Z. Sierra · Antiques and Decorative Objects

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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
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
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
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
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
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
WOODEN FRAME. 16TH CENTURY.

Frame. Carved, polychrome and gilded wood. Century XVI. Carved, polychrome and gilded wooden frame made from different elements of marked Renaissance influence, resulting in an architectural composition with a stepped base, two fluted pilasters with scrolls on the sides and an upper finish formed by another stepped entablature and a triangular pediment with three balls on another narrower entablature.

· Size: 143x34x160 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0876
GILLER-FALLER CAMERA WITH PROFESSIONAL STAND, FRANCE, CA 1925.

Gilles-Faller (Paris) studio photographic camera with easel, France, circa 1925. Studio photographic camera with bellows in very good condition, two lenses and mounted on an easel on casters for professional use that has a crank for adjusting the camera in height and diagonals. Made of wood and gold metal and in its color, it presents the manufacturer's plate on the front. The professional and amateur photographic equipment company was founded in 1855 thanks to Besson, who, some time later, partnered with Gilles. Around 1870 this second family continued the business until, around 1900, “Guilles Fils” was succeeded by “Gilles E.”, which became associated with Faller, giving rise to “Gilles-Faller”, which would become Société Anonyme in 1924. (d'Exploiation) des Anciens Établissements Guilles-Faller. The identification plate located above the camera lens refers to this last stage, and places the headquarters at 31 Rue Navarin in Paris, where they would have already been established around 1900, but without mentioning its number 33. street (which they would buy, at the latest, in 1926, since this new door appears in L'Indicateur de l'Industrie Photographique of that year). The present easel is very similar to the one in figure 2 (page 2) of the house's 1928 catalog (Bibliothèque Nationale Française, Paris) which was sold with the “Chambre Gilles B 30x30” model along with a series of elements. All the house's models allowed the free combination of shutters and also lenses: note the two present, in good condition. Looking at the aforementioned advertising, there is a particularity: in this case the rectangular camera (18X24) requires a specific easel, which could be included in the lot for an extra charge in francs. Made in walnut finish, which the client could choose between patent or varnished, you can see the rails that allow the movement of the camera using the small wheels on its right and the reinforced canvas bellows.

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

Ref.: Z3397
PAIR OF SILVER CONVERTIBLE CANDLESTICKS. MARTÍNEZ MORENO, MATEO; MUÑOZ...

Pair of convertible candlesticks. Silver. MARTINEZ MORENO, Mateo; MUÑOZ. Córdoba, Spain, 1793. With contrast and burilar marks. Pair of silver candlesticks in their color that have pieces to convert them into candlesticks with two lights each. Each one has an oval base with wavy profiles, already creating lines that, by visually ascending in a helical manner through the rest of the piece, provide outstanding movement to it; the balustraded shaft has two smooth narrowings; the lighter follows the mentioned lines. The pieces have a base that reproduces the shapes of the candlestick, and from it start two flat and openwork arms with “ce” motifs with volutes and waves like a crest, which end in two lighters with a tray or saucer that follow the mentioned lines on the axis of the candlestick. Stylistically speaking, it is a pair of candelabras clearly located within the Rococo style. They are lines that are reminiscent of the usual trays with Spanish contours and those present in writing desks, spice racks, etc. What should be highlighted is the fact of presenting the pieces to convert the candlesticks into candelabras and the decorative choice chosen for them. You can see a location mark (Córdoba), the faithful contrast mark Mateo Martínez Moreno with numbers alluding to the date (1793), and another mark of a silversmith named Muñoz (given the date of the piece it could be Francisco Muñoz, documented between 1792 and 1818). Mateo Martínez Moreno was active in Córdoba during approximately the second half of the 18th century and was a faithful representative of the same city between 1780 and 1804 (the year he died). Weight: 1.7kg.

· Size: 26x14x24,5 cms
ANTIQUES

Ref.: ZF1122
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MANTLE CLOCK. BRONZE, MARBLE. 19TH CENTURY.

Table clock. Marble and bronze. XIX century. Table clock with Paris box machinery made of marble and bronze and with applications of porcelain plates with Rococo souvenir scenes. The white dial has an inscription (Hoffman Fres. / Rues des enfans rouges 4. / A Paris) and Roman numerals for the hours. Above it stands a male figure accompanied by an anchor. The stepped base presents a decoration of gilded bronze elements with a clear classicist memory and the aforementioned plaques. Porcelain decoration is a possible adaptation. Machinery in operation Weight: 30kg.

· Size: 49x22x71 cms
ANTIQUES

Ref.: ZE286
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

Grid. Wrought iron. Spain, 17th century. Wrought iron grille with double pear vertical bars decorated with small discs and other simpler vertical bars (flat above and below, the central one tubular and inserted through the vertical ones). The bars have a slight vegetal relief, a technique also present in two discs on the sides of the piece. The shape is slightly reminiscent of works preserved in the Victoria and Albert Museum in London and a confessional grille from the Metropolitan Museum in New York dated 1629 (inv. 57.137.51) and another from the same museum by Francisco González (inv. 56-234.12 Ad).

· Size: 104x25x143 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z4880
GILT BRONZE MANTEL CLOCK. 19TH CENTURY.

Table clock. Ormolu. XIX century. Table clock made of gilt bronze with a powerful base, enhanced with legs decorated with vegetal and architectural motifs of classicist inspiration and a series of details on the front (volutes in the chamfered corners, scrolls and a center with a globe from which light radiates and a scroll, with inscriptions on both), as well as bands of simple architectural elements and smooth spaces to enhance those decorations. On this pedestal a scroll has been placed for the dial (white, with Roman numerals for the hours and lines for the minutes, Breguet-type hands), surrounded by a garland. In this area there is a male figure, dressed in costumes reminiscent of the Renaissance, holding a drawn sword; In addition, a series of elements have been placed on the part of the sphere (a globe, documents with texts in italics in French, etc.). The allusion to the sciences is clear by presenting the documents with the respective texts and the sphere in such a prominent place. The detail of the sword refers to war. Thus, it would be a figure that would unite wisdom and action, uniting both in the gentleman of a certain age, as it should be in a ruler or people of a certain social class. The best examples of bronze table clocks were made in France during the 19th century, or so it was considered. This is due to the care with which the manufacture of bronze applications and elements was organized and legislated, the mercury gilt bronze technique, and the participation in the creation process of leading artists who were in charge of the designs of the figures. and decorative motifs (also, it was not unusual to make figures inspired by or more directly copying great works of Art History). The resulting clocks were highly appreciated, being used to decorate the interiors of palaces and prominent residences. Machinery in working order.

· Size: 43x17x55 cms.
ANTIQUES

Ref.: ZF0207
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GILT BRONZE CLOCK. 19TH CENTURY. IN WORKING ORDER.

Table clock. Ormolu. XIX century. Machinery in working order. Table clock with a case made of gilded bronze, and Paris machinery in working condition. The base rises on legs decorated with plant and architectural elements of clear classicist influence, which is also present in the motifs that decorate the rectangular area of this area. The figures, a young couple seated on a rock formation with plants and classical elements in ruins, appear dressed in 19th century fashion (note in particular the fineness of the lady's mantilla). The dial has Roman numerals for the hours and lines for the minutes, and a plant decoration around it; On the back, a transparent glass plate allows you to see the machinery. Compare it with pieces such as the one dated to the mid-19th century, titled “La Müsica”, which is in the Museum of Romanticism (Madrid); or the one signed by Le Roy & Fils (from Paris), from the first half of the 19th century, from the Cerralbo Museum in Madrid (Salón de Confianza); and others preserved in private collections. In general, French bronze watches from the 19th century are considered outstanding pieces (especially in terms of the cases), due to the care taken by the government in organizing and legislating the manufacture of applications and elements in bronze, the bronze technique mercury gilding, and the participation in the creation process of leading artists who were in charge of the designs of the figures and decorative motifs (also, it was not unusual to make figures inspired by or more directly copying great works of Art History) . The resulting clocks were highly appreciated, being used to decorate the interiors of palaces and prominent residences. Due to this, in the rest of Europe, inspiration from these examples was common for the creation of pieces. Weight: 18kg.

· Size: 48x16x58 cms
ANTIQUES

Ref.: ZF0673
HOLY OILS RECIPIENT. PEWTER. 19TH CENTURY.

Holy Oils Container. Pewter. Century XVIII. Container made of pewter that has a foot, a curved body, two handles and a lid. Its exterior decoration shows a clear influence of the Rococo style of the 18th century in Europe (note the seed beads on the handles, the bands found on the body, etc.) along with some slightly classicist details. On one of the fronts there is a crowned heraldic shield framed with scrolls and, on the other, an ecclesiastical one.

· Size: 36x22x47 cms.
ANTIQUES

Ref.: ZF0937
ENGINE ORDER TELEGRAPH. FENYA, FABRICACIONES ELÉCTRICAS, NAVALES Y ART...

Synchronous type ship bridge electric telegraph. Fenya, Fabricaciones Eléctricas, Navales y Artilleras, SA Spain, around the middle of the 20th century. Bronze, glass, carved wooden base. Electrical bridge telegraph, synchronous type, used, thanks to a replica in the engine room, to transmit the required travel speed orders. It has a simple square carved wooden base, a metal body with a door closed by screws and a circular finish with the usual lever. This circular area features transparent glass and a blue arrow to indicate various speeds (forward and reverse), above the emblem of the manufacturing company and the type of machinery, model and power. It was a very effective mechanism and widely used while there was no internal voice communication between different parts of the ship and it was necessary to control the engines from the same engine room. Although they were often changed as new technical advances arose, they are pieces valued today for their appearance and their history. Fenya (Electrical, Naval and Artillery Manufacturing) was a company founded in Ferrol by José María González-Llanos y Caruncho (who also founded ASTANO -Astilleros y Talleres del Noroeste- in 1941), with three telephone designs as its first product. This was followed by telephone exchanges, electrical equipment for ships, electrical panels and motors, becoming one of the main auxiliary companies in Ferrol. It closed permanently in 1997.

· Size: 42x42x130 cms. base 55x55 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0434
WROUGHT IRON GRILLE. 16TH CENTURY.

Gothic grille with frame. Wrought iron, wood. Century XVI. A carved wooden frame supports the wrought iron fence that has decorated balusters: all have a heart-shaped shape in the center, while the axes are smooth on top and spiraled below in those with the heart facing up, and spiraled. above and smooth below in those that show this shape with the beak downwards. These heart-shaped shapes appear, for example, in the Gothic grille of the Cathedral of Pamplona or in that of the Main Chapel of the Cathedral of Zamora, or in that of the Monastery of Guadalupe. Thin square-section bars, often twisted, appear in Spanish ironwork as early as the 14th century. The “opening” of the vertical bars forming rhombuses, hearts or more complex variants can be seen in examples from the 15th century (Ávila Cathedral, etc.)

· Size: 140x26x160 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3579
ORNAMENTAL MIRROR. 19TH CENTURY.

Cornucopia, carved and gilded wood. XIX century. Rectangular mirror with the frame highlighted by a trim that extends along the sides. This has been formed from scrolls and seed beads, directly inspired by examples from the 18th century that follow this style. It is the straight lines inside the mirror that show that, as was common in the 19th century, elements from past styles have been taken to create works more in line with the taste of the time.

· Size: 45,5x60 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z6615
CERAMIC DRUG JAR OR SYRUP JAR. POSSIBLY ITALY, 18TH CENTURY.

Orza. Ceramics. Possibly Italy, 18th century. Jug with a globular body with a small base, a reduced spout at the mouth (narrower than the body, and with a small neck) and a handle formed by a twisted flat element, made of enameled ceramic and decorated with a composition in blue on White background. Around a cartouche with an inscription (“AQa di MALVA”, alluding to a remedy derived from the common mallow, a common plant in Europe that was already mentioned, along with its healing properties, by Pliny the Elder among others), and using several shades of blue, an important variety of plant elements and flowers have been arranged, accompanied by a bird perched on the cartouche. The decoration of ceramics in blue tones on a white background was common in Europe as early as the 17th century (Dutch and English pieces, works in Talavera de la Reina in Spain, etc.). In the Italian case and in ceramics (with this origin, usually called “maiolic”), decoration in cobalt blue on white is already found in works of Byzantine inspiration in the Quattrocento, accompanying various influences. In the first third of the 16th century this “porcelain” decoration (since, apparently, it is distantly inspired by Chinese porcelain works that use these colors) continues, with touches of other colors. Compare the present work with the pieces known as “Medici Porcelain”, from the third quarter of the 16th century. The name "berrettina" is enamelled majolica from light blue to dark blue, obtained with cobalt oxide. It was used from the 16th century to the first half of the 17th century, in productions mainly from Liguria and Veneto. Likewise, it is worth pointing out a series of pieces with which this one has a little more relationship: a pharmacy bottle with Saint Paul (made in Savona in the 17th century, today in the International Museum of Ceramics in Faenza), or with albarelos preserved in the Hispanic Pharmacy Museum of the Complutense University of Madrid, works from the Italian region of Savona, pieces in private collections, etc.

· Size: 24x30x26 cms.
ANTIQUES

Ref.: ZE205
CUP COOLER. WITH MARKS. “SOFT PASTE”. “REAL FÁBRICA DE PORCELANA DEL B...

Cooler or glass cooler. With marks on the base. White paste. Royal Porcelain Factory of Buen Retiro (Madrid, Spain), around 1784-1803. Piece of tender pasta with wavy edges used to hold the stems of the glasses and cool them when filling the container with ice or similar. On the outside, it has two handles in the shape of plant elements and small reliefs on the fronts (also enhanced thanks to the gilding) which frame floral bouquets with colored leaves. It is possible that the piece belongs to the second period or intermediate stage of the Royal Porcelain Factory of Buen Retiro of Madrid, established in the Spanish capital from 1760 and thanks to Charles III; This stage corresponds to “the commands” of Carlos Scheppers and Felipe Gricci, and the Italian influence continues, adding relations with other currents (English, Saxon). Weight: 2225 grams

· Size: 33x19x13 cms.
ANTIQUES

Ref.: ZF0431
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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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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
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
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
CARVED GOLDEN WOOD CHEST. 18TH CENTURY

Chest from the 18th century. Carved and gilded wood. Chest from the 18th century with a still clearly Baroque structure, with a wavy profile with bulges in elevation, but already decorated with Rococo details, even organized in an asymmetrical composition unthinkable in the Baroque. It has a chest structure, with cut skirts, volute feet curled inwards (still baroque, in Rococo they will curl outwards) and a vaulted lid. The decoration is carved in bas-relief, the different motifs highlighted on a nuanced, irregular background, which enhances its relief. This type of work is inspired by silversmithing, a decorative resource widely used in baroque silversmithing, precisely to reinforce the three-dimensional impression of the motifs worked in very low relief. Although these motifs are rigorously organized in boxes, in the Baroque manner, they are now clearly Rococo. Thus, on the front of the base we see a totally asymmetrical composition, composed of rockery crests, “S” braces and plant details, perfectly framed within the Rococo style. On the sides we see similar motifs that, although simpler, respect the compositional asymmetry that is a hallmark of full Rococo. The lid also presents rich Rococo ornamentation, in this case worked with a less obvious asymmetry.

· Size: 46x25x34 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5862