Z. Sierra · Antiques and Decorative Objects

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NARCISSUS AT THE FOUNTAIN. OIL ON PANEL. 19TH CENTURY.

Narcissus in the fountain. Oil on panel. XIX century. Oil on panel that shows a landscape with trees and architectural elements of strong classicist influence (wall with reliefs, glass with garlands, sculptures, fountain) in which two figures appear. A young man dressed in a red tunic that reveals his chest and appears looking at his reflection in the fountain bowl is accompanied by a winged boy who has a bow and makes the gesture with his right hand of taking an arrow from the quiver of your back. The painting depicts the classical myth of Narcissus. According to classical mythology, Narcissus was a very beautiful young man who cruelly rejected the love of the nymph Echo, for which he was condemned by Nemesis to fall in love with his own image. Thus, upon seeing himself reflected in a fountain or spring (many representations show him crouching on the shores of a lake; note the particularity of the present work in showing an architectural and not a “natural” source), he became absorbed and ended up committing suicide, ending converted into the flower that bears his name or emerging from the place where the body fell.

· Size: 99x5,5x71 cms / int: 81,5x59,5 cms
ANTIQUES

Ref.: ZF0923
18 KTS GOLD BROOCH WITH GARNETS

18 kt gold brooch with garnets. 18-karat gold brooch formed by a symmetrical composition based on bows and scrolls with a fine decoration in light relief of plant elements with a slight reminder of Neoclassical works. In the upper finish there is a circular faceted garnet, accompanied by three oval ones (the central one with gold pearls around it) in the central part (these highlighted thanks to the presence of other circular carved gems), and another one with a teardrop shape in the bottom. From this body hangs, thanks to four rings, two gold cords with links in the shape of scales, which end in separate tassels, recalling textile examples often used in curtains and other elements both in the 19th century and later. Jewelry with pendant elements joined together “in a trembling pattern” so that they move when attached or placed was common in 19th century jewelry, with the aim of adding some movement and avoiding the rigidity of the pieces, adding a touch of originality. to the compositions. At this time, the composition based on classicist plant elements accompanied by flowers and lacework was common. Comparing with the present example, this one is more reminiscent of models inspired by works that follow a style known as Neo-Renaissance for following the artistic style that was born in Italy in the 15th century, with those volutes and the powerful composition based on smooth shapes and volutes, Also responding to this relationship are the fine relief vegetal elements already mentioned. However, the chromatic combination achieved by the gems provides the softness required by the aesthetic taste of the time, without the striking contrasts more characteristic of the oldest jewelry that has been preserved. Weight: 19.4 grams.

· Size: 8x4 cms.
ANTIQUES

Ref.: JBR1713
BRONZE BRAZIER 18TH CENTURY

Spanish brazier from the 18th century. Bronze. Baroque Spanish bronze brazier, raised on three legs in the shape of a curled volute on the outside, finished off at its base with grotesque masks with synthetic features. The container is flattened and stepped, with a clear cut separating the neck from the belly and a convex and slightly curved mouth. On both sides are the handles, mobile and with great decorative sense, composed of the figures of two hermes with a vegetalized body. Weight: 12kg

· Size: 55x55x40 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0650
SEWING TABLE, “PALOSANTO” WOOD, 19TH CENTURY.

Winged sewing table in rosewood wood, 19th century. Narrow table with two folding wings resting on four cabriole legs decorated with carved plant garlands and metal rollers. The front features two drawers and a removable board. The purity of the furniture's lines and the few decorative elements it presents show the influence of classical art.

· Size: 65x40x81 cms. / 93x65x81 cms
ANTIQUES

Ref.: Z0731
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 completed by a broken pediment in the center on a projecting entablature that rests on the lower body, flanked by two columns with a helical shaft and a compound capital, and composed of a molding that frames a semicircular arch on pilasters and a trompe-l'oeil background. of cloth. 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
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0747
BRONZE CHANDELIER. FRANCE, LATE 19TH CENTURY.

Ceiling light. Bronze. France, late 19th century. French chandelier made of bronze at the end of the 19th century, formed by a central axis with very marked lines and decorated with architectural and plant elements from which, towards the end, the arms of the piece emerge, curved and with the same type of decoration, of clear neoclassical influence, but also similar to works in the Louis XIV style.

· Size: 70x70x104 cms.
ANTIQUES
FURNITURE

Ref.: Z0798
WATERCOLOUR. LANDSCAPE BY CIRILO MARTINEZ NOVILLO

MARTÍNEZ NOVILLO, Cirilo (Madrid, 1921 - 2008). “Landscape”, 1972. Watercolor. Signed and dated in the lower right corner. Cirilo Martínez Novillo is one of the most prominent representatives of the so-called School of Madrid, the city where he began his training at the School of Arts and Crafts. During the Civil War he entered the Higher School of Painting and went to the workshop of Daniel Vázquez Díaz, who would become his teacher, supporting him throughout his entire career. In 1946 he presented his work for the first time, within the framework of a collective held at the Bucholz gallery in Madrid. The following year he held his first individual exhibition in this same gallery. In 1948 he held an exhibition in the print room of the Museum of Modern Art in Madrid, critics began to echo his work and he was selected to participate in the “Spanish Art” exhibition, held in Buenos Aires and organized by the Ministry of Education. From this moment on, he held exhibitions in various Spanish cities and in France, and participated in collectives such as the Venice Biennale (1950) or the Salón de los Once (1951). Between 1952 and 1953 he traveled to Paris three times thanks to different scholarships. His period of maturity began with a new visit to Paris at the beginning of the sixties, and then he traveled to Switzerland, Germany, Holland and Belgium, obtaining several medals at the National Fine Arts Exhibitions, as well as the Biennial Painting Prize. Hispanic American from Cuba. Cirilo Martínez Novillo is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art of Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.

· Size: 24 x 30 cm; 55 x 61,5 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z3533
FRAME, POLYCHROMED AND GILT WOOD. 18TH CENTURY.

Frame in polychrome and gilded wood. End of the 18th century. Rectangular frame with golden seed beads on a red background and elements related to the Passion of Christ on shields in the corners and center of the longest sides: dice, nails, bag (of Judas coins), mallet and tongs, cross with spears and two whips. These motifs clearly show that it was made to highlight a passionate religious painting, surely in a particular chapel given the lack of relief, and the strong relationship of the work with the Rococo.

· Size: 187x3x87 cms LUZ 51X154 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

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

Two frame strips. Pinewood. XVII century. Dark polychrome carved pine wood strips decorated with smooth moldings on the front, combining curves with countercurves as is usual in the Baroque, also highlighting the classicist influence of the composition. Possibly, they were created to be part of the construction of an altarpiece or to frame a painting, without being able to know if they came from a civil or religious environment.

· Size: 15x12 cms. Long. 310 y 350 cms.
ANTIQUES

Ref.: Z3767
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PAINTED WOOD LECTERN

Lectern. Mexico, Around 1700 Carved and gilded wood. Mexican baroque lectern entirely made of carved and gilded wood. It has a prismatic shape, with the front inclined to facilitate the support of the book. Halfway up the front there is a flat corbel with a molded perimeter, like a cornice, on which is placed an oval recess that forms the center of the body of a double-headed eagle, the main motif of the decoration. The eagle appears from the front, with its wings folded and its legs resting on the volutes formed by the tail on the sides, with the two heads in profile forming a rigorously symmetrical composition, typical of the classicist baroque. Between the two heads is a crenellated crown, supported in its center by a flowering stem. On the sides, openwork like the front, we see the only element that tells us that we are looking at a piece from the 18th century, although still fully baroque. This is the rockery created in the Rococo period, in the first half of the 18th century, an ornamental element that will be widely used since then and consists of an abstract crest that evokes in its texture and lines the exterior of a shell.

· Size: 30x18,5x39 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3862
CROWN. POLYCHROMED WOOD. 18TH CENTURY.

Auction. Carved and polychrome wood. Century XVIII. Carved, polychrome and gilded wood finish decorated with a light relief based on lying "ce" volutes joined in pairs at one end and plant elements arranged following a rigid symmetrical composition with a clear classicist influence with movement of lines and a volume not too pronounced.

· Size: 145x10x68 cms.
ANTIQUES

Ref.: Z4926
MAHOGANY NEOCLASSICAL BED, 19TH CENTURY.

“Boat” bed in carved mahogany wood, 19th century. Headboard and feet of the same height are decorated with a circular molding, while the back, for harmony, follows the lines of the front, which has been decorated with four columns flanking a central motif based on scrolls and fort palms. classical influence. It follows the lines of Neoclassicism, the main style of this century.

· Size: 218x152x128 para colchòn 135x195 cms.
ANTIQUES
FURNITURE

Ref.: Z5054
OIL ON CANVAS. PITY. 18TH CENTURY

Italian school of the 18th century. "Piety". Oil on panel. The work we present here is a painting of a devotional nature, especially due to its small format, probably intended for a private altar. It represents the theme of Piety with scenographic sense and deep drama, although it is expressed in a narrative way, without removing the image from its context. Thus, instead of the usual iconography of Mary crying with the dead Christ in her lap before a pathetic dark background, we see the two protagonists in an abrupt landscape, in the background of which we can see the cross with the ladder still resting on it, and in the background the profile of the city of Jerusalem. And, above all, Mary and Christ appear accompanied by Saint John, an angel and a suffering figure who could be Mary Magdalene. The composition is therefore more complex, and although the Virgin does not appear alone, she does appear absent to those around her, dominated by pain, raising her eyes and left hand towards the sky. Furthermore, in front of the characters we see the enormous nails, the crown of thorns and Veronica's cloth. These elements are clearly symbolic but at the same time narrative, as is the dark figure that appears next to Christ's hand, a small animal of probable symbolic meaning.

· Size: 26 x 20 cm; 41 x 28 cm (marco)..
ANTIQUES
PAINTINGS

Ref.: Z5911
SILVER TWO-HANDLED CUP. WITH HALLMARKS. 17TH-18TH CENTURIES.Y

Bernegal or glass or wine tasting. Silver. 17th-18th centuries. With contrast markings. Bernegal made of silver in its color that has a circular foot, body widening upwards and two flat handles in “that” with the central part widened. It has contrast marks on the handle (unidentified) and a chip mark on the base. Both bernegales and tembladeras were very common typologies in Spanish baroque silversmithing in the 17th century, and continued to be popular in the following century, mainly in centers far from important creative centers. Also known as catavinos, these types of drinking glasses were used on special occasions (ceremonies...), hence their material and the decoration they have, they were objects for civil use, although it was not strange or exceptional that they were donated or commissioned for use in churches or liturgical settings. Compare the present piece with two cups or shakers from the Collection of the Monterrey Palace in Salamanca (one from Paris made around 1750 and another from Salamanca) decorated with gallons and two raised “ese” handles; with the bernegal of the Metropolitan Museum made in London in 1680 from the Irwin Untermyer collection (very similar in shape to the present one); or with the pair of bernegales by Antonio López Díaz (made in Jaén and dated 1758/1772) from the Valencia Institute of Don Juan in Madrid. Weight: 162 grams.

· Size: 14x11x9 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6022
VERAWOOD AND MARQUETRY EDUARDIAN CREDENZA, BEGINING 20TH CENTURY.

Edwardian sideboard in rosewood and fruit marquetry, early 20th century. Four turned legs support the sideboard, which consists of a space under two drawers flanking another space, and an upper part decorated with mirrors and architectural lines. The surface presents a series of plant motifs, scrolls and vases made of fruit wood marquetry, whose light tones contrast and stand out against the dark tone of the sideboard. The Edwardian style takes its name from King Edward VII of England (early 20th century), and was characterized by achieving the modernization of medieval styles, elements taken from the Georgian, etc.

· Size: 137x42x205 cms.
ANTIQUES
FURNITURE

Ref.: Z6209
SILVER INCENSE BOAT. WITH HALLMARKS. SANZ DE VELASCO, JUAN ANTONIO (17...

Naveta. Silver. SANZ DE VELASCO, Juan Antonio (1720-1778). Valladolid, Spain, 18th century. With contrast markings. Navete with a circular base raised towards the foot by a succession of stepped moldings that presents its body decorated with a cresting on the edge and an engraved composition based on vegetal elements and volutes (on a polished polished background, a finish that is also combined in decorative motifs) and a gallon element on one side and a scroll at the opening end. The contrast marks on the base place the creation of the piece in Valladolid (note that it is the so-called “cut mark”, which some experts place in time until the appointment of Antonio González Téllez as a faithful contrast). The other punch present is by Juan Antonio Sanz de Velasco (1720-1778), who served as a faithful contrast in the city between 1743 and 1774/8. Apart from other works preserved with hallmarks by the master (many in private Spanish collections), we must highlight the silver altar frontal of the Virgen del Sagrario (Valladolid Cathedral) by the Valladolid silversmiths Juan Antonio Sanz de Velasco and Miguel Fernández Yáñez de Vega, who finished in the last third of the 18th century a work begun in 1693 by the silversmith José de Aranda. The shape of the piece is the usual one for this type of container to store incense (in fact, the name naveta comes from “ship”) since the Middle Ages (naveta from the chapel of the Constables of the Cathedral of Burgos de Juan of Valladolid from the 15th century), with variations in shape and decorative elements depending on their belonging to a center, style, etc. Compare the present piece with works preserved, for example, in the Diocesan and Cathedral Museum of Valladolid, another from the Museum of Navarra from Mexico and dated between 1634 and 1666, another from the 18th century in silver in its color from the Cathedral of Tuy ( with a very different foot), etc. Weight: 347 grams.

· Size: 16x11x9 cms.
ANTIQUES

Ref.: ZE243
SILVER INCENSE BOAT (NAVICULAE). WITH HALLMARKS. POSSIBLY PORTUGAL, 18...

Naveta. Silver. Possibly Portugal, 18th century. Counterweighted base. With contrast markings. Naveta with oval foot decorated with relief elements and moldings, balustraded foot and body with a slight boat shape, presenting a hinged lid at the front, a widening in the lower area towards the foot and a decoration distributed throughout the exterior to base of seed beads motifs and plant elements (the same theme is presented on the foot and base) on a polished polished background, with an angel's head on two wings in relief towards the beak, accompanied by plant elements (the which protrude over the edge of the lid). Although the shape of the piece generally follows the most common prototypes of these incense containers used in the liturgy, it should be noted that it was more common to find them more similar to a ship. The belonging of the nave to the influence of Rococo is clear both by the lines of the object and by the decoration to which reference has already been made (rockets, vegetal elements with movement, 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, has a finial with an angel's head in relief. from Lisbon in Portugal; compare with the gilded silver incense burner that the same master made between 1749 and 1751 for the Chapel of Saint John the Baptist in the Church of Saint Roch in Lisbon). The contrast marks present on the upper part of the nave (the capital letters “de” in a rectangular space), although it should also be noted that the present work does not follow the most striking typology of navetas related to this center (naveta de 18th century silver from the Church of Alcántara in Maranhao, Brazil; nave by Sebastiao Bernardes dos Santos dated 1747 from the Sé do Funchal that is preserved in the Museu de Arte Sacra do Funchal in Madeira –Portugal-).Weight: 715 gr (base with counterweight).

· Size: 19x9x14 cms.
ANTIQUES

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

Pocket watch, engraved André Hessen. Gold, enamel. Paris, France, towards the last third of the 18th century. It has faults. Pocket watch in a case decorated with enamel on the back (within a pearl band you can see a composition of 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 in Arabic for the minutes and in which you can see the text Adré Hessen. The delicately decorated movement features a numbering (549) and the name Adré Hessen (1745-1805), a watchmaker who established himself in Paris, France, in 1767 and who was highly recognized and appreciated in his time.

· Size: 7x5x1.5 cms.
ANTIQUES

Ref.: ZE326
LOVERS WITH CAGE. PORCELAIN.

Courtiers and cage. Enameled porcelain. Johann Joachim model. Around 1800 Enameled porcelain figure with a base resembling rocks and a couple of lovers dressed in the style of the 18th century, with the boy extending his left hand towards a large bird cage. The piece is very similar to figures titled “Lovers with Cage” made by Du Paquier (who opened a porcelain factory in Vienna in 1719) in 1737 and of which examples are preserved in the Metropolitan Museum of New York or the Indianapolis. Museum of Art. In turn, Du Paquier took his inspiration from works carried out in Meissen thanks to Johan Joachim Kaendler around 1736-1740 (varying in details such as replacing the German table with the Viennese cage in some examples). , or colors, for example). If you compare the present work with the works of Du Paquier, you can see notable similarities in postures, elements, etc., but also important differences (color, details, base of the figure...).

· Size: 14x12x13 cms.
ANTIQUES

Ref.: ZF0445
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FIGURE FOR HOLDING A CANDLE. POLYCHROMED WOOD, WROUGHT IRON. CASTILLIA...

Torch figure. Carved and polychrome wood, wrought iron. Castilian school, 16th-17th centuries. Carved and polychrome wooden sculpture located on a simple base that shows a semi-naked male figure, holding with his hands a cloth that covers the lower part of his body in front and holding aloft a wrought iron cone intended to hold a candle. The nude, the study of anatomy, the contrapposto and the twist of the figure's torso and waist are details that would speak of a classicist influence on the sculpture. It is also worth highlighting the movement that the posture brings to the piece, placing one foot behind the other and turning with respect to that and turning the waist slightly. Wood was the most worked material in Spanish Renaissance sculpture, normally with a polychrome finish and with gilding and embossing. It was not until the second third of the 16th century when sculptors emerged in Spain who reached great heights in the Spanish Renaissance, inspired by Italian forms, but providing their own national touch, creating different schools, and with a clear preference for polychrome wood. and stewed. At this time, one of the main workshops was Valladolid, with names such as Alonso Berruguete and Juan de Juni. Later, art evolved towards a classicist or Romanist mannerism, with an important influence of Italian masters, with a clear influence of Michelangelo and names such as Gaspar Becerra, Esteban Jordán, Juan de Ancheta, etc.

· Size: 18x18x48 cms.
ANTIQUES

Ref.: ZF0461
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 enameled porcelain with golden metal finials and hinges that has a decoration, on the outside, of figurative scenes of couples in natural landscapes of clear rococo memory enhanced by golden frames and scale elements in pink tones; Inside, on the cover, another scene of this type appears. The base of the piece presents 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 brand like the one seen in this piece was used on it between 1888 and the beginning of the 20th century.

· Size: 12x8x7 cms
ANTIQUES

Ref.: ZF0702
PAIR OF PORCELAIN VASES.19TH CENTURY.

Pair of vases. Enameled porcelain. XIX century. Pair of vases with a circular foot, cylindrical body in the center and long neck and mouth open to the outside, decorated with pink bands, golden edges, grouped flowers and two genre scenes (humble characters dancing in rural landscapes; on the other side , similar scenes). They have been presented situated on separate metal feet, decorated with openwork elements and with claw-shaped legs finished with plant elements of classicist influence. They have marks on the base.

· Size: 24x24x62 cms
ANTIQUES

Ref.: ZF0884
VIRGIN MARY (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH CENTURY.

Virgin to dress. Wood, metal. Spanish school, 17th century. Has faults (hand, etc.). Sculpture made of polychrome wood that shows a woman, with the head, neck and hands carved and polychromed in detail, a sketched dress and arms in exposed wood. Iconographically, it is surely a Virgin Mary, made in this way because it was designed to be dressed and adorned with hairpieces (hence the work on the skull area). It is necessary to highlight the folds on the front, not common in this type of work, resembling clothing. Features a closed royal crown. Dress carvings were very common during the Spanish Baroque, and there may be cases of works in which the unseen part was barely roughed out and others in which everything is carved, with many intermediate points (see the present case). Remember the San Antonio Abad by Benito Silveira made in the second half of the 18th century that is in the National Museum of Sculpture in Valladolid, a San Francisco de Paula from the 18th century in the Museo del Carmen de Maipú (Santiago de Chile), etc.

· Size: 44x28x86 cms
ANTIQUES

Ref.: ZF1182
HENRI II STYLE PENDULUM CLOCK, 19TH CENTURY.

“Henri II” style wall clock, 19th century. The white dial 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 on the There is a hole to see the pendulum, which is highlighted by a gilded metal decoration. The Enrique 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 the present work. It was so successful that it was recovered in the Neo-Renaissance style, which lasted well into the 20th century.

· Size: 45x23x130 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z0484