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Bacon table. Carved walnut wood. Spain, 17th century.
Table with a straight rectangular board protruding from the smaller sides, a drawer in front and straight legs carved in the shape of a column with an entasis in the center, joined together with a simple perimeter shell. Presents restoration. The small decorative elements of the furniture (moldings on the columns, rectangular carvings on the front) are reminiscent of ancient examples of Spanish furniture."
· Size: 55x83x51 cms.
ANTIQUES
FURNITURE
Ref.: Z6394
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Convoy of silver cruets. Córdoba, Cristóbal Sánchez Soto (1755-1802), towards the third third of the 18th century. With contrast and burilar marks. The present convoy maintains a slight Rococo memory in its lines, but also advances some of the Neoclassical decorative purity. The architect, Cristóbal Sánchez Soto, is well known for works of great importance such as litters for the Virgen de la Soledad and a tabernacle, both for the Brotherhood of the Nazarene of 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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Frame. Carved and gilded wood. Century XVIII. Rectangular frame made of carved and gilded wood that combines a thin smooth band on the inside, with another carved band with a band and another on the outside, in which smooth areas are combined with delicate plant details (these in the same finish as the rest of the molding, highlighted on a striped background). Currently, the value and appreciation of frames are on the rise due to the search for them by museums and important institutions, with the aim of giving the works the frames they would have originally. Hence, similar examples are found in some paintings by Vermeer, for example, or can be found in the Metropolitan Museum in New York, the Louvre Museum, the British Museum and the Victoria & Albert in London, etc.
· Size: 75x6x58 cms. / 50x38 cms.
ANTIQUES
Ref.: ZE225
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Relief. Carved, polychrome and gilded wood. Century XVI. Slightly rectangular wooden plaque decorated with a relief on its front, made by lowering the shape so that “a frame” remains on the board that serves as the base of the work. It is possible to see, with a golden finish, a symmetrical composition with a polychrome angel head topped by an axis with plant elements and a molding, from which two fantastic birds resembling eagles stand back to back and joined to that “line.” for their tails. The background does not present any decorative element, neither carved nor painted, thus leaving the aforementioned elements to take center stage. These types of compositions were very common in the Renaissance throughout Europe, as the “fashion” of grotesques spread from Italy. In the Spanish case, it is possible to compare it with elements present in many other works of the 16th century, such as the Main Altarpiece of the Parish Church of Santa María (Villa de Tauste, Zaragoza) made of Scots pine wood and the polychrome probably finished in 1529; the frieze with angel heads from Diego de Sagredo's work titled “Medidas del Romano” (1526, Toledo); works of Diego de Siloé; Main Altarpiece of the Collegiate Church of Torrijos (Toledo), commissioned in 1558 by Juan Correa de Vivar and which presents fantastic winged animals similar to those of the present relief in some details; etc It is necessary to indicate that these decorative motifs will have a long tradition in Spanish Art. It is very possible that the present relief plaque was created to be part of an altar in a church although it is not decorated with a religious theme (note that the theme of the “winged heads”, often called “putti”, also comes from of Italy and is found in both civil and religious works).
· Size: 22x5x27 cms.
ANTIQUES
Ref.: ZE237
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Pair of reliefs; grotesques or candelieri. Carved, polychrome and gilded wood. Century XVI. Pair of reliefs made of hand-carved, gilded and polychrome wood, each showing a winged angel head (or putti), located on a vertical element that serves as the axis of symmetry for the composition of the relief. The rest of the motifs that complete the works are scrolled leaves, floral or vegetal details, lacework, moldings, all of clear classicist influence. The background does not present any decorative element, neither carved nor painted, thus leaving the aforementioned elements to take center stage. These types of compositions were very common in the Renaissance throughout Europe, as the “fashion” of grotesques spread from Italy. Compare, for example, with the frieze reflected in an image of Diego de Sagredo's work entitled “Medidas del Romano” (1526, Toledo); details of the Chapel of Santa Librada of the Sigüenza Cathedral by Francisco de Baeza (around 1520); others from the façade of the Senior Schools of the University of Salamanca; Main Altarpiece of the Collegiate Church of Torrijos (Toledo), commissioned in 1558 from Juan Correa de Vivar; etc It is necessary to indicate that these decorative motifs will have a long tradition in Spanish Art. It is very possible that the present relief plaque was created to be part of an altar in a church although it is not decorated with a religious theme (note that the theme of the “winged heads”, often called “putti”, also comes from of Italy and is found in both civil and religious works).
· Size: 14x5x22 cms.
ANTIQUES
Ref.: ZE238
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Reliefs with heads of angels. Polychrome and gilded wood. Spanish school, 16th century. Pair of rectangular boards with a hanging ring on the back that present, on the front, two deep figurative reliefs. On a golden background, two winged children's heads are shown, one looking to each side. Note the golden details on the feathers, with a somewhat heraldic arrangement and shape, and the pictorial treatment of the hair. This type of reliefs were very common in the Spanish school since the Renaissance to decorate altarpieces, altars, etc. Weight: 600 grams.
· Size: 32x6x11 cms
ANTIQUES
Ref.: ZE371
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Historical compendium of the harquebusiers of Madrid… Soler, Isidro (fl. Ca. 1795). Madrid, 1795. Original, leather binding. 86 pages. Perfect state of conservation. “Historical compendium of the harquebusiers of Madrid from their origin to the present time, with two plates in which the marks and countermarks they used in their works are engraved,” by Isidro Soler, harquebusier of the King Our Lord. Pantaleón Aznar printing press, 1795, Madrid. 86 p., 2 hrs. of engraving. Full leather binding with gilded spines and decorated ribs; songs, countersongs and golden cuts; Cover with embossed and gilded borders framing a royal super booklet with Golden Fleece and closed crown.
· Size: 15,5x1,5x20,5 cms.
ANTIQUES
Ref.: ZF0568
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Frame. Gilded and polychrome wood. XVII century. There is loss in the lower left area. Frame made of gilded and polychrome carved wood in certain areas that presents a decoration based on bands (alternating plain ones with others with vegetal and architectural elements) and an enhancement in the upper part with vegetal and architectural motifs, combining in this area and below the polychrome with gilding. Note the similarity between the decoration and lines that this piece presents and certain Spanish baroque altarpieces from the 17th century.
· Size: 105x16,5x101,5 / int 81x57 cms.
ANTIQUES
Ref.: ZF0631
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Writing desk with three inkwells. Silver. Real Fábrica de Platerías Martínez, Madrid, 1845. With contrast markings. Silver notary in its color composed of a rectangular tray with raised and openwork sides and openwork decoration on the longer sides (down), and three containers (two cup-shaped) topped by figurative elements. Both the decoration of the elements and their lines show a clear influence of Neoclassical models based on Antiquity. The contrast marks present link the piece with the city of Madrid (Spain), also adding the date and the silversmith. The Royal Silver Factory of Martínez was founded in 1778, and marked the introduction in Spain of the industrial manufacturing method in the field of silver work and of neoclassical aesthetics in Spanish silversmithing. Likewise, it was one of the most important silversmithing centers in the history of Spain, and was characterized by the originality of its designs and the perfect finish of its pieces. Compare the present piece, for example, with the mancerina with tray and acanthus leaves from the same factory dated 1834 in the History Museum of Madrid, and with other works preserved in private collections. Weight: 490 grams.
· Size: 23x11x10 cms
ANTIQUES
Ref.: ZF0680
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Special Offer!
Table clock with lantern. Bronze, wood, glass. XIX century. Table clock with a base enhanced by a series of gilded bronzes in a marked Renaissance and classic style that has a rocky upper part (in which the white dial is located, with Roman numerals), on which a young man leans, who looks up at a vine with bunches of grapes. The clock is protected with a glass lantern with a wooden base decorated with light-colored marquetry, with a floral and plant theme.
· Size: 40x20x27 cms. reloj 33x13x45 cms.
ANTIQUES
Ref.: ZF0941
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Pair of spout jugs. Silver. BENITO GÓMEZ, Antonio (1775-1835). Segovia, Spain, 1801-1835. With contrast markings. Pair of spout jugs with a circular base with moldings, a low conical foot and a tubular body finished in a semisphere in the lower area and with a flat molding in the upper part; The handle, in double shape, has a simple volute or branch that rests towards the mouth of the piece; The beak shows a simple decoration. Typologically, the present pair is linked to a type of spout jug that, with variations, is common in Hispanic domestic silverware from the first half of the 17th century to the beginning of the 18th century, and is also found after this date. As usual, the civil model was quickly assimilated by religious silverware, especially for use in liturgical cruets. Antonio Benito Gómez (1775-1835) was a silversmith who worked in Segovia, at least, from 1801 until he died, also being a marker of carved silver between 1824 and 1828, and between 1831 and 1835. Son of the silversmith Juan de la Cruz Benito , several works by his hand have been preserved: baptismal shell and rostrillo for the church of Vera Cruz in Zamarramala, a hyssop found in the church of Nuestra Señora de los Dolores in La Granja de San Ildefonso (Segovia), etc. Stylistically, most of his known work is clearly reminiscent of Rococo, although some Neoclassical pieces stand out.
· Size: 8,5x5,5x8 cms.
ANTIQUES
Ref.: ZF0984
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Crucified Christ. Ivory, ebony wood. Possibly French school, 19th century. Christ crucified with three nails, Crown of Thorns with several intertwined branches and purity cloth with string, which is fixed to a Latin-type cross made of wood and with no other decorations than the INRI cartouche (JESUS NAZARENUS REX JUDAERUM, Jesus Nazarene King of the Jews) located above the head of Jesus. Note that there is no sore on the side. The entire piece is carved in ivory, and the nails mentioned (two in the hands, one for the feet) are made of metal. The piece presents similarities with works from the French school of the 19th century. Although it resembles in only some details (general posture, hands) carvings by Desirée Manceau (act. Paris late 19th century - early 20th century), it is necessary to highlight its greater resemblance to ivory crucifixes from A. Leroy's workshop in Brussels preserved in private collections (purity cloth, posture, absence of notable wounds, etc.).
· Size: 28x6x50 cms. Cristo: 22x3,5x25,5 cms. cabeza a pies 24 cms
ANTIQUES
Ref.: ZF1059
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Crucified Christ. Polychrome wood. Flemish school, Mechelen, 16th century. It has faults. Polychrome wood carving that shows the deceased Christ (eyes closed and head fallen) on the cross, with a small, golden purity cloth that reveals an anatomy already with a clear classicist influence, as is common in Renaissance carvings throughout Europe . The face and hair and their pictorialism, the movement of the perizonium and the presence of three nails instead of four also correspond to the period. There are known works produced in Mechelen that, perhaps, were intended to form an iconography known as Déesis. These would be carvings of the Virgin and Saint John, which would flank a Crucified in a very common iconography of the time. Some Crucifieds have also been preserved whose group, in principle, would not be known. Compare the present example with the Christ from the so-called “Jardin clos du Calvaire” of the Hof van Busleyden Museum (inv. GHZ BH0003), or that of the Museum of Fine Arts of Arras (inv. 945.3.45), both linked to Master Cornelis . Weight: 200 grams.
· Size: 27x9x27 cms.
ANTIQUES
Ref.: ZF1207
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Crucified Christ. Polychrome wood. Flemish school, Mechelen, 16th century. It has faults. Polychrome wood carving that shows the deceased Christ (eyes closed and head fallen) on the cross, with the Crown of Thorns, and a small purity cloth that reveals an anatomy already with a clear classicist influence, as is usual in carvings Renaissance from all over Europe, although somewhat stylized. The face and hair and their pictorialism also correspond to the period, and the presence of three nails instead of four. There are known works produced in Mechelen that, perhaps, were intended to form an iconography known as Déesis. These would be carvings of the Virgin and Saint John, which would flank a Crucified in a very common iconography of the time. Some Crucifieds have also been preserved whose group, in principle, would not be known. Compare the present example with the Christ from the so-called “Jardin clos du Calvaire” of the Hof van Busleyden Museum (inv. GHZ BH0003), or that of the Museum of Fine Arts of Arras (inv. 945.3.45), both linked to Master Cornelis . Weight: 150 grams.
· Size: 7x6x29 cms.
ANTIQUES
Ref.: ZF1209
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Pair of urban views. "Venice". Marianne Lucy Le Poer Trench (England, 1888-1940). Signed in the lower right corner. Pair of paintings with urban views of the Italian city of Venice. Marianne Lucy Le Poer was a landscape painter and teacher who studied at the Slade and exhibited regularly from 1920 at the Royal Society of British Artists, the Royal College of Art, the Royal Scottish Academy, the Royal Academy, etc. , becoming Associate Professor of the Royal Society of British Artists in 1926.
· Size: int. 30x35 cms.
ANTIQUES
PAINTINGS
Ref.: Z3730
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Showcase. Mahogany wood. XIX century. Tall display case made of carved mahogany wood with golden metal elements that has a glass door with key closure and has been enhanced with legs and a crown carved with vegetal and architectural elements of classicist inspiration. Both the decorative motifs mentioned and the proportions and lines of the furniture show a clear influence of French prototypes.
· Size: 113x48x243 cms.
ANTIQUES
FURNITURE
Ref.: Z5530
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Crismera. Silver in its color. Century XVI. Non-original cover. Silver chrysmera in its color with a circular foot decorated with an engraved composition of plant elements and a flat circular body with two handles in “ese” with plant motifs and a small neck at the top covered with a lid topped by a ring (which It is not the original of the piece). The body has, on one side, engraved a cross on a pedestal with a shroud hanging from it, all within an engraved frame; On the other hand, with a frame similar to the one mentioned, the letters “ihs” appear (a Christogram of ancient origin, already used in the Paleochristian era, which gave rise to varied etymologies and was adopted as a seal by Saint Ignatius of Loyola, founder of the Jesus company). Weight: 157 grams.
· Size: 6,5x 10x15 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS
Ref.: Z5977
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Letter holder. Polychrome bronze. Vienna, 19th century. Polychrome bronze letter holder in the shape of a lectern decorated with elements of strong classicist influence (and reminiscent of the Renaissance and Mannerism) holding a folder, decorated on what would be its cover with a composition starring two swallows pecking at a garland. In the 19th century, bronze centerpieces and decorative figures of great originality and quality were made in Vienna (and in other European centers), usually with an exotic touch provided by anthropomorphic or animal motifs. In the present case, the influence is from artistic styles prior to the time, something common in 19th century art. Weight: 1700 grams.
· Size: 21,5x16x27 cms
ANTIQUES
Ref.: ZE263
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Pastoral box. Carved antler. 1811. With engraved date. Carved antler box with oval base and polygonal lid decorated on the outside with a series of carvings. The lid features animals, scrolls and simple geometric elements arranged flanking and facing a crowned heraldic shield; The base presents a geometric composition leaving a rectangle in the center (where the date 1811 has been engraved, which would be the date of creation of the piece); The edges of the base have fine smooth moldings. That shield mentioned, very simplified, presents five elements in the center and a border of towers or castles under a closed crown.
· Size: 8,5x5x3 cms.
ANTIQUES
Ref.: ZF0658
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Sold
Pair of trays. Silver. Mexico, 18th century. With contrast markings. Two oval silver trays in their color and with a curled shape, ending in a point and slightly raised on four spheres each that have been decorated on the upper part with a raised molding. The contrast mark that each of the pieces presents is very similar to one of those used in Mexico in the 18th century, although the lines and typology differ from what was common at that time in that center. Weight: 889 grams.
· Size: 29,5x15,5x6,5 cm
ANTIQUES
Ref.: ZF0689
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Sold
Pair of candlesticks. Bronze. XVII century. Stem replaced. Pair of bronze candlesticks raised on three legs, with triangular-shaped bases and enhanced with ready moldings, turned stems with architectural profiles with a classicist feel and circular finials following this same decoration.
· Size: 19x16,5x45 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: ZF0869
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14kt gold brooch with three garnets. Ladies' brooch made of 14kt gold formed by base shapes arranged in the shape of a knot, leaving waves on the outer profile, with the surface decorated with fine plant shapes of leaves and flowers. In the center, some simple vegetal scrolls have been arranged, framing two teardrop-shaped garnets located flanking another central oval garnet. The fastening element on the back arranges the clasp to go, in principle, vertically. Weight: 17.11 grams.
· Size: 6 x 4 cms
ANTIQUES
Ref.: JBR1432
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Comfortable. Lemongrass wood. XIX century. Lemongrass wood chest of drawers with a straight and rectangular top board that has five drawers in front (two narrower and three long), decorated with simple flat moldings and spherical legs. This decorative simplicity, which highlights the quality and grain of the lemongrass wood of the finish, is reminiscent of English examples.
· Size: 103x49x106 cms.
ANTIQUES
FURNITURE
Ref.: Z0312
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Bunker. Walnut wood, iron. Burgos, 17th century. Rectangular chest with a flat lid made of carved walnut wood, with corner pieces and a lock on the front to lock it, and a carved decoration on the bottom with simple geometric elements, and some simple lines on the outer edge of the lid. This type of furniture was very common in Spanish territory, frequently being used to store objects of certain value such as clothes, dishes, etc.
· Size: 169x52x73 cms.
ANTIQUES
FURNITURE
Ref.: Z4841