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FOUR IRON COLUMNS. 17TH CENTURY.

Four columns. Iron. 17th century Four iron supports with a polygonal shaft, balustrade shape and upper part with two sections on the sides of the central one ending in volutes and a horizontal part in the same material as the rest. This type of architectural element was very common in Spain even well into the 20th century in certain areas. Total weight: 620 kg

· Size: 76x21x249 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1271A
WROUGHT IRON GRILLE GATE. 16TH CENTURY.

Gate. Wrought iron, 16th century. Partial gate with squared bars and moulded splits, without a base and bolt on the right, with a plaque topped by simplified plant elements, topped by a frieze of canvases decorated on the front with plant scrolls alternating with heraldic shields with fleurs-de-lis and with an upper crest composed of two flowering pineapples at the outer ends and schematic scrolls with flowers, two of which flank a fleur-de-lis Latin cross with diamonds above which is a wavy saltire with flowery finials. Typologically, this is a partial architectural grille or gate with both ornamental and defensive purposes. It also clearly displays some of the striking decorative and typological variety common in Florid Gothic ironwork of the 15th century, but it also reflects developments common in the 16th century. A first stage of evolution, towards the Renaissance, is introduced, sometimes extending into the first third of this century, and is characterized, among other things, by the variety of barring, with frequent combinations of square and square shapes in a single section; by the structure of three panels of very similar width and number of bars and a central door with a lintel; by decorative elements related to the Renaissance, the use of embossing, etc., characteristics that can be appreciated in the present example. The absence of interbody bands, common in grilles of this period, only indicates that it was made to protect a small chapel. The presence of fleurs-de-lis indicates the spread throughout the peninsula of Catalan models, which, coming directly from France, often featured this decorative element. The relationship between this grille and certain Gothic heritages is clear, especially when compared with fully Renaissance examples such as the one in the National Archaeological Museum from 1575 (inventory 57551). Normally, 16th-century grilles are found, if they have been preserved at all, in the chapel for which they were made, in prominent private collections, or in important museums. Compare this work with the grille at the head of the Church of San Julián de Nagore (Navarre) or that of the Chapel of the Most Holy in the Cathedral of Santa María la Real in Pamplona.

· Size: hojas 69 x 268 Copete 390 x 110 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z0664
LATIN CROSS SHAPED PECTORAL CLOCK. SILVER.17TH CENTURY.

Cross-shaped pectoral clock. Silver, 17th century. It has undergone restorations. Portable watch in the shape of a cross with an openwork exterior showing figurative Christian scenes and the movement inside, a gold-banded dial with Roman numerals for the hours, a single hand and an engraved decoration around it, also with a religious theme; on the back, you can see the back of the movement, with a delicate, also openwork decoration based on plant motifs reminiscent of classicism, and a band on the case of the piece with simplified plant elements. On the outside, we find on one side the crucified Christ, flanked by the Virgin Mary and Saint John, and the figures surrounded by a delicate composition based on vegetal scrolls, with an angel's head at the foot of the piece. The other side shows the Resurrection of Jesus, with Christ emerging from the empty tomb and the soldiers on either side, again with scrolls and above another angel's head. On the edges there are vegetal and floral elements, accompanied by figures placed within plaques. On the inside, and flanking the clock face, we are shown the Original Sin below and the Expulsion from Paradise, with Adam on one arm of the cross that forms the clock, Eve on the other and the angel on top, brandishing the flaming sword (thus following, in part, the biblical text). There are several known antique portable clocks which have been given a shape other than the usual one for such objects. Thus, although the best known is the skull-shaped clock in the Metropolitan Museum (movement from c. 1650 by Isaac Penard, case from c. 1810-1820), and bearing in mind that they were not at all the usual type, there are several examples in the shape of a Latin cross. Let us recall, for example, some of those preserved in the Ashmolean Museum in Oxford: one attributed to Cornelius Stimmer (active c. 1660) has Christ Crucified on the front, flanked by the four Evangelists; another by Barthélemy Cheuillard (active 1636-1677) dated c. 1650 has an uncut metal case and engraved decoration on the interior; Other examples, such as one dated c. 1660 or another by Didier Lalemand (active 1675-1686) dated c. 1660 or 1630, follow the usual pattern for such extraordinary examples, which is to have the outer case made of rock crystal. This is also the case with the clock by Charles Bobinet, probably painted by Werner Hassel and dated to the mid-17th century, which is kept in the Metropolitan Museum, and with the one in the British Museum in London by Jean Rouseeau the Younger, which is dated between 1640 and 1650 and was made in Switzerland.

· Size: 7x5,5x2,5 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1032
SET OF STRIPS AND FRAME IN PAINTED WOOD WITH GOLDEN DETAIL. 17TH CENTU...

Lot consisting of strips and frame (lintel and two jambs) in carved gilded and polychrome wood. Decoration of plant motifs with golden scrolls on a green background. 17th century

· Size: 175x160 cms.
ANTIQUES
MISCELLANEUS;FRAMES

Ref.: Z3395
NORTON MOTORCYCLE, ES2 500CC, CIRCA 1948.

Norton motorcycle, model ES2 500 CC, circa 1948 Incomplete documentation; it has circulation permits from 1958 and 1980. Norton, or Norton Motorcycles, is a British motorcycle brand founded in 1898 that ceased production in the 1990s and restarted activity in 2008. The company was acquired in 1952 by Associated Motor Cycles, becoming part of the Norton-Villiers group in 1966, and in 1972 it was integrated into the Norton-Villiers-Triumph group, following the liquidation of BSA (the former owner of Triumph). Designed by Walter Moore, the Norton CS1 engine appeared in 1927, based largely on the ES2 pushrod engine and using many of its parts. Moore was recruited by NSU in 1930, after which Arthur Carroll designed an entirely new OHC engine destined to become the basis for all subsequent OHC and DOHC Norton singles. (Moore's move to NSU prompted his former staff to joke that NSU stood for "Norton Spares Used.") The Norton racing legend began in the 1930s. Of the nine Isle of Man Senior TTs (500 cc) between 1931 and 1939, Norton won seven. After the Second World War, Norton returned to civilian motorcycle production, gradually increasing its range. A major addition in 1949 was the twin-cylinder Model 7, known as the Norton Dominator, a 500cc pushrod twin-cylinder machine designed by Bert Hopwood. Its chassis was derived from the single-cylinder ES2, with telescopic front and piston rear suspension, and an updated version of the gearbox known as a "lay-down" box. Sleeker mudguards and tanks completed the more modern styling of Norton's new premium twin-cylinder model.

· Size: 200x84x114 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0752
CARRIAGE, “JARDINERA” TYPE.

Gardener type carriage. An open four-wheeled carriage with leaf springs and a raised davit, with a baluster box allowing several people to be carried on each side. This type of vehicle was generally used in the countryside, although nowadays it is more frequently seen at fairs and important events.

· Size: 234x156x173 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z5023
WINEPRESS. WOOD, METAL. SPAIN, CIRCA 1800..

Wine press. Wood, metal. Spain, circa 1800. Press for extracting grape juice made of wood with two screws on the sides to manually move the flat part of the press located on top, which also has a piece to fit into a container to put the fruit. Also note the crossbars and legs for transporting it. This type of agricultural machinery was very common in the past, although it is still in small numbers because it was replaced by technological advances that occurred, especially after the Industrial Revolution. They were used both in monasteries and in other centres where grapes were pressed for the production of wine and other drinks.

· Size: 180x270x305 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0757
PAIR OF BOHEMIAN CRANBERRY RUBY RED GLASS ENAMELED AND GOLD URNS. 19TH...

Pair of vases. Glass. Bohemia, Czech Republic, 19th century. Pair of red glass vases decorated with areas of white enamel and spaces in gold, highlighting the two female busts (practically portraits on an undefined background) that both pieces present on their fronts. The two raised handles finished in a circle have a fine decoration of simplified plant elements; the glass shows decoration of the same type, but of a different influence (more classicist); the busts have been enhanced by two frames in gold and dark lines clearly reminiscent of classicism; the white areas (with plant shapes) have gold lines. Both pieces show remarkable similarities in the quality of the colour of the glass and the decoration as well as in the lines of the pieces, with notable red Bohemian glass urns, especially with works linked to Ludwig Moser & Söhne. Moser is a company that manufactures luxury glass objects located in Karlovy Vary (Czech Republic; formerly Karlsbad in Bohemia) that continues its work today (it was founded in 1857 by Ludwig Moser), and is highly appreciated in the art world for its works from the late 19th and 20th centuries. Although Bohemia was a region known for its glass production as early as the 13th century (especially when they discovered that adding potassium created a clearer and more stable colourless glass than Italian glass), this activity became popular in the 17th century (although the term “Bohemian” or similar had been used for a hundred years before to distinguish quality glass from this origin), and it stood out especially in the 19th and 20th centuries thanks to important manufacturers for the quality of their materials and techniques and the care taken in their designs. By the mid-19th century they already had a system for teaching glassmaking, and in the second half they exported very striking pieces in large quantities (usually pairs of glasses or vases in a single colour in opaque glass or in two colours, decorated with enamelled floral elements, painted details; sometimes lithographic techniques were used to copy famous paintings and capture them in works; etc.) created in large factories and in large quantities.

· Size: 15x13x41 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZE222
LEATHERED CHEST. WOOD, TEXTILE, WROUGHT IRON. SPAIN, CA 1500.

Rectangular chest 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 that is also used to make the handle on the lid and a latch on the front with a lock shield decorated with simplified plant elements on the top. The interior has the fabric upholstery that was common in these pieces and that, as a general rule, has not been preserved in good condition, as in this piece. These types of chests were used both to store and transport precious objects, hence the lock, always seeking quality in materials and decoration that would demonstrate the economic power of its owner, as well as maintaining its usefulness. The shape is one of the most common for chests in Spanish Gothic, maintaining the way the fittings and a series of decorative elements are arranged in this style. The barred and rehearsed chests and small 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, those in the Lope de Vega House Museum (Madrid), one dating from the beginning of the 16th century and with 19th century touches (CE00170) and another with a decoration (inventory CE00004), or the 15th century chest in the Museum of Decorative Arts in Madrid, for example, as well as several examples from private collections.

· Size: 17x10x11 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0339
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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 polychromy is based on typical Talavera colours: cobalt blue, copper green, manganese black, antimony yellow and iron ochres, browns and oranges. These glazes were applied to the raw slip, so the piece was fired only twice: once for the paste and once for the slip and glazes. In addition, the colours were protected with a varnish, which was also fired in this second firing. The pieces were placed in the kiln in blankets or boxes, so that the colours would not burn (they are fired at a very high temperature, 900º). In general, those from Talavera will be well fired, without significant defects. The peak of this ceramic manufacture will take place between the 16th century and the mid-18th century, when the French taste was introduced to Spain, and the clientele began to prefer pieces from Alcora. However, Talavera would experience a new Golden Age at the end of the 19th century, with historicism. This piece features a typical Talavera decoration, which would be widely imitated in other centres throughout the Modern Age: a rampant animal in the centre, on a schematic ground plane, flanked by two large plant elements. The decoration is completed with synthesised plant elements and bands of concentric lines, inside and out.

· Size: 32x32x15 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: Z5575
RELIQUARY PENDANT WITH FLAGELLATION OF CHRIST. SILVER, ENAMEL. 16TH CE...

Reliquary with “Flagellation of Christ”. Silver, enamel. 16th century. Oval reliquary pendant decorated on the outside with a striped band and some relief elements on the edge (with curved profiles and simple engraved scrolls), which has a chain of smooth oval links (all practically identical). On the front and back it shows two figurative scenes with striking polychromy. On the one hand, Christ is placed in the centre of the composition, tied to a high column, being whipped by two executioners or soldiers with branches, following a composition that was common in the 16th century. On the other hand, the focus is on a hollow in the pendant protected by glass (since it contains a relic, enhanced by a Latin cross), highlighted in the composition by rays of light and a beam of light; this element appears held by an angel and surrounded by little winged heads (common in the Renaissance) floating among clouds, and is accompanied by Saint Joseph with the Child and the Flowering Staff, and Saint Anthony of Padua (also with the Child and a bouquet of flowers). This type of jewellery has always had great value, both for the materials used and for its religious content. Despite this (or perhaps because of this same appreciation) there are not many examples of quality and in good condition, and it is possible to find them only in important private collections and in outstanding museums such as the Fundación Valencia de Don Juan in Madrid, the Museo Nacional de Artes Decorativas in the same city, etc., or old religious centres such as the Convent of the Descalzas Reales in Madrid. Weight: 160 gr

· Size: 8x1x10 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF0396
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SILVER DRINKING CUP . SPAIN, 16TH CENTURY.

Silver wine-tasting cup, 16th century. Cup-shaped wine glasses with plant motifs within a six-pointed star on the bottom and a cylindrical base decorated with circular geometric borders. Also known as wine glasses, these types of drinking glasses were used on special occasions (ceremonies, etc.), hence their material and decoration. They were very common during the reign of the Habsburgs in Spain. Although they were objects for civilian 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 in an artistic center far from the main silversmithing centers. The former, moreover, links more with Gothic art than with the Renaissance, which by this time had already made its presence felt in Spanish silversmithing. Compare, for example, with the bernegal with cartoon-shaped handles in the Prado Museum in Madrid (catalog O00085) from the late 16th century, which features a carved upper part in double concave gadroons and displays plant and fruit engravings in festoons and ribbons. This difference does not detract from the work's value; quite the contrary: it demonstrates the attachment to designs with simple lines and Gothic plant and geometric decorations that prevailed in centers far from the creative capitals, the influence of which can even be seen in Baroque works. Similar examples can be found in very few private collections and only in a few important museums. For example, similar 16th-century bernegales are preserved in the Fundación Valencia de Don Juan (Madrid), and 17th-century ones are somewhat more abundant, as demonstrated by those in the Lázaro Galdiano Museum (inventory 3910 and 3916).

· Size: 16x16x4 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6296
WOODEN FRAME. 16TH CENTURY.

Frame. Carved, polychrome and gilded wood. 16th century. Carved, polychrome and gilded wooden frame made from different elements with a marked Renaissance influence, resulting in an architectural composition with a stepped base, two fluted pilasters with volutes 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
MISCELLANEUS;FRAMES

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

Gilles-Faller (Paris) studio camera with easel, France, circa 1925. Studio camera with bellows in very good condition, two lenses and mounted on a stand on wheels for professional use. It has a crank for adjusting the height and diagonals of the camera. Made of wood and gold metal and in its colour, it has the manufacturer's plate on the front. The company, which produced both professional and amateur photographic equipment, was founded in 1855 by Besson, who later joined forces with Gilles. Around 1870, this second family continued the business until around 1900, when “Guilles Fils” was succeeded by “Gilles E.”, who joined forces with Faller, giving rise to “Gilles-Faller”, which in 1924 became Société Anonyme (d'Exploiation) des Anciens Établissements Guilles-Faller. The identification plaque above the camera lens refers to this last stage, and places the headquarters at 31 Rue Navarin in Paris, where they had already established themselves around 1900, but without mentioning number 33 on the same street (which they would have bought, at the latest, in 1926, since this new door appears in L'Indicateur de l'Industrie Photographique of that year). This easel is very similar to the one in figure 2 (page 2) of the 1928 catalogue of the company (Bibliothèque Nationale Française, Paris) which was sold with the model “Chambre Gilles B 30x30” together with a series of elements. All the models of the company allowed the free combination of shutters and also lenses: note the two present, in good condition. Looking at the advertisement referred to, there is a peculiarity: 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 by means of the wheels on its right and the reinforced canvas bellows.

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

Ref.: Z3397
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PAIR OF SILVER CANDLESTICKS. 18TH CENTURY.

Pair of silver candlesticks. 18th century. Pair of candlesticks made of silver in an unadorned Baroque style, with a clean and dynamic structure that expresses itself through the contrasting superposition of elements with a circular section. The lines engraved on the discs of the shaft have an impact on this play of inscribed circles that determines the design. The foot is domed and stepped, combining curved mouldings and edges, and its stepped truncated cone shape is repeated, inverted and reduced in size, at the base of the lighter. The shaft is made up of two truncated cone-shaped necks, the upper one with a rounded base, alternating with lentils or discs of different diameters and narrow spools between them. Finally, the lighter is cylindrical, with the same play of parallel mouldings of various sizes that extend to form flat discs. Weight: 2 kg

· Size: 15,5x15,5x33 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1250
CHURCH LAMP. SILVER. CÁDIZ, SPAIN, 18TH CENTURY (1767).

Votive lamp. Silver in its color. Cadiz, 18th century (1767). No hallmarks. Inscribed. A silver-colored ceiling lamp featuring a deep lower section divided into levels by a series of moldings, ending in a ring and decorated with plant and architectural elements; a series of chains alternating elongated links with round rings; and a top finial reminiscent of the aforementioned lower section in its shapes and decoration. Inside a shield topped with a crown appears an inscription relating to the person who donated the piece and the date: “By the devotion of D. Manuel Joseph de Alba. Made in Cadiz in the year 1767”. A record is kept at the University of Veracruz (record code 27_1767_12485, folio 115 back-117, record location Jalapa) in which Don Manuel José de Alba is mentioned, the legitimate son of Don Juan José de Alba and Doña Beatriz de Aragón, a native of the town of Chiclana and resident of the city of Cadiz, residing in Jalapa. Someone with the same name (probably the one alluded to in the piece) appears in documents from 1767 from the Corpus Christi Convent in Alcalá de los Gazules. Votive lamps are a type of liturgical furnishings whose purpose was to burn to illuminate either an image to which one felt a strong devotion or the Blessed Sacrament, so they were frequently found accompanying the tabernacles of chapels. Several early examples survive, mainly in private collections and ecclesiastical institutions. Compare, for example, the 1720 Juan del Río lamp from New Mexico (Franz Mayer Museum, Mexico City, Mexico); three from the 18th century in the church of Santa María de Tobed (Zaragoza, Spain); another from 1788 in the parish of Nuestra Señora de Gracia de Montalbán in Córdoba (Spain); etc. Weight: 3020 grams.

· Size: 46x46x115 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1315
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

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

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

Ref.: Z4880
PAIR OF IRON COLUMNS. POSSIBLY SPANISH SCHOOL, 17 TH CENTURY.

Pair of columns. Wrought iron. Possibly Spanish school, 17th century. Pair of architectural supports made of iron with a polygonal central axis, ending in a spherical shape on one side and in a support for a horizontal crossbar on the other. At this point two volutes flanking the aforementioned axis end. Weight: 310 kg.

· Size: 79x21x249 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1271B
HOLY OILS RECIPIENT. PEWTER. 19TH CENTURY.

Holy Oils Container. Pewter. A pewter vessel featuring a foot, a curved body, two handles, and a lid. Its exterior decoration clearly shows influence from the Rococo style of 18th-century Europe (note the rocailles on the handles, the bands on the body, etc.) along with some slightly classicist details. One front features a crowned heraldic shield framed with scrolls, and the other features an ecclesiastical shield.

· Size: 36x22x47 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0937
SILVER CHURCH LAMP. SPANISH SCHOOL, 18TH CENTURY.

Votive lamp. Silver in its color. Spanish School, 18th century. With contrast marks. Silver-plated ceiling lamp composed of two pieces joined by openwork rhomboid link chains alternating with rings. These two elements have been decorated with embossed plant motifs and flat pieces shaped like scrolls, both reminiscent of Classicist designs. It features electrical wiring inside. The hallmarks are located on the eaves of the piece, with one engraved. Weight: 2,700 grams.

· Size: 54,5x54,5x92 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1314
ENGINE ORDER TELEGRAPH. FENYA, FABRICACIONES ELÉCTRICAS, NAVALES Y ART...

Synchronous type electric telegraph for a ship's bridge. Fenya, Fabricaciones Eléctricas, Navales y Artilleras, SA Spain, mid-20th century. Bronze, glass, carved wooden base. An electric bridge telegraph, of the synchronous type, used, thanks to a replica in the engine room, to transmit the required speed orders. It has a simple square base made of carved wood, a metal body with a door closed by screws and a circular top with the usual lever. This circular area has a 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 and widely used mechanism while there was no internal voice communication between different parts of the ship and it was necessary to operate the engines from the same engine room. Although they were often changed as new technical advances arose, they are pieces appreciated today for their appearance and history. Fenya (Fabricaciones Eléctricas, Navales y Artilleras) 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 definitively in 1997.

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

Ref.: Z0434
ORNAMENTAL MIRROR. 19TH CENTURY.

Cornucopia, carved and gilded wood. 19th century. Rectangular mirror with a frame highlighted by a crest that extends along the sides. It is made from scrolls and rocailles, directly inspired by 18th century examples that follow this style. The straight lines on the inside of the mirror show that, as was common in the 19th century, elements of past styles have been taken to create works more in keeping with the taste of the time.

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

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

Orza. Ceramic. Possibly Italy, 18th century. A globular jug with a small base, a narrow spout at the mouth (narrower than the body, and with a small neck) and a handle formed by a twisted flat element, made of glazed ceramic and decorated with a composition in blue on a 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 various shades of blue, a significant 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 case of Italy and in ceramics (with this origin, usually called “maiolica”), cobalt blue decoration on white is already found in works inspired by Byzantine in the Quattrocento, accompanying various influences. In the first third of the 16th century this “porcelain” decoration (since, apparently, it was distantly inspired by Chinese porcelain works that used these colours) continued, with touches of other colours. Compare this work with the pieces known as “Medici Porcelain”, from the third quarter of the 16th century. The name “berrettina” refers to glazed majolica in light blue to dark blue, obtained with cobalt oxide. It was used from the 16th century to the first half of the 17th century, mainly in Liguria and Veneto. It is also worth mentioning a series of pieces with which this one has something more closely related: a pharmacy jar with Saint Paul (made in Savona in the 17th century, now in the International Museum of Ceramics in Faenza), or with albarelos preserved in the Museum of Hispanic Pharmacy at the Complutense University of Madrid, works from the Italian region of Savona, pieces in private collections, etc.

· Size: 24x30x26 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZE205
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GILT BRONZE MANTEL CLOCK. 19TH CENTURY.

Mantel clock. Gilt bronze. 19th century. Mantel clock made of gilt bronze with a powerful base, enhanced by legs decorated with Classicist-inspired plant and architectural motifs, and a series of details on the front (scrolls at the chamfered corners, scrolls, and a center with a globe radiating light and a scroll, both with inscriptions), as well as bands of simple architectural elements and plain spaces to enhance these decorations. On this pedestal is a scroll for the dial (white, with Roman numerals for the hours and lines for the minutes, Breguet-style hands), surrounded by a garland. In this area, there is a male figure, dressed in Renaissance clothing, holding a drawn sword; in addition, a series of elements have been placed on the dial (a globe, documents with cursive French text, etc.). The allusion to science is clear in the prominent display of the documents with their respective texts and the sphere. The detail of the sword refers to war. Thus, it would be a figure that unites wisdom and action, uniting both in the knight of a certain age, as should be the case in a ruler or a person of a certain social class. The finest examples of bronze table clocks were made in France during the 19th century, or so it was widely believed. This is due to the careful organization and regulation of the manufacture of bronze appliqués and elements, the use of mercury-gilt bronze, and the participation in the creative process of leading artists who were responsible for the designs of the figures and decorative motifs (it was also not unusual to create figures inspired by or more directly copying great works from the history of art). The resulting clocks were highly prized and were used to decorate the interiors of palaces and prominent residences. Machinery in working order.

· Size: 43x17x55 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF0207