Results 25 to 48 of 1577

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RAISING OF LAZARUS WITH SAINT ROCH. OIL ON WOOD. CASTILLIAN SCHOOL, SP...

Raising of Lazarus with Saint Roch and two donors. Oil on panel. Castilian School, 16th century. Oil on panel depicting an interior scene with semicircular arches and Ionic capitals, an entrance to the left, a tiled floor, and a tomb to the right. In front of it are two three-quarter-length figures dressed in dark clothing, clasping their hands in prayer, contemplating the scene. Towards the center of the panel, Jesus, dressed in green, is blessing the figure emerging from the tomb, accompanied by a series of figures. On the left side, a male figure appears accompanied by a dog (Saint Roch). The scene depicts the resurrection of Lazarus of Bethany, which appears in the New Testament (John 11). It is no longer common in Spanish Renaissance painting to depict a scene with a saint who does not appear in it, as is the case with the Raising of Lazarus and Saint Roch, but it is not entirely unusual either (it could be due to the donor's devotion, etc.). It is common to see donors contemplating the scene. The attire of these figures clearly places them within the Spanish school and in the 16th century (compare "The Gentleman with His Hand on His Chest" from 1580 by El Greco, preserved in the Prado Museum in Madrid). What is not entirely common is to present this New Testament theme in an interior (Pedro Machuca places it in an interior, in his work from around 1520 in the Provincial Museum of Fine Arts in Granada).

· Size: 105x10x138 cms int: 90x122 cms
ANTIQUES

Ref.: ZE382
COMMODE. CARVED WOOD. 16TH CENTURY

Chest of drawers. Carved wood. 16th century. Restorations. Chest of drawers with a carved wooden front in its own color, featuring two drawers with metal handles and lock escutcheons above two doors with handles and locks similar to the previous ones, and a carved top. The figurative elements (busts of men and female figures) appear within plain tondos, with simple geometric elements overlooking the rectangular areas in which they are located. The sides have simpler carvings based on plain moldings, and the lower part features wave-like work. These types of figurative busts are very common in the European Renaissance (compare, for example, the Plateresque carvings by Calderón, created in 1524 in the choir of Sigüenza Cathedral, with 16th-century Portuguese desks, the sides of the Azay-le-Rideau chest or trunk in the Louvre Museum in Paris, etc.), with the elements surrounding these busts typically varying within tondos. The shape of the piece of furniture is also striking, being unusual in the Spanish school of the period.

· Size: 150x60,5x161 cms.
ANTIQUES

Ref.: ZF1317
PAIR OF BRONZE VASES. 20TH CENTURY, AFTER CLAUDE BALLIN THE ELDER.

Pair of cups. Bronze. 20th century, modeled after Claude Ballin the Elder. Pair of bronze vases or planters, based on a model illustrated in a drawing held at the Metropolitan Museum in New York (believed to be by Claude Ballin the Elder and made in 1673 or later), which was reproduced in engravings in the 17th century by Jean Le Pautre. These images helped the design spread in popularity, with similar works appearing from the 17th to the 19th centuries by masters such as Moreau. Weight: 112 kg.

· Size: 60x52x125 cms
DECORATIVE ANTIQUES

Ref.: ZF1382
BRONZE VASE. 20TH CENTURY

Cup. Bronze. 20th century. A bronze vase or goblet inspired by models with a strong classicist influence common in 19th-century European art, both in its shape and its decorative elements (amphora-shaped, plant elements, scrolls, garlands, the palm tree at the top, etc.). Weight: 67 kg.

· Size: 60x52x125 cms.
DECORATIVE ANTIQUES

Ref.: ZF1383
WOODEN NICHE. POSSIBLY SPANISH SCHOOL, 18TH CENTURY.

Niche. Carved and polychrome wood. Possibly Spanish school, 18th century. A table niche made of carved, polychrome, and gilded wood. It features a front door with a key lock and gilt wood elements in this area, as well as a finial at the top and two side doors with a view into the interior. Plant elements appear in the corners of these openings. Stylistically, slight Rococo influences can be seen alongside a strong Baroque tradition.

· Size: 55,5x38x74 cms, int: 42x30x65 cms.
ANTIQUES

Ref.: ZF1363
WROUGHT IRON FIRE PIECES. SPANISH SCHOOL, 19TH-20TH CENTURIES.

Eight sideboards. Wrought iron. Spanish School, 19th-20th centuries. Eight wrought iron sideboards, two of which have engraved decoration on the piece, five have an openwork decorative element reminiscent of plants or architecture inspired by older models and one has a signature and date (Zoilo Porras . . 1926) perhaps alluding to the place and time when the piece was made.

· Size: 17x17x9 cms.
DECORATIVE ANTIQUES

Ref.: Z4888
IRON PIECES FOR TABLE. 20TH CENTURY.

Pair of bails. Iron. 20th century, based on antique models. Pair of iron table stays of the Castilian style, with a slightly curved shape, balustraded profile and decorative discs, following common models in 17th-century Spanish cabinetmaking.

· Size: Long. 93 cms.
DECORATIVE ANTIQUES

Ref.: Z4885
LACQUER TRAY. JAPAN, POSSIBLY 19TH CENTURY.

Lacquered tray. Japan, possibly 19th century. Dark red lacquered oval tray with a raised rim and decorative elements in various shades, most notably gold, forming flowers, stems, and butterflies. It is very similar to pieces made in Japan during the late Edo period or the Meiji era, but also to more or less contemporary Chinese works.

· Size: 46x75 cms.
DECORATIVE ANTIQUES

Ref.: Z5443
FRAMED DRAWING. JULIO VIDAURRE. 1974.

Framed drawing, “Colegio Base”. VIDAURRE JOFRE, Julio (Madrid, 1926-2004). 1974. Titled, dated and signed (bottom right). Framed black and white drawing showing a building in a distinctly modern style. Julio Vidaurre Jofre was a Spanish architect who received numerous awards throughout his career (National Architecture Prize in 1971, etc.) and executed numerous projects for educational centers in cities such as Madrid, Vitoria, Alicante, Guadalajara, etc. He also restored the Cistercian monastery of Villaverde de Sandoval in León, and the Romanesque tower of the Santo Sepulcro de Toro in Zamora.

· Size: 51x2x54 cms. int. 40,5x41,5 cms.
DECORATIVE ANTIQUES

Ref.: ZF136830
COUNTRYMAN. OIL ON CANVAS. VELA ZANETTI, JOSÉ. 1972.

Peasant. Oil on canvas. VELA ZANETTI, José. 1972. Signed and dated (bottom right). José Vela Zanetti (Milagros, Burgos, 1913–Burgos, 1999) was a painter best known for his murals. He began his training in León, where he moved with his family and held his first exhibition in 1931. Supported by his father, he traveled to Madrid for a few months to see exhibitions and visit the Prado Museum. Shortly afterward, he received a scholarship to visit Italy, awarded by the Provincial Council of León. As a result of the Spanish Civil War, he moved to the Dominican Republic, where he remained until 1960. In Santo Domingo, along with other exiled artists, he founded the National School of Fine Arts. During this period, he held exhibitions and projects in Mexico, Colombia, Puerto Rico, and the United States. Throughout his life, he received important public commissions, such as the mural inaugurated in 1953 at the UN headquarters, commemorating the fiftieth anniversary of the Universal Declaration of Human Rights, considered his most important work. Also notable are his historic murals for the Provincial Council of Burgos and the frescoes of the former Ercilia Theater in Barahona, Dominican Republic. He was a member of the San Fernando Academy and awarded an Honorary Doctorate by the University of Burgos. In 2001, the Cultural Center of the City of Madrid held a retrospective exhibition on Vela Zanetti's work, entitled "Anthological," the most important to date. A commemorative exhibition for the tenth anniversary of his death was recently held at the Ángeles Penche gallery in Madrid. His works are held in the collections of the Caja Rural de Burgos and the Vela Zanetti Foundation in León, as well as murals in various cities in Spain, Santo Domingo, the United States, Colombia, and Switzerland. In 2013, the Fórum Evolución in Burgos held an important exhibition dedicated to Vela Zanetti's work, commemorating the centenary of his birth.

· Size: 83x5x99 cms. int 65x81 cms.
ANTIQUES

Ref.: ZF1406
IMMACULATE CONCEPTION. OIL ON CANVAS. SPANISH SCHOOL, 17TH CENTURY.

Immaculate Conception. Oil on canvas. Spanish School, 17th century. It shows damage. Oil on canvas featuring a background with a Breaking of Glory in light tones and clouds and a figure in the center, situated on a crescent moon and three angel heads, dressed in a white tunic and blue cloak. The image of the Virgin Mary in this work reflects one of the most common models of the Immaculate Conception in Spanish Baroque art. This devotion presents an iconography whose development began in Gothic art, responding to a desire to highlight the purity of the Mother of Christ. Initially, it featured details from the Vision of Saint John on Patmos and elements from the Marian Litany, but it was simplified over time to reach examples such as the present one.

· Size: 124x5x179 cms.
DECORATIVE ANTIQUES

Ref.: ZF1046
TABLE CLOCK. BRONZE, STONE. 1990S, AFTER AUGUST MOREAU.

Table clock. Bronze. 1990s, modeled after August Moreau. In working order. Table clock with a raised base and gilt-bronze legs following 19th-century models and a white dial with Roman numerals for the hours. It is topped with a bronze child figure modeled after Auguste Moureau (1834-1917), a French sculptor especially known for his delicate and naturalistic works, part of the Art Nouveau movement, a style of which he was a leading exponent. He made busts, figures, and small sculptures, and his designs were later adopted by many other bronze sculptors due to the artist's success and the quality of his pieces. Weight: 22 kg.

· Size: 35X22,5X64 cms
ANTIQUES

Ref.: ZF1410
ENGLISH CABINET. MAHOGANY PALM…

English display case. Mahogany palm, lemongrass... An English school display case made of mahogany and lemongrass wood with a textile-covered interior and a mid-height shelf. Three fronts feature clear glass.

· Size: 71x40x156 cms.
DECORATIVE ANTIQUES

Ref.: ZF0900
LANDSCAPE, FOREST. OIL ON BOARD. 20TH CENTURY.

Landscape; Forest. Oil on panel. 20th century. A sketch or study of a wooded landscape presented horizontally, highlighting the straight lines created by the trees and with a striking brushstroke, a predominance of color over drawing, etc. The work displays characteristics typical of works influenced by the contributions of certain avant-garde artistic movements that emerged in Europe from the late 19th century onwards. Weight: 2.25 kg.

· Size: 45x6x55 cms. int: 25x35 cms.
DECORATIVE ANTIQUES

Ref.: Z4170
”SAINT DOMINIC DE GUZMÁN AND SAINT FRANCIS OF ASSISI”. POLYCHROMED TER...

“Meeting of Saint Dominic and Saint Francis.” Polychrome terracotta sculpture. Colonial School, 17th century. A polychrome terracotta figure with gold details depicting two male figures on a simple pedestal. The one on the left is shown wearing a Franciscan habit (with a small red mark on his right hand) and fraternally embraces, on equal terms, the one on the right, wearing a dark cloak (decorated with fine gold lines creating a net) over a white habit decorated with abundant flowers and gold elements, and a star in light relief on his forehead. These are Saint Francis of Assisi, holding the stigmata, and Saint Dominic de Guzmán, both wearing their respective habits. It narrates, with a remarkable economy of elements (which demonstrates the quality of the work), the so-called "Fraternal Encounter of Saint Dominic and Saint Francis," also known as "The Embrace of Peace" or, more colloquially and in some circles, "The Bump." According to tradition, Saint Dominic had a vision in which Mary implored Jesus on behalf of mankind, identifying them both as servants of God. The following day, Saint Dominic met Saint Francis in the church of Rome, recognizing him as his companion and embracing and kissing him. The present piece still shows Baroque influence, but some details already show a certain neoclassical influence, while maintaining the distinctive features of its school. Compare, for example, with the "Embrace" from the Monastery of Santo Tomás de Ávila by Luis Salvador Carmona, dated to the 18th century. It is also worth highlighting the quality of the modeling and polychromy of the piece, with a remarkable state of preservation considering its age and the delicacy of the material used.

· Size: 14x16x26 cms.
ANTIQUES

Ref.: ZF1398
VALDELATEJA. OIL ON CANVAS. SANTA MARÍA, MARCELIANO. 1925.

View of Valdelateja. Oil on canvas. SANTA MARÍA SEDANO, Marceliano (Burgos, 1866-Madrid, 1952). 1925. Titled, signed and dated (bottom right). Bibliography: La Esfera Magazine (Madrid.1914), issue number 589 of 4/18/1925, page 28 (color illustration). Marceliano Santa María demonstrated his artistic ability as a child, beginning his training in this field at the Provincial Academy of Drawing in Burgos. He moved to Madrid in 1885, where he continued his studies at the Círculo de Bellas Artes, the San Fernando School of Fine Arts, and the studio of Manuel Domínguez Sánchez. He furthered his studies thanks to a grant from the Burgos Provincial Council, which allowed him to spend time in Rome between 1891 and 1895. He returned to Spain that year, settling in Burgos, painting and teaching, until he was appointed director of the School of Arts and Crafts in Madrid in 1934. During the Civil War, he had to reduce his output due to his health, but continued his work after the war ended. His work was recognized with several awards (the sole medal at the 1933 Chicago World's Fair, the Medal of Honor at the 1934 National Exhibition of Fine Arts in Spain, the Grand Cross of Alfonso X the Wise, etc.) and is held in important private collections as well as in institutions such as his own museum in Burgos (the Monastery of San Juan), the Museum of the Royal Academy of Fine Arts of San Fernando in Madrid, the Museum of Modern Art in Barcelona, etc. Although he was highly appreciated for his portraits, he is also known for his Castilian landscapes. This painting shows a landscape of Valdelateja, a town in the province of Burgos located in the Páramos region, and was published in the magazine La Esfera in issue 589, under the title “Castilian Landscapes” and with the title “A Corner of Valdelateja (Burgos)”.

· Size: 87,5x6x108 cms. int: 70x90 cms
ANTIQUES

Ref.: ZF1404
LAST SUPPER. OIL ON BOARD. CASILLIAN SCHOOL, SPAIN, 16TH CENTURY.

Last Supper. Oil on panel. Castilian School, 16th century. It has faults. An oil on panel painting depicting a figurative image against a neutral background, with a checkered tile floor arranged, like everything else, in focal perspective. Around a rectangular table (with two figures at the corners, their backs to the viewer), are a total of twelve figures dressed in tunics and cloaks, and in the center of the painting, another man, surrounded by light. On the table, covered with a white cloth, food can be seen arranged on plates, jugs, bottles, round loaves of bread, glasses, etc. This Last Supper follows typical European Renaissance patterns (compare, noting the differences, with the painting by Leonardo da Vinci, made between 1495 and 1498 for the refectory of the Dominican convent of Santa Maria delle Grazie in Milan, Italy, for example). Italian influence can be seen, but without directly following those models. Compare with the Last Supper attributed to the workshop of Pedro Berruguete from around 1495-1500, which is housed in the Los Angeles County Museum of Art (USA), or, especially noting the lack of expressiveness in this panel, with the Last Supper from around 1562 by Juan de Juanes (Museo del Prado, Madrid, Spain). Iconographically, the abundant use of yellow in the clothing is striking, given that it was usually reserved for the attire of Judas (the figure on the left, with his back to the viewer, holding a bag of coins in his hand) and that the moment of the revelation of the betrayal of one of the disciples was chosen (expressiveness is absent from the faces but not from the hands of the rest of the characters).

· Size: 141x10x90 cms. int. 122x73 cms.
ANTIQUES

Ref.: ZE383
BRONZE MORTAR. 19TH CENTURY.

Mortar and pestle. Bronze. 19th century. Mortar with a flared mouth and relief decoration on the exterior based on balustraded elements (reminiscent of the ribs that these objects often had in the Spanish school during the Gothic period) alternating with floral motifs. The piece is hand-made, decorated with plain moldings of varying widths, as is customary. Weight: 3.5 kg.

· Size: 14x14x9,5 cms. L. 22,5 cms.
ANTIQUES

Ref.: ZF1405
SAINT ANTHONY. ENGRAVING. ALBERT DURER. LATER PIECE, POSSIBLY 19TH CEN...

Saint Anthony Reading at a City Gate. Engraving. Dürer, Albert (Nuremberg, 1471-1528). Later print, possibly 19th century. Signed and dated on plate. Engraving depicting the holy hermit with his usual attributes (staff with cross, bell, hooded habit, etc.) seated, absorbed in his reading, with an imaginary city in the background. Towards the bottom of the print, both Dürer's anagram and the date of the first edition of this engraving (1519) can be seen. This same print was produced primarily during the 18th and 19th centuries, including some editions as early as the 20th century.

· Size: 22x0,1x17 cms. Int 14x9,5 cms
ANTIQUES

Ref.: ZF136827
BRONZE MORTAR. 15TH CENTURY.

Mortar and pestle. Bronze. 15th century. Bronze mortar and pestle with a circular base and a spouted mouth decorated with a band beneath the rim. The base, facing outward, features three smooth lines in relief, above which appears a decoration framed by a band at the top consisting of heavily worn elements or masks over Gothic-style calligraphy. Reminiscent of French pieces held in private collections. Weight: 2.8 kg.

· Size: 13x13x9.5 cms
ANTIQUES
MISCELLANEOUS;BRONZE MORTARS

Ref.: ZF1401
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SAINT JOSEPH WITH CHILD JESUS. POLYCHROMED WOOD. SPANISH SCHOOL, 19TH ...

Saint Joseph with the Child Jesus. Polychrome wood. Spanish School, 19th century. Polychrome sculpture depicting Saint Joseph dressed in a tunic and cloak, standing, holding the Child Jesus by the hand, who appears wearing a short tunic and holding a Latin cross to his chest, following the iconography and composition common in the Spanish school of the 19th and 20th centuries (compare with examples from Olot, etc.).

· Size: 25x16x56 cms.
ANTIQUES

Ref.: ZF1400
IRON LOCK WITH KEY. SPAIN, 17th century.

Lock with key. Iron. Spain, 17th century. Keyed locks made of iron in their own color, also featuring a keyhole escutcheon decorated with cut-out fleur-de-lis elements. The keys feature minimal decoration, typical of this type of antique object. The locks have a case from which the door lock protrudes on one side and has a series of holes for securing it to the door. The decoration and shape of the pair link it to works of the Spanish Baroque.

· Size: 10x5x4x14,5 cms llave 12x5x1 cms.
DECORATIVE ANTIQUES

Ref.: Z5538A
WALNUT SHOP COUNTER BOARD. LATE 19TH CENTURY-EARLY 20TH.

Countertop. Walnut wood. Late 19th–early 20th century. Countertop for a shop made of walnut wood and curved at one end.

· Size: 59x3,5x385 cms
DECORATIVE ANTIQUES

Ref.: Z0996
WROUGHT IRON DOOR KNOCHER. SPANISH SCHOOL, 15TH CENTURY.Y

Dog-shaped knocker. Wrought iron. Spanish School, 15th century. Wrought iron knocker with a star-shaped striking piece featuring engraved decoration and a zoomorphic end (the typology, common in the Spanish Gothic school, is known as "dog-shaped"). This type of knocker was common in important residences, and similar examples are preserved in institutions such as the Provincial Ethnographic Museum of León or on the doors of houses such as those in Valdespino de Somoza.

· Size: 15x5x21 cms.
ANTIQUES

Ref.: Z3687

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