Results 217 to 240 of 1593

«« « ...7 8 91011 12 13... » »»

SILVER CUP (TEMBLADERA) OR WINE TASTING CUP. 18TH CENTURY.

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
SNUFF BOX. HORN, WOOD, METAL. SPAIN, 1861.

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
SILVER CUP (TEMBLADERA) OR WINE TASTING CUP. 18TH CENTURY.

Quaking glass or wine-tasting glass. Silver. 18th century. One handle is missing. A vessel known as a catavinos or tembladera (as it has no foot) made of silver in its colour with a flat handle curved in the shape of an “S” decorated with simplified plant elements, and a line of mortise-shaped pieces (gallon-shaped shapes) on the edge enhanced by a smooth band. Towards the inside it has strings of pearls and dots, and a cross on the bottom. Bernegales and mortise-shaped pieces were frequent in Spanish silverware in the 17th century, usually being relegated to centres of somewhat less importance in the 18th century. Compare with pieces such as the silver bernegal from the last third of the 17th century in the Lázaro Galdiano Museum (perhaps from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 101 grams.

· Size: 12x10x4 cms.
ANTIQUES

Ref.: ZE367
VARIATIONS ON PARIS. FRAMED LITOGRAPH. EDUARDO VICENTE (MADRID, 1900-1...

Variations on Paris; Rincón de Menilmontant. Framed lithograph. Eduardo Vicente (Madrid, 1900-1968). Framed lithograph belonging to the book of fifteen lithographs entitled “Variations on Paris”, published by Rafael Casariego in 1968 with texts by José Hierro.

· Size: 45x2x58 cms.
DECORATIVE ANTIQUES

Ref.: Z1205B
EMPIRE STYLE TABLE LAMP (WITHOUT LAMP SHADE). BRONZE AND MARBLE

Empire style lamp (without shade). Patinated bronze. Marble base Table lamp raised on a marble base, it is shaped like a vase with handles in the form of simplified swan heads, following examples from the 19th century. Weight: 7.5 kg

· Size: 18x19x55cms
DECORATION
AUXILIARY LIGHTING

Ref.: AS285
TABLE LAMP. BRONZE.

Lamp base in patinated bronze. Shade not included. Lamp base in the shape of a candlestick formed by a triangular base pedestal with legs and a fluted shaft, finished with leaves. The lines and decoration show influence from classicist Baroque and Neoclassical models. Weight: 4.6 kg.

· Size: 18x18x74 cms.
DECORATION
AUXILIARY LIGHTING

Ref.: AS792
BRONZE LAMP, WITHOUT SHADE.

Table lamp in the shape of a vase in patinated metal. Without shade. A circular base serves as the base of the work, in the shape of a stylized truncated cone vase or jar and decorated with a garland flanked by waves below and squares between fine moldings above. Weight: 3 kg

· Size: 26x26x60 cms.
DECORATION
AUXILIARY LIGHTING

Ref.: AS112
BRONZE PINEAPPLE LAMP. WITHOUT SHADE.

Pineapple-shaped table lamp, polychrome bronze. No screen. A pedestal (with simulated bricks on its fronts) elevates and highlights the pineapple that forms the body of this lamp. It is, however, a small vase with a scale decoration to which leaves have been added to make it look more like the fruit (something for which different patinas have also been used on the bronze), and not a pine cone itself. This mix of classicist elements with other more contemporary naturalist inspired ones make the work an excellent lamp for an interior. Weight: 4.6 kg

· Size: 22x22x58 cms.
DECORATION
AUXILIARY LIGHTING

Ref.: AS662
MODERN STYLE BRONZE LAMP, WITHOUT SHADE.

Modernist lamp in patinated bronze. Without shade. A circular shape that is not completely closed is the base of the piece, and the extension of this is what, after being rotated on its axis, creates the base for the lamp bulb. The abundance of curved shapes, noticeable even on the sides of the upper part (concave) is one of the main characteristics of Modernism, an artistic movement developed around 1900, also known as Art Nouveau, which aspired to renew art by taking inspiration from nature and from elements and materials obtained thanks to the Industrial Revolution. Various units available Weight: 2.7 kg .

· Size: 16x16x42 cms
DECORATION
AUXILIARY LIGHTING

Ref.: AS000
ESTIPITE SHAPED LAMP WITH GREEN PATINA. WITHOUT SHADE.

Patinated bronze table lamp in the shape of a stipes. Without shade. Marble base. A marble base highlights the lamp, formed by a stipe divided into two parts by a central disk with concave mouldings on each side. This type of pilaster, widely used in the Spanish Baroque, especially throughout the 18th century, gives movement to the piece without interfering with its elegance, simplicity and harmony. Weight: 6.5 kg

· Size: 20x20x50 cms
DECORATION
AUXILIARY LIGHTING

Ref.: AS227
PINEAPPLE BRONZE LAMP. WITHOUT SHADE.

Floor lamp in patinated bronze. Without shade. A square base under a pedestal highlights the curious decorative element that is the protagonist of this work: the pineapple is made up of an oval body with a diamond-shaped decoration topped by a tuft of leaves resembling this fruit. From its upper part, a rod protrudes to support the straw. Weight: 3.8 kg.

· Size: 15x15x58 cms.
DECORATION
AUXILIARY LIGHTING

Ref.: AS722
Sold

SAINT JOSEPH WITH JESUS. POLYCHROMED WOOD, GLASS. SPANISH SCHOOL, 19TH...

Saint Joseph. Polychrome wood, glass. Spanish school, 19th century. Sculpture made of polychrome wood consisting of a base with very classic lines and appearance (smooth mouldings, resembling marble...) on which is a bearded male figure, dressed in sandals, a blue tunic and a cloak draped over one shoulder. The right hand is in the gesture of holding an element that is no longer there, and in the left hand is the Child Jesus, half-naked on a white cloth and with another covering him, raising his hand to touch the beard of Saint Joseph. Note the open mouths, revealing the teeth of both figures, and the presence of false eyes (glass eyes). The rise of the importance of Saint Joseph in Christianity was marked by the introduction of the saint's feast in the liturgy of the Catholic Church (1476), several notable writings, guidelines from the Council of Trent (exalting him as protector and guide of Jesus), etc. In Spain, it is also worth highlighting the work of Saint Teresa of Jesus, founder of the religious branch of the Discalced Carmelites, and that of Saint Peter of Alcántara, reformer of the Franciscan order, among others. One of the most common ways in which Saint Joseph is represented with the Child is the latter in the arms of the former, with works such as the carving by Andrés de Ocampo for the altarpiece of the convent church of Santa Marta in Córdoba (Sleeping Jesus) between 1592 and 1596. This iconography, although not as widespread as that of Saint Joseph walking beside Christ, has early examples in painting and sculpture, already seeing affectionate gestures in examples such as the painting by Vicente Carducho (1632, Narbonne Museum), that of Juan del Castillo from around 1622 for one side of the altarpiece of the Nativity in the convent church of the Holy Spirit in Seville, etc. Throughout the 17th century, representations of the Father with his Son in his arms would increase, also increasing the gestures of affection and the sweetness of the images. Compare this sculpture, noting the differences, with that of Alonso Cano in the Museum of Fine Arts in Granada (Spain) or that of Pedro Duque Cornejo for the Church of San Bautista in Écija. From the 18th century are that of Andrés de Carvajal for the sanctuary of Los Remedios in Antequera (Spain; dated 1760), that of Luis Salvador Carmona found in the church of San José in Madrid, or the sculpture attributed to Juan Pascual de Mena in the Church of San Marcos in Madrid, to mention a few examples. The 19th century, as a general rule, followed neoclassical models, accentuating the emotional relationship between the two figures. Weight: 57 kg

· Size: 57x57x155 cms.
ANTIQUES

Ref.: ZF1045
RURAL LANDSCAPE. OIL ON CANVAS. SIGNED . 20TH CENTURY.

Rural landscape. Oil on canvas. Signed. 20th century. Oil painting showing an urban landscape with a river and a stone bridge under a church and some houses on the right side of the composition, while, to the left and visually separated by some trees, there is a path with a small character.

· Size: 115x75 cms / int 99x58 cms.
DECORATIVE ANTIQUES

Ref.: Z1205D
METAL AND GLASS WALL MIRROR. 19TH CENTURY.

Mirror. Embossed metal, glass. 19th century. Signed. Wall mirror with a frame made of embossed metal decorated with an architectural composition with a marked classicist taste and Italian reminiscence, flanked above by two embracing putti and below by two monstrous grotesques. The signature is found under the head of one of these two mythological figures. The theme of child figures or embracing putti was common in art from the 17th century onwards, but especially during the Rococo period, and continued to be used afterwards. Grotesques were common from the Renaissance onwards.

· Size: 48x2x80 cms.
DECORATIVE ANTIQUES

Ref.: ZF1281
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
PAIR OF BRONZE WALL LAMPS. 20TH CENTURY.

Pair of wall lights. Bronze. 20th century. Pair of wall sconces with three light points each, made of bronze and decorated with elements reminiscent of Empire and Neoclassical style works and mainly of French origin (female masks, plant motifs, strings of pearls, etc.).

· Size: 29x17x67 cms.
DECORATIVE ANTIQUES

Ref.: Z0776A
LOUIS XV CHANDELIER. BRONZE, GLASS. FRANCE, 19TH CENTURY.

Chandelier or ceiling lamp, Louis XVI style. Bronze, glass. France, 19th century. A ceiling lamp made of gilded bronze with transparent glass elements, with sixteen lights in total. Starting from the top, there is a small circular piece decorated in relief, from which emerges an axis that opens with four arms, which leave the center free for a series of faceted glass pieces (which function as a central visual axis) and go downwards (note the bronze band with a string of pearls), ending in a cup. These four arms divide at the bottom, giving rise to plant forms, scrolls and architectural details. Vase-shaped lighters have been placed on the main arms, from which glass droplets with pearls hang; the secondary arms are finished off with bronze lighters with plant elements (“cups” on bronze plates, almost resembling a flower emerging from leaves), which have glass saucers, some almost flat and others deeper. It is in this lower area where the hanging elements are concentrated in greater abundance: transparent glass teardrops, with pearls (sometimes in pairs, sometimes just one), and others in the shape of a flower. From the central point hangs a disk topped with a faceted sphere. Stylistically, the piece shows clear influences from 18th century French Rococo: rocailles, contrasting curves and counter-curves, vegetal elements with marked movement, etc. This influence is common in 19th century works, being called “Louis XV style”. It is also worth highlighting the similarity of the glass elements of the lamp with works by the Société Baccarat, a company founded with the permission of Louis XV in 1764 and which continues to operate today, specialising in high quality glass. It was common throughout the 19th century and part of the 20th century for prominent Parisian bronze makers to use Baccarat beads in their work (François Linke, E. Colin & Cie, etc.).

· Size: 80x80x132 cms
ANTIQUES

Ref.: ZF1129
VIRGIN WITH CHILD. POLYCHROMED WOOD. SPANISH SCHOOL, 13TH CENTURY.

Virgin and Child. Carved and polychrome wood. Spanish school, 13th century. It has faults. Polychrome wooden carving showing the Virgin sitting on a throne, with her right hand raised holding a spherical object, dressed in a long tunic and cloak and wearing a veil and crown, also holding on one knee the Child, who is shown sitting on one of his mother's knees, dressed in a red and gold tunic and also a crown on his head. Iconographically, this type of work was common during the Romanesque period in Europe, a time when Christian theology saw the Virgin as a vehicle of Salvation, thanks to the figure of her son Jesus. Over time (and the theological work of highlighting the role of Mary as Mother of God), the initially hieratic pose of this group varied, an example of which is the present sculpture. Compare with Our Lady of the Snows of Villaumbroso in Palencia (14th century), or the Virgin of Mirón in Soria (carving from the 14th century), or the repainted Virgin of the Cerca de Andosilla in Navarre (13th-14th centuries), or the one in the church of San Pedro Apóstol de Arbués in Huesca which has been dated to the 14th century (similar to the one present on the throne, the crowns, the posture of Jesus, etc.), or the one from the last third of the 13th century which belongs to the collections of the Prado Museum in Madrid, the one from the Rosary of Villálvaro in Soria (14th century), etc.

· Size: 28x20x90 cms
ANTIQUES

Ref.: ZE087
CHANDELIER. GLASS, BRONZE. LATE 19TH CENTURY.

Baccarat ceiling lamp. Bronze, glass. France, late 19th century. 36-light, electrified, bronze chandelier with numerous clear glass beads. Numerous different arms emerge from the central axis (decorated with leafy discs from which more glass elements hang) and can be divided into general rows: from above, some curved ones are finished with glass stars and from others a string of beads starts which ends in the lower ones, giving a striking waterfall effect; towards the centre, another row curved upwards holds more beads); the lower arms, thicker, curved and decorated with leaves, emerge from a bronze sphere, form three levels both in height and depth and end in saucers with the supports that, originally, held the candles. Most of the glass beads are polygonal and flatter, and these are combined with elongated teardrops (some rectangular and faceted, others oval). The Société Baccarat (which still makes luxury glassware in this French city) began as a glass workshop founded by Louis-Joseph de Laval-Montmorency, with the permission of Louis XV of France, in 1764. They received their first official order from royalty in 1823, leading to a large number of requests addressed to members of leading European families, nobility, heads of state, etc. Around 1860, the company began signing its products with a registered trademark, usually on the base of the work, although it was also common for other bronzesmiths to use Baccarat glass for its reputation and quality.

· Size: 120x120x145 cms.
ANTIQUES

Ref.: ZE248
PAIR OF VASES WITH SIDE TABLES. BRONZE, WOOD, ETC. JAPAN, MEIJI PERIOD...

Pair of vases with elephant-headed bases. Bronze, wood, etc. Meiji period (1868-1912), Japan; Anglo-Indian school, towards the end of the 19th century. Pair of patinated bronze vases made up of several pieces, raised on three curved legs and decorated on the outside with reliefs of animals and mythological beasts, enhanced with gold details and bands of geometric motifs. They have metal containers that fit into the upper part. On both bases there are turtles with waves creating waves; on the central body, handles in the form of dragons and phoenixes on one side and dragons on the other; on the neck, more birds (herons or similar) flying among clouds. The bases are two side tables made of ebonized wood with elephants (heads decorated to resemble textile ornaments, with light-colored tusks) functioning as legs by curving the trunk outwards, an openwork chamfer, an openwork waist to secure the furniture and a top decorated with carvings and flat boards. These types of vases were one of the so-called "export" items, having been manufactured with the sole purpose of being sold to foreigners in the Meiji Era (1868-1912) of Japan, named after the reigning Emperor and in which the country began its modernization and westernization, establishing itself as a world power thanks to a certain openness to foreigners (presence and ideas), changes in the government, etc. Dragons are the most powerful symbol of all the animals in Japanese art, considered to be divinities related to water, and to which, for example, the change of seasons was attributed (when they flew through the sky it was spring). The crane and the turtle symbolize longevity, with the first animal in flight (in the upper area) associated with the sky and the second with the lower area (of a kimono, for example) linked to the earth. As for the elephant-headed side tables, it should be noted that they were highly prized pieces of furniture by the British during part of the colonial period in India (1858-1947), with numerous examples imported to the United Kingdom, including those found in Buckingham Palace and other noble residences. Note the quality of the present pair, which can be clearly seen in the animal carvings and plant motifs that complete the table. In Hindu iconography, the elephant is associated with wisdom, divine knowledge and royal power.

· Size: 60x60x165 cms.
ANTIQUES

Ref.: ZF1280
BRONZE SCULPTURE, “CUPID”. AFTER MODELS FROM AUGUSTE LOUIS MATHURIN MO...

Bronze sculpture “Cupid”. Inspired by models by Auguste Louis Mathurin Moreau (1834-1917). Marble base Lost wax casting. The figure of the child is identifiable by his wings and the bow he holds. Cupid appears half-naked, with his quiver at his feet and a tree stump behind him. The work is based on models created by a member of the well-known Moureau family: Mathurin exhibited for the first time at the Paris Salon in 1848, and was awarded a Medal of Honour in 1897. His work, inserted in this appreciated family style, shows a series of peculiarities that are still maintained in this sculpture.

· Size: 28x28x66 cms
DECORATION
BRONZE SCULPTURES

Ref.: V2524A
Sold

FRAME WITH MIRROR. EBONIZED WOOD, GLASS, ETC. 17TH CENTURY.

Frame with mirror. Ebonized wood, glass. 17th century. It has faults. Rectangular frame made of carved and ebonized wood decorated with a series of smooth mouldings of different widths and depths. The mirror plate is also old and still has a metal piece on the back for hanging it on the wall. Stylistically, it is more reminiscent of Italian examples than Flemish ones, although this way of making frames was very popular in practically all European schools. Weight: 3 kg.

· Size: 37,5x7x51cms. int: 17,5x31,5 cms.
ANTIQUES

Ref.: ZF1260
DISPLAY TABLE FOR JEWELLERY.

Jewelry display table in mahogany wood. The six round, fluted, column-like legs are joined in pairs by curved Y-shaped frames, and the three pairs are secured with balusters. The waist of the display case has been carved with a string of pearls and plant elements in the centre of each side. The top panel consists of a sheet of moulded glass. The decorative motifs do not detract from the mahogany wood.

· Size: 40x97x75 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: Z3930
IRON STRONG BOX. 19TH CENTURY.

Safe box. Iron. 19th century. Rectangular safe made of iron, with a rectangular base, two handles on the sides and classical-influenced moulding decorations on the fronts and top. It opens from the top with a door with two hinges, which also has a knob and a lock with a cover to cover it. It is reminiscent of Victorian examples, some of the models made by Cannon, etc. Weight: 43 kg.

· Size: 48x30x33 cms.
ANTIQUES

Ref.: ZF1265

«« « ...7 8 91011 12 13... » »»

Results 217 to 240 of 1593

We are at

Subscribe to our press

Meet new items in catalog promotion news: do not miss the opportunity to learn about the latest.