Results 121 to 144 of 1588

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LATIN CROSS SHAPED PECTORAL CLOCK. SILVER.17TH CENTURY.

Cross-shaped pectoral clock. Silver, 17th century. It has undergone restorations. Portable watch in the shape of a cross with an openwork exterior showing figurative Christian scenes and the movement inside, a gold-banded dial with Roman numerals for the hours, a single hand and an engraved decoration around it, also with a religious theme; on the back, you can see the back of the movement, with a delicate, also openwork decoration based on plant motifs reminiscent of classicism, and a band on the case of the piece with simplified plant elements. On the outside, we find on one side the crucified Christ, flanked by the Virgin Mary and Saint John, and the figures surrounded by a delicate composition based on vegetal scrolls, with an angel's head at the foot of the piece. The other side shows the Resurrection of Jesus, with Christ emerging from the empty tomb and the soldiers on either side, again with scrolls and above another angel's head. On the edges there are vegetal and floral elements, accompanied by figures placed within plaques. On the inside, and flanking the clock face, we are shown the Original Sin below and the Expulsion from Paradise, with Adam on one arm of the cross that forms the clock, Eve on the other and the angel on top, brandishing the flaming sword (thus following, in part, the biblical text). There are several known antique portable clocks which have been given a shape other than the usual one for such objects. Thus, although the best known is the skull-shaped clock in the Metropolitan Museum (movement from c. 1650 by Isaac Penard, case from c. 1810-1820), and bearing in mind that they were not at all the usual type, there are several examples in the shape of a Latin cross. Let us recall, for example, some of those preserved in the Ashmolean Museum in Oxford: one attributed to Cornelius Stimmer (active c. 1660) has Christ Crucified on the front, flanked by the four Evangelists; another by Barthélemy Cheuillard (active 1636-1677) dated c. 1650 has an uncut metal case and engraved decoration on the interior; Other examples, such as one dated c. 1660 or another by Didier Lalemand (active 1675-1686) dated c. 1660 or 1630, follow the usual pattern for such extraordinary examples, which is to have the outer case made of rock crystal. This is also the case with the clock by Charles Bobinet, probably painted by Werner Hassel and dated to the mid-17th century, which is kept in the Metropolitan Museum, and with the one in the British Museum in London by Jean Rouseeau the Younger, which is dated between 1640 and 1650 and was made in Switzerland.

· Size: 7x5,5x2,5 cms
ANTIQUES

Ref.: ZF1032
PIETRA DURA RECTANGULAR TABLETOP. MARBLE AND HARDSTONES.

Rectangular table top. Marble and hard stones. Presents restoration. Rectangular board made with a technique inspired by Ancient Rome, very similar to marquetry, which uses marble and other hard stones instead of wood, often highlighting them on a black background. A decorated shield resembling a dome has been placed in the centre, and is flanked on the longer sides by two osier-shaped fruit bowls, and on the smaller ones by two bunches of flowers (carnations...) and fruit (cherries). A border frames these motifs, composed of bands that curve in scrolls and heraldic shields under lyres in the corners, and enlivened by parrots perched on them. The inspiration for this work is clearly found in the best examples of the 17th and 18th centuries. The board features a restoration

· Size: 120x240 cms.
DECORATION
HARD STONE

Ref.: AM-167 1...
LANDSCAPE, PEÑAFIEL. OIL ON CANVAS. JOSÉ MARÍA “CASTILVIEJO” (ZAMORA, ...

“Rural scene, Peñafiel”. Oil on canvas. José María “Castilviejo” (Zamora, 1925-Valladolid, 2004). José María García Fernández, better known as José María Castilviejo, was a Spanish painter who worked in a variety of techniques (oil, watercolour, engraving, drawing) and on a wide range of subjects (known above all for his portraits, still lifes and landscapes). According to critics, his work was known for its fusion of the traditional and the contemporary, reflected in the deep existence of the community. Recognised with awards such as the Castilla y León de las Artes (2002), his work is preserved in private collections and institutions such as the Robinson and Rostchild Collections, the New York Museum of Art, the Universidad Laboral de Zamora, etc.

· Size: 290x185 cms.
ANTIQUES
PAINTINGS

Ref.: Z5633
ASSUMPTION OF MARY. OIL ON COOPER. 17TH CENTURY. AFTER GUIDO RENI (157...

Assumption of the Virgin Mary. Oil on Copper, 17th century Following models of Guido Reni (Bologna, 1575-1642). Oil on copper showing the Virgin Mary sitting on clouds, dressed in a red tunic and blue mantle, in a break of Glory of golden tones and surrounded by clouds and angel musicians and singers, dressed in tunics, cloths, etc. and others naked, and represented both as small children and in the form of adolescents. Iconographically, two main themes are mixed in the work: the Coronation of Mary (note the two angels situated above the Virgin's head), and the Assumption (doctrine developed in the Western Church from the 12th century, according to tradition by Saint Augustine, which later became a dogma of Faith, and which maintains that, at the end of her life, Mary was taken up to heaven in body and soul). This oil painting is inspired by two works entitled “Coronation of the Virgin”, one preserved in the Bonnat Museum in Baoyona (nicknamed “the Guide”) and another in the National Gallery in London. These, in turn, follow the composition of a painting in the Prado Museum in Madrid by the same master, also entitled “Coronation of the Virgin” and painted around 1602 or 1603.

· Size: 59,5x4,5x77 cms. int 49,5x67 cms.
ANTIQUES

Ref.: ZF0974
”SAINT DOMINIC DE GUZMÁN AND SAINT FRANCIS OF ASSISI”. POLYCHROMED TER...

“Meeting of Saint Dominic and Saint Francis”. Polychrome terracotta sculpture. Colonial school, 17th century. Figure made of polychrome terracotta with gold details that represents two male figures on a simple pedestal. The one on the left is wearing a Franciscan habit (and a small red mark on his right hand) and is embracing fraternally, and on equal terms, the one on the right, wearing a dark cloak (decorated with fine gold lines creating a hairnet) over a white habit decorated with abundant flowers and gold elements, and a star in light relief on his forehead. They are Saint Francis of Assisi, with the stigmata in his hand, and Saint Dominic of Guzmán, both wearing their respective habits. The story is told, with a remarkable economy of elements (which shows the quality of the work), of the so-called “Fraternal Meeting of Saint Dominic and Saint Francis”, also called “Embrace of Peace” or, more colloquially and in some circles, “The Crash”. According to tradition, Saint Dominic had a vision in which Mary implored Jesus for Men, pointing them both out as servants of God; the next day, Saint Dominic met Saint Francis in the church of Rome, recognizing him as his companion and embracing and kissing each other. The present piece still shows Baroque influence, but already hints at a certain neoclassical influence in some details, maintaining the particularities of its school. Compare, for example, with the “Embrace” of the Monastery of Santo Tomás de Ávila by Luis Salvador Carmona, dated in the 18th century. It is also worth highlighting the quality of the modelling and the polychromy of the piece, with a remarkable state of conservation for the age and delicacy of the material of the figure.

· Size: 14x16x26 cms.
ANTIQUES

Ref.: ZE161
PIETRA DURA TABLETOP.

Table top. Hard stones. Table top made of carved and polished hard stones in a marquetry composition inspired, both in technique and elements, by Italian Renaissance and Baroque works.

· Size: 120x3x240 cms.
DECORATION
HARD STONE

Ref.: AM-291 2...
SET OF STRIPS AND FRAME IN PAINTED WOOD WITH GOLDEN DETAIL. 17TH CENTU...

Lot consisting of strips and frame (lintel and two jambs) in carved gilded and polychrome wood. Decoration of plant motifs with golden scrolls on a green background. 17th century

· Size: 175x160 cms.
ANTIQUES

Ref.: Z3395
CHILD JESUS. WOOD. SPANISH SCHOOL, 17TH CENTURY.

“Baby Jesus”. Carved and polychrome wood. Spanish school, 17th century. Later pedestal. Christ is presented naked, with a slight contrapposto in the legs and hips that give some movement to the sculpture and with delicate flesh tones. He keeps his gaze fixed forward, while raising one arm in an attitude of blessing, and holds a golden orb alluding to Creation with the other hand. His curly, blond hair has a tuft in the centre of his head. The sculpture is enhanced by a pedestal, modern but inspired by Spanish Baroque models, formed by lines with a lot of movement and decorated with architectural elements of classical influence, among which the pairs of protruding volutes from the fronts stand out. Although the forelock is reminiscent of the works of Martínez Montañés, in this example the hair is clearly curly. Compare this work with works such as those preserved in the Museum of Fine Arts in Córdoba, with one in the Municipal Museum of La Roda, some from the Royal Monastery of Las Descalzas in Madrid, etc. This type of work was made to be worn, and was normally intended for a female religious setting (it was considered that female devotion should not be directed towards certain works or iconography of the Passion because it was too strong), or some private oratory in some important residence.

· Size: 41x32x87 cms
ANTIQUES

Ref.: Z6564
”VIRGIN WITH CHILD ON THE THRONE”. BOXWOOD, BRONZE AND ROCK CRYSTAL. 1...

Enthroned Virgin and Child. Boxwood, bronze and carved rock crystal. 19th century. On a padded base, there is a second base made of bronze, the metal from which the throne is made. It stands on four low columns with smooth shafts and capitals decorated with scrolls and simplified plant forms, decorative elements that are repeated at the waist, combined with oval blue beads; the backrest, square and openwork with very schematic scrolls, is topped with four carved rock crystal pearls. The Virgin Mary is seated on it, with a crown that repeats the decorative elements of the throne, dressed in a tunic and cloak and with a book in her hand. The Child Jesus, on her lap, also looks forward, while blessing with his right hand. The iconography comes, as usual, from Byzantine models: among the types of Theotokos, the Panakranta or Panacranta is the one in which Mary appears seated on a throne, with the Child on her lap and both facing the spectator, showing what was agreed at the IV Ecumenical Council of Chalcedon (451 AD). These arrived in Europe already in the Romanesque, developing the iconography of the West. The present work can be compared with the Italo-Byzantine icon of the 13th century preserved in the National Gallery of Art in Washington DC (United States), or the carving of the "Virgin of the Battles" of the Monastery of San Pedro de Arlanza, made around 1225-1235, and preserved in the Museum of Burgos, or the Romanesque one from the mid-17th century today in the Museum of Fine Arts of Buenos Aires (Argentina), although there are a large number of examples. However, details such as the decoration of the capitals, the anatomy shown by the two figures, the scrolls of the throne and the crown, the folds of the draperies, a certain air in the faces despite their schematization, the symmetry present in various points of the work, etc., show that the carving belongs to a date closer to the present. Specifically, to the style known as Neo-Gothic: this was inspired by works from the 13th to the 15th-16th centuries and was opposed to the preceding Neoclassical style; it was born in England towards the middle of the 18th century, and spread throughout continental Europe in the 19th century.

· Size: 10x10x24 cms
ANTIQUES
SCULPTURE

Ref.: Z6707
PAIR OF LANDSCAPES, XALAPA, MEXICO. SPANISH SCHOOL, CIRCA 1840.

Landscapes, Xalapa, Mexico. Pair of oil paintings on canvas. Spanish School, ca. 1840. Provenance: Conde de la Cortina collection, Jalapa, Mexico. A pair of landscapes framed within the Spanish school of the first half of the 19th century, with a clear romantic affiliation. Both show the knowledge of the Dutch classicist landscape, one of the main influences on the Spanish romantic landscape. Thus, we see “V” compositions, closed on the sides and open in the centre, very low horizons that allow a wide development of the sky, spaces built in depth based on successive planes subtly differentiated by light and colour, and small figures perfectly integrated into the natural setting. In addition, the skies are scenic and effective, with low clouds behind which the golden light characteristic of the classicist landscape 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 wanted pure landscapes, almost without figures or completely lacking them, to achieve the heroic significance of historical painting. They based their work on the idea that human feeling and nature should be complementary, one reflected in the other. That is, the landscape should arouse emotion and transmit ideas. Thus, landscape painters like the author of these paintings tried to express their feelings through the landscape, instead of imitating it. Romantic landscapes had two main aspects: the dramatic, with turbulent and fantastic views, and the naturalistic, which emphasized images of a peaceful and serene nature. This second conception is what we see reflected in these works; the painter tries to communicate a religious reverence for the landscape, nature in its fullness. In fact, the artist's own use of light here conveys a misty, murky, dreamlike atmosphere that invites the viewer to meditate and contemplate himself in the landscape. The romantic landscape is, however, made up of very diverse manifestations that are not comparable to each other; it does not affect all national schools equally, remaining more faithful to tradition in schools such as the French or the Dutch. Thus, in this canvas we do not find the grandiose British and German stage sets, the steep mountains or the monumental Gothic ruins. On the contrary, it is a flat landscape, very horizontal despite the vertical elements that close the sides in the foreground, endowed with a gentle dynamism determined by the hills and the moving clouds. The most typical elements of the romantic landscape do not appear, such as the hostile climate or the Gothic ruin, although there is a clear separation between the foreground and the background, which enhances the scenographic character derived from the effective lighting. The typical, very marked, abyss-shaped perspective is also used, complemented by a slight confusion of points of view. Thus, the bombastic perspectives of the 18th century veduta are applied here to a sober landscape, which nuances the scenographic construction of the landscape, so typically romantic. Despite these local differences, in this romanticism contained in the form, we find, however, a clearly poetic content, which goes beyond the simple representation of nature to depict nature as a reflection of the author's feelings, melancholic and dark, extremely solitary.

· 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

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

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

Ref.: ZF1308
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
SILVER TASTEVIN FROM BECERRIL DE CAMPOS TOWN COUNCIL, 1806.

Wine tasting room of the Becerril de Campos council, 1806. With legend on the base (“Catavino of the Most Illustrious Council of Becerril de Campos with Royal Privilege, year 1806”). Published in: Fernández, Alejandro et alt. Encyclopedia of Spanish and Viceregal American Silver, Torreangulo Graphic Art, Madrid, 1985. Page 485. / Redondo Aguayo, Anselmo. Historical monograph of the town of Becerril de Campos and biographical information on its most illustrious sons. Bulletin of the Tello Tellez de Meneses Institution, 9, 1952. Page 149. A plain vessel with a legend on the outer rim, joined to a bowl with a convex seat decorated with raised scallops, engraved ovals and crosses and lines of beads arranged around a central circle that has been left smooth. Its shape makes it closer to Bordeaux-type tasting glasses than to Burgundian-type ones (the most common), and its shape seems to have been characteristic of Castile in the 17th century; it has not changed since then, maintaining its use and manufacture. According to experts, this type of piece was called “cups” until the 19th century, and we are not entirely sure that its use was utilitarian, with some studies leaning towards a mainly decorative function. This would be the reason why, despite being a piece made in a secondary manufacturing centre such as the municipality of Palencia, it has decoration all over its surface, in addition to the written legend. The scallop motifs, like the oval shapes, are geometric decorations that are widely used in this type of piece, especially since the Renaissance and because of the inspiration of this artistic style in Roman Antiquity. In the 19th century, this inspiration in classicism returned to art, by way of Neoclassicism. Despite the simplicity of the elements, a clear attempt by the artist to organize them in a harmonious way to give beauty to the piece can be seen. Both the material and the decorative excess (for coming from a local center) support the theory, already mentioned, that the wine tasting bowl would have been used more for representation than for normal use, being used in certain celebrations or events in which the council had a prominent role. This tasting vessel is mentioned in Anselmo Redondo's study. It is very rare to find examples of civil silverware, as their owners usually sold objects with the intention of buying new ones, or better ones, or ones made in a more modern artistic style, or due to economic needs. Thus, it is most common to find religious silverware, which is the same as civil silverware or differs only in its decorative elements. In addition, civil pieces were usually given to churches, convents, etc. as donations from individuals. It is worth highlighting, however, the extraordinary nature of this tasting vessel: first, due to its material; second, due to its typology; third, because its inscription makes it easy to place its origin and date. There are tasting vessels with similar characteristics to the present one in the Lázaro Galdiano Foundation in Madrid. Weight: 315 gr

· Size: 19x19x6 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6226
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 on which was written "for the most beautiful", which caused the dispute between Athena, Aphrodite and Hera that led to the Judgement of Paris, and finally caused the Trojan War. The banquet is depicted in a highly worked composition, set in a rich interior of classical architecture illuminated by the light of Apollo, who is situated at the farthest end from the viewer. At the head of the table, in the foreground, appears Zeus, accompanied by the eagle and with Hera, queen of the gods, to his left. In the lower right corner we see a group of satyrs serving wine, accompanied by rich metal vessels worked with a meticulous and descriptive brushstroke. The rest of the gods appear clearly differentiated, with Athena in the foreground on the right and, following an agile zigzag rhythm, typically baroque, Aphrodite with Eros, Hermes and the bride and groom, on the left, and Poseidon on the right. Formally, this is a work perfectly framed within the 17th century Madrid school, developed around the court. Thus, we see a sumptuous, allegorical classicist baroque, where the studies of light and colour take on special relevance, revealing the exalted and luminous tone typical of the maturity of this school. Specifically, we can relate this painting to the circle of Juan de la Corte, a painter of Flemish origin. Nothing is known today about his early training, since Palomino's claim that he was born in Spain was refuted by documents, citing in his will that he was born in Antwerp. Documents are also preserved in which the painter declares his apprenticeship in Flanders, where he “practiced his trade for many years”. For all these reasons, he has been related to Flemish artists of the time who, due to personal knowledge or the study of their works, strongly influenced the configuration of his personal language. We know of his establishment in Spain at least since 1613. His work at court encouraged him to apply for the position of royal painter left vacant by Bartolomé González in 1627, an objective which 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 of the kingdom, with his works being found in numerous noble inventories of the time. At the same time, he received royal commissions, such as the cycle of biblical stories that he painted for the Buen Retiro palace. His activity, according to his own confession, focused on "architectures, battles and countries", genres in which he was highly valued by his contemporaries. One of the most interesting characteristics of his style is the fact that he frequently dealt with mythological themes which, brought to the canvas in different cycles, offer us a singularly majestic panorama of a theme that was not very common in the painting of Spain at the time. Another of the outstanding aspects of his work was the proliferation of architectural perspectives clearly linked to Nordic writers, among whom Vredeman de Vries stands out in particular. His pictorial style remained anchored in earlier traditions, demonstrating an evident modesty and archaism, but the uniqueness of the subjects he dealt with makes him worthy of remembrance. Juan de la Corte is represented in the Museo del Prado, the Marítimo in Barcelona, the Cerralbo and the Municipal in 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 antique finish. The pole that holds it to the ceiling is decorated with architectural motifs and a shape in the centre resembling a canvas pavilion, placed on an Ionic capital from which hang garlands. The thirty-two lights have been grouped three by three in eight longer arms in the shape of a Y and eight shorter ones with a single light, all decorated with scrolls and plant elements. The central core, shaped like a vase, also has plant and architectural motifs inspired by classical antiquity.

· Size: 120x120x130 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E517
DINING ROOM WALNUT TABLE WITH SOLOMONIC LEGS

Dining table in walnut wood with Solomonic leg, 20th century. Dining table with a two-piece topped top on legs with Solomonic turning and chambrana joined to it with curved wrought iron fasteners, 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 leg and iron fasteners, 18th century. The two lyre legs that support the work have wavy lines at the bottom and shapes on the sides that recall those of French cabriolets. Both are joined with an iron fastener and support a single-piece board with carved edges. This type of leg, called lyre legs due to their resemblance to the musical instrument, was widely used during the Renaissance, and continued to be used later due to the movement that their curved profiles provided to the piece of furniture.

· Size: 73x103x220 cms.
ANTIQUES

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

Ref.: ZF0793
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.

Gardener type carriage. An open four-wheeled carriage with leaf springs and a raised davit, with a baluster box allowing 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
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5023
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TABLE WITH SOLOMONIC SHAPE. WALNUT, METAL. 20TH CENTURY.

Table with Solomonic leg. Walnut wood, metal. 20th century. Rectangular table made of carved walnut wood with legs and decorated jambs combining smooth rectangular cubes and areas shaped like a Solomonic column between discs. The table top is secured to the jambs by means of two iron fasteners, following both the decoration and this detail of models common in antique Spanish furniture (mainly 17th and 18th centuries).

· Size: 104x247x79 cms.
ANTIQUES
FURNITURE

Ref.: Z6506
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LOUIS XV STYLE CHANDELIER, TWELVE LIGHTS. GLASS, BRONZE. SIGNED. BACCA...

Louis XV style chandelier; twelve lights. Glass, bronze. Baccarat, France, 19th century. Signed. Adapted to electric light. Chandelier with a golden metal body as an axis from which a series of rods of the same material branch out in different positions, creating a composition of several floors and giving space for the points of light and the elements of white transparent glass. These come in a wide variety of shapes and sizes (star-shaped or flower-shaped; others have a complex design and are engraved with a Greek cross on the lower part of them; there are others with vase-shaped shapes; saucers that were originally under the candles and are now under the rods of the light bulbs), combining smooth areas with other striped and engraved ones. The metal arms have hardly any decoration, thus giving prominence to the glass; in this same material there are polygonal “saucers” under the points of light, a crown in the upper area of the lamp, etc. It has three points of light wrapped in lampshades facing downwards, another three points of light facing upwards in an inner circle, and six more in the outer area. The French Baccarat factory received its first order in 1823, thus beginning a long series of works for royal houses, heads of state, etc. around the world. The first of many accolades would come in 1855 when it was awarded the Gold Medal at the World's Fair in Paris. Between 1846 and 1849 the manufacture marked some of its finest crystal items with the letter “B” and the year in which the piece was created. Crystal production expanded during this period, and earned the firm a well-deserved international reputation for quality glassware, with pieces such as candlesticks and perfume bottles. By 1860 the manufacture began marking its products with a trademark, usually engraved on the base of the piece. During the second half of the 19th century, the Imperial era ended with the fall of Napoleon III, and trends outside French art began to have a significant influence on the company's work (particularly Japanese, a key influence on the development of French decorative arts at the end of this century). During these years, the factory also grew significantly on the Asian continent (India received some of the most striking orders...), and the production of perfume bottles became one of the most important for Baccarat (by 1907 production was around four thousand bottles a day). In 1936, Baccarat began to engrave its work with acid and the shot-blasting technique. Today, historical Baccarat pieces can be seen in the museum that bears its name in Paris, in prominent residences in Europe and Asia, etc.

· Size: 90x90x130 cms.
ANTIQUES

Ref.: ZF0279

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