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SILVER TUREEN WITH TRAY. POSSIBLY SPAIN, 20TH CENTURY.
Soup tureen with tray. Silver. Possibly Spain, 20th century. With contrast marks. Silver-coloured soup tureen with handles ending in parchment (and with plant elements in the base) and bulging shapes that extend to both the base and the lid, the latter finished in a scalloped finish. It has initials of ownership on the front. The tray repeats the waves of the other piece, and has two handles also in the form of parchment. It has contrasting marks on the base of the tureen and on the tray, without identification. Weight: 1.773 kg.ANTIQUES
· Size: 26x18x22 cms.
MISCELLANEUS;SILVERRef.: ZF1318 -
TRITONS AND NEREIDS. PAINTING, GLASS. POSSIBLY ITALIAN SCHOOL, LATE 16...
Tritons defending Nereids. Oil on glass (reverse). Possibly Italian school (perhaps Naples), late 16th-17th century. Framed glass plate with a painting, probably an oil painting, beneath it. A landscape can be seen in the background and a series of figures in the foreground, from the waist up. A man is holding two women on the right, while, on the left, two semi-nude male figures appear attacking a sea monster (very similar to those inspired by ancient Roman works, common in painting since the Renaissance). It is first necessary to differentiate between two painting techniques that employ glass: one that uses it as a base, such as a canvas, and the other, in which the glass sits "above" the paint, with the latter applied "beneath" and inversely. This work belongs to the second method, highly prized in cabinetmaking for decorating chests, wastepaper baskets, etc., and for its similarity to enamel. It should also be remembered that glass painting was especially appreciated by the upper class between the late 17th and early 18th centuries. Ferdinand de' Medici, for example, included glass paintings by Luca Giordano in his collection in 1702. Followers of this master specialized in these years in decorating important furniture with painting under glass. In 1679, for example, Giovanni Battista Tara was paid for having created "a pair of ebony writers' tables inlaid with different paintings on glass," while Carlo Garofalo, a student of Luca Giordano and considered the best glass painter active in Naples in the second half of the 17th century, was called by Charles II of Spain to paint glass for chests and other decorations in prominent royal salons; again, Domenico Coscia is mentioned in documents as a painter "who made those glass pieces very well, which were used by writers." The list of Neapolitan painters who were disciples of Giordano, remembered for their painting on glass, can also be enriched with many other names, such as Domenico Perrone, Francesco della Torre, or Andrea Vincenti.ANTIQUES
· Size: 41,5x2,5x18 cms. int: 8x32 cms.
PAINTINGSRef.: ZF1420 -
BRONZE BRAZIER. POSSIBLY SPANISH SCHOOL, 16TH CENTURY.
Frame for a hand brazier. Bronze. Possibly Spanish School, 16th century. A polygonal bronze frame for a brazier or table, raised on legs and featuring a decoration of human figures at the top, as a finial, and a series of openwork scenes on the front between Doric or Tuscan columns (human figures surrounded by plant and grotesque elements; two panels with handles), clearly influenced by Classicism. Weight: 1.1 kg.ANTIQUES
· Size: 19x19x12 cms.
MISCELLANEUS;OTHER OBJECTSRef.: ZF1422 -
TURQUOISE BLUE VASE WITH HANDPAINTED SCENE. “APHRODITE AND ANCHISES”. ...
Turquoise blue vase with hand-painted scene. “Venus and Anchises”. Inspired by models from the Manufacture Nationale de Sèvres (France). The vase has two handles with vine leaves and bunches of grapes and decorative elements rooted in classicism. It has been highlighted by a base with four legs in the form of scrolls and shows plant elements in relief. The hand-painted scene on its front shows Venus with her lover Anchises, the union from which Aeneas was born, one of the main characters of the Trojan War and considered the ancestor of Romulus and Remus. The work is inspired by models from the Manufacture Nationale de Sèvres (France).DECORATION
· Size: 45x34x84 cms.
PORCELAINRef.: S3123 -
PINE WOOD AND WALNUT BENCH. SPAIN, 17TH CENTURY.
High-backed bench. Pine, walnut. Spain, 17th century. Carved wooden bench with a high backrest and arms decorated towards the inside (and in the lower area of the sides) with stripes formed by rectangular panels, following a very common motif in Spanish cabinetmaking. Requires restorationANTIQUES
· Size: 218x54,5x140 cms.
FURNITURERef.: Z0605 -
DOUBLE DOOR WITH FORGED FITTINGS. PINE TREE WOOD FROM SORIA, WALNUT, W...
Two-leaf door with frame, latch and wrought iron fittings. Soria pine wood and walnut panels, wrought iron. 18th century. A two-leaf door with a simple frame decorated with carved walnut panels, contrasting in tone with the frame and highlighting the composition of a large rectangle interspersed with two small squares placed side by side. The frame is simple, as is often the case with this type of piece, and also features a latch and wrought iron fittings. It is not common to preserve these construction elements, given their purely utilitarian purpose and their replacement by more modern ones as soon as tastes change or when the old ones deteriorate.DECORATIVE ANTIQUES
· Size: 148x212 (Hoja 61x202 cms.)
MISCELLANEUSRef.: Z2655 -
MAHOGANY TABLE FOR GAMES, 19TH CENTURY.
Mahogany gaming table. 19th century. The upper board is rectangular in shape and has curved profiles, and is supported by two balustrade legs that end in two supports with a shape reminiscent of cabriole legs, decorated with mouldings. Both are secured by a turned frame and have metal rollers. The lines recall baroque examples, while the decorative simplicity refers to neoclassical models, a common mix in 19th century furniture.ANTIQUES
· Size: 95,5x48x74 cms.
FURNITURERef.: Z3056 -
WATER PAINTING. LANDSCAPE BY AGUSTIN REDONDELA
Augustin Redondela (Madrid, October 29, 1922) A practically self-taught painter, he is considered one of the most original Spanish landscape artists of the 20th century.ANTIQUES
· Size: 24x16 cms.
PAINTINGSRef.: Z3943 -
”FRAILERO” CHAIR. WOOD, LEATHER. SPAIN, 17TH CENTURY.
Pair of friar's chairs. Walnut wood, leather, metal. Spain, 17th century. Armchairs with high arms and backrests of the type known as “frailero”, which have leather with studs on the seat and upper part of the backrest, low chambranes joining the front legs with the back ones and middle chambranes or side rails (the front one carved and cut out creating geometric motifs) joining the two front legs and the two back ones, and simple armrests, with scrollwork finishes. The friar's chair, originally of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of this and the 17th century and being recovered again in the historicist movement of the 19th century. Being such a deep-rooted tradition in Spain, this type of model was never stopped being created.ANTIQUES
· Size: 69x55x107 cms.
FURNITURERef.: Z5070 -
GILT BRONZE AND WHITE MARBLE CLOCK GARNITURE IN LOUIS XVI STYLE, 19TH ...
Gilt bronze and white marble fittings in Louis XVI style, 19th century. It is made up of two cups on pedestals and a clock. The first ones are identical: on four circular legs, there is a polygonal base on which there is a low fluted column decorated with two strings of pearls in its lower area; above it, there is a tall-stemmed cup decorated with two handles in the shape of plant stems. The clock is placed on four legs, a semicircular base with a floral frieze, four columns and another semicircular plate; highlighted by two branches with flowers joined together, it has a white face and Arabic numerals, as well as hands of the type known as Louis XVI and is topped by a vase. The pendulum of the clock, which has been shaped like a sun, can be seen between the columns and the decorative chains. The French style known as Louis XVI is characterized by its inspiration in classicism and spans approximately from 1760 to 1789. In the 19th century, numerous artistic movements from the past were recovered, among which the aforementioned stood out due to its inspiration, very much in line with the Neoclassicism of the time.ANTIQUES
· Size: Reloj: 19x9x40 cms. Copas: 19x15x21 cms.
MISCELLANEUS;CLOCKSRef.: Z6190 -
COLUMN. POLYCHROMED AND GILDED WOOD. 16TH CENTURY
Column. Carved, polychrome and gilded wood. 16th century. Carved and polychrome wooden column with a capital reminiscent of the Composite Order of Classical Antiquity (volutes, acanthus leaves in levels, etc.), a series of mouldings separating the shaft from the rest of the elements, a fluted shaft with a strip at the bottom with figurative elements and latticework, and a base with prominent upward-facing volutes and smooth mouldings at the corners. The aforementioned frieze shows a series of figures with only cloth hangings behind them as the background and carrying a series of elements (flowers, one with a tower with three windows that could be linked to Saint Barbara, etc.). In some details it is reminiscent of columns from other notable works such as the High Altarpiece of Our Lady of the Assumption of Tudela de Duero in Valladolid (last quarter of the 16th century-early 17th century, with designs by Manuel Álvarez and Francisco de la Maza); the High Altarpiece of the Cathedral of Astorga (1558-1584, following the architectural designs of Gaspar Becerra) has fluted columns with the lower part decorated with figurative reliefs; this detail is also present in the altarpiece of the Virgin Mary of Corcos del Valle (last quarter of the 16th century); etc.ANTIQUES
· Size: 28x28x90 cms
SCULPTURERef.: ZE239 -
DEVOTIONAL SILVER PENDANT. 17-18TH CENTURIES.
Reliquary cross. Silver, clear glass. 17th-18th century Devotional pendant made of silver and shaped like a Latin cross, decorated on the outside with simple scrolls, spikes, pearls and other elements of classical inspiration, as well as a ring to wear the jewel hanging from the neck. The front has seven oval holes (the one where the arms are crossed, which is larger) protected with transparent glass; the back is smooth, with the material in its colour. Typologically, there are similar examples of Portuguese origin, made of rock crystal and protected by silver bands, without the scrolls and other decorations, dating from between the 16th and 17th centuries, preserved in two private collections. The present jewel shows profiles with much more movement than these two, although the motifs and the simplicity of the lines respond to classicist influences. This type of jewellery was of great value to its owners, both for the materials from which it was made and for its content, which was considered sacred and protective. Despite this high value (or precisely for this reason), few examples of good quality and in good condition have reached us. There are medallions similar to the present one only in some important institutions such as the Fundación Valencia de Don Juan in Madrid, the Museo Nacional de Artes Decorativas (Madrid), the Lázaro Galdiano (Madrid), the Museo de Creencias y Religiosidad Popular del Pirineo Aragonés (Abizanda, Huesca), the Metropolitan Museum (New York), etc. And in prominent religious institutions such as the Cathedral of Santiago de Compostela or the Convent of the Descalzas Reales in Madrid.ANTIQUES
· Size: 6,5x10 cms.
MISCELLANEUS;JEWELRYRef.: ZF0190 -
CRUET SET. SILVER, GLASS. RENÉ-PIERRE FERRIER, PARIS, FRANCE, 1775.
Set of cruets. Silver and glass. René-Pierre Ferrier, Paris, 1775. With contrast marks. Set of cruets with salver made of silver in its colour and transparent glass, consisting of two jugs with handle, elongated neck and spout, and a body with a circular base, with a faceted exterior, an oval tray with two supports for the jugs and two others for the stoppers (decorated with leaves and fruits). The tray has four volute-shaped legs, a decoration that is repeated at the ends of the tray, and two architectural shapes on the longer sides, right where the supports for the spice racks are located. The supports for the jugs have an openwork decoration based on architectural motifs framing baskets with grapes and vine leaves and flowers. The hallmarks on the silver pieces indicate that they were the work of René-Pierre Ferrier (his hallmark can be seen), made in Paris between 1775 and 1776 (crowned M; “Maison Commune” mark) and with the corresponding taxes paid (the crowned A -this one in particular was used in Paris between 1775 and 1781- and the bull's head -same as the previous one-). René-Pierre Ferrier was a French silversmith whose mark can be seen used on work from 1775, the year he achieved the status of master. The shape of the tray is reminiscent of other works by the same silversmith dating from the end of the century and with a more pronounced “nave or ship shape”. The decorative elements respond to Neoclassicism, a very popular style in France at the time. It is possible to find pieces similar to the present one in some private collections and in institutions such as the Musée des Beaux-Arts de la Ville de Paris (Petit Palais), dated between 1783 and 1784 (inventory PPO2012), or in the Louvre Museum in Paris. Weight: 558 gr. silver / 1245 gr. c/bottle.ANTIQUES
· Size: 27x16x23 cms.
MISCELLANEUS;SILVERRef.: ZF0344 -
CAPITAL. GRANITE. SPAIN, 16TH CENTURY.
Capital. Carved granite. Spain, 16th century. Capital for a circular column made of carved granite, with volutes inspired by classical Corinthian capitals (three in total) and a series of mouldings. This is a common type in Spanish Renaissance buildings, as can be seen by comparing it with the Patio of the San Isidro or Los Orígenes museum in Madrid (Casa de los Vargas), the Cloister of Santa María de Ferreira de Pantón (Lugo), etc.ANTIQUES
· Size: 60x60x40 cms. diam. columna 35 cms
MISCELLANEUS;OTHER OBJECTSRef.: ZF0755 -
WROUGHT IRON FIREDOG OR ANDIRON. 16TH CENTURY.
Morillo. Wrought iron. 16th century. A wrought-iron andiron of the type commonly used for cooking in large fireplaces or hearths. It has a series of hooks facing upwards to accommodate spits when the andirons are placed in pairs, and a semicircular "plate" to hold a pot or similar. Compare with the one in the Metropolitan Museum.ANTIQUES
· Size: 35x92x102 cm
MISCELLANEUS;OTHER OBJECTSRef.: ZF0843 -
SILVER TRAY. MATEO MARTÍNEZ MORENO, CÓRDOBA, SPAIN, 1789.
Source. Silver. Mateo Martinez Moreno, Cordoba, Spain, 1789. With contrast marks. Silver-coloured fountain, oval in shape and great depth, with contrasting marks and a border composed of smooth mouldings of different widths curved to form waves, ending in four peaks that extend towards the bottom of the piece, thus drawing a series of curves and counter-curves. This form is known as “cut-out profiles” and was a common resource in 18th century Spanish silverwork that followed or was influenced by Rococo models. The marks mentioned (frustras) could place the work's execution in Córdoba, during the period in which Mateo Martínez Moreno worked as a faithful contrast, also providing the date of 1789. Weight: 858 grams.ANTIQUES
· Size: 38x6,5x27 cms.
MISCELLANEUS;SILVERRef.: ZF1043 -
BANDIT AND MILITARY, PAIR. OIL ON BOARD. LUCAS VILLAAMIL, EUGENIO (185...
Bandit and soldier, couple. Oil paintings on panels. LUCAS VILLAAMIL, Eugenio (Madrid, 1858-1919). They present signature and remains of signature. The present pair of panels shows, on a blue background, two male busts. Despite their detail and naturalism, they are not portraits per se, but rather “paintings of types”, showing the concept that was held at the time of a bandit or a general, in line with certain postulates common in Spanish Romanticism. Eugenio Lucas Villaamil began his training with his father, Eugenio Lucas Velázquez, and continued at the Escuela Especial de Pintura in Madrid. His work was notable for largely following his father's line, with a strong Goya influence in both style and subject matter (he also copied some of Goya's paintings), and he was a protégé of José Lázaro Galdiano. Thus, in addition to his traditional Madrid, bullfights, etc., he was also known for his portraits, his urban prints (of the upper and lower classes), etc. His work is preserved in numerous private collections and institutions such as the Museo del Prado (Madrid), the Museo Carmen Thyssen (Málaga), the Museo Lázaro Galdiano (Madrid), the Real Academia de Bellas Artes de San Fernando (Madrid), the Museo Nacional del Romanticismo (Madrid), etc.ANTIQUES
· Size: 23,5x4,5x28 cms. int: 11x15,5 cms
PAINTINGSRef.: ZF1117 -
CHEST. WOOD, METAL. SPANISH SCHOOL, 16TH CENTURY.
Chest. Carved wood, metal. Spanish school, 16th century. Rectangular casket with a flat lid decorated on the outside with a series of figurative reliefs in a symmetrical arrangement with a theme and lines of clear Renaissance influence (framed and enhanced with smooth mouldings, on each front there are two grotesques facing each other or back to back, with a candlestick or central motif as the axis).ANTIQUES
· Size: 19,5x14x11 cms.
FURNITURERef.: ZF1289 -
SILVER SHELL. GARCÍA REINA, MANUEL. TOLEDO, SPAIN, CIRCA 1730-1741
Baptismal shell. Silver in its colour. GARCÍA REINA, Manuel. Toledo, Spain, circa 1730-1751. With contrast marks, it is missing. A shell made of silver in its colour, with naturalistic details, and a top with a cartouche (on which there is an engraved element) and a simplified vegetal shape on one side (it is missing the symmetry to this). The contrasting marks are found in what would be the “ears” or “earlets”. A numerical mark can be seen on the outside. On the inside, hallmarks can be seen that identify the piece as having been made in the Spanish city of Toledo, when Diego Rodríguez de Lezama (or Lizana) was working as a hallmark, to whom the mark on the other ear belongs. The third mark, located under the location mark, identifies the piece as being made by Manuel García Reina, who was born around 1706 in Colmenar Viejo and trained in Madrid with Juan Löpez Sopuerta. He settled in Toledo around 1730, where he furthered his studies with Manuel Vargas Machuca, entering San Eloy in 1733. He was an approver in 1747 and 1755, and it is known that he had a shop since at least 1743 and is documented until 1772. Diego Rodríguez de Lizana or de Lezana was born in Bargas (Toledo) and trained with Juan de Jarauta, joining the Brotherhood of San Eloy de Toledo in 1699. He was an approver of the guild in 1715 and 1718, and worked as a contrast between around 1730 and his death in 1751 or 1754. His works are preserved in San Pedro Mártir, in the parish church of Miguelturra (Ciudad Real), in the cathedral of Lérida, etc. His work is preserved in Santo Domingo el Real, some cruets in the museum of Santa Cruz de Toledo, the parish of los Yébenes, etc. Weight: 98 grams.ANTIQUES
· Size: 11x12x4 cms
MISCELLANEUS;SILVERRef.: ZF1376 -
18K GOLD LOZENGE BROOCH WITH CABOCHON GARNET
18kt gold lozenge brooch with cabochon garnet. A rhomboid brooch decorated with plant elements and gold pearls in a distinctive arrangement of hollows inspired by scallops, with a symmetrical and balanced composition. In the center, surrounded by gold bands (concave, fine cord, etc.), is a smooth, oval garnet with an eight-pointed star in the center highlighted by white elements (a larger pearl in the center surrounded by eight smaller ones) contrasting and highlighting the gem. The back features a distinctive figurative decoration depicting a hunting dog carrying a bird in its jaws. Weight: 14.60 grams.ANTIQUES
· Size: 5,3x4 cms.
MISCELLANEUS;JEWELRYRef.: JBR1732 -
MARBLE FOUNTAIN.
Three-level fountain. Carved marble.DECORATION
Fountain made of veined marble, with a central axis with balustrade profiles and elegant floral and plant reliefs that visually organizes the three bowls (with a smaller diameter towards the top, up to the large pearl top), decorated with fine reliefs on the edge. This type of work is inspired by examples of ancient garden architecture, adding modern touches, and can also be used alone or as part of a small pool or lake."
· Size: 65x65x120 cms.
MARBLE SCULPTURESRef.: M0081 -
FLOWERPOT ON PEDESTAL. PORCELAIN.
Planter on a pedestal. Porcelain. The flowerpot, with a circular section, has a wavy edge outlined in gold and a garland and a scene painted on each side: both are idealised bucolic landscapes in which a series of characters inspired by classicism appear. The pedestal, with a circular section, resembles a smooth-shafted column flanked above and below by capitals and placed on feline legs, and on its front there is a pictorial decoration of the same type as those already mentioned. The work was inspired by models of 19th-century Neoclassicism.DECORATION
· Size: 29x29x110 cms.
PORCELAINRef.: S3096 -
CEILING LAMP. BRONZE, CLASS.
Lamp. Bronze, glass. Classicist style ceiling lamp with a central glass panel edged in bronze and with ram heads, from which two arms emerge ending in flower-shaped glass shades. The connection to the ceiling is made by bronze pieces decorated with putti, garlands, scrolls, architectural elements, etc. that show a clear influence of neoclassical models from the 19th century.DECORATION
· Size: 91x91x110 cms.
FURNITURE;CLASSICRef.: E515 -
Ref.: AB070