Results 49 to 72 of 1509

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BRONZE DEVOTIONAL PLAQUE, VIRGIN WITH SAINTS. 17TH-18TH CENTURIES.

Devotional plaque, Virgin of the Rosary and Saints. Bronze. 17th-18th centuries. An oval devotional plaque featuring a molded listel and a handle at the top decorated with a relief depicting Our Lady of the Rosary, seated with the Child on her lap, presenting the Rosary to Saint Dominic de Guzmán, kneeling at her feet next to Saint Catherine of Siena. A similar plaque is kept in the Lázaro Galdiano Museum in Madrid (inventory number 5192), dated between approximately 1576 and 1600.

· Size: 7,1x1x12 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1416X
SILVER INCENSE BOAT (NAVICULAE). SANZ DE VELASCO, JUAN ANTONIO. VALLAD...

Naveta. Silver. SANZ DE VELASCO, Juan Antonio. Valladolid, Spain, 18th century. With contrasting marks. It shows repairs at the base and losses in the cresting. Boat. Silver. SANZ DE VELASCO, Juan Antonio (1720-1778). Valladolid, Spain, 18th century. With hallmarks. Boat with a circular base raised towards the foot by a series of stepped moldings. Its body is decorated with a cresting on the rim and an engraved composition of vegetal elements and volutes (on a background of stippled luster, a finish also used in the decorative motifs), a gadrooned element on one side, and a volute at the opening end. The hallmarks on the base place the piece's manufacture in Valladolid (note that it is the so-called "cutting mark," which some experts date to before the appointment of Antonio González Téllez as a certified assayer). The other hallmark present is that of Juan Antonio Sanz de Velasco (1720-1778), who served as a certified assayer in the city between 1743 and 1774/8. Apart from other surviving works by the master (many in private Spanish collections), the silver altar frontal of the Virgin of Sagrario (Valladolid Cathedral) stands out. It was crafted by the Valladolid silversmiths Juan Antonio Sanz de Velasco and Miguel Fernández Yáñez de Vega, who completed in the last third of the 18th century a work begun in 1693 by the silversmith José de Aranda. The shape of the piece is typical of this type of vessel for storing incense (in fact, the name naveta comes from "nave," meaning ship) dating back to the Middle Ages (e.g., the naveta in the Chapel of the Constables in Burgos Cathedral by Juan de Valladolid, from the 15th century), with variations in form and decorative elements depending on its origin, style, etc. Compare this piece with works preserved, for example, in the Diocesan and Cathedral Museum of Valladolid, another from the Museum of Navarre originating in Mexico and dated between 1634 and 1666, another from the 18th century in silver in its natural color from the Cathedral of Tuy (with a very different base), etc. Weight: 348 grams.

· Size: 16x10x9,5 cms,
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z5448
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REBECCA AT THE WELL. MARBLE. ITALIAN SCHOOL, POSSIBLY AFTER GUGLIELMO ...

Rebecca at the Well. Marble. Italian school, possibly based on the model of Pugi, Guglielmo (Italy, 1850–1915). White marble sculpture on a small veined marble base depicting a young woman dressed in a long tunic, which she gathers to one side with one hand, while with the other she holds a jug on her head, resting it on one of her shoulders in an unusual position. She is wearing jewelry and has her hair covered. This sculpture is known by the aforementioned title, linking it to the biblical theme, due to the lady's clothing, given that there is no reference to a well. For this reason, it may also be known as the Water Carrier. Stylistically, it clearly displays influences from orientalizing currents, common in numerous European schools since the late 19th century. Guglielmo Pugi was an Italian sculptor whose workshop was located in Florence. He later worked with his sons (under the name Guglielmo Pugi and Sons). After their father's death, they continued working as Brothers G. and F. Pugi. His work focused primarily on the export market, producing sculptures of various sizes (made primarily of marble and alabaster) with varied themes.

· Size: 28.5x27x97 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1096
IRON SAFE. POSSIBLY GERMANY, 18TH CENTURY.

Regimental cash box. Iron. Possibly Germany, 18th century. It has faults. Rectangular safe with a flat lid containing the top bolt mechanism (which has a simple mechanism to cover the keyhole; this was usually hidden behind a decorated lid, not seen here). It also has handles on the sides, with two flat elements and two half rings on the front, which would likely have been used to lock the safe. This means that three different keys would be required to access the interior of the safe, ensuring it is protected against theft and increasing the likelihood of use by an organization. Also note the carved decoration on the lid, featuring simple geometric shapes and the yellow polychrome. Remains of a heraldic shield can be seen in the middle of the front. The most obvious feature of this heraldic shield is a double-headed eagle with a closed crown at the top and a heraldic shield with elements in the center of its body. This bird was used by the Holy Roman Emperor between 1433 and 1806, among others. It was also used by the Austrian Empire (whose coat of arms was created in 1815, following the Congress of Vienna). Weight: 70 kg.

· Size: 83x42x46 cms,
ANTIQUES
FURNITURE

Ref.: ZE384
LANDSCAPE. OIL ON CANVAS. SPANISH SCHOOL, 1999.

Landscape, “Geraniums.” Oil on canvas. Spanish School, 1999. Signed and titled (back). A rural landscape that focuses on the representation of flowers, revealing buildings in the background. The painting uses a very loose technique, with a clear predominance of color and brushstrokes, recalling the contributions of early 20th-century European avant-garde painters. On the back, an inscription identifies the work, including the artist's name and the date ("copy by Josep Salas / "Geranios" / Carreira, 1999").

· Size: 101x4x81,5 cms.
DECORATIVE ANTIQUES
PAINTINGS

Ref.: ZF1071
ANGEL, ARCHANGEL OR SAINT. POLYCHROMED WOOD. SPANISH SCHOOL, 17TH CENT...

Angel, archangel, or saint, on a base. Carved and polychrome wood, textile, etc. Spanish School, 17th century. It has defects. A carved, polychrome, and gilded wood sculpture depicting a young male figure dressed in armor reminiscent of Classicism, which also features a jewel (or remnants of it) on his chest. It also features fabrics with a slight movement, where remnants of the gilding that once covered them can be seen. Iconographically, since it does not feature attributes, it is not clearly identifiable, although comparing the postures and the armor could be a carving of Saint Michael the Archangel (note the two hollows in the back, where the wings would have been).

· Size: 20x20x49 cms.
DECORATIVE ANTIQUES
SCULPTURE

Ref.: ZF1468
GLASS TABLE LAMP, VASE. 20TH CENTURY.

Table lamp. Glass, metal. 20th century. A vase made of clear glass decorated with numerous geometric elements carved in relief on the outside, which has been transformed into a table lamp by adding the necessary elements to the top. The quality of the workmanship is reminiscent of works from Bohemia and other prominent glass factories.

· Size: 20x20x43 cms
DECORATIVE ANTIQUES
FURNITURE

Ref.: ZF1469
ART NOUVEAU FLOWER VASE. GLASS, METAL. PORTUGAL, TOPAZIO CASQUINHA, CI...

Modernist vase. Glass, metal. Portugal, Topazio Casquinha, circa 1900. No marks. A rectangular, clear glass vessel decorated with a silver-plated metal element that displays neoclassical influences (the eagle on the top, scrolls, cornucopia, etc.) and also features a lady in a dancing pose, which displays more characteristic elements of modernism. Despite the lack of markings, it has been compared to pieces by Topazio Casquinha, highlighting the resemblance.

· Size: 11,5x6,5x18 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1470
METAL PLANTER OR POT. 20TH CENTURY

Planter. Metal. 20th century. An oval metal planter with four claw-shaped legs, two lion heads on the sides with rings in their mouths, and a band of openwork plant elements with a marked neoclassical influence on the upper part of the body. It closely resembles models common in Europe during the 19th century.

· Size: 45x22x19 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z2750
TABLE LAMP “TIFFANY’S STYLE”.

Tiffany-style chandelier lamp. The baluster-shaped foot with spiral fluting sits on a round base. The shade is made of colored glass with a floral design, following the style known as Tiffany's, named after the renowned jewelry and design company founded in 1837.

· Size: 23x23x42 cms.
DECORATION
AUXILIARY LIGHTING

Ref.: LM83
IRON PLANTER OR POT. 20TH CENTURY.

Planter. Painted iron. 20th century. White-painted metal planter with a rectangular base and simple legs, featuring a scroll decoration made with bars on the sides, accompanied by leaves of the same material.

· Size: 41x25x31 cms
DECORATION
DECORATION COMPLEMENTS

Ref.: Z2751
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IMMACULATE CONCEPTION. WOOD, SILVER, GLASS. PORTUGUESE SCHOOL, 18TH CE...

Immaculate Conception. Carved and polychromed wood, glass, silver. Portuguese school, 18th century. A wooden sculpture depicting a young Mary, clasped in prayer before her chest, standing on a cloud from which winged angels' heads emerge. She wears a tunic with a flowing mantle, the garments adorned with flowers, waves, and other motifs, combining polychromy and gilding. She wears a silver crown with architectural and vegetal elements of strong classical influence, which shows no contrasting marks. Beneath the cloud is a rectangular, gilded wooden base decorated with architectural and vegetal elements in relief. Note that the back is also decorated, bearing a label added after the work's completion. Based on its iconography, it appears to be a sculpture of the Immaculate Conception. This is one of the most common depictions of the Virgin Mary in Spanish Baroque art, and it is also frequent in other schools (where the Virgin of the Conception or the Immaculate Conception is more commonly used). This devotion features an iconography whose development began in Spanish Gothic art, reflecting a desire to emphasize the purity of the Mother of Christ. Initially, it included details from the Vision of Saint John on Patmos and elements from the Marian Litany, but these were simplified over time. Stylistically, the movement and certain details of the cloak reveal a Rococo influence, an artistic movement that originated in France (where it flourished between approximately 1730 and 1760) and spread to other European schools. A sculpture quite similar to the one in the Portuguese church of Nossa Senhora da Vila, Nossa Senhora do Bispo e Silveiras (officially: União de Freguesias de Nossa Senhora da Vila, Nossa Senhora do Bispo e Silveiras), Évora, is known to exist. Dating from the second half of the 18th century and considered to be of the Portuguese school, it has not been possible to find further details about its authorship. This sculpture also features a base similar to that of this one.

· Size: 21x15x56 cms
ANTIQUES
SCULPTURE

Ref.: ZF1324
RURAL SCENE. OIL ON CANVAS. SIGNED. LÓPEZ MURIAS, ISIDRO (TÉTOUAN, MOR...

“Rural Scene”. Oil on canvas. Signed (lower left corner). LÓPEZ MURIAS, Isidro (Tetuán, Morocco, 1939). Isidro López Murias trained at the School of Arts and Crafts in Palencia and at the Faculty of Fine Arts in Madrid, obtaining his first distinctions in 1953 and 1954. He has exhibited his work in Pamplona, Palencia, Santander, Burgos, Valladolid, Madrid, Ávila, Segovia, Murcia, New York, Barcelona, Bilbao, San Sebastián, etc.; and it can be found in numerous private collections (Spain, France, Italy, etc.) and in different institutions (Museum of Navarre, Royal Academy of Fine Arts of San Fernando in Madrid, collection of the Parliament of Navarre, Rodríguez-Acosta Foundation of Granada, etc.).

· Size: 65x4x50 cms.
DECORATIVE ANTIQUES
PAINTINGS

Ref.: Z5820A19
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SILVER METAL VIEWER ON A RECTANGULAR BASE.

Visor on a rectangular base in silver metal. A viewfinder mounted on an axis with a scale for calculating vertical angles, supported by a rectangular plate made of silver-plated metal. A rotating plate protects the lower lens, and several screws allow the telescope to be moved. Weight 1710 grs. Inspired by 19th century models

· Size: 20x12x15 cms.
DECORATION
DECORATION COMPLEMENTS

Ref.: AR015
MIRROR. 20TH CENTURY.

Mirror. Carved and gilded mother. 20th century. Large mirror with a carved and gilded wood frame decorated with a series of classicist-influenced decorative elements reminiscent of 19th-century French influences. Certain details (the combination of openwork moldings and scrolls, the openwork curves of the crest, etc.) would, however, place it under the influence of certain artistic styles that emerged in Europe around 1900.

· Size: 141x10x217 cms.
ANTIQUES
FURNITURE

Ref.: ZF1438
ALLEGORIES. BRONZE, MARBLE. DEVAULX, FRANÇOIS THÉODORE. FRANCE, 19TH C...

Allegorical figures. Bronze, marble. DEVAULX, François Théodore. France, 19th century. Inscription (lower area male figure). Pair of bronze figures placed on circular veined marble bases depicting two figures, one male and one female, both semi-nude and raising one of their arms, in an almost dance-like posture. The young woman holds a tambourine and a bunch of grapes, and carries vines on her body. The young man carries an object in one arm. The lower part of the male figure bears the inscription "de Vaulx". François Théodore Devaulx (or Théodore-François Devaulx; Paris, 1808-1871) was a French sculptor trained at the École des Beaux-Arts in Paris. He is credited with creating the sculptures on which the present couple is based. These small works were highly prized in the 19th century, used to decorate important houses and palaces. The French ones were held in the highest esteem for their variety of models and the quality of their castings and compositions. Weight: 21.55 kg.

· Size: 18x18x59 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1452
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FAUN PLAYING THE FLUTE. BRONZE. AFTER COYSEVOX. ACHILLE COLLAS, BARBED...

Faun playing the flute. Bronze. Based on models by Antoine Coysevòx. Achille Collas's hallmark, mechanical reduction, Barbedienne foundry. France, possibly around the third third of the 19th century. With signatures, date and seal. Bronze sculpture depicting a male figure (a faun) playing a transverse flute, seated semi-nude on a tree trunk, with a pan flute at one side of his leg. A stamp (Reduction mecanique A. collas…) and several engraved elements (F. Barbedienne, fondeur, A. Coyzevox, 1709) can be seen in the lower part of the work. It is inspired by a marble sculpture made by Antoine Coysevox around 1700, currently housed in the Louvre Museum in Paris (inventory MR 1820; "Faune jouant de la flûte", 1707-1709). Along with others, it was commissioned for the Parc de Marly in 1707, fully paid for in 1711, and placed on the terrace of the Tuileries Palace between 1716 and 1717. In 1839, the Parisian bronzesmith Ferdinand Barbedienne (1810-1892) founded a partnership with the engineer Achille Collas (1795-1859). He had invented a mathematical reduction process for sculpture, which enabled productions to be produced on an unprecedented scale and with unprecedented quality, following the models of various masters and early works. Collas's death in 1859 made him the sole owner of the foundry. The excellence of his production earned him the appointment as president of the Bronze Industries Committee in 1865. Upon his death in 1892, his heir, Gustave Leblanc-Barbedienne (1849-1945), took over the foundry, which later became the "Leblanc-Barbedienne" firm, specializing in monumental sculptures and operating until the mid-20th century. Leblanc-Barbedienne has the honor of collaborating with Auguste Rodin. Weight: 9.6 kg.

· Size: 21x20x46 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1453
KNIVES SET IN A CASE. SILVER (800), METAL, ETC. POSSIBLY EUROPE, CIRCA...

Six knives with case. Silver (.800), metal, textile, etc. Possibly European, late 19th century. With contrast marks. A set of six knives made of 800-thousandths silver in their original color and silver-plated for the blade. They are housed in a rectangular case with a padded interior and clasps on the front. The handle decoration is reminiscent of 19th-century European models, particularly the combination of scrolled blades and flowers. Weight: 480 grams; knives: 220 grams.

· Size: Estuche: 27x22x3 cms / cuchillo:21x3x2 cms
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z4837
CARTEL CLOCK. BRONZE. FRANCE, 19TH CENTURY.

“Poster” wall clock. Gilt bronze. France, 19th century. Gilt bronze wall clock of the type known as a "cartel" due to its shape, featuring Parisian movement and a white dial with Roman numerals for the hours and Arabic numerals every five minutes. Surrounding a body with openwork panels, it features a garland decoration based on ribbons and architectural and plant elements in a distinctly classicist style, an influence also evident in the vase-shaped upper finial and the lower mask placed on a plant motif. This is a fairly popular model within the French school, as similar boxes are known in private collections dating from the last third of the 18th century. The shape of the top vase and the front garlands vary mainly in later known examples (made both in the first half of the 19th century and during the time of Napoleon III). Weight: 9 kg.

· Size: 30x10x66 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1411
BRONZE SCULPTURE WITH CLOCK. BRONZE, STONE. COUPIER FILA Y PROVART. PA...

Clock with sculpture. Bronze, stone. Coupier Fila and Provart, Paris, France, towards the end of the 19th century. A bronze sculpture depicting a child seated on a rock formation, raising one bare foot directly above a crab with its claw raised. It features a carved stone and gilded bronze base (decorated with classical elements such as ribbons, garlands, etc.) on which sits a wind-up clock with a white dial and Roman numerals for the hours in blue, and Arabic numerals in black every five units for the minutes. The inscription "Coupier Fila and Provart/ to Paris/ 100 Rue Amelot" is also visible. Coupier Fila et Provart was a firm dedicated to the manufacture of clocks and bronze objects (sculptures, wall sconces, etc.) located in Paris towards the end of the 19th century. The Paris-style movement of the piece bears a stamp on the bronze that reads “medaille de bronze / J. Marti et Cie.,” referring to another well-known watchmaking firm active in Paris (France) in the second half of the 19th century. The name “August Moreau,” who inspired the sculpture, is engraved on the rock formation where the child sits. Auguste Moreau (Paris, 1834–?, 1917) was born in Paris, the son of Jean-Baptiste Moreau, also a sculptor, painter, and draftsman, with whom he began his training. He furthered his studies at the École des Beaux-Arts, the school that produced famous artists such as Henri Matisse and the sculptor Georges Gimel. His works were first exhibited in 1861, and he soon became a renowned artist. He developed a distinctive style of filigree figures, highly detailed figurines and busts. Weight: 50.3 kg.

· Size: 35x37x92 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1434
PAINO. WOOD, METAL, ETC. PATENT ERARD LONDON. POSSIBLY CIRCA 1870.

Grand piano. Walnut, metal, etc. Patent Erard London. London, England, possibly around 1870. Requires tuning and minor restorations. Grand or horizontal piano with strings and soundboard in a horizontal position, made of wood, with faceted front legs ending in metal rollers, and lyre-shaped pedals, following, as was common at the time, models inspired by Classicism. The music stand and other panels of the instrument are decorated with openwork architectural and plant elements. Sebastien Erard began working in France (Paris) in the mid-18th century, building his first small piano around 1777. After the French Revolution, he moved to London, where he soon opened a workshop, enjoying great success. He returned to Paris in 1796, but part of his family remained in England, where he continued making pianos throughout the 19th century, considered the finest in the world at the time, until the beginning of the 20th century. After World War I, Erard suffered greatly, continuing a slow decline until, in the mid-20th century, the name was sold among several manufacturers until Schimmel of Germany bought the rights in 1971.

· Size: 1,36x2,46x0,97 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1428
SIDE TABLE. GLASS, BRONZE. 20TH CENTURY.

Low table, Dancer. Bronze, glass. 20th century. Glass defect. Low table with a transparent oval glass top, supported by a bronze female figure of a dancer in a dancing pose. The figure is inspired by 19th-century models derived from the French school, specifically works by Moreau. Weight with glass: 103 kg

· Size: 120x79x82 cms. vidrio: 82x122x1.5 cms.
DECORATIVE ANTIQUES
FURNITURE

Ref.: ZF1327
HANNIBAL BARCA ORMOLU BRONZE CLOCK. FRANCE, 19TH CENTURY.

Table clock, Hannibal Barca. Ormolu bronze, metal. France, 19th century. Table clock with Paris movement and a case made of mercury-gilt bronze, featuring a rectangular base on four legs (the front ones decorated with scrolls and ending in claws), decorated with a series of relief moldings depicting plant and architectural elements. The metallic dial (with Roman numerals for the hours) sits within a square shape, on which sits the male figure that decorates the piece. A bearded man, dressed in armor (a loriga or muscled breastplate) and a cape secured over one shoulder with a fibula, rests his left arm on his helmet, holding a rolled-up document, and with his left hand he holds a Roman standard (another appears broken under his foot). Note, to the right and next to a sword, a vase filled with rings. Hannibal Barca (247-183 BC) was a Carthaginian general and statesman best known for his clashes with the Ancient Roman Empire. He was often depicted counting the rings of fallen Roman knights at the Battle of Cannae (216 BC), as can be seen in the sculpture by Sébastien Slodtz (made in 1704, Louvre Museum, Paris), where he also carries a Roman standard. He is also shown with these two elements (vase with rings and standard) in a table clock in the Cagny Museum in Paris, made during the French Restoration. Another piece, in a private collection, inspired by this clock is known, designed after models by Peirra-Francois Feuchère. These two models would surely have served as inspiration for the present table clock. Weight: 25 kg.

· Size: 53,5x20x76 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1230
BRONZE CAPITALS WITH BASES, FOUR SETS. SPANISH SCHOOL, 20TH CENTURY.

Capitals with bases, four pieces. Bronze. Spanish School, 20th century. Origin: Caryatids Building (formerly the Spanish Bank of the Río de la Plata; headquarters of the Cervantes Institute), Calle Alcalá, number 49, Madrid (Spain). Four capitals with their respective bases, made of bronze, clearly show a classicist influence in both their moldings and lines, as well as their decorative elements. However, in the arrangement of these motifs and other details, an evolution or departure from these nineteenth-century classicist models can be seen (volutes, stepped elements, etc.). They come from a building located at 49 Calle Alcalá in Madrid (Spain), known as the Cariátides Building, which was built as the headquarters for the Banco Español del Río de la Plata by Antonio Palacios Ramilo and Joaquín Otamendi between 1911 and 1918. It was extended and renovated between 1944 and 1953 (architect Manuel Cabanyes), and has been the headquarters of the Instituto Cervantes since 2006. Weight: 534 kg. Price per unit

· Size: 63x63x75 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1436

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