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EMPIRE GILT BRONZE AND CUT-GLASS SIXTEEN-LIGHT CHANDELIER, POSSIBLY FR...

Empire lamp in glass and gilt bronze. By 1815. Attributed to Claude Galle.
16-arm ceiling lamp formed by a central axis from which several circles, of different radii, start. The lower one features an embossed flower decoration; the medium is decorated in the same way, and from it arise the arms that end in the tubes that held the candles, formed by stems and decorated with putti holding garlands and acroteras; the superior, with the same flowers, has more acrobats that start from scrolls and plant motifs. The three rings are joined and highlighted by polygonal transparent glass beads and tears of the same material, faceted to highlight the glare produced by the lights. It has been adapted for use with electric light.
This type of candlesticks, with small arms and hidden among a multitude of glass beads, were very common in the main French residences since the seventeenth century. It is known as the Empire style that took place in France at the beginning of the 19th century, during the government of Emperor Napoleon I Bonaparte (1769-1821), and that, broadly, reworked the Directory Style by complicating it and highlighting opulence, but maintaining the direct influences of works of classical Antiquity that he had, especially those of the time of Imperial Rome. Note the acroteras, scrolls, garlands, stems ... of the present example.
In France, since the seventeenth century, the government paid unusual attention to the legislation and creation of highly specialized guilds for working with bronze and gold and the formation of workshops that work with rich materials to combine them with metal. As a result, the French specialized foundries managed to gain the primacy in the realization of all kinds of interior decorating pieces from the end of the 17th to the 19th century, with clocks, chandeliers, small sculptures, etc.
Claude Galle (Villepreux, Versailles, 1759 - Paris, 1815) was one of the main broncists of the final periods of Louis XVI and Empire. He began his training in Paris as an apprentice of the founder Pierre Foy, whose daughter he married in 1784. He acquired the rank of teacher two years later, and succeeded his father-in-law at the head of the workshop from 1788, making him soon one of the finest in Europe, with about 400 employees. Named "Garde-Meuble" of the French Crown, between 1786 and 1788 and under the direction of the sculptor Jean Hauré, he made numerous and outstanding works. He collaborated with numerous artists, including Pierre-Philippe Thomire, and most of the bronzes of the Château de Fontainebleau emerged from his hands. Despite his success, and due to the delay of his patrons in making payments, he struggled financially. His workshop continued to function under the direction of his son, Gérard-Jean Galle (1788-1846) after his death. His works are preserved, in addition to outstanding private collections, in the Palace of Saint-Cloud, in the Trianons, Rambouillet, Monte Cavallo, Rome, the Marmottan Museum in Paris, the Clocks of Jerez de la Frontera in Spain, Victoria & Albert from London, etc. It should be noted that all these large lamps were made only by prior order in his workshop, and that he made, for example, one in 1807 for the Palais de Meudon, and another of 24 lights for the Salon des Grands Officiers of the Grand Trianons."

· Size: 100x100x120 cms.
ANTIQUES
FURNITURE

Ref.: Z6566
GILT BRONZE AND BACCARAT GLASS CHANDELIER. FRANCE, 19TH CENTURY.

Ceiling light. Bronze overgrown, Baccarat glass. France. XIX century.
Ceiling chandelier made of gilt bronze with a central axis highlighted by glass elements shaped like a vase and balusters. Around this center a series of elements have been arranged in the golden metal: below, a series of curved arms (some with a right angle to give elegance to the placement of the lights) that end in the lighters of the candles, which they have glass saucers to prevent the fall of the wax; at medium height a composition combining with the glass reminiscent of an architectural railing; at the top, a series of stalks come out, the upper ones ending in ways reminiscent of wheat ears. The whole lamp has been decorated, in addition, with a great variety of beads and pendants of different sizes and shapes: of compound profiles, faceted spherical, in the form of a star or flower, of tear and vase. From the bottom hangs a faceted sphere of transparent, hollow glass. All these elements show straight and clean lines in order to multiply the brightness and reflections of the lamp lights. As for the elements in gilt bronze, these have a fine decoration based on motifs of classicist inspiration (garlands, moldings and stretch marks, mainly), with the particularity of the spikes of the upper part.
This type of large lamps were created by the best glass factories in Europe in the nineteenth century, highlighting the French for the attention to design and aesthetic developments of the moment and the quality of their materials, in this case both glass like bronze and the overdoing of it. The design of this spider can be related to several examples preserved in private and dated collections, especially in the middle of the century.
The glass factory in Baccarat (France) was founded in 1764: King Louis XV allowed Louis-Joseph de Laval Montmorency (1710-1802) to create a factory in this city, which initially dealt with window panels, mirrors and glasses until the furnaces began to work in 1816, with great success from the beginning. The factory received its first royal commission in 1823, marking the beginning of a "golden age" in which it would also make numerous exports and commissions from important foreign personalities. In addition, it expanded its production with a remarkable variety of objects: spiders, perfume bottles, decorative glasses, paperweight “millefiori”, etc. With the defeat of Napoleon III in 1867 the French Imperial Era ended, and Baccarat opened up to influences from outside the country (especially Japanese) and extended its market through Asia, increasing its fame with more commissions from European royalty. Currently, he continues to work, and is present throughout the world."

· Size: 100x100x145 cms
ANTIQUES
FURNITURE

Ref.: Z6636
SPAINISH CABINET "VARGUENO". SALAMANCA. 17TH CENTURY.

Bargueño of Salamanca type with taquillón, XVII century. Walnut wood and bone decorations. Wrought iron hardware.
The rectangular taquillón supports on four round legs, and presents four drawers with decoration of lozenges that close with key and show fittings and shield of horseshoe. The desk, with a folding front lid, has metal hooks (to hold the table without the need to lock it) and numerous decorative plates, as well as a magnificent ornate closure with two rampant lions and stars. When you open the lid, which rests on two wooden fasteners of the taquillón ornate with lion heads, you discover the drawers and doors, decorated with networks of squares and architectural elements and columns.
It responds to the type called "Salamanca desk", which is the most representative of the Spanish Baroque. It was developed, especially, throughout the seventeenth century, and its use and manufacture reached, at least, until the first quarter of the eighteenth century. Because, for lack of documentation, the workshops responsible for these furniture are unknown and it is unknown if they would only be made in Salamanca or they would also be created in other places, experts have proposed their denomination as "columnillas desks" because this decorative element is the most characteristic in the preserved examples.
Another common feature in Spanish desks of the seventeenth century are the decorative and functional fittings that this piece shows. Designate the great quality of his work and, above all, the partially golden palastro with lions and stars, shells and architectural elements that has already been mentioned. In all cases, and as often happens in this typology, all the metallic elements have been highlighted with a fabric background cut out in polygonal shapes.
The taquillón was a common element of subjection in these desks, allowing to expand the storage space of important documents and other valuable properties inside locked drawers and doors. Also known as "closed foot", is known some example of the first half of the sixteenth century, moment from which it was left to manufacture. In the present case, its decoration based on diamonds is the most common in the examples of the seventeenth century and, being the one that goes with the desk, adds value to the work."

· Size: 112x50x153 cms.
ANTIQUES
FURNITURE

Ref.: Z6411
PAIR OF GILTWOOD MIRRORS. ROCOCO, 18TH CENTURY.

Couple of cornucopias. Carved and gilt wood and porcelain. Century XVIII.
Pair of cornucopias with mirror, practically the same (except details in the leaves of the frames), carved and gilt wood. Inside, the main mirror has moldings that draw curves and straight areas, scrolls and other elements. The elaborate decoration of the wall mirrors is based on some grottoes in the lower part, from which there are plant elements that extend, accompanied by hangings, towards the upper part by the sides, with openwork details. Above, the tufts have two circular spaces, flanked by birds perched with partly extended wings, and surrounded by elaborate frames that, like the rest of the pieces, have architectural elements (scrolls, smooth oval mirrors ...), plant elements and forms reminiscent of Rococo rockery.
Clearly, the examples are included within the Rococo, counting, even with the slight asymmetry presented by their decorative motifs 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 engravings of the work “A New Book of Ornaments with Twelve Leaves Consistint of Chimneys, Sconces, Tables, Spandle Panels, Spring Clock Cases, Stands, a Chandelier and Girandole, etc.” (Henry Copland and Matthias Lock; London, 1752 ), with examples preserved in the Metropolitan Museum in New York, drawings from the Victoria & Albert Museum in London, etc.
Matthias Lock was the first to publish Rococo designs in England, in addition to being considered the first to master the Rococo style and include it in his works and designs. Little else is known of 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 presented at the top show a pheasant located on a rock and between chrysanthemums and other flowers, in a common composition in this type of objects, made in China for export to Europe and, therefore, without having endowed any of the animals or plants with meaning (the golden pheasant was a symbol of the Emperor, and that of this dish has no yellow in its plumage). Chinese porcelain was already known in Europe in the fifteenth century, but its commercial boom came from the XVI, with the well-known pieces in Blue and White so valued that they even inspired the local pottery of the different kingdoms. As for the so-called "Pink Family" due to the predominance of this shade 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 valued that it displaced the Green Family in European courts at some times, with the works of the reigns of Emperors Yongzhen (1678-1735) and Qianlong (1711-1799) as the most abundant and highly appreciated and sought for its great quality. Stylistically, these two plates inserted in the mirrors are very similar to works of the Pink Family made at the end of the reign of Emperor Yongzheng or at the beginning of Qianlong in Kingdezhen (Jiangxi, Republic of China) towards, approximately, 1735. In fact, there are some dishes 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 them, hidden almost entirely by the golden wood."

· Size: 100x68x12 cms.
ANTIQUES
FURNITURE

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

Italian style bargueño, 18th century.
Carey, wood and gilt bronze.
Open sample desk made of wood, with the central part advanced and highlighted with a double chapel of architectural composition. Each of the sides has five drawers with the front decorated with hawksbill and an elaborate golden bronze lock shield (two rampant lions facing each other, placed on a garland and with a shield crowned between them, in which the hollow of the key). The center of the front has two levels: the lower one has four columns with a stasis, two on each side and joined by an entablature and a top top in dark wood, and a series of elements in gold metal in the center, among which it stands out, sheltered under a semicircular arch, the figure of Hercules fighting Caco (the giant who terrorized the Palatine Hill before the foundation of Rome); the upper one has moldings forming a few holes, with an important heraldic shield in the center, all enhanced with volutes towards the sides, and different elements in golden metal, of classicist inspiration.
The general scheme of the furniture responds to a very widespread and valued model in seventeenth-century Europe of which the best examples have been, as a rule, those of Italian manufacture, and which is continued in the eighteenth century without breaking the compositional clarity of which shows on this front but changing light decorative details and elements in the area of the central chapel, especially.
The practice of using hawksbill plates in furniture resurfaced in Europe during the 17th century. The high price and the high demand for furniture with sea turtle shell are explained by the shortage of the material, which was essential to import it (usually from Central America) and that, for their work, a highly specialized workforce was required. As is normal for this type of furniture, also called “wastebaskets” for containing important documents, hawksbill plates were often highlighted with decorations in gilt metal, the use of bronze for this being very normal."

· Size: 69x137x160 cms.
ANTIQUES
FURNITURE

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

Mahogany cabinet in Louis XV style, 19th century.
Three-door display case with glass shelves supported on cabriolet legs with volute outwards and on a stopper. The doors are locked and have panels with paintings and moldings in combination with frisage in other lighter wood. The entire surface of the furniture is decorated with plant motifs, and an angel's head tops the central body of the showcase, wider and higher than the sides.
The vegetal elements that decorate the entire surface of the showcase, focusing on the upper and lower ends of the cabinet, respond to the characteristics of the Rococo style. They emphasize the curved forms of these rockets, that extend in the doors of the piece of furniture to contribute movement, combining asymmetric elements with other symmetrical ones.
The only decorative hardware that presents are the shields of the three doors and the hinges, in gilded metal. While the normal thing in French furniture is the combination with more decorative elements in bronze, it is not particularly strange to find examples in which the only decoration is carved wood and some frisage work. Yes you can see here a perfect union between structure and decoration.
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 remind the plates made with the so-called "Vernis Martin" that used to be applied to furniture at the time. They show inconsequential themes, appropriate for interior decoration and that perfectly fulfilled their role of providing delicacy and color to the furniture, as well as being able to be framed within the Gallant Painting, characteristic of Rococo.
All the decorative elements of the furniture have been made in Rococo style, also known as Louis XV (1710-1774) for being during his rule when these forms are adopted in France. In the nineteenth century, as happened with others, many pieces were made taking as inspiration what was created in the eighteenth century and providing a series of peculiarities of the time such as, in this case, the abundance of decorative moldings with rockery and striking movement of the lines that mark the lower and upper areas of the showcase."

· Size: 250x65x292 cms.
ANTIQUES
FURNITURE

Ref.: Z3037
SPANISH WALNUT TABLE 17TH CENTURY

Table of leg of lira of century XVII.
Walnut wood, with wrought iron fasteners and one piece board.

Lira leg table in baroque style, entirely made of walnut wood, with legs of carved profile and one-piece rectangular board with a smooth profile. The legs have a mixtilinear cut, based on entrances and projections of great dynamism and decorative sense, chiaroscuro even though they lack size, which tell us about the taste of Baroque Europe. Thus, we see complex paths that combine simple curves, edges and steps, creating shapes that are at the same time regular and symmetrical, in the same way as Baroque classicism. The legs are attached to the board through curved iron fasteners, typical of this type.
The tables of leg of lira have their origin in the Spain of Carlos II, during the second half of the XVII century. The simplest ones present a simple cut in the lateral legs, becoming completely carved in the models of peripheral centers. The fact that the board is left smooth, without decorating, responds to the fact that the tables were dressed with rich fabrics, which fell practically hiding the entire table. Thus, in the less wealthy houses, which could not afford to dress the tables with luxury, the decoration had to be centered on the legs, and hence they were carved. Inspired by the tables of classical antiquity (marble and with transversal supports), they have two lateral supports that can be disassembled to transport the furniture, and that can present a profile of a lyre or a vase."

· Size: 192x102x84 cms.
ANTIQUES
FURNITURE

Ref.: Z3070
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SPANISH CABINET 17TH CENTURY

Walnut desk with box structure, without front cover whose front appears in sight. Presents 10 drawers and central door with drawers inside show a decoration of carved, gilded wood and inlaid bone plates creating geometric decorative motifs. It has corners in the corners and wrought iron hardware,
The central door has six striated columns, and a semicircular arch.

The denomination desk comes to designate the furniture to keep writings or documents. Said piece of furniture basically consists of a structure or drawer of assembled boards, in which there is a partition based on streets or columns with small drawers or drawers and niches. The oldest documented piece, antecedent of the typology, is a Spanish-Muslim writing desk of the late fifteenth century, preserved today in the National Archaeological Museum."

· Size: 97x36x63 cms.
ANTIQUES
FURNITURE

Ref.: Z6295
TABLE AND ITALIAN “BARGUEÑO” (WRITING DESK) IN WALNUT AND “PALOSANTO” ...

Italian desk in tortoiseshell, wood and gilded bronze, rosewood, lemongrass and iron catches. XVII century. Table with walnut top,
Discovered sample desk located on eight claws with ball and with two handles on the sides. The front presents the central part advanced, with chapel; four rectangular drawers to the sides of it; The work is completed by a corridor decorated with vegetal scrolls topped by eight children's figures and an eagle crowned on an orb above the central crown. The buffet or table that supports and highlights the bargueñera is turned legs secured by lower chambranas (also turned and central die) to each other, and fixed to the top of the cabinet thanks to curved metal fasteners with disc in the center; the upper table has a geometric decoration inlaid with dark wood on light wood.
The general scheme of the furniture responds to models known and used in cabinetmaking throughout Europe throughout the seventeenth century of which the best examples are considered of Italian origin, such as the present. 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 lateral ones are flatter and simpler (geometric marquetry around the molding and the bronze-colored handles concentrate all the decoration, vegetal); etc.
As usual in baroque desks, the center of the show is where the decoration is concentrated, made of areas in tortoiseshell with a gold background and highlighted by external moldings in darker wood, decorated by inlaid circles, always keeping the symmetry The chapel follows an architectural composition: lower basement highlighted, like the rest, with gilt bronze sconces; facade between four columns with éntasis and a niche in the center with Athena, goddess of wisdom in classical mythology; the top finish 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 up and down, flanking all of them an interior space of columns, semicircular arches and checkered floor that simulates much more the spectator 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 the Rococo in the seventeenth century. In Spain, the typology of the present desk coexisted with that of the bargueño, preferring these types for their greater decorative richness and in the materials used. The classic elements of which it makes gala respond to that classic tradition, stronger in the Italian territory that in the Hispanic furniture.
The practice of using tortoiseshell plates in furniture resurfaced in Europe during the seventeenth century. The high price and high demand for furniture with sea turtle shell can be explained by the scarcity of material, which was essential to import (usually from Central America) and that, for their work, a highly specialized workforce was required."

· Size: 130x48x115 cms.
ANTIQUES
FURNITURE

Ref.: Z6333
TRANSITION-LOUIS XVI STYLE COMMODE. FRANCE, END OF THE 19TH CENTURY-20...

Comfortable style Transition-Louis XVI. End of the XIX-XX century.
Stamped "Jansen".
Comfortable with four legs with a light cabriolet shape decorated with a combination of spikes of wood in the shape of a spike and elements applied in gilded bronze with a clear classicist influence. The front and the sides present a space with marquetry of simple geometric motifs, framed by a band with different vein and elements in gilded bronze that, like those present at the top, also respond to that influence and relationship with works inspired by Classical Antiquity. The top panel follows the lines of the furniture, and is made of veined marble in a tone that combines with the furniture, without creating too strong a contrast.
The "Maison Jansen" was an interior decoration company founded in 1880 in Paris by Jean-Henri Jansen, also known for its high quality furniture, often inspired by models from the past. From the beginning, the firm was highly appreciated for combining traditional styles with new trends in cabinetmaking (including the Anglo-Japanese style, Modernism, Turkish style, etc.), devoting much time and attention to the research of traditional joinery. Also, in a short time since its creation it became a major buyer of European antiquities, establishing for 1890 an antiques gallery that also dealt with works by Jansen. In its beginnings the company depended on external manufacturers, as it did not have its own workshops until the beginning of the 1890s, dedicating itself since then to the appreciated models of contemporary furniture and inspired works, especially in the French styles Luis XIV, Luis XVI, Directory and Empire. He made commissions for numerous royal families (Belgium, Serbia, England, Iran, etc.), in addition to a large amount of work for important houses around the world."

· Size: 45x78x89 cms.
ANTIQUES
FURNITURE

Ref.: Z6855
MIRROR. GILT WOOD AND STUCCO. 19TH CENTURY.

Mirror. Wood and stucco overgrown, glass. XIX century.
Large mirror made of rectangular-shaped wood and stucco that has a border, inside, with two conopial shapes contrasted above and below and soft curves on the major sides, enhanced with a band of ovals flanked by two smooth areas. This simplicity contrasts with the richness and detail of the outer zone: following a symmetrical arrangement and having a central axis highlighted (with a mask below and, above all, the tuft above with two children's figures flanking a crowned heraldic shield), they have been arranged a large number of plant elements: flowers (roses abound), oak leaves, palms, laurel sprigs, scrolls, etc. In the upper part, already mentioned, two naked children's figures are sitting in the vegetal elements located there, holding a branch with one hand and supporting the other in the polychrome and golden heraldic shield of the center, which has been enhanced with scrolls, plant elements and a ducal crown.
It is necessary to highlight both the high quality of the decoration (combining openwork areas with others in relief) and the heraldic shield (two areas at the bottom - one upper and one lower, divided in turn - and a shield with four barracks in the center) , which makes it difficult to find similar pieces, including museums and leading institutions. Similar works can be found in The Museum of Fine Arts in Houston, the Museum of Romanticism in Madrid, the Victoria & Albert Museum in London, the Louvre in Paris, etc., as well as in palatial residences of ancient noble families in Europe."

· Size: 190x25x290 cms.
ANTIQUES

Ref.: ZF0162
WARDROBE. 18TH CENTURY

Wardrobe of the first half of the 18th century.
Oak and walnut wood.
Wardrobe made in oak and walnut, decorated with a profuse work of carving and molding. With an architectural structure inspired by contemporary Baroque architecture, it is organized into two streets and three registers, and is topped by a cornice flown with a central sinuous pediment. The whole structure appears rigorously organized by regular straight lines, which affect the differentiation of each of the different parts of the structure, following a purely classical criterion, typical of the Baroque even in its most ornamental aspects, according to which the decoration must adapt always to the structure, never exceeding it, so that the master lines of it are perfectly legible, as well as the ratio 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 size on the front, although highlighted by the work of volumes and contrasts luminic, typically baroque, achieved by the simple use of moldings and staggered. In the lower register we see two doors, each with its shield lock trimmed with double fleur de lis. Its design is organized around a central, typically Baroque, mixtilinear cavity, carved in its interior with a rockery cresting that already speaks of knowledge of the Rococo, although in the furniture, both structurally and ornamentally, the language still dominates baroque. The perimeter of the recesses and projections of this central recess is repeated, with increasingly complex lines, drawn on the basis of raised moldings with respect to the background, which provide the contrast and chiaroscuro typical of the Baroque furniture. In addition, the central area is highlighted by very bulky carvings based on scrolls, scallops and rockery crestings. The middle register, still belonging to the lower body at a visual level, houses two drawers of the same size and design, which combine the diamond tipped caches with decorated gold hardware by chiseling. Finally, the upper body also has two doors, like the lower one with its locks, and in fact follows an ornamental scheme similar to that of the lower doors, although more developed and of vertical design. Here we can also see pebbles and vegetalized struts, combined with a profuse molding of dynamic, typically baroque lines. By way of auction, under the cornice and in the central area, there appears a stepped motif that is organized around the lines of two winding pediments, combined with floral motifs and classic carvings"

· 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 lower part is a two-door taquillón with carved decoration, the central one is a flip-top desk and a two-door cupboard above. On the outside, geometric lozenges alternate on the sides and tabs in the center, rectangular elements up and down and plant elements; the doors show moldings around rectangles resembling frames and frames; the upper part, in addition to those mentioned carved details, has its doors and two laterals set with balusters. The set is topped with a split pediment decorated with drops like those used under triglifos in classical art.
The doors below are secured by fasteners and have tear-shaped handles. The desk has a handle and key lock with the horseshoe shield highlighted and decorated with a metal plate set with S tornapuntas flanking a central shield, topped by a simplified floral detail; inside, the drawers are divided into an upper and lower band with four each and a central area of \u200b\u200btwo drawers on the sides of a central open chapel with a semicircular arch, and the fronts, in all, decorated with marquetry simple geometric lines. The doors of the alacenilla close to key.
The decoration of carving already appears in the fronts of bargueños and in the taquillones of century XVI and belongs to Renaissance influence the inclusion of details used in entablamentos architectonic of that style. However, the more vertical than horizontal proportions of the furniture are seen in the so-called "Carlos V", which appear towards the second third. The Spanish taste for the panels and the carved moldings is clearly seen in this example, and the marquetry inside the desk resembles that of others made in Asturias. Logically, balusters and movement details show belonging to the Baroque.
Also known as "cabinet bargueño", this type of furniture did not belong to the strictly domestic furniture, but was used in public places or stays of important residences where they could be contemplated. For this value, examples such as the present were not too common, but some very similar ones have been preserved in private collections of importance. Compare a similar example preserved in the Provincial Ethnographic Museum of León in Mansilla de las Mulas, but it can also be related to others such as the cupboard of the Lope de Vega House Museum in Madrid (inventory CE00234) from the end of the 17th century, or the cupboard cupboard of the National Museum of Decorative Arts of 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.
Plated lid. Mahogany, rosewood, gilded bronze.
The legs, which maintain their respective sheaves, have a circular column shape starting from a die and ending in vase forms highlighted with garlands, fine moldings, plant elements and capitals similar to those of the classical Ionic order. The truncated cone profile of the legs closely follows the French Louis XVI models known as "pied à l'antique". From the dice of each two legs a semicircular chambrana arises, united the two in the center in another given, topped by a vase of profiles inspired by the classic art. The waist of the table presents semicircular forms on the smaller sides and a rectangular projection on the larger ones; It is flanked by two gilded bronze moldings, and has a decoration of plant elements in gold bronze on a green background, in addition to some dice remembering the classic triglyphs in the corners of the rectangular areas. The upper board, which follows these same lines, shows a decoration in marquetry drawing six-pointed stars thanks to a composition of cubes of geometric inlay. 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 retains certain details of the French Transition style (1750-1774 approximately) as its inspiration in Greco-Latin Antiquity, the popularization of geometric marquetry and the use of some curve. The Louis XVI style presents classicist scrolls, straight lines, classical architectural elements, symmetrical and clean shapes, not too much movement, etc.
It was very common in the nineteenth century to use in furniture styles prior to 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 firms as recognized 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
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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
ITALIAN STYLE “BARGUEÑO”, TORTOISESHELL, 17TH CENTURY.

Bargueño Italian style, decoration in tortoise, 17th century.
Open sample desk located on claws with ball of rectangular shape. The front presents the central zone advanced and outstanding, with chapel; the lateral ones present, each one, ten drawers with closing to key organized in two lines; The work is completed by an ornate corridor with a railing of vegetable scrolls topped with birds on vases. The center of the front presents architectural decoration: base and pedestals for the four columns that flank the central niche with sculpture, and an upper entablature topped by a railing and ornamented plates with patterns of cherubs and plants in gilded metal; when opening the chapel, a series of decorated drawers are discovered on their fronts with geometric inlay.
The general scheme of the furniture responds to a very widespread and valued model in seventeenth-century Europe, of which the best examples have been, as a rule, those of Italian manufacture. Many of the decorative motifs of the work respond to this influence, such as the head of a winged angel or grotesque, while others are very common throughout the continent throughout the century, like bird claws synthesized on a ball or the concentration of decoration in the sample. In Spain, this desk of Italian influence coexisted throughout the seventeenth century with the most traditional bargueño, with which they used to relate less decorative displays and materials. However, so appreciated would be this typology that its compositional clarity would not be broken until the entrance of Rococo in the 18th century.
The practice of using tortoiseshell plates in furniture resurfaced in Europe during the seventeenth century. The high price and high demand for furniture with sea turtle shell can be explained by the scarcity of material, which was essential to import (usually from Central America) and that, for their work, a highly specialized workforce was required. As is normal for this type of furniture, also called "litter bins" because it contains important documents, the tortoiseshell plates were very often highlighted with decorations in gilded metal, being very normal the use of bronze for it."

· Size: 116x90x46 cms.
ANTIQUES
FURNITURE

Ref.: Z5732
PORTUGUESE BUREAU, VERAWOOD AND ROSEWOOD, PORTUGAL, 18TH CENTURY.

Portuguese Bureau, 18th century.
Rosewood and rosewood, bronze period ironwork.
On legs decorated with vegetal elements the furniture is placed, with three drawers and hinged lid. The fronts show a slight convex curvature in the central area, in addition to two hardware with handles and a lock shield for each drawer, which show a decoration based on woods of different shades. The hinged lid presents another ironwork l front and a decoration in marquetry floral theme. 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 pebbles on the sides and legs and in the curvature of the front. The Portuguese furniture has a strong English influence, in addition to taking elements of French examples, as can be seen in the present example."

· Size: 140x62x115 cms.
ANTIQUES
FURNITURE

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

"À abattant" secretary. Fine woods, marquetry, interior with drawers in rosewood and textile, gilt bronze and enameled porcelain; Marble envelope Signed HYPPOLYTE-EDME PRETOT (Paris, 1812-1855). XIX century.
Secreter with top cover in marbled light marble and rectangular floor plan, with a base of curved hems and rounded corners highlighted with a diamond marquetry and gold metal applications of classicist souvenir. The sides are decorated with diamond plumeados in the wood in the central area, separated by two gilded bronze moldings that extend along the three fronts; at the top, the same compositional scheme is repeated. The front front concentrates the decoration: a composition framed by plumeado 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 enameled porcelain plate . This presents two cupids in a celestial background, in addition to a frame in this same metal. Opening this door, you discover a small desk with a cover upholstered in fabric and four drawers flanking a central space, located under another rectangular space. The corners of the furniture, in addition, have classicist and grotesque dolphins of children with the lower half of the body transformed into plant elements and scrolls.
The furniture presents a firm 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, since 1846, to Rue de Harlay. He showed some of his best works 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 the present example with the lines of a “cabinet” Napoleon III in “pietra dura”, ebonized wood and overdosed bronze that has been dated to 1850 and is preserved in a private collection, similarities that can be appreciated by comparing the elements in bronze of both furniture. It is possible to contemplate some works of the teacher, or attributed to him, at the Dayton Art Institute (United States), at the Musée des Arts Dècoratifs in Paris, at the Luxembourg Embassy in The Hague, in the National Heritage collection of Spain, etc."

· Size: 80x44x109 cms.
ANTIQUES
FURNITURE

Ref.: Z6849
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POLYCHROMED WOOD AND IRON CUPBOARD. SPAIN, 1773.

Polychrome closet. Carved wood, polychrome, iron. 18th century (1773).
High cabinet with four doors and two drawers made of carved and polychrome wood decorated to the outside with a series of moldings and flat carvings organized in square and rectangular areas on three of its four fronts, and slightly raised from the floor thanks to four small legs. The two doors in the upper zone give access to a single area (as in the lower zone), keeping the two drawers in the central strip of the furniture.
Above, the flat area is enhanced with a protruding molding. Next, another molding frames both doors and central area, separating these three areas at the same time. In the lower area the auction is repeated using fine smooth moldings. The doors of the upper area have a symmetrically organized decoration, taking both into account: it is necessary to highlight the presence of the date in the quarters of the upper exterior corners of the doors (in a "Year" and in another "1773") on shapes flat geometric; the rest of the boxes (combining rectangular with square in the center) show simple geometric elements. The drawers have frames and wooden knobs flanking them; This area is decorated with other cases. The doors in the lower area show rectangular boxes with simpler geometric elements than those in the upper one. The two doors on the right side and the drawers have key locking, and lock shields with simple decorations. The sides, again, show a combination of casetones with geometric and vegetable flat carvings.
In Spanish furniture, it is possible to speak of a regionalization in the second half of the 18th century, adopting what was most convenient for the French, English or Italian traditions and combining it with the local tradition. The cabinets usually follow, within bourgeois furniture, European traditions, but with door panels decorated with carvings and often polychrome. In general, the bourgeoisie and the provincial nobility remained more or less faithful to the Renaissance, adding details of the new styles.
The Spanish taste for small panels and moldings on the exterior led to the so-called furniture of cuarterones in the Renaissance. In the eighteenth century, the barracks would be painted (usually light colors), preserving the schemes and adapting lines and moldings to the fashions to use. Compare the present example, although highlighting the differences, with the Mudejar wardrobe decorated with panels from the 13th century of the Lion Cathedral and with the cabinet painted in 1776 made in Austria that is preserved in the Victoria and Albert Museum in London. Note the certain similarities with the polychrome headboard that is preserved in the Museum of America in Madrid; notable differences with the 18th century Juan Pedro López's closet of the Blanton Museum; and slight resemblance to the sacristy doors of the Shrine of Our Lady of the Hermitages (Orense)."

· Size: 150x62x226 cms.
ANTIQUES

Ref.: ZF0472
WALNUT THREE KEYS CHEST WITH WROUGHT IRONWORK, CASTILLE (SPAIN), 17TH ...

Ark "of City Hall" in walnut and wrought iron hardware. Castilla, seventeenth century.
Rectangular arch with a flat lid on four spherical legs and a lower prominent molding, reinforced with corners and featuring two handles with a central disc on the sides and, on its front front, three locks with a lock shield decorated and highlighted on a cloth background, with their respective keys. These have the decorated stem and ring with openwork circular elements.
This type of cabinet is called "City Hall" or "Council" for its three locks, each of which closes with its respective key. These furniture were used in any type of organization, religious or civil, to store valuable items, documents or money and each key was delivered to a responsible, being essential to meet the three for the opening of the furniture, avoiding any possible temptation. They were a very common element in councils or town halls of towns and other populations, hence its name.
Stylistically, it is placed inside the Baroque by the strength of the lower trim 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 commonplace in the workshops of cabinetmakers and carpenters for many centuries. Sometimes they were made in iron, and, in very few cases, three keys are used as the closing of an ark in silver (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 pragmatics of June 9, 1500 with which the Catholic Kings forced the Councils of their territories to build consistorial houses, jails and have an ark of privileges and writings. Despite having been so abundant in their time, we have not come many examples for having fallen into disuse and be replaced. Compare with the Council of Villafranca de la Marisma (Los Palacios y Villafranca, Seville), Valdipiélago (León), Matapozuelos (Valladolid), Buenos Aires City Council of Argentina (18th century, following previous models), etc."

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

Ref.: Z3404
PORTUGUESE GAMES TABLE. MAHOGANY. 18TH CENTURY.

Portuguese game table in mahogany wood. Century XVIII.
Rectangular table when closed with four cabriolet legs topped at the bottom end by claws holding balls. The waist has a drawer with bronze hardware, and has a cut in the lower profile based on slight undulations, and a series of moldings that highlight the different profiles of the same, in addition to the curved shape of this area. The top board follows the lines of these waist moldings, but more projected outwards and, when opened, discovers an upholstered area and circular holes in the corners, accompanied by smaller ones. The opening of the drawer is carried out by means of a hidden lever system at the bottom, it is an opening lock mechanism in its original state.
The furniture of the eighteenth century of Portugal is characterized by presenting a greater English influence than contemporary Spanish examples, by the influence of possessions in the "East" in the materials used in the joinery and by great originality and a prominent recharge in the motives On numerous occasions. In the present case, it is necessary to highlight the apparent lack of decorative elements: note, however, the profusion of moldings, the curves of the smooth areas, the profiling on the entire inner edge of the front of the table with a thin line, the star carved in bas-relief under the drawer, etc. The legs in cabriolet with claw holding ball are of clear English influence. The smooth areas allow to give a certain role to the wood: a magnificent mahogany brought from the Portuguese colonies. During the rule of King Don José, especially from around the middle of the century until the beginning of the last third approximately, the influence of English furniture predominates, especially in northern Portugal, in addition to including certain details and lines from French Louis XV examples.
The table presents details in common (in decoration and in lines) with other important examples preserved: a showcase-bureau-chest of drawers of the National Museum of Ancient Art of Lisbon has more reliefs throughout its surface but supports on ball claws ; several tables of the same institution present similarities in the contour lines with the game table, in which one can speak of a greater influence of English models; a table of the National Museum of Machado de Castro de Coimbra (Portugal); Quinta das Cruzes in the Madeira Islands has some outstanding examples of 18th century Portuguese furniture; etc."

· Size: 101x50.5x86 cms. Abierta 101x101x86 cms.
ANTIQUES
FURNITURE

Ref.: Z5922
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GOLDEN BRONZE AND TORTOISESHELL CHEST. 18TH CENTURY

Cache of the late eighteenth century
Wood, golden bronze and tortoiseshell.
Caqueta made at the end of the 18th century, with a wooden structure composed of a prismatic base and a vaulted lid, articulated by two prolonged hinges to the exterior with openwork and cut motifs, topped with fleurs de lis. The piece is decorated with tortoiseshell plates applied on red wax, framed by clear fillets and by the very structure of dark wood, in vivid contrast. The lines of the piece appear outlined by applied bands of bronze, with trimmed lilies, bands that compartmentalize the surface of the casket following the structural lines, a characteristic characteristic of the classical decorative arts. The piece also has an articulated upper handle, in gilded bronze, composed of curled and interlaced tornapuntas in a symmetrical design. The lock shield, of the same material, has a central bracket flanked by trimmed leathers and tornapuntas with crests of contario, adorned above and below with flecks of lily flowers and vegetal motifs. At the ornamental level, they stand out especially for their importance in the composition of the bronze figures, worked in half mold to mold, applied in the four corners of the chest. They are fantastic figures of Mannerist inspiration, hybrid, with a monstrous face and the lower half of the vegetalized body, similar to that of the hermes of the sixteenth century, which extends forward to form the foot. We also see decorative applications in bronze relief in the center of the sides, again of Mannerist influence
Weight 565 grs."

· Size: 20x12x10 cms.
ANTIQUES
FURNITURE

Ref.: Z5503
WALNUT CHEST, “CASTILLA” (SPAIN), 17TH CENTURY.

Castilian ark in walnut and wrought iron - 17th century.
Rectangular ark with flat top located on legs framed at the front and crested at the bottom edge. It has, as a decorative element, a smooth molding that covers all the fronts of the furniture, in addition to the fittings (handles to the sides, curves with a central disc, and a lock shield in the center of the major side with very stylized vegetal motifs) . The lack of decorative elements demonstrates its creation as a utilitarian element, without this preventing the use for the same of materials of first quality."

· Size: 74x73x157 cms.
ANTIQUES
FURNITURE

Ref.: Z6487
SPANISH CHEST OF DRAWERS FOR SACRISTY-USE. WALNUT AND IRON. SPAIN, 17T...

Chest of drawers in walnut wood with carved decoration. Spain, 17th century.
Cabinet of three very deep drawers with the lower one more, on rectangular legs and with top board straight in wood, slightly protruding. Each of the drawers features two wrought iron handles.
The sides have been decorated with simple quadrangles of rectangular moldings, while the drawers have been carved in relief: the upper, with vines, vines and leaves; The center with fleshy vegetable scrolls; The bottom with three plates, the sides with a central rhombus and flowers in the corners, and the central one with a rose framed by a cord of three knots in each side crimped in two keys. It is these sizes, besides the depth of the drawers, the horizontality of the composition and lines and the top board straight which makes us think of the use of furniture in a sacristy to keep the liturgical clothes appropriately and also indicates that there may have been Was commissioned by a Franciscan institution (note the typical cord with the knots) dedicated to St. Peter (by the two keys of the corners). Although it does not have the usual back paneling since the sixteenth century, it does have the front with carvings with volume, typical of the XVII, and decorative elements typical of the Baroque, in addition to some memories of previous furniture (quarters in the lower zone). 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 environments.
The boxes on the sides are reminiscent of those of the central chest of the Pre-Cathedral of Avila. As in the sacristy of the Cathedral of Murcia, the fronts are the ones that present sizes in this example, which are similar to those of the refectory table in the collection of the Marquis of Santo Domingo (Madrid). More frequent, however, are the ones that present the simplest fronts, although, by direct influences, examples can be found that demonstrate the popularity of this prototype as the chest of drawers of the Old Convent of San Francisco de La Habana (Cuba)."

· Size: 175x105x112 cms.
ANTIQUES
FURNITURE

Ref.: Z5454