-
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
-
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. 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
-
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 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
-
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
-
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 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 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
-
Sold
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
-
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 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
-
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
-
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
-
Sold
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
-
Extendable folding table. Walnut and walnut root. 19th century. Extendable dining table to three metres, known as a book-shaped table due to the way it folds. It has turned legs in the form of balusters topped with metal rollers to move the piece of furniture. It has been made by combining walnut wood and walnut root wood, leaving the striking grain of this type of material visible. The piece is reminiscent in some details of Victorian examples from northern Europe.
· Size: 121x65x76 cms.
ANTIQUES
FURNITURE
Ref.: Z5858
-
Three rectangular panels with carved wooden reliefs. 16th century. All three have figurative decorative motifs arranged within rectangles marked by smooth mouldings: the longest has three (the side ones show two seated children flanking a shield and holding knotted cloths, while the central one has Saint Matthew and Saint John writing, identifiable thanks to their Tetramorph symbols) the short ones show two figures of the Church (Fathers, Prophets). Stylistically, they respond to the characteristics of Renaissance art, and would have been part of the drawers of some piece of furniture.
· Size: 25x145; 25,5x144; 24,5x68,5 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z6581
-
Mouthwash. In silver in its colour. Barcelona, 18th century. With hallmarks and initials of ownership. A container with a small circular foot has simple, flat lines, as well as a space at the base of the interior into which the glass fits, which has the same elegant shapes in its contours. In general, in the 18th century, the territories of the Crown of Aragon were recovered, which influenced its silverwork. In Barcelona silverwork, there was a recovery of importance to levels that had not been seen since the Gothic period. As in the rest of Spain, Rococo would dominate during the reign of Charles III (1760-1788); in the Court, which was already familiar with Neoclassicism around 1735-1740, this style would appear around 1770 and, after coexisting with Rococo for a few years, it would gradually prevail from 1780. Barcelona quickly adopted this new style and, apparently, would become one of the main peninsular centres, although the frequency of changes in markers, the frequent use of confusing symbols on the pieces and the absence of preserved works and studies make a detailed analysis of this centre and its silversmiths difficult. The hallmarks on the piece place it in Barcelona, in the workshop of a silversmith whose punch is “F. Tur”, possibly (Turquet). Weight: 582 grams.
· Size: 18x18x9 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS
Ref.: Z6871
-
Golden pheasant. Polychrome bronze. Vienna, 19th century. Polychrome bronze figure depicting a perched male golden pheasant. A bird originally from Asia, it was already known in the West in the 18th century (it appears in the tenth edition of Linnaeus' Systema Naturae) and appreciated for the bright colours of the male's plumage. In the 19th century, Vienna (and other European centres) produced bronze centrepieces and decorative figures of great originality and quality, usually with an exotic touch provided by anthropomorphic or animal motifs. Weight: 991 grams.
· Size: 33x9x17,5 cms.
ANTIQUES
Ref.: ZE262
-
Scallop base. Carved and polychrome wood. Inspired by 17th century models. Rectangular pedestal with a similar cushion on the top (decorated with plant elements) and complex lines of curves and counter-curves enhanced with architectural elements, including “C” volutes arranged in pairs on each side. At the bottom, the corner claws and the cut-out lower profile are noteworthy. Weight: 3.85 kg.
· Size: 42x33x24 cms.
ANTIQUES
Ref.: ZE370
-
Pair of Neo-Gothic style floor candelabras. Wrought iron. Spain, 20th century. Pair of wrought iron floor candelabras with a tripod base, a shaft decorated with small discs and ending in a circular plate, and a top made up of three levels of curved arms ending in floral elements, the third being the highest and ending in a spike. The set is inspired by 15th century Spanish lighting elements, specifically pieces known as “floridas” or “florid style”, prior to the development of openwork plates that occurred at the end of that century. Compare with older examples preserved in prominent institutions such as the Museu del Cau Ferrat in Sitges, the Museo Nacional de Artes Decorativas (Madrid) etc.
· Size: 62x62x219 cms.
ANTIQUES
Ref.: ZF0628
-
Grip. Blued bronze, marble. France, late 19th century. A sculpture in burnished bronze on an oval base in green-veined marble showing two lionesses or two panthers engaged in a fight, one biting the other's neck and both with their claws, limbs and muscles tense. It is worth highlighting the quality of the design and composition as well as the modelling and casting, as a series of striking details can be clearly seen in the work. On the base, engraved, there is an inscription linked to Clovis-Edmond Masson (Paris, France, 1838-1913). Trained with Antoine-Louis Barye, Rouillard and Santiago, he regularly showed his work (mainly on animal themes and almost always using bronze, wax or plaster) at the Paris Salon between 1867 and 1909. Thanks to the popularity and quality of his work, numerous bronze figures were made for the interiors of prominent residences. Currently, the most valued works are those of felines in violent attitudes and postures or showing strength, which seem to anticipate what was usual in this type of art in France between 1910 and 1930.
· Size: 65x23x38 cms.
ANTIQUES
Ref.: ZF0930
-
Heart-shaped spice rack. Silver. Spain, Granada, 1870. With hallmarks and engraving marks. Silver spice rack in its heart shape with a spout curved towards one side that has two hinged lids and three spaces inside (partition at the top and not at the bottom); it rests on three legs decorated with classicist elements and has, towards the side, a series of fine smooth mouldings. The hallmarks are those of Granada, of the date, and of the silversmith Manuel López Portero, who also worked as a hallmark in the city. The shape of the piece does not follow the usual prototypes of the period or of the school to which it belongs (there is a known silver box in the shape of a heart in which an eagle with its wings spread out appears on its obverse and reverse, by the hand of Manuel López Portero and dated 1773, which is the portaviaticum of the parish church of the Encarnación in Laujar de Andarax). The decorative elements of the box can easily be included within the Neoclassical period. Weight: 250 grams.
· Size: 10x11.5x4 cms.
ANTIQUES
Ref.: ZF1019
-
Bernegal or quaking iron with handles. Silver. Spain, 18th century. Avocado shaker in its colour with a circular base, without a pedestal or foot, and a hemispherical body that is wider at the top, with two handles on the sides. These have two facing Cs of different sizes (the largest one on top) or in the shape of an S, and a decoration based on silver pearls and a bird perched on the top (the two on the piece facing the centre). In Spanish silversmithing, the Baroque trends were maintained for almost the first two thirds of the 18th century, except in the capital, where Rococo forms were introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these innovations in Madrid, which would spread slowly to the rest of the centres (as a general rule), depending on the area and the masters. This survival of the 17th century forms can be seen in the handles of the tembladera, decorative abundance (compared to the rest of the wine-tasting vessel) that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of hallmarks does not allow the work or the artist to be located, although it is precisely this that speaks in favour of a secondary silversmithing centre, where the lack of control of these works was more common due to the lack of masters and the means to ensure compliance with the marking regulations. It does show a fine engraving of initials on the front of the piece. Bernegales and tembladeras were the most common types of silverware in 17th century Spain (although they continued to be popular in the 18th century, especially in centres far from the main creative centres). In the case of this piece, it is the handles that could indicate an American manufacture, although there are similar cases that are thought to have been made in the Iberian Peninsula. Compare this with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of the Clarissan Mothers of Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 213 grams.
· Size: 18,5x15x8 cms.
ANTIQUES
Ref.: ZF1057
