Z. Sierra · Antiques and Decorative Objects

Results 121 to 144 of 506

«« « ...3 4 567 8 9... » »»

COMMODE (TAQUILLÓN). WALNUT, WROUGHT IRON. SPAIN, 17TH CENTURY.

Box office. Walnut wood, wrought iron. Spain, 17th century. Rectangular low cabinet made of oak wood with wrought iron elements that stands slightly on four legs, has a slightly protruding straight top board and fronts decorated with carvings, and has two doors under two drawers, all with key closure (shields of lock decorated with simple lines only on the doors). When opening the doors, access is given to a space divided in two by a shelf decorated with a series of lines cut out on its lower edge). In the upper part, under the board, there are carved corbels with scrolls, tongues and simple architectural elements; On the sides of the front some grooves recall architectural motifs. The exterior of the doors and drawers and the sides of the furniture present a decoration based on panels of different sizes and shapes (crosses, squares, rectangular), following a tradition deeply rooted in Spanish furniture and which allows the panel to be compared with works such as the cupboard (upper part with lattice doors) from the last third of the 17th century made of walnut, pine and iron that is preserved in the National Museum of Decorative Arts in Madrid, or the cupboard with turned balusters from the 17th century that is in the Museo Casa of Cervantes of Valladolid, for example.

· Size: 113x52x86 cms.
ANTIQUES
FURNITURE

Ref.: Z5279
GOTHIC CHEST. PINEWOOD, METAL. 16TH CENTURY.

Gothic chest. Carved pine wood, iron. Century XVI. Rectangular chest with a flat lid made of carved wood and decorated on the outside with a series of divisions into rectangular spaces using smooth moldings. On the front, these spaces have been decorated with a relief of the type known as “napkin” or “folded cloth” or “parchment”. The simple rectangular legs still retain some carved detail. In the center of the front there is a metal lock shield (probably wrought iron) to secure the contents. The relief of folded cloth was common in Gothic furniture, coming from Flanders in the 15th century and commonly used in Spain until well into the 16th century, although examples from the 17th century are preserved that maintain this decorative element. As for wood, although walnut is common in Spanish furniture, it is not unusual to find specimens carved from pine wood. It is currently possible to find Gothic arks in several prominent museums: the National Archaeological Museum of Madrid preserves four Gothic arks from the 15th century (with Gothic architectural decoration and other carved elements); the Lázaro Galdiano Museum has an Italian example from the 15th century with work on skylights and arches reminiscent of Muslim diamond-shaped panels (Inventory 2141); The Museum of Navarra has a wedding chest made of wood and embossed and polychrome leather from the last third of the 15th century (inventory CE000115); etc The National Museum of Decorative Arts has an oak wood sideboard (CE01616) decorated with “folded” or “scroll” carving panels, dated around 1500, and an ark with similar decoration dated between 1476 and 1525 (CE19287) .

· Size: 189x62x90 cms
ANTIQUES

Ref.: ZE148
LEATHERED CHEST. WOOD, TEXTILE, WROUGHT IRON. SPAIN, CA 1500.

Chest with a rectangular body with a semicircular lid made of carved wood and covered with worked leather that has been reinforced with a series of wrought iron fittings, a material in which the handle on the lid and a lock on the front with a shield are also made. keyhole decorated with simplified plant elements at the top. The interior presents the fabric upholstery that was common in these pieces and that, as a general rule, has not been preserved in good condition, as in the present piece. This type of chests were used both to store and transport precious objects, hence the lock, always seeking quality in materials and decoration that would manifest the economic power of its owner, in addition to maintaining utility. The shape is one of the most common of chests already in Spanish Gothic, maintaining this style in the way of arranging the hardware and a series of decorative elements. The tested and barreled chests and chests had very varied shapes and sizes, being so common in Spain during the 15th and 16th centuries that numerous examples are preserved today. Compare, for example, with those of the Lope de Vega House Museum (Madrid), one dated to the beginning of the 16th century and with touches from the 19th century (CE00170) and another decorated (inventory CE00004), or the 15th century chest of the Museum of Decorative Arts of Madrid, for example, as well as several specimens from private collections.

· Size: 17x10x11 cms.
ANTIQUES

Ref.: ZF0339
NEOGOTHICH CUPBOARD. OAK. 19TH CENTURY.

Neogothic wardrobe. Carved oak wood. XIX century. Tall cabinet made of carved oak wood with a dark finish formed by a hollow lower body, decorated with “napkin” or “parchment” plates, stripes of linear motifs and thin columns, and an upper body with two doors (which give access to shelves of two holes); Between them there are two drawers with fronts carved with plant motifs. Raised on legs decorated with plates in front, the doors present a symmetrical composition of stems with grapes (around Gothic-type letters) in a setting of smooth moldings, decorated ironwork and human figures on pedestals; The sides of this area have “parchment” decoration. The piece is finished with a prominent smooth molding. Typologically, the present piece follows a form that is reminiscent of certain Renaissance works (especially buffets) with variations common in pieces from the 19th century. As for the decoration, centered on the front, the influence of Spanish Gothic works is clear both in the theme and in the composition: sculptures on pedestals and the clothing of the figures, the compositions of the drawers, the presence of those panels with “napkin” carvings, panels with stems and grapes, letters, thin columns, etc. Likewise, it is possible to appreciate a certain air coming from Neoclassicism, a common style in the 19th century. At this time it was common to be inspired by past styles to make outstanding furniture, like the present. Although Neo-Gothic was used more frequently for ecclesiastical works, it was not absent from important residences and other institutions, as it was one of the favorite styles at the time. It is possible to find examples reminiscent of this cabinet in museums such as the Romanticism Museum in Madrid, the National Decorative Arts Museum in the same city, etc.

· Size: 50x132x170 cms.
ANTIQUES
FURNITURE

Ref.: Z4866
FOLDABLE MAHOGANY TABLE, 17TH CENTURY.

Mahogany dining table with straight folding leg, 17th century. The four legs joined together by straight chambrances and fixed to the board with chambrances 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 corresponds to a strictly functional piece of furniture.

· Size: 188x133x79 cms.
ANTIQUES
FURNITURE

Ref.: Z6208
”TWO CHARACTERS”. OIL ON CANVAS. SIGNED. MARTÍNEZ NOVILLO, CIRILO (MAD...

"Two characters". Oil on canvas. Signed (lower 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 Crafts, Ateneo Libertario del Pueblo de Vallecas during the Civil War, Higher School of Painting, Sculpture and Engraving at the National Library), beginning at 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 completely to painting. In the 1940s he went from setting up his first studio and focusing his work on figures and still lifes, with his first individual exhibition in 1942, to being 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 classified within the “Madrid School” (he collectively presented many works together with other members of it, such as Álvaro Delgado, Luis García Ochoa, Agustín Redondela, etc.). A scholarship from the French Institute of Madrid allowed him to travel to Paris for the first time in 1953, and he learned about the painting of masters such as Van Gogh, Picasso, Braque and Cézanne, and 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 brings his painting closer to a language closer to abstraction, also modifying his concept of light. He has received numerous recognitions (Prize for Painting at the II Hispano-American Biennial of 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 at 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 preserved in important private collections and prominent institutions such as the Banco Santander Collection, Museum of Contemporary Art of Madrid, Museum of Albacete, Fundación Mapfre, Museo Nacional Centro de Arte Reina Sofía in Madrid, Museums of Fine Arts of Bilbao and Oviedo, Telefónica Collection , AENA Foundation, etc.

· Size: 50x61 cms.
ANTIQUES
PAINTINGS

Ref.: Z6263
”ABSTRACTION”. OIL ON CANVAS. SIGNED. MARTÍNEZ NOVILLO, CIRILO (MADRID...

"Abstraction". Oil on canvas. Signed (lower 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 Crafts, Ateneo Libertario del Pueblo de Vallecas during the Civil War, Higher School of Painting, Sculpture and Engraving at the National Library), beginning at 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 completely to painting. In the 1940s he went from setting up his first studio and focusing his work on figures and still lifes, with his first individual exhibition in 1942, to being 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 classified within the “Madrid School” (he collectively presented many works together with other members of it, such as Álvaro Delgado, Luis García Ochoa, Agustín Redondela, etc.). A scholarship from the French Institute of Madrid allowed him to travel to Paris for the first time in 1953, and he learned about the painting of masters such as Van Gogh, Picasso, Braque and Cézanne, and 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 brings his painting closer to a language closer to abstraction, also modifying his concept of light. He has received numerous recognitions (Prize for Painting at the II Hispano-American Biennial of 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 at 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 preserved in important private collections and prominent institutions such as the Banco Santander Collection, Museum of Contemporary Art of Madrid, Museum of Albacete, Fundación Mapfre, Museo Nacional Centro de Arte Reina Sofía in Madrid, Museums of Fine Arts of Bilbao and Oviedo, Telefónica Collection , AENA Foundation, etc.

· Size: 50 x 61 cm; 69 x 79,5 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6264
WALNUT AND METAL CHEST WITH TWO LOCKS. 17TH CENTURY.

Chest with two locks. Wood. XVII century. Rectangular chest with a flat top raised on six disc-shaped legs topped by moldings. The fronts of the furniture have a smooth area below, a fine molding that is repeated at the top and a finish, also molded, already on the top. Likewise, it is possible to see, in metal on fabric, different metal fittings and corners, with flordelised profiles and circular shapes. The two horseshoe shields, openwork to reveal the fabric, have a series of moldings arranged geometrically flanking a vertical axis; On the sides, there are also two handles, with a similar metallic decoration applied to the wood and formed by an oval-shaped bar ending in two simplified volutes and a disc in the part that would be gripped. The interior has a small closed and reserved space, on one side of the furniture. The lines of the furniture follow those common in Spanish chests since the Middle Ages, and it is the decorative elements (especially the hardware, but also the legs and the decorative moldings that stand out) that place the work within the Baroque of the century. XVII for its curves and countercurves. Likewise, this would be a typology that will continue to be used later, logically changing the decoration. Walnut wood is the most common wood in Spanish furniture due to its size, its abundance at the time and its resistance and durability. Chests and chests were elements used very frequently both in the Middle Ages and in the Modern Age, to store a wide variety of objects (clothes, dishes, metals, etc.). In this case, the presence of two keys suggests that money or some precious asset would be kept, because this detail could allude to the need for two civil or religious positions necessary to open it.

· Size: 69x158x 77 cms
ANTIQUES
FURNITURE

Ref.: Z6613
PAIR OF SOLOMONIC COLUMNS. POLYCHROMED AND GILDED WOOD. 17TH CENTURY.

Pair of Solomonic columns. Carved, polychrome and gilded wood. XVII century. Pair of carved and gilded wooden columns with a pedestal in green tones, decorated with smooth moldings, Solomonic shaft decorated with roses and polychrome leaves on the golden background and in slight relief and capitals similar to those of the composite order of Ancient Rome (note the difference in proportions, in the volutes, etc.). Although it was an element used in architecture previously, the Solomonic column is a more well-known and common piece in the Baroque, especially since its use in Bernini's baldachin of Saint Peter's in the Vatican (completed in 1633). It soon arrived in Spain, being used in Andalusia for the first time around 1639 and in Madrid in 1636, spreading throughout the peninsula and the colonial territories since then. Normally, they were decorated with branches and bunches of grapes in slight relief, leaving, as a general rule, the decoration of flowers for environments of female convents.

· Size: 33x33x215 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z6637
MAHOGANY AND METAL EXTENSIBLE DINING TABLE. ENGLAND, 19TH CENTURY.

Extending table. Mahogany wood, metal. England, 19th century. Extendable rectangular table using boards and a mechanical system manually operated by a crank, made of carved mahogany wood and with metal elements (ends of the legs, mechanism, rollers). The top board has been left smooth, with a slight recess towards the edges that curves the area and extends through the corners of the furniture, contributing to the comfort of its use as a dining or conference table; The legs present an outstanding carving and turning work, with a stipe shape and a reminder of architectural columns due to their combination of moldings, highlighting the polygonal base and the fact that it retains the small metal wheels or rollers that help move the furniture. Both the wood chosen for the table (mahogany), and the lack of decorative elements (which enhances the quality of the material and the lines) are common characteristics in old English furniture. Note the similarities with English Victorian-style pieces.

· Size: 150x180x71 / 150x320x71 cms.
ANTIQUES

Ref.: ZE229
PAIR OF NICHES. PINEWOOD. 17TH CENTURY.

Pair of niches. Carved pine wood. XVII century. Pair of fragments of altar or niches made of carved pine wood that are decorated with a series of important carvings with a lot of volume of plant themes, scrolls, ropes, architectural details, cloths, etc., arranged symmetrically around the arch semicircular that acts as the central organizing element of the work and a shell located at the top. These types of pieces were used in the creation and construction of altars in churches, and it is possible that the present niches were in an altar notable for their measurements and the quality of their carving. It is possible to find certain similar details between this work and other Spanish works, such as, for example, the 18th century niche altarpiece from the Fundación Pintor Julio Visconti (Guadix, Spain), the altar of the Adoration of the Magi in the Church of the Monastery from Sancti Spiritus el Real (Zamora, Spain), elements of some altars of the Cathedral of Cuenca (especially part of the Main Altarpiece of the Main Sacristy), etc.

· Size: 75x30x230 cms.
ANTIQUES

Ref.: ZF0498
ENGLISH REGENCY MONOPODIA CONSOLE. ROSEWOOD, BRONZE, MIRROR. FIRST HAL...

English Regency console. Rosewood wood, gilded wood, bronze, mirror. First half of the 19th century. Console with rectangular top with smoothed wooden edges that has a waist decorated with gilded bronzes and a band of architectural elements in black. In front, it supports two gilded legs with the head of a feline (leopard or panther), plant decorations and a lion's claw ending; The rear part has a rectangular mirror. The base repeats the scheme of the upper area, and is also decorated with gold-plated appliqués. Although the model shows the influence of the French Empire consoles common at the time, the details such as the wooden top, the dark lines, the felines on the front, etc., are more reminiscent of English examples from the Regency period, so named because it was set at the time when the future George IV was prince regent (1811-1820). Compare the feline paws with illustrations by Charles Heathcote Tatham (1772-1842) and Thomas Hope (1769-1831), and with furniture designs by George Smith (1756-1826).

· Size: 99x38,5x93 cms
ANTIQUES

Ref.: ZF1097
Sold

PAIR OF FATEUILS A LA REINE. WOOD, TEXTILE. POSSIBLY FRANCE, 18TH CENT...

Pair of Louis XV chairs or armchairs. Carved wood, tapestry. Possibly France, 18th century. Pair of high-backed and upholstered armchairs, cushion and armrests with a fragment in the center also upholstered of the type known as “fauteuil à la reine” due to its shape, made of carved and gilded wood. The legs have a soft cabriole shape and a heel as a bottom finish, as well as a carved decoration based on flowers, seed beads and plant elements, which can be found throughout the furniture. The backrest, high and flat, ends in a soft curve pronounced towards the center, and the arms emerge from it, in a straight line forward, until a little more in front of the middle of the seat, at which point they descend towards it, drawing a gentle curve. It is known as Louis XV, in cabinetmaking, in the style developed in France between approximately 1732 and 1765, during the reign of the monarch of the same name. It is an artistic trend that is part of Rococo, hence the abundance of curved lines, plant elements and the presence of rockeries and motifs inspired by scallops. Likewise, it is necessary to indicate that, although towards the beginning of the Rococo asymmetry in decoration was common, after a time more symmetrical schemes were generally imposed in furniture, decorative panels, etc. The “queen's armchair” typology was created, according to some experts, by the cabinetmaker Jean-Baptiste Tillard, and is one of the most characteristic typologies of Louis XV furniture, although there are also those in the Louis XVI style (and period). In any case, this category already appears in the books of engravings L\\'Art du menusier by André Jacob Roubo, published between 1769 and 1775. During the first years of the Regency (1715-23) the armchairs had short, curved legs. , the top of the backrest was slightly curved, while the backrest and arm supports were straight. The armchairs of the middle Louis XV period (1723-1750) were smaller than those of the Louis XIV period, but more comfortable. The legs were more curved, the upper back was rounded and often had a small ornamental design. The back of the chair took on a more elegant violin shape. This form became known as Chaise à la Reine, or "Queen's Chair." Compare the present example with outstanding pieces, such as those preserved in the Louvre Museum in Paris: group of four “queen chairs” dated between 1745 and 1750 (one has inventory number OA 10498 4), another pair from around 1740 (OA 10501 1 and OA 10501 2), one from the workshop of René Cresson dated between 1730 and 1740, etc. Or the chair in which the Marquise de Pompadour appears seated in the portrait, preserved in this same institution, that Maurice-Quentin de La Tour painted of her between 1752 and 1755.

· Size: 72x65x108 cms.
ANTIQUES

Ref.: ZF1125
SMALL ORNAMENTAL MIRROR, GILT WOOD, 17TH-18TH CENTURIES.

Small cornucopia with carved and gilded wood frame, 17th-18th centuries. Rectangular mirror highlighted by a frame composed of several simple stepped moldings around which a fleshy decoration based on scrolls and plant elements has been arranged, with openwork areas, which ends at the top in a crest flanked by two curves combined with countercurve paths in a way that resembles a split curved pediment. The back, which has not been carved, has an antique metal ring at the top that allows the frame to be hung on the wall. It is necessary to highlight the volume of the carvings, their fleshiness and the not very excessive movement presented by both the plant elements and the volutes, as well as the rectangular crest of the crown, which stands out from the rest of the frame without any transition element. All of this places the work within the Baroque, but both the harmony and the symmetry and the fact that the decoration does not barely protrude from the rectangular frame (except for the top) show a tempering that may be due to the influence of Neoclassicism. What is striking is the absence of rockeries and lines that we could attribute to Rococo, a decorative style that was very popular in the decorative arts of the 18th century in the main creative centers, which is explained by the mirror belonging to a workshop located in a remote area. thereof. This type of work used to be hung on the walls of important homes (or prominent religious institutions) with the aim that the mirrors would return the light they received to the interior of the room, multiplying the lighting and giving the impression of greater spatial amplitude. . The present example, although it is not one of the largest or most prominent cornucopias of the time, was made for a wealthy family with the intention of staying in a small private room, hence the concentration of the size in a small space and the cornucopia measurements.

· Size: 56x41 LUZ 25x20,2 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3794
WALNUT CUPBOARD. 19TH CENTURY.

Cupboard. Walnut wood. XIX century. Wardrobe made of walnut wood carved in its color with two bodies that has three doors with a key at the top, a space in the center, and two drawers and two doors with metal handles in the lower area. On the outside, it shows a series of carvings (architectural elements, shields, plant motifs, vases, bands, smooth moldings, etc.) of classicist influence and others that recall elements of strong tradition in Spanish cabinetmaking ("scrolls" on the doors of the upper part that are reminiscent of the Gothic tradition, pearls, etc.). The 19th century was a time, in European cabinetmaking, when a series of influences and styles were mixed with the aim of creating new pieces but rooted in tradition. This example has reliefs reminiscent of the Renaissance (vases, moldings, etc.) and other details of medieval influence (scrolls, etc.), along with a composition (distribution of doors and central space) very common in this century.

· Size: 60x160x275 cms.
ANTIQUES

Ref.: ZE284
CASTILLIAN CHEST. WALNUT, WROUGHT AND POLYCHROMED IRON. SPAIN, 17TH CE...

Castilian chest. Walnut wood, wrought iron and polychrome. Spain, 17th century.
Rectangular chest with a flat lid, slightly raised on spheres, decorated on the outside with smooth moldings at the top and bottom, and fittings (handles on the sides and lock shield) cut out forming vegetal and geometric elements. It is necessary to highlight the presence of a “space” inside, on one side, with a lock closure and an exterior decoration in iron that preserves polychrome (like some of the other hardware in the piece), and presents a drawing of volutes and plant elements with a certain Renaissance memory and marked classicist influence."

· Size: 166x64x81 cms.
ANTIQUES

Ref.: ZF0265
GROUP OF 6 CHAIRS AND 2 FAUTEUILS, WALNUT AND EMBOSSED LEATHER, 19TH C...

Chairs in walnut wood and embossed leather, 19th century. Set of 6 chairs and two matching armchairs, made of walnut wood and with seats and backrest in embossed leather (some leather requires restoration). The structure is based on the traditional models of the Spanish armchair, providing decorative details from various artistic styles, such as the wavy arms (Rococo) or the carved and curved chambranas, or the lentil-turned fasteners (Baroque). It was common in the 19th century to make furniture combining elements from different artistic traditions, using highly successful local models as a base in Spain. Embossed leather on seats and backrests is another characteristic element of the Peninsula, widely used over the centuries.

· Size: 54x44x128 / 63x59x138 cms.
ANTIQUES
FURNITURE

Ref.: Z0358
PAIR OF BRACKETS, GILT WOOD, ROCOCO, 18TH CENTURY.

Pair of carved and gilded wood corbels, Rococo, 18th century. Pair of corbels with a curved lower profile and polygonal section decorated on their fronts with raised seed beads and engraved plant motifs and scales. The movement of their profiles and the decoration place the works within the Rococo.

· Size: 94x43x119 cms.
ANTIQUES
FURNITURE

Ref.: Z3412
CERAMIC BOWL. TALAVERA. 17-18TH CENTURIES

Bowl, Talavera, late 17th - early 18th century. Glazed ceramic. Ceramic bowl decorated with high-temperature glazes on an opaque white tin slip. The polychrome is based on typical Talavera colors: cobalt blue, copper green, manganese black, antimony yellow and iron ochres, browns and oranges. These glazes were applied over the raw slip, so the piece was fired only twice: once for the paste and once for the slip and glazes. In addition, the colors were protected with a varnish, which was also fired in this second firing. The pieces were placed in the oven in blankets or boxes, so that the colors would not burn (they are fired at a very high temperature, 900º). In general, those from Talavera will be good cooks, without major defects. The rise of this ceramic manufacture took place between the 16th century and the mid-18th century, when the French taste was introduced to Spain, and the clientele began to prefer Alcora pieces. However, Talavera will experience a new Golden Age at the end of the 19th century, with historicisms. This piece presents a typical Talavera decoration, which will be widely imitated in other centers throughout the entire Modern Age: an animal in a rampant position in the center, on a schematic floor plan, flanked by two large plant elements. The decoration is completed with synthesized plant elements and bands of concentric lines, inside and outside.

· Size: 32x32x15 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z5575
”ANDALOUSIAN PARTY”, OIL ON TABLEX, JEAN-LOUIS PAGUENAUD (1876-1952).

“Andalusian festival”, oil on tablex, Jean-Louis Paguenaud (1876-1952). Signed and dedicated (“cantatrice Dupré”) in the lower right corner. Jean-Louis Paguenaud is the pseudonym of Jean-Philippe Paguenaud (1876-1952). He lived during his childhood in Algiers, where he discovered the sea. Moving his father to Limoges, he studied here at the School of Decorative Arts and worked in a porcelain factory. He expanded his training with William Bouguereau, entering the world of navies and made numerous trips to Martinique and North Africa, which he captured in gouaches and drawings, which he exhibited in 1905 at the Salon des Indépendants. His brother Joseph-Louis died in combat in 1914 and, to honor his memory, he decided to sign his work with one of the deceased's names. Appointed Official Painter of the French Navy in 1922, he lived for a time in Paris before returning to Limoges. He was part of a well-known voyage on the ship “Lamotte-Piquet”, which took him to Central South America. In his career, three periods are distinguished: the training period (1876-1902), the “orientalist” period (1902-1921) and a third period (1921-1942), when he was already an official painter of the Navy; He produced some more works between 1942 and 1952. His work can be seen in important private collections and in museums such as the Paris Navy, the Bourdeaux Naval School, the Coussac-Bonneval Town Hall, etc. This work shows an exterior, a square in an Andalusian town, with a large number of characters dressed in the regional costume of the area celebrating a great party. The movement is provided by couples and groups dancing in the center, an orchestra to the left, diners to the right and several couples riding horses throughout the composition. This entire scene shares prominence with the landscape: the façade of a church stands before a house and an old bridge, with a mountain in the background under a blue sky. Several characteristics of Paguenaud's work can be clearly seen: the light, which he would take from Algiers and all his travels; the compositional mastery with which he knows how to place a large number of figures; the blue sky, which is also seen in its seascapes, etc. Likewise, it is necessary to highlight the originality of the oil painting in the painter's artistic career due to its subject matter.

· Size: 233x5x175 int 213x152 cms
ANTIQUES
PAINTINGS

Ref.: Z6476
RELIQUARY PENDANT WITH FLAGELLATION OF CHRIST. SILVER, ENAMEL. 16TH CE...

Reliquary with “Flagellation of Christ”. Silver, enamel. Century XVI. Oval reliquary pendant decorated on the outside with a stripe and some relief elements on the edge (with curved profiles and simple engraved volutes), which has a chain of smooth oval links (all practically the same). On the front and back it shows two figurative scenes with striking polychrome. On the one hand, Christ is placed in the center of the composition tied to a high column, being whipped by two executioners or soldiers with branches, following a common composition in the 16th century. In the other, the focus is on a space in the pendant protected by glass (since it contains a relic, enhanced by a Latin cross), highlighted in the composition with rays of light and a luminous beam; This element appears supported by an angel and surrounded by winged heads (common in the Renaissance) floating among clouds, and has been accompanied by Saint Joseph with the Child and the Florida Rod, and Saint Anthony of Padua (also with the Child and a bouquet of flowers). This type of jewelry always had great value both for the materials in which they were made and for their religious content. Despite this (or perhaps because of this same appreciation) not many quality examples are preserved and in good condition, being possible to find them only in important private collections and in prominent museums such as the Fundación Valencia de Don Juan in Madrid, the Museo National Center for Decorative Arts in the same city, etc., or ancient religious centers such as the Convento de las Descalzas Reales in Madrid. Weight: 160g

· Size: 8x1x10 cms.
ANTIQUES

Ref.: ZF0396
CABINET OR CUPBOARD OR TWO TIERED BUFFET. WALNUT. SPAIN, 18TH CENTURY.

Two-section wardrobe. Walnut wood. Spain, 18th century. Two-part wardrobe made of carved walnut wood that has doors (two pairs, top and bottom) and drawers (four, towards the center of the piece organized in pairs) and is slightly raised by disc-shaped legs. The upper part is finished off by a series of moldings of different widths (the largest with small fluted corbels, elements also present flanking the drawers); doors (with simple inlays or marquetry in lighter wood) and drawers are also highlighted by similar moldings; the corners of the door areas are highlighted by Solomonic columns with smooth capitals; Below, on the legs, another finial in the form of moldings, finer than the one at the top, frames the furniture. The sides have simple recessed carvings differentiating the different areas mentioned. The studied nature of the composition and its details (and therefore the quality) can be seen in the joints of the wood, in the care with which the elements are used (the door hinges are left out to provide a little more decoration), etc The presence of the Solomonic columns and the delicate use of the fluted corbels placed opposite each other to add a little more movement show the influence of Baroque on the cabinet. The general lines of the furniture correspond to a common composition in Spain (compare wastebaskets, the sacristy closet of the 18th century Burgos Cathedral, etc.), and the wood is also the most common in cabinetmaking in this country. Compare the piece with the archimesa in the Lázaro Galdiano Museum in Madrid (first half of the 17th century, note the corbels); the well-known paneled cabinets; Louis XIII style pieces (noting the usual differences); etc

· Size: 161x75x218 cms.
ANTIQUES

Ref.: ZF0485
SAINT DREAMING. POLYCHROMED WOOD. FLEMISH SCHOOL, 16TH CENTURY.

Dream of a saint. Carved and polychrome wood. Flemish school, 16th century. Relief made of carved and polychrome wood that shows an old man with a particular headdress (reminiscent of some chaperones) lying on a bed and accompanied by two friars dressed in habits, who talk to each other. Iconographically, the figure of the old man lying on the bed (note the cushion that raises the upper part of the body, following the common use of the time) who has not died (probably) because he was not completely lying down, is reminiscent of how he was usually represented, for example, to San Antón, San Jerónimo, etc. It is not very likely that it is the subject of the Transit or Death of Saint Francis of Assisi due to the absence of the Stigmata and due to age. It would be part of a cycle of scenes in the altarpiece of a church, an accompaniment that would give the viewer more clues about the identity of those represented. Stylistically, Flemish sculpture along with that of Germanic countries was developed with a realism that could be seen in all the ornamental details, where the sculptural work was presented almost as a goldsmith's work that was applied to the large altars made of wood. In general, in the Netherlands, such a high level had been developed during the Gothic period that the acceptance of the Renaissance from Italy was late. Weight: 3kg.

· Size: 36x6x36,5 cms.
ANTIQUES

Ref.: ZF1174
SILVER DRINKING CUP . SPAIN, 16TH CENTURY.

Silver catavinos, 16th century. “Cup” type catavinos with plant motifs inside a six-pointed star at the bottom and with a cylindrical base decorated with circular geometric borders. Also known as catavinos, these types of drinking glasses were used on special occasions (ceremonies...), hence their material and the decoration they have, and were very common during the reign of the Austrians in Spain. Although they were objects for civil use, it was not unusual for them to be donated or commissioned for use in churches or liturgical settings. Both the decoration and the shape of the cup show its origin from an artistic nucleus far from the main silversmithing centers. The first, furthermore, links more with Gothic art than with the Renaissance, which by this time had already made an appearance in Spanish silversmithing. Compare, for example, with the bernegal with cardboard-shaped handles from the Prado Museum in Madrid (catalog O00085) from the late 16th century, which has the upper part carved in double concave gallons and shows engraved vegetables and fruits in festoons and ribbons. This difference does not detract from the value of the work, quite the contrary: it is a sign of the attachment to the designs of simple lines and gothic vegetal and geometric decorations that were had in centers far from the creative capitals, whose influence can be seen even in Baroque works. Similar examples can be found in very few private collections and only in a few important museums. For example, similar bernegales from the 16th century are preserved in the Fundación Valencia de Don Juan (Madrid), and those from the 17th century are somewhat more abundant, as demonstrated by those in the Lázaro Galdiano Museum (inventory 3910 and 3916).

· Size: 16x16x4 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6296