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Dancer, Watch Hill, 1965. Framed drawing. Signed, located and dated in the lower right corner. CAPULETTI LILLO DEL POZO, José Manuel (Valladolid, 1925-Eltville am Rhein, Germany, 1978). José Manuel Capuletti was a self-taught Spanish painter who began his career working mainly with drawing, watercolor and portraiture. A good draftsman, his work has strong influences of Surrealism and he designed sets and costumes for ballet works by frequenting the environment of Spanish ballets from 1946 onwards. In 1951 he settled in Paris, beginning to exhibit, becoming recognized in 1954. From 1958 his work could be seen in New York, Paris, etc., and he returned to Spain in 1968, settling first in Seville and then in Madrid. He died on a trip to Germany in 1978. In the lower right corner, you can see a location under the signature that helps provide more information. José Manuel Capuletti designed some costumes for a ballet by the Watch Hill Studio in the United States titled “Macumba” and premiered in May 1966.
· Size: 36x40 ext 48x4x56 cms.
ANTIQUES
Ref.: Z3781B
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Friar armchair. Walnut wood, textile. Spain, 17th century. Armchair with arms and high back of the type known as “frailero”, which has a textile upholstery with studs on the seat and back, low cut-out low profile chambrances joining the front legs with the rear legs and middle chambrances or smooth stringers joining the two front legs and the two rear ones, and simple armrests (curved, ending in volutes). 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: 74x67x128 cms.
ANTIQUES
Ref.: Z0665
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Friar armchair. Walnut wood, textile, metal. Spain, 16th century. Has defects. Armchair with arms and high back of the type known as “frailero”, which has a textile upholstery with studs on the seat and back, low cut-out profile chambrances joining the front legs with the rear legs and middle chambrances or stringers (the front with geometric motifs in carving) joining the two front legs and the two rear ones, and simple armrests (curved, ending in volutes; the front with grooves). 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: 62,5x55x126 cms.
ANTIQUES
Ref.: Z0667
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· Size: Long. 97 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z5912
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Base. Carved and gilded wood. Spanish school, 17th century. Base for sculpture made of carved and gilded wood with a rectangular and flat shape, slightly elevated on circular legs and decorated on the front and sides with carved plant and architectural elements of clear classicist influence and baroque lines. The upper part has exposed wood, and when you turn it over, you can see that the back is ungilded and hollow. Weight: 9.5kg.
· Size: 63x44x23 cms
ANTIQUES
Ref.: ZE347
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Peace holder. Silver in its color. Manuel Aguilar and Diego de la Vega, Córdoba, 1816. With contrast markings. Peace holder made of silver in its color with architectural distribution of a pedestal with garlands and a shield with a Latin cross in the center, a central body with two pilasters with an Ionic capital and volutes on the sides of a relief, and an upper finish with architectural elements, volutes and plant motifs, all with a strong classicist influence. The relief mentioned is an Immaculate Conception, located on a lunar crescent; Contrast marks are found in this area. The altarpiece composition of the piece was common in 19th century examples, and it is necessary to highlight the lack of Rococo influence it presents. Compare, for example, the pair of peace holders from the Parish of San Lorenzo (Córdoba, Spain) dated between 1816 and 1826 with a Manuel Aguilar Guerrero punch and “…/VEGA” (instead of the Virgin, one presents a Sal Lorenzo ). Likewise, other works are preserved: adapter for a silver basin in its color with punches by Manuel de Aguilar and faithful contrast by Diego de Vega y Torres, which is preserved in the National Museum of Decorative Arts (Madrid); altar monstrance with marks by Diego de Vega y Torres and Manuel Aguilar from the first third of the 19th century (Treasure of the Church of San Bartolomé del Espejo in Córdoba); etc The punches that can be seen are local (Córdoba) and authored. Manuel de Aguilar Guerrero (act. 1780 (ca)-1920 (ca)) was a silversmith approved as master silversmith of that city in 1794 and known for a Neoclassical style that no longer had influences from the Rococo of Cordoba and that he maintained until his retirement to end of the second decade of the 19th century. Diego de la Vega y Torres was appointed faithful municipal contrast in 1804. Weight: 345 grams.
· Size: 14,5x19,5 cms
ANTIQUES
Ref.: ZF0655
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Pocket watch, Frères Esquivillon & De Choudens (ca. 1765-1830). Paris, France, 19th century. Sabonet-type pocket watch with the exterior decorated in enamel (an architectural composition with a certain exotic air) and a white dial with Roman numerals for the hours and Arabic numerals every five for the minutes, and an inscription relating to its origin (the same is referred to a series of engravings on the machinery). “Frères Esquivillon & De Choudens” worked in Paris between around 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
Ref.: Z2298
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Freestanding tester mirror in carved mahogany wood, 19th century. The frame of the rectangular mirror is decorated with scrolls and carved vegetal and floral motifs of classical tradition, and rests on two curved legs with lines that recall the characteristic movement of the Baroque and Rococo. This mixture of styles was common in 19th century furniture, as forms from past traditions were chosen for the creations of the time.
· Size: 88x76x160 cms.
ANTIQUES
FURNITURE
Ref.: Z2515
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Case with field cutlery and knife. XIX century. Cylindrical case with hinged closure that contains various field cutlery, such as a spoon, a knife, a removable fork, etc. secured in a rigid lining and stored in a metal container. This type of travel object was widely used during the 19th century.
· Size: 8x8x16 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z3806
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Silver Bernegal. Portugal, 19th century. With contrast markings on the base. Bernegal with a wavy edge with decoration of rockeries and plant elements on the outside and two “S”-shaped handles. In the flower that decorates the base on which this container rests are the contrast marks, which date and place the creation of the work in Portugal, in the 19th century, a time when it was very common to be inspired by styles from the past ( Baroque, in the present case). Weight: 170 gr.
· Size: 18,5x15x7 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS
Ref.: Z4961
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Renaissance bronze bell, 1555. Dated. Stem decorated with plant elements, the shoulders are decorated with elegant lines, the middle presents profiles within plant garlands and two legends above and below in Latin. Bells were already used by Catholics to call the faithful since the 5th century, but their civil use and in other religions are already known in Greek and Roman times. Its decoration, made in relief, places it in the Renaissance due to its inspiration in Roman coins for the profiles and plant elements it presents. Likewise, the date on the body places the creation of the piece with certainty, in addition to adding value to it. The inscriptions prove its religious use.
· Size: 7x7x11,5 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z6213
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Sterling silver candlestick, 19th century. With hallmarks and ownership initials. Raised on three legs finished in pearl, the circular base of the candlestick has been decorated with openwork rhombuses, while the candle holder presents a string of pearls and lines of classical inspiration, to which the curved handle, located on another leg and on which the contrast marks are located. Weight: 245 gr.
· Size: 21x10x9,5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS
Ref.: Z6279
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Angel. Metal in silver finish. XIX century. Figure of an angel or archangel made of silver metal, and standing on a base that resembles clouds. These types of sculptures were common in the 19th century both for churches and for personal altars, alone holding lamps or incense burners or forming part of some composition. Weight: 4.7kg.
· Size: 20x17x29 cms.
ANTIQUES
Ref.: ZE294
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Frame. Golden wood. Century XVIII. Frame made of carved and gilded wood that has a series of moldings on the inside forming an octagon and an openwork composition on the outside with plant elements, scrolls and simple architectural moldings. It is possible to speak of a strong influence of the Baroque in elements such as scrollwork, the absence of rockery, the movement of lines and the symmetry of the composition.
· Size: 36x6x43 cms.
ANTIQUES
Ref.: ZF0559
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Salver. Silver. Edward, John & William Barnard. England, London, 1862. With contrast markings. Round salvilla with mixtilinear contours decorated with elements in slight relief towards the edge and engravings towards the center, arranged around initials, and raised on legs with vegetal and architectural elements combining a polished finish with another. Edward Barnad & Sons was a company that was founded in London around 1860 with Anthony Nelme. Edward Barnad (died 1855) became proprietor in 1829, trading as Edward Barnad & Sons, along with his sons Edward (died 1868), John and William (died 1851). Weight: 750 gr.
· Size: 30x30x3,5 cms.
ANTIQUES
Ref.: ZF0721
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Bad job. Watercolor. Signed towards the lower left corner. LLANECES, JOSÉ DE SAN BARTOLOMÉ (Madrid, Spain, 1863-1919). José de San Bartolomé was a Spanish painter and sculptor who worked since he was a child in the photographer Herbert's workshop and began his training at the School of Arts and Crafts of Madrid, expanding it at the Higher School of Painting of the Academy of San Fernando, while copying works of the Prado masters. In 1886 he settled in Paris, dedicating himself above all to genre painting in the wake of Fortuny, a theme that enjoyed great commercial success. He meets Francisco Domingo, who opens the doors of the Buenos Aires market, where he will receive important painting and sculpture commissions. He was Secretary of the Society of Artists of Paris, in 1894 he was appointed knight of the order of Charles III, in 1901 of the Legion of Honor and, in 1902, commander of the order of Isabel la Católica. At the beginning of the century he returned to Spain, and dedicated himself mainly to portraiture, although he also created landscapes and popular subjects. He enjoyed the protection of royalty, an example of which is the portraits he painted of Queen María Cristina and several court figures. In 1925 the Paris Salon paid him a posthumous tribute with an exhibition of his work held in France. Work by Llaneces is 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
Ref.: ZF0997
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Virgin of Dress. Carved and polychrome wood, etc. Spanish school, 17th century; later clothing. Has damage. Polychrome wood carving of the type of dress or dress that has a series of garments: skirt, blouse, rostrillo, etc. Religious sculptures for clothing were very common during the Spanish Baroque (and later), 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.
· Size: 26x26x57 cms.
ANTIQUES
Ref.: ZF1183
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Pair of wrought iron fork fasteners. XVII century. Pair of fasteners made of wrought iron of the type called “fork” due to its shape. These types of pieces were used in furniture to secure tables, both dining rooms and bargueños or desks, being, for this reason, a very common piece of wrought iron. The spirals and balustraded parts date both to the Baroque.
· Size: 93x30 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z5447
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Framed miniature; "Sacred Family". Wood, paint. Century XVIII; later framing. The oval frame made of carved and gilded wood has smooth moldings, and has an openwork upper finish made of scrolls and simplified vegetal details. On one side, Saint Joseph is presented in three quarters, wearing a tunic and habit and holding the flowered wand and carrying in his arms the Child Jesus, who is lying down and naked. On the other side you can see, also in three quarters, a miniature of the image of Our Lady of Soledad de la Victoria of Madrid (or of some Soledad inspired by it, which was the first image of this dedication in Spain). Stylistically, the two images present a strong influence of Spanish Baroque models and iconography, as was common in Spanish religious art of the 18th century (compare, for example, with “Saint Joseph with Child Jesus” by Murillo preserved in the Auckland Art Gallery , or with the work on the same theme made by Alonso del Arco and today in the Museum of Navarra). The dedication of Our Lady of Solitude had as its main image the carving of Gaspar de Becerra (which was in the Convent of Our Lady of Victory in Madrid and later in the Collegiate Church of San Isidro, where it was lost), which was used as inspiration for a large number of paintings and sculptures. This type of miniatures decorated with religious images were usually used as elements of particular devotion.
· Size: 6,5x1x10 cms.
ANTIQUES
Ref.: ZE183
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Wing table with turned legs. Walnut wood. Spanish school, 18th century. Round folding board table with two wings that can be folded downwards and supported by two legs joined together for each wing by lower chambers. When you leave the table folded, there is a drawer with a wooden knob on each side and two legs on each side, joined in a rectangle by a chambrana. The legs and vertical elements of the furniture have turned balustraded elements and discs, as has been common in the Spanish school since the Baroque.
· Size: 107x 37x76 cms / Abierta 107x103x76 cms.
ANTIQUES
Ref.: ZF1173
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“Ramón Aranaz”. Bronze bust. Antonio Yerro Feltrer (Valencia, 1842-1911). Signed. Foundry “V. Rivers". Bust of Ramón Aranaz (Valencia 1831-Madrid 1898), Valencian businessman, banker and politician, dressed in a suit and with a ribbon of decoration crossing his chest. The sculptor, Antonio Yerro, studied at the Academy of Fine Arts of San Carlos in Valencia, and won various awards in exhibitions such as the National Fine Arts of 1884 and was awarded several decorations in recognition of his artistic merits.
· Size: 27x22x39 cms.
ANTIQUES
SCULPTURE
Ref.: Z3707
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Vase. Glass. Following models by Émile Gallé (Nancy, 1846-1904). Vase made of glass, with white, brown and gold tones, following both in technique and decoration the well-known Art Nouveau works of Émille Gallé, an artist internationally recognized both for his aesthetics and for his technical advances with glass ("glazed", " cameo”, etc.). .
· Size: 15x15x28 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC
Ref.: Z5671
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Talavera inkwell, 18th century. Glazed ceramic. Talavera ceramic inkwell, decorated with cobalt blue glaze on a white tin slip With restorations
· Size: 16x16x7 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC
Ref.: Z5695
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Table with lentil and inlay leg. Lignum vitae. Century XVIII. Table with four turned disc legs (of the type known as lentil legs) joined two by two by means of a chambrana with the same decorative element, which has iron fasteners decorated with discs and a rectangular top board decorated with wood marquetry in different tones based on plant elements, circles and smooth areas.
· Size: 83x53x55 cms.
ANTIQUES
Ref.: Z6116
