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TABLE CLOCK. BRONZE, STONE. 1990S, AFTER AUGUST MOREAU.

Table clock. Bronze. 1990s, modeled after August Moreau. In working order. Table clock with a raised base and gilt-bronze legs following 19th-century models and a white dial with Roman numerals for the hours. It is topped with a bronze child figure modeled after Auguste Moureau (1834-1917), a French sculptor especially known for his delicate and naturalistic works, part of the Art Nouveau movement, a style of which he was a leading exponent. He made busts, figures, and small sculptures, and his designs were later adopted by many other bronze sculptors due to the artist's success and the quality of his pieces. Weight: 22 kg.

· Size: 35X22,5X64 cms
ANTIQUES

Ref.: ZF1410
”SAINT DOMINIC DE GUZMÁN AND SAINT FRANCIS OF ASSISI”. POLYCHROMED TER...

“Meeting of Saint Dominic and Saint Francis.” Polychrome terracotta sculpture. Colonial School, 17th century. A polychrome terracotta figure with gold details depicting two male figures on a simple pedestal. The one on the left is shown wearing a Franciscan habit (with a small red mark on his right hand) and fraternally embraces, on equal terms, the one on the right, wearing a dark cloak (decorated with fine gold lines creating a net) over a white habit decorated with abundant flowers and gold elements, and a star in light relief on his forehead. These are Saint Francis of Assisi, holding the stigmata, and Saint Dominic de Guzmán, both wearing their respective habits. It narrates, with a remarkable economy of elements (which demonstrates the quality of the work), the so-called "Fraternal Encounter of Saint Dominic and Saint Francis," also known as "The Embrace of Peace" or, more colloquially and in some circles, "The Bump." According to tradition, Saint Dominic had a vision in which Mary implored Jesus on behalf of mankind, identifying them both as servants of God. The following day, Saint Dominic met Saint Francis in the church of Rome, recognizing him as his companion and embracing and kissing him. The present piece still shows Baroque influence, but some details already show a certain neoclassical influence, while maintaining the distinctive features of its school. Compare, for example, with the "Embrace" from the Monastery of Santo Tomás de Ávila by Luis Salvador Carmona, dated to the 18th century. It is also worth highlighting the quality of the modeling and polychromy of the piece, with a remarkable state of preservation considering its age and the delicacy of the material used.

· Size: 14x16x26 cms.
ANTIQUES

Ref.: ZF1398
VALDELATEJA. OIL ON CANVAS. SANTA MARÍA, MARCELIANO. 1925.

View of Valdelateja. Oil on canvas. SANTA MARÍA SEDANO, Marceliano (Burgos, 1866-Madrid, 1952). 1925. Titled, signed and dated (bottom right). Bibliography: La Esfera Magazine (Madrid.1914), issue number 589 of 4/18/1925, page 28 (color illustration). Marceliano Santa María demonstrated his artistic ability as a child, beginning his training in this field at the Provincial Academy of Drawing in Burgos. He moved to Madrid in 1885, where he continued his studies at the Círculo de Bellas Artes, the San Fernando School of Fine Arts, and the studio of Manuel Domínguez Sánchez. He furthered his studies thanks to a grant from the Burgos Provincial Council, which allowed him to spend time in Rome between 1891 and 1895. He returned to Spain that year, settling in Burgos, painting and teaching, until he was appointed director of the School of Arts and Crafts in Madrid in 1934. During the Civil War, he had to reduce his output due to his health, but continued his work after the war ended. His work was recognized with several awards (the sole medal at the 1933 Chicago World's Fair, the Medal of Honor at the 1934 National Exhibition of Fine Arts in Spain, the Grand Cross of Alfonso X the Wise, etc.) and is held in important private collections as well as in institutions such as his own museum in Burgos (the Monastery of San Juan), the Museum of the Royal Academy of Fine Arts of San Fernando in Madrid, the Museum of Modern Art in Barcelona, etc. Although he was highly appreciated for his portraits, he is also known for his Castilian landscapes. This painting shows a landscape of Valdelateja, a town in the province of Burgos located in the Páramos region, and was published in the magazine La Esfera in issue 589, under the title “Castilian Landscapes” and with the title “A Corner of Valdelateja (Burgos)”.

· Size: 87,5x6x108 cms. int: 70x90 cms
ANTIQUES

Ref.: ZF1404
LAST SUPPER. OIL ON BOARD. CASILLIAN SCHOOL, SPAIN, 16TH CENTURY.

Last Supper. Oil on panel. Castilian School, 16th century. It has faults. An oil on panel painting depicting a figurative image against a neutral background, with a checkered tile floor arranged, like everything else, in focal perspective. Around a rectangular table (with two figures at the corners, their backs to the viewer), are a total of twelve figures dressed in tunics and cloaks, and in the center of the painting, another man, surrounded by light. On the table, covered with a white cloth, food can be seen arranged on plates, jugs, bottles, round loaves of bread, glasses, etc. This Last Supper follows typical European Renaissance patterns (compare, noting the differences, with the painting by Leonardo da Vinci, made between 1495 and 1498 for the refectory of the Dominican convent of Santa Maria delle Grazie in Milan, Italy, for example). Italian influence can be seen, but without directly following those models. Compare with the Last Supper attributed to the workshop of Pedro Berruguete from around 1495-1500, which is housed in the Los Angeles County Museum of Art (USA), or, especially noting the lack of expressiveness in this panel, with the Last Supper from around 1562 by Juan de Juanes (Museo del Prado, Madrid, Spain). Iconographically, the abundant use of yellow in the clothing is striking, given that it was usually reserved for the attire of Judas (the figure on the left, with his back to the viewer, holding a bag of coins in his hand) and that the moment of the revelation of the betrayal of one of the disciples was chosen (expressiveness is absent from the faces but not from the hands of the rest of the characters).

· Size: 141x10x90 cms. int. 122x73 cms.
ANTIQUES

Ref.: ZE383
BRONZE MORTAR. 19TH CENTURY.

Mortar and pestle. Bronze. 19th century. Mortar with a flared mouth and relief decoration on the exterior based on balustraded elements (reminiscent of the ribs that these objects often had in the Spanish school during the Gothic period) alternating with floral motifs. The piece is hand-made, decorated with plain moldings of varying widths, as is customary. Weight: 3.5 kg.

· Size: 14x14x9,5 cms. L. 22,5 cms.
ANTIQUES

Ref.: ZF1405
SAINT ANTHONY. ENGRAVING. ALBERT DURER. LATER PIECE, POSSIBLY 19TH CEN...

Saint Anthony Reading at a City Gate. Engraving. Dürer, Albert (Nuremberg, 1471-1528). Later print, possibly 19th century. Signed and dated on plate. Engraving depicting the holy hermit with his usual attributes (staff with cross, bell, hooded habit, etc.) seated, absorbed in his reading, with an imaginary city in the background. Towards the bottom of the print, both Dürer's anagram and the date of the first edition of this engraving (1519) can be seen. This same print was produced primarily during the 18th and 19th centuries, including some editions as early as the 20th century.

· Size: 22x0,1x17 cms. Int 14x9,5 cms
ANTIQUES

Ref.: ZF136827
BRONZE MORTAR. 15TH CENTURY.

Mortar and pestle. Bronze. 15th century. Bronze mortar and pestle with a circular base and a spouted mouth decorated with a band beneath the rim. The base, facing outward, features three smooth lines in relief, above which appears a decoration framed by a band at the top consisting of heavily worn elements or masks over Gothic-style calligraphy. Reminiscent of French pieces held in private collections. Weight: 2.8 kg.

· Size: 13x13x9.5 cms
ANTIQUES
MISCELLANEOUS;BRONZE MORTARS

Ref.: ZF1401
SAINT JOSEPH WITH CHILD JESUS. POLYCHROMED WOOD. SPANISH SCHOOL, 19TH ...

Saint Joseph with the Child Jesus. Polychrome wood. Spanish School, 19th century. Polychrome sculpture depicting Saint Joseph dressed in a tunic and cloak, standing, holding the Child Jesus by the hand, who appears wearing a short tunic and holding a Latin cross to his chest, following the iconography and composition common in the Spanish school of the 19th and 20th centuries (compare with examples from Olot, etc.).

· Size: 25x16x56 cms.
ANTIQUES

Ref.: ZF1400
WROUGHT IRON DOOR KNOCHER. SPANISH SCHOOL, 15TH CENTURY.Y

Dog-shaped knocker. Wrought iron. Spanish School, 15th century. Wrought iron knocker with a star-shaped striking piece featuring engraved decoration and a zoomorphic end (the typology, common in the Spanish Gothic school, is known as "dog-shaped"). This type of knocker was common in important residences, and similar examples are preserved in institutions such as the Provincial Ethnographic Museum of León or on the doors of houses such as those in Valdespino de Somoza.

· Size: 15x5x21 cms.
ANTIQUES

Ref.: Z3687
SPANISH DESK (BARGUEÑO). WOOD, METAL. 17TH CENTURY.

A writing desk or wastepaper basket with a bridge base. Wood, metal. Spanish School, 17th century. It needs some restorations. Bargueño or covered wastepaper basket located on a support of the type known as "bridge foot" due to its shape, made of carved wood and decorated with reliefs of architectural and vegetal elements of Classicist influence, vases, spherical finials and twisted columns (two larger ones on the sides of the bridge and two more flanking each of them, these combining fluted columns at the top with twisted elements at the bottom). On the outside, the wastepaper basket is decorated with cut-out metal appliqués (with simplified geometric and vegetal elements) set on textile, with handles, shell-shaped nails, handles, knobs, etc. and a bolt in the center with architectural elements clearly reminiscent of the Baroque. When opening the front, the sample is seen, with three levels and several streets (which do not correspond between these heights), with drawers with shell-shaped knobs and simple panels, and others with columns and metal knobs of the same shape, and chapels with architectural motifs on the front, combining golden elements with polychrome motifs. These pieces of furniture are one of the most common and appreciated styles of the 17th-century Castilian school, and their influence remained strong well into the 20th century. The exterior decorations and the arrangement of drawers and chapels within varied. The personality of the Spanish style was so strong in the 17th century that it prevented the penetration of foreign influences, especially from France due to the poor diplomatic situation at the time. This had a significant influence on the rest of Europe, where French models predominated. The 17th century was a period of decadence in Spain, and this was greatly reflected in furniture. There were no pieces as luxurious as in other countries, a fact also determined by the pragmatic anti-luxury dictated by the monarchs. However, Spanish furniture of the Baroque period displayed considerable quality, enormous personality, and, above all, great interest in terms of typology and the pursuit of functionality over decoration. It is also worth noting the growing appreciation of furniture compared to the previous century. Considering the inventories of goods, significant changes are seen, with furniture becoming even more expensive than tapestries during the time of Charles II.

· Size: 97x46x145 cms.
ANTIQUES

Ref.: ZF1389
POSTER, CHEMIST BUEN SUCESO, JEREZ DE LA FRONTERA. CARDBOARD. POSSIBLY...

Poster, Buen Suceso Pharmacy and Chemical Laboratory in Jerez de la Frontera. Cardboard. Possibly Spain, circa the first half of the 20th century. It has marks. Poster for a shop interior advertising the Buen Suceso pharmacy and chemical laboratory in Jerez de la Frontera, which was opened at 12 Calle Caballeros by Antonio Soto Flores (1866-1926) after completing his pharmacy studies in Madrid and returning to Jerez. He maintained this business until the beginning of the 20th century, when he transferred it to Manuel Salvago. In the 1920s, the business was run by Rafael Bonald. Apparently, part of the pharmacy's original decor can be seen in the Café Central on Calle Remedios.

· Size: 34x0,1x48 cms
ANTIQUES

Ref.: ZF135439
POSTER, RAMÓN RODIL HNOS, JEREZ. CARDBOARD. POSSIBLY SPAIN, CIRCA EARL...

Poster, Ramón Rodil Hermanos, Jerez de la Frontera. Cardboard. Possibly Spain, circa early 20th century. It has marks and faults. Advertising poster for Ramón Rodil Brothers, Growers and Exporters of Select Fine Wines from Jerez de la Frontera, decorated with a garden landscape and a richly adorned lady in the foreground. The poster's style clearly shows the influence of Modernism. We have information about this business thanks to a newspaper article or advertisement dated 1891.

· Size: 39x0,1x50 cms
ANTIQUES

Ref.: ZF135440
POSTER. CARDBOARD OR PAPER. POSSIBLY SPAIN, CIRCA FIRST HALF 20TH CENT...

Advertising poster. Cardboard. Possibly Spain, circa the first half of the 20th century. Advertising poster of the type used inside a business due to its size and the material it is made of, depicting a young woman mowing in a field, with striking colors.

· Size: 24,5x0,1x35 cms
ANTIQUES

Ref.: ZF135432
ABSTRACTION. PAINTING. LUIS FEITO, 1965.

Abstraction. Painting. FEITO, Luis, 1965. Oil on paper. Signed and dated (lower left, double). Luis Feito López (Madrid, October 31, 1929 - Rascafría, February 7, 2021) was a Spanish painter who began his academic training at the Royal Academy of Fine Arts of San Fernando in Madrid. Afterwards, he devoted himself to Cubist experimentation and later held his first solo exhibition of non-figurative work in Madrid. After completing his studies, he settled in Paris in 1956 with a scholarship, maintaining contact with the group of painters who would later form the well-known El Paso group, founded by him in 1957. Feito's painting, during this period and according to experts, is influenced by automatism, with material surfaces in white, black, and ochre colors, made with a mixture of oil and sand. He introduced red as a counterpoint starting in 1962. In 1970, color became the norm, and from 1975 onward, he tended toward geometric design in his works, ending the decade in what is known as "his refined period of white paintings." Between 1981 and 1983, he lived in Montreal, then moved to New York, where he lived until the early 1990s. He was recognized with the distinction of Officier des Arts et des Lettres of France in 1985, Commander of the Order of Arts and Lettres of France in 1993, the Gold Medal of Fine Arts in 1998, and was also elected to the Royal Academy of Fine Arts of San Fernando in Madrid. His work is held in some important private collections, but also in institutions such as the Montreal Museum of Fine Arts, the Guggenheim Foundation (New York, USA), the Museum of Modern Art in Mexico City, the National Museum of Modern Art in Paris (France), the Museo Nacional Centro de Arte Reina Sofía (Madrid, Spain), etc.

· Size: 70,5x2x51 cms
ANTIQUES

Ref.: ZF136804
VEDUTA DELL INSIGNE BASILICA VATICANA… ENGRAVING. PIRANESI. ROME, ITAL...

Veduta dell\\' famous Basilica Vaticana coll\\' wide Portico, and adjacent Piazza. Recorded. PIRANESI, Giovanni Battista. Rome, Italy, circa 1775. It has faults. Titled on a plate, the engraving presents a view of St. Peter's Square in the Vatican with the Roman church. The first edition was part of the Views of Rome by Giovanni Battista Piranesi (Venice, 1720–Rome, 1778), published around 1760 (several experts date this engraving closer to 1775). Compare with the copy preserved at the Uffizi Gallery (Florence, Italy), the one at the Minneapolis Institute of Art (USA), the one at the Harvard Art Museum (USA), or the one at the National Library (Madrid, Spain). The plate is preserved at the Chalcographie in Rome.

· Size: 73x0,1x52 cms
ANTIQUES

Ref.: ZF135455
POSTER, REYES Y CÍA, EXPORTADORES DE VINOS, JEREZ DE LA FRONTERA. POSS...

Advertising poster, Reyes y Cía., Wine Exporters, Jerez de la Frontera (…). Paper. Possibly Spain, first half of the 20th century. Advertising poster for the Jerez de la Frontera company Reyes y Cía., which shows the company's main specialties (Cognac Fine Champagne-Cognac Diaz Moreau / Amontillado Reyes / Manzanilla Casco Azul / Amontillado Favorito).

· Size: 39x0,1x50 cms
ANTIQUES

Ref.: ZF135443
POSTER, FRANCISCO SERRANO EXPORTADOR DE VINOS, JEREZ DE LA FRONTERA. S...

Advertising poster, Francisco Serrano, Wine Exporter, Jerez de la Frontera. Cardboard. Spain, first half of the 20th century. It shows damage. Small advertising poster for a wine exporter named Francisco Serrano, based in Jerez de la Frontera. No further information about the winery could be found, as it does not appear in either the 1921 Statutes or the 1900 Jerez winery listing.

· Size: 39x0,1x50 cms
ANTIQUES

Ref.: ZF135442
FAMILLE MAROCAINE. ENGRAVING. FORTUNY, MARIANO. 19TH CENTURY.

“Family Marocaine”. Recorded. FORTUNY MARSAL, Mariano (Reus, 1838-Rome, 1874). 19th century. Engraving with a title below the image and signed on a plate showing a scene by Mariano Fortuny. The original was dated 1862, with another print run around 1873 (the first date is indicated on the image itself, in the lower area), in which the title in capital letters is not visible. This is indicated in the Calcografía Nacional edition printed in 1863 (but in this one the signature located here outside the print does not appear).

· Size: 39x0,1x55 cms
ANTIQUES

Ref.: ZF135453
GILT WOOD CONSOLE WITH LIONS’ HEADS. MARBLE, WOOD. 18TH CENTURY.

Console table with lion heads. Carved and gilded wood, marble top. Possibly Italian school, 18th century. A console table with four legs joined by a jamb that ends in a central piece, made of carved and gilded wood, designed to stand against a wall and completed with a light-toned veined marble top that follows the lines of the furniture (curves on three fronts and straight lines on the legs). The slender, molded waist features a raised edge of leaf garlands that join the lion protomes that crown the legs and the flowered scallop shell at the front; the legs, with architectural lines, with volutes at the ends and leaf garlands, are topped with lion heads; the aforementioned jamb also features carved leaves and flowers. Stylistically, both the waist and tabletop lines, the elements of the rest of the furniture, and the material used in it can be linked to 18th-century European works. The lines of the legs (straight compared to other Rococo pieces from, for example, the French school) are reminiscent of pieces based on designs by Daniel Marot (1661-1752), a Dutch architect, furniture designer, and engraver, who were also pieces from the Dutch school. However, it should be noted that his designs influenced numerous creations throughout the continent. It is also worth noting the presence of an 18th-century console table in the Royal Palace of Aranjuez, whose general lines (though not so much the decoration, as this is more Rococo than the present one) are reminiscent of this work in some details. Compare also with those of the Church of Santa Maria Nova in Naples (Italy), with those of the Castello Sforzesco in Milan, etc.

· Size: 100x60x84 cms.
ANTIQUES

Ref.: ZF1128
MANTEL CLOCK. BRONZE, MARBLE. JAPY FRÈRES; BOURSIER. PARIS, FRANCE, CI...

Table clock. Marble, bronze. Japy Freres; Boursier. Paris, France, circa 1849-1854. Machinery in perfect condition and working order. Table clock made of patinated and gilt bronze and marble, featuring a base with architectural and plant elements with a clear Classicist influence, and a panoply in the center. The clock face sits in a vase, flanked by two female figures and two children's figures in patinated bronze. The white dial, with Roman numerals for the hours and Arabic numerals every five minutes, bears the name "Boursier Jne / Elve de Lepautte / À Paris." The Paris-style movement has engraved text and numbers, and a stamp bearing the name Japy Frères, along with the years of the Gold Medals the house received (the last in 1849). The female figures also display clear Classicist influences in their aesthetics, clothing, and objects, recalling allegories from classical mythology. Japy Frédéric (1749-1812) founded the first French watchmaking movement factory in Beaucourt in 1777. Production grew considerably until 1806, when the company began to be called Japy Frères (when the founder's three sons inherited the business). This name was later changed to Japy Frères et Cie in 1854. The dates are assumed by the mention of the medal won in 1849 and the previous nomenclature. There is evidence of a Parisian watchmaker named Boursier who had a workshop on the rue des Vieux Augustins between 1840 and 1860. He signed the dial "Boursier élève de Lepaute". Only prominent private collections and institutions such as the Bank of Spain in Madrid or the BBVA preserve watches from both manufacturers, while from that period and with stylistic similarities are preserved in the National Heritage (Spain), the National Museum of Romanticism, etc. Weight: 35 kg.

· Size: 80x22x57 cms
ANTIQUES

Ref.: ZF1168
POSTER, GUERRA Y RUIZ, JEREZ DE LA FRONTERA. CARDBOARD. SPAIN, FIRST H...

Advertising poster, Guerra y Ruiz, Exporters of Cognac-Style Wines and Sherry Brandy (…), Jerez de la Frontera. Cardboard. Valencia, Spain, first half of the 20th century. It has marks. Poster made in Valencia by Lit. S. Durt for the company Guerra y Ruiz, which is mentioned in the Statutes of the Guild Association of Breeders-Exporters of Jerez de la Forntera Wines (Jerez, Typographic Workshops: Plaza del Carmen, 1, 1921).

· Size: 38x0,1x50 cms
ANTIQUES

Ref.: ZF135429
GARNITURE. GILT BRONZE. HENRI PICARD, VICTOR PAILLARD. PARIS, FRANCE, ...

Garrison, clock, and two candlesticks. Gilt bronze. Henri Picard and Victor Paillard. Paris, France, 1831–1864. With marks (base, back). Gilt bronze fittings composed of a clock and two four-light candelabras each, accompanied by flowers, with plain bases and vase-shaped feet of strong Classicist inspiration, decorated with reliefs (fauns, children's figures, garlands, grotesque heads, etc.). The clock has two female figures (allegories of Geography and Astronomy due to the objects they carry) flanking a vase containing the dial, which features Roman numerals for the hours and Arabic numerals every five minutes, in addition to the signature. The Paris-type movement features an engraved number and a stamp (Vr. Paillard / A. Paris). On the base of the clock, on the back, is engraved the legend H. Picard, referring to the founder and gilder Henri Picard (France, active 1831–1864), who worked for Defreveille and also collaborated with Charles Perrault and Grault. He produced numerous works for Napoleon III, many of which are preserved in the Louvre Museum in Paris. The dial reads "Victor Paillard / Ft de Bronzes / A Paris". Victor Paillard (1805-1886) was a French sculptor who furthered his training in Paris with Jean-François Denière, also collaborating with Ferdinand Barbedienne. In 1830, he founded a successful firm of movable art objects, which received state commissions (notably for the Palau d'Afers Exteriors du Quiai d'Orsay). There are records of other clocks like this one: one by the bronze artist Étienne Martincourt with a dial signed "Lepaute à Paris"; another identical to this one, now in the Paul Getty Museum in Malibu (California, USA), from the Tuileries; and yet another with a dial signed by Victor Paillard. As for the model of the vases, they seem to have been inspired by some, truly popular and appreciated, by Claude Michel (Clodion firm), who produced an original in terracotta in 1763, on which numerous pieces in bronze and other materials were based (a pair in marble is kept at the Art Institute of Chicago, dated 1766; in the Goncourt Collection there is one dated 1761 or 1762; a pair of candlesticks with these bases are known, attributed to Barbedienne, etc.). In turn, it seems that Clodion was inspired by some vases by François Boucher. Weight: 57 kg.

· Size: Reloj 60x27x72 cms Candelabros 32x25x83 cms
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: ZF1399
SILVER PLATE. MADRID, 1731-1738.

Plate. Silver in its colour. Madrid, Spain, 1731-1738. With contrast marks. Circular plate made of silver in its colour with smooth mouldings on the outside and contrasting and engraved marks on the base, on the outside. These place the creation of the piece in Madrid (Corte), dating it between 1731 and 1738, when Domingo Fernández Castelao was also a Court marker (whose mark also appears). Weight: 982 grams.

· Size: 31x31x3 cms.
ANTIQUES

Ref.: ZF1316
ARAB MAN. FRAMED DRAWING. POSSIBLY SPANISH SCHOOL, 1963.

Arab man. Framed drawing. Possibly Spanish school, 1963. Signed and dated (lower right). Marks present. Framed drawing showing an elderly man wearing a turban covering his hair. It is signed and dated (63) in the lower right corner. Both its style and subject matter clearly show the influence of the Orientalist movement that prevailed in various European schools of painting during the 19th century.

· Size: 25x2x34 cms
ANTIQUES

Ref.: ZF136825