Results 1417 to 1440 of 1578

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BLACK MARBLE OCTOGONAL PEDESTAL.

Octagonal pedestal in carved black marble. The smooth upper board, the pedestal shaft and the base made by superimposing two mouldings, follow the octagonal shape and keep their planes aligned.

· Size: 37x37x46,5 cms.
DECORATION
MARBLE SCULPTURES

Ref.: AM044
”TWO CHARACTERS”. OIL ON CANVAS. SIGNED. MARTÍNEZ NOVILLO, CIRILO (MAD...

“Two characters”. Oil on canvas. Signed (bottom 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 Trades, Libertarian Athenaeum of the People of Vallecas during the Civil War, Higher School of Painting, Sculpture and Engraving at the National Library), beginning during the time of the conflict his first artistic works in the world of literature. At the end of the war, he was imprisoned for a year, at which time he devoted himself entirely to painting. In the 40s 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 becoming known by critics at the end of the decade; the 50s were very important in his pictorial training, he toured Spain and presented his work in several national and international exhibitions, in addition to being from these years when he was framed within the "School of Madrid" (he presented many collective works together with other members of the same, 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 obtained another scholarship from the Juan March Foundation, returning to Paris and settling in the city for several years, reflecting in his work an aesthetic transformation that brought his painting closer to a language closer to abstraction, also modifying his concept of light. He has received numerous awards (Painting Prize at the II Hispano-American Biennial in 1953 in Havana, Cuba; in 1962 he obtained First Medal at the National Exhibition of Fine Arts; in 1999 he was awarded the Gold Medal of the Arte-Santander Fair in recognition of his artistic career, etc.) and his work has been seen all over the world (Madrid, Paris, Zurich, New York, Barcelona, Santander, Oviedo, Zaragoza, etc.). His paintings are held in important private collections and prominent institutions such as the Banco Santander Collection, the Museum of Contemporary Art in Madrid, the Museum of Albacete, the Mapfre Foundation, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Telefónica Collection, the AENA Foundation, etc.

· Size: 50x61 cms.
ANTIQUES
PAINTINGS

Ref.: Z6263
IRON ANVIL

"

· Size: 33x16x45 cms.
DECORATIVE ANTIQUES

Ref.: Z6266
SILVER “TEMBLADERA” (CUP). JUAN MONTERO, SALAMANCA, SPAIN, 18TH CENTUR...

Quaking. Silver. Juan Ignacio Montero, Salamanca, 18th century. With contrast marks. Silver quaking coin in its colour, ready on the outside, decorated with two inverted “S” shaped handles and decorated with spikes on the outside. At the base of the piece there are four hallmarks (flanking the hallmark line), which place the piece's production in Salamanca (note the bull), with the intervention of Juan Ignacio Montero; there are two other frustrating marks. Juan Ignacio Montero was a silversmith and hallmarker, and the punch seen here appears to date to preserved works that have been dated between 1759 and 1779, such as a sacra in the Parish Church of San Lorenzo in Segovia (by Manuel Cardeñosa, dated 1767). It is known that he held the position of hallmarker in Salamanca between 1758 and 1781 and that he was active until 1779. He used a punch that incorporated the dates relative to the year, although sometimes the same iron was used in several years. Weight: 70 gr.

· Size: 10x7x5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6251
SPANISH WALNUT TABLE 17TH CENTURY

17th century lyre leg table. Walnut wood, with wrought iron fasteners and a single-piece board. Baroque style lyre-leg table, made entirely of walnut wood, with carved profile legs and a rectangular, smooth-profile top made from a single piece. The legs have a mixtilinear cut, based on recesses and projections of great dynamism and decorative sense, chiaroscuro even despite not being carved, which speak to us of the taste typical of Baroque Europe. Thus, we see complex lines that combine simple curves, edges and steps, creating lively shapes that are at the same time regular and symmetrical, in the style typical of Baroque classicism. The legs are joined to the top by means of curved iron fasteners, typical of this typology. Lyre-leg tables originated in the Spain of Charles II, during the second half of the 17th century. The simplest ones have a simple cut in the side legs, and are even completely carved in the models with peripheral centres. The fact that the top is left plain, without decoration, is due to the fact that the tables were covered with rich fabrics, which fell, practically hiding the entire table. Thus, in less wealthy houses, which could not afford to cover the tables in luxury, the decoration had to focus on the legs, and hence they were carved. Inspired by the tables of classical antiquity (made of marble and with cross supports), they have two side supports that can be dismantled to transport the piece of furniture, and which can have a lyre or vase profile.

· Size: 192x102x84 cms.
ANTIQUES
FURNITURE

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

GÓMEZ GIMENO, Antonio (Spain, late 19th – 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). Painter of landscapes, costumbrist scenes and still lifes, Antonio Gómez Gimeno developed a language clearly influenced by the Impressionists, which he may have learned during a stay in France. He is currently represented in various private collections.

· Size: 46x38 cms.
DECORATIVE ANTIQUES
PAINTINGS

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

Spanish school of the late 17th century – early 18th century. “Virgin and Child”. Carved and polychrome wood. Devotional image carved in wood in the round and polychrome, framed within the late Spanish Baroque. It is a sculpture of monumental conception, with large and monolithic figures, with volumes enhanced through the ample folds of Mary's tunic. The Virgin appears standing, holding the Child on her lap, in a naturalistic position, full of movement. Thus, we see how Mary, to compensate for the weight of the Child, leans her back backwards, while Jesus leans forwards in turn, thus compensating the composition. The Child appears raising his right hand in a sign of blessing, while the other hand rests on a sphere, a symbol of the universality of Christian doctrine and of Christ's redemptive act. Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and its form of expression arose from the people and from the deepest feelings that nestled within them. With the State's economy in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and brotherhoods of clergy and lay people that promoted its development, the works being financed on occasion by popular subscription. Sculpture was thus forced to express the ideals that prevailed in these environments, which were none other than religious ones, at a time when the counter-reformist doctrine demanded from art a realistic language so that the faithful could understand and identify with what was represented, and an expression endowed with intense emotional content to increase the fervour and devotion of the people. Religious subject matter is, therefore, the preferred theme of Spanish sculpture in this period, which began in the first decades of the century with a priority interest in capturing nature, to progressively intensify throughout the century the embodiment of expressive values, which was achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

· Size: 32x26x70 cms.
ANTIQUES
SCULPTURE

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

Mahogany dining table with straight folding leg, 17th century. The four legs, joined together by straight frames and fixed to the table top with frames, do not have any notable decorative elements, but they do have a series of metal fittings that allow it to be folded for storage. Despite belonging to the Baroque, there is no movement or hardly any decoration, as befits a strictly functional piece of furniture.

· Size: 188x133x79 cms.
ANTIQUES
FURNITURE

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 under 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 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
FURNITURE

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

Gilt bronze and white marble fittings in Louis XVI style, 19th century. It is made up of two cups on pedestals and a clock. The first ones are identical: on four circular legs, there is a polygonal base on which there is a low fluted column decorated with two strings of pearls in its lower area; above it, there is a tall-stemmed cup decorated with two handles in the shape of plant stems. The clock is placed on four legs, a semicircular base with a floral frieze, four columns and another semicircular plate; highlighted by two branches with flowers joined together, it has a white face and Arabic numerals, as well as hands of the type known as Louis XVI and is topped by a vase. The pendulum of the clock, which has been shaped like a sun, can be seen between the columns and the decorative chains. The French style known as Louis XVI is characterized by its inspiration in classicism and spans approximately from 1760 to 1789. In the 19th century, numerous artistic movements from the past were recovered, among which the aforementioned stood out due to its inspiration, very much in line with the Neoclassicism of the time.

· Size: Reloj: 19x9x40 cms. Copas: 19x15x21 cms.
ANTIQUES

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

Empire chest of drawers. Mahogany, oak, gilded bronze, Sainte Anne marble. France, 19th century. Rectangular chest of drawers with a Sainte Anne marble top, made of carved mahogany and oak, with three drawers at the front decorated on the front with two rings emerging from the jaws of two lion protomes in gilded bronze and a lock shield with two crossed cornucopias; under the top there is another hidden drawer with internal divisions; the front legs have been carved in the shape of a claw, and the rear ones are rectangular. The marble known as Saint Anne is a dark grey veined marble 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 have been preserved. The high-quality gilt bronze fittings, the composition of the furniture and its decoration link the piece to the French Empire style, so called because it developed mainly 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 the French examples are known. Similar examples can be found in prominent European residences, mainly in France. In Spain, similar chests of drawers are preserved in various palaces and institutions such as the National Museum of Decorative Arts or the Museum of Romanticism in Madrid, for example.

· Size: 128x60x95 cms.
ANTIQUES
FURNITURE

Ref.: Z0546
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ORIENTAL TABLE 19TH CENTURY

19th century Chinese table. Wood, with carved and lacquered details. An oriental table with a square top, slightly overhanging and supported by corbels at the corners, carved in the shape of cloud scrolls. It stands on four simple circular legs, typical of traditional Chinese furniture, joined by an openwork waist, with a recessed profile, which is decorated with central plates with figurative reliefs and phoenix figures also in relief, on an openwork background, in the corners. In the secondary areas we can see motifs of scrolls, flowers and insects. All the carvings appear decorated with lacquer. The figurative scenes represent dynamic and narrative scenes, set in the ancient imperial court.

· Size: 100x100x90 cms.
DECORATION
FURNITURE;ORIENTAL

Ref.: XG032
MAHOGANY COMMODE EMPIRE STYLE WITH GILT BRONZE, CA 1880.

Empire style chest of drawers in mahogany and gilt bronze, circa 1880. Chest of five drawers with garland fittings, key locks and decorated lock shields, on semi-spherical legs and a top in dark stone. The front is flanked by two stipes with a female capital under a plant motif and a base resembling women's feet. It is made of mahogany palm and the fittings are in high-quality gilded bronze. Details such as the purity of the furniture's lines, its clear geometric shape, the angles, the presence of the caryatids on the front and the smooth back, the centralisation of the relief in the gilded bronze appliqués, the use of mahogany and the inspiration from classical antiquity (Greek and Roman) place the chest of drawers within the Empire style. This dominated all French arts at the beginning of the 19th century during the government of Napoleon Bonaparte (1769-1821), and was one of the most important inspirations for the Second Empire style, which was born under the government of Napoleon III and was very successful between approximately 1860 and 1880. The work stands out for the high quality of its wood and the perfection of its bronzes, both in its reliefs and in the gilding. These French metal ornaments were the most highly regarded in cabinetmaking for their quality, due to the strict control established by the central power over the guilds responsible for their production, in which the specialization of the different workshops necessary for their creation and subsequent sale to master cabinetmakers in particular or to other merchants who, on occasions, exported them, stands out. Although it is true that it is not a commissioned piece of furniture but one made following a system somewhat more similar to mass production, in all cases they were important works destined for the houses of the main families both for the materials used in them and for following the aesthetic novelties of the time.

· Size: 110x58,5x90 cms.
ANTIQUES
FURNITURE

Ref.: Z3393
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OFFICER\'S SWORD WITH CASE

"

· Size: Long. 97 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5912
WATERCOLOUR. LANDSCAPE BY CIRILO MARTINEZ NOVILLO

MARTINEZ 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, where he began his training at the School of Arts and Trades. During the Civil War he entered the Escuela Superior de Pintura and attended the studio of Daniel Vázquez Díaz, who became his teacher and supported him throughout his career. In 1946 he presented his work for the first time, as part of a collective exhibition held at the Bucholz gallery in Madrid. The following year he held his first solo exhibition at this same gallery. In 1948 he held an exhibition in the print room of the Museum of Modern Art in Madrid. Critics began to take note of his work and he was selected to participate in the exhibition “Arte Español”, held in Buenos Aires and organized by the Ministry of Education. From this moment on he held exhibitions in various Spanish cities and in France, and participated in collective exhibitions such as the Venice Biennial (1950) or the Salón de los Once (1951). Between 1952 and 1953 he travelled to Paris on three occasions thanks to various scholarships. His mature period began with a new visit to Paris at the beginning of the sixties, and then he travelled to Switzerland, Germany, Holland 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 is represented at 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
PAINTINGS

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

REDONDELA, Agustín (Madrid, 1922). "Hermitage". Watercolor. Signed and titled at the bottom. A painter who was mainly self-taught, Agustín González Alonso trained alongside his father, the painter and stage designer José González “Redondela”. After the civil war he attended classes at the School of Arts and Crafts in Madrid with the landscape artist José Ordoñez, and in 1945 he sent his first painting to the National Exhibition of Fine Arts, 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 at the Salón de los Once at the Academia Breve e Crítica de Arte de Eugenio d'Ors. In the fifties Redondela received a scholarship from the Catherword Foundation in Philadelphia (1954), the National Painting Prize (1953) and the first 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 Centre of the Villa de Madrid dedicated an important anthological exhibition to him. He is currently represented in the Museum of Fine Arts in La Coruña, the Museum of Contemporary Spanish Landscape in Priego de Córdoba, the Museum of Fine Arts in Bilbao, 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
PAINTINGS

Ref.: Z3942
WATER PAINTING. LANDSCAPE BY AGUSTIN REDONDELA

Augustin Redondela (Madrid, October 29, 1922) A practically self-taught painter, he is considered one of the most original Spanish landscape artists of the 20th century.

· Size: 24x16 cms.
ANTIQUES
PAINTINGS

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

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

· Size: 36x36x18 cms
DECORATIVE ANTIQUES
MISCELLANEOUS

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

"

· Size: 40x30 cms.
DECORATIVE ANTIQUES
SCULPTURE

Ref.: Z6033
FRAMED LITHOGRAPH. CLOWN WITH AVSIPA

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

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

Extendable folding table. Walnut and walnut root. 19th century. Extendable dining table to three metres, known as a book-shaped table due to the way it folds. It has turned legs in the form of balusters topped with metal rollers to move the piece of furniture. It has been made by combining walnut wood and walnut root wood, leaving the striking grain of this type of material visible. The piece is reminiscent in some details of Victorian examples from northern Europe.

· Size: 121x65x76 cms.
ANTIQUES
FURNITURE

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

Small roof box with remains of polychromy, 16th century. Rectangular box with a roof-shaped lid, which gives its name to this typology, very common in the Gothic period. The lock shield and the bolt are old, although not from the 16th century like the rest of the work. It should be noted that it retains part of the original polychromy: green on the outside and red on the inside.

· Size: 255.5x18x22 cms.
ANTIQUES
FURNITURE

Ref.: Z3394
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CANDLE HOLDER. 16TH CENTURY

Bronze Candlestick 16th century

· Size: 10,5x10,5x12 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5735
CERAMIC INKWELL. 18TH CENTURY

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

· Size: 16x16x7 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z5695

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