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CROWN OR CREST. PINEWOOD. 17TH CENTURY.

Finial. Carved pine wood. 17th century. A finial or crest made of pine wood carved in its colour with a human bust in the centre, placed holding two volutes and thus creating an axis of symmetry for the elaborate composition that the piece presents, based on flowers, plant motifs, architectural details, etc. with a certain classicist influence and a lot of movement and depth. The fact that the back is unworked suggests that this relief may have originally been part of an important altarpiece, given the size and quality of the piece. Both the movement and the decorative elements of the composition link the work to the Spanish Baroque.

· Size: 117x65x45 cms
ANTIQUES

Ref.: ZF0499
WALNUT TABLE. GUADALAJARA, SPAIN, 17TH CENTURY.

Table with lentil-type leg. Walnut wood. Guadalajara, Spain, 17th century. A table with a flat rectangular top that has a drawer at the front flanked by two smooth corbels or mouldings, and that is made of carved walnut wood, that has four turned legs in what is known as the lentil type due to its shape based on small consecutive discs and that are secured together at the bottom thanks to the presence of a smooth rectangular die in each one and an undecorated wooden crossbar. The drawer at the front, with a key lock and a grooved iron knob, has two carved rectangles flanking the lock hole and high quality dovetail joints that can be seen when it is opened. Compare, for example, the walnut table with disc legs dating from the 17th century that is preserved in the collections of the former Municipal Museum of Madrid; with another walnut and pine platform table with carved drawers and lenticular turned legs from the National Museum of Decorative Arts in Madrid, dating from the 17th century; or with a Castilian buffet table from the 17th century from the Museo Casa Natal de Cervantes (Alcalá de Henares, Madrid). Typologically, due to its decoration, this is a model with a long tradition in the Castilian school, particularly in the Guadalajara area.

· Size: 84,5x48,5x65 cms.
ANTIQUES

Ref.: ZF0946
DUCHT MARQUETRY COMMODE. 18TH CENTURY.

Dutch marquetry chest of drawers. 18th century. Requires restoration. Chest of drawers with four drawers at the front with a key lock and two handles on each, decorated with marquetry applications (on the sides, front and top panel) with a plant theme. Both the top panel and the front have a series of curves towards the front, and, in the lower area of the piece of furniture, some elements projecting downwards provide more movement (note the marquetry details present here as well). Stylistically, one can appreciate elements common to 18th century European furniture in the Rococo style (movement in the front, curves and counter-curves, etc.) together with elements common to the Dutch school (note, above all, the designs and colours used in the marquetry decoration).

· Size: 90x47x79 cms.
ANTIQUES

Ref.: ZF0999
WALNUT BENCH. SPANISH SCHOOL, 17TH CENTURY.

Bench. Walnut. Spanish school, 17th century. A bench made of carved walnut wood in its colour, with a backrest made up of a smooth rectangular board and a seat made up of another similar to the previous one, both arranged at an angle. The legs have a particular shape, known as “lyre-shaped”, and are decorated with plant and architectural motifs (scrolls) in relief. It also has two wooden “fasteners”, which have undulations in their profile. Lyre-leg tables originated in the Spain of Charles II, during the second half of the 17th century. The simplest ones have a simple cut in the side legs, and are even completely carved in models with peripheral centres. This support element, as can be seen, was also used in other types of furniture. The material is also the usual one in old Spanish cabinetmaking, although it should be noted that it seems that the most common thing is for the fasteners to be made of wrought iron.

· Size: 56x219x92 cms.
ANTIQUES

Ref.: ZF1107
VIRGIN MARY OR SAINT (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH ...

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

· Size: 33x25x87 cms
ANTIQUES

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

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

· Size: 25x15x48 cms.
ANTIQUES

Ref.: ZF1229
VICTORIAN DRESSING TABLE. MAHOGANY, METAL, GLASS. ENGLAND, 19TH CENTUR...

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

· Size: 52x120x75 cms.
ANTIQUES
FURNITURE

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

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

· Size: 83x180 cms.
ANTIQUES

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

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

· Size: 27x16x31 cms
ANTIQUES

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

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

· Size: 58,5x38,5x22 cms
ANTIQUES

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

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

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

Ref.: ZF0923
18K GOLD BROOCH WITH GARNETS

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

· Size: 8x4 cms.
ANTIQUES

Ref.: JBR1713
BRONZE BRAZIER 18TH CENTURY

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

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

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

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

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

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

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

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

Ref.: Z0747
WATERCOLOUR. LANDSCAPE BY CIRILO MARTINEZ NOVILLO

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

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

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

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

· Size: 187x3x87 cms LUZ 51X154 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

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

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

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

Ref.: Z3767
Sold

PAINTED WOOD LECTERN

Lectern. Mexico, circa 1700 Carved and gilded wood. Mexican Baroque lectern made entirely of carved and gilded wood. It has a prismatic shape, with a sloping front to facilitate the support of the book. Halfway up the front there is a flat corbel with a moulded perimeter, like a cornice, on which there is an oval recess that forms the centre of the body of a two-headed eagle, the main motif of the decoration. The eagle appears from the front, with its wings folded and its legs resting on the volutes that form the tail on the sides, with the two heads in profile forming a rigorously symmetrical composition, typical of classicist Baroque. Between the two heads there is a crenellated crown, held in its centre by a flowering stem. On the sides, openwork like the front, we see the only element that indicates that we are looking at a piece from the 18th century, although still fully Baroque. This is the rocaille created in the Rococo period, in the first half of the 18th century, an ornamental element that will be widely used from then on and which consists of an abstract crest that evokes the exterior of a shell in its texture and lines.

· Size: 30x18,5x39 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3862
CROWN. POLYCHROMED WOOD. 18TH CENTURY.

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

· Size: 145x10x68 cms.
ANTIQUES

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

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

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

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

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

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

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

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

· Size: 137x42x205 cms.
ANTIQUES
FURNITURE

Ref.: Z6209
SILVER INCENSE BOAT. WITH HALLMARKS. SANZ DE VELASCO, JUAN ANTONIO (17...

Boat. Silver. SANZ DE VELASCO, Juan Antonio (1720-1778). Valladolid, Spain, 18th century. With contrast marks. A circular-based nave raised towards the foot by a succession of stepped mouldings, its body decorated with a crest on the edge and an engraved composition based on plant elements and volutes (on a polished perforated background, a finish that is also combined in the decorative motifs) and a ribbed element on one side and a volute at the open end. The hallmarks on the base indicate that the piece was made in Valladolid (note that this is the so-called “cut mark”, which some experts place in time until the appointment of Antonio González Téllez as hallmark). The other hallmark present is by Juan Antonio Sanz de Velasco (1720-1778), who served as hallmark in the city between 1743 and 1774/8. Apart from other works preserved with the master’s hallmark (many in private Spanish collections), it is worth highlighting the silver altar frontal of the Virgen del Sagrario (Valladolid Cathedral) by the Valladolid silversmiths Juan Antonio Sanz de Velasco and Miguel Fernández Yáñez de Vega, who in the last third of the 18th century completed a work begun in 1693 by the silversmith José de Aranda. The shape of the piece is the usual one for this type of container for storing incense (in fact, the name naveta comes from “nave”) since the Middle Ages (naveta in the chapel of the Constables of the Burgos Cathedral by Juan de Valladolid from the 15th century), with variations in the shape and in its decorative elements depending on whether it belonged to a centre, style, etc. Compare this piece with works preserved, for example, in the Diocesan and Cathedral Museum of Valladolid, another from the Museum of Navarra from Mexico and dated between 1634 and 1666, another from the 18th century made of silver in its colour from the Cathedral of Tuy (with a very different foot), etc. Weight: 347 grams.

· Size: 16x11x9 cms.
ANTIQUES

Ref.: ZE243