Results 265 to 288 of 1567

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TABLE. WALNUT, IRON. SPANISH SCHOOL, GUADALAJARA (SPAIN), 17TH CENTURY...

Table. Walnut wood, iron. Spanish school, Guadalajara, 17th century. Table with a smooth rectangular top, four spheres under the four legs (these joined by chamfers that start from rectangular cubes, and carved with spherical elements accompanied by lentil or disk shapes), and a carved waist in the lower area of the front. In this part, there is also a drawer with a key lock, decorated with a carving of plant motifs divided into two rectangular areas; inside, a board creates two spaces. Note the dovetail joints. As this is one of the most common types of furniture in the Castilian school of all ancient Spanish furniture, it is possible to find similar examples in important private collections and in prominent institutions. Compare, for example, with some buffets in the Casa Museo Lope de Vega in Madrid (one with column legs is dated to the first half of the 17th century), or with some of those kept in the Museo Casa de Cervantes in Alcalá de Henares in Madrid (in particular, one has a composition on the legs similar to that of the present one, the one in the museum dated to the 17th century and registered with inventory number CE00113).

· Size: 96,5x60,5x81 cms
ANTIQUES
FURNITURE

Ref.: ZF1275
BRONZE AND ALABASTER CUP.

Cup in patinated bronze and marble. Lost wax casting. The cup is made up of a foot and handles with bronze masks and leaves and a pink alabaster vessel, resting on a square base supported by scrolls and decorated with plant motifs. The classicist inspiration of the work is clear both in the combination of materials and in the decorative elements used in it. Weight: 7.7 kg

· Size: 27x39x42 cms.
DECORATION
BRONZE SCULPTURES

Ref.: G2013
TABLE LAMP WITH KIDS ON A SEESAW.

Table lamp with children on a rocking chair. Patinated metal. Glass On an oval base treated to resemble the ground and a tree stump, a seesaw has been placed on which two children are playing. Behind the figures, two stems with leaves intertwine, ending in the lampshades, made in the shape of flowers in translucent green and yellow glass.

· Size: 35x20x40 cms.
DECORATION
AUXILIARY LIGHTING

Ref.: LM79
ESTIPITE SHAPED LAMP, WITHOUT SHADE.

Bronze lamp in the shape of a stipe. Patinated bronze, marble base. Without shade. Patinated bronze lamp composed of a curved base that rises towards the base of the stipe, divided into two parts by a central disk between two concave mouldings. This column, widely used at the end of the Spanish Baroque (18th century), brings movement to the work without eliminating its simplicity.

· Size: 17x17x39 cms
DECORATION
AUXILIARY LIGHTING

Ref.: AS218
TABLE LAMP “TULIP”.

Yellow “tulip” lamp. Metal and glass. The stem that forms the base of the lamp emerges from the circular base, on which two leaves have been placed. The lampshade, made of yellow and blue glass, is shaped like a flower calyx, very similar to a tulip.

· Size: 10x10x35 cms.
DECORATION
AUXILIARY LIGHTING

Ref.: LM49
TABLE LAMP “TULIP”.

“Tulip” lamp, red tone. Metal and glass. The stem that forms the base of the lamp emerges from the circular base, on which two leaves have been placed. The lampshade, made of red and blue glass, is shaped like a flower calyx, very similar to a tulip.

· Size: 10x10x35 cms.
DECORATION
AUXILIARY LIGHTING

Ref.: LM50
SILVER CUP (TEMBLADERA) OR WINE TASTING CUP. 18TH CENTURY.

Catavinos or quaking glass. Silver. 18th century. Vessel known as a catavinos or tembladera (as it has no foot) made of silver in its colour with two curved flat handles decorated with simplified plant elements, and a line of mortise (gallon-shaped shapes) on the edge enhanced by bands of sunken dots that remain in relief on the inside of the piece, where they extend and frame the decoration on the bottom. In this area there is a flower, enhanced with a line of dots. Bernegales and mortise-shaped bernegales were frequent pieces in Spanish silverware in the 17th century, usually being relegated to centres of somewhat less importance in the 18th century. Compare with pieces such as the silver bernegal from the last third of the 17th century in the Lázaro Galdiano Museum (perhaps from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 79 grams.

· Size: 15x11x4 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE366
SILVER CUP (TEMBLADERA) OR WINE TASTING CUP. 18TH CENTURY.

Quaking glass or wine-tasting glass. Silver. 18th century. Vessel known as a catavinos or tembladera (as it has no foot) made of silver in its colour with two flat handles in the shape of a “C” topped by volutes and decorated with wavy elements on the outside, which has a decoration on the edge (on the outside) of simple plant elements alternating with simple geometric elements made with lines and dots. On the bottom, on the inside, there is a plant element. In Spanish silverwork, the Baroque trends were maintained for almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these novelties in Madrid, which would slowly spread to the rest of the centres, depending on the areas and masters. This survival of the forms of the 17th century can be seen in the fact that bernegales tembladeras were, in general, more common pieces in the 17th century, remaining during the 18th century relegated to centres far from the main areas of creation. Weight: 91 grams.

· Size: 14,5x11x3,5 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE368
SNUFF BOX. HORN, WOOD, METAL. SPAIN, 1861.

Pastoral box. Carved horn, wood, metal. Spanish school, 1861. Submits registrations. Oval box made of antler carved in its colour, with wood on the lid to reinforce it, decorated on the outside with a series of engraved elements. On the base there is an animal or monster, on the lid there is a monstrance or ostensorium with a cross in the centre and a large base with geometric elements, surrounded by angular shapes acting as a frame. Under the antler hinge there is the date of the piece's creation (1861) and, between two bands of angular elements, an inscription (I am from francys / inverted d / a rhombus / poios), alluding to the owner (and possibly the craftsman) of the work. These types of boxes, of popular tradition, were common in ancient times and were usually made by shepherds or cattle breeders themselves to store snuff or tobacco.

· Size: 7x4x4 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE351A
SILVER CUP (TEMBLADERA) OR WINE TASTING CUP. 18TH CENTURY.

Quaking glass or wine-tasting glass. Silver. 18th century. One handle is missing. A vessel known as a catavinos or tembladera (as it has no foot) made of silver in its colour with a flat handle curved in the shape of an “S” decorated with simplified plant elements, and a line of mortise-shaped pieces (gallon-shaped shapes) on the edge enhanced by a smooth band. Towards the inside it has strings of pearls and dots, and a cross on the bottom. Bernegales and mortise-shaped pieces were frequent in Spanish silverware in the 17th century, usually being relegated to centres of somewhat less importance in the 18th century. Compare with pieces such as the silver bernegal from the last third of the 17th century in the Lázaro Galdiano Museum (perhaps from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 101 grams.

· Size: 12x10x4 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE367
VARIATIONS ON PARIS. FRAMED LITOGRAPH. EDUARDO VICENTE (MADRID, 1900-1...

Variations on Paris; Rincón de Menilmontant. Framed lithograph. Eduardo Vicente (Madrid, 1900-1968). Framed lithograph belonging to the book of fifteen lithographs entitled “Variations on Paris”, published by Rafael Casariego in 1968 with texts by José Hierro.

· Size: 45x2x58 cms.
DECORATIVE ANTIQUES
PAINTINGS

Ref.: Z1205B
EMPIRE STYLE TABLE LAMP (WITHOUT LAMP SHADE). BRONZE AND MARBLE

Empire style lamp (without shade). Patinated bronze. Marble base Table lamp raised on a marble base, it is shaped like a vase with handles in the form of simplified swan heads, following examples from the 19th century. Weight: 7.5 kg

· Size: 18x19x55cms
DECORATION
AUXILIARY LIGHTING

Ref.: AS285
TABLE LAMP. BRONZE.

Lamp base in patinated bronze. Shade not included. Lamp base in the shape of a candlestick formed by a triangular base pedestal with legs and a fluted shaft, finished with leaves. The lines and decoration show influence from classicist Baroque and Neoclassical models. Weight: 4.6 kg.

· Size: 18x18x74 cms.
DECORATION
AUXILIARY LIGHTING

Ref.: AS792
BRONZE LAMP, WITHOUT SHADE.

Table lamp in the shape of a vase in patinated metal. Without shade. A circular base serves as the base of the work, in the shape of a stylized truncated cone vase or jar and decorated with a garland flanked by waves below and squares between fine moldings above. Weight: 3 kg

· Size: 26x26x60 cms.
DECORATION
AUXILIARY LIGHTING

Ref.: AS112
BRONZE PINEAPPLE LAMP. WITHOUT SHADE.

Pineapple-shaped table lamp, polychrome bronze. No screen. A pedestal (with simulated bricks on its fronts) elevates and highlights the pineapple that forms the body of this lamp. It is, however, a small vase with a scale decoration to which leaves have been added to make it look more like the fruit (something for which different patinas have also been used on the bronze), and not a pine cone itself. This mix of classicist elements with other more contemporary naturalist inspired ones make the work an excellent lamp for an interior. Weight: 4.6 kg

· Size: 22x22x58 cms.
DECORATION
AUXILIARY LIGHTING

Ref.: AS662
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 stipe. Without shade. Marble base. A marble base highlights the lamp, formed by a stipes divided into two parts by a central disc with concave moldings on each side. This type of pilaster, widely used in Spanish Baroque throughout, especially, the 18th century, adds 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
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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
SCULPTURE

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
PAINTINGS

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
FURNITURE

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
SCULPTURE

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
MISCELLANEUS

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
FURNITURE

Ref.: ZF1129

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