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WALNUT DINING TABLE. CONTEMPORARY.

Contemporary dining table following English models. Dining table with a rectangular board made from a single piece of carved walnut wood, inspired by old examples of English origin in its simple and elegant lines. The six legs are joined in pairs at the bottom by a series of slats in the form of frames to stabilise the piece.

· Size: 400x92x80 cms.
DECORATIVE ANTIQUES
FURNITURE

Ref.: ZF0151
PAIR OF POLYCHROMED WOODEN SCULPTURES. “SAINTS APOSTLES JOHN AND PAUL”...

Pair of polychrome wooden sculptures. “Saint John and Saint Paul”. Castilian school, 16th century. Both male figures are depicted standing, with their principal iconographic attributes and dressed in the timeless robes that the period reserved for sacred individuals. The younger man holds a chalice in his hand, from which a serpent emerges, and an eagle at his feet; the bearded man presents a sword, the hilt of which is visible. The first is Saint John, with the eagle of the Tetramorph alluding to his Gospel, and the chalice related to the episode in Jacobus de Voragine's Golden Legend in which Emperor Domitian tried to kill him with poisoned wine, which escaped in the form of a serpent after the evangelist blessed the cup. The second is Saint Paul, with that characteristic appearance that links him to much earlier early Christian works and with the sword of his martyrdom, which also refers to a passage in his Letter to the Ephesians. Stylistically, both devotional sculptures in the round show a marked Italian Renaissance influence in drapery, contrapposto, proportions, and gestures, distancing the works from the other trend of the period, which leaned more towards Flemish models, favoring greater drama. The Gothic style has been left behind, as demonstrated by the naturalness of faces, folds, anatomy, and gestures, after much effort. It was first necessary to accustom the clientele to the new tastes and for artists to learn the technical and aesthetic innovations that the arrival of the Renaissance brought, and it developed at different times and to very different levels depending on the region or the artist. Compare the works, for example, with the Saint John from the circle of Juan Rodríguez in the Simón Díaz Foundation (a work on loan to the Museum of the Fairs in Medina del Campo, Valladolid).

· Size: 26x26x76 cms.
ANTIQUES
SCULPTURE

Ref.: Z3642
CROWN OR PIECE OF ALTAR. EMBOSSED SILVER, MIRRORS, WOOD. LLORENTE, JOS...

Altar top. Embossed silver in its colour, wood, mirrors. LLORENTE, José (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century. With contrast marks. Altar top made of embossed silver in its colour on a wooden core with seven oval-shaped mirrors and profiles cut in curves and counter-curves. The upper part has a canopy imitating textiles from which hang a series of small bells and shelters a dove with outstretched wings, situated in front of a ventral figure and a cloud with winged angel heads. Approximately the upper three quarters of the work show a decoration in light relief with sun rays, scrolls, rocailles, oval mirrors, circular tears resembling rain, flowers, leaves, a bunch of ears of wheat next to a vine with a bunch of grapes, etc. combined with five mirrors and following a symmetrical arrangement; the remaining part does not have reliefs but does have two mirrors. This type of liturgical goldsmith's work was relatively common in churches, cathedrals, etc. with significant purchasing power and influence, although not many of those made have survived because they are valuable materials that can be melted down and looted at certain times. Let us mention, highlighting the differences, the silver Altar of the Cathedral of Seville (16th-17th centuries, several silversmiths), the set of the main chapel of the Cathedral of Santiago de Compostela (17th century), the Manifestador-Tabernacle of the Cathedral of Valencia from the 18th century, the silver altarpiece of the Diocesan Museum of Huesca (work of José Estrada and Juan and Jerónimo Carbonell y Gros made between the 17th and 19th centuries, which was placed in front of the Main Altarpiece of the Cathedral, and has a canopy and pendant bells), a display for the Blessed Sacrament made of gilded silver and in its colour dated in the 18th century and which is found in the Museum of the Cathedral of Segovia, etc. The presence of the Holy Spirit (a dove) and the bunch of wheat ears and the vine with the bunch of grapes would link the piece with the Eucharist, and it is possible that it is a fragment of an altar (permanent or not) of a monstrance. Stylistically, it is clear that the work belongs to a Rococo that was already somewhat advanced. The hallmarks present in various parts of the silver place the creation of the finial in Vitoria (Spain), also providing an approximate date (around the 18th century's 60s) and the names of two master silversmiths: Juan Antonio Sotil or de Sotil (possibly the hallmark) and José Llorente. Juan Sotil was a silversmith based in Vitoria who also worked as a hallmark for the city (the City Council appointed him appraiser of diamonds and precious stones in 1751, and hallmark for the city in 1769, a position he held until 1779, when he resigned and Mauricio Llorente was appointed). Works with his hallmark are preserved in prominent institutions such as the Museum of Sacred Art in Vitoria (Reliquary of Santa Lucía from the hermitage of Santa Lucía in Vitoria, 18th century). José Llorente was another silversmith from Logroño. He passed his master's exam in Burgos, and is documented between 1760 and 1799. Works with his punch are preserved in the Church of Santiago de Logroño (portaviático), the Old Cathedral of Vitoria (four candlesticks), etc.

· Size: 52x26x122 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE153
PAIR OF CANDELABRA. ROUGE GRIOTTE, GILT BRONZE. FRANCE, POSSIBLY NAPOL...

Pair of candelabras. Rouge Griotte marble, gilded bronze. France, possibly Napoleon III, 19th century. Pair of seven-light candelabras made of marble and mercury-gilded bronze. The base, raised on four legs, has plant borders around a central element on its fronts, and gives way to a garland base of Roman influence. Next, the base of the “vase” that forms the body of the candelabra has been decorated with plant elements, also present on the body in the form of garlands, joining these two ram heads; note the extraordinary length of the marble neck, which serves as an axis for the arms of the lights, worked in the form of plant scrolls ending in vase-shaped burners. It is also worth noting that the marble part is not made in one piece. Although there is no record of the signature, certain details denote the high quality of this pair of candlesticks. First, the stone pieces are hand-carved Rouge Griotte. Also known as Rouge du Roi, it is a Belgian marble highly appreciated in decorative arts of French influence or origin. Second, the detail of the neck, elongated and drawing a flared mouth at the end, is not at all common in French candlesticks when we talk about marble. Third, the quality of the gilding is clear, surely mercury gilded (ormolu). Stylistically, influences of French decorative arts of the 18th century can be appreciated (ram protomes, garlands, etc.), but reinterpreted in the style of the 19th century (adding details of Rococo, neoclassical, etc. influence). Weight: 39 kg.

· Size: 35x35x90 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE434
ALLEGORY OR VENUS WITH CUPIDS. OIL ON CANVAS. 18TH CENTURY

Allegory or Venus with Cupids. Oil on canvas. Surroundings of BOUCHER, François (Paris, 1703-1770). The scene features an idyllic natural landscape in the background, with trees to the left and an open horizon to the right, revealing orange clouds alluding to a sunset over rocky mountains. In the foreground, a young woman reclins, dressed in a white tunic, red skirt, and blue cloak, with a red ribbon in her gathered hair. To her left are two cupids or cherubs, one holding a garland of flowers and the other seemingly grasping the young woman's cloak. Iconographically, it could be Venus, although the goddess is more commonly depicted semi-nude or fully nude, so it's also possible that it's an allegory (given the crown of flowers, perhaps representing Spring). Or, being a Rococo painting, it could allude allegorically to a more abstract concept (virtue in the purity of love, etc.). The oil painting belongs to the circle of François Boucher, a French painter considered one of the most important figures of the galant style within the Rococo movement. He was highly regarded for his idyllic paintings, the voluptuousness of his technique, his mythological, allegorical, and pastoral works, and for several portraits of Madame de Pompadour. He sought a highly detailed finish in his works, employing a somewhat distinctive palette. After a rather eventful apprenticeship, he won the Prix de Rome in 1723 (which he was unable to enjoy due to lack of funds until four years later). Upon his return, he joined the Royal Academy of Painting and Sculpture, eventually becoming its rector, and also directed the Royal Gobelins Tapestry Factory, being appointed First Painter to the King in 1765. In addition to paintings, usually small-format, he also produced book illustrations, designed costumes and theatrical sets, tapestries, porcelain, and more. His work is preserved in institutions such as the Alte Pinakothek in Munich, the Louvre Museum in Paris, the Thyssen-Bornemisza Museum in Madrid, the Metropolitan Museum of New York, etc.

· Size: 87x4x123 cms / int. 67x103 cms.
ANTIQUES
PAINTINGS

Ref.: ZF1127
FOUR IRON COLUMNS. 17TH CENTURY.

Four columns. Iron. 17th century Four iron supports with a polygonal shaft, balustrade shape and upper part with two sections on the sides of the central one ending in volutes and a horizontal part in the same material as the rest. This type of architectural element was very common in Spain even well into the 20th century in certain areas. Total weight: 620 kg

· Size: 76x21x249 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1271A
WROUGHT IRON GRILLE GATE. 16TH CENTURY.

Gate. Wrought iron, 16th century. Partial gate with squared bars and moulded splits, without a base and bolt on the right, with a plaque topped by simplified plant elements, topped by a frieze of canvases decorated on the front with plant scrolls alternating with heraldic shields with fleurs-de-lis and with an upper crest composed of two flowering pineapples at the outer ends and schematic scrolls with flowers, two of which flank a fleur-de-lis Latin cross with diamonds above which is a wavy saltire with flowery finials. Typologically, this is a partial architectural grille or gate with both ornamental and defensive purposes. It also clearly displays some of the striking decorative and typological variety common in Florid Gothic ironwork of the 15th century, but it also reflects developments common in the 16th century. A first stage of evolution, towards the Renaissance, is introduced, sometimes extending into the first third of this century, and is characterized, among other things, by the variety of barring, with frequent combinations of square and square shapes in a single section; by the structure of three panels of very similar width and number of bars and a central door with a lintel; by decorative elements related to the Renaissance, the use of embossing, etc., characteristics that can be appreciated in the present example. The absence of interbody bands, common in grilles of this period, only indicates that it was made to protect a small chapel. The presence of fleurs-de-lis indicates the spread throughout the peninsula of Catalan models, which, coming directly from France, often featured this decorative element. The relationship between this grille and certain Gothic heritages is clear, especially when compared with fully Renaissance examples such as the one in the National Archaeological Museum from 1575 (inventory 57551). Normally, 16th-century grilles are found, if they have been preserved at all, in the chapel for which they were made, in prominent private collections, or in important museums. Compare this work with the grille at the head of the Church of San Julián de Nagore (Navarre) or that of the Chapel of the Most Holy in the Cathedral of Santa María la Real in Pamplona.

· Size: hojas 69 x 268 Copete 390 x 110 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z0664
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
LATIN CROSS SHAPED PECTORAL CLOCK. SILVER.17TH CENTURY.

Cross-shaped pectoral clock. Silver, 17th century. It has undergone restorations. Portable watch in the shape of a cross with an openwork exterior showing figurative Christian scenes and the movement inside, a gold-banded dial with Roman numerals for the hours, a single hand and an engraved decoration around it, also with a religious theme; on the back, you can see the back of the movement, with a delicate, also openwork decoration based on plant motifs reminiscent of classicism, and a band on the case of the piece with simplified plant elements. On the outside, we find on one side the crucified Christ, flanked by the Virgin Mary and Saint John, and the figures surrounded by a delicate composition based on vegetal scrolls, with an angel's head at the foot of the piece. The other side shows the Resurrection of Jesus, with Christ emerging from the empty tomb and the soldiers on either side, again with scrolls and above another angel's head. On the edges there are vegetal and floral elements, accompanied by figures placed within plaques. On the inside, and flanking the clock face, we are shown the Original Sin below and the Expulsion from Paradise, with Adam on one arm of the cross that forms the clock, Eve on the other and the angel on top, brandishing the flaming sword (thus following, in part, the biblical text). There are several known antique portable clocks which have been given a shape other than the usual one for such objects. Thus, although the best known is the skull-shaped clock in the Metropolitan Museum (movement from c. 1650 by Isaac Penard, case from c. 1810-1820), and bearing in mind that they were not at all the usual type, there are several examples in the shape of a Latin cross. Let us recall, for example, some of those preserved in the Ashmolean Museum in Oxford: one attributed to Cornelius Stimmer (active c. 1660) has Christ Crucified on the front, flanked by the four Evangelists; another by Barthélemy Cheuillard (active 1636-1677) dated c. 1650 has an uncut metal case and engraved decoration on the interior; Other examples, such as one dated c. 1660 or another by Didier Lalemand (active 1675-1686) dated c. 1660 or 1630, follow the usual pattern for such extraordinary examples, which is to have the outer case made of rock crystal. This is also the case with the clock by Charles Bobinet, probably painted by Werner Hassel and dated to the mid-17th century, which is kept in the Metropolitan Museum, and with the one in the British Museum in London by Jean Rouseeau the Younger, which is dated between 1640 and 1650 and was made in Switzerland.

· Size: 7x5,5x2,5 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1032
PIETRA DURA RECTANGULAR TABLETOP. MARBLE AND HARDSTONES.

Rectangular table top. Marble and hard stones. Presents restoration. Rectangular board made with a technique inspired by Ancient Rome, very similar to marquetry, which uses marble and other hard stones instead of wood, often highlighting them on a black background. A decorated shield resembling a dome has been placed in the centre, and is flanked on the longer sides by two osier-shaped fruit bowls, and on the smaller ones by two bunches of flowers (carnations...) and fruit (cherries). A border frames these motifs, composed of bands that curve in scrolls and heraldic shields under lyres in the corners, and enlivened by parrots perched on them. The inspiration for this work is clearly found in the best examples of the 17th and 18th centuries. The board features a restoration

· Size: 120x240 cms.
DECORATION
HARDS STONES

Ref.: AM-167 1...
LANDSCAPE, PEÑAFIEL. OIL ON CANVAS. JOSÉ MARÍA “CASTILVIEJO” (ZAMORA, ...

“Rural scene, Peñafiel”. Oil on canvas. José María “Castilviejo” (Zamora, 1925-Valladolid, 2004). José María García Fernández, better known as José María Castilviejo, was a Spanish painter who worked in various techniques (oil, watercolor, engraving, drawing) and a wide range of subjects (best known for his portraits, still lifes, and landscapes). Critics noted his remarkable ability to blend the traditional with the contemporary, reflecting a profound connection to the community. Awarded prizes such as the Castilla y León Prize for the Arts (2002), his work is held in private collections and institutions such as the Robinson and Rothschild Collections, the Museum of Modern Art in New York, and the Labor University of Zamora, among others.

· Size: 290x185 cms.
ANTIQUES
PAINTINGS

Ref.: Z5633
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
PAINTINGS

Ref.: ZE383
CHILD JESUS. WOOD. SPANISH SCHOOL, 17TH CENTURY.

“Child Jesus”. Carved and polychromed wood. Spanish school, 17th century. Back base. Christ is depicted nude, with a slight contrapposto in the legs and hips that lends a sense of movement to the sculpture, and with delicate flesh tones. He gazes straight ahead, raising one arm in a gesture of blessing, and holds a golden orb alluding to Creation in the other hand. His curly, blond hair features a small tuft at the crown of his head. The sculpture is enhanced by a modern base, inspired by Spanish Baroque models, composed of dynamic lines and decorated with architectural elements of classical influence, most notably the pairs of volutes projecting from the front. While the tuft of hair is reminiscent of the works of Martínez Montañés, in this example the hair is clearly curly. Compare this work with pieces such as those preserved in the Museum of Fine Arts of Córdoba, one in the Municipal Museum of La Roda, some from the Royal Monastery of Las Descalzas Reales in Madrid, etc. These types of works were made to be worn, and their intended use was usually in a female religious setting (it was considered that female devotion should not be directed towards certain works or iconography of the Passion because they were deemed too intense), or in a private oratory of an important residence.

· Size: 41x32x87 cms
ANTIQUES
SCULPTURE

Ref.: Z6564
”VIRGIN WITH CHILD ON THE THRONE”. BOXWOOD, BRONZE AND ROCK CRYSTAL. 1...

Virgin and Child Enthroned. Boxwood, bronze, and carved rock crystal. 19th century. On a carpeted base rests a second bronze base, the same metal from which the throne is made. This throne stands on four low columns with smooth shafts and capitals decorated with volutes and simplified plant forms, decorative elements that are repeated at the waist, combined with oval blue beads. The square backrest, openwork with highly stylized scrolls, is topped with four carved rock crystal pearls. Seated on the throne is the Virgin Mary, wearing a crown that echoes the decorative elements of the throne, dressed in a tunic and mantle, and holding a book. The Christ Child, on her lap, also gazes forward, blessing with his right hand. The iconography, as is typical, derives from Byzantine models: among the types of Theotokos, the Panakranta or Panacranta depicts Mary seated on a throne, with the Child on her lap, both facing the viewer, reflecting the decrees of the Fourth Ecumenical Council of Chalcedon (451 AD). These images arrived in Europe during the Romanesque period, shaping Western iconography. This work can be compared to the 13th-century Italo-Byzantine icon in the National Gallery of Art in Washington, D.C. (United States), or the carving of the "Virgin of the Battles" from the Monastery of San Pedro de Arlanza, made around 1225-1235 and now in the Museum of Burgos, or the mid-17th-century Romanesque image in the Museum of Fine Arts in Buenos Aires (Argentina), although there are many other examples. However, details such as the decoration of the capitals, the anatomy of the two figures, the scrolls of the throne and crown, the folds of the drapery, a certain air of life in the faces despite their stylization, the symmetry present in various parts of the work, etc., indicate that the carving belongs to a more recent period. Specifically, it belongs to the style known as Neo-Gothic: this style was inspired by works from the 13th to the 15th-16th centuries and opposed the preceding Neoclassical style; it originated in England around the mid-18th century and spread throughout continental Europe in the 19th century.

· Size: 10x10x24 cms
ANTIQUES
SCULPTURE

Ref.: Z6707
PAIR OF LANDSCAPES, XALAPA, MEXICO. SPANISH SCHOOL, CIRCA 1840.

Landscapes, Xalapa, Mexico. Pair of oil paintings on canvas. Spanish School, circa 1840. Provenance: Conde de la Cortina collection, Jalapa, Mexico. A pair of landscapes belonging to the Spanish school of the first half of the 19th century, clearly influenced by Romanticism. Both demonstrate a knowledge of the Dutch Classical landscape, a major influence on Spanish Romantic landscape painting. Thus, we see V-shaped compositions, closed at the sides and open in the center, very low horizons that allow for a broad development of the sky, spaces constructed in depth through successive planes subtly differentiated by light and color, and small figures perfectly integrated into the natural setting. Furthermore, the skies are theatrical and dramatic, with low clouds behind which the golden light characteristic of Classical landscape painting filters. One of the most radical aspects of Romantic painting was the attempt to replace large canvases with historical or religious themes with landscapes. They aimed for the pure landscape, almost devoid of figures or entirely lacking them, to achieve the heroic significance of history painting. This was based on the idea that human feeling and nature should be complementary, one reflecting the other. In other words, the landscape should evoke emotion and convey ideas. Thus, landscape painters like the artist of these canvases sought to express their feelings through the landscape, rather than imitating it. Romantic landscape painting had two main branches: the dramatic, with turbulent and fantastical vistas, and the naturalistic, which emphasized images of a peaceful and serene nature. This second conception is what we see embodied in these works; the painter seeks to communicate a religious reverence for the landscape, for nature in its fullness. In fact, the artist's very use of light here conveys a hazy, murky, dreamlike atmosphere that invites the viewer to meditate and contemplate themselves within the landscape. Romantic landscape painting, however, comprises a wide variety of manifestations, not all of which are comparable; it does not affect all national schools equally, remaining more faithful to tradition in schools such as the French and Dutch. Thus, in this canvas, we do not find the grandiose stage sets of the British and Germans, the craggy mountains, or the monumental Gothic ruins. On the contrary, it is a flat, very horizontal landscape, despite the vertical elements that close off the sides in the foreground, endowed with a gentle dynamism determined by the hills and the shifting skies. The most typical elements of Romantic landscape painting, such as harsh weather or Gothic ruins, are absent, although the clear separation between the foreground and background is present, enhancing the theatrical character derived from the dramatic lighting. Likewise, the typical, highly pronounced Romantic perspective, with its abyssal effect, is employed, complemented by a slight blurring of viewpoints. Thus, the grandiose perspectives of 18th-century veduta are applied here to a sober landscape, which softens the scenographic construction of the landscape, so typically Romantic. Despite these local differences, despite this Romanticism contained in the form, we nevertheless find a distinctly poetic content, which goes beyond the simple representation of nature to depict it as a reflection of the author's melancholic, dark, and profoundly solitary feelings.

· Size: 66 x 80 cm; 74 x 87,5 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6227C
”RESSURRECTION”. POLYCHROMED WOOD. SPANISH SCHOOL, 16TH CENTURY.

Resurrection of Christ. Carved and polychrome wood. Spanish school, 16th century. On one side of the piece there is a relief with the theme of the Resurrection of Christ: Jesus, dressed in the golden shroud, appears in the middle of a beam of light and clouds, standing over the tomb and raising one arm while holding with the other hand a staff topped with a cross and a flag waving in the wind; on the lower part there are four soldiers, in different postures and attitudes. The other side shows a chalice with a Holy Host (in which a Crucified Christ appears flanked by the Virgin and Saint John in grisaille), raised by two angels; all the elements are placed on a golden background, in a space surrounded by clouds; on one side there is a piece of wood on which, originally, there would have been a bolt, and on the other there are remains of two hinges. It is this element that makes one think that the relief was surely a door of a Tabernacle. The piece follows a decoration that is common in Renaissance and Baroque tabernacles. Compare, for example, with the 17th century altarpiece of the main altar of the church of the Monastery of Santa Isabel in Madrid, or with others preserved in private collections. The scene of the Resurrection recalls in details such as the variety of postures of the soldiers, the anatomy of Christ, the movement of the shroud around his body, etc. outstanding pieces such as the 16th century relief in Renaissance style in the Museum of the Monastery of the Cistercian Abbey of Cañas in La Rioja. Although they are parts of an altar with varied themes, the emphasis is always on Salvation, since they are intended to contain the Holy Host.

· Size: 32x5x52 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0280
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

Gate with pass-through. Wrought iron. Spain, 17th century. Rectangular iron railing with a half-height railing, a frame and supports to keep it upright. The vertical bars have opposing balustrade shapes and a series of discs and small smooth mouldings, all arranged symmetrically around this horizontal railing. On the sides, two square bars have a series of smooth mouldings and architectural decoration with a strong classical influence. Compare, for example, with the works preserved in the Victoria and Albert Museum in London, or the confessional in the Metropolitan Museum in New York dated 1629 (inv 57.137.51) and with another from the same museum, the work of Francisco González (inv 56-234.12 Ad).

· Size: 194x61x294 cms
ANTIQUES
FURNITURE

Ref.: ZF1308
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 early stages 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
BRONZE AND GLASS CHANDELIER.

Ceiling lamp in bronze and glass. It has three levels of lights: the upper one, with the bulbs hidden in white glass ovals decorated with leaves and blades; the lower one, with the lights connected in pairs and placed in arms with plant motifs; and another, interior, hidden in the bronze body and covered by glass ovals decorated with stars, leaving the lower part open. Throughout the body of the lamp there are plant and architectural elements, scallops and spiral and smooth rods. Antique bronze finish inspired by French models from the early 20th century.

· Size: Altura 185 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E518
OIL ON CANVAS MARRIAGE THETIS AND PELEUS

Madrid School of the 17th Century. Circle of CORTE, Juan de la (Antwerp, c. 1585 – Madrid, 1662). “The Wedding of Thetis and Peleus”. Oil on canvas. This work describes the wedding of the nereid Thetis and Prince Peleus, parents of Achilles. It was celebrated on Mount Pelion, and all the deities attended, although Eris, the goddess of discord, was not invited. In revenge, she threw a golden apple inscribed "for the fairest," which caused the dispute between Athena, Aphrodite, and Hera that led to the Judgment of Paris, ultimately sparking the Trojan War. The banquet is depicted in a meticulously crafted composition, set within a richly decorated classical interior illuminated by the light of Apollo, who stands at the far end of the table. At the head of the table, in the foreground, appears Zeus, accompanied by the eagle, with Hera, queen of the gods, to his left. In the lower right corner, a group of satyrs serve wine, accompanied by ornate metal vessels rendered with meticulous and descriptive brushwork. The remaining gods are clearly differentiated, with Athena in the foreground on the right, and, following a dynamic, typically Baroque zigzag pattern, Aphrodite with Eros, Hermes, and the bride and groom on the left, and Poseidon on the right. Formally, this work is perfectly situated within the 17th-century Madrid school, which flourished around the court. Thus, we see a sumptuous, allegorical, classicist Baroque style, where studies of light and color take on special significance, revealing the exalted and luminous tone characteristic of this school's maturity. Specifically, we can relate this painting to the circle of Juan de la Corte, a painter of Flemish origin. Nothing is known today of his early training, as Palomino's claim of his birth in Spain has been refuted by documentary evidence, with his will stating that he was born in Antwerp. Documents also survive in which the painter declares his apprenticeship in Flanders, where he "practiced his craft for many years." For all these reasons, he has been associated with Flemish artists of the period who, through personal acquaintance or the study of their works, powerfully influenced the development of his personal style. We know of his presence in Spain at least from 1613. His work at court encouraged him to apply for the position of royal painter, which Bartolomé González left vacant upon his death in 1627, an objective he did not achieve. There is no documentary evidence, therefore, to support Palomino's claim that he was the king's painter. However, he enjoyed moderate success in the capital, and his works appear in numerous inventories of noble families from that period. He also received royal commissions, such as the cycle of biblical stories he painted for the Buen Retiro Palace. His work, according to his own account, focused on "architecture, battles, and landscapes," genres in which he was highly regarded by his contemporaries. One of the most interesting characteristics of his style is his frequent treatment of mythological themes, which, rendered on canvas in various cycles, offer us a uniquely majestic panorama of a subject matter quite uncommon in the painting of Spain at that time. Another outstanding aspect of his work was the proliferation of architectural perspectives clearly linked to Nordic theorists, among whom Vredeman de Vries stands out. His painting style remained rooted in earlier traditions, demonstrating a certain modesty and archaism, but the unique nature of the subjects he addressed makes him worthy of being remembered. Juan de la Corte is represented in the Prado Museum, the Maritime Museum of Barcelona, the Cerralbo Museum, and the Municipal Museum of Madrid, among others.

· Size: 97 x 122 cm; 116 x 143 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6297
CHANDELIER WITH 32 LIGHTS, BRONZE WITH PATINA.

Chandelier with 32 lights, bronze with an aged finish. The shaft that attaches it to the ceiling is decorated with architectural motifs and a central shape resembling a fabric pavilion, situated atop an Ionic capital from which garlands hang. The thirty-two lights are grouped in threes in eight longer, Y-shaped arms and eight shorter, single-light arms, all decorated with scrolls and vegetal elements. The central, vase-shaped core also features vegetal and architectural motifs inspired by classical antiquity.

· Size: 120x120x130 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E517
DINING ROOM WALNUT TABLE WITH SOLOMONIC LEGS

Walnut wood dining table with Solomon's leg, 20th century. Dining table with a two-piece headboard on legs with Solomonic turning and a chambranle attached to it with curved wrought iron braces, following Baroque models

· Size: 219x96x82,5 cms.
ANTIQUES
FURNITURE

Ref.: Z5591
SPANISH WOODEN TABLE WITH LYRE LEGS AND IRON FASTENERS, 18TH CENTURY.

Spanish table with lyre-shaped legs and iron braces, 18th century. The two lyre-shaped legs supporting the piece feature undulating lines at the bottom and shapes on the sides reminiscent of French cabriolet guitars. They are joined by an iron brace and support a single-piece tabletop with carved edges. This type of leg, called lyre-shaped because of its resemblance to the musical instrument, was widely used in the Renaissance, and its use continued later due to the movement that its curved profiles brought to the furniture.

· Size: 73x103x220 cms.
ANTIQUES
FURNITURE

Ref.: Z6146
ESCUTCHEON. ALABASTER. SPAIN, 17TH CENTURY

Heraldic shield. Carved alabaster. Spain, 17th century. Quartered shield with seven Moorish heads facing the centre, adorned on the border and a bird on the crest. The first quarter is checkered or chequered with chains in orders of three and five; the second quarter is quartered with towers and chevrons with a pendant; the third quarter is a saltire bordered with seven saltires of Saint Andrew; the fourth quarter is with three horizontal bands. It is crowned by a feathered knight's helmet facing left, and is flanked by a composition of grotesques with busts, volutes and architectural elements on the hats of the human figures; below, another bust flanked by vegetal and architectural elements. The composition corresponds to models common in the 17th century, maintaining a marked classicism. Compare, for example, with the one in the Casa de Begoña de Agurain, one in the Barrio del Cantero in Barcenillas (Cantabria), etc.

· Size: 103x110 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0793

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