Results 121 to 144 of 1490

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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 faults and restorations. Panel depicting the Virgin wearing a tunic and cloak, her hair partially covered, three-quarter length, with curtains in the background, breastfeeding the Child Jesus. Their heads are highlighted with a fine halo, and in the foreground is a small platform 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 Council of Trent (Italy, 1545-1563), when it appears to have ceased to appear as frequently in some parts of the continent due to issues of modesty. Engravings by Dürer and many other works with a composition similar to this panel have survived. Stylistically, the influence of the Flemish school and Spanish touches on his painting is clear, placing it within the Hispano-Flemish school. There is evidence of a series 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 the present one, which would indicate inspiration from one or more shared works. Compare, noting the differences, with van Cleve's panel of the Holy Family held by the Metropolitan Museum in New York (inventory 32.100.57), which dates back to around 1512. It is also worth remembering the one held in the Museum of Fine Arts in A Coruña (Spain), which dates from the 16th century.

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

Ref.: ZF1395
PAIR OF MARBLE SPHYNX.

Pair of sphinxes in travertine marble. Although this mythological winged animal with a lion's body and a female head is found in ancient Egyptian art, the idealization, proportions and lines of the sculptures relate them much more to neoclassical examples of 19th century Europe, especially since Napoleon's campaigns on the banks of the Nile River.

· Size: 120x51x85 cms.
DECORATION
MARBLE SCULPTURES

Ref.: M0087
CARRIAGE, “JARDINERA” TYPE.

Garden-type carriage. An open, four-wheeled carriage with leaf springs and a raised driver's seat, whose baluster body allows for several people to be carried on each side. This type of vehicle was generally used in the countryside, although nowadays it is more frequently seen at fairs and important events.

· Size: 234x156x173 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z5023
LOUIS XVI STYLE TABLE WITH EIGHT LEGS.

Louis XVI style table with eight legs. Made of carved and gilded wood, the table rests on eight pilastered legs decorated with vegetal motifs and set on a base; these are joined in the center by curved stretchers adorned with vegetal elements. The waistline features, on each side, a central motif consisting of a circle with a flower and vegetal motifs at its base that extend outwards and visually continue along the entire side, which is decorated with architectural elements. The Louis XVI style, on which this table is based, is also known in France as "Style à la grecque" due to its inspiration from classical elements.

· Size: 222.5x132x79 cms., Para tapa 210x120 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E325
PAIR OF BRONZE LIGHT STANDS WITH LADIES

Figure made of bronze, representing a woman holding a large thirteen-armed candelabrum. The base is formed by a pedestal decorated with a floral garland resting on lion's claws.

· Size: 60x60x252 cms.
DECORATION
BRONZE SCULPTURES

Ref.: V7001A
GILT WOODEN NICHE, ROCOCO, 18TH CENTURY.

Niche in carved and gilded wood, Rococo, 18th century. A niche formed by a back decorated with a moulding and a support for a sculpture decorated with a mask and plant motifs and topped by a split pediment with a central motif worked on its lower part resembling a cloth. Engraved cornucopias and leaves appear throughout the back. The work would have been part of an altarpiece or could have been created as it has been preserved for a private chapel.

· Size: 216x74x40 cms.
ANTIQUES
FURNITURE

Ref.: Z3413A
WALNUT BOARD 465x5x92 cms.

· Size: 465x5x92 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z5634C
WALNUT BOARD 478x8x102 cms.

· Size: 478x8x102 cms. ancho minimo 87 cms
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z5634E
FRIEZE. POLYCHROMED PINE WOOD. 16TH CENTURY.

Frieze with reliefs. Carved and polychrome pine wood. 16th century. Rectangular frieze of carved, gilded and polychrome pine wood decorated with figurative reliefs. An architectural piece with a garland serves as the axis for the symmetrical composition, formed by horses turning their heads and biting a cloth and two wingless children or putti pulling on this cloth, which ends in fruit, thus joining the ends with the centre of the piece. In both the iconographic theme and the anatomy, composition and colours, the influence of the Italian Renaissance can be seen, with variations that may be due to the fact that it was a Spanish creation. Compare, for example, with the engraving by Johann Theodor de Bry in the Metropolitan Museum of New York dated between 1580 and 1600, or works by Paolo Farinati; and with Spanish creations such as the carvings from the Ducal Palace of Pastrana (second half of the 16th century), works by Alonso de Covarrubias, the Renaissance doorway of the Church of the Assumption of Beteta (Cuenca), etc.

· Size: 96x9x20 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0565
MARQUETRY AND BRONZE SHOWCASE. FRENCH SCHOOL, 19TH CENTURY.

Louis XVI style display case. Wood, gilt bronze, etc. French School, 19th century. A wooden display case decorated with marquetry plaques with figurative motifs in the lower area and gilt bronze appliqués. It has three glass fronts that reveal the interior. It is upholstered in red textile and has two glass shelves. These marquetry scenes depict figures in landscapes, reminiscent of oriental works. The bronze appliqués and the "bombé" shape of the lower area demonstrate Rococo influences. The Louis XVI style is considered, in France, a movement within Neoclassicism and spans from around 1760 to around 1789 (although works inspired by it would be created in the 19th century). It was succeeded by the Directoire style. It is characterized by its influences from Ancient Rome and Enlightenment thought. In the French school, the style that presents Rococo influences is known as Louis XV, and it also inspires works in the 19th century, which receive the same name.

· Size: 43x63x172 cms.
ANTIQUES
FURNITURE

Ref.: ZF0656
WINEPRESS. WOOD, METAL. SPAIN, CIRCA 1800..

Wine press. Wood, metal. Spain, circa 1800. Press for extracting grape juice made of wood with two screws on the sides to manually move the flat part of the press located on top, which also has a piece to fit into a container to put the fruit. Also note the crossbars and legs for transporting it. This type of agricultural machinery was very common in the past, although it is still in small numbers because it was replaced by technological advances that occurred, especially after the Industrial Revolution. They were used both in monasteries and in other centres where grapes were pressed for the production of wine and other drinks.

· Size: 180x270x305 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0757
PAIR OF BOHEMIAN CRANBERRY RUBY RED GLASS ENAMELED AND GOLD URNS. 19TH...

Pair of vases. Glass. Bohemia, Czech Republic, 19th century. Pair of red glass vases decorated with areas of white enamel and spaces in gold, highlighting the two female busts (practically portraits on an undefined background) that both pieces present on their fronts. The two raised handles finished in a circle have a fine decoration of simplified plant elements; the glass shows decoration of the same type, but of a different influence (more classicist); the busts have been enhanced by two frames in gold and dark lines clearly reminiscent of classicism; the white areas (with plant shapes) have gold lines. Both pieces show remarkable similarities in the quality of the colour of the glass and the decoration as well as in the lines of the pieces, with notable red Bohemian glass urns, especially with works linked to Ludwig Moser & Söhne. Moser is a company that manufactures luxury glass objects located in Karlovy Vary (Czech Republic; formerly Karlsbad in Bohemia) that continues its work today (it was founded in 1857 by Ludwig Moser), and is highly appreciated in the art world for its works from the late 19th and 20th centuries. Although Bohemia was a region known for its glass production as early as the 13th century (especially when they discovered that adding potassium created a clearer and more stable colourless glass than Italian glass), this activity became popular in the 17th century (although the term “Bohemian” or similar had been used for a hundred years before to distinguish quality glass from this origin), and it stood out especially in the 19th and 20th centuries thanks to important manufacturers for the quality of their materials and techniques and the care taken in their designs. By the mid-19th century they already had a system for teaching glassmaking, and in the second half they exported very striking pieces in large quantities (usually pairs of glasses or vases in a single colour in opaque glass or in two colours, decorated with enamelled floral elements, painted details; sometimes lithographic techniques were used to copy famous paintings and capture them in works; etc.) created in large factories and in large quantities.

· Size: 15x13x41 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZE222
WALNUT WOOD AND IRONWORK CHEST, XVII CENTURY.

Chest in walnut wood and wrought iron fittings, 17th century. Rectangular chest with base and lid featuring moldings, metal fittings, and corner pieces in wrought iron on a red fabric background, all made from stylized and simplified plant and architectural elements. Key lock on the front. Single-piece boards in excellent condition. The characteristic prototype of these pieces is followed in the Spanish examples for chests, which would have a civil or religious use, being used to store clothes, tableware, etc.

· Size: 75x190x80 cms.
ANTIQUES
FURNITURE

Ref.: Z6357
PAIR OF VASES ON PEDESTALS, POLYCHROMED MARBLE.

Pair of glasses on marble pedestals in their colour and polychrome. The pedestal, with a square section, has been decorated with garlands on its fronts. The vase, which features the same motif as well as scallops, has a series of leaves, flowers and fruits inside, spit out in different marbles to provide greater realism. This type of work, inspired by classical art, was widely used in the decoration of ancient gardens since the Renaissance.

· Size: 38x36 x150 base 28x28x50 cms copa
DECORATION
MARBLE SCULPTURES

Ref.: M0118
THREE LOCKS CHEST. WOOD, WROUGHT IRON, LEATHER. CA 1600.

Three-lock chest. Wood, leather, wrought iron. Circa 1600. Rectangular chest with a flat lid made of carved wood and covered on the outside with leather and wrought iron fittings (three bolts, corners, two handles, decorations, hinges). Inside, it has a red fabric covering both on the body of the chest and on the lid (an area in which there is embroidery based on geometric elements arranged in a symmetrical composition, including missing details). The type of piece (rectangular box with a flat lid) is one of the most common in Spanish chests and coffers, with examples of this shape being found as early as the early Middle Ages. As for the use of textiles, it was common in Spain as early as the 15th century to make chests lined on the outside and inside, usually in red (the most expensive dyes were red and blue), both to enhance the piece and to protect the contents. Covering the wood with leather on the outside was also common, again to enhance and protect the chest. As for the fittings, the lobed spear-shaped forged iron pieces are reminiscent of examples from the late Gothic period, already influenced by the Renaissance, with some more advanced forms. The three locks have openwork shields decorated with waves and simplified plant elements, and the presence of all three in the same chest refers to a type known as “town hall” or “council” (as there were three keys, it was necessary for the three authorities who had one to come together and agree to access the contents, adding an element of security). It is not very common for this type of piece to be preserved in good condition, and similar examples can be found in some important private collections and in institutions such as the Museum of the Cathedral of Valencia, the City Hall of Los Palacios y Villafranca, the Military History Museum of Seville, etc.

· Size: 125x48x57 cms.
ANTIQUES
FURNITURE

Ref.: Z2316
COMMODE (TAQUILLÓN). WALNUT, WROUGHT IRON. SPAIN, 17TH CENTURY.

Sideboard. Walnut wood, wrought iron. Spain, 17th century. A low rectangular cabinet made of oak with wrought iron elements, raised slightly on four legs. It features a slightly projecting, straight top and fronts decorated with carvings. Inside, beneath two drawers, are two doors, all lockable by key (the lock shields are decorated with simple lines only on the doors). Opening the doors reveals a space divided in two by a shelf decorated with a series of cut lines along its lower edge. At the top, beneath the tabletop, are carved corbels with volutes, tongues, and simple architectural elements; along the sides of the front, fluting recalls architectural motifs. The exterior of the doors and drawers, as well as the sides of the piece, are decorated with panels of varying sizes and shapes (crosses, squares, rectangles), following a tradition deeply rooted in Spanish furniture. This allows for comparisons with works such as the 17th-century alcaje (upper section with lattice doors) made of walnut, pine, and iron, now in the National Museum of Decorative Arts in Madrid, or the 17th-century alcaje with turned balusters in the Cervantes House Museum in Valladolid, for example.

· Size: 113x52x86 cms.
ANTIQUES
FURNITURE

Ref.: Z5279
GOTHIC CHEST. PINEWOOD, METAL. 16TH CENTURY.

Gothic chest. Carved pine wood, iron. 16th century. Rectangular chest with a flat lid made of carved wood and decorated on the outside with a series of divisions into rectangular spaces using smooth mouldings. On the front, these spaces have been decorated with a relief of the type known as “napkin” or “folded cloth” or “parchment”. The rectangular and simple legs still retain some carved detail. In the centre of the front there is a metal lock shield (probably wrought iron) to secure the contents. The relief of folded cloths was common in Gothic furniture, originating in Flanders in the 15th century and commonly used in Spain until well into the 16th century, although there are examples from the 17th century that retain this decorative element. As for the wood, although walnut is common in Spanish furniture, it is not unusual to find examples carved in pine wood. Gothic chests can now be found in several prominent museums: the National Archaeological Museum in Madrid has four Gothic chests from the 15th century (with Gothic architectural decoration and other carved elements); the Lázaro Galdiano Museum has an Italian example from the 15th century with skylights and arches reminiscent of Muslim diamond-shaped panels (Inventory 2141); the Museum of Navarra has a wedding chest made of wood and embossed and polychrome leather from the last third of the 15th century (inventory CE000115); etc. The National Museum of Decorative Arts has an oak sideboard (CE01616) decorated with carved panels “of folds” or “of scrolls”, dated around 1500, and a chest with similar decoration dated between 1476 and 1525 (CE19287).

· Size: 189x62x90 cms
ANTIQUES
FURNITURE

Ref.: ZE148
LEATHERED CHEST. WOOD, TEXTILE, WROUGHT IRON. SPAIN, CA 1500.

Rectangular chest with a semicircular lid made of carved wood and covered with worked leather that has been reinforced with a series of wrought iron fittings, a material that is also used to make the handle on the lid and a latch on the front with a lock shield decorated with simplified plant elements on the top. The interior has the fabric upholstery that was common in these pieces and that, as a general rule, has not been preserved in good condition, as in this piece. These types of chests were used both to store and transport precious objects, hence the lock, always seeking quality in materials and decoration that would demonstrate the economic power of its owner, as well as maintaining its usefulness. The shape is one of the most common for chests in Spanish Gothic, maintaining the way the fittings and a series of decorative elements are arranged in this style. The barred and rehearsed chests and small chests had very varied shapes and sizes, being so common in Spain during the 15th and 16th centuries that numerous examples are preserved today. Compare, for example, those in the Lope de Vega House Museum (Madrid), one dating from the beginning of the 16th century and with 19th century touches (CE00170) and another with a decoration (inventory CE00004), or the 15th century chest in the Museum of Decorative Arts in Madrid, for example, as well as several examples from private collections.

· Size: 17x10x11 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0339
WOODEN BED WITH GILT BRONZE.

Bed with bronze accents At the foot of the bed are a series of bronze appliqués featuring vegetal scrolls, garlands, and egg-and-dart moldings. The headboard is topped with a basket of flowers flanked by two putti. The four posts are crowned with vases of flowers. All these elements are classically inspired and contrast with the dynamic lines of the footboard and headboard. This combination is characteristic of 19th-century furniture and, due to its popularity, remained in use afterward.

· Size: 212x225x215 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E458
PAIR OF ANGELS. POLYCHROMED WOOD. SPANISH SCHOOL, 17TH CENTURY.

Pair of torch-bearing angels. Carved and polychrome wood. Spanish school, 17th century. They present faults. Pair of human-shaped carvings made of polychrome wood showing two angels each raising one arm and standing on clouds with winged heads, following models that were common since the Renaissance. Known as lamp-bearing angels or thurifers, they were carvings that were usually placed on important altars to hold lamps or incense burners, being identified with angels or archangels. Compare, for example, the lamp-bearing angels of the Hermitage of La Soledad in Cantillana (Seville, Spain) made between 1780 and 1799 to see, more or less, the function of these sculptures. But it must be remembered that, stylistically, they belong to the Spanish Baroque school (material, movement, etc.).

· Size: 32x16x71 cms.
ANTIQUES
SCULPTURE

Ref.: ZE130
NEOGOTHICH CUPBOARD. OAK. 19TH CENTURY.

Neo-Gothic wardrobe. Carved oak wood. 19th century. A tall piece of furniture made of carved oak with a dark finish, consisting of a hollow lower body decorated with “napkin” or “parchment” plaques, bands of linear motifs and thin columns, and an upper body with two doors (which give access to shelves with two spaces); between them there are two drawers with fronts carved with plant motifs. Raised on legs decorated with plaques on the front, the doors have a symmetrical composition of stems with grapes (around Gothic-type letters) in a setting of smooth mouldings, decorated ironwork and human figures on pedestals; the sides of this area have “parchment” decoration. The piece is finished off with a prominent smooth moulding. Typologically, the present piece follows a form that recalls certain Renaissance works (especially buffets) with variations that were already common in pieces from the 19th century. As for the decoration, focused on the front, the influence of Spanish Gothic works is clear both in the subject matter and in the composition: sculptures on pedestals and the clothing of the figures, the compositions of the drawers, the presence of those panels with “napkin” carvings, the panels with the stems and grapes, the letters, the thin columns, etc. Likewise, it is possible to appreciate a certain air from Neoclassicism, a common style in the 19th century. At this time, it was common to draw inspiration from styles of the past to create outstanding furniture, such as the present one. Although Neo-Gothic was more frequently used for ecclesiastical works, it was not absent from important residences and other institutions, as it was one of the favourite styles at the time. It is possible to find examples that recall this cabinet in museums such as the Romanticism Museum in Madrid, the National Museum of Decorative Arts in the same city, etc.

· Size: 50x132x170 cms.
ANTIQUES
FURNITURE

Ref.: Z4866
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
FURNITURE

Ref.: Z6208
”TWO CHARACTERS”. OIL ON CANVAS. SIGNED. MARTÍNEZ NOVILLO, CIRILO (MAD...

“Two figures”. Oil on canvas. Signed (lower right corner). MARTÍNEZ NOVILLO, Cirilo (Vallecas, Madrid, 1921 – Madrid, 2008). Cirilo Martínez Novillo was a painter from Madrid who began his training in the capital (School of Arts and Crafts, the Libertarian Athenaeum of the People of Vallecas during the Civil War, and the Higher School of Painting, Sculpture, and Engraving at the National Library). During the war, he began his first artistic endeavors in the world of literature. After the war, he was imprisoned for a year, during which time he dedicated himself entirely to painting. In the 1940s, he went from setting up his first studio and focusing his work on figures and still lifes, with his first solo exhibition in 1942, to gaining critical acclaim by the end of the decade. The 1950s were crucial in his artistic development; he traveled throughout Spain and presented his work in several national and international exhibitions. It was also during this period that he became associated with the "Madrid School" (he exhibited many works collectively with other members of the school, such as Álvaro Delgado, Luis García Ochoa, Agustín Redondela, etc.). A scholarship from the French Institute in Madrid allowed him to travel to Paris for the first time in 1953, where he became acquainted with the paintings of masters such as Van Gogh, Picasso, Braque, and Cézanne. In 1960, he received another scholarship from the Juan March Foundation, returning to Paris and settling in the city for several years. This period reflected an aesthetic transformation in his work, bringing his painting closer to a language of abstraction and also altering his concept of light. He has received numerous awards (Painting Prize at the 2nd Hispano-American Biennial in 1953 in Havana, Cuba; First Medal at the National Fine Arts Exhibition in 1962; Gold Medal at the Arte-Santander Fair in 1999 in recognition of his artistic career, etc.), and his work has been exhibited worldwide (Madrid, Paris, Zurich, New York, Barcelona, Santander, Oviedo, Zaragoza, etc.). His paintings are held in important private collections and by prominent institutions such as the Banco Santander Collection, the Museum of Contemporary Art of Madrid, the Albacete Museum, the Mapfre Foundation, the Reina Sofía National Art Centre Museum in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Telefónica Collection, the AENA Foundation, etc.

· Size: 50x61 cms.
ANTIQUES
PAINTINGS

Ref.: Z6263
”ABSTRACTION”. OIL ON CANVAS. SIGNED. MARTÍNEZ NOVILLO, CIRILO (MADRID...

“Abstraction”. Oil on canvas. Signed (lower right corner). MARTÍNEZ NOVILLO, Cirilo (Vallecas, Madrid, 1921 – Madrid, 2008). Cirilo Martínez Novillo was a painter from Madrid who began his training in the capital (School of Arts and Crafts, the Libertarian Athenaeum of the People of Vallecas during the Civil War, and the Higher School of Painting, Sculpture, and Engraving at the National Library). During the war, he began his first artistic endeavors in the world of literature. After the war, he was imprisoned for a year, during which time he dedicated himself entirely to painting. In the 1940s, he went from setting up his first studio and focusing his work on figures and still lifes, with his first solo exhibition in 1942, to gaining critical acclaim by the end of the decade. The 1950s were crucial in his artistic development; he traveled throughout Spain and presented his work in several national and international exhibitions. It was also during this period that he became associated with the "Madrid School" (he exhibited many works collectively with other members of the school, such as Álvaro Delgado, Luis García Ochoa, Agustín Redondela, etc.). A scholarship from the French Institute in Madrid allowed him to travel to Paris for the first time in 1953, where he became acquainted with the paintings of masters such as Van Gogh, Picasso, Braque, and Cézanne. In 1960, he received another scholarship from the Juan March Foundation, returning to Paris and settling in the city for several years. This period reflected an aesthetic transformation in his work, bringing his painting closer to a language of abstraction and also altering his concept of light. He has received numerous awards (Painting Prize at the 2nd Hispano-American Biennial in 1953 in Havana, Cuba; First Medal at the National Fine Arts Exhibition in 1962; Gold Medal at the Arte-Santander Fair in 1999 in recognition of his artistic career, etc.), and his work has been exhibited worldwide (Madrid, Paris, Zurich, New York, Barcelona, Santander, Oviedo, Zaragoza, etc.). His paintings are held in important private collections and by prominent institutions such as the Banco Santander Collection, the Museum of Contemporary Art of Madrid, the Albacete Museum, the Mapfre Foundation, the Reina Sofía National Art Centre Museum in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Telefónica Collection, the AENA Foundation, etc.

· Size: 50 x 61 cm; 69 x 79,5 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6264

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