Results 313 to 336 of 1579

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LOUIS XVI STYLE SETTEE. GOLDEN WOOD. UPHOLSTERY IN NEED OF RESTORATION...

Louis XVI style sofa. Gilded wood. Upholstery to restore or replace. Sofa on turned stipes legs and waist with flower-shaped cubes, repeating the decoration of the legs on the two columns on the sides. The lines and decoration show, for the realization of this work, the inspiration in Louis XVI furniture, a French style also known as “Style à la grecque” inspired by Antiquity and dated, approximately, between 1760 and 1789.

· Size: 181x70x102 cms.
ANTIQUES
FURNITURE

Ref.: Z5379
SILVER CHEST, AFTER 17TH CENTURY MODELS. POSSIBLY, 20TH CENTURY.

Chest inspired by 17th century models. Silver. Spain, 20th century. Rectangular casket made of silver in its colour, with four legs in the corners in the shape of a scroll and finished in a claw, decorated on the fronts with a decoration of mouldings, bands and motifs within rectangles (yokes, a bundle of arrows, a letter f crowned between two pomegranates, a letter y crowned between two pomegranates) in clear allusion to the Catholic Monarchs. The stepped lid presents a composition of scrolls, architectural elements and plant motifs on a background with a lustre-like finish, and a small rectangular “diamond” as a finish. It closes with a pin and a chain at the front. Compare, for example, with the 17th century silver casket in the museum of the Monastery of Santa María de la Caridad in Tudela, or with the so-called Casket of the Holy Martyrs of the parish of Santa María de Manlleu which is in the Episcopal Museum of Vic. Weight: 526 grams.

· Size: 16x11x11 cms.
ANTIQUES

Ref.: ZE280
DIAL AND COMPASS. BRONZE. SCHRETTEGGER, JOHAN. AUGSBURG, GERMANY, CIRC...

Sundial and compass with case. Bronze. SCHRETTEGGER, Johan. Augsburg, Germany, circa 1800. A polygonal sundial made of bronze, engraved with plant elements on the front, placed around the centre, where a compass is shown. On the back, the name of the author and the place where the work was created have been engraved. The instrument is accompanied by a case, also polygonal, with a flap closure and lined with textile on the inside. Johan Schrettegger (1797-1843), son of Andreas Vogler, worked in that German city creating pieces such as this one.

· Size: 6 x 5,5 x 1,5 cm/ Estuche:7x6,5x2 cms
ANTIQUES

Ref.: ZE311
SILVER AND GILT SILVER PYX. 16TH CENTURY.

Cast and chased silver pyx. Spain, towards the end of the 16th century. Cylindrical box with a moulded base under a wide frieze with latticework of bands and simplified plant elements. Moulded lid decorated with bands creating figures of 8 alternating with flowers and fleur-de-lis motifs, topped with a small cone with pearl, on which stands a three-nailed Crucifix with a loincloth around the knees and a cartouche. Given the gilding on the interior, this stemless host was perhaps used to contain the Holy Hosts in the tabernacle of some church. The decorative elements of the work and the figure of Christ in the upper part respond to the influence of the Renaissance, but also show Gothic memories. The Renaissance appeared in Castilian silverwork a little before 1520, and it was only from the end of the reign of Philip III that we usually speak of Baroque. In the Crown of Aragon, the political and economic decline of the area caused a significant decline in the number and quality of production, with the notable exception of Aragon and, above all, Zaragoza, which reached unequalled splendour later on. The same thing happens with the form: although there are similar examples during the Gothic period (a hostiary by Diego de Abanza or one of his sons, made in Burgos towards the end of the 15th century and preserved in the Diocesan Museum of Sigüenza, Guadalajara), this typology would continue even in the Baroque with numerous variations. Compare this with works such as a hostiary in the Museum of Malaga (BA/CE00305), with a similar cover and decoration, or, above all, with the one in the Ángel Quílez collection (inventory CAQ-47) of the future Museum of Alcáñiz (Teruel), with a similar profile and decoration, both from the end of the 16th century. And note the difference with, for example, the Castilian from the last third of the century preserved in the National Museum of Decorative Arts (CE19659) or that of Juan de Bendígar from the Lázaro Galdiano Museum (inventory 02165) from the second third of the century, with greater Renaissance influence. Weight: 176 gr.

· Size: 10x10x9,5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: ZA5725
PORCELAIN CENTREPIECE. VOLKSTEDT, RUDOLSTADT, GERMANY. CA END 19TH CEN...

Centerpiece. Volkstedt, Rudolstadt, Germany. Towards the end of the 19th century. Glazed porcelain. A circular centrepiece raised on simple legs, displaying a delicate multi-level composition. The children are arranged using a large stone and a tree trunk, with one child on top wearing a purple band holding flowers; below, there are four others, also half-naked, holding glasses, flowers, etc. Both the figures and the composition show a clear influence of Neoclassical models. This same relationship explains the theme: it is a series of figures linked to classical mythology, dealing with a pleasant and secondary theme (only a slight relationship with a bacchanal can be intuited by a cup that is presented), highly appreciated for the rich interiors of the period for maintaining the decorum required at the time. The factory's signature is clearly visible at the bottom in the centre and is in blue tones, with a signature (Marion) "engraved" below it. The Volkstedt factory, located in Rudolstadt (Thuringia, Germany), was founded at the official request of Georg Heinrich Macheleid in 1760, who had worked at the Glücksthal glassworks and had allegedly developed the porcelain formula on his own, without any contact with the Meissen ceramists Ehrenfried Walther von Tschirnhaus and Johann Friedrick Böttger. The privilege was granted in 1762 by Johann Friederich (Prince of Schwarzburg-Rudolstadt), specifying that it be established at that point, close to his court and under his personal direction. After several changes of hands over the years, it remains in force today.

· Size: 34x34x56cms.
ANTIQUES

Ref.: ZF0144
SHEPHERD’S BOX. ANTLER OR HORN. SPAIN, 1822.

Pastoral box. Carved horn. Spain, 1822. Rectangular box made of carved horn with a date (1822) engraved on the lid and front, a legend (Soi de Manuel Zulueta año 1822) and an engraved decoration based on geometric, vegetal, figurative and heraldic elements. The base of the piece has a banded frame that highlights a composition of birds and animals accompanied by simple stems and flowers. The lid has bands interlaced with circles of different sizes and, in the centre, a crowned heraldic shield flanked by two flags, and quartered with three-towered castles and crowned rampant lions; beneath this central element, the aforementioned date is again found. Note that it differs from the Castilian shield (the one used by the kings of Castile since 1230) in the position occupied in the quartering by the different elements.

· Size: 8x5x2 cms
ANTIQUES

Ref.: ZF0730
CAPITAL. GRANITE. SPAIN, 15TH CENTURY.

Capital. Carved granite. Spain, 15th century. Circular-based capital made of carved granite with a polygonal shape enhanced with mouldings, following forms that still retain a memory of Gothic works but with noticeable clean lines.

· Size: 60x60x64 cms.
ANTIQUES

Ref.: ZF0777
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CHRIST CHILD BLESSING. WOOD. MALINES, 16TH CENTURY, WITH RESTORATIONS.

Infant Jesus on a pedestal. Polychrome wood. Mechelen, 16th century, with restorations. Carved and polychrome wooden Infant Jesus standing on a pedestal of the same material, standing, moving forward, with his right hand blessing and an orb in his left. Stylistically, it corresponds to the usual shape, size, iconographies, etc. of the so-called “Malines Dolls” or “Malines Infant Jesus”, polychrome wooden figures designed to be dressed and decorated, which were made in Malines (Belgium) in large numbers and were exported throughout Europe between the mid-15th century and the first half of the 16th century. Compare this example with the 16th century Infant from the Hof van Busleyden Museum (Malines, Belgium), the one dated around 1500 that is preserved in the Louvre Museum (Paris), the one from around 1500 from the Museo de las Ferias Foundation, etc. Weight: 700 grams.

· Size: 14x9x42 cms.
ANTIQUES

Ref.: ZF1184
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
CHEST. WOOD, IRON. 19TH CENTURY.

Chest. Carved wood, iron. 19th century. Rectangular chest made of carved wood with front access through doors (which have locks), four simple legs and carved finials on the top. The decoration is made of simplified plant and geometric motifs.

· Size: 157x69x110 cms.
DECORATION
FURNITURE;RUSTIC

Ref.: AB030
STONE COLUMNS. 19TH-20TH CENTURIES.

Columns. Carved stone. 19th-20th centuries. Carved stone columns with symmetrical bases and capitals (formed by different smooth mouldings), with fluted shafts and decorated at the ends with shapes reminiscent of leaves, resembling certain elements of ancient Egyptian architecture. These types of elements were highly valued for prominent houses. Available 4 pcs.

· Size: 51x51x199 cms, / 46x46x188 cms.
DECORATIVE ANTIQUES
MISCELLANEOUS

Ref.: AC051
SOFA AND TWO ARMCHAIRS SET. WOOD, TEXTILE. 20TH CENTURY.

Sofa and two armchairs set. Carved and gilded wood, textile. 20th century. Set consisting of two high-backed armchairs with arms and a sofa similar to the other two pieces, all three upholstered in red. The carved and gilded wood displays a series of elements (dice with flowers, architectural details, scrolls...) that recall examples of 19th-century French Neoclassicism (Empire style, etc.).

· Size: 158x58x102 / 62x50x102 cms
DECORATIVE ANTIQUES

Ref.: E199E
WHITE MARBLE OVAL PLAQUE. “CHILDREN FROM DIONYSUS’ RETINUE”.

Oval carved white marble plaque. “Children from the procession of Dionysus”. The three children are seated on a meadow. One holds a branch with bunches of grapes and vine leaves; the second puts an arm around his shoulder and holds a cup; the third joins his hands while looking at his companions. Because of the objects they carry, they can be related to the procession that accompanies the god Dionysus, also known as Bacchus. This type of theme, taken from classical mythology but not belonging to the main themes, was widely used in art from the 18th century onwards, especially.

· Size: 95x5x80 cms.
DECORATION
MARBLE SCULPTURES

Ref.: M0093
MARBLE ROMAN BUST 2

Marble sculpture inspired by the characteristic portrait busts of the Roman Empire. It is in the portrait that Rome makes its most characteristic contribution to the tradition founded by the Greeks, a contribution that matured much earlier than in other types of sculpture and which caused the development of sculpture in Rome to be divided into two fields, with different patterns of evolution, the portrait and the other types. From the time of the Republic, the portrait was highly valued and over time it oscillated cyclically between an idealizing classicist tendency and another of great realism, derived in part from the typical expressiveness of Hellenistic art. And among the portraits, the bust and the head were the most frequent forms. Full-length portraits were less common, although not rare. The preference for the bust and the head is a typical Roman cultural trait that created an enormous market throughout the Mediterranean basin, and is explained firstly by economic reasons, being much cheaper than a complete statue, but also by the conviction of a better individual identification that prevailed among them. For the Romans, it was the head and not the body or the clothes or accessories that were the central attributes of interest in the portrait.

· Size: 56X20X73 cms
DECORATION
MARBLE SCULPTURES

Ref.: M0108
LOUIS XIV BUST. MARBLE. 20TH CENTURY.

Marble bust of “Louis XIV”. Veined marble. 20th century. Marble bust of a knight, dressed in armour and wearing a long curly wig. The idealisation, his clothing and his posture are reminiscent of examples of busts made in the court of Louis XIV (1710-1774) by artists such as Antoine Coysevox, Jean-Antoine Houdon, Warin, etc. Despite the artist's mastery reflecting a certain degree of individuality in the face, it is not possible to identify him due to the lack of elements that allow it, an intentional detail that does not detract from the work.

· Size: 54x22x74 cms.
DECORATION
MARBLE SCULPTURES

Ref.: MS308
PORCELAIN VASE. AFTER NEOCLASSICAL MODELS

Hand-painted enamelled porcelain vase. Inspired by Neoclassical models from the Meissen and Sèvres factories. Porcelain and bronze applications. The vase shows marked influences from classical antiquity both in its lines and in its decoration based on vegetal scrolls, garlands, strings of pearls, etc. Two scenes have been hand painted on the fronts: a Toilette and a couple of lovers, both in idealized landscapes. This type of work was highly appreciated in Europe, hence similar vases were made in the main porcelain factories. This case has many similarities with productions from Sèvres and Meissen.

· Size: 42x30x104 cms.
DECORATION
PORCELAIN

Ref.: S2562
DOOR. CARVED TROPICAL WOOD. NORTH OF INDIA, 19TH CENTURY.

Door. Carved and moulded tropical wood. Northern India, 19th century. A door with two leaves and jambs with a lintel made of carved wood decorated with simple architectural, geometric and plant elements in light relief. It is worth highlighting the Latin cross that presides over the centre of the lintel, as well as the delicate carving of some of the decorative elements already mentioned.

· Size: 130x38x228 con marco
DECORATIVE ANTIQUES

Ref.: Z0755
CEILING LAMP, TWELVE LIGTHS. BRONZE, GLASS. 19TH CENTURY.

Ceiling lamp, twelve lights. Bronze, glass. 19th century. Ceiling lamp with a gilded bronze structure decorated with architectural and plant elements with a clear classicist influence, which has twelve points of light (shaped like a candle and a glass saucer), and a series of transparent glass beads, some joined in chains and others in the shape of hanging tears. The similarity between this lamp and French models from the 19th century is clear.

· Size: 80x80x100 cms.
DECORATIVE ANTIQUES

Ref.: Z2707
WALNUT CHEST WITH WROUGHT IRONWORK, BAROQUE, 17TH CENTURY.

Chest in walnut wood with wrought iron fittings. Baroque, 17th century. Rectangular chest with a flat lid, reinforcing ironwork on the sides and bottom and a key lock, placed on legs with mixed profiles. The lock shield has shapes that correspond to those made in the Baroque, while the type of chest was already used in Gothic and later examples, as well as showing a cross. This type of furniture was used to store all kinds of valuable objects, from brocade or embroidered cloths to books and quality tableware, both in civil and religious settings.

· Size: 157x60x77,5 cms.
ANTIQUES
FURNITURE

Ref.: Z3444
OIL ON CANVAS. ALEJANDRO GOMEZ MARCO

Signed in the lower left corner "GOMEZ MARCO". Alejandro Gomez Marco Born in Madrid. Studied at the National School of Graphic Arts and the School of Fine Arts of San Fernando. In 1968 he received a scholarship from the Institute of International Education to visit the United States, where he lived for several years. He represented Spain at the International Congress of Artistic Education in New York in 1970. Professor of Art at Jersey City State College and lecturer in Spanish at the Metropolitan Museum of Art in New York. Numerous solo exhibitions since 1964. He also participated in numerous international exhibitions since 1965: Alexandria Biennial, Paris Biennial, Krakow Engraving Triennial in Poland, Ljubljana Biennial, former Yugoslavia, etc. Painting and drawing awards: Provincial Council of Ciudad Real, Francisco Alcantara (Circle of Fine Arts, Granada City Council, Engraving Hall of the General Directorate of Fine Arts, Bronze Medal of the City of Bordeaux, and many others. He is an Associate Professor at the Faculty of Fine Arts of the Complutense University in the subject of Printing Techniques II and Planographic Techniques from 1988 to 2007, the year of his retirement.

· Size: 114x150 cms.
ANTIQUES
PAINTINGS

Ref.: Z3546
WROUGHT IRON KITCHEN “LLAR” (POT HOLDER), 16TH CENTURY.

Wrought iron kitchen hearth, 16th century. A kitchen hearth with three hooks joined together on a horizontal crossbar with engraved decoration and square and rectangular rings and bars, some of which have been twisted. It is not at all common to preserve this type of utilitarian element despite its abundance due to its frequent replacement. Similar pieces have been made in all artistic styles, as it was used to hold the cauldron over the fire.

· Size: 79x200 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3829
WATER PAINTING.\'LANDSCAPE WITH SHRINE\'. AGUSTÍN REDONDELA

REDONDELA, Agustín (Madrid, 1922). "Hermitage". Watercolor. Signed and titled at the bottom. A painter who was mainly self-taught, Agustín González Alonso trained alongside his father, the painter and stage designer José González “Redondela”. After the civil war he attended classes at the School of Arts and Crafts in Madrid with the landscape artist José Ordoñez, and in 1945 he sent his first painting to the National Exhibition of Fine Arts, signed with the pseudonym Redondela. That same year he held his first solo exhibition at the Estilo gallery in Madrid. It was during this period that he came into contact with the Madrid School, and in 1947 he was selected to exhibit at the Salón de los Once at the Academia Breve e Crítica de Arte de Eugenio d'Ors. In the fifties Redondela received a scholarship from the Catherword Foundation in Philadelphia (1954), the National Painting Prize (1953) and the first medal at the National Exhibition (1957). In 1996 the Royal Academy of Fine Arts of San Fernando awarded him the José González de la Peña Prize, and two years later the Cultural Centre of the Villa de Madrid dedicated an important anthological exhibition to him. He is currently represented in the Museum of Fine Arts in La Coruña, the Museum of Contemporary Spanish Landscape in Priego de Córdoba, the Museum of Fine Arts in Bilbao, the Camón Aznar Museum in Zaragoza, the Museums of Buenos Aires, Caracas and Havana and the Oswaldo Guayasamín House-Museum in Quito, among other public and private collections.

· Size: 16 x 23 cm; 44 x 52 cm con marco
ANTIQUES
PAINTINGS

Ref.: Z3942
MODERN ORNAMENTAL MIRROR.

Gilded cornucopia mirror, 20th century Rectangular mirror with a wide frame, formed by wings, a crest and a lower finial with decorative motifs inspired by classical tradition (scrolls, vases, garlands, etc.). It is inspired by the well-known and appreciated cornucopias used in the 18th century to decorate and enhance the lighting of palace interiors. Stylistically, it can be related to 19th century examples of Rococo influence.

· Size: 83 x160 x 7 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: Z5167
WALNUT CHEST WITH SHOES AND IRONWORK. 17TH CENTURY.

Chest with walnut wood shoes and wrought iron fittings. 17th century. The rectangular chest with a flat lid and a lockable lock and protective fittings on the corners only has a decorative moulding at the bottom and some very prominent feet. These two details are what place the piece of furniture in the Baroque period. It was a very common creation at the time, used to store clothes and other valuable objects.

· Size: 157x54x80 cms.
ANTIQUES
FURNITURE

Ref.: Z5536

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