Results 241 to 264 of 1593

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HEADBOARD. PALO SANTO WOOD. 19TH CENTURY.

Headboard. Rosewood. 19th century. Headboard made of carved rosewood decorated with two fluted columns with entasis at the bottom (located on the sides), topped by two plant elements on two cubes. The central area draws a gentle curve upwards. Stylistically, the influence of Neoclassical models is clear. Requires restorations

· Size: 166x9x128 cms
DECORATIVE ANTIQUES

Ref.: ZF0956
ORIENTAL BASQUET. WOOD, ETC. POSSIBLY CHINA, 20TH CENTURY.

Oriental basket. Wood, plant fibre. Possibly Chinese, 20th century. Oriental basket with a circular base and two handles joined at the top and decorated on the outside with carvings of plant motifs and symbols on the lid and a Greek pattern towards the base area. It follows ancient examples that are very common in certain areas of the Far East.

· Size: 34x34x51 cms
DECORATION
FURNITURE;ORIENTAL

Ref.: XM001Q
”SAINT DOMINIC DE GUZMÁN AND SAINT FRANCIS OF ASSISI”. POLYCHROMED TER...

“Meeting of Saint Dominic and Saint Francis”. Polychrome terracotta sculpture. Colonial school, 17th century. Figure made of polychrome terracotta with gold details that represents two male figures on a simple pedestal. The one on the left is wearing a Franciscan habit (and a small red mark on his right hand) and is embracing fraternally, and on equal terms, the one on the right, wearing a dark cloak (decorated with fine gold lines creating a hairnet) over a white habit decorated with abundant flowers and gold elements, and a star in light relief on his forehead. They are Saint Francis of Assisi, with the stigmata in his hand, and Saint Dominic of Guzmán, both wearing their respective habits. The story is told, with a remarkable economy of elements (which shows the quality of the work), of the so-called “Fraternal Meeting of Saint Dominic and Saint Francis”, also called “Embrace of Peace” or, more colloquially and in some circles, “The Crash”. According to tradition, Saint Dominic had a vision in which Mary implored Jesus for Men, pointing them both out as servants of God; the next day, Saint Dominic met Saint Francis in the church of Rome, recognizing him as his companion and embracing and kissing each other. The present piece still shows Baroque influence, but already hints at a certain neoclassical influence in some details, maintaining the particularities of its school. Compare, for example, with the “Embrace” of the Monastery of Santo Tomás de Ávila by Luis Salvador Carmona, dated in the 18th century. It is also worth highlighting the quality of the modelling and the polychromy of the piece, with a remarkable state of conservation for the age and delicacy of the material of the figure.

· Size: 14x16x26 cms.
ANTIQUES

Ref.: ZE161
SAINT ALOYSIUS DE GONZAGA (TO DRESS UP). POLYCHROMED WOOD, ETC. SPANIS...

San Luis Gonzaga, dressing room. Polychrome wood, etc. Spanish school, 18th century. A sculpture made of polychrome wood, which shows, on a rectangular base, a young man without a beard, with a black body and a polychrome face, neck, hands and part of the arms. This treatment is common in sculptures created to be dressed (note also the arms articulated at two points each – shoulder and elbow). Attached to one ankle is an old piece of metal and two nails in the feet, which could be an old reinforcement that, in turn, suggests that the work was carried in a procession (there is another piece with screws in the head). As is common in this type of work in the Spanish school since the Baroque, the eyes are made of glass. Saint Aloysius Gonzaga (Castiglione delle Stiviere, 9 March 1568 – Rome, 21 June 1591) was an Italian Jesuit priest canonised in 1726 by Benedict XIII, who declared him patron saint of youth. While in the service of Philip II, he married a lady of Queen Isabella of Valois; he also served in the Spanish court as a page to Prince Don Diego, heir to the monarch, but ended up ceding his rights as first-born to his brother to enter the Society of Jesus (novitiate in Rome in 1583), despite his father's efforts to prevent it. He died after caring for people affected by the plague in this Italian city. He is represented as a young man dressed in a black cassock and surplice or as a young page. His attributes are a lily, referring to his innocence; a cross, referring to his piety and sacrifice; a skull, referring to his early death; and a rosary, referring to his devotion to the Virgin Mary.

· Size: 39x26x134 cms.
ANTIQUES

Ref.: ZE427
VIENNA TABLE CABINET. WOOD, ENAMEL. 19TH CENTURY.

Viennese tabletop jewelry box or chest. Wood, enamel, bronze. Austria, second half of the 19th century. Requires restoration. Rectangular table or writing desk with four rectangular projecting corners and a finial projecting from an openwork railing, forming an architectural composition and ending in a gilt-bronze child figure. The four corners of the piece feature semicircular arches with gilt-bronze twisted columns, sheltering bronze female figures in a dancing pose, with other children above. In addition to a series of gilt-bronze appliqués throughout the piece, there are a series of hand-painted enamel plaques with mythological scenes in pastel tones. Two doors on the front give access to three interior drawers, with handles and enamel plaque decorations depicting landscapes. Note that the doors are also decorated with scenes inside. These types of cabinets were highly prized in courtly settings, and were used in private women's homes to store jewelry or other valuables, while also being highly decorative. The shape, materials (ebony or ebonized wood, bronze, etc.), and enamel plaques follow the style of the 19th-century Viennese school, which specialized in this type of cabinet (the most important were made in Vienna). It was unusual to feature corners with architectural shelters, as can be seen in this example (there are two other examples in private collections, one with plain bronze columns and the other with porcelain and twisted columns, both dating from around 1880).

· Size: 47x44x56 cms.
ANTIQUES

Ref.: ZE433
FLEMISH BRONZE MORTAR, 17TH CENTURY

Flemish mortar. Bronze. 17th century. Presents brand. A mortar with a circular base and a mouth that extends outwards from the two upper bands and a body with a slight entasis and a relief decoration with figurative motifs. In addition to a series of mouldings on its outer area, two male protomes can be seen (heads with moustaches and non-human features) and a band with different elements on the lower part (scrolls, leaves, quadruped monsters). Also note a kind of circular “seal” (or so it seems), with letters (HLB / RA/TE) around a flag flanked by plant elements and placed on three oval objects. Compare this example with those by P. van den Ghein from the Royal Carillon School Museum “Jef Denyn” in Mechelen (although they are older), a 17th century example from the Pharmacy Museum in Berlin (Germany), another in the Pharmacy Museum of the Complutense University of Madrid (Spain), etc. Weight: 4.6 kg.

· Size: 17x17x14 cms.
ANTIQUES

Ref.: ZF1258
CONSOLE WITH FRAME, LOUIS XV STYLE. WOOD. 20TH CENTURY.

Console table with mirror frame, Louis XV style. Carved wood. 20th century. Mirror frame decorated with a series of delicate openwork, vegetal and architectural elements, following the French Louis XV style and arranged in a geometric composition softened by the curves and undulating shapes of the decorative motifs. The console has a similar decoration, but with more presence in the scrolls and architectural details that decorate it, thus enhancing both the cabriole legs it has and the lower jamb that joins them in a central shape.

· Size: 168x56x249 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: Z2720A
TRUNK. LEATHER, WOOD, IRON. SPANISH SCHOOL, 17-18TH CENTURY.

Trunk. Wood, leather, iron. Spanish School, around 1700. Wooden trunk with a curved lid and rectangular shape, covered with leather on the outside, with fittings, handles, studs and two closures at the front, which has a front and top opening. Inside it has a lower space accessible from the front divided in two by a vertical piece of wood; the lid and part of the chest have a textile covering. The back does not have leather. The nails with circular heads are arranged in geometric shapes. The handles have disc decorations. The fittings, also worked, follow models based on architectural designs, motifs also present in the lock shields on the front. Some of the metal elements still have traces of gilding. These types of trunks were known as “travel trunks” because they were normally used to store objects on journeys, hence the leather covering and the apparent lack of decoration on the outside. Having two locks was for greater security, since the two keys had to be used together to open it and these were usually entrusted to two different people. Compare this with the 17th century travel trunk from the Viceroyalty of Peru in the Museum of America (Madrid), which has decoration with animals and plant motifs (embossed leather). Or with the Chest of the Mayorazgo de la Cerda (17th century) in the National Museum of Decorative Arts (Madrid).

· Size: 85x129x65 cms.
ANTIQUES

Ref.: ZF1245
FOUR ORNITOLOGY PRINTS, FRAMED. POSSIBLY 19TH CENTURY.

Four framed engravings, ornithology. 20th century. Set of four coloured engravings with birds: a pair of black terns and a pair of sand martins in one; a pair of red-necked ducks and a pair of little grebes (pintail duck); in the next engraving two more specimens of Kentish plover above two kentish plovers (turnstone); and in the last one the species common sandpiper and sanderling. The engravings are very similar to those that appeared in natural science books in the 19th century.

· Size: 32,5x3x42 cms
DECORATIVE ANTIQUES

Ref.: Z4675A
COMMODE FRONT PIECES. WALNUT. 17TH CENTURY.

Chest of drawers front. Walnut wood. 17th century. Three units available. Rectangular crossbeams made of carved walnut wood, originally used for drawer fronts, decorated with geometric elements with a clear classicist influence and a long tradition and importance in Spanish cabinetmaking since the Renaissance.

· Size: 18x2x138 cms.
DECORATIVE ANTIQUES

Ref.: Z4928
FRAMED WATERCOLOR. VASE

· Size: 53x3x61 cms.
DECORATIVE ANTIQUES

Ref.: Z4446
FRAMED ENGRAVING MR. MELHAN SENAC

Mahogany framing

· Size: 52x3x62 cms.
DECORATIVE ANTIQUES

Ref.: Z4447
ROMANESQUE STYLE CHEST. WOOD, METAL, BONE. SPAIN

Romanesque style chest. Wood, bone, metal. Spain Rectangular chest with a trough-shaped lid, decorated on the outside with rectangular plates of carved and tinted bone in some details (to enhance the figurative and vegetal elements it presents) and with simple metal fittings, finished in teardrop shapes. Typologically, this type of chest, intended to store valuable objects, was common in the arts since the Middle Ages. Given the Muslim presence in Spain, examples were made combining ivory and wood (Nasrid box from the Ancient Monastery of San Salvador de Oña in Burgos, etc.), and examples of ivory are also preserved in caskets in Christian territories (Arca de los Marfils de San Isidoro de León). It is also worth remembering the casket made by Mohamed ibn Assarch that is preserved in the Collegiate church of San Isidoro in León, dating from the Almohad period. Iconographically speaking, the piece would be more reminiscent of Sicilian or Hispano-Muslim objects, given the absence of human figures. Throughout the 19th century, and following a trend that is occurring throughout Europe, a series of works were produced in Spain in all artistic fields inspired by important styles from the ancient history of this country. Thus, numerous objects inspired by Romanesque, Gothic, etc. art were created.

· Size: 21x13,5x11 cms
ANTIQUES

Ref.: ZF1179
PAIR OF CANDELABRA. ROUGE GRIOTTE, GILT BRONZE. FRANCE, POSSIBLY NAPOL...

Pair of candelabras. Rouge Griotte marble, gilded bronze. France, possibly Napoleon III, 19th century. Pair of seven-light candelabras made of marble and mercury-gilded bronze. The base, raised on four legs, has plant borders around a central element on its fronts, and gives way to a garland base of Roman influence. Next, the base of the “vase” that forms the body of the candelabra has been decorated with plant elements, also present on the body in the form of garlands, joining these two ram heads; note the extraordinary length of the marble neck, which serves as an axis for the arms of the lights, worked in the form of plant scrolls ending in vase-shaped burners. It is also worth noting that the marble part is not made in one piece. Although there is no record of the signature, certain details denote the high quality of this pair of candlesticks. First, the stone pieces are hand-carved Rouge Griotte. Also known as Rouge du Roi, it is a Belgian marble highly appreciated in decorative arts of French influence or origin. Second, the detail of the neck, elongated and drawing a flared mouth at the end, is not at all common in French candlesticks when we talk about marble. Third, the quality of the gilding is clear, surely mercury gilded (ormolu). Stylistically, influences of French decorative arts of the 18th century can be appreciated (ram protomes, garlands, etc.), but reinterpreted in the style of the 19th century (adding details of Rococo, neoclassical, etc. influence). Weight: 39 kg.

· Size: 35x35x90 cms
ANTIQUES

Ref.: ZE434
LANDSCAPE. OIL ON CANVAS. FRAU, JOSÉ (SPAIN, 1898-1976).

Landscape. Oil on canvas. FRAU, José (Spain, 1898-1976). Signed (lower right area). José María Isidro Frau y Ruiz (Vigo, 15 May 1898 – Madrid, 24 March 1976) was a Spanish painter and academic, appreciated for his landscapes and for being part of the School of Painters of El Paular (created by Royal Decree on 22 February 1918, within the Chair of Landscape that the Academy of Fine Arts of San Fernando established in 1845 as part of the official teaching of its pedagogical programs in art; it ceased to operate in 1936 and was recovered in 2018). Known as José Frau, he began his pictorial training in Huelva with Antonio de la Torre and Eugenio Hermoso Huelva. In 1916 he entered the Academy of Fine Arts of San Fernando, and, from 1917, he participated in the National Exhibitions of Madrid, showing his work also in Barcelona, Buenos Aires, Montevideo, Mexico City, New York, etc. He travelled through South America in 1947, settling in Mexico three years later and returning to Spain in 1966. His work is preserved in notable private collections and institutions such as the Museo Municipal Quiñones de León (Spain), the Museo de Bellas Artes de La Coruña, the Museo Nacional Centro de Arte Reina Sofía (Madrid, Spain), the Museo de la Real Academia de Bellas Artes de San Fernando in Madrid, etc. He has been considered one of the representatives of the equivalent of “magical realism” in Spain. His pictorial work is based on figurative premises and a naturalistic and symbolic formation. He participated in the process of renewal of Spanish painting in the twenties and thirties, evolving towards a post-impressionist style. Later he focused on a calm post-Cézanne modernity in which he portrayed landscapes with figures recreated in fantastic and magical environments. During the post-war years he returned to a looser and more nervous brushstroke. In his later works he used a Fauvist chromatic palette in which greens, blues, earth tones and highly contrasting blacks predominated, while at the same time a progressive process of stylization occurred in his works in addition to the loss of the prominence of the human figure.

· Size: 91x3x71 cms. int: 79x59 cms.
ANTIQUES

Ref.: ZF1266
GUÉRIDON. MAHOGANY, BRONZE, ONIX. FRANCE, CIRCA LATE 19TH CENTURY.

Side table or “guéridon”. Mahogany, gilt bronze, onyx (possibly from Algeria). France, towards the end of the 19th century. Octagonal mahogany side table with a top made of light-coloured onyx or onyx. It has four legs joined at the bottom with a curved frame, which are joined in a central piece topped by a small vase-shaped piece. At the waist, gilded bronze applications of a classicist influence can be seen between the cubes that finish off the legs, which are decorated with bronze applications. Between each two legs there is a wooden pendant. There are known examples preserved in private collections of French furniture with onyx tops, of similar colours to this one, from Algeria. Stylistically, the table shows a strong French and neoclassical influence, with elements (the pendants) considered to have an orientalist touch.

· Size: 62,5x62,5x69 cms
ANTIQUES

Ref.: ZF1263
PAIR OF ANGELS. POLYCHROMED WOOD. SPANISH SCHOOL, 17TH CENTURY.

Pair of torch-bearing angels. Carved and polychrome wood. Spanish school, 17th century. They present faults. Pair of human-shaped carvings made of polychrome wood showing two angels each raising one arm and standing on clouds with winged heads, following models that were common since the Renaissance. Known as lamp-bearing angels or thurifers, they were carvings that were usually placed on important altars to hold lamps or incense burners, being identified with angels or archangels. Compare, for example, the lamp-bearing angels of the Hermitage of La Soledad in Cantillana (Seville, Spain) made between 1780 and 1799 to see, more or less, the function of these sculptures. But it must be remembered that, stylistically, they belong to the Spanish Baroque school (material, movement, etc.).

· Size: 32x16x71 cms.
ANTIQUES

Ref.: ZE130
PAIR OF ENGRAVINGS, WEDDING AND BAPTISME. ALPHONSE LAMOTTE (1844-1914)...

Pair of framed engravings, Wedding and Baptism. ALPHONSE LAMOTTE (1844-1914). Pair of framed engravings depicting, respectively, a wedding or marriage and a baptism, of high-class characters, given the clothes and settings of the works. As indicated on the engravings, in the area where the titles appear, they were published in Paris by Alphonse Delarue, based on works by Alphonse Lamotte and Emile Bayard (1837–1891).

· Size: 120x3.5x103 cms
DECORATIVE ANTIQUES

Ref.: ZF1247
ORIENTAL BOX. WOOD, ETC. CIRCA 1950, POSSIBLY CHINA.

Oriental basket or box. Carved and lacquered wood, etc. Circa 1950, possibly China. A lidded vessel with two small handles on a circular base decorated in red and with a carving of figurative elements on the top of the lid. The style of the decoration, the shape and the colour make it similar to Asian models, particularly works made in China. Weight: 3.5 kg.

· Size: 49x42x19 cms.
DECORATION
FURNITURE;ORIENTAL

Ref.: XM001L
PAIR OF MINIATURES ON CARDBOARD, FERDINAND II, KING CONSORT OF PORTUGA...

Pair of miniatures in medallions, Ferdinand II of Portugal and Isabel II of Portugal. Cardboard, metal, glass. 19th century. Pair of cardboard miniatures showing busts of a man and a woman within medallions, these in turn placed in a frame with two hanging points, on a textile upholstery matching that present in the miniatures. Ferdinand II of Portugal (Vienna, 29 October 1816 - Lisbon, 15 December 1885)1 was King “iure uxoris” of Portugal by his marriage to Queen Maria II (1819-1853), from the birth of their son in 1837 until her death in 1853. The miniature of the queen is reminiscent of one in the Royal Collection Trust in England, signed and dated 1852, by Sir William Ross.

· Size: 23,5x2x18 cms. Miniatura: 6x1x8 cms
DECORATIVE ANTIQUES

Ref.: ZF1157A
LANDSCAPE. OIL ON CARDBOARD. SPANISH SCHOOL, 20TH CENTURY.

Landscape. Oil on cardboard. Spanish School (Riancho), 20th century. Signed (lower right area). Landscape done in oil on cardboard with a strong and material brushstroke following contributions from certain European pictorial avant-gardes that appeared from the end of the 19th century.

· Size: 46x6x56 cms. int. 88x38,5 cms
DECORATIVE ANTIQUES

Ref.: Z4654
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PAX WITH INFANT JESUS AS SALVATOR MUNDI. PARTIALLY GILT SILVER AND PEA...

Peace-bearer with the Child Jesus as Salvator Mundi. Partially gilded silver and a pearl. Madrid, 1781. A peace-bearer with a structure in silver in its colour, embossed and chiselled, and a round figure of the Child Jesus cast and gilded. The Child appears naked, with a radiant halo and resting his left leg on a rock, in a contrapposto position of classical heritage. He is represented as Salvator Mundi, with a sphere that symbolises the world in his left hand, crowned by the cross. The Salvator Mundi is usually shown blessing with his right hand, a gesture that is eliminated here to make the Child hold a sceptre of command topped with a pearl. The figure sits on a corbel in the shape of a scallop and is situated within a niche topped with a semicircular arch, with another scallop at its apex, in allusion to the sacrament of baptism. The profile of the niche shows a fantastic architectural design, with C-shaped braces, floral elements, thick acanthus leaves, rows of bells and rocaille crests. In the upper area, the bottom of the arch appears worked with small incisions that shade the surface, highlighting the relief of the rest of the elements. The flat back has a support band also in silver, joined by soldering. The piece has hallmarks of Madrid Villa y Corte from 1781. Illegible silversmith's mark.

· Size: 11x6x13,5 cms
ANTIQUES

Ref.: ZF1251
LAMP WITH SIX LIGHTS. AGED-FINISH BRONZE AND GLASS.

Six-light ceiling light. Antique bronze finish and glass. The central stem is decorated with vases, oval shapes and plant scrolls. From its upper part emerge several buttons decorated with ovals from which stems curved with scrolls emerge in which the lamp lights are placed, which are shaped like candlesticks with a base made of translucent white glass. Along with the clear classicist inspiration derived from models related to the 19th century, one can appreciate some other elements inspired by the Renaissance.

· Size: 72x72x97 cms
DECORATION
FURNITURE;CLASSIC

Ref.: E513
SILVER BOAT CENSER. SPAIN, 17TH CENTURY.

Silver naveta. Spain, 17th century. A forged vessel with the base and lid finials obtained by mould casting. Shaped like a symmetrical boat, it stands on a low circular base with a disc-shaped base and a short shaft with a central lens. The body is decorated by chiselling, with oval cartouches flanked by braces and crowned by rhombuses and half-moons, located on the four axes and on a dotted shaded background that extends outlining the mouth. The lid has the same chiseled motif. At the stern end there is a finial in the form of an acanthus leaf, in relief, and at the bow end there is a handle in the form of a banded pillar. The bow lid is openable thanks to a central hinge. The piece has partial punch marks on the lid and body.

· Size: 18,5x9x8,5 cms.
ANTIQUES

Ref.: ZF1253

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