Results 1 to 8 of 8
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Landscape with classical ruins. Oil on canvas. Attributed to GINER, Vicente (ca. 1636-1681). Relining. Landscape with rocks and buildings in the background that presents, in the foreground, some buildings with a marked classicist air, accompanied by two female sculptures on separate pedestals. At the foot of this building, there is a group of people, dressed in the classical manner (women, children and a soldier with a spear). Vicente Giner, canon and artist originally from Castellón, is documented working in Rome during the last quarter of the 17th century (until he died here in 1681), where he requested, along with others, Charles II to create an Academy of Spanish artists. in the city. Experts place him as a collaborator and outstanding follower of Viviano Codazzi (in whose workshop he worked in the 1670s, possibly coming from Cornelio de Wael's). He painted perspectives of classicist temples and palaces, accompanied by representations normally of popular themes and in which the figures (in a small number) are barely anecdotal elements compared to those architectures. Several private collections and institutions preserve his work, such as the Museum of Fine Arts of Valencia, the Collection of the Bank of Spain (Madrid), collections of the National Trust (Scotland), etc.
· Size: 76x3x91 cms. int 71x87 cms.
ANTIQUES
Ref.: ZF0795
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Table clock. Marble and bronze. XIX century. Table clock with Paris box machinery made of marble and bronze and with applications of porcelain plates with Rococo souvenir scenes. The white dial has an inscription (Hoffman Fres. / Rues des enfans rouges 4. / A Paris) and Roman numerals for the hours. Above it stands a male figure accompanied by an anchor. The stepped base presents a decoration of gilded bronze elements with a clear classicist memory and the aforementioned plaques. Porcelain decoration is a possible adaptation. Machinery in operation Weight: 30kg.
· Size: 49x22x71 cms
ANTIQUES
Ref.: ZE286
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Mortar with inscriptions. Bronze. Spain, 1823. Mortar made of bronze with a recessed mouth and a throne-conical body developed without discontinuity and decreasing in diameter to the base; It has two handles or “pieces” towards the smooth decorative moldings at the top. The piece presents, almost on the edge, an inscription (I AM DE D GREGORIO OCANA ANO DE 1823) in capital letters and a date in Romans with spaces between them; and the text (the opposite of the other) “Mazon fecci”; both flanked by a simple molding above and another below. This large mortar is of the type that is usually known as “hospital” because it is usually used for medicines in environments with many patients or in important pharmacies. Typologically, it follows the usual line in these examples of the Spanish school during the 19th century: smooth, with moldings and, as a general rule, without those ribs (or derivatives thereof) that used to appear in the previous ones. Compare, for example, the large pharmacy mortar from the Calella Municipal Museum-Archive (with inscription, ribs and human heads as handles), a large pestle from the Hispanic Pharmacy Museum of the Complutense University of Madrid, etc
· Size: 37x34,5x25 cms.
ANTIQUES
Ref.: ZF1007
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Narcissus in the fountain. Oil on panel. XIX century. Oil on panel that shows a landscape with trees and architectural elements of strong classicist influence (wall with reliefs, glass with garlands, sculptures, fountain) in which two figures appear. A young man dressed in a red tunic that reveals his chest and appears looking at his reflection in the fountain bowl is accompanied by a winged boy who has a bow and makes the gesture with his right hand of taking an arrow from the quiver of your back. The painting depicts the classical myth of Narcissus. According to classical mythology, Narcissus was a very beautiful young man who cruelly rejected the love of the nymph Echo, for which he was condemned by Nemesis to fall in love with his own image. Thus, upon seeing himself reflected in a fountain or spring (many representations show him crouching on the shores of a lake; note the particularity of the present work in showing an architectural and not a “natural” source), he became absorbed and ended up committing suicide, ending converted into the flower that bears his name or emerging from the place where the body fell.
· Size: 99x5,5x71 cms / int: 81,5x59,5 cms
ANTIQUES
Ref.: ZF0923
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Torch figure. Carved and polychrome wood, wrought iron. Castilian school, 16th-17th centuries. Carved and polychrome wooden sculpture located on a simple base that shows a semi-naked male figure, holding with his hands a cloth that covers the lower part of his body in front and holding aloft a wrought iron cone intended to hold a candle. The nude, the study of anatomy, the contrapposto and the twist of the figure's torso and waist are details that would speak of a classicist influence on the sculpture. It is also worth highlighting the movement that the posture brings to the piece, placing one foot behind the other and turning with respect to that and turning the waist slightly. Wood was the most worked material in Spanish Renaissance sculpture, normally with a polychrome finish and with gilding and embossing. It was not until the second third of the 16th century when sculptors emerged in Spain who reached great heights in the Spanish Renaissance, inspired by Italian forms, but providing their own national touch, creating different schools, and with a clear preference for polychrome wood. and stewed. At this time, one of the main workshops was Valladolid, with names such as Alonso Berruguete and Juan de Juni. Later, art evolved towards a classicist or Romanist mannerism, with an important influence of Italian masters, with a clear influence of Michelangelo and names such as Gaspar Becerra, Esteban Jordán, Juan de Ancheta, etc.
· Size: 18x18x48 cms.
ANTIQUES
Ref.: ZF0461
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Saint Stephen. Oil on canvas. 17th century, following engraving by Aegidius Sadeler (inspired by Jacopo Palma). The figure of the Saint appears in the foreground, with his arms raised to the sky; To the left of the viewer, the martyrdom of Saint Stephen is shown, under the heavenly appearance of Christ and God the Father; On the other side, some buildings and spectators are presented. Both in the composition and in the figures, an influence can be seen, directly or indirectly by other paintings, of an engraving by Aegidius Sadeler II (1570-1629) based on a Martyrdom of Saint Stephen by Jacopo Palma the Younger (1548-1628). .
· Size: 67x6x83 cms. int 43x58 cms
ANTIQUES
Ref.: ZF0760
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Table clock with lantern. Bronze, wood, glass. XIX century. Table clock with a base enhanced by a series of gilded bronzes in a marked Renaissance and classic style that has a rocky upper part (in which the white dial is located, with Roman numerals), on which a young man leans, who looks up at a vine with bunches of grapes. The clock is protected with a glass lantern with a wooden base decorated with light-colored marquetry, with a floral and plant theme.
· Size: 40x20x27 cms. reloj 33x13x45 cms.
ANTIQUES
Ref.: ZF0941
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Peace holder. Bronze. Century XVI. Peace holder made of bronze with a flat handle on the back that presents a light relief decoration on the front. Under a crown of openwork plant elements with a clear Renaissance taste, there is an architectural composition with columns framing a figure of Christ sitting on the throne.
· Size: 7,5x3x10,5 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: ZF0538
