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Folding mahogany side table in the George II style, USA (America), circa 1860. A tripod with animal claws gripping a ball serves as the base for the furniture's foot, adorned with a small fluted column and a bulbous plant. The folding mechanism is located above this foot, and the top surface is round with a curved profile flanked by straight sections. American furniture owes much to English design, as this example demonstrates: it follows the so-called George II style, named after the monarch during whose reign it was created (he was born in 1683 and died in 1760), and is based on models taken from Renaissance Roman architecture.
· Size: 78x78x72 cms.
ANTIQUES
Ref.: Z5502
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Asterio Mañanós Martínez began his painting studies at the Municipal Drawing School of Palencia with Justo María de Velasco and, from 1877, at the San Fernando School of Fine Arts in Madrid, in the classes of Casto Plasencia and Casado del Alisal. He also frequently visited the Prado Museum, making copies of Velázquez's works. From 1881, he participated in the National Fine Arts Exhibitions. He divided his time between Madrid and Palencia, where he was commissioned to design the curtains and stage curtains for the Teatro de Recreo Palentino. In 1885, he received a grant from the Provincial Council of Palencia to further his artistic training at the Royal Academy of Spain in Rome, which lasted a year. Back in his hometown, he decorated the Teatro de la Peña Palentina with Sabino Ojero. He also opened a drawing academy, named "Casado del Alisal" in honor of his teacher, in collaboration with Isidro Mallol. In 1889, he moved to Paris for a year to study the realist style of Léon Bonnat. Upon returning to Spain, he established his studio in Madrid, where he painted Doña Sancha Before the Corpse of Her Husband and the portrait of Tomás Bretón. From 1908, the Senate's Governing Commission appointed him curator of the Upper House's artworks. The large parliamentary paintings depicting Senate sessions and chambers are a product of this experience. One of his last canvases was an allegory of the Second Republic, now part of the Senate's collection. The place and circumstances of his death are unknown, but it is documented that he was alive in 1935.
· Size: int. 60x40 cms.
ANTIQUES
Ref.: Z6229
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Frame. Carved and gilded wood. 18th century. A rectangular frame made of carved and gilded wood, combining a thin, smooth band on the inside with another carved band and a third, on the outside, in which smooth areas are combined with delicate vegetal details (these in the same finish as the rest of the molding, highlighted against a striped background). Currently, the value and appreciation of frames are on the rise due to their demand by important museums and institutions, who seek to restore artworks to their original frames. This explains why similar examples can be found in some of Vermeer's paintings, for instance, or in the Metropolitan Museum of Art in New York, the Louvre Museum, the British Museum, and the Victoria & Albert Museum in London, among others.
· Size: 75x6x58 cms. / 50x38 cms.
ANTIQUES
MISCELLANEUS;FRAMES
Ref.: ZE225
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Pair of reliefs; grotesques or candelabra. Carved, polychrome and gilded wood. 16th century. A pair of reliefs made of hand-carved, gilded, and polychromed wood, each depicting a winged cherub's head (or putti) positioned on a vertical element that serves as the axis of symmetry for the relief's composition. The remaining motifs include scrolled leaves, floral and vegetal details, interlacing patterns, and moldings, all clearly influenced by classical art. The background is devoid of any decorative elements, either carved or painted, thus allowing the aforementioned elements to take center stage. These types of compositions were very common during the Renaissance throughout Europe, as the "fashion" for grotesques spread from Italy. Compare, for example, with the frieze depicted in an image from Diego de Sagredo's work entitled "Medidas del Romano" (1526, Toledo); details from the Chapel of Santa Librada in Sigüenza Cathedral by Francisco de Baeza (circa 1520); others from the façade of the Escuelas Mayores of the University of Salamanca; the main altarpiece of the Collegiate Church of Torrijos (Toledo), commissioned in 1558 from Juan Correa de Vivar; etc. It should be noted that these decorative motifs would have a long tradition in Spanish art. It is quite possible that the present relief plaque was created to form part of an altar in a church even though it is not decorated with a religious theme (note that the theme of the “winged heads”, often called “putti”, also comes from Italy and is found in both civil and religious works).
· Size: 14x5x22 cms.
ANTIQUES
SCULPTURE
Ref.: ZE238
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Reliefs with angels' heads. Polychrome and gilded wood. Spanish school, 16th century. Pair of rectangular panels with a hanging ring on the back, featuring two deep figurative reliefs on the front. Against a gold background are depicted two winged children's heads, one looking to each side. Note the gilded details on the feathers, arranged in a somewhat heraldic style, and the painterly treatment of the hair. This type of relief was very common in the Spanish school from the Renaissance onward for decorating altarpieces, altars, etc. Weight: 600 grams.
· Size: 32x6x11 cms
ANTIQUES
SCULPTURE
Ref.: ZE371
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Naveta. Silver in its natural color. Salamanca, Spain, 1824-1850. With contrasting marks and text. Silver boat in its natural color with a circular, stepped foot decorated with finished moldings, a curved or shaped foot with lines, and an elongated top part, with a lid on one side and a protrusion on the other side of the piece (note the damage here). The hallmarks on the upper edge (beneath the hinged lid) and on the foot place the manufacture of this vessel in Salamanca, during the years of the renowned assayer known as Bernabé Hidalgo (apparently documented in 1840, considered by some to have been active in the 18th and 19th centuries; there is evidence of a Bernabé Sahagún Hidalgo practicing as an assayer in Salamanca between 1824 and 1850). The other hallmark could not be identified. Note also the inscription “Billaberde” on the foot of the piece. Weight: 454 grams.
· Size: 16x10x18 cms.
ANTIQUES
MISCELLANEUS;SILVER
Ref.: ZE438
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Fire truck or motorized sprayer. EC Flader of Jöhstadt, Germany, circa 1920. A motorized sprayer designed to be pulled by horses, manufactured by EC Flader of Jöhstadt (name partially visible on the rectangular label on the front of the unit), with a folding compartment and space for machinery in the rear, powered by two spoked wheels and equipped with a vertical bar for securing it to the ground when in use. This type of machinery was used by firefighters, typically in cities, and this particular example is known to have been used, for instance, in 1925 in Wellsdorf.
· Size: 130x230x145 cms.
DECORATIVE ANTIQUES
MISCELLANEUS
Ref.: Z1009A
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Fire truck or motorized sprayer. EC Flader of Jöhstadt, Germany, circa 1920. A motorized sprayer designed to be pulled by horses, manufactured by EC Flader of Jöhstadt, with a folding compartment and space for machinery in the rear. It is powered by two spoked wheels and has a vertical bar for securing it to the ground when in use. This type of equipment was typically used by firefighters in cities, and the example shown, if accurate, is known to have been used in 1925 in Wellsdorf.
· Size: 340x142x125 cms.
DECORATIVE ANTIQUES
MISCELLANEUS
Ref.: Z1009C
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Fire engine or irrigation pump. Renault, 20th century. Trailer or cart with motor and two hose heads, hose and other parts and mechanisms that would have been used for watering, spreading water, etc. The brand can be seen on the plate located at the front of the machine.
· Size: 260x130x135 cms.
DECORATIVE ANTIQUES
MISCELLANEUS
Ref.: Z1009D
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Courtiers and Cage. Glazed porcelain. Model: Johann Joachim. Circa 1800 Enameled porcelain figure with a base resembling rocks and a couple of lovers dressed in the style of the 18th century, with the boy extending his left hand towards a large birdcage. The piece is very similar to figures titled “Lovers with a Cage” made by Du Paquier (who opened a porcelain factory in Vienna in 1719) in 1737, examples of which are preserved in collections such as the Metropolitan Museum of Art in New York and the Indianapolis Museum of Art. Du Paquier, in turn, drew his inspiration from works produced in Meissen by Johan Joachim Kaendler around 1736-1740 (varying in details such as the substitution of the table found in the German pieces with the cage found in the Viennese ones in some examples, or in colors, for instance). If the present work is compared with Du Paquier's works, notable similarities can be seen in poses, elements, etc., but also important differences (coloring, details, base of the figure, etc.).
· Size: 14x12x13 cms.
ANTIQUES
MISCELLANEUS;CERAMIC
Ref.: ZF0445
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Historical Compendium of the Arquebusiers of Madrid… Soler, Isidro (fl. Ca. 1795). Madrid, 1795. Original, leather binding. 86 pages. Perfect condition. “Historical Compendium of the Arquebusiers of Madrid from their origin to the present time, with two plates on which are engraved the marks and countermarks they used in their works,” by Isidro Soler, arquebusier of Our Lord the King. Pantaleón Aznar Printing House, 1795, Madrid. 86 p., 2 leaves of engraving. Full leather binding with gilt spines and decorated raised bands; gilt edges, back edges and corners; cover with embossed and gilt borders framing a royal superlibris with the Order of the Golden Fleece and a closed crown.
· Size: 15,5x1,5x20,5 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS
Ref.: ZF0568
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Frame. Gilded and polychrome wood. 17th century. It shows loss in the lower left area. The frame, crafted from carved, gilded, and polychromed wood in certain areas, features a decoration based on bands (alternating plain with others adorned with vegetal and architectural elements) and a raised section at the top with vegetal and architectural motifs. In this area and below, polychromy is combined with gilding. Note the similarity between the decoration and lines of this piece and certain Spanish Baroque altarpieces of the 17th century.
· Size: 105x16,5x101,5 / int 81x57 cms.
ANTIQUES
MISCELLANEUS;FRAMES
Ref.: ZF0631
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Ceiling lamp. Glass, bronze. Early 20th century. It has faults. Ceiling lamp adapted for electric use with the structure made of bronze and decorated with transparent and colored glass applications, combining simple beads (faceted polygonal beads, teardrops…) with more elaborate ones (balustraded finials, bowl-shaped ornaments, mixed profile beads, etc.), following common models in 19th-century French school works.
· Size: 82x82x102 cms.
DECORATIVE ANTIQUES
FURNITURE
Ref.: ZF0707
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Floor lamp. Glass, metal. Circa mid-20th century. This floor lamp, crafted from white glass and copper-finished metal, features a base composed of alternating glass clusters and small metal discs, culminating in two horizontal light sources and a metal cup. Its form and decoration are reminiscent of Murano glasswork from Italy dating back to the mid-20th century.
· Size: 55x55x171 cms s/pantalla: 35x35x170 cms
DECORATIVE ANTIQUES
FURNITURE
Ref.: ZF0908
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Pair of spouted jugs. Silver. BENITO GÓMEZ, Antonio (1775-1835). Segovia, Spain, 1801-1835. With contrast markings. Pair of spouted jugs with a circular base with moldings, a low conical foot and a tubular body ending in a hemisphere at the bottom and with a flat molding at the top; the handle, in a double C shape, has a simple volute or branch that rests towards the mouth of the piece; the spout shows a simple decoration. Typologically, this pair is linked to a type of spouted jug that, with variations, was common in Spanish domestic silverware from the first half of the 17th century until the beginning of the 18th century, and was also found after that date. As is typical, the secular model was quickly adopted by religious silverware, especially for use in liturgical cruets. Antonio Benito Gómez (1775-1835) was a silversmith who worked in Segovia from at least 1801 until his death, also serving as a silversmith's marker between 1824 and 1828, and again between 1831 and 1835. The son of silversmith Juan de la Cruz Benito, several of his works have been preserved: a baptismal shell and veil for the Church of Vera Cruz in Zamarramala, a holy water sprinkler located in the Church of Our Lady of Sorrows in La Granja de San Ildefonso (Segovia), and others. Stylistically, most of his known work is clearly Rococo in style, although some Neoclassical pieces stand out.
· Size: 8,5x5,5x8 cms.
ANTIQUES
MISCELLANEUS;SILVER
Ref.: ZF0984
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Uniform of Honor, Order of Malta. Spain, possibly from the early 20th century. A blue jacket or coat and trousers, the former bearing a label from the tailor shop Félix del Hierro, which was located on Barquillo Street in Madrid, Spain, and had another branch on Almirante Street in the same city. It is known to have been active until at least 1946. The Sovereign Military Hospitaller Order of Saint John of Jerusalem, of Rhodes and of Malta (SMOM), known simply as the Order of Malta or Knights Hospitaller, was recognized by Pope Paschal II in 1113. After having provisional headquarters in Messina, Catania, and Ferrara, the Order finally settled in Rome in 1834. During the 20th century, the Order refocused on its mission of providing hospital care.
· Size: 50x5x90 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS
Ref.: ZF1448
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Two men on a bench. Watercolor. JIMÉNEZ ARANDA, Luis. Rome, Italy, 1879. Signed, dated and located (lower right area). Luis Jiménez Aranda (Seville, 1845-Pontoise, France, 1928) was the brother of the painters José and Manuel Jiménez Aranda. He began his training with José, expanding it at the Academy of Fine Arts of Santa Isabel de Hungría in Seville and, even more, going to Rome in 1867 thanks to a four-year stipend provided by a private patron in exchange for a painting a year (here he would train with Marià Fortuny). When this aid ended in 1874, he continued in the city sharing housing with José Villegas Cordero and Francisco Peralta del Campo (all three studying with Eduardo Rosales). In 1876 he settled in Pontoise, near Paris, becoming a naturalized French citizen from 1877 onwards. He participated in several editions of the Paris Salon, in the Universal Expositions of this city in 1889 and of Chicago in 1893 (achieving recognition in both), and in National Exhibitions of Fine Arts of Spain (First Medal in 1892). Well-known for his genre paintings, he specialized in historical subjects, producing numerous important works. His work is held in several private collections and institutions such as the Meadows Museum (Dallas, Texas, USA), the Prado Museum in Madrid, the Museum of Fine Arts in Seville, etc.
· Size: 55x3x68 cms. int. 25x34,5 cms.
ANTIQUES
PAINTINGS
Ref.: ZF1459
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Centerpiece. Glazed porcelain. Meissen, Germany, possibly second half of the 19th century. With markings and numbers on bases. A glazed porcelain centerpiece topped with a male figure dressed in 18th-century European style, featuring three openwork plates (the smallest at the top) arranged on a central axis decorated with simple geometric and spiraling vegetal motifs. Incised marks and numbers can be seen on the bases of the plates and the centerpiece. The blue and white decoration with those particular plant elements is a style known as "blue onion," very characteristic of Meissen porcelain, and inspired by works from China that also used these colors as early as the 17th century. Although onions were not depicted, the stylized elements present (peaches, melons, bamboo, etc.) reminded Europeans of this vegetable, hence the name. At the base of the centerpiece, the Meissen mark used between 1815 and 1924 can be seen. The base of the "largest plate" has some numbers engraved and another in blue ink; the next one shows the mark of the two crossed swords and more engraved numbers; at the base of the smallest one, the number 17 can be seen in blue ink.
· Size: 28x28x57 cms
ANTIQUES
MISCELLANEUS;CERAMIC
Ref.: ZF1465
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Hand or table brazier. Bronze. Spanish school, 17th century. A small brazier for use on a desk or dais, with circular legs, a polygonal shape, curved lines, and vase-like finials, reminiscent of Renaissance-era designs in some details. It includes a flat, twisted-handle spoon (called a "badila" in the case of braziers). These were often called hand braziers, referring to their use for warming scribes' hands in cold weather, but they were also used to heat wax for sealing wax, for example. This type is common in the Spanish school of the 17th century (and later), characterized by its composition of horizontal polygonal pieces separated by balustraded or column-like elements. Weight: 1200 grams.
· Size: 24x24x12 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS
Ref.: ZF1520
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Hope. Gilded bronze. Possibly early 17th century, following the model of Juan de Bolonia (1529-1608). With inscription on base (“Speransa”). Minor flaws and restoration. A bronze gilt figure with a simple base engraved with the name of the allegory, depicting a young lady, joining her hands in a gesture of prayer, dressed in a tunic and cloak, barefoot and with a crown of leaves on her head. Iconographically, the allegory has been identified thanks to the inscription on the base (“Speransa,” meaning Hope), as it lacks any iconographic attributes beyond the aforementioned gesture of prayer. However, the inspiration and closeness of this figure to the allegory of Hope created between 1582 and 1584 by Giambologna (Douai, 1529 – Florence, 1608) for the Grimaldi Chapel in the church of San Francesco di Castelletto in Genoa is clear. This earlier work, now housed at the University of Genoa, was part of a set of six life-size bronze allegorical figures of Virtues. It is also worth mentioning the existence of several small gilded bronze sculptures made in Europe following models by Giambologna, such as the one in the Victoria & Albert Museum in London (inventory A.60-1956), which is 13.5 cm high and considered a German or Dutch creation from the first half of the 17th century. Weight: 606 grams.
· Size: 5x4,5x18,5 cms.
ANTIQUES
SCULPTURE
Ref.: ZF1523
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Empire style table with marble top. A circular table on four legs resting on ball-and-socket brackets, joined by moldings that converge at a small vase. The supports are stipe-shaped, decorated on the front with vegetal garlands, vases, and interlacing patterns, which also appear at the waist, flanking medallions with landscapes. The French Empire style (around the beginning of the 19th century), named after the period of Napoleon's rule in France, was characterized by its inspiration from the classical world.
· Size: 85x70x84 cms.
DECORATION
Ref.: D124
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Rectangular table with a marble top and floral marquetry, legs decorated with ram's heads and feet, a waist adorned with waves and flowers, and a stone top highlighted by bands of different woods. The use of animal heads (called protomes) in decoration was very common in classical antiquity, hence its popularity throughout the history of art.
· Size: 100x52x53 cms.
DECORATION
Ref.: D048
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Queen Anne chest of drawers with mirror. The chest of drawers, supported by four legs and flanked by two columns, has three identical drawers at the bottom and three at the top (the two central drawers joined in a structure that, when opened, reveals a writing surface). The furniture style known as "Queen Anne" developed in England during the reign of the monarch of the same name (from the 1720s to around 1760), characterized by a lack of decorative elements and an emphasis on clean lines. Several elements characteristic of this style are still used today.
· Size: 91,5x41,5x93 cms.
DECORATION
Ref.: D078
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Louis XV style desk with "pencil" marquetry. It rests on four cabriole legs with a pronounced curve, adorned with a band of gilt metal around their entire profile and a lower finial in the shape of an animal's foot, crafted from vegetal and rocaille motifs. The waist section features three drawers on its front, made of a darker wood than the rest, which is also presented in rectangles with a curved lower profile on the shorter sides; the curves of the lower part of this area deserve special mention. The top, highlighted by a metal band with mirrors at the corners, displays a central area with quill-and-pen marquetry within a band of vegetal elements. Both the decorative elements and the curves of the lines and profiles are characteristic of the style known in France as Louis XV (Rococo), which inspired the desk.
· Size: 106x55x78 cms
DECORATION
Ref.: D174
