Z. Sierra · Antiques and Decorative Objects

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RELIQUARY PENDANT WITH FLAGELLATION OF CHRIST. SILVER, ENAMEL. 16TH CE...

Reliquary with “Flagellation of Christ”. Silver, enamel. Century XVI. Oval reliquary pendant decorated on the outside with a stripe and some relief elements on the edge (with curved profiles and simple engraved volutes), which has a chain of smooth oval links (all practically the same). On the front and back it shows two figurative scenes with striking polychrome. On the one hand, Christ is placed in the center of the composition tied to a high column, being whipped by two executioners or soldiers with branches, following a common composition in the 16th century. In the other, the focus is on a space in the pendant protected by glass (since it contains a relic, enhanced by a Latin cross), highlighted in the composition with rays of light and a luminous beam; This element appears supported by an angel and surrounded by winged heads (common in the Renaissance) floating among clouds, and has been accompanied by Saint Joseph with the Child and the Florida Rod, and Saint Anthony of Padua (also with the Child and a bouquet of flowers). This type of jewelry always had great value both for the materials in which they were made and for their religious content. Despite this (or perhaps because of this same appreciation) not many quality examples are preserved and in good condition, being possible to find them only in important private collections and in prominent museums such as the Fundación Valencia de Don Juan in Madrid, the Museo National Center for Decorative Arts in the same city, etc., or ancient religious centers such as the Convento de las Descalzas Reales in Madrid. Weight: 160g

· Size: 8x1x10 cms.
ANTIQUES

Ref.: ZF0396
CABINET OR CUPBOARD OR TWO TIERED BUFFET. WALNUT. SPAIN, 18TH CENTURY.

Two-section wardrobe. Walnut wood. Spain, 18th century. Two-part wardrobe made of carved walnut wood that has doors (two pairs, top and bottom) and drawers (four, towards the center of the piece organized in pairs) and is slightly raised by disc-shaped legs. The upper part is finished off by a series of moldings of different widths (the largest with small fluted corbels, elements also present flanking the drawers); doors (with simple inlays or marquetry in lighter wood) and drawers are also highlighted by similar moldings; the corners of the door areas are highlighted by Solomonic columns with smooth capitals; Below, on the legs, another finial in the form of moldings, finer than the one at the top, frames the furniture. The sides have simple recessed carvings differentiating the different areas mentioned. The studied nature of the composition and its details (and therefore the quality) can be seen in the joints of the wood, in the care with which the elements are used (the door hinges are left out to provide a little more decoration), etc The presence of the Solomonic columns and the delicate use of the fluted corbels placed opposite each other to add a little more movement show the influence of Baroque on the cabinet. The general lines of the furniture correspond to a common composition in Spain (compare wastebaskets, the sacristy closet of the 18th century Burgos Cathedral, etc.), and the wood is also the most common in cabinetmaking in this country. Compare the piece with the archimesa in the Lázaro Galdiano Museum in Madrid (first half of the 17th century, note the corbels); the well-known paneled cabinets; Louis XIII style pieces (noting the usual differences); etc

· Size: 161x75x218 cms.
ANTIQUES

Ref.: ZF0485
SAINT DREAMING. POLYCHROMED WOOD. FLEMISH SCHOOL, 16TH CENTURY.

Dream of a saint. Carved and polychrome wood. Flemish school, 16th century. Relief made of carved and polychrome wood that shows an old man with a particular headdress (reminiscent of some chaperones) lying on a bed and accompanied by two friars dressed in habits, who talk to each other. Iconographically, the figure of the old man lying on the bed (note the cushion that raises the upper part of the body, following the common use of the time) who has not died (probably) because he was not completely lying down, is reminiscent of how he was usually represented, for example, to San Antón, San Jerónimo, etc. It is not very likely that it is the subject of the Transit or Death of Saint Francis of Assisi due to the absence of the Stigmata and due to age. It would be part of a cycle of scenes in the altarpiece of a church, an accompaniment that would give the viewer more clues about the identity of those represented. Stylistically, Flemish sculpture along with that of Germanic countries was developed with a realism that could be seen in all the ornamental details, where the sculptural work was presented almost as a goldsmith's work that was applied to the large altars made of wood. In general, in the Netherlands, such a high level had been developed during the Gothic period that the acceptance of the Renaissance from Italy was late. Weight: 3kg.

· Size: 36x6x36,5 cms.
ANTIQUES

Ref.: ZF1174
SILVER DRINKING CUP . SPAIN, 16TH CENTURY.

Silver catavinos, 16th century. “Cup” type catavinos with plant motifs inside a six-pointed star at the bottom and with a cylindrical base decorated with circular geometric borders. Also known as catavinos, these types of drinking glasses were used on special occasions (ceremonies...), hence their material and the decoration they have, and were very common during the reign of the Austrians in Spain. Although they were objects for civil use, it was not unusual for them to be donated or commissioned for use in churches or liturgical settings. Both the decoration and the shape of the cup show its origin from an artistic nucleus far from the main silversmithing centers. The first, furthermore, links more with Gothic art than with the Renaissance, which by this time had already made an appearance in Spanish silversmithing. Compare, for example, with the bernegal with cardboard-shaped handles from the Prado Museum in Madrid (catalog O00085) from the late 16th century, which has the upper part carved in double concave gallons and shows engraved vegetables and fruits in festoons and ribbons. This difference does not detract from the value of the work, quite the contrary: it is a sign of the attachment to the designs of simple lines and gothic vegetal and geometric decorations that were had in centers far from the creative capitals, whose influence can be seen even in Baroque works. Similar examples can be found in very few private collections and only in a few important museums. For example, similar bernegales from the 16th century are preserved in the Fundación Valencia de Don Juan (Madrid), and those from the 17th century are somewhat more abundant, as demonstrated by those in the Lázaro Galdiano Museum (inventory 3910 and 3916).

· Size: 16x16x4 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6296
WOODEN FRAME. 16TH CENTURY.

Frame. Carved, polychrome and gilded wood. Century XVI. Carved, polychrome and gilded wooden frame made from different elements of marked Renaissance influence, resulting in an architectural composition with a stepped base, two fluted pilasters with scrolls on the sides and an upper finish formed by another stepped entablature and a triangular pediment with three balls on another narrower entablature.

· Size: 143x34x160 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0876
MAHOGANY COMMODE EMPIRE STYLE WITH GILT BRONZE, CA 1880.

Empire style chest of drawers in mahogany and gilt bronze, around 1880. Five-drawer chest of drawers with garland hardware, key closures and decorated lock shields, on hemispherical legs and dark stone top board. The front is flanked by two stipes with a female capital under a plant motif and a base resembling women's feet. It is made of mahogany palm and the hardware is made of very good quality gilded bronze. Details such as the purity of the furniture's lines, its clear geometric shape, the angles, the presence of the caryatids on the front and the smooth back, the centralization of the relief in the gilded bronze sconces, the use of mahogany and the inspiration in the Classical antiquity (Greek and Roman) places the chest of drawers within the Empire style. This dominated all French arts at the beginning of the 19th century during the government of Napoleon Bonaparte (1769-1821), and was one of the most important inspirations of the Second Empire style, which was born under the government of Napoleon III and had great success among , approximately, 1860 and 1880. The work stands out for the high quality of its wood and the perfection of its bronzes, both in its reliefs and in its gilding. These French metal ornaments were the best considered in cabinetmaking for their quality, due to the rigid control established by the central power over the guilds responsible for their production, which highlights the specialization of the different workshops necessary for their creation and subsequent sale to master cabinetmakers in particular or to other merchants who, on occasion, exported them. Although it is true that it is not a custom piece of furniture but rather one made following a system somewhat more similar to mass production, in all cases they were important works intended for the homes of the main families both by the materials used in them as well as following the aesthetic developments of the moment.

· Size: 110x58,5x90 cms.
ANTIQUES
FURNITURE

Ref.: Z3393
GILLER-FALLER CAMERA WITH PROFESSIONAL STAND, FRANCE, CA 1925.

Gilles-Faller (Paris) studio photographic camera with easel, France, circa 1925. Studio photographic camera with bellows in very good condition, two lenses and mounted on an easel on casters for professional use that has a crank for adjusting the camera in height and diagonals. Made of wood and gold metal and in its color, it presents the manufacturer's plate on the front. The professional and amateur photographic equipment company was founded in 1855 thanks to Besson, who, some time later, partnered with Gilles. Around 1870 this second family continued the business until, around 1900, “Guilles Fils” was succeeded by “Gilles E.”, which became associated with Faller, giving rise to “Gilles-Faller”, which would become Société Anonyme in 1924. (d'Exploiation) des Anciens Établissements Guilles-Faller. The identification plate located above the camera lens refers to this last stage, and places the headquarters at 31 Rue Navarin in Paris, where they would have already been established around 1900, but without mentioning its number 33. street (which they would buy, at the latest, in 1926, since this new door appears in L'Indicateur de l'Industrie Photographique of that year). The present easel is very similar to the one in figure 2 (page 2) of the house's 1928 catalog (Bibliothèque Nationale Française, Paris) which was sold with the “Chambre Gilles B 30x30” model along with a series of elements. All the house's models allowed the free combination of shutters and also lenses: note the two present, in good condition. Looking at the aforementioned advertising, there is a particularity: in this case the rectangular camera (18X24) requires a specific easel, which could be included in the lot for an extra charge in francs. Made in walnut finish, which the client could choose between patent or varnished, you can see the rails that allow the movement of the camera using the small wheels on its right and the reinforced canvas bellows.

· Size: 60x70x196 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3397
CASTILLAN WALNUT CHEST. TEXTILE AND WROUGHT IRON. SPAIN, BAROQUE, 17TH...

Castilian chest. Walnut wood, textile and wrought iron. XVII century. Rectangular chest with a flat top without legs decorated with carved moldings on the upper and lower edges of the cabinet and along the front, avoiding the lock on the front. This is made of metal, placed on red textile, and has an openwork composition based on volutes and other simplified shapes, a decoration that is also presented in the rest of the ark's hardware. Towards the sides, on the front, it has two metal pieces to ensure the closure of the lid; On the sides you can find the handles, common in this type of chests, also enhanced with a composition of openwork iron on textile, similar to the rest of the elements. Inside, the exposed wood is presented, along with the corresponding hardware (hinge and closure pieces), as well as a division towards one side through a section covered in wood. The different openwork fittings follow a tradition that is already found in chests at the end of the 16th century (compare the present example with the 15th century Gothic chest in the Museum of Valladolid, for example), but with decorative motifs, of Baroque influence: braces, simplified rolls, curves, etc. The shape of the present chest, rectangular with a flat lid, is also common in this type of furniture since the Gothic period, without the characteristic influence of the 17th century being appreciated in this sense. It is necessary to highlight the weight that the typology would have in Spanish furniture, since it would last until the 19th century, especially in Andalusia, only with slight changes, the most notable of which would be the introduction of decorative elements in openwork iron, as in the present example, to use golden brass tacks drawing shields, plant themes, etc. The chest responds to what is usual in Castilian models, totally different from the Catalan, Valencian and Mallorcan ones. Although it was the most common piece of furniture at the time, not many examples are preserved: compare with the two chests from the 17th century in the Casa de Cervantes Museum (CE 202 without hardware, CE 145 with them) in Alcalá de Henares (Madrid).

· Size: 67x171x60 cms
ANTIQUES
FURNITURE

Ref.: Z6840
CHEST. WALNUT, TEXTILE, WROUGHT IRON. 17TH CENTURY.

Bunker. Walnut wood, textile remains, wrought iron. XVII century. Rectangular ark or chest made of walnut wood that has a flat lid with fine moldings on the outside, another one running along the fronts of the piece and dodging downwards the lock on the front and, again, a slight staggering based on these motifs on the lower part, on the edge trimmed with curves and countercurves that partially hide the tubular legs with discs of the furniture. On the sides there are two metal handles, and in the corners two corner pieces (in each one) reinforce and decorate (simple plant elements cut out of the plate). The lock shield is decorated with animals and plant motifs; The hinges and corresponding part of the latch, inside the lid, have textile remains in a red tone, highlighting the decoration cut out at their ends. The shape of the present chest, rectangular with a flat lid, is also common in this type of furniture since the Gothic period in the Spanish school. It is necessary to highlight the weight that the typology would have in Spanish furniture, since it would last until the 19th century, especially in Andalusia, only with slight changes, the most notable of which would be the introduction of decorative elements in openwork iron, as in the present example, to use golden brass tacks drawing shields, plant themes, etc. This ark presents points in common with baroque examples from the Castilian school. Although it was the most common piece of furniture at the time, not many examples are preserved: compare with the two chests from the 17th century in the Casa de Cervantes Museum (CE 202 without fittings, CE 145 with them) in Alcalá de Henares (Madrid), or with the ark dated between the mid and late 18th century in the Lope de Vega House Museum (Madrid) that has the lower part cut off.

· Size: 124x60,5x70 cms
ANTIQUES

Ref.: ZF0464
DESK. WOOD (PALO SANTO AND OTHERS), METAL. JEANSELME FILS GODIN ET CIE...

Bureau or desk. Rosewood, wood, metal. Jeanselme Fils Godin et Cie, Paris, France, 19th century. Stamped (with signature). Covered sample desk designed perhaps to go near a wall that has two drawers at the top and three under the sample (the left ones are two; on the right is one with a locked compartment, although in external appearance it seems like two to balance the composition of the furniture). Opening the lid reveals a space for writing with some compartments towards the bottom of the cabinet. On the outside, it has a delicate marquetry work in which the rosewood wood stands out, and carvings focused only on certain areas (top finish, drawers, slightly cabriole-shaped legs...) to enhance the elegance of the furniture and the quality of the woods used in its finish. The cabinetmaker's signature can be seen in areas not easily visible: "JEANSELME FILS GODIN ET CIE / EBENISTERIE, SIEGES ET TAPISSERIE / RUE DU HARLAY 7 & 9, AU MARAIS". Although this brand is part of the prominent Jeanselme family (fl. 1824-1930), this specific brand was used in furniture between 1863 and 1871 according to some experts, after having been founded by Charles-Joseph-Marie Jeanselme in Paris in 1824 ( Auguste Godin took over its management in 1871; after his retirement, the firm was known as A. Godin et Cie until 1883; when Godin died, the business continued with the founder's son, Charles-Henri Jeanselme under the name Ch . Jeanselme et Cie until 1930). Towards the middle of the 19th century, the Jeanselme brand was one of the most recognized in Paris. Thus, it is possible to find examples of importance associated with this name in the Metropolitan Museum of Arts, in prominent residences and private collections, etc.

· Size: 125x55x132 cms.
ANTIQUES

Ref.: ZF0465
VIEW OF THE PIER OF ANTWERP. OIL ON CANVAS. 18TH CENTURY.

View of the port of Antwerp. Oil on canvas. Flemish school, 18th century.
Numerous ships and boats appear in the landscape, accompanied by small characters. In the background a city stands out, with walls, houses, towers, etc., among which a high-rise structure stands out, which, together with the presence and shape of the port, allows the view to be clearly identified.
That mentioned structure is one of the towers of the Cathedral of Our Lady (built between 1352 and 1521), and appears in numerous views of the city with a clear prominence. Compare with a 16th-century copper engraving with specimens in several museums, the View of the Port of Antwerp from the Vlaams Hoofd by Bonaventura Peeters the Elder (1614-1652) made between 1614 and 1652 (Museum aan de Stroom), the View of Mathys Schoevaerdts painted between 1660 and 1702 (same museum), etc."

· Size: 100x8x74 cms. int: 82x57 cms.
ANTIQUES

Ref.: ZF0975
PAIR OF SILVER CONVERTIBLE CANDLESTICKS. MARTÍNEZ MORENO, MATEO; MUÑOZ...

Pair of convertible candlesticks. Silver. MARTINEZ MORENO, Mateo; MUÑOZ. Córdoba, Spain, 1793. With contrast and burilar marks. Pair of silver candlesticks in their color that have pieces to convert them into candlesticks with two lights each. Each one has an oval base with wavy profiles, already creating lines that, by visually ascending in a helical manner through the rest of the piece, provide outstanding movement to it; the balustraded shaft has two smooth narrowings; the lighter follows the mentioned lines. The pieces have a base that reproduces the shapes of the candlestick, and from it start two flat and openwork arms with “ce” motifs with volutes and waves like a crest, which end in two lighters with a tray or saucer that follow the mentioned lines on the axis of the candlestick. Stylistically speaking, it is a pair of candelabras clearly located within the Rococo style. They are lines that are reminiscent of the usual trays with Spanish contours and those present in writing desks, spice racks, etc. What should be highlighted is the fact of presenting the pieces to convert the candlesticks into candelabras and the decorative choice chosen for them. You can see a location mark (Córdoba), the faithful contrast mark Mateo Martínez Moreno with numbers alluding to the date (1793), and another mark of a silversmith named Muñoz (given the date of the piece it could be Francisco Muñoz, documented between 1792 and 1818). Mateo Martínez Moreno was active in Córdoba during approximately the second half of the 18th century and was a faithful representative of the same city between 1780 and 1804 (the year he died). Weight: 1.7kg.

· Size: 26x14x24,5 cms
ANTIQUES

Ref.: ZF1122
VIRGIN OF CARMEL (DRESSED UP). WOOD, METAL AND TEXTILE. SPANISH SCHOOL...

Virgin of Carmen to dress. Wood, metal and textile. Spanish school of the 19th century. Virgin of Carmen carved in wood and polychrome, a dress image richly dressed in a gold embroidered tunic with a white lace collar, a white mantle with gold thread lace in the profile and a delicate veil on the head, also white. The Child, which he holds in his left arm, wears a white shirt with a lace collar and cuffs and a brown tunic also embroidered and finished in gold thread, with a cord at the waist of the same material. The golden lace that adorns Mary's mantle represents scallops, alluding to the marine character of the Virgin of Carmen. Mary holds the scapular with her right hand, and wears long earrings made of gold and silver thread and an openwork royal crown decorated with rays and stars, made of metal. The Child also appears wearing a radial metal crown, simpler than his mother's. The carving work balances naturalism and idealization, and shows a typically nineteenth-century delicacy and sweetness that is enhanced by the subtle polychromy, with light, evanescent tones, highly nuanced with glazes. The eyes of both figures are made of glass, a common element in 19th century Spanish dress images that adds vividness to the images. The set stands on a pedestal of clouds polychrome with the stew technique, supported by a stylized foot of architectural design with a marble plinth simulated using polychrome. Weight: 5.5kg.

· Size: 42x27x116 cms
ANTIQUES

Ref.: ZF1249
PAIR OF SILVER CANDLESTICKS. 18TH CENTURY.

Pair of silver candlesticks. Century XVIII. Pair of candlesticks made of silver in an unadorned baroque style, with a clean and dynamic structure that expresses itself through the contrasting superposition of circular section elements. The lines engraved on the discs of the shaft affect this game of inscribed circles that determines the design. The foot is domed and stepped, combining curved moldings and edges, and its stepped truncated shape is repeated, inverted and reduced in size, at the base of the lighter. The stem is made up of two truncated conical necks, the upper one with a rounded base, alternating with lentils or discs of different diameters and narrow spools between them. Finally, the lighter is cylindrical, with the same set of parallel moldings of various sizes that extend to form flat discs. Weight: 2kg

· Size: 15,5x15,5x33 cms.
ANTIQUES

Ref.: ZF1250
Special Offer!

MANTLE CLOCK. BRONZE, MARBLE. 19TH CENTURY.

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
STILL LIFE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (SPAIN, 1884-MÉXICO,...

Still life with fruit bowl. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed towards the lower right corner and on the back. Aurelio García Lesmes was a Spanish painter who began his training in Valladolid and, thanks to a pension from the Provincial Council, continued it at the San Fernando Academy in Madrid, a city where he became more known in National Exhibitions of Fine Arts. (he achieved a Third Medal in 1917; Second in 1922 and First in 1926). In the capital he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, etc., and alternated his stay here with long periods in Valladolid, where he worked on his well-known canvases of Castilian fields. Over time, he established himself as one of the most prestigious Spanish landscape painters of his time and established his workshop in Valladolid. After the Civil War he went into exile in Mexico. His work can be seen in prominent institutions such as the Museo Nacional Centro de Arte Reina Sofía (Madrid), the Museo Patio Herreriano (Valladolid), etc.

· Size: 75,55x65 cms / int: 59x49 cms
ANTIQUES

Ref.: ZE296
STILL LIFE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (SPAIN, 1884-MÉXICO,...

Still life. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed towards the upper right corner and on the back. Aurelio García Lesmes was a Spanish painter who began his training in Valladolid and, thanks to a pension from the Provincial Council, continued it at the San Fernando Academy in Madrid, a city where he became more known in National Exhibitions of Fine Arts. (he achieved a Third Medal in 1917; Second in 1922 and First in 1926). In the capital he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, etc., and alternated his stay here with long periods in Valladolid, where he worked on his well-known canvases of Castilian fields. Over time, he established himself as one of the most prestigious Spanish landscape painters of his time and established his workshop in Valladolid. After the Civil War he went into exile in Mexico. His work can be seen in prominent institutions such as the Museo Nacional Centro de Arte Reina Sofía (Madrid), the Museo Patio Herreriano (Valladolid), etc.

· Size: 75,55x65 cms / int: 59x49 cms
ANTIQUES

Ref.: ZE297
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

Grid. Wrought iron. Spain, 17th century. Wrought iron grille with double pear vertical bars decorated with small discs and other simpler vertical bars (flat above and below, the central one tubular and inserted through the vertical ones). The bars have a slight vegetal relief, a technique also present in two discs on the sides of the piece. The shape is slightly reminiscent of works preserved in the Victoria and Albert Museum in London and a confessional grille from the Metropolitan Museum in New York dated 1629 (inv. 57.137.51) and another from the same museum by Francisco González (inv. 56-234.12 Ad).

· Size: 104x25x143 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z4880
GILT BRONZE MANTEL CLOCK. 19TH CENTURY.

Table clock. Ormolu. XIX century. Table clock made of gilt bronze with a powerful base, enhanced with legs decorated with vegetal and architectural motifs of classicist inspiration and a series of details on the front (volutes in the chamfered corners, scrolls and a center with a globe from which light radiates and a scroll, with inscriptions on both), as well as bands of simple architectural elements and smooth spaces to enhance those decorations. On this pedestal a scroll has been placed for the dial (white, with Roman numerals for the hours and lines for the minutes, Breguet-type hands), surrounded by a garland. In this area there is a male figure, dressed in costumes reminiscent of the Renaissance, holding a drawn sword; In addition, a series of elements have been placed on the part of the sphere (a globe, documents with texts in italics in French, etc.). The allusion to the sciences is clear by presenting the documents with the respective texts and the sphere in such a prominent place. The detail of the sword refers to war. Thus, it would be a figure that would unite wisdom and action, uniting both in the gentleman of a certain age, as it should be in a ruler or people of a certain social class. The best examples of bronze table clocks were made in France during the 19th century, or so it was considered. This is due to the care with which the manufacture of bronze applications and elements was organized and legislated, the mercury gilt bronze technique, and the participation in the creation process of leading artists who were in charge of the designs of the figures. and decorative motifs (also, it was not unusual to make figures inspired by or more directly copying great works of Art History). The resulting clocks were highly appreciated, being used to decorate the interiors of palaces and prominent residences. Machinery in working order.

· Size: 43x17x55 cms.
ANTIQUES

Ref.: ZF0207
TABLE. WALNUT. POSSIBLY CASTILLE, SPAIN, 17TH CENTURY.

Table with turned leg. Walnut wood. Possibly Castile, Spain, 17th century. Walnut wood table carved in its color with a straight top board, two front drawers decorated with interconnected circles (the two on the outside with a star on both and wooden handles) and four turned legs with balustraded shapes joined together by straight chambrances (decorated only on the lower part with a simple cutout which is located on the front side, matching the cut edge of this front under the drawers). Being one of the most common typologies in the Castilian school of all antique Spanish furniture, it is relatively common to find similar specimens in important private collections and prominent institutions. Compare, for example, with the so-called “Buffet of the Inquisition” from around 1600 found in the National Museum of Decorative Arts in Madrid, or with several buffets from the 17th century in the Cervantes Birthplace Museum (Alcalá de Henares, Madrid). and the Lope de Vega House Museum (Madrid).

· Size: 104x60,5x74,5 cms.
ANTIQUES

Ref.: ZF0463
PAIR OF RELIEVES, SCENE WITH CHARIOT AND SCENE WITH TEMPLE. POLYCHROME...

Pair of reliefs; scene with a chariot with a skull and a scene with a porch from the 16th century. Gilded and polychrome wood. Castilian school, 16th century. Pair of rectangular carved, gilded and polychrome wooden reliefs located on a later dark support in which a series of figurative motifs common in the European Renaissance are represented. In the upper one, a figure appears with a fork or trident pushing a horse-drawn cart on which there is a skull on a pedestal; This element has a type of temple or building in the background, and is preceded by a child figure holding a cloth. The lower one, starting from the left, shows a winged angel head, two human figures holding a long cloth (which crosses a kind of circular domed building or temple), and another winged angel head looking towards this central motif. The first of the reliefs presents the viewer with a clear allusion to death, being able to understand the figure on the left as a demon (and link it to the Sins), and the one on the right as an angel. The second could also be linked to the literature of Emblems, common at the time, or be a decorative element. The present work bears a certain similarity to others such as the fourth of the Seven Emblems of the University of Salamanca (approximately, first third of the 16th century), based on the Poliphili Hypnerotomachia, and recalling compositions such as the Renaissance bars of the Chapel of the Knights of the Cathedral of Cuenca.

· Size: Soporte 45.5x29x3 cms.
ANTIQUES

Ref.: ZF0525
THE TEMPTATION OF SAINT ANTHONY. OIL ON CANVAS. 17TH CENTURY, AFTER DA...

Temptations of Saint Anthony Abbot. Oil on canvas. 17th century, following the model of David Teniers II (Antwerp, 1610-Brussels, 1690).
Oil on canvas showing a figurative scene located inside a cave. Towards the right, you can see a standing, supported cross; to the left, a hut; and in the center of the painting an older, bearded man appears leaning on a table on which there is a ceramic jug and a skull, with an open book at the foot of it. The man looks towards a woman, who points to something outside, and appears accompanied by a large frog and a series of ghostly beings or monsters dressed in brightly colored cloths and clothing.
Saint Anthony the Abbot or Anthony the Great (251-356) was a Christian monk, considered the founder of the hermitage movement. He was tempted on numerous occasions by the devil while he was in the desert, making this a frequently represented theme in art (as can be seen in this oil painting). He is represented with a black habit because the Order of the Knights of the Hospital of San Antonio (Hospitalarios) was placed under his patronage, being the color of the habits of the members of this order (the tau or Egyptian cross was also the symbol chosen by they).
David Teniers II or The Younger was a prominent Flemish painter and printmaker, son of David Teniers The Elder or I and father of David Teniers III, highly appreciated at the time for his scenes of villagers and common people, his paintings of monkey painters, etc. . He dealt with the theme of the Temptations of Saint Anthony on numerous occasions: Prado Museum in Madrid, National Museum of Western Art (Tokyo, Japan), Wallraf–Richartz Museum (Cologne, Germany), etc. In the case of the present work, it is necessary to mention and compare it both with an oil painting kept in a private Parisian collection and with another sold at Christie's in 2018, which was in a Belgian collection and has been dated between 1630. and 1680 and is signed. Likewise, it is necessary to indicate that there are known engravings with this theme made from works by the painter (work from the Fine Arts Museum of San Francisco, United States of America, according to Frans van der Wyngaerde and dated in the 17th century; at UCLA in California , United States of America, also by Frans van der Wyngaerde and from the 17th century)."

· Size: 52x4x47,5 cms. int: 42x35.5 cms.
ANTIQUES

Ref.: ZF0996
THREE FRAMED MINIATURES.19TH CENTURY

Frame with three miniatures. XIX century. Rectangular frame with a textile background that shows three oval miniatures with female portraits, enhanced with gilded bronze frames (the sides are finished with lacework, the central one crowned). The back has two rings at the top to hang the piece on a wall. Starting on the left and identified by small metal signs with black letters, we have “Madame Elisabeth” (Elisabeth of France [1764-1794] was the sister of Louis XVI and eldest daughter of Louis, Dauphin of France, and the Duchess Mary Josefa of Saxony), to “Marie Antoinette” (Marie Antoinette [1755-1793], archduchess of Austria and queen of France, was the daughter of Emperor Francis I and Empress Maria Theresa), and to “Madame Lebrun” (Louise-Elisabeth Vigeé LeBrun [1755-1842], was painter to Queen Marie Antoinette and member of the French Academy from 1783). The three paintings, signed “Lebrun”, are inspired by works from the 17th century. In the same order as before: portrait painted by Vigée LeBrun around 1782 (Versailles, Musée National des Chateaux de Versailles et de Trianon, inv. mv 8143); portrait of Marie Antoinette with roses painted by Vigée LeBrun in 1783 (Versailles, Musée National des Chateaux de Versailles et de Trianon, inv. 3063); This miniature, made from a print, copies the self-portrait of Vigée LeBrun painted in 1782 and currently kept in the National Gallery in London (NG1653). It should be noted that the Prado Museum (Madrid) preserves a composition similar to the present one in both the miniatures and the frame (inventory O000657, O000658 and O000659).

· Size: 41,5x1,5x22,5 cms.
ANTIQUES

Ref.: ZF1151
VIRGIN WOMAN WITH CHILD, 17TH TO 18TH CENTURIES

Spanish school from the late 17th – early 18th centuries. “Virgin with Child.” Carved and polychrome wood. Devotional image carved in wood in a round and polychrome shape, framed within the late Spanish Baroque. It is a sculpture of monumental conception, with large, monolithic figures, with volumes enhanced through the pompous folds of Mary's tunic. The Virgin appears standing, holding the Child in her lap, in a naturalistic position, full of movement. Thus, we see how Mary, to compensate for the weight of the Child, leans her back backwards, while Jesus in turn leans forward, thus compensating the composition. The Child appears raising his right hand in a sign of blessing, while the other hand rests on a sphere, a symbol of the universality of Christian doctrine and the redemptive act of Christ. Spanish baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and the deepest feelings that resided within them. With the State's economy broken, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and brotherhoods of clerics and laymen that promoted its development, the works sometimes being paid for by popular subscription. Sculpture was thus forced to capture the ideals prevailing in these environments, which were none other than religious ones, at a time when the counter-reformation doctrine required art to use a realistic language so that the faithful could understand and identify with what was represented. and an expression endowed with intense emotional content to increase the fervor and devotion of the people. The religious issue is, therefore, the preferred theme of Spanish sculpture of this period, which began in the first decades of the century with a priority interest in capturing nature, to progressively intensify throughout the century the expression of values. expressive, which is achieved through movement and the variety of gestures, the use of lighting resources and the representation of moods and feelings.

· Size: 32x26x70 cms.
ANTIQUES
SCULPTURE

Ref.: Z2514