Results 121 to 144 of 1453

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CHILDREN’SDANCE WITH THE GOD PAN. BRONZE. AFTER FAYDHERBE. POSSIBLY 19...

Children's dance with the god Pan. Bronze. Following models by Lucas Faydherbe (1617-1697). Possibly 19th century. A bronze plaque with a figurative relief depicts a natural landscape with trees to the left and an overturned basket of flowers in the foreground. A group of naked children are arranged dancing, linked by their hands in clusters; the figures in the foreground are prominent, while those in the background are barely sketched, creating a sense of space. Towards the center of the scene, a male figure with horns and goat's legs, identified as Pan, son of Jupiter and the nymph Callisto, plays a flute. In classical mythology, Pan was associated with the wilderness. This god, especially venerated in Arcadia, is associated with shepherds and flocks and often appears in scenes linked to Bacchus (Dionysus). This work is closely inspired (note the initial F in the lower left corner, which, along with an L, also appears in the original; there are differences between the two) by a carved ivory relief in the Prado Museum in Madrid (catalog number E000257). It was owned by the painter Rubens and is the work of Lucas Faydherbe (Mechelen, Belgium, 1617 – Mechelen, Belgium, 1697), who worked as an assistant or pupil in Rubens's workshop four years before the latter's death. The terracotta sketch is held in the Royal Museums of Art and History in Brussels and shows slight variations from this Prado original. Note that the Royal Academy of Fine Arts of San Fernando in Madrid holds a plaster cast of the original work (Model from the Casting Workshop, inventory M-903), which features a capital F in the lower left corner, as in this bronze relief. Weight: 6350 grams.

· Size: 54,5x5,5x28 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1510
ITALIAN CHEST. WOOD, MARQUETRY, IRON. ITALIAN SCHOOL, 16TH CENTURY.

Chest. Wood, iron, marquetry. Italian school, 16th century. It has faults. A rectangular chest with a flat lid, carved from wood and decorated on the exterior with wrought iron elements. The front features wavy lines along the lower and side edges, with three openwork circles of vegetal motifs from which hang heart-shaped metal forms. Four smaller, similar circles surround the lock, whose shield is shaped like a building with a tower. The sides display more wavy lines (of the aforementioned motifs) and openwork circles, as well as handles. The metal handles on the sides extend to the back of the chest. Inside, the lid shows more of these openwork metal circles with a red background and traces of simple marquetry with geometric motifs. Small stars are carved along the edges of the chest. Stylistically, it is reminiscent of examples from the 16th and 17th centuries common in areas of Lombardy, although it is a type that some experts consider relatively common throughout the Italian school until the popularization of the more characteristic models of the Renaissance. Examples with details in common with this chest are held by institutions such as the Victoria & Albert Museum in London, or the Vittoriano e Palazzo Venezia (VIVE, Rome; inventory 1135, Lombard “cassone” from the late 15th-early 16th century in walnut, metal and wood, located in the Palazzo Venezia).

· Size: 102,5x 52x48 cms.
ANTIQUES
FURNITURE

Ref.: ZF1454
TELESCOPE WITH TRYPOD. METAL, WOOD, GLASS.

Telescope with decorative tripod. Wood, metal, glass. Gold telescope with an aged metal finish reminiscent of relatively old models and sits on a simple wooden tripod, which also features metal pieces with a gold-tone finish.

· Size: Long. 100 cms.
DECORATION

Ref.: AP029
SILVER PYX OR PIX. PALENCIA, SPAIN. PEDRO DE PALACIOS, CIRCA 1530.

Pyx. Silver. Palencia, Spain. Pedro de Palacios, hallmark Juan de Peso, circa 1530. With contrast and engraved marks. A circular box with a pointed lid, made of silver in its natural color and gilded, decorated on the exterior with a series of slanted segments or waves on the body and lid, and moldings with concatenations of pearls. The piece is topped by a sphere divided in two by a band of small lines. The interior is gilded. Typologically, it follows a very common model for pyxes in 16th-century Spanish silversmithing. Compare, for example, with the one dated to the third third of the 16th century (inventory 2165) in the Lázaro Galdiano Museum in Madrid (Spain), which also has spirals on the lid and a cruciform finial that the present example does not show; or several examples in the Diocesan Museum of Pamplona Cathedral; or an example with vertical recesses on the lid in the Museum of Sacred Art of Bilbao (Eleiz Museoa; inventory 0578) by Izangabea, dated between 1525 and 1530. At the base are the engraving mark and the hallmarks for the town and silversmith. One is the town mark, referring to Palencia (Spain). Another, with letters beneath a scale, is that of the assayer Juan de Peso, who worked from 1526 to 1532 (experts suggest that the triple hallmarking began in 1528). The third is that of the silversmith Pedro de Palacios (elected city assayer in 1532). Similar marks appear on the reliquary arm of Saint Lawrence in Santoyo, a work by Pedro de Palacios dated between 1528 and 1532, or, according to other experts, around 1526. Weight: 217 grams.

· Size: 9x9x11 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1504
CEILING LAMP. METAL, GLASS. CIRCA EARLY 20TH CENTURY.

Ceiling lamp. Metal, glass. Circa early 20th century. Bronze chandelier with glass shades decorated with elements of marked classical influence: children's figures with plant forms instead of legs on their arms, scrolls, volutes, grotesques, architectural elements, heraldic elements, etc. Both in its composition and in certain details of these decorative motifs it is reminiscent of works linked to Neoclassicism of the 19th century and later works. 1 tulip is missing

· Size: 85x85x135 cms.
ANTIQUES
FURNITURE

Ref.: Z1744
CHANDELIER.BRONZE, GLASS. 20TH CENTURY.

Ceiling lamp or chandelier. Bronze, glass. 20th century. Ceiling chandelier made of gilded bronze and metal that features plant elements of classicist influence, following 19th century models common especially in the French school (influence also present in the shape of the lamp), and transparent glass beads of various shapes and sizes (leaves, tears, flowers, etc.) and colors, a chromatic combination that was not the most common in these old examples.

· Size: 64x64x92 cms.
ANTIQUES
FURNITURE

Ref.: ZF1447
LOUIS XVI BISCUIT MANTLECLOCK. CROSNIER, PARIS, FRANCE, CIRCA 1900.

Louis XVI style mantel clock. Biscuit, metal, glass. Crosnier, Paris, France, circa 1900. It has defects. A table clock made of bisque porcelain with metal elements, featuring a white dial signed “Crosnier/Paris” with Arabic numerals for the hours and minutes in fifteen-unit increments, and a Paris-style movement signed “Mougia” on a stamp. The figurative decoration, inspired by classical mythology, depicts Venus with a dove accompanied by Cupid and various putti in the reliefs of the lower section. The base bears the inscription “Mongenol” and an incised mark reminiscent of the one used in Sèvres.

· Size: 26x14x31 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1481
METAL BINOCULARS. 20TH CENTURY.

Binoculars with an antique finish. Gold-plated metal, other. These metal binoculars, crafted with an antique gold finish, feature a hanging loop and a vintage look reminiscent of classic binoculars. A versatile decorative piece, they suit a variety of styles and tastes.

· Size: 11,5x5,5x14 cms.
DECORATION

Ref.: AR021
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
WALNUT BOARD 411x6x108 cms.

· Size: 411x6x108 cms. ancho minimo 67 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: Z5634D
DIANA OF GABII. BRONZE, MARBLE. RAINGO FRÈRES, FRANCE, CIRCA SECOND HA...

Diana of Gabies. Bronze, marble. Raingo Frères, France, circa second half of the 19th century. Signed on the base. A bronze figure on a stone base depicts a lady wearing sandals, adjusting a draped garment (called a chiton), and raising her arms to fasten a brooch. Her wavy hair is gathered high with a ribbon. The inscription “Raingo Fres.” can be seen on the bronze base, indicating the foundry that produced it. The work is inspired by a marble sculpture also known as the Artemis of Gabii, as it may represent this goddess. It was discovered in Gabii (near Rome, Italy) by Gavin Hamilton (Lanarkshire, 1723–Rome, 1798) on land belonging to Prince Borghese, who sold it to Napoleon in 1807. From that moment on, it became part of the collections of the Louvre Museum in Paris (inventory Ma. 529). The original is attributed to Praxiteles (although there is some doubt about this today). Raingo Frères was founded in 1823 by the four sons of the Belgian watchmaker and metalworker Zacharie Raingo (who moved to Paris in 1813): Adolphe, Charles, Denis, and Dorsant. Established as an industrial and commercial enterprise, the company quickly gained renown for its bronze work, in addition to its reputation as a watchmaker. It created pieces for a number of nobles and royalty, including the Duke of Chartres, King George V of England, and Emperor Napoleon III of France. They exhibited their work at the International Exhibitions in Paris in 1867, 1878, and 1889, winning several awards. Works from this house are held in prominent private collections and institutions such as the National Museum of Decorative Arts (Madrid, Spain), the Victoria and Albert Museum (London), and the Royal Collection Trust. Weight: 37 kg.

· Size: 21,6x24,7x86 cms
ANTIQUES
SCULPTURE

Ref.: ZF1385
CHOCOLATE CUTTER. WOOD, METAL. 19TH CENTURY.

Chocolate cutter. Wood, metal. 19th century. Chocolate chopper made of carved wood with an iron blade in the shape of a horse, which has a turned wooden handle. Compare with the one from Salamanca preserved in the CIPE Costume Museum in Madrid (inventory CE008848) dating from the 19th century.

· Size: 32x32,5x11 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE442
CHOCOLATE KNIFE. WOOD, METAL. 19TH CENTURY.

Chocolate cutter. Wood, metal. 19th century. A circular tray with an extension on one side for a metal piece that can be raised and lowered, attached to the other end of the tray. Chocolate bars or tablets would be cut with this movable piece. This type of kitchen utensil clearly lacks decorative elements, being purely utilitarian.

· Size: 30,5x17,5x8 cms.
DECORATIVE ANTIQUES
MISCELLANEUS

Ref.: ZF0404
CHOCOLATE CUTTER. WOOD, METAL. 19TH CENTURY.

Chocolate cutter. Wood, metal. 19th century. Chocolate chopper made of carved wood decorated with engraved plant and floral motifs, featuring an iron blade in the shape of a small horse, which has a turned wooden handle. Compare with the one from Salamanca preserved in the CIPE Costume Museum in Madrid (inventory CE008848) dating from the 19th century.

· Size: 44x17x13 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE441
ADORATION OF THE SHEPHERDS. POLYCHROMED WOOD. COLONIAL SCHOOL (POSSIBL...

Adoration of the Shepherds. Carved and polychromed wood. Colonial school (possibly Viceroyalty of Peru), 18th century. It has faults. Fragment of a carved, polychrome, and gilded wooden altarpiece depicting a figurative scene within a rectangular space crowned by a semicircular arch. In the upper section, angels emerge from clouds holding a scroll on which some of the original text is still visible; below, a red roof partially covers vertical structures with a classical influence. In the lower section, four shepherds are depicted with a donkey and an ox. The Christ Child is positioned in the center (note that the halo resembles a cradle, or vice versa), with the Virgin Mary and Saint John at his side, their hands clasped in prayer. Iconographically, it is clear that this is the Adoration of the Shepherds. In sculpture, the school of the Viceroyalty of Peru is considered to have emerged with the establishment of the viceroyalty in 1542 (and to have disappeared in the 19th century). As was typical, in its beginnings it owed much to the influence of Spanish art (especially the Sevillian school), eventually acquiring a strong identity of its own thanks to the work of indigenous masters, religious orders, and others. The main artistic centers were often Lima (the viceroyalty's capital), Quito, and Cusco (from the second half of the 17th century onward, this area would become known primarily for its dressed religious images).

· Size: 63x7x140 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1483
SIDE TABLE. WOOD, MARBLE, BRONZE. 19TH CENTURY.

Nightstand. Wood (mahogany and rosewood veneer), marble, bronze. 19th century. It has faults. Side table with four legs finished with metal fittings, a waist decorated with strips of lighter wood than the rest, highlighted with strips of gilded metal, and a circular top of light-colored stone with a cresting around the edge. It has two drawers with handles and two removable upholstered shelves. Stylistically, it is reminiscent of 19th-century French school models.

· Size: 65,5x65,5x75 cns,
ANTIQUES
FURNITURE

Ref.: ZF1467
FRAMED ENGRAVING, TRASPORTO SOLLENE DEL CADAVERE DI MARIA LUISA DI BOR...

“Sollene transportation of the corpse of Maria Luisa di Borbone (…)”. Framed engraving. Rome, Italy, [Sl : sn, 1819]. Framed engraving titled below the image as “TRASPORTO SOLENNE DEL CADAVERE DI MARIA LUISA DI BORBONE REGINA DELLE SPAGNE E DELLE INDIE / Dalla Basilica Liberiana alla Vaticana il di 10 Jannajo del MDCCCXIX” which also presents the names of those responsible for it. “Gio.Petrini incise” appears on the right (Giovanni Petrini was an Italian engraver who worked in Rome and Paris, prospering between 1810 and 1812) and “Filip. Ferrari inventó, i disegnó” can be seen towards the left (Filippo Ferrari is dated between 1819 and 1897). It represents the funeral procession held on the occasion of the transfer of the body of the deceased Maria Luisa of Parma, wife of Charles IV, in Rome, from the Basilica of Santa Maria Maggiore to the Basilica of St. Peter, also detailing the Roman confraternities, religious orders and high officials who attended (legend under the image).

· Size: 101x2,5x80 cms. int: 53,5x74,5 cms.
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF1471
TWO MEN. WATERCOLOUR. JIMENEZ ARANDA, LUIS. ROME, ITALY, 1879.

Two men on a bench. Watercolor. JIMÉNEZ ARANDA, Luis. Rome, Italy, 1879. Signed, dated and located (lower right area). Luis Jiménez Aranda (Seville, 1845-Pontoise, France, 1928) was the brother of the painters José and Manuel Jiménez Aranda. He began his training with José, expanding it at the Academy of Fine Arts of Santa Isabel de Hungría in Seville and, even more, going to Rome in 1867 thanks to a four-year stipend provided by a private patron in exchange for a painting a year (here he would train with Marià Fortuny). When this aid ended in 1874, he continued in the city sharing housing with José Villegas Cordero and Francisco Peralta del Campo (all three studying with Eduardo Rosales). In 1876 he settled in Pontoise, near Paris, becoming a naturalized French citizen from 1877 onwards. He participated in several editions of the Paris Salon, in the Universal Expositions of this city in 1889 and of Chicago in 1893 (achieving recognition in both), and in National Exhibitions of Fine Arts of Spain (First Medal in 1892). Well-known for his genre paintings, he specialized in historical subjects, producing numerous important works. His work is held in several private collections and institutions such as the Meadows Museum (Dallas, Texas, USA), the Prado Museum in Madrid, the Museum of Fine Arts in Seville, etc.

· Size: 55x3x68 cms. int. 25x34,5 cms.
ANTIQUES
PAINTINGS

Ref.: ZF1459
WOODEN FRAME. SPANISH SCHOOL, 20TH CENTURY.

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

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

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

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

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

Ref.: ZF1462
PORCELAIN SWEET MEAT DISHES.MEISSEN, LATE 19TH CENTURY.

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

· Size: 30x20x20 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

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

Centerpiece. Glazed porcelain. Meissen, Germany, possibly second half of the 19th century. With markings and numbers on bases. A glazed porcelain centerpiece topped with a male figure dressed in 18th-century European style, featuring three openwork plates (the smallest at the top) arranged on a central axis decorated with simple geometric and spiraling vegetal motifs. Incised marks and numbers can be seen on the bases of the plates and the centerpiece. The blue and white decoration with those particular plant elements is a style known as "blue onion," very characteristic of Meissen porcelain, and inspired by works from China that also used these colors as early as the 17th century. Although onions were not depicted, the stylized elements present (peaches, melons, bamboo, etc.) reminded Europeans of this vegetable, hence the name. At the base of the centerpiece, the Meissen mark used between 1815 and 1924 can be seen. The base of the "largest plate" has some numbers engraved and another in blue ink; the next one shows the mark of the two crossed swords and more engraved numbers; at the base of the smallest one, the number 17 can be seen in blue ink.

· Size: 28x28x57 cms
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF1465
SILVER INCENSE BOAT (NAVICULAE). SANZ DE VELASCO, JUAN ANTONIO. VALLAD...

Naveta. Silver. SANZ DE VELASCO, Juan Antonio. Valladolid, Spain, 18th century. With contrasting marks. It shows repairs at the base and losses in the cresting. Boat. Silver. SANZ DE VELASCO, Juan Antonio (1720-1778). Valladolid, Spain, 18th century. With hallmarks. Boat with a circular base raised towards the foot by a series of stepped moldings. Its body is decorated with a cresting on the rim and an engraved composition of vegetal elements and volutes (on a background of stippled luster, a finish also used in the decorative motifs), a gadrooned element on one side, and a volute at the opening end. The hallmarks on the base place the piece's manufacture in Valladolid (note that it is the so-called "cutting mark," which some experts date to before the appointment of Antonio González Téllez as a certified assayer). The other hallmark present is that of Juan Antonio Sanz de Velasco (1720-1778), who served as a certified assayer in the city between 1743 and 1774/8. Apart from other surviving works by the master (many in private Spanish collections), the silver altar frontal of the Virgin of Sagrario (Valladolid Cathedral) stands out. It was crafted by the Valladolid silversmiths Juan Antonio Sanz de Velasco and Miguel Fernández Yáñez de Vega, who completed in the last third of the 18th century a work begun in 1693 by the silversmith José de Aranda. The shape of the piece is typical of this type of vessel for storing incense (in fact, the name naveta comes from "nave," meaning ship) dating back to the Middle Ages (e.g., the naveta in the Chapel of the Constables in Burgos Cathedral by Juan de Valladolid, from the 15th century), with variations in form and decorative elements depending on its origin, style, etc. Compare this piece with works preserved, for example, in the Diocesan and Cathedral Museum of Valladolid, another from the Museum of Navarre originating in Mexico and dated between 1634 and 1666, another from the 18th century in silver in its natural color from the Cathedral of Tuy (with a very different base), etc. Weight: 348 grams.

· Size: 16x10x9,5 cms,
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z5448

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