Z. Sierra · Antiques and Decorative Objects

Results 289 to 312 of 511

«« « ...10 11 121314 15 16... » »»

WROUGHT IRON FIREDOG OR ANDIRON. 16TH CENTURY.

Andiron. Wrought iron. Century XVI. Morillo made of wrought iron of the type usually used for cooking in large homes or fireplaces. It has a series of upward hooks to be able to place roasting spits when the andirons are placed in pairs, and a semicircular “plate” to place a stew or similar. Compare with the one preserved in the Metropolitan Museum.

· Size: 35x92x102 cm
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZF0843
Sold

ENGLISH CHEST OF DRAWERS. MAHOGANY. 18TH CENTURY.

Comfortable. Mahogany wood. English school, 18th century. Requires restorations. English chest of drawers made of mahogany wood in its color that has legs, simple decoration based on moldings, three large drawers, two smaller ones and a tray, located in front of it and with metal handles.

· Size: 90x53x87 cms
ANTIQUES

Ref.: ZF0918
SILVER TRAY. MATEO MARTÍNEZ MORENO, CÓRDOBA, SPAIN, 1789.

Fountain. Silver. Mateo Martínez Moreno, Córdoba, Spain, 1789. With contrast markings. Silver fountain in its color, oval in shape and great depth, which presents contrast marks and an edge composed of smooth moldings of different widths curved drawing waves, ending in four peaks that extend towards the bottom of the piece, thus drawing a series of curves and countercurves This shape is known as “cut-out profiles,” and was a common resource in 18th century Spanish silversmithing that followed or was influenced by Rococo models. The aforementioned marks (frustras) could place the creation of the work in Córdoba, in the period in which Mateo Martínez Moreno worked as a faithful contrast, also providing the date of 1789. Weight: 858 grams.

· Size: 38x6,5x27 cms.
ANTIQUES

Ref.: ZF1043
Sold

PAIR OF VASES. MARBLE, GILT BRONZE. FRANCE, CIRCA LATE 19TH CENTURY.

Pair of vases. Gilded bronze, veined marble. France, late 19th century Pair of centerpieces or vases that have an oval body carved in veined marble in pink tones (of a type very similar to one that was highly appreciated and often used in French school works during the Rococo of the 18th century) and some gilded marble highlights, creating a kind of tripod to hold and enhance the stone pieces. These are decorated with lion's claws on the legs, simple architectural moldings, flowers and female masks with plant elements, as well as a border that extends towards the interior area of the pieces creating three wings or handles, decorated with plant elements and architectural elements (volutes, flowers, bows, leaves, etc.) both outside and inside this area, leaving what would be the internal area of the marble pieces smooth. The classicist inspiration of the decorative elements of the couple is common in works of the French school since the 18th century. Some details (for example, the claws serving as finials on the legs) are seen in Louis XIV style centerpieces dated to that century, while other elements are more often seen in Louis XVI style works (one of the main elements of the Neoclassical style). There is knowledge of a pair of centerpieces very similar to these vases and a single piece (also a centerpiece) preserved in a private collection in the United States of America. Weight: 7.25kg.

· Size: 16x16x29 cms.
ANTIQUES

Ref.: ZF1063
BANDIT AND MILITARY, PAIR. OIL ON BOARD. LUCAS VILLAAMIL, EUGENIO (185...

Bandit and military, couple. Oil paintings on boards. LUCAS VILLAAMIL, Eugenio (Madrid, 1858-1919). They present a signature and remains of a signature. This pair of tables shows, on a blue background, two male busts. Despite their detail and naturalism, they are not portraits in themselves, but rather “paintings of types”, showing the conception that was had at the time of a bandit or a general, in line with certain common postulates in Romanticism. Spanish. Eugenio Lucas Villaamil began his training with his father, Eugenio Lucas Velázquez, and continued it at the Special School of Painting in Madrid. His work stood out for following, to a large extent, the paternal line with a strong Goyaesque influence in both style and theme (in addition, he copied some of Goya's paintings), and he was protected by José Lázaro Galdiano. Thus, in addition to traditional Madrid, bullfights, etc., he was also known for his portraits, his urban prints (of upper and lower class), etc. His work is preserved in numerous private collections and institutions such as the Prado Museum (Madrid), the Carmen Thyssen Museum (Málaga), the Lázaro Galdiano Museum (Madrid), the Royal Academy of Fine Arts of San Fernando (Madrid), the National Museum of Romanticism (Madrid), etc.

· Size: 23,5x4,5x28 cms. int: 11x15,5 cms
ANTIQUES

Ref.: ZF1117
DUTCH STYLE FRAME. EBONIZED WOOD. 17TH CENTURY.

Dutch style curly frame. Ebonized wood. XVII century. Rectangular frame made of carved wood and decorated with a series of bands parallel to each other, of different widths and alternating smooth ones with others of different sizes (waves) reminiscent of basketry. Both for its color and for the aforementioned decoration, the piece follows Dutch models, very popular during the Baroque of the 17th century practically throughout Europe, and was made in other frame schools following these prototypes. Compare, for example, the frame of the “Portrait of a Gentleman” by Hans Memling from the ThyssenBornemisza collection (Flemish piece, made of ebonized wood); or, in the same collection, with that of the work “Winter scene with skaters and sleighs in front of a city” by Ruysdael; or with that of the “Tulip Vase” by Philippe de Marlier and Frans Francken from the Bilbao Fine Arts Museum.

· Size: 67x5x74,5 / int: 45,5x54 cms.
ANTIQUES

Ref.: ZF1193
18 KTS GOLD BROOCH IN LOSANGE WITH CABOCHON GARNET

18kt gold brooch in lozenge with cabochon garnet. Rhomboidal brooch decorated with plant elements and gold pearls in a particular arrangement of holes inspired by scallops, with a symmetrical and balanced composition. In the center and surrounded by gold bands (concave, fine cord...) the oval, smooth garnet is presented, with an eight-pointed star in the center highlighted with white elements (a major pearl in the center surrounded by eight others smaller) contrasting and highlighting the gem. On the back, it presents a particular figurative decoration with a hunting dog carrying a bird in its jaws. Weight: 14.60 grams.

· Size: 5,3x4 cms.
ANTIQUES

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

Cupboard. Pinewood. Spain, 17th century. Two-body cupboard made of carved pine wood, with legs in the shape of a grooved chamber, a lower body decorated with simple panels (like the sides) on the two doors that close with a key, and an upper body with a lattice on the outside. The upper area has a single space, while the lower area has a shelf that divides it into two. The decoration links the furniture with very common forms of traditional Spanish cabinetmaking.

· Size: 104x60x175 cms.
ANTIQUES

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 trained 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 disciple of Antonio Muñoz Degraín. He attended national and foreign exhibitions, obtaining third medal in the National Exhibition of Fine Arts of 1908, second in the 1910 edition and first in 1915. He also held exhibitions in Rome and London. A painter of manners, he specialized in bullfighting themes, which gave 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 Las Ventas Bullfighting Museum in Madrid, La Maestranza in Seville, Valencia and Viana de Cega (Valladolid), the of Drawing of the Castle of Larrés (Huesca) and those of Havana and Hemingway of Cuba, among many others.

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

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

Cornucopia with prominent carved and gilded wood crest, 18th century. Cornucopia with a rectangular mirror on the inside, decorated in its frame with simple moldings (some concave, some straight and some convex) without exaggerated movement and, on the outside, some light flower garlands. The upper crest stands out, very prominent, formed by seed beads, curved moldings, 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 (rockets, concave and convex moldings, 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

Ref.: Z5301
BRONZE “WOUNDED FIGHTING BULL”.

Bronze sculpture, “Wounded Bull.”
Signed “F. Bonilla Villalba” at the base.
On a wooden base, the figure of a bull is placed behind the banderillas and death thirds, since the elements used in both can be seen: three banderillas and the rapier. Thanks to the great quality of the artist, you can appreciate both the moment when the horned animal is about to expire and roars and the blood that flows from its wounds. The drama is accentuated thanks to that particular treatment of the animal's skin."

· Size: 55x27x40 cms.
ANTIQUES
SCULPTURE

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

Tremor. Silver. Juan Ignacio Montero, Salamanca, 18th century. With contrast markings. Silver tremble in its color ready on the outside decorated with two inverted “S” shaped handles and decorated with spikes on the outside. At the base of the piece are the four contrast marks (flanking the contrast line), which place the creation of the piece in Salamanca (note the bull), with the intervention of Juan Ignacio Montero; Two more appear, you frustrate. Juan Ignacio Montero was a silversmith and contrast-marker, and the punch seen here seems to date from preserved works that have been dated between 1759 and 1779, such as a sacral in the Parish Church of San Lorenzo de Segovia (by Manuel Cardeñosa, dated in 1767). It is known that he held the position of contrast-marker 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
MISCELLANEOUS;SILVER WORKS

Ref.: Z6251
Special Offer!

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

Saint Stephen. Oil on canvas. 17th century, following 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 appearance of Christ and God the Father; On the other side, some buildings and spectators are presented. Both in the composition and in the figures, an influence can be seen, directly or indirectly by 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

Ref.: ZF0760
BRONZE INKWELL. SPAN, 17TH CENTURY.

Bronze inkwell. Spain, 17th century. Inkwell made of octagonal bronze with eight small holes and one larger one in the center of the upper part that has a flat base and a decoration on its fronts based on moldings of different shapes and widths, all smooth and leaving areas flat in the center of the piece. Around that central gap it has an accent of moldings, in a similar combination to the one mentioned. Typologically, the most common shape of inkwell in Baroque Spain was the square one, and they were made of bronze, ceramic, etc. The polygonal shape, although also relatively common and apparently more so in the 18th century, is less common. Compare, for example, with the polygonal ceramic inkwell from Talavera de la Reina dated to the 17th century found in the National Museum of Decorative Arts (Madrid), or with the bronze one with an octagonal lid dated to the 19th century. from the same institution, with several ceramics and different origins from the 18th century (same museum), etc. Above all, it is necessary to remember, due to its similarity to the present piece, the polygonal inkwell with six holes made of bronze and dated to the 17th century that is in the Museo Casa Natal de Cervantes (Alcalá de Henares, Madrid). Likewise, it is possible to see the use of pieces of this type in paintings such as San Gregorio Magno by Fray Juan Andrés Rizi dated 1681 (Prado Museum in Madrid). Weight: 1,701 kg.

· Size: 18,5x18,5x8 cms
ANTIQUES

Ref.: ZF1121
CHRIST WITH ANGELS. OIL ON COPPER, EBONY FRAME, TEXTILE, ETC. POSSIBLY...

Christ with angels. Oil on copper, ebony frame, textile. Possibly Flemish school, 17th century. Oil painting on copper enhanced with a textile strip that also presents an ebony wood frame decorated with several smooth moldings and a flat area. The image presents Jesus, with a halo of light around his head, arranged as a bust, and with a choir of angels (full body and winged heads) with draperies moved by the wind (some naked) and a series of clouds. Iconographically, it is not the most common thing to see Jesus at an “intermediate age” (neither an adult nor a baby or a small child), the age range of the present image being characteristic of scenes such as Christ among the doctors, or representations of the Holy Family. . It is very common, since the Middle Ages, to accompany it with heavenly choirs of angels. Compare the work with an engraving by Gerard Edelinck, made in France between 1562 and 1707 (exemplary in the Rijkssmuseum in Amsterdam) that shows a medallion with Jesus, very similar to the one on this copper, flanked by angels and on some child figures in an attitude of dance.

· Size: 35x4x39,5 cms. cobre: 13x16 cms
ANTIQUES

Ref.: ZF1206
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 fire has been left undecorated. The front presents two cupids with butterfly wings, a common detail in the 19th century, as are the eggs, shields and plant elements that complete the figures. Forms inspired by classicism are common in Neoclassicism and all the decorative styles of the 19th century.

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

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

Ark. Carved wood, metal, textile, remains of polychrome. Salamanca area, 17th century. Chest with a rectangular body with a flat lid made of carved wood that preserves remains of original polychrome, corner pieces and other metal fittings and textile details in certain places. It is decorated on the outside with a molding in its lower area based on curved motifs and a simple carved decoration of a plant theme arranged according to a rigid symmetry highlighting an inscription in capital letters on the front ("Viva María / Fernandez") alluding to the owner. original of the piece. The interior has no decoration or elements other than the hardware parts of the corresponding hinges and the exposed wood. The flat-topped ark model, with a rectangular shape, was very common in Spanish art since the Middle Ages, varying in its decorative elements as time and styles progressed. The metal elements of the furniture (corner corners on red textile, lock shield on the front, hinges on the inside, handles on the sides to move it, etc.) have a decoration of waves and finishes 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 polychrome in three colors - red, green, yellow) is not too fine (something common in popular examples), and follows a very common in the popular coffers of the Salamanca area, the use of walnut being common for their creation (as in all Spanish furniture, due to the resistance of the wood and its abundance at that time). Adding a female name in capital letters on the front (a detail that would indicate that the present 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 to highlight 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. 74; The m. 74; Beautiful example of a chest or bridal ark, popular Spanish style from 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 center: 'Viva María Hernández', .

· Size: 58x162x65 cms.
ANTIQUES
FURNITURE

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

English “Davenport” walnut wood desk, 19th century. Desk with four drawers on the side, inkwell with closure at the top and folding top with key closure. This typology is known as “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, when these desks were made with a notable variety of decorative elements. Requires restorations

· Size: 55,5x57x79 cms.
ANTIQUES
FURNITURE

Ref.: Z3099
IRON DOG DOOR KNOCKER 16TH CENTURY

Wrought iron. Dog Shape. Spain Century XVI

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

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

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

· Size: 140x60x237 cms.
ANTIQUES
FURNITURE

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

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

· Size: 102x6x197 cms
ANTIQUES
FURNITURE

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

George II style mahogany folding pedestal table, USA (America), around 1860. A tripod with animal claws gripping a ball serves as a base at the foot of the furniture, decorated with a small fluted column and a plant bulb. The mechanism that allows the furniture to be folded is located above this foot, and the upper board has a round shape and a profile with curves flanked by straight sections. American furniture owes a lot to English, as this example demonstrates: 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 architecture. Roman Renaissance.

· 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 of Palencia with Justo María de Velasco and, from 1877, at the San Fernando School of Fine Arts in Madrid, in the classes of Casto Plasencia and Casado del Alisal . He also frequently visited the Prado Museum, making copies of Velázquez. Starting in 1881, he participated in the National Exhibitions of Fine Arts. His stay alternated between Madrid and Palencia, where he was commissioned to create the curtains and backstage for the Teatro de Recreo Palentino. In 1885 he received a pension from the Provincial Council of Palencia to expand his pictorial 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 honor of his teacher. He moved to Paris in 1889 for a year to study under the brush of Léon Bonnat's pictorial realism. Returning to Spain, she established her workshop in Madrid, where Doña Sancha painted in front of her husband's corpse and the portrait of Tomás Bretón. Starting in 1908, the Senate Government Commission appointed him conservator of the works of art of the Upper House. The result of this experience are the great parliamentary paintings that have the sessions and halls of the Senate as their theme. 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, it is known that he was alive in 1935.

· Size: int. 60x40 cms.
ANTIQUES
PAINTINGS

Ref.: Z6229
TABLE. WALNUT, METAL. SPAIN, 17TH CENTURY.

Bacon table. Carved walnut wood. Spain, 17th century.
Table with a straight rectangular board protruding from the smaller sides, a drawer in front and straight legs carved in the shape of a column with an entasis in the center, joined together with a simple perimeter shell. Presents restoration. The small decorative elements of the furniture (moldings on the columns, rectangular carvings on the front) are reminiscent of ancient examples of Spanish furniture."

· Size: 55x83x51 cms.
ANTIQUES
FURNITURE

Ref.: Z6394