Z. Sierra · Antiques and Decorative Objects

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

Salamanca-type bargueño with locker, 17th century. Walnut wood and bone decorations. Wrought iron fittings. The rectangular cupboard rests on four round legs, and has four drawers with diamond decoration that close with a key and show hardware and a horseshoe shield. The desk, with a folding front lid, has metal hooks (to hold the table without having to lock it) and numerous decorative plates, as well as a magnificent closure decorated with two rampant lions and stars. When opening the lid, which rests on two wooden locks decorated with lion heads, the drawers and doors are revealed, decorated with networks of squares and architectural elements and columns. It responds to the type called “Salmantine writing desk”, which is the most representative of the Spanish Baroque. It was developed, above all, throughout the 17th century, and its use and manufacture continued at least until the first quarter of the 18th century. Because, due to lack of documentation, the workshops responsible for this furniture are unknown and it is unknown whether they would only be made in Salamanca or also created in other places, experts have proposed their name as “column desks” because this is a decorative element. the most characteristic in the preserved examples. Another common feature in 17th century Spanish desks is the decorative and functional hardware that this piece displays. The high quality of his work stands out 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 metal elements have been highlighted with a fabric background cut into polygonal shapes. The locker was a common fastening element in these desks, allowing for expanded storage space for important documents and other valuable property within locked drawers and doors. Also known as “closed foot”, some examples are known from the first half of the 16th century, a time since which it was not stopped being manufactured. In the present case, its decoration based on rhombuses is the most common in examples from the 17th century and, because it 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 fork fasteners and drawers on both fronts (a total of four) decorated with plant-themed carvings. The legs have a turning of the type known as "lentil", with different types of discs depending on their width, creating a symmetrical composition, and located on and under a simple cylindrical heel. The chambranas have been carved with simplified plant forms, and the fasteners have disc decoration and balustraded forms. The drawers are interspersed with projecting pieces in the shape of “ese” and have oval handles, and the sides have simple geometric carvings. Compare, for example, with the walnut table with discs on the legs dated from the 17th century that is conserved 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 table in walnut and pine wood with carved drawers and lenticular-turned legs from the same museum, dating from the 17th century; a Castilian buffet table from the 17th century in the Museo Casa Natal de Cervantes (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 a mirror, practically the same (except for details on the leaves of the frames), made of carved wood and gilt. Inside, the main mirror has some moldings that draw curves and straight areas, scrolls and other elements. The elaborate decoration of the wall mirrors starts with grotesques in the lower part, from which plant elements emerge that extend, accompanied by hangings, towards the upper part along the sides, with openwork details. Above, the tufts have two circular spaces, flanked by birds perched with their wings partly extended, and surrounded by elaborate frames that, like the rest of the pieces, have architectural elements (scrolls, smooth oval mirrors...), plant elements and shapes reminiscent 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 both 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 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 work 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 drifted from the most elaborate Rococo to the most harmonious Classicism. The small porcelain plates that they present in the upper part show a pheasant placed on a rock and among 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 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 Blue and White pieces 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 valued that it displaced the Green Family at European courts at times, with works from the reigns of the Yongzhen (1678-1735) and Qianlong (1711-1799) Emperors being the most abundant and highly prized. and sought after for its high quality. Stylistically, these two mirror-inserted plates are very similar to works by the Rose Family made in the late Yongzheng or early Qianlong reign at 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 that of these two examples. Note that you can see their decorated edge, almost entirely hidden by the gilded wood.

· Size: 100x68x12 cms.
ANTIQUES
FURNITURE

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

Italian-style cabinet, 18th century. Tortoiseshell, wood and gilt bronze. Open sample desk made of wood, with the central part forward and highlighted with a double chapel of architectural composition. Each of the sides has five drawers with the front decorated with tortoiseshell and an elaborate gilt bronze lock shield (two rampant lions facing each other, placed on a garland and with a crowned shield between them, in which is the hole for the key). The center of the front has two levels: the lower one has four columns with entasis, two on each side and joined by an entablature and an upper finish in dark wood, and a series of golden metal elements in the center, among which stands out, sheltered under a semicircular arch, the figure of Hercules fighting against Caco (the giant who terrorized the Palatine Hill before the founding of Rome); the upper one has some moldings forming some cajeos, with an important heraldic shield in the center, all enhanced with scrolls to 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 17th century Europe of which the best examples have been, as a general rule, those made in Italy, and which continued into the 18th century without breaking the compositional clarity of the one that shows off on this front but does change slight decorative details and elements in the area of the central chapel, above all. The practice of using tortoiseshell plates in furniture resurfaced in Europe during the 17th century. The high price and great demand for furniture with sea turtle shell are explained by the scarcity of the material, which was essential to import (usually from Central America) and that, for its work, highly specialized labor was required. As is normal for this type of furniture, also called “bins” for containing important documents, the tortoiseshell plaques were very often highlighted with gilded 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 display cabinet, 19th century. Three-door display cabinet with glass shelves that rests on cabriole legs with a scroll on the outside and on a stopper. The doors lock with a key and have panels with paintings and moldings in combination with frisage in another, 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 plant elements that decorate the entire surface of the display case, focusing on the upper and lower ends of it, respond to the characteristics of the Rococo style. The curved shapes of these seed beads stand out, which are extended into the doors of the furniture to give it movement, combining asymmetrical elements with other symmetrical ones. The only decorative fittings that it presents are the lock escutcheons of the three doors and the hinges, in gilded metal. Although 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, 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 the 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 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 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 happened with others, numerous pieces were made taking as inspiration what was created in the 18th century and contributing a series of peculiarities of the time such as, in this case, the abundance of decorative moldings with seed beads and the 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

Lyre leg table from the 17th century. Walnut wood, with wrought iron fasteners and one-piece top. Baroque-style lyre leg table, entirely made of walnut, with carved profile legs and a single-piece, rectangular, smooth profile tabletop. The legs present a mixtilinear cut, based on inlets and outlets of great dynamism and decorative sense, chiaroscuro even despite lacking carving, which speak to us of the typical taste of Baroque Europe. Thus, we see complex layouts that combine simple curves, edges and steps, creating shapes that are moving as well as regular and symmetrical, in the typical style of Baroque classicism. The legs are attached to the top 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 17th century. The simplest have a simple cut in the side legs, becoming completely carved in the models of peripheral centers. The fact that the top is left plain, without decoration, responds to the fact that the tables were dressed in rich fabrics, which fell, hiding practically the entire table. Thus, in the less wealthy houses, which could not afford to dress the tables luxuriously, the decoration had to focus on the legs, and that is why 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 have a lyre or vase profile.

· Size: 192x102x84 cms.
ANTIQUES
FURNITURE

Ref.: Z3070
PAIR OF SOLOMONIC COLOMNS. GUILDED WOOD. SPAIN, CIRCA SECOND HALF 17TH...

Pair of Solomonic columns. Carved and gilded wood. Spain, around the second half of the 17th century. Pair of columns made of carved and gilded wood composed of a simple base with smooth moldings, the Solomonic shaft decorated with branches with vine leaves and bunches of grapes, and a compound capital. The Solomonic column was an element used in the History of Christian Art from time to time, although it was a common architectural motif during the Baroque and, above all, since Bernini used it in the canopy of Saint Peter in the Vatican (finished in 1633), from which time it became popular throughout Europe. It soon arrived in Spain: there are examples in Andalusia from around 1639; in Madrid they have been seen since 1636 (it seems that they were used for the first time in the Church of Buen Suceso); and it spreads rapidly through peninsular and colonial territories. Although there are known examples decorated with flowers (usually in altarpieces of female cloistered convents) or with birds, the most common typology is the one that uses branches and bunches of grapes as a decorative element along the Solomonic shaft, thus alluding to the Sacrament of the Eucharist. Compare, for example, with the couple kept in the Sorolla Museum in Madrid, dated from the 18th century; works by José Benito de Churriguera and his family (churrigueresque); etc

· Size: 36x36x234 cms
ANTIQUES

Ref.: ZF0934
FRAME. WOOD, METAL. LATE 17TH CENTURY-EARLY 18TH CENTURY.

Framework. carved wood. End of the 17th century-beginning of the 18th 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; on the outside, another fine golden molding), enhanced with a series of carvings of plant elements in the corners (symmetrical composition), two ovoid elements on the longest sides and a very elaborate crest with plant elements, rocailles, volutes, flowers and imitation of fabrics (which are united with those mentioned ovoid elements). The combination of red, green, and gold is common in certain types of frames (compare, for example, the Salamanca terracotta made around the mid-16th century by Juan de Juni in the Victoria and Albert Museum). A series of carvings with a lot of movement and depth have been added to it, showing Baroque influence (reminiscent in certain details of works such as the frame of the Immaculate Conception by Alonso Cano in the Cathedral of Malaga).

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

Ref.: ZF0582
WARDROBE. 18TH CENTURY

Wardrobe from the first half of the 18th century. Oak and walnut woods. Wardrobe made of oak and walnut, decorated with extensive carving and molding work. With an architectural structure inspired by contemporary baroque architecture, it is organized into two streets and three registers, and is topped at the top by a projecting cornice with a central sinuous pediment. The entire structure appears rigorously organized through 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, without ever exceeding it, so that its main lines are perfectly legible, as well as the relationship of proportion and balance of the parts among themselves and with respect 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 in this case only molded recesses, without the carving visible on the front, although highlighted by the work of volumes and contrasts. lighting, typically baroque, achieved through the simple use of moldings and steps. In the lower register we see two doors, each 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 speaks to us of the knowledge of Rococo, although in the furniture, both at a structural and ornamental level, the language still dominates. baroque. The perimeter of recesses and protrusions of this central recess is repeated, with increasingly complex lines, drawn using moldings very high with respect to 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 lower body at a visual level, houses two drawers of the same size and design, which combine diamond-tipped recesses with golden hardware decorated 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 with a vertical design. We also see here vegetalized rockeries and braces, combined with a profuse molding of dynamic lines, typically baroque. As a finishing touch, under the cornice and in the central area, a stepped motif appears 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 with three bodies. Walnut wood and wrought iron. Asturias, Spain, 17th century. The lower part is a two-door cupboard with carved decoration, the central part is a desk with a hinged lid and a two-door cupboard above. On the outside, below, rhomboidal geometric motifs alternate on the sides and tongues in the center, rectangular elements above and below, and plant elements; The doors show moldings around rectangles resembling paintings and frames; The upper part, in addition to those carved details mentioned, has its doors and two openwork sides with balusters. The set is completed by a split pediment with decoration of drops like those used under triglyphs in classical art. The lower doors are secured with catches and have teardrop-shaped handles. The desk has a handle and 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 cupboard doors lock. The carving decoration already appears on the fronts of bargueños and in the lockers of the 16th century and the inclusion of details used in architectural entablatures of that style belongs 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 carved panels and moldings can be 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 “bargueño closet”, 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 seen. Due to this value, examples like the present one were not very common, but some very similar ones have been preserved in important private collections. Compare it with a very 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 towards the end of the 17th century, or the cupboard from 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. Parquet cover. Mahogany, rosewood, gilt bronze. The legs, which maintain their respective rollers, have a circular column shape starting from a die and ending in vase shapes highlighted with garlands, fine mouldings, plant elements and capitals similar to those of the classical Ionic order. The frustoconical profile of the legs closely follows the French Louis XVI models known as “pied à l'antique”. A semicircular chambrana 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 presents semicircular shapes on the smaller sides and a rectangular projection on the larger ones; It is flanked by two gilt bronze moldings, and is decorated with gilt bronze plant elements on a green background, as well as some dice reminiscent of 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 (approximately 1750-1774) such 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 19th century to use styles prior to that century in furniture 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 renowned 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
”SECRETER “Á ABATTANT”. GILT BRONCE, MARQUETRY, PORCELAIN, CLOTH, MARB...

“à abattant” secretaire. Fine woods, marquetry, interior with rosewood and textile drawers, gilded bronze and enameled porcelain; marble top. Signed HYPPOLYTE-EDME PRETOT (Paris, 1812-1855). XIX century. Secretaire with a top in light veined marble and a rectangular base, with a base with curved bases and rounded corners highlighted with diamond marquetry and golden metal applications reminiscent of classicism. The sides present a diamond feathered decoration in 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, on the door, appears highlighted by a bronze molding and accompanied by an enameled porcelain plate. . This one presents two cupids in a celestial background, as well as a frame in this same metal. Opening this little 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 have classicist dolphins and children's grotesques with the lower half of the body transformed into plant elements and volutes. The piece of furniture bears 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 the present 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 furniture. It is possible to see some of the master's works, or those 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 Spanish National Heritage collection, etc.

· Size: 80x44x109 cms.
ANTIQUES
FURNITURE

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

Chest of three locks with drawers. Walnut wood. Spain, 17th century. Rectangular chest with a unique flat lid 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 bolts and making similar drawings on the sides (creating ogee and lobed shapes); a succession of moldings in the lower area, combined at the front with an architectural element; a band below in which the three drawers are presented, with a 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, that front decorated with moldings resembling drawers, and access with a flat hinged lid at the top. of the partition; It should be noted that inside there is a space and a piece of wood that slides, revealing a normal drawer with access without moving the wood, and another smaller, secret drawer, only accessible by moving that wood. The keys present marked differences between themselves and the usual decoration in this type of pieces of the period. Chests with three locks are also often known as "Town Hall" or "Council" chests, 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 them a key. each person responsible (as many people as locks and keys), so that they had to come together to open the furniture. In many places in the Spanish territories it was used as a municipal archive, following laws inherited from a pragmatic law of June 9, 1500 with which the Catholic Monarchs forced the Councils of their territories to build town halls, prisons and have a chest of privileges. and scriptures. 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 de 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 exterior moldings deviating and drawing shapes on the lock escutcheons. What is clearly exceptional is the presence of external drawers 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 colorless carved and modeled 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 starts, made of glass in the shape of a double baluster. The arms, made of gilded bronze, decorated with architectural and plant elements start from this. The lights feature candle-shaped bulbs. Beads of various shapes (rectangular, octagonal, stars, teardrops 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 shapes and the quality of the colorless glass. The profiles of some beads (teardrops, polygons, pendants) are found in both Bohemian and other French works and in most of the Royal Glass and Crystal Factory of La Granja de San Ildefonso (Segovia, Spain) due to their great popularity. in these ways. The stars or little flowers are much rarer in the preserved examples. The mastery in carving can be seen in the profiles and in the fineness of the modeling of the shaft. While the decorative elements in bronze clearly show influences from Neoclassicism, the glass work is reminiscent of the so-called "María Teresa lamps", works based on those commissioned by Empress María Teresa for her coronation in the factories of the Bohemian area of the Czech Republic in 1743. This typology spread rapidly throughout Europe, varying the designs, and serving as an example in the main glass factories up to the present day. Although it is clearly different from the works that were made 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 whose examples resemble something else the spider. Similar lamps can still be found in very prominent residences such as the Fernán Núñez Palace (Madrid), Viana Palace (Córdoba), National Museum of Decorative Arts (Madrid), Paz Palace (Buenos Aires, Argentina), Louvre Museum (Paris) , etc.

· Size: 100x100x130 cms.
ANTIQUES
FURNITURE

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

Brazier. wrought iron. Spain, 13th-14th centuries. Presents restoration in 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 on the top similar to the sections and ending in individual 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; also compare with the rectangular one in the Museu Episcopal de Vic dated from the 14th century. The spirals that form the decoration of the piece are frequently called "curl irons", and are an element very often used in the few examples of Romanesque grillwork and iron work that we preserve, and, for this reason, they will be elements that are They will continue to work in the forge for centuries to come in Spain (the Romanesque model with its volutes lasts until well into the 15th century, with some variation). For example, the bars of the Church of Santa María del Camino or del Mercado 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). As it is 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 more scarce than those of grillwork. One is preserved in the Diocesan Museum of Tarragona and another in 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 Cathedral of Tarragona, etc. . Weight: 7.5kg.

· Size: 52x39x54 cms.
ANTIQUES

Ref.: ZF0635
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PINYONET OR RICE GRAIN MARQUETRY CHEST. BONE, WOOD. POSSIBLY CATALONIA...

chest. Wood, bone inlay, iron. Spain, possibly Catalan or Aragonese school, 16th century (with later restorations). Rectangular casket with a flat lid that closes at the front by means of a key with a bolt with a decorated shield that is decorated on the outside and inside of the lid with a series of geometric compositions made with bone inlaid of the type known as "pinyonet" (also known as "pinyonet"). called "wheat grain" or "rice grain"). In this type of marquetry, small rhomboid pieces of bone are used to form large compositions, usually delimited by boxwood fillets, and widely used in Catalonia and Aragon. The lid presents two compositions (one on each side) both starring a large circular element in which triangles, rhombuses, stars, etc. are used, and these same geometric shapes are grouped creating circles in the corners, other elements in the smaller sides and a band that borders the entire field. Also note the fillet that borders the lid and the fronts, in which a brown tone alternates with the white or light color of the bone, in pieces arranged diagonally. Three of the fronts present an outer band with geometric elements, another band on the inside with stars and a strip of geometric elements. The lid of the piece, on the sides of the chest, presents two equal bands: framed by these crosspieces with diagonal elements, which presents a decoration of simple vegetal and floral elements. The back has three geometric elements enhanced by a fine inlaid band. Also note the presence of decorated moldings on the lower edge of the piece. Compare, for example, with the casket dated from the 16th century found in the National Museum of Decorative Arts in Madrid (inv. CE01131), whose exterior presents some details in common with the present piece. This same museum has a panel from the 16th century that has a heraldic shield with the quarters of the Habsburgs, Holy Land, Austria, Castilla, León, Aragón and Granada (inv. CE20890); the composition around this shield is similar in certain details to that of the lid of this chest. The stars on the four sides can also be compared with those on some of the drawers of the wastebasket or arquimesa dated between 1576 and 1625 at the González Martí National Museum of Ceramics and Sumptuary Arts (Valencia).

· Size: 60x40x24cms.
ANTIQUES

Ref.: ZF1049
DUTCH STYLE FRAME. EBONY. 17TH CENTURY.

Dutch style curly frame. Ebony. XVII century. Rectangular frame made of carved ebony wood and decorated with a series of bands parallel to each other, of different widths and alternating smooth with others of different sizes (waves, small simple elements) reminiscent of basketry. As much for its material as for its color and the mentioned decoration, the piece follows Dutch models, very popular during the Baroque of the 17th century practically in all of Europe, reaching to be made in other framework schools following those prototypes. Compare, for example, with the frame of Hans Memling's “Portrait of a Gentleman” from the ThyssenBornemisza collection (a Flemish piece, made of ebonized wood); or, in the same collection, with that of the work “Winter scene with skaters and sledges before a city” by Ruysdael; or with the "Tulip Vase" by Philippe de Marlier and Frans Francken from the Bilbao Fine Arts Museum. Weight: 24 kg.

· Size: 98,5x12x115,5 cms.
ANTIQUES

Ref.: ZF1055
WALNUT THREE KEYS CHEST WITH WROUGHT IRONWORK, CASTILLE (SPAIN), 17TH ...

“Town Hall” ark in walnut wood and wrought iron fittings. Castile, 17th century. Rectangular ark with a flat top 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 locks with a decorated lock shield highlighted on a fabric background, with their respective keys. These have a decorated stem and the ring with openwork circular elements. This type of chest is called “Town Hall” or “Council” because of its three locks, each of which closes with its respective key. This furniture was used in any type of organization, religious or civil, to store valuable objects, documents or money and each of the keys was given to a person in charge, it being essential that the three of them met to open the furniture, avoiding any possible temptation. They were a very common element in councils or town halls of towns and other towns, hence their nickname. Stylistically, it is located 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 the workshops of cabinetmakers and carpenters for many centuries. Sometimes they were made of iron, and, in very few cases, three keys are used as the closure of a silver ark (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 law of June 9, 1500 with which the Catholic Monarchs forced the Councils of their territories to build town hall houses, prisons and have a treasure chest. privileges and deeds. Despite having been so abundant in their time, numerous examples have not reached 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 of Argentina (18th century, following previous models), etc

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

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

Oval Louis XVI style coffee table. Mahogany wood and gilt bronze. Inspired by models by Adam Weisweiler, late 19th century. Coffee table with a straight top and oval shape with protrusions in the leg area, made of mahogany wood and enhanced with very good quality gilt bronze applications. The upper panel 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 plant elements at the end, both joined with a smooth band. The waist of the table shows some very delicate scrollwork compositions with flowers, reclining rams, cornucopias and female heads on a geometric marquetry like the one on the top (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 on some similar tables, mainly kept in private European 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 (in which he acquired the degree 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 in the world preserve his work, as well as 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
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 (seed beads, curves and countercurves, fleshy plant elements, etc.) together with a composition more in the taste of 19th century art ( note the interior 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 walnut chest, 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 cube on a flattened circle. On the outside, it has a series of wrought iron fittings (corner pieces with a fleur-de-lis finish), two handles on the sides with openwork fittings and, on the front, three locks with a key with an openwork lock escutcheon and decorated with simplified plant elements. Inside, it has a wooden partition on one side and located high, which consists of a rectangular space with a hinged lid and two small drawers at the bottom. The three keys, made of iron, have their eyes worked and decorated, with simple decorative elements towards that side of the stem or central part and the usual flat bits. Chests with three locks are also often known as "Town Hall" or "Council" chests, 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 them a key. to each person in charge (as many people as there are locks and keys), so that they had to come together to open the furniture. In many places in the Spanish territories it was used as a municipal archive, following laws inherited from a pragmatic law of June 9, 1500 with which the Catholic Monarchs forced the Councils of their territories to build town halls, prisons and have a chest of privileges. and scriptures. 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 de 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...

Sacristy chest of drawers in walnut wood with carved decoration. Spain, 17th century. Furniture with three very deep drawers with the lower one higher, on rectangular legs and with a straight wooden top board, slightly protruding. Each of the drawers has two wrought iron handles. The sides have been decorated with simple rectangular molding panels, while the drawers have been carved in relief: the upper one, with branches, vines and leaves; the central one with fleshy vegetal 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 with 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 top board that suggests the use of the furniture in a sacristy to store liturgical clothing appropriately and, furthermore, indicates that there could have been been commissioned by a Franciscan institution (note the typical cord with the knots) dedicated to Saint Peter (because of the two keys in the corners). Although it does not have the usual rear paneling from the 16th century, it does have the front with volumetric carvings, typical of the 17th century, and decorative elements typical of the Baroque, in addition to certain memories of previous furniture (panels in the lower area). The carving and quality of the assembly of the panels (note the tongue and groove of the corners) shows that these were works of relevance, intended for religious environments. The boxes on the sides are reminiscent of those on the central chest of drawers in the Ante-sacristy of the Cathedral of Ávila. As in that of the sacristy of the Cathedral of Murcia, it is the fronts that present carvings in this example, which are reminiscent of others such as those on the refectory table from the collection of the Marquis of Santo Domingo (Madrid). More frequent, however, are those with simpler fronts, 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
TABLE FOR SPANISH WRITTING DESK (BARGUEÑO) WITH “SAINT ANTHONY” LEGS. ...

Bargueñera table with "San Antonio" leg. Wood and rosewood, wrought iron fasteners. Spain, 18th century. Rectangular board table decorated with simplified geometric motifs combining different colored woods in a symmetrical arrangement. Two straight legs, open downwards and joined with a chambrana, have been secured by two curved fasteners with a disc in the center made of light-toned forged metal. Although the curves of the fasteners and the discs may be reminiscent of Baroque examples, the simple geometric decoration of the top panel, the absence of movement and the straight lines of the legs, of the type known as "San Antonio" (which is also found in examples from the 17th century), suggest the 18th century, already under the influence of Neoclassicism. Compare, for example, with the magnificent example of a dining table from the Royal Workshops dated in the second third of this century and preserved in National Heritage. Typically, this type of table, made to support desks, either Spanish or Italian, had smooth tops and no marquetry of any kind because with the furniture they would hardly be visible and only the two iron fasteners would remain on the front. that this example has or, also, that they were dressed in rich fabrics to highlight the wastebaskets, leaving little more than the legs in sight. They were works made for high-class houses, just like those desks, so only prominent private collections and important museums have similar examples: one in the Sorolla (inventory 30023) in Madrid has a top with white resin plates pyrography with mythological scenes, another from the 17th century in the Museo Nacional de Artes Decorativas (CE02068) with geometric motifs in marquetry, or another very similar to the one present in the Museo Comarcal de Daroca (00038) but of a contemporary date, made inspired by law firms such as this one.

· Size: 176x70x79 cms.
ANTIQUES
FURNITURE

Ref.: Z4858