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DEVOTIONAL PENDANT. OIL ON AVENTURINE, ENAMEL, GOLD… SPAIN, 17TH CENTU...

Devotional pendant or reliquary. Oil painting on aventurine, enamel, gold. Spain, 17th century. Devotional medallion or pendant or reliquary made of aventurine or aventurine with an octagonal shape and faceted fronts, enhanced with a series of enamels combining black and gold, which protect two oil paintings of a Catholic Christian religious theme, located one on each side of the piece. Protected, you can see a very particular Madonna and Child inspired by the Icon of the Madonna del Popolo (Rome, Italy), and a simplified Martyrdom of Saint Lawrence (the saint, the grill and an angel with a crown and the palm corresponding to the theme are shown). The edges of the piece have been protected with simple metal elements. The painting of San Lorenzo follows a composition common in the Spanish school, and would recall works such as the painting of the main altar of the Church of San Lorenzo in Huesca, for example, although also others such as the engraving by Marcantonio Raimondi (executed around 1527) in some details. The so-called icon of the Madonna del Popolo was well known because it was considered to have been made by Saint Luke, and was brought to the church of the same name by Gregory IX from the Sancta Sanctorum of the Lateran Palace after a flood caused a terrible plague in the city and through a solemn procession with the image to Santa Maria del Popolo. As for the material of the piece, aventurine or aventurine are known as a certain type of glass and a type of quartz (which can be green or reddish brown, and usually has tiny elements of yellow mica that give it golden reflections). In the first case, it is known that "venturine" or "stellaria" is mentioned in the workshops of Murano for the first time during the first quarter of the 17th century, in reference to a very complicated production paste (it is said that the name comes from this circumstance, that is, that its creation was due to luck or fortune) that imitates the effects of that stone (from India and Russia at that time) thanks to the inclusion of copper particles, and that was used as if it were stone (cut) given the complexity of its use in blowing (practically impossible). And, dealing with this material, it is necessary to mention “The Nativity” by Pietro da Cortona, dated around 1656, which is preserved in the El Prado Museum (Madrid) because it is an oil painting on aventurine. Compare this work with the reliquary medallion with an image of the Virgin painted on aventurine dated between 1600 and 1633 from the Lázaro Galdiano Museum (Madrid); with another devotional medallion in gold and aventurine from the Museo Nacional de Artes Decorativas (Madrid) dated in the 17th-18th centuries; or with the medallion that is also a reliquary that presents an Immaculate Conception painted on aventurine, dated between the 18th and 19th centuries from the Museo Nacional de Artes Decorativas (Madrid); or with the 16th-century Spanish devotional pendant from the Metropolitan Museum of New York with Saint John the Baptist and the Virgin (which combines black and white enamels, in a different way to the present piece); or with the 17th-century triangular-shaped pendant of black and white enamel and gold from the Valencia Institute of Don Juan in Madrid. Weight: 103 grams.

· Size: 9x0.7x8 cms.
ANTIQUES

Ref.: ZF0700
FRAME

"

· Size: 49,5x41,5 / int: 25x27 cms.
ANTIQUES

Ref.: Z0307
GOLDEN WOOD FRAME. 18TH CENTURY

18th century

· Size: 73x102
ANTIQUES

Ref.: Z0766
WOODEN FRAME. 16TH CENTURY.

Frame. Carved, polychrome and gilded wood. 16th century. Carved, polychrome and gilded wooden frame made from different elements with a marked Renaissance influence, resulting in an architectural composition with a stepped base, two fluted pilasters with volutes 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

Ref.: Z0876
PAIR OF FRAMES. WOOD, STUCCO. 19TH CENTURY.

Pair of frames. Wood, stucco. 19th century. Pair of rectangular frames made of carved and gilded wood decorated with a series of mouldings of different widths, some smooth and flat, others smooth and curved and two decorated with elements of classicist influence in light relief.

· Size: 42x5x34,5 cms . int 22,5x14,5 cms.
ANTIQUES

Ref.: Z2240
SET OF STRIPS AND FRAME IN PAINTED WOOD WITH GOLDEN DETAIL. 17TH CENTU...

Lot consisting of strips and frame (lintel and two jambs) in carved gilded and polychrome wood. Decoration of plant motifs with golden scrolls on a green background. 17th century

· Size: 175x160 cms.
ANTIQUES

Ref.: Z3395
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

Ref.: Z3627
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

Ref.: Z3959
WOODEN FRAME. 17TH CENTURY.

Frame. Carved wood. 17th century. It has faults. Rectangular frame made of carved wood that still retains part of its original polychromy. As was usual in various European schools since the Renaissance (particularly the Italian one, but also the Spanish one, for example), it is decorated with a series of smooth mouldings of different widths, arranged leaving a smooth strip.

· Size: Ext 175x95 cm Int: 1.55x74 cms.
ANTIQUES

Ref.: Z6224
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

Ref.: ZE225
.GILDED WOOD FRAME. 18TH CENTURY

Frame. Carved and gilded wood. 18th century. Rectangular frame with a semicircular top in the centre, crowned by a composition with leaves and elements of the Passion of Christ (Crown of Thorns, Nails, etc.) decorated with a series of bands, alternating plain ones with two different strings of pearls. Although the 18th century is known for Rococo, it is not the only artistic style of the period: the decoration and shapes of the frame show a closer relationship with ancient Roman art, a common influence in Neoclassicism.

· Size: 44x8x81 cms
ANTIQUES

Ref.: ZF0527
FRAME. WOOD, METAL. LATE 17TH CENTURY-EARLY 18TH CENTURY.

Frame. Carved wood. Late 17th century-early 18th century. Rectangular frame that presents a “base structure” of straight lines, combining moldings of different widths and finishes (on the inside, a gold band with fine plant details towards the corners; next, a thin red one, and another wider green one, these last two imitating marble; on the outside, another fine gold molding), enhanced with a series of carvings of plant elements in the corners (symmetrical composition), two ovoid elements on the longer sides and a very elaborate cresting with plant elements, rocailles, volutes, flowers and imitation fabrics (which are joined with those ovoid elements mentioned). The combination of red, green and gold is common in certain types of frames (compare, for example, the terracotta from Salamanca made around the middle of the 16th century by Juan de Juni, which is preserved in the Victoria and Albert Museum). A series of carvings with a lot of movement and depth have been added to it, showing the influence of the Baroque (it recalls in certain details works such as the frame of the Immaculate Conception by Alonso Cano in the Cathedral of Malaga).

· Size: 138x28x196 cms, Int. 86x128 cms.
ANTIQUES

Ref.: ZF0582
POLYCHROMED AND GILDED WOOD FRAME. 17TH CENTURY.

Frame. Gilded and polychrome wood. 17th century. It presents loss in the lower left area. Frame made of carved wood, gilded and polychromed in certain areas, with decoration based on bands (alternating plain ones with others with vegetal and architectural elements) and a relief at the top with vegetal and architectural motifs, combining polychromy with gilding in this area and below. Note the similarity between the decoration and lines of this piece and certain Spanish Baroque altarpieces of the 17th century.

· Size: 105x16,5x101,5 / int 81x57 cms.
ANTIQUES

Ref.: ZF0631
FRAME. BRASS, TEXTILE, GLASS. 19TH CENTURY.

Frame. Brass, textile, glass. 19th century. Rectangular frame with a table stand and a ring for hanging on the back. The front features a decoration divided into two bands with architectural elements of classical influence in brass, between which (inside the glass) there is a band with flowers and stems embroidered on a textile. The work is finished off with a crest with two torches, bows and plant elements.

· Size: 19,5x2x27 cms. int: 12x16 cms.
ANTIQUES

Ref.: ZF1156
FRAMED MIRROR. WOOD, GLASS, ETC. SPANISH, 19TH CENTURY.

Frame with mirror. Wood, glass, metal. Spanish school, 19th century. Dark wood frame with a smooth band between two of fine mouldings reminiscent of old examples of English influence. The mirror sheet shows the oxidation that is common in this type of work when they are old, adding value to the whole with these unique changes.

· Size: 56x3,5x67 cms. Int 31x41,5 cms
ANTIQUES

Ref.: ZF1332C
FRAME. WOOD. 19TH CENTURY.

Frame. Wood. 19th century. It has damage. Rectangular frame made of wood and decorated on the front with combinations of other wood drawing parallel lines on the sides and simple geometric elements in the corners. On the back, it has a metal piece to hang it on the wall.

· Size: 48x2x53 cms. Int 36,5x41 cms
ANTIQUES

Ref.: ZF1332L
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ROCOCO FRAME. GILT WOOD. 18TH CENTURY.

Rococo frame. Gilt wood. 18th century. Rectangular frame made of carved and gilded wood, decorated at the corners and centers of the sides with carvings depicting architectural elements, plants, and rocailles. The contrast between the plain moldings of the uncarved sections and the carvings, the absence of a crest, and the asymmetry present in the piece are striking. The latter was common in the early Rococo period, an artistic style born in France and developing primarily between 1730 and around 1760.

· Size: 100x3x121,5 cms. Int 76x99,5 cms
ANTIQUES

Ref.: ZF1336
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FRAME. WOOD. 18TH CENTURY.

Frame. Carved, polychrome, and gilded wood. 18th century. It has faults. Rectangular frame made of carved wood with a black area flanked by two gilded areas on the outside and inside of the piece, with a flat area in both colors and a different one, again in both finishes. Stylistically, it recalls examples common in numerous European schools since the Renaissance.

· Size: 85x6x140 cms. Int 68x123,5 cms
ANTIQUES

Ref.: ZF1338
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FRAME. EBONIZED WOOD, METAL. DUTCH SCHOOL, 17TH CENTURY.

Frame. Ebonized wood, metal. Dutch School, 17th century. It has faults. Slightly rectangular frame made of ebonized wood and decorated with a series of smooth moldings of varying widths, decreasing in height toward the interior. It's worth highlighting both the depth of the frame and the two metal pieces (with distinctive shapes and a crest on the outside) that serve to hang it on the wall. Both in its color and in the aforementioned decoration, the piece follows Dutch models, very popular during the 17th-century Baroque period practically throughout Europe. Other schools even made frames modeled after these prototypes. Compare, for example, with the frame for Hans Memling's "Portrait of a Gentleman" in the Thyssen-Bornemisza collection (a Flemish piece, made of ebonized wood); or, in the same collection, with the frame for Ruysdael's "Winter Scene with Skaters and Sleds before a City"; or with the frame for Philippe de Marlier and Frans Francken's "Vase of Tulips" in the Bilbao Fine Arts Museum.

· Size: 86,5x11x110 cms. Int 56x73 cms
ANTIQUES

Ref.: ZF1353
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FRAME. POLYCHROMED WOOD. 17TH CENTURY.

Frame. Carved and polychrome wood. 17th century. It has faults. Rectangular frame with smooth mouldings of different widths and tones on the inside and a flat area on the outside, stepped outwards and with right-angled widenings at the corners. Note the polychromy it presents, reminiscent of marbling. On the back, it has a metal piece to place it on the wall.

· Size: 29,5x5x34,5 cms. int:20x15 cms
ANTIQUES

Ref.: ZF1359
FRAME. WOOD. 18TH CENTURY.

Frame. Wood. 18th century. It has faults and damages. Rectangular frame made of carved wood and decorated on the front with fine mouldings and curved extensions at the corners, in which plant and architectural motifs with a strong classicist influence can also be seen.

· Size: 51,5x3x69 cms. Int 43x62 cms
ANTIQUES

Ref.: ZF136805
GRAND DAUPHIN. FRAMED ENGRAVING. NICOLAS BAZIN. FRANCE, 1682.

Grand Dauphin, Louis of France, son of Louis XIV. Framed engraving. BAZIN, Nicolas (following Jean-Baptiste Martin l'Ancien). France, 1682. It has faults. Engraving depicting Louis of France, son of Louis XIV and known as the Grand Dauphin, made by Nicolas Bazin (1633-1710) after a painting by Jean-Baptiste Martin (Paris, 1659-1735). Other copies are held in the National Library of France and in the collections of Versailles in France, for example.

· Size: 47,5x2x58 cms.
ANTIQUES

Ref.: Z0255
CARLOS ANTONIO DE BORBÓN. FRAMED ENGRAVING. JUAN ANTONIO SALVADOR CARM...

Charles Anthony of Bourbon. Framed print. Salvador Carmona, Juan Antonio. Spain, 1781. Engraving showing an equestrian portrait of Charles Anthony of Bourbon, Prince of Asturias, made with a burin by Juan Antonio Salvador Carmona (Nava del Rey, 1740-Madrid, 1805?) after a drawing by Manuel Muñoz de Ugena y Matarranz (Madrid 1747-1805), after an ivory sculpture by Celedonio Nicolás Arce y Cacho (Burgos, 1739-Madrid, 1795) in 1781. A copy is held by the Museum of History of Madrid (Spain).

· Size: 47,5x2x48 cms.
ANTIQUES

Ref.: Z0394
POSTER, MARÍN HERMANOS, JEREZ DE LA FRONTERA. CARDBOARD. BERLIN, FIRST...

Advertising poster, Marín Brothers, Warehousemen and Exporters of Wines and Cognacs from Jerez de la Frontera. Cardboard. Berlin, first half of the 20th century. Casa Marín Hermanos was founded in 1896 by Vicente and José María, who had previously worked as traveling salesmen for sherry brands. They were awarded a Gold Medal at the 1896 Lugo Regional Exhibition. The specialties mentioned on the poster (Amontillado Tres Cortados and Los Dos Hermanos) are mentioned in the Reseña de Bodegas de Jerez by R. Mena y Sobrino (Jerez, Litografía Jerezana Vicario, 1900). The poster was printed by Manes & Co. of Berlin, Germany.

· Size: 32x0,1x49 cms
ANTIQUES

Ref.: ZF135404