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18 kt gold brooch with garnets. An 18-karat gold brooch composed of a symmetrical composition of loops and scrolls with a fine, low-relief decoration of plant elements, reminiscent of Neoclassical works. The upper part features a circular faceted garnet, accompanied by three oval ones (the central one with gold pearls surrounding it) in the middle (these are highlighted by the presence of other circular-cut gems), and another teardrop-shaped one at the bottom. Hanging from this body, by four rings, are two gold cords with scale-shaped links, each ending in tassels, reminiscent of textile examples often used in curtains and other items both in the 19th century and later. Jewelry with dangling elements linked "in a shimmering fashion" so that they move when attached or worn was common in 19th-century jewelry. The goal was to add some movement and avoid the rigidity of the pieces, lending a touch of originality to the compositions. During this period, compositions based on classicist plant elements accompanied by flowers and lacework were common. Compared with the present example, this one is more reminiscent of models inspired by works in a style known as Neo-Renaissance, following the artistic style that emerged in Italy in the 15th century, with these volutes and the powerful composition based on smooth and volute shapes. The aforementioned fine plant elements in relief also reflect this relationship. However, the color combination achieved by the gems provides the softness required by the aesthetic taste of the period, without the striking contrasts more characteristic of the oldest jewelry that has survived. Weight: 19.4 grams.
· Size: 8x4 cms.
ANTIQUES
MISCELLANEUS;JEWELRY
Ref.: JBR1713
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Bed. Bronze. Circa 1900. Bed frame made of bronze, with gilded headboard, footboard and side rails. The headboard and footboard, which are similar to each other, have rollers or wheels on the legs and are elaborately decorated both on the vertical sides (fluted shapes with balustrade elements decorated with plant and architectural elements) and on the top (a delicate composition of scrolls, leaves and flowers). These decorative elements have a clear classicist influence together with a slight reminder of modernist or Art Deco shapes.
· Size: 157x220x213 cms.
DECORATIVE ANTIQUES
FURNITURE
Ref.: Z0591
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Eastern door. Carved wood, bronze nails. 19th century. A double-leaf door with a frame enhanced by carved mouldings towards the edge (the sides, towards the bottom, are reminiscent of Indian column bases), which also has an upper space decorated with a cross carved in triangles and fan shapes on the sides of the door. The doors are decorated with carvings with a strong European influence and have decorative and functional bronze applications or nails.
· Size: 118x33x243 cms Luz 90x194 cms
DECORATIVE ANTIQUES
MISCELLANEUS
Ref.: Z0627
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18th century Spanish brazier. Bronze. Spanish Baroque bronze brazier, raised on three legs in the form of a curled volute on the outside, topped at the base with grotesque masks with synthetic features. The vessel is flattened and stepped, with a clear cut separating the neck from the belly and a flared and slightly curved mouth. On both sides are the handles, mobile and highly decorative, composed of the figures of two Hermes with vegetal bodies. Weight: 12 kg
· Size: 55x55x40 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS
Ref.: Z0650
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Sewing table with wings in rosewood, 19th century. Narrow coffee table with two folding wings resting on four cabriole legs decorated with carved plant garlands and metal rollers. The front has two drawers and a removable top. The purity of the furniture's lines and the few decorative elements it features show the influence of classical art.
· Size: 65x40x81 cms. / 93x65x81 cms
ANTIQUES
FURNITURE
Ref.: Z0731
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Baroque private altar frontal in carved and polychrome wood, Spain, early 18th century. The work is crowned by a broken pediment in the centre on a projecting entablature that rests on the lower body, flanked by two columns with a helical shaft and a composite capital, and composed of a moulding that frames a semicircular arch on pilasters and a trompe l'oeil background. This type of frontal was normally used in private chapels to highlight sacred images, and its decorative elements refer to 18th century Spain.
· Size: 140x35x155 cms. (Int. 46x26x85 cms.)
ANTIQUES
MISCELLANEUS;OTHER OBJECTS
Ref.: Z0747
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MARTINEZ NOVILLO, Cirilo (Madrid, 1921 - 2008). “Landscape”, 1972. Watercolor. Signed and dated in the lower right corner. Cirilo Martínez Novillo is one of the most prominent representatives of the so-called Madrid School, where he began his training at the School of Arts and Trades. During the Civil War he entered the Escuela Superior de Pintura and attended the studio of Daniel Vázquez Díaz, who became his teacher and supported him throughout his career. In 1946 he presented his work for the first time, as part of a collective exhibition held at the Bucholz gallery in Madrid. The following year he held his first solo exhibition at this same gallery. In 1948 he held an exhibition in the print room of the Museum of Modern Art in Madrid. Critics began to take note of his work and he was selected to participate in the exhibition “Arte Español”, held in Buenos Aires and organized by the Ministry of Education. From this moment on he held exhibitions in various Spanish cities and in France, and participated in collective exhibitions such as the Venice Biennial (1950) or the Salón de los Once (1951). Between 1952 and 1953 he travelled to Paris on three occasions thanks to various scholarships. His mature period began with a new visit to Paris at the beginning of the sixties, and then he travelled to Switzerland, Germany, Holland and Belgium, where he won several medals at the National Fine Arts Exhibitions, as well as the Painting Prize at the Hispano-American Biennial in Cuba. Cirilo Martínez Novillo is represented at the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.
· Size: 24 x 30 cm; 55 x 61,5 cm (marco).
ANTIQUES
PAINTINGS
Ref.: Z3533
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Polychrome and gilded wood frame. Late 18th century. Rectangular frame with golden rocailles on a red background and elements related to the Passion of Christ in shields in the corners and centre of the longer sides: dice, nails, bag (with Judas' coins), mallet and tongs, cross with lances and two whips. These motifs clearly show that it was made to highlight a religious painting of the Passion, probably in a private chapel given the lack of relief, and the strong relationship of the work with the Rococo.
· Size: 187x3x87 cms LUZ 51X154 cms.
ANTIQUES
MISCELLANEUS;FRAMES
Ref.: Z3627
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Two frame strips. Pine wood. 17th century. Strips of carved pine wood in a dark polychrome tone decorated with smooth mouldings on their front, combining curves with counter-curves as is usual in the Baroque, also highlighting the classicist influence of the composition. Possibly, they were created to form part of the construction of an altarpiece or to frame a painting, without being able to know if they come from a civil or religious environment.
· Size: 15x12 cms. Long. 310 y 350 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS
Ref.: Z3767
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Finial. Carved and polychrome wood. 18th century. Carved, polychrome and gilded wooden finial decorated with a light relief based on lying "C" volutes joined in pairs at one end and plant elements arranged in a rigid symmetrical composition with a clear classicist influence with movement of lines and a volume that is not too pronounced.
· Size: 145x10x68 cms.
ANTIQUES
SCULPTURE
Ref.: Z4926
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“Ship” bed in carved mahogany, 19th century. The headboard and footboard are of the same height and are decorated with a circular moulding, while the back, for harmony, follows the lines of the front, which has been decorated with four columns flanking a central motif based on scrolls and palms with a strong classical influence. It follows the lines of Neoclassicism, the main style of this century.
· Size: 218x152x128 para colchòn 135x195 cms.
ANTIQUES
FURNITURE
Ref.: Z5054
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Bernegal or glass or wine tasting. Silver. 17th-18th centuries. With contrast marks. Bernegal made of silver in its colour, with a circular base, a body that widens upwards and two flat handles in an "S" shape with the central part widened. It has contrasting marks on the handle (unidentified) and a burin mark on the base. . Both bernegales and tembladeras were very common types of 17th century Spanish baroque silverware, and continued to be popular in the following century, mainly in centres far from the important creative centres. Also known as catavinos, this type of drinking glass was used in special occasions (ceremonies...), hence their material and the decoration they had, they were objects for civil use, although it was not strange or exceptional that they were donated or commissioned for use in churches or in liturgical settings. Compare this piece with two cups or tembladeras from the Monterrey Palace Collection in Salamanca (one Parisian made around 1750 and another from Salamanca) decorated with gallons and two raised “S” handles; with the bernegal from the Metropolitan Museum made in London in 1680 from the Irwin Untermyer collection (very similar in shape to the present one); or with the pair of bernegales by Antonio López Díaz (made in Jaén and dated 1758/1772) from the Valencia de Don Juan Institute in Madrid. Weight: 162 grams.
· Size: 14x11x9 cms.
ANTIQUES
MISCELLANEUS;SILVER
Ref.: Z6022
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Edwardian sideboard in rosewood and fruitwood marquetry, early 20th century. Four turned legs support the sideboard, which consists of a niche under two drawers flanking another space, and a top decorated with mirrors and architectural lines. The surface features a series of plant motifs, scrolls and vases made of fruitwood marquetry, whose light tones contrast and stand out against the dark tone of the sideboard. The Edwardian style takes its name from King Edward VII of England (early 20th century), and was characterized by achieving the modernization of medieval styles, elements taken from Georgian, etc.
· Size: 137x42x205 cms.
ANTIQUES
FURNITURE
Ref.: Z6209
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Naveta. Silver. Possibly Portugal, 18th century. Counterweighted base. With hallmarks. A boat with an oval base decorated with elements in relief and mouldings, a balustraded base and a body with a slight boat shape, presenting a lid with hinges at the front, a widening in the lower area towards the foot and a decoration distributed throughout the exterior based on rocaille motifs and vegetal elements (the same theme is presented on the foot and the base) on a lustre-painted background, with an angel's head on two small wings in relief towards the spout, accompanied by vegetal elements (which protrude from the edge of the lid). Although the shape of the piece generally follows the most common prototypes of these incense vessels used in the liturgy, it should be noted that it was more common to find them more similar to a boat. The belonging of the naveta to the Rococo influence is clear both from the lines of the object and from the decoration already mentioned (rocailles, moving plant elements, volutes with pronounced curves, contrasts between concave and convex lines...), and it is also possible to find some points in common with Portuguese works (a silver naveta with a spoon by Leandro Gagliardi made in Rome between 1744 and 1750, which is preserved in the Sao Roque Museum in Lisbon, Portugal, has a finial with an angel's head in relief; compare this with the gilded silver censer that the same master made between 1749 and 1751 for the Chapel of St. John the Baptist in the Church of St. Roque in Lisbon). The hallmarks present on the upper part of the naveta (the capital letters “de” in a rectangular space), although it should also be noted that this work does not follow the most striking typology of navetas related to this centre (18th century silver naveta from the Church of Alcántara in Maranhao, Brazil; naveta by Sebastiao Bernardes dos Santos dated 1747 from the Sé do Funchal which is preserved in the Museu de Arte Sacra Do Funchal in Madeira –Portugal-). Weight: 715 gr (base with counterweight).
· Size: 19x9x14 cms.
ANTIQUES
MISCELLANEUS;SILVER
Ref.: ZE244
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Pocket watch, engraved André Hessen. Gold, enamel. Paris, France, towards the end of the 18th century. It has some flaws. Pocket watch with a case decorated with enamel on the back (within a band of pearls you can see a composition with a clear classicist influence with a female figure, perhaps an allegory of the arts), and a white dial with Roman numerals for the hours and lines and Arabic numerals for the minutes, on which you can see the text Adré Hessen. The delicately decorated movement has a number (549) and the name Adré Hessen (1745-1805), a watchmaker who settled in Paris, France, in 1767 and who was very well-known and appreciated in his time.
· Size: 7x5x1.5 cms.
ANTIQUES
MISCELLANEUS;CLOCKS
Ref.: ZE326
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Torch-bearing figure. Carved and polychrome wood, wrought iron. Castilian school, 16th-17th centuries. A carved and polychrome wooden sculpture placed on a simple base showing a half-naked male figure, holding in his hands a cloth that covers the lower part of his body in front and holding up a wrought iron cone intended to hold a candle. The nude, the study of anatomy, the contrapposto and the twist of the torso and waist of the figure are details that would speak of a classicist influence in the sculpture. It is also worth highlighting the movement that the posture brings to the piece, placing one foot behind the other and turned with respect to it and slightly turning the waist. Wood was the most worked material in Spanish Renaissance sculpture, normally with a polychrome finish and with gilding and upholstery. It was not until the second third of the 16th century when sculptors emerged in Spain who reached great heights in the Spanish Renaissance, inspired by Italian forms, but adding their own national touch, creating different schools, and with a clear preference for polychrome and upholstery wood. At this time, one of the main workshops was Valladolid, with names such as Alonso Berruguete and Juan de Juni. Later, art evolved towards a classicist or Romanist mannerism, with a significant influence from Italian masters, with a clear influence from Michelangelo and names such as Gaspar Becerra, Esteban Jordán, Juan de Ancheta, etc.
· Size: 18x18x48 cms.
ANTIQUES
SCULPTURE
Ref.: ZF0461
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Box. Enameled porcelain. Potschappel-Dresden, Germany, 19th century. With mark on the base. Rectangular box with a slightly curved lid made of enamelled porcelain with gold metal trim and hinges. The box features a decoration on the outside of figurative scenes of couples in natural landscapes with a clear Rococo feel, enhanced by gold frames and scale elements in pink tones. On the inside, on the lid, another scene of this type appears. The base of the piece bears a mark alluding to the factory responsible for it. In 1872, Carl Thieme (Carl Johann Gottlieb Thieme) converted his porcelain painting business into a porcelain factory, keeping the headquarters in Dresden and calling it Sächische Porzellanfabrik zu Potschappel (Dresden) von Carl Thieme. A mark such as the one seen on this piece was used there between 1888 and the beginning of the 20th century.
· Size: 12x8x7 cms
ANTIQUES
MISCELLANEUS;CERAMIC
Ref.: ZF0702
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Special Offer! - Off
Pair of vases. Enameled porcelain. 19th century. Pair of circular-footed vases with a cylindrical body in the center, a long neck, and an open mouth. Decorated with pink bands, gold edges, grouped flowers, and two genre scenes (humble figures dancing in rural landscapes; on the other side, similar scenes). They are presented on metal feet, decorated with openwork elements, and have claw-shaped feet topped with plant elements of a Classicist influence. They bear marks on the base.
· Size: 24x24x62 cms
ANTIQUES
MISCELLANEUS;CERAMIC
Ref.: ZF0884
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Virgin of Dressing. Wood, metal. Spanish school, 17th century. It has faults (hand, etc.). Sculpture made of polychrome wood showing a woman, with the head, neck and hands carved and polychrome in detail, a sketched dress and arms in exposed wood. Iconographically, it is probably a Virgin Mary, made in this way because it was designed to be dressed and adorned with hairpieces (hence the work on the skull area). It is worth highlighting the folds on the front, not common in this type of work, resembling clothing. It has a closed royal crown. Dress carvings 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: 44x28x86 cms
ANTIQUES
SCULPTURE
Ref.: ZF1182
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“Poster” wall clock. Gilt bronze. France, 19th century. Gilt bronze wall clock of the type known as a "cartel" due to its shape, featuring Parisian movement and a white dial with Roman numerals for the hours and Arabic numerals every five minutes. Surrounding a body with openwork panels, it features a garland decoration based on ribbons and architectural and plant elements in a distinctly classicist style, an influence also evident in the vase-shaped upper finial and the lower mask placed on a plant motif. This is a fairly popular model within the French school, as similar boxes are known in private collections dating from the last third of the 18th century. The shape of the top vase and the front garlands vary mainly in later known examples (made both in the first half of the 19th century and during the time of Napoleon III). Weight: 9 kg.
· Size: 30x10x66 cms
ANTIQUES
MISCELLANEUS;CLOCKS
Ref.: ZF1411
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Allegorical figures. Bronze, marble. DEVAULX, François Théodore. France, 19th century. Inscription (lower area male figure). Pair of bronze figures placed on circular veined marble bases depicting two figures, one male and one female, both semi-nude and raising one of their arms, in an almost dance-like posture. The young woman holds a tambourine and a bunch of grapes, and carries vines on her body. The young man carries an object in one arm. The lower part of the male figure bears the inscription "de Vaulx". François Théodore Devaulx (or Théodore-François Devaulx; Paris, 1808-1871) was a French sculptor trained at the École des Beaux-Arts in Paris. He is credited with creating the sculptures on which the present couple is based. These small works were highly prized in the 19th century, used to decorate important houses and palaces. The French ones were held in the highest esteem for their variety of models and the quality of their castings and compositions. Weight: 21.55 kg.
· Size: 18x18x59 cms.
ANTIQUES
SCULPTURE
Ref.: ZF1452
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Faun playing the flute. Bronze. Based on models by Antoine Coysevòx. Achille Collas's hallmark, mechanical reduction, Barbedienne foundry. France, possibly around the third third of the 19th century. With signatures, date and seal. Bronze sculpture depicting a male figure (a faun) playing a transverse flute, seated semi-nude on a tree trunk, with a pan flute at one side of his leg. A stamp (Reduction mecanique A. collas…) and several engraved elements (F. Barbedienne, fondeur, A. Coyzevox, 1709) can be seen in the lower part of the work. It is inspired by a marble sculpture made by Antoine Coysevox around 1700, currently housed in the Louvre Museum in Paris (inventory MR 1820; "Faune jouant de la flûte", 1707-1709). Along with others, it was commissioned for the Parc de Marly in 1707, fully paid for in 1711, and placed on the terrace of the Tuileries Palace between 1716 and 1717. In 1839, the Parisian bronzesmith Ferdinand Barbedienne (1810-1892) founded a partnership with the engineer Achille Collas (1795-1859). He had invented a mathematical reduction process for sculpture, which enabled productions to be produced on an unprecedented scale and with unprecedented quality, following the models of various masters and early works. Collas's death in 1859 made him the sole owner of the foundry. The excellence of his production earned him the appointment as president of the Bronze Industries Committee in 1865. Upon his death in 1892, his heir, Gustave Leblanc-Barbedienne (1849-1945), took over the foundry, which later became the "Leblanc-Barbedienne" firm, specializing in monumental sculptures and operating until the mid-20th century. Leblanc-Barbedienne has the honor of collaborating with Auguste Rodin. Weight: 9.6 kg.
· Size: 21x20x46 cms.
ANTIQUES
SCULPTURE
Ref.: ZF1453
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Column. Carved white marble. 20th century. Carved white marble column with a small pedestal and a base, the same as the cap and capital, in a style reminiscent of the composite style but with striking features. This type of piece, with a classical influence, was highly appreciated in Europe since the 19th century.
· Size: 37x37x243 cms.
DECORATION
DECORATION COMPLEMENTS
Ref.: AM107
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Dining table. Carved mahogany. 20th century. Dining table with rectangular top and turned legs reminiscent of columns and secured by a jamb that starts from the joint of the legs. Both the line and the decoration centred on the legs of the piece of furniture are inspired by old neoclassical models from the 19th century, especially English examples.
· Size: 213,5x102x76,5 cms.
DECORATION
FURNITURE;CLASSIC
Ref.: Z2029
