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GILT AND PAINTED BRONZE PAX. SPAIN, 16TH CENTURY.

Peace holder in gilded and polychrome bronze. Spain, 16th century. Peace holder with the image of a bust of Christ in bas-relief, in profile to the left, in a tondo framed by borders worked in relief with classical motifs, which include cherub heads on the main band. The peace holder follows a scheme that alludes to the cross of Christ, with elements that stand out on the four axes: projections of mitered curves at the ends of what would be the short arms of the cross, a cherub's head crowned by a rosette on the top and a stepped pedestal. The image of Jesus stands out against the golden background thanks to the application of polychrome on the face and part of the clothing. The rear support takes the shape of an S-shaped brace, adorned with alternating rectangular and circular recesses.

· Size: 13x5x17 cms.
ANTIQUES

Ref.: ZF1254
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PYX. WOOD. SPANISH SCHOOL, 16TH CENTURY.

Pyx. Carved and polychrome wood. Spanish school, 16th century. Box with a circular base and truncated conical body that has a domed lid topped with a molded knob, it is made of carved wood and retains traces of gilding on its exterior surface and also on the interior (lid and base). In this area it is decorated with plant-themed carvings on the lid and winged angel heads joined by curved textiles reminiscent of garlands on the front of the body. Typologically, the piece is reminiscent of silver pyxes in its shape: compare with two examples from the 16th century in the Museum of Burgos (one with a flatter body than the present piece, but with a similarly shaped lid; another similar to this one). , a pyx from around the middle of the 14th century from the Cluny Museum with similar proportions to this wooden box, etc. Likewise, it would be necessary to mention at least the one known as Salero de San Fernando (Convent of San Clemente in Seville). Pyxes or hosts made of wood are not common, either because the use of metals is preferred for these liturgical objects, or because they are less well preserved or replaced more frequently than silver ones. One is known from the 16th century from the Balkans or Venetian, preserved in the Victoria and Albert Museum in London; There is a wooden pyx case in the same museum dated between 1470 and 1540; etc

· Size: 14,5x14,5x14,5 cms
ANTIQUES

Ref.: ZF1041
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FRAME WITH MIRROR. WOOD, METAL, GLASS. 17TH CENTURY

Mirror. Carved wood. XVII century. Mirror with a slightly rectangular carved wooden frame that has a metal piece on one of its smaller sides so it can be hung on the wall. The frame has been decorated with a composition based on somewhat fleshy plant elements concentrated in the corners and in the center of the smaller sides without protruding from the moldings in which they are located, and with a series of fine and smooth moldings towards the interior. . Although plant decoration is one of the most common in Art, curves, depth, lines, etc. of which the piece presents can be linked to Baroque works of the 17th century. 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 masters of the time (Vermeer, for example), or can be found in important museums.

· Size: 110x90 int 68x88 cms.
ANTIQUES

Ref.: ZF0283
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CHEST. WOOD, GILT IRON, RED VELVET. 16TH CENTURY.

“Rehearsed” chest. Wood, covered in velvet, gilded iron fittings. Century XVI.
Chest with a rectangular base and smooth walls with a lid with sloping sides and a straight top (trunk-pyramidal) made of carved wood. It stands out, above all, for still presenting (and in a remarkable state of conservation) the red velvet with which some of the main examples of this type of work used to be covered, and for maintaining elaborate hardware in its decoration and with gilding in numerous areas. . The three fittings that join the lid to the base have vegetal-shaped endings that are reminiscent of flordelised examples; The handle at the top has a disc in the center and sharpened finials; The shield of the lock is reminiscent of a heraldic one, topped with another simple plant element, and the bolt that joins it to the leg has simple architectural shapes; On the right, there is also a hook to prevent accidental opening of the chest when opening the lock. The interior, open and uncompartmented, has fine textile upholstery in a color similar to the exterior velvet.
This type of chests or caskets lined with fabric (the examples that have velvet are the highest quality, as this is a textile made with silk or linen) is very common in Spain during the 15th century, continuing in the 16th century. , being characteristic elements of the time of the Catholic Monarchs. As for the presence of a lining inside, it is due to the clear intention of preserving the contents of such a rich chest in the best possible condition, saving them from possible damage that the nails in the hardware could cause to the valuable objects that are stored. They were stored in this type of containers, which is why two hooks were also placed flanking the lock to prevent accidental opening once the key was turned. As for color, note that the most expensive dyes were red and blue, so these were the most expensive and valuable specimens.
As indicated, it is not common for such ancient velvet to still retain its characteristic pile, reducing the number of works with which we can compare the present chest. It is much smaller than the pine wood trunk covered in silk velvet, with iron fittings, preserved by the National Museum of Decorative Arts in Madrid, made in Castile between the last quarter of the 15th century and the first quarter of the 16th."

· Size: 27x14x16 cms.
ANTIQUES

Ref.: ZF0122
CENTERPIECE. ORMOLU, MARBLE. FRANCE, LATE 19TH CENTURY

Centerpiece. Gilded bronze, marble. France, late 19th century Centerpiece or planter that has a globular body carved in veined marble in pink tones (of a type similar to a very popular one often used in works of the French school during the Rococo of the 18th century) and some mercury-gilded marble highlights . These are decorated with lion's claws on the legs, simple architectural moldings and masks with vegetal elements (feminine and monstrous, alternating), and an edge that extends towards the interior area of the pieces creating like two wings or handles, decorated with plant and architectural elements (volutes, flowers, bows, leaves, etc.) both outside and inside this area, leaving what would be the internal area of the marble pieces smooth. The classicist inspiration of the decorative elements of the couple is common in works of the French school since the 18th century. Some details (for example, the claws serving as finials on the legs) are seen in Louis XIV style centerpieces dated to that century, while other elements are more often seen in Louis XVI style works (one of the main elements of the Neoclassical style). There is only one piece known to be preserved in a private collection in the United States of America. Weight: 16kg

· Size: 37x27x23 cms
ANTIQUES

Ref.: ZF1064A
CHEST WITH ROYAL MONOGRAM. MAHOGANY, METAL. SPAIN, 19TH CENTURY.

Box or casket with royal monogram. Mahogany wood, metal. Spain, 19th century. It has slight damage. Rectangular box with a flat lid and key hole on the front decorated with metal applications on the corners, edges, handles, etc. Under the key hole it has a fleur-de-lis. The lid has a central motif with fleurs-de-lys and a crowned M, and alternating castles and crowned lions in the corners. This emblem (and the fact that it is accompanied by lions and castles alluding to Castilian heraldry) is reminiscent of the royal monograms that, apparently, all members of the royal family had in the past to mark their belongings. In this case, it is possible that it refers to María Cristina de Borbón-Dos Sicilias (Palermo, 1806-SAinte-Adresse, 1878), wife of Ferdinand VII and regent during the minority of Isabel II. However, we must remember María Cristina of Habsburg-Lorraine or Austria (1858-1929), wife of Alfonso XII. The emblem of María de las Mercedes de Orleans y Borbón (Madrid, 1860-1878), wife of Alfonso XII, used to appear with two capital “emes”.

· Size: 78x31x24 cms.
ANTIQUES

Ref.: ZF1170
BRONZE DEVOTIONAL PLAQUE, SAINT BRUNO OF COLOGNE. SPANISH SCHOOL, 19TH...

Devotional plaque, Saint Bruno. Bronze. Spanish school, 19th century. Rectangular devotional plate made of bronze that has a ring at the top and a frame of smooth moldings around a relief. The image of Saint Bruno is represented in the piece standing, holding a skull and with a miter at his feet, following known iconography (compare, for example, with the carving of this saint made in stone by Manuel Pereira that is preserved in the Royal Academy of Fine Arts of San Fernando). Weight: 169 grams.

· Size: 6,7x0,6x11 cms.
ANTIQUES

Ref.: ZF117116
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BRONZE DEVOTIONAL PLAQUE, SAINT FRANCIS OF ASSISI RECEIVING THE STIGMA...

Devotional plate. Bronze. Spanish school, 17th century. Bronze devotional plate with an oval shape and a circular washer at the top that presents a figurative decoration in relief within a frame of smooth moldings with a string of pearls. The theme shown is that of the Imposition of the Stigmata on Saint Francis of Assisi. Weight: 164 grams.

· Size: 7,6x0,9x11,9 cms.
ANTIQUES

Ref.: ZF117104
BRONZE DEVOTIONAL PLAQUE, ECCE HOMO. SPANISH SCHOOL, 17TH CENTURY.

Devotional plaque, Ecce Homo. Bronze. Spanish school, 17th century. Bronze devotional plate with an oval shape and a washer at the top that presents a relief within a frame of smooth moldings with a chain of pearls inside. A three-quarter Ecce Homo is represented with his hands tied in front, following a very common iconography in the Spanish school during the Baroque. Weight: 134 grams.

· Size: 7,6x0,9x12,1 cms.
ANTIQUES

Ref.: ZF117106
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BRONZE DEVOTIONAL PLAQUE, IMMACULATE CONCEPTION. SPANISH SCHOOL, 18TH ...

Devotional plaque, Immaculate Conception. Bronze. Spanish school, 17th century. Bronze devotional plate with washer at the top that presents a relief on the front. In this you can see the Virgin Mary on a crescent moon, surrounded by light and joining her hands in a gesture of prayer, and with the Franciscan cord (eight knots) around it, linking this medal to the Franciscan Order. It is a frequent iconography and representation on devotional plaques and medals since the Baroque (similar examples are preserved by institutions such as the Lázaro Galdiano Museum, etc.). Weight: 133 grams.

· Size: 7x0,7x11 cms.
ANTIQUES

Ref.: ZF117103
BRONZE DEVOTIONAL PLAQUE, ADORATION OF THE MAGI. SPANISH SCHOOL, 17TH ...

Devotional plaque, Adoration of the Three Wise Men. Bronze. Spanish school, 17th century. Rectangular devotional plaque made of bronze, which presents the scene of the Birth of Jesus in relief. The Virgin Mary has the Child standing on her knees in the foreground, and they are surrounded by several figures among which you can see the Three Wise Men and Saint Joseph; Towards the background, some architecture of classicist influence is presented. Weight: 156 grams.

· Size: 6,9x0,5x10,8 cms.
ANTIQUES

Ref.: ZF117109
BRONZE DEVOTIONAL PLAQUE, SAINT. SPANISH SCHOOL, 19TH CENTURY.

Devotional plaque, Saint Dominic. Bronze. Spanish school, 19th century. Devotional plate with a rectangular shape and made of bronze that has four holes in it and a figurative relief enhanced with a frame of smooth moldings. You can see a saint wearing the habit of the Order of Saint Dominic between the letters S and I, with five stars on his body and a nimbus on his head. Weight: 146 grams.

· Size: 7x0,6x9,8 cms.
ANTIQUES

Ref.: ZF117105
BRONZE DEVOTIONAL PLAQUE, VIRGIN OF MONTSERRAT. SPANISH SCHOOL, 19TH C...

Devotional plaque, Virgin of Montserrat and the Mountain. Bronze. Spanish school, 19th century. Devotional plate made of bronze, with a rectangular shape, which has a washer in its upper part and a frame of moldings enhancing a figurative composition in relief. You can see a Virgin and Child sitting on a throne, with a mountainous shape in the background. It is a particular iconography of the Virgin of Montserrat with the mountain (compare with the bronze of the same subject made in the second half of the 18th century that is preserved in the Diocesan Museum of Barcelona). Weight: 232 grams.

· Size: 6,2x0,8x10,1 cms.
ANTIQUES

Ref.: ZF117115
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BRONZE DEVOTIONAL PLAQUE, IMMACULATE CONCEPTION. SPANISH SCHOOL, 19TH ...

Devotional plaque, Immaculate Conception. Bronze. Spanish school, 19th century. Bronze devotional plate with a washer at the top and a rectangular shape that presents a relief on the front. In this you can see the Virgin Mary on a crescent moon, surrounded by light and joining her hands in a gesture of prayer, and with the Franciscan cord (eight knots) around it, linking this medal to the Franciscan Order. Four winged heads of angels appear in the corners. It is a frequent iconography and representation on devotional plaques and medals since the Baroque (similar examples are preserved by institutions such as the Lázaro Galdiano Museum, etc.). Weight: 191 grams.

· Size: 6,5x0,6x10,4 cms.
ANTIQUES

Ref.: ZF117119
BRONZE DEVOTIONAL PLAQUE, SAINT PETER REPENTING OR DENIAL OF PETER. SP...

Devotional plaque, Saint Peter in tears. Bronze. Spanish school, 19th century. Devotional plaque made of bronze with a rectangular shape that has a washer at the top and a frame of smooth moldings around a figurative relief. A Christian theme known as “Saint Peter in Tears” or “The Repentance of Saint Peter” is shown, being the moment in which the Apostle laments for having denied Christ three times (hence the rooster on the column). Apparently, the piece shows a common iconography in a group of Castilian devotional plaques made since the end of the 16th century and throughout the 17th century, based on an intaglio print (simplified and inverted) by Lèonard Gaultier (ca.1561 - ca.1635 ), and which was edited by Jean Leclerc (1560 - ca. 1622). The Museum of Fine Arts of Valencia preserves a piece similar to the present one. Weight: 152 grams.

· Size: 7,1x0,8x11,4 cms.
ANTIQUES

Ref.: ZF117123
BRONZE DEVOTIONAL PLAQUE, SAINTS JUSTUS AND PASTOR. SPANISH SCHOOL, 19...

Devotional plaque, Holy Children Justo and Pastor. Bronze. Spanish school, 19th century. Bronze devotional plate with a rectangular shape that has a ring at the top and a frame of smooth moldings highlighting a figurative composition in relief. Two male figures appear, dressed in the ancient manner, standing, with palms and a knife on the ground. These are the two Children Martyrs Justo and Pastor, patron saints of Alcalá de Henares (Madrid). The composition is the usual one for a series of plaques: compare with the bronze plaque dated between 1576 and 1700 with the same theme and very similar iconography from the Lázaro Galdiano Museum in Madrid, two in the Marés Museum in Barcelona (18th century), etc. . Weight: 137 grams.

· Size: 6,9x0,5x10,9 cms.
ANTIQUES

Ref.: ZF117124
BRONZE DEVOTIONAL PLAQUE, SAINT TELMO OR SAINT ELMO. SPANISH SCHOOL, 1...

Devotional plaque, San Telmo or Sanct'Elmo. Bronze. Spanish school, 19th century. Saint Pedro González became bishop of Palencia, later entering the Order of Preachers. He is known as Saint Elmo and is considered the patron saint of sailors, having been confused with Saint Erasmus of Formia (Sanct'Elmo). In the present case, Saint Pedro González usually appears with the Dominican habit, while Saint Erasmus usually appears dressed as a bishop but with an allusion to his martyrdom in one hand. Weight: 163 grams.

· Size: 6,5x0,8x10,8 cms.
ANTIQUES

Ref.: ZF117125
BRONZE DEVOTIONAL PLAQUE, SAINT BISHOP. SPANISH SCHOOL, 19TH CENTURY.

Devotional plaque, Holy Bishop. Bronze. Spanish school, 19th century. Rectangular devotional plate with a ring at the top and smooth moldings enhancing a figurative relief. You can see a male figure with a halo, carrying a bishop's staff, and is accompanied by a book and a tiara (located on the ground), and a sun emerging from a corner. Iconographically, it presents details in common with devotional plaques of San Antonio and Santo Domingo de Guzmán. Weight: 170 grams.

· Size: 6,7x0,9x10,7 cms.
ANTIQUES

Ref.: ZF117127
BOUDOIR JARS SET. SILVER (800, ETC.), GLASS. SPAIN AND OTHERS, 20TH CE...

Dressing table set. Silver, low silver, glass. Spain and others, 20th century. With contrast markings. Set of four jars of silver headdresses in their color of different grades and glass. Of the two tall jars, with lids decorated with Rococo style elements, one has marks in the area of the interior caps. The lowest, with a circular base body, presents ownership initials and hallmarks and sterling marks (800 silver, possibly another by Hermann Behrnd, of Dresden, Germany – a silversmith founded in 1881). The remaining bottle has rococo style decorations on the lid and ownership initials engraved on it.

· Size: Perfumero: 5x5x13,5 cms.
ANTIQUES

Ref.: ZF1155
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SILVER MOUNTED TORTOISE SHELL PERFUME CADDY. 18TH CENTURY.

Perfume case. Silver, tortoiseshell, glass, textile. Century XVIII. Case with an elongated shape, wider towards the lid, made of tortoiseshell with a silver frame in its color that has a closure towards one end operated by a button and a hinged lid. Inside, it has a textile upholstery on the lid and base, decorated in certain points with silver plant elements in its color, and an elongated translucent glass bottle. On the outside, it shows a series of plant and architectural elements of classicist influence but organized with a certain rococo rhythm in some points. The practice of using tortoiseshell plates in furniture and other luxury items reemerged in Europe during the 17th century. The high price and great demand for sea turtle shell furniture are explained by the scarcity of the material, which had to be imported (normally from Central America) and that, for its work, a highly specialized workforce was required. Thus, from that moment on, it was common to create boxes, vanity sets, cases with different uses, etc. in tortoise shell, normally combining it with frames in silver, gold, etc.

· Size: 5x3x13 cms.
ANTIQUES

Ref.: ZF0970
BRONZE INKWELL. SPAN, 17TH CENTURY.

Bronze inkwell. Spain, 17th century. Inkwell made of octagonal bronze with eight small holes and one larger one in the center of the upper part that has a flat base and a decoration on its fronts based on moldings of different shapes and widths, all smooth and leaving areas flat in the center of the piece. Around that central gap it has an accent of moldings, in a similar combination to the one mentioned. Typologically, the most common shape of inkwell in Baroque Spain was the square one, and they were made of bronze, ceramic, etc. The polygonal shape, although also relatively common and apparently more so in the 18th century, is less common. Compare, for example, with the polygonal ceramic inkwell from Talavera de la Reina dated to the 17th century found in the National Museum of Decorative Arts (Madrid), or with the bronze one with an octagonal lid dated to the 19th century. from the same institution, with several ceramics and different origins from the 18th century (same museum), etc. Above all, it is necessary to remember, due to its similarity to the present piece, the polygonal inkwell with six holes made of bronze and dated to the 17th century that is in the Museo Casa Natal de Cervantes (Alcalá de Henares, Madrid). Likewise, it is possible to see the use of pieces of this type in paintings such as San Gregorio Magno by Fray Juan Andrés Rizi dated 1681 (Prado Museum in Madrid). Weight: 1,701 kg.

· Size: 18,5x18,5x8 cms
ANTIQUES

Ref.: ZF1121
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PAIR OF VASES. MARBLE, GILT BRONZE. FRANCE, CIRCA LATE 19TH CENTURY.

Pair of vases. Gilded bronze, veined marble. France, late 19th century Pair of centerpieces or vases that have an oval body carved in veined marble in pink tones (of a type very similar to one that was highly appreciated and often used in French school works during the Rococo of the 18th century) and some gilded marble highlights, creating a kind of tripod to hold and enhance the stone pieces. These are decorated with lion's claws on the legs, simple architectural moldings, flowers and female masks with plant elements, as well as a border that extends towards the interior area of the pieces creating three wings or handles, decorated with plant elements and architectural elements (volutes, flowers, bows, leaves, etc.) both outside and inside this area, leaving what would be the internal area of the marble pieces smooth. The classicist inspiration of the decorative elements of the couple is common in works of the French school since the 18th century. Some details (for example, the claws serving as finials on the legs) are seen in Louis XIV style centerpieces dated to that century, while other elements are more often seen in Louis XVI style works (one of the main elements of the Neoclassical style). There is knowledge of a pair of centerpieces very similar to these vases and a single piece (also a centerpiece) preserved in a private collection in the United States of America. Weight: 7.25kg.

· Size: 16x16x29 cms.
ANTIQUES

Ref.: ZF1063
WROUGHT IRON DOORKNOCKER. SPANISH SCHOOL, 16TH CENTURY.

Ring knocker. Wrought iron. Spanish school, 16th century. Door knocker or knocker made of wrought iron and, due to its shape, corresponding to the type known as ring. On the front it presents a decoration based on lines engraved in the metal that intersect. Weight: 0.9kg.

· Size: 11x2x12 cms.
ANTIQUES

Ref.: Z0758B
WROUGHT IRON DOORKNOCKER. SPANISH SCHOOL, 17TH CENTURY.

Caller. Wrought iron. Spanish school, 17th century. Wrought iron door knocker composed of a screw to fix to the door ending in a ring, from which another tubular-shaped piece hangs with an entasis towards the end and decoration of bands. From one side of this part emerges a simplified snake head, which curves to rest and serve as a handle. Likewise, it is necessary to highlight the engraved decoration it presents. Weight: 0.4kg.

· Size: 2,5x4,5x14,5 cms.
ANTIQUES

Ref.: Z0758A