Results 193 to 216 of 526

«« « ...6 7 8910 11 12... » »»

Sold

FRAME WITH MIRROR. WOOD, METAL, GLASS. 17TH CENTURY

Mirror. Carved wood. 17th century. Mirror with a slightly rectangular carved wooden frame that has a metal piece on one of its smaller sides so that it can be hung on the wall. The frame has been decorated with a composition based on somewhat fleshy plant elements concentrated in the corners and in the centre of the smaller sides without protruding from the mouldings in which they are located, and with a series of fine, smooth mouldings towards the interior. Although plant decoration is one of the most common in art, the curves, depth, lines, etc. that the piece presents can be linked to works from the Baroque of the 17th century. Nowadays, the value and appreciation of frames is on the rise due to the search for them by museums and important institutions, with the aim of giving the works the frames they would have had originally. Hence, similar examples can be found in some paintings by masters of the time (Vermeer, for example), or can be found in important museums.

· Size: 110x90 int 68x88 cms.
ANTIQUES

Ref.: ZF0283
BRONZE MORTAR WITH INSCRIPTION. SPAIN, 1823.

Mortar with inscriptions. Bronze. Spain, 1823. Mortar made of bronze with a flared mouth and a truncated cone-shaped body that develops without discontinuity and decreases in diameter towards the base; it has two handles or “pieces” towards the smooth decorative mouldings that it has on the upper part. The piece has, almost on the edge, an inscription (SOY DE D GREGORIO OCANA ANO DE 1823) in capital letters and a date in Roman numerals with spaces between them; and the text (the opposite of the other) “Mazon fecci”; both flanked by a simple moulding above and another below. This large mortar is of the type that is usually known as a “hospital” mortar, as it is usually used for medicines in environments with many patients or in important pharmacies. Typologically, it follows the usual line in these examples from the Spanish school during the 19th century: smooth, with mouldings and, as a general rule, without those ribs (or derivatives of them) that usually appeared in the previous ones. Compare, for example, with the large pharmacy mortar in the Municipal Museum-Archive of Calella (with an inscription, ribs and human heads as handles), a large mortar in the Museum of the Spanish Pharmacy of the Complutense University of Madrid, etc.

· Size: 37x34,5x25 cms.
ANTIQUES

Ref.: ZF1007
WARDROBE WITH GUN RACK. CHERRY WOOD AND OAK. FRANCE, 18TH CENTURY.

Armoire with gun cabinet. Cherry and oak wood. France, 18th century. A two-door cabinet with three drawers at the bottom, all of which have a locking system, and a compartment on one side for storing firearms. The front of the lower part has gentle curves between two cabriolet-shaped legs and carved details; the two doors have been decorated with Rococo-influenced mouldings on their curves; it also has a moulding on the top. This piece shows a clear influence from the so-called Provençal and Louis XV style examples.

· Size: 173x68x220 cms.
ANTIQUES
FURNITURE

Ref.: Z0609
POLYCHROMED AND “ESTOFADA” WOODEN SCULPTURE. “LUKE THE EVANGELIST”. 16...

Polychrome and upholstered wood carving. “Saint Luke the Evangelist”. 16th century. Freestanding devotional figure of a bearded man standing with one knee raised to support a tablet on which he is writing. Beneath his left leg, a bull is looking towards him, lying on the ground. The clothing reveals the gold base that forms the stew. Saint Luke is frequently represented as a middle-aged, bearded man, accompanied by the Tetramorph animal with which he is associated (Revelation 4:6-7), an element that is also due to a verse in the Book of Ezekiel (1:10). The act of writing alludes to his authorship of one of the Gospels, although the Acts of the Apostles are also attributed to him. The image belonged to an altarpiece, hence the back part is barely worked and polychrome, and it was placed alone or as part of a scene such as a Last Judgement. Stylistically, the image's upholstery and its design are details that remain from the Gothic tradition. However, the correct anatomy of the figure, the contained movement conveyed by the drapes and its posture, and the naturalism and expression of its face relate the work to the Renaissance. In Spain, this artistic style was introduced during the 16th century, with great differences depending on the region and artist. After an initial stage in which strong medieval influences were still present, the second third of the century saw the introduction of Mannerism by artists who had travelled to Italy and returned with the novelties. It is with this second stage that the sculpture is most closely related, without forgetting the medieval details that it still maintains and the restraint of its movement and expressiveness. Compare, for example, with the works of Alonso de Berruguete and Juan de Juni, the evangelists Saint Luke and Saint Mark from the church of Santa Eulalia de Ganuza, today in the Diocesan Museum of Pamplona. Requires cleaning and polychrome restoration.

· Size: 16x7x36 cms,
ANTIQUES
SCULPTURE

Ref.: Z6546
GILDED BRONZE PROCESSIONAL CROSS TOP. 20TH CENTURY, AFTER EARLIER MODE...

Processional cross finial. Gilt bronze. 20th century. Latin cross with straight arms decorated with tabs between mouldings on both fronts, rays at the intersection of the arms, and multi-lobed finials reminiscent of fleur-de-lis decorated with flowers and palmettes at the ends; on the obverse, Christ crucified with a halo of rays and a loincloth; on the reverse, the Virgin Mary with a halo, standing in an attitude of prayer. Knot composed of various elements (mouldings of different radii, etc.) among which a circular central body stands out, enhanced with small cresting and reliefs with the four Evangelists accompanied by their element of the Tetramorph and situated in landscapes. As can be seen in various elements, the piece is inspired by styles of the past.

· Size: 56x36x108 cms
ANTIQUES

Ref.: ZF0612
WHEELCHAIR, 19TH CENTURY.

Cart for the disabled, 19th century. A cart with an upholstered seat and two wheels with shock absorbers at the rear and a smaller one at the front that can be steered by means of a crank. The footrest has been decorated with geometric marquetry studded on the outside. Its state of preservation should be noted.

· Size: 180x83x100 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0713
GILT BRONZE GUÈRIDON, FRANCE, NAPOLEON III, CA THIRD THIRD OF THE 19TH...

Gueridon display case in polychrome and gilded bronze, France, Napoleon III period, towards the third third of the 19th century. The small circular table has a transparent glass top, which reveals the upholstered interior, and a waist decorated with classically inspired garlands on a gold background. The single leg of the piece of furniture rests on three curved legs, decorated with openwork circles and finished with claws. The quality, its simplicity of lines, and the decorative elements place the work in France, during the reign of Napoleon III (1808-1873).

· Size: 33x33x87 cms.
ANTIQUES
FURNITURE

Ref.: Z3090
TABLE FOR SPANISH DESK. PINE AND BEECH TREE WOOD, IRON. 18TH CENTURY.

Bargueñera table with Solomonic legs. Pine and beech wood, iron. 18th century. Table with a rectangular board made of pine wood and beech wood legs turned in the shape of Solomonic columns, which are joined, two by two, by a lower jamb also carved in Solomonic with a dado in the center, from which the curved iron fasteners emerge.

· Size: 148x58x78 cms.
ANTIQUES
FURNITURE

Ref.: Z4759
BRONZE MORTAR WITH INSCRIPTION. SPAIN, 1846.

Mortar with inscription. Bronze. Spain, 1846. Mortar made of bronze with a flared mouth and a truncated cone-shaped body that develops without discontinuity and decreases in diameter towards the base. The piece has an inscription (“soi de don Gregorio goia ano 1846”) in capital letters with spaces between them and two areas with lines flanking the text in the upper and lower areas, referring to the owner of the mortar and the year in which it was made. Compare, for example, with the large pharmacy mortar in the Municipal Museum-Archive of Calella (with an inscription, ribs and human heads as handles), a large mortar in the Museum of the Spanish Pharmacy of the Complutense University of Madrid, etc.

· Size: 25x25x30 cms.
ANTIQUES
MISCELLANEOUS;BRONZE MORTARS

Ref.: Z5727
SILVER FRUIT BOWL 18TH CENTURY .

Cordoban silver salute, 1759-1768. With marks. Weight: 820 g. Silver salver in Rococo style, with hallmarks from Córdoba and the marker Bartolomé Gálvez y Aranda. It has a tall, stepped base, with a circular base, decorated with incised grooves and other simple classical motifs, already announcing the change of language towards neoclassicism. However, the plate itself is still clearly Rococo, with a profile of mitered curves that translate into edges on the eaves. Bartolomé Gálvez y Aranda was a silversmith, although he worked as a stamper between 1759 and 1772, using for this work the punch that we see here: his surname in capital letters, in a very horizontal trapezoidal frame and surmounted by a raised trilobed fleur-de-lis. From 1768, Gálvez y Aranda added the chronological mark to this punch, so this salute would be dated between 1759 and 1768. It is also a particularly interesting piece because it comes from Córdoba, the main centre of Spanish silverwork in the Rococo period, from whose workshops religious and secular pieces of high quality were produced, destined for clients not only locally but throughout the Iberian Peninsula, even reaching the Canary Islands and Latin America. The great diffusion of Cordoban silverwork took place, in fact, in the last quarter of the 18th century, through the so-called master silversmiths. These characters acted as trade brokers, according to Pérez Grande, visiting churches and fairs held throughout the country. The activity of these silversmiths was also favoured by tax exemptions.

· Size: 32x32x13 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6259
BRONZE MORTAR. SPAIN, 1816.

Pharmacy mortar. Bronze. Spain, 1816. A mortar with a flared mouth, decorated with ribs derived from pillars and a band in the upper area with an inscription (I am Don Juan Antonio Martínez, apothecary in Nabalmoral de Pusa / Year 1816); the handles have been lost. Navalmoral de Pusa is a municipality in Toledo that was united in the 19th century with Navalmoral de Toledo, giving rise to Los Navalmorales. The decoration of the piece follows the usual for this type of mortar from prominent pharmacies. Weight: 39 kg.

· Size: 30,4 x 30,4 x 21 cm.
ANTIQUES

Ref.: ZF0792
Sold

INFANT JESUS OR JESUS AS SAVIOUR OF THE WORLD. FLEMISH SCHOOL, CIRCA F...

Infant Jesus. Carved and polychrome wood. Flemish school, first half of the 16th century. Infant Jesus with a polygonal base made of carved and polychrome wood. The figure is presented naked, standing, with the right hand raised in a gesture of blessing and the left holding a partially gilded orb. It is necessary to highlight the shallowness of the carving, polychrome on all sides, and the lack of work (or less detailed work) in an area of the back of the base of the sculpture, which would coincide with the part that would be attached to the altar, wall, etc. It is necessary to highlight that the curls of the hair are arranged in the usual way in the typology on the back, but those on the front are somewhat peculiar. Reflecting the new “modern devotion” of the time, these figures of the Infant Jesus were often used in private oratories (houses, convents, etc.), showing the desire at the time to emphasise the humanity of Christ and a particular cult possibly spread by the Dominicans. These small figures, prestigious but relatively affordable, were very successful outside the Netherlands, with those made in Malines being the most highly regarded, and with Spain being a very frequent destination for the “Malines dolls” (Virgins, Infant Jesus, etc.). These works often bore marks highlighting their origin. Within the stages into which the production of Malinas is usually divided, there is talk of a third one in which the production of pieces intensified (the majority of the preserved works therefore correspond to this period), but, curiously, the Children (which until now were the second most frequently made and requested piece by clients) move to third place, being surpassed by Saint Anne. The measurements are usually between 35 and 37 centimetres in height in the classic format (with a depth of between 7 and 8 centimetres) and 29 to 30 centimetres in the smallest format (with a depth of between 4 and 7 centimetres). Their appearance is thinner, with facial features that are sometimes already angular (they are still made “chubby” following previous models, but these are more schematic now), and the occasional placement of a cushion under the feet appears. This stage is dated between 1515 and 1535. Compare, for example, a Child from the Musée Louvain-la-Neuve (inv. VH552), or the base or pedestal (similar lines) of that from the Musée du Hôpital Notre-Dame à la Rose (inv. 0108). Above all, one from the Musée voor Religieuze Junst (Inv. 0011) with its cushion-shaped base on an architectural form should be remembered for its elongated shapes, dating from the period of intensification of production. The arrangement of the hair is similar to that from the Musée des Fêtes, dated around 1500, and to that from the Musée Quinta das Cruzes (inventory MQC 2307).

· Size: 11,5x7x33 cms.
ANTIQUES

Ref.: ZF1200
SAINT PAUL\'S SCULPTURE. 16TH CENTURY

Spanish school of the 16th century. "Saint Paul". Carved and polychrome wood. A devotional image carved in wood, polychrome and gilded, representing the apostle Saint Paul, dressed in a tunic and cloak, with a parted beard, brown hair and a large sword, his main iconographic attribute. In the Middle Ages, numerous corporations were placed under his patronage, due to different aspects of his iconography, life and miracles. However, Saint Paul was never a popular saint, which proves the relative poverty of his iconography. In fact, the role he occupies in art is not proportional to his importance in the spread of Christianity. In early Christian art, his only attributes are a book or a scroll, and in the 13th century his emblem appears, the sword that was the instrument of his martyrdom. Once the clash between tradition and modernity was overcome, with the arrival of the influences of the Italian Renaissance in Spain, the full 16th century was characterised by the great development achieved by religious imagery. Likewise, stylistically there was a confrontation between the classicist sculptors and those of Flemish affiliation, who sought more dramatic and emotional approaches. Thus, the spread of religious images in Spain was based on two fundamental bases. On the one hand, the fact that the Nordic influence constituted a clearly differentiated alternative to the Italian classicist model; on the other, the emotional sense, which the religious image had to acquire due to its own function, was oriented more towards enhancing the feeling, to moving the faithful, than to following the rationalist dictates of the Renaissance. So much so that in Spain, attention to the emotional had a more relevant character than in the rest of Europe. In this way the image, associated with the words of the preachers, was the most suitable instrument for the indoctrination of the people and for the defense of the canons of the Church, following scholastic and not humanistic approaches.

· Size: 19x12x39 cms.
ANTIQUES
SCULPTURE

Ref.: Z3024
WEIGHING SCALE. IRON. WIDOW OF JOSÉ MENAYA, VALENCIA, SPAIN, CIRCA SEC...

Scale with weights. Iron. Widow of José Menaya, Valencia (Spain), around the second half of the 19th century. Iron scale made up of a swinging arm with a structure at each end from which hooks hang, and elements in the centre that determine the weight (note the hook to hang it, the needle to measure the weights and the elements that still show traces of gilding). On the front it has an inscription in capital letters (Viuda de José / Menaya Valencia) related to its place of creation. They are accompanied by a remnant of a chain of elongated links and eight circular weights with rings at the top of different sizes. D. José Menaya is given an honourable mention for a collection of scales at the Valencia Regional Exhibition of the Economic Society of Friends of the Country in the “public session of 1867”. It is said that in the second room there are “Scales and safes by D. José Menaya”, and that “the José Menaya workshop” specialised in scales (succeeding Malabouche in this market niche)” at the Valencia Regional Exhibition of 1909. The Museum of Spanish Pharmacy at the Faculty of Pharmacy of the Complutense University of Madrid (Spain), preserves a hand scale with a case by José Menaya, mentioning that he was a “weight refiner” from Valencia, located on Calle Cerrajeros. Weight: 45 kg.

· Size: 190x23x80 cms
ANTIQUES

Ref.: ZE436
ORNAMENTAL TOP, POLYCHROMED AND GILT WOOD, 18TH CENTURY.

Carved, polychrome and gilded wooden finial, 18th century. Painted marble-like finish decorated with scrolls and carved and gilded plant motifs on its front surface. It would have formed part of a larger work such as an altarpiece, and the quality of its workmanship and polychromy stand out. The volume of the carving and the movement that its curves provide relate this finish to the Baroque, recalling the Rococo in some details.

· Size: 20x87x37 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z2626
SMALL CHEST WITH PARTIAL POLYCHROMY, “TEJADILLO” (ROOF) TYPE, 16TH CEN...

Small roof box with remains of polychromy, 16th century. Rectangular box with a roof-shaped lid, which gives its name to this typology, very common in the Gothic period. The lock shield and the bolt are old, although not from the 16th century like the rest of the work. It should be noted that it retains part of the original polychromy: green on the outside and red on the inside.

· Size: 255.5x18x22 cms.
ANTIQUES
FURNITURE

Ref.: Z3394
WALNUT DINING TABLE WITH WROUGHT IRONWORK, 18TH CENTURY.

Dining table in walnut wood with wrought iron fasteners. 18th century. Dining table with a rectangular, smooth top supported on legs that follow, in a simplified way, the most common examples of the Baroque known as “lyre legs”, and are secured by means of straight wrought iron fasteners. The influence of 17th century models is common in the following century, although the preference is to soften the curves and tend towards straight lines due to the influence of Neoclassicism.

· Size: 151x93x75 cms.
ANTIQUES
FURNITURE

Ref.: Z3698
PAIR OF PEDESTALS. WOOD. 19TH-20TH CENTURIES.

Pair of pedestals. Carved and polychrome wood. 19th-20th centuries. Pair of identical pedestals composed of a base raised on lion's claws with scrolls and birds, and a fluted shaft ending in two circular mouldings, decorated with plant and architectural elements. On the shafts of the columns, spiral branches of leaves have been carved.

· Size: 38x38x110 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z4312
NAPOLEON III BEDROOM SUITE, CA SECOND HALF OF THE 19TH CENTURY.

Napoleon III Bedroom, second half of the 19th century. Bedroom consisting of a one-door wardrobe with a mirror, a dressing table-desk with three drawers in front and another three behind a door, in addition to the two under the mirror, a “boat”-style bed and a four-drawer bedside table. All the decorative elements of the set refer to models from classical antiquity, clearly marking the belonging of the works to the style known as Napoleon III, as it was during his reign (1852-1870) that he reigned in France at its peak. Wardrobe 110x 46 x260 (interior with 5 shelves, interior drawer, and exterior drawer) Chest of drawers 108 x 52 x101+ 115 Bedside table 44x32.5x 100 Bed 210 x 135 x 128 for 115 x 190 mattress. Erable wood, pine wood interiors, stained moldings
ANTIQUES
FURNITURE

Ref.: Z5277
SILVER “TEMBLADERA” OR TASTEVIN. 1739.

Pair of silver wine glasses. 1739. (Together with Ref.z5831) Without contrasting marks. With inscription on the front. Both identical, each one is made up of a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer edge that reads: "I am from the noble council of Santiux, presented to us by our neighbor Jul de las Cuevas Zeballos in the year 1739." In Spanish silverwork, the Baroque tendencies were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms were introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centres, depending on the area and the masters. This survival of the 17th century forms can be seen in the handles of the tembladera: the grotesques with human heads are highlighted by very lively plant motifs, a decorative abundance that contrasts with the clean lines of the rest of the work but which is common in this type of work. The lack of hallmarks does not allow the work or the artist to be located, although this is precisely what speaks in favour of a secondary silver centre, where the lack of control of these works was more common due to the lack of masters and the means to ensure compliance with the marking regulations. Throughout these first two thirds of the 18th century, the certain monotony of the centres of Old Castile (to which Cantabria belonged), León and Galicia was notable in comparison with the importance of Valladolid and Salamanca, which is why they were perhaps made in the Cantabrian environment. The inscription clarifies the purpose of the quaking stones: they were a gift to the Council of Santiurde de Reinosa (Cantabria) from Juan de las Cuevas Ceballos, a native of this town and resident of El Puerto de Santa María de Cádiz who, in addition, proved his nobility in 1733 before the Hall of the Hijosdalgo of the Royal Chancery of Valladolid. They are therefore two pieces made for civil use, a detail that increases their importance due to the scarcity of this type of work.

· Size: 15x11x6.5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5829
SILVER “TEMBLADERA” OR TASTEVIN. 1739.

Pair of silver wine glasses. 1739. (Together with Ref.z5829) Without contrasting marks. With inscription on the front. Both identical, each one is made up of a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer edge that reads: "I am from the noble council of Santiux, presented to us by our neighbor Jul de las Cuevas Zeballos in the year 1739." In Spanish silverwork, the Baroque tendencies were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms were introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centres, depending on the area and the masters. This survival of the 17th century forms can be seen in the handles of the tembladera: the grotesques with human heads are highlighted by very lively plant motifs, a decorative abundance that contrasts with the clean lines of the rest of the work but which is common in this type of work. The lack of hallmarks does not allow the work or the artist to be located, although this is precisely what speaks in favour of a secondary silver centre, where the lack of control of these works was more common due to the lack of masters and the means to ensure compliance with the marking regulations. Throughout these first two thirds of the 18th century, the certain monotony of the centres of Old Castile (to which Cantabria belonged), León and Galicia was notable in comparison with the importance of Valladolid and Salamanca, which is why they were perhaps made in the Cantabrian environment. The inscription clarifies the purpose of the quaking stones: they were a gift to the Council of Santiurde de Reinosa (Cantabria) from Juan de las Cuevas Ceballos, a native of this town and resident of El Puerto de Santa María de Cádiz who, in addition, proved his nobility in 1733 before the Hall of the Hijosdalgo of the Royal Chancery of Valladolid. They are therefore two pieces made for civil use, a detail that increases their importance due to the scarcity of this type of work.

· Size: 15x11x6.5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5831
ROUND WINGED TABLE. OAK. POSSIBLY SPAIN, 18TH CENTURY.

Circular winged table. Carved oak wood. Possibly Spain, 18th century. Circular winged table made of carved oak wood that has a series of legs joined by chamfers, which have a decoration of channels and small discs, contrasting with the mere undulating shapes of the edges of some of the legs of the piece of furniture and the curve of the upper area of the spaces left on the fronts when folding the wings of the table. The simplicity of the piece links it more with the utilitarian furniture of prominent residences than with examples intended for the main rooms. However, the decorative elements indicated show a clear influence of Neoclassicism and a certain Baroque air, a mixture that is somewhat common in 18th century Spanish furniture. Note that the decoration focuses on the lower part of the piece of furniture due to the custom of dressing tables with rich fabrics to enhance them even more. Although walnut wood was often used in antique Spanish furniture, examples of oak are not too rare, as it is a wood with a showy grain, abundant at that time and resistant. Examples similar to the present one have been preserved in prominent residences and in important collections such as the Museum of Decorative Arts in Madrid, the Lope de Vega House Museum (slightly older examples), National Heritage Collections, etc.

· Size: 154x141x77 cms.
ANTIQUES

Ref.: ZE149
POCKET WATCH, DEROCHES. METAL, ENAMEL, ETC. POSSIBLY CIRCA LATE 18TH C...

Pocket watch, Deroches Brothers. Gilt metal, enamels, etc. Possibly towards the end of the 18th century. Pocket watch with a case with a transparent glass section and an enamelled composition on the back (two ladies, with a score on a music stand, one of them playing a harp). The white dial has Arabic numerals for the hours and vertical lines and Arabic numerals every 15 units for the minutes, and the text “Deroches”. The movement is delicately decorated and engraved with a serial number and the name “Deroches”. Similar pocket watches signed by the Deroches Brothers dating from the second half of the 18th century and examples by “Frères Deroches & Cìa.” from the 19th century are known.

· Size: 6.5x5x3 cms.
ANTIQUES

Ref.: ZE327
LZ MAURIN POCKET WATCH. METAL, ENAMEL, ETC. 19TH CENTURY.

Pocket watch, Lz MAURIN. Gilt metal, enamels, etc. 19th century. Pocket watch with white dial with Roman numerals for the hours and, for the minutes, Roman numerals every fifteen minutes and vertical lines for the rest, and the inscription “Lz. Maurin”; the movement has a delicate decoration and the engraving “Lz Maurin”. The case is decorated on the back with a figurative composition of a couple, and has a number and the word Lepon engraved on the inside.

· Size: 7x5x2,5 cms
ANTIQUES

Ref.: ZE329