Results 289 to 312 of 1593

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SAINT PEREGRINE LAZIOSI. OIL ON CANVAS. 18TH CENTURY.

Miracle of Saint Peregrino Laziosi. Oil on canvas. Spanish school, 18th century. Oil on canvas depicting a man surrounded by angels and seated on a cloud next to the crucified Christ, who is touching the wound on the man's leg. Below is a cartouche with an inscription alluding to the identity of the monk and the moment in which he is depicted. Saint Peregrino Laziosi or Saint Pellegrino da Fortí (1665/66-1345) was a friar of the Order of the Servants of Mary, also known as the Servites. According to tradition, he developed cancer in his foot, and spent the night before his leg was amputated in prayer. When he awoke, he was cured, and is therefore considered by some to be the patron saint of those afflicted with this disease. Peregrino was canonized by Pope Benedict XIII in 1726. The composition of the present work, although not the most common on the subject, can be seen in other examples, such as the 1682 painting by Girolamo da Rocca in the church of Santa Maria Annunziata in Guastalla in Italy; a painting in the Servites of Carmona (Seville); etc.

· Size: 65,5x5,5x80 cms / int: 48x64 cms
DECORATIVE ANTIQUES

Ref.: ZF1239
LANDSCAPE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (1884-1942).

Landscape. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed (lower right area). Aurelio García Lesmes was a Spanish painter who began his training in Valladolid and, thanks to a pension from the Provincial Council, continued his training at the San Fernando Academy in Madrid, the city where he became better known at National Fine Arts Exhibitions (he won a Third Medal in 1917; Second in 1922 and First in 1926). In the capital he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, etc., and alternated his stay here with long periods in Valladolid, where he worked on his well-known canvases of Castilian fields. Over time, he established himself as one of the most prestigious Spanish landscape painters of his time and established his workshop in Valladolid. After the Civil War he went into exile in Mexico. His work can be seen in prominent institutions such as the Museo Nacional Centro de Arte Reina Sofía (Madrid), the Museo Patio Herreriano (Valladolid), etc.

· Size: 68x4x59 cms. int: 55x46,5 cms.
ANTIQUES

Ref.: ZE428
URBAN LANDSCAPE. OIL ON TABLEX. POSSIBLY CALVO DÍEZ, LUIS (1935-2021).

Urban view. Oil on Tablex. Possibly, CALVO DÍEZ, Luis (Zaragoza, 1935-2021). Luis Calvo Díez was a Spanish painter, born in Zaragoza, who has received international recognition (Sitges, Huesca, Bordeaux, etc.). Until the age of thirty he worked in agriculture. He studied at the School of Arts and Crafts in his hometown, with Albiac and Alvareda, and furthered his studies with Alejandro Cañada. His work is preserved mainly in private collections in France, Spain, Switzerland, Germany, Italy and the United States of America.

· Size: 76x6,5x53 cms. int: 60x38 cms.
DECORATIVE ANTIQUES

Ref.: ZE429
SILVER PERFUME BOTTLE. 19TH CENTURY.

Silver perfume bottle. 19th century. Teardrop-shaped bottles with a foot, elaborate handles decorated with plant elements and scrolls of classical influence, and stoppers with flowers and leaves. On the outside of the body, the perfume bottles have compositions with a certain medieval resemblance. This mixture of styles was common in 19th century European art. Weight: 44 gr

· Size: 4,5 x 1,5 x 9,5 cm.
DECORATIVE ANTIQUES
MISCELLANEOUS

Ref.: Z2226A
WALL LAMP WITH THREE LIGHTS.

Three-light wall light. The inspiration in nature motifs is notable in the lamp: the base of the wall resembles leaves, and has a series of intertwined stems that visually direct the eye towards the lampshades, made of green and gold veined glass, which have been shaped like flowers. The inspiration in Art Deco is clear for the creation of this work.

· Size: 37x24x42 cms.
DECORATION
AUXILIARY LIGHTING

Ref.: LM36
BRONZE CLOCK WITH MUSE. FRANCE, 19TH CENTURY.

Table clock with Muse and writers. Blued and gilded bronze, Paris machinery. France, 19th century. Machinery in perfect working order. Table clock in burnished and gilded bronze with Paris machinery and a white dial with a gilded bronze centre (Roman numerals for the hours, lines for the minutes and Breguet-type hands). The rectangular pedestal is raised on supports and has an architectural decoration; the base of the clock, also rectangular, shows plant crowns with scrolls enhancing cartouches (with names: Virgile, Tasse, Homere, Racine, Voltaire); the dial and the machinery are housed in a gilded bronze piece that resembles a bookcase, on which appear books, a laurel wreath and a musical instrument. A burnished bronze female figure, dressed in a tunic, holds this kithara, a plucked string instrument typical of ancient Greece, similar to the lyre (the difference is the sound box, so it could be a lyre in the present). The female figure would be a Muse: these classical divinities of Greek mythology inspired the arts; daughters of Zeus and Mnemosyne, companions of the god Apollo in his retinue, each one is related to a branch of art and knowledge. She is linked to the lyre Calliope (muse of eloquence, beauty and epic poetry) and to the zither Erato (muse of lyrical-love poetry). As for the names mentioned, the first refers to Publius Virgil Maro (70 BC-19 BC), Roman poet author of the Aeneid, the Georgics, etc. who was also known for his role as guide in Dante Alighieri's Divine Comedy. The French name “Le Tasse” refers to Torquato Tasso (1544-1595), Italian poet author of Jerusalem Delivered, Rinaldo, etc. Homer is the name given to the person credited with the authorship of the Iliad and the Odyssey, bases of Greco-Latin epic literature. Racine is the surname, among others, of the French playwright Jean Racine (1639-1699) and his son and poet Louis Racine (1692-1763). François-Marie Arouet (Paris, 1694-1778), better known as Voltaire, was a French writer, historian, philosopher and lawyer, with numerous literary and philosophical writings. Curiously, there is evidence of an Empire clock (located in a private French collection) in the shape of a library with books, very similar to the one in this piece. And it is worth remembering that the high specialization of French bronze makers, which gave rise to high-quality works of art, meant that several pieces of the same model were created if it was popular with the aristocracy and the upper class. For this reason, there is evidence of several clocks, with slight differences from the present one (especially in the dial and in the absence of blued bronze), kept in private collections and dated to the beginning of the 19th century. Weight: 12.7 kg.

· Size: 40x15x57 cms.
ANTIQUES

Ref.: ZF1069
ORIENTAL COMMODE. WOOD AND METAL. 20TH CENTURY.

Oriental sideboard. Carved wood, metal. 20th century. Rectangular sideboard with a smooth top and a visual division at the front into two levels: three drawers in the upper one, decorated with carvings of facing dragons; four drawers on either side of two central doors (a total of eleven drawers and two doors), with the fronts enhanced with simple lines. This door gives access to two shelves. The influence of ancient Chinese examples is clear both in the decoration and in the arrangement of the elements of the furniture.

· Size: 141x45x100 cms.
DECORATION
FURNITURE;ORIENTAL

Ref.: XM091
ABSTRACT COMPOSITION, PINK. FRAMED PRINT. BETTINARDI, GRAZIELLA (20TH ...

Abstract composition, “Rose”. Framed print. BETTINARDI, Graziella (20th century). Signed (lower right area). Composition with an abstract theme and treatment with a predominance of pink tones in which several figurative elements (trees, crescent moon, geometric shapes) can be seen arranged in a square manner.

· Size: 84x2x63 cms
DECORATIVE ANTIQUES

Ref.: ZE423
PAIR OF LIGHT APPLIQUES.

Pair of wall lights. Bronze. Silver finish. Pair of wall sconces with two lights each decorated with figurative, vegetal and architectural elements inspired by certain Rococo works of the 19th century. Weight:13.5 kg

· Size: 33x23x40 cms.
DECORATION
AUXILIARY LIGHTING

Ref.: E503A
PSIQUÉ DRESSING MIRROR. MAHOGANY, BRONZE. 19TH CENTURY.

Dressing table mirror. Mahogany, gilded bronze, marble. 19th century. Full-length rectangular mirror of the type known as “psyché” (or derived from it) that has a marble base and two circular tables on the sides, these with a white marble top, a vase-shaped foot with disc mouldings and, on the top, imitation textiles with tassels. The mirror has a gold band separating it from the wood, and has been flanked by two columns with a spiral-shaped shaft decorated with plant motifs and classical capitals; the upper part has been enhanced with a moulding and a figurative composition of a winged lady on a chariot holding a torch, accompanied by child figures and a Cornucopia; the lower part has been enhanced with a symmetrical composition based on plant motifs. Stylistically, the Neoclassical influence of the decorative elements and the composition of the piece of furniture can be clearly seen, with the figure inspired by classical mythology on the upper part standing out (it is possible that it is the goddess Aurora or Eos, or Diana-Artemis, Selene, etc.). A close relationship can be found with examples from the French Empire period, both in this decoration and in the lines of the piece. Note, however, that these full-length mirrors were very common in European palaces, but it is not so common for them to be presented with two tables to support clothing items or candelabras, a detail that is enhanced by the present example. The fashion of the full-length mirror was introduced in Spain during the reign of Ferdinand VII. From the swinging psyche mirrors of the early 19th century, the full-length fixed mirrors were later adopted, adding supports (normally for lighting). Compare this with outstanding mirrors such as those preserved in the Museum of Romanticism in Madrid, in the Royal Palace of the same city, or the one preserved in the Cerralbo Museum (inventory VH 0556) from between 1834 and 1866, which has two round side tables.

· Size: 172x65x292 cms
ANTIQUES

Ref.: ZE175
CASTILLIAN CHEST. WALNUT, WROUGHT AND POLYCHROMED IRON. SPAIN, 17TH CE...

Castilian chest. Walnut wood, wrought iron and polychrome. Spain, 17th century. Rectangular chest with a flat lid, slightly raised on spheres, decorated on the outside with smooth mouldings on the top and bottom, and fittings (handles on the sides and lock shield) cut out to form vegetal and geometric elements. It is worth highlighting the presence of a “space” inside, on one side, with a lock closure and an iron decoration on the outside that retains polychromy (like some of the other fittings on the piece), and presents a drawing of volutes and vegetal elements with a certain Renaissance reminiscence and marked classicist influence.

· Size: 166x64x81 cms.
ANTIQUES

Ref.: ZF0265
LATIN CROSS SHAPED PECTORAL CLOCK. SILVER.17TH CENTURY.

Cross-shaped pectoral clock. Silver, 17th century. It has undergone restorations. Portable watch in the shape of a cross with an openwork exterior showing figurative Christian scenes and the movement inside, a gold-banded dial with Roman numerals for the hours, a single hand and an engraved decoration around it, also with a religious theme; on the back, you can see the back of the movement, with a delicate, also openwork decoration based on plant motifs reminiscent of classicism, and a band on the case of the piece with simplified plant elements. On the outside, we find on one side the crucified Christ, flanked by the Virgin Mary and Saint John, and the figures surrounded by a delicate composition based on vegetal scrolls, with an angel's head at the foot of the piece. The other side shows the Resurrection of Jesus, with Christ emerging from the empty tomb and the soldiers on either side, again with scrolls and above another angel's head. On the edges there are vegetal and floral elements, accompanied by figures placed within plaques. On the inside, and flanking the clock face, we are shown the Original Sin below and the Expulsion from Paradise, with Adam on one arm of the cross that forms the clock, Eve on the other and the angel on top, brandishing the flaming sword (thus following, in part, the biblical text). There are several known antique portable clocks which have been given a shape other than the usual one for such objects. Thus, although the best known is the skull-shaped clock in the Metropolitan Museum (movement from c. 1650 by Isaac Penard, case from c. 1810-1820), and bearing in mind that they were not at all the usual type, there are several examples in the shape of a Latin cross. Let us recall, for example, some of those preserved in the Ashmolean Museum in Oxford: one attributed to Cornelius Stimmer (active c. 1660) has Christ Crucified on the front, flanked by the four Evangelists; another by Barthélemy Cheuillard (active 1636-1677) dated c. 1650 has an uncut metal case and engraved decoration on the interior; Other examples, such as one dated c. 1660 or another by Didier Lalemand (active 1675-1686) dated c. 1660 or 1630, follow the usual pattern for such extraordinary examples, which is to have the outer case made of rock crystal. This is also the case with the clock by Charles Bobinet, probably painted by Werner Hassel and dated to the mid-17th century, which is kept in the Metropolitan Museum, and with the one in the British Museum in London by Jean Rouseeau the Younger, which is dated between 1640 and 1650 and was made in Switzerland.

· Size: 7x5,5x2,5 cms
ANTIQUES

Ref.: ZF1032
DANCING WOMEN, PAIR OF PANELS. MARBLE DUST. 20TH CENTURY, AFTER MODEL ...

Pair of panels, Dancers. Moulded alabaster. 20th century, inspired by CANOVA, Antonio (1757-1822). Pair of reliefs with frames made of moulded alabaster with polychromy, inspired by the reliefs showing two young people dancing in a fresco by Antonio Canova (The Graces and Venus dancing before Mars, 1799, Antonio Canova Museum and Glyptothek, Possagno, Treviso. Antonio Canova (Possagno, 1 November 1757 - Venice, 13 October 1822) was an Italian sculptor and painter of Neoclassicism. Weight: 15 kg.

· Size: 72x6x101 cms
DECORATIVE ANTIQUES

Ref.: ZE407
MARY MAGDALENE TRAVELLING TO MARSEILLE. OIL ON BOARD. CASTILLIAN SCHOO...

Mary Magdalene on the way to Marseille. Oil on panel. Castilian school, towards the end of the 15th century. Oil on panel showing a landscape with a walled city in the background, some mountains and the edge of a waterway (it is clear from the subject that it is the seashore). In the foreground, full-length, there is a boat with a sail and a circus of richly dressed figures with their respective halos (these decorated with geometric elements and engraved plants), two women and three men. Note the anecdotal detail of the fish crossing the waters beneath the ship. In the Golden Legend, chapter XCVI is dedicated to the figure of Mary Magdalene, including the journey she made with Saint Maximinus, Lazarus, Martha, her servant Martila and Saint Cedonius ("the man born blind and cured of his blindness by Christ), along with other Christians, after being expelled by the infidels who lived in the region they went to evangelise. They left the ship at sea, without oars or sails or anything that could help in navigation, with the idea that it would sink, but God saw to it that it reached Marseille. The Catholic Christian tradition ended this journey from the Holy Land in Saintes Maries de la Mer (near Arles), from where Mary Magdalene went to Marseille, undertaking the evangelisation of Provence. Note that the characters represented here are Saint Mary Magdalene, as the main figure of the group, Saint Maximinus, Lazarus, Saint Cedonius and Martha. There are some known examples in which the Saint is seen accompanied, with all the characters placed on a boat or related to it. However, this is not a very common iconography and it seems that it will be even less common after the Council of Trent. Let us cite, as examples, the altarpiece by Pere Mates (Museum of the Cathedral of Girona) from the 16th century with this legend (Provençal legend) in which the Saint appears already on land, with the boat in the background; she appears entering the boat in the altarpiece by Jean Béguin (Altarpiece of the Rosary of the Basilica of Saint Maximin in Var, France); she appears preaching in the port of Marseille in a painting by Ronzen (early 16th century, Museum of History of Marseille); in the Scrovegni Chapel in Padua Giotto painted the theme of the Miracle of the Governor of Marseille (theme related to this arrival) with figures in the boat and the governor's wife on the island; Magdalene Altarpiece by Lucas Moser (Church of St. Mary Magdalene, Tiefenbronn). Stylistically, a clear Flemish influence can be seen in the painting: note the details of the jewels on the garments, the qualities, the faces and the naturalism sought in them (within the idealization that corresponds to the sacred characters), the landscape and the fortress in the background, etc. The influence of Flemish art on the Castilian school began thanks to the patronage of the Mendozas, shortly after the middle of the century, and its development was also contributed to by the growing relations with Flanders (it is worth remembering the journey of Jan van Eyck in 1427) and the importation of Flemish works. Thus, the Hispano-Flemish style reached a great development in the last quarter of the 15th century as far as the Kingdom of Castile is concerned, with a series of interconnected minor schools, thereby providing a certain unitary character to the art of this style in this geographical area. As for names (and remembering that there are a large number of anonymous works and authors of whom we do not know the details), we have the one considered to be the introducer, Jorge Inglés, and figures such as Fernando Gallego, centres such as Valladolid and outstanding workshops such as those of Burgos or Toledo.

· Size: 83x11x128 cms int 73x118 cms
ANTIQUES

Ref.: ZF1052
VIEW OF THE PIER OF ANTWERP. OIL ON CANVAS. 18TH CENTURY.

View of the port of Antwerp. Oil on canvas. Flemish school, 18th century. Numerous ships and boats appear in the landscape, accompanied by small figures. In the background there is a city, with walls, houses, towers, etc., among which a tall structure stands out, which, together with the presence and shape of the port, allows the view to be clearly identified. The structure mentioned above is one of the towers of the Cathedral of Our Lady (built between 1352 and 1521), and it appears prominently in numerous views of the city. Compare this with a 16th-century copper engraving with copies in several museums, the View of the Port of Antwerp from the Vlaams Hoofd by Bonaventura Peeters the Elder (1614-1652) made between 1614 and 1652 (Museum aan de Stroom), the View by Mathys Schoevaerdts painted between 1660 and 1702 (same museum), etc.

· Size: 100x8x74 cms. int: 82x57 cms.
ANTIQUES

Ref.: ZF0975
THE TEMPTATION OF SAINT ANTHONY. OIL ON CANVAS. 17TH CENTURY, AFTER DA...

Temptations of Saint Anthony the Abbot. Oil on canvas. 17th century, based on the model of David Teniers II (Antwerp, 1610-Brussels, 1690). Oil on canvas showing a figurative scene set inside a cave. To the right, a standing cross can be seen, leaning against it; to the left, a hut; and in the centre of the painting, an older, bearded man appears, leaning on a table on which there is a ceramic jar and a skull, with an open book at the foot of the table. The man looks towards a woman, who points to something outside, and is accompanied by a large frog and a series of ghostly beings or monsters dressed in brightly coloured clothes and clothing. Saint Anthony the Abbot or Anthony the Great (251-356) was a Christian monk, considered the founder of the eremitic movement. He was tempted on numerous occasions by the devil while he was in the desert, which became a frequent theme in art (as can be seen in this oil painting). He is represented in a black habit because the Order of the Knights of the Hospital of Saint Anthony (Hospitallers) placed themselves under his patronage, being the colour of the habits of the members of this order (the tau or Egyptian cross was also the symbol chosen by them). David Teniers II or the Younger was a prominent Flemish painter and engraver, son of David Teniers the Elder or I and father of David Teniers III, highly appreciated in his time for his scenes of villagers and common people, his paintings of painting monkeys, etc. He dealt with the subject of the Temptations of Saint Anthony on numerous occasions: Museo del Prado in Madrid, National Museum of Western Art (Tokyo, Japan), Wallraf–Richartz Museum (Cologne, Germany), etc. In the case of the present work, it is necessary to mention and compare it both with an oil painting kept in a private Parisian collection and with another sold at Christie's in 2018, which was in a Belgian collection, has been dated between 1630 and 1680 and is signed. It should also be noted that there are known engravings with this theme made from works by the painter (work in the Fine Arts Museum of San Francisco, United States of America, according to Frans van der Wyngaerde and dated in the 17th century; at UCLA in California, United States of America, also by Frans van der Wyngaerde and from the 17th century).

· Size: 52x4x47,5 cms. int: 42x35.5 cms.
ANTIQUES

Ref.: ZF0996
BRONZE “WOUNDED FIGHTING BULL”.

Bronze sculpture, “Wounded Bull”. Signed “F. Bonilla Villalba” on the base. On a wooden pedestal, the figure of a bull is placed after the banderillas and death stages, as the elements used in both can be seen: three banderillas and the estoque. Thanks to the great quality of the artist, one can see both the moment when the bull is about to expire and bellows as well as the blood that flows from its wounds. The drama is accentuated thanks to the particular treatment of the animal's skin.

· Size: 55x27x40 cms.
ANTIQUES
SCULPTURE

Ref.: Z6180
MIRROR WITH RELIEFS. MODELED ALABASTER. 20TH CENTURY, AFTER ANDREA MAN...

Mirror with reliefs. Modelled alabaster. 20th century, based on the model of MANTEGNA, Andrea (ca. 1431-1506). Mirror with a frame made of polychrome modelled alabaster, showing a finial composed of classicist elements and two figurative motifs on the sides, a young man on one side and a lady on the other, with a background of decoration inspired by the Renaissance. Aesthetically, and with regard to the young man and the lady, it is inspired by a fresco by Andrea Mantegna, located in the Ducal Palace of Mantua (Italy), painted between 1465 and 1474. Weight: 40 kg.

· Size: 160x9x116 cms
DECORATIVE ANTIQUES

Ref.: ZE415
WALL MIRROR. MODELED ALABASTER. 20TH CENTURY, AFTER RENAISSANCE MODELS...

Wall mirror. Moulded alabaster. 20th century, following Renaissance models. Rectangular wall mirror with a frame made of polychrome moulded alabaster and decorated with a series of elements strongly inspired by classicism (candlesticks on the sides, the crest with a crown shape, the architectural motifs that flank it, the grotesques with children and fruit figures, etc.). Stylistically, the work is inspired by Renaissance models, with a certain resemblance to details present in pieces from the Spanish school. Weight: 35 kg.

· Size: 99,5x10x157 cms
DECORATIVE ANTIQUES

Ref.: ZE409
CHILD RIDING A BUCKET. CIRCA 1900.

Child on a bucket. Corrugated iron. Circa 1900. Figure with a circular base showing a child sitting astride a cube. Stylistically, the piece presents characteristics typical of small sculptures from the French school of the second half of the 19th century. Weight: 450 grams.

· Size: 7,5x7,5x13 cms.
DECORATIVE ANTIQUES

Ref.: ZF1232
FRAMED DRAWING. 20THC ENTURY (1976).

Framed charcoal drawings. 20th century (1976). Signed and dated (top right). Sheet showing a series of very varied notes or sketches (two human figures below, groups of people above) made in charcoal. Stylistically, the influence of certain avant-garde movements of the 20th century can be clearly seen in compositions, treatments, themes, etc.

· Size: 81x5x65 cms. int. 58x41 cms.
DECORATIVE ANTIQUES

Ref.: Z5820A50
ODYSSEUS AND CIRCE, RELIEF. MODELED ALABASTER. 20TH CENTURY, AFTER BAR...

Odysseus and Circe, relief. Modeled alabaster. 20th century, based on the model of SPRANGER, Bartholomäus (1546-1611). Panel with figurative relief and a fine frame around it made of moulded polychrome alabaster presenting a mythological theme. Circe appears accompanied by Odysseus, dressed in classicist armour, in a natural setting. The work is inspired by a painting by Barolomeo or Bartholomeus Spranger kept in the Kunsthistorisches Museum in Vienna (Austria). Weight: 5 kg.

· Size: 45x3x59 cms
DECORATIVE ANTIQUES

Ref.: ZE413
SEA LANDSCAPE. OIL ON BOARD. SPANISH SCHOOL, 20TH CENTURY.

Seascape. Oil on panel. Spanish School (Gonzalo Jiménez), 20th century. Signed (lower right area). Landscape painted in oil on board showing a beach with a series of buildings and a boat, with no human presence. Stylistically, the predominance of colour over the drawing, the brushstrokes, the tones, the subject, etc. respond to innovations brought by certain avant-garde movements that appeared in France from the end of the 19th century.

· Size: 45x3x38 cms. int;25x17,5 cms
DECORATIVE ANTIQUES

Ref.: Z4645
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BRONZE MORTAR WITH PESTLE. SPAIN, 17TH CENTURY.

Mortar and pestle. Bronze. Spanish school, 17th century. Bronze mortar with a flared mouth, a raised base towards the outside and a cylindrical body decorated on the outside with reliefs alternating shapes (probably figurative in origin, perhaps angel or Medusa heads) and balustrade shapes derived from the usual ribs, typical of this type of piece within the Spanish school since the Gothic period. The pestle, cylindrical in shape, has a decoration of smooth discs of different diameters and widths, arranged towards the centre and towards the end, and a flat widening at the beginning. Weight: 1.7 kg.

· Size: 11,5x11,5x7 cms.
ANTIQUES

Ref.: ZF1225

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