Results 265 to 288 of 1577

«« « ...9 10 111213 14 15... » »»

MODERN STYLE BRONZE LAMP, WITHOUT SHADE.

Modernist lamp in patinated bronze. Without shade. A circular shape that is not completely closed is the base of the piece, and the extension of this is what, after being rotated on its axis, creates the base for the lamp bulb. The abundance of curved shapes, noticeable even on the sides of the upper part (concave) is one of the main characteristics of Modernism, an artistic movement developed around 1900, also known as Art Nouveau, which aspired to renew art by taking inspiration from nature and from elements and materials obtained thanks to the Industrial Revolution. Various units available Weight: 2.7 kg .

· Size: 16x16x42 cms
DECORATION
AUXILIARY LIGHTING

Ref.: AS000
ESTIPITE SHAPED LAMP WITH GREEN PATINA. WITHOUT SHADE.

Patinated bronze table lamp in the shape of a stipes. Without shade. Marble base. A marble base highlights the lamp, formed by a stipe divided into two parts by a central disk with concave mouldings on each side. This type of pilaster, widely used in the Spanish Baroque, especially throughout the 18th century, gives movement to the piece without interfering with its elegance, simplicity and harmony. Weight: 6.5 kg

· Size: 20x20x50 cms
DECORATION
AUXILIARY LIGHTING

Ref.: AS227
PINEAPPLE BRONZE LAMP. WITHOUT SHADE.

Floor lamp in patinated bronze. Without shade. A square base under a pedestal highlights the curious decorative element that is the protagonist of this work: the pineapple is made up of an oval body with a diamond-shaped decoration topped by a tuft of leaves resembling this fruit. From its upper part, a rod protrudes to support the straw. Weight: 3.8 kg.

· Size: 15x15x58 cms.
DECORATION
AUXILIARY LIGHTING

Ref.: AS722
Sold

SAINT JOSEPH WITH JESUS. POLYCHROMED WOOD, GLASS. SPANISH SCHOOL, 19TH...

Saint Joseph. Polychrome wood, glass. Spanish school, 19th century. Sculpture made of polychrome wood consisting of a base with very classic lines and appearance (smooth mouldings, resembling marble...) on which is a bearded male figure, dressed in sandals, a blue tunic and a cloak draped over one shoulder. The right hand is in the gesture of holding an element that is no longer there, and in the left hand is the Child Jesus, half-naked on a white cloth and with another covering him, raising his hand to touch the beard of Saint Joseph. Note the open mouths, revealing the teeth of both figures, and the presence of false eyes (glass eyes). The rise of the importance of Saint Joseph in Christianity was marked by the introduction of the saint's feast in the liturgy of the Catholic Church (1476), several notable writings, guidelines from the Council of Trent (exalting him as protector and guide of Jesus), etc. In Spain, it is also worth highlighting the work of Saint Teresa of Jesus, founder of the religious branch of the Discalced Carmelites, and that of Saint Peter of Alcántara, reformer of the Franciscan order, among others. One of the most common ways in which Saint Joseph is represented with the Child is the latter in the arms of the former, with works such as the carving by Andrés de Ocampo for the altarpiece of the convent church of Santa Marta in Córdoba (Sleeping Jesus) between 1592 and 1596. This iconography, although not as widespread as that of Saint Joseph walking beside Christ, has early examples in painting and sculpture, already seeing affectionate gestures in examples such as the painting by Vicente Carducho (1632, Narbonne Museum), that of Juan del Castillo from around 1622 for one side of the altarpiece of the Nativity in the convent church of the Holy Spirit in Seville, etc. Throughout the 17th century, representations of the Father with his Son in his arms would increase, also increasing the gestures of affection and the sweetness of the images. Compare this sculpture, noting the differences, with that of Alonso Cano in the Museum of Fine Arts in Granada (Spain) or that of Pedro Duque Cornejo for the Church of San Bautista in Écija. From the 18th century are that of Andrés de Carvajal for the sanctuary of Los Remedios in Antequera (Spain; dated 1760), that of Luis Salvador Carmona found in the church of San José in Madrid, or the sculpture attributed to Juan Pascual de Mena in the Church of San Marcos in Madrid, to mention a few examples. The 19th century, as a general rule, followed neoclassical models, accentuating the emotional relationship between the two figures. Weight: 57 kg

· Size: 57x57x155 cms.
ANTIQUES

Ref.: ZF1045
RURAL LANDSCAPE. OIL ON CANVAS. SIGNED . 20TH CENTURY.

Rural landscape. Oil on canvas. Signed. 20th century. Oil painting showing an urban landscape with a river and a stone bridge under a church and some houses on the right side of the composition, while, to the left and visually separated by some trees, there is a path with a small character.

· Size: 115x75 cms / int 99x58 cms.
DECORATIVE ANTIQUES

Ref.: Z1205D
METAL AND GLASS WALL MIRROR. 19TH CENTURY.

Mirror. Embossed metal, glass. 19th century. Signed. Wall mirror with a frame made of embossed metal decorated with an architectural composition with a marked classicist taste and Italian reminiscence, flanked above by two embracing putti and below by two monstrous grotesques. The signature is found under the head of one of these two mythological figures. The theme of child figures or embracing putti was common in art from the 17th century onwards, but especially during the Rococo period, and continued to be used afterwards. Grotesques were common from the Renaissance onwards.

· Size: 48x2x80 cms.
DECORATIVE ANTIQUES

Ref.: ZF1281
BUST OF MENELAUS OR AJAX (PASQUIN GROUP). BRONZE. 20TH CENTURY.

Bust of Menelaus or Ajax (Pasquino Group). Bronze. 20th century. Bust made of bronze showing a bearded man, dressed in a cloak gathered with a circular brooch and with a strip on the other shoulder, and wearing a helmet decorated with reliefs. The work is inspired by a highly prized sculpture known as the Pasquino Group (or Menelaus Carrying the Body of Patroclus or Ajax Carrying the Body of Achilles), made in marble copying a Hellenistic bronze and dated to around 200-150 BC. About fifteen Roman marble copies are known of it, many of which were “intervened” (or restored) during the 16th and 17th centuries. The earliest of these copies were documented for the first time in Rome in 1500. Cosimo I, Grand Duke of Tuscany, bought an ancient marble fragment of an armoured male bust supporting a dying companion, brought it to Florence (inventoried in 1574) and Ferdinando II commissioned its “restoration” (or rather intervention) to Lodovico Salvetti based on a model by Pietro Tacca, giving rise to the so-called “Menelaus Holding the Body of Patroclus” in the Loggia dei Lanzi in Florence (Italy). In 1771, Anton Raphael Mengs (Aussig, Bohemia, 12 March 1728 – Rome, 29 June 1779) took moulds of the parts he considered ancient (original) of this group and of the one in the Palazzo Pitti (a gift from Paolo Antonino Soderini in 1570), and assembled them into a plaster model that he intended to be more faithful to the Roman original. After a series of changes, it was rebuilt in 1838 and exhibited in the Loggia dei Lanzi in the Piazza della Signoria in Florence. This work by Mengs is cited to compare this bust with others inspired by those made by the neoclassical artist: Unknown creator, Head of Ajax from the Palazzo Pitti, c. 1770. Plaster cast. Dresden, Skulpturensammlung (ASN 1932); Head of Menelaus, Pushkin Museum, Moscow, etc. It should also be noted that many of these (for example, those mentioned in Dresden) are casts of a bust from the period of Hadrian of a head of Achilles originally Hellenistic which is in the Vatican Museums in Rome (inv. 694) and is also considered part of the Pasquino Group. We must emphasize the comparison of this bronze bust with this marble sculpture. Weight: 110 kg.

· Size: 82x55x116 cms.
ANTIQUES

Ref.: ZF1236
PAIR OF BRONZE WALL LAMPS. 20TH CENTURY.

Pair of wall lights. Bronze. 20th century. Pair of wall sconces with three light points each, made of bronze and decorated with elements reminiscent of Empire and Neoclassical style works and mainly of French origin (female masks, plant motifs, strings of pearls, etc.).

· Size: 29x17x67 cms.
DECORATIVE ANTIQUES

Ref.: Z0776A
LOUIS XV CHANDELIER. BRONZE, GLASS. FRANCE, 19TH CENTURY.

Chandelier or ceiling lamp, Louis XVI style. Bronze, glass. France, 19th century. A ceiling lamp made of gilded bronze with transparent glass elements, with sixteen lights in total. Starting from the top, there is a small circular piece decorated in relief, from which emerges an axis that opens with four arms, which leave the center free for a series of faceted glass pieces (which function as a central visual axis) and go downwards (note the bronze band with a string of pearls), ending in a cup. These four arms divide at the bottom, giving rise to plant forms, scrolls and architectural details. Vase-shaped lighters have been placed on the main arms, from which glass droplets with pearls hang; the secondary arms are finished off with bronze lighters with plant elements (“cups” on bronze plates, almost resembling a flower emerging from leaves), which have glass saucers, some almost flat and others deeper. It is in this lower area where the hanging elements are concentrated in greater abundance: transparent glass teardrops, with pearls (sometimes in pairs, sometimes just one), and others in the shape of a flower. From the central point hangs a disk topped with a faceted sphere. Stylistically, the piece shows clear influences from 18th century French Rococo: rocailles, contrasting curves and counter-curves, vegetal elements with marked movement, etc. This influence is common in 19th century works, being called “Louis XV style”. It is also worth highlighting the similarity of the glass elements of the lamp with works by the Société Baccarat, a company founded with the permission of Louis XV in 1764 and which continues to operate today, specialising in high quality glass. It was common throughout the 19th century and part of the 20th century for prominent Parisian bronze makers to use Baccarat beads in their work (François Linke, E. Colin & Cie, etc.).

· Size: 80x80x132 cms
ANTIQUES

Ref.: ZF1129
VIRGIN WITH CHILD. POLYCHROMED WOOD. SPANISH SCHOOL, 13TH CENTURY.

Virgin and Child. Carved and polychrome wood. Spanish school, 13th century. It has faults. Polychrome wooden carving showing the Virgin sitting on a throne, with her right hand raised holding a spherical object, dressed in a long tunic and cloak and wearing a veil and crown, also holding on one knee the Child, who is shown sitting on one of his mother's knees, dressed in a red and gold tunic and also a crown on his head. Iconographically, this type of work was common during the Romanesque period in Europe, a time when Christian theology saw the Virgin as a vehicle of Salvation, thanks to the figure of her son Jesus. Over time (and the theological work of highlighting the role of Mary as Mother of God), the initially hieratic pose of this group varied, an example of which is the present sculpture. Compare with Our Lady of the Snows of Villaumbroso in Palencia (14th century), or the Virgin of Mirón in Soria (carving from the 14th century), or the repainted Virgin of the Cerca de Andosilla in Navarre (13th-14th centuries), or the one in the church of San Pedro Apóstol de Arbués in Huesca which has been dated to the 14th century (similar to the one present on the throne, the crowns, the posture of Jesus, etc.), or the one from the last third of the 13th century which belongs to the collections of the Prado Museum in Madrid, the one from the Rosary of Villálvaro in Soria (14th century), etc.

· Size: 28x20x90 cms
ANTIQUES

Ref.: ZE087
CHANDELIER. GLASS, BRONZE. LATE 19TH CENTURY.

Baccarat ceiling lamp. Bronze, glass. France, late 19th century. 36-light, electrified, bronze chandelier with numerous clear glass beads. Numerous different arms emerge from the central axis (decorated with leafy discs from which more glass elements hang) and can be divided into general rows: from above, some curved ones are finished with glass stars and from others a string of beads starts which ends in the lower ones, giving a striking waterfall effect; towards the centre, another row curved upwards holds more beads); the lower arms, thicker, curved and decorated with leaves, emerge from a bronze sphere, form three levels both in height and depth and end in saucers with the supports that, originally, held the candles. Most of the glass beads are polygonal and flatter, and these are combined with elongated teardrops (some rectangular and faceted, others oval). The Société Baccarat (which still makes luxury glassware in this French city) began as a glass workshop founded by Louis-Joseph de Laval-Montmorency, with the permission of Louis XV of France, in 1764. They received their first official order from royalty in 1823, leading to a large number of requests addressed to members of leading European families, nobility, heads of state, etc. Around 1860, the company began signing its products with a registered trademark, usually on the base of the work, although it was also common for other bronzesmiths to use Baccarat glass for its reputation and quality.

· Size: 120x120x145 cms.
ANTIQUES

Ref.: ZE248
Sold

PAIR OF VASES WITH SIDE TABLES. BRONZE, WOOD, ETC. JAPAN, MEIJI PERIOD...

Pair of vases with elephant-head bases. Bronze, wood, etc. Meiji period (1868–1912), Japan; Anglo-Indian school, late 19th century. Pair of patinated bronze vases made up of several pieces, raised on three curved legs and decorated on the outside with reliefs of mythological animals and beasts, enhanced with gilded details and bands of geometric motifs. They feature metal containers that fit together at the top. Both bases feature turtles with ripples creating waves; the central body features handles in the shape of dragons and phoenixes on one side and dragons on the other; the neck features more birds (herons or similar) flying among clouds. The bases are two ebonized wood side tables with elephants (heads decorated to resemble textile ornaments, with light-colored tusks) functioning as legs by curving the trunk outwards, openwork jamb, also openwork waist to secure the furniture and a top decorated with carvings and flat boards. These types of vases were one of the so-called "export" items because they were manufactured with the sole purpose of being sold to foreigners during the Meiji Era (1868-1912) in Japan, named after the reigning Emperor and in which the country began its modernization and westernization, establishing itself as a world power thanks to a certain openness to foreigners (presence and ideas), changes in government, etc. Dragons are the most powerful symbol of all the animals in Japanese art, considered deities associated with water, and attributed, for example, with the changing of the seasons (when they flew through the sky it was spring). The crane and the tortoise symbolize longevity, with the first animal in flight (in the upper area) associated with the sky and the second with the lower area (of a kimono, for example) linked to the earth. Regarding the elephant-headed side tables, it should be noted that they were highly prized pieces of furniture by the British during part of the Indian colonial era (1858-1947), with numerous examples imported to the United Kingdom, among which those present in Buckingham Palace and other noble residences are worth noting. Note the quality of the present pair, clearly evident in the animal carvings and plant motifs that complete the table. In Hindu iconography, the elephant is associated with wisdom, divine knowledge, and royal power.

· Size: 60x60x165 cms.
ANTIQUES

Ref.: ZF1280
BRONZE SCULPTURE, “CUPID”. AFTER MODELS FROM AUGUSTE LOUIS MATHURIN MO...

Bronze sculpture “Cupid”. Inspired by models by Auguste Louis Mathurin Moreau (1834-1917). Marble base Lost wax casting. The figure of the child is identifiable by his wings and the bow he holds. Cupid appears half-naked, with his quiver at his feet and a tree stump behind him. The work is based on models created by a member of the well-known Moureau family: Mathurin exhibited for the first time at the Paris Salon in 1848, and was awarded a Medal of Honour in 1897. His work, inserted in this appreciated family style, shows a series of peculiarities that are still maintained in this sculpture.

· Size: 28x28x66 cms
DECORATION
BRONZE SCULPTURES

Ref.: V2524A
Sold

FRAME WITH MIRROR. EBONIZED WOOD, GLASS, ETC. 17TH CENTURY.

Frame with mirror. Ebonized wood, glass. 17th century. It has faults. Rectangular frame made of carved and ebonized wood decorated with a series of smooth mouldings of different widths and depths. The mirror plate is also old and still has a metal piece on the back for hanging it on the wall. Stylistically, it is more reminiscent of Italian examples than Flemish ones, although this way of making frames was very popular in practically all European schools. Weight: 3 kg.

· Size: 37,5x7x51cms. int: 17,5x31,5 cms.
ANTIQUES

Ref.: ZF1260
DISPLAY TABLE FOR JEWELLERY.

Jewelry display table in mahogany wood. The six round, fluted, column-like legs are joined in pairs by curved Y-shaped frames, and the three pairs are secured with balusters. The waist of the display case has been carved with a string of pearls and plant elements in the centre of each side. The top panel consists of a sheet of moulded glass. The decorative motifs do not detract from the mahogany wood.

· Size: 40x97x75 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: Z3930
IRON STRONG BOX. 19TH CENTURY.

Safe box. Iron. 19th century. Rectangular safe made of iron, with a rectangular base, two handles on the sides and classical-influenced moulding decorations on the fronts and top. It opens from the top with a door with two hinges, which also has a knob and a lock with a cover to cover it. It is reminiscent of Victorian examples, some of the models made by Cannon, etc. Weight: 43 kg.

· Size: 48x30x33 cms.
ANTIQUES

Ref.: ZF1265
HEADBOARD. PALO SANTO WOOD. 19TH CENTURY.

Headboard. Rosewood. 19th century. Headboard made of carved rosewood decorated with two fluted columns with entasis at the bottom (located on the sides), topped by two plant elements on two cubes. The central area draws a gentle curve upwards. Stylistically, the influence of Neoclassical models is clear. Requires restorations

· Size: 166x9x128 cms
DECORATIVE ANTIQUES

Ref.: ZF0956
ORIENTAL BASQUET. WOOD, ETC. POSSIBLY CHINA, 20TH CENTURY.

Oriental basket. Wood, plant fibre. Possibly Chinese, 20th century. Oriental basket with a circular base and two handles joined at the top and decorated on the outside with carvings of plant motifs and symbols on the lid and a Greek pattern towards the base area. It follows ancient examples that are very common in certain areas of the Far East.

· Size: 34x34x51 cms
DECORATION
FURNITURE;ORIENTAL

Ref.: XM001Q
SAINT ALOYSIUS DE GONZAGA (TO DRESS UP). POLYCHROMED WOOD, ETC. SPANIS...

San Luis Gonzaga, dressing room. Polychrome wood, etc. Spanish school, 18th century. A sculpture made of polychrome wood, which shows, on a rectangular base, a young man without a beard, with a black body and a polychrome face, neck, hands and part of the arms. This treatment is common in sculptures created to be dressed (note also the arms articulated at two points each – shoulder and elbow). Attached to one ankle is an old piece of metal and two nails in the feet, which could be an old reinforcement that, in turn, suggests that the work was carried in a procession (there is another piece with screws in the head). As is common in this type of work in the Spanish school since the Baroque, the eyes are made of glass. Saint Aloysius Gonzaga (Castiglione delle Stiviere, 9 March 1568 – Rome, 21 June 1591) was an Italian Jesuit priest canonised in 1726 by Benedict XIII, who declared him patron saint of youth. While in the service of Philip II, he married a lady of Queen Isabella of Valois; he also served in the Spanish court as a page to Prince Don Diego, heir to the monarch, but ended up ceding his rights as first-born to his brother to enter the Society of Jesus (novitiate in Rome in 1583), despite his father's efforts to prevent it. He died after caring for people affected by the plague in this Italian city. He is represented as a young man dressed in a black cassock and surplice or as a young page. His attributes are a lily, referring to his innocence; a cross, referring to his piety and sacrifice; a skull, referring to his early death; and a rosary, referring to his devotion to the Virgin Mary.

· Size: 39x26x134 cms.
ANTIQUES

Ref.: ZE427
VIENNA TABLE CABINET. WOOD, ENAMEL. 19TH CENTURY.

Viennese tabletop jewelry box or chest. Wood, enamel, bronze. Austria, second half of the 19th century. Requires restoration. Rectangular table or writing desk with four rectangular projecting corners and a finial projecting from an openwork railing, forming an architectural composition and ending in a gilt-bronze child figure. The four corners of the piece feature semicircular arches with gilt-bronze twisted columns, sheltering bronze female figures in a dancing pose, with other children above. In addition to a series of gilt-bronze appliqués throughout the piece, there are a series of hand-painted enamel plaques with mythological scenes in pastel tones. Two doors on the front give access to three interior drawers, with handles and enamel plaque decorations depicting landscapes. Note that the doors are also decorated with scenes inside. These types of cabinets were highly prized in courtly settings, and were used in private women's homes to store jewelry or other valuables, while also being highly decorative. The shape, materials (ebony or ebonized wood, bronze, etc.), and enamel plaques follow the style of the 19th-century Viennese school, which specialized in this type of cabinet (the most important were made in Vienna). It was unusual to feature corners with architectural shelters, as can be seen in this example (there are two other examples in private collections, one with plain bronze columns and the other with porcelain and twisted columns, both dating from around 1880).

· Size: 47x44x56 cms.
ANTIQUES

Ref.: ZE433
FLEMISH BRONZE MORTAR, 17TH CENTURY

Flemish mortar. Bronze. 17th century. Presents brand. A mortar with a circular base and a mouth that extends outwards from the two upper bands and a body with a slight entasis and a relief decoration with figurative motifs. In addition to a series of mouldings on its outer area, two male protomes can be seen (heads with moustaches and non-human features) and a band with different elements on the lower part (scrolls, leaves, quadruped monsters). Also note a kind of circular “seal” (or so it seems), with letters (HLB / RA/TE) around a flag flanked by plant elements and placed on three oval objects. Compare this example with those by P. van den Ghein from the Royal Carillon School Museum “Jef Denyn” in Mechelen (although they are older), a 17th century example from the Pharmacy Museum in Berlin (Germany), another in the Pharmacy Museum of the Complutense University of Madrid (Spain), etc. Weight: 4.6 kg.

· Size: 17x17x14 cms.
ANTIQUES

Ref.: ZF1258
CONSOLE WITH FRAME, LOUIS XV STYLE. WOOD. 20TH CENTURY.

Console table with mirror frame, Louis XV style. Carved wood. 20th century. Mirror frame decorated with a series of delicate openwork, vegetal and architectural elements, following the French Louis XV style and arranged in a geometric composition softened by the curves and undulating shapes of the decorative motifs. The console has a similar decoration, but with more presence in the scrolls and architectural details that decorate it, thus enhancing both the cabriole legs it has and the lower jamb that joins them in a central shape.

· Size: 168x56x249 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: Z2720A
TRUNK. LEATHER, WOOD, IRON. SPANISH SCHOOL, 17-18TH CENTURY.

Trunk. Wood, leather, iron. Spanish School, around 1700. Wooden trunk with a curved lid and rectangular shape, covered with leather on the outside, with fittings, handles, studs and two closures at the front, which has a front and top opening. Inside it has a lower space accessible from the front divided in two by a vertical piece of wood; the lid and part of the chest have a textile covering. The back does not have leather. The nails with circular heads are arranged in geometric shapes. The handles have disc decorations. The fittings, also worked, follow models based on architectural designs, motifs also present in the lock shields on the front. Some of the metal elements still have traces of gilding. These types of trunks were known as “travel trunks” because they were normally used to store objects on journeys, hence the leather covering and the apparent lack of decoration on the outside. Having two locks was for greater security, since the two keys had to be used together to open it and these were usually entrusted to two different people. Compare this with the 17th century travel trunk from the Viceroyalty of Peru in the Museum of America (Madrid), which has decoration with animals and plant motifs (embossed leather). Or with the Chest of the Mayorazgo de la Cerda (17th century) in the National Museum of Decorative Arts (Madrid).

· Size: 85x129x65 cms.
ANTIQUES

Ref.: ZF1245
FOUR ORNITOLOGY PRINTS, FRAMED. POSSIBLY 19TH CENTURY.

Four framed engravings, ornithology. 20th century. Set of four coloured engravings with birds: a pair of black terns and a pair of sand martins in one; a pair of red-necked ducks and a pair of little grebes (pintail duck); in the next engraving two more specimens of Kentish plover above two kentish plovers (turnstone); and in the last one the species common sandpiper and sanderling. The engravings are very similar to those that appeared in natural science books in the 19th century.

· Size: 32,5x3x42 cms
DECORATIVE ANTIQUES

Ref.: Z4675A

«« « ...9 10 111213 14 15... » »»

Results 265 to 288 of 1577

We are at

Subscribe to our press

Meet new items in catalog promotion news: do not miss the opportunity to learn about the latest.