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Dressing table with mirror. Wood, glass, metal, stone. 19th century. Chest of drawers with four drawers at the front and a stone top with a front on the top with two more drawers, a mirror, and a series of architectural and vegetal carvings reminiscent of Elizabethan architecture. The carvings, centered on the sides of the lower part and on the top and sides of the mirror, show neoclassical influences.
· Size: 53x110x100 cms ALT ESPEJO 133 cms.
DECORATIVE ANTIQUES
FURNITURE
Ref.: Z4913
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Mirror Fernando VII. Carved and gilded wood, glass. Towards the beginning of the 19th century. Rectangular mirror made of carved wood in its colour, combining with decorations of strong classical influence of carved and gilded wood, reminiscent of bronze appliqués that were common in French furniture, which this piece is inspired by.
· Size: 102x6x197 cms
ANTIQUES
FURNITURE
Ref.: Z5300
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Folding mahogany side table, George II style, USA (America), circa 1860. A tripod with animal claws grasping a ball serves as the base of the foot of the piece of furniture, adorned with a small fluted column and a plant bulb. The mechanism that allows the piece of furniture to be folded is located above this foot, and the upper board is round and has a curved profile flanked by straight sections. American furniture owes much to English furniture, as the present example shows: it follows the so-called George II style, named after the monarch during whose reign it was created (he was born in 1683 and died in 1760), and is based on models taken from Roman Renaissance architecture.
· Size: 78x78x72 cms.
ANTIQUES
FURNITURE
Ref.: Z5502
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Asterio Mañanós Martínez began his painting studies at the Municipal School of Drawing in Palencia with Justo María de Velasco and, from 1877, at the School of Fine Arts of San Fernando in Madrid, in the classes of Casto Plasencia and Casado del Alisal. He also frequently visited the Prado Museum, making copies of Velázquez. From 1881, he participated in the National Fine Arts Exhibitions. He alternated his stay between Madrid and Palencia, where he was commissioned to design the curtains and stage curtains for the Teatro de Recreo Palentino. In 1885 he received a grant from the Provincial Council of Palencia to further his painting training at the Royal Academy of Spain in Rome, which lasted a year. Back in his hometown, he decorated, together with Sabino Ojero, the Teatro de la Peña Palentina. He also opened, in collaboration with Isidro Mallol, a drawing academy, called "Casado del Alisal" in honour of his teacher. In 1889 he moved to Paris for a year to study under the brush of the pictorial realism of Léon Bonnat. Upon his return to Spain he set up his studio in Madrid, where he painted Doña Sancha before the corpse of her husband and the portrait of Tomás Bretón. In 1908, the Senate's Government Commission appointed him curator of the Upper House's works of art. The result of this experience are the large parliamentary paintings that have the sessions and halls of the Senate as their subject. One of his last canvases was an allegory of the Second Republic, the painting belongs to the Senate collection. The place and circumstances of his death are unknown, although it is known that he was alive in 1935.
· Size: int. 60x40 cms.
ANTIQUES
PAINTINGS
Ref.: Z6229
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Bacon table. Carved walnut wood. Spain, 17th century. Rectangular table with a straight top protruding from the shorter sides, a drawer in the front and straight legs carved in the shape of a column with entasis in the centre, joined together with a simple perimeter frame. It has been restored. The small decorative elements of the piece of furniture (mouldings on the columns, rectangular carvings on the front) are reminiscent of very old examples of Spanish furniture.
· Size: 55x83x51 cms.
ANTIQUES
Ref.: Z6394
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Convoy of silver cruets. Córdoba, Cristóbal Sánchez Soto (1755-1802), towards the third third of the 18th century. With hallmarks and engraving marks. The present convoy maintains a slight Rococo reminiscence in its lines, but also advances something of the Neoclassical decorative purity. The craftsman, Cristóbal Sánchez Soto, is well known for works of great importance such as a float for the Virgin of Solitude and a tabernacle, both for the Brotherhood of the Nazarene of Córdoba, for example. The other two hallmarks that appear are those of the town (Córdoba) and that of the assayer, Juan de Luque y Leyva (1721-1779). Weight 400 gr. .
· Size: 20x11x21 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS
Ref.: Z6547
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Frame. Carved and gilded wood. 18th century. Rectangular frame made of carved and gilded wood that combines a thin smooth band on the inside, with another carved band with a band and another on the outside, in which smooth areas are combined with delicate plant details (these in the same finish as the rest of the molding, highlighted on a striped background). Nowadays, the value and appreciation of frames is on the rise due to the search for them by museums and important institutions, with the aim of giving the works the frames they would have had originally. Hence, similar examples are found in some paintings by Vermeer, for example, or can be found in the Metropolitan Museum in New York, in the Louvre Museum, in the British Museum and in the Victoria & Albert in London, etc.
· Size: 75x6x58 cms. / 50x38 cms.
ANTIQUES
Ref.: ZE225
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Relief. Carved, polychrome and gilded wood. 16th century. A slightly rectangular wooden plaque decorated with a relief on its front, made by lowering the shape so that it forms a “frame” on the board that serves as the base of the work. It is possible to see, with a gilded finish, a symmetrical composition with a polychrome angel’s head topping an axis with plant elements and a moulding, from which two fantastic birds similar to eagles emerge, placed back to back and joined to this “line” by their tails. The background does not have any decorative elements, neither carved nor painted, thus leaving the spotlight to the aforementioned elements. This type of composition was very common in the Renaissance throughout Europe, when the “fashion” of grotesques spread from Italy. In the Spanish case, it is possible to compare it with elements present in many other works of the 16th century, such as the Main Altarpiece of the Parish Church of Santa María (Villa de Tauste, Zaragoza) made of Scots pine wood and surely finished in polychromy in 1529; the frieze with angel heads in the work by Diego de Sagredo entitled “Medidas del Romano” (1526, Toledo); works by Diego de Siloé; Main Altarpiece of the Collegiate Church of Torrijos (Toledo), commissioned in 1558 to Juan Corrrea de Vivar and which presents some fantastic winged animals similar to those of the present relief in some details; etc. It should be noted that these decorative motifs will have a long tradition in Spanish Art. It is quite possible that the present relief plaque was created to form part of an altar in a church although it is not decorated with a religious theme (note that the theme of “winged heads”, often called “putti”, also comes from Italy and is found in both civil and religious works).
· Size: 22x5x27 cms.
ANTIQUES
Ref.: ZE237
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Pair of reliefs; grotesques or candelieri. Carved, polychrome and gilded wood. 16th century. Pair of reliefs made of hand-carved, gilded and polychrome wood, each showing a winged angel's head (or putti), placed on a vertical element that acts as an axis of symmetry for the composition of the relief. The rest of the motifs that complete the works are leaves with scrolls, floral or vegetal details, latticework, mouldings, all of clear classicist influence. The background does not present any decorative element, neither carved nor painted, thus leaving the spotlight to the aforementioned elements. This type of composition was very common in the Renaissance throughout Europe, when the “fashion” of grotesques spread from Italy. Compare, for example, the frieze reflected in an image of the work by Diego de Sagredo entitled “Medidas del Romano” (1526, Toledo); details of the Chapel of Santa Librada in the Cathedral of Sigüenza by Francisco de Baeza (around 1520); others from the façade of the Escuelas Mayores of the University of Salamanca; Main Altarpiece of the Collegiate Church of Torrijos (Toledo), commissioned in 1558 from Juan Correa de Vivar; etc. It should be noted that these decorative motifs will have a long tradition in Spanish art. It is quite possible that the present relief plaque was created to form part of an altar in a church although it is not decorated with a religious theme (note that the theme of “winged heads”, often called “putti”, also comes from Italy and is found in both civil and religious works).
· Size: 14x5x22 cms.
ANTIQUES
Ref.: ZE238
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Reliefs with angel heads. Polychrome and gilded wood. Spanish school, 16th century. Pair of rectangular panels with a ring for hanging on the back, which feature two deep figurative reliefs on the front. On a gold background, two winged children's heads are shown, one looking to each side. Note the gold details on the feathers, with a somewhat heraldic arrangement and shape, and the pictorial treatment of the hair. This type of relief was very common in the Spanish school from the Renaissance onwards to decorate altars, reredos, etc. Weight: 600 grams.
· Size: 32x6x11 cms
ANTIQUES
Ref.: ZE371
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Naveta. Silver in its colour. Salamanca, Spain, 1824-1850. With contrast marks and text. Silver vessel in its colour with a circular, stepped base decorated with ready mouldings, a turned axis or base with lines, and an elongated upper part, with a lid on one side and a protuberance on the other side of the piece (note the damage here). The hallmarks on the edge of the upper part (under the hinged lid) and on the foot place the production of this naveta in Salamanca, during the years of the faithful hallmark known as Bernabé Hidalgo (apparently documented in 1840, considered by some to be active in the 18th and 19th centuries; there is evidence of a Bernabé Sahagún Hidalgo working as a hallmark in Salamanca between 1824 and 1850). The other hallmark could not be identified. Also note the legend “Billaberde” located on the foot of the piece. Weight: 454 grams.
· Size: 16x10x18 cms.
ANTIQUES
Ref.: ZE438
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Fire engine or motorized sprayer. EC Flader of Jöhstadt, Germany, circa 1920. Motorised sprayer designed for horse-drawn operation by the firm EC Flader of Jöhstadt (name partially visible on the rectangular label on the front of the apparatus), with a folding compartment and space for machinery in the rear area, powered by two spoked wheels and fitted with a vertical bar to be fixed to the ground when in use. This type of machinery was used by firemen, usually in cities, and the present example is known to have been in use, for example, in 1925 in Wellsdorf.
· Size: 130x230x145 cms.
DECORATIVE ANTIQUES
MISCELLANEOUS
Ref.: Z1009A
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Fire engine or motorized sprayer. EC Flader of Jöhstadt, Germany, circa 1920. Motorised sprayer designed for horse-drawn operation by the firm EC Flader of Jöhstadt, with a folding compartment and space for machinery at the rear, powered by two spoked wheels and fitted with a vertical bar for securing it to the ground when in use. This type of machinery was used by firemen, usually in towns, and the present example, if as indicated, is known to have been in use in 1925 at Wellsdorf.
· Size: 340x142x125 cms.
DECORATIVE ANTIQUES
MISCELLANEOUS
Ref.: Z1009C
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Historical compendium of the arquebusiers of Madrid… Soler, Isidro (fl. Ca. 1795). Madrid, 1795. Original, leather binding. 86 pages. Perfect condition. “Historical compendium of the arquebusiers of Madrid from their origin to the present day, with two plates in which are engraved the marks and countermarks that they used in their works”, by Isidro Soler, arquebusier of the King Our Lord. Printing house of Pantaleón Aznar, 1795, Madrid. 86 p., 2 hr. of engraving. Full leather binding with gilt spines and decorated interveins; gilt edges, counter-edges and cuts; cover with embossed and gilt borders framing a royal superlibris with the Golden Fleece and closed crown.
· Size: 15,5x1,5x20,5 cms.
ANTIQUES
Ref.: ZF0568
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Frame. Gilded and polychrome wood. 17th century. It presents loss in the lower left area. Frame made of carved wood, gilded and polychromed in certain areas, with decoration based on bands (alternating plain ones with others with vegetal and architectural elements) and a relief at the top with vegetal and architectural motifs, combining polychromy with gilding in this area and below. Note the similarity between the decoration and lines of this piece and certain Spanish Baroque altarpieces of the 17th century.
· Size: 105x16,5x101,5 / int 81x57 cms.
ANTIQUES
Ref.: ZF0631
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Writing case with three inkwells. Silver. Martínez Royal Silversmiths Factory, Madrid, 1845. With contrast marks. Silver writing table in its colour, composed of a rectangular tray with raised, openwork sides and openwork decoration on the longer sides (downwards), and three containers (two cup-shaped) topped with figurative elements. Both the decoration of the elements and their lines show a clear influence of Neoclassical models based on Antiquity. The hallmarks present link the piece to the city of Madrid (Spain), also adding the date and the silversmith. The Royal Martínez Silver Factory was founded in 1778, and represented the introduction in Spain of the industrial manufacturing method in the field of silver work and of neoclassical aesthetics in Spanish silverwork. It was also one of the most important silver centres in the history of Spain, and was characterised by the originality of its designs and the perfect finish of its pieces. Compare this piece, for example, with the mancerina with a tray and acanthus leaves from the same factory dated 1834 in the Museum of History of Madrid, and with other works preserved in private collections. Weight: 490 grams.
· Size: 23x11x10 cms
ANTIQUES
Ref.: ZF0680
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Floor lamp. Glass, metal. circa mid-20th century. Floor lamp, made of white glass and metal with a copper finish, featuring a composition on the base alternating glass clusters with small metal discs and ending in two horizontal points of light and a metal cup. Its shape and decoration are reminiscent of works from Murano (Italy) from the mid-20th century.
· Size: 55x55x171 cms s/pantalla: 35x35x170 cms
DECORATIVE ANTIQUES
Ref.: ZF0908
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Table clock with lantern. Bronze, wood, glass. 19th century. Table clock with a base enhanced by a series of gilded bronzes in a marked Renaissance and Classicist style, which features a rocky upper part (where the white dial is located, with Roman numerals), on which a young man is leaning, looking up at a vine with bunches of grapes. The clock is protected by a glass lantern with a wooden base decorated with light-coloured marquetry, with a floral and plant theme.
· Size: 40x20x27 cms. reloj 33x13x45 cms.
ANTIQUES
Ref.: ZF0941
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Pair of spouted jugs. Silver. BENITO GOMEZ, Antonio (1775-1835). Segovia, Spain, 1801-1835. With contrast marks. Pair of small jugs with a circular base with mouldings, a low conical foot and a tubular body ending in a hemisphere at the bottom and with a flat moulding at the top; the handle, in double C, has a simple volute or branch that rests towards the mouth of the piece; the spout shows simple decoration. Typologically, the present pair is linked to a type of spouted jug that, with variations, was common in Spanish domestic silverware from the first half of the 17th century until the beginning of the 18th century, and was also found after this date. As usual, the civil model was quickly assimilated by religious silverware, especially for use in liturgical cruets. Antonio Benito Gómez (1775-1835) was a silversmith who worked in Segovia from at least 1801 until his death, and also a silversmith who worked between 1824 and 1828 and between 1831 and 1835. Son of the silversmith Juan de la Cruz Benito, several of his works have been preserved: a baptismal shell and a small rostrillo for the church of Vera Cruz in Zamarramala, a hyssop found in the church of Nuestra Señora de los Dolores in La Granja de San Ildefonso (Segovia), etc. Stylistically, most of his known work is clearly Rococo in style, although some Neoclassical pieces stand out.
· Size: 8,5x5,5x8 cms.
ANTIQUES
Ref.: ZF0984
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Crucified Christ. Ivory, ebony wood. Possibly French school, 19th century. Christ crucified with three nails, a Crown of Thorns with several intertwined branches and a loincloth with a cord, which is fixed to a Latin-style cross made of wood and with no other decorations than the INRI sign (JESUS NAZARENUS REX JUDAERUM, Jesus of Nazareth, King of the Jews) located above Jesus' head. Note that there is no wound on his side. The entire piece is carved from ivory, and the nails mentioned (two in the hands, one for the feet) are made of metal. The piece bears similarities to works from the French school of the 19th century. Although it resembles only in some details (general posture, hands) carvings by Desirée Manceau (act. Paris, late 19th-early 20th century), it is worth highlighting its greater resemblance to ivory crucifixes from the workshop of A. Leroy in Brussels preserved in private collections (loincloth, posture, absence of prominent wounds, etc.).
· Size: 28x6x50 cms. Cristo: 22x3,5x25,5 cms. cabeza a pies 24 cms
ANTIQUES
Ref.: ZF1059
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Art Nouveau ceiling lamp. Metal, glass. Circa 1900. Gold metal ceiling lamp with several points of light hidden by white translucent glass shades decorated with geometric elements. The stems, leaves and shapes it presents frame it within Modernism or Art Nouveau, a style highly appreciated in Europe around 1900.
· Size: 61x61x67 cms.
ANTIQUES
Ref.: ZF1291
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Empire style table with marble top. Circular table on four legs placed on claws with balls joined by chamfers that converge in a small vase. The supports are shaped like a stipe, decorated on the front with plant garlands, jars and lacework, which are also presented on the waist, flanking medallions with landscapes. The French Empire style (towards the beginning of the 19th century), named after the period of Napoleon's government in France, was characterized by its inspiration in the classical world.
· Size: 85x70x84 cms.
DECORATION
FURNITURE;CLASSIC
Ref.: D124
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Rectangular table with a marble top and floral marquetry, legs decorated with rams' heads and legs, with a waist decorated with waves and flowers and a top in stone highlighted by bands in different woods. The use of animal heads (called protome) in decoration was very common in classical antiquity, hence its popularity throughout the History of Art.
· Size: 100x52x53 cms.
DECORATION
FURNITURE;CLASSIC
Ref.: D048
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Queen Anne dresser with mirror. The chest of drawers is supported by four legs and is framed by two columns on either side. It has three identical drawers below and three above (the two central ones joined together in a structure which, when opened, reveals a writing board). The style of furniture known as “Queen Anne” developed in England around the reign of the monarch of the same name (1720s to around 1760), and was characterised by a lack of decorative elements and an emphasis on the lines of the pieces. A number of characteristic elements of this style are still in use today.
· Size: 91,5x41,5x93 cms.
DECORATION
FURNITURE;CLASSIC
Ref.: D078
