Spice rack. Silver. Spain, Cordoba, second half of the 18th century. With contrast marks. Silver spice rack in its colour with a truncated cone-shaped body, a sinuous lower edge resting on legs with scrolls and plant motifs, a semi-spherical bowl without divisions, a lid with a dome-shaped hinge and decorated with plant elements in high relief. The lid features a rose surrounded by a line of dots that create waves. The hallmarks place the piece's production in Córdoba, verified by Damián de Castro and by the hand of Juan Sánchez Soto (probably Cristóbal's son and brother), in the second half of the 18th century. Typologically, this is a spice rack belonging to a somewhat peculiar tradition or model, common in Córdoba and Madrid but also present in Gerona, Antequera, etc. Weight: 87 grams.
Spice rack. Silver. Cordoba, 18th century. With contrast marks. Silver spice rack in its colour with a truncated cone-shaped body, a sinuous lower edge resting on volute legs with osier and floral motifs, a hemispherical bowl, a lid with a dome-shaped hinge, and decorated with plant elements in high relief. The hallmarks it presents identify it as an 18th century Cordoban work, by the hand of Juan de Luque y Leyva or Leiva (1721-1779/80), who was an official marker of the city between 1772 and 1779/80. Typologically, it is a spice rack belonging to a somewhat peculiar tradition or model, frequent in Cordoba and Madrid but also present in Gerona, Antequera, etc. Weight: 68 grams.
Niche. Carved and polychrome wood. 16th century. Wall niche with a rectangular front opening finished in gold with two polychrome angel heads in the corners and a dark polychrome space with classicist elements in gold (candlesticks with grotesques, latticework, scrolls, etc.). The base has a polygonal front finish, with a red edge, like the rest of the piece. This type of pedestal was very common in private oratories, both in civil (houses, etc.) and religious (convents, chapels, etc.) environments, to place and enhance small-format sculptures. Weight: 850 grams.
Pair of framed engravings, Wedding and Baptism. ALPHONSE LAMOTTE (1844-1914). Pair of framed engravings depicting, respectively, a wedding or marriage and a baptism, of high-class characters, given the clothes and settings of the works. As indicated on the engravings, in the area where the titles appear, they were published in Paris by Alphonse Delarue, based on works by Alphonse Lamotte and Emile Bayard (1837–1891).
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.
Art Nouveau furniture. Wood, glass, metal, etc. Circa 1900. Tall wall cabinet with a mirror on the top and drawers below (two display cabinets on the sides with transparent glass doors and another space with shelves in the centre, all three with a lockable key), decorated with carvings, appliqués and shapes reminiscent of plants, with delicate curves and great attention to detail. Due to its decorative elements (flowers, leaves, etc.) it is considered to be part of Modernism, a style highly appreciated in Europe that reached its peak around 1900.
Officer's girdle sword, dress sabre or officer's sabre. Solingen, Germany, first quarter of the 19th century. Signed sheet. It has a garnish with decorative elements of a strong classical influence in relief and a pommel with a lion's head on a curve. Note the handles, with two bands with plant decorations. The front of the handle has scrolls, palms and plant elements framed by a figurative theme also classical (possibly a river allegory). The straight blade has the first third decorated with a blued finish and gold engravings (on the moustache you can clearly read "Solingen"), the second follows the recessed edge ending in a point, and the final part already shows the two edges that are common in these pieces.
Sugar box. Silver in colour. Northern Europe (possibly Berlin), first half of the 19th century. With contrast marks. Rectangular box with chamfered corners resting on four claws with nails and featuring a lid with a projection towards the centre and a plaque with engraved initials of ownership. On the outside, it has a frieze of plant motifs above the keyhole. There is evidence of a sugar box in a private European collection with a hallmark similar to that of this piece (the initial A in a circle), being a neoclassical work from Berlin, the work of Gottlob Ludwig Howalt, and dated around 1820. This type of sugar bowls with closure were common in certain areas of northern Europe, taking on an appearance similar to that of this piece following the invasion of Napoleon Bonaparte, with which the French aesthetic models spread. Weight: 487 grams.
Rococo frame. Gilded wood. 18th century. Rectangular frame made of carved and gilded wood, and decorated in the corners and the centres of the sides with carvings of architectural elements, plants and rocaille. The contrast between the smooth mouldings of the sections without carvings and the latter, the absence of a crest and the asymmetry present in the piece are striking. The latter was common in the early Rococo period, an artistic style born in France that developed, above all, between 1730 and around 1760.
Peace-bearer. Bronze. 16th century. A peace-bearer made of bronze with a flat handle curved on the back, with a relief decoration on the front organised in an architectural composition with a classical influence, common in the Renaissance. Below the columns on the sides there are two heraldic shields (without a bonnet, cords with tassels on three levels) with a Latin cross in the middle area; the centre shows a Birth of Christ under a domed cupola with winged angel heads in the corners; at the top and under a semicircular arch, there is the bust of Saint Dominic of the Causeway, facing forward, with an inscription in capital letters (“STO /DOMI”, “BENEDITUS SER”) flanked by two perched birds.
Veduta dell\\' famous Basilica Vaticana coll\\' wide Portico, and adjacent Piazza. Recorded. PIRANESI, Giovanni Battista. Rome, Italy, circa 1775. It has faults. Titled on a plate, the engraving presents a view of St. Peter's Square in the Vatican with the Roman church. The first edition was part of the Views of Rome by Giovanni Battista Piranesi (Venice, 1720–Rome, 1778), published around 1760 (several experts date this engraving closer to 1775). Compare with the copy preserved at the Uffizi Gallery (Florence, Italy), the one at the Minneapolis Institute of Art (USA), the one at the Harvard Art Museum (USA), or the one at the National Library (Madrid, Spain). The plate is preserved at the Chalcographie in Rome.
Pair of wall lights. Gold metal, glass. Pair of wall sconces with a rectangular base decorated with veneered elements, plant motifs and architectural details, from which a moulding with a scroll forms the base for the torch in which the light is placed. Both the shape and the decoration reflect a strong influence of 19th century Neoclassical models.
Pair of wall sconces. Gold metal. Pair of wall sconces with a holder for three candles each, made of gilded metal and decorated with architectural and plant elements, finished with feathers. The influence of 19th century neoclassical models can be seen both in the lines of the pieces and in their decoration.
Pair of wall lights. Bronze Pair of three-light (candle) wall lights each decorated with plant and architectural elements with a strong classicist influence and which can be related to French examples from the 19th century.
Boat ceiling lamp, shade D. 40 cms. An oil lamp adapted to a lamp decorated with boats among the delicate plant elements that form the arms that join the base (green, with flowers) with the white shade, decorated with chains and bows. From these arms extend double chains with decorated links that secure the lower part to the ceiling support.
Pair of wall lights. Bronze. Pair of wall sconces with two lights each decorated with figurative, vegetal and architectural elements inspired by certain Rococo works of the 19th century. Weight: 13.5 kg
Pair of wall lights. Bronze. Silver finish. Pair of wall sconces with two lights each decorated with figurative, vegetal and architectural elements inspired by certain Rococo works of the 19th century. Weight:13.5 kg
Bronze sculpture, “Horse in a prancing horse”. Lost wax casting. On a rectangular base resembling the earth stands the figure of a horse, with both hands raised and only partially harnessed with a bridle. This type of sculpture was very common in the 19th century, especially in England, and it is these models that are taken as inspiration for this work.
Louis XVI style sofa. Carved beech wood, textile. 20th century. Two-seater sofa with arms and backrest (to be upholstered) with carved wood decoration inspired by 19th-century French examples (flower cubes, garlands, plant elements, crest, etc.).
Oriental sideboard. Carved wood, metal. 20th century. Rectangular sideboard with a smooth top and a visual division at the front into two levels: three drawers in the upper one, decorated with carvings of facing dragons; four drawers on either side of two central doors (a total of eleven drawers and two doors), with the fronts enhanced with simple lines. This door gives access to two shelves. The influence of ancient Chinese examples is clear both in the decoration and in the arrangement of the elements of the furniture.
Bronze, “Two young people caressing each other”. Lost wax casting. The two figures stand on a round base. The girl holds the boy's head in both hands, and the boy embraces her with one arm, carrying a basket in his left arm. A tree stump situates the scene in an idealised natural setting. This work is based on models created by Auguste Moreau (1834-1917), son of Jean-Baptiste Moreau, known for his detailed style as well as for his affiliation with Art Nouveau.
Pair of candlesticks. Bronze. 18th century. Pair of candlesticks made of bronze, which still retain a strong influence from Spanish Baroque models, especially in the turned axis, with prominent bases and spherical legs reminiscent of wild beast claws topped with plant elements of classicist influence. One of the candlesticks has been restored. Weight per unit 1.8 kg
Wall clock. Metal, wood. United States of America, patented 1874. American wall clock with a wooden and metal case, 8-day and 30-hour model, featuring a white dial with Roman numerals for the hours and lines for the minutes, and a landscape with architecture with a certain colonial air in a natural setting. Along with the usual influence or reminder of English models, a series of more particular details of the continent and the area can be seen.
The Fountain. Polychrome terracotta. 20th century, following models by CARRIER-BELLEUSE, Albert-Ernest (Aisne, 1824-Sèvres, 1887). The figure shows a child, lying down and almost completely naked, with his head highlighted by a crown of gold leaves. He is shown with a shell (with touches of gold), taking water from a jug at his side, thus recalling the allegories of rivers or their sources in Ancient Rome. It is necessary to compare this work with the one entitled “La Source” by Albert-Ernest Carrier-Belleuse, preserved, for example, in the Art Institute of Chicago or the one in the Portland Museum of Art (of which there are a number of variants, changing the characters and the material used). Albert-Ernest Carrier-Belleuse was a French sculptor and draughtsman who trained with David d'Angers and at the École des Beaux-Arts in Paris. He achieved international recognition after his participation in the Salon des Artistes Françaises in 1861 (Third Medal), producing notable works such as several busts of Napoleon III, the fireplace in the great hall of the Paris Opera, etc. His work is preserved in prominent private collections and in institutions such as the Musée d'Orsay in Paris, the Museo del Prado in Madrid, etc. In addition, we must remember his terracottas and his monuments (such as that of Bernardo O'Higgins in Santiago de Chile). It is also worth highlighting the publication in 1884 of L\\'application de la figure humaine à la decoration et à l\\'ornementation industrielles, an important collection of decorative arts of the time, and in 1876 he was appointed art director of the Manufacture Nationale de Sèvres.
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