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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
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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
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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
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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
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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
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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
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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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Immaculate Conception. Oil on canvas. Colonial school, 18th century. Oil on canvas showing the Virgin Mary among angels, in a landscape and standing on a crescent moon, wearing a white tunic and a blue cloak, following the usual iconography of the Immaculate Conception in the Spanish school, especially since the works of Murillo. Note, however, that instead of stars around the head, here there are a series of angel heads, something unusual.
· Size: 88,5x3x119 cms. Int 68,5x100 cms
DECORATIVE ANTIQUES
Ref.: ZF1341
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Elizabethan triplet in mahogany, 19th century. A three-seater sofa with carved floral motifs, four cabriole legs, short curved and partially upholstered arms, and single-member oval “à la reine” backrests, linked by plant motifs to provide continuity. The influences of contemporary French furniture are clear in all Elizabethan works, a style so named because it was during the reign of Elizabeth II (1830-1904) that it reached its peak.
· Size: Sofa: 185x110x60 cms. / 66x60x110 cms.
ANTIQUES
FURNITURE
Ref.: Z0684
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English display cabinet. Mahogany wood. 19th century. Display cabinet with shelves and two doors with glass and geometric decoration topped by a split pediment with plant decoration, which is presented on a piece of furniture with two drawers at the front, four legs and a chambrana or shelf in the lower area of the same. Certain elements of the furniture are reminiscent of the Chippendale style, and it is worth noting the bevelled decoration on the drawers and the top of the “table”.
· Size: 77x43x195 cms.
ANTIQUES
FURNITURE
Ref.: Z5022
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Manually operated carriage of the “Irish mail” type. First half of the 20th century. A four-wheeled, single-seat, front-mounted gear shifter with two levers (one on each side, one for brakes and one for movement) and a front-mounted acetylene headlight. The front axle is foot-operated for cornering. It is very similar to vehicles known as “Irish Mail”, which were derived from the railcars used on the tracks for the construction and maintenance of railways. According to another theory, these railcars, especially when not in use on the tracks, were called “Irish Mail” cars. See, for example, children's examples in the AC McClurg and Co. catalogue; the 1938 Irish Mail Deluxe Racer by another company; or the Ben Hur Racer Irish Mail hand-car of 1920.
· Size: 150x63x73 cms
DECORATIVE ANTIQUES
Ref.: ZF0732
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Mortar with inscriptions. Bronze. Spain, 1823. Mortar made of bronze with a flared mouth and a truncated cone-shaped body that develops without discontinuity and decreases in diameter towards the base; it has two handles or “pieces” towards the smooth decorative mouldings that it has on the upper part. The piece has, almost on the edge, an inscription (SOY DE D GREGORIO OCANA ANO DE 1823) in capital letters and a date in Roman numerals with spaces between them; and the text (the opposite of the other) “Mazon fecci”; both flanked by a simple moulding above and another below. This large mortar is of the type that is usually known as a “hospital” mortar, as it is usually used for medicines in environments with many patients or in important pharmacies. Typologically, it follows the usual line in these examples from the Spanish school during the 19th century: smooth, with mouldings and, as a general rule, without those ribs (or derivatives of them) that usually appeared in the previous ones. Compare, for example, with the large pharmacy mortar in the Municipal Museum-Archive of Calella (with an inscription, ribs and human heads as handles), a large mortar in the Museum of the Spanish Pharmacy of the Complutense University of Madrid, etc.
· Size: 37x34,5x25 cms.
ANTIQUES
Ref.: ZF1007
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Armoire with gun cabinet. Cherry and oak wood. France, 18th century. A two-door cabinet with three drawers at the bottom, all of which have a locking system, and a compartment on one side for storing firearms. The front of the lower part has gentle curves between two cabriolet-shaped legs and carved details; the two doors have been decorated with Rococo-influenced mouldings on their curves; it also has a moulding on the top. This piece shows a clear influence from the so-called Provençal and Louis XV style examples.
· Size: 173x68x220 cms.
ANTIQUES
FURNITURE
Ref.: Z0609
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Polychrome and upholstered wood carving. “Saint Luke the Evangelist”. 16th century. Freestanding devotional figure of a bearded man standing with one knee raised to support a tablet on which he is writing. Beneath his left leg, a bull is looking towards him, lying on the ground. The clothing reveals the gold base that forms the stew. Saint Luke is frequently represented as a middle-aged, bearded man, accompanied by the Tetramorph animal with which he is associated (Revelation 4:6-7), an element that is also due to a verse in the Book of Ezekiel (1:10). The act of writing alludes to his authorship of one of the Gospels, although the Acts of the Apostles are also attributed to him. The image belonged to an altarpiece, hence the back part is barely worked and polychrome, and it was placed alone or as part of a scene such as a Last Judgement. Stylistically, the image's upholstery and its design are details that remain from the Gothic tradition. However, the correct anatomy of the figure, the contained movement conveyed by the drapes and its posture, and the naturalism and expression of its face relate the work to the Renaissance. In Spain, this artistic style was introduced during the 16th century, with great differences depending on the region and artist. After an initial stage in which strong medieval influences were still present, the second third of the century saw the introduction of Mannerism by artists who had travelled to Italy and returned with the novelties. It is with this second stage that the sculpture is most closely related, without forgetting the medieval details that it still maintains and the restraint of its movement and expressiveness. Compare, for example, with the works of Alonso de Berruguete and Juan de Juni, the evangelists Saint Luke and Saint Mark from the church of Santa Eulalia de Ganuza, today in the Diocesan Museum of Pamplona. Requires cleaning and polychrome restoration.
· Size: 16x7x36 cms,
ANTIQUES
SCULPTURE
Ref.: Z6546
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Processional cross finial. Gilt bronze. 20th century. Latin cross with straight arms decorated with tabs between mouldings on both fronts, rays at the intersection of the arms, and multi-lobed finials reminiscent of fleur-de-lis decorated with flowers and palmettes at the ends; on the obverse, Christ crucified with a halo of rays and a loincloth; on the reverse, the Virgin Mary with a halo, standing in an attitude of prayer. Knot composed of various elements (mouldings of different radii, etc.) among which a circular central body stands out, enhanced with small cresting and reliefs with the four Evangelists accompanied by their element of the Tetramorph and situated in landscapes. As can be seen in various elements, the piece is inspired by styles of the past.
· Size: 56x36x108 cms
ANTIQUES
Ref.: ZF0612
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Octagonal table top decorated with hard stone work. Octagonal table top in dark stone decorated with “hard stone work” forming a series of stars in the central area and an elaborate band of flowers towards the outside, in an area separated from the centre by two clear lines. It has been made with a technique similar to inlay that uses marbles and hard stones (more than 7 on the Mohs scale) to make these designs, which emerged in Italy in the Renaissance and was developed in Europe only in a few important factories.
· Size: 120x120 cms.
DECORATION
HARD STONE
Ref.: AM-37 OC...
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Vase in glazed and hand-painted porcelain. Inspired by 19th century models from the Manufacture Nationale de Sèvres (France). The vase, with profiles inspired by Antiquity, is decorated with elements of the same origin: grotesques on the handles, vegetal scrolls, putti, lion heads, mirrors, scrolls, dolphins, an allegory of Abundance on the upper part, etc. Two scenes have been hand painted on the front: the Rape of Europa and Vulcan giving Venus the weapons of Aeneas. The work is inspired by 19th century Neoclassical models from the Manufacture Nationale de Sèvres (France).
· Size: ALT. 107 cms.
DECORATION
PORCELAIN
Ref.: S4694
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Cart for the disabled, 19th century. A cart with an upholstered seat and two wheels with shock absorbers at the rear and a smaller one at the front that can be steered by means of a crank. The footrest has been decorated with geometric marquetry studded on the outside. Its state of preservation should be noted.
· Size: 180x83x100 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z0713
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Gueridon display case in polychrome and gilded bronze, France, Napoleon III period, towards the third third of the 19th century. The small circular table has a transparent glass top, which reveals the upholstered interior, and a waist decorated with classically inspired garlands on a gold background. The single leg of the piece of furniture rests on three curved legs, decorated with openwork circles and finished with claws. The quality, its simplicity of lines, and the decorative elements place the work in France, during the reign of Napoleon III (1808-1873).
· Size: 33x33x87 cms.
ANTIQUES
FURNITURE
Ref.: Z3090
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Bargueñera table with Solomonic legs. Pine and beech wood, iron. 18th century. Table with a rectangular board made of pine wood and beech wood legs turned in the shape of Solomonic columns, which are joined, two by two, by a lower jamb also carved in Solomonic with a dado in the center, from which the curved iron fasteners emerge.
· Size: 148x58x78 cms.
ANTIQUES
FURNITURE
Ref.: Z4759
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Mortar with inscription. Bronze. Spain, 1846. Mortar made of bronze with a flared mouth and a truncated cone-shaped body that develops without discontinuity and decreases in diameter towards the base. The piece has an inscription (“soi de don Gregorio goia ano 1846”) in capital letters with spaces between them and two areas with lines flanking the text in the upper and lower areas, referring to the owner of the mortar and the year in which it was made. Compare, for example, with the large pharmacy mortar in the Municipal Museum-Archive of Calella (with an inscription, ribs and human heads as handles), a large mortar in the Museum of the Spanish Pharmacy of the Complutense University of Madrid, etc.
· Size: 25x25x30 cms.
ANTIQUES
MISCELLANEOUS;BRONZE MORTARS
Ref.: Z5727
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Cordoban silver salute, 1759-1768. With marks. Weight: 820 g. Silver salver in Rococo style, with hallmarks from Córdoba and the marker Bartolomé Gálvez y Aranda. It has a tall, stepped base, with a circular base, decorated with incised grooves and other simple classical motifs, already announcing the change of language towards neoclassicism. However, the plate itself is still clearly Rococo, with a profile of mitered curves that translate into edges on the eaves. Bartolomé Gálvez y Aranda was a silversmith, although he worked as a stamper between 1759 and 1772, using for this work the punch that we see here: his surname in capital letters, in a very horizontal trapezoidal frame and surmounted by a raised trilobed fleur-de-lis. From 1768, Gálvez y Aranda added the chronological mark to this punch, so this salute would be dated between 1759 and 1768. It is also a particularly interesting piece because it comes from Córdoba, the main centre of Spanish silverwork in the Rococo period, from whose workshops religious and secular pieces of high quality were produced, destined for clients not only locally but throughout the Iberian Peninsula, even reaching the Canary Islands and Latin America. The great diffusion of Cordoban silverwork took place, in fact, in the last quarter of the 18th century, through the so-called master silversmiths. These characters acted as trade brokers, according to Pérez Grande, visiting churches and fairs held throughout the country. The activity of these silversmiths was also favoured by tax exemptions.
· Size: 32x32x13 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS
Ref.: Z6259
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Pharmacy mortar. Bronze. Spain, 1816. A mortar with a flared mouth, decorated with ribs derived from pillars and a band in the upper area with an inscription (I am Don Juan Antonio Martínez, apothecary in Nabalmoral de Pusa / Year 1816); the handles have been lost. Navalmoral de Pusa is a municipality in Toledo that was united in the 19th century with Navalmoral de Toledo, giving rise to Los Navalmorales. The decoration of the piece follows the usual for this type of mortar from prominent pharmacies. Weight: 39 kg.
· Size: 30,4 x 30,4 x 21 cm.
ANTIQUES
Ref.: ZF0792
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Pair of cups. Bronze. 20th century, modeled after Claude Ballin the Elder. Pair of bronze vases or planters, based on a model illustrated in a drawing held at the Metropolitan Museum in New York (believed to be by Claude Ballin the Elder and made in 1673 or later), which was reproduced in engravings in the 17th century by Jean Le Pautre. These images helped the design spread in popularity, with similar works appearing from the 17th to the 19th centuries by masters such as Moreau. Weight: 112 kg.
· Size: 60x52x125 cms
DECORATIVE ANTIQUES
Ref.: ZF1382
