Results 121 to 144 of 1525

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PAIR OF LANDSCAPES, XALAPA, MEXICO. SPANISH SCHOOL, CIRCA 1840.

Landscapes, Xalapa, Mexico. Pair of oil paintings on canvas. Spanish School, circa 1840. Provenance: Conde de la Cortina collection, Jalapa, Mexico. A pair of landscapes belonging to the Spanish school of the first half of the 19th century, clearly influenced by Romanticism. Both demonstrate a knowledge of the Dutch Classical landscape, a major influence on Spanish Romantic landscape painting. Thus, we see V-shaped compositions, closed at the sides and open in the center, very low horizons that allow for a broad development of the sky, spaces constructed in depth through successive planes subtly differentiated by light and color, and small figures perfectly integrated into the natural setting. Furthermore, the skies are theatrical and dramatic, with low clouds behind which the golden light characteristic of Classical landscape painting filters. One of the most radical aspects of Romantic painting was the attempt to replace large canvases with historical or religious themes with landscapes. They aimed for the pure landscape, almost devoid of figures or entirely lacking them, to achieve the heroic significance of history painting. This was based on the idea that human feeling and nature should be complementary, one reflecting the other. In other words, the landscape should evoke emotion and convey ideas. Thus, landscape painters like the artist of these canvases sought to express their feelings through the landscape, rather than imitating it. Romantic landscape painting had two main branches: the dramatic, with turbulent and fantastical vistas, and the naturalistic, which emphasized images of a peaceful and serene nature. This second conception is what we see embodied in these works; the painter seeks to communicate a religious reverence for the landscape, for nature in its fullness. In fact, the artist's very use of light here conveys a hazy, murky, dreamlike atmosphere that invites the viewer to meditate and contemplate themselves within the landscape. Romantic landscape painting, however, comprises a wide variety of manifestations, not all of which are comparable; it does not affect all national schools equally, remaining more faithful to tradition in schools such as the French and Dutch. Thus, in this canvas, we do not find the grandiose stage sets of the British and Germans, the craggy mountains, or the monumental Gothic ruins. On the contrary, it is a flat, very horizontal landscape, despite the vertical elements that close off the sides in the foreground, endowed with a gentle dynamism determined by the hills and the shifting skies. The most typical elements of Romantic landscape painting, such as harsh weather or Gothic ruins, are absent, although the clear separation between the foreground and background is present, enhancing the theatrical character derived from the dramatic lighting. Likewise, the typical, highly pronounced Romantic perspective, with its abyssal effect, is employed, complemented by a slight blurring of viewpoints. Thus, the grandiose perspectives of 18th-century veduta are applied here to a sober landscape, which softens the scenographic construction of the landscape, so typically Romantic. Despite these local differences, despite this Romanticism contained in the form, we nevertheless find a distinctly poetic content, which goes beyond the simple representation of nature to depict it as a reflection of the author's melancholic, dark, and profoundly solitary feelings.

· Size: 66 x 80 cm; 74 x 87,5 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6227C
”RESSURRECTION”. POLYCHROMED WOOD. SPANISH SCHOOL, 16TH CENTURY.

Resurrection of Christ. Carved and polychrome wood. Spanish school, 16th century. On one side of the piece there is a relief with the theme of the Resurrection of Christ: Jesus, dressed in the golden shroud, appears in the middle of a beam of light and clouds, standing over the tomb and raising one arm while holding with the other hand a staff topped with a cross and a flag waving in the wind; on the lower part there are four soldiers, in different postures and attitudes. The other side shows a chalice with a Holy Host (in which a Crucified Christ appears flanked by the Virgin and Saint John in grisaille), raised by two angels; all the elements are placed on a golden background, in a space surrounded by clouds; on one side there is a piece of wood on which, originally, there would have been a bolt, and on the other there are remains of two hinges. It is this element that makes one think that the relief was surely a door of a Tabernacle. The piece follows a decoration that is common in Renaissance and Baroque tabernacles. Compare, for example, with the 17th century altarpiece of the main altar of the church of the Monastery of Santa Isabel in Madrid, or with others preserved in private collections. The scene of the Resurrection recalls in details such as the variety of postures of the soldiers, the anatomy of Christ, the movement of the shroud around his body, etc. outstanding pieces such as the 16th century relief in Renaissance style in the Museum of the Monastery of the Cistercian Abbey of Cañas in La Rioja. Although they are parts of an altar with varied themes, the emphasis is always on Salvation, since they are intended to contain the Holy Host.

· Size: 32x5x52 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0280
NORTON MOTORCYCLE, ES2 500CC, CIRCA 1948.

Norton motorcycle, model ES2 500 CC, circa 1948 Incomplete documentation; it has circulation permits from 1958 and 1980. Norton, or Norton Motorcycles, is a British motorcycle brand founded in 1898 that ceased production in the 1990s and restarted activity in 2008. The company was acquired in 1952 by Associated Motor Cycles, becoming part of the Norton-Villiers group in 1966, and in 1972 it was integrated into the Norton-Villiers-Triumph group, following the liquidation of BSA (the former owner of Triumph). Designed by Walter Moore, the Norton CS1 engine appeared in 1927, based largely on the ES2 pushrod engine and using many of its parts. Moore was recruited by NSU in 1930, after which Arthur Carroll designed an entirely new OHC engine destined to become the basis for all subsequent OHC and DOHC Norton singles. (Moore's move to NSU prompted his former staff to joke that NSU stood for "Norton Spares Used.") The Norton racing legend began in the 1930s. Of the nine Isle of Man Senior TTs (500 cc) between 1931 and 1939, Norton won seven. After the Second World War, Norton returned to civilian motorcycle production, gradually increasing its range. A major addition in 1949 was the twin-cylinder Model 7, known as the Norton Dominator, a 500cc pushrod twin-cylinder machine designed by Bert Hopwood. Its chassis was derived from the single-cylinder ES2, with telescopic front and piston rear suspension, and an updated version of the gearbox known as a "lay-down" box. Sleeker mudguards and tanks completed the more modern styling of Norton's new premium twin-cylinder model.

· Size: 200x84x114 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0752
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

Gate with pass-through. Wrought iron. Spain, 17th century. Rectangular iron railing with a half-height railing, a frame and supports to keep it upright. The vertical bars have opposing balustrade shapes and a series of discs and small smooth mouldings, all arranged symmetrically around this horizontal railing. On the sides, two square bars have a series of smooth mouldings and architectural decoration with a strong classical influence. Compare, for example, with the works preserved in the Victoria and Albert Museum in London, or the confessional in the Metropolitan Museum in New York dated 1629 (inv 57.137.51) and with another from the same museum, the work of Francisco González (inv 56-234.12 Ad).

· Size: 194x61x294 cms
ANTIQUES
FURNITURE

Ref.: ZF1308
ADORATION OF THE SHEPHERDS. POLYCHROMED WOOD. COLONIAL SCHOOL (POSSIBL...

Adoration of the Shepherds. Carved and polychromed wood. Colonial school (possibly Viceroyalty of Peru), 18th century. It has faults. Fragment of a carved, polychrome, and gilded wooden altarpiece depicting a figurative scene within a rectangular space crowned by a semicircular arch. In the upper section, angels emerge from clouds holding a scroll on which some of the original text is still visible; below, a red roof partially covers vertical structures with a classical influence. In the lower section, four shepherds are depicted with a donkey and an ox. The Christ Child is positioned in the center (note that the halo resembles a cradle, or vice versa), with the Virgin Mary and Saint John at his side, their hands clasped in prayer. Iconographically, it is clear that this is the Adoration of the Shepherds. In sculpture, the school of the Viceroyalty of Peru is considered to have emerged with the establishment of the viceroyalty in 1542 (and to have disappeared in the 19th century). As was typical, in its early stages it owed much to the influence of Spanish art (especially the Sevillian school), eventually acquiring a strong identity of its own thanks to the work of indigenous masters, religious orders, and others. The main artistic centers were often Lima (the viceroyalty's capital), Quito, and Cusco (from the second half of the 17th century onward, this area would become known primarily for its dressed religious images).

· Size: 63x7x140 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1483
BRONZE AND GLASS CHANDELIER.

Ceiling lamp in bronze and glass. It has three levels of lights: the upper one, with the bulbs hidden in white glass ovals decorated with leaves and blades; the lower one, with the lights connected in pairs and placed in arms with plant motifs; and another, interior, hidden in the bronze body and covered by glass ovals decorated with stars, leaving the lower part open. Throughout the body of the lamp there are plant and architectural elements, scallops and spiral and smooth rods. Antique bronze finish inspired by French models from the early 20th century.

· Size: Altura 185 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E518
OIL ON CANVAS MARRIAGE THETIS AND PELEUS

Madrid School of the 17th Century. Circle of CORTE, Juan de la (Antwerp, c. 1585 – Madrid, 1662). “The Wedding of Thetis and Peleus”. Oil on canvas. This work describes the wedding of the nereid Thetis and Prince Peleus, parents of Achilles. It was celebrated on Mount Pelion, and all the deities attended, although Eris, the goddess of discord, was not invited. In revenge, she threw a golden apple inscribed "for the fairest," which caused the dispute between Athena, Aphrodite, and Hera that led to the Judgment of Paris, ultimately sparking the Trojan War. The banquet is depicted in a meticulously crafted composition, set within a richly decorated classical interior illuminated by the light of Apollo, who stands at the far end of the table. At the head of the table, in the foreground, appears Zeus, accompanied by the eagle, with Hera, queen of the gods, to his left. In the lower right corner, a group of satyrs serve wine, accompanied by ornate metal vessels rendered with meticulous and descriptive brushwork. The remaining gods are clearly differentiated, with Athena in the foreground on the right, and, following a dynamic, typically Baroque zigzag pattern, Aphrodite with Eros, Hermes, and the bride and groom on the left, and Poseidon on the right. Formally, this work is perfectly situated within the 17th-century Madrid school, which flourished around the court. Thus, we see a sumptuous, allegorical, classicist Baroque style, where studies of light and color take on special significance, revealing the exalted and luminous tone characteristic of this school's maturity. Specifically, we can relate this painting to the circle of Juan de la Corte, a painter of Flemish origin. Nothing is known today of his early training, as Palomino's claim of his birth in Spain has been refuted by documentary evidence, with his will stating that he was born in Antwerp. Documents also survive in which the painter declares his apprenticeship in Flanders, where he "practiced his craft for many years." For all these reasons, he has been associated with Flemish artists of the period who, through personal acquaintance or the study of their works, powerfully influenced the development of his personal style. We know of his presence in Spain at least from 1613. His work at court encouraged him to apply for the position of royal painter, which Bartolomé González left vacant upon his death in 1627, an objective he did not achieve. There is no documentary evidence, therefore, to support Palomino's claim that he was the king's painter. However, he enjoyed moderate success in the capital, and his works appear in numerous inventories of noble families from that period. He also received royal commissions, such as the cycle of biblical stories he painted for the Buen Retiro Palace. His work, according to his own account, focused on "architecture, battles, and landscapes," genres in which he was highly regarded by his contemporaries. One of the most interesting characteristics of his style is his frequent treatment of mythological themes, which, rendered on canvas in various cycles, offer us a uniquely majestic panorama of a subject matter quite uncommon in the painting of Spain at that time. Another outstanding aspect of his work was the proliferation of architectural perspectives clearly linked to Nordic theorists, among whom Vredeman de Vries stands out. His painting style remained rooted in earlier traditions, demonstrating a certain modesty and archaism, but the unique nature of the subjects he addressed makes him worthy of being remembered. Juan de la Corte is represented in the Prado Museum, the Maritime Museum of Barcelona, the Cerralbo Museum, and the Municipal Museum of Madrid, among others.

· Size: 97 x 122 cm; 116 x 143 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6297
CHANDELIER WITH 32 LIGHTS, BRONZE WITH PATINA.

Chandelier with 32 lights, bronze with an aged finish. The shaft that attaches it to the ceiling is decorated with architectural motifs and a central shape resembling a fabric pavilion, situated atop an Ionic capital from which garlands hang. The thirty-two lights are grouped in threes in eight longer, Y-shaped arms and eight shorter, single-light arms, all decorated with scrolls and vegetal elements. The central, vase-shaped core also features vegetal and architectural motifs inspired by classical antiquity.

· Size: 120x120x130 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E517
DINING ROOM WALNUT TABLE WITH SOLOMONIC LEGS

Walnut wood dining table with Solomon's leg, 20th century. Dining table with a two-piece headboard on legs with Solomonic turning and a chambranle attached to it with curved wrought iron braces, following Baroque models

· Size: 219x96x82,5 cms.
ANTIQUES
FURNITURE

Ref.: Z5591
SPANISH WOODEN TABLE WITH LYRE LEGS AND IRON FASTENERS, 18TH CENTURY.

Spanish table with lyre-shaped legs and iron braces, 18th century. The two lyre-shaped legs supporting the piece feature undulating lines at the bottom and shapes on the sides reminiscent of French cabriolet guitars. They are joined by an iron brace and support a single-piece tabletop with carved edges. This type of leg, called lyre-shaped because of its resemblance to the musical instrument, was widely used in the Renaissance, and its use continued later due to the movement that its curved profiles brought to the furniture.

· Size: 73x103x220 cms.
ANTIQUES
FURNITURE

Ref.: Z6146
ESCUTCHEON. ALABASTER. SPAIN, 17TH CENTURY

Heraldic shield. Carved alabaster. Spain, 17th century. Quartered shield with seven Moorish heads facing the centre, adorned on the border and a bird on the crest. The first quarter is checkered or chequered with chains in orders of three and five; the second quarter is quartered with towers and chevrons with a pendant; the third quarter is a saltire bordered with seven saltires of Saint Andrew; the fourth quarter is with three horizontal bands. It is crowned by a feathered knight's helmet facing left, and is flanked by a composition of grotesques with busts, volutes and architectural elements on the hats of the human figures; below, another bust flanked by vegetal and architectural elements. The composition corresponds to models common in the 17th century, maintaining a marked classicism. Compare, for example, with the one in the Casa de Begoña de Agurain, one in the Barrio del Cantero in Barcenillas (Cantabria), etc.

· Size: 103x110 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0793
NURSING VIRGIN MARY. OIL ON BOARD. HISPANO-FLEMISH SCHOOL, 16TH CENTUR...

Virgin of the Milk. Oil on panel. Hispano-Flemish School, 16th century. It has faults and restorations. Panel depicting the Virgin wearing a tunic and cloak, her hair partially covered, three-quarter length, with curtains in the background, breastfeeding the Child Jesus. Their heads are highlighted with a fine halo, and in the foreground is a small platform with a book, some cherries, and a vase of flowers (lilies and roses, possibly alluding to Mary's purity and virginity). This iconography originated in Byzantium (where it was known as Galactotrofusa) and enjoyed popularity in Europe until the Council of Trent (Italy, 1545-1563), when it appears to have ceased to appear as frequently in some parts of the continent due to issues of modesty. Engravings by Dürer and many other works with a composition similar to this panel have survived. Stylistically, the influence of the Flemish school and Spanish touches on his painting is clear, placing it within the Hispano-Flemish school. There is evidence of a series of panels in private collections linked to followers of Joos Van Cleve (also known as Joos van der Beke; c. 1485–1490 – 1540/1541; active in Antwerp) that are very similar in composition to the present one, which would indicate inspiration from one or more shared works. Compare, noting the differences, with van Cleve's panel of the Holy Family held by the Metropolitan Museum in New York (inventory 32.100.57), which dates back to around 1512. It is also worth remembering the one held in the Museum of Fine Arts in A Coruña (Spain), which dates from the 16th century.

· Size: 60x5x73 cms. int. 50x64 cms
ANTIQUES
PAINTINGS

Ref.: ZF1395
PAIR OF MARBLE SPHYNX.

Pair of sphinxes in travertine marble. Although this mythological winged animal with a lion's body and a female head is found in ancient Egyptian art, the idealization, proportions and lines of the sculptures relate them much more to neoclassical examples of 19th century Europe, especially since Napoleon's campaigns on the banks of the Nile River.

· Size: 120x51x85 cms.
DECORATION
MARBLE SCULPTURES

Ref.: M0087
CARRIAGE, “JARDINERA” TYPE.

Garden-type carriage. An open, four-wheeled carriage with leaf springs and a raised driver's seat, whose baluster body allows for several people to be carried on each side. This type of vehicle was generally used in the countryside, although nowadays it is more frequently seen at fairs and important events.

· Size: 234x156x173 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z5023
LOUIS XVI STYLE TABLE WITH EIGHT LEGS.

Louis XVI style table with eight legs. Made of carved and gilded wood, the table rests on eight pilastered legs decorated with vegetal motifs and set on a base; these are joined in the center by curved stretchers adorned with vegetal elements. The waistline features, on each side, a central motif consisting of a circle with a flower and vegetal motifs at its base that extend outwards and visually continue along the entire side, which is decorated with architectural elements. The Louis XVI style, on which this table is based, is also known in France as "Style à la grecque" due to its inspiration from classical elements.

· Size: 222.5x132x79 cms., Para tapa 210x120 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E325
PAIR OF BRONZE LIGHT STANDS WITH LADIES

Figure made of bronze, representing a woman holding a large thirteen-armed candelabrum. The base is formed by a pedestal decorated with a floral garland resting on lion's claws.

· Size: 60x60x252 cms.
DECORATION
BRONZE SCULPTURES

Ref.: V7001A
GILT WOODEN NICHE, ROCOCO, 18TH CENTURY.

Niche in carved and gilded wood, Rococo, 18th century. A niche formed by a back decorated with a moulding and a support for a sculpture decorated with a mask and plant motifs and topped by a split pediment with a central motif worked on its lower part resembling a cloth. Engraved cornucopias and leaves appear throughout the back. The work would have been part of an altarpiece or could have been created as it has been preserved for a private chapel.

· Size: 216x74x40 cms.
ANTIQUES
FURNITURE

Ref.: Z3413A
WALNUT BOARD 465x5x92 cms.

· Size: 465x5x92 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z5634C
WALNUT BOARD 478x8x102 cms.

· Size: 478x8x102 cms. ancho minimo 87 cms
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z5634E
FRIEZE. POLYCHROMED PINE WOOD. 16TH CENTURY.

Frieze with reliefs. Carved and polychrome pine wood. 16th century. Rectangular frieze of carved, gilded and polychrome pine wood decorated with figurative reliefs. An architectural piece with a garland serves as the axis for the symmetrical composition, formed by horses turning their heads and biting a cloth and two wingless children or putti pulling on this cloth, which ends in fruit, thus joining the ends with the centre of the piece. In both the iconographic theme and the anatomy, composition and colours, the influence of the Italian Renaissance can be seen, with variations that may be due to the fact that it was a Spanish creation. Compare, for example, with the engraving by Johann Theodor de Bry in the Metropolitan Museum of New York dated between 1580 and 1600, or works by Paolo Farinati; and with Spanish creations such as the carvings from the Ducal Palace of Pastrana (second half of the 16th century), works by Alonso de Covarrubias, the Renaissance doorway of the Church of the Assumption of Beteta (Cuenca), etc.

· Size: 96x9x20 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0565
MARQUETRY AND BRONZE SHOWCASE. FRENCH SCHOOL, 19TH CENTURY.

Louis XVI style display case. Wood, gilt bronze, etc. French School, 19th century. A wooden display case decorated with marquetry plaques with figurative motifs in the lower area and gilt bronze appliqués. It has three glass fronts that reveal the interior. It is upholstered in red textile and has two glass shelves. These marquetry scenes depict figures in landscapes, reminiscent of oriental works. The bronze appliqués and the "bombé" shape of the lower area demonstrate Rococo influences. The Louis XVI style is considered, in France, a movement within Neoclassicism and spans from around 1760 to around 1789 (although works inspired by it would be created in the 19th century). It was succeeded by the Directoire style. It is characterized by its influences from Ancient Rome and Enlightenment thought. In the French school, the style that presents Rococo influences is known as Louis XV, and it also inspires works in the 19th century, which receive the same name.

· Size: 43x63x172 cms.
ANTIQUES
FURNITURE

Ref.: ZF0656
WINEPRESS. WOOD, METAL. SPAIN, CIRCA 1800..

Wine press. Wood, metal. Spain, circa 1800. Press for extracting grape juice made of wood with two screws on the sides to manually move the flat part of the press located on top, which also has a piece to fit into a container to put the fruit. Also note the crossbars and legs for transporting it. This type of agricultural machinery was very common in the past, although it is still in small numbers because it was replaced by technological advances that occurred, especially after the Industrial Revolution. They were used both in monasteries and in other centres where grapes were pressed for the production of wine and other drinks.

· Size: 180x270x305 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0757
PAIR OF BOHEMIAN CRANBERRY RUBY RED GLASS ENAMELED AND GOLD URNS. 19TH...

Pair of vases. Glass. Bohemia, Czech Republic, 19th century. Pair of red glass vases decorated with areas of white enamel and spaces in gold, highlighting the two female busts (practically portraits on an undefined background) that both pieces present on their fronts. The two raised handles finished in a circle have a fine decoration of simplified plant elements; the glass shows decoration of the same type, but of a different influence (more classicist); the busts have been enhanced by two frames in gold and dark lines clearly reminiscent of classicism; the white areas (with plant shapes) have gold lines. Both pieces show remarkable similarities in the quality of the colour of the glass and the decoration as well as in the lines of the pieces, with notable red Bohemian glass urns, especially with works linked to Ludwig Moser & Söhne. Moser is a company that manufactures luxury glass objects located in Karlovy Vary (Czech Republic; formerly Karlsbad in Bohemia) that continues its work today (it was founded in 1857 by Ludwig Moser), and is highly appreciated in the art world for its works from the late 19th and 20th centuries. Although Bohemia was a region known for its glass production as early as the 13th century (especially when they discovered that adding potassium created a clearer and more stable colourless glass than Italian glass), this activity became popular in the 17th century (although the term “Bohemian” or similar had been used for a hundred years before to distinguish quality glass from this origin), and it stood out especially in the 19th and 20th centuries thanks to important manufacturers for the quality of their materials and techniques and the care taken in their designs. By the mid-19th century they already had a system for teaching glassmaking, and in the second half they exported very striking pieces in large quantities (usually pairs of glasses or vases in a single colour in opaque glass or in two colours, decorated with enamelled floral elements, painted details; sometimes lithographic techniques were used to copy famous paintings and capture them in works; etc.) created in large factories and in large quantities.

· Size: 15x13x41 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZE222
WALNUT WOOD AND IRONWORK CHEST, XVII CENTURY.

Chest in walnut wood and wrought iron fittings, 17th century. Rectangular chest with base and lid featuring moldings, metal fittings, and corner pieces in wrought iron on a red fabric background, all made from stylized and simplified plant and architectural elements. Key lock on the front. Single-piece boards in excellent condition. The characteristic prototype of these pieces is followed in the Spanish examples for chests, which would have a civil or religious use, being used to store clothes, tableware, etc.

· Size: 75x190x80 cms.
ANTIQUES
FURNITURE

Ref.: Z6357

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