Results 49 to 72 of 1453

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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
WOODEN FRAME. SPANISH SCHOOL, 20TH CENTURY.

Frame. Carved and gilded wood. Spanish school, 20th century. A rectangular wooden frame decorated with a series of smooth and curved moldings of varying widths that increase in depth as they extend outwards. Note the combination of gold bands flanking a darker one in the center. Stylistically, it is reminiscent of common models in several European schools, particularly certain Tuscan works of the 16th century, but also some Spanish ones.

· Size: 81x10x106 cms. int 50,5x76,5 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z2752
PAIR OF PORCELAIN CENTERPIECES. MEISSEN, GERMANY, POSSIBLY SECOND HALF...

Pair of centerpieces. Glazed porcelain, wood, textile, etc. Meissen, Germany, possibly second half of the 19th century, following models by Acier. With marks at the base. They have hairs and missing parts; missing parts at the base. Two elaborate glazed porcelain figures each have a circular carved wooden base decorated with neoclassical elements and upholstered in red on top, raised on three spheres. The centerpieces are protected by two clear glass cloches, likely made by hand, judging by the bubbles visible on top. The blue marks on the base of both centerpieces are those used by Meissen between 1815 and 1924. They also feature other incised elements. The piece depicting three gallant couples around a tree is based on a 1772 model by Michael Victor Acier (1736, Versailles–Desde, 1799), who worked in Meissen from 1762, and is commonly known as “Gardeners around the Tree.” The one with the two musicians and two pairs of dancers around a tree is also based on another Acier model from the same year. In both cases, copies based on these 18th-century works were produced throughout the 19th century, becoming particularly popular in the second half, with variations in the polychromy and minor details.

· Size: 35,5x35,5x59 cms. Alt sin base 50 cms. Fanal 54 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF1462
NURSING VIRGIN MARY. OIL ON BOARD. HISPANO-FLEMISH SCHOOL, 16TH CENTUR...

Virgin of the Milk. Oil on panel. Hispano-Flemish school, 16th century. It has flaws and restorations. Panel depicting the Virgin Mary in a tunic and mantle, her hair partially covered, in three-quarter view, with curtains in the background, breastfeeding the Child Jesus. The heads of both figures are highlighted with a thin halo, and in the foreground is a bench with a book, some cherries, and a vase of flowers (lilies and roses, possibly alluding to Mary's purity and virginity). This iconography originated in Byzantium (where it was known as Galactotrofusa) and enjoyed popularity in Europe until the decrees of the Council of Trent (Italy, 1545-1563), at which point it seems to have ceased appearing so frequently in some parts of the continent due to concerns about modesty. Engravings by Dürer and many other works with a composition similar to that of this panel have been preserved. Stylistically, the influence of the Flemish school and Spanish touches are clear, placing it within the Hispano-Flemish school. There is evidence of a number of panels in private collections linked to followers of Joos Van Cleve (also known as Joos van der Beke; c. 1485–1490 – 1540/1541; active in Antwerp) that are very similar in composition to this one, suggesting inspiration from one or more shared works. Compare, noting the differences, with van Cleve's panel of the Holy Family in the Metropolitan Museum of Art in New York (inventory 32.100.57), dated around 1512. It is also worth mentioning the one in the Museum of Fine Arts of A Coruña (Spain), dated to the 16th century.

· Size: 60x5x73 cms. int. 50x64 cms
ANTIQUES
PAINTINGS

Ref.: ZF1395
PORCELAIN SWEET MEAT DISHES.MEISSEN, LATE 19TH CENTURY.

Pair of figurine jam trays. Glazed porcelain. Meissen, late 19th century. With marks and inscriptions on the bases. Some damage. A pair of trays for confectionery (candied fruits, chocolates, etc.) made of glazed porcelain and decorated, both with a base featuring elements clearly reminiscent of the Rococo style and a reclining figure dressed in the European 18th century, seemingly holding the elongated trays. The trays are decorated with painted flowers on the inside and similar motifs in relief on the outside, as well as a gilded rim. Both the young man and the lady are depicted with somewhat disheveled clothing, revealing part of their chests. The Meissen marks (two crossed swords in blue) that appear on the bases of both figures are believed to be those used by the factory between 1815 and 1924. The lady's figure also has a number in red ink (24) and other inscriptions (2858, which would be the model; 21 and 73). The man's figure has what appears to be a 21 in ink, and other inscriptions (2863 would be the model; the other could be 72). Experts date both figures to the late 19th century.

· Size: 30x20x20 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF1463
PORCELAIN THREE TIER CAKESTAND. MEISSEN, GERMANY, POSSIBLY SECOND HALF...

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
METAL HORSE. 19TH CENTURY.

Horse. Patinated metal. 19th century. A walking horse figure with a bronze base and a patinated iron animal shows a strong influence from animal figures typical of the 19th-century French school, such as its careful composition and pursuit of naturalism. It is particularly reminiscent of models by Pierre-Jules Mene (Paris, 1810-1879), a French sculptor specializing in domestic animals whose work is held in important private collections and institutions such as the Louvre Museum. Weight: 11 kg.

· Size: 4013x30 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1461
BRONZE DEVOTIONAL PLAQUE, VIRGIN WITH SAINTS. 17TH-18TH CENTURIES.

Devotional plaque, Virgin of the Rosary and Saints. Bronze. 17th-18th centuries. Oval devotional plaque featuring a molded band and a handle at the top, decorated with a relief depicting Our Lady of the Rosary, seated with the Child on her lap, handing the Rosary to Saint Dominic of Guzmán kneeling at her feet, next to Saint Catherine of Siena. A similar one is preserved 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
IRON SAFE. POSSIBLY GERMANY, 18TH CENTURY.

Regimental strongbox. Iron. Possibly Germany, 18th century. It has faults. A rectangular safe with a flat lid containing the upper locking mechanism (which has a simple mechanism to cover the keyhole; this was usually concealed by a decorated cover not visible here), and handles on the sides. It also features two flat elements and two half-rings on the front, presumably used for padlocks. This would require three different keys to access the safe, protecting against theft and suggesting its use by an organization. Note also the carved decoration of the lid with simple geometric shapes and the yellow polychrome finish. In the center of the front, remnants of a heraldic shield can be seen. The most prominent feature of this heraldic shield is a double-headed eagle with a closed crown on top and a heraldic shield with various elements in the center of its body. This eagle was used by the Holy Roman Emperor between approximately 1433 and 1806, among others. It was also used by the Austrian Empire (whose coat of arms was created in 1815, after 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 focused on depicting flowers, with buildings visible in the background, executed with a loose technique and a clear predominance of color and brushwork over drawing, reminiscent of early 20th-century European avant-garde movements. An inscription on the back identifies the work, including the artist's name and the date ("copy of Josep Salas / "Geraniums" / 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 sculpture made of carved, polychromed, and gilded wood depicting a young male figure dressed in armor with a classical feel, which also features a jewel (or remnants of one) on the chest. The drapery, which shows traces of gilding, is draped in a slight movement. Iconographically, the absence of attributes makes clear identification impossible, although comparing the pose and the armor suggests it 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 exterior, has been transformed into a table lamp by adding the necessary elements to the top. The quality of the craftsmanship is reminiscent of works from Bohemia and other renowned glass factories.

· Size: 20x20x43 cms
DECORATIVE ANTIQUES
FURNITURE

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

Art Nouveau vase. Glass, metal. Portugal, Topazio Casquinha, circa 1900. No markings. A rectangular, transparent glass vessel decorated with a silver-plated metal element that displays Neoclassical influences (eagle at the top, scrolls, cornucopias, etc.) but also a lady in a dancing pose, exhibiting elements more characteristic of Art Nouveau. Despite the lack of markings, it has been compared to pieces by Topazio Casquinha, noting the resemblance.

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

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

Planter. Metal. 20th century. Oval metal planter featuring four claw-like legs, two lion heads on either side with rings in their mouths, and a band of openwork vegetal motifs with a distinctly Neoclassical influence across the upper part. It closely follows common designs in 19th-century Europe.

· Size: 45x22x19 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z2750

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