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”FRAILERO” CHAIR. WALNUT, TEXTILE. SPAIN, 16TH CENTURY.

Monk's armchair. Walnut wood, textile, metal. Spain, 16th century. It has defects. Armchair with arms and high backrest, of the type known as “frailero”, which has a textile upholstery with studs on the seat and backrest, low, cut-out low-profile chambranes joining the front and back legs and middle chambranes or side rails (the front with carved geometric motifs) joining the two front and two back legs, and simple armrests (curved, ending in scrolls; the front with fluting). The friar's chair, initially of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of both the 17th and 18th centuries and being recovered again in the historicist movement of the 19th century. Being such a deep-rooted tradition in Spain, this type of model was never stopped being created.

· Size: 62,5x55x126 cms.
ANTIQUES

Ref.: Z0667
”FRAILERO” CHAIR. WALNUT, TEXTILE. SPAIN, 17TH CENTURY.

Monk's armchair. Walnut wood, textile. Spain, 17th century. Armchair with arms and high backrest, of the type known as “frailero”, which has a textile upholstery with studs on the seat and backrest, low, cut-out profile jambs joining the front and back legs and middle jambs or smooth crossbars joining the two front and two back legs, and simple armrests (curved, ending in scrolls). The frailero armchair, originally of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of both the 17th and 18th centuries and being recovered again in the historicist movement of the 19th century. Being such a deep-rooted tradition in Spain, this type of model was never stopped being created.

· Size: 74x67x128 cms.
ANTIQUES

Ref.: Z0665
MANTLE CLOCK, MERCURY OR HERMES. BRONZE. PARIS, FRANCE, 19TH CENTURY.

Table clock, Mercury/Hermes. Bronze, metal. Paris, France, ca. 1825. In working order. Movement with engraving (signature). Table clock with a bronze case, combining a gilt finish (base, caduceus, rooster) and a dark blue finish. The pedestal has four legs (with a claw finish and decorated with classicist elements) on which there is a smooth rectangular area, which gives way to a smaller one with a garland of architectural palmettes in slight relief; this second area has a relief decoration resembling a panoply (lyre with tortoiseshell, bows, ivy, cane, etc.). Above is the male figure in blued bronze, sitting sideways on a trunk on which is the dial (metal, Roman numerals for the hours) framed with a snake; next to it is a rooster in a gilt finish. This half-naked young man is Hermes or Mercury, a deity from classical mythology related to commerce, communication, etc., and often known for carrying a caduceus (in his hand, made of gilded bronze) and wings on a helmet or hat with a certain shape (note also present on one foot). The rooster was one of the animals that often accompanied Mercury. There are several known cases very similar to that of the present clock: two by Louis-Sanislas Lenoir-Ravrio (one with a blued figure and a marble base in the Musée de l'Horlogerie in Geneva; another with a gilt bronze figure, in the Royal Pavilion in Brighton - England); one dated around 1825 and attributed to this same master (blued figure but the tree trunk of the dial and other details in gilt bronze; pedestal in a similar composition to the present one) in a private collection; another without attribution in the "bureau du directeur" (General inventory of the cultural heritage of the City of Lyon, France) dated with some doubt to the third quarter of the 19th century, which is very similar to this one. The Paris machinery of the clock has two joined initials engraved on one side and a name in capital letters above the text "a Paris" on the other, alluding to the watchmaker responsible for it. Similar model sold at Sothebys auction 06.07.2011 lot 96. Weight: 21 kg.

· Size: 43x16x62 cms.
ANTIQUES

Ref.: ZF0949
WOODEN DROP LEAF TABLE. SPANISH SCHOOL, 18TH CENTURY.

Winged table with turned legs. Walnut wood. Spanish school, 18th century. A folding round table with two wings that can be folded down and supported by two legs joined together for each wing by means of lower jambs. When the table is folded, there is a drawer with a wooden knob on each side and two legs on each side, joined in a rectangle by means of a jamb. The legs and vertical elements of the piece of furniture have turned balustrade elements and discs, as is usual in the Spanish school since the Baroque.

· Size: 107x 37x76 cms / Abierta 107x103x76 cms.
ANTIQUES

Ref.: ZF1173
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, IMMACULATE CONCEPTION. SPANISH SCHOOL, 18TH ...

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

· Size: 7x0,7x11 cms.
ANTIQUES

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

Devotional plaque, Adoration of the Magi. Bronze. Spanish school, 17th century. Rectangular devotional plaque made of bronze, which presents in relief the scene of the Birth of Jesus. The Virgin Mary has the Child standing on her knees in the foreground, and they are surrounded by various figures among which the Three Wise Men and Saint Joseph can be seen; towards the background, there are some architectures with a classicist influence. Weight: 156 grams.

· Size: 6,9x0,5x10,8 cms.
ANTIQUES

Ref.: ZF117109
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
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BRONZE DEVOTIONAL PLAQUE, IMMACULATE CONCEPTION. SPANISH SCHOOL, 19TH ...

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

· Size: 6,5x0,6x10,4 cms.
ANTIQUES

Ref.: ZF117119
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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
METAL AND GLASS CLARET JUG OR PITCHER. POSSIBLY WMF, GERMANY. CIRCA 19...

Jug. Glass, silver-plated metal. Possibly WMF, Germany. Circa 1900. With contrasting marks (handle). Jug with a transparent glass body decorated with geometric elements, a circular base, a globular body and a high cylindrical neck, which has a silver-plated metal handle with a “C” shape on the top. It has a decoration of architectural and plant elements with a marked classicist and Renaissance character, as well as a protomos with a horse’s front legs next to the top edge of the jug’s lid. The marks, present on the outer edge of the handle, would surely link the piece to the Württembergische Metallwarenfabrik or WMF. In 1853 Daniel Straub and the Schweizer brothers established a metalworks factory called Straub & Schweizer, which achieved recognition at the London Exhibition as early as 1862, and opened its first shop in Berlin in 1868. In 1880 they merged with Metallwarenfabrik Ritter & Co. to form the Württembergische Metallwarenfabrik (WMF), which is still in operation today. Weight: 0.9 kg.

· Size: 16x13x30 cms
ANTIQUES

Ref.: ZF1099
GILT BRONZE PAX BOARD. POSSIBLY ROME, LAST THIRD 16TH CENTURY-FIRST TH...

Peace-bearer, Pietà. Gilded bronze. Possibly Rome, last third of the 16th century-first quarter of the 17th century, following the model of Michelangelo Buonarroti. Gilt bronze plaque with an S-shaped handle on the back attached to an L-shaped piece decorated with plant elements, which has reliefs on the front. The architectural frame has two curved pediments as a finishing touch between which God the Father appears blessing, a series of motifs around the central theme and a flat base with fine mouldings on which a winged angel's head appears. This central motif is an image of the Virgin Mary with the dead Christ supported by two angels, which closely follows a drawing attributed to Michelangelo Buonarrotti dated between 1538 and 1544 and preserved in Boston (Isabella Stewart Gardner Museum). It should be remembered that, by the mid-sixteenth century, Michelangelo's Pietà to which we refer was widely known thanks to drawings, reliefs, engravings, etc. There is also evidence of a bronze peace-bearer made with this image (the one preserved in the Basilica della Santa Casa in Loreto is considered to be the only known example dated 1586), which gave rise to a notable production in Rome at the end of the 16th century, full of prominent foundries among which Jacopo (who worked with Michelangelo) and Ludovico Duca would stand out, linked to some of these peace-bearers. It is also worth noting the similarity of the architectural composition of this piece with the entrance to the façade of the church of Santa Maria di Trivio in Rome, a work by Jacopo del Duca carried out between 1573 and 1575. Compare this piece with the gilt bronze peace-bearer in the Bernard d'Agesci Museum in Niort, France (inventory 914.1.94), with another associated with the circle of Stefano Maderno preserved in a private collection (different handle to this one), with the aforementioned one from Loreto and with another, with openwork exterior decorative elements, also in a private Italian collection.

· Size: 11x5x17 cms.
ANTIQUES

Ref.: ZF1166
CLOCK AND CANDELABRA GARNITURE. BRONZE, MARBLE. RAINGO FRÈRES, AARIA, ...

Clock and candelabra trim. Blued and gilded bronze, marble. Raingo Frères, Aaria, Clodion. Paris, France, second half of the 19th century. In operation. A garnish consisting of a table clock and two three-light candelabras each, made of bronze and white marble. The candelabras have legs and a circular base with a gilt bronze band with floral elements, and a child figure in burnished bronze with garlands of vines and grapes on its head, holding branches with roses and leaves, which end in candle holders; they have the name “Clodion” engraved on them. The clock has an elongated base on white marble legs decorated with gilt bronze plaques with figurative scenes (children playing instruments and carrying garlands) and others with plant motifs and lacework. The dial is raised on a pedestal with animal heads, and, on a white background, it has coloured garlands and Arabic numerals for the hours and points and Arabic numerals every fifteen minutes; you can read “Aaria” on it. The piece is crowned by a kneeling faun, in a pensive attitude and pointing to two doves. This central element is flanked by two blued bronze figures of children playing horns. On the Paris machinery it has, you can read a number (448) and “Rango Fres / Paris”. The two candlesticks follow a highly appreciated model in the 19th century of a bronze figure of a bacchante (a common figure in the procession of the classical god Bacchus) made by Claude Michel (1738-Paris, 1814), known as Clodion. This French sculptor, invited to Russia by Catherine II, established a workshop in Paris where he specialised in small-format Rococo mythological sculpture in terracotta, stucco, etc., with such success that his works inspired numerous bronze sculptors to make sculptures, clocks, etc. Raingo Frères was the partnership of the four sons of the Belgian-born watchmaker Zacharie Joseph Raingo (1775-1847), Adolphe, Charles, Denis and Dorsant, formed in 1823. During the 1860s they made important pieces for Napoleon III and his wife, all of which are now housed in the Louvre Museum in Paris. Their well-deserved fame led them to collaborate with leading bronze sculptors and masters of their time, such as Albert-Ernest Carrier-Belleuse and Auguste Moreau, and they won a Gold Medal at the 1889 Paris World's Fair. Weight: 33.5 kg.

· Size: Reloj 46x12x55 cms. Candelabros: 30x17x43 cms.
ANTIQUES

Ref.: ZF1040
FRAME. BRASS, TEXTILE, GLASS. 19TH CENTURY.

Frame. Brass, textile, glass. 19th century. Rectangular frame with a table stand and a ring for hanging on the back. The front features a decoration divided into two bands with architectural elements of classical influence in brass, between which (inside the glass) there is a band with flowers and stems embroidered on a textile. The work is finished off with a crest with two torches, bows and plant elements.

· Size: 19,5x2x27 cms. int: 12x16 cms.
ANTIQUES

Ref.: ZF1156
”FRAILERO” CHAIR. WOOD, LEATHER. SPAIN, 16th AND 18th CENTURIES.

Monk's armchair. Wood, leather. Spain, 16th and 18th centuries. Armchair with arms and high backrest of the type known as “friar’s chair”, which has leather with studs on the seat and upper part of the backrest, low, cut-out low-profile chambranes joining the front and back legs and middle chambranes or side rails (the front one carved with a relief of architectural motifs) joining the two front and two back legs, and simple armrests. In this case, it should be noted that the chambrane, due to the relief, would be from the 18th century. The friar’s chair, initially of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of this and the 17th century and being recovered again in the historicist movement of the 19th century. Being such a deep-rooted tradition in Spain, this type of model was never stopped being created.

· Size: 57,5x54x113 cms.
ANTIQUES

Ref.: Z0672
”FRAILERO” CHAIR. WOOD, LEATHER. SPAIN, 16TH CENTURY.

Monk's armchair. Walnut wood, leather. Spain, 16th century. Armchair with arms and high backrest of the type known as “friar's chair”, which has leather with studs on the seat and upper part of the backrest, very low chambranes joining the front legs with the back ones and middle chambranes or side rails (the front one carved with a relief of floral motifs flanking an empty heraldic shield in the round) joining the two front legs and the two back ones, and simple armrests, with the fluted fronts following architectural influences. The friar's chair, initially of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of this and the 17th century and being recovered again in the historicist movement of the 19th century. Being such a deep-rooted tradition in Spain, this type of model was never stopped being created. Requires restoration.

· Size: 65,5x53x109 cms.
ANTIQUES

Ref.: Z0706
”FRAILERO” CHAIR. WOOD, LEATHER. SPAIN, 16TH CENTURY.

Monk's armchair. Leather, walnut wood. Spain, 16th century. Armchair with arms and high backrest of the type known as “friar's chair”, which has leather with studs on the seat and upper part of the backrest, low, cut-out low-profile frames joining the front and back legs and middle frames or side rails (the front one carved and re-cut to create geometric motifs) joining the two front and two back legs, and simple armrests with scrollwork finishes. The friar's chair, originally of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of both the 17th and 18th centuries and being recovered again in the historicist movement of the 19th century. Being such a deep-rooted tradition in Spain, this type of model was never stopped being created.

· Size: 61x54x111 cms.
ANTIQUES

Ref.: Z0673
”FRAILERO” CHAIR. WOOD, LEATHER. SPAIN, 16TH CENTURY.

Monk's armchair. Leather, walnut wood. Spain, 16th century. It has faults. Armchair with arms and high backrest of the type known as “friar's chair”, which has leather with studs on the upper part of the backrest (lack of the seat), low, low-profile trimmed jambs joining the front and back legs and middle jambs or side rails (the front one carved and re-cut to create geometric motifs) joining the two front and two back legs, and simple armrests with raised scrollwork finishes. The friar's chair, originally of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of both the 17th and 18th centuries and being recovered again in the historicist movement of the 19th century. Being such a deep-rooted tradition in Spain, this type of model was never stopped being created.

· Size: 68x53x102 cms.
ANTIQUES

Ref.: Z0750
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
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
SPANISH WOODEN TABLE WITH LYRE LEGS AND IRON FASTENERS, 18TH CENTURY.

Spanish table with lyre leg and iron fasteners, 18th century. The two lyre legs that support the work have wavy lines at the bottom and shapes on the sides that recall those of French cabriolets. Both are joined with an iron fastener and support a single-piece board with carved edges. This type of leg, called lyre legs due to their resemblance to the musical instrument, was widely used during the Renaissance, and continued to be used later due to the movement that their curved profiles provided to the piece of furniture.

· Size: 73x103x220 cms.
ANTIQUES

Ref.: Z6146