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Quaking glass or wine-tasting glass. Silver. 18th century. Vessel known as a catavinos or tembladera (as it has no foot) made of silver in its colour with two flat handles in the shape of a “C” topped by volutes and decorated with wavy elements on the outside, which has a decoration on the edge (on the outside) of simple plant elements alternating with simple geometric elements made with lines and dots. On the bottom, on the inside, there is a plant element. In Spanish silverwork, the Baroque trends were maintained for almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these novelties in Madrid, which would slowly spread to the rest of the centres, depending on the areas and masters. This survival of the forms of the 17th century can be seen in the fact that bernegales tembladeras were, in general, more common pieces in the 17th century, remaining during the 18th century relegated to centres far from the main areas of creation. Weight: 91 grams.
· Size: 14,5x11x3,5 cms
ANTIQUES
Ref.: ZE368
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Landscape. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed (lower right area). 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: 68x4x59 cms. int: 55x46,5 cms.
ANTIQUES
Ref.: ZE428
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Pastoral box. Carved horn, wood, metal. Spanish school, 1861. Submits registrations. Oval box made of antler carved in its colour, with wood on the lid to reinforce it, decorated on the outside with a series of engraved elements. On the base there is an animal or monster, on the lid there is a monstrance or ostensorium with a cross in the centre and a large base with geometric elements, surrounded by angular shapes acting as a frame. Under the antler hinge there is the date of the piece's creation (1861) and, between two bands of angular elements, an inscription (I am from francys / inverted d / a rhombus / poios), alluding to the owner (and possibly the craftsman) of the work. These types of boxes, of popular tradition, were common in ancient times and were usually made by shepherds or cattle breeders themselves to store snuff or tobacco.
· Size: 7x4x4 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: ZE351A
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Side table or “guéridon”. Mahogany, gilt bronze, onyx (possibly from Algeria). France, towards the end of the 19th century. Octagonal mahogany side table with a top made of light-coloured onyx or onyx. It has four legs joined at the bottom with a curved frame, which are joined in a central piece topped by a small vase-shaped piece. At the waist, gilded bronze applications of a classicist influence can be seen between the cubes that finish off the legs, which are decorated with bronze applications. Between each two legs there is a wooden pendant. There are known examples preserved in private collections of French furniture with onyx tops, of similar colours to this one, from Algeria. Stylistically, the table shows a strong French and neoclassical influence, with elements (the pendants) considered to have an orientalist touch.
· Size: 62,5x62,5x69 cms
ANTIQUES
Ref.: ZF1263
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Mortar and pestle. Bronze. 15th century. Bronze mortar and pestle with a circular base and a spouted mouth decorated with a band beneath the rim. The base, facing outward, features three smooth lines in relief, above which appears a decoration framed by a band at the top consisting of heavily worn elements or masks over Gothic-style calligraphy. Reminiscent of French pieces held in private collections. Weight: 2.8 kg.
· Size: 13x13x9.5 cms
ANTIQUES
MISCELLANEOUS;BRONZE MORTARS
Ref.: ZF1401
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Monk's armchair. Walnut wood, textile. Spain, 17th century. Armchair with arms and high backrest, of the type known as “frailero”, which has a textile upholstery with studs on the seat and backrest, low, cut-out profile jambs joining the front and back legs and middle jambs or smooth crossbars joining the two front and two back legs, and simple armrests (curved, ending in scrolls). The frailero armchair, originally of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of both the 17th and 18th centuries 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: 74x67x128 cms.
ANTIQUES
Ref.: Z0665
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Monk's armchair. Walnut wood, textile, metal. Spain, 16th century. It has defects. Armchair with arms and high backrest, of the type known as “frailero”, which has a textile upholstery with studs on the seat and backrest, low, cut-out low-profile chambranes joining the front and back legs and middle chambranes or side rails (the front with carved geometric motifs) joining the two front and two back legs, and simple armrests (curved, ending in scrolls; the front with fluting). The friar's chair, initially of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of both the 17th and 18th centuries 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: 62,5x55x126 cms.
ANTIQUES
Ref.: Z0667
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Sold
"
· Size: Long. 97 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z5912
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Three cross finials. Silver in its colour. 20th century, following 18th century models. Each of the three pieces features a winged angel's head as its central motif, surrounded and enhanced by an elaborate composition based on architectural motifs and plant elements, both with a strong classical influence. They are made of silver in their colour and do not have contrasting marks. Stylistically, they are inspired by Spanish models from the 18th century. Weight: 780 grams.
· Size: 10,5x3x12 cmsm (sujección 5x2 cms)
ANTIQUES
Ref.: Z6590
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Base. Carved and gilded wood. Spanish school, 17th century. Base for sculpture made of carved and gilded wood, rectangular and flat, slightly raised on circular legs and decorated on the front and sides with carved plant and architectural elements with a clear classicist influence and baroque lines. The upper part has exposed wood, and when turned over, you can see that the back is ungilded and hollow. Weight: 9.5 kg.
· Size: 63x44x23 cms
ANTIQUES
Ref.: ZE347
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Pocket watch, Frères Esquivillon & De Choudens (ca. 1765-1830). Paris, France, 19th century. Pocket watch of the saboneta type with the exterior decorated in enamels (architectural composition with a certain exotic air) and white dial with Roman numerals for the hours and Arabic numerals every five for the minutes, and an inscription relating to its origin (which is referred to a series of engravings on machinery). “Frères Esquivillon & De Choudens” worked in Paris between about 1765 and 1830, creating highly valued pieces currently preserved in numerous private collections and in institutions such as the Metropolitan Museum in New York.
· Size: 6x1x6 cms.
ANTIQUES
Ref.: Z2298
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Standing dressing table mirror in carved mahogany, 19th century. The rectangular mirror frame is decorated with scrolls and carved floral and plant motifs in the classical tradition, and rests on two curved legs with lines reminiscent of the characteristic movement of the Baroque and Rococo periods. This mixture of styles was common in 19th century furniture, as shapes from past traditions were chosen for the creations of the period.
· Size: 88x76x160 cms.
ANTIQUES
FURNITURE
Ref.: Z2515
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Case with campaign cutlery and pocket knife. 19th century. A cylindrical case with a hinged closure that contains various field cutlery, such as a spoon, a knife, a removable fork, etc. secured in a rigid case and stored in a metal container. This type of travel item was widely used during the 19th century.
· Size: 8x8x16 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z3806
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Pair of frames. Wood. 20th century. Pair of carved wooden frames decorated on the front with a composition of mouldings of different widths, all smooth, combining straight and curved shapes.
· Size: 152x7x172 cms.
ANTIQUES
Ref.: Z3959
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Silver Bernegal. Portugal, 19th century. With contrasting marks on the base. Bernegal with wavy edges, rocaille decoration and plant elements on the outside and two “S” shaped handles. The flower that decorates the base on which this vessel rests can be found with the hallmarks, which date and situate the work in Portugal, in the 19th century, a time when it was very common to be inspired by styles of the past (Baroque, in this case). Weight: 170 gr.
· Size: 18,5x15x7 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS
Ref.: Z4961
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Renaissance bronze bell, 1555. Dated. Stem decorated with plant elements, with shoulders decorated with elegant lines, the middle has profiles within plant garlands and two legends above and below in Latin. Bells were already used by Catholics to call the faithful from the 5th century, but their use in civil matters and in other religions is known to have been in Greek and Roman times. The decoration of this bell, made in relief, places it in the Renaissance due to its inspiration in Roman coins for the profiles and plant elements it presents. Likewise, the date of the body places the creation of the piece with certainty, in addition to adding value to it. The inscriptions prove its religious use.
· Size: 7x7x11,5 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z6213
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Angel. Silver-plated metal. 19th century. Figure of an angel or archangel made of silver-plated metal, standing on a base resembling clouds. This type of sculpture was common in the 19th century both for churches and for personal altars, alone holding lamps or incense burners or forming part of a composition. Weight: 4.7 kg.
· Size: 20x17x29 cms.
ANTIQUES
Ref.: ZE294
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Salvilla. Silver. Edward, John & William Barnard. England, London, 1862. With contrast marks. Round salver with mixed linear contours decorated with elements in light relief towards the edge and engravings towards the centre, arranged around initials, and raised on legs with vegetal and architectural elements combining a polished finish with another. Edward Barnad & Sons was a company that was founded in London around 1860 by Anthony Nelme. Edward Barnad (died 1855) became the owner in 1829, trading as Edward Barnad & Sons, together with his sons Edward (died 1868), John and William (died 1851). Weight: 750 gr.
· Size: 30x30x3,5 cms.
ANTIQUES
Ref.: ZF0721
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Bad job. Watercolor. Signed in the lower left corner. José de San Bartolomé was a Spanish painter and sculptor who worked in the studio of the photographer Herbert from childhood and began his training at the School of Arts and Crafts in Madrid, continuing his studies at the Higher School of Painting at the Academy of San Fernando, while copying works by the masters of the Prado. In 1886 he settled in Paris, devoting himself mainly to genre painting in the wake of Fortuny, a theme that enjoyed great commercial success. He met Francisco Domingo, who opened the doors to the Buenos Aires market for him, where he received important commissions for painting and sculpture. He was Secretary of the Society of Artists of Paris, in 1894 he was named a knight of the Order of Charles III, in 1901 of the Legion of Honour and, in 1902, a commander of the Order of Isabel la Católica. At the beginning of the century he returned to Spain, and devoted himself mainly to portraiture, although he also painted landscapes and popular subjects. He enjoyed the protection of royalty, as evidenced by the portraits he painted of Queen Maria Cristina and various figures of the court. In 1925, the Paris Salon paid him a posthumous tribute with an exhibition of his work held in France. Works by Llaneces are preserved in the Prado Museum, the Pablo Sarasate Museum in Pamplona and in the Spanish embassy in Paris.
· Size: 52x2x42,5 / int 32x22,5
ANTIQUES
Ref.: ZF0997
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Virgin of Dressing. Carved and polychrome wood, etc. Spanish school, 17th century; later clothing. It has damage. Polychrome wooden carving of the dressing or dressing room type that has a series of garments: skirt, blouse, rostrillo, etc. Religious dressing sculptures were very common during the Spanish Baroque (and later), and there may be cases of works in which the unseen part was barely rough-cut and others in which the entire thing is carved, with many intermediate points.
· Size: 26x26x57 cms.
ANTIQUES
Ref.: ZF1183
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Trunk. Wood, leather, iron. Spanish School, around 1700. Wooden trunk with a curved lid and rectangular shape, covered with leather on the outside, with fittings, handles, studs and two closures at the front, which has a front and top opening. Inside it has a lower space accessible from the front divided in two by a vertical piece of wood; the lid and part of the chest have a textile covering. The back does not have leather. The nails with circular heads are arranged in geometric shapes. The handles have disc decorations. The fittings, also worked, follow models based on architectural designs, motifs also present in the lock shields on the front. Some of the metal elements still have traces of gilding. These types of trunks were known as “travel trunks” because they were normally used to store objects on journeys, hence the leather covering and the apparent lack of decoration on the outside. Having two locks was for greater security, since the two keys had to be used together to open it and these were usually entrusted to two different people. Compare this with the 17th century travel trunk from the Viceroyalty of Peru in the Museum of America (Madrid), which has decoration with animals and plant motifs (embossed leather). Or with the Chest of the Mayorazgo de la Cerda (17th century) in the National Museum of Decorative Arts (Madrid).
· Size: 85x129x65 cms.
ANTIQUES
Ref.: ZF1245
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Pair of forged iron fork locks. 17th century. Pair of forged iron fasteners of the so-called “fork” type due to their shape. This type of piece was used in furniture to secure tables, both dining tables and desks, and for this reason it is a very common piece of forged iron. The spirals and the balustrade parts date both to the Baroque period.
· Size: 93x30 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z5447
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Framed miniature; “Holy Family”. Wood, paint. 18th century; later framing. The oval frame of carved and gilded wood has smooth mouldings and an openwork top with scrolls and simplified plant details. On one side, a three-quarter view of Saint Joseph is shown, wearing a tunic and habit, holding the flowering staff and carrying the naked, reclining Baby Jesus in his arms. On the other side, also in three-quarter view, a miniature of the image of Our Lady of Solitude of La Victoria in Madrid can be seen (or of a Solitude inspired by this, which was the first image of this devotion in Spain). Stylistically, both images are strongly influenced by models and iconographies of the Spanish Baroque, as was common in 18th-century Spanish religious art (compare, for example, with “Saint Joseph with Baby Jesus” by Murillo, kept in the Auckland Art Gallery, or with the work on the same subject by Alonso del Arco, now in the Museum of Navarre). The main image of the devotion to Our Lady of Solitude was the sculpture by Gaspar de Becerra (which was in the Convent of Our Lady of Victory in Madrid and later in the Collegiate Church of San Isidro, where it was lost), which was used as inspiration for a large number of paintings and sculptures. This type of miniatures decorated with religious images were usually used as elements of personal devotion.
· Size: 6,5x1x10 cms.
ANTIQUES
Ref.: ZE183
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Winged table with turned legs. Walnut wood. Spanish school, 18th century. A folding round table with two wings that can be folded down and supported by two legs joined together for each wing by means of lower jambs. When the table is folded, there is a drawer with a wooden knob on each side and two legs on each side, joined in a rectangle by means of a jamb. The legs and vertical elements of the piece of furniture have turned balustrade elements and discs, as is usual in the Spanish school since the Baroque.
· Size: 107x 37x76 cms / Abierta 107x103x76 cms.
ANTIQUES
Ref.: ZF1173
