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SPAINISH CABINET "VARGUENO". SALAMANCA. 17TH CENTURY.

Bargueño of Salamanca type with locker, 17th century. Walnut wood and bone decorations. Wrought iron fittings. The rectangular locker rests on four round legs, and has four drawers decorated with diamonds that close with a key and display hardware and a horseshoe shield. The desk, with a folding front cover, has metal hooks (to hold the table without locking it) and numerous decorative plates, as well as a magnificent clasp adorned with two rampant lions and stars. When you open the lid, which rests on two wooden locker clips decorated with lion heads, the drawers and doors are revealed, decorated with networks of squares and architectural elements and small columns. It responds to the type called "Salamanca desk", which is the most representative of the Spanish Baroque. It was developed, above all, throughout the seventeenth century, and its use and manufacture reached, at least, until the first quarter of the eighteenth century. Due to the fact that, due to lack of documentation, the workshops responsible for this furniture are unknown and it is unknown if they would only be made in Salamanca or would also be created in other places, experts have proposed their name as "columnilla desks" because it is this decorative element. the most characteristic in the preserved examples. Another common feature in seventeenth-century Spanish desks are the decorative and functional fittings that this piece shows. Highlight the high quality of his work and, above all, the partially gilded palastro with lions and stars, shells and architectural elements that have already been mentioned. In all cases, and as usually happens in this typology, all the metallic elements have been highlighted with a fabric background cut out in polygonal shapes. The locker was a common fixture on these desks, allowing you to expand the storage space for important documents and other valuable property within locked drawers and doors. Also known as "closed foot", some example is known from the first half of the 16th century, from which time it was not stopped manufacturing. In the present case, its diamond-based decoration is the most common in the seventeenth-century examples and, as it is the one that matches the desk, it adds value to the work.

· Size: 112x50x153 cms.
ANTIQUES
FURNITURE

Ref.: Z6411
LOW TABLE. WALNUT, WROUGHT IRON. SPAIN, 17TH CENTURY.

Table with fork fasteners. Walnut wood, wrought iron. Spain, 17th century. Table made of carved and turned walnut wood with four A-shaped legs, two wrought iron hairpin clips and drawers on both fronts (a total of four) decorated with plant-themed carvings. The legs present a turning of the type known as "lentil", with different types of discs according to their width, creating a symmetrical composition, and located on and below a simple cylindrical heel. The casings have been carved with simplified plant shapes, and the fasteners feature disk decoration and balustrade shapes. The drawers are interspersed with protruding “es”-shaped pieces and feature oval handles, and the sides feature simple geometric carvings. Compare, for example, with the walnut table with discs on the legs dating from the 17th century that is preserved in the collections of the old Municipal Museum of Madrid; with the office of the Inquisition of the National Museum of Decorative Arts in Madrid (in details such as the layout of the drawers); or with another walnut and pine wood dais table with carved drawers and lenticular turned legs from the same museum, dating from the 17th century; a 17th-century Castilian buffet-table from the Cervantes Birthplace Museum (Alcalá de Henares, Madrid).

· Size: 83x118x73 cms.
ANTIQUES

Ref.: ZF0619
PAIR OF GILTWOOD MIRRORS. ROCOCO, 18TH CENTURY.

Pair of cornucopias. Carved and gilded wood and porcelain. Century XVIII. Pair of cornucopias with mirror, practically the same (except for details on the leaves of the frames), made of carved and gilded wood. Inside, the main mirror has moldings that draw curves and straight areas, scrolls and other elements. The elaborate decoration of the wall mirrors starts from some grotesques in the lower part, from which plant elements emerge that extend, accompanied by hangings, towards the upper part on the sides, with openwork details. Upstairs, the crests have circular spaces, flanked by perched birds with their wings partially extended, and surrounded by elaborate frames that, like the rest of the pieces, have architectural elements (volutes, smooth oval mirrors...), vegetal elements and forms that remind us of Rococo rockeries. Clearly, the examples are included within the Rococo, counting, even with the slight asymmetry that their decorative motifs present and that slight difference between the two examples. It is possible to find similarities in the design of these cornucopias with different engravings and works by Matthias Lock (London, ca. 1710-ca. 1765). Compare with prints from “A New Book of Ornaments with Twelve Leaves Consisting of Chimneys, Sconces, Tables, Spandle Panels, Spring Clock Cases, Stands, a Chandelier and Girandole, etc.” (Henry Copland and Matthias Lock; London, 1752), with examples in the Metropolitan Museum in New York, drawings in the Victoria & Albert Museum in London, etc. Matthias Lock was the first to publish Rococo designs in England, as well as being considered the first to master the Rococo style and include it in his works and designs. Little else is known about his life: he was a disciple of Thomas Chippendale and Adams, perhaps he worked with Henry Copeland and his work derived from the most elaborate Rococo to the most harmonious Classicism. The small porcelain plates that appear in the upper part show a pheasant located on a rock and between chrysanthemums and other flowers, in a common composition in this type of object, made in China for export to Europe and, therefore, without to have endowed any of the animals or plants with meaning (the golden pheasant was a symbol of the Emperor, and the one on this plate has no yellow in its plumage). Chinese porcelain was already known in Europe in the 15th century, but its commercial boom began in the 16th century, with the well-known pieces in Blue and White so valued that they even inspired the local ceramics of the different kingdoms. As for the so-called "Pink Family" due to the predominance of this tone in its enamelling, it was born with the introduction of that color in China at the beginning of the 18th century by the Jesuits and its production continued until the 19th century. In addition, it became so highly valued that it displaced the Green Family in European courts at times, with works from the reigns of Emperors Yongzhen (1678-1735) and Qianlong (1711-1799) as the most abundant and highly appreciated. and sought after for its high quality. Stylistically, these two mirror insert plates are very similar to works by the Rose Family made in the late reign of the Yongzheng Emperor or early Qianlong in Kingdezhen (Jiangxi, Republic of China) around 1735. In fact, there are some plates in private collections with pheasants in the same position and on a stone practically the same as these two examples. Note that you can see the decorated edge of the same, hidden almost entirely by the gilded wood.

· Size: 100x68x12 cms.
ANTIQUES
FURNITURE

Ref.: Z6638
ITALIAN STYLE “BARGUEÑO”, TORTOISESHELL AND WOOD, 18TH CENTURY.

Bargueño in Italian style, 18th century. Tortoise, wood and gilt bronze. Uncovered sample desk made of wood, with the central part advanced and highlighted by a double chapel of architectural composition. Each of the sides has five drawers with the front decorated with tortoiseshell and an elaborate golden bronze lock shield (two rampant lions facing each other, placed on a garland and with a crowned shield between them, in which is the hollow of the wrench). The center of the front has two levels: the lower one has four columns with éntasis, two on each side and joined by an entablature and an upper finish in dark wood, and a series of elements in gilded metal in the center, among which stands out, sheltered under a semicircular arch, the figure of Hercules fighting Cacus (the giant who terrorized the Palatine Hill before the founding of Rome); the upper one has moldings forming recesses, with an important heraldic shield in the center, all enhanced with scrolls on the sides, and different elements in gold metal, of classicist inspiration. The general scheme of the furniture responds to a model that is very widespread and valued in seventeenth-century Europe, of which the best examples have been, as a general rule, those of Italian manufacture, and which is continued in the eighteenth century without breaking the compositional clarity of the one that shows off on this front but it does change slight decorative details and elements in the area of the central chapel, above all. The practice of using tortoiseshell slabs in furniture resurfaced in Europe during the 17th century. The high price and the great demand for furniture with sea turtle shell are explained by the scarcity of the material, which was essential to import it (usually from Central America) and that, for its work, a highly specialized workforce was required. As is normal for this type of furniture, also called "wastebaskets" because they contain important documents, the tortoiseshell plates were often highlighted with gilt metal decorations, the use of bronze being very normal for this.

· Size: 69x137x160 cms.
ANTIQUES
FURNITURE

Ref.: Z6811
THREE DOOR LOUIS XV STYLE GLASS CABINET , MAHOGANY WOOD, 19TH CENTURY.

Louis XV style mahogany wood display cabinet, 19th century. Three-door showcase with glass shelves supported by cabriolet legs with an outward scroll and on a stopper. The doors are locked and feature painted panels and trim in combination with frisage in a lighter wood. The entire surface of the cabinet is decorated with plant motifs, and a head of an angel finishes off the central body of the cabinet, which is wider and taller than the sides. The vegetal elements that decorate the entire surface of the showcase, focusing on the upper and lower ends of it, respond to the characteristics of the Rococo style. The curved shapes of these rockeries stand out, which extend into the furniture doors to give it movement, combining asymmetrical elements with other symmetrical ones. The only decorative hardware that it presents are the lock shields of the three doors and the hinges, in gilt metal. Although the standard in French furniture is the combination with more decorative elements in bronze, it is not particularly strange to find examples where the only decoration is carved wood and some frisage work. Yes, a perfect union between structure and decoration can be seen here. The painted scenes that decorate the side doors are children and a harp in one and a woman with a Cupid in the other. Technically, they are reminiscent of plates made with the so-called "Vernis Martin" that was used to apply to furniture at the time. They show inconsequential themes, appropriate for interior decoration and that perfectly fulfilled their role of bringing delicacy and color to the furniture, in addition to being able to be framed within the Gallant Painting, characteristic of the Rococo. All the decorative elements of the furniture have been made in the Rococo style, also known as Louis XV (1710-1774) because it was during his government when these forms were adopted in France. In the 19th century, as with others, numerous pieces were made taking inspiration from what was created in the 18th century and providing a series of peculiarities typical of the time, such as, in this case, the abundance of decorative moldings with rockeries and the striking movement of the lines that mark the lower and upper areas of the display case.

· Size: 250x65x292 cms.
ANTIQUES
FURNITURE

Ref.: Z3037
SPANISH WALNUT TABLE 17TH CENTURY

17th century lyre leg table. Walnut wood, with wrought iron fasteners and one-piece top. Baroque style lyre leg table, entirely made of walnut wood, with carved profile legs and a one-piece, rectangular tabletop with smooth profile. The legs have a mixtilinear cutout, based on recesses and projections of great dynamism and decorative sense, chiaroscuro even despite lacking size, which speak to us of the taste of Baroque Europe. Thus, we see complex lines that combine simple curves, edges, and steps, creating shapes that are both regular and symmetrical, in the manner of baroque classicism. The legs are attached to the tabletop through curved iron fasteners, typical of this type. The lyre leg tables have their origin in the Spain of Carlos II, during the second half of the seventeenth century. The simplest ones have a simple cutout on the side legs, becoming completely carved in the peripheral center models. The fact that the tabletop is left smooth, undecorated, responds to the fact that the tables were dressed with rich fabrics, which fell, hiding practically the entire table. Thus, in the less wealthy houses, which could not afford to dress the tables with luxury, the decoration had to focus on the legs, and hence they were carved. Inspired by the tables of classical antiquity (in marble and with transverse supports), they have two lateral supports that can be removed to transport the furniture, and that can have a lyre or vase profile.

· Size: 192x102x84 cms.
ANTIQUES
FURNITURE

Ref.: Z3070
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TABLE AND ITALIAN “BARGUEÑO” (WRITING DESK) IN WALNUT AND “PALOSANTO” ...

Italian desk in tortoiseshell, wood and gilt bronze, rosewood, lemongrass and iron fasteners. XVII century. Table with walnut top, Open sample desk located on eight claws with a ball and with two handles on the sides. The front presents the advanced central part, with a chapel; four rectangular drawers on the sides of it; The work is completed by a corridor decorated with vegetable scrolls topped by eight children's figures and a crowned eagle on an orb above the central crown. The buffet or bargueñera table that supports and stands out has turned legs secured by means of lower chambranas (also turned and with a central die) among themselves, and fixed to the top of the furniture thanks to curved metal fasteners with a disk in the center; the upper table shows off a geometric decoration inlaid with dark over light woods. The general scheme of the furniture responds to models known and used in cabinetmaking throughout Europe throughout the 17th century, of which the best examples are considered to be of Italian origin, such as this one. Thus, its decorative elements belong to the same tradition: the legs carved in the shape of a bird's claw synthesized on a ball are very typical of the century; the sides are flatter and simpler (geometric marquetry around the molding and the gilded bronze handles concentrate all the vegetal decoration); etc. As usual in baroque desks, the center of the exhibition is where the decoration is concentrated, made from tortoiseshell areas with a gold background and highlighted thanks to exterior moldings in darker wood, adorned with inlaid circles, always maintaining the symmetry. The chapel follows an architectural composition: prominent lower plinth, like the rest, with gilded bronze appliqués; facade between four columns with entasis and a niche in the center with Athena, goddess of wisdom in classical mythology; the top shot invades this last central space, providing movement. When opening the door that closes it, six small drawers are discovered on the sides and two larger ones above and below, all of them flanking an interior space of columns, semicircular arches and a checkered floor that is much more simulated for the viewer through a theatrical game with mirrors. This general scheme is very common throughout the European Baroque, and its compositional clarity would not be broken until Rococo in the 17th century. In Spain, the typology of the present desk coexisted with that of the bargueño, these types being preferred due to their greater decorative richness and in the materials used. The classic elements that it boasts would respond to that classic tradition, stronger in the Italian territory than in Hispanic furniture. The practice of using tortoiseshell plates in furniture resurfaced in Europe during the 17th century. The high price and great demand for sea turtle shell furniture is explained by the scarcity of the material, which was essential to import (normally from Central America) and that, for its work, a highly specialized workforce was required.

· Size: 130x48x115 cms.
ANTIQUES
FURNITURE

Ref.: Z6333
FRAME. WOOD, METAL. LATE 17TH CENTURY-EARLY 18TH CENTURY.

Framework. Carved wood. Late seventeenth century-early eighteenth century. Rectangular frame that presents a "base structure" of straight lines, combining moldings of different widths and finishes (inside, a golden band with fine plant details towards the corners; then a thin red one, and a wider green one, these two the latter imitating marble; outside, another fine gilt molding), enhanced with a series of carvings of vegetal elements in the corners (symmetrical composition), two ovoid elements on the longer sides and a highly elaborate cresting with vegetal elements, rockeries, scrolls, flowers and imitation of fabrics (which are joined with those ovoid elements mentioned). The combination of red, green and gold is common in certain types of frames (compare, for example, with the terracotta of Salamanca made around the middle of the 16th century by Juan de Juni that is kept in the Victoria and Albert Museum). On it, a series of carvings with a lot of movement and depth have been added, showing Baroque influence (in certain details reminiscent of works such as the frame of the Immaculate Conception by Alonso Cano from the Cathedral of Malaga).

· Size: 138x28x196 cms, Int. 86x128 cms.
ANTIQUES

Ref.: ZF0582
ITALIAN BARGUEÑO IN CAREY

Bargueño. Tortoise, bronze, wood, iron. Italy, 17th century; rear table. Uncovered sample desk made of wood and finished in tortoiseshell that has a division into three areas at the front. The sides have four drawers each (each with two veined forms in tortoiseshell enhanced with a metal band flanking each lock shield), gilt details with plant elements and Solomonic columns at the outer ends on a base and topped by curved and straight architectural elements. . The central part, called the chapel, is presented in advance and has an outstanding architectural composition with Solomonic columns and gilt bronze elements. The furniture is finished off by an openwork band under architectural elements and it is located on legs holding spheres. The buffet or washbasin table that supports it and stands out, from a later date, has turned legs joined by means of a chambrane and two wrought iron fasteners. The general layout of the furniture responds to some models known and used in cabinetmaking throughout Europe throughout the seventeenth century of which the best examples are considered to be of Italian origin, such as the present one. Thus, its decorative elements belong to the same tradition: the legs carved in the shape of a synthesized bird's claw on a ball are very typical of the time; the sides are flatter and simpler (geometric marquetry); etc. However, the present example stands out from the usual in its contemporaries due to the architectural elements of the front and the galloned pieces of the drawers already mentioned, which are totally different from what can be found in the bins of this type linked to Antwerp. Compare this example with the one kept in the González Martí National Museum of Ceramics and Sumptuary Arts (Valencia), which does not present the elements of the drawers already mentioned. CABINET. TORTOISESHELL, BRONZE, WOOD, IRON. ITALY, 17TH CENTURY; TABLE OF POSTERIOR DATE. 17th Century Italian Vargeno Mahogany Writing Desk with Bronze and Tortoiseshell (collectionworld.net) .

· Size: Bargueño 146x50x100 cms Mesa 153x52x85 cms.
ANTIQUES

Ref.: ZF0722
WARDROBE. 18TH CENTURY

Wardrobe from the first half of the 18th century. Oak and walnut woods. Cabinet made of oak and walnut, decorated with a profuse carving and molding work. With an architectural structure inspired by contemporary Baroque architecture, it is organized in two streets and three registers, and is finished off at the top by a flown cornice with a central sinuous pediment. The entire structure appears rigorously organized by means of regular straight lines, which affect the differentiation of each of the different parts of the structure, following a clearly classical criterion, typical of the Baroque even in its most ornamental aspects, according to which the decoration must be adapted always to the structure, without ever exceeding it, so that its main lines are perfectly legible, as well as the relationship of proportion and balance of the parts to each other and to the whole. Following this idea, we see the front divided into two streets and three registers, and the latter have their continuation on the sides, with recesses in this case only molded, without the visible carving on the front, although highlighted by the work of volumes and contrasts. typically baroque, achieved through the simple use of moldings and steps. In the lower register we see two doors, each one with its shield lock cut out with a double fleur-de-lis. Its design is organized around a central mixtilinear cavity, typically Baroque, carved inside with a rockery crest that already tells us about the knowledge of Rococo, although in furniture, both structurally and ornamentally, the language still dominates. baroque. The perimeter of recesses and projections of this central recess is repeated, with increasingly complex lines, drawn on the basis of moldings very raised from the background, which provide the contrast and chiaroscuro typical of Baroque furniture. In addition, the central area is highlighted by very bulky carvings based on vegetal scrolls, scallops and rockery crests. The middle register, still belonging to the low body visually, houses two drawers of the same size and design, which combine diamond-tipped recesses with gold-plated hardware decorated by chiselling. Finally, the upper body also has two doors, like the lower one with its locks, and in fact it follows an ornamental scheme similar to that of the lower doors, although more developed and with a vertical design. Here we can also see vegetalized rockeries and struts, combined with a profuse molding of dynamic lines, typically Baroque. As a finishing touch, under the cornice and in the central area, there is a stepped motif that is organized around the lines of two sinuous pediments, combined with floral and classic carved motifs.

· Size: 155x76x267 cms.
ANTIQUES
FURNITURE

Ref.: Z0740
CUBPBOARD WITH WRITTING DESK (BARGUEÑO). WOOD AND WROUGHT IRON FITTING...

Bargueño of three bodies. Walnut wood and wrought iron. Asturias, Spain, 17th century. The bottom is a two-door locker with carved decoration, the center is a flip-top desk and a two-door cupboard above. Outside, below, rhomboidal geometric motifs alternate on the sides and tabs in the center, rectangular elements above and below, and plant elements; the doors show moldings around rectangles resembling pictures and frames; the upper part, in addition to those carved details mentioned, has its doors and two openwork sides with balusters. The set is finished off by a split pediment decorated with drops like those used under triglyphs in classical art. The lower doors are secured by latches and feature teardrop-shaped handles. The desk has a handle and a key closure with the horseshoe shield highlighted and decorated with an openwork metal plate with S-shaped braces flanking a central shield, topped by a simplified floral detail; Inside, the drawers are divided into an upper and a lower band with four each and a central area of two drawers on the sides of an open central chapel with a semicircular arch, and the fronts, in all, decorated with marquetry of simple geometric lines. The pantry doors are locked. The carved decoration already appears on the fronts of cabinets and in the 16th century lockers and the inclusion of details used in architectural entablatures of that style belong to Renaissance influence. However, the more vertical than horizontal proportions of the furniture are seen in those known as "Carlos V", which appear towards the second third. The Spanish taste for panels and carved moldings can be seen clearly in this example, and the marquetry inside the desk resembles that of others of Asturian manufacture. Logically, balusters and details of movement show belonging to the Baroque. Also known as "cabinet cabinet", this type of furniture did not belong to strictly domestic furniture, but was used in public places or rooms of important residences where they could be contemplated. For this value, examples like the present one were not too common, but some very similar ones have been preserved in important private collections. Compare with a very similar example preserved in the León Provincial Ethnographic Museum in Mansilla de las Mulas, but it can also be related to others such as the cupboard in the Lope de Vega House Museum in Madrid (inventory CE00234) from towards the end of the 17th century. or the cupboard of the National Museum of Decorative Arts in Madrid (CE02504).

· Size: 105x46x215 cms.
ANTIQUES
FURNITURE

Ref.: Z4716
LOUIS XVI STYLE GILT BRONZE AND MARQUETRY CENTER TABLE. FRANCE, 19TH C...

Louis XVI style table. France, 19th century. Parched lid. Mahogany, rosewood, gilt bronze. The legs, which maintain their respective sheaves, have a circular column shape starting from a die and ending in vase shapes highlighted with garlands, fine moldings, vegetal elements and capitals similar to those of the classical Ionic order. The truncated conical profile of the legs closely follows the French Louis XVI models known as “pied à l'antique”. A semicircular chambrane emerges from the dice on each two legs, the two joined in the center in another dice, topped by a vase with profiles inspired by classical art. The waist of the table has semicircular shapes on the smaller sides and a rectangular projection on the larger ones; It is flanked by two gilt bronze moldings, and has a decoration of plant elements in gilt bronze on a green background, as well as dice recalling the classic triglyphs in the corners of the rectangular areas. The upper panel, which follows these same lines, shows a marquetry decoration drawing six-pointed stars thanks to a composition of geometric inlaid cubes. A drawer is hidden in one of the rectangular sides of the table. Neoclassical furniture, in France, appears during the reign of Louis XV, from the 1750s, approximately. It maintains certain details of the French Transition style (1750-1774 approximately) such as its inspiration in Greco-Latin Antiquity, the popularization of geometric marquetry and the use of some curves. The Louis XVI style features classicist scrolls, straight lines, classic architectural elements, clean, symmetrical shapes, not too much movement, etc. It was very common in the nineteenth century to use furniture styles before that century as inspiration for a series of creations. The table, which stands out both for the quality of its design and for the materials used in it, can be related to examples of cabinetmakers and renowned firms such as "Holland and Sons", whose creations inspired numerous works, or those of Adam Weisweiler (France, c. 1750-after 1810), for example.

· Size: 118x70x76 cms
ANTIQUES
FURNITURE

Ref.: ZA6718
BACCARAT SIGNED CHANDELIER. GLASS AND GILT BRONZE. FRANCE, 19TH CENTUR...

Baccarat signed chandelier. Glass and gilt bronze. 19th century.
Gilt bronze and transparent glass chandelier with eight lights. The upper part has a series of curved sticks from which hang some glass beads in various shapes (flower, tear). The central axis of the chandelier (made in metal and covered in glass with abundant curves) has a central piece in bronze and glass beads (very often seen in french chandeliers from around the middle of the 19th century and in Louis XVI style). From all the elements of the piece hang a large number of glass beads of various shapes (circular, flowers, tears, oval, etc.).
The Société Baccarat (which continues to manufacture luxury glassware in this French town) began as a glass workshop founded by Louis-Joseph de Laval-Montmorency, with the permission of Louis XV of France, in 1764. They received the first official order from the Royalty in 1823, giving rise to a huge number of petitions addressed to members of European royal families, nobility, heads of state, etc. Towards 1860, the company began to sign its products with a registered trademark, usually recorded in the base of the article, although it was also common for other broncists to use Baccarat glass for its fame and quality.
Measures: 65x65x120 cms.

· Size: 65x65x120 cms.
ANTIQUES

Ref.: ZF0004
PORTUGUESE BUREAU, VERAWOOD AND ROSEWOOD, PORTUGAL, 18TH CENTURY.

Portuguese Bureau, 18th century. Rosewood and rosewood woods, vintage bronze fittings. On legs decorated with plant elements is the cabinet, with three drawers and a hinged lid. The fronts show a slight convex curvature in the central area, as well as two fittings with handles and a lock escutcheon for each drawer, which show a decoration based on woods of different tones. The hinged lid features other hardware on the front and a floral-themed marquetry decoration. The interior of the desk has eight drawers flanking a central door. Despite belonging to the Rococo, the lack of decorative elements in the furniture is notorious. The characteristic movement of this artistic style can be seen in the presence of rockeries on the sides and legs and in the curvature of the front. Portuguese furniture has a strong English influence, in addition to taking elements from French examples, as can be seen in this example.

· Size: 140x62x115 cms.
ANTIQUES
FURNITURE

Ref.: Z6109
”SECRETER “Á ABATTANT”. GILT BRONCE, MARQUETRY, PORCELAIN, CLOTH, MARB...

Secretary "à abattant". Fine woods, marquetry, interior with rosewood and textile drawers, gilt bronze and enameled porcelain; marble envelope. Signed HYPPOLYTE-EDME PRETOT (Paris, 1812-1855). XIX century. Secretary desk with a top cover in light veined marble and a rectangular floor plan, with a base with curved bottoms and rounded corners highlighted with diamond marquetry and classicist souvenir gilt metal applications. The sides present a diamond-feathered decoration on the wood in the central area, separated by two gilt bronze moldings that extend on the three fronts; in the upper part, the same compositional scheme is repeated. The front front concentrates the decoration: a composition framed by feathering based on flowers and plant elements in a delicate marquetry for each of the drawers that, in the door, is highlighted by a bronze molding and accompanied by an enamelled porcelain plate . This one presents two cupids in a celestial background, in addition to a frame in this same metal. Opening this door reveals a small desk with a fabric upholstered top and four drawers flanking a central space, located under another rectangular space. The corners of the furniture also feature classicist dolphins and children's grotesques with the lower half of the body transformed into plant elements and scrolls. The piece of furniture features a signature linked to Hippolyte-Edme Pretot, a Parisian cabinetmaker who settled on Rue de l'Abbaye in 1836, moved to Rue Saint-Germain in 1841 and, from 1846, to Rue de Harlay. He showed some of his best work at the Exposition Nationale de France in 1849 and at the Great Exhibition in London in 1851 he won a Medal. It is possible to compare this example with the lines of a Napoleon III “cabinet” in “pietra dura”, ebonized wood and gilt bronze that has been dated around 1850 and is kept in a private collection, similarities that can be appreciated by also comparing the elements in bronze of both pieces of furniture. It is possible to contemplate some works by the master, or attributed to him, in the Dayton Art Institute (United States), in the Musée des Arts Dècoratifs in Paris, in the Luxembourg Embassy in The Hague, in the collection of National Heritage of Spain, etc.

· Size: 80x44x109 cms.
ANTIQUES
FURNITURE

Ref.: Z6849
THREE LOCKS CHEST. WALNUT. SPAIN, 17TH CENTURY.

Chest of three bolts with drawers. Walnut wood. Spain, 17th century. Rectangular chest with a flat lid that is unique due to its format and constitution. It presents a decoration on the front and the two sides with moldings resembling architectural elements in the corners, a fine molding bordering the latches and making similar drawings on the sides (creating ogee and lobed shapes); a succession of moldings in the lower area, combined with an architectural element at the front; a band below in which the three drawers are presented, with fluted front and iron handles; and a skirt trimmed on the legs of the furniture. Inside, there is a partition on one side, occupying the entire side: from bottom to top, three drawers with access from outside this space, this front decorated with moldings resembling drawers, and an access with a flat lid hinged at the top. of the partition; It should be noted that inside there is a space and wood that slides, revealing a normal drawer with access without moving the wood and another smaller, secret drawer, only accessible by moving the wood. The keys present marked differences between them and the usual decoration in this type of pieces of the time. Chests with three locks are also known as "City Hall" or "Council", because both these and those with two keys were often used by religious, military or civil organizations to store valuable objects and documents, securing them by giving a key. to each person in charge (as many people as locks and keys), so that they had to get together to open the cabinet. In many places in the Spanish territories it was used as a municipal archive, following laws inherited from a pragmatic one of June 9, 1500 with which the Catholic Monarchs forced the Councils of their territories to build town halls, prisons and have an ark of privileges and writings. Despite having been abundant in their time, many examples have not come down to us because they fell into disuse and were replaced. Compare with that of the Council of Villafranca de la Marisma (Los Palacios and Villafranca, Seville), that of Valdipiélago (León), that of Matapozuelos (Valladolid), that of the Cabildo of Buenos Aires in Argentina (18th century, following previous models), etc. Stylistically speaking, Castilian chests are usually much simpler on the outside and do not usually have drawers on the outside like those in this piece. Both Spanish and northern European examples are known with moldings on the outside deviating and drawing shapes on the lock escutcheons. What is clearly exceptional is the presence of drawers on the outside and that previously mentioned architectural decoration.

· Size: 140x68x94 cms
ANTIQUES

Ref.: ZF0716
THIRTY LIGHTS GLASS AND BRONZE CHANDELIER. 19TH CENTURY.

Ceiling lamp in bronze and carved and modeled colorless glass with thirty lights. Late nineteenth century. It is attached to the ceiling by means of a hook hidden by a crown with stems, from which the central axis of the lamp, made of glass in the shape of a double baluster, starts. The arms, in gilt bronze, decorated with architectural and plant elements, start from this. The lights feature candle-shaped bulbs. Beads of various shapes (rectangular, octagons, stars, tears and pendants with mixtilinear profiles) have been placed all over the surface, joined by discreet metal hooks. It is necessary to highlight the variety of forms and the quality of the colorless glass. The profiles of some beads (tears, polygons, pendants) are found both in Bohemian and other French works and in most of the Real Fábrica de Vidrios y Cristales de La Granja de San Ildefonso (Segovia, Spain) due to the great popularity in these ways. The stars or florets are much more scarce in the preserved examples. The mastery in carving is appreciated in the profiles and in the fineness of the modeling of the shaft. While the decorative elements of the bronze clearly show influences of Neoclassicism, the glass work is reminiscent of the so-called "Maria Teresa lamps", works based on those commissioned by Empress Maria Teresa for her coronation in the factories of the Bohemian area of the Czech Republic in 1743. This typology spread rapidly throughout Europe, varying designs, and serving as an example in the main glass factories even today. Although it is clearly different from the work that was done in Murano (Italy), the chandelier follows a tradition that has its roots in Bohemia and its continuation in France, where as much attention was devoted to gilded bronze as to glass and to whose examples it resembles something else the spider. Similar lamps can still be found in outstanding residences such as the Fernán Núñez Palace (Madrid), the Viana Palace (Córdoba), the National Museum of Decorative Arts (Madrid), the Paz Palace (Buenos Aires, Argentina), the Louvre Museum (Paris) , etc.

· Size: 100x100x130 cms.
ANTIQUES
FURNITURE

Ref.: Z6580
WROUGHT IRON BRAZIER. SPAIN, 13TH-14TH CENTURIES.

Brazier. wrought iron Spain, XIII-XIV centuries. Presents restoration on one handle. Rear grill. Reference: "L\\\\'art del ferro". Barcelona: Santiago Rusiñol, 2007, p. 151, image 137. Brazier made of wrought iron consisting of a circular base, three flat legs, a body made up of two flat rings joined by vertical sections decorated with simple facing scrolls, and two handles at the top similar to the sections and ending in two washers. Inside, it presents an iron grill from a later date than the rest of the piece and has a restoration on a handle. It is very similar to another wrought iron brazier dated between the 12th and 13th centuries that is currently in a private collection; compare also with the rectangular of the Museu Episcopal de Vic dated in the fourteenth century. The spirals that form the decoration of the piece are frequently called “curl irons”, and they are an element very often used in the few examples of Romanesque railings and iron work that we still have, and, for this reason, they will be elements that are they were going to maintain in the forge works during later centuries in Spain (the Romanesque model with its scrolls lasted until well into the fifteenth century, with some variation). For example, the bars of the Church of Santa María del Camino or the Market in León or the one that has been located in the choir in the church of San Vicente de Ávila, or those preserved in the Diocesan Museum of Jaca (Huesca). Being a work carried out with a utilitarian purpose, the lack of decorative elements is normal, as is the transformation of the decoration into functional parts of the brazier. The examples of Romanesque braziers that have come down to us are even rarer than those of ironwork. One is preserved in the Diocesan Museum of Tarragona and another in the possession of the Junta de Castilla, both square but with the same type of spirals, and some more in important museums and collections such as the National Archaeological Museum, in the Tarragona Cathedral, etc. . Weight: 7.5kg.

· Size: 52x39x54 cms.
ANTIQUES

Ref.: ZF0635
WALNUT THREE KEYS CHEST WITH WROUGHT IRONWORK, CASTILLE (SPAIN), 17TH ...

“City Hall” chest in walnut wood and wrought iron fittings. Castilla, 17th century. Rectangular chest with a flat lid on four spherical legs and prominent lower molding, reinforced with corner pieces and featuring two handles with a central disc on the sides and, on its front front, three bolts with a lock shield decorated and highlighted on a fabric background. with their respective keys. These have a decorated stem and a ring with openwork circular elements. This type of chest is called “City Hall” or “Council” due to its three locks, each of which closes with its respective key. These pieces of furniture were used in any type of organization, religious or civil, to store valuable objects, documents or money and each one of the keys was handed over to a person in charge, being essential that the three meet to open the furniture, avoiding any possible temptation. They were a very common element in town councils or town halls and other towns, hence their nickname. Stylistically, it is situated within the Baroque due to the forcefulness of the lower molding and the movement provided by the legs and the shapes of the different fittings. The typology was already used in the Gothic period and, given its success, it would continue to be common in cabinetmakers and carpenters workshops for many centuries. Sometimes they were made of iron, and, in very few cases, three keys are used as the closure of a silver chest (the one that contains the body of San Isidro, Madrid). In many places, such as La Rioja, it was used as a municipal archive, following laws inherited from a pragmatic one of June 9, 1500 with which the Catholic Monarchs forced the councils of their territories to build council houses, prisons and have an ark of privileges and deeds. Despite having been so abundant in their time, we have not received many examples because they have fallen into disuse and have been replaced. Compare with that of the Council of Villafranca de la Marisma (Los Palacios y Villafranca, Seville), that of Valdipiélago (León), that of Matapozuelos (Valladolid), that of the Cabildo of Buenos Aires of Argentina (18th century, following previous models), etc.

· Size: 152x67,5x76 cms.
ANTIQUES
FURNITURE

Ref.: Z3404
LOUIS XVI STYLE TABLE. MAHOGANY AND GILT BRONZE. AFTER MODELS FROM ADA...

Louis XVI style oval coffee table. Mahogany wood and gilt bronze. Inspired by Adam Weisweiler models, late 19th century. Coffee table with a straight board and an oval shape with protrusions in the area of the legs, made of mahogany wood and enhanced with very good quality gilt bronze applications. The upper board presents a simple geometric marquetry and a gilt bronze enhancement on its edges. The legs have a curved shape on the outside enhanced by an appliqué in this same material with plant elements under a ram's head at the top and some plant elements at the end, both joined with a smooth band. The waist of the table shows very delicate compositions of scrolls with flowers, reclining rams, cornucopias and female heads on a geometric marquetry like the one on the board (one of the fronts hides a drawer). In order to maintain the quality of the work, it was forced in France to maintain a specialization in the different workshops. Thus, there were masters dedicated exclusively to creating elements in gilded bronze. It should be noted that those present appear in some similar tables, mainly preserved in European private collections. Adam Weisweiler (France, ca. 1750-after 1810) was a very prominent French cabinetmaker of the Louis XVI period who worked from the year 1778 (when he acquired the rank of master) for such prominent figures as Marie Antoinette, the future George IV , etc. When he retired, his son Jean Weisweiler continued with the workshop until 1844. Only a few private collections around the world preserve his work, in addition to institutions such as the Metropolitan Museum in New York or the Victoria & Albert Museum in London. Such was his importance that, even long after his death, other masters were inspired by his work to create numerous pieces.

· Size: 99x64x72 cms.
ANTIQUES

Ref.: ZF0127
TABLE. WALNUT, IRON. SPAIN, 16TH CENTURY.

Table with grooved leg. Walnut, iron. Spain, 16th century. Requires restoration. Carved walnut table with a rectangular top and carved legs reminiscent of architectural elements with a strong classicist influence that are each joined by a wooden chambrana with a cut lower profile and similar decoration and, in addition, are secured to the table thanks to two iron fasteners. Compare, in its general lines, with the so-called Office of the Inquisition, dated around 1600 and preserved in the National Museum of Decorative Arts in Madrid. Likewise, a table is preserved in a private collection, with decoration similar to the present one, and dated towards the end of the 16th century. These decorative elements carved on the legs show a clear classicist influence, which is why it would be linked to the Renaissance.

· Size: 130x83x82,5 cms.
ANTIQUES

Ref.: ZF0874
ROCCOCO STYLE MIRROR. WOOD. 19TH CENTURY.

Rococo style mirror. Carved and gilded wood. XIX century. Slightly rectangular mirror with a frame made of carved and gilded wood and decorated with elements inspired by 18th-century Rococo art (pebbles, curves and counter-curves, fleshy plant elements, etc.) together with a composition more to the taste of 19th-century art ( note the inner area of the frame, the symmetry, the crest...).

· Size: 157x27x158 cms
ANTIQUES

Ref.: ZE300
THREE LOCKS CHEST. WALNUT, IRON. SPAIN, 17TH CENTURY.

Town hall chest. Walnut wood. XVII century. Rectangular carved chest of walnut wood, with a flat lid, and simple decoration on its fronts with smooth moldings of different widths. It rises slightly from the ground thanks to six legs with a cylindrical die on a flattened circle. On the outside, it has a series of wrought iron fittings (corners with fleur-de-lis finish), two handles on the sides with openwork fittings and, on the front, three key locks with an openwork lock escutcheon decorated with simplified plant elements. Inside, it has a wooden partition on one side and located high up, which consists of a rectangular space with a hinged lid and two small drawers at the bottom. The three keys, made of iron, present their worked and decorated eyes, with simple decorative elements towards that side of the stem or central part and the usual flat blades. Chests with three locks are also known as "City Hall" or "Council", because both these and those with two keys were often used by religious, military or civil organizations to store valuable objects and documents, securing them by giving a key. to each person in charge (as many people as locks and keys), so that they had to get together to open the cabinet. In many places in the Spanish territories it was used as a municipal archive, following laws inherited from a pragmatic one of June 9, 1500 with which the Catholic Monarchs forced the Councils of their territories to build town halls, prisons and have an ark of privileges and writings. Despite having been abundant in its time, many examples have not come down to us due to having fallen into disuse and being replaced. Compare with that of the Council of Villafranca de la Marisma (Los Palacios and Villafranca, Seville), that of Valdipiélago (León), that of Matapozuelos (Valladolid), that of the Cabildo of Buenos Aires in Argentina (18th century, following previous models), etc.

· Size: 157x64x78 cms
ANTIQUES

Ref.: ZF0870
SPANISH CHEST OF DRAWERS FOR SACRISTY-USE. WALNUT AND IRON. SPAIN, 17T...

Walnut wood sacristy chest of drawers with carved decoration. Spain, 17th century. Cabinet with three very deep drawers with the lower one higher, on rectangular legs and with a straight upper wooden tabletop, slightly protruding. Each of the drawers has two wrought iron handles. The sides have been decorated with simple rectangular panels of moldings, while the drawers have been carved in relief: the upper one, with branches, vines and leaves; the central one with fleshy vegetable scrolls; the lower one with three plates, the lateral ones with a central rhombus and flowers in the corners, and the central one with a rose framed by a cord of three knots on each side set in two keys. It is these carvings, in addition to the depth of the drawers, the horizontality of the composition and lines, and the straight upper panel that suggest the use of furniture in a sacristy to properly store liturgical clothes and, furthermore, indicate that there may have been It was commissioned by a Franciscan institution (note the typical cord with knots) dedicated to Saint Peter (for the two keys in the corners). Although it does not have the usual rear paneling since the 16th century, it does present the front with volume carvings, typical of the 17th century, and typical Baroque decorative elements, in addition to certain memories of previous furniture (panels in the lower area). The size and quality of the assembly of the boards (note the tongue and groove of the corners) shows that they were relevant works, intended for religious settings. The squares on the sides are reminiscent of those in the central chest of drawers in the Ante-sacristy of the Cathedral of Ávila. As in the one in the sacristy of the Murcia Cathedral, it is the fronts that present carvings in this example, which are reminiscent of others such as those on the refectory table in the collection of the Marqués de Santo Domingo (Madrid). However, those with the simplest fronts are more frequent, although, due to direct influences, examples can be found that demonstrate the popularity of this prototype, such as the chest of drawers in the sacristy of the Old Convent of San Francisco in Havana (Cuba).

· Size: 175x105x112 cms.
ANTIQUES
FURNITURE

Ref.: Z5454