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WATER PAINTING. LANDSCAPE BY AGUSTIN REDONDELA

Augustin Redondela (Madrid, October 29, 1922) A practically self-taught painter, he is considered one of the most original Spanish landscape artists of the 20th century.

· Size: 24x16 cms.
ANTIQUES
PAINTINGS

Ref.: Z3943
”FRAILERO” CHAIR. WOOD, LEATHER. SPAIN, 17TH CENTURY.

Pair of friar's chairs. Walnut wood, leather, metal. Spain, 17th century. Armchairs with high arms and backrests of the type known as “frailero”, which have leather with studs on the seat and upper part of the backrest, low chambranes joining the front legs with the back ones and middle chambranes or side rails (the front one carved and cut out creating geometric motifs) joining the two front legs and the two back ones, and simple armrests, with scrollwork finishes. The friar's chair, originally of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of this and the 17th century and being recovered again in the historicist movement of the 19th century. Being such a deep-rooted tradition in Spain, this type of model was never stopped being created.

· Size: 69x55x107 cms.
ANTIQUES
FURNITURE

Ref.: Z5070
GILT BRONZE AND WHITE MARBLE CLOCK GARNITURE IN LOUIS XVI STYLE, 19TH ...

Gilt bronze and white marble fittings in Louis XVI style, 19th century. It is made up of two cups on pedestals and a clock. The first ones are identical: on four circular legs, there is a polygonal base on which there is a low fluted column decorated with two strings of pearls in its lower area; above it, there is a tall-stemmed cup decorated with two handles in the shape of plant stems. The clock is placed on four legs, a semicircular base with a floral frieze, four columns and another semicircular plate; highlighted by two branches with flowers joined together, it has a white face and Arabic numerals, as well as hands of the type known as Louis XVI and is topped by a vase. The pendulum of the clock, which has been shaped like a sun, can be seen between the columns and the decorative chains. The French style known as Louis XVI is characterized by its inspiration in classicism and spans approximately from 1760 to 1789. In the 19th century, numerous artistic movements from the past were recovered, among which the aforementioned stood out due to its inspiration, very much in line with the Neoclassicism of the time.

· Size: Reloj: 19x9x40 cms. Copas: 19x15x21 cms.
ANTIQUES

Ref.: Z6190
COLUMN. POLYCHROMED AND GILDED WOOD. 16TH CENTURY

Column. Carved, polychrome and gilded wood. 16th century. Carved and polychrome wooden column with a capital reminiscent of the Composite Order of Classical Antiquity (volutes, acanthus leaves in levels, etc.), a series of mouldings separating the shaft from the rest of the elements, a fluted shaft with a strip at the bottom with figurative elements and latticework, and a base with prominent upward-facing volutes and smooth mouldings at the corners. The aforementioned frieze shows a series of figures with only cloth hangings behind them as the background and carrying a series of elements (flowers, one with a tower with three windows that could be linked to Saint Barbara, etc.). In some details it is reminiscent of columns from other notable works such as the High Altarpiece of Our Lady of the Assumption of Tudela de Duero in Valladolid (last quarter of the 16th century-early 17th century, with designs by Manuel Álvarez and Francisco de la Maza); the High Altarpiece of the Cathedral of Astorga (1558-1584, following the architectural designs of Gaspar Becerra) has fluted columns with the lower part decorated with figurative reliefs; this detail is also present in the altarpiece of the Virgin Mary of Corcos del Valle (last quarter of the 16th century); etc.

· Size: 28x28x90 cms
ANTIQUES

Ref.: ZE239
DEVOTIONAL SILVER PENDANT. 17-18TH CENTURIES.

Reliquary cross. Silver, clear glass. 17th-18th century Devotional pendant made of silver and shaped like a Latin cross, decorated on the outside with simple scrolls, spikes, pearls and other elements of classical inspiration, as well as a ring to wear the jewel hanging from the neck. The front has seven oval holes (the one where the arms are crossed, which is larger) protected with transparent glass; the back is smooth, with the material in its colour. Typologically, there are similar examples of Portuguese origin, made of rock crystal and protected by silver bands, without the scrolls and other decorations, dating from between the 16th and 17th centuries, preserved in two private collections. The present jewel shows profiles with much more movement than these two, although the motifs and the simplicity of the lines respond to classicist influences. This type of jewellery was of great value to its owners, both for the materials from which it was made and for its content, which was considered sacred and protective. Despite this high value (or precisely for this reason), few examples of good quality and in good condition have reached us. There are medallions similar to the present one only in some important institutions such as the Fundación Valencia de Don Juan in Madrid, the Museo Nacional de Artes Decorativas (Madrid), the Lázaro Galdiano (Madrid), the Museo de Creencias y Religiosidad Popular del Pirineo Aragonés (Abizanda, Huesca), the Metropolitan Museum (New York), etc. And in prominent religious institutions such as the Cathedral of Santiago de Compostela or the Convent of the Descalzas Reales in Madrid.

· Size: 6,5x10 cms.
ANTIQUES

Ref.: ZF0190
CRUET SET. SILVER, GLASS. RENÉ-PIERRE FERRIER, PARIS, FRANCE, 1775.

Set of cruets. Silver and glass. René-Pierre Ferrier, Paris, 1775. With contrast marks. Set of cruets with salver made of silver in its colour and transparent glass, consisting of two jugs with handle, elongated neck and spout, and a body with a circular base, with a faceted exterior, an oval tray with two supports for the jugs and two others for the stoppers (decorated with leaves and fruits). The tray has four volute-shaped legs, a decoration that is repeated at the ends of the tray, and two architectural shapes on the longer sides, right where the supports for the spice racks are located. The supports for the jugs have an openwork decoration based on architectural motifs framing baskets with grapes and vine leaves and flowers. The hallmarks on the silver pieces indicate that they were the work of René-Pierre Ferrier (his hallmark can be seen), made in Paris between 1775 and 1776 (crowned M; “Maison Commune” mark) and with the corresponding taxes paid (the crowned A -this one in particular was used in Paris between 1775 and 1781- and the bull's head -same as the previous one-). René-Pierre Ferrier was a French silversmith whose mark can be seen used on work from 1775, the year he achieved the status of master. The shape of the tray is reminiscent of other works by the same silversmith dating from the end of the century and with a more pronounced “nave or ship shape”. The decorative elements respond to Neoclassicism, a very popular style in France at the time. It is possible to find pieces similar to the present one in some private collections and in institutions such as the Musée des Beaux-Arts de la Ville de Paris (Petit Palais), dated between 1783 and 1784 (inventory PPO2012), or in the Louvre Museum in Paris. Weight: 558 gr. silver / 1245 gr. c/bottle.

· Size: 27x16x23 cms.
ANTIQUES

Ref.: ZF0344
CAPITAL. GRANITE. SPAIN, 16TH CENTURY.

Capital. Carved granite. Spain, 16th century. Capital for a circular column made of carved granite, with volutes inspired by classical Corinthian capitals (three in total) and a series of mouldings. This is a common type in Spanish Renaissance buildings, as can be seen by comparing it with the Patio of the San Isidro or Los Orígenes museum in Madrid (Casa de los Vargas), the Cloister of Santa María de Ferreira de Pantón (Lugo), etc.

· Size: 60x60x40 cms. diam. columna 35 cms
ANTIQUES

Ref.: ZF0755
WROUGHT IRON FIREDOG OR ANDIRON. 16TH CENTURY.

Morillo. Wrought iron. 16th century. A wrought-iron andiron of the type commonly used for cooking in large fireplaces or hearths. It has a series of hooks facing upwards to accommodate spits when the andirons are placed in pairs, and a semicircular "plate" to hold a pot or similar. Compare with the one in the Metropolitan Museum.

· Size: 35x92x102 cm
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZF0843
SILVER TRAY. MATEO MARTÍNEZ MORENO, CÓRDOBA, SPAIN, 1789.

Source. Silver. Mateo Martinez Moreno, Cordoba, Spain, 1789. With contrast marks. Silver-coloured fountain, oval in shape and great depth, with contrasting marks and a border composed of smooth mouldings of different widths curved to form waves, ending in four peaks that extend towards the bottom of the piece, thus drawing a series of curves and counter-curves. This form is known as “cut-out profiles” and was a common resource in 18th century Spanish silverwork that followed or was influenced by Rococo models. The marks mentioned (frustras) could place the work's execution in Córdoba, during the period in which Mateo Martínez Moreno worked as a faithful contrast, also providing the date of 1789. Weight: 858 grams.

· Size: 38x6,5x27 cms.
ANTIQUES

Ref.: ZF1043
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PAIR OF VASES. MARBLE, GILT BRONZE. FRANCE, CIRCA LATE 19TH CENTURY.

Pair of vases. Gilded bronze, veined marble. France, late 19th century Pair of centerpieces or vases that have an oval body carved in veined marble in pink tones (of a type very similar to one that was highly appreciated and often used in French school works during the Rococo of the 18th century) and gilded marble bosses, creating a kind of tripod to hold and enhance the stone pieces. These are decorated with lion's claws on the legs, simple architectural moldings, flowers and female masks with plant elements, as well as a border that extends towards the inner area of the pieces creating like three wings or handles, decorated with plant and architectural elements (scrolls, flowers, bows, leaves, etc.) both on the outside and inside of this area, leaving what would be the inner area of the marble pieces smooth. The classicist inspiration of the decorative elements of the pair is common in works of the French school since the 18th century. Some details (for example, the claws on the legs) are seen in Louis XIV style centrepieces dating from that century, while other elements are more often seen in Louis XVI style works (one of the main styles of the Neoclassical style). There is knowledge of a pair of centrepieces very similar to these vases and of a single piece (also a centrepiece) kept in a private collection in the United States of America. Weight: 7.25 kg.

· Size: 16x16x29 cms.
ANTIQUES

Ref.: ZF1063
BANDIT AND MILITARY, PAIR. OIL ON BOARD. LUCAS VILLAAMIL, EUGENIO (185...

Bandit and soldier, couple. Oil paintings on panels. LUCAS VILLAAMIL, Eugenio (Madrid, 1858-1919). They present signature and remains of signature. The present pair of panels shows, on a blue background, two male busts. Despite their detail and naturalism, they are not portraits per se, but rather “paintings of types”, showing the concept that was held at the time of a bandit or a general, in line with certain postulates common in Spanish Romanticism. Eugenio Lucas Villaamil began his training with his father, Eugenio Lucas Velázquez, and continued at the Escuela Especial de Pintura in Madrid. His work was notable for largely following his father's line, with a strong Goya influence in both style and subject matter (he also copied some of Goya's paintings), and he was a protégé of José Lázaro Galdiano. Thus, in addition to his traditional Madrid, bullfights, etc., he was also known for his portraits, his urban prints (of the upper and lower classes), etc. His work is preserved in numerous private collections and institutions such as the Museo del Prado (Madrid), the Museo Carmen Thyssen (Málaga), the Museo Lázaro Galdiano (Madrid), the Real Academia de Bellas Artes de San Fernando (Madrid), the Museo Nacional del Romanticismo (Madrid), etc.

· Size: 23,5x4,5x28 cms. int: 11x15,5 cms
ANTIQUES

Ref.: ZF1117
DUTCH STYLE FRAME. EBONIZED WOOD. 17TH CENTURY.

Dutch style curly frame. Ebonized wood. 17th century. Rectangular frame made of carved wood and decorated with a series of parallel bands of different widths, alternating plain ones with others of different sizes (waves), reminiscent of basketry. Both in its colour and in the decoration mentioned above, the piece follows Dutch models, very popular during the 17th century Baroque practically throughout Europe, and frames were made in other schools following these prototypes. Compare, for example, with the frame of the “Portrait of a Gentleman” by Hans Memling in the Thyssen-Bornemisza collection (a Flemish piece, made of ebonized wood); or, in the same collection, with the frame of the work “Winter Scene with Skaters and Sleds in Front of a City” by Ruysdael; or with the “Vase of Tulips” by Philippe de Marlier and Frans Francken in the Bilbao Fine Arts Museum.

· Size: 67x5x74,5 / int: 45,5x54 cms.
ANTIQUES

Ref.: ZF1193
CHEST. WOOD, METAL. SPANISH SCHOOL, 16TH CENTURY.

Chest. Carved wood, metal. Spanish school, 16th century. Rectangular casket with a flat lid decorated on the outside with a series of figurative reliefs in a symmetrical arrangement with a theme and lines of clear Renaissance influence (framed and enhanced with smooth mouldings, on each front there are two grotesques facing each other or back to back, with a candlestick or central motif as the axis).

· Size: 19,5x14x11 cms.
ANTIQUES

Ref.: ZF1289
18K GOLD LOSANGE BROOCH WITH CABOCHON GARNET

18kt gold rhombus brooch with cabochon garnet. Rhomboid brooch decorated with plant elements and gold pearls in a particular arrangement of hollows inspired by scallops, with a symmetrical and balanced composition. In the centre and surrounded by gold bands (concave, fine cord, etc.) is the oval, smooth garnet with an eight-pointed star in the centre highlighted by white elements (a larger pearl in the centre surrounded by eight smaller ones) contrasting and highlighting the gem. On the back, it has a particular figurative decoration with a hunting dog carrying a bird in its jaws. Weight: 14.60 grams.

· Size: 5,3x4 cms.
ANTIQUES

Ref.: JBR1732
ROMANESQUE STYLE CHEST. WOOD, METAL, BONE. SPAIN

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

· Size: 21x13,5x11 cms
ANTIQUES

Ref.: ZF1179
PINE WOOD CUPBOARD. SPAIN, 17TH CENTURY.

Cupboard. Pine wood. Spain, 17th century. Two-body cupboard made of carved pine wood, with legs in the shape of a fluted jamb, a lower body decorated with simple panels (like the side ones) on the two doors that close with a key, and an upper one with latticework on the outside. The upper area is a single space, while the lower area has a shelf that divides it into two. The decoration links the piece of furniture with very common shapes of traditional Spanish cabinetmaking.

· Size: 104x60x175 cms.
ANTIQUES

Ref.: Z0634
R.DOMINGO 1901. \'ARTILLERY MANEUVERS\'

DOMINGO FALLOLA, Roberto (Paris, 1883 – Madrid, 1956). “The Burden”, Paris. Watercolor on paper. Signed and located in the lower right corner. Domingo studied in Paris with his father, the painter Francisco Domingo Marqués, and later at the Academy of Fine Arts of San Fernando, where he was a student of Antonio Muñoz Degraín. He participated in national and international exhibitions, winning third medal at the National Exhibition of Fine Arts in 1908, second in the 1910 edition and first in 1915. He also held exhibitions in Rome and London. A costumbrista painter, he specialized in bullfighting themes, which brought him great fame and prestige. Roberto Domingo is represented in the Prado Museum, the Fine Arts Museum in Granada, the Provincial Museum in Cádiz, the Municipal Museum in Madrid, the Bullfighting Museums of Las Ventas in Madrid, La Maestranza in Seville, Valencia and Viana de Cega (Valladolid), the Drawing Museum of Castillo de Larrés (Huesca) and those of Havana and Hemingway in Cuba, among many others.

· Size: 42x51 cms. int: 30.5x22.9 cms
ANTIQUES
PAINTINGS

Ref.: Z4092
ORNAMENTAL MIRROR WITH CREST, 18TH CENTURY.

Cornucopia with a prominent crest in carved and gilded wood, 18th century. Cornucopia with a rectangular mirror inside, decorated in its frame with simple mouldings (some concave, others straight and others convex) without exaggerated movement and, on the outside, some light garlands of flowers. The upper crest stands out, very highlighted, formed by rocailles, curved mouldings, flowers and a vase. This work is of great interest because, while the simple lines to which we have referred respond more to models that follow the Neoclassical style, other elements (rocailles, concave mouldings together with convex ones, movement, decorative exuberance...) respond to the Rococo style. In the 18th century in Spain both artistic styles coexisted. Requires cleaning and light restorations

· Size: 96x35x185 cms
ANTIQUES

Ref.: Z5301
BRONZE “WOUNDED FIGHTING BULL”.

Bronze sculpture, “Wounded Bull”. Signed “F. Bonilla Villalba” on the base. On a wooden pedestal, the figure of a bull is placed after the banderillas and death stages, as the elements used in both can be seen: three banderillas and the estoque. Thanks to the great quality of the artist, one can see both the moment when the bull is about to expire and bellows as well as the blood that flows from its wounds. The drama is accentuated thanks to the particular treatment of the animal's skin.

· Size: 55x27x40 cms.
ANTIQUES
SCULPTURE

Ref.: Z6180
SILVER “TEMBLADERA” (CUP). JUAN MONTERO, SALAMANCA, SPAIN, 18TH CENTUR...

Quaking. Silver. Juan Ignacio Montero, Salamanca, 18th century. With contrast marks. Silver quaking coin in its colour, ready on the outside, decorated with two inverted “S” shaped handles and decorated with spikes on the outside. At the base of the piece there are four hallmarks (flanking the hallmark line), which place the piece's production in Salamanca (note the bull), with the intervention of Juan Ignacio Montero; there are two other frustrating marks. Juan Ignacio Montero was a silversmith and hallmarker, and the punch seen here appears to date to preserved works that have been dated between 1759 and 1779, such as a sacra in the Parish Church of San Lorenzo in Segovia (by Manuel Cardeñosa, dated 1767). It is known that he held the position of hallmarker in Salamanca between 1758 and 1781 and that he was active until 1779. He used a punch that incorporated the dates relative to the year, although sometimes the same iron was used in several years. Weight: 70 gr.

· Size: 10x7x5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6251
SNUFF BOX. HORN, WOOD, METAL. SPAIN, 1789.

Pastoral box. Antler or horn, wood, metal. Spanish school, 1789. Oval box with a flat lid decorated on the outside with a series of elements engraved on the shaft from which it is made. The base has some inscriptions. Under the hinge appears the date (possibly of manufacture) 1789, with the inscription in capital letters “Long live my master Jesus” (who may also have been the creator of the box). The lid has a rather curious scene: a Latin cross, flanked by two spheres (perhaps the sun and the moon, thus alluding to the Crucifixion), and with two arms arranged in an attitude of prayer emerging from the base of the cross, and, below, a human figure praying with two palms on its hands (note the halo); the area is completed by two stripes and a series of bands functioning as a frame. This type of box, of popular tradition, was common in ancient times and was usually made by shepherds or cattlemen themselves to store snuff or tobacco.

· Size: 7x6x2 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZE351B
MARTYRDOM OF SAINT STEPHEM. OIL ON CANVAS. 17TH CENTURY, AFTER AEGIDIU...

Saint Stephen. Oil on canvas. 17th century, after the engraving by Aegidius Sadeler (inspired by Jacopo Palma). The figure of the Saint appears in the foreground, with his arms raised to the sky; to the left of the viewer, the martyrdom of Saint Stephen is shown, under the heavenly apparition of Christ and God the Father; on the other side, there are some buildings and spectators. Both in the composition and in the figures, one can see an influence, directly or indirectly from other paintings, of an engraving by Aegidius Sadeler II (1570-1629) based on a Martyrdom of Saint Stephen by Jacopo Palma the Younger (1548-1628).

· Size: 67x6x83 cms. int 43x58 cms
ANTIQUES

Ref.: ZF0760
BRONZE INKWELL. SPAN, 17TH CENTURY.

Bronze inkwell. Spain, 17th century. An octagonal bronze inkwell with eight small holes and one large hole in the centre of the upper part. It has a flat base and decoration on its fronts based on mouldings of different shapes and widths, all smooth and leaving flat areas in the centre of the piece. Around this central hole there is a raised moulding, in a combination similar to that mentioned above. Typologically, the most common form of inkwell in Baroque Spain was square, and they were made of bronze, ceramic, etc. The polygonal shape, although also relatively frequent and apparently more so in the 18th century, is less common. Compare, for example, the polygonal ceramic inkwell from Talavera de la Reina dated to the 17th century that is in the Museo Nacional de Artes Decorativas (Madrid), or the bronze one with an octagonal lid dated to the 19th century from the same institution, with several ceramic ones and different origins from the 18th century (same museum), etc. Above all, it is worth remembering, due to its similarity to the present piece, the polygonal inkwell with six holes made of bronze and dated to the 17th century that is in the Museo Casa Natal de Cervantes (Alcalá de Henares, Madrid). Likewise, it is possible to see the use of pieces of this type in paintings such as San Gregorio Magno by Fray Juan Andrés Rizi dated 1681 (Museo del Prado, Madrid). Weight: 1.701 kg.

· Size: 18,5x18,5x8 cms
ANTIQUES

Ref.: ZF1121
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PAX WITH INFANT JESUS AS SALVATOR MUNDI. PARTIALLY GILT SILVER AND PEA...

Peace-bearer with the Child Jesus as Salvator Mundi. Partially gilded silver and a pearl. Madrid, 1781. A peace-bearer with a structure in silver in its colour, embossed and chiselled, and a round figure of the Child Jesus cast and gilded. The Child appears naked, with a radiant halo and resting his left leg on a rock, in a contrapposto position of classical heritage. He is represented as Salvator Mundi, with a sphere that symbolises the world in his left hand, crowned by the cross. The Salvator Mundi is usually shown blessing with his right hand, a gesture that is eliminated here to make the Child hold a sceptre of command topped with a pearl. The figure sits on a corbel in the shape of a scallop and is situated within a niche topped with a semicircular arch, with another scallop at its apex, in allusion to the sacrament of baptism. The profile of the niche shows a fantastic architectural design, with C-shaped braces, floral elements, thick acanthus leaves, rows of bells and rocaille crests. In the upper area, the bottom of the arch appears worked with small incisions that shade the surface, highlighting the relief of the rest of the elements. The flat back has a support band also in silver, joined by soldering. The piece has hallmarks of Madrid Villa y Corte from 1781. Illegible silversmith's mark.

· Size: 11x6x13,5 cms
ANTIQUES

Ref.: ZF1251