eléctricas, Navales y Artilleras) was a company founded in Ferrol by José María González-Llanos y Caruncho (who also founded ASTANO -Astilleros y Talleres del Noroeste- in 1941), with three telephone designs as its first product. This was followed by telephone exchanges, electrical equipment for ships, electrical panels and motors, becoming one of the main auxiliary companies in Ferrol. It closed definitively in 1997.

· Size: 42x42x130 cms. base 55x55 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0434
EMPIRE COMMODE. MAHOGANY, OAK, ORMOLU BRONZE, SAINT ANNE MARBLE. FRANC...

Empire chest of drawers. Mahogany, oak, gilded bronze, Sainte Anne marble. France, 19th century. Rectangular chest of drawers with a Sainte Anne marble top, made of carved mahogany and oak, with three drawers at the front decorated on the front with two rings emerging from the jaws of two lion protomes in gilded bronze and a lock shield with two crossed cornucopias; under the top there is another hidden drawer with internal divisions; the front legs have been carved in the shape of a claw, and the rear ones are rectangular. The marble known as Saint Anne is a dark grey veined marble from Belgium and widely used for furniture tops, monuments, etc., although Louis XV and Victorian style fireplace fronts and other objects made from this stone have been preserved. The high-quality gilt bronze fittings, the composition of the furniture and its decoration link the piece to the French Empire style, so called because it developed mainly during the First French Empire (although it began during Napoleon's military campaigns in Italy and Egypt). However, it is worth noting the lack of decorative elements for which the French examples are known. Similar examples can be found in prominent European residences, mainly in France. In Spain, similar chests of drawers are preserved in various palaces and institutions such as the National Museum of Decorative Arts or the Museum of Romanticism in Madrid, for example.

· Size: 128x60x95 cms.
ANTIQUES
FURNITURE

Ref.: Z0546
WALNUT TABLE WITH WROUGHT IRON FASTENERS, SPAIN, 17TH CENTURY.

Dining table in walnut wood and wrought iron fasteners. Spain, 17th century. With restorations. Rectangular table top on two lyre legs with edges animated by curves and counter-curves that have been secured to the table top by means of two S-shaped wrought iron fasteners, with balustraded areas towards the centre and decorated with discs where the last two meet. The upper part, really simple and with clean lines, clearly shows that it is a piece of furniture created for purely utilitarian purposes. However, its size places it in a house of a reasonable level: this meant that it was always seen in the same place, but dressed in a quality fabric and with a series of important pieces on top of it, ceramics, silverware, glass..., which were especially appreciated by the owner. For this reason, it is the lower part that does show a little more work with the lyre legs with their animated profiles through curves and counter-curves and small semicircular mouldings, elements that, due to their movement, place the work within the Baroque. These sinuous shapes are also seen in the fasteners, tubular in the shape of a baluster towards the centre and highlighted by discs in two sizes. Walnut was the wood most often used in furniture of the period in Spain, and its shapes also reflect this origin. Although it was frequently found in houses of a certain level, not many examples have been preserved due to changes in taste and customs over the centuries. Notable examples include, for example, the one in the Sala de las Firmas (Signature Room) of the Viana Palace in Córdoba, the one in the dining room of the Casa Museo de Lope de Vega in Madrid, one in the Museo Nacional de Artes Decorativas (National Museum of Decorative Arts) in Madrid (inventory CE 27479), or another in the Patio Elcano of the building called the Ministry of Foreign Affairs in Madrid (Plaza de Santa Cruz).

· Size: 229x89x81 cms.
ANTIQUES
FURNITURE

Ref.: Z0749
WROUGHT IRON GRILLE. 16TH CENTURY.

Gothic railing with frame. Wrought iron, wood. 16th century. A carved wooden frame supports the wrought iron gate, which has decorated balusters: all have a heart shape in the centre, while the axes are smooth above and spiralled below in those with the heart facing upwards, and spiralled above and smooth below in those with this shape with the point facing downwards. These heart-shaped shapes appear, for example, in the Gothic grille of the Cathedral of Pamplona or in the main chapel of the Cathedral of Zamora, or in the Monastery of Guadalupe. Thin square bars, often twisted, appear in Spanish ironwork as early as the 14th century. The “opening” of the vertical bars forming rhombuses, hearts or more complex variants can be seen in examples from the 15th century (Ávila Cathedral, etc.)

· Size: 140x26x160 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3579
WALNUT AND OAK “PROVENZAL” LOUIS XV WARDROBE. FRANCE, 18TH CENTURY.

Walnut and oak wardrobe. Rococo, France, 18th century. Two-door wardrobe with a lower drawer with two circular handles inside a concave disk, placed on two vase-shaped front legs and two square legs at the back and finished at the top by a thin projecting moulding. The drawer and one of the doors close with a key, but do not have a lock escutcheon. Although the absence of gilt bronze applications could indicate that it is not of French origin, this is one of the so-called “Provençal” pieces of furniture. These are characteristic of that area, although not exclusive to it, and are characterised by a lack of richness in their materials and a greater simplicity in decoration compared to contemporary French furniture from, for example, Paris. It is worth highlighting the use of two different woods for technical reasons but also and above all to highlight the carvings and mouldings. The upper part has a splined capital framed by a straight moulding below and with marked straight lines, curves and counter-curves at the top. These lines, together with volutes, are repeated symmetrically but in very marked mouldings cutting the door panels into three parts, the central one being wider. The lower area leaves the drawer between a band with two flowers and an oval above and a symmetrical floral and plant motif below, which accompanies the curves of the lower skirt of the cupboard. These curved lines highlighted with the adjacent counter-curves are reminiscent of those that describe rocailles, and show that the piece of furniture belongs to the Rococo style. In France, this style is also known as Louis XV style, after the monarch under whose reign it reached its peak. This artistic movement developed there between approximately 1730 and 1760, and was still very influential throughout Europe after that time. Note the differences between Provençal furniture, such as this one, and courtly Rococo examples such as the designs of Juste-Aurèle Meissonier or the works of Jean-Pierre Latz, for example. Cabinets similar to the present one are preserved in the Hospice Pailloux-Haumonté (Burgundy), in the Museum of European and Mediterranean Civilisations in Paris (inventory 13058), etc.

· Size: 150x52x234 cms.
ANTIQUES
FURNITURE

Ref.: Z4846
ORNAMENTAL MIRROR. 19TH CENTURY.

Cornucopia, carved and gilded wood. 19th century. Rectangular mirror with a frame highlighted by a crest that extends along the sides. It is made from scrolls and rocailles, directly inspired by 18th century examples that follow this style. The straight lines on the inside of the mirror show that, as was common in the 19th century, elements of past styles have been taken to create works more in keeping with the taste of the time.

· Size: 45,5x60 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z6615
CERAMIC DRUG JAR OR SYRUP JAR. POSSIBLY ITALY, 18TH CENTURY.

Orza. Ceramic. Possibly Italy, 18th century. A globular jug with a small base, a narrow spout at the mouth (narrower than the body, and with a small neck) and a handle formed by a twisted flat element, made of glazed ceramic and decorated with a composition in blue on a white background. Around a cartouche with an inscription (“AQa di MALVA”, alluding to a remedy derived from the common mallow, a common plant in Europe that was already mentioned, along with its healing properties, by Pliny the Elder among others), and using various shades of blue, a significant variety of plant elements and flowers have been arranged, accompanied by a bird perched on the cartouche. The decoration of ceramics in blue tones on a white background was common in Europe as early as the 17th century (Dutch and English pieces, works in Talavera de la Reina in Spain, etc.). In the case of Italy and in ceramics (with this origin, usually called “maiolica”), cobalt blue decoration on white is already found in works inspired by Byzantine in the Quattrocento, accompanying various influences. In the first third of the 16th century this “porcelain” decoration (since, apparently, it was distantly inspired by Chinese porcelain works that used these colours) continued, with touches of other colours. Compare this work with the pieces known as “Medici Porcelain”, from the third quarter of the 16th century. The name “berrettina” refers to glazed majolica in light blue to dark blue, obtained with cobalt oxide. It was used from the 16th century to the first half of the 17th century, mainly in Liguria and Veneto. It is also worth mentioning a series of pieces with which this one has something more closely related: a pharmacy jar with Saint Paul (made in Savona in the 17th century, now in the International Museum of Ceramics in Faenza), or with albarelos preserved in the Museum of Hispanic Pharmacy at the Complutense University of Madrid, works from the Italian region of Savona, pieces in private collections, etc.

· Size: 24x30x26 cms.
ANTIQUES

Ref.: ZE205
SET OF TWO ORNAMENTAL MIRRORS. GILT WOOD. ROCCOCO, 18TH CENTURY.

Pair of cornucopias. Carved and gilded wood. 18th century. Pair of carved and gilded wooden cornucopias decorated with a fine moulding on the inside and an elaborate composition of vegetal elements with curved shapes on the outside, leaving empty spaces and a marked asymmetry in both, tempered by carving both examples with the same decoration. This type of work was only carried out for main houses, since its main use was to reflect the light of candles and lamps in these luxurious interiors, also showing the economic power of their owners. The method of making mirrors from sheets of glass was discovered in Venice in the 16th century, and was kept secret until approximately a century later, when the role of mercury in the process was known in London and Paris, allowing the expansion of these elements. However, the use of cornucopias did not spread throughout Europe until the Rococo period, and their use and creation has continued since then. From the beginning, and with the idea of showing the economic prosperity of its owner and helping with lighting, it was normal for it to be gilded after its carving. The movement that the pieces present inside, where the mirror would be, provides a first clue to place it in an artistic style. As for its decoration, the vegetal elements, the braces, the curved shapes contrasting with counter-curves and the scallop details refer to the clear belonging of the two examples to the Rococo, differentiating them from both the 18th century examples with a greater neoclassical influence, as well as from those of the 19th century. The asymmetry that each of the cornucopias has in its decoration refers to the beginning of this style, given that, after a time, the contrasts of this artistic style were softened by placing the decoration in markedly symmetrical compositions.

· Size: 64x25x110 cms.
ANTIQUES

Ref.: ZF0276
CUP COOLER. WITH MARKS. “SOFT PASTE”. “REAL FÁBRICA DE PORCELANA DEL B...

Cooler or glass cooler. With marks on the base. White paste. Royal Porcelain Factory of Buen Retiro (Madrid, Spain), circa 1784-1803. A piece of soft paste with wavy edges used to hold the stems of glasses in place and cool them when filling the container with ice or similar. On the outside, it has two handles in the shape of plant elements and small reliefs on the fronts (also enhanced by gilding) which frame floral bouquets with coloured leaves. It is possible that the piece belongs to the second period or intermediate stage of the Royal Porcelain Factory of Buen Retiro in Madrid, established in the Spanish capital from 1760 onwards and thanks to Charles III; this stage corresponds to the “controls” of Charles Scheppers and Philip Gricci, and continues the Italian influence, adding a relationship with other currents (English, Saxon). Weight: 2225 grs

· Size: 33x19x13 cms.
ANTIQUES

Ref.: ZF0431
LANDSCAPE WITH A LAKE. OIL ON CANVAS. 18TH CENTURY.

Landscape with lake. Oil on canvas. 18th century. Landscape with a sunset on a lake, with mountains in the background and trees and a hut in the foreground. The composition is slightly enlivened by the presence of boats of various types with people on board, as well as two groups of buildings towards the right of the painting. The painting has many points in common with landscapes from European schools painted in the second half of the 18th century.

· Size: 116x3x50 cms. int: 35,5x102 cms
ANTIQUES

Ref.: ZF0973
STILL LIFE WITH FLOWERS. OIL ON CANVAS. GARCÍA-OCHOA IBÁÑEZ. LUIS (SPA...

Still life with flowers. Oil on canvas. 1949. Signed and dated towards the lower left corner. Label on the back. Still life showing a round table covered with cloth and a series of bouquets of flowers and plants, all placed in their respective vases or pots, as well as a small object in front and several loose flowers. In the lower left area, you can see the painter's signature and the date 1949 (49). On the back there are two labels that relate the work to the XXVI Biennale Internazionalde d'Arte in Venice in 1952. One with the painting's number and another with the author's details. Luis García-Ochoa was a painter and graphic artist who became a member of the Fine Arts Academy in Madrid. He moved to the capital as a child and worked in his father's architectural studio, where he trained in avant-garde art. He enrolled in the Royal Academy of Fine Arts of San Fernando and continued his education in France, Italy and England. Around 1942, thanks to Benjamín Palencia, he participated in the second School of Vallecas, a group that served as the basis for the School of Madrid. During this period his style evolved from initial cubism to expressionism. He was invited to the Venice Biennale on several occasions (1940, 1950, 1952 and 1954), participated in several National Fine Arts Exhibitions in Madrid, in collective and individual exhibitions, etc. In 1993 he founded the School of Figurative Painters of El Escorial. His work is preserved in several private collections and in institutions such as the Reina Sofía Art Centre, the Bilbao Fine Arts Museum, etc.

· Size: 94x4,5x78 cms int 80x65 cms
ANTIQUES

Ref.: ZF1110
MIRROR WITH SILVER AND ENAMELS FRAME. WOOD, GLASS, ETC. MEXICAN SCHOOL...

Mirror with cabochon frame. Silver, enamel, wood, stucco, etc. Mexican school, 17th century. No contrast marks. Has faults. Mirror with a slightly rectangular frame made of wood with polychrome areas and embossed silver plating on stucco and enhanced with enamel cabochons with geometric elements in dark and light blue. On the front there are a series of smooth mouldings, one of which has the aforementioned polychromy. The silver stripe is distributed around the outside of the piece, with the corners in exposed wood and stripes in smooth silver (two on each side), and a decoration with a certain volume in which architectural elements with a clear classicist influence are combined (in the centre of which are the enamel cabochons), flanked in the more elongated areas by compositions with scrolls, volutes, plant motifs and fruits. Stylistically speaking, the work can be linked to works in the same technique made in Mexico, mainly on small chests. Also, as is usual due to the peninsular influence, it is possible to recall works such as the Holy Thursday Chest from the 17th century in Barbastro. Weight: 5.7 kg.

· Size: 54x6x61 cms. int: 39x46 cms
ANTIQUES

Ref.: ZF1191
MAHOGANY THREE-SEAT SOFA, ELISABETH II STYLE (SPAIN), 19TH CENTURY.

Elizabethan triplet in mahogany, 19th century. A three-seater sofa with carved floral motifs, four cabriole legs, short curved and partially upholstered arms, and single-member oval “à la reine” backrests, linked by plant motifs to provide continuity. The influences of contemporary French furniture are clear in all Elizabethan works, a style so named because it was during the reign of Elizabeth II (1830-1904) that it reached its peak.

· Size: Sofa: 185x110x60 cms. / 66x60x110 cms.
ANTIQUES
FURNITURE

Ref.: Z0684
MAHOGANY SHOWCASE CABINET. ENGLAND, 19TH CENTURY.

English display cabinet. Mahogany wood. 19th century. Display cabinet with shelves and two doors with glass and geometric decoration topped by a split pediment with plant decoration, which is presented on a piece of furniture with two drawers at the front, four legs and a chambrana or shelf in the lower area of the same. Certain elements of the furniture are reminiscent of the Chippendale style, and it is worth noting the bevelled decoration on the drawers and the top of the “table”.

· Size: 77x43x195 cms.
ANTIQUES
FURNITURE

Ref.: Z5022