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ENGLISH REGENCY MONOPODIA CONSOLE. ROSEWOOD, BRONZE, MIRROR. FIRST HAL...

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

· Size: 99x38,5x93 cms
ANTIQUES

Ref.: ZF1097
WALNUT CUPBOARD. 19TH CENTURY.

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

· Size: 60x160x275 cms.
ANTIQUES

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

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

· Size: 166x64x81 cms.
ANTIQUES

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

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

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

Ref.: Z0358
PAIR OF BRACKETS, GILT WOOD, ROCOCO, 18TH CENTURY.

Pair of carved and gilded wooden corbels, Rococo, 18th century. Pair of corbels with a curved lower profile and polygonal section decorated on their fronts with rocailles in relief and engraved plant and scale motifs. The movement of their profiles and the decoration place the works within the Rococo style.

· Size: 94x43x119 cms.
ANTIQUES
FURNITURE

Ref.: Z3412
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CERAMIC BOWL. TALAVERA. 17-18TH CENTURIES

Bowl, Talavera, late 17th – early 18th century. Glazed ceramic. Ceramic bowl decorated with high-temperature glazes on an opaque white tin slip. The polychromy is based on typical Talavera colours: cobalt blue, copper green, manganese black, antimony yellow and iron ochres, browns and oranges. These glazes were applied to the raw slip, so the piece was fired only twice: once for the paste and once for the slip and glazes. In addition, the colours were protected with a varnish, which was also fired in this second firing. The pieces were placed in the kiln in blankets or boxes, so that the colours would not burn (they are fired at a very high temperature, 900º). In general, those from Talavera will be well fired, without significant defects. The peak of this ceramic manufacture will take place between the 16th century and the mid-18th century, when the French taste was introduced to Spain, and the clientele began to prefer pieces from Alcora. However, Talavera would experience a new Golden Age at the end of the 19th century, with historicism. This piece features a typical Talavera decoration, which would be widely imitated in other centres throughout the Modern Age: a rampant animal in the centre, on a schematic ground plane, flanked by two large plant elements. The decoration is completed with synthesised plant elements and bands of concentric lines, inside and out.

· Size: 32x32x15 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z5575
”ANDALOUSIAN PARTY”, OIL ON TABLEX, JEAN-LOUIS PAGUENAUD (1876-1952).

“Andalusian Festival”, oil on tablex, Jean-Louis Paguenaud (1876-1952). Signed and dedicated (“cantatrice Dupré”) in the lower right corner. Jean-Louis Paguenaud is the pseudonym of Jean-Philippe Paguenaud (1876-1952). He spent his childhood in Algiers, where he discovered the sea. When his father moved to Limoges, he studied at the School of Decorative Arts and worked in a porcelain factory. He furthered his training with William Bouguereau, delving into the world of seascapes and undertook numerous trips to Martinique and North Africa, which he captured in gouaches and drawings, which he exhibited in 1905 at the Salon des Indépendants. His brother Joseph-Louis was killed in combat in 1914 and, to honour his memory, he decided to sign his work with one of the deceased's names. Appointed Official Painter of the French Navy in 1922, he lived for a time in Paris before returning to Limoges. He took part in a famous voyage on the ship “Lamotte-Piquet”, which took him to Central and South America. His career can be divided into three periods: his training period (1876-1902), the “orientalist” period (1902-1921) and a third period (1921-1942), when he became an official painter for the Navy; he produced a few more works between 1942 and 1952. His work can be seen in important private collections and in museums such as the Navy Museum in Paris, the Naval School in Bourdeaux, the Town Hall of Coussac-Bonneval, etc. The present work shows an exterior, a square in an Andalusian village, with a large number of characters dressed in the regional costume of the area celebrating a great festival. The movement is provided by couples and groups dancing in the centre, an orchestra on the left, diners on the right and several couples riding horses throughout the composition. This whole scene shares the spotlight with the landscape: the façade of a church stands before a house and an old bridge, with a mountain in the background under a blue sky. Several characteristics of Paguenaud's work can be clearly appreciated: the light, which he would have taken from Algiers and from all his travels; the compositional mastery with which he knows how to place a large number of figures; the blue sky, which is also seen in his seascapes, etc. Likewise, it is necessary to highlight the originality of the oil painting in the painter's artistic career due to its subject matter.

· Size: 233x5x175 int 213x152 cms
ANTIQUES
PAINTINGS

Ref.: Z6476
RELIQUARY PENDANT WITH FLAGELLATION OF CHRIST. SILVER, ENAMEL. 16TH CE...

Reliquary with “Flagellation of Christ”. Silver, enamel. 16th century. Oval reliquary pendant decorated on the outside with a striped band and some relief elements on the edge (with curved profiles and simple engraved scrolls), which has a chain of smooth oval links (all practically identical). On the front and back it shows two figurative scenes with striking polychromy. On the one hand, Christ is placed in the centre of the composition, tied to a high column, being whipped by two executioners or soldiers with branches, following a composition that was common in the 16th century. On the other hand, the focus is on a hollow in the pendant protected by glass (since it contains a relic, enhanced by a Latin cross), highlighted in the composition by rays of light and a beam of light; this element appears held by an angel and surrounded by little winged heads (common in the Renaissance) floating among clouds, and is accompanied by Saint Joseph with the Child and the Flowering Staff, and Saint Anthony of Padua (also with the Child and a bouquet of flowers). This type of jewellery has always had great value, both for the materials used and for its religious content. Despite this (or perhaps because of this same appreciation) there are not many examples of quality and in good condition, and it is possible to find them only in important private collections and in outstanding museums such as the Fundación Valencia de Don Juan in Madrid, the Museo Nacional de Artes Decorativas in the same city, etc., or old religious centres such as the Convent of the Descalzas Reales in Madrid. Weight: 160 gr

· Size: 8x1x10 cms.
ANTIQUES

Ref.: ZF0396
CABINET OR CUPBOARD OR TWO TIERED BUFFET. WALNUT. SPAIN, 18TH CENTURY.

Two-body wardrobe. Walnut wood. Spain, 18th century. Two-body wardrobe made of carved walnut wood with doors (two pairs, top and bottom) and drawers (four, towards the centre of the piece, arranged in pairs) and slightly raised by disc-shaped legs. The upper part is finished off by a series of mouldings of different widths (the largest with small fluted corbels, elements also present flanking the drawers); doors (with simple inlays or marquetry in lighter wood) and drawers are also enhanced by similar mouldings; the corners of the door areas are enhanced by smooth-capital Solomonic columns; below, on the legs, another moulding-shaped finish, thinner than that of the upper part, frames the piece of furniture. The sides have simple recessed carvings differentiating the different areas mentioned. The careful study of the composition and its details (and therefore the quality) can be seen in the joints of the wood, in the care with which the elements are used (the door hinges are left out to provide a little more decoration), etc. The presence of the Solomonic columns and the delicate use of fluted corbels placed opposite each other to add some more movement show the influence of the Baroque in the cupboard. The general lines of the piece correspond to a common composition in Spain (compare with wastepaper baskets, the sacristy cupboard of the Burgos Cathedral from the 18th century, etc.), and the wood is also the most common in cabinetmaking in this country. Compare the piece with the archimesa in the Lázaro Galdiano Museum in Madrid (first half of the 17th century, note the corbels); the well-known panelled cupboards; Louis XIII style pieces (noting the usual differences); etc.

· Size: 161x75x218 cms.
ANTIQUES

Ref.: ZF0485
SAINT DREAMING. POLYCHROMED WOOD. FLEMISH SCHOOL, 16TH CENTURY.

Dream of a Saint. Carved and polychrome wood. Flemish school, 16th century. Relief made of carved and polychrome wood showing an old man with a particular headdress (reminiscent of some chaperones) lying on a bed and accompanied by two friars dressed in habits, who are talking to each other. Iconographically, the figure of the old man lying in bed (note the cushion that raises the upper part of the body, following the usual use at the time) who has not died (probably) because he is not completely lying down, is reminiscent of how, for example, Saint Anthony, Saint Jerome, etc. were usually represented. It is not very likely that it is the subject of the Transit or Death of Saint Francis of Assisi due to the absence of the Stigmata and his age. It would have been part of a cycle of scenes on the altarpiece of some church, an accompaniment that would give the spectator more clues about the identity of those represented. Stylistically, Flemish sculpture, along with that of the Germanic countries, developed with a realism that could be appreciated in all the ornamental details, where the sculptural work was presented almost as a goldsmith's work that was applied to the large altars made of wood. In general, in the Netherlands, such a high level had been developed during the Gothic period that the acceptance of the Renaissance from Italy was late. Weight: 3 kg.

· Size: 36x6x36,5 cms.
ANTIQUES

Ref.: ZF1174
BUST OF MENELAUS OR AJAX (PASQUIN GROUP). BRONZE. 20TH CENTURY.

Bust of Menelaus or Ajax (Pasquino Group). Bronze. 20th century. Bust made of bronze showing a bearded man, dressed in a cloak gathered with a circular brooch and with a strip on the other shoulder, and wearing a helmet decorated with reliefs. The work is inspired by a highly prized sculpture known as the Pasquino Group (or Menelaus Carrying the Body of Patroclus or Ajax Carrying the Body of Achilles), made in marble copying a Hellenistic bronze and dated to around 200-150 BC. About fifteen Roman marble copies are known of it, many of which were “intervened” (or restored) during the 16th and 17th centuries. The earliest of these copies were documented for the first time in Rome in 1500. Cosimo I, Grand Duke of Tuscany, bought an ancient marble fragment of an armoured male bust supporting a dying companion, brought it to Florence (inventoried in 1574) and Ferdinando II commissioned its “restoration” (or rather intervention) to Lodovico Salvetti based on a model by Pietro Tacca, giving rise to the so-called “Menelaus Holding the Body of Patroclus” in the Loggia dei Lanzi in Florence (Italy). In 1771, Anton Raphael Mengs (Aussig, Bohemia, 12 March 1728 – Rome, 29 June 1779) took moulds of the parts he considered ancient (original) of this group and of the one in the Palazzo Pitti (a gift from Paolo Antonino Soderini in 1570), and assembled them into a plaster model that he intended to be more faithful to the Roman original. After a series of changes, it was rebuilt in 1838 and exhibited in the Loggia dei Lanzi in the Piazza della Signoria in Florence. This work by Mengs is cited to compare this bust with others inspired by those made by the neoclassical artist: Unknown creator, Head of Ajax from the Palazzo Pitti, c. 1770. Plaster cast. Dresden, Skulpturensammlung (ASN 1932); Head of Menelaus, Pushkin Museum, Moscow, etc. It should also be noted that many of these (for example, those mentioned in Dresden) are casts of a bust from the period of Hadrian of a head of Achilles originally Hellenistic which is in the Vatican Museums in Rome (inv. 694) and is also considered part of the Pasquino Group. We must emphasize the comparison of this bronze bust with this marble sculpture. Weight: 110 kg.

· Size: 82x55x116 cms.
ANTIQUES

Ref.: ZF1236
SILVER DRINKING CUP . SPAIN, 16TH CENTURY.

Silver wine tasting bowl, 16th century. “Cup” type wine glasses with plant motifs inside a six-pointed star at the bottom and with a cylindrical base decorated with circular geometric borders. Also known as wine glasses, this type of drinking glass was used on special occasions (ceremonies, etc.), hence the material and decoration they were made of, and they were very common during the reign of the Austrians in Spain. Although they were objects for civil use, it was not unusual for them to be donated or commissioned for use in churches or liturgical settings. Both the decoration and the shape of the cup show that it came from an artistic centre far from the main silver centres. The former, moreover, is more closely linked to Gothic art than to the Renaissance, which by this time had already made its presence felt in Spanish silverwork. Compare, for example, with the bernegal with cardboard-shaped handles from the Prado Museum in Madrid (catalogue O00085) from the end of the 16th century, which has the upper part carved in double concave scallops and shows plant and fruit engravings in festoons and ribbons. This difference does not detract from the value of the work, quite the contrary: it is proof of the attachment to designs with simple lines and Gothic plant and geometric decorations that existed in centres far from the creative capitals, whose influence can even be seen in Baroque works. Similar examples can be found in very few private collections and only in a few important museums. For example, similar bernegales from the 16th century are preserved in the Fundación Valencia de Don Juan (Madrid), and those from the 17th century are somewhat more abundant, as shown by those in the Lázaro Galdiano Museum (inventory 3910 and 3916).

· Size: 16x16x4 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6296
WOODEN FRAME. 16TH CENTURY.

Frame. Carved, polychrome and gilded wood. 16th century. Carved, polychrome and gilded wooden frame made from different elements with a marked Renaissance influence, resulting in an architectural composition with a stepped base, two fluted pilasters with volutes on the sides and an upper finish formed by another stepped entablature and a triangular pediment with three balls on another narrower entablature.

· Size: 143x34x160 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0876
MAHOGANY COMMODE EMPIRE STYLE WITH GILT BRONZE, CA 1880.

Empire style chest of drawers in mahogany and gilt bronze, circa 1880. Chest of five drawers with garland fittings, key locks and decorated lock shields, on semi-spherical legs and a top in dark stone. The front is flanked by two stipes with a female capital under a plant motif and a base resembling women's feet. It is made of mahogany palm and the fittings are in high-quality gilded bronze. Details such as the purity of the furniture's lines, its clear geometric shape, the angles, the presence of the caryatids on the front and the smooth back, the centralisation of the relief in the gilded bronze appliqués, the use of mahogany and the inspiration from classical antiquity (Greek and Roman) place the chest of drawers within the Empire style. This dominated all French arts at the beginning of the 19th century during the government of Napoleon Bonaparte (1769-1821), and was one of the most important inspirations for the Second Empire style, which was born under the government of Napoleon III and was very successful between approximately 1860 and 1880. The work stands out for the high quality of its wood and the perfection of its bronzes, both in its reliefs and in the gilding. These French metal ornaments were the most highly regarded in cabinetmaking for their quality, due to the strict control established by the central power over the guilds responsible for their production, in which the specialization of the different workshops necessary for their creation and subsequent sale to master cabinetmakers in particular or to other merchants who, on occasions, exported them, stands out. Although it is true that it is not a commissioned piece of furniture but one made following a system somewhat more similar to mass production, in all cases they were important works destined for the houses of the main families both for the materials used in them and for following the aesthetic novelties of the time.

· Size: 110x58,5x90 cms.
ANTIQUES
FURNITURE

Ref.: Z3393
GILLER-FALLER CAMERA WITH PROFESSIONAL STAND, FRANCE, CA 1925.

Gilles-Faller (Paris) studio camera with easel, France, circa 1925. Studio camera with bellows in very good condition, two lenses and mounted on a stand on wheels for professional use. It has a crank for adjusting the height and diagonals of the camera. Made of wood and gold metal and in its colour, it has the manufacturer's plate on the front. The company, which produced both professional and amateur photographic equipment, was founded in 1855 by Besson, who later joined forces with Gilles. Around 1870, this second family continued the business until around 1900, when “Guilles Fils” was succeeded by “Gilles E.”, who joined forces with Faller, giving rise to “Gilles-Faller”, which in 1924 became Société Anonyme (d'Exploiation) des Anciens Établissements Guilles-Faller. The identification plaque above the camera lens refers to this last stage, and places the headquarters at 31 Rue Navarin in Paris, where they had already established themselves around 1900, but without mentioning number 33 on the same street (which they would have bought, at the latest, in 1926, since this new door appears in L'Indicateur de l'Industrie Photographique of that year). This easel is very similar to the one in figure 2 (page 2) of the 1928 catalogue of the company (Bibliothèque Nationale Française, Paris) which was sold with the model “Chambre Gilles B 30x30” together with a series of elements. All the models of the company allowed the free combination of shutters and also lenses: note the two present, in good condition. Looking at the advertisement referred to, there is a peculiarity: in this case the rectangular camera (18X24) requires a specific easel, which could be included in the lot for an extra charge in francs. Made in walnut finish, which the client could choose between patent or varnished, you can see the rails that allow the movement of the camera by means of the wheels on its right and the reinforced canvas bellows.

· Size: 60x70x196 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3397
CASTILLAN WALNUT CHEST. TEXTILE AND WROUGHT IRON. SPAIN, BAROQUE, 17TH...

Castilian chest. Walnut wood, textile and wrought iron. 17th century. Rectangular chest with a flat lid and no legs, decorated with carved mouldings on the upper and lower edges of the piece of furniture and along the front, avoiding the lock on the front. This is made of metal, placed on red textile, and has an openwork composition based on scrolls and other simplified forms, a decoration that is also present in the rest of the chest's fittings. To the sides, on the front, there are two metal pieces to secure the lid closure; on the sides you can find the handles, common in this type of chest, also enhanced with an openwork iron composition on textile, similar to that of the rest of the elements. Inside there is exposed wood, together with the corresponding fittings (hinges and lock pieces), as well as a division towards one side by a section covered in wood. The various openwork fittings follow a tradition that is already found in chests at the end of the 16th century (compare this example with the 15th century Gothic chest in the Valladolid Museum, for example), but with decorative motifs of Baroque influence: braces, simplified scrolls, curves, etc. The shape of this chest, rectangular with a flat lid, is also the usual one in this type of furniture from the Gothic period, without any characteristic influence of the 17th century being appreciated in this sense. It is necessary to highlight the weight that this typology would have in Spanish furniture, as it would last until the 19th century, especially in Andalusia, with only slight changes, the most notable of which would be the change from decorative elements in openwork iron, as in this example, to using gilded brass studs drawing shields, plant themes, etc. The chest responds to what is usual in Castilian models, totally different from those of Catalonia, Valencia and Mallorca. Although it was the most common piece of furniture at the time, not many examples have survived: compare with the two 17th century chests in the Museo Casa de Cervantes (CE 202 without fittings, CE 145 with them) in Alcalá de Henares (Madrid).

· Size: 67x171x60 cms
ANTIQUES
FURNITURE

Ref.: Z6840
CHEST. WALNUT, TEXTILE, WROUGHT IRON. 17TH CENTURY.

Chest. Walnut wood, textile remains, wrought iron. 17th century. Rectangular chest or chest made of walnut wood with a flat lid with fine mouldings on the outside, another one running along the fronts of the piece and dodging the lock on the front in a downwards peak and, again, a slight staggering based on these motifs on the lower part, on the edge cut with curves and counter-curves that partially hides the tubular legs with discs of the piece of furniture. On the sides there are two metal handles, and in the corners two corner pieces (in each one) reinforce and decorate (simple plant elements cut out in the plate). The lock shield is decorated with animals and plant motifs; the hinges and corresponding part of the bolt, on the inside of the lid, have remains of red textile highlighting the cut-out decoration on their ends. The shape of this chest, rectangular with a flat lid, is also the usual one in this type of furniture since the Gothic period in the Spanish school. It is important to highlight the importance that this typology had in Spanish furniture, as it would last until the 19th century, especially in Andalusia, with only slight changes, the most notable of which would be the change from decorative elements in openwork iron, as in the present example, to using gilded brass studs drawing shields, plant themes, etc. This chest has points in common with Baroque examples from the Castilian school. Although it was the most common piece of furniture at the time, there are not many examples preserved: compare with the two 17th century chests in the Museo Casa de Cervantes (CE 202 without fittings, CE 145 with them) in Alcalá de Henares (Madrid), or with the chest dated between the middle and end of the 18th century in the Casa Museo Lope de Vega (Madrid) that has the lower part cut out.

· Size: 124x60,5x70 cms
ANTIQUES

Ref.: ZF0464
DESK. WOOD (PALO SANTO AND OTHERS), METAL. JEANSELME FILS GODIN ET CIE...

Bureau or desk. Rosewood, wood, metal. Jeanselme Fils Godin et Cie, Paris, France, 19th century. Stamped (with signature). Sample desk covered perhaps designed to go near a wall that has two drawers on top and three under the sample (the left ones are two; the right one is one with a lockable compartment, although in external appearance it seems two to balance the composition of the furniture). When opening the lid, a writing space with some compartments towards the back of the furniture is revealed. On the outside, it has a delicate marquetry work in which the rosewood stands out, and some carvings focused only on certain areas (top trim, drawers, slightly cabriolet-shaped legs, etc.) to enhance the elegance of the furniture and the quality of the wood used in its finish. The cabinetmaker's signature can be seen in areas that are not easily visible: "JEANSELME FILS GODIN ET CIE / EBENISTERIE, SIEGES ET TAPISSERIE / RUE DU HARLAY 7 & 9, AU MARAIS". Although this brand is part of the prominent Jeanselme family (fl. 1824-1930), this particular brand was used in furniture between 1863 and 1871 according to some experts, after having been founded by Charles-Joseph-Marie Jeanselme in Paris in 1824 (Auguste Godin took over the management of the same in 1871; after his retirement, the firm was known as A. Godin et Cie until 1883; upon Godin's death, the business continued with the founder's son, Charles-Henri Jeanselme under the name Ch. Jeanselme et Cie until 1930). By the mid-19th century, the Jeanselme firm was one of the most renowned in Paris. Thus, it is possible to find important examples associated with this name in the Metropolitan Museum of Arts, in prominent residences and private collections, etc.

· Size: 125x55x132 cms.
ANTIQUES

Ref.: ZF0465
VIEW OF THE PIER OF ANTWERP. OIL ON CANVAS. 18TH CENTURY.

View of the port of Antwerp. Oil on canvas. Flemish school, 18th century. Numerous ships and boats appear in the landscape, accompanied by small figures. In the background there is a city, with walls, houses, towers, etc., among which a tall structure stands out, which, together with the presence and shape of the port, allows the view to be clearly identified. The structure mentioned above is one of the towers of the Cathedral of Our Lady (built between 1352 and 1521), and it appears prominently in numerous views of the city. Compare this with a 16th-century copper engraving with copies in several museums, the View of the Port of Antwerp from the Vlaams Hoofd by Bonaventura Peeters the Elder (1614-1652) made between 1614 and 1652 (Museum aan de Stroom), the View by Mathys Schoevaerdts painted between 1660 and 1702 (same museum), etc.

· Size: 100x8x74 cms. int: 82x57 cms.
ANTIQUES

Ref.: ZF0975
PAIR OF SILVER CONVERTIBLE CANDLESTICKS. MARTÍNEZ MORENO, MATEO; MUÑOZ...

Pair of convertible candlesticks. Silver. Córdoba, Spain, 1793. With hallmarks and engraving marks. Pair of silver candlesticks in their colour, which have pieces to convert them into two-light candlesticks each. Each one has an oval base with wavy profiles, creating lines that, when they visually ascend in a helical manner through the rest of the piece, provide it with a notable movement; the axis, balustraded, has two smooth narrowings; the lighter follows the aforementioned lines. The pieces have a base that reproduces the shapes of the candlestick, and from it two flat, openwork arms with “C” motifs with volutes and waves like a crest, which end in two lighters with a tray or saucer that follow the aforementioned lines on the axis of the candlestick. Stylistically speaking, this is a pair of candlesticks that are clearly in the Rococo style. Their lines are reminiscent of the usual Spanish trays with contours that are found in writing desks, spice racks, etc. What is worth highlighting is the fact that the pieces are used to convert the candlesticks into candlesticks and the decorative choice made for them. You can see a location mark (Córdoba), the mark of faithful hallmark Mateo Martínez Moreno with numbers alluding to the date (1793), and another mark of a silversmith named Muñoz (given the date of the piece it could be Francisco Muñoz, documented between 1792 and 1818). Mateo Martínez Moreno was active in Córdoba during approximately the second half of the 18th century and was a faithful hallmark of the same city between 1780 and 1804 (the year in which he died). Weight: 1.7 kg.

· Size: 26x14x24,5 cms
ANTIQUES

Ref.: ZF1122
VIRGIN OF CARMEL (DRESSED UP). WOOD, METAL AND TEXTILE. SPANISH SCHOOL...

Virgin of Carmen dressed. Wood, metal and textile. Spanish school of the 19th century. Virgin of Carmen carved in wood and polychrome, an image of richly dressed with a tunic embroidered in gold with a white lace collar, a white cloak with gold thread lace in the profile and a delicate veil over the head, also white. The Child, who is held in her left arm, wears a white shirt with a lace collar and cuffs and a brown tunic also embroidered and finished in gold thread, with a cord at the waist of the same material. The gold lace that adorns Mary's cloak represents scallops, in allusion to the marine character of the Virgin of Carmen. Mary holds the scapular with her right hand, and wears long earrings of gold and silver thread and a royal crown openwork and decorated with rays and stars, in metal. The Child also appears adorned with a radial metal crown, simpler than that of his mother. The carving balances naturalism and idealisation, and shows a typically 19th-century delicacy and sweetness that is enhanced by the subtle polychromy, with light, evanescent tones, highly nuanced by glazes. The eyes of both figures are made of glass, a common element in 19th-century Spanish images of clothing that adds liveliness to the images. The ensemble stands on a pedestal of clouds polychromed using the estofado technique, supported by a stylised architectural design foot with a marble plinth simulated by polychromy. Weight: 5.5 kg.

· Size: 42x27x116 cms
ANTIQUES

Ref.: ZF1249
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PAIR OF SILVER CANDLESTICKS. 18TH CENTURY.

Pair of silver candlesticks. 18th century. Pair of candlesticks made of silver in an unadorned Baroque style, with a clean and dynamic structure that expresses itself through the contrasting superposition of elements with a circular section. The lines engraved on the discs of the shaft have an impact on this play of inscribed circles that determines the design. The foot is domed and stepped, combining curved mouldings and edges, and its stepped truncated cone shape is repeated, inverted and reduced in size, at the base of the lighter. The shaft is made up of two truncated cone-shaped necks, the upper one with a rounded base, alternating with lentils or discs of different diameters and narrow spools between them. Finally, the lighter is cylindrical, with the same play of parallel mouldings of various sizes that extend to form flat discs. Weight: 2 kg

· Size: 15,5x15,5x33 cms.
ANTIQUES

Ref.: ZF1250
PORTRAIT, FERNANDO FERNÁNDEZ DE CÓRDOBA Y VALCÁRCEL. OIL ON CANVAS. SP...

Portrait of Fernando Fernandez de Cordoba and Valcarcel. Oil on canvas. Spanish School, 19th century. Unframed canvas. Damaged. Requires restoration. Full-length portrait of a male figure set in an interior decorated with carpets, a gilded wooden chest of drawers with a Rococo influence, a relief on the wall, mouldings, an inkwell, maps, books, a writing desk, etc. To the left, next to a curtain, the composition opens onto a window that reveals a building. The man, in military uniform, holds a sword in one hand and a bicorne hat in the other, while looking straight at the viewer. Fernando Fernández de Córdova y Valcárcel (Buenos Aires, 2 September 1809 – Madrid, 30 October 1883), 2nd Marquis of Mendigorría, was a Spanish military man, son of the frigate captain of the Royal Navy José María Fernández de Córdova y Rojas and María de la Paz Rodríguez de Valcárcel y O'Conrry, 1st Marchioness of Mendigorría. He fought with his brother Luis in the First Carlist War. He belonged to the Moderate Party and later to the Democratic-Radical Party. He was President of the Government for a single day. He was a senator for life from 1847 to 1868 and for the province of Soria from 1871 to 1873, during the reign of Amadeo of Savoy. In the portrait it is possible to clearly see his decorations, located on the left side of his chest. Starting from the top: Knight Grand Cross of the Royal and Distinguished Spanish Order of Charles III (established by this monarch in 1771); on the left, that of Knight Grand Cross of the Royal Order of Isabella the Catholic (instituted by Ferdinand VII in 1815); below the previous one, the insignia of Knight of the Insigne and Royal Order of Saint Januarius (military order of the House of Bourbon-Two Sicilies, established in 1738). And almost covered by the lapel, the one awarded in 1850 when he was named Knight Grand Cross of the Royal and Military Order of Saint Ferdinand (established in 1811). The one that remains to be identified, next to the previous one, could be the decoration of Knight Grand Cross of the Royal and Military Order of Saint Hermenegildo. In addition, he was awarded the recognition of Knight Grand Cross in diamonds of the Order of Pius IX.

· Size: 138x218 cms.
ANTIQUES

Ref.: Z6572
STILL LIFE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (SPAIN, 1884-MÉXICO,...

Still Life with Fruit Bowl. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed towards the lower 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.: ZE296