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BRONZE BRAZIER. POSSIBLY SPANISH SCHOOL, 16TH CENTURY.

Frame for a hand brazier. Bronze. Possibly Spanish School, 16th century. A polygonal bronze frame for a brazier or table, raised on legs and featuring a decoration of human figures at the top, as a finial, and a series of openwork scenes on the front between Doric or Tuscan columns (human figures surrounded by plant and grotesque elements; two panels with handles), clearly influenced by Classicism. Weight: 1.1 kg.

· Size: 19x19x12 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1422
PLAN, FONDAZIONE QUERINI STAMPALIA. FRAMED DRAWING. SCARPA, CARLO. 197...

Plan, Fondazione Querini Stampalia. Framed drawing. SCARPA, Carlo (1906-1978), 1978. Signed and dated (bottom left), name in the center. Plan of Carlo Scarpa's intervention at the Fondazione Querini Stampalia, a cultural institution in Venice, Italy, founded in 1869 by Count Guiovanni Querini, the last descendant of the Querini Stampalia family. Carlo Scarpa designed the interior, exterior, and elements of the garden and ground-floor spaces of the historic building (Palazzo Querini Stampalia).

· Size: 47x4x65,5 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135448
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IRON CANDLE HOLDER. SPANISH SCHOOL, CIRCA 1900.

Axeman. Iron. Spanish school, circa 1900. A wrought iron axe-shaped piece with three legs forming lobed lines ending in shells or scallops, a molded axle with discs, and a top section cut out with highly simplified plant motifs. Aesthetically, the work is inspired by the historicist style common in the Spanish school between the second half of the 19th and the beginning of the 20th centuries. Weight: 2.6 kg.

· Size: 33,5x33,5x58 cms
DECORATIVE ANTIQUES
WROUGHT IRON;MISCELLANEUS

Ref.: ZF1423
CERAMIC SPICES BOWL. SPANISH SCHOOL, 19TH CENTURY.

Spice jar rack. Ceramics. Spanish School, 19th century. It has defects. Table spice rack made of glazed ceramic in its own color with touches of other tones around the handles, formed by joining a series of small jugs. This type of piece is very common in European rustic schools.

· Size: 16x16x15 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: ZF1421
MANOLETE. FRAMED ENGRAVING. ANDRÉS MARTÍNEZ DE LEÓN. 1945.

Manolete. Framed print. 1945. Signed and dated on the image. Signed lower right. Titled lower right. Andrés Martínez de León (Coria del Río, April 5, 1895 - Madrid, May 25, 1978) was a Spanish painter and illustrator who trained at the School of Arts and Crafts in Seville, working as a ceramic illustrator in Triana and creating illustrations for the press since 1915. A great bullfighting fan, this work is a sample of his work.

· Size: 63,5x0.1x48,5 cms.
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF1427
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CARLOS ANTONIO DE BORBÓN. FRAMED ENGRAVING. JUAN ANTONIO SALVADOR CARM...

Carlos Antonio de Borbón. Framed engraving. SALVADOR CARMONA, Juan Antonio. Spain, 1781. Engraving showing an equestrian portrait of Carlos Antonio de Borbón, Prince of Asturias, made in burin by Juan Antonio Salvador Carmona (Nava del Rey, 1740-Madrid, 1805?) from a drawing by Manuel Muñoz de Ugena y Matarranz (Madrid 1747-1805), after an ivory sculpture by Celedonio Nicolás Arce y Cacho (Burgos, 1739-Madrid, 1795) in 1781. A copy is kept in the Museum of History of Madrid (Spain).

· Size: 47,5x2x48 cms.
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: Z0394
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GRAND DAUPHIN. FRAMED ENGRAVING. NICOLAS BAZIN. FRANCE, 1682.

Grand Dauphin, Louis of France, son of Louis XIV. Framed engraving. BAZIN, Nicolas (after Jean-Baptiste Martin l'Ancien). France, 1682. It has faults. An engraving depicting Louis of France, son of Louis XIV and known as the Grand Dauphin, made by Nicolas Bazin (1633-1710) after a painting by Jean-Baptiste Martin (Paris, 1659-1735). Other copies are held in the National Library of France and in the collections of Versailles, France, for example.

· Size: 47,5x2x58 cms.
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: Z0255
LOUIS XV STYLE INKWELL. BRONZE, STONE. POSSIBLY FRENCH SCHOOL, 19TH CE...

Louis XV style writing desk. Gilt bronze, stone. Possibly French school, 19th century. Gilt bronze writing desk with a metal plate at the bottom and, at the top, a decoration based on plant and architectural elements, with a certain classicist influence, but with a composition and combination of movement somewhat reminiscent of Rococo. Raised on scroll-shaped legs, it features two inkwells with hinged lids and a central area revealing a veined stone slab (possibly marble) in the shape of a heart, surrounded by plant and architectural elements. There is evidence of the existence of another very similar example in a French private collection, something common in this type of work due to the high specialization of the bronze workshops in France, who created a series of identical or very similar works that, in turn, they sold to dealers or other workshops for use in clocks, fittings, etc. adding elements of porcelain, marble, wood... Weight: 4.3 kg.

· Size: 30x18x13 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1419
HOLY FACE. OIL ON CANVAS. SPANISH SCHOOL, 16TH CENTURY.

Holy Face. Oil on canvas. Spanish School, 16th century. A canvas depicting a face on a light background with no other elements. Iconographically, this is what is commonly called a Holy Face or the Face of Christ or the Holy Face, linked to both the Passion and the Veronica, or the Mandylion of Edessa. Compare this example with the Holy Face of the Monastery of the Holy Face in Alicante or, much more similar, with the Holy Face of the Cathedral of Jaén, both in Spain.

· Size: 31x3,5x37x5 cms. int: 22,5x29,5 cms.
ANTIQUES
PAINTINGS

Ref.: ZF136831
HEALING THE PARALYTIC. OIL ON WOOD. CASTILLIAN SCHOOL, SPAIN, 16TH CEN...

Healing of the Paralytic. Oil on panel. Castilian School, 16th century. Partially rebuilt. A religious scene set in a prestigious interior, made of two-tone stone, depicting a series of male figures interacting with each other. Ten of them are standing, with golden halos engraved with architectural motifs (one of them carries a palm tree, another a walking stick); one rests a bare foot on a footstool, which also appears to hold the head or upper part of another figure, who appears lying down, looking up, with a bandaged foot. It is important to note the restorations on the panel, in which a series of elements have been drawn, continuing what was preserved where possible. Iconographically, this is an unclear issue: given the presence of a crutch in the hand, the bandaged foot of the recumbent figure is logical and, if Christ is the central character, we could be looking at a healing (perhaps that of the paralytic in Capernaum which took place in a house, or the healings in the temple of God mentioned by Matthew [21:14-15]...), although the presence of the palm suggests a burial (according to some apocryphal gospels, church fathers... an angel appeared to Mary three days before she died/ascended to give her a palm from Paradise which she was to give to the Apostles to take to her body) or a saint who has been martyred. Stylistically, the Flemish influences presented in the panel are clear (faces, fabrics, etc.), along with details more characteristic of Spanish Gothic painting (golden halos, architecture, etc.), which may place the work within the Hispano-Flemish movement. The oculus with two-tone red and white voussoirs was common in Spanish architecture, and this element in the panel can be compared with that of the Church of Santa María la Mayor de Abiesgo in Huesca (without colors), the Mudejar Church of the Virgin of Tobed in Zaragoza (with oculi with latticework in these colors), or the Church of San Pedro de Palencia (with an oculus with similar lines on the interior). Pink and green tiles (although not arranged as in this work) are found in The Virgin of the Catholic Monarchs, preserved in the Prado Museum, dated between 1491 and 1493 and linked to a Castilian Hispano-Flemish painter. The National Art Museum of Catalonia houses a Virgin of the Milk with a donor linked to León and dated to the second half of the 15th century. In it, Jesus wears a halo similar to those on this panel. Some see a strong influence of Pedro Berruguete (Paredes de Nava, Palencia c. 1450 - Madrid? 1503) in this panel; compare it with the Birth of the Virgin in the Altarpiece of the Church of San Martín de Becerril de Campos (circa 1495, Diocesan Museum of Palencia), the Lamentation over the Dead Christ (Palencia Cathedral, circa 1490), etc.

· Size: 99x4x128 cms
ANTIQUES
PAINTINGS

Ref.: ZF1396
COMMODE. CARVED WOOD. 16TH CENTURY

Chest of drawers. Carved wood. 16th century. Restorations. Chest of drawers with a carved wooden front in its own color, featuring two drawers with metal handles and locking escutcheons above two doors with handles and locks similar to the previous ones, and a carved top. The figurative elements (busts of men and female figures) appear within plain tondos, with simple geometric elements overlooking the rectangular areas in which they are located. The sides have simpler carvings based on plain moldings, and the lower part features wave-like work. These types of figurative busts are very common in the European Renaissance (compare, for example, the Plateresque carvings by Calderón, created in 1524 in the choir stalls of Sigüenza Cathedral, with 16th-century Portuguese desks, the sides of the Azay-le-Rideau chest or trunk in the Louvre Museum in Paris, etc.), with the elements surrounding these busts typically varying within tondos. The shape of the piece of furniture is also striking, being unusual in the Spanish school of the period.

· Size: 150x60,5x161 cms.
ANTIQUES
FURNITURE

Ref.: ZF1317
WOODEN NICHE. POSSIBLY SPANISH SCHOOL, 18TH CENTURY.

Niche. Carved and polychrome wood. Possibly Spanish school, 18th century. A table niche made of carved, polychrome, and gilded wood. It features a front door with a key lock and gilt wood elements in this area, as well as a finial at the top and two side doors with a view into the interior. Plant elements appear in the corners of these openings. Stylistically, slight Rococo influences can be seen alongside a strong Baroque tradition.

· Size: 55,5x38x74 cms, int: 42x30x65 cms.
ANTIQUES
FURNITURE

Ref.: ZF1363
WROUGHT IRON FIRE PIECES. SPANISH SCHOOL, 19TH-20TH CENTURIES.

Eight sideboards. Wrought iron. Spanish School, 19th-20th centuries. Eight wrought iron sideboards, two of which have engraved decoration on the piece, five have an openwork decorative element reminiscent of plants or architecture inspired by older models and one has a signature and date (Zoilo Porras . . 1926) perhaps alluding to the place and time when the piece was made.

· Size: 17x17x9 cms.
DECORATIVE ANTIQUES
WROUGHT IRON;MISCELLANEUS

Ref.: Z4888
IRON PIECES FOR TABLE. 20TH CENTURY.

Pair of bails. Iron. 20th century, based on antique models. Pair of iron table stays of the Castilian style, with a slightly curved shape, balustraded profile and decorative discs, following common models in 17th-century Spanish cabinetmaking.

· Size: Long. 93 cms.
DECORATIVE ANTIQUES
WROUGHT IRON;MISCELLANEUS

Ref.: Z4885
LACQUER TRAY. JAPAN, POSSIBLY 19TH CENTURY.

Lacquered tray. Japan, possibly 19th century. Dark red lacquered oval tray with a raised rim and decorative elements in various shades, most notably gold, forming flowers, stems, and butterflies. It is very similar to pieces made in Japan during the late Edo period or the Meiji era, but also to more or less contemporary Chinese works.

· Size: 46x75 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z5443
FRAMED DRAWING. JULIO VIDAURRE. 1974.

Framed drawing, “Colegio Base”. VIDAURRE JOFRE, Julio (Madrid, 1926-2004). 1974. Titled, dated and signed (bottom right). Framed black and white drawing showing a building in a distinctly modern style. Julio Vidaurre Jofre was a Spanish architect who received numerous awards throughout his career (National Architecture Prize in 1971, etc.) and executed numerous projects for educational centers in cities such as Madrid, Vitoria, Alicante, Guadalajara, etc. He also restored the Cistercian monastery of Villaverde de Sandoval in León, and the Romanesque tower of the Santo Sepulcro de Toro in Zamora.

· Size: 51x2x54 cms. int. 40,5x41,5 cms.
DECORATIVE ANTIQUES
PAINTINGS

Ref.: ZF136830
IMMACULATE CONCEPTION. OIL ON CANVAS. SPANISH SCHOOL, 17TH CENTURY.

Immaculate Conception. Oil on canvas. Spanish School, 17th century. It shows damage. Oil on canvas featuring a background with a Breaking of Glory in light tones and clouds and a figure in the center, situated on a crescent moon and three angel heads, dressed in a white tunic and blue cloak. The image of the Virgin Mary in this work corresponds to one of the most common models of the Immaculate Conception in Spanish Baroque art. This devotion features an iconography whose development began in 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, becoming simpler over time until reaching examples such as this one.

· Size: 124x5x179 cms.
DECORATIVE ANTIQUES
PAINTINGS

Ref.: ZF1046
TABLE CLOCK. BRONZE, STONE. 1990S, AFTER AUGUST MOREAU.

Table clock. Bronze. 1990s, modeled after August Moreau. In working order. Table clock with a raised base and gilt-bronze legs following 19th-century models and a white dial with Roman numerals for the hours. It is topped with a bronze child figure modeled after Auguste Moureau (1834-1917), a French sculptor especially known for his delicate and naturalistic works, part of the Art Nouveau movement, a style of which he was a leading exponent. He made busts, figures, and small sculptures, and his designs were later adopted by many other bronze sculptors due to the artist's success and the quality of his pieces. Weight: 22 kg.

· Size: 35X22,5X64 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1410
ENGLISH CABINET. MAHOGANY PALM…

English display case. Mahogany palm, lemongrass... An English school display case made of mahogany and lemongrass wood with a textile-covered interior and a mid-height shelf. Three fronts feature clear glass.

· Size: 71x40x156 cms.
DECORATIVE ANTIQUES
FURNITURE

Ref.: ZF0900
LANDSCAPE, FOREST. OIL ON BOARD. 20TH CENTURY.

Landscape; Forest. Oil on panel. 20th century. A sketch or study of a wooded landscape presented horizontally, highlighting the straight lines created by the trees and with a striking brushstroke, a predominance of color over drawing, etc. The work displays characteristics typical of works influenced by the contributions of certain avant-garde artistic movements that emerged in Europe from the late 19th century onwards. Weight: 2.25 kg.

· Size: 45x6x55 cms. int: 25x35 cms.
DECORATIVE ANTIQUES
PAINTINGS

Ref.: Z4170
”SAINT DOMINIC DE GUZMÁN AND SAINT FRANCIS OF ASSISI”. POLYCHROMED TER...

“Meeting of Saint Dominic and Saint Francis.” Polychrome terracotta sculpture. Colonial School, 17th century. A polychrome terracotta figure with gold details depicting two male figures on a simple pedestal. The one on the left is shown wearing a Franciscan habit (with a small red mark on his right hand) and fraternally embraces, on equal terms, the one on the right, wearing a dark cloak (decorated with fine gold lines creating a net) over a white habit decorated with abundant flowers and gold elements, and a star in light relief on his forehead. These are Saint Francis of Assisi, holding the stigmata, and Saint Dominic de Guzmán, both wearing their respective habits. It narrates, with a remarkable economy of elements (which demonstrates the quality of the work), the so-called "Fraternal Encounter of Saint Dominic and Saint Francis," also known as "The Embrace of Peace" or, more colloquially and in some circles, "The Bump." According to tradition, Saint Dominic had a vision in which Mary implored Jesus on behalf of mankind, identifying them both as servants of God. The following day, Saint Dominic met Saint Francis in the church of Rome, recognizing him as his companion and embracing and kissing him. The present piece still shows Baroque influence, but some details already show a certain neoclassical influence, while maintaining the distinctive features of its school. Compare, for example, with the "Embrace" from the Monastery of Santo Tomás de Ávila by Luis Salvador Carmona, dated to the 18th century. It is also worth highlighting the quality of the modeling and polychromy of the piece, with a remarkable state of preservation considering its age and the delicacy of the material used.

· Size: 14x16x26 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1398
VALDELATEJA. OIL ON CANVAS. SANTA MARÍA, MARCELIANO. 1925.

View of Valdelateja. Oil on canvas. SANTA MARÍA SEDANO, Marceliano (Burgos, 1866-Madrid, 1952). 1925. Titled, signed and dated (bottom right). Bibliography: La Esfera Magazine (Madrid.1914), issue number 589 of 4/18/1925, page 28 (color illustration). Marceliano Santa María demonstrated his artistic ability as a child, beginning his training in this field at the Provincial Academy of Drawing in Burgos. He moved to Madrid in 1885, where he continued his studies at the Círculo de Bellas Artes, the San Fernando School of Fine Arts, and the studio of Manuel Domínguez Sánchez. He furthered his studies thanks to a grant from the Burgos Provincial Council, which allowed him to spend time in Rome between 1891 and 1895. He returned to Spain that year, settling in Burgos, painting and teaching, until he was appointed director of the School of Arts and Crafts in Madrid in 1934. During the Civil War, he had to reduce his output due to his health, but continued his work after the war ended. His work was recognized with several awards (the sole medal at the 1933 Chicago World's Fair, the Medal of Honor at the 1934 National Exhibition of Fine Arts in Spain, the Grand Cross of Alfonso X the Wise, etc.) and is held in important private collections as well as in institutions such as his own museum in Burgos (the Monastery of San Juan), the Museum of the Royal Academy of Fine Arts of San Fernando in Madrid, the Museum of Modern Art in Barcelona, etc. Although he was highly appreciated for his portraits, he is also known for his Castilian landscapes. This painting shows a landscape of Valdelateja, a town in the province of Burgos located in the Páramos region, and was published in the magazine La Esfera in issue 589, under the title “Castilian Landscapes” and with the title “A Corner of Valdelateja (Burgos)”.

· Size: 87,5x6x108 cms. int: 70x90 cms
ANTIQUES
PAINTINGS

Ref.: ZF1404
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
SAINT ANTHONY. ENGRAVING. ALBERT DURER. LATER PIECE, POSSIBLY 19TH CEN...

Saint Anthony Reading at a City Gate. Engraving. Dürer, Albert (Nuremberg, 1471-1528). Later print, possibly 19th century. Signed and dated on plate. Engraving depicting the holy hermit with his usual attributes (staff with cross, bell, hooded habit, etc.) seated, absorbed in his reading, with an imaginary city in the background. Towards the bottom of the print, both Dürer's anagram and the date of the first edition of this engraving (1519) can be seen. This same print was produced primarily during the 18th and 19th centuries, including some editions as early as the 20th century.

· Size: 22x0,1x17 cms. Int 14x9,5 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF136827

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