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

Empire lamp in glass and gilt bronze. Around 1815. Attributed to Claude Galle.
Ceiling lamp with 16 arms formed by a central axis from which several circles, with different radii, depart. The lower one presents a decoration in relief of flowers; the middle 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 upper one, with the same flowers, has more acrotrades 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 brilliance produced in them by the lights. It has been adapted to use with electric light.
This type of chandelier, with their arms reduced in size and hidden among a multitude of glass beads, was very common in the main French residences since the seventeenth century. The Empire style is known as the one that took place in France towards the beginning of the 19th century, during the government of Emperor Napoleon I Bonaparte (1769-1821), and that, broadly speaking, reworked the Directoire Style, complicating it and highlighting the opulence, but maintaining the direct influences of works of classical antiquity that it had, especially those of the time of Imperial Rome. Note the acroteras, scrolls, garlands, stems ... in this example.
In France, as early as the seventeenth century, the government paid unusual attention to legislation and the creation of highly specialized guilds for working with bronze and its gilding, and the formation of workshops that worked with rich materials to combine them with metal. As a result, the French specialized foundries managed to rise to the primacy in the realization of all kinds of pieces to decorate interiors from the end of the 17th to the 19th century, with clocks, chandeliers, small-sized sculptures, etc.
Claude Galle (Villepreux, Versailles, 1759 - Paris, 1815) was one of the main bronzistas of the final periods of Louis XVI and the Empire. He began his training in Paris as an apprentice to the founder Pierre Foy, whose daughter he married in 1784. He acquired the rank of master 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" by the French Crown, between 1786 and 1788 and under the direction of the sculptor Jean Hauré, he carried out numerous and outstanding works. He collaborated with numerous artists, including Pierre-Philippe Thomire, and most of the bronzes at the Château de Fontainebleau came from his hands. Despite his success, and due to the delay of his patrons in making payments, he suffered financial difficulties. His workshop continued to operate 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 Saint-Cloud palace, in the Trianons, Rambouillet, Monte Cavallo, Rome, the Marmottan Museum in Paris, the Jerez de la Frontera Clock Museum in Spain, the Victoria & Albert from London, etc. It should be noted that all these large lamps were made only by prior commission in his workshop, and that he made, for example, one in 1807 for the Palais de Meudon, and another with 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. Gilt bronze, Baccarat glass. France. XIX century.
Ceiling chandelier made of gilt bronze with a central axis highlighted by glass elements in the shape of a vase and balusters. Around this center a series of elements have been arranged in gold 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 candle lighters, which They have glass saucers to prevent the wax from falling; at mid-height a composition combining with glass reminiscent of an architectural railing; at the top, a series of stalks protrude outward, the upper ones ending in shapes reminiscent of ears of wheat. The entire lamp is also decorated with a wide variety of beads and pins of different sizes and shapes: compound profiles, faceted spherical, star or flower-shaped, teardrop and vase-shaped. A hollow, clear glass faceted sphere hangs from the bottom. All these elements show straight and clean lines in order to multiply the brightness and reflections of the lamp lights. As for the gilt bronze elements, they present a fine decoration based on classicist-inspired motifs (garlands, moldings and striations, mainly), with the particularity of the spikes on the upper part.
These types of large lamps were created by the best glass factories in Europe in the 19th century, the French ones standing out for their attention to design and aesthetic innovations of the moment and for the quality of their materials, in this case both glass like bronze and its gilding. The design of this chandelier can be related to several examples preserved in private collections and dated, above all, to the middle of the century.
The Baccarat glass factory (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 ovens began to operate in 1816, with great success from the outset. The factory received its first royal commission in 1823, marking the beginning of a “golden age” in which it would also carry out 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, "millefiori" paperweights, 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 spread its market throughout Asia, increasing its fame with more commissions from European royalty. Today, it continues to work, and is present throughout the world."

· Size: 100x100x145 cms
ANTIQUES
FURNITURE

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

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

· Size: 112x50x153 cms.
ANTIQUES
FURNITURE

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

Stage table with hairpin clips. Walnut wood, wrought iron. Spain, 17th century.
Low table made of carved and turned walnut wood with four A-legs, two wrought iron hairpin clips 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 according to their width, creating a symmetrical composition, and located on and under a simple cylindrical heel. The chambranas have been carved with simplified plant shapes, and the fasteners feature disk decoration and balustrade shapes. The drawers are interspersed with protruding pieces in the shape of an "ese" and have oval handles, and the sides have simple geometric carvings.
Also known as a buffet or podium, this type of low table was reserved for use on the podium, a feminine area covered with carpet and decorated with a series of elements in which the ladies of certain houses received visitors. Compare, for example, with the walnut table with discs on the legs dating from the 17th century that is kept in the collections of the old Municipal Museum of Madrid; with the firm of the Inquisition of the National Museum of Decorative Arts in Madrid (in details such as the arrangement of the drawers); or with another platform table in walnut and pine wood with carved drawers and legs in lenticular turned from the same museum, dated in the 17th century; a 17th-century Castilian buffet-table from the Cervantes Birthplace Museum (Alcalá de Henares, Madrid)."

· Size: 83x118x73 cms.
ANTIQUES

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

Pair of cornucopias. Carved and gilded wood and porcelain. Century XVIII.
Pair of mirrored cornucopies, practically the same (except for details on the leaves of the frames), made of carved and gilded wood. Inside, the main mirror has moldings that draw curves and straight areas, scrolls and other elements. The elaborate decoration of the wall mirrors is based on grotesques in the lower part, from which vegetable elements emerge that extend, accompanied by hangings, towards the upper part on the sides, with openwork details. Above, the pompadours have two separate 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 ...), vegetal elements and shapes reminiscent of the Rococo rockery.
Clearly, the examples are included within the Rococo, counting, even with the slight asymmetry that their decorative motifs present and that slight difference between the two examples. It is possible to find similarities in the design of these cornucopies with different engravings and works by Matthias Lock (London, ca. 1710-ca. 1765). Compare with engravings from 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 kept 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, as well as being considered the first to master the Rococo style and include it in his works and designs. Little else is known about his life: he was a disciple of Thomas Chippendale and Adams, perhaps he worked with Henry Copeland, and his work ranged 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 given meaning to any of the animals or plants (the golden pheasant was a symbol of the Emperor, and the one in this dish does not have yellow in its plumage). Chinese porcelain was already known in Europe in the 15th century, but its commercial boom began in the 16th century, with the well-known pieces in Blue and White so valued that they even inspired the local ceramics of the different kingdoms. As for the so-called “Pink Family” due to the predominance of this tone in its enamelling, it was born with the introduction of that color in China at the beginning of the 18th century by the Jesuits and its production continued until the 19th century. In addition, it became so highly valued that it displaced the Green Family in the European courts at times, with the works of the reigns of the Yongzhen (1678-1735) and Qianlong (1711-1799) Emperors as the most abundant and highly appreciated. and sought after for their high quality. Stylistically, these two plates inserted in the mirrors are very similar to works by the Rose Family made in the late Yongzheng or early Qianlong Emperor's reign in Kingdezhen (Jiangxi, ROC) 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 in these two examples. Note that you can see the decorated edge of them, hidden almost entirely by the gilded wood."

· Size: 100x68x12 cms.
ANTIQUES
FURNITURE

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

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

· Size: 69x137x160 cms.
ANTIQUES
FURNITURE

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

Louis XV style mahogany wood display cabinet, 19th century.
Three-door showcase with glass shelves supported by cabriolet legs with an outward scroll and on a stopper. The doors are locked and feature painted panels and trim in combination with frisage in a lighter wood. The entire surface of the cabinet is decorated with plant motifs, and a head of an angel finishes off the central body of the cabinet, which is wider and taller than the sides.
The plant elements that decorate the entire surface of the showcase, focusing on the upper and lower ends of it, respond to the characteristics of the Rococo style. The curved shapes of these rockeries stand out, extending into the furniture doors to give it movement, combining asymmetrical elements with other symmetrical ones.
The only decorative hardware that it presents are the lock shields of the three doors and the hinges, in gilded metal. While the norm in French furniture is the combination with more decorative elements in bronze, it is not particularly strange to find examples where the only decoration is carved wood and some frisage work. Yes, a perfect union between structure and decoration is appreciated 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 bringing delicacy and color to the furniture, as well as being able to be framed within the Gallant Painting, characteristic of the Rococo.
All the decorative elements of the furniture have been made in the Rococo style, also known as Louis XV (1710-1774) because it was during his government that these forms were adopted in France. In the 19th century, as with others, numerous pieces were made taking inspiration from what was created in the 18th century and providing a series of peculiarities typical of the time, such as, in this case, the abundance of decorative moldings with rockeries and the striking movement of the lines that mark the lower and upper areas of the display case."

· Size: 250x65x292 cms.
ANTIQUES
FURNITURE

Ref.: Z3037
SPANISH WALNUT TABLE 17TH CENTURY

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

· Size: 192x102x84 cms.
ANTIQUES
FURNITURE

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

Italian desk in tortoiseshell, wood and gilt bronze, rosewood, lemongrass and iron clips. XVII century. Table with walnut top,
Uncovered sample desk located on eight ball claws and with two handles on the sides. The front presents the advanced central part, with a chapel; four rectangular drawers on the sides of it; The work is finished by a corridor adorned with vegetal scrolls topped by eight child figures and an eagle crowned on an orb above the central crown. The buffet or washbasin table that supports it and stands out has turned legs secured by lower chambras (also turned and with a central socket) between them, and fixed to the top of the cabinet thanks to curved metal fasteners with a disc in the center; the upper table shows a geometric decoration in inlaid with dark on light woods.
The general scheme of the furniture responds to some models known and used in cabinetmaking throughout Europe throughout the seventeenth century of which the best examples are considered to be of Italian origin, such as the present one. Thus, its decorative elements belong to the same tradition: the legs carved in the form of a synthesized bird's claw on a ball are very typical of the century; the sides are flatter and simpler (geometric marquetry around the molding and the gilt bronze handles concentrate all the plant decoration); etc.
As is usual in baroque desks, the center of the sample is where the decoration is concentrated, made from areas in tortoiseshell with a golden background and highlighted thanks to exterior moldings in darker wood, these ornamented by inlaid circles, always keeping symmetry. The chapel follows an architectural composition: a prominent lower base, like the rest, with gilt bronze appliques; façade between four columns with entasis and a niche in the center with Athena, goddess of wisdom in classical mythology; the upper 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 at the top and bottom, all flanking an interior space of columns, semicircular arches and a checkered floor that simulates much greater the spectator through a theatrical game with mirrors.
This general scheme is very common throughout European Baroque, and its compositional clarity would not break until Rococo in the seventeenth century. In Spain, the typology of the present desk coexisted with that of the cabinet, these types being preferred for their greater decorative richness and the materials used. The classic elements that it boasts would respond to that classic tradition, stronger in the Italian territory than in the Hispanic furniture.
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, 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...

Transition-Louis XVI style chest of drawers. End of the XIX-XX century.
Stamped "Jansen".
Chest of drawers with four lightly cabriolet-shaped legs decorated with a combination of herringbone-shaped wood grain and gilt-bronze applied elements with a clear classicist influence. The front and sides present a space with marquetry of simple geometric motifs, framed by a band with a different vein and gilt bronze elements that, like those present in the upper part, also respond to that influence and relationship with works inspired by classical antiquity. The upper tabletop follows the lines of the furniture, and is made of veined marble in a tone that matches 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 regarded for combining traditional styles with new trends in cabinetmaking (including Anglo-Japanese style, Modernism, Turkish style, etc.), devoting a lot of time and attention to researching traditional cabinetmaking. Also, in a short time after its creation it became a major buyer of European antiquities, establishing by 1890 an antique 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 early 1890s, dedicating itself since then to appreciated models of contemporary furniture and works inspired, above all, by French styles Louis XIV, Louis XVI, Directory and Empire. He carried out commissions for numerous royal families (Belgium, Serbia, England, Iran, etc.), as well as a large number of works for important houses around the world."

· Size: 45x78x89 cms.
ANTIQUES
FURNITURE

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

Mirror. Gilt wood and stucco, glass. XIX century.
Large rectangular mirror made of gilded wood and stucco that presents an edge, on the inside, with two opposing ogee shapes at the top and bottom and soft curves on the longer sides, enhanced by a band of ova flanked by two smooth areas. This simplicity contrasts with the richness and detail of the exterior area: following a symmetrical arrangement and having a prominent central axis (with a mask below and, above all, the pompadour above with two child figures flanking a crowned heraldic shield), they have been arranged a large number of plant elements: flowers (roses abound), oak leaves, palms, bay sprigs, scrolls, etc. In the upper part, already mentioned, two naked child figures are seated in the plant elements located there, holding a branch with one hand and supporting the other on the polychrome and golden heraldic shield in 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 quarters in the center) , which makes it difficult to find similar pieces, including museums and prominent 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 the ancient noble families of Europe."

· Size: 190x25x290 cms.
ANTIQUES

Ref.: ZF0162
FRAME. WOOD, METAL. LATE 17TH CENTURY-EARLY 18TH CENTURY.

Framework. Carved wood. Late 17th-early 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; outside, another fine gilt molding), enhanced with a series of carvings of vegetal elements in the corners (symmetrical composition), two ovoid elements on the long sides and a highly elaborate cresting with vegetal elements, rockery, scrolls, flowers and imitation of fabrics (which are joined with those ovoid elements mentioned).
The combination of red, green and gold is common in certain types of frames (compare, for example, with the terracotta of Salamanca made around the middle of the 16th century by Juan de Juni that is kept in the Victoria and Albert Museum). On it, a series of carvings with a lot of movement and depth have been added, showing influence of the Baroque (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.
Cabinet made of oak and walnut, decorated with profuse carving and molding. With an architectural structure inspired by contemporary Baroque architecture, it is organized into two streets and three registers, and is finished off at the top by a flown cornice with a sinuous central pediment. The entire structure appears rigorously organized by means of regular straight lines, which affect the differentiation of each of the different parts of the structure, following a clearly classical criterion, typical of the Baroque even in its most ornamental aspects, according to which the decoration must be adapted always to the structure, without ever exceeding it, so that its main lines are perfectly legible, as well as the proportion and balance relationship of the parts to each other and to the whole. Following this idea, we see the front divided into two streets and three registers, and the latter have their continuation on the sides, with recesses in this case only molded, without the visible carving on the front, although highlighted by the work of volumes and contrasts typically baroque, achieved through the simple use of moldings and steps. In the lower register we see two doors, each one with its shield lock cut out with a double fleur-de-lis. Its design is organized around a central mixtilinear cavity, typically Baroque, carved inside with a rockery crest that already tells us about the knowledge of Rococo, although in furniture, both structurally and ornamentally, the language still dominates. baroque. The perimeter of the recesses and projections of this central recess is repeated, with increasingly complex lines, drawn on the basis of very raised moldings 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 low body visually, houses two drawers of the same size and design, which combine diamond-tipped recesses with gilt hardware decorated by chiselling. Finally, the upper body also has two doors, like the lower one with its locks, and in fact it follows an ornamental scheme similar to that of the lower doors, although more developed and with a vertical design. Here we also see vegetalized rockeries and struts, combined with a profuse molding of dynamic lines, typically Baroque. As a finishing touch, under the cornice and in the central area, there is a stepped motif that is organized around the lines of two sinuous pediments, combined with floral and classic carved motifs."

· Size: 155x76x267 cms.
ANTIQUES
FURNITURE

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

Bargueño of three bodies. Walnut wood and wrought iron. Asturias, Spain, 17th century.
The bottom is a two-door locker with carved decoration, the middle is a flip-top desk and a two-door cupboard above. On the outside, below, rhomboidal geometric motifs alternate on the sides and tabs in the center, rectangular elements above and below, and plant elements; the doors show moldings around rectangles resembling pictures and frames; the upper part, in addition to those carved details mentioned, has its doors and two openwork sides with balusters. The set is finished off by a split pediment decorated with drops like those used under triglyphs in classical art.
The doors below are secured by latches and feature teardrop-shaped handles. The desk has a handle and a key closure with the horseshoe shield highlighted and decorated with an openwork metal plate with S-shaped braces flanking a central shield, topped by a simplified floral detail; Inside, the drawers are divided into an upper and a lower band with four each and a central area of two drawers on the sides of an open central chapel with a semicircular arch, and the fronts, in all, decorated with marquetry of simple geometric lines. The pantry doors are locked.
The carved decoration already appears on the fronts of cabinets and in the 16th century lockers and the inclusion of details used in architectural entablatures of that style belong to Renaissance influence. However, the more vertical than horizontal proportions of the furniture are seen in those known as "Carlos V", which appear towards the second third. The Spanish taste for panels and carved moldings can be seen clearly in this example, and the marquetry inside the desk resembles that of others of Asturian manufacture. Logically, balusters and details of movement show the belonging to the Baroque.
Also known as “cabinet cabinet”, this type of furniture did not belong to strictly domestic furniture, but was used in public places or important residential rooms where they could be seen. For this value, examples like the present one were not too common, but some very similar ones have been preserved in important private collections. Compare with a very similar example preserved in the León Provincial Ethnographic Museum in Mansilla de las Mulas, but it can also be related to others such as the cupboard in the Lope de Vega House Museum in Madrid (inventory CE00234) from towards the end of the 17th century. or the cupboard of the National Museum of Decorative Arts 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.
Parched lid. Mahogany, rosewood, gilt bronze.
The legs, which maintain their respective sheaves, present a circular column shape starting from a die and ending in vase shapes highlighted with garlands, fine moldings, 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 chambrane emerges from the dice on each two legs, the two joined in the center in another dice, topped by a vase with profiles inspired by classical art. The waist of the table has semicircular shapes on the smaller sides and a rectangular projection on the larger ones; It is flanked by two gilt bronze moldings, and has a decoration of plant elements in gilt bronze on a green background, as well as dice recalling the classic triglyphs in the corners of the rectangular areas. The upper panel, which follows these same lines, shows a marquetry decoration drawing six-pointed stars thanks to a composition of geometric inlaid cubes. A drawer is hidden in one of the rectangular sides of the table.
Neoclassical furniture, in France, appears during the reign of Louis XV, from the 1750s, approximately. It maintains certain details of the French Transition style (approximately 1750-1774) such as its inspiration in Greco-Latin antiquity, the popularization of geometric marquetry and the use of a curve. The Louis XVI style features classicist scrolls, straight lines, classic architectural elements, clean, symmetrical shapes, not too much movement, etc.
It was very common in the 19th century to use styles from before 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 renowned firms such as “Holland and Sons”, whose creations inspired numerous works, or those of Adam Weisweiler (France, c. 1750-after 1810), for example."

· Size: 118x70x76 cms
ANTIQUES
FURNITURE

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

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

· Size: 65x65x120 cms.
ANTIQUES

Ref.: ZF0004
ITALIAN STYLE “BARGUEÑO”, TORTOISESHELL, 17TH CENTURY.

Italian-style cabinet, tortoiseshell decoration, 17th century.
Uncovered sample desk located on claws with a rectangular ball. The front presents the advanced and prominent central area, with a chapel; the sides each have ten drawers with a key lock arranged in two lines; The work is finished off by a corridor adorned with a railing of vegetal 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 crowned by a railing and ornate plates with motifs of cherubs and plants in gilt metal; When the chapel is opened, a series of drawers are discovered decorated 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 the grotesques, while others are very commonly used throughout the continent throughout that century, such as the bird's claws synthesized on a ball or concentration of decoration in the sample. In Spain, this Italian-influenced desk coexisted throughout the seventeenth century with the more traditional cabinet, with which less decorative and material displays were usually associated. However, this typology would be so appreciated that its compositional clarity would not break until the entrance of the Rococo in the 18th century.
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, a highly specialized workforce was required. As is normal for this type of furniture, also called "wastebaskets" because they contain important documents, the tortoiseshell plates were often highlighted with gilt metal decorations, the use of bronze being very normal for this."

· Size: 116x90x46 cms.
ANTIQUES
FURNITURE

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

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

· Size: 140x62x115 cms.
ANTIQUES
FURNITURE

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

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

· Size: 80x44x109 cms.
ANTIQUES
FURNITURE

Ref.: Z6849
WROUGHT IRON BRAZIER. SPAIN, 13TH-14TH CENTURIES.

Brazier. Wrought iron. Spain, XIII-XIV centuries.
Presents restoration on a 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 upper part similar to the sections and finished with washers. Inside, it presents an iron grill dated later than the rest of the piece and has a restoration on a handle.
It is very similar to another wrought iron brazier dated between the 12th and 13th centuries that is currently in a private collection; compare also with the rectangular one in the Museu Episcopal de Vic dated from the 14th century. The spirals that make up the decoration of the piece are frequently called "curl irons", and they are an element very often used in the few examples of Romanesque ironwork and ironwork that we conserve, and, therefore, they will be elements that are they will keep in the wrought iron work for later centuries in Spain (the Romanesque model with its scrolls lasts well into the 15th century, with some variation). For example, the bars of the Church of Santa María del Camino or the Market in León or the one that has been located in the choir in the church of San Vicente de Ávila, or those preserved in the Diocesan Museum of Jaca (Huesca). 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 rarer than those of grating. One is kept in the Diocesan Museum of Tarragona and another in the possession of the Junta de Castilla, both squares 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: 7.5 kg."

· Size: 52x39x54 cms.
ANTIQUES

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

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

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

Ref.: Z3404
Sold

PORTUGUESE GAMES TABLE. MAHOGANY. 18TH CENTURY.

Portuguese game table in mahogany wood. Century XVIII.
Rectangular shaped table when closed with four cabriolet legs topped at the lower end by claws holding balls. The waistband has a drawer with bronze hardware, and presents a cutout in the lower profile based on slight undulations, and a series of moldings that highlight the different profiles of it, in addition to the curved shape of this area. The upper panel follows the lines of these waist moldings, but more projected outwards and, when opened, reveals an upholstered area and some circular holes in the corners, accompanied by smaller ones. The drawer is opened by means of a hidden lever system in the bottom, it is an opening locking mechanism in original condition.
Furniture from the 18th century from Portugal is characterized by having a greater English influence than contemporary Spanish examples, by the influence of the possessions in "Oriente" in the materials used in the cabinetmaking and by a great originality and an outstanding reloading in the motifs 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 along the entire inside edge of the front of the table with a fine line, the carved star in bas-relief under the drawer, etc. The cabriolet legs with claw holding ball are of clear English influence. The smooth areas allow the wood to give a certain prominence: a magnificent mahogany brought from the Portuguese colonies. During the government 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 predominated, especially in the north of 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 preserved examples: a showcase-bureau-chest of drawers in palo santo from the National Museum of Ancient Art in Lisbon has more reliefs throughout its surface but rests on claws with a ball ; Several tables from the same institution show similarities in the contour lines with the games table, in which one can speak of a greater influence of English models; a table from the National Museum of Machado de Castro in Coimbra (Portugal); Quinta das Cruzes on the Madeira Islands has some outstanding examples of 18th century Portuguese furniture; etc."

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

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

Chest from the late 18th century
Wood, gilt bronze and tortoiseshell.
Casket made at the end of the 18th century, with a wooden structure consisting of a prismatic base and a domed lid, articulated by two hinges extended to the outside with cut-out and cut-out motifs, topped by fleurs-de-lis. The piece is decorated with tortoiseshell plates applied over red sealing wax, framed by light fillets and by the very structure of the dark wood, in vivid contrast. The lines of the piece are outlined by applied bronze bands, with cut out lily flowers, bands that compartmentalize the surface of the casket following the structural lines, a characteristic of classical decorative arts. The piece also has an articulated upper handle, in gilt bronze, composed of curled and interlaced struts in a symmetrical design. The lock shield, made of the same material, has a central cartouche flanked by trimmed leathers and braces with contario crests, adorned at the top and bottom with fleur-de-lis and plant motifs. At an ornamental level, the bronze figures, worked in half a mold, applied in the four corners of the casket, stand out especially for their importance in the composition. These are fantastic figures of Mannerist inspiration, hybrids, with a monstrous face and the lower half of the body vegetated, similar to that of the hermes of the 16th 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
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.
Cabinet with three very deep drawers with the lower one higher, on rectangular legs and with a straight upper wooden tabletop, slightly protruding. Each of the drawers has two wrought iron handles.
The sides have been decorated with simple rectangular panels of moldings, while the drawers have been carved in relief: the upper one, with branches, vines and leaves; the central one with fleshy vegetable scrolls; the lower one with three plates, the lateral ones with a central rhombus and flowers in the corners, and the central one with a rose framed by a cord of three knots on each side set in two keys. It is these carvings, in addition to the depth of the drawers, the horizontality of the composition and lines, and the straight upper panel that suggest the use of furniture in a sacristy to properly store liturgical clothes and, furthermore, indicate that there may have been It was commissioned by a Franciscan institution (note the typical cord with knots) dedicated to Saint Peter (for the two keys in the corners). Although it does not have the usual rear paneling since the 16th century, it does present the front with volume carvings, typical of the 17th century, and typical Baroque decorative elements, in addition to certain memories of previous furniture (panels in the lower area). The size and quality of the assembly of the boards (note the tongue and groove of the corners) shows that they were important works, destined for religious settings.
The squares on the sides are reminiscent of those on the central chest of drawers of the Ante-Christia of the Cathedral of Ávila. As in the one in the sacristy of the Murcia Cathedral, it is the fronts that present carvings in this example, which are reminiscent of others such as those on the refectory table in the collection of the Marqués de Santo Domingo (Madrid). However, those with the simplest fronts are more frequent, although, due to direct influences, examples can be found that demonstrate the popularity of this prototype, such as the chest of drawers in the sacristy of the Old Convent of San Francisco in Havana (Cuba)."

· Size: 175x105x112 cms.
ANTIQUES
FURNITURE

Ref.: Z5454