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EUCHARISTIC CHEST OR CASKET. POLYCHROMED WOOD. SPAIN, 16TH CENTURY.

Chest. Carved and polychrome wood. Spain, 16th century. Carved, gilded and polychrome wooden chest with a rectangular base and upper part in the shape of a gable or trough roof (with the smaller sides straight and not inclined); It opens when going down on the front, revealing the polychrome and gilding of the interior. On the outside, the piece presents a painted decoration: on the smaller sides two male figures on a gold background flanked by fine balustraded columns and under a decoration reminiscent of cloth; The front has simple architectural elements carved in light relief, leaving the semicircular arch for a Virgen de la Leche; The back has a composition based on plant elements in “ce”, volutes, winged children, masks, scrolls, etc., with a clear classicist influence; The upper part of the piece has a decoration similar to that of the bottom on all its fronts except the front, where you can clearly see an inscription in Latin capital letters inspired by Antiquity framed by a band with scrolls and plant elements. On the sides appear Saint Peter with the keys and Saint Paul holding the sword in his arms that alludes to his martyrdom. Both the faces and the postures of the characters and the architectural elements show a clear relationship with stylistic novelties, while the golden background is a common detail in the Spanish school since the Gothic period. Decoration based on plant elements, scrolls, etc. present in several areas of the chest, which has already been mentioned, is known as grotesques, and stands out for its classicist influence, for not presenting a strictly symmetrical organization in all the panels in which it is found, and for its compositional quality. The grotesque is a very common decorative motif in art since the “discovery” (15th century) in the Domus Aurea in Rome of ancient paintings with plant elements, cornucopias, panoplies, human and theriomorphic figures, mythological beings, etc. arranged in usually symmetrical compositions. The Virgin Mary is presented breastfeeding the Child, hence this iconography is known as the Virgin of Milk. Regarding the inscription (“O SACRV CONBIBIVM IN QUO written by Saint Thomas Aquinas and included in the traditional Catholic liturgy in the festival of Corpus Christi, with forms in Gregorian chant and musical compositions written by prominent teachers such as Tomás Luis de Victoria, Palestrina, Pergolesi, etc. All these details mentioned and the fact that the chest opens with a folding front “lid” would indicate the creation of the piece to contain and display a monstrance with the Sacred Form or some similar liturgical element of great importance. Compare it with pieces such as the chest coming, perhaps, from Valladolid, and dated to the 16th century that is in the Casa Natal de Cervantes Museum (Alcalá de Henares, Madrid), the oak wood chest dated around 1300 from the Museum of Decorative Arts of Madrid with the polychrome exterior, or the Eurcharistic chest that the same museum preserves of Valencian origin and dated towards the last third of the 14th century (thus proving the long tradition of the typology of the present piece), etc.

· Size: 27x20x24 cms.
ANTIQUES

Ref.: ZF0400
RELIQUARY. POLYCHROMED WOOD, GLASS, ETC.. SPANISH SCHOOL, 17TH CENTURY...

Wall reliquary altar. Carved, polychrome and gilded wood, glass, metal, etc. Spanish school, 17th century. Reliquary altar made of carved, gilded and polychrome wood composed of a part that imitates a curtain of the type usually used to cover altars and other pieces when they were not used, topped by a winged angel's head, and a composition organized around a tondo large central stem, from which a series of stems ending in scrolls emerge. Some of these stems (eight in total) ultimately form a kind of crown of leaves in the center of which are as many circular reliquaries of saints. In this central tondo mentioned is a wax Agnus Dei (or Ágnusdei). On the visible side there is an image of the Risen Christ (inspired by the one sculpted by Michelangelo Buonarroti around 1520 and found in Santa Maria sopra Minerva in Rome) accompanied by angels with symbols of the Passion and on a pedestal. It is known that this image was used in these pieces before 1598, again in 1619 and again in 1690. These relics (they are blessed by the Pope) receive their name because on the obverse it appears printed, above the book with the seven seals , the haloed Paschal Lamb carrying the banner of the Resurrection. In the text around the image, there seems to be a reference to Pope Pius V (Pope between 1566 and 1572). The rest of the relics of saints, preserved inside tondos with transparent lids, are identified with the name of the saint to whom what is inside belongs. Mention would thus be made of Saint Barbara of Nicomedia (3rd-4th centuries, Christian martyr), Saint Sebastian of Milan (256-288; Christian martyr, saint venerated by the Catholic Church and the Orthodox Church), Saint Hermogenes (4th century, Christian martyr died in Mérida, Badajoz), possibly Saint Attilio (martyred Roman legionary, belonging to the Theban Legion which, however, does not appear in the Roman Matirology), another holy martyr called Fecina, etc. Regarding the typology of the reliquary, it is necessary to highlight its originality as it is not the typical painting model with sections inside nor the numerous variants of reliquaries to place on a table or altar. Note, also, that with this provision the central medallion blessed by the Pope with the image of the Risen Christ is clearly marked as the “origin” of holiness, adding an important theological component closely related to the Counter-Reformation of the 17th century.

· Size: 60x12x75 cms.
ANTIQUES

Ref.: ZE339
LATIN CROSS SHAPED PECTORAL CLOCK. SILVER.17TH CENTURY.

Pectoral clock in the shape of a cross. Silver 17th century.
Presents restorations.
Portable cross-shaped clock with an openwork exterior showing figurative Christian scenes and the movement inside, a gold band 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 decoration also openwork and based on plant motifs reminiscent of classicism, and a band on the case of the piece with simplified plant elements.
Outside, we find on one side a 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 the sides, again with scrolls and on another angel's head. On the edges there are vegetal and floral elements, accompanied by figures located inside plates. Inside, and flanking the clock face, we are presented with 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, in part, following the biblical text).
Several antique portable type clocks are known that have been given a shape that is not the usual one for these objects. Thus, although the best known is the one in the shape of a skull from the Metropolitan Museum (movement from around 1650 by Isaac Penard, box from around 1810-1820), and taking into account that they were not at all the usual type, several are preserved. examples in the shape of a Latin cross. Let us remember, for example, some of those preserved in the Ashmolean Museum in Oxford: one attributed to Cornelius Stimmer (active around 1660) presents Christ Crucified in front, flanked by the four Evangelists; another by Barthélemy Cheuillard (active 1636-1677) dated around 1650 has an openwork metal case and engraved decoration on the inside; Other examples, such as one dated around 1660 or another by Didier Lalemand (active 1675-1686) dated around 1660 or 1630, follow what is most common in these extraordinary examples, which is to present the outer box made of rock crystal. This is also what happens with the clock by Charles Bobinet probably painted by Werner Hassel and dated to the mid-17th century that is kept in the Metropolitan Museum, and with that of 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
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 various techniques (oil, watercolor, engraving, drawing) and very varied themes (known above all for his portraits, still lifes and landscapes), highlighting, according to criticism, in capturing in his work the union of the traditional with the contemporary reflected in a deep existence of the community. Recognized 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, New York Museum of Art, 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 by Guido Reni (Bologna, 1575-1642).
Oil on copper that shows the Virgin Mary sitting on clouds, dressed in a red tunic and blue mantle, in a break of Glory in golden tones and surrounded by clouds and angels, 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 located above the Virgin's head), and the Assumption (a 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 defends that, at the end of her life, Mary was taken to heaven, body and soul).
This oil painting is inspired by two works with the title “Coronation of the Virgin”, one kept 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 titled “Coronation of the Virgin” and made around 1602 or 1603."

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

Ref.: ZF0974
SET OF STRIPS AND FRAME IN PAINTED WOOD WITH GOLDEN DETAIL. 17TH CENTU...

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

· Size: 175x160 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

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

"Child Jesus". Carved and polychrome wood. Spanish school, 17th century. Rear base. Christ is presented naked, with a slight contrapposto on the legs and hips that gives some movement to the size and with delicate carnations. He keeps his gaze fixed ahead, while raising one arm in an attitude of blessing, and holding a golden orb alluding to Creation with the other hand. Curly, blonde hair has a tuft in the center of the head. The carving 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 classicist influence, among which the pairs of volutes projecting from the fronts stand out. Although the pompadour is reminiscent of the works of Martínez Montañés, in the present example the hair is clearly curly. Compare the present work with works such as those preserved in the Museum of Fine Arts of Córdoba, with one in the Municipal Museum of La Roda, some from the Real Monasterio de las Descalzas in Madrid, etc. This type of work was carried out to be dressed, and, normally, its destination was a feminine religious environment (it was considered that feminine devotion should not be directed to certain works or iconography of the Passion because it was too strong), or some oratory deprived of some important residence.

· Size: 41x32x87 cms
ANTIQUES

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

Virgin with Child enthroned. Boxwood, bronze and carved rock crystal. XIX century. On an upholstered base, another second base has been placed in bronze, the metal from which the throne is made. This stands on four low columns with a smooth shaft with capitals decorated with scrolls and simplified vegetal forms, decorative elements that are repeated at the waist, combined with oval blue beads; The backrest, square and openwork with very schematic scrollwork, is topped by 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 mantle 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 viewer, showing what was agreed upon. at the IV Ecumenical Council of Chalcedon (451 AD). These arrived in Europe already in the Romanesque period, developing the iconography of the West. The present work can be compared with the Italo-Byzantine icon from the 13th century preserved in the National Gallery of Art in Washington DC (United States), or the carving of the “Virgin of Battles” from the Monastery of San Pedro de Arlanza, made around 1225-1235, and preserved in the Museum of Burgos, or the Romanesque of 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 scrollwork of the throne and the crown, the folding of the cloth, 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, 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; It was born in England around 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, around 1840. Provenance: Conde de la Cortina collection, Jalapa, Mexico. Pair of landscapes framed within the Spanish school of the first half of the 19th century, with clear romantic affiliation. Both demonstrate 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 center, very low horizons that allow a wide development of the sky, spaces built in depth based on successive planes subtly differentiated by light and color, and small figures perfectly integrated into the natural setting. Furthermore, 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 of historical or religious themes with landscapes. They intended that the pure landscape, almost without figures or completely lacking them, would achieve the heroic significance of history painting. They were based on the idea that human sentiment and nature should be complementary, one reflected in the other. That is, the landscape had to arouse emotion and transmit ideas. Thus, landscapers like the author of these canvases tried to express their feelings through the landscape, instead of imitating it. The romantic landscape had two main aspects: the dramatic one, with turbulent and fantastic views, and the naturalistic one, 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 plenitude. In fact, the author's own use of light here conveys a hazy, murky, dream-like atmosphere that invites the viewer to meditate and contemplate themselves in the landscape. The romantic landscape is, however, made up of manifestations of very different types and not comparable to each other; It does not affect all national schools equally, remaining more faithful to tradition in schools such as French or Dutch. Thus, in this canvas we do not find the grandiose British and German scenery, 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 soft 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 the clear separation between the foreground and the background does, which enhances the scenographic character derived from the effective lighting. Likewise, the typical very marked romantic perspective is used, in the abyss, which is 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 qualifies the scenographic construction of the landscape, so typically romantic. Despite these local differences, this romanticism contained in the form, we nevertheless find a clearly poetic content, which goes beyond the simple representation of nature to capture nature as a reflection of the author's feeling, melancholic and dark, enormously lonely. .

· 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 fluttering in the wind; At the bottom there are four soldiers, in different postures and attitudes. The other side shows a chalice with a Sacred Form (in which a Crucified figure 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; To one side you can see a piece of wood in which, originally, a bolt would have been attached, and on the other there are remains of two hinges. It is this element that suggests that the relief was surely a Tabernacle door. The piece follows a common decoration in Renaissance and Baroque Tabernacles. Compare, for example, with that of the 17th century on the main altar of the church of the Monastery of Santa Isabel in Madrid, or with others preserved in private collections. The Resurrection scene recalls details such as the variety of postures of the soldiers, the anatomy of Christ, the movement of the shroud around his body, etc. to outstanding pieces such as the 16th century relief in Renaissance style from the Monastery Museum of the Cistercian Abbey of Cañas in La Rioja. Although they are parts of an altar with varied themes, Salvation is always insisted on, as they are intended to contain the Sacred Form.

· Size: 32x5x52 cms.
ANTIQUES

Ref.: ZF0280
SILVER TASTEVIN FROM BECERRIL DE CAMPOS TOWN COUNCIL, 1806.

Catavinos of the chapter of Becerril de Campos, 1806. With legend at the base (“Catavino of the Most Illustrious Cabildo of Becerril de Campos with Royal Privilege year 1806”). Published in: Fernández, Alejandro et alt. Spanish and American Viceregal Silver Encyclopedia, Torreangulo Arte Grafico, Madrid, 1985. Page 485. / Redondo Aguayo, Anselmo. Historical monograph of the town of Becerril de Campos and biographical news of its most illustrious children. Bulletin of the Tello Tellez de Meneses Institution, 9, 1952. Page 149. Plain glass with a legend on the outer edge attached to a bowl with a convex seat decorated with relief gallons, engraved ovals and crosses and lines of beads arranged around a central circle that has been left plain. Due to its shape, it is closer to the Bordeaux type catawines than to the Burgundian type (the most common), and its shape seems to have been characteristic in Castile in the 17th century; It has not changed since then, maintaining its use and manufacturing. According to experts, these types of pieces were called “cups” until the 19th century, and we are not entirely sure that their use was utilitarian, with certain studies leaning towards a mainly decorative function. This would be the reason why, despite being a piece made in a secondary manufacturing center such as the municipality of Palencia, it has decoration all over its surface, in addition to the written legend. The gadroon motifs, like the oval shapes, are geometric decorations widely used in this type of pieces, especially since the Renaissance and due to the inspiration of this artistic style in Roman Antiquity. In the 19th century this inspiration in classicism returned to art, thanks to Neoclassicism. Despite the simplicity of the elements, there is a clear attempt by the artist to organize them harmoniously to give beauty to the piece. Both the material and the decorative excess (to come from a local center) support the theory, already mentioned, that the catavinos would have more representational use than normal use, being used in certain celebrations or events in which the council had a prominent role. This catavino is mentioned in Anselmo Redondo's study. It is very rare to preserve examples of civil silverware, since their owners used to sell objects with the intention of buying new ones, either better ones or made in another more modern artistic style, or for economic needs. Thus, the most common thing is to find religious silverware, which is the same as the civil one or varying only in its decorative elements. In addition, civil pieces used to be delivered to churches, convents, etc. as donations from individuals. It is worth highlighting, however, the extraordinary nature of this tasting wine: first, for its material; second, because of its typology; third, because its inscription makes it easy to locate its origin and date. Catavinos with similar characteristics to the present one are found at the Lázaro Galdiano Foundation in Madrid. Weight: 315g

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

Ref.: Z6226
OIL ON CANVAS MARRIAGE THETIS AND PELEUS

Madrid school from the 17th century. Círculo de CORTE, Juan de la (Antwerp, c. 1585 – Madrid, 1662). “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 it said "for the most beautiful", which caused the dispute between Athena, Aphrodite and Hera that led to the Judgment of Paris, finally causing the Trojan War. The banquet is represented with a composition worked in depth, located in a rich interior of classical architecture illuminated by the light of Apollo, which is located at the far 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, it is a work perfectly framed within the Madrid school of the 17th century, developed around the court. Thus, we see a sumptuous, allegorical classicist baroque, where light and color studies 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. Today we know nothing about his early training, since Palomino's claim of his birth in Spain was refuted in 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 flamenco artists of the time who, due to personal knowledge or study of their works, had a powerful influence on the configuration of his personal language. We know of his establishment in Spain at least since 1613. His work at court encouraged him to ask for the position of royal painter that Bartolomé González left vacant upon his death in 1627, an objective that he did not achieve. There is no documentary evidence, therefore, to support Palomino's claim when citing him as the king's painter. However, he enjoyed moderate success in the capital of the kingdom, with his works found in numerous noble inventories of the time. At the same time, he enjoyed 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 that, taken to canvas in different cycles, offer us a singularly majestic panorama of a theme that was not common in the painting of Spain at the time. Another of the outstanding aspects of his work was the proliferation of architectural perspectives with evident links with the Nordic writers, among whom Vredeman de Vries should be especially highlighted. His pictorial style remained anchored in previous traditions, demonstrating an evident modesty and archaism, but the uniqueness of the issues he dealt with make him worthy of memory. Juan de la Corte is represented in the Prado Museum, the Barcelona Maritime Museum, 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
DINING ROOM WALNUT TABLE WITH SOLOMONIC LEGS

Dining table in walnut wood with Solomonic leg, 20th century. Dining table with two-piece 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 in the lower area and shapes on the sides that are reminiscent of French cabriolets. Both are joined with an iron fastener and support a single piece board with carved edges. This type of legs, called lyre legs due to their similarity to the musical instrument, were widely used in the Renaissance, continuing to be used later due to the movement that their curved profiles provided to the 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 center touched on the edge and a bird on the crest. The first barracks, checkered or checkered with chains in orders of three and five; second barracks quartered with towers and chevrons with pinjante; third quarter, bordered with seven blades of San Andrés; fourth barracks with three horizontal bands. It is topped by a feathered knight's helmet facing left, and flanked by a composition of grotesques with busts, scrolls and architectural elements on the hats of the human figures; Below, another bust flanked by plant and architectural elements. The composition corresponds to common models in the 17th century, maintaining a marked classicism. Compare, for example, with that of the Casa de Begoña in Agurain, one in the Barrio del Cantero in Barcenillas (Cantabria), etc.

· Size: 103x110 cms.
ANTIQUES

Ref.: ZF0793
CARRIAGE, “JARDINERA” TYPE.

Garden type carriage. Open carriage with four wheels, with leaf springs and a raised davit, whose baluster box allows several people to be carried on each side of it. This type of vehicle was generally used in the countryside, although today it is seen more frequently at fairs and important events.

· Size: 234x156x173 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5023
POLYCRHOMED WOODEN SCULPTURE. “VIRGIN WITH CHILD”. AROUND FIRST HALF O...

Freestanding polychrome wood carving. “Virgin with Child.” First half of the 16th century. The Virgin stands on a polygonal pedestal, with the Child supported by one arm. He raises his arms towards his Mother. Both blonde and very light-skinned, she also wears a crown or headdress with plant motifs, which are also presented on the edges of her cloak. The iconography of the Virgin with Jesus is already present in the early Christian catacombs, specifically in those of Priscilla in Rome, in an image from the 3rd century AD. C. However, the recognition of Mary as Theotokos (“Mother of God”) at the Council of Ephesus in 431 was capital for this topic. It was noted in the Byzantine Empire, both in icons of the Theotokos and those of the Hodegetria. (“she who shows the way”), who appears pointing to Jesus. It was these prototypes that came to the West from the Romanesque, but it was necessary to wait for the Gothic period for the relationship between Mother and Son to develop and take shape. The present devotional carving is heir to those Gothic “Virgins of Tenderness” that were highly valued throughout Europe and whose representation continued during the Renaissance in some specific places and times. A series of elements put the work in relation to examples from northern Europe and France, such as faces and hair. It is the cloths, the corporeality of the image and its correct anatomy, which can be glimpsed, that place the work within the Renaissance. The Italian Renaissance influence arrived in Spain with great differences according to regions and artists, and we can speak of a first stage in which a marked Gothicism was maintained on which some slight influence of this new artistic style can be seen.

· Size: 16x20x55 cms.
ANTIQUES
SCULPTURE

Ref.: Z5827
TABLE WITH SOLOMONIC SHAPE. WALNUT, METAL. 20TH CENTURY.

Table with Solomonic leg. Walnut wood, metal. Twentieth century. Ready rectangular table made of carved walnut wood with legs and chamfers decorated by combining smooth rectangular cubes and Solomonic column-shaped areas between discs. The board is secured to the chambranas by means of two iron fasteners, following both the decoration and this detail common models in ancient 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. Ceiling chandelier with a golden metal body as an axis from which a series of rods of the same material emerge in different positions, creating a multi-story composition and giving space for points of light and white transparent glass elements . These come in a wide variety of shapes and sizes (star or flower; others have a complex design and are engraved with a Greek cross at the bottom of them; there are others in vases; saucers that would originally go under the candles and now they are under the stems of the bulbs), combining smooth areas with other scratched and engraved ones. The metal arms have hardly any decoration, thus giving prominence to the glass; In this same material, polygonal “saucers” appear under the points of light, a crown in the upper area of the lamp, etc. It has three points of light wrapped in tulips 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 destined for royal houses, heads of state, etc. of all the world. The first of many recognitions would come in 1855 when he was awarded the Gold Medal at the Universal Exhibition in Paris. Between 1846 and 1849 the manufacture marked some of its finest glassware with the letter “B” and the year the piece was created. Crystal production expanded in this period, earning the firm a well-deserved international reputation for its quality glassware, with pieces such as candelabras and perfume bottles. Around 1860 the manufacture began to mark its products with a registered 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 external to French art began to significantly influence the work of the house (particularly Japanese, a key influence in the development of the decorative arts. French at the end of this century); Likewise, and during these years, there was significant growth in the factory 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 (for In 1907 production was about four thousand bottles per day). In 1936, Baccarat began etching its works with acid and the shot blasting technique. Currently, historical Baccarat pieces can be seen in the museum that bears his name in Paris, in prominent residences in Europe and Asia, etc.

· Size: 90x90x130 cms.
ANTIQUES

Ref.: ZF0279
GILT WOODEN NICHE, ROCOCO, 18TH CENTURY.

Carved and gilded wood niche, Rococo, 18th century. Niche formed by a backrest decorated with molding and a support for a sculpture decorated with a figurehead and plant motifs and topped by a split pediment with a central motif worked on the lower part resembling a cloth. Cornucopias and engraved leaves appear throughout the backrest. 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
PAIR OF SOLOMONIC COLUMNS. PINE WOOD. 17TH CENTURY.

Pair of Solomonic columns. Carved pine wood. XVII century. Pair of carved pine wood columns that have a helical twisted shaft (solomonic) and decorated with reliefs of birds, scrolls, leaves, fruits and birds intermingled and are topped by two capitals of the Corinthian order (with two levels of leaves under the volutes more similar to those of oak than to those of acanthus). Although it was an element used in architecture previously, the Solomonic column is a more well-known and common piece in the Baroque, especially since its use by Bernini in the baldachin of Saint Peter's in the Vatican (completed in 1633). It soon arrived in Spain, being used in Andalusia for the first time around 1639 and in Madrid in 1636, spreading throughout the peninsula and the colonial territories since then. Normally, they were decorated with branches and bunches of grapes in slight relief. Although the presence of birds in this type of elements is not the most common, they can be seen in pieces such as the Solomonic column preserved in the collection of the Vivanco Foundation (Briones, La Rioja, Spain).

· Size: 37x37x215 cms.
ANTIQUES

Ref.: ZF0497
FRIEZE. POLYCHROMED PINE WOOD. 16TH CENTURY.

Frieze with reliefs. Carved and polychrome pine wood. Century XVI. 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 children or wingless putti pulling this cloth, which ends in fruits, thus joining the ends with the center of the part. Both in the iconographic theme and in the anatomy, composition and colors you can see the influence of the Italian Renaissance with variations that may be due to being a Spanish creation. Compare, for example, the engraving by Johann Theodor de Bry from the Metropolitan Museum in New York dated between 1580 and 1600, or works by Paolo Farinati; and with Spanish creations such as carvings from the Ducal Palace of Pastrana (second half of the 16th century), works by Alonso de Covarrubias, the Renaissance doorway of the Asunción church in Beteta (Cuenca), etc.

· Size: 96x9x20 cms.
ANTIQUES

Ref.: ZF0565
WINEPRESS. WOOD, METAL. SPAIN, CIRCA 1800..

Wine press. Wood, metal. Spain, around 1800. Press to extract juice from grapes made of wood with two screws on the sides to manually move the plant part of the press located above, which also has a piece to fit into a container to put the fruit in. Also note the crossbars and legs to be able to transport it. This type of agricultural machinery was very common in the past, although it is preserved in small numbers due to having been replaced with the technological advances that occurred, above all, from the Industrial Revolution. They were used both in monasteries and in other centers where grapes were pressed for the manufacture of wine and other beverages.

· Size: 180x270x305 cms
ANTIQUES

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 white enamelled areas and gold spaces, highlighting the two female busts (practically portraits on an indefinite background) that both pieces present on their fronts. The two raised handles finished in a circle present a fine decoration of simplified plant elements; the glass shows decoration of the same type, but with a different influence (more classicist); The busts have been enhanced by two gold frames and dark lines with clear classicist memories; The white areas (with plant shapes) have golden lines. Both pieces show notable similarities both in the quality of the color of the glass and the decoration as well as in their lines, with outstanding 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 born in 1857, founded by Ludwig Moser), and is highly appreciated in the world. of art for his 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 colorless glass that was clearer and more stable than Italian glass), this activity became popular in the 19th century. XVII (although the term “Bohemian” or similar was used a hundred years before to differentiate the quality glass of this origin), and stood out above all in the 19th and 20th centuries thanks to important manufacturers for the quality of their materials and techniques and care in their designs. By the middle of the 19th century they already had a system of teaching glass manufacturing, and in the second half they exported very striking pieces in large quantities (usually pairs of glasses or vases of a single color in opaque or two-color glass, 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 significant quantities.

· Size: 15x13x41 cms.
ANTIQUES

Ref.: ZE222