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THREE DOOR LOUIS XV STYLE GLASS CABINET , MAHOGANY WOOD, 19TH CENTURY.

Louis XV style mahogany wood display cabinet, 19th century.
Three-door showcase with glass shelves supported by cabriolet legs with an outward scroll and on a stopper. The doors are lockable and feature painted panels and trim in combination with frisage in a lighter wood. The entire surface of the cabinet is decorated with plant motifs, and a head of an angel finishes off the central body of the cabinet, which is wider and taller than the sides.
The plant elements that decorate the entire surface of the showcase, focusing on the upper and lower ends of it, respond to the characteristics of the Rococo style. The curved shapes of these rockeries stand out, extending into the furniture doors to give it movement, combining asymmetrical elements with other symmetrical ones.
The only decorative hardware that it presents are the lock shields of the three doors and the hinges, in gilt metal. While the standard in French furniture is the combination with more decorative elements in bronze, it is not particularly unusual to find examples where the only decoration is carved wood and some frisage work. Yes, a perfect union between structure and decoration can be seen here.
The painted scenes that decorate the side doors are children and a harp in one and a woman with a Cupid in the other. Technically, they are reminiscent of the plates made with the so-called "Vernis Martin" that was used to be applied to furniture at the time. They show inconsequential themes, appropriate for interior decoration and that perfectly fulfilled their role of bringing delicacy and color to the furniture, in addition to being framed within the Gallant Painting, characteristic of the Rococo.
All the decorative elements of the furniture have been made in the Rococo style, also known as Louis XV (1710-1774) because it was during his government when these forms were adopted in France. In the 19th century, as with others, numerous pieces were made taking inspiration from what was created in the 18th century and providing a series of peculiarities typical of the time, such as, in this case, the abundance of decorative moldings with rockeries and the striking movement of the lines that mark the lower and upper areas of the display case."

· Size: 250x65x292 cms.
ANTIQUES
FURNITURE

Ref.: Z3037
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”SAINT SEBASTIAN AND SAINT ROCH”, ANTONIO VÁZQUEZ (VALLADOLID, SPAIN, ...

"San Sebastián and San Roque". Antonio Vázquez (Valladolid, 1485-1563), around 1530.
Oil on panel.
Two male figures stand in the foreground, highlighted against a landscape background. The one on the left is Saint Sebastian, half-naked and tied to a tree, his body bowed; the one on the right is San Roque, dressed as a pilgrim, a dog with a bread in his mouth at his feet and an angel on the right with a tray of healing items for the sore on the saint's leg, which shows raising his clothes. Both saints appear with the most common iconography of their time: in the first case, the martyrdom of Diocletian's officer; in the second his attire, the dog that brought him food and the angel that provided cures for his thigh wound.
Antonio Vázquez was a Spanish Renaissance painter active in Valladolid and its surroundings, who stands out for his extensive production and for being the most requested and valued in his city and surroundings. The attribution of this table to the teacher is reasoned and documented by Isabel Mateo in her study, who relates it to one, very similar and on the same subject, preserved at the Wellcome Institute for History of Medicine, London, which she considers prior to the present for about fifteen years, despite the fact that all the known work of the painter dates to the 1530s due to the difficulty of establishing a clearer chronology due to the lack of works from his last stage. In addition to highlighting characteristic elements of Vázquez's style (faces, Saint Sebastian's ear, hair…), he compares this oil with other well-known works, such as the Virgin of the Crucifixion from the National Sculpture Museum of Valladolid, an altarpiece dedicated to Saint Bernard with Christ who appeared in the London trade in 1993, that of the church of Calabanzos (Palencia), etc. And the great workshop of the painter stands out, in which his son and brother-in-law also worked, and which, except for a few examples, maintained a high level of quality, in addition to the slight Renaissance influence of the panel, which evokes the "four-century". and the scarce wealth of iconographic themes in the master's career, which has allowed the attribution of numerous works with some certainty."

· Size: 70x4x95 cms.
ANTIQUES
PAINTINGS

Ref.: Z6562
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CUBPBOARD WITH WRITTING DESK (BARGUEÑO). WOOD AND WROUGHT IRON FITTING...

Bargueño of three bodies. Walnut wood and wrought iron. Asturias, Spain, 17th century.
The bottom is a two-door locker with carved decoration, the middle is a flip-top desk, and a two-door cupboard above. On the outside, below, rhomboidal geometric motifs alternate on the sides and tabs in the center, rectangular elements above and below and plant elements; the doors show moldings around rectangles resembling pictures and frames; the upper part, in addition to those carved details mentioned, has its doors and two openwork sides with balusters. The whole is finished off by a split pediment decorated with drops like those used under triglyphs in classical art.
The lower doors are secured by latches and feature teardrop-shaped handles. The desk has a handle and a key closure with the horseshoe shield highlighted and decorated with an openwork metal plate with S-shaped braces flanking a central shield, topped by a simplified floral detail; Inside, the drawers are divided into an upper and a lower band with four each and a central area of two drawers on the sides of an open central chapel with a semicircular arch, and the fronts, in all, decorated with marquetry of simple geometric lines. The pantry doors are locked.
The carved decoration already appears on the fronts of cabinets and in the 16th century lockers and the inclusion of details used in architectural entablatures of that style belong to Renaissance influence. However, the more vertical than horizontal proportions of the furniture are seen in those known as "Carlos V", which appear towards the second third. The Spanish taste for carved panels and moldings can be seen clearly in this example, and the marquetry inside the desk resembles that of others of Asturian manufacture. Logically, balusters and movement details show belonging to the Baroque.
Also known as "cabinet cabinet", this type of furniture did not belong to strictly domestic furniture, but was used in public places or rooms of important residences where they could be contemplated. For this value, examples like the present one were not too common, but some very similar ones have been preserved in important private collections. Compare with a very similar example preserved in the León Provincial Ethnographic Museum in Mansilla de las Mulas, but it can also be related to others such as the cupboard in the Lope de Vega House Museum in Madrid (inventory CE00234) from towards the end of the 17th century. or the cupboard of the National Museum of Decorative Arts in Madrid (CE02504)."

· Size: 105x46x215 cms.
ANTIQUES
FURNITURE

Ref.: Z4716
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PAIR OF POLYCHROMED WOODEN SCULPTURES. “SAINTS APOSTLES JOHN AND PAUL”...

Pair of polychrome wood sculptures. "Saint John and Saint Paul". Castilian school, 16th century.
Both male figures have been represented standing, with their main iconographic attributes and dressed in the timeless robes that the time reserved to highlight the sacred people. The youngest has a chalice in his hand, from which comes out a serpent, and an eagle at his feet; the bearded man presents a sword with the hilt visible.
The first is Saint John, with the eagle of the Tetramorph alluding to his Gospel, and the chalice related to the episode of the Golden Legend of Jacobo de la Maelstrom in which he tells that the Emperor Domitian wanted to kill him with a wine with poison, which escaped in the form of a serpent after the evangelist blessed the cup. The second is Saint Paul, with that characteristic aspect that relates him to much earlier early Christian works and to the sword of his martyrdom, which also refers to a text from his Letter to the Ephesians.
Stylistically, both round-shaped devotional carvings show a marked Italian Renaissance influence in cloths, contrapposto, proportions and gestures, distancing the works from the other trend of the time that was closer to Flemish models, who preferred greater drama. The Gothic has been left behind, as evidenced by the naturalness of faces, folds, anatomy and gestures, after much effort. It was necessary first to accustom the clientele to new tastes and for the artists to learn the technical and aesthetic novelties that the arrival of the Renaissance brought, and it developed at different times and at very different levels depending on the region or artist. Compare the works, for example, with the San Juan de Círculo by Juan Rodríguez from the Simón Díaz Foundation (work deposited in the Museum of the Fairs of Medina del Campo, Valladolid)."

· Size: 26x26x76 cms.
ANTIQUES
SCULPTURE

Ref.: Z3642
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TABLE. WALNUT, WROUGHT IRON. SPAIN, 17TH CENTURY

Table. Walnut wood, wrought iron fasteners. Spain, 17th century.
Rectangular tabletop table headed at the top with wrought iron fasteners and legs carved with a shape that slightly reminds of the type known as "lira", worked on the sides and at the bottom of the horizontal crossbar that joins them in pairs. two. The curves of this size place the work within the Baroque, following a typology that will be very frequent in Spanish furniture during the following centuries. Similar specimens can be found in prominent private collections and in museums such as the Casa de Cervantes in Alcalá de Henares (Madrid), the National Museum of Decorative Arts in Madrid, etc."

· Size: 130x78x80 cms.
ANTIQUES
FURNITURE

Ref.: Z4748
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PAIR OF COLUMNS, POLYCHROMED WOOD, 18TH CENTURY.

Pair of carved, gilded and polychrome wood columns, 18th century.
Both the same, stand on two bases, present entasis on their shafts, decorated with motifs inspired by the classical world, and capitals composed under a flat molding. They probably belonged to an altarpiece, and it is necessary to highlight the quality of the carving work and the painting of the shafts, imitating green marbles."

· Size: 18x18x133 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z1582
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GILLER-FALLER CAMERA WITH PROFESSIONAL STAND, FRANCE, CA 1925.

Gilles-Faller (Paris) studio easel photographic camera, France, circa 1925.
Studio photographic camera with bellows in very good condition, two lenses and mounted on an easel on rollers for professional use that has a crank for adjusting the camera in height and diagonals. Made of wood and gold metal and in its color, it presents the manufacturer's plate on the front.
The professional and amateur photographic equipment company was founded in 1855 by Besson, who later partnered with Gilles. Around 1870, this second family continued the business until, around 1900, "Guilles Fils" was succeeded by "Gilles E.", which became associated with Faller, giving rise to "Gilles-Faller", which in 1924 would become Société Anonyme (d'Exploiation) des Anciens Établissements Guilles-Faller. The identification plate located on the camera lens refers to this last stage, and locates the headquarters at 31 Rue Navarin in Paris, where they would have been established around 1900, but without mentioning the number 33 of the same street (which they would buy, at the latest, in 1926, as 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 catalog of the house from 1928 (Bibliothèque Nationale Française, Paris) that was sold with the “Chambre Gilles B 30x30” model together with a series of elements. All the models of the house allowed the free combination of shutters and also lenses: note the two present, in good condition. Looking at the aforementioned advertising, there is a peculiarity: in this case the rectangular camera (18X24) requires a specific easel, which could be included in the lot with an extra in francs. Made in walnut finish, which the client could choose between patent leather or varnished, the rails that allow the movement of the camera can be appreciated by means of the wheels on the right and the reinforced canvas gusset."

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

Ref.: Z3397
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VIRGIN WOMAN WITH CHILD, 17TH TO 18TH CENTURIES

Spanish school from the late 17th - early 18th century.
"Virgin with Child".
Carved and polychrome wood.
Devotional image carved in wood in a round and polychrome bundle, framed within the late Spanish Baroque. It is a sculpture of monumental conception, with large and monolithic figures, with volumes enhanced through the bombastic folds of Mary's tunic. The Virgin appears standing up, 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 in turn leans forward, thus compensating for the composition. The Child appears raising his right hand as a sign of blessing, while the other hand rests on a sphere, 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 nested in it. With the State economy broken, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and brotherhoods of clergy and laity that promoted its development, the works being paid for at times by popular subscription. The sculpture was thus doomed to capture the prevailing ideals in these environments, which were none other than the religious ones, at a time when the counter-reformist doctrine demanded a realistic language from art so that the faithful understood and identified with what was represented, and an expression endowed with an intense emotional content to increase the fervor and devotion of the people. The religious issue is, therefore, the preferred theme of Spanish sculpture of this period, which starts in the first decades of the century from a priority interest in capturing the natural, to gradually intensify throughout the century the expression of values expressive, which he achieves 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
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WALL CLOCK WITH MUSIC BOX, 19TH CENTURY.

Carved wooden wall clock with metal disc music box, 19th century.
Clock divided into two parts: the upper part, flanked by columns on moldings, presents a dial with Roman numerals and a chromatic play in silver and gold with engraved details reminiscent of Gothic models; the lower one, flanked by pilasters and with a vegetal motif inspired by Baroque works, has a door that hides the pendulum and the mechanism of the music box. The mixture of decorative styles in the work is characteristic of the furniture of the 19th century, a time when the music box would be a technological novelty of great importance."

· Size: 37x22x95 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z3152
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SAINT PAUL\'S SCULPTURE. 16TH CENTURY

Spanish school of the 16th century.
"Saint Paul".
Carved and polychrome wood.

Devotional image of round bundle carved in wood, polychrome and gilded, representing the Apostle Saint Paul, dressed in a tunic and cloak, with a split beard, brown hair and a great sword, his main iconographic attribute. In the Middle Ages numerous corporations were placed under his patronage, due to different aspects of his iconography, life and miracles. However, Saint Paul was never a popular saint, which proves the relative poverty of his iconography. In fact, the role it occupies in art is out of proportion to its importance in the spread of Christianity. In early Christian art he only had a book or scroll as attributes, and in the 13th century his emblem appeared, the sword that was the instrument of his martyrdom.
Once the clash between tradition and modernity had been overcome, the arrival of the influences of the Italian Renaissance in Spain, the full 16th century was characterized by the great development of religious imagery. Likewise, stylistically, a confrontation will take place between sculptors who are classicists and those of flamenco affiliation, who were looking for more dramatic and emotional approaches. In this way, the diffusion of the religious image in Spain was based on two fundamental bases. On the one hand, the fact that the Nordic influence constitutes a clearly differentiated alternative to the Italian classicist model; on the other, that the emotional sense, which by its own function has to acquire the religious image, will be oriented more to enhance the feeling, to move the faithful, than to follow the rationalist dictates of the Renaissance. So much so, that in Spain attention to the emotional was more relevant than in the rest of Europe. In this way the image, associated with the word of the preachers, was the most suitable instrument for the indoctrination of the people and for the defense of the canons of the Church, following scholastic and non-humanistic approaches"

· Size: 19x12x39 cms.
ANTIQUES
SCULPTURE

Ref.: Z3024
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ALTAR FRONT FOR PRIVATE CHAPEL, POLYCHROMED WOOD, BAROQUE, SPAIN, BEGI...

Baroque private altar frontal in carved and polychrome wood, Spain, early 18th century.
The work is completed by a broken pediment in the center on a protruding entablature that rests on the lower body, flanked by two columns of helical shaft and compound capital, and composed of a molding that frames a semicircular arch on pilasters and a background with trompe l'oeil of cloth. This type of frontal was normally used in private chapels to highlight sacred images, and its decorative elements refer to Spain in the 18th century."

· Size: 140x35x155 cms. (Int. 46x26x85 cms.)
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0747
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WATERCOLOUR. LANDSCAPE BY CIRILO MARTINEZ NOVILLO

MARTÍNEZ NOVILLO, Cirilo (Madrid, 1921 - 2008).
"Landscape", 1972.
Watercolor.
Signed and dated in the lower right corner.
Cirilo Martínez Novillo is one of the most prominent representatives of the so-called Madrid School, the city where he began his training at the School of Arts and Crafts. During the Civil War he entered the Higher School of Painting and attended the workshop of Daniel Vázquez Díaz, who would become his teacher, supporting him throughout his career. In 1946 he presented his work for the first time, within the framework of a collective held at the Bucholz gallery in Madrid. The following year he will hold his first individual exhibition in this same gallery. In 1948 he held an exhibition in the prints room of the Museum of Modern Art in Madrid, critics began to echo his work and he was selected to participate in the exhibition "Spanish Art", held in Buenos Aires and organized by the Ministry of Education. From this moment on he will carry out exhibitions in various Spanish cities and in France, and will participate in groups such as the Venice Biennale (1950) or the Salon de los Once (1951). Between 1952 and 1953 he traveled to Paris three times thanks to various scholarships. His period of maturity began with a new visit to Paris at the beginning of the sixties, to later travel to Switzerland, Germany, Holland and Belgium, obtaining several medals at the National Fine Arts Exhibitions, as well as the Biennial Painting Prize. Hispano-American from 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, those of Fine Arts in 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
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VERAWOOD AND MARQUETRY EDUARDIAN CREDENZA, BEGINING 20TH CENTURY.

Edwardian sideboard in rosewood and fruit marquetry, early 20th century.

Four turned legs support the sideboard, which consists of a gap under two drawers flanking another space, and a top part decorated with mirrors and architectural lines. The surface features a series of plant motifs, scrolls and vases made of fruit wood 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 modernizing medieval styles, elements taken from Georgian, etc."

· Size: 137x42x205 cms.
ANTIQUES
FURNITURE

Ref.: Z6209
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WATER PAINTING.\'LANDSCAPE WITH SHRINE\'. AGUSTÍN REDONDELA

REDONDELA, Agustín (Madrid, 1922).
"Hermitage".
Watercolor.
Signed and titled in the lower area.
A mainly self-taught painter by training, Agustín González Alonso was trained together with his father, the painter and set designer José González “Redondela”. After the civil war, he attended classes at the Madrid School of Arts and Crafts with the landscaper José Ordoñez, and in 1945 he sent a painting to the National Exhibition of Fine Arts for the first time, signed under the pseudonym Redondela. That same year he will hold his first personal exhibition, at the Estilo gallery in Madrid. It was at this time that he came into contact with the Madrid School, and in 1947 he was selected to exhibit at the Hall of the Eleven of the Eugenio d'Ors Brief and Critical Art Academy. Already in the fifties, Redondela obtained a scholarship from the Catherword Foundation in Philadelphia (1954), the National Prize for Painting (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 Center of the Villa de Madrid dedicated an important Anthological exhibition to him. It 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 in Zaragoza, those in Buenos Aires, Caracas and Havana and the House-Museum by Oswaldo Guayasamín in Quito, among other public and private collections."

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

Ref.: Z3942
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MAHOGANY TABLE FOR GAMES, 19TH CENTURY.

Mahogany wood game table. XIX century.
The upper tabletop has a rectangular shape and curved profiles, and is supported by two balustraded legs that end in two supports shaped like cabriolet legs, decorated with moldings. Both have been secured by a turned chambrane, and feature metal sheaves. The lines recall Baroque examples, while the decorative simplicity refers to neoclassical models, a common mix in 19th century furniture."

· Size: 95,5x48x74 cms.
ANTIQUES
FURNITURE

Ref.: Z3056
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WATER PAINTING. LANDSCAPE BY AGUSTIN REDONDELA

Agustín Redondela (Madrid, October 29, 1922)
Painter of training practically self-taught and considered one of the most original Spanish landscape painters of the 20th century."

· Size: 24x16 cms.
ANTIQUES
PAINTINGS

Ref.: Z3943
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R.DOMINGO 1901. \'ARTILLERY MANEUVERS\'

DOMINGO FALLOLA, Roberto (Paris, 1883 - Madrid, 1956).
"The load", Paris.
Watercolor on paper.
Signed and located in the lower right corner.

Domingo trained in Paris with his father, the painter Francisco Domingo Marqués, and later at the San Fernando Academy of Fine Arts, where he was a disciple of Antonio Muñoz Degraín. He participated in national and foreign exhibitions, obtaining the third medal at the National Exhibition of Fine Arts in 1908, the second in the 1910 edition and the first in 1915. He also held exhibitions in Rome and London. Traditional painter, he specialized in bullfighting themes, which gave him great fame and prestige. Roberto Domingo is represented in the Prado Museum, the Museum of Fine Arts in Granada, the Provincial Museum of Cádiz, the Municipal Museum of Madrid, the Taurinos de Las Ventas in Madrid, La Maestranza in Seville, Valencia and Viana de Cega (Valladolid), the of Drawing of the Castle of Larrés (Huesca) and those of Havana and Hemingway of Cuba, among many others."

· Size: 42x51 cms. int: 30.5x22.9 cms
ANTIQUES
PAINTINGS

Ref.: Z4092
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PAIR OF CHIMNEY ANDIRONS, GILT BRONZE. FRANCE, 19TH CENTURY.

Pair of andirons in gilt bronze and iron. France, 19th century.
The area closest to the fire has been left undecorated. The front presents two cupids with butterfly wings, a common detail in the 19th century, as are the eggs, shields and plant elements that complete the figures. Forms inspired by classicism are common in Neoclassicism and in all decorative styles of the 19th century."

· Size: 25x20x10 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3052
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WALNUT DAVENPORT DESK, ENGLAND, 19TH CENTURY.

English "Davenport" walnut wood desk, 19th century.
Desk with four drawers on the side, inkwell with closure on the top and folding tabletop with key lock. This typology is known as "Davenport" because it was a captain with that surname who first ordered this Gillows of Lancaster furniture towards the end of the 18th century, from which time these desks were made with a variety of remarkable decorative elements.
Requires restorations"

· Size: 55,5x57x79 cms.
ANTIQUES
FURNITURE

Ref.: Z3099
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SILVER CRUET STAND. CÓRDOBA (SPAIN), CRISTÓBAL SÁNCHEZ SOTO (1755-1802...

Convoy of cruets in silver. Córdoba, Cristóbal Sánchez Soto (1755-1802), towards the third third of the 18th century.
With contrasting and chipping marks.
The present convoy maintains in its lines a slight Rococo memory, but it also advances something of the Neoclassical decorative purity. The architect, Cristóbal Sánchez Soto, is widely recognized for works of great importance such as litters for the Virgen de la Soledad and a tabernacle, both for the Hermandad del Nazareno de Córdoba, for example. The other two punches that appear are those of the locality (Córdoba) and that of the assayer, Juan de Luque y Leyva (1721-1779)
Weight 400 gr. ."

· Size: 20x11x21 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6547
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BRONZE MORTAR 17TH CENTURY

Bronze mortar from the 17th century, decorated with ribs in the shape of banded pilasters and, on the plans, cartouches with the representation of the Archangel Saint Michael in relief."

· Size: 7x7x12 cms.
ANTIQUES
MISCELLANEOUS;BRONZE MORTARS

Ref.: Z4723
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”FRIAR” ARMCHAIR. SPAIN, 20TH CENTURY.

Frailero armchair. Carved wood, textile. Spain, 20th century.
Also called “armchair”, this type of seat was very common in Spain despite its Italian origin. The typology was introduced in the 16th century, and it remained the norm in Spanish furniture during the following centuries, becoming really popular in the 19th and 20th as pieces influenced by past styles became fashionable. It has a back and seat upholstered in red fabric, with studs, and carved decorations on the arms, back, waist and chambranas. It recalls outstanding examples such as several from the 19th century preserved in the Lázaro Galdiano Museum in Madrid, etc."

· Size: 61,5x58x124 cms.
DECORATIVE ANTIQUES
FURNITURE

Ref.: Z0732

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