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SHEPHERD’S BOX. ANTLER OR HORN. 1811.

Pastoral box. Carved horn. 1811. With engraved date. Carved horn box with an oval base and a polygonal lid decorated on the outside with a series of carvings. The lid has animals, scrolls and simple geometric elements arranged flanking and facing a crowned heraldic shield; the base has a geometric composition leaving a rectangle in the centre (where the date 1811 has been engraved, which would be the date of creation of the piece); the edges of the base have fine smooth mouldings. The aforementioned shield, very simplified, has five elements in the centre and a border of towers or castles under a closed crown.

· Size: 8,5x5x3 cms.
ANTIQUES

Ref.: ZF0658
SHEPHERD’S BOX. ANTLER OR HORN. SPAIN, 1822.

Pastoral box. Carved horn. Spain, 1822. Rectangular box made of carved horn with a date (1822) engraved on the lid and front, a legend (Soi de Manuel Zulueta año 1822) and an engraved decoration based on geometric, vegetal, figurative and heraldic elements. The base of the piece has a banded frame that highlights a composition of birds and animals accompanied by simple stems and flowers. The lid has bands interlaced with circles of different sizes and, in the centre, a crowned heraldic shield flanked by two flags, and quartered with three-towered castles and crowned rampant lions; beneath this central element, the aforementioned date is again found. Note that it differs from the Castilian shield (the one used by the kings of Castile since 1230) in the position occupied in the quartering by the different elements.

· Size: 8x5x2 cms
ANTIQUES

Ref.: ZF0730
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

Ref.: ZF0752
CAPITAL. GRANITE. SPAIN, 16TH CENTURY.

Capital. Carved granite. Spain, 16th century. Capital for a circular column made of carved granite, with volutes inspired by classical Corinthian capitals (three in total) and a series of mouldings. This is a common type in Spanish Renaissance buildings, as can be seen by comparing it with the Patio of the San Isidro or Los Orígenes museum in Madrid (Casa de los Vargas), the Cloister of Santa María de Ferreira de Pantón (Lugo), etc.

· Size: 60x60x40 cms. diam. columna 35 cms
ANTIQUES

Ref.: ZF0755
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

Ref.: ZF0757
CAPITAL. GRANITE. SPAIN, 15TH CENTURY.

Capital. Carved granite. Spain, 15th century. Circular-based capital made of carved granite with a polygonal shape enhanced with mouldings, following forms that still retain a memory of Gothic works but with noticeable clean lines.

· Size: 60x60x64 cms.
ANTIQUES

Ref.: ZF0777
GLASS AND VASE. GLASS. REAL FÁBRICA DE CRISTALES DE LA GRANJA, SPAIN, ...

Jug and glass. Glass. Royal Glass Factory of La Granja de San Ildefonso, Segovia, Spain, 18th century. Jug or vase with lid and glass with a small spout made of clear, carved and engraved glass, decorated with plant elements and architectural motifs of classical influence. They were made in the Royal Glass Factory of La Granja de San Ildefonso, founded in 1727 by Buenaventura Sit and, initially, as a furnace for flat glass to supply the nearby Royal Palace. Shortly after, they would diversify their production, becoming one of the main centres in Spain.

· Size: Jarra 10x10x33 cms. Vaso 13x13x15 cms
ANTIQUES

Ref.: ZF0878
BRONZE BASSIN FOR HOLY WATER. SPAIN, 17TH CENTURY.

Wall-mounted holy font. Bronze. Spain, 17th century. Small font for holy water designed to be placed on a wall, which has a container decorated with mouldings and architectural elements and a plaque, at the top, cut out with plant and architectural elements highlighting two angels with elements of the Passion and an image of the Virgin Mary (with iconography of the Immaculate) with the Child Jesus.

· Size: 7,5x9x22 cms
ANTIQUES

Ref.: ZF0928
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

Ref.: ZF0937
DEVOTIONAL PLAQUE. IVORY, WOOD. CIRCA LAST THIRD 16TH CENTURY, AFTER J...

Devotional plaque; Last Supper, Christ on the Mount of Olives. Wood, tinted ivory and engraving. Towards the end of the 16th century, following models by Jan Sadeler I (active 1550-1600). Rectangular carved wooden plaque with a ring and a hole on the back, which features two ovals on the front with biblical themes highlighted with dark wood frames decorated with square diamond points above and below and rectangular ones on the sides, and winged angel heads in the corners that these two compositions leave free. On the left, the Last Supper appears at the top, with Christ under a canopy and accompanied by Saint Peter and the rest of the Apostles on both sides; below, Judas receiving the bag of coins; the space is completed by a series of architectural elements, angels, fabrics, plant motifs, scrolls, etc. with a clear classicist influence. On the right, the theme of Christ on the Mount of Olives, with Jesus raising a hand towards the chalice offered to him by an angel and accompanied by two sleeping Apostles, and with two soldiers; below, and through a door, the Arrest of Christ; The composition is completed and organized by a series of bands ending in volutes, architectural and vegetal motifs, etc. with a classicist influence. Both scenes are closely inspired by two engravings from the series “Passio Verbigenae Quae Nostra Redemptio Christi”, published by Jan Sadeler I (active 1550-1600) between 1575 and 1600 and inspired by Marcus Gheeraerts I (Bruges, 1516/21-London, c.1590). Engravings from this series are held in many prominent museums around the world (British Museum in London, Rijksmuseum in Amsterdam, etc.). According to experts, around 1580, the artist Marcus Gheeraerts designed this series of the Passion of Christ, framed, highlighted, hierarchized and structured thanks to an elaborate and delicate system of grotesques and other classicist elements that he applies to the iconographic themes it presents. At the time of the creation of prints, and later during the Baroque, the use of engraved (or carved) ivory or bone plaques was common on furniture, lecterns, altars for personal devotion, devotional plaques, etc. Compare, for example, Flemish school desks, Neapolitan school desks, etc. such as the one dated c. 1600 in the Philadelphia Museum of Art (workshop of Iacobus Fiamenco, Flemish; active Naples, Italy, 1594–1602; with scenes based on engravings by Dirk Volkertsz; Coornhert, Netherlandish, 1522–1590; after designs by Maarten van Heemskerck (active Haarlem and Rome, 1498–1574)). Also worth mentioning are pieces such as the reliquary altarpiece of the Brotherhood of the Blood of Christ in the Church of Santa Isabel de Portugal (San Cayetano) in Zaragoza, which presents religious scenes based on engravings by Antonius Wieris (1555/9-1604).

· Size: 12x1,5x13 cms.
ANTIQUES

Ref.: ZF0963
CENTERPIECE. ORMOLU, MARBLE. FRANCE, LATE 19TH CENTURY

Centerpiece. Gilded bronze, marble. France, late 19th century Centrepiece 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 by the French school during the Rococo of the 18th century) and mercury-gilded marble bosses. These are decorated with lion's claws on the legs, simple architectural mouldings and masks with vegetal elements (feminine and monstrous, alternating), and a border that extends towards the inner area of the pieces creating like two wings or handles, decorated with vegetal and architectural elements (scrolls, flowers, bows, leaves, etc.) both on the outside and inside of this area, leaving what would be the inner 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 that finish the legs) are seen in Louis XIV style centerpieces dating from that century, while other elements are more often seen in Louis XVI style works (one of the main styles of the Neoclassical style). There is only one known piece preserved in a private collection in the United States of America. Weight: 16 kg

· Size: 37x27x23 cms
ANTIQUES

Ref.: ZF1064A
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 marks. Set of four coloured silver headdress flasks of different grades and glass. Of the two tall flasks, with lids decorated with Rococo-style elements, one has marks in the area of the inner stoppers. The lower one, with a circular base, has ownership initials and hallmarks and a sterling mark (800 silver, possibly another from Hermann Behrnd, from Dresden, Germany – silversmith founded in 1881). The remaining flask has Rococo-style decorations on the lid and ownership initials engraved on it.

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

Ref.: ZF1155
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 a keyhole on the front, decorated with metal applications on the corners, edges, handles, etc. Below the keyhole there is a fleur-de-lis. The lid has a central motif with fleur-de-lis and a crowned M, and alternating crowned castles and 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 all members of the royal family apparently had in the past to mark their belongings. In this case, it is possible that it refers to Maria Cristina of Bourbon-Two Sicilies (Palermo, 1806-Sainte-Adresse, 1878), wife of Ferdinand VII and regent during the minority of Isabel II. However, we must remember Maria Cristina of Habsburg-Lorraine or of Austria (1858-1929), wife of Alfonso XII. The emblem of Maria de las Mercedes de Orleans and Bourbon (Madrid, 1860-1878), wife of Alfonso XII, used to appear with two capital “Ms”.

· Size: 78x31x24 cms.
ANTIQUES

Ref.: ZF1170
BRONZE DEVOTIONAL PLAQUE, VIRGIN OF MONTSERRAT. SPANISH SCHOOL, 19TH C...

Devotional plaque, Virgin of Montserrat and the Mountain. Bronze. Spanish school, 19th century. Devotional plaque made of bronze, rectangular in shape, with a washer at the top and a frame of mouldings highlighting a figurative composition in relief. It shows 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 theme made in the second half of the 18th century that is kept in the Diocesan Museum of Barcelona). Weight: 232 grams.

· Size: 6,2x0,8x10,1 cms.
ANTIQUES

Ref.: ZF117115
BRONZE DEVOTIONAL PLAQUE, SAINT BRUNO OF COLOGNE. SPANISH SCHOOL, 19TH...

Devotional plaque, Saint Bruno. Bronze. Spanish school, 19th century. Rectangular devotional plaque made of bronze with a ring at the top and a frame of smooth mouldings around a relief. The piece depicts the image of Saint Bruno standing, holding a skull and with a mitre at his feet, following known iconographies (compare, for example, with the carving of this saint made in stone by Manuel Pereira that is kept at 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 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 mouldings around a figurative relief. It shows a Christian theme known as “Saint Peter in tears” or “The repentance of Saint Peter”, being the moment in which the Apostle laments 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 a chalcographic print (simplified and inverted) by Lèonard Gaultier (ca. 1561 - ca. 1635), and which was published by Jean Leclerc (1560 - ca. 1622). A similar piece to the present one is kept at the Museum of Fine Arts in Valencia. Weight: 152 grams.

· Size: 7,1x0,8x11,4 cms.
ANTIQUES

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

Devotional plaque, Holy Children Justo and Pastor. Bronze. Spanish school, 19th century. Rectangular bronze devotional plaque with a ring at the top and a frame of smooth mouldings highlighting a figurative composition in relief. Two male figures appear, dressed in the old style, standing, with palms and a knife on the ground. They are the two Child Martyrs Justo and Pastor, patrons of Alcalá de Henares (Madrid). The composition is typical of 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 Peter Gonzalez became bishop of Palencia, later entering the Order of Preachers. He is known as Saint Telmo and is considered the patron saint of sailors, having been confused with Saint Erasmus of Formia (Sanct'Elmo). In the present case, Saint Peter Gonzalez is usually shown in the Dominican habit, while Saint Erasmus is usually shown dressed as a bishop but with an allusion to his martyrdom on 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 plaque with a ring at the top and smooth mouldings highlighting a figurative relief. It shows 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 Saint Anthony and Saint Dominic of Guzmán. Weight: 170 grams.

· Size: 6,7x0,9x10,7 cms.
ANTIQUES

Ref.: ZF117127
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

Ref.: ZF1271A
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

Ref.: ZF1271B
POWDER HORN. SPAIN, 19TH CENTURY.

Powder keg. Engraved horn, rope, cork. Spain, 19th century. A container for storing gunpowder made from a cow horn and decorated on the outside with a series of figurative, geometric and vegetal engravings and inscriptions enhanced with dark or black ink or dye. The decoration is arranged in horizontal bands, with some elements enhanced with “frames” of crossed lines, and one can clearly see Latin crosses, floral elements, a coiled snake, various human figures (note in particular the male figures at the top, with firearms), quadrupeds, birds, fish and inscriptions in capital letters (names such as Manuel, intertwined initials...). Also known as “horns”, these types of vessels were usually made not by skilled and specialised workers, but by shepherds, ranchers, etc., using their own names, important elements from their area or for themselves, or motifs of great tradition in a certain area in their decoration. Compare this with the one by Pedro Doncel, dated 1855 and preserved in the Museum of Olivenza (Spain), or the one from 1883 in the Museo del Traje in Madrid (Spain).

· Size: 27x8x7 cms.
ANTIQUES

Ref.: ZF1286
ATLAS GEOGRÁFICO DE ESPAÑA AND DICCIONARIO GENERAL DE TODOS LOS PUEBLO...

Two volumes: Geographical Atlas of Spain (…) and General Dictionary of all Peoples. Editors Gaspar y Roig. Spain, Madrid, 1864 and 1862. Two volumes framed in a similar way, with leather spines and gold elements. Here a reference to each work (lower area) and the name Carrasco (upper part) appear clearly. One of the volumes is the Geographical Atlas of Spain. Adjacent Islands and Spanish Overseas Possessions. It is indicated that it belongs to the “Collection of maps engraved in steel constructed by Don Martín Ferreiro”, and that it was published in Madrid by the Printing and Bookshop of Gaspar y Roig (the editors), in 1864. It presents a series of maps, engraved in steel (see the touches of color), constructed by Martín Ferreiro and Peralta (1830-1896) and engraved by R. Alabern (indicated under the images). The other volume is the General Geography of Spain. General dictionary of all peoples., belonging to the so-called Illustrated Library of Gaspar and Roig. Published in Madrid, by the Printing and Bookshop of Gaspar and Roig (editors), in 1862.

· Size: 18x5x27 cms.
ANTIQUES

Ref.: ZF1298
”MECHELEN” BELL. BRONZE. 16TH CENTURY.

Hand bell or bell, “from Malinas”. Bronze. 16th century. Hand bell with clapper made of bronze and decorated on the outside with a slight relief. The base has, between bands, an inscription in capital letters and in Latin (“Sit nomen Domini benedictum”, “Blessed be the name of the Lord!”); above it, on the body of the bell, there is a decoration with angels, vases with plant elements, garlands, a figure playing a musical instrument, etc., with a great classical influence; the hand has a balustrade shape with mouldings. The text refers to the Apostolic or Papal Blessing, typical of Catholic liturgy. The export trade of handicrafts and artistic pieces during the 15th and 16th centuries that took place in the Netherlands was of great importance, especially between the territories that were then united under the same crown. Among the pieces (experts speak of almost industrial production) that enjoyed the greatest diffusion were these bells called "de Malinas" because they came from this Flemish city. The success of the model is indisputable and proof of this is that, from imported examples, molds were made with which to obtain absolutely identical copies. These bells usually have common characteristics such as their small size and their beveled profile; however, the peculiarity that easily identifies them is the decoration they have on their surface. Weight: 425 grams.

· Size: 8x8x14 cms.
ANTIQUES

Ref.: ZF1302