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CERAMIC JAR. 18TH CENTURY

Jug from Villafeliche, Aragon, 18th century. Glazed ceramic. A late Baroque-style ceramic jug decorated with high-temperature glazes on a white tin slip. These glazed motifs are combined with molded relief decorations. The piece's typology blends the Italian style, with its ovoid body and vertical arched handle, with the typically Spanish spouted jug, characterized by its protruding spout extending from the mouth. The decorations reveal an Eastern influence, with large, asymmetrically arranged floral bouquets and complex landscapes featuring architecture and palm trees, some of which are distinctly Western in style. The motifs are brushed with manganese black and colored primarily with ochre, blue, green, and red glazes. Aragonese ceramics from the 17th to the 19th centuries were characterized by a strong, distinctive style, combined with influences from Talavera and Catalonia. There were three main centers: Teruel, Muel, and Villafeliche. The first two had a tradition dating back to the 16th century, while the third was established at the end of the 17th century. The pottery from Villafeliche was generally very popular, although pieces of greater quality and complexity, both typologically and ornamentally, were also produced there in the 18th century.

· Size: 25x18x42 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: Z2627
SILVER CHEST, AFTER 17TH CENTURY MODELS. POSSIBLY, 20TH CENTURY.

Small casket inspired by 17th-century models. Silver. Spain, 20th century. A rectangular casket made of silver in its natural color, with four scroll-shaped legs at the corners, each ending in a claw. The front is decorated with moldings, bands, and motifs within rectangles (yokes, a bundle of arrows, a crowned letter "f" between two pomegranates, and a crowned letter "y" between two pomegranates), clearly alluding to the Catholic Monarchs. The stepped lid features a composition of volutes, architectural elements, and vegetal motifs on a background with a stippled finish, and is topped with a small rectangular "diamond." It closes with a pin and chain at the front. Compare, for example, with the 17th-century silver casket in the museum of the Monastery of Santa María de la Caridad in Tudela, or with the so-called Casket of the Holy Martyrs from the parish church of Santa María de Manlleu, now in the Episcopal Museum of Vic. Weight: 526 grams.

· Size: 16x11x11 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE280
EXTENSIBLE TABLE. MAHOGANY. ENGLAND, 19TH CENTURY.

Extendable dining table. Mahogany wood. England, 19th century. Rectangular dining table made of mahogany with metal casters on the legs and a concentrated carved decoration on these supports, consisting of architectural and floral elements. The lines of the legs are reminiscent of English Victorian examples, but their decoration is not typical of this type of furniture. It has an extension leaf.

· Size: 140x115x74 cms. Extendida 115x185 cms.
ANTIQUES
FURNITURE

Ref.: ZE305
DIAL AND COMPASS. BRONZE.SCHRETTEGGER, JOHAN. AUGSBURG, GERMANY, CIRCA...

Sundial and compass with case. Bronze. SCHRETTEGGER, Johan. Augsburg, Germany, circa 1800. A polygonal bronze sundial, engraved with plant motifs on the front, arranged around a central compass. The reverse is engraved with the artist's name and the place of creation. The sundial is accompanied by a polygonal case with a flap closure and a fabric lining. Johan Schrettegger (1797-1843), son of Andreas Vogler, worked in that German city, creating pieces such as this one.

· Size: 6 x 5,5 x 1,5 cm/ Estuche:7x6,5x2 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE311
SILVER AND GILT SILVER PYX. 16TH CENTURY.

Cast and chased silver pyx. Spain, towards the end of the 16th century. A cylindrical box with a molded base beneath a wide frieze featuring interlaced bands and simplified vegetal motifs. The molded lid is decorated with bands forming figure-eight patterns alternating with flowers and fleur-de-lis motifs, topped with a small cone adorned with a pearl. Above this rises a three-nailed Crucifix, draped with a loincloth around the knees and accompanied by a cartouche. Judging by the gilding on the interior, this standless pyx would have been used to hold the Sacred Hosts, perhaps in the tabernacle of a church. The decorative elements of the piece and the figure of Christ at the top reflect Renaissance influence, but also show Gothic reminiscences. The Renaissance appears in Castilian silversmithing shortly before 1520, and it is only from the end of Philip III's reign that the term Baroque is generally used. In the Crown of Aragon, the political and economic decline of the region led to a significant decrease in both the quantity and quality of production, with the notable exception of Aragon and, above all, Zaragoza, which subsequently reached unparalleled splendor. Something similar occurs with the form: while there are similar examples during the Gothic period (a pyx by Diego de Abanza or one of his sons, made in Burgos towards the end of the 15th century and preserved in the Diocesan Museum of Sigüenza, Guadalajara), this typology would persist even into the Baroque period with numerous variations. Compare it with works such as a pyx in the Museum of Málaga (BA/CE00305), with a similar lid and decoration, or, above all, with the one in the Ángel Quílez collection (inventory CAQ-47) of the future Museum of Alcáñiz (Teruel), with a similar profile and decoration, both from the end of the 16th century. And note the difference with, for example, the Castilian from the last third of the century preserved in the National Museum of Decorative Arts (CE19659) or that of Juan de Bendígar from the Lázaro Galdiano Museum (inventory 02165) from the second third of the century, with a greater Renaissance influence. Weight: 176 gr.

· Size: 10x10x9,5 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZA5725
PORCELAIN CENTREPIECE. VOLKSTEDT, RUDOLSTADT, GERMANY. CA END 19TH CEN...

Centerpiece. Volkstedt, Rudolstadt, Germany. Towards the end of the 19th century. Glazed porcelain. A circular centerpiece raised on simple legs displays a delicate, multi-tiered composition. The children are arranged using a large stone and a log; at the top, one child wears a purple sash and holds flowers; below, four others, also semi-nude, hold cups, flowers, etc. Both the figures and the composition show a clear influence of Neoclassical models. This same relationship explains the subject matter: it is a series of figures linked to classical mythology, a pleasant and secondary theme (only hinting at a slight connection to a bacchanal through a cup that is presented), highly valued for the opulent interiors of the period for maintaining the decorum demanded by the time. The factory's signature is located at the bottom center, clearly visible, and in shades of blue, with a signature (Marion) "engraved" below it. The Volkstedt factory, located in Rudolstadt (Thuringia, Germany), was founded following an official request made in 1760 by Georg Heinrich Macheleid, who had worked at the Glücksthal glassworks and had developed the porcelain formula independently, without contact with the Meissen ceramists Ehrenfried Walther von Tschirnhaus and Johann Friedrich Böttger. The charter was granted in 1762 by Johann Friedrich (Prince of Schwarzburg-Rudolstadt), specifying that it be established at that location, near his court and under his personal direction. After several changes of ownership over the years, it remains in operation today.

· Size: 34x34x56cms.
ANTIQUES
SCULPTURE

Ref.: ZF0144
SHEPHERD’S BOX. ANTLER OR HORN. SPAIN, 1822.

Shepherd's box. Carved horn. Spain, 1822. Rectangular box made of carved horn that has a date (1822) engraved on the lid and front, a legend (I am from Manuel Zulueta year 1822) and an engraved decoration based on geometric, vegetal, figurative and heraldic elements. The base of the piece features a banded frame that highlights a composition of birds and animals accompanied by simple stems and flowers. The lid has interlaced bands with circles of varying sizes and, in the center, a crowned heraldic shield flanked by two flags, quartered with three-towered castles and crowned rampant lions; below this central element, the aforementioned date appears again. Note that it differs from the coat of arms of Castile (the one used by the kings of Castile from 1230) in the position of the different elements within the quartering.

· Size: 8x5x2 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0730
CAPITAL. GRANITE. SPAIN, 15TH CENTURY.

Capital. Carved granite. Spain, 15th century. Circular base capital made of carved granite that has a polygonal shape enhanced with moldings, following forms that still retain a memory of Gothic works but already with a notable cleanliness of lines.

· Size: 60x60x64 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0777
LANDSCAPE. OIL ON CANVAS. FRAU, JOSÉ (SPAIN, 1898-1976).

Landscape. Oil on canvas. FRAU, José (Spain, 1898-1976). Signed (lower right area). José María Isidro Frau y Ruiz (Vigo, May 15, 1898 – Madrid, March 24, 1976) was a Spanish painter and academic, renowned for his landscapes and for being part of the Paular School of Painters (established by Royal Decree on February 22, 1918, within the Landscape Chair that the San Fernando Royal Academy of Fine Arts had created in 1845 as part of its official art curriculum; it ceased operations in 1936 and was revived in 2018). Known as José Frau, he began his artistic training in Huelva with Antonio de la Torre and Eugenio Hermoso Huelva. In 1916, he entered the San Fernando Royal Academy of Fine Arts, and from 1917, he participated in the National Exhibitions in Madrid, also exhibiting his work in Barcelona, Buenos Aires, Montevideo, Mexico City, New York, and other cities. He traveled through South America in 1947, settling in Mexico three years later and returning to Spain in 1966. His work is preserved in prominent private collections and institutions such as the Quiñones Municipal Museum of León (Spain), the Museum of Fine Arts of La Coruña, the Reina Sofía National Art Centre Museum (Madrid, Spain), the Museum of the Royal Academy of Fine Arts of San Fernando in Madrid, etc. He has been considered one of the leading figures of the Spanish equivalent of "magical realism." His paintings are based on figurative principles and a naturalistic and symbolic background. He participated in the renewal of Spanish painting during the 1920s and 30s, evolving towards a post-impressionist style. Later, he focused on a serene, post-Cézanne-inspired modernity, portraying landscapes with figures set in fantastical and magical environments. During the post-war years, he returned to a looser, more energetic brushstroke. In his later works, he employed a Fauvist palette dominated by highly contrasting greens, blues, earth tones, and blacks, while his work underwent a progressive stylization process and the human figure became less prominent.

· Size: 91x3x71 cms. int: 79x59 cms.
ANTIQUES
PAINTINGS

Ref.: ZF1266
PAIR OF CANDLE HOLDERS. METAL, ENAMEL. LIMOGES, FRANCE, 19TH CENTURY.

Pair of candlesticks. Metal, enamel. Limoges, France, 19th century. They have faults. A pair of metal candlesticks decorated with polychrome enamel on the exterior, each with an octagonal base that begins with a step and rises gently to the central axis. This axis features discs and moldings interspersed with vase-like forms, culminating in tubular wicks with flared mouths set within a smooth molding. Throughout the pieces, there are relief vegetal decorations of clear classical influence, interspersed with grisaille medallions of male profiles at the top and roundels at the base. Additionally, scrolls and vegetal, geometric, and architectural motifs in a gilded tone can be seen, rendered in low relief. The tondos at the base display a crowned heraldic shield supported by two quadrupeds, and three-quarter-length figurative elements, identified with the Latin name of the represented figure. Thus, we see “Cephale,” “Lavrore,” and “Adonis.” In Greek mythology, Cephalus was the lover of Eos, goddess of the dawn, condemned by Aphrodite to love only mortals. Adonis was also a lover of Aphrodite, eternally young, and symbolized death and the annual renewal of vegetation, his nature tied to the calendar. This pair of candlesticks is closely inspired by a candlestick that the Louvre Museum in Paris (where it is kept, inventory RFML.OA.2022.2.7) considers to have been made in the mid-16th century in Paris or Sèvres (France) and tentatively attributed to the enamel master Julien Robillard (active around 1850-1880). The inspiration from Italian Renaissance models and motifs is clear.

· Size: 12,5x12,5x15,5 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1328
PORCELAIN SWEET MEAT DISHES.MEISSEN, LATE 19TH CENTURY.

Pair of figurine jam trays. Glazed porcelain. Meissen, late 19th century. With marks and inscriptions on the bases. Some damage. A pair of trays for confectionery (candied fruits, chocolates, etc.) made of glazed porcelain and decorated, both with a base featuring elements clearly reminiscent of the Rococo style and a reclining figure dressed in the European 18th century, seemingly holding the elongated trays. The trays are decorated with painted flowers on the inside and similar motifs in relief on the outside, as well as a gilded rim. Both the young man and the lady are depicted with somewhat disheveled clothing, revealing part of their chests. The Meissen marks (two crossed swords in blue) that appear on the bases of both figures are believed to be those used by the factory between 1815 and 1924. The lady's figure also has a number in red ink (24) and other inscriptions (2858, which would be the model; 21 and 73). The man's figure has what appears to be a 21 in ink, and other inscriptions (2863 would be the model; the other could be 72). Experts date both figures to the late 19th century.

· Size: 30x20x20 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF1463
GILT BRONZE CANDELABRA PAIR. 19TH CENTURY, AFTER FRENCH MODELS.

Pair of candlesticks. Gilt bronze. 19th century, following French models. It is missing. Pair of gilt bronze candelabra with bases featuring architectural and vegetal elements clearly influenced by the Rococo style. The stems are decorated with human figures derived from classical mythological models, arranged in a spiral reminiscent of Italian Baroque works (Bacchanalia). The arms feature vegetal motifs typical of 19th-century French school pieces. Each arm terminates in a more or less flat surface decorated with vegetal elements, from which a candle holder emerges (some candle ornaments are missing), providing a total of six lights per candelabra. Weight: 14.4 kg.

· Size: 30x20x61 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1519
CHEST. WOOD, IRON. 19TH CENTURY.

Ark. Carved wood, iron. 19th century. Rectangular wooden chest with front access via doors (which have locks), four simple legs, and carved finials at the top. The decoration consists of simplified plant and geometric motifs.

· Size: 157x69x110 cms.
DECORATION

Ref.: AB030
STONE COLUMNS. 19TH-20TH CENTURIES.

Columns. Carved stone. 19th-20th centuries. Symmetrical carved stone columns with bases and capitals (formed by various smooth moldings), fluted shafts, and decorated ends with shapes reminiscent of leaves, similar to certain elements of ancient Egyptian architecture. These types of elements were highly valued for prominent houses. 4 units available.

· Size: 51x51x199 cms, / 46x46x188 cms.
DECORATIVE ANTIQUES

Ref.: AC051
SOFA AND TWO ARMCHAIRS SET. WOOD, TEXTILE. 20TH CENTURY.

Sofa and two armchairs set. Carved and gilded wood, textile. 20th century. A set consisting of two high-backed armchairs and a sofa similar to the other two pieces, all upholstered in red. The carved and gilded wood displays a series of elements (dice with flowers, architectural details, scrolls, etc.) reminiscent of examples of 19th-century French Neoclassicism (Empire style, etc.).

· Size: 158x58x102 / 62x50x102 cms
DECORATIVE ANTIQUES
FURNITURE

Ref.: E199E
WHITE MARBLE OVAL PLAQUE. “CHILDREN FROM DIONYSUS’ RETINUE”.

Oval plaque in carved white marble. “Children of the retinue of Dionysus”. The three children are seated in a meadow. One holds a branch with bunches of grapes and vine leaves; the second has an arm draped over his shoulder and holds a cup; the third clasps his hands as he looks at his companions. Based on the objects they carry, they can be associated with the retinue of the god Dionysus, also known as Bacchus. This type of subject matter, drawn from classical mythology but not belonging to its main themes, was widely used in art, especially from the 18th century onward.

· Size: 95x5x80 cms.
DECORATION

Ref.: M0093
PORCELAIN VASE. AFTER NEOCLASSICAL MODELS

Hand-painted glazed porcelain vase. Inspired by Neoclassical designs from the Meissen and Sèvres factories. Porcelain and bronze applications. The vase displays marked influences from classical antiquity, both in its lines and its decoration, which features vegetal scrolls, garlands, strings of pearls, and other motifs. Two scenes are hand-painted on the front: a Toilette and a couple in love, both set in idealized landscapes. This type of work was highly prized in Europe, which explains why similar vases were produced in the main porcelain factories. This particular example bears many similarities to pieces from Sèvres and Meissen.

· Size: 42x30x104 cms.
DECORATION

Ref.: S2562
DOOR. CARVED TROPICAL WOOD. NORTH OF INDIA, 19TH CENTURY.

Door. Carved and molded tropical wood. Northern India, 19th century. The double door and jambs with lintel are made of carved wood, decorated with simple architectural, geometric, and vegetal elements in low relief. The Latin cross that dominates the center of the lintel is particularly noteworthy, as is the delicate carving of some of the aforementioned decorative elements.

· Size: 130x38x228 con marco
DECORATIVE ANTIQUES
FURNITURE

Ref.: Z0755
CEILING LAMP, TWELVE LIGTHS. BRONZE, GLASS. 19TH CENTURY.

Ceiling lamp, twelve lights. Bronze, glass. 19th century. A ceiling lamp with a gilt bronze frame decorated with architectural and floral elements of clear classical influence, featuring twelve light points (shaped like candles with glass saucers) and a series of clear glass beads, some strung on chains and others hanging in teardrop shapes. The resemblance between this lamp and 19th-century French models is striking.

· Size: 80x80x100 cms.
DECORATIVE ANTIQUES
FURNITURE

Ref.: Z2707
OIL ON CANVAS. ALEJANDRO GOMEZ MARCO

Signed in lower left corner "GOMEZ MARCO". Alejandro Gomez Marco Born in Madrid. Studied at the National School of Graphic Arts and the San Fernando School of Fine Arts. Awarded a scholarship in 1968 by the “Institute of International Education” to visit the USA where he resided for several years. Represents Spain at the International Congress of Art Education in New York 1970. Professor of Art at Jersey City State College and lecturer in Spanish at the Metropolitan Museum of New York. Numerous solo exhibitions since 1964. He has also participated in numerous international exhibitions since 1965: Alexandria Biennial, Paris Biennial, Krakow Print Triennial in Poland, Ljubljana Biennial, former Yugoslavia, etc. Painting and drawing awards: Ciudad Real Provincial Council, Francisco Alcantara (Circle of Fine Arts), Granada City Council, Printmaking Salon of the General Directorate of Fine Arts, Bronze Medal of the City of Bordeaux, and a long etc. He is an Associate Professor at the Faculty of Fine Arts of the Complutense University in the subject of Printing Techniques II and Planographic Techniques from 1988 until 2007, the year of his retirement.

· Size: 114x150 cms.
ANTIQUES

Ref.: Z3546
WROUGHT IRON KITCHEN “LLAR” (POT HOLDER), 16TH CENTURY.

wrought iron kitchen hearth, 16th century. A kitchen hearth with three hooks joined by a horizontal crossbar, decorated with engraved rings and square and rectangular bars, some of which have twisted. The preservation of this type of utilitarian item is quite unusual despite its abundance, due to its frequent replacement. Similar pieces have been made in all artistic styles, as it was used to hold the cauldron over the fire.

· Size: 79x200 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z3829
DOOR. WOOD (WALNUT, PINE), METAL. 18th CENTURY.

Double door. Pine and walnut wood, metal. 18th century. It has defects. A tall, double-leaf door made of wood, combining pine and walnut, featuring a simple paneling design, following common patterns in Spanish carpentry dating back to the Renaissance, and latticework at the top. It has an oval metal keyhole in one of the leaves.

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

Ref.: Z3901
WATER PAINTING.\'LANDSCAPE WITH SHRINE\'. AGUSTÍN REDONDELA

REDONDELA, Agustín (Madrid, 1922). "Hermitage". Watercolor. Signed and titled in the lower area. A largely self-taught painter, Agustín González Alonso trained alongside his father, the painter and set designer José González “Redondela.” After the Spanish Civil War, he attended classes at the School of Arts and Crafts in Madrid with the landscape painter José Ordoñez, and in 1945 he submitted his first painting to the National Fine Arts Exhibition, signed with the pseudonym Redondela. That same year, he held his first solo exhibition at the Estilo Gallery in Madrid. It was during this period that he came into contact with the Madrid School, and in 1947 he was selected to exhibit in the Salon of Eleven at the Breve e Crítica de Arte (Brief and Critical Academy of Art) of Eugenio d'Ors. In the 1950s, Redondela received a grant from the Catherwood Foundation in Philadelphia (1954), the National Painting Prize (1953), and a first-place medal at the National Exhibition (1957). In 1996, the Royal Academy of Fine Arts of San Fernando awarded him the José González de la Peña Prize, and two years later the Cultural Center of the City of Madrid dedicated a major retrospective exhibition to him. His work is currently represented in the Museum of Fine Arts of A Coruña, the Museum of Contemporary Spanish Landscape in Priego de Córdoba, the Bilbao Fine Arts Museum, the Camón Aznar Museum in Zaragoza, the museums of Buenos Aires, Caracas, and Havana, and the Oswaldo Guayasamín House-Museum in Quito, among other public and private collections.

· Size: 16 x 23 cm; 44 x 52 cm con marco
ANTIQUES

Ref.: Z3942
MODERN ORNAMENTAL MIRROR.

Golden cornucopia-shaped mirror, 20th century A rectangular mirror with a wide frame, formed by wings, a crest, and a lower finial with decorative motifs inspired by classical tradition (scrolls, vases, garlands, etc.). It draws inspiration from the well-known and highly prized cornucopias used in the 18th century to decorate and enhance the lighting of palace interiors. Stylistically, it can be related to 19th-century examples of Rococo influence.

· Size: 83 x160 x 7 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: Z5167

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