Results 73 to 96 of 276

«« « 1 2 345 6 7... » »»

ALTAR FRONT FOR PRIVATE CHAPEL, POLYCHROMED WOOD, BAROQUE, SPAIN, BEGI...

Baroque private altar frontal in carved and polychrome wood, Spain, early 18th century. The work is crowned by a broken pediment in the centre on a projecting entablature that rests on the lower body, flanked by two columns with a helical shaft and a composite capital, and composed of a moulding that frames a semicircular arch on pilasters and a trompe l'oeil background. This type of frontal was normally used in private chapels to highlight sacred images, and its decorative elements refer to 18th century Spain.

· Size: 140x35x155 cms. (Int. 46x26x85 cms.)
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z0747
FRAME, POLYCHROMED AND GILT WOOD. 18TH CENTURY.

Polychrome and gilded wood frame. Late 18th century. Rectangular frame with golden rocailles on a red background and elements related to the Passion of Christ in shields in the corners and centre of the longer sides: dice, nails, bag (with Judas' coins), mallet and tongs, cross with lances and two whips. These motifs clearly show that it was made to highlight a religious painting of the Passion, probably in a private chapel given the lack of relief, and the strong relationship of the work with the Rococo.

· Size: 187x3x87 cms LUZ 51X154 cms.
ANTIQUES
MISCELLANEUS;FRAMES

Ref.: Z3627
TWO STRIPS. PINE WOOD. 17TH CENTURY.

Two frame strips. Pine wood. 17th century. Strips of carved pine wood in a dark polychrome tone decorated with smooth mouldings on their front, combining curves with counter-curves as is usual in the Baroque, also highlighting the classicist influence of the composition. Possibly, they were created to form part of the construction of an altarpiece or to frame a painting, without being able to know if they come from a civil or religious environment.

· Size: 15x12 cms. Long. 310 y 350 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z3767
SILVER TWO-HANDLED CUP. WITH HALLMARKS. 17TH-18TH CENTURIES.Y

Bernegal or glass or wine tasting. Silver. 17th-18th centuries. With contrast markings. A silver-colored Bernegal coin with a circular foot, a body that widens towards the top, and two flat, S-shaped handles with a flared central section. It has hallmarks on the handle (unidentified) and an engraved mark on the base. Both bernegales and tembladeras were very common types in 17th-century Spanish Baroque silverware, and remained popular into the following century, mainly in areas far removed from the major centers of silversmithing. Also known as wine glasses, these types of drinking cups were used on special occasions (ceremonies, etc.), hence their material and decoration. They were objects of secular use, although it was not unusual or exceptional for them to be donated or commissioned for use in churches or liturgical settings. Compare this piece with two cups or bowls from the Monterrey Palace Collection in Salamanca (one Parisian, made around 1750, and the other from Salamanca) decorated with gadroons and two raised S-shaped handles; with the bowl from the Metropolitan Museum, made in London in 1680 from the Irwin Untermyer collection (very similar in form to the present one); or with the pair of bowls by Antonio López Díaz (made in Jaén and dated 1758/1772) from the Valencia de Don Juan Institute in Madrid. Weight: 162 grams.

· Size: 14x11x9 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6022
SILVER INCENSE BOAT (NAVICULAE). WITH HALLMARKS. POSSIBLY PORTUGAL, 18...

Naveta. Silver. Possibly Portugal, 18th century. Counterweighted base. With hallmarks. A boat with an oval base decorated with elements in relief and mouldings, a balustraded base and a body with a slight boat shape, presenting a lid with hinges at the front, a widening in the lower area towards the foot and a decoration distributed throughout the exterior based on rocaille motifs and vegetal elements (the same theme is presented on the foot and the base) on a lustre-painted background, with an angel's head on two small wings in relief towards the spout, accompanied by vegetal elements (which protrude from the edge of the lid). Although the shape of the piece generally follows the most common prototypes of these incense vessels used in the liturgy, it should be noted that it was more common to find them more similar to a boat. The belonging of the naveta to the Rococo influence is clear both from the lines of the object and from the decoration already mentioned (rocailles, moving plant elements, volutes with pronounced curves, contrasts between concave and convex lines...), and it is also possible to find some points in common with Portuguese works (a silver naveta with a spoon by Leandro Gagliardi made in Rome between 1744 and 1750, which is preserved in the Sao Roque Museum in Lisbon, Portugal, has a finial with an angel's head in relief; compare this with the gilded silver censer that the same master made between 1749 and 1751 for the Chapel of St. John the Baptist in the Church of St. Roque in Lisbon). The hallmarks present on the upper part of the naveta (the capital letters “de” in a rectangular space), although it should also be noted that this work does not follow the most striking typology of navetas related to this centre (18th century silver naveta from the Church of Alcántara in Maranhao, Brazil; naveta by Sebastiao Bernardes dos Santos dated 1747 from the Sé do Funchal which is preserved in the Museu de Arte Sacra Do Funchal in Madeira –Portugal-). Weight: 715 gr (base with counterweight).

· Size: 19x9x14 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE244
POCKET WATCH, ANDRÉ HESSEN. GOLD, ENAMEL, ETC. PARIS, FRANCE, CIRCA LA...

Pocket watch, engraved André Hessen. Gold, enamel. Paris, France, towards the end of the 18th century. It has some flaws. Pocket watch with a case decorated with enamel on the back (within a band of pearls you can see a composition with a clear classicist influence with a female figure, perhaps an allegory of the arts), and a white dial with Roman numerals for the hours and lines and Arabic numerals for the minutes, on which you can see the text Adré Hessen. The delicately decorated movement has a number (549) and the name Adré Hessen (1745-1805), a watchmaker who settled in Paris, France, in 1767 and who was very well-known and appreciated in his time.

· Size: 7x5x1.5 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZE326
PORCELAIN BOX. POTSCHAPPEL-DRESDEN, GERMANY, 19TH.

Box. Enameled porcelain. Potschappel-Dresden, Germany, 19th century. With mark on the base. Rectangular box with a slightly curved lid made of enamelled porcelain with gold metal trim and hinges. The box features a decoration on the outside of figurative scenes of couples in natural landscapes with a clear Rococo feel, enhanced by gold frames and scale elements in pink tones. On the inside, on the lid, another scene of this type appears. The base of the piece bears a mark alluding to the factory responsible for it. In 1872, Carl Thieme (Carl Johann Gottlieb Thieme) converted his porcelain painting business into a porcelain factory, keeping the headquarters in Dresden and calling it Sächische Porzellanfabrik zu Potschappel (Dresden) von Carl Thieme. A mark such as the one seen on this piece was used there between 1888 and the beginning of the 20th century.

· Size: 12x8x7 cms
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF0702
Special Offer! - Off

PAIR OF PORCELAIN VASES.19TH CENTURY.

Pair of vases. Glazed porcelain. 19th century. A pair of vases with circular bases, cylindrical bodies in the center, long necks, and mouths that open outwards, decorated with pink bands, gilded rims, clusters of flowers, and two genre scenes (humble figures dancing in rural landscapes; on the other side, similar scenes). They are displayed on metal feet decorated with openwork elements and claw-shaped feet topped with classically influenced vegetal motifs. Markings are present on the base.

· Size: 24x24x62 cms
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF0884
CARTEL CLOCK. BRONZE. FRANCE, 19TH CENTURY.

“Poster” wall clock. Gilt bronze. France, 19th century. Gilt bronze wall clock of the type known as a "cartel" due to its shape, featuring Parisian movement and a white dial with Roman numerals for the hours and Arabic numerals every five minutes. Surrounding a body with openwork panels, it features a garland decoration based on ribbons and architectural and plant elements in a distinctly classicist style, an influence also evident in the vase-shaped upper finial and the lower mask placed on a plant motif. This is a fairly popular model within the French school, as similar boxes are known in private collections dating from the last third of the 18th century. The shape of the top vase and the front garlands vary mainly in later known examples (made both in the first half of the 19th century and during the time of Napoleon III). Weight: 9 kg.

· Size: 30x10x66 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1411
HENRI II STYLE PENDULUM CLOCK, 19TH CENTURY.

“Henri II” style wall clock, 19th century. The dial, in white, has Arabic numerals and is protected by glass. The clock case, made of carved wood, shows a decoration based on architectural elements (diamond points, columns, vases, etc.) and leaves a rectangular space with a dark wood decoration based on putti and plant motifs in which there is a hole to see the pendulum, which is highlighted by a decoration in gilded metal. The Henri II style (“Henri II”) was the name given to an artistic style that emerged in France in the 19th century and was inspired by the Renaissance of this country, creating a series of furniture with the type of decoration that we see in this work. It was so successful that it was revived in the Neo-Renaissance style, which lasted well into the 20th century.

· Size: 45x23x130 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: Z0484
POCKET CLOCK, JAQS BLANC. GOLD, ENAMEL, ETC. POSSIBLY CIRCA LATE 18TH ...

Pocket watch, Jaqs Blanc. Gold, enamel, etc. Possibly circa late 18th century. Pocket watch with white dial and Arabic numerals for the hours and lines and Arabic numerals every fifteen units for the minutes with movement decorated and engraved with a serial number and the words Mavit and Jaqs Blanc. The box that contains and decorates it has, on the back, an architectural decoration with a clear classicist influence.

· Size: 6x5x1.5 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZE328
SILVER CUP WITH INSCRIPTION. POSSIBLY SOUTH AMERICAN, 18TH CENTURY.

Tembladera or bernegal with ownership inscription. Possibly Hispanic American, 18th century. A silver-plated squib with a wide, circular base and a larger mouth. The body features a fine line engraved toward the rim and a ownership inscription on the front (Lucas Vilacha) made with small dots. It also features two handles decorated with plant elements and grotesques with human heads, with lion- or dog-like shapes visible at the top. Baroque tendencies continued in Spanish silversmithing for almost the first two-thirds of the 18th century, except in the capital, where Rococo forms were already being introduced without displacing the earlier ones. It wasn't until 1740 that French silversmiths introduced these innovations to Madrid, which slowly spread to the rest of the centers, depending on the area and master. This survival of 17th-century forms can be seen in the handles of the wobbler: the grotesques with human heads are prominently displayed, a decorative abundance that contrasts with the clean lines of the rest of the work, but which is common in this type of work. The lack of hallmarks makes it impossible to locate the work or the artist, although this is precisely what speaks in favor of a secondary silversmith center, where the lack of control over these works was more common due to the lack of masters and the means to ensure compliance with hallmarking regulations. Bernegales and tembladeras were the most common types of silverware in 17th-century Spain (although they remained popular in the 18th century, especially in centers far from the main craft centers). In the case of this piece, the handles could indicate American manufacture, although there are similar cases thought to have been made in the Iberian Peninsula. It is worth mentioning that there is evidence of the baptism of a Lucas Vilachá in 1783 in Lanza (La Paz, Bolivia). Compare with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of the Poor Clares of Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 325 grams.

· Size: 20x15x7,6 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1058
CERAMIC JAR. 18TH CENTURY

Jug from Villafeliche, Aragon, 18th century. Glazed ceramic. Late Baroque style jug made of ceramic and decorated with high-temperature enamels on a white tin slip. These enamelled motifs are combined with mould-made relief decorations. The typology of the piece combines the Italian jug, with an ovoid belly and vertically arched handle, with that of the typically Spanish spouted jug, characterised by the protruding spout that starts from the mouth. The decorations reveal an oriental influence, with large floral bouquets arranged asymmetrically and complex landscapes with architecture and palm trees, in which some figures are removed, these now totally western. The motifs appear brushed in manganese black, and coloured with mainly ochre, blue, green and red enamels. Aragonese pottery from the 17th to the 19th century was characterised by a strong personality, combined with the influences of Talavera and Catalonia. It had three main centres: Teruel, Muel and Villafeliche, the first two with a tradition dating back to the 16th century, and the third created at the end of the 17th century. The pottery from Villafeliche was generally very popular, although pieces of greater quality and complexity, both typological and ornamental, were also made in the 18th century.

· Size: 25x18x42 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: Z2627
TORCH STAND, GILT AND POLYCROMED WOOD, ROCOCO, 18TH CENTURY. RECONVERT...

Carved, gilded and polychrome wooden torch holder, Rococo, 18th century. Converted into a floor lamp. A lamp with a triangular base on scroll-shaped legs and a base formed by a vase under a baluster that has been decorated on its surface with rocailles, putti heads, mirrors and gilded plant scrolls. Made to hold a candle, it has been converted into a floor lamp, allowing it to be used in a modern interior.

· Size: Alt. 166 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z5286
SILVER AND GILT SILVER PYX. 16TH CENTURY.

Cast and chased silver pyx. Spain, towards the end of the 16th century. Cylindrical box with a moulded base under a wide frieze with latticework of bands and simplified plant elements. Moulded lid decorated with bands creating figures of 8 alternating with flowers and fleur-de-lis motifs, topped with a small cone with pearl, on which stands a three-nailed Crucifix with a loincloth around the knees and a cartouche. Given the gilding on the interior, this stemless host was perhaps used to contain the Holy Hosts in the tabernacle of some church. The decorative elements of the work and the figure of Christ in the upper part respond to the influence of the Renaissance, but also show Gothic memories. The Renaissance appeared in Castilian silverwork a little before 1520, and it was only from the end of the reign of Philip III that we usually speak of Baroque. In the Crown of Aragon, the political and economic decline of the area caused a significant decline in the number and quality of production, with the notable exception of Aragon and, above all, Zaragoza, which reached unequalled splendour later on. The same thing happens with the form: although there are similar examples during the Gothic period (a hostiary by Diego de Abanza or one of his sons, made in Burgos towards the end of the 15th century and preserved in the Diocesan Museum of Sigüenza, Guadalajara), this typology would continue even in the Baroque with numerous variations. Compare this with works such as a hostiary in the Museum of Malaga (BA/CE00305), with a similar cover and decoration, or, above all, with the one in the Ángel Quílez collection (inventory CAQ-47) of the future Museum of Alcáñiz (Teruel), with a similar profile and decoration, both from the end of the 16th century. And note the difference with, for example, the Castilian from the last third of the century preserved in the National Museum of Decorative Arts (CE19659) or that of Juan de Bendígar from the Lázaro Galdiano Museum (inventory 02165) from the second third of the century, with greater Renaissance influence. Weight: 176 gr.

· Size: 10x10x9,5 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZA5725
SILVER CHEST, AFTER 17TH CENTURY MODELS. POSSIBLY, 20TH CENTURY.

Chest inspired by 17th century models. Silver. Spain, 20th century. Rectangular casket made of silver in its colour, with four legs in the corners in the shape of a scroll and finished in a claw, decorated on the fronts with a decoration of mouldings, bands and motifs within rectangles (yokes, a bundle of arrows, a letter f crowned between two pomegranates, a letter y crowned between two pomegranates) in clear allusion to the Catholic Monarchs. The stepped lid presents a composition of scrolls, architectural elements and plant motifs on a background with a lustre-like finish, and a small rectangular “diamond” as a finish. It closes with a pin and a chain at the front. Compare, for example, with the 17th century silver casket in the museum of the Monastery of Santa María de la Caridad in Tudela, or with the so-called Casket of the Holy Martyrs of the parish of Santa María de Manlleu which is in the Episcopal Museum of Vic. Weight: 526 grams.

· Size: 16x11x11 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE280
DIAL AND COMPASS. BRONZE. SCHRETTEGGER, JOHAN. AUGSBURG, GERMANY, CIRC...

Sundial and compass with case. Bronze. SCHRETTEGGER, Johan. Augsburg, Germany, circa 1800. A polygonal sundial made of bronze, engraved with plant elements on the front, placed around the centre, where a compass is shown. On the back, the name of the author and the place where the work was created have been engraved. The instrument is accompanied by a case, also polygonal, with a flap closure and lined with textile on the inside. Johan Schrettegger (1797-1843), son of Andreas Vogler, worked in that German city creating pieces such as this one.

· Size: 6 x 5,5 x 1,5 cm/ Estuche:7x6,5x2 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE311
SHEPHERD’S BOX. ANTLER OR HORN. SPAIN, 1822.

Pastoral box. Carved horn. Spain, 1822. Rectangular box made of carved horn with a date (1822) engraved on the lid and front, a legend (Soi de Manuel Zulueta año 1822) and an engraved decoration based on geometric, vegetal, figurative and heraldic elements. The base of the piece has a banded frame that highlights a composition of birds and animals accompanied by simple stems and flowers. The lid has bands interlaced with circles of different sizes and, in the centre, a crowned heraldic shield flanked by two flags, and quartered with three-towered castles and crowned rampant lions; beneath this central element, the aforementioned date is again found. Note that it differs from the Castilian shield (the one used by the kings of Castile since 1230) in the position occupied in the quartering by the different elements.

· Size: 8x5x2 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0730
CAPITAL. GRANITE. SPAIN, 15TH CENTURY.

Capital. Carved granite. Spain, 15th century. Circular-based capital made of carved granite with a polygonal shape enhanced with mouldings, following forms that still retain a memory of Gothic works but with noticeable clean lines.

· Size: 60x60x64 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0777
PAIR OF CANDLE HOLDERS. METAL, ENAMEL. LIMOGES, FRANCE, 19TH CENTURY.

Pair of candlesticks. Metal, enamel. Limoges, France, 19th century. They present faults. Pair of metal candlesticks decorated with polychrome enamel on the outside, each with an octagonal base that begins with a step and rises gently to the axis, which has discs and mouldings between jar-shaped shapes, ending in tubular candlesticks with a mouth that extends outwards in a smooth moulding. Throughout the piece, there are plant decorations in relief with a clear classicist influence, interspersed with medallions of male profiles in grisaille on the upper part and roundels on the base. Likewise, scrolls and plant, geometric and architectural motifs without relief can be seen, in a gold tone. These tondos of the base show a heraldic shield crowned and supported by two quadruped animals, and three-quarter figurative elements, identified with the name of the character represented in Latin. Thus, we see “Cephale”, “Lavrore” and “Adonis”. In Greek mythology, Cephalus was the lover of Eos, goddess of dawn, condemned by Aphrodite to only love mortals. Adonis was the lover of Aphrodite, eternally young and symbolizing death and the annual renewal of vegetation, and whose nature was tied to the calendar. This pair of candlesticks is closely inspired by a candlestick that the Louvre Museum in Paris (where it is preserved, inventory RFML.OA.2022.2.7) considers to have been made in the mid-16th century in Paris or Sèvres (France) and attributed with doubt to the master enameller Julien Robillard (active ca. 1850-1880). The inspiration in models and motifs of the Italian Renaissance is clear.

· Size: 12,5x12,5x15,5 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1328
PORCELAIN SWEET MEAT DISHES. MEISSEN, LATE 19TH CENTURY.

Pair of figurine jam trays. Enameled porcelain. Meissen, late 19th century. With marks and inscriptions on the bases. Presents defects. A pair of decorated glazed porcelain trays for confections (caramelized fruit, chocolates, etc.). Both have a base with elements clearly reminiscent of the Rococo period. The figure, dressed in 18th-century European fashion, appears reclining, "grasping" the elongated trays. The trays feature painted flowers on the inside and the same embossed elements on the outside, as well as a gold rim. Both the young man and the woman are shown with somewhat disheveled attire, revealing part of their chest in both cases. The Meissen marks (two crossed swords, in blue) that appear on the bases of both figures, would be those used by the factory between 1815 and 1924. The lady's also has a number in red ink (24) and other inscriptions (2858, which would be the model; 21 and 73). The man's has, in ink, what seems to be a 21, and other inscriptions (2863 would be the model; the other could be 72). Experts date both models of figures to the end of the 19th century.

· Size: 30x20x20 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF1463
WROUGHT IRON KITCHEN “LLAR” (POT HOLDER), 16TH CENTURY.

Wrought iron kitchen hearth, 16th century. A kitchen hearth with three hooks joined together on a horizontal crossbar with engraved decoration and square and rectangular rings and bars, some of which have been twisted. It is not at all common to preserve this type of utilitarian element despite its abundance due to its frequent replacement. Similar pieces have been made in all artistic styles, as it was used to hold the cauldron over the fire.

· Size: 79x200 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z3829
THREE RECTANGULAR PANELS WITH RELIGIOUS FIGURES AND PUTTI, RENAISSANCE...

Three rectangular panels with reliefs in carved wood. 16th century. All three feature figurative decorative motifs arranged within rectangles defined by plain moldings: the longest has three (the side ones show two seated children flanking a shield and holding knotted cloths, while the central one depicts Saint Matthew and Saint John writing, identifiable by their Tetramorph symbols); the shorter ones show two figures from the Church (Fathers, Prophets). Stylistically, they reflect the characteristics of Renaissance art and would have formed part of the drawers of some piece of furniture.

· Size: 25x145; 25,5x144; 24,5x68,5 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z6581
SILVER GLASS WITH TRAY. 18TH CENTURY.

Rinse basin. In silver, in its natural color. Barcelona, 18th century. With contrasting marks and ownership initials. A container with a small circular foot features simple, flat lines, as well as a space at the base of the interior space in which the glass fits, which has the same elegant shapes in its contours. In general, the territories of the Crown of Aragon recovered during the 18th century, which influenced their silversmithing. Barcelona's silversmithing saw a resurgence in importance, reaching levels not seen since the Gothic period. As in the rest of Spain, the Rococo style dominated during the reign of Charles III (1760-1788). At court, which had already embraced Neoclassicism around 1735-1740, this style appeared around 1770 and, after coexisting with Rococo for a few years, gradually became dominant from 1780 onwards. Barcelona quickly adopted this new style and apparently became one of the main centers on the Iberian Peninsula. However, the frequent changes in hallmarks, the common use of confusing symbols on pieces, and the lack of surviving works and studies hinder a detailed analysis of this center and its silversmiths. The hallmarks on the piece place it in Barcelona, in the workshop of a silversmith whose mark is “F. Tur”, possibly (Turquet). Weight: 582 grams.

· Size: 18x18x9 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6871