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SILVER GLASS WITH TRAY. 18TH CENTURY.

Mouthwash. In silver in its colour. Barcelona, 18th century. With hallmarks and initials of ownership. A container with a small circular foot has simple, flat lines, as well as a space at the base of the interior into which the glass fits, which has the same elegant shapes in its contours. In general, in the 18th century, the territories of the Crown of Aragon were recovered, which influenced its silverwork. In Barcelona silverwork, there was a recovery of importance to levels that had not been seen since the Gothic period. As in the rest of Spain, Rococo would dominate during the reign of Charles III (1760-1788); in the Court, which was already familiar with Neoclassicism around 1735-1740, this style would appear around 1770 and, after coexisting with Rococo for a few years, it would gradually prevail from 1780. Barcelona quickly adopted this new style and, apparently, would become one of the main peninsular centres, although the frequency of changes in markers, the frequent use of confusing symbols on the pieces and the absence of preserved works and studies make a detailed analysis of this centre and its silversmiths difficult. The hallmarks on the piece place it in Barcelona, in the workshop of a silversmith whose punch is “F. Tur”, possibly (Turquet). Weight: 582 grams.

· Size: 18x18x9 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6871
PAIR OF TALL CANDELABRA OR CANDELABRUM, NEOGOTHIC STYLE. WROUGHT IRON....

Pair of Neo-Gothic style floor candelabras. Wrought iron. Spain, 20th century. Pair of wrought iron floor candelabras with a tripod base, a shaft decorated with small discs and ending in a circular plate, and a top made up of three levels of curved arms ending in floral elements, the third being the highest and ending in a spike. The set is inspired by 15th century Spanish lighting elements, specifically pieces known as “floridas” or “florid style”, prior to the development of openwork plates that occurred at the end of that century. Compare with older examples preserved in prominent institutions such as the Museu del Cau Ferrat in Sitges, the Museo Nacional de Artes Decorativas (Madrid) etc.

· Size: 62x62x219 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0628
BITE. BRONZE, MARBLE. FRANCE, CIRCA LATE 19TH CENTURY.

Grip. Blued bronze, marble. France, late 19th century. A sculpture in burnished bronze on an oval base in green-veined marble showing two lionesses or two panthers engaged in a fight, one biting the other's neck and both with their claws, limbs and muscles tense. It is worth highlighting the quality of the design and composition as well as the modelling and casting, as a series of striking details can be clearly seen in the work. On the base, engraved, there is an inscription linked to Clovis-Edmond Masson (Paris, France, 1838-1913). Trained with Antoine-Louis Barye, Rouillard and Santiago, he regularly showed his work (mainly on animal themes and almost always using bronze, wax or plaster) at the Paris Salon between 1867 and 1909. Thanks to the popularity and quality of his work, numerous bronze figures were made for the interiors of prominent residences. Currently, the most valued works are those of felines in violent attitudes and postures or showing strength, which seem to anticipate what was usual in this type of art in France between 1910 and 1930.

· Size: 65x23x38 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0930
SILVER HEART SHAPED SPICES BOX. LÓPEZ PORTERO, MANUEL. SPAIN, GRANADA,...

Heart-shaped spice rack. Silver. Spain, Granada, 1870. With hallmarks and engraving marks. Silver spice rack in its heart shape with a spout curved towards one side that has two hinged lids and three spaces inside (partition at the top and not at the bottom); it rests on three legs decorated with classicist elements and has, towards the side, a series of fine smooth mouldings. The hallmarks are those of Granada, of the date, and of the silversmith Manuel López Portero, who also worked as a hallmark in the city. The shape of the piece does not follow the usual prototypes of the period or of the school to which it belongs (there is a known silver box in the shape of a heart in which an eagle with its wings spread out appears on its obverse and reverse, by the hand of Manuel López Portero and dated 1773, which is the portaviaticum of the parish church of the Encarnación in Laujar de Andarax). The decorative elements of the box can easily be included within the Neoclassical period. Weight: 250 grams.

· Size: 10x11.5x4 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1019
IRON APOTHECARY MORTAR. 18TH-19TH CENTURIES.

Iron pharmacy mortar. 18th-19th centuries. An old cast iron mortar for pharmaceutical use. It follows the usual structure for this type of utensil between the 15th and 19th centuries, with a truncated cone-shaped body with very thick walls that has vertical ribs and perpendicular protruding handles to facilitate gripping during use. In this case it shows eight polylobed ribs and two large handles with ends in the shape of a child's head, indicating that it would be a piece from the Baroque period or later, probably from the 18th or 19th centuries.

· Size: 40x31,5x26 cms. Mano: L. 40 cms
ANTIQUES
MISCELLANEUS;MORTARS

Ref.: ZF1242
FLEMISH BRONZE MORTAR, 17TH CENTURY

Flemish mortar. Bronze. 17th century. Presents brand. A mortar with a circular base and a mouth that extends outwards from the two upper bands and a body with a slight entasis and a relief decoration with figurative motifs. In addition to a series of mouldings on its outer area, two male protomes can be seen (heads with moustaches and non-human features) and a band with different elements on the lower part (scrolls, leaves, quadruped monsters). Also note a kind of circular “seal” (or so it seems), with letters (HLB / RA/TE) around a flag flanked by plant elements and placed on three oval objects. Compare this example with those by P. van den Ghein from the Royal Carillon School Museum “Jef Denyn” in Mechelen (although they are older), a 17th century example from the Pharmacy Museum in Berlin (Germany), another in the Pharmacy Museum of the Complutense University of Madrid (Spain), etc. Weight: 4.6 kg.

· Size: 17x17x14 cms.
ANTIQUES
MISCELLANEUS;MORTARS

Ref.: ZF1258
TABLE. WALNUT, IRON. SPANISH SCHOOL, GUADALAJARA (SPAIN), 17TH CENTURY...

Table. Walnut wood, iron. Spanish school, Guadalajara, 17th century. Table with a smooth rectangular top, four spheres under the four legs (these joined by chamfers that start from rectangular cubes, and carved with spherical elements accompanied by lentil or disk shapes), and a carved waist in the lower area of the front. In this part, there is also a drawer with a key lock, decorated with a carving of plant motifs divided into two rectangular areas; inside, a board creates two spaces. Note the dovetail joints. As this is one of the most common types of furniture in the Castilian school of all ancient Spanish furniture, it is possible to find similar examples in important private collections and in prominent institutions. Compare, for example, with some buffets in the Casa Museo Lope de Vega in Madrid (one with column legs is dated to the first half of the 17th century), or with some of those kept in the Museo Casa de Cervantes in Alcalá de Henares in Madrid (in particular, one has a composition on the legs similar to that of the present one, the one in the museum dated to the 17th century and registered with inventory number CE00113).

· Size: 96,5x60,5x81 cms
ANTIQUES
FURNITURE

Ref.: ZF1275
SILVER TUREEN WITH TRAY. POSSIBLY SPAIN, 20TH CENTURY.

Soup tureen with tray. Silver. Possibly Spain, 20th century. With contrast marks. Silver-coloured soup tureen with handles ending in parchment (and with plant elements in the base) and bulging shapes that extend to both the base and the lid, the latter finished in a scalloped finish. It has initials of ownership on the front. The tray repeats the waves of the other piece, and has two handles also in the form of parchment. It has contrasting marks on the base of the tureen and on the tray, without identification. Weight: 1.773 kg.

· Size: 26x18x22 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1318
TRITONS AND NEREIDS. PAINTING, GLASS. POSSIBLY ITALIAN SCHOOL, LATE 16...

Tritons defending Nereids. Oil on glass (reverse). Possibly Italian school (perhaps Naples), late 16th-17th century. Framed glass plate with a painting, probably an oil painting, beneath it. A landscape can be seen in the background and a series of figures in the foreground, from the waist up. A man is holding two women on the right, while, on the left, two semi-nude male figures appear attacking a sea monster (very similar to those inspired by ancient Roman works, common in painting since the Renaissance). It is first necessary to differentiate between two painting techniques that employ glass: one that uses it as a base, such as a canvas, and the other, in which the glass sits "above" the paint, with the latter applied "beneath" and inversely. This work belongs to the second method, highly prized in cabinetmaking for decorating chests, wastepaper baskets, etc., and for its similarity to enamel. It should also be remembered that glass painting was especially appreciated by the upper class between the late 17th and early 18th centuries. Ferdinand de' Medici, for example, included glass paintings by Luca Giordano in his collection in 1702. Followers of this master specialized in these years in decorating important furniture with painting under glass. In 1679, for example, Giovanni Battista Tara was paid for having created "a pair of ebony writers' tables inlaid with different paintings on glass," while Carlo Garofalo, a student of Luca Giordano and considered the best glass painter active in Naples in the second half of the 17th century, was called by Charles II of Spain to paint glass for chests and other decorations in prominent royal salons; again, Domenico Coscia is mentioned in documents as a painter "who made those glass pieces very well, which were used by writers." The list of Neapolitan painters who were disciples of Giordano, remembered for their painting on glass, can also be enriched with many other names, such as Domenico Perrone, Francesco della Torre, or Andrea Vincenti.

· Size: 41,5x2,5x18 cms. int: 8x32 cms.
ANTIQUES
PAINTINGS

Ref.: ZF1420
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BRONZE BRAZIER. POSSIBLY SPANISH SCHOOL, 16TH CENTURY.

Frame for a hand brazier. Bronze. Possibly Spanish School, 16th century. A polygonal bronze frame for a brazier or table, raised on legs and featuring a decoration of human figures at the top, as a finial, and a series of openwork scenes on the front between Doric or Tuscan columns (human figures surrounded by plant and grotesque elements; two panels with handles), clearly influenced by Classicism. Weight: 1.1 kg.

· Size: 19x19x12 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1422
BRONZE CAPITALS WITH BASES, FOUR SETS. SPANISH SCHOOL, 20TH CENTURY.

Capitals with bases, four pieces. Bronze. Spanish School, 20th century. Origin: Caryatids Building (formerly the Spanish Bank of the Río de la Plata; headquarters of the Cervantes Institute), Calle Alcalá, number 49, Madrid (Spain). Four capitals with their respective bases, made of bronze, clearly show a classicist influence in both their moldings and lines, as well as their decorative elements. However, in the arrangement of these motifs and other details, an evolution or departure from these nineteenth-century classicist models can be seen (volutes, stepped elements, etc.). They come from a building located at 49 Calle Alcalá in Madrid (Spain), known as the Cariátides Building, which was built as the headquarters for the Banco Español del Río de la Plata by Antonio Palacios Ramilo and Joaquín Otamendi between 1911 and 1918. It was extended and renovated between 1944 and 1953 (architect Manuel Cabanyes), and has been the headquarters of the Instituto Cervantes since 2006. Weight: 534 kg. Price per unit

· Size: 63x63x75 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1436
PINE WOOD AND WALNUT BENCH. SPAIN, 17TH CENTURY.

High-backed bench. Pine, walnut. Spain, 17th century. Carved wooden bench with a high backrest and arms decorated towards the inside (and in the lower area of the sides) with stripes formed by rectangular panels, following a very common motif in Spanish cabinetmaking. Requires restoration

· Size: 218x54,5x140 cms.
ANTIQUES
FURNITURE

Ref.: Z0605
MAHOGANY TABLE FOR GAMES, 19TH CENTURY.

Mahogany gaming table. 19th century. The upper board is rectangular in shape and has curved profiles, and is supported by two balustrade legs that end in two supports with a shape reminiscent of cabriole legs, decorated with mouldings. Both are secured by a turned frame and have metal rollers. The lines recall baroque examples, while the decorative simplicity refers to neoclassical models, a common mix in 19th century furniture.

· Size: 95,5x48x74 cms.
ANTIQUES
FURNITURE

Ref.: Z3056
WATER PAINTING. LANDSCAPE BY AGUSTIN REDONDELA

Augustin Redondela (Madrid, October 29, 1922) A practically self-taught painter, he is considered one of the most original Spanish landscape artists of the 20th century.

· Size: 24x16 cms.
ANTIQUES
PAINTINGS

Ref.: Z3943
”FRAILERO” CHAIR. WOOD, LEATHER. SPAIN, 17TH CENTURY.

Pair of friar's chairs. Walnut wood, leather, metal. Spain, 17th century. Armchairs with high arms and backrests of the type known as “frailero”, which have leather with studs on the seat and upper part of the backrest, low chambranes joining the front legs with the back ones and middle chambranes or side rails (the front one carved and cut out creating geometric motifs) joining the two front legs and the two back ones, and simple armrests, with scrollwork finishes. The friar's chair, originally of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of this and the 17th century and being recovered again in the historicist movement of the 19th century. Being such a deep-rooted tradition in Spain, this type of model was never stopped being created.

· Size: 69x55x107 cms.
ANTIQUES
FURNITURE

Ref.: Z5070
GILT BRONZE AND WHITE MARBLE CLOCK GARNITURE IN LOUIS XVI STYLE, 19TH ...

Gilt bronze and white marble fittings in Louis XVI style, 19th century. It is made up of two cups on pedestals and a clock. The first ones are identical: on four circular legs, there is a polygonal base on which there is a low fluted column decorated with two strings of pearls in its lower area; above it, there is a tall-stemmed cup decorated with two handles in the shape of plant stems. The clock is placed on four legs, a semicircular base with a floral frieze, four columns and another semicircular plate; highlighted by two branches with flowers joined together, it has a white face and Arabic numerals, as well as hands of the type known as Louis XVI and is topped by a vase. The pendulum of the clock, which has been shaped like a sun, can be seen between the columns and the decorative chains. The French style known as Louis XVI is characterized by its inspiration in classicism and spans approximately from 1760 to 1789. In the 19th century, numerous artistic movements from the past were recovered, among which the aforementioned stood out due to its inspiration, very much in line with the Neoclassicism of the time.

· Size: Reloj: 19x9x40 cms. Copas: 19x15x21 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: Z6190
COLUMN. POLYCHROMED AND GILDED WOOD. 16TH CENTURY

Column. Carved, polychrome and gilded wood. 16th century. Carved and polychrome wooden column with a capital reminiscent of the Composite Order of Classical Antiquity (volutes, acanthus leaves in levels, etc.), a series of mouldings separating the shaft from the rest of the elements, a fluted shaft with a strip at the bottom with figurative elements and latticework, and a base with prominent upward-facing volutes and smooth mouldings at the corners. The aforementioned frieze shows a series of figures with only cloth hangings behind them as the background and carrying a series of elements (flowers, one with a tower with three windows that could be linked to Saint Barbara, etc.). In some details it is reminiscent of columns from other notable works such as the High Altarpiece of Our Lady of the Assumption of Tudela de Duero in Valladolid (last quarter of the 16th century-early 17th century, with designs by Manuel Álvarez and Francisco de la Maza); the High Altarpiece of the Cathedral of Astorga (1558-1584, following the architectural designs of Gaspar Becerra) has fluted columns with the lower part decorated with figurative reliefs; this detail is also present in the altarpiece of the Virgin Mary of Corcos del Valle (last quarter of the 16th century); etc.

· Size: 28x28x90 cms
ANTIQUES
SCULPTURE

Ref.: ZE239
DEVOTIONAL SILVER PENDANT. 17-18TH CENTURIES.

Reliquary cross. Silver, clear glass. 17th-18th century Devotional pendant made of silver and shaped like a Latin cross, decorated on the outside with simple scrolls, spikes, pearls and other elements of classical inspiration, as well as a ring to wear the jewel hanging from the neck. The front has seven oval holes (the one where the arms are crossed, which is larger) protected with transparent glass; the back is smooth, with the material in its colour. Typologically, there are similar examples of Portuguese origin, made of rock crystal and protected by silver bands, without the scrolls and other decorations, dating from between the 16th and 17th centuries, preserved in two private collections. The present jewel shows profiles with much more movement than these two, although the motifs and the simplicity of the lines respond to classicist influences. This type of jewellery was of great value to its owners, both for the materials from which it was made and for its content, which was considered sacred and protective. Despite this high value (or precisely for this reason), few examples of good quality and in good condition have reached us. There are medallions similar to the present one only in some important institutions such as the Fundación Valencia de Don Juan in Madrid, the Museo Nacional de Artes Decorativas (Madrid), the Lázaro Galdiano (Madrid), the Museo de Creencias y Religiosidad Popular del Pirineo Aragonés (Abizanda, Huesca), the Metropolitan Museum (New York), etc. And in prominent religious institutions such as the Cathedral of Santiago de Compostela or the Convent of the Descalzas Reales in Madrid.

· Size: 6,5x10 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF0190
CRUET SET. SILVER, GLASS. RENÉ-PIERRE FERRIER, PARIS, FRANCE, 1775.

Set of cruets. Silver and glass. René-Pierre Ferrier, Paris, 1775. With contrast marks. Set of cruets with salver made of silver in its colour and transparent glass, consisting of two jugs with handle, elongated neck and spout, and a body with a circular base, with a faceted exterior, an oval tray with two supports for the jugs and two others for the stoppers (decorated with leaves and fruits). The tray has four volute-shaped legs, a decoration that is repeated at the ends of the tray, and two architectural shapes on the longer sides, right where the supports for the spice racks are located. The supports for the jugs have an openwork decoration based on architectural motifs framing baskets with grapes and vine leaves and flowers. The hallmarks on the silver pieces indicate that they were the work of René-Pierre Ferrier (his hallmark can be seen), made in Paris between 1775 and 1776 (crowned M; “Maison Commune” mark) and with the corresponding taxes paid (the crowned A -this one in particular was used in Paris between 1775 and 1781- and the bull's head -same as the previous one-). René-Pierre Ferrier was a French silversmith whose mark can be seen used on work from 1775, the year he achieved the status of master. The shape of the tray is reminiscent of other works by the same silversmith dating from the end of the century and with a more pronounced “nave or ship shape”. The decorative elements respond to Neoclassicism, a very popular style in France at the time. It is possible to find pieces similar to the present one in some private collections and in institutions such as the Musée des Beaux-Arts de la Ville de Paris (Petit Palais), dated between 1783 and 1784 (inventory PPO2012), or in the Louvre Museum in Paris. Weight: 558 gr. silver / 1245 gr. c/bottle.

· Size: 27x16x23 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF0344
CAPITAL. GRANITE. SPAIN, 16TH CENTURY.

Capital. Carved granite. Spain, 16th century. Capital for a circular column made of carved granite, with volutes inspired by classical Corinthian capitals (three in total) and a series of mouldings. This is a common type in Spanish Renaissance buildings, as can be seen by comparing it with the Patio of the San Isidro or Los Orígenes museum in Madrid (Casa de los Vargas), the Cloister of Santa María de Ferreira de Pantón (Lugo), etc.

· Size: 60x60x40 cms. diam. columna 35 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0755
WROUGHT IRON FIREDOG OR ANDIRON. 16TH CENTURY.

Morillo. Wrought iron. 16th century. A wrought-iron andiron of the type commonly used for cooking in large fireplaces or hearths. It has a series of hooks facing upwards to accommodate spits when the andirons are placed in pairs, and a semicircular "plate" to hold a pot or similar. Compare with the one in the Metropolitan Museum.

· Size: 35x92x102 cm
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0843
SILVER TRAY. MATEO MARTÍNEZ MORENO, CÓRDOBA, SPAIN, 1789.

Source. Silver. Mateo Martinez Moreno, Cordoba, Spain, 1789. With contrast marks. Silver-coloured fountain, oval in shape and great depth, with contrasting marks and a border composed of smooth mouldings of different widths curved to form waves, ending in four peaks that extend towards the bottom of the piece, thus drawing a series of curves and counter-curves. This form is known as “cut-out profiles” and was a common resource in 18th century Spanish silverwork that followed or was influenced by Rococo models. The marks mentioned (frustras) could place the work's execution in Córdoba, during the period in which Mateo Martínez Moreno worked as a faithful contrast, also providing the date of 1789. Weight: 858 grams.

· Size: 38x6,5x27 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1043
BANDIT AND MILITARY, PAIR. OIL ON BOARD. LUCAS VILLAAMIL, EUGENIO (185...

Bandit and soldier, couple. Oil paintings on panels. LUCAS VILLAAMIL, Eugenio (Madrid, 1858-1919). They present signature and remains of signature. The present pair of panels shows, on a blue background, two male busts. Despite their detail and naturalism, they are not portraits per se, but rather “paintings of types”, showing the concept that was held at the time of a bandit or a general, in line with certain postulates common in Spanish Romanticism. Eugenio Lucas Villaamil began his training with his father, Eugenio Lucas Velázquez, and continued at the Escuela Especial de Pintura in Madrid. His work was notable for largely following his father's line, with a strong Goya influence in both style and subject matter (he also copied some of Goya's paintings), and he was a protégé of José Lázaro Galdiano. Thus, in addition to his traditional Madrid, bullfights, etc., he was also known for his portraits, his urban prints (of the upper and lower classes), etc. His work is preserved in numerous private collections and institutions such as the Museo del Prado (Madrid), the Museo Carmen Thyssen (Málaga), the Museo Lázaro Galdiano (Madrid), the Real Academia de Bellas Artes de San Fernando (Madrid), the Museo Nacional del Romanticismo (Madrid), etc.

· Size: 23,5x4,5x28 cms. int: 11x15,5 cms
ANTIQUES
PAINTINGS

Ref.: ZF1117
CHEST. WOOD, METAL. SPANISH SCHOOL, 16TH CENTURY.

Chest. Carved wood, metal. Spanish school, 16th century. Rectangular casket with a flat lid decorated on the outside with a series of figurative reliefs in a symmetrical arrangement with a theme and lines of clear Renaissance influence (framed and enhanced with smooth mouldings, on each front there are two grotesques facing each other or back to back, with a candlestick or central motif as the axis).

· Size: 19,5x14x11 cms.
ANTIQUES
FURNITURE

Ref.: ZF1289