Results 241 to 264 of 1582

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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
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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
SET OF SIX PILLARS. WOOD, STONE. INDIA, 19TH CENTURY.

Set of six pillars. Carved wood, stone base. India, 19th century. Row of six carved wooden pillars with capitals at the top and carved stone bases at the bottom (grouped in pairs). The shafts have three different sections (square, polygonal and spiral) and relief decoration along them, consisting of plant elements, lines, simple architectural motifs, smooth areas, geometric shapes, etc. The capitals have a certain reminiscence of Western classical forms in their composition and decorative elements. This type of architectural element was, for example, very often used in the “havelis” (urban residences or traditional mansions) in India, Pakistan, Nepal and Bangladesh, with the usual differences depending on the geographical area, the date and the owner’s taste, but also in other notable buildings. Stone bases: 28x56x27 cms.

· Size: 169x25x213 cms. bases piedra 57x29 cms
DECORATIVE ANTIQUES

Ref.: AB002
FLORENTINE BASE IN CARVED STONE.

Florentine base carved in stone. Base formed by three volutes joined together by one of their larger sides with plant and floral elements carved in the stone. To highlight them, they have been placed between two mouldings; the upper one is straight to provide an appropriate base for the table.

· Size: 80x80x74 cms.
DECORATION
DECORATION COMPLEMENTS

Ref.: AMT02
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
SET OF ARMCHAIRS AND SOFA. WOOD, TEXTILE. 20TH CENTURY, AFTER FRENCH S...

Seating. Wood, upholstered. 20th century, following the French school. Set of seating furniture with antique-style textile upholstery and carved wooden frame decorated with plant elements and openwork areas (armchair), composed of a three-seater armchair and four high-backed armchairs with partially upholstered arms. The shapes and decoration are inspired by French models common during the 19th century.

· Size: 177x71x113 cms Butacas: 77x65x108 cms
DECORATIVE ANTIQUES

Ref.: E1993A
CROWN OR CREST. PINEWOOD. 17TH CENTURY.

Finial. Carved pine wood. 17th century. A finial or crest made of pine wood carved in its colour with a human bust in the centre, placed holding two volutes and thus creating an axis of symmetry for the elaborate composition that the piece presents, based on flowers, plant motifs, architectural details, etc. with a certain classicist influence and a lot of movement and depth. The fact that the back is unworked suggests that this relief may have originally been part of an important altarpiece, given the size and quality of the piece. Both the movement and the decorative elements of the composition link the work to the Spanish Baroque.

· Size: 117x65x45 cms
ANTIQUES

Ref.: ZF0499
WALNUT TABLE. GUADALAJARA, SPAIN, 17TH CENTURY.

Table with lentil-type leg. Walnut wood. Guadalajara, Spain, 17th century. A table with a flat rectangular top that has a drawer at the front flanked by two smooth corbels or mouldings, and that is made of carved walnut wood, that has four turned legs in what is known as the lentil type due to its shape based on small consecutive discs and that are secured together at the bottom thanks to the presence of a smooth rectangular die in each one and an undecorated wooden crossbar. The drawer at the front, with a key lock and a grooved iron knob, has two carved rectangles flanking the lock hole and high quality dovetail joints that can be seen when it is opened. Compare, for example, the walnut table with disc legs dating from the 17th century that is preserved in the collections of the former Municipal Museum of Madrid; with another walnut and pine platform table with carved drawers and lenticular turned legs from the National Museum of Decorative Arts in Madrid, dating from the 17th century; or with a Castilian buffet table from the 17th century from the Museo Casa Natal de Cervantes (Alcalá de Henares, Madrid). Typologically, due to its decoration, this is a model with a long tradition in the Castilian school, particularly in the Guadalajara area.

· Size: 84,5x48,5x65 cms.
ANTIQUES

Ref.: ZF0946
DUCHT MARQUETRY COMMODE. 18TH CENTURY.

Dutch marquetry chest of drawers. 18th century. Requires restoration. Chest of drawers with four drawers at the front with a key lock and two handles on each, decorated with marquetry applications (on the sides, front and top panel) with a plant theme. Both the top panel and the front have a series of curves towards the front, and, in the lower area of the piece of furniture, some elements projecting downwards provide more movement (note the marquetry details present here as well). Stylistically, one can appreciate elements common to 18th century European furniture in the Rococo style (movement in the front, curves and counter-curves, etc.) together with elements common to the Dutch school (note, above all, the designs and colours used in the marquetry decoration).

· Size: 90x47x79 cms.
ANTIQUES

Ref.: ZF0999
WALNUT BENCH. SPANISH SCHOOL, 17TH CENTURY.

Bench. Walnut. Spanish school, 17th century. A bench made of carved walnut wood in its colour, with a backrest made up of a smooth rectangular board and a seat made up of another similar to the previous one, both arranged at an angle. The legs have a particular shape, known as “lyre-shaped”, and are decorated with plant and architectural motifs (scrolls) in relief. It also has two wooden “fasteners”, which have undulations in their profile. Lyre-leg tables originated in the Spain of Charles II, during the second half of the 17th century. The simplest ones have a simple cut in the side legs, and are even completely carved in models with peripheral centres. This support element, as can be seen, was also used in other types of furniture. The material is also the usual one in old Spanish cabinetmaking, although it should be noted that it seems that the most common thing is for the fasteners to be made of wrought iron.

· Size: 56x219x92 cms.
ANTIQUES

Ref.: ZF1107
VIRGIN MARY OR SAINT (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH ...

Saint or Virgin of dress. Wood, metal. Spanish school, 17th century. It has faults. The female figure is standing (with her right leg forward) on a small polygonal base. Made of partially polychrome wood, note the elaborate work on the feet (which peek out from the “dress”), the hands up to the wrists, and the head and neck. The skull is prepared to receive hairpieces or clothing. As for the carvings of clothing, these were very common during the Spanish Baroque, and there may be cases of works in which the unseen part was barely roughed out and others in which the entire carving is found, with many intermediate points (see the present case). Remember the San Antonio Abad by Benito Silveira made in the second half of the 18th century that is in the National Museum of Sculpture in Valladolid, a San Francisco de Paula from the 18th century in the Museo del Carmen in Maipú (Santiago de Chile), etc.

· Size: 33x25x87 cms
ANTIQUES

Ref.: ZF1181
PAIR OF CARVED WOOD BRACKETS. VENICE, 19TH CENTURY.

Pair of carved wooden corbels. Venice, 19th century. Pair of 19th century figurative corbels, carved in round wood, with a beautiful dark patina that enhances the relief and details of the sculptural work. They are signed on the back “Felici Venezia”. The lintels, with a moulded profile and a Baroque plan, with numerous recesses and projections, rise above two vegetal herms in the classical style, with the lower part in the form of a brace decorated with large acanthus leaves worked with a soft, gentle-looking carving, which moves away from the general classical inspiration to approach the naturalism of Art Nouveau. From these braces emerge the busts of two winged cupids, children's bodies carved in the round with grace and attention to detail, with a delicate dynamism. The two putti are represented in the same position, with one arm bent over their chest and the other raised above their head. They form a symmetrical composition, each a mirror image of the other. The high quality of the carving of these pieces is particularly appreciated in these figurative representations: the anatomical work is impeccable, as is the expressiveness of the faces, and the carving of the wings, hair and ribbons that adorn their torsos reflects meticulous, naturalistic and precious work in detail.

· Size: 25x15x48 cms.
ANTIQUES

Ref.: ZF1229
STONE LAUNDRY BASIN. 18TH CENTURY.

Wash basin. Stone. 18th century. A stone basin or tub with three of its walls straight inside and out and one of the smaller ones with an inward slope (a side used to wash clothes thanks to this shape). On the other side, towards the lower area, there is a hole for easier emptying. This type of piece was really common until the widespread introduction of washing machines and running water in homes, especially those in which there are no decorative elements, as is the case here. Also, being a completely utilitarian element, its shape and material hardly changed over the centuries.

· Size: 147x104x48 cms.
DECORATIVE ANTIQUES

Ref.: ZF1305

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