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PAIR OF SILVER CANDLESTICKS. 18TH CENTURY.

Pair of silver candlesticks. 18th century. Pair of candlesticks made of silver in an unadorned Baroque style, with a clean and dynamic structure that expresses itself through the contrasting superposition of elements with a circular section. The lines engraved on the discs of the shaft have an impact on this play of inscribed circles that determines the design. The foot is domed and stepped, combining curved mouldings and edges, and its stepped truncated cone shape is repeated, inverted and reduced in size, at the base of the lighter. The shaft is made up of two truncated cone-shaped necks, the upper one with a rounded base, alternating with lentils or discs of different diameters and narrow spools between them. Finally, the lighter is cylindrical, with the same play of parallel mouldings of various sizes that extend to form flat discs. Weight: 2 kg

· Size: 15,5x15,5x33 cms.
ANTIQUES

Ref.: ZF1250
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PORTRAIT, FERNANDO FERNÁNDEZ DE CÓRDOBA Y VALCÁRCEL. OIL ON CANVAS. SP...

Portrait of Fernando Fernández de Córdoba y Valcárcel. Oil on canvas. Spanish School, 19th century. Unframed canvas. Shows damage. Requires restoration. Full-length portrait of a male figure in an interior decorated with carpets, a gilded wooden chest of drawers with a Rococo influence, a wall relief, moldings, an inkwell, maps, books, a writing desk, etc. On the left, next to a curtain, a window opens the composition, revealing a building. The man, in military uniform, holds a sword in one hand and a bicorn in the other, while looking directly at the viewer. Fernando Fernández de Córdova y Valcárcel (Buenos Aires, September 2, 1809 – Madrid, October 30, 1883), 2nd Marquis of Mendigorría, was a Spanish military man, son of José María Fernández de Córdova y Rojas, a frigate captain in the Royal Navy, and María de la Paz Rodríguez de Valcárcel y O'Conrry, 1st Marchioness of Mendigorría. With his brother Luis, he fought in the First Carlist War. He belonged to the Moderate Party and later to the Radical Democratic Party. He was Prime Minister for a single day. He was Senator for life from 1847 to 1868 and for the province of Soria from 1871 to 1873, during the reign of Amadeo of Savoy. In the portrait, it is possible to clearly see his decorations, located on the left side of his chest. Starting from the top: Knight Grand Cross of the Royal and Distinguished Spanish Order of Charles III (established by this monarch in 1771); on the left, the Knight Grand Cross of the Royal Order of Isabella the Catholic (instituted by Ferdinand VII in 1815); below the former, the insignia of Knight of the Insigne and Royal Order of Saint Januarius (military order of the House of Bourbon-Two Sicilies, established in 1738). And almost covered by the lapel is the one awarded in 1850 when he was named Knight Grand Cross of the Royal and Military Order of Saint Ferdinand (established in 1811). The one that remains to be identified, next to the former, may be the decoration of Knight Grand Cross of the Royal and Military Order of Saint Hermenegild. In addition, he was awarded the recognition of Knight Grand Cross in brilliants of the Order of Pius IX.

· Size: 138x218 cms.
ANTIQUES

Ref.: Z6572
STILL LIFE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (SPAIN, 1884-MÉXICO,...

Still Life with Fruit Bowl. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed towards the lower right corner and on the back. Aurelio García Lesmes was a Spanish painter who began his training in Valladolid and, thanks to a pension from the Provincial Council, continued his training at the San Fernando Academy in Madrid, the city where he became better known at National Fine Arts Exhibitions (he won a Third Medal in 1917; Second in 1922 and First in 1926). In the capital he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, etc., and alternated his stay here with long periods in Valladolid, where he worked on his well-known canvases of Castilian fields. Over time, he established himself as one of the most prestigious Spanish landscape painters of his time and established his workshop in Valladolid. After the Civil War he went into exile in Mexico. His work can be seen in prominent institutions such as the Museo Nacional Centro de Arte Reina Sofía (Madrid), the Museo Patio Herreriano (Valladolid), etc.

· Size: 75,55x65 cms / int: 59x49 cms
ANTIQUES

Ref.: ZE296
STILL LIFE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (SPAIN, 1884-MÉXICO,...

Still life. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed towards the top right corner and on the back. Aurelio García Lesmes was a Spanish painter who began his training in Valladolid and, thanks to a pension from the Provincial Council, continued his training at the San Fernando Academy in Madrid, the city where he became better known at National Fine Arts Exhibitions (he won a Third Medal in 1917; Second in 1922 and First in 1926). In the capital he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, etc., and alternated his stay here with long periods in Valladolid, where he worked on his well-known canvases of Castilian fields. Over time, he established himself as one of the most prestigious Spanish landscape painters of his time and established his workshop in Valladolid. After the Civil War he went into exile in Mexico. His work can be seen in prominent institutions such as the Museo Nacional Centro de Arte Reina Sofía (Madrid), the Museo Patio Herreriano (Valladolid), etc.

· Size: 75,55x65 cms / int: 59x49 cms
ANTIQUES

Ref.: ZE297
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

Grille. Wrought iron. Spain, 17th century. Wrought iron grille with double-pear-shaped vertical bars decorated with small discs and other simpler vertical ones (flat above and below, the central one tubular and inserted through the vertical ones). The bars have a light vegetal relief, a technique also present in two discs on the sides of the piece. The shape is slightly reminiscent of works kept in the Victoria and Albert Museum in London and a confessional grille in the Metropolitan Museum in New York dated 1629 (inv. 57.137.51) and another from the same museum by Francisco González (inv. 56-234.12Ad).

· Size: 104x25x143 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z4880
GILT BRONZE MANTEL CLOCK. 19TH CENTURY.

Table clock. Gilt bronze. 19th century. Table clock made of gilded bronze with a powerful base, enhanced by legs decorated with vegetal and architectural motifs of classical inspiration and a series of details on the front (scrolls on the chamfered corners, scrolls and a centre with a globe from which light radiates and a scroll, with inscriptions on both), as well as bands of simple architectural elements and plain spaces to enhance these decorations. On this pedestal is placed a scroll for the dial (white, with Roman numerals for the hours and lines for the minutes, Breguet-type hands), surrounded by a garland. In this area is a male figure, dressed in clothing reminiscent of the Renaissance, holding an unsheathed sword; in addition, a series of elements have been placed on the dial part (a globe, documents with cursive texts in French, etc.). The allusion to science is clear in the prominent presentation of the documents with their respective texts and the sphere. The detail of the sword refers to war. Thus, it would be a figure that would unite wisdom and action, uniting both in the knight of a certain age, as it should be in a ruler or people of a certain social class. The best examples of bronze table clocks were made in France during the 19th century, or so it was believed. This is due to the care with which the manufacture of bronze applications and elements was organised and regulated, the technique of mercury gilded bronze, and the participation in the creation process of top-notch artists who were in charge of the designs of the figures and decorative motifs (it was also not unusual to make figures inspired by or copying more directly great works from the History of Art). The resulting clocks were highly appreciated, and were used to decorate the interiors of palaces and notable residences. Machinery in working order.

· Size: 43x17x55 cms.
ANTIQUES

Ref.: ZF0207
TABLE. WALNUT. POSSIBLY CASTILLE, SPAIN, 17TH CENTURY.

Table with turned leg. Walnut wood. Possibly Castile, Spain, 17th century. Walnut wood table carved in its colour with a straight top, two drawers at the front decorated with interconnected circles (the two on the outside with a star on both and wooden handles) and four turned legs with balustrade shapes joined together by straight jambs (decorated only at the bottom with a simple cut-out on the front side, matching the cut-out edge of this front under the drawers). As this is one of the most common types of furniture in the Castilian school of all ancient Spanish furniture, it is relatively common to find similar examples in important private collections and prominent institutions. Compare, for example, the so-called “Bufete de la Inquisición” from around 1600 that is in the Museo Nacional de Artes Decorativas in Madrid, or with several small 17th-century buffets in the Museo Casa Natal de Cervantes (Alcalá de Henares, Madrid) and the Casa Museo Lope de Vega (Madrid).

· Size: 104x60,5x74,5 cms.
ANTIQUES

Ref.: ZF0463
THE TEMPTATION OF SAINT ANTHONY. OIL ON CANVAS. 17TH CENTURY, AFTER DA...

Temptations of Saint Anthony the Abbot. Oil on canvas. 17th century, based on the model of David Teniers II (Antwerp, 1610-Brussels, 1690). Oil on canvas showing a figurative scene set inside a cave. To the right, a standing cross can be seen, leaning against it; to the left, a hut; and in the centre of the painting, an older, bearded man appears, leaning on a table on which there is a ceramic jar and a skull, with an open book at the foot of the table. The man looks towards a woman, who points to something outside, and is accompanied by a large frog and a series of ghostly beings or monsters dressed in brightly coloured clothes and clothing. Saint Anthony the Abbot or Anthony the Great (251-356) was a Christian monk, considered the founder of the eremitic movement. He was tempted on numerous occasions by the devil while he was in the desert, which became a frequent theme in art (as can be seen in this oil painting). He is represented in a black habit because the Order of the Knights of the Hospital of Saint Anthony (Hospitallers) placed themselves under his patronage, being the colour of the habits of the members of this order (the tau or Egyptian cross was also the symbol chosen by them). David Teniers II or the Younger was a prominent Flemish painter and engraver, son of David Teniers the Elder or I and father of David Teniers III, highly appreciated in his time for his scenes of villagers and common people, his paintings of painting monkeys, etc. He dealt with the subject of the Temptations of Saint Anthony on numerous occasions: Museo del Prado in Madrid, National Museum of Western Art (Tokyo, Japan), Wallraf–Richartz Museum (Cologne, Germany), etc. In the case of the present work, it is necessary to mention and compare it both with an oil painting kept in a private Parisian collection and with another sold at Christie's in 2018, which was in a Belgian collection, has been dated between 1630 and 1680 and is signed. It should also be noted that there are known engravings with this theme made from works by the painter (work in the Fine Arts Museum of San Francisco, United States of America, according to Frans van der Wyngaerde and dated in the 17th century; at UCLA in California, United States of America, also by Frans van der Wyngaerde and from the 17th century).

· Size: 52x4x47,5 cms. int: 42x35.5 cms.
ANTIQUES

Ref.: ZF0996
THREE FRAMED MINIATURES.19TH CENTURY

Frame with three miniatures. 19th century. Rectangular frame with a textile background showing three oval miniatures with female portraits, enhanced with gilded bronze frames (the side ones with lace trim, the central one crowned). On the back there are two rings at the top to hang the piece on a wall. Starting from the left and identified by small metal labels with black letters, we have “Madame Elisabeth” (Elisabeth of France [1764-1794] was the sister of Louis XVI and eldest daughter of Louis, Dauphin of France, and Duchess Maria Josefa of Saxony), “Marie Antoinette” (Marie Antoinette [1755-1793], Archduchess of Austria and Queen of France, was the daughter of Emperor Francis I and Empress Maria Theresa), and “Madame Lebrun” (Louise-Elisabeth Vigeé LeBrun [1755-1842], was the painter of Queen Marie Antoinette and a member of the French Academy since 1783). The three paintings, signed “Lebrun”, are inspired by works from the 17th century. In the same order as above: portrait painted by Vigée LeBrun around 1782 (Versailles, Musée National des Chateaux de Versailles et de Trianon, inv. mv 8143); portrait of Marie Antoinette with roses painted by Vigée LeBrun in 1783 (Versailles, Musée National des Chateaux de Versailles et de Trianon, inv. 3063); this miniature, made from a print, copies the self-portrait by Vigée LeBrun painted in 1782 and currently kept at the National Gallery in London (NG1653). It should be noted that the Museo del Prado (Madrid) has a composition similar to that present in both the miniatures and the frame (inventory O000657, O000658 and O000659).

· Size: 41,5x1,5x22,5 cms.
ANTIQUES

Ref.: ZF1151
PAIR OF IRON COLUMNS. POSSIBLY SPANISH SCHOOL, 17 TH CENTURY.

Pair of columns. Wrought iron. Possibly Spanish school, 17th century. Pair of architectural supports made of iron with a polygonal central axis, ending in a spherical shape on one side and in a support for a horizontal crossbar on the other. At this point two volutes flanking the aforementioned axis end. Weight: 310 kg.

· Size: 79x21x249 cms.
ANTIQUES

Ref.: ZF1271B
VIRGIN WOMAN WITH CHILD, 17TH TO 18TH CENTURIES

Spanish school of the late 17th century – early 18th century. “Virgin and Child”. Carved and polychrome wood. Devotional image carved in wood in the round and polychrome, framed within the late Spanish Baroque. It is a sculpture of monumental conception, with large and monolithic figures, with volumes enhanced through the ample folds of Mary's tunic. The Virgin appears standing, holding the Child on her lap, in a naturalistic position, full of movement. Thus, we see how Mary, to compensate for the weight of the Child, leans her back backwards, while Jesus leans forwards in turn, thus compensating the composition. The Child appears raising his right hand in a sign of blessing, while the other hand rests on a sphere, a symbol of the universality of Christian doctrine and of Christ's redemptive act. Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and its form of expression arose from the people and from the deepest feelings that nestled within them. With the State's economy in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and brotherhoods of clergy and lay people that promoted its development, the works being financed on occasion by popular subscription. Sculpture was thus forced to express the ideals that prevailed in these environments, which were none other than religious ones, at a time when the counter-reformist doctrine demanded from art a realistic language so that the faithful could understand and identify with what was represented, and an expression endowed with intense emotional content to increase the fervour and devotion of the people. Religious subject matter is, therefore, the preferred theme of Spanish sculpture in this period, which began in the first decades of the century with a priority interest in capturing nature, to progressively intensify throughout the century the embodiment of expressive values, which was achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

· Size: 32x26x70 cms.
ANTIQUES
SCULPTURE

Ref.: Z2514
HOLY OILS RECIPIENT. PEWTER. 19TH CENTURY.

Holy Oils Container. Pewter. A pewter vessel featuring a foot, a curved body, two handles, and a lid. Its exterior decoration clearly shows influence from the Rococo style of 18th-century Europe (note the rocailles on the handles, the bands on the body, etc.) along with some slightly classicist details. One front features a crowned heraldic shield framed with scrolls, and the other features an ecclesiastical shield.

· Size: 36x22x47 cms.
ANTIQUES

Ref.: ZF0937
ENGINE ORDER TELEGRAPH. FENYA, FABRICACIONES ELÉCTRICAS, NAVALES Y ART...

Synchronous type electric telegraph for a ship's bridge. Fenya, Fabricaciones Eléctricas, Navales y Artilleras, SA Spain, mid-20th century. Bronze, glass, carved wooden base. An electric bridge telegraph, of the synchronous type, used, thanks to a replica in the engine room, to transmit the required speed orders. It has a simple square base made of carved wood, a metal body with a door closed by screws and a circular top with the usual lever. This circular area has a transparent glass and a blue arrow to indicate various speeds (forward and reverse), above the emblem of the manufacturing company and the type of machinery, model and power. It was a very effective and widely used mechanism while there was no internal voice communication between different parts of the ship and it was necessary to operate the engines from the same engine room. Although they were often changed as new technical advances arose, they are pieces appreciated today for their appearance and history. Fenya (Fabricaciones Eléctricas, Navales y Artilleras) was a company founded in Ferrol by José María González-Llanos y Caruncho (who also founded ASTANO -Astilleros y Talleres del Noroeste- in 1941), with three telephone designs as its first product. This was followed by telephone exchanges, electrical equipment for ships, electrical panels and motors, becoming one of the main auxiliary companies in Ferrol. It closed definitively in 1997.

· Size: 42x42x130 cms. base 55x55 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0434
EMPIRE COMMODE. MAHOGANY, OAK, ORMOLU BRONZE, SAINT ANNE MARBLE. FRANC...

Empire chest of drawers. Mahogany, oak, gilded bronze, Sainte Anne marble. France, 19th century. Rectangular chest of drawers with a Sainte Anne marble top, made of carved mahogany and oak, with three drawers at the front decorated on the front with two rings emerging from the jaws of two lion protomes in gilded bronze and a lock shield with two crossed cornucopias; under the top there is another hidden drawer with internal divisions; the front legs have been carved in the shape of a claw, and the rear ones are rectangular. The marble known as Saint Anne is a dark grey veined marble from Belgium and widely used for furniture tops, monuments, etc., although Louis XV and Victorian style fireplace fronts and other objects made from this stone have been preserved. The high-quality gilt bronze fittings, the composition of the furniture and its decoration link the piece to the French Empire style, so called because it developed mainly during the First French Empire (although it began during Napoleon's military campaigns in Italy and Egypt). However, it is worth noting the lack of decorative elements for which the French examples are known. Similar examples can be found in prominent European residences, mainly in France. In Spain, similar chests of drawers are preserved in various palaces and institutions such as the National Museum of Decorative Arts or the Museum of Romanticism in Madrid, for example.

· Size: 128x60x95 cms.
ANTIQUES
FURNITURE

Ref.: Z0546
WALNUT TABLE WITH WROUGHT IRON FASTENERS, SPAIN, 17TH CENTURY.

Dining table in walnut wood and wrought iron fasteners. Spain, 17th century. With restorations. Rectangular table top on two lyre legs with edges animated by curves and counter-curves that have been secured to the table top by means of two S-shaped wrought iron fasteners, with balustraded areas towards the centre and decorated with discs where the last two meet. The upper part, really simple and with clean lines, clearly shows that it is a piece of furniture created for purely utilitarian purposes. However, its size places it in a house of a reasonable level: this meant that it was always seen in the same place, but dressed in a quality fabric and with a series of important pieces on top of it, ceramics, silverware, glass..., which were especially appreciated by the owner. For this reason, it is the lower part that does show a little more work with the lyre legs with their animated profiles through curves and counter-curves and small semicircular mouldings, elements that, due to their movement, place the work within the Baroque. These sinuous shapes are also seen in the fasteners, tubular in the shape of a baluster towards the centre and highlighted by discs in two sizes. Walnut was the wood most often used in furniture of the period in Spain, and its shapes also reflect this origin. Although it was frequently found in houses of a certain level, not many examples have been preserved due to changes in taste and customs over the centuries. Notable examples include, for example, the one in the Sala de las Firmas (Signature Room) of the Viana Palace in Córdoba, the one in the dining room of the Casa Museo de Lope de Vega in Madrid, one in the Museo Nacional de Artes Decorativas (National Museum of Decorative Arts) in Madrid (inventory CE 27479), or another in the Patio Elcano of the building called the Ministry of Foreign Affairs in Madrid (Plaza de Santa Cruz).

· Size: 229x89x81 cms.
ANTIQUES
FURNITURE

Ref.: Z0749
ORNAMENTAL MIRROR. 19TH CENTURY.

Cornucopia, carved and gilded wood. 19th century. Rectangular mirror with a frame highlighted by a crest that extends along the sides. It is made from scrolls and rocailles, directly inspired by 18th century examples that follow this style. The straight lines on the inside of the mirror show that, as was common in the 19th century, elements of past styles have been taken to create works more in keeping with the taste of the time.

· Size: 45,5x60 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z6615
CERAMIC DRUG JAR OR SYRUP JAR. POSSIBLY ITALY, 18TH CENTURY.

Orza. Ceramic. Possibly Italy, 18th century. A globular jug with a small base, a narrow spout at the mouth (narrower than the body, and with a small neck) and a handle formed by a twisted flat element, made of glazed ceramic and decorated with a composition in blue on a white background. Around a cartouche with an inscription (“AQa di MALVA”, alluding to a remedy derived from the common mallow, a common plant in Europe that was already mentioned, along with its healing properties, by Pliny the Elder among others), and using various shades of blue, a significant variety of plant elements and flowers have been arranged, accompanied by a bird perched on the cartouche. The decoration of ceramics in blue tones on a white background was common in Europe as early as the 17th century (Dutch and English pieces, works in Talavera de la Reina in Spain, etc.). In the case of Italy and in ceramics (with this origin, usually called “maiolica”), cobalt blue decoration on white is already found in works inspired by Byzantine in the Quattrocento, accompanying various influences. In the first third of the 16th century this “porcelain” decoration (since, apparently, it was distantly inspired by Chinese porcelain works that used these colours) continued, with touches of other colours. Compare this work with the pieces known as “Medici Porcelain”, from the third quarter of the 16th century. The name “berrettina” refers to glazed majolica in light blue to dark blue, obtained with cobalt oxide. It was used from the 16th century to the first half of the 17th century, mainly in Liguria and Veneto. It is also worth mentioning a series of pieces with which this one has something more closely related: a pharmacy jar with Saint Paul (made in Savona in the 17th century, now in the International Museum of Ceramics in Faenza), or with albarelos preserved in the Museum of Hispanic Pharmacy at the Complutense University of Madrid, works from the Italian region of Savona, pieces in private collections, etc.

· Size: 24x30x26 cms.
ANTIQUES

Ref.: ZE205
SET OF TWO ORNAMENTAL MIRRORS. GILT WOOD. ROCCOCO, 18TH CENTURY.

Pair of cornucopias. Carved and gilded wood. 18th century. Pair of carved and gilded wooden cornucopias decorated with a fine moulding on the inside and an elaborate composition of vegetal elements with curved shapes on the outside, leaving empty spaces and a marked asymmetry in both, tempered by carving both examples with the same decoration. This type of work was only carried out for main houses, since its main use was to reflect the light of candles and lamps in these luxurious interiors, also showing the economic power of their owners. The method of making mirrors from sheets of glass was discovered in Venice in the 16th century, and was kept secret until approximately a century later, when the role of mercury in the process was known in London and Paris, allowing the expansion of these elements. However, the use of cornucopias did not spread throughout Europe until the Rococo period, and their use and creation has continued since then. From the beginning, and with the idea of showing the economic prosperity of its owner and helping with lighting, it was normal for it to be gilded after its carving. The movement that the pieces present inside, where the mirror would be, provides a first clue to place it in an artistic style. As for its decoration, the vegetal elements, the braces, the curved shapes contrasting with counter-curves and the scallop details refer to the clear belonging of the two examples to the Rococo, differentiating them from both the 18th century examples with a greater neoclassical influence, as well as from those of the 19th century. The asymmetry that each of the cornucopias has in its decoration refers to the beginning of this style, given that, after a time, the contrasts of this artistic style were softened by placing the decoration in markedly symmetrical compositions.

· Size: 64x25x110 cms.
ANTIQUES

Ref.: ZF0276
CUP COOLER. WITH MARKS. “SOFT PASTE”. “REAL FÁBRICA DE PORCELANA DEL B...

Cooler or glass cooler. With marks on the base. White paste. Royal Porcelain Factory of Buen Retiro (Madrid, Spain), circa 1784-1803. A piece of soft paste with wavy edges used to hold the stems of glasses in place and cool them when filling the container with ice or similar. On the outside, it has two handles in the shape of plant elements and small reliefs on the fronts (also enhanced by gilding) which frame floral bouquets with coloured leaves. It is possible that the piece belongs to the second period or intermediate stage of the Royal Porcelain Factory of Buen Retiro in Madrid, established in the Spanish capital from 1760 onwards and thanks to Charles III; this stage corresponds to the “controls” of Charles Scheppers and Philip Gricci, and continues the Italian influence, adding a relationship with other currents (English, Saxon). Weight: 2225 grs

· Size: 33x19x13 cms.
ANTIQUES

Ref.: ZF0431
CHILD JESUS. IVORY, WOOD. 18TH CENTURY.

Infant Jesus. Ivory and polychrome wood. 18th century. Ivory carving of the Infant Jesus, standing and naked, raising one of his arms in a gesture of blessing and placed on a pedestal or base of carved, polychrome and gilded wood decorated with plant elements in the corners with a certain Baroque feel. It has a CITES certificate. Valid for the European Union

· Size: 12x9x30 cms. Niño 9x6x22 cms.
ANTIQUES

Ref.: ZF0756
LANDSCAPE WITH A LAKE. OIL ON CANVAS. 18TH CENTURY.

Landscape with lake. Oil on canvas. 18th century. Landscape with a sunset on a lake, with mountains in the background and trees and a hut in the foreground. The composition is slightly enlivened by the presence of boats of various types with people on board, as well as two groups of buildings towards the right of the painting. The painting has many points in common with landscapes from European schools painted in the second half of the 18th century.

· Size: 116x3x50 cms. int: 35,5x102 cms
ANTIQUES

Ref.: ZF0973
MIRROR WITH SILVER AND ENAMELS FRAME. WOOD, GLASS, ETC. MEXICAN SCHOOL...

Mirror with cabochon frame. Silver, enamel, wood, stucco, etc. Mexican school, 17th century. No contrast marks. Has faults. Mirror with a slightly rectangular frame made of wood with polychrome areas and embossed silver plating on stucco and enhanced with enamel cabochons with geometric elements in dark and light blue. On the front there are a series of smooth mouldings, one of which has the aforementioned polychromy. The silver stripe is distributed around the outside of the piece, with the corners in exposed wood and stripes in smooth silver (two on each side), and a decoration with a certain volume in which architectural elements with a clear classicist influence are combined (in the centre of which are the enamel cabochons), flanked in the more elongated areas by compositions with scrolls, volutes, plant motifs and fruits. Stylistically speaking, the work can be linked to works in the same technique made in Mexico, mainly on small chests. Also, as is usual due to the peninsular influence, it is possible to recall works such as the Holy Thursday Chest from the 17th century in Barbastro. Weight: 5.7 kg.

· Size: 54x6x61 cms. int: 39x46 cms
ANTIQUES

Ref.: ZF1191
CHURCH LAMP. SILVER. CÁDIZ, SPAIN, 18TH CENTURY (1767).

Votive lamp. Silver in its color. Cadiz, 18th century (1767). No hallmarks. Inscribed. A silver-colored ceiling lamp featuring a deep lower section divided into levels by a series of moldings, ending in a ring and decorated with plant and architectural elements; a series of chains alternating elongated links with round rings; and a top finial reminiscent of the aforementioned lower section in its shapes and decoration. Inside a shield topped with a crown appears an inscription relating to the person who donated the piece and the date: “By the devotion of D. Manuel Joseph de Alba. Made in Cadiz in the year 1767”. A record is kept at the University of Veracruz (record code 27_1767_12485, folio 115 back-117, record location Jalapa) in which Don Manuel José de Alba is mentioned, the legitimate son of Don Juan José de Alba and Doña Beatriz de Aragón, a native of the town of Chiclana and resident of the city of Cadiz, residing in Jalapa. Someone with the same name (probably the one alluded to in the piece) appears in documents from 1767 from the Corpus Christi Convent in Alcalá de los Gazules. Votive lamps are a type of liturgical furnishings whose purpose was to burn to illuminate either an image to which one felt a strong devotion or the Blessed Sacrament, so they were frequently found accompanying the tabernacles of chapels. Several early examples survive, mainly in private collections and ecclesiastical institutions. Compare, for example, the 1720 Juan del Río lamp from New Mexico (Franz Mayer Museum, Mexico City, Mexico); three from the 18th century in the church of Santa María de Tobed (Zaragoza, Spain); another from 1788 in the parish of Nuestra Señora de Gracia de Montalbán in Córdoba (Spain); etc. Weight: 3020 grams.

· Size: 46x46x115 cms.
ANTIQUES

Ref.: ZF1315
CHRIST WITH AN ANGEL. OIL ON CANVAS. 18TH CENTURY.

Christ with angel. Oil on canvas. 18th century. The painting depicts Christ, dressed, supported by the shoulders or back by an angel, both figures situated in an indeterminate space, accompanied by various symbols of the Passion (cross, chalice). The theme of the dead Christ supported by an angel has been treated several times in art (Antonello da Mesina in the 15th century, Fernando Yáñez de la Almedina, Alonso Cano, Jacob Backer the Elder, etc.), with the peculiarity that, following the text that inspired it, Jesus appears with the loincloth and not fully dressed as in the present work.

· Size: 102x8x125 cms. Int 84x107 cms
ANTIQUES

Ref.: ZF1331

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ANTIQUES

DECORATION

DECORATIVE ANTIQUES

PAIR OF SILVER CANDLESTICKS. 18TH CENTURY.

PORTRAIT, FERNANDO FERNÁNDEZ DE CÓRDOBA Y VALCÁRCEL. OIL ON CANVAS. SP...

STILL LIFE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (SPAIN, 1884-MÉXICO,...

STILL LIFE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (SPAIN, 1884-MÉXICO,...

WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

GILT BRONZE MANTEL CLOCK. 19TH CENTURY.

TABLE. WALNUT. POSSIBLY CASTILLE, SPAIN, 17TH CENTURY.

THE TEMPTATION OF SAINT ANTHONY. OIL ON CANVAS. 17TH CENTURY, AFTER DA...

THREE FRAMED MINIATURES.19TH CENTURY

PAIR OF IRON COLUMNS. POSSIBLY SPANISH SCHOOL, 17 TH CENTURY.

VIRGIN WOMAN WITH CHILD, 17TH TO 18TH CENTURIES

HOLY OILS RECIPIENT. PEWTER. 19TH CENTURY.

ENGINE ORDER TELEGRAPH. FENYA, FABRICACIONES ELÉCTRICAS, NAVALES Y ART...

EMPIRE COMMODE. MAHOGANY, OAK, ORMOLU BRONZE, SAINT ANNE MARBLE. FRANC...

WALNUT TABLE WITH WROUGHT IRON FASTENERS, SPAIN, 17TH CENTURY.

ORNAMENTAL MIRROR. 19TH CENTURY.

CERAMIC DRUG JAR OR SYRUP JAR. POSSIBLY ITALY, 18TH CENTURY.

SET OF TWO ORNAMENTAL MIRRORS. GILT WOOD. ROCCOCO, 18TH CENTURY.

CUP COOLER. WITH MARKS. “SOFT PASTE”. “REAL FÁBRICA DE PORCELANA DEL B...

CHILD JESUS. IVORY, WOOD. 18TH CENTURY.

LANDSCAPE WITH A LAKE. OIL ON CANVAS. 18TH CENTURY.

MIRROR WITH SILVER AND ENAMELS FRAME. WOOD, GLASS, ETC. MEXICAN SCHOOL...

CHURCH LAMP. SILVER. CÁDIZ, SPAIN, 18TH CENTURY (1767).

CHRIST WITH AN ANGEL. OIL ON CANVAS. 18TH CENTURY.

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