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REDONDELA, Agustín (Madrid, 1922). "Hermitage". Watercolor. Signed and titled in the lower area. A mainly self-taught painter, Agustín González Alonso trained alongside his father, the painter and set designer José González “Redondela”. After the civil war he attended classes at the Madrid School of Arts and Crafts with the landscape painter José Ordoñez, and in 1945 he sent a painting for the first time to the National Exhibition of Fine Arts, signed with the pseudonym Redondela. That same year he will hold his first personal exhibition, at the Estilo gallery in Madrid. It was at this time that he came into contact with the Madrid School, and in 1947 he was selected to exhibit in the Salón de los Once of the Academia Breve e Crítica de Arte de Eugenio d'Ors. Already in the fifties Redondela obtained a scholarship from the Catherword Foundation of Philadelphia (1954), the National Painting Prize (1953) and first medal at the National Exhibition (1957). In 1996 the Royal Academy of Fine Arts of San Fernando awarded him the José González de la Peña prize, and two years later the Cultural Center of Villa de Madrid dedicated an important Anthological exhibition to him. It is currently represented in the Museum of Fine Arts of La Coruña, the Museum of Contemporary Spanish Landscape of Priego de Córdoba, the Museum of Fine Arts of Bilbao, the Camón Aznar of Zaragoza, those of Buenos Aires, Caracas and Havana and the House-Museum by Oswaldo Guayasamín in Quito, among other public and private collections.
· Size: 16 x 23 cm; 44 x 52 cm con marco
ANTIQUES
PAINTINGS
Ref.: Z3942
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Ark with walnut wood shoes with wrought iron fittings. XVII century. The rectangular chest with a flat lid with key closure and protective fittings in the corners only has a lower decorative molding and some very protruding shoes. These two details are what place the furniture in the Baroque. It was a very common creation at the time, used to store clothes and other valuable objects.
· Size: 157x54x80 cms.
ANTIQUES
FURNITURE
Ref.: Z5536
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Extendable book table. Walnut and walnut root. XIX century. Dining table extendable to three meters, known as a book type due to the way it folds, which has turned legs in the shape of balusters finished with metal rollers to move the furniture, and has been made by combining walnut wood and walnut root wood. , leaving the striking grain of this type of material visible. The piece is reminiscent in some details of Victorian examples from northern Europe.
· Size: 121x65x76 cms.
ANTIQUES
FURNITURE
Ref.: Z5858
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Three rectangular panels with carved wood reliefs. Century XVI. All three present figurative decorative motifs arranged within rectangles marked by smooth moldings: the longest has three (the sides show two children sitting flanking a shield and holding knotted cloth, while the central one has Saint Matthew and Saint John writing, identifiable thanks to to their symbols of the Tetramorphs) the shorts show two figures of the Church (Fathers, Prophets). Stylistically, they respond to the characteristics of Renaissance art, and would form part of the drawers of some piece of furniture.
· Size: 25x145; 25,5x144; 24,5x68,5 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z6581
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Pair of silver sauce boats. Antonio Martínez, Platerías Martínez, Madrid, 1797. Pair of cup-shaped sauce boats with a strong influence of contemporary French and English silverware. Both the handles and the decorative motifs they present (plant elements, birds holding laurel garlands, etc.) are the characteristics of Neoclassical silverware. Platerías Martínez, founded by Antonio Martínez with the support of Carlos III, were one of the most important creative centers in Spain in their time. Weight: 160 grams.
· Size: 16x10x14 cms
ANTIQUES
MISCELLANEOUS;SILVER WORKS
Ref.: Z6597
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Rinser. in silver in its color. Barcelona, 18th century. With hallmarks and ownership initials. A container with a small circular foot has simple, flat lines, as well as a space at the base of the interior space 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 silverware. In Barcelona silverware we are witnessing a recovery of importance to levels that it had not had since the Gothic period, practically. As in the rest of Spain, Rococo would dominate during the reign of Charles III (1760-1788); At 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 incorporated this new style and, apparently, would become in one of the main peninsular centers, although the frequency of changing markers, the frequent use of confusing symbols on the pieces and the absence of preserved works and studies make a detailed analysis of this center and its silversmiths difficult. The contrast marks 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
MISCELLANEOUS;SILVER WORKS
Ref.: Z6871
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Golden pheasant. Polychrome bronze. Vienna, 19th century. Polychrome bronze figure showing a perched male golden pheasant. A bird native to Asia, it was already known in the West in the 18th century (it appears in the tenth edition of Linnaeus' Systema Naturae) and appreciated for the bright colors of the male's plumage. In the 19th century, bronze centerpieces and decorative figures of great originality and quality were made in Vienna (and in other European centers), usually with an exotic touch provided by anthropomorphic or animal motifs. Weight: 991 grams.
· Size: 33x9x17,5 cms.
ANTIQUES
Ref.: ZE262
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Gallon base. Carved and polychrome wood. Inspired by models from the 17th century. Rectangular base with a similar cushion on the top (decorated with plant elements) and complex lines of curves and countercurves enhanced with architectural elements, among which stand out a “ce” volutes arranged in pairs on each of the sides. At the bottom, we must highlight the corner claws and the cut-out lower profile. Weight: 3.85kg.
· Size: 42x33x24 cms.
ANTIQUES
Ref.: ZE370
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Pair of Neo-Gothic style standing candelabras. Wrought iron. Spain, 20th century. Pair of standing candelabras made of wrought iron that present a tripod as a base, an axis decorated with small discs and ending in a circular plate, and an upper part composed of three levels of curved arms that end in floral elements, the third being the highest and finished in a spike. The game is inspired by lighting elements from the 15th century in Spain, specifically in pieces known as “floridas” or “florida style”, prior to the development of openwork plates that occurred at the end of that century. Compare it with ancient examples preserved in prominent institutions such as the Museu del Cau Ferrat in Sitges, the National Museum of Decorative Arts (Madrid), etc.
· Size: 62x62x219 cms.
ANTIQUES
Ref.: ZF0628
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Grip. Blued bronze, marble. France, towards the end of the 19th century. Blued bronze sculpture on an oval base in veined marble in green tones that shows two lionesses or two panthers immersed in a fight, one biting the other's neck and both with their claws, limbs and muscles in tension. It is necessary to highlight both the quality of the design and composition as well as that of the modeling and casting, since 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 showed his work (mainly animal themes and almost always using bronze, wax or plaster) at the Paris Salon on a regular basis between 1867 and 1909. Thanks to the popularity and quality of his works, 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 common in this type of art in France between 1910 and 1930.
· Size: 65x23x38 cms.
ANTIQUES
Ref.: ZF0930
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Sold
Pair of cruets with tray. Silver. Estrada, Zaragoza, 18th century. With contrast markings. Set made of silver in its color consisting of two cruets with a circular foot, oval body narrowing towards the top, stepped lid towards the center (surrounded by a circle with a V for the wine container and an A for the water container) and curved handle with a scroll topped by a small crest; and a tray of cut profiles following very common models of the time. The marks present are those of the faithful hallmark (unidentified), the locality (Zaragoza) and the silversmith's (Estrada). There is evidence of three silversmiths named Estrada in Zaragoza: Antonio (1714-1757), Domingo (1751-1800) and Manuel (1735-1742).
· Size: 26,5x16,5x11 cms
ANTIQUES
Ref.: ZF0960
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Sold
Perfume case. Silver, tortoiseshell, glass, textile. Century XVIII. Case with an elongated shape, wider towards the lid, made of tortoiseshell with a silver frame in its color that has a closure towards one end operated by a button and a hinged lid. Inside, it has a textile upholstery on the lid and base, decorated in certain points with silver plant elements in its color, and an elongated translucent glass bottle. On the outside, it shows a series of plant and architectural elements of classicist influence but organized with a certain rococo rhythm in some points. The practice of using tortoiseshell plates in furniture and other luxury items reemerged in Europe during the 17th century. The high price and great demand for sea turtle shell furniture are explained by the scarcity of the material, which had to be imported (normally from Central America) and that, for its work, a highly specialized workforce was required. Thus, from that moment on, it was common to create boxes, vanity sets, cases with different uses, etc. in tortoise shell, normally combining it with frames in silver, gold, etc.
· Size: 5x3x13 cms.
ANTIQUES
Ref.: ZF0970
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Heart-shaped spice rack. Silver. LÓPEZ PORTERO, Manuel. Spain, Granada, 1870. With contrast and burilar marks. Silver spice rack in its color with a heart-shaped shape and curved spout towards one side that has two hinged lids and three spaces inside (partition at the top and not at the bottom); It is supported by three legs decorated with classicist elements and has, towards the side, a series of fine smooth moldings. The hallmarks are those corresponding to Granada, to date, and to the silversmith Manuel López Portero, who also worked as hallmarks in the city. The shape of the piece does not follow the usual prototypes of the time or the school to which it corresponds (a heart-shaped silver box is known in which an eagle appears with its wings spread out on its obverse and reverse, hand-held). by Manuel López Portero and dated 1773, which is the portico of the parish church of La Encarnación de Laujar de Andarax). Yes, the decorative elements of the box can be included, and easily, within the Neoclassical. Weight: 250 grams.
· Size: 10x11.5x4 cms.
ANTIQUES
Ref.: ZF1019
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Bernegal or scrapie with handles. Silver. Spain, 18th century. Avocado trembler in its color with a circular base, without base or foot, and a wider hemispherical body at the top, which has two handles on the sides. These have two Cs facing each other of different sizes (the largest on top) or in the shape of that, and a decoration based on silver pearls and a bird perched on the top (both of the piece facing towards the center). In Spanish silversmithing, Baroque trends were maintained during 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 would not be until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centers (as a general rule), depending on areas and masters. This survival of the 17th century forms can be seen in the handles of the quake, a decorative abundance (compared to the rest of the catavino) that contrasts with the clean lines of the rest of the work but is common in this type of work. . The lack of contrast marks does not allow the work or the artist to be located, although this is precisely what speaks in favor of a secondary silversmithing center, where the absence of control of these works was more common due to the lack of teachers and means to Ensure compliance with marking regulations. It does show a fine engraving of initials on the front of the piece. Bernegales and tembladeras were the most common typologies in Spanish silversmithing in the 17th century (although in the 18th century they continued to be popular, especially in centers far from the main creative centers). In the case of this piece, it is the handles that could indicate American manufacture, although there are similar cases that are thought to have been made in the Iberian Peninsula. Compare it with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of Madres Clarisas de Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 213 grams.
· Size: 18,5x15x8 cms.
ANTIQUES
Ref.: ZF1057
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Iron pharmacy mortar. 18th-19th centuries. Old mortar for pharmaceutical use, made of cast iron. It follows the usual structure for this type of utensil between the 15th and 19th centuries, with a truncated conical body with very thick walls that has vertical ribs and perpendicular protruding handles to facilitate grip during use. In this case it shows eight multi-lobed ribs and two large handles with finials in the shape of a child's head, which indicates that it would be a piece from the Baroque or later period, probably from the 18th or 19th centuries.
· Size: 40x31,5x26 cms. Mano: L. 40 cms
ANTIQUES
Ref.: ZF1242
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Bench with high backrest. Pine, walnut. Spain, 17th century. Carved wooden bench with 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
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Mahogany wood game table. XIX century. The upper board has a rectangular shape and curved profiles, and is supported by two balustraded legs that end in two supports with a shape reminiscent of cabriole legs, decorated with moldings. Both have been secured by a turned chamber, 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
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XIX century KPM The Berlin Porcelain or Royal Berlin Porcelain Factory (Königliche Porzellan-Manufaktur Berlin in German, which uses the acronym KPM) is a royal porcelain manufacturing factory founded in 1763 by Frederick II of Prussia "the Great". Its highly regarded brand is identified with a cobalt blue scepter (since 1837), to which a royal orb with the initials KPM in red was later added. Between 1751 and 1757, a private porcelain factory operated in Berlin, run by Wilhelm Caspar Wegely. One of his collaborators, Reichard, teamed up with the wealthy businessman Johann Ernst Gotzkowsky in 1761, to respond to the King of Prussia's desire to compete with the production of porcelain from Dresden, Meissen and Sèvres. During the Seven Years' War, Frederick the Great's troops occupied Meissen and Saxony. The industrial secrets kept there were extremely coveted throughout Europe. In 1763, the king bought the Berlin factory, which was on the verge of bankruptcy, and gave it the definitive boost that turned it into one of the most important in Europe. The painter Gottfried Wilhelm Völcker directed the Berlin Porcelain between 1833 and 1848.
· Size: 20x20x93 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC
Ref.: Z3667
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Agustín Redondela (Madrid, October 29, 1922) Painter who was practically self-taught and considered one of the most original Spanish landscape painters of the 20th century.
· Size: 24x16 cms.
ANTIQUES
PAINTINGS
Ref.: Z3943
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Pair of friar armchairs. Walnut wood, leather, metal. Spain, 17th century. Armchairs with arms and high backs of the type known as “frailero”, which have leather with studs on the seat and upper part of the back, low chambranas joining the front legs with the rear ones and middle chambranas or stringers (the front one is carved and trimmed creating motifs). geometric) joining the two front legs and the two rear ones, and simple armrests, with volute finishes. The friar armchair, initially 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 current of the 19th century. Being a tradition so deeply rooted in Spain, these types of models have never stopped being created.
· Size: 69x55x107 cms.
ANTIQUES
FURNITURE
Ref.: Z5070
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Garrison in gilt bronze and white marble in the Louis XVI style, 19th century. Composed of two glasses on pedestals and a clock. The first ones are the same: 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, a tall-stemmed cup decorated with two handles in the shape of plant stems. The clock stands 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 dial and Arabic numerals, as well as hands of the type called Louis XVI and is presented topped by a vase. The pendulum of the clock, which has been shaped like a sun, appears between the columns and decorative chains. The French style called Louis XVI is characterized by its inspiration in classicism and covers approximately from 1760 to 1789. In the 19th century, numerous artistic movements from the past were recovered, among which the one mentioned stood out due to its inspiration, very much in line with with the Neoclassicism of the moment.
· Size: Reloj: 19x9x40 cms. Copas: 19x15x21 cms.
ANTIQUES
Ref.: Z6190
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Column. Carved, polychrome and gilded wood. Century XVI. Carved and polychrome wooden column that has a capital reminiscent of the composite order of classical antiquity (volutes, acanthus leaves in levels...), a series of moldings separating the shaft from the rest of the elements, a fluted shaft with a stripe in the lower part with figurative elements and lacework, and a base with prominent volutes arranged upwards and smooth moldings in the corners of it. The aforementioned frieze shows a series of figures with fabric hangings behind them as the only background and carrying a series of elements (flowers, one with a tower with three windows that could be linked to Santa Barbara, etc.). In some details it is reminiscent of columns from other notable works such as the Main Altarpiece of Our Lady of the Assumption of Tudela de Duero in Valladolid (last quarter of the 16th century - early 17th century, with traces by Manuel Álvarez and Francisco de la Maza); The Main 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 presented in the altarpiece of the Virgin Mary of Corcos del Valle (last quarter of the 16th century); etc
· Size: 28x28x90 cms
ANTIQUES
Ref.: ZE239
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Cross reliquary. Silver, transparent 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 classic-inspired elements, as well as a ring to wear the jewel hanging from the neck. The front has seven oval holes (the one located where the largest arms cross) protected with transparent glass; The back is smooth, with the material in its color. Typologically, there are similar examples of Portuguese origin, made of rock crystal and protected by silver bands, without scrolls and other decorations, dated between the 16th and 17th centuries, preserved in separate private collections. This jewel shows profiles with much more movement than these two, although the motifs and simplicity of the lines respond to classicist influences. This type of jewelry had great value for its owners, both for the materials they were made from and for its content, considered sacred and protective. Despite this high value (or precisely because of it), 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 National Museum of Decorative Arts (Madrid), the Lázaro Galdiano (Madrid), the Museum of Popular Beliefs and Religiosity of the Aragonese Pyrenees (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
Ref.: ZF0190
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Cruet set. Silver and glass. René-Pierre Ferrier, Paris, 1775. With contrast markings. Set of cruet with salvilla made of silver in its color and transparent glass composed of two jugs with handle, elongated neck and spout, and a circular base body, with a faceted exterior, an oval tray with two supports for the jugs and another two for the plugs (decorated with leaves and fruits). The tray has four scroll-shaped legs, decoration that is repeated at the ends of it, and two architectural shapes on the longer sides, right where the spice rack supports are located. The jug supports have an openwork decoration based on architectural motifs framing baskets with grapes and vine leaves and flowers. The hallmarks present on the silver pieces place it as a work by René-Pierre Ferrier (his punch appears), made in Paris between 1775 and 1776 (crowned M; “Maison Commune” mark) and with the corresponding taxes paid (the crowned A - this specific one was used in Paris between 1775 and 1781 - and the bull's head - the same as the previous one -). René-Pierre Ferrier was a French silversmith whose brand can be seen used in work since 1775, the year in which he achieved master status. The shape of the tray is reminiscent of other works by the same silversmith dated at the end of the century and with a more pronounced “naveta 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. w/bottle.
· Size: 27x16x23 cms.
ANTIQUES
Ref.: ZF0344
