Results 169 to 192 of 1509

«« « ...5 6 789 10 11... » »»

MARBLE FOUNTAIN WITH BASIN.

Washbasin with basin in carved marble. A circular mirror presides over the front of the basin, flanked by two palm branches and placed above three cherub heads. The central one opens its mouth to let the water from the fountain through. At the waist, two horns of plenty flank a garland of flowers and fruit. The ensemble rests on two sphinxes very similar to those used in France in examples of Empire style. The work shows strong influences from the art of the early 19th century.

· Size: 122x70x170 cms.
DECORATION
MARBLE SCULPTURES

Ref.: M0006
WOODEN FRAME. 16TH CENTURY.

Frame. Carved, polychrome and gilded wood. 16th century. Carved, polychrome and gilded wooden frame made from different elements with a marked Renaissance influence, resulting in an architectural composition with a stepped base, two fluted pilasters with volutes on the sides and an upper finish formed by another stepped entablature and a triangular pediment with three balls on another narrower entablature.

· Size: 143x34x160 cms.
ANTIQUES
MISCELLANEUS;FRAMES

Ref.: Z0876
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
GILLER-FALLER CAMERA WITH PROFESSIONAL STAND, FRANCE, CA 1925.

Gilles-Faller (Paris) studio camera with easel, France, circa 1925. Studio camera with bellows in very good condition, two lenses and mounted on a stand on wheels for professional use. It has a crank for adjusting the height and diagonals of the camera. Made of wood and gold metal and in its colour, it has the manufacturer's plate on the front. The company, which produced both professional and amateur photographic equipment, was founded in 1855 by Besson, who later joined forces with Gilles. Around 1870, this second family continued the business until around 1900, when “Guilles Fils” was succeeded by “Gilles E.”, who joined forces with Faller, giving rise to “Gilles-Faller”, which in 1924 became Société Anonyme (d'Exploiation) des Anciens Établissements Guilles-Faller. The identification plaque above the camera lens refers to this last stage, and places the headquarters at 31 Rue Navarin in Paris, where they had already established themselves around 1900, but without mentioning number 33 on the same street (which they would have bought, at the latest, in 1926, since this new door appears in L'Indicateur de l'Industrie Photographique of that year). This easel is very similar to the one in figure 2 (page 2) of the 1928 catalogue of the company (Bibliothèque Nationale Française, Paris) which was sold with the model “Chambre Gilles B 30x30” together with a series of elements. All the models of the company allowed the free combination of shutters and also lenses: note the two present, in good condition. Looking at the advertisement referred to, there is a peculiarity: in this case the rectangular camera (18X24) requires a specific easel, which could be included in the lot for an extra charge in francs. Made in walnut finish, which the client could choose between patent or varnished, you can see the rails that allow the movement of the camera by means of the wheels on its right and the reinforced canvas bellows.

· Size: 60x70x196 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z3397
CASTILLAN WALNUT CHEST. TEXTILE AND WROUGHT IRON. SPAIN, BAROQUE, 17TH...

Castilian chest. Walnut wood, textile and wrought iron. 17th century. A rectangular chest with a flat lid and no legs, decorated with carved moldings along the top and bottom edges and the front, avoiding the front lock. The lock, made of metal and set on red fabric, features an openwork design of scrolls and other simplified shapes, a decoration also found on the chest's other fittings. Two metal pieces secure the lid to the sides of the front; the handles, typical of this type of chest, are also located on the sides, adorned with an openwork iron design on fabric, similar to the other elements. The interior features exposed wood, along with the corresponding fittings (hinges and locking mechanism), and a wooden-lined compartment on one side. The various openwork iron fittings follow a tradition already found on chests at the end of the 16th century (compare this example with the 15th-century Gothic chest in the Valladolid Museum, for instance), but with decorative motifs of Baroque influence: brackets, simplified scrolls, curves, etc. The rectangular shape of this chest, with a flat lid, is also typical of this type of furniture since the Gothic period, showing no characteristic 17th-century influence. It is important to highlight the significance of this style in Spanish furniture, as it persisted until the 19th century, especially in Andalusia, with only slight variations. The most notable change was the shift from openwork iron decorative elements, as in this example, to the use of gilded brass studs depicting coats of arms, vegetal motifs, and so on. The chest is typical of Castilian models, which are quite different from those of Catalonia, Valencia, and Mallorca. Although it was the most common piece of furniture at the time, not many examples have been preserved: compare with the two 17th-century chests in the Casa de Cervantes Museum (CE 202 without fittings, CE 145 with them) in Alcalá de Henares (Madrid).

· Size: 67x171x60 cms
ANTIQUES
FURNITURE

Ref.: Z6840
CHEST. WALNUT, TEXTILE, WROUGHT IRON. 17TH CENTURY.

Chest. Walnut wood, textile remains, wrought iron. 17th century. Rectangular chest or chest made of walnut wood with a flat lid with fine mouldings on the outside, another one running along the fronts of the piece and dodging the lock on the front in a downwards peak and, again, a slight staggering based on these motifs on the lower part, on the edge cut with curves and counter-curves that partially hides the tubular legs with discs of the piece of furniture. On the sides there are two metal handles, and in the corners two corner pieces (in each one) reinforce and decorate (simple plant elements cut out in the plate). The lock shield is decorated with animals and plant motifs; the hinges and corresponding part of the bolt, on the inside of the lid, have remains of red textile highlighting the cut-out decoration on their ends. The shape of this chest, rectangular with a flat lid, is also the usual one in this type of furniture since the Gothic period in the Spanish school. It is important to highlight the importance that this typology had in Spanish furniture, as it would last until the 19th century, especially in Andalusia, with only slight changes, the most notable of which would be the change from decorative elements in openwork iron, as in the present example, to using gilded brass studs drawing shields, plant themes, etc. This chest has points in common with Baroque examples from the Castilian school. Although it was the most common piece of furniture at the time, there are not many examples preserved: compare with the two 17th century chests in the Museo Casa de Cervantes (CE 202 without fittings, CE 145 with them) in Alcalá de Henares (Madrid), or with the chest dated between the middle and end of the 18th century in the Casa Museo Lope de Vega (Madrid) that has the lower part cut out.

· Size: 124x60,5x70 cms
ANTIQUES
FURNITURE

Ref.: ZF0464
DESK. WOOD (PALO SANTO AND OTHERS), METAL. JEANSELME FILS GODIN ET CIE...

Bureau or desk. Rosewood, wood, metal. Jeanselme Fils Godin et Cie, Paris, France, 19th century. Stamped (with signature). Sample desk covered perhaps designed to go near a wall that has two drawers on top and three under the sample (the left ones are two; the right one is one with a lockable compartment, although in external appearance it seems two to balance the composition of the furniture). When opening the lid, a writing space with some compartments towards the back of the furniture is revealed. On the outside, it has a delicate marquetry work in which the rosewood stands out, and some carvings focused only on certain areas (top trim, drawers, slightly cabriolet-shaped legs, etc.) to enhance the elegance of the furniture and the quality of the wood used in its finish. The cabinetmaker's signature can be seen in areas that are not easily visible: "JEANSELME FILS GODIN ET CIE / EBENISTERIE, SIEGES ET TAPISSERIE / RUE DU HARLAY 7 & 9, AU MARAIS". Although this brand is part of the prominent Jeanselme family (fl. 1824-1930), this particular brand was used in furniture between 1863 and 1871 according to some experts, after having been founded by Charles-Joseph-Marie Jeanselme in Paris in 1824 (Auguste Godin took over the management of the same in 1871; after his retirement, the firm was known as A. Godin et Cie until 1883; upon Godin's death, the business continued with the founder's son, Charles-Henri Jeanselme under the name Ch. Jeanselme et Cie until 1930). By the mid-19th century, the Jeanselme firm was one of the most renowned in Paris. Thus, it is possible to find important examples associated with this name in the Metropolitan Museum of Arts, in prominent residences and private collections, etc.

· Size: 125x55x132 cms.
ANTIQUES
FURNITURE

Ref.: ZF0465
VIEW OF THE PIER OF ANTWERP. OIL ON CANVAS. 18TH CENTURY.

View of the port of Antwerp. Oil on canvas. Flemish school, 18th century. The landscape features numerous ships and boats, accompanied by small figures. In the background, a city stands out, with walls, houses, towers, etc., among which a tall structure is prominent, which, along with the presence and shape of the port, clearly defines the view. The structure in question is one of the towers of the Cathedral of Our Lady (built between 1352 and 1521), and it features prominently in numerous views of the city. Compare it with a 16th-century copper engraving, copies of which are in several museums; Bonaventura Peeters the Elder's (1614-1652) View of the Port of Antwerp from the Vlaams Hoofd (Museum aan de Stroom); Mathys Schoevaerdts's View, painted between 1660 and 1702 (same museum); and so on.

· Size: 100x8x74 cms. int: 82x57 cms.
ANTIQUES
PAINTINGS

Ref.: ZF0975
GLASS AND BRONZE CHANDELIER. 19TH CENTURY.

Ceiling lamp with thirty lights. Bronze, glass. 19th century. A chandelier or ceiling lamp with a total of thirty lights and their corresponding glass saucers, reminiscent of the days when candles were used, and a gilt-bronze structure with arms decorated with scrolls and curved lines, on which clear glass pieces are placed along the central axis. A series of chains with polygonal beads, rectangular pieces, and others with particular shapes, upturned points, etc. adorn the different levels on which the lamp is structured. The variety of shapes and the quality of the colorless glass are worth highlighting. The profiles of some beads (teardrops, polygons, pendants) are found in both Bohemian and French works, and in most from the Royal Glass and Crystal Factory of La Granja de San Ildefonso (Segovia, Spain) due to their great popularity. Stars or florets are considerably rarer in the surviving examples, and, according to experts, are more often found in the French school (and in the Spanish school due to the latter's influence). The mastery of the carving is evident in the profiles and the fine modeling of the shaft. The decorative bronze elements clearly show Neoclassical influences, and the beaded and other glasswork is more reminiscent of the so-called "Maria Theresa lamps," based on those commissioned by Empress Maria Theresa for her coronation in factories in the Bohemian region of the Czech Republic in 1743. This typology spread rapidly throughout Europe, varying in design and serving as an example in major glass factories to this day. They clearly differ from the work done in Murano (Italy), but the chandelier follows a tradition that has its roots in Bohemia and continued in France, where as much attention was paid to gilded bronze as to glass. Similar lamps can still be found in prominent residences such as the Fernán Núñez Palace (Madrid), the Viana Palace (Córdoba), the National Museum of Decorative Arts (Madrid), the Paz Palace (Buenos Aires, Argentina), the Louvre Museum (Paris), and others.

· Size: 100x100x135 cms.
ANTIQUES
FURNITURE

Ref.: ZF1437
MIRROR. 20TH CENTURY.

Mirror. Carved and gilded mother. 20th century. Large mirror with a carved and gilded wood frame decorated with a series of classicist-influenced decorative elements reminiscent of 19th-century French influences. Certain details (the combination of openwork moldings and scrolls, the openwork curves of the crest, etc.) would, however, place it under the influence of certain artistic styles that emerged in Europe around 1900.

· Size: 141x10x217 cms.
ANTIQUES
FURNITURE

Ref.: ZF1438
MARBLE FOUNTAIN.

Double-cup fountain in height. Carved marble. A circular, fluted base is placed on a pedestal, on which the largest bowl of the fountain rests, decorated, like the smaller one, with simplified volutes. Between them, a vase has a scalloped lower half and a smooth upper half. The top shows a large, fluted pearl. Although the fountain is an element that was already used in Babylonian gardens, the present work is more closely related to Baroque models due to its structure and to more contemporary ones due to its lines.

· Size: 120x120x185 cms.
DECORATION
MARBLE SCULPTURES

Ref.: M0048
VASE OR URN. BLUE COBALT PORCELAIN, BRONZE.

Vase. Cobalt blue porcelain and gilt bronze. Cobalt blue glazed porcelain vase with gold-embossed details and a figurative theme in the centre of the piece, which has been highlighted with gilt bronze appliqués in the form of handles, finial, pieces and base, all decorated with motifs with a marked classicist influence. The inspiration of the Sévres Factory (France) is clear in the work, both in the tone of the porcelain (cobalt blue) and in the gold details, the figurative scene (a concert in an interior with a marked Rococo feel) and the decorative motifs (plant scrolls, figurative elements, garlands, details reminiscent of 18th-century Rococo, etc.), showing an important relationship with mainly 19th-century French models.

· Size: Altura 135 cms.
DECORATION
PORCELAIN

Ref.: S4655
STILL LIFE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (SPAIN, 1884-MÉXICO,...

Still life with fruit bowl. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed towards the bottom right corner and on the back. Aurelio García Lesmes was a Spanish painter who began his training in Valladolid and, thanks to a grant from the Provincial Council, continued it at the San Fernando Royal Academy of Fine Arts in Madrid. It was in Madrid that he gained wider recognition at the National Fine Arts Exhibitions (winning a Third Medal in 1917, a Second in 1922, and a First in 1926). In the capital, he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, and others, and divided his time between Madrid and Valladolid, where he painted his well-known canvases of Castilian countryside. Over time, he established himself as one of the most prestigious Spanish landscape painters of his era and set up his studio in Valladolid. After the Spanish Civil War, he went into exile in Mexico. His work can be seen in prominent institutions such as the Reina Sofía National Art Centre (Madrid) and the Patio Herreriano Museum (Valladolid).

· Size: 75,55x65 cms / int: 59x49 cms
ANTIQUES
PAINTINGS

Ref.: ZE296
STILL LIFE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (SPAIN, 1884-MÉXICO,...

Still life. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed towards the top right corner and on the back. Aurelio García Lesmes was a Spanish painter who began his training in Valladolid and, thanks to a grant from the Provincial Council, continued it at the San Fernando Royal Academy of Fine Arts in Madrid. It was in Madrid that he gained wider recognition at the National Fine Arts Exhibitions (winning a Third Medal in 1917, a Second in 1922, and a First in 1926). In the capital, he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, and others, and divided his time between Madrid and Valladolid, where he painted his well-known canvases of Castilian countryside. Over time, he established himself as one of the most prestigious Spanish landscape painters of his era and set up his studio in Valladolid. After the Spanish Civil War, he went into exile in Mexico. His work can be seen in prominent institutions such as the Reina Sofía National Art Centre (Madrid) and the Patio Herreriano Museum (Valladolid).

· Size: 75,55x65 cms / int: 59x49 cms
ANTIQUES
PAINTINGS

Ref.: ZE297
PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Square table top. Hard stones and marbles. The centre has been reserved with a black background to further highlight the border decorated with geometric elements framed by shields and simple shapes. The technique, very similar to wood inlay, is inspired by examples made in Italy and other important centres in France and Spain from the 16th to the 18th centuries, but the decorative motifs can be related more to the early examples from Medici Florence, before plants and birds became the main theme of these tables.

· Size: 120x120 cms.
DECORATION
HARDS STONES

Ref.: AM-50 SQ...
MAHOGANY DISPLAY CABINET WITH FOUR DOORS.

Mahogany wood display cabinet with six doors and eight drawers. The lower section of the display cabinet is divided into three parts, as is the upper section. The side sections each have four drawers, and the central section has two doors. The upper section has four doors, all decorated with tracery of straight lines and rectangles. A curved, broken pediment in the center, flanked by straight moldings, crowns the piece. Inspired by 19th-century English models

· Size: 224x205x50 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: JA090
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

Grille. Wrought iron. Spain, 17th century. Wrought iron grille with double-pear-shaped vertical bars decorated with small discs and other simpler vertical ones (flat above and below, the central one tubular and inserted through the vertical ones). The bars have a light vegetal relief, a technique also present in two discs on the sides of the piece. The shape is slightly reminiscent of works kept in the Victoria and Albert Museum in London and a confessional grille in the Metropolitan Museum in New York dated 1629 (inv. 57.137.51) and another from the same museum by Francisco González (inv. 56-234.12Ad).

· Size: 104x25x143 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z4880
TABLE. WALNUT. POSSIBLY CASTILLE, SPAIN, 17TH CENTURY.

Table with turned leg. Walnut wood. Possibly Castile, Spain, 17th century. Walnut wood table carved in its colour with a straight top, two drawers at the front decorated with interconnected circles (the two on the outside with a star on both and wooden handles) and four turned legs with balustrade shapes joined together by straight jambs (decorated only at the bottom with a simple cut-out on the front side, matching the cut-out edge of this front under the drawers). As this is one of the most common types of furniture in the Castilian school of all ancient Spanish furniture, it is relatively common to find similar examples in important private collections and prominent institutions. Compare, for example, the so-called “Bufete de la Inquisición” from around 1600 that is in the Museo Nacional de Artes Decorativas in Madrid, or with several small 17th-century buffets in the Museo Casa Natal de Cervantes (Alcalá de Henares, Madrid) and the Casa Museo Lope de Vega (Madrid).

· Size: 104x60,5x74,5 cms.
ANTIQUES
FURNITURE

Ref.: ZF0463
THE TEMPTATION OF SAINT ANTHONY. OIL ON CANVAS. 17TH CENTURY, AFTER DA...

Temptations of Saint Anthony the Abbot. Oil on canvas. 17th century, based on the model of David Teniers II (Antwerp, 1610-Brussels, 1690). Oil on canvas showing a figurative scene set inside a cave. To the right, a standing cross can be seen, leaning against it; to the left, a hut; and in the centre of the painting, an older, bearded man appears, leaning on a table on which there is a ceramic jar and a skull, with an open book at the foot of the table. The man looks towards a woman, who points to something outside, and is accompanied by a large frog and a series of ghostly beings or monsters dressed in brightly coloured clothes and clothing. Saint Anthony the Abbot or Anthony the Great (251-356) was a Christian monk, considered the founder of the eremitic movement. He was tempted on numerous occasions by the devil while he was in the desert, which became a frequent theme in art (as can be seen in this oil painting). He is represented in a black habit because the Order of the Knights of the Hospital of Saint Anthony (Hospitallers) placed themselves under his patronage, being the colour of the habits of the members of this order (the tau or Egyptian cross was also the symbol chosen by them). David Teniers II or the Younger was a prominent Flemish painter and engraver, son of David Teniers the Elder or I and father of David Teniers III, highly appreciated in his time for his scenes of villagers and common people, his paintings of painting monkeys, etc. He dealt with the subject of the Temptations of Saint Anthony on numerous occasions: Museo del Prado in Madrid, National Museum of Western Art (Tokyo, Japan), Wallraf–Richartz Museum (Cologne, Germany), etc. In the case of the present work, it is necessary to mention and compare it both with an oil painting kept in a private Parisian collection and with another sold at Christie's in 2018, which was in a Belgian collection, has been dated between 1630 and 1680 and is signed. It should also be noted that there are known engravings with this theme made from works by the painter (work in the Fine Arts Museum of San Francisco, United States of America, according to Frans van der Wyngaerde and dated in the 17th century; at UCLA in California, United States of America, also by Frans van der Wyngaerde and from the 17th century).

· Size: 52x4x47,5 cms. int: 42x35.5 cms.
ANTIQUES
PAINTINGS

Ref.: ZF0996
THREE FRAMED MINIATURES.19TH CENTURY

Frame with three miniatures. 19th century. Rectangular frame with a textile background showing three oval miniatures with female portraits, enhanced with gilded bronze frames (the side ones with lace trim, the central one crowned). On the back there are two rings at the top to hang the piece on a wall. Starting from the left and identified by small metal labels with black letters, we have “Madame Elisabeth” (Elisabeth of France [1764-1794] was the sister of Louis XVI and eldest daughter of Louis, Dauphin of France, and Duchess Maria Josefa of Saxony), “Marie Antoinette” (Marie Antoinette [1755-1793], Archduchess of Austria and Queen of France, was the daughter of Emperor Francis I and Empress Maria Theresa), and “Madame Lebrun” (Louise-Elisabeth Vigeé LeBrun [1755-1842], was the painter of Queen Marie Antoinette and a member of the French Academy since 1783). The three paintings, signed “Lebrun”, are inspired by works from the 17th century. In the same order as above: portrait painted by Vigée LeBrun around 1782 (Versailles, Musée National des Chateaux de Versailles et de Trianon, inv. mv 8143); portrait of Marie Antoinette with roses painted by Vigée LeBrun in 1783 (Versailles, Musée National des Chateaux de Versailles et de Trianon, inv. 3063); this miniature, made from a print, copies the self-portrait by Vigée LeBrun painted in 1782 and currently kept at the National Gallery in London (NG1653). It should be noted that the Museo del Prado (Madrid) has a composition similar to that present in both the miniatures and the frame (inventory O000657, O000658 and O000659).

· Size: 41,5x1,5x22,5 cms.
ANTIQUES
PAINTINGS

Ref.: ZF1151
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
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 patterns 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 also feature more wavy patterns (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 displays 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
PAIR OF IRON COLUMNS. POSSIBLY SPANISH SCHOOL, 17 TH CENTURY.

Pair of columns. Wrought iron. Possibly Spanish school, 17th century. Pair of architectural supports made of iron with a polygonal central axis, ending in a spherical shape on one side and in a support for a horizontal crossbar on the other. At this point two volutes flanking the aforementioned axis end. Weight: 310 kg.

· Size: 79x21x249 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1271B
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

«« « ...5 6 789 10 11... » »»

Results 169 to 192 of 1509

We are at

Subscribe to our press

Meet new items in catalog promotion news: do not miss the opportunity to learn about the latest.