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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
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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
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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
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Bernegal or scrapie 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, which has two handles on the sides. These have two facing Cs of different sizes (the largest one on top) or in S-shape, and a decoration based on silver pearls and a bird perched on the top (the two on the piece facing the center). In Spanish silverwork, 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 areas and masters. This survival of the forms of the 17th century can be seen in the handles of the tembladera, decorative abundance (compared to the rest of the catavinos) that It contrasts with the clean lines of the rest of the work, which is common in this type of work. The lack of contrasting marks does not allow us to locate the work or the artist, although it is precisely this that speaks in favour of a secondary silversmith centre. , where the lack of control of these works was more common due to the lack of masters and 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 more common types in Spanish silverware in the 17th century (although in the 18th century they continued to be popular, especially in centres far from the main ones). creative cores). In the case of the present 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 Convent of the Clarissan Sisters of Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 213 grams.
· Size: 18,5x15x8 cms.
ANTIQUES
Ref.: ZF1057
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Armor. Metal, leather, textile. Spain, 20th century. Adult armour inspired by ancient models, composed of helmet, gauntlets, etc., with textile elements. Note the openwork elements and, above all, the decorations in light relief based on vegetal scrolls, volutes and figurative motifs with a strong heraldic influence. Weight: 33 kg.
· Size: 70x55x195 cms.
DECORATIVE ANTIQUES
Ref.: ZF1130
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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
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Iron pharmacy mortar. 18th-19th centuries. An old cast iron mortar for pharmaceutical use. It follows the usual structure for this type of utensil between the 15th and 19th centuries, with a truncated cone-shaped body with very thick walls that has vertical ribs and perpendicular protruding handles to facilitate gripping during use. In this case it shows eight polylobed ribs and two large handles with ends in the shape of a child's head, indicating that it would be a piece from the Baroque period or later, probably from the 18th or 19th centuries.
· Size: 40x31,5x26 cms. Mano: L. 40 cms
ANTIQUES
Ref.: ZF1242
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Flemish mortar. Bronze. 17th century. Presents brand. A mortar with a circular base and a mouth that extends outwards from the two upper bands and a body with a slight entasis and a relief decoration with figurative motifs. In addition to a series of mouldings on its outer area, two male protomes can be seen (heads with moustaches and non-human features) and a band with different elements on the lower part (scrolls, leaves, quadruped monsters). Also note a kind of circular “seal” (or so it seems), with letters (HLB / RA/TE) around a flag flanked by plant elements and placed on three oval objects. Compare this example with those by P. van den Ghein from the Royal Carillon School Museum “Jef Denyn” in Mechelen (although they are older), a 17th century example from the Pharmacy Museum in Berlin (Germany), another in the Pharmacy Museum of the Complutense University of Madrid (Spain), etc. Weight: 4.6 kg.
· Size: 17x17x14 cms.
ANTIQUES
Ref.: ZF1258
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Table. Walnut wood, iron. Spanish school, Guadalajara, 17th century. Table with a smooth rectangular top, four spheres under the four legs (these joined by chamfers that start from rectangular cubes, and carved with spherical elements accompanied by lentil or disk shapes), and a carved waist in the lower area of the front. In this part, there is also a drawer with a key lock, decorated with a carving of plant motifs divided into two rectangular areas; inside, a board creates two spaces. Note the dovetail joints. As this is one of the most common types of furniture in the Castilian school of all ancient Spanish furniture, it is possible to find similar examples in important private collections and in prominent institutions. Compare, for example, with some buffets in the Casa Museo Lope de Vega in Madrid (one with column legs is dated to the first half of the 17th century), or with some of those kept in the Museo Casa de Cervantes in Alcalá de Henares in Madrid (in particular, one has a composition on the legs similar to that of the present one, the one in the museum dated to the 17th century and registered with inventory number CE00113).
· Size: 96,5x60,5x81 cms
ANTIQUES
Ref.: ZF1275
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Rectangular washing basin. Stone. 18th century. Rectangular stone basin or tub with three of its walls straight inside and out and one of the smaller ones with an inward slope (the side used to wash clothes thanks to this shape). On the other side, towards the lower area, there is a hole for easier emptying. This type of piece was really common until the widespread introduction of washing machines and running water in homes, especially those in which there are no decorative elements, as is the case here. Also, being a completely utilitarian element, its shape and material hardly changed over the centuries.
· Size: 182x96x45 cms.
DECORATIVE ANTIQUES
Ref.: ZF1306
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Soup tureen with tray. Silver. Possibly Spain, 20th century. With contrast marks. Silver-coloured soup tureen with handles ending in parchment (and with plant elements in the base) and bulging shapes that extend to both the base and the lid, the latter finished in a scalloped finish. It has initials of ownership on the front. The tray repeats the waves of the other piece, and has two handles also in the form of parchment. It has contrasting marks on the base of the tureen and on the tray, without identification. Weight: 1.773 kg.
· Size: 26x18x22 cms.
ANTIQUES
Ref.: ZF1318
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Fireplace surround. Sandstone. Fireplace surround made of stone in its colour and decorated with a series of plant and architectural reliefs inspired by European works common during the 19th century, with some more common avant-garde touches from the 20th century.
· Size: 183x25x35 cms. int. 130x110 cms.
DECORATION
DECORATION COMPLEMENTS
Ref.: AM101
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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
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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
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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
MISCELLANEOUS
Ref.: Z2655
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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
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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
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Pair of friar's chairs. Walnut wood, leather, metal. Spain, 17th century. Armchairs with high arms and backrests of the type known as “frailero”, which have leather with studs on the seat and upper part of the backrest, low chambranes joining the front legs with the back ones and middle chambranes or side rails (the front one carved and cut out creating geometric motifs) joining the two front legs and the two back ones, and simple armrests, with scrollwork finishes. The friar's chair, originally of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of this and the 17th century and being recovered again in the historicist movement of the 19th century. Being such a deep-rooted tradition in Spain, this type of model was never stopped being created.
· Size: 69x55x107 cms.
ANTIQUES
FURNITURE
Ref.: Z5070
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Gilt bronze and white marble fittings in Louis XVI style, 19th century. It is made up of two cups on pedestals and a clock. The first ones are identical: on four circular legs, there is a polygonal base on which there is a low fluted column decorated with two strings of pearls in its lower area; above it, there is a tall-stemmed cup decorated with two handles in the shape of plant stems. The clock is placed on four legs, a semicircular base with a floral frieze, four columns and another semicircular plate; highlighted by two branches with flowers joined together, it has a white face and Arabic numerals, as well as hands of the type known as Louis XVI and is topped by a vase. The pendulum of the clock, which has been shaped like a sun, can be seen between the columns and the decorative chains. The French style known as Louis XVI is characterized by its inspiration in classicism and spans approximately from 1760 to 1789. In the 19th century, numerous artistic movements from the past were recovered, among which the aforementioned stood out due to its inspiration, very much in line with the Neoclassicism of the time.
· Size: Reloj: 19x9x40 cms. Copas: 19x15x21 cms.
ANTIQUES
Ref.: Z6190
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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 fabric 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
Ref.: ZE239
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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 is larger) protected with transparent glass; the back is smooth, with the material in its color. 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
Ref.: ZF0190
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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 in which 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 this 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
Ref.: ZF0344
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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
Ref.: ZF0755
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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
MISCELLANEOUS;OTHER OBJECTS
Ref.: ZF0843
