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BRONZE MORTAR WITH INSCRIPTION. SPAIN, 1823.

Mortar with inscriptions. Bronze. Spain, 1823. Mortar made of bronze with a recessed mouth and a throne-conical body developed without discontinuity and decreasing in diameter to the base; It has two handles or “pieces” towards the smooth decorative moldings at the top. The piece presents, almost on the edge, an inscription (I AM DE D GREGORIO OCANA ANO DE 1823) in capital letters and a date in Romans with spaces between them; and the text (the opposite of the other) “Mazon fecci”; both flanked by a simple molding above and another below. This large mortar is of the type that is usually known as “hospital” because it is usually used for medicines in environments with many patients or in important pharmacies. Typologically, it follows the usual line in these examples of the Spanish school during the 19th century: smooth, with moldings and, as a general rule, without those ribs (or derivatives thereof) that used to appear in the previous ones. Compare, for example, the large pharmacy mortar from the Calella Municipal Museum-Archive (with inscription, ribs and human heads as handles), a large pestle from the Hispanic Pharmacy Museum of the Complutense University of Madrid, etc

· Size: 37x34,5x25 cms.
ANTIQUES

Ref.: ZF1007
WARDROBE WITH GUN RACK. CHERRY WOOD AND OAK. FRANCE, 18TH CENTURY.

Wardrobe with gun rack. Cherry and oak wood. France, 18th century. Two-door cabinet with three drawers at the bottom, all of these elements with key closure, which also has a compartment on one side to store firearms. On the front of the lower part it has soft curves between two cabriole-shaped legs and carved details; The two doors have been decorated with Rococo-influenced moldings on their curves; It also has a molding at the top. This piece shows a clear influence of the so-called Provençal examples and the Louis XV style.

· Size: 173x68x220 cms.
ANTIQUES
FURNITURE

Ref.: Z0609
POLYCHROMED AND “ESTOFADA” WOODEN SCULPTURE. “LUKE THE EVANGELIST”. 16...

Carving in polychrome and stewed wood. "Saint Luke the Evangelist." Century XVI. Freestanding devotional figure of a bearded man standing, with one knee raised to support a board on which he writes. Under his left leg, a bull looks towards him, lying on the ground. The clothing reveals the golden base that forms the stew. Saint Luke is frequently represented as a mature, bearded man, accompanied by the Tetramorph animal with which he is related (Revelation 4:6-7), an element that is also due to a verse from the Book of Ezekiel (1:10). . The act of writing alludes to his authorship of one of the Gospels, although the Acts of the Apostles are also attributed to him. The image belonged to an altarpiece, hence the back part is barely worked and polychrome, and was placed alone or as part of a scene such as a Last Judgment. Stylistically, the stew of the image and its design are details that remain from the Gothic tradition. However, the correct anatomy of the figure, the contained movement transmitted by the cloth and its posture, and the naturalism and expression of its face relate the work to the Renaissance. In Spain, this artistic style was introduced throughout the 16th century, with great differences according to regions and artists. After a first stage in which strong medieval influences were still maintained, the second third of the century saw the introduction of Mannerism by artists who had traveled to Italy and returned with the news. It is with this second stage that the carving is most closely related, without forgetting the medieval details that it still maintains and the content of its movement and expressiveness. Compare, for example, with the works of Alonso de Berruguete and Juan de Juni, the evangelists Saint Luke and Saint Mark from the church of Santa Eulalia de Ganuza, today in the Diocesan Museum of Pamplona. Requires cleaning and restoration of polychrome.

· Size: 16x7x36 cms,
ANTIQUES
SCULPTURE

Ref.: Z6546
GILDED BRONZE PROCESSIONAL CROSS TOP. 20TH CENTURY, AFTER EARLIER MODE...

Processional cross finish. Ormolu. Twentieth century. Latin cross with straight arms with decoration of tongues between moldings on both fronts, rays at the intersection of the arms, and multi-lobed finials recalling the flordelisados decorated with flowers and palmettes at the ends; on the obverse, crucified Christ with a nimbus of rays and a cloth of purity; On the reverse, Virgin Mary with nimbus standing, in an attitude of prayer. Knot composed of several elements (moldings of different radii, etc.) among which a circular central body stands out, enhanced with small crests and reliefs with the four Evangelists accompanied by their element of the Tetramorphs and located in landscapes. As can be seen from several elements, the piece is inspired by styles of the past.

· Size: 56x36x108 cms
ANTIQUES

Ref.: ZF0612
PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Octagonal table top decorated with hard stone work. Octagonal table top in dark stone decorated with “hard stone work” forming a series of stars in the central area and an elaborate band of flowers towards the outside, in an area separated from the center by two light lines. It has been made with a technique similar to inlay that uses marble and hard stones (more than 7 on the Mohs scale) to make these designs, which emerged in Italy in the Renaissance and was developed throughout Europe in only a few important factories.

· Size: 120x120 cms.
DECORATION
HARD STONE

Ref.: AM-37 OC...
PORCELAIN HANDPAINTED VASE. AFTER MODELS FROM THE MANUFACTURE NATIONAL...

Enameled and hand-painted porcelain vase. Inspired by 19th century models from the Manufacture Nationale de Sèvres (France). The vase, with profiles inspired by Antiquity, is decorated with elements of the same origin: grotesques on the handles, vegetal scrolls, putti, lion heads, mirrors, scrolls, dolphins, an allegory of Abundance at the top, etc. . Two scenes have been hand painted on the front: the Rape of Europa and Vulcan giving Venus the weapons of Aeneas. The work is inspired by 19th century Neoclassical models from the Manufacture Nationale de Sèvres (France).

· Size: ALT. 107 cms.
DECORATION
PORCELAIN

Ref.: S4694
WHEELCHAIR, 19TH CENTURY.

Cart for the disabled, 19th century. Car with upholstered seat and two cushioned wheels in the rear and a smaller one, steerable by means of a crank, in the front. The footrest has been decorated with geometric marquetry studded on the outside. It is necessary to highlight the state of conservation.

· Size: 180x83x100 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0713
GILT BRONZE GUÈRIDON, FRANCE, NAPOLEON III, CA THIRD THIRD OF THE 19TH...

Gueridón display case in polychrome and gilded bronze, France, Napoleon III period, around the third third of the 19th century. The small circular table shows a transparent glass top, which reveals the upholstered interior, and the waist decorated with classically inspired garlands on a gold background. The only foot of the furniture rests on three curved legs, decorated with openwork circles and finished with claws. The quality, its simplicity of lines, and the decorative elements place the work in France, during the government of Napoleon III (1808-1873).

· Size: 33x33x87 cms.
ANTIQUES
FURNITURE

Ref.: Z3090
TABLE FOR SPANISH DESK. PINE AND BEECH TREE WOOD, IRON. 18TH CENTURY.

Bargueñera table with Solomonic leg. Pine and beech wood, iron. Century XVIII. Rectangular table top made of pine wood and beech wood legs turned in the shape of Solomonic columns, which are joined, two by two, by means of a lower chamber also carved in Solomonic wood with a die in the center, from which the curved fasteners emerge. in iron.

· Size: 148x58x78 cms.
ANTIQUES
FURNITURE

Ref.: Z4759
BRONZE MORTAR WITH INSCRIPTION. SPAIN, 1846.

Mortar with inscription. Bronze. Spain, 1846. Mortar made of bronze with a recessed mouth and a throne-conical body developed without discontinuity and decreasing in diameter to the base. The piece presents an inscription (“soi de don Gregorio goia ano 1846”) in capital letters with spaces between them and two areas with lines flanking the text in the upper and lower areas, referring to the owner of the mortar and the year in which it was manufactured. the same. Compare, for example, with the large pharmacy mortar from the Calella Municipal Museum-Archive (with inscription, ribs and human heads as handles), a large pestle from the Museum of Hispanic Pharmacy of the Complutense University of Madrid, etc

· Size: 25x25x30 cms.
ANTIQUES
MISCELLANEOUS;BRONZE MORTARS

Ref.: Z5727
SILVER FRUIT BOWL 18TH CENTURY .

Cordoban save in silver, 1759-1768. With marks. Weight: 820g. Rococo style silver save, with punches from Córdoba and the marker Bartolomé Gálvez y Aranda. It has a high, stepped foot, with a circular base, adorned with incised grooves and other simple classical motifs, already announcing the change in language towards neoclassicism. However, the plate itself is still clearly Rococo, with a profile of mitered curves that translate into edges on the eaves. Bartolomé Gálvez y Aranda was a silversmith, although he worked as a marker between 1759 and 1772, using for this work the punch that we see here: his surname in capital letters, in a very oblong trapezoidal frame and surmounted by a fleur-de-lys in a trilobed projection. Gálvez y Aranda added the chronological mark to this punch from 1768, so this salvo would be dated between 1759 and 1768. It is also a particularly interesting piece because it comes from Córdoba, the main center of Spanish silversmithing of the Rococo period, whose workshops produced high-quality religious and secular pieces, destined for clients not only local but from the entire Iberian Peninsula, even reaching the Canary Islands and Latin America. The great diffusion of Córdoba silversmithing will take place, in fact, in the last quarter of the 18th century, through the so-called master fair silversmiths. These characters acted as trade brokers, according to Pérez Grande, visiting churches and fairs held throughout the country. The activity of these fair silversmiths was also favored by tax exemptions.

· Size: 32x32x13 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6259
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INFANT JESUS OR JESUS AS SAVIOUR OF THE WORLD. FLEMISH SCHOOL, CIRCA F...

Child Jesus. Carved and polychrome wood. Flemish school, towards the first half of the 16th century. Baby Jesus with polygonal base made of carved and polychrome wood. The figure is presented naked, standing, with the right hand raised in a gesture of blessing and the left holding a partially golden orb. It is necessary to highlight the shallow depth of the carving, polychrome on all sides, and the lack of work (or less detailed work) in an area on the back of the pedestal that the sculpture has, which would coincide with the part that would be attached to the altar , wall, etc. It should be noted that the hair curls are arranged in the usual way in the type on the back, but those on the front are somewhat peculiar. Reflecting the new “modern devotion” of the time, these figures of Children Jesus were usually used in private oratories (homes, convents, etc.), showing the desire of the time to emphasize the humanity of Christ and a possibly widespread particular cult. by the Dominicans. These small figures, prestigious but relatively affordable, had great success outside the Netherlands, with those made in Mechelen being the best considered, and with Spain being a very frequent destination for the “dolls or dolls of Mechelen” (Virgins, Children of Jesus , etc.). They were works that, on many occasions, bore marks, thus highlighting their origin. Within the stages into which Mechelen's production is usually divided, there is talk of a third in which the production of pieces intensifies (the majority of preserved works correspond, therefore, to this period), but, curiously, the Children (which until now were the second piece most often manufactured and requested by customers) move to third place, being surpassed by Santa Ana. The measurements are usually between 35 and 37 centimeters high in the classic format (with a depth of between 7 and 8 centimeters) and 29 to 30 centimeters in the smallest format (with a depth of between 4 and 7 centimeters). Their appearance is thinner, with facial features that are sometimes already angular (they continue to be made “round” following previous models, but these are more schematic now), and they occasionally place a cushion under their feet. This stage is dated between 1515 and 1535. Compare, for example, with a Child from the Louvain-la-Neuve Museum (inv. VH552), or with the base or pedestal (similar lines) of that from the Museum of the Hôpital Notre-Dame à la Rose (inv. 0108). Above all, we must remember one in the Museo voor Religieuze Junst (Inv. 0011) with the base with cushion on an architectural form due to its elongated shapes, located in the period of intensification of production. The arrangement of the hair resembles that of the Museum of Fairs, dated around 1500, and that of the Quinta das Cruzes Museum (inventory MQC 2307).

· Size: 11,5x7x33 cms.
ANTIQUES

Ref.: ZF1200
SAINT PAUL\'S SCULPTURE. 16TH CENTURY

Spanish school of the 16th century. "Saint Paul". Carved and polychrome wood. Devotional image of a round shape carved in wood, polychrome and gilded, representing the apostle Saint Paul, dressed in a tunic and mantle, with a parted beard, brown hair and a large sword, its 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 not proportionate to its importance in the spread of Christianity. In early Christian art his only attributes are a book or a scroll, and in the 13th century his emblem appears, the sword that was the instrument of his martyrdom. Once the clash between tradition and modernity was overcome, and the arrival of the influences of the Italian Renaissance in Spain, the 16th century would be characterized by the great development that religious imagery achieved. Likewise, stylistically there will be a confrontation between the classicist sculptors and those of Flemish affiliation, who were looking for more dramatic and emotional approaches. In this way, the dissemination 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 hand, that the emotional sense, which due to its own function the religious image must acquire, 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 the 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
SET OF SIX PILLARS. WOOD, STONE. INDIA, 19TH CENTURY.

Set of six pillars. Carved wood, stone base. India, 19th century. Row of six carved wooden pillars that have capitals at the top and carved stone bases at the bottom (these are grouped in pairs). The shafts have three different sections (square, polygonal and spiral) and a relief decoration along them, formed by plant elements, lines, simple architectural motifs, smooth areas, geometric shapes, etc. The capitals present in their composition and decorative elements a certain memory of Western classicist forms. This type of architectural elements were, for example, very often used in “haveli” (urban residence or traditional mansion) in India, Pakistan, Nepal and Bangladesh, with the usual differences according to geographical area, date and taste. of the owner, but also in other notable buildings. Stone bases: 28x56x27 cms.

· Size: 169x25x213 cms. bases piedra 57x29 cms
DECORATIVE ANTIQUES

Ref.: AB002
FLORENTINE BASE IN CARVED STONE.

Florentine base carved in stone. Base formed by three volutes joined together on one of its longest sides with vegetal and floral elements carved into the stone. To highlight them, they have been placed between two moldings; The upper one is straight to give an appropriate base to the table.

· Size: 80x80x74 cms.
DECORATION
DECORATION COMPLEMENTS

Ref.: AMT02
ORNAMENTAL TOP, POLYCHROMED AND GILT WOOD, 18TH CENTURY.

Finish in carved, polychrome and gilded wood, 18th century. Painted finish imitating marble decorated with scrolls and carved and gilded plant motifs on its front surface. It would be part of a larger work such as an altarpiece, and the quality of its work and its polychrome stand out. The volume of the carving and the movement that its curves provide relate this finish to the Baroque, recalling in some details the Rococo.

· Size: 20x87x37 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z2626
SMALL CHEST WITH PARTIAL POLYCHROMY, “TEJADILLO” (ROOF) TYPE, 16TH CEN...

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

· Size: 255.5x18x22 cms.
ANTIQUES
FURNITURE

Ref.: Z3394
WALNUT DINING TABLE WITH WROUGHT IRONWORK, 18TH CENTURY.

Dining table in walnut wood with wrought iron fasteners. Century XVIII. Dining table with a rectangular, smooth board supported on legs that follow, simplified, the most common examples of the Baroque known as "lyre", and are secured by straight wrought iron fasteners. The influence of models from the 17th century is common in the following century, although it is preferred to soften the curves and tend towards straight lines due to the influence of Neoclassicism.

· Size: 151x93x75 cms.
ANTIQUES
FURNITURE

Ref.: Z3698
PAIR OF PEDESTALS. WOOD. 19TH-20TH CENTURIES.

Pair of pedestals. Carved and polychrome wood. 19th-20th centuries. Pair of equal pedestals composed of a base raised on lion's claws with scrolls and birds, and a fluted shaft that ends in two circular moldings, decorated with vegetal and architectural elements. Branches of leaves have been carved in spirals on the shafts of the columns.

· Size: 38x38x110 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z4312
NAPOLEON III BEDROOM SUITE, CA SECOND HALF OF THE 19TH CENTURY.

Napoleon III Bedroom, second half of the 19th century. Bedroom consisting of a one-door wardrobe with a mirror, a dressing table-desk with three drawers in front and another three behind a door, in addition to the two under the mirror, a “boat” type bed and a four-drawer bedside table. All the decorative elements of the set refer to models from classical antiquity, clearly marking the works' belonging to the style called Napoleon III as it was during his reign (1852-1870) its peak period in France. Wardrobe 110x 46 x260 (interior with 5 shelves, interior drawer, and exterior drawer) Chest of drawers 108 x 52 x101+ 115 Bedside table 44x32.5x 100 Bed 210 x 135 x 128 for a 115 x 190 mattress. Erable wood, pine wood interior, stained moldings
ANTIQUES
FURNITURE

Ref.: Z5277
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SILVER PYX, 16TH CENTURY.

Silver pyx, 16th century. Cylindrical body with decoration of braces and acanthus engraved and with polished luster, and lid decorated with small crests, conical shape and decoration with the same techniques resembling a fabric cover. It follows the most common typology at the time for this type of pieces, intended to store or transport the Sacred Form. Weight: 184g

· Size: 10x10x10 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5726
SILVER “TEMBLADERA” OR TASTEVIN. 1739.

Pair of silver tremblers or catavinos. 1739. (Together with Ref.z5831) No contrast marks. With inscription on the front. Both the same, each one is formed by a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer edge that reads: “I am from the noble conzefo of Santiux that our local Jul presents them to us.” of the Zeballos Caves in the year 1739.” In Spanish silversmithing, Baroque trends were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centers, depending on areas and masters. This survival of the 17th century forms can be seen in the handles of the scrapie: the grotesques with a human head are highlighted by very moving plant motifs, a decorative abundance that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of contrast marks does not allow the work or the artist to be located, although this is precisely what speaks in favor of a secondary silversmithing center, where the absence of control of these works was more common due to the lack of teachers and means to Ensure compliance with marking regulations. Throughout these first two thirds of the 18th century, the certain monotony of the centers of Old Castile (to which Cantabria belonged), León and Galicia was notable in comparison with the importance of Valladolid and Salamanca, which is why perhaps in the Cantabrian environment. The inscription clarifies the purpose of the quakes: they were a gift to the Council of Santiurde de Reinosa (Cantabria) from Juan de las Cuevas Ceballos, a native of this town and resident of El Puerto de Santa María de Cádiz who, in addition, proved his nobility in 1733 before the Sonsdalgo Room of the Royal Chancery of Valladolid. These are therefore two pieces made for civil use, a detail that increases its importance due to the scarcity of this type of works.

· Size: 15x11x6.5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5829
SILVER “TEMBLADERA” OR TASTEVIN. 1739.

Pair of silver tremblers or catavinos. 1739. (Together with Ref.z5829) No contrast marks. With inscription on the front. Both the same, each one is formed by a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer edge that reads: “I am from the noble conzefo of Santiux that our local Jul presents them to us.” of the Zeballos Caves in the year 1739.” In Spanish silversmithing, Baroque trends were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centers, depending on areas and masters. This survival of the 17th century forms can be seen in the handles of the scrapie: the grotesques with a human head are highlighted by very moving plant motifs, a decorative abundance that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of contrast marks does not allow the work or the artist to be located, although this is precisely what speaks in favor of a secondary silversmithing center, where the absence of control of these works was more common due to the lack of teachers and means to Ensure compliance with marking regulations. Throughout these first two thirds of the 18th century, the certain monotony of the centers of Old Castile (to which Cantabria belonged), León and Galicia was notable in comparison with the importance of Valladolid and Salamanca, which is why perhaps in the Cantabrian environment. The inscription clarifies the purpose of the quakes: they were a gift to the Council of Santiurde de Reinosa (Cantabria) from Juan de las Cuevas Ceballos, a native of this town and resident of El Puerto de Santa María de Cádiz who, in addition, proved his nobility in 1733 before the Sonsdalgo Room of the Royal Chancery of Valladolid. These are therefore two pieces made for civil use, a detail that increases its importance due to the scarcity of this type of works.

· Size: 15x11x6.5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5831
ROUND WINGED TABLE. OAK. POSSIBLY SPAIN, 18TH CENTURY.

Circular wing table. Carved oak wood. Possibly Spain, 18th century. Circular wing table made of carved oak wood that has a series of legs joined by chambranas, which have a decoration of channels and small discs, contrasting with the mere undulating shapes of the edges of some of the legs of the furniture and the curve of the upper area of the spaces left in the fronts when the wings of the table are folded. The simplicity of the piece links it more with the utilitarian furniture of prominent residences than with examples intended for main pieces. However, the decorative elements indicated show a clear influence of Neoclassicism and a certain air of Baroque, a mixture somewhat common in 18th century Spanish furniture. Note that the decoration focuses on the lower part of the furniture due to the custom of dressing the tables with rich fabrics to enhance them even more. Although walnut wood was often used in old Spanish furniture, oak specimens are not too rare, as it is a wood with a showy grain, abundant at the time and resistant. Examples similar to the present one have been preserved in prominent residences and in important collections such as the Museum of Decorative Arts of Madrid, the Lope de Vega House Museum (slightly earlier specimens), National Heritage Collections, etc.

· Size: 154x141x77 cms.
ANTIQUES

Ref.: ZE149

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