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PORCELAIN BOX. POTSCHAPPEL-DRESDEN, GERMANY, 19TH.

Box. Enameled porcelain. Potschappel-Dresden, Germany, 19th century. With mark on the base. Rectangular box with a slightly curved lid made of enamelled porcelain with gold metal trim and hinges. The box features a decoration on the outside of figurative scenes of couples in natural landscapes with a clear Rococo feel, enhanced by gold frames and scale elements in pink tones. On the inside, on the lid, another scene of this type appears. The base of the piece bears a mark alluding to the factory responsible for it. In 1872, Carl Thieme (Carl Johann Gottlieb Thieme) converted his porcelain painting business into a porcelain factory, keeping the headquarters in Dresden and calling it Sächische Porzellanfabrik zu Potschappel (Dresden) von Carl Thieme. A mark such as the one seen on this piece was used there between 1888 and the beginning of the 20th century.

· Size: 12x8x7 cms
ANTIQUES

Ref.: ZF0702
PAIR OF PORCELAIN VASES.19TH CENTURY.

Pair of vases. Enameled porcelain. 19th century. Pair of circular vases with a cylindrical body in the centre and a long neck and mouth open towards the outside, decorated with bands in pink tones, gold edges, grouped flowers and two genre scenes (humble characters dancing in rural landscapes; on the other side, similar scenes). They have been presented placed on metal feet, decorated with openwork elements and with claw-shaped legs finished with vegetal elements of classicist influence. They have marks on the base.

· Size: 24x24x62 cms
ANTIQUES

Ref.: ZF0884
CERAMIC SPICES RECIPIENT. TALAVERA DE LA REINA, SPAIN, 17TH CENTURY.

Triangular spice rack. Glazed ceramic. Talavera de la Reina, Spain, 17th century. It has damage. Triangular spice rack made of glazed ceramic decorated with a relief element in the centre of the three fronts and a series of motifs painted in brown, yellow and green on the top and on these fronts. Typologically, this is a very common model in the workshops of Talavera de la Reina, although not exclusive to this centre.

· Size: 14x13x5 cms.
ANTIQUES

Ref.: ZF0940
AIR ALLEGORY. PORCELAIN. PORCELANA HISPANIA, SPAIN, 20TH CENTURY.

Allegory of Air. Enameled porcelain. Hispania porcelain, Spain, 20th century. Enameled porcelain figure with gold touches showing a half-naked child, with an old-style hot air balloon and bellows, sitting on a base clearly reminiscent of the Rococo era on which the text “El Aire” can be read, alluding to the allegory that the piece represents. This type of work is inspired by outstanding works from European factories. The factory known as Porcelana Hispania made a series of quality pieces in this same line (animals, couples with a Rococo influence, etc.).

· Size: 12x8x15 cms.
ANTIQUES

Ref.: ZF0992
POSEIDON OR NEPTUNE. PORCELAIN. EUROPE, 19TH CENTURY.

Poseidon or Neptune with a hippocampus. Enameled porcelain. Europe, 19th century. A glazed porcelain figurine with a circular base, decorated with openwork elements and Rococo-inspired motifs enhanced with touches of gold, depicting a bearded, half-naked male figure, standing, in a purple and white cloak, accompanied by a half-horse, half-fish monster. The character is the classical god Poseidon or Neptune, and the creature is known as a hippocampus. This type of work was common in several prominent porcelain factories throughout the 19th century, especially Meissen, but also Chelsea (whose brand name is an anchor) or Samson, for example.

· Size: 6x7x15 cms.
ANTIQUES

Ref.: ZF0995
CERAMIC INKWELL. TALAVERA DE LA REINA, SPAIN, 17TH CENTURY.

Inkwell. Glazed ceramic. Talavera de la Reina, Spain, 17th century. A square-shaped inkwell or spice rack made of glazed ceramic with a polychrome decoration of plant elements on the top and fronts. Due to the colours used, it belongs to the so-called tricolour series, which began to be produced in Talavera de la Reina at the beginning of the 16th century and became common even at the beginning of the 18th century. Compare this with the decorations on pieces kept in the Museo Nacional de Artes Decorativas (Madrid, Spain), or in the Museo de Cerámica Ruiz de Luna in Talavera de la Reina (Toledo, Spain).

· Size: 9x9x5.5 cms
ANTIQUES

Ref.: ZF1047
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BARREL SHAPED VASE. PORCELAIN, METAL. CHINA, 20TH CENTURY.

Oriental barrel-shaped vessel. Porcelain, metal. China, 20th century. With marks on the base (apocryphal, Xangxi). A barrel-shaped vessel with a flat lid, made of white-ground porcelain and decorated with a polychrome figurative composition based on plant motifs and scrolls on the lid, and upper-class figures set in a garden with pavilions, a large censer, a tiger and other animals, etc., on the body, on a frieze of repeated elements and under a double blue line at the top (this last detail also separates the stripes on the lid). Morphologically, it is reminiscent of the Chinese porcelain seats often used in gardens, but note that it has a lid with a metal washer and handles of the same material, elements that are not found on the known seating pieces. Next to these courtiers in the pavilion is a male figure on a water buffalo (a frequent motif in Chinese art, associated with either wise men or peasants or shepherds). The marks on the base, located within a double circular line, resemble those used on Chinese porcelain made during the Kangxi Empire (1662-1722), but are considered apocryphal.

· Size: 25x25x30 cms.
ANTIQUES

Ref.: ZF1082
BALUSTER VASE. PORCELAIN. TAISHO ERA, JAPAN, 1912-1026.

Baluster vase. Porcelain. Taisho period, Japan, 1912-1926. With marks on the base. Baluster vase (due to its shape) made of brown glazed Hirado porcelain with iron oxide varnish and two sceptre-shaped handles on top. Hirado is a type of porcelain made mainly in Mikawachi, Sasebo and Nagasaki, in the former feudal territory of Hirado, owner of the kilns and responsible for production. The Taisho period was that under the government of the emperor of the same name, and lasted from July 30, 1912 to December 25, 1926.

· Size: 15x15x27 cms.
ANTIQUES

Ref.: ZF1109
COFFEE SET. PORCELAIN. ROYAL VIENNA, AUSTRIA, EARLY 20TH CENTURY.

Coffee set. Enameled porcelain. Royal Vienna, Austria, early 20th century. With marks on the base of the pieces. Two cups broken. Enameled porcelain coffee set consisting of a tray, six cups and saucers, a sugar bowl with lid and a jug with lid. Although the classicist influence in the piece is clear (golden garlands, shapes, plant elements, colours, etc.), it is necessary to point out that the tray was inspired by the oil painting by George Sheridan Knowles in 1908 and entitled “Summer Pleasures on The River”. Royal Vienna is a certain style of porcelain related to the porcelain made in Vienna (Kaiserlich privilegierte Porcellain Fabrique) founded in 1718 by Claude du Paquier, an official of the imperial court in Vienna. It was closed in 1864, but its name was recovered by the Vienna Porcelain Factory Augarten in 1923.

· Size: 32x32x15 cms.
ANTIQUES

Ref.: ZF1147
GLAZED CERAMIC SPICE CONTAINER. TALAVERA DE LA REINA, SPAIN, 18TH CENT...

Spice rack in glazed ceramic. Talavera de la Reina, 18th century. A three-cup spice rack in the shape of an equilateral triangle, made of ceramic and decorated with high-temperature enamels typical of Talavera polychromy: manganese black for the edges and antimony oranges and yellows, copper green and cobalt blue. It is a classic-style piece, with clean lines that delimit the different parts of the structure, well-organised decoration and synthetic motifs that refer to the Greco-Latin ornamental repertoire, such as the palmette and the acanthus leaf.

· Size: 16x14x4,5 cms.
ANTIQUES

Ref.: ZF1255
CERAMIC LEGUME BOWL, CUBA VIEW. SARGADELOS, SPAIN, 19TH CENTURY

Vegetable bowl with lid, Morro Castle, Havana, Cuba. Earthenware. Sargadelos, 19th century. It has minor flaws. Vegetable bowl with handles and a lid on which a landscape can be seen, identified with a text (Morro Castle, Havana, Cuba), enhanced by a border that extends over the edge and continues (but in relief, not in pigmentation) along the handles of the piece; the base also has decoration. The lid has a flower in relief as a finish and a series of decorative borders in a tone matching the rest of the piece. Antonio Raimundo Ibáñez, Marquis of Sargadelos, founded the Royal Pottery Factory of Sargadelos in Cervo, province of Lugo, at the beginning of the 19th century. The view of this piece belongs to the Series of Views of Cuba, used in the factory since 1848.

· Size: 34x26x18 cms
ANTIQUES

Ref.: ZF1370A
HUNTERS, PAIR OF PLAQUES. PORCELAIN.

Hunters, pair of panels. Porcelain. Possibly Germany, 19th century. Pair of wall plaques with metal pieces to hang on the top and a polychrome figurative decoration on the front, in relief. One shows a horseman dressed in furs, accompanied by a fox (probably), and the other shows a woman, also on horseback, hunting a feline (possibly a tiger). Their style is reminiscent of porcelain pieces made in Meissen in the 19th century.

· Size: 31x31x6 cms
ANTIQUES

Ref.: ZF1387
HENRI II STYLE PENDULUM CLOCK, 19TH CENTURY.

“Henri II” style wall clock, 19th century. The dial, in white, has Arabic numerals and is protected by glass. The clock case, made of carved wood, shows a decoration based on architectural elements (diamond points, columns, vases, etc.) and leaves a rectangular space with a dark wood decoration based on putti and plant motifs in which there is a hole to see the pendulum, which is highlighted by a decoration in gilded metal. The Henri II style (“Henri II”) was the name given to an artistic style that emerged in France in the 19th century and was inspired by the Renaissance of this country, creating a series of furniture with the type of decoration that we see in this work. It was so successful that it was revived in the Neo-Renaissance style, which lasted well into the 20th century.

· Size: 45x23x130 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z0484
GARNITURE. GILT BRONZE. HENRI PICARD, VICTOR PAILLARD. PARIS, FRANCE, ...

Garrison, clock, and two candlesticks. Gilt bronze. Henri Picard and Victor Paillard. Paris, France, 1831–1864. With marks (base, back). Gilt bronze fittings composed of a clock and two four-light candelabras each, accompanied by flowers, with plain bases and vase-shaped feet of strong Classicist inspiration, decorated with reliefs (fauns, children's figures, garlands, grotesque heads, etc.). The clock has two female figures (allegories of Geography and Astronomy due to the objects they carry) flanking a vase containing the dial, which features Roman numerals for the hours and Arabic numerals every five minutes, in addition to the signature. The Paris-type movement features an engraved number and a stamp (Vr. Paillard / A. Paris). On the base of the clock, on the back, is engraved the legend H. Picard, referring to the founder and gilder Henri Picard (France, active 1831–1864), who worked for Defreveille and also collaborated with Charles Perrault and Grault. He produced numerous works for Napoleon III, many of which are preserved in the Louvre Museum in Paris. The dial reads "Victor Paillard / Ft de Bronzes / A Paris". Victor Paillard (1805-1886) was a French sculptor who furthered his training in Paris with Jean-François Denière, also collaborating with Ferdinand Barbedienne. In 1830, he founded a successful firm of movable art objects, which received state commissions (notably for the Palau d'Afers Exteriors du Quiai d'Orsay). There are records of other clocks like this one: one by the bronze artist Étienne Martincourt with a dial signed "Lepaute à Paris"; another identical to this one, now in the Paul Getty Museum in Malibu (California, USA), from the Tuileries; and yet another with a dial signed by Victor Paillard. As for the model of the vases, they seem to have been inspired by some, truly popular and appreciated, by Claude Michel (Clodion firm), who produced an original in terracotta in 1763, on which numerous pieces in bronze and other materials were based (a pair in marble is kept at the Art Institute of Chicago, dated 1766; in the Goncourt Collection there is one dated 1761 or 1762; a pair of candlesticks with these bases are known, attributed to Barbedienne, etc.). In turn, it seems that Clodion was inspired by some vases by François Boucher. Weight: 57 kg.

· Size: Reloj 60x27x72 cms Candelabros 32x25x83 cms
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: ZF1399
POCKET WATCH, FRÈRES ESQUIVILLON & DE CHOUDENS (CA. 1765-1830). PARIS,...

Pocket watch, Frères Esquivillon & De Choudens (ca. 1765-1830). Paris, France, 19th century. Pocket watch of the saboneta type with the exterior decorated in enamels (architectural composition with a certain exotic air) and white dial with Roman numerals for the hours and Arabic numerals every five for the minutes, and an inscription relating to its origin (which is referred to a series of engravings on machinery). “Frères Esquivillon & De Choudens” worked in Paris between about 1765 and 1830, creating highly valued pieces currently preserved in numerous private collections and in institutions such as the Metropolitan Museum in New York.

· Size: 6x1x6 cms.
ANTIQUES

Ref.: Z2298
GILT BRONZE AND WHITE MARBLE CLOCK GARNITURE IN LOUIS XVI STYLE, 19TH ...

Gilt bronze and white marble fittings in Louis XVI style, 19th century. It is made up of two cups on pedestals and a clock. The first ones are identical: on four circular legs, there is a polygonal base on which there is a low fluted column decorated with two strings of pearls in its lower area; above it, there is a tall-stemmed cup decorated with two handles in the shape of plant stems. The clock is placed on four legs, a semicircular base with a floral frieze, four columns and another semicircular plate; highlighted by two branches with flowers joined together, it has a white face and Arabic numerals, as well as hands of the type known as Louis XVI and is topped by a vase. The pendulum of the clock, which has been shaped like a sun, can be seen between the columns and the decorative chains. The French style known as Louis XVI is characterized by its inspiration in classicism and spans approximately from 1760 to 1789. In the 19th century, numerous artistic movements from the past were recovered, among which the aforementioned stood out due to its inspiration, very much in line with the Neoclassicism of the time.

· Size: Reloj: 19x9x40 cms. Copas: 19x15x21 cms.
ANTIQUES

Ref.: Z6190
CLOCK. PALO SANTO (HOLY WOOD), ROSEWOOD, ORMOLU. FRANCE, 19TH CENTURY,...

Clock. Palo santo, rosewood, gilded bronze. France, 19th century, based on the model of Charles Cressent (France, 1685-1768). Grandfather clock with a wooden case that combines palo santo, rosewood and other woods, enhanced with a series of gilded bronze appliqués, which match the curved and counter-curved profiles of the piece. Both the decorative elements and these decorations respond to models of the French Rococo of the 18th century. This piece is inspired by the regulator clock in the royal collections of England, which is located in Buckingham Palace, and was made by Charles Cressent, a master cabinetmaker considered one of the main exponents of French Rococo, although he made pieces in the Regency style and at the beginning of the “rocaille style”. A master sculptor since 1719, he worked as a cabinetmaker and sculptor for the Regent Philip II, Duke of Orleans, and is well known and appreciated for his clocks, chests of drawers, andirons (J. Paul Getty Museum), etc.

· Size: 81x40x232,5 cms
ANTIQUES

Ref.: ZE298
POCKET WATCH, ANDRÉ HESSEN. GOLD, ENAMEL, ETC. PARIS, FRANCE, CIRCA LA...

Pocket watch, engraved André Hessen. Gold, enamel. Paris, France, towards the end of the 18th century. It has some flaws. Pocket watch with a case decorated with enamel on the back (within a band of pearls you can see a composition with a clear classicist influence with a female figure, perhaps an allegory of the arts), and a white dial with Roman numerals for the hours and lines and Arabic numerals for the minutes, on which you can see the text Adré Hessen. The delicately decorated movement has a number (549) and the name Adré Hessen (1745-1805), a watchmaker who settled in Paris, France, in 1767 and who was very well-known and appreciated in his time.

· Size: 7x5x1.5 cms.
ANTIQUES

Ref.: ZE326
POCKET WATCH, DEROCHES. METAL, ENAMEL, ETC. POSSIBLY CIRCA LATE 18TH C...

Pocket watch, Deroches Brothers. Gilt metal, enamels, etc. Possibly towards the end of the 18th century. Pocket watch with a case with a transparent glass section and an enamelled composition on the back (two ladies, with a score on a music stand, one of them playing a harp). The white dial has Arabic numerals for the hours and vertical lines and Arabic numerals every 15 units for the minutes, and the text “Deroches”. The movement is delicately decorated and engraved with a serial number and the name “Deroches”. Similar pocket watches signed by the Deroches Brothers dating from the second half of the 18th century and examples by “Frères Deroches & Cìa.” from the 19th century are known.

· Size: 6.5x5x3 cms.
ANTIQUES

Ref.: ZE327
POCKET CLOCK, JAQS BLANC. GOLD, ENAMEL, ETC. POSSIBLY CIRCA LATE 18TH ...

Pocket watch, Jaqs Blanc. Gold, enamel, etc. Possibly circa late 18th century. Pocket watch with white dial and Arabic numerals for the hours and lines and Arabic numerals every fifteen units for the minutes with movement decorated and engraved with a serial number and the words Mavit and Jaqs Blanc. The box that contains and decorates it has, on the back, an architectural decoration with a clear classicist influence.

· Size: 6x5x1.5 cms
ANTIQUES

Ref.: ZE328
LZ MAURIN POCKET WATCH. METAL, ENAMEL, ETC. 19TH CENTURY.

Pocket watch, Lz MAURIN. Gilt metal, enamels, etc. 19th century. Pocket watch with white dial with Roman numerals for the hours and, for the minutes, Roman numerals every fifteen minutes and vertical lines for the rest, and the inscription “Lz. Maurin”; the movement has a delicate decoration and the engraving “Lz Maurin”. The case is decorated on the back with a figurative composition of a couple, and has a number and the word Lepon engraved on the inside.

· Size: 7x5x2,5 cms
ANTIQUES

Ref.: ZE329
MANTEL CLOCK. BRONZE, MARBLE. MODEL FROM LENOIR-RAVRIO, LOUIS-SATINSLA...

Table clock, Apollo. Bronze, marble. Model by LENOIR-RAVRIO, Louis-Stanislas (1783-1846). Paris, circa 1820. Table clock consisting of a stepped rectangular base made of red veined marble and gilt bronze elements with a clear classicist influence (molding of architectural motifs, set of garlands and elements linked with latticework), and the area of the clock face, situated on a stepped pedestal, placing, on it, a patinated bronze figure representing the god Apollo (note the gilt bronze lyre he holds in one hand). The dial, made of gilt bronze with different finishes, has Roman numerals, Breguet-type hands, and the inscription “L. RAVRIO BRONZIER / A PARIS”, relating to the creator of the bronzes in the work. Louis-Stanislas Lenoir-Ravrio (Paris, 1783 – Ivry, 1846), adopted son of André-Antoine Ravrio (1759-1814), was one of the leading bronze makers of his time (his father was also one), and they worked together for a number of years (until 1814). He officially joined his father's business in 1811, gaining great recognition for his works at the Garde-Meuble and for his participation in International and National Exhibitions. Weight: 28 kg

· Size: 43x16x62 cms.
ANTIQUES

Ref.: ZE345
SET OF MANTLE CLOCK AND CANDELABRA. GILT BRONZE, MARBLE. POCHON, JEAN-...

Louis XVI clock mount and candelabra. Gilt bronze, marble. POCHON, Jean-Charles (act. last third of the 18th century). Paris, France, ca. 1780 or 1790 and 19th century. Bibliography: (clock) NIEHÜSER, Elke. “Die französische Bronzeuhr. “Eine Typologie der figürlichen Darstellungen.” Callwey, 1997. Page 131. A garnish consisting of a table clock with a Paris mechanism and two three-light candelabras each, made of white marble and gilded bronze. The clock has a rectangular base with the central area projecting to the front and raised on four legs, further enhanced with plant elements (garlands, leaves, scrolls, etc.) and architectural elements with a marked classicist taste and a frieze of reliefs with children in various attitudes situated in an idyllic landscape with architecture in the background. The dial is white, with Arabic numerals for the hours and dots and Arabic numerals every fifteen minutes, with the fleur-de-lis hour hand and highly decorated minute hand. It is topped by a composition of flowers, fruit, leaves, garlands and a bow highlighting arrows and a lit torch; on the sides are Cupid with his bow and a female figure who is most likely the goddess Venus. The two candelabras, each with three lights, have a circular marble base raised on legs and enhanced with a string of pearls in gilded bronze, a material that is also used to make the leaves and stems that, intertwining, create each of the three arms, which end in candle holders with saucers decorated with raised leaves and strings of pearls. The dial bears the words “Pochon” and “Paris”, referring to the place where the movement was manufactured (the Paris machinery). Jean-Charles Pochon achieved the rank of master watchmaker around 1775 and is considered one of the leading watchmakers in his field in the French capital in the latter third of the 18th century. His works are preserved in some very important private collections such as the so-called “Liechtenstein. The princely collections, Vaduz-Vienna”, and in institutions such as the Museum of Decorative Arts in Paris (France). The machinery or movement may be from the 19th century. In the case of the clock (the case itself), examples similar to the present one are known in private collections, since the bronzes come from a Parisian workshop. It is known as “L'Amour drobe par ses armes” or “Amor Wird Seiner Waffen Beraubt” (Cupid is stripped of his arms) due to the iconographic theme it shows. As for the candlesticks, they are reminiscent of Louis XV style pieces in some details such as the use of leaves to create the shape of the pieces, but they also present elements more similar to Neoclassical style works (the lighters and their decoration). Total weight: 20.35 kg.

· Size: Reloj: 30x12x45 cms. Cand. 17x17x28 cms.
ANTIQUES

Ref.: ZE348
GILT BRONZE MANTEL CLOCK. 19TH CENTURY.

Table clock. Gilt bronze. 19th century. Table clock made of gilded bronze with a powerful base, enhanced by legs decorated with vegetal and architectural motifs of classical inspiration and a series of details on the front (scrolls on the chamfered corners, scrolls and a centre with a globe from which light radiates and a scroll, with inscriptions on both), as well as bands of simple architectural elements and plain spaces to enhance these decorations. On this pedestal is placed a scroll 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 is a male figure, dressed in clothing reminiscent of the Renaissance, holding an unsheathed sword; in addition, a series of elements have been placed on the dial part (a globe, documents with cursive texts in French, etc.). The allusion to science is clear in the prominent presentation 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 would unite wisdom and action, uniting both in the knight 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 believed. This is due to the care with which the manufacture of bronze applications and elements was organised and regulated, the technique of mercury gilded bronze, and the participation in the creation process of top-notch artists who were in charge of the designs of the figures and decorative motifs (it was also not unusual to make figures inspired by or copying more directly great works from the History of Art). The resulting clocks were highly appreciated, and were used to decorate the interiors of palaces and notable residences. Machinery in working order.

· Size: 43x17x55 cms.
ANTIQUES

Ref.: ZF0207