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SILVER SHELL. GARCÍA REINA, MANUEL. TOLEDO, SPAIN, CIRCA 1730-1741

Baptismal shell. Silver in its colour. GARCÍA REINA, Manuel. Toledo, Spain, circa 1730-1751. With contrast marks, it is missing. A shell made of silver in its colour, with naturalistic details, and a top with a cartouche (on which there is an engraved element) and a simplified vegetal shape on one side (it is missing the symmetry to this). The contrasting marks are found in what would be the “ears” or “earlets”. A numerical mark can be seen on the outside. On the inside, hallmarks can be seen that identify the piece as having been made in the Spanish city of Toledo, when Diego Rodríguez de Lezama (or Lizana) was working as a hallmark, to whom the mark on the other ear belongs. The third mark, located under the location mark, identifies the piece as being made by Manuel García Reina, who was born around 1706 in Colmenar Viejo and trained in Madrid with Juan Löpez Sopuerta. He settled in Toledo around 1730, where he furthered his studies with Manuel Vargas Machuca, entering San Eloy in 1733. He was an approver in 1747 and 1755, and it is known that he had a shop since at least 1743 and is documented until 1772. Diego Rodríguez de Lizana or de Lezana was born in Bargas (Toledo) and trained with Juan de Jarauta, joining the Brotherhood of San Eloy de Toledo in 1699. He was an approver of the guild in 1715 and 1718, and worked as a contrast between around 1730 and his death in 1751 or 1754. His works are preserved in San Pedro Mártir, in the parish church of Miguelturra (Ciudad Real), in the cathedral of Lérida, etc. His work is preserved in Santo Domingo el Real, some cruets in the museum of Santa Cruz de Toledo, the parish of los Yébenes, etc. Weight: 98 grams.

· Size: 11x12x4 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1376
18K GOLD LOZENGE BROOCH WITH CABOCHON GARNET

18kt gold lozenge brooch with cabochon garnet. A rhomboid brooch decorated with plant elements and gold pearls in a distinctive arrangement of hollows inspired by scallops, with a symmetrical and balanced composition. In the center, surrounded by gold bands (concave, fine cord, etc.), is a smooth, oval garnet with an eight-pointed star in the center highlighted by white elements (a larger pearl in the center surrounded by eight smaller ones) contrasting and highlighting the gem. The back features a distinctive figurative decoration depicting a hunting dog carrying a bird in its jaws. Weight: 14.60 grams.

· Size: 5,3x4 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: JBR1732
PINE WOOD CUPBOARD. SPAIN, 17TH CENTURY.

Cupboard. Pine wood. Spain, 17th century. Two-body cupboard made of carved pine wood, with legs in the shape of a fluted jamb, a lower body decorated with simple panels (like the side ones) on the two doors that close with a key, and an upper one with latticework on the outside. The upper area is a single space, while the lower area has a shelf that divides it into two. The decoration links the piece of furniture with very common shapes of traditional Spanish cabinetmaking.

· Size: 104x60x175 cms.
ANTIQUES
FURNITURE

Ref.: Z0634
R.DOMINGO 1901. \'ARTILLERY MANEUVERS\'

DOMINGO FALLOLA, Roberto (Paris, 1883 – Madrid, 1956). “The Burden”, Paris. Watercolor on paper. Signed and located in the lower right corner. Domingo studied in Paris with his father, the painter Francisco Domingo Marqués, and later at the Academy of Fine Arts of San Fernando, where he was a student of Antonio Muñoz Degraín. He participated in national and international exhibitions, winning third medal at the National Exhibition of Fine Arts in 1908, second in the 1910 edition and first in 1915. He also held exhibitions in Rome and London. A costumbrista painter, he specialized in bullfighting themes, which brought him great fame and prestige. Roberto Domingo is represented in the Prado Museum, the Fine Arts Museum in Granada, the Provincial Museum in Cádiz, the Municipal Museum in Madrid, the Bullfighting Museums of Las Ventas in Madrid, La Maestranza in Seville, Valencia and Viana de Cega (Valladolid), the Drawing Museum of Castillo de Larrés (Huesca) and those of Havana and Hemingway in Cuba, among many others.

· Size: 42x51 cms. int: 30.5x22.9 cms
ANTIQUES
PAINTINGS

Ref.: Z4092
ORNAMENTAL MIRROR WITH CREST, 18TH CENTURY.

Cornucopia with a prominent crest in carved and gilded wood, 18th century. Cornucopia with a rectangular mirror inside, decorated in its frame with simple mouldings (some concave, others straight and others convex) without exaggerated movement and, on the outside, some light garlands of flowers. The upper crest stands out, very highlighted, formed by rocailles, curved mouldings, flowers and a vase. This work is of great interest because, while the simple lines to which we have referred respond more to models that follow the Neoclassical style, other elements (rocailles, concave mouldings together with convex ones, movement, decorative exuberance...) respond to the Rococo style. In the 18th century in Spain both artistic styles coexisted. Requires cleaning and light restorations

· Size: 96x35x185 cms
ANTIQUES
FURNITURE

Ref.: Z5301
BRONZE “WOUNDED FIGHTING BULL”.

Bronze sculpture, “Wounded Bull”. Signed “F. Bonilla Villalba” on the base. On a wooden pedestal, the figure of a bull is placed after the banderillas and death stages, as the elements used in both can be seen: three banderillas and the estoque. Thanks to the great quality of the artist, one can see both the moment when the bull is about to expire and bellows as well as the blood that flows from its wounds. The drama is accentuated thanks to the particular treatment of the animal's skin.

· Size: 55x27x40 cms.
ANTIQUES
SCULPTURE

Ref.: Z6180
SILVER “TEMBLADERA” (CUP). JUAN MONTERO, SALAMANCA, SPAIN, 18TH CENTUR...

Quaking. Silver. Juan Ignacio Montero, Salamanca, 18th century. With contrast marks. Silver quaking coin in its colour, ready on the outside, decorated with two inverted “S” shaped handles and decorated with spikes on the outside. At the base of the piece there are four hallmarks (flanking the hallmark line), which place the piece's production in Salamanca (note the bull), with the intervention of Juan Ignacio Montero; there are two other frustrating marks. Juan Ignacio Montero was a silversmith and hallmarker, and the punch seen here appears to date to preserved works that have been dated between 1759 and 1779, such as a sacra in the Parish Church of San Lorenzo in Segovia (by Manuel Cardeñosa, dated 1767). It is known that he held the position of hallmarker in Salamanca between 1758 and 1781 and that he was active until 1779. He used a punch that incorporated the dates relative to the year, although sometimes the same iron was used in several years. Weight: 70 gr.

· Size: 10x7x5 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6251
MARTYRDOM OF SAINT STEPHEM. OIL ON CANVAS. 17TH CENTURY, AFTER AEGIDIU...

Saint Stephen. Oil on canvas. 17th century, after the 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 apparition of Christ and God the Father; on the other side, there are some buildings and spectators. Both in the composition and in the figures, one can see an influence, directly or indirectly from 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
PAINTINGS

Ref.: ZF0760
POWDER HORN. SPAIN, 19TH CENTURY.

Powder keg. Engraved horn, rope, cork. Spain, 19th century. A container for storing gunpowder made from a cow horn and decorated on the outside with a series of figurative, geometric and vegetal engravings and inscriptions enhanced with dark or black ink or dye. The decoration is arranged in horizontal bands, with some elements enhanced with “frames” of crossed lines, and one can clearly see Latin crosses, floral elements, a coiled snake, various human figures (note in particular the male figures at the top, with firearms), quadrupeds, birds, fish and inscriptions in capital letters (names such as Manuel, intertwined initials...). Also known as “horns”, these types of vessels were usually made not by skilled and specialised workers, but by shepherds, ranchers, etc., using their own names, important elements from their area or for themselves, or motifs of great tradition in a certain area in their decoration. Compare this with the one by Pedro Doncel, dated 1855 and preserved in the Museum of Olivenza (Spain), or the one from 1883 in the Museo del Traje in Madrid (Spain).

· Size: 27x8x7 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1286
PAIR OF CHIMNEY ANDIRONS, GILT BRONZE. FRANCE, 19TH CENTURY.

Pair of andirons in gilded bronze and iron. France, 19th century. The area closest to the fireplace has been left undecorated. The front features two cupids with butterfly wings, a common detail in the 19th century, as well as the eggs, shields and plant elements that complete the figures. Shapes inspired by classicism are common in Neoclassicism and in all the decorative styles of the 19th century.

· Size: 25x20x10 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z3052
WEDDING CHEST. WOOD, TEXTILE, METAL, REMAINDERS OF POLYCHROMY. SALAMAN...

Chest. Carved wood, metal, textile, remains of polychromy. Salamanca area, 17th century. Rectangular chest with a flat lid made of carved wood that preserves remains of the original polychromy, corners and other metal fittings and textile details in certain places. It is decorated on the outside with a moulding in its lower area based on curved motifs and a simple carved decoration with a plant theme arranged in a rigid symmetry highlighting an inscription in capital letters on the front (“Long live María / Fernandez”) alluding to the original owner of the piece. On the inside it has no decoration or other elements than the parts of the fittings of the corresponding hinges and the exposed wood. The rectangular, flat-lidded chest model was very common in Spanish art since the Middle Ages, with its decorative elements varying over time and with the styles. The metal elements of the piece of furniture (corner guards on red fabric, lock shield on the front, hinges on the inside, handles on the sides for moving it, etc.) have a decoration of waves and finials that refer to Baroque models, as well as columns (flanking the keyhole). The carved decoration on the front (simplified flowers, stems, leaves and perched birds, with simple polychromy in three colours - red, green, yellow -) is not too fine (something common in popular examples), and follows a composition and colours very common in popular chests in the Salamanca area, with the use of walnut being common for its construction (as in all Spanish furniture, due to the resistance of the wood and its abundance at that time). The addition of a female name in capital letters on the front (a detail that would indicate that this piece of furniture is a chest made to store a wedding trousseau, hence the abundance of decoration in a popular utilitarian piece and the presence of a lock with a key) is another element worth highlighting in this piece of furniture. A similar model is mentioned in one of the most used reference books on Spanish furniture, ENRIQUEZ ARRANZ, Maria Dolores. Spanish furniture in the 15th, 16th and 17th centuries. 1951. p. 39; cat. no. 74; plate 74; Beautiful example of a bridal chest or chest, popular Spanish style of the 17th century, with rudimentary carvings forming a series of stems, flowers and animals. It is polychrome and bears the name of its owner in the centre: 'Long live Maria Hernandez', .

· Size: 58x162x65 cms.
ANTIQUES
FURNITURE

Ref.: Z0762
WALNUT DAVENPORT DESK, ENGLAND, 19TH CENTURY.

English “Davenport” desk in walnut wood, 19th century. A writing desk with four drawers on the side, an inkwell with a lock on the top and a folding top with a lockable key. This type of desk is known as a “Davenport” because it was a captain with that surname who first ordered this piece of furniture from Gillows of Lancaster towards the end of the 18th century, from which time these desks were made with a remarkable variety of decorative elements. Requires restorations

· Size: 55,5x57x79 cms.
ANTIQUES
FURNITURE

Ref.: Z3099
WROUGHT IRON DOOR KNOCHER. SPANISH SCHOOL, 15TH CENTURY.Y

Dog-shaped knocker. Wrought iron. Spanish School, 15th century. Wrought iron knocker with a star-shaped striking piece featuring engraved decoration and a zoomorphic end (the typology, common in the Spanish Gothic school, is known as "dog-shaped"). This type of knocker was common in important residences, and similar examples are preserved in institutions such as the Provincial Ethnographic Museum of León or on the doors of houses such as those in Valdespino de Somoza.

· Size: 15x5x21 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z3687
CUPBOARD. WALNUT. 19TH CENTURY.

Sideboard. Walnut wood carved in its colour. 19th century. Double-body sideboard with a decorated front made of carved walnut wood. The lower body has a decoration on both doors, enhanced by columns on the sides; a similar composition is found on the upper body, varying the decorative theme of the doors. In the centre, an empty space has been left with different wooden elements. Both the shape and the decoration of the piece recall antique Spanish furniture, of classicist inspiration.

· Size: 140x60x237 cms.
ANTIQUES
FURNITURE

Ref.: Z4912
FERDINAND VI MIRROR. WOOD. SPAIN, CA EARLY 19TH CENTURY.

Mirror Fernando VII. Carved and gilded wood, glass. Towards the beginning of the 19th century. Rectangular mirror made of carved wood in its colour, combining with decorations of strong classical influence of carved and gilded wood, reminiscent of bronze appliqués that were common in French furniture, which this piece is inspired by.

· Size: 102x6x197 cms
ANTIQUES
FURNITURE

Ref.: Z5300
PEDESTAL TABLE IN MAHOGANY, GEORGE II STYLE, U.S.A., CA 1860.

Folding mahogany side table, George II style, USA (America), circa 1860. A tripod with animal claws grasping a ball serves as the base of the foot of the piece of furniture, adorned with a small fluted column and a plant bulb. The mechanism that allows the piece of furniture to be folded is located above this foot, and the upper board is round and has a curved profile flanked by straight sections. American furniture owes much to English furniture, as the present example shows: it follows the so-called George II style, named after the monarch during whose reign it was created (he was born in 1683 and died in 1760), and is based on models taken from Roman Renaissance architecture.

· Size: 78x78x72 cms.
ANTIQUES
FURNITURE

Ref.: Z5502
OIL ON CANVAS STILL LIFE ASTERIO MAÑANOS

Asterio Mañanós Martínez began his painting studies at the Municipal School of Drawing in Palencia with Justo María de Velasco and, from 1877, at the School of Fine Arts of San Fernando in Madrid, in the classes of Casto Plasencia and Casado del Alisal. He also frequently visited the Prado Museum, making copies of Velázquez. From 1881, he participated in the National Fine Arts Exhibitions. He alternated his stay between Madrid and Palencia, where he was commissioned to design the curtains and stage curtains for the Teatro de Recreo Palentino. In 1885 he received a grant from the Provincial Council of Palencia to further his painting training at the Royal Academy of Spain in Rome, which lasted a year. Back in his hometown, he decorated, together with Sabino Ojero, the Teatro de la Peña Palentina. He also opened, in collaboration with Isidro Mallol, a drawing academy, called "Casado del Alisal" in honour of his teacher. In 1889 he moved to Paris for a year to study under the brush of the pictorial realism of Léon Bonnat. Upon his return to Spain he set up his studio in Madrid, where he painted Doña Sancha before the corpse of her husband and the portrait of Tomás Bretón. In 1908, the Senate's Government Commission appointed him curator of the Upper House's works of art. The result of this experience are the large parliamentary paintings that have the sessions and halls of the Senate as their subject. One of his last canvases was an allegory of the Second Republic, the painting belongs to the Senate collection. The place and circumstances of his death are unknown, although it is known that he was alive in 1935.

· Size: int. 60x40 cms.
ANTIQUES
PAINTINGS

Ref.: Z6229
SILVER CRUET STAND. CÓRDOBA (SPAIN), CRISTÓBAL SÁNCHEZ SOTO (1755-1802...

Convoy of silver cruets. Córdoba, Cristóbal Sánchez Soto (1755-1802), towards the third third of the 18th century. With hallmarks and engraving marks. The present convoy maintains a slight Rococo reminiscence in its lines, but also advances something of the Neoclassical decorative purity. The craftsman, Cristóbal Sánchez Soto, is well known for works of great importance such as a float for the Virgin of Solitude and a tabernacle, both for the Brotherhood of the Nazarene of Córdoba, for example. The other two hallmarks that appear are those of the town (Córdoba) and that of the assayer, Juan de Luque y Leyva (1721-1779). Weight 400 gr. .

· Size: 20x11x21 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6547
FRAME. WOOD. 18TH CENTURY.

Frame. Carved and gilded wood. 18th century. Rectangular frame made of carved and gilded wood that combines a thin smooth band on the inside, with another carved band with a band and another on the outside, in which smooth areas are combined with delicate plant details (these in the same finish as the rest of the molding, highlighted on a striped background). Nowadays, the value and appreciation of frames is on the rise due to the search for them by museums and important institutions, with the aim of giving the works the frames they would have had originally. Hence, similar examples are found in some paintings by Vermeer, for example, or can be found in the Metropolitan Museum in New York, in the Louvre Museum, in the British Museum and in the Victoria & Albert in London, etc.

· Size: 75x6x58 cms. / 50x38 cms.
ANTIQUES
MISCELLANEUS;FRAMES

Ref.: ZE225
PAIR OF RELIEFS; GROTESQUE OR CANDELIERI. POLICHROMED AND GILDED WOOD....

Pair of reliefs; grotesques or candelieri. Carved, polychrome and gilded wood. 16th century. Pair of reliefs made of hand-carved, gilded and polychrome wood, each showing a winged angel's head (or putti), placed on a vertical element that acts as an axis of symmetry for the composition of the relief. The rest of the motifs that complete the works are leaves with scrolls, floral or vegetal details, latticework, mouldings, all of clear classicist influence. The background does not present any decorative element, neither carved nor painted, thus leaving the spotlight to the aforementioned elements. This type of composition was very common in the Renaissance throughout Europe, when the “fashion” of grotesques spread from Italy. Compare, for example, the frieze reflected in an image of the work by Diego de Sagredo entitled “Medidas del Romano” (1526, Toledo); details of the Chapel of Santa Librada in the Cathedral of Sigüenza by Francisco de Baeza (around 1520); others from the façade of the Escuelas Mayores of the University of Salamanca; Main Altarpiece of the Collegiate Church of Torrijos (Toledo), commissioned in 1558 from Juan Correa de Vivar; etc. It should be noted that these decorative motifs will have a long tradition in Spanish art. It is quite possible that the present relief plaque was created to form part of an altar in a church although it is not decorated with a religious theme (note that the theme of “winged heads”, often called “putti”, also comes from Italy and is found in both civil and religious works).

· Size: 14x5x22 cms.
ANTIQUES
SCULPTURE

Ref.: ZE238
PAIR OF RELIEVES, HEAD OF ANGEL. POLYCHROMED WOOD. SPANISH SCHOOL, 16T...

Reliefs with angel heads. Polychrome and gilded wood. Spanish school, 16th century. Pair of rectangular panels with a ring for hanging on the back, which feature two deep figurative reliefs on the front. On a gold background, two winged children's heads are shown, one looking to each side. Note the gold details on the feathers, with a somewhat heraldic arrangement and shape, and the pictorial treatment of the hair. This type of relief was very common in the Spanish school from the Renaissance onwards to decorate altars, reredos, etc. Weight: 600 grams.

· Size: 32x6x11 cms
ANTIQUES
SCULPTURE

Ref.: ZE371
SILVER INCENSE RECIPIENT (NAVETA). SPAIN, SALAMANCA, 1824-1850.

Naveta. Silver in its colour. Salamanca, Spain, 1824-1850. With contrast marks and text. Silver vessel in its colour with a circular, stepped base decorated with ready mouldings, a turned axis or base with lines, and an elongated upper part, with a lid on one side and a protuberance on the other side of the piece (note the damage here). The hallmarks on the edge of the upper part (under the hinged lid) and on the foot place the production of this naveta in Salamanca, during the years of the faithful hallmark known as Bernabé Hidalgo (apparently documented in 1840, considered by some to be active in the 18th and 19th centuries; there is evidence of a Bernabé Sahagún Hidalgo working as a hallmark in Salamanca between 1824 and 1850). The other hallmark could not be identified. Also note the legend “Billaberde” located on the foot of the piece. Weight: 454 grams.

· Size: 16x10x18 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE438
LOVERS WITH CAGE. PORCELAIN.

Courtiers and Cage. Glazed porcelain. Johann Joachim model. Circa 1800 Glazed porcelain figure with a rock-like base and a pair of lovers dressed in 18th-century fashion, with the boy reaching out with his left hand toward a large birdcage. The piece is very similar to some figures titled "Lovers with Cages" made by Du Paquier (who opened a porcelain factory in Vienna in 1719) in 1737, examples of which are preserved in the Metropolitan Museum of Art in New York and the Indianapolis Museum of Art. Du Paquier, in turn, drew his inspiration from works done in Meissen by Johan Joachim Kaendler around 1736-1740 (varying in details such as replacing the German table with the Viennese table cage in some examples, or colors, for example). If we compare the present work with Du Paquier's works, we can see notable similarities in postures, elements, etc., but also important differences (colors, details, base of the figure, etc.).

· Size: 14x12x13 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF0445
COMPENDIO HISTORICO DE LOS ARCABUCEROS DE MADRID… SOLER, ISIDRO. MADRI...

Historical compendium of the arquebusiers of Madrid… Soler, Isidro (fl. Ca. 1795). Madrid, 1795. Original, leather binding. 86 pages. Perfect condition. “Historical compendium of the arquebusiers of Madrid from their origin to the present day, with two plates in which are engraved the marks and countermarks that they used in their works”, by Isidro Soler, arquebusier of the King Our Lord. Printing house of Pantaleón Aznar, 1795, Madrid. 86 p., 2 hr. of engraving. Full leather binding with gilt spines and decorated interveins; gilt edges, counter-edges and cuts; cover with embossed and gilt borders framing a royal superlibris with the Golden Fleece and closed crown.

· Size: 15,5x1,5x20,5 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0568