Results 337 to 360 of 529

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STONE MORTAR. 18TH CENTURY.

Mortar. Carved stone. 18th century. Mortar made from a single piece of carved stone with a circular base and four handles or worn projections carved towards the outside of its body, in the shape of a cup. This type of piece was created for use in apothecaries (which could be in a city, in a religious institution or in a hospital) or in a kitchen (of a large residence or, again, of a religious institution), and it is not possible to specify its purpose further due to the lack of decorative elements and the usualness of the model to which this piece belongs, with a long tradition in Europe. Similar examples are preserved, for example, in the Museum of the Spanish Pharmacy of the Complutense University of Madrid, the Museum of the History of Pharmacy in Seville, the Museum of Pharmacy in Krakow, etc.

· Size: 73x73x45 cms.
ANTIQUES
MISCELLANEUS;MORTARS

Ref.: Z1057
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GILT BRASS ALMS COLLECTING DISH. NUREMBERG, GERMANY, 16TH CENTURY.

Alms plate. Nuremberg, 16th century. Alms plate made of gilded brass, decorated with a series of moldings and details both on the rim and towards the center. In this area is a figurative motif in slight relief (Adam and Eve flanking the tree around which the Serpent of Original Sin is coiled).

· Size: 38x38x5 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z5163
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SILVER CRUET STAND, SANTANDER, 19TH CENTURY.

Convoy of silver vinegar cruets, Santander, 19th century. With hallmarks, local and silversmith's marks (Santander, Trabanco, M.Navarro). Holding a basket with a handle on his head is the figure of an Indigenous man, wearing a skirt and a feathered headdress. The figure stands atop a column, flanked by two circular spaces for oil and vinegar cruets and two other supports for salt and pepper shakers. The decoration, featuring columns and classical palmettes, is characteristic of Neoclassicism, while the presence of the feathered Indigenous man adds a touch of exoticism highly valued in the 19th century. Weight 950 gr.

· Size: 22x9x34 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6231
ORNAMENTAL MIRROR. GILDED WOOD. 18TH CENTURY.

Cornucopia. Gilded wood. 18th century. Rectangular cornucopia with a carved and gilded wooden frame decorated with a series of smooth mouldings and a very elaborate top (arranged in a symmetrical composition, architectural and plant elements, scrolls, etc. can be seen). Although the smooth mouldings are very classicist details common in Neoclassicism, the lines, curves and movement of the top are characteristic of Rococo. The combination of both styles of the 18th century is common both in Spanish furniture and in other schools. Requires restoration.

· Size: 33.5x4x57.5 LUZ 27x19 cms.
ANTIQUES
FURNITURE

Ref.: Z0311
WROUGHT IRON FASTENERS, 17TH CENTURY.

Pair of wrought iron fork locks. 17th century. Pair of forged iron fasteners of the so-called “fork” type due to their shape. This type of piece was used in furniture to secure tables, both dining tables and desks, and for this reason it is a very common piece of forged iron. The spirals and the balustrade parts date both to the Baroque period.

· Size: 22x6x78 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z5019
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SILVER VASE (BERNEGAL) WITH VIDAL MARKS. 18TH CENTURY

Bernegal, 18th century. Silver, with marks. Weight: 55 g. Spanish Bernegal from the 18th century, marked Vidal, with a wide, low bowl, slightly rounded towards the base, following the typical style of this vessel in the Spanish Baroque period. Also characteristic of this style are the two vertical handles above the rim, in this case in the form of a mitered "S"-shaped bracket with a cut-out profile and small tendrils.

· Size: 4x10,5x7,2 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z5724
BOX. WOOD, NACRE. 19TH CENTURY.

Box. Wood, mother-of-pearl. 19th century. Rectangular box with lid made of dark wood and decorated with lines and plant elements, small furniture items, animals, etc. in marquetry mother-of-pearl applications, with engraved or inked details. This type of piece was highly appreciated in Europe, coming from workshops in China or Vietnam.

· Size: 22,5x15x11 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE358
SILVER CUP (TEMBLADERA) OR WINE TASTING CUP. 18TH CENTURY.

Catavinos or quaking glass. Silver. 18th century. Vessel known as a catavinos or tembladera (as it has no foot) made of silver in its colour with two curved flat handles decorated with simplified plant elements, and a line of mortise (gallon-shaped shapes) on the edge enhanced by bands of sunken dots that remain in relief on the inside of the piece, where they extend and frame the decoration on the bottom. In this area there is a flower, enhanced with a line of dots. Bernegales and mortise-shaped bernegales were frequent pieces in Spanish silverware in the 17th century, usually being relegated to centres of somewhat less importance in the 18th century. Compare with pieces such as the silver bernegal from the last third of the 17th century in the Lázaro Galdiano Museum (perhaps from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 79 grams.

· Size: 15x11x4 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE366
SILVER CUP (TEMBLADERA) OR WINE TASTING CUP. 18TH CENTURY.

Quaking glass or wine-tasting glass. Silver. 18th century. Vessel known as a catavinos or tembladera (as it has no foot) made of silver in its colour with two flat handles in the shape of a “C” topped by volutes and decorated with wavy elements on the outside, which has a decoration on the edge (on the outside) of simple plant elements alternating with simple geometric elements made with lines and dots. On the bottom, on the inside, there is a plant element. In Spanish silverwork, the Baroque trends were maintained for almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these novelties in Madrid, which would slowly spread to the rest of the centres, depending on the areas and masters. This survival of the forms of the 17th century can be seen in the fact that bernegales tembladeras were, in general, more common pieces in the 17th century, remaining during the 18th century relegated to centres far from the main areas of creation. Weight: 91 grams.

· Size: 14,5x11x3,5 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE368
SNUFF BOX. HORN, WOOD, METAL. SPAIN, 1861.

Pastoral box. Carved horn, wood, metal. Spanish school, 1861. Submits registrations. Oval box made of antler carved in its colour, with wood on the lid to reinforce it, decorated on the outside with a series of engraved elements. On the base there is an animal or monster, on the lid there is a monstrance or ostensorium with a cross in the centre and a large base with geometric elements, surrounded by angular shapes acting as a frame. Under the antler hinge there is the date of the piece's creation (1861) and, between two bands of angular elements, an inscription (I am from francys / inverted d / a rhombus / poios), alluding to the owner (and possibly the craftsman) of the work. These types of boxes, of popular tradition, were common in ancient times and were usually made by shepherds or cattle breeders themselves to store snuff or tobacco.

· Size: 7x4x4 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE351A
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THE SACRIFICE OF THE OLD COVENANT. OIL ON BOARD. 17TH CENTURY, AFTER R...

Sacrifice of the Mosaic Law. Oil on copper. 17th century, inspired by Rubens, Peter Paul (Siegen, 1577-Antwerp, 1640). Oil on panel depicting a figurative scene located in a building of great importance due to the columns shown. To the right, an altar with a priest, a sacrificed lamb, and bread on a table. In the center, a kneeling man offers another lamb. Towards the left, a crowd gathers around the Ark of the Covenant, above which is a crown held by two angels. When the Lord chose the children of Israel as His people, He established through Moses the worship that was to be given to Him, distinguishing between bloody and unbloody sacrifices. This work addresses this theme, depicting an altar with bloody sacrifices and the Ark of the Covenant. This work is somewhat loosely inspired by a work by Peter Paul Rubens (Siegen, 1577–Antwerp, 1640). It is one of the tapestries that make up the series known as The Triumph of the Eucharist (manufactured by Jan Il Raes, Hans Vervoert, and Jacques Fobert, c. 1625–33, wool and silk, 490 x 670 cm, National Heritage Madrid, Monastery of the Descalzas Reales, inv. no. 00614220). The original handwritten sketch by Rubens, dated around 1626, is held at the Museum of Fine Arts in Boston (USA).

· Size: 59x5x53 cms. int: 34,5x27,5 cms
ANTIQUES
PAINTINGS

Ref.: ZF1233
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BRONZE MORTAR. 15TH CENTURY.

Mortar with pestle. Bronze. 15th century. Bronze mortar with pestle, circular base, and outward-curving mouth decorated with a band beneath the rim. The outward-facing base features three smooth, raised lines, above which is a decoration framed by a band at the top, consisting of heavily worn elements or masks above letters in Gothic calligraphy. It is reminiscent of French pieces held in private collections. Weight: 2.8 kg.

· Size: 13x13x9.5 cms
ANTIQUES
MISCELLANEUS;MORTARS

Ref.: ZF1401
”FRAILERO” CHAIR. WALNUT, TEXTILE. SPAIN, 17TH CENTURY.

Monk's armchair. Walnut wood, textile. Spain, 17th century. Armchair with arms and high backrest, of the type known as “frailero”, which has a textile upholstery with studs on the seat and backrest, low, cut-out profile jambs joining the front and back legs and middle jambs or smooth crossbars joining the two front and two back legs, and simple armrests (curved, ending in scrolls). The frailero armchair, originally of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of both the 17th and 18th centuries 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: 74x67x128 cms.
ANTIQUES
FURNITURE

Ref.: Z0665
”FRAILERO” CHAIR. WALNUT, TEXTILE. SPAIN, 16TH CENTURY.

Monk's armchair. Walnut wood, textile, metal. Spain, 16th century. It has defects. Armchair with arms and high backrest, of the type known as “frailero”, which has a textile upholstery with studs on the seat and backrest, low, cut-out low-profile chambranes joining the front and back legs and middle chambranes or side rails (the front with carved geometric motifs) joining the two front and two back legs, and simple armrests (curved, ending in scrolls; the front with fluting). The friar's chair, initially of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of both the 17th and 18th centuries 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: 62,5x55x126 cms.
ANTIQUES
FURNITURE

Ref.: Z0667
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OFFICER\'S SWORD WITH CASE

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· Size: Long. 97 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z5912
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THREE TOPS FOR CROSS. SILVER. 20TH CENTURY, AFTER 18TH CENTURY MODELS.

Three finials for a cross. Silver in its natural color. 20th century, following 18th-century models. Each of the three pieces features, as its central motif, a winged angel's head, surrounded and enhanced by an elaborate composition of architectural and vegetal elements, both strongly influenced by classical art. They are made of silver in its natural color and bear no hallmarks. Stylistically, they are inspired by 18th-century Spanish models. Weight: 780 grams.

· Size: 10,5x3x12 cmsm (sujección 5x2 cms)
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6590
BASE. WOOD. SPANISH SCHOOL, 17TH CENTURY.

Base. Carved and gilded wood. Spanish school, 17th century. Base for sculpture made of carved and gilded wood, rectangular and flat, slightly raised on circular legs and decorated on the front and sides with carved plant and architectural elements with a clear classicist influence and baroque lines. The upper part has exposed wood, and when turned over, you can see that the back is ungilded and hollow. Weight: 9.5 kg.

· Size: 63x44x23 cms
ANTIQUES
SCULPTURE

Ref.: ZE347
POCKET WATCH, FRÈRES ESQUIVILLON & DE CHOUDENS (CA. 1765-1830). PARIS,...

Pocket watch, Frères Esquivillon & De Choudens (ca. 1765-1830). Paris, France, 19th century. Pocket watch of the saboneta type with the exterior decorated in enamels (architectural composition with a certain exotic air) and white dial with Roman numerals for the hours and Arabic numerals every five for the minutes, and an inscription relating to its origin (which is referred to a series of engravings on machinery). “Frères Esquivillon & De Choudens” worked in Paris between about 1765 and 1830, creating highly valued pieces currently preserved in numerous private collections and in institutions such as the Metropolitan Museum in New York.

· Size: 6x1x6 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: Z2298
MAHOGANY FLOOR MIRROR, 19TH CENTURY.

Standing dressing table mirror in carved mahogany, 19th century. The rectangular mirror frame is decorated with scrolls and carved floral and plant motifs in the classical tradition, and rests on two curved legs with lines reminiscent of the characteristic movement of the Baroque and Rococo periods. This mixture of styles was common in 19th century furniture, as shapes from past traditions were chosen for the creations of the period.

· Size: 88x76x160 cms.
ANTIQUES
FURNITURE

Ref.: Z2515
TRAVEL CUTLERY SET WITH CASE AND GLASS. 19TH CENTURY.

Case with campaign cutlery and pocket knife. 19th century. A cylindrical case with a hinged closure that contains various field cutlery, such as a spoon, a knife, a removable fork, etc. secured in a rigid case and stored in a metal container. This type of travel item was widely used during the 19th century.

· Size: 8x8x16 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z3806
PAIR OF FRAMES. WOOD. 20TH CENTURY.

Pair of frames. Wood. 20th century. Pair of carved wooden frames decorated on the front with a composition of mouldings of different widths, all smooth, combining straight and curved shapes.

· Size: 152x7x172 cms.
ANTIQUES
MISCELLANEUS;FRAMES

Ref.: Z3959
SILVER “BERNEGAL” (DRINKING CUP). PORTUGAL, 19TH CENTURY.

Silver Bernegal. Portugal, 19th century. With contrasting marks on the base. Bernegal with wavy edges, rocaille decoration and plant elements on the outside and two “S” shaped handles. The flower that decorates the base on which this vessel rests can be found with the hallmarks, which date and situate the work in Portugal, in the 19th century, a time when it was very common to be inspired by styles of the past (Baroque, in this case). Weight: 170 gr.

· Size: 18,5x15x7 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z4961
ANGEL. METAL. 19TH CENTURY.

Angel. Silver-plated metal. 19th century. Figure of an angel or archangel made of silver-plated metal, standing on a base resembling clouds. This type of sculpture was common in the 19th century both for churches and for personal altars, alone holding lamps or incense burners or forming part of a composition. Weight: 4.7 kg.

· Size: 20x17x29 cms.
ANTIQUES
SCULPTURE

Ref.: ZE294
”MALA FAENA” (BAD BULLFIGHT PERFORMANCE). WATERCOLOUR. SIGNED. LLANECE...

Bad job. Watercolor. Signed in the lower left corner. José de San Bartolomé was a Spanish painter and sculptor who worked in the studio of the photographer Herbert from childhood and began his training at the School of Arts and Crafts in Madrid, continuing his studies at the Higher School of Painting at the Academy of San Fernando, while copying works by the masters of the Prado. In 1886 he settled in Paris, devoting himself mainly to genre painting in the wake of Fortuny, a theme that enjoyed great commercial success. He met Francisco Domingo, who opened the doors to the Buenos Aires market for him, where he received important commissions for painting and sculpture. He was Secretary of the Society of Artists of Paris, in 1894 he was named a knight of the Order of Charles III, in 1901 of the Legion of Honour and, in 1902, a commander of the Order of Isabel la Católica. At the beginning of the century he returned to Spain, and devoted himself mainly to portraiture, although he also painted landscapes and popular subjects. He enjoyed the protection of royalty, as evidenced by the portraits he painted of Queen Maria Cristina and various figures of the court. In 1925, the Paris Salon paid him a posthumous tribute with an exhibition of his work held in France. Works by Llaneces are preserved in the Prado Museum, the Pablo Sarasate Museum in Pamplona and in the Spanish embassy in Paris.

· Size: 52x2x42,5 / int 32x22,5
ANTIQUES
PAINTINGS

Ref.: ZF0997