Results 1 to 24 of 1567

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BRONZE SCULPTURE WITH CLOCK. BRONZE, STONE. COUPIER FILA Y PROVART. PA...

Clock with sculpture. Bronze, stone. Coupier Fila and Provart, Paris, France, late 19th century. Bronze sculpture depicting a boy sitting on a rock formation, raising one bare foot just above a crab raising its claws. It features a carved stone and gilded bronze base (in the form of classicist elements such as ribbons, garlands, etc.) on which there is a wind-up clock with a white dial and blue Roman numerals for the hours and Arabic numerals and black numerals every five minutes. The clock also bears the inscription "Coupier Fila et Provart/ a Paris/ 100 Rue Amelot." Coupier Fila and Provart was a firm dedicated to the manufacture of clocks and bronze elements (sculptures, appliqués, etc.) located in Paris towards the end of the 19th century. The Paris-style machinery featured on the piece bears a stamp on the bronze that reads "medaille de bronze / J. Marti et Cie.", a reference to another well-known watchmaking firm active in Paris (France) in the second half of the 19th century. The name "August Moreau" is engraved on the rock formation on which the child sits, after whom the sculpture is inspired. Auguste Moreau (Paris, 1834–1917) was born in Paris, the son of Jean-Baptiste Moreau, also a sculptor, painter, and draftsman, with whom he began his training. He furthered his studies at the École des Beaux-Arts, which produced famous artists such as Henri Matisse and the sculptor Georges Gimel. His works were first exhibited in 1861, and he soon became a well-known artist. He developed a special style of filigree figures, highly detailed figures and busts. Weight: 50.3 kg.

· Size: 35x37x92 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1434
PAIR OF SILVER TRAYS. DIEGO GONZÁLEZ DE LA CUEVA. MEXICO, SECOND HALF ...

Pair of trays. Silver. GONZÁLEZ DE LA CUEVA, Diego (assayer). Mexico City, second half of the 18th century. With contrast marks. Pair of oval silver trays in their own colour, each with two handles (decorated with faceted circular and vase-like shapes) and curved edges with mouldings creating gentle curves, counter-curves and peaks (a decorative form often described as a profile of mitred curves that translate into ridges on the eaves). The hallmarks, present on both pieces, are found on the edge. The hallmarks correspond to the fiscal mark (the royal fifth), the locality mark, and the silversmith's mark. The pieces are therefore located in Mexico City, with Diego González de la Cueva as the master carver or assayer, whose pieces are preserved from the 1760s and 1770s (the fountain of the Concepción de la Orotava from 1760, the tray of the Caracas Cathedral, the frame of the painting of the Virgin of Guadalupe in the Soumaya Museum in Mexico City, etc.). The tower mark has not been identified. Weight: 2,850 grams.

· Size: 38,5x35x8 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1449
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JOSEPH AND HIS BROTHERS. OIL ON CANVAS. DUTCH SCHOOL, AFTER ANDRIAEN V...

Joseph and his brothers. Oil on canvas. Dutch school, based on models by Andriaen Verdoel (Flesingen, ca. 1620–1675). Oil on canvas depicting a figurative scene in a palace interior, with two openings to the landscape through two archways, one of them with twisted columns. Above, a richly dressed male figure has his cloak held up by another, accompanied by other figures behind him. Below the steps, a series of figures appear kneeling in supplication. In the upper left corner, a painted curtain appears, like a trompe l'oeil. The painting depicts a scene from the Old Testament (Genesis). Joseph, one of Jacob's twelve sons, was sold by his brothers to Egypt as a slave and ended up in prison. By interpreting a prophetic dream from Pharaoh, he was freed and elevated to the rank of chaty. In times of famine, he saved the Egyptian people and brought his family into the country. He forgave his brothers and granted them the land of Goshen, where they would become the people of Israel. Adriaen Verdoel I was a Dutch painter who, according to some sources, studied with Rembrandt and according to others, with Leonaert Bramer and Gaspard de Witte. He is recorded in Haarlem in 1649 and was the teacher of Jan de Groot. He was known for his landscapes, genre scenes, biblical themes, and vanitas. His works are held by institutions such as the Palais des Beaux-Arts in Lille, etc. Compare the present work with the painting of the same subject held by the Museum of Fine Arts in Nimes (France).

· Size: 100x5x75,5 cms int: 85,5x61 cms.
ANTIQUES
PAINTINGS

Ref.: ZF1443
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SAINT CRISTOPHER. JET. SPANISH SCHOOL, 16TH CENTURY.

Saint Christopher. Jet. Spanish School, 16th century. A carving showing a male figure standing on a base and carrying a child on his shoulders. Saint Christopher of Lycia, best known thanks to the spread of the Golden Legend of James of the Voragine from the 13th century onwards, was best known for having crossed a river with Christ disguised as a child on his shoulders. Compare this work with the 16th-century jet-carved Saint James with Pilgrims in the Cathedral Museum of Ávila (Spain), the examples in the Valencia Museum of Don Juan (Madrid), etc.

· Size: 5x3x16 cms.
ANTIQUES
SCULPTURE

Ref.: Z3608
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SAINT CRISTOPHER. JET. SPANISH SCHOOL, 16TH CENTURY.

Saint Christopher. Jet. Spanish School, 16th century.
A carving showing a male figure standing on a base and carrying a child on his shoulders. Saint Christopher of Lycia, best known thanks to the spread of the Golden Legend by James of the Voragine from the 13th century onwards, was best known for having crossed a river with Christ disguised as a child on his shoulders. Compare this work with the 16th-century jet-carved Saint James with Pilgrims in the Cathedral Museum of Ávila (Spain), the examples in the Valencia Museum of Don Juan (Madrid), etc."

· Size: 5x3x16 cms.
ANTIQUES
SCULPTURE

Ref.: Z3608X
SIDE TABLE. GLASS, BRONZE. 20TH CENTURY.

Low table, Dancer. Bronze, glass. 20th century. Glass defect. Low table with a transparent oval glass top, supported by a bronze female figure of a dancer in a dancing pose. The figure is inspired by 19th-century models derived from the French school, specifically works by Moreau. Weight with glass: 103 kg

· Size: 120x79x82 cms. vidrio: 82x122x1.5 cms.
DECORATIVE ANTIQUES
FURNITURE

Ref.: ZF1327
CLARET JAR. SILVER, GLASS. LONDON, HORACE WOODWARD & CO LTD, 1895. LEU...

Jug. Glass, silver. England, London, Horace Woodward & Co Ltd, 1895. Leuchars & Son, Paris, France. With contrast marks. A clear glass jug decorated with a silver frame (matched in color with gilding) and decorated with pearl beads and plant motifs. It belongs to the type used in Victorian England for serving wine, and is therefore known as "claret" jugs. The hallmarks (lower area of the neck and peak piece, base of the piece) identify it as an English production, by Horace Woodward & Co Ltd (active London since 1866), made in London in 1895. On the base a series of numbers (2 / 72226) can be seen engraved and another mark (Leuchars & Son...), possibly due to the piece being imported to France. Leuchars & Son was a "gentleman's box" firm established in 1794 by James Leuchars in Piccadilly (London), with a certain fame until his death in 1822, when his widow took over the business. In 1847 she died and her son, William (also a prominent silversmith), took over. He managed to win medals at the Great Exhibition of 1851 and the International Exhibition of 1862, opening a shop in Paris in 1867 under the name Leuchars & Son. After a series of changes, the company disappeared in 1902. Weight: 1750 grams.

· Size: 14x10x30 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1450
PAIR OF GRILLES. WROUGHT IRON. SEGOVIA, SPAIN, 16TH CENTURY.

Pair of railings. Wrought iron. Segovia, 16th century. Pair of wrought iron railings with balustrade-like bars facing each other, each with discs. These are decorated with two opposing "C"-shaped elements alternating bars. Stylistically, they follow common models in the Castilian Renaissance school. Compare these with the railings of the 15th-century Casa de Pilatos in Seville, or with the one preserved in the Santa Cruz Museum in Toledo (Spain), from the Convent of San Juan de la Penitencia and made by Juan Francés in 1528.

· Size: 159x25x97,5 cms y 161x19x97,5 cms
DECORATIVE ANTIQUES
WROUGHT IRON;MISCELLANEUS

Ref.: ZF1415
HANNIBAL BARCA ORMOLU BRONZE CLOCK. FRANCE, 19TH CENTURY.

Table clock, Hannibal Barca. Ormolu bronze, metal. France, 19th century. Table clock with Paris movement and a case made of mercury-gilt bronze, featuring a rectangular base on four legs (the front ones decorated with scrolls and ending in claws), decorated with a series of relief moldings depicting plant and architectural elements. The metallic dial (with Roman numerals for the hours) sits within a square shape, on which sits the male figure that decorates the piece. A bearded man, dressed in armor (a loriga or muscled breastplate) and a cape secured over one shoulder with a fibula, rests his left arm on his helmet, holding a rolled-up document, and with his left hand he holds a Roman standard (another appears broken under his foot). Note, to the right and next to a sword, a vase filled with rings. Hannibal Barca (247-183 BC) was a Carthaginian general and statesman best known for his clashes with the Ancient Roman Empire. He was often depicted counting the rings of fallen Roman knights at the Battle of Cannae (216 BC), as can be seen in the sculpture by Sébastien Slodtz (made in 1704, Louvre Museum, Paris), where he also carries a Roman standard. He is also shown with these two elements (vase with rings and standard) in a table clock in the Cagny Museum in Paris, made during the French Restoration. Another piece, in a private collection, inspired by this clock is known, designed after models by Peirra-Francois Feuchère. These two models would surely have served as inspiration for the present table clock. Weight: 25 kg.

· Size: 53,5x20x76 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1230
BRONZE CAPITALS WITH BASES, FOUR SETS. SPANISH SCHOOL, 20TH CENTURY.

Capitals with bases, four pieces. Bronze. Spanish School, 20th century. Origin: Caryatids Building (formerly the Spanish Bank of the Río de la Plata; headquarters of the Cervantes Institute), Calle Alcalá, number 49, Madrid (Spain). Four capitals with their respective bases, made of bronze, clearly show a classicist influence in both their moldings and lines, as well as their decorative elements. However, in the arrangement of these motifs and other details, an evolution or departure from these nineteenth-century classicist models can be seen (volutes, stepped elements, etc.). They come from a building located at 49 Calle Alcalá in Madrid (Spain), known as the Cariátides Building, which was built as the headquarters for the Banco Español del Río de la Plata by Antonio Palacios Ramilo and Joaquín Otamendi between 1911 and 1918. It was extended and renovated between 1944 and 1953 (architect Manuel Cabanyes), and has been the headquarters of the Instituto Cervantes since 2006. Weight: 534 kg. Price per unit

· Size: 63x63x75 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1436
JACKET AND TROUSERS, SOVEREIGN MILITARY ORDER OF MALTA. SPAIN, POSSIBL...

Honorary Uniform, Order of Malta. Spain, possibly around the beginning of the 20th century. Blue jacket or coat and trousers, the first of which bears the label of the Félix del Hierro tailor shop, which was located on Barquillo Street in Madrid (Spain) and had another location on Almirante Street in the same city. It is known to have been in operation until at least 1946. The Sovereign Military Hospitaller Order of Saint John of Jerusalem, of Rhodes and of Malta (SMOM), known simply as the Order of Malta or Knights Hospitaller, was recognised by Pope Paschal II in 1113. After having provisional headquarters in Messina, Catania and Ferrara, the Order was finally established in Rome in 1834. During the 20th century, the Order refocused on its mission of hospital care.

· Size: 50x5x90 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1448
BULL. BRONZE. FRANCISCO BONILLA VILLALBA, 20TH CENTURY.

Wounded Bull. Bronze. BONILLA VILLALBA, Francisco (1920-1978). Signed on base. Bronze sculpture depicting a fighting bull about to die, already with the sword stuck in it and fallen to the ground, where a hat can also be seen. In this lower area, worked into the metal to resemble earth, a signature appears ("Bonilla Villalba"). Francisco Bonilla Villalba was an artist born in Fernán Núñez (Córdoba, Spain) in 1920. He died in Madrid in 1978. In 1937, he entered the School of Arts and Crafts in Córdoba. From there, he moved to Seville to study at the "Santa Isabel de Hungría" School. Later, he went to Madrid to continue his training at the "San Fernando" School of Fine Arts, where he specialized in Sculpture.

· Size: 22x52x34 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1440
PAIR OF BRONZE VASES. JAPAN, MEIJI ERA.

Pair of vases. Bronze. Japan, Meiji period (1868-1912). Pair of bronze vases decorated with figurative elements and a band of gadroons. The necks feature two oriental-style dragons in flight, while the bodies depict birds, branches, and fruit in various poses. Stylistically, they are similar to examples in private collections dating to the late 19th century. Weight: 5.45 kg.

· Size: 19x19x32 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1439
CHANDELIER, EMPIRE STYLE. BRONZE, GLASS. 19TH CENTURY.

Empire-style ceiling lamp. Bronze and glass. 19th century. Chandelier or ceiling lamp made of gilt bronze and decorated with elements of strong classicist influence (garlands of leaves, Greek-style palms, plant elements, scrolls, etc.) and with beads of various shapes made of transparent glass (faceted chains, others in the shape of a teardrop, etc.). Compositionally, it follows common models from several 19th-century European schools, with these decorative elements being what could place it within the French school. The Empire style is a dominant (but not exclusive) current within Neoclassicism that emerged primarily during the First French Empire and was characterized by its influence from ancient models, but with an extravagance unlike that of the 18th century, and reminiscent of the Louis XIV style in some details.

· Size: 85x85x130 cms
ANTIQUES
FURNITURE

Ref.: ZE389
SILVER CHURCH LAMP. SPANISH SCHOOL, 18TH CENTURY.

Votive lamp. Silver in its color. Spanish School, 18th century. With contrast marks. Silver-plated ceiling lamp composed of two pieces joined by openwork rhomboid link chains alternating with rings. These two elements have been decorated with embossed plant motifs and flat pieces shaped like scrolls, both reminiscent of Classicist designs. It features electrical wiring inside. The hallmarks are located on the eaves of the piece, with one engraved. Weight: 2,700 grams.

· Size: 54,5x54,5x92 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1314
SILVER JAR OR JUG. ANTONIO SANTACRUZ, CÓRDOBA (SPAIN). 18TH CENTURY.

Jug. Silver. Santacruz Zaldúa, Antonio. Cordoba (Spain). 18th century. With contrast marks. A silver vase in its original color, featuring a circular base decorated with spiral segments also visible at the top of the piece. The body is wider at the bottom, with a decorated spout and a scrolled handle, and a lid with this decorative motif on the foot and body. It bears hallmarks by Antonio Santacruz Zaldúa (1733–1793), a silversmith from Córdoba, Spain. Weight: 875 grams.

· Size: 17x23x29 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1432
NIGHT STAND. WOOD (LIMONCILLO), METAL, ETC. LATE 19TH CENTURY.

Bedside table. Lemongrass wood, metal, etc. Late 19th century. It has minor faults. Wooden nightstand with four legs carved with simple architectural elements, metal rollers, and a chambray tabletop at the bottom. At the front, it features a drawer and a hinged door, which opens into an open space.

· Size: 39x39x82 cms.
DECORATIVE ANTIQUES
FURNITURE

Ref.: Z0619
DOOR. WOOD (WALNUT, PINE), METAL. 18th CENTURY.

Two-leaf door. Pine and walnut wood, metal. 18th century. It has defects. Tall double-leaf door made of a combination of pine and walnut wood, featuring simple paneling, following patterns common in Spanish carpentry since the Renaissance, and latticework at the top. It features an oval metal keyhole on one of the leaves.

· Size: 126x3,5x208 cms
DECORATIVE ANTIQUES
FURNITURE

Ref.: Z3901
AUTOGRAPH AND PHOTOGRAPH. VASLAV NIYINSKY, 1914.

Photograph and signature. Vaslav Niyinsky (kyiv, 1890-London, 1950), 1914. Vaslav Niyinsky (transliterated Vátslav Fomich Nizhinski) was a Polish-born Russian ballet dancer and choreographer, considered one of the most gifted in history, notable above all for his meeting with Sergei Diaghilev, a member of the St. Petersburg elite and an important patron of the arts, who promoted Russian visual and musical art abroad, particularly in Paris. During the First World War, Nijinsky was placed under house arrest in Hungary for being a Russian citizen. Diaghilev managed to get Nijinsky out of the country thanks to the intervention of Alfonso XIII and his Oficina Pro Cautivos (Office for the Protection of Prisoners). The signature is accompanied by a photograph of the employees, which were used as business cards at the time (cabinet photograph), and is dated 1914.

· Size: 58x6,5x49 cms. int: 40,5x31 cms.
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF1340B
FRAME. CARVED WOOD.18TH CENTURY.

Frame. Carved wood. 18th century. It has faults. Rectangular wall frame made of carved wood and decorated with architectural and plant elements reminiscent of Classicism, divided into two wide moldings and two thinner ones (one striped separating the two bands and another interior with two pearls between the long sections). Particularly noteworthy are the curves that emerge towards the interior, as well as the hollow in that area.

· Size: 58x6,5x49 cms. int: 40,5x31 cms.
ANTIQUES
MISCELLANEUS;FRAMES

Ref.: ZF1340A
WALNUT BENCH. 20TH CENTURY.

Lot of benches. Carved walnut wood. 20th century. A bench with smooth rectangular legs features armrests decorated with carved scrolls and balusters, which are also featured on the openwork backrest. Two vase-shaped finials also feature where the arms join the backrest. These elements are reminiscent of Spanish Baroque works. Measurements: 56x194x116 cms. 9 units available. Unit price. Length: 194, 180, 170, 165 cms.

· Size: 180x56x115 cms.
DECORATIVE ANTIQUES
FURNITURE

Ref.: Z5435
PAIR OF LOUIS 18TH CANDELABRA. BRONZE. FRANCE, CIRCA 1800.

Pair of Louis XVIII candlesticks. Bronze (blued and gilt). France, circa 1800. A pair of six-light bronze candelabras, a type often called "tripod" due to their shape. A base with three projections, placed on inverted truncated pyramidal architectural elements and with reliefs and medallions on the exterior faces, serves as the base for three seated sphinxes made of burnished bronze with gilded tails. From their backs, three upward-facing rods emerge, each ending in children's heads with butterfly wings. These sphinxes are decorated with raised candelabras secured by an openwork band (note the spiraling bouquet inside). From the heads, a circular shape with projections emerges, on which the actual shaft of the candelabra rests, topped with a pomegranate on a floral arrangement. The arms of the candelabras, ending in lighters, feature delicate scrolls and rooster heads. Note the varying textures of the material and the great amount of detail present in the architectural, vegetal, and figurative elements. The design of these vase-shaped candlesticks was enormously successful, and numerous variants with slight modifications were subsequently created, including sphinxes and goat heads. On April 16, 1787, François Rémond (c. 1747–1812) supplied Daguerre with eight “girandoles en trepied” (as they were often known in literature), identified by some experts as the eight candlesticks of this model purchased from Daguerre by George, Prince of Wales, later King George IV, for Carlton House. The largest, ten-light model with a vase and rooster heads, was created around 1786. A pair of this model is recorded in the 1836 Inventory of the Legendre de Lucay collection, and another pair is known to have been commissioned for Marie Antoinette's Salon des Nobles at Versailles. Compare this example with the griffin chandelier dated around 1785 in the Musée Nissim Camondo (Paris, France); or with the sphinx and stone vase attributed to François Rémond (dated between 1783 and 1786) in The Wallace Collection; or (with less similar bases) the late 18th-century pair attributed to Pierre Gouthière in the White Drawing Room at Buckingham Palace, and, in this same room, another pair by Pierre Gouthière, with recumbent sphinxes and a stone vase in the centre of the two three-light chandeliers.

· Size: 40x40x107 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1167
GLASS AND BRONZE CHANDELIER. 19TH CENTURY.

Ceiling lamp with thirty lights. Bronze, glass. 19th century. A chandelier or ceiling lamp with a total of thirty lights and their corresponding glass saucers, reminiscent of the days when candles were used, and a gilt-bronze structure with arms decorated with scrolls and curved lines, on which clear glass pieces are placed along the central axis. A series of chains with polygonal beads, rectangular pieces, and others with particular shapes, upturned points, etc. adorn the different levels on which the lamp is structured. The variety of shapes and the quality of the colorless glass are worth highlighting. The profiles of some beads (teardrops, polygons, pendants) are found in both Bohemian and French works, and in most from the Royal Glass and Crystal Factory of La Granja de San Ildefonso (Segovia, Spain) due to their great popularity. Stars or florets are considerably rarer in the surviving examples, and, according to experts, are more often found in the French school (and in the Spanish school due to the latter's influence). The mastery of the carving is evident in the profiles and the fine modeling of the shaft. The decorative bronze elements clearly show Neoclassical influences, and the beaded and other glasswork is more reminiscent of the so-called "Maria Theresa lamps," based on those commissioned by Empress Maria Theresa for her coronation in factories in the Bohemian region of the Czech Republic in 1743. This typology spread rapidly throughout Europe, varying in design and serving as an example in major glass factories to this day. They clearly differ from the work done in Murano (Italy), but the chandelier follows a tradition that has its roots in Bohemia and continued in France, where as much attention was paid to gilded bronze as to glass. Similar lamps can still be found in prominent residences such as the Fernán Núñez Palace (Madrid), the Viana Palace (Córdoba), the National Museum of Decorative Arts (Madrid), the Paz Palace (Buenos Aires, Argentina), the Louvre Museum (Paris), and others.

· Size: 100x100x135 cms.
ANTIQUES
FURNITURE

Ref.: ZF1437
WOODEN DESK. EUROPE, CIRCA MIDDLE 20TH CENTURY.

Office desk. Rosewood. Possibly Northern European, circa mid-20th century. A wooden desk or office table with four legs, a frame with two drawers, and a top with a ridge at the back that extends to the sides to prevent items from falling out. Stylistically, it's reminiscent of German and Scandinavian models from the mid-20th century or the 1960s and 1970s.

· Size: 140x80x75 cms.
ANTIQUES
FURNITURE

Ref.: ZF0323

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Results 1 to 24 of 1567

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