Results 49 to 72 of 1437

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SILVERJAR. CÁDIZ, SPAIN, 1761.

Pitcher. Silver. Hallmark possibly Francisco de Arenas. Cádiz, Spain, 1761. With contrast and engraving marks. Crafted in silver, the jug features an oval base that rises flat to a molding with vertical lines. This molding curves, and the same undulations continue along the body of the piece. The handle, of a type known as a twisted handle, has scrolled finials. The lid echoes the lines of the body and is topped with a vegetal motif, also featuring a piece near the handle. The spout, curved outwards, displays a relief decoration of a mask with architectural and vegetal motifs of classical influence. The base features a series of punches around the engraved mark that can be identified with the city of Cádiz, a chronological mark (1761), an initial (B), and another that could be linked to Francisco Arenas or de Arenas, a Cádiz assayer (originally from Granada) who served as an assayer between 1737 and 1771, the year of his death. Two punches are associated with him (one likely used until 1757 and another from that year onward, “ARE/NAS”). He also worked as a metal assayer for the Mint and the Mineral Works. His mark is preserved, for example, on a chalice from around 1750 and another dated around 1780 in Santa María la Coronada de San Roque (Gibraltar), a ewer in the parish of Realejo Bajo (Canary Islands, Spain) dated to the 1760s, and the repairs to the processional float of the Virgen del Carmen in Cádiz. Weight: 1076 grams.

· Size: 18,5x9x25,5 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1508
LION AND CUPID. BRONZE. FERVILLE-SUAN, CHARLES GEORGES (FRANCE, 1847-1...

Cupid and the lion. Bronze. FERVILLE-SUAN, Charles Georges (France, 1847-1925). Signature on base. A bronze sculpture depicts a lion walking with its mouth open, flanked by a semi-nude child wearing a helmet and a strap over his shoulder to hold a quiver of arrows (identifying him as Cupid, the deity of classical mythology associated with love and son of Venus). The surname “FervilleSuan” is engraved in one corner of the rectangular base. Charles Georges Ferville-Suan, the adopted son of the painter Charles Suan, was a French sculptor who trained at the École Nationale Supérieure des Beaux-Arts in Paris under François Jouffroy. Well-known for his medallions and small statuettes in marble, plaster, or bronze, he exhibited his work at the Paris Salon between 1872 and 1909. Weight: 13 kg.

· Size: 31x17x33 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1506
CHILDREN’SDANCE WITH THE GOD PAN. BRONZE. AFTER FAYDHERBE. POSSIBLY 19...

Children's dance with the god Pan. Bronze. Following models by Lucas Faydherbe (1617-1697). Possibly 19th century. A bronze plaque with a figurative relief depicts a natural landscape with trees to the left and an overturned basket of flowers in the foreground. A group of naked children are arranged dancing, linked by their hands in clusters; the figures in the foreground are prominent, while those in the background are barely sketched, creating a sense of space. Towards the center of the scene, a male figure with horns and goat's legs, identified as Pan, son of Jupiter and the nymph Callisto, plays a flute. In classical mythology, Pan was associated with the wilderness. This god, especially venerated in Arcadia, is associated with shepherds and flocks and often appears in scenes linked to Bacchus (Dionysus). This work is closely inspired (note the initial F in the lower left corner, which, along with an L, also appears in the original; there are differences between the two) by a carved ivory relief in the Prado Museum in Madrid (catalog number E000257). It was owned by the painter Rubens and is the work of Lucas Faydherbe (Mechelen, Belgium, 1617 – Mechelen, Belgium, 1697), who worked as an assistant or pupil in Rubens's workshop four years before the latter's death. The terracotta sketch is held in the Royal Museums of Art and History in Brussels and shows slight variations from this Prado original. Note that the Royal Academy of Fine Arts of San Fernando in Madrid holds a plaster cast of the original work (Model from the Casting Workshop, inventory M-903), which features a capital F in the lower left corner, as in this bronze relief. Weight: 6350 grams.

· Size: 54,5x5,5x28 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1510
ITALIAN CHEST. WOOD, MARQUETRY, IRON. ITALIAN SCHOOL, 16TH CENTURY.

Chest. Wood, iron, marquetry. Italian school, 16th century. It has faults. A rectangular chest with a flat lid, carved from wood and decorated on the exterior with wrought iron elements. The front features wavy lines along the lower and side edges, with three openwork circles of vegetal motifs from which hang heart-shaped metal forms. Four smaller, similar circles surround the lock, whose shield is shaped like a building with a tower. The sides display more wavy lines (of the aforementioned motifs) and openwork circles, as well as handles. The metal handles on the sides extend to the back of the chest. Inside, the lid shows more of these openwork metal circles with a red background and traces of simple marquetry with geometric motifs. Small stars are carved along the edges of the chest. Stylistically, it is reminiscent of examples from the 16th and 17th centuries common in areas of Lombardy, although it is a type that some experts consider relatively common throughout the Italian school until the popularization of the more characteristic models of the Renaissance. Examples with details in common with this chest are held by institutions such as the Victoria & Albert Museum in London, or the Vittoriano e Palazzo Venezia (VIVE, Rome; inventory 1135, Lombard “cassone” from the late 15th-early 16th century in walnut, metal and wood, located in the Palazzo Venezia).

· Size: 102,5x 52x48 cms.
ANTIQUES
FURNITURE

Ref.: ZF1454
TELESCOPE WITH TRYPOD. METAL, WOOD, GLASS.

Telescope with decorative tripod. Wood, metal, glass. Gold telescope with an aged metal finish reminiscent of relatively old models and sits on a simple wooden tripod, which also features metal pieces with a gold-tone finish.

· Size: Long. 100 cms.
DECORATION

Ref.: AP029
SILVER PYX OR PIX. PALENCIA, SPAIN. PEDRO DE PALACIOS, CIRCA 1530.

Pyx. Silver. Palencia, Spain. Pedro de Palacios, hallmark Juan de Peso, circa 1530. With contrast and engraved marks. A circular box with a pointed lid, made of silver in its natural color and gilded, decorated on the exterior with a series of slanted segments or waves on the body and lid, and moldings with concatenations of pearls. The piece is topped by a sphere divided in two by a band of small lines. The interior is gilded. Typologically, it follows a very common model for pyxes in 16th-century Spanish silversmithing. Compare, for example, with the one dated to the third third of the 16th century (inventory 2165) in the Lázaro Galdiano Museum in Madrid (Spain), which also has spirals on the lid and a cruciform finial that the present example does not show; or several examples in the Diocesan Museum of Pamplona Cathedral; or an example with vertical recesses on the lid in the Museum of Sacred Art of Bilbao (Eleiz Museoa; inventory 0578) by Izangabea, dated between 1525 and 1530. At the base are the engraving mark and the hallmarks for the town and silversmith. One is the town mark, referring to Palencia (Spain). Another, with letters beneath a scale, is that of the assayer Juan de Peso, who worked from 1526 to 1532 (experts suggest that the triple hallmarking began in 1528). The third is that of the silversmith Pedro de Palacios (elected city assayer in 1532). Similar marks appear on the reliquary arm of Saint Lawrence in Santoyo, a work by Pedro de Palacios dated between 1528 and 1532, or, according to other experts, around 1526. Weight: 217 grams.

· Size: 9x9x11 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1504
CEILING LAMP. METAL, GLASS. CIRCA EARLY 20TH CENTURY.

Ceiling lamp. Metal, glass. Circa early 20th century. Bronze chandelier with glass shades decorated with elements of marked classical influence: children's figures with plant forms instead of legs on their arms, scrolls, volutes, grotesques, architectural elements, heraldic elements, etc. Both in its composition and in certain details of these decorative motifs it is reminiscent of works linked to Neoclassicism of the 19th century and later works. 1 tulip is missing

· Size: 85x85x135 cms.
ANTIQUES
FURNITURE

Ref.: Z1744
CHANDELIER.BRONZE, GLASS. 20TH CENTURY.

Ceiling lamp or chandelier. Bronze, glass. 20th century. Ceiling chandelier made of gilded bronze and metal that features plant elements of classicist influence, following 19th century models common especially in the French school (influence also present in the shape of the lamp), and transparent glass beads of various shapes and sizes (leaves, tears, flowers, etc.) and colors, a chromatic combination that was not the most common in these old examples.

· Size: 64x64x92 cms.
ANTIQUES
FURNITURE

Ref.: ZF1447
LOUIS XVI BISCUIT MANTLECLOCK. CROSNIER, PARIS, FRANCE, CIRCA 1900.

Louis XVI style mantel clock. Biscuit, metal, glass. Crosnier, Paris, France, circa 1900. It has defects. A table clock made of bisque porcelain with metal elements, featuring a white dial signed “Crosnier/Paris” with Arabic numerals for the hours and minutes in fifteen-unit increments, and a Paris-style movement signed “Mougia” on a stamp. The figurative decoration, inspired by classical mythology, depicts Venus with a dove accompanied by Cupid and various putti in the reliefs of the lower section. The base bears the inscription “Mongenol” and an incised mark reminiscent of the one used in Sèvres.

· Size: 26x14x31 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1481
METAL BINOCULARS. 20TH CENTURY.

Binoculars with an antique finish. Gold-plated metal, other. These metal binoculars, crafted with an antique gold finish, feature a hanging loop and a vintage look reminiscent of classic binoculars. A versatile decorative piece, they suit a variety of styles and tastes.

· Size: 11,5x5,5x14 cms.
DECORATION

Ref.: AR021
WALNUT BOARD 465x5x92 cms.

· Size: 465x5x92 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z5634C
WALNUT BOARD 478x8x102 cms.

· Size: 478x8x102 cms. ancho minimo 87 cms
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z5634E
WALNUT BOARD 411x6x108 cms.

· Size: 411x6x108 cms. ancho minimo 67 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z5634D
DIANA OF GABII. BRONZE, MARBLE. RAINGO FRÈRES, FRANCE, CIRCA SECOND HA...

Diana of Gabies. Bronze, marble. Raingo Frères, France, circa second half of the 19th century. Signed on the base. A bronze figure on a stone base depicts a lady wearing sandals, adjusting a draped garment (called a chiton), and raising her arms to fasten a brooch. Her wavy hair is gathered high with a ribbon. The inscription “Raingo Fres.” can be seen on the bronze base, indicating the foundry that produced it. The work is inspired by a marble sculpture also known as the Artemis of Gabii, as it may represent this goddess. It was discovered in Gabii (near Rome, Italy) by Gavin Hamilton (Lanarkshire, 1723–Rome, 1798) on land belonging to Prince Borghese, who sold it to Napoleon in 1807. From that moment on, it became part of the collections of the Louvre Museum in Paris (inventory Ma. 529). The original is attributed to Praxiteles (although there is some doubt about this today). Raingo Frères was founded in 1823 by the four sons of the Belgian watchmaker and metalworker Zacharie Raingo (who moved to Paris in 1813): Adolphe, Charles, Denis, and Dorsant. Established as an industrial and commercial enterprise, the company quickly gained renown for its bronze work, in addition to its reputation as a watchmaker. It created pieces for a number of nobles and royalty, including the Duke of Chartres, King George V of England, and Emperor Napoleon III of France. They exhibited their work at the International Exhibitions in Paris in 1867, 1878, and 1889, winning several awards. Works from this house are held in prominent private collections and institutions such as the National Museum of Decorative Arts (Madrid, Spain), the Victoria and Albert Museum (London), and the Royal Collection Trust. Weight: 37 kg.

· Size: 21,6x24,7x86 cms
ANTIQUES
SCULPTURE

Ref.: ZF1385
CHOCOLATE CUTTER. WOOD, METAL. 19TH CENTURY.

Chocolate cutter. Wood, metal. 19th century. Chocolate chopper made of carved wood with an iron blade in the shape of a horse, which has a turned wooden handle. Compare with the one from Salamanca preserved in the CIPE Costume Museum in Madrid (inventory CE008848) dating from the 19th century.

· Size: 32x32,5x11 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE442
CHOCOLATE KNIFE. WOOD, METAL. 19TH CENTURY.

Chocolate cutter. Wood, metal. 19th century. A circular tray with an extension on one side for a metal piece that can be raised and lowered, attached to the other end of the tray. Chocolate bars or tablets would be cut with this movable piece. This type of kitchen utensil clearly lacks decorative elements, being purely utilitarian.

· Size: 30,5x17,5x8 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: ZF0404
CHOCOLATE CUTTER. WOOD, METAL. 19TH CENTURY.

Chocolate cutter. Wood, metal. 19th century. Chocolate chopper made of carved wood decorated with engraved plant and floral motifs, featuring an iron blade in the shape of a small horse, which has a turned wooden handle. Compare with the one from Salamanca preserved in the CIPE Costume Museum in Madrid (inventory CE008848) dating from the 19th century.

· Size: 44x17x13 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE441
CEILING LIGHT. GLASS, METAL.

Ceiling lamp. Glass, metal. Ceiling lamp with four lights consisting of a top piece, three openwork bars connecting it to the main body (also openwork, decorated with plant motifs) which features a central circular shade and three simple curved arms ending in three more orange, flower-shaped shades. Certain details are reminiscent of early 20th-century works.

· Size: 70x70x80 cms.
DECORATION

Ref.: L30
ADORATION OF THE SHEPHERDS. POLYCHROMED WOOD. COLONIAL SCHOOL (POSSIBL...

Adoration of the Shepherds. Carved and polychromed wood. Colonial school (possibly Viceroyalty of Peru), 18th century. It has faults. Fragment of a carved, polychrome, and gilded wooden altarpiece depicting a figurative scene within a rectangular space crowned by a semicircular arch. In the upper section, angels emerge from clouds holding a scroll on which some of the original text is still visible; below, a red roof partially covers vertical structures with a classical influence. In the lower section, four shepherds are depicted with a donkey and an ox. The Christ Child is positioned in the center (note that the halo resembles a cradle, or vice versa), with the Virgin Mary and Saint John at his side, their hands clasped in prayer. Iconographically, it is clear that this is the Adoration of the Shepherds. In sculpture, the school of the Viceroyalty of Peru is considered to have emerged with the establishment of the viceroyalty in 1542 (and to have disappeared in the 19th century). As was typical, in its beginnings it owed much to the influence of Spanish art (especially the Sevillian school), eventually acquiring a strong identity of its own thanks to the work of indigenous masters, religious orders, and others. The main artistic centers were often Lima (the viceroyalty's capital), Quito, and Cusco (from the second half of the 17th century onward, this area would become known primarily for its dressed religious images).

· Size: 63x7x140 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1483
SIDE TABLE. WOOD, MARBLE, BRONZE. 19TH CENTURY.

Nightstand. Wood (mahogany and rosewood veneer), marble, bronze. 19th century. It has faults. Side table with four legs finished with metal fittings, a waist decorated with strips of lighter wood than the rest, highlighted with strips of gilded metal, and a circular top of light-colored stone with a cresting around the edge. It has two drawers with handles and two removable upholstered shelves. Stylistically, it is reminiscent of 19th-century French school models.

· Size: 65,5x65,5x75 cns,
ANTIQUES
FURNITURE

Ref.: ZF1467
FRAMED ENGRAVING, TRASPORTO SOLLENE DEL CADAVERE DI MARIA LUISA DI BOR...

“Sollene transportation of the corpse of Maria Luisa di Borbone (…)”. Framed engraving. Rome, Italy, [Sl : sn, 1819]. Framed engraving titled below the image as “TRASPORTO SOLENNE DEL CADAVERE DI MARIA LUISA DI BORBONE REGINA DELLE SPAGNE E DELLE INDIE / Dalla Basilica Liberiana alla Vaticana il di 10 Jannajo del MDCCCXIX” which also presents the names of those responsible for it. “Gio.Petrini incise” appears on the right (Giovanni Petrini was an Italian engraver who worked in Rome and Paris, prospering between 1810 and 1812) and “Filip. Ferrari inventó, i disegnó” can be seen towards the left (Filippo Ferrari is dated between 1819 and 1897). It represents the funeral procession held on the occasion of the transfer of the body of the deceased Maria Luisa of Parma, wife of Charles IV, in Rome, from the Basilica of Santa Maria Maggiore to the Basilica of St. Peter, also detailing the Roman confraternities, religious orders and high officials who attended (legend under the image).

· Size: 101x2,5x80 cms. int: 53,5x74,5 cms.
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF1471
TWO MEN. WATERCOLOUR. JIMENEZ ARANDA, LUIS. ROME, ITALY, 1879.

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
SEATED LADY. WATERCOLOUR. JIMENEZ ARANDA, LUIS. ROME, ITALY, 1873.

Seated Woman. Watercolor. JIMÉNEZ ARANDA, Luis. Rome, Italy, 1873. 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.: ZF1458
MAGNIFYING GLASS. CARVED BONE, INK, GLASS. 20TH CENTURY

Magnifying glass. Carved bone, ink, glass. 20th century. A glass magnifying glass decorated with a handle made of carved and stained bone, on which four monkeys appear. The first, at the end, is in a hunched posture, and the rest seem to be lifting each other up until the last one grasps a crescent moon in which the lens is located.

· Size: 7x1,2x21,5 cms.0.12
DECORATION

Ref.: PBMA021

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