Results 1321 to 1344 of 1453

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SILVER “TEMBLADERA” (CUP). JUAN MONTERO, SALAMANCA, SPAIN, 18TH CENTUR...

Trembladera. Silver. Juan Ignacio Montero, Salamanca, 18th century. With contrast markings. Silver trembler in its natural color, smooth on the outside, decorated with two inverted "S" shaped handles adorned with external spikes. At the base of the piece are four hallmarks (flanking the hallmark line), which place the piece's creation in Salamanca (note the bull), with the involvement of Juan Ignacio Montero; two other hallmarks are also present, but they were not made. Juan Ignacio Montero was a silversmith and hallmarker, and the hallmark seen here appears to date from surviving works dated between 1759 and 1779, such as a reliquary altarpiece in the Parish Church of San Lorenzo in Segovia (by Manuel Cardeñosa, dated 1767). He is known to have served as a hallmarker in Salamanca between 1758 and 1781 and to have been active until 1779. He used a hallmark that included dates for the year, although sometimes the same mark was used in several years. Weight: 70 g.

· Size: 10x7x5 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6251
SPANISH WALNUT TABLE 17TH CENTURY

17th century lyre-leg table. Walnut wood, with wrought iron braces and a one-piece tabletop. A Baroque-style lyre-leg table, entirely crafted from walnut, with carved legs and a single-piece, rectangular, smooth-edged tabletop. The legs feature a mixtilinear cut, a dynamic interplay of recesses and projections that creates a striking effect, even with the absence of carving, reflecting the distinctive taste of Baroque Europe. The intricate lines combine simple curves, edges, and steps, resulting in forms that are both dynamic and regular, symmetrical, characteristic of Baroque classicism. The legs are attached to the tabletop with curved iron braces, typical of this style. Lyre-legged tables originated in Spain during the reign of Charles II, in the second half of the 17th century. The simplest versions feature a simple cutout on the side legs, while more elaborate models with peripheral centers are fully carved. The fact that the tabletop is left plain and undecorated stems from the practice of covering tables with rich fabrics that draped down, almost completely obscuring the table. Thus, in less affluent households, which could not afford such luxurious tablecloths, the decoration had to be focused on the legs, hence their carving. Inspired by tables from classical antiquity (made of marble and with crossbars), these tables have two detachable side supports for transport, which can be shaped like a lyre or a vase.

· Size: 192x102x84 cms.
ANTIQUES

Ref.: Z3070
OIL ON PANEL "STILL LIFE" SIGHT. ANTONIO GOMEZ GIMENO

GÓMEZ GIMENO, Antonio (Spain, late 19th century – early 20th century). "Still life". Oil on canvas. Signed in the lower left corner. Measurements: 38 x 45.5 cm; 47 x 55.5 cm (frame). A painter of landscapes, genre scenes, and still lifes, Antonio Gómez Gimeno developed a style clearly influenced by Impressionism, which he may have learned during a stay in France. His work is currently represented in several private collections.

· Size: 46x38 cms.
DECORATIVE ANTIQUES

Ref.: Z6191
VIRGIN WOMAN WITH CHILD, 17TH TO 18TH CENTURIES

Spanish school of the late 17th – early 18th century. “Virgin with Child”. Carved and polychrome wood. A devotional image carved in the round and polychromed, belonging to the late Spanish Baroque period. It is a monumental sculpture with large, monolithic figures, their volumes emphasized by the voluminous folds of Mary's robe. The Virgin stands holding the Child in her lap, in a naturalistic pose, full of movement. To balance the Child's weight, Mary leans back, while Jesus leans forward, thus balancing the composition. The Child raises his right hand in blessing, while his other hand rests on a sphere, a symbol of the universality of Christian doctrine and Christ's redemptive act. Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and the deepest feelings that resided within them. With the state economy broken, the nobility in decline, and the high clergy burdened with heavy taxes, it was the monasteries, parishes, and confraternities of clergy and laity that drove its development, with works sometimes financed through public subscription. Sculpture was thus compelled to embody the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded that art employ a realistic language so that the faithful could understand and identify with what was represented, and an expression imbued with intense emotional content to increase the fervor and devotion of the people. Religious subjects are therefore the preferred theme of Spanish sculpture of this period, which in the first decades of the century started with a priority interest in capturing nature, gradually intensifying throughout the century the expression of expressive values, which it achieves through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

· Size: 32x26x70 cms.
ANTIQUES

Ref.: Z2514
FOLDABLE MAHOGANY TABLE, 17TH CENTURY.

Mahogany dining table with straight folding leg, 17th century. The four legs, joined together by straight stretchers and fixed to the tabletop with stretchers, have no notable decorative elements, but they do feature a series of metal fittings that allow it to be folded for storage. Despite belonging to the Baroque period, it displays little movement or decoration, as befits a strictly functional piece of furniture.

· Size: 188x133x79 cms.
ANTIQUES

Ref.: Z6208
VERAWOOD AND MARQUETRY EDUARDIAN CREDENZA, BEGINING 20TH CENTURY.

Edwardian sideboard in rosewood and fruitwood marquetry, early 20th century. Four turned legs support the sideboard, which consists of a niche beneath two drawers flanking another space, and a top decorated with mirrors and architectural lines. The surface features a series of plant motifs, scrolls, and vases made of fruitwood marquetry, whose light tones contrast with and stand out against the dark tone of the sideboard. The Edwardian style takes its name from King Edward VII of England (early 20th century), and was characterized by achieving the modernization of medieval styles, elements taken from Georgian, etc.

· Size: 137x42x205 cms.
ANTIQUES

Ref.: Z6209
GILT BRONZE AND WHITE MARBLE CLOCK GARNITURE IN LOUIS XVI STYLE, 19TH ...

Gilded bronze and white marble garniture in the Louis XVI style, 19th century. Composed of two vases on pedestals and a clock. The vases are identical: a polygonal base rests on four circular legs, supporting a low, fluted column decorated with two strings of pearls at its base. Above this is a tall-stemmed vase adorned with two handles shaped like plant stems. The clock sits on four legs, a semicircular base with a floral frieze, four columns, and another semicircular plaque. Distinguished by two intertwined flowering branches, it has a white dial with Arabic numerals, Louis XVI-style hands, and is topped by a vase. The clock's pendulum, shaped like a sun, emerges between the columns and decorative chains. The French style known as Louis XVI is characterized by its inspiration from classicism and spans approximately from 1760 to 1789. In the 19th century, numerous artistic movements from the past were revived, among which the aforementioned style stood out due to its inspiration, very much in line with the Neoclassicism of the time.

· Size: Reloj: 19x9x40 cms. Copas: 19x15x21 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: Z6190
EMPIRE COMMODE. MAHOGANY, OAK, ORMOLU BRONZE, SAINT ANNE MARBLE. FRANC...

Empire style chest of drawers. Mahogany, oak, gilt bronze, Sainte Anne marble. France, 19th century. Rectangular chest of drawers with a Sainte Anne marble top, made of carved mahogany and oak, featuring three drawers at the front decorated with two rings emerging from the jaws of gilt bronze lion protomes and a lock shield with two crossed cornucopias; beneath the top is another hidden drawer with internal dividers; the front legs are carved in a claw shape, and the rear legs are rectangular. The marble known as Saint Anne is a dark gray marble with veins from Belgium and widely used for furniture tops, monuments, etc., although Louis XV and Victorian style fireplace fronts and other objects made from this stone are preserved. The high-quality gilt bronze mounts, the furniture's composition, and its decoration link the piece to the French Empire style, so named because it developed primarily during the First French Empire (although it began during Napoleon's military campaigns in Italy and Egypt). However, it is worth noting the lack of decorative elements for which French examples are known. Similar examples can be found in prominent European residences, primarily in France. In Spain, various palaces and institutions, such as the National Museum of Decorative Arts and the Museum of Romanticism in Madrid, preserve similar chests of drawers.

· Size: 128x60x95 cms.
ANTIQUES

Ref.: Z0546
MAHOGANY COMMODE EMPIRE STYLE WITH GILT BRONZE, CA 1880.

Empire style chest of drawers in mahogany and gilt bronze, circa 1880. A five-drawer chest with garland-shaped fittings, key locks, and decorated lock shields, resting on semi-spherical legs with a dark stone top. The front is flanked by two pilasters with female capitals beneath a vegetal motif and bases resembling women's feet. It is crafted from mahogany palm and the fittings are high-quality gilt bronze. Details such as the purity of the furniture's lines, its clear geometric form, the angles, the presence of caryatids on the front and the smooth back, the centralization of the relief in the gilded bronze appliqués, the use of mahogany, and the inspiration drawn from classical antiquity (Greek and Roman) place this chest of drawers within the Empire style. This style dominated all French arts at the beginning of the 19th century during the reign of Napoleon Bonaparte (1769-1821), and was one of the most important inspirations for the Second Empire style, which emerged under Napoleon III and enjoyed great success between approximately 1860 and 1880. The piece is notable for the high quality of its wood and the perfection of its bronzes, both in their reliefs and gilding. These French metal ornaments were highly regarded in cabinetmaking for their quality, a result of the strict control exerted by the central government over the guilds responsible for their production. This control was characterized by the specialization of the various workshops necessary for their creation and subsequent sale to individual master cabinetmakers or to other merchants who, on occasion, exported them. While it is true that this was not a custom-made piece of furniture, but rather one produced using a system somewhat closer to mass production, these were in all cases important works destined for the homes of prominent families, both because of the materials used and because they reflected the latest aesthetic trends of the time.

· Size: 110x58,5x90 cms.
ANTIQUES

Ref.: Z3393
WATERCOLOUR. LANDSCAPE BY CIRILO MARTINEZ NOVILLO

MARTÍNEZ NOVILLO, Cirilo (Madrid, 1921 - 2008). “Landscape”, 1972. Watercolor. Signed and dated in the lower right corner. Cirilo Martínez Novillo is one of the most prominent representatives of the so-called Madrid School, the city where he began his training at the School of Arts and Crafts. During the Spanish Civil War, he enrolled in the Higher School of Painting and attended the workshop of Daniel Vázquez Díaz, who became his mentor and supported him throughout his career. In 1946, he presented his work for the first time in a group exhibition at the Bucholz Gallery in Madrid. The following year, he held his first solo exhibition at the same gallery. In 1948, he held an exhibition in the print room of the Museum of Modern Art in Madrid. Critics began to take notice of his work, and he was selected to participate in the "Spanish Art" exhibition held in Buenos Aires and organized by the Ministry of Education. From this point on, he exhibited in various Spanish cities and in France, and participated in group exhibitions such as the Venice Biennale (1950) and the Salon de los Once (1951). Between 1952 and 1953, he traveled to Paris three times on various scholarships. His mature period began with another visit to Paris in the early 1960s, followed by trips to Switzerland, Germany, the Netherlands, and Belgium, where he won several medals at the National Fine Arts Exhibitions, as well as the Painting Prize at the Hispano-American Biennial in Cuba. Cirilo Martínez Novillo's work is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño, and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Argentaria, Caja España, and Telefónica collections, and the Valdepeñas Museum.

· Size: 24 x 30 cm; 55 x 61,5 cm (marco).
ANTIQUES

Ref.: Z3533
WATER PAINTING.\'LANDSCAPE WITH SHRINE\'. AGUSTÍN REDONDELA

REDONDELA, Agustín (Madrid, 1922). "Hermitage". Watercolor. Signed and titled in the lower area. A largely self-taught painter, Agustín González Alonso trained alongside his father, the painter and set designer José González “Redondela.” After the Spanish Civil War, he attended classes at the School of Arts and Crafts in Madrid with the landscape painter José Ordoñez, and in 1945 he submitted his first painting to the National Fine Arts Exhibition, signed with the pseudonym Redondela. That same year, he held his first solo exhibition at the Estilo Gallery in Madrid. It was during this period that he came into contact with the Madrid School, and in 1947 he was selected to exhibit in the Salon of Eleven at the Breve e Crítica de Arte (Brief and Critical Academy of Art) of Eugenio d'Ors. In the 1950s, Redondela received a grant from the Catherwood Foundation in Philadelphia (1954), the National Painting Prize (1953), and a first-place medal at the National Exhibition (1957). In 1996, the Royal Academy of Fine Arts of San Fernando awarded him the José González de la Peña Prize, and two years later the Cultural Center of the City of Madrid dedicated a major retrospective exhibition to him. His work is currently represented in the Museum of Fine Arts of A Coruña, the Museum of Contemporary Spanish Landscape in Priego de Córdoba, the Bilbao Fine Arts Museum, the Camón Aznar Museum in Zaragoza, the museums of Buenos Aires, Caracas, and Havana, and the Oswaldo Guayasamín House-Museum in Quito, among other public and private collections.

· Size: 16 x 23 cm; 44 x 52 cm con marco
ANTIQUES

Ref.: Z3942
WATER PAINTING. LANDSCAPE BY AGUSTIN REDONDELA

Agustín Redondela (Madrid, October 29, 1922) A painter who was practically self-taught and considered one of the most original Spanish landscape painters of the 20th century.

· Size: 24x16 cms.
ANTIQUES

Ref.: Z3943
CENTERPIECE. CERAMIC. POSSIBLY LUNÉVILLE (FRANCE), 19TH CENTURY. WITH ...

Centerpiece. Glazed ceramic. Possibly Lunéville (France), 19th century. With markings on the base. A centerpiece with a circular base and oval body, decorated inside with small bouquets of flowers and outside with an elaborate composition of architectural and plant elements enhanced with touches of color and gold, its movement and curves reminiscent of 18th-century Rococo works. The “Luneville Faience” factory has been one of the leading French ceramic manufacturers since its founding in Lunéville (Lorraine, France) in 1730.

· Size: 36x36x18 cms
DECORATIVE ANTIQUES

Ref.: Z5039
CAPODIMONTE PORCELAIN. \'CHILDREN WITH FRUIT BASKETS\'

"

· Size: 40x30 cms.
DECORATIVE ANTIQUES

Ref.: Z6033
Framed lithograph. Clown with wasp

· Size: 52x2,5x65 cms. INT 37x50 cms.
DECORATIVE ANTIQUES

Ref.: Z5820-28
FOLDING TABLE. WALNUT WOOD AND WALNUT ROOT. 19TH CENTURY.

Extendable book table. Walnut and walnut burl. 19th century. This extendable dining table, known as a "book table" due to its folding mechanism, reaches three meters in length. It features turned, baluster-shaped legs topped with metal casters for easy movement. The table is crafted from a combination of walnut and walnut burl, showcasing the striking grain of these woods. Some details of the piece are reminiscent of Victorian examples from Northern Europe.

· Size: 121x65x76 cms.
ANTIQUES

Ref.: Z5858
SMALL CHEST WITH PARTIAL POLYCHROMY, “TEJADILLO” (ROOF) TYPE, 16TH CEN...

Small roofed casket with remains of polychromy, 16th century. A rectangular casket with a roof-shaped lid, which gives its name to this type, very common in Gothic architecture. The lock shield and bolt are antique, although not from the 16th century like the rest of the piece. It is worth noting that it retains some of its original polychromy: green on the exterior and red on the interior.

· Size: 255.5x18x22 cms.
ANTIQUES

Ref.: Z3394
CERAMIC INKWELL. 18TH CENTURY

Talavera inkwell, 18th century. Glazed ceramic. Talavera ceramic inkwell, decorated with cobalt blue glaze on a white tin slip With restorations

· Size: 16x16x7 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: Z5695
DESK WITH ONE DRAWER

Louis XV style wooden desk with a rectangular tabletop featuring an elegant checkered pattern, a drawer, and cabriole legs with gilt bronze accents.

· Size: 75x45x75cm.
DECORATION

Ref.: D176
CHEST OF 2 DRAWERS WITH INLAID DECORATION AND MARBLE

Louis XV style two-drawer chest, with pink marble top and body made of wood with marquetry decoration with floral motifs.

· Size: 64x40x70cm.
DECORATION

Ref.: E493
EMPIRE STYLE SIDE TABLE. BRONZE, WOOD. 20TH CENTURY.

Empire style side table. Bronze, wood. 20th century. Empire-style side table with a circular top featuring projecting legs that terminate in a slightly cabriole shape and have a pierced central panel. It is adorned with gilt bronze appliqués of classical inspiration in the form of laurel wreaths, vegetal and architectural elements, and marquetry decoration on the top.

· Size: 49x49x85 cms
DECORATION

Ref.: D168
CIRCULAR TABLE WITH INLAID DECORATION

Table made of wood with marquetry decoration with floral motifs, cabriole legs with gold metal appliqués.

· Size: 63x63x74 cms.
DECORATION

Ref.: E529
ONE DRAWER TABLE WITH RHOMBUS-SHAPED DECORATION

Side table made of wood with marquetry decoration with geometric motifs, it has a front drawer.

· Size: 42,5x39x75,5cm.
DECORATION

Ref.: E498
SQUARED TABLE WITH INSTRUMENT INLAID DECORATION

Square wooden side table in Louis XV style, with marquetry decoration of musical motifs, has a front drawer and cabriole legs finished with gilt appliqués.

· Size: 43x40x75 cms.
DECORATION

Ref.: E496

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