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BRONZE BRAZIER. POSSIBLY SPANISH SCHOOL, 16TH CENTURY.

Frame for a hand brazier. Bronze. Possibly Spanish School, 16th century. A polygonal bronze frame for a brazier or table, raised on legs and featuring a decoration of human figures at the top, as a finial, and a series of openwork scenes on the front between Doric or Tuscan columns (human figures surrounded by plant and grotesque elements; two panels with handles), clearly influenced by Classicism. Weight: 1.1 kg.

· Size: 19x19x12 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1422
BRONZE CAPITALS WITH BASES, FOUR SETS. SPANISH SCHOOL, 20TH CENTURY.

Capitals with bases, four pieces. Bronze. Spanish School, 20th century. Origin: Caryatids Building (formerly the Spanish Bank of the Río de la Plata; headquarters of the Cervantes Institute), Calle Alcalá, number 49, Madrid (Spain). Four capitals with their respective bases, made of bronze, clearly show a classicist influence in both their moldings and lines, as well as their decorative elements. However, in the arrangement of these motifs and other details, an evolution or departure from these nineteenth-century classicist models can be seen (volutes, stepped elements, etc.). They come from a building located at 49 Calle Alcalá in Madrid (Spain), known as the Cariátides Building, which was built as the headquarters for the Banco Español del Río de la Plata by Antonio Palacios Ramilo and Joaquín Otamendi between 1911 and 1918. It was extended and renovated between 1944 and 1953 (architect Manuel Cabanyes), and has been the headquarters of the Instituto Cervantes since 2006. Weight: 534 kg. Price per unit

· Size: 63x63x75 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1436
SILVER TRAY. SALAMANCA, SPAIN. POSSIBLY FRANCISCO DE VILLARROEL, FIRST...

Tray. Repoussé silver. Salamanca (Spain), possibly Francisco de Villarroel, first half of the 18th century. With contrast markings. A tray made of embossed silver in its natural color, decorated with a figurative relief depicting a child surrounded by war paraphernalia (shields, drums, spears, flags, etc.). The rim features a floral decoration with plant elements and ends, towards the outside, in a wavy curve. The hallmarks correspond to the city of Salamanca (Spain) and to those used by the silversmith Francisco de Villaroel y Gallarca (Salamanca, 1676-1749), who joined the Confraternity of Saint Eligius at the beginning of the 18th century (holding positions such as steward, deputy, examiner, and secretary) and was a silversmith and assayer (officially appointed in 1708) during the first half of the 18th century, using the same mark in both roles, which increases the complexity of attributing pieces to him. His work is held in several private collections, many religious centers (Zamora Cathedral, the Carmelite Convent of Alba de Tormes, Salamanca Cathedral, etc.), and institutions such as the Museu Medeiros e Almeida (Lisbon, Portugal) and the Museu Nacional de Arte Antiga (MNAA). Weight: 910 grams.

· Size: 46x45x6 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1495
SILVER PLATE. SALAMANCA, SPAIN, JUAN SANZ, CIRCA SECOND HALF 18TH CENT...

Salvilla. Silver. Salamanca, Juan Manuel Sanz, around the second half of the 18th century. With contrast markings. Silver salve in its natural color with legs formed by two joined "c"s enhanced with architectural elements and a top plate with a profile of mitered curves that translate into edges on the eaves, which are enhanced with several smooth moldings. Stylistically, the piece corresponds to a very common fashion in Spanish silversmithing of the second half of the 18th century in terms of the shape and contours of the upper part. However, the legs, curiously, are more reminiscent of earlier Baroque elements. The hallmarks refer to Juan Sanz de Velasco, a silversmith based in Salamanca since 1759 (specifically, active between 1746 and 1786). Juan Manuel Sanz de Velasco (1717-1786) was born in Ampudia (Palencia) and achieved the title of master in 1746. His works include a monstrance in Linares de Riofrío, an altar cross (parish of Rágana), altar cards in Salamanca Cathedral, cruets (La Vellés), a boat incense holder (Armenteros), and others. Weight: 880 grams.

· Size: 32x32x4,5 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1502
TURQUOISE BLUE VASE WITH HANDPAINTED SCENE. “APHRODITE AND ANCHISES”. ...

Turquoise blue vase with hand-painted scene. “Venus and Anchises”. Inspired by models from the Manufacture Nationale de Sèvres (France). The vase has two handles with vine leaves and bunches of grapes and decorative elements rooted in classicism. It has been highlighted by a base with four legs in the form of scrolls and shows plant elements in relief. The hand-painted scene on its front shows Venus with her lover Anchises, the union from which Aeneas was born, one of the main characters of the Trojan War and considered the ancestor of Romulus and Remus. The work is inspired by models from the Manufacture Nationale de Sèvres (France).

· Size: 45x34x84 cms.
DECORATION
PORCELAIN

Ref.: S3123
PINE WOOD AND WALNUT BENCH. SPAIN, 17TH CENTURY.

High-backed bench. Pine, walnut. Spain, 17th century. Carved wooden bench with a high backrest and arms decorated towards the inside (and in the lower area of the sides) with stripes formed by rectangular panels, following a very common motif in Spanish cabinetmaking. Requires restoration

· Size: 218x54,5x140 cms.
ANTIQUES
FURNITURE

Ref.: Z0605
DOUBLE DOOR WITH FORGED FITTINGS. PINE TREE WOOD FROM SORIA, WALNUT, W...

Two-leaf door with frame, latch and wrought iron fittings. Soria pine wood and walnut panels, wrought iron. 18th century. A two-leaf door with a simple frame decorated with carved walnut panels, contrasting in tone with the frame and highlighting the composition of a large rectangle interspersed with two small squares placed side by side. The frame is simple, as is often the case with this type of piece, and also features a latch and wrought iron fittings. It is not common to preserve these construction elements, given their purely utilitarian purpose and their replacement by more modern ones as soon as tastes change or when the old ones deteriorate.

· Size: 148x212 (Hoja 61x202 cms.)
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z2655
MAHOGANY TABLE FOR GAMES, 19TH CENTURY.

Mahogany gaming table. 19th century. The upper board is rectangular in shape and has curved profiles, and is supported by two balustrade legs that end in two supports with a shape reminiscent of cabriole legs, decorated with mouldings. Both are secured by a turned frame and have metal rollers. The lines recall baroque examples, while the decorative simplicity refers to neoclassical models, a common mix in 19th century furniture.

· Size: 95,5x48x74 cms.
ANTIQUES
FURNITURE

Ref.: Z3056
WATER PAINTING. LANDSCAPE BY AGUSTIN REDONDELA

Augustin Redondela (Madrid, October 29, 1922) A practically self-taught painter, he is considered one of the most original Spanish landscape artists of the 20th century.

· Size: 24x16 cms.
ANTIQUES
PAINTINGS

Ref.: Z3943
”FRAILERO” CHAIR. WOOD, LEATHER. SPAIN, 17TH CENTURY.

Pair of friar's chairs. Walnut wood, leather, metal. Spain, 17th century. Armchairs with high arms and backs, of the type known as "frailero" (friar's chair), feature studded leather on the seat and upper back, low stretchers connecting the front and rear legs, and medium stretchers or side rails (the front one carved and cut to create geometric patterns) joining the two front and two rear legs, and simple armrests with scroll finials. Originally of Italian origin, the frailero armchair became one of the most common pieces of Spanish furniture after its introduction in the 16th century, being characteristic of that century and the 17th, and experiencing a revival in the historicist movement of the 19th century. Because it was such a deeply rooted tradition in Spain, these models continued to be produced.

· Size: 69x55x107 cms.
ANTIQUES
FURNITURE

Ref.: Z5070
SILVER INCENSE BOAT (NAVICULAE). SANZ DE VELASCO, JUAN ANTONIO. VALLAD...

Naveta. Silver. SANZ DE VELASCO, Juan Antonio. Valladolid, Spain, 18th century. With contrasting marks. It shows repairs at the base and losses in the cresting. Boat. Silver. SANZ DE VELASCO, Juan Antonio (1720-1778). Valladolid, Spain, 18th century. With hallmarks. Boat with a circular base raised towards the foot by a series of stepped moldings. Its body is decorated with a cresting on the rim and an engraved composition of vegetal elements and volutes (on a background of stippled luster, a finish also used in the decorative motifs), a gadrooned element on one side, and a volute at the opening end. The hallmarks on the base place the piece's manufacture in Valladolid (note that it is the so-called "cutting mark," which some experts date to before the appointment of Antonio González Téllez as a certified assayer). The other hallmark present is that of Juan Antonio Sanz de Velasco (1720-1778), who served as a certified assayer in the city between 1743 and 1774/8. Apart from other surviving works by the master (many in private Spanish collections), the silver altar frontal of the Virgin of Sagrario (Valladolid Cathedral) stands out. It was crafted by the Valladolid silversmiths Juan Antonio Sanz de Velasco and Miguel Fernández Yáñez de Vega, who completed in the last third of the 18th century a work begun in 1693 by the silversmith José de Aranda. The shape of the piece is typical of this type of vessel for storing incense (in fact, the name naveta comes from "nave," meaning ship) dating back to the Middle Ages (e.g., the naveta in the Chapel of the Constables in Burgos Cathedral by Juan de Valladolid, from the 15th century), with variations in form and decorative elements depending on its origin, style, etc. Compare this piece with works preserved, for example, in the Diocesan and Cathedral Museum of Valladolid, another from the Museum of Navarre originating in Mexico and dated between 1634 and 1666, another from the 18th century in silver in its natural color from the Cathedral of Tuy (with a very different base), etc. Weight: 348 grams.

· Size: 16x10x9,5 cms,
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z5448
GILT BRONZE AND WHITE MARBLE CLOCK GARNITURE IN LOUIS XVI STYLE, 19TH ...

Gilded bronze and white marble garniture in the Louis XVI style, 19th century. Composed of two vases on pedestals and a clock. The vases are identical: a polygonal base rests on four circular legs, supporting a low, fluted column decorated with two strings of pearls at its base. Above this is a tall-stemmed vase adorned with two handles shaped like plant stems. The clock sits on four legs, a semicircular base with a floral frieze, four columns, and another semicircular plaque. Distinguished by two intertwined flowering branches, it has a white dial with Arabic numerals, Louis XVI-style hands, and is topped by a vase. The clock's pendulum, shaped like a sun, emerges between the columns and decorative chains. The French style known as Louis XVI is characterized by its inspiration from classicism and spans approximately from 1760 to 1789. In the 19th century, numerous artistic movements from the past were revived, among which the aforementioned style stood out due to its inspiration, very much in line with the Neoclassicism of the time.

· Size: Reloj: 19x9x40 cms. Copas: 19x15x21 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: Z6190
COLUMN. POLYCHROMED AND GILDED WOOD. 16TH CENTURY

Column. Carved, polychrome and gilded wood. 16th century. Carved and polychrome wooden column with a capital reminiscent of the Composite Order of Classical Antiquity (volutes, acanthus leaves in levels, etc.), a series of mouldings separating the shaft from the rest of the elements, a fluted shaft with a strip at the bottom with figurative elements and latticework, and a base with prominent upward-facing volutes and smooth mouldings at the corners. The aforementioned frieze shows a series of figures with only cloth hangings behind them as the background and carrying a series of elements (flowers, one with a tower with three windows that could be linked to Saint Barbara, etc.). In some details it is reminiscent of columns from other notable works such as the High Altarpiece of Our Lady of the Assumption of Tudela de Duero in Valladolid (last quarter of the 16th century-early 17th century, with designs by Manuel Álvarez and Francisco de la Maza); the High Altarpiece of the Cathedral of Astorga (1558-1584, following the architectural designs of Gaspar Becerra) has fluted columns with the lower part decorated with figurative reliefs; this detail is also present in the altarpiece of the Virgin Mary of Corcos del Valle (last quarter of the 16th century); etc.

· Size: 28x28x90 cms
ANTIQUES
SCULPTURE

Ref.: ZE239
DEVOTIONAL SILVER PENDANT. 17-18TH CENTURIES.

Reliquary cross. Silver, clear glass. 17th-18th century Devotional pendant made of silver and shaped like a Latin cross, decorated on the outside with simple scrolls, spikes, pearls and other elements of classical inspiration, as well as a ring to wear the jewel hanging from the neck. The front has seven oval holes (the one where the arms are crossed, which is larger) protected with transparent glass; the back is smooth, with the material in its colour. Typologically, there are similar examples of Portuguese origin, made of rock crystal and protected by silver bands, without the scrolls and other decorations, dating from between the 16th and 17th centuries, preserved in two private collections. The present jewel shows profiles with much more movement than these two, although the motifs and the simplicity of the lines respond to classicist influences. This type of jewellery was of great value to its owners, both for the materials from which it was made and for its content, which was considered sacred and protective. Despite this high value (or precisely for this reason), few examples of good quality and in good condition have reached us. There are medallions similar to the present one only in some important institutions such as the Fundación Valencia de Don Juan in Madrid, the Museo Nacional de Artes Decorativas (Madrid), the Lázaro Galdiano (Madrid), the Museo de Creencias y Religiosidad Popular del Pirineo Aragonés (Abizanda, Huesca), the Metropolitan Museum (New York), etc. And in prominent religious institutions such as the Cathedral of Santiago de Compostela or the Convent of the Descalzas Reales in Madrid.

· Size: 6,5x10 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF0190
CRUET SET. SILVER, GLASS. RENÉ-PIERRE FERRIER, PARIS, FRANCE, 1775.

Set of cruets. Silver and glass. René-Pierre Ferrier, Paris, 1775. With contrast marks. Set of cruets with salver made of silver in its colour and transparent glass, consisting of two jugs with handle, elongated neck and spout, and a body with a circular base, with a faceted exterior, an oval tray with two supports for the jugs and two others for the stoppers (decorated with leaves and fruits). The tray has four volute-shaped legs, a decoration that is repeated at the ends of the tray, and two architectural shapes on the longer sides, right where the supports for the spice racks are located. The supports for the jugs have an openwork decoration based on architectural motifs framing baskets with grapes and vine leaves and flowers. The hallmarks on the silver pieces indicate that they were the work of René-Pierre Ferrier (his hallmark can be seen), made in Paris between 1775 and 1776 (crowned M; “Maison Commune” mark) and with the corresponding taxes paid (the crowned A -this one in particular was used in Paris between 1775 and 1781- and the bull's head -same as the previous one-). René-Pierre Ferrier was a French silversmith whose mark can be seen used on work from 1775, the year he achieved the status of master. The shape of the tray is reminiscent of other works by the same silversmith dating from the end of the century and with a more pronounced “nave or ship shape”. The decorative elements respond to Neoclassicism, a very popular style in France at the time. It is possible to find pieces similar to the present one in some private collections and in institutions such as the Musée des Beaux-Arts de la Ville de Paris (Petit Palais), dated between 1783 and 1784 (inventory PPO2012), or in the Louvre Museum in Paris. Weight: 558 gr. silver / 1245 gr. c/bottle.

· Size: 27x16x23 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF0344
CAPITAL. GRANITE. SPAIN, 16TH CENTURY.

Capital. Carved granite. Spain, 16th century. Capital for a circular column made of carved granite, with volutes inspired by classical Corinthian capitals (three in total) and a series of mouldings. This is a common type in Spanish Renaissance buildings, as can be seen by comparing it with the Patio of the San Isidro or Los Orígenes museum in Madrid (Casa de los Vargas), the Cloister of Santa María de Ferreira de Pantón (Lugo), etc.

· Size: 60x60x40 cms. diam. columna 35 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0755
WROUGHT IRON FIREDOG OR ANDIRON. 16TH CENTURY.

Morillo. Wrought iron. 16th century. A wrought-iron andiron of the type commonly used for cooking in large fireplaces or hearths. It has a series of hooks facing upwards to accommodate spits when the andirons are placed in pairs, and a semicircular "plate" to hold a pot or similar. Compare with the one in the Metropolitan Museum.

· Size: 35x92x102 cm
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0843
SILVER TRAY. MATEO MARTÍNEZ MORENO, CÓRDOBA, SPAIN, 1789.

Source. Silver. Mateo Martinez Moreno, Cordoba, Spain, 1789. With contrast marks. Silver-coloured fountain, oval in shape and great depth, with contrasting marks and a border composed of smooth mouldings of different widths curved to form waves, ending in four peaks that extend towards the bottom of the piece, thus drawing a series of curves and counter-curves. This form is known as “cut-out profiles” and was a common resource in 18th century Spanish silverwork that followed or was influenced by Rococo models. The marks mentioned (frustras) could place the work's execution in Córdoba, during the period in which Mateo Martínez Moreno worked as a faithful contrast, also providing the date of 1789. Weight: 858 grams.

· Size: 38x6,5x27 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1043
BANDIT AND MILITARY, PAIR. OIL ON BOARD. LUCAS VILLAAMIL, EUGENIO (185...

Bandit and soldier, couple. Oil paintings on panels. LUCAS VILLAAMIL, Eugenio (Madrid, 1858-1919). They present signature and remains of signature. The present pair of panels shows, on a blue background, two male busts. Despite their detail and naturalism, they are not portraits per se, but rather “paintings of types”, showing the concept that was held at the time of a bandit or a general, in line with certain postulates common in Spanish Romanticism. Eugenio Lucas Villaamil began his training with his father, Eugenio Lucas Velázquez, and continued at the Escuela Especial de Pintura in Madrid. His work was notable for largely following his father's line, with a strong Goya influence in both style and subject matter (he also copied some of Goya's paintings), and he was a protégé of José Lázaro Galdiano. Thus, in addition to his traditional Madrid, bullfights, etc., he was also known for his portraits, his urban prints (of the upper and lower classes), etc. His work is preserved in numerous private collections and institutions such as the Museo del Prado (Madrid), the Museo Carmen Thyssen (Málaga), the Museo Lázaro Galdiano (Madrid), the Real Academia de Bellas Artes de San Fernando (Madrid), the Museo Nacional del Romanticismo (Madrid), etc.

· Size: 23,5x4,5x28 cms. int: 11x15,5 cms
ANTIQUES
PAINTINGS

Ref.: ZF1117
CHEST. WOOD, METAL. SPANISH SCHOOL, 16TH CENTURY.

Chest. Carved wood, metal. Spanish school, 16th century. Rectangular casket with a flat lid decorated on the outside with a series of figurative reliefs in a symmetrical arrangement with a theme and lines of clear Renaissance influence (framed and enhanced with smooth mouldings, on each front there are two grotesques facing each other or back to back, with a candlestick or central motif as the axis).

· Size: 19,5x14x11 cms.
ANTIQUES
FURNITURE

Ref.: ZF1289
SILVER SHELL. GARCÍA REINA, MANUEL. TOLEDO, SPAIN, CIRCA 1730-1741

Baptismal shell. Silver in its colour. GARCÍA REINA, Manuel. Toledo, Spain, circa 1730-1751. With contrast marks, it is missing. A shell made of silver in its colour, with naturalistic details, and a top with a cartouche (on which there is an engraved element) and a simplified vegetal shape on one side (it is missing the symmetry to this). The contrasting marks are found in what would be the “ears” or “earlets”. A numerical mark can be seen on the outside. On the inside, hallmarks can be seen that identify the piece as having been made in the Spanish city of Toledo, when Diego Rodríguez de Lezama (or Lizana) was working as a hallmark, to whom the mark on the other ear belongs. The third mark, located under the location mark, identifies the piece as being made by Manuel García Reina, who was born around 1706 in Colmenar Viejo and trained in Madrid with Juan Löpez Sopuerta. He settled in Toledo around 1730, where he furthered his studies with Manuel Vargas Machuca, entering San Eloy in 1733. He was an approver in 1747 and 1755, and it is known that he had a shop since at least 1743 and is documented until 1772. Diego Rodríguez de Lizana or de Lezana was born in Bargas (Toledo) and trained with Juan de Jarauta, joining the Brotherhood of San Eloy de Toledo in 1699. He was an approver of the guild in 1715 and 1718, and worked as a contrast between around 1730 and his death in 1751 or 1754. His works are preserved in San Pedro Mártir, in the parish church of Miguelturra (Ciudad Real), in the cathedral of Lérida, etc. His work is preserved in Santo Domingo el Real, some cruets in the museum of Santa Cruz de Toledo, the parish of los Yébenes, etc. Weight: 98 grams.

· Size: 11x12x4 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1376
MARBLE FOUNTAIN.

Three-level fountain. Carved marble.
Fountain made of veined marble, with a central axis with balustrade profiles and elegant floral and plant reliefs that visually organizes the three bowls (with a smaller diameter towards the top, up to the large pearl top), decorated with fine reliefs on the edge. This type of work is inspired by examples of ancient garden architecture, adding modern touches, and can also be used alone or as part of a small pool or lake."

· Size: 65x65x120 cms.
DECORATION
MARBLE SCULPTURES

Ref.: M0081
FLOWERPOT ON PEDESTAL. PORCELAIN.

Planter on a pedestal. Porcelain. The flowerpot, with a circular section, has a wavy edge outlined in gold and a garland and a scene painted on each side: both are idealised bucolic landscapes in which a series of characters inspired by classicism appear. The pedestal, with a circular section, resembles a smooth-shafted column flanked above and below by capitals and placed on feline legs, and on its front there is a pictorial decoration of the same type as those already mentioned. The work was inspired by models of 19th-century Neoclassicism.

· Size: 29x29x110 cms.
DECORATION
PORCELAIN

Ref.: S3096
CEILING LAMP. BRONZE, CLASS.

Lamp. Bronze, glass. Classicist style ceiling lamp with a central glass panel edged in bronze and with ram heads, from which two arms emerge ending in flower-shaped glass shades. The connection to the ceiling is made by bronze pieces decorated with putti, garlands, scrolls, architectural elements, etc. that show a clear influence of neoclassical models from the 19th century.

· Size: 91x91x110 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E515

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