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SILVER INCENSE BOAT (NAVICULAE). WITH HALLMARKS. POSSIBLY PORTUGAL, 18...

Naveta. Silver. Possibly Portugal, 18th century. Counterweighted base. With hallmarks. A boat with an oval base decorated with elements in relief and mouldings, a balustraded base and a body with a slight boat shape, presenting a lid with hinges at the front, a widening in the lower area towards the foot and a decoration distributed throughout the exterior based on rocaille motifs and vegetal elements (the same theme is presented on the foot and the base) on a lustre-painted background, with an angel's head on two small wings in relief towards the spout, accompanied by vegetal elements (which protrude from the edge of the lid). Although the shape of the piece generally follows the most common prototypes of these incense vessels used in the liturgy, it should be noted that it was more common to find them more similar to a boat. The belonging of the naveta to the Rococo influence is clear both from the lines of the object and from the decoration already mentioned (rocailles, moving plant elements, volutes with pronounced curves, contrasts between concave and convex lines...), and it is also possible to find some points in common with Portuguese works (a silver naveta with a spoon by Leandro Gagliardi made in Rome between 1744 and 1750, which is preserved in the Sao Roque Museum in Lisbon, Portugal, has a finial with an angel's head in relief; compare this with the gilded silver censer that the same master made between 1749 and 1751 for the Chapel of St. John the Baptist in the Church of St. Roque in Lisbon). The hallmarks present on the upper part of the naveta (the capital letters “de” in a rectangular space), although it should also be noted that this work does not follow the most striking typology of navetas related to this centre (18th century silver naveta from the Church of Alcántara in Maranhao, Brazil; naveta by Sebastiao Bernardes dos Santos dated 1747 from the Sé do Funchal which is preserved in the Museu de Arte Sacra Do Funchal in Madeira –Portugal-). Weight: 715 gr (base with counterweight).

· Size: 19x9x14 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE244
POCKET WATCH, ANDRÉ HESSEN. GOLD, ENAMEL, ETC. PARIS, FRANCE, CIRCA LA...

Pocket watch, engraved André Hessen. Gold, enamel. Paris, France, towards the end of the 18th century. It has some flaws. Pocket watch with a case decorated with enamel on the back (within a band of pearls you can see a composition with a clear classicist influence with a female figure, perhaps an allegory of the arts), and a white dial with Roman numerals for the hours and lines and Arabic numerals for the minutes, on which you can see the text Adré Hessen. The delicately decorated movement has a number (549) and the name Adré Hessen (1745-1805), a watchmaker who settled in Paris, France, in 1767 and who was very well-known and appreciated in his time.

· Size: 7x5x1.5 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZE326
FIGURE FOR HOLDING A CANDLE. POLYCHROMED WOOD, WROUGHT IRON. CASTILLIA...

Torch-bearing figure. Carved and polychrome wood, wrought iron. Castilian school, 16th-17th centuries. A carved and polychrome wooden sculpture placed on a simple base showing a half-naked male figure, holding in his hands a cloth that covers the lower part of his body in front and holding up a wrought iron cone intended to hold a candle. The nude, the study of anatomy, the contrapposto and the twist of the torso and waist of the figure are details that would speak of a classicist influence in the sculpture. It is also worth highlighting the movement that the posture brings to the piece, placing one foot behind the other and turned with respect to it and slightly turning the waist. Wood was the most worked material in Spanish Renaissance sculpture, normally with a polychrome finish and with gilding and upholstery. It was not until the second third of the 16th century when sculptors emerged in Spain who reached great heights in the Spanish Renaissance, inspired by Italian forms, but adding their own national touch, creating different schools, and with a clear preference for polychrome and upholstery wood. At this time, one of the main workshops was Valladolid, with names such as Alonso Berruguete and Juan de Juni. Later, art evolved towards a classicist or Romanist mannerism, with a significant influence from Italian masters, with a clear influence from Michelangelo and names such as Gaspar Becerra, Esteban Jordán, Juan de Ancheta, etc.

· Size: 18x18x48 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0461
PORCELAIN BOX. POTSCHAPPEL-DRESDEN, GERMANY, 19TH.

Box. Enameled porcelain. Potschappel-Dresden, Germany, 19th century. With mark on the base. Rectangular box with a slightly curved lid made of enamelled porcelain with gold metal trim and hinges. The box features a decoration on the outside of figurative scenes of couples in natural landscapes with a clear Rococo feel, enhanced by gold frames and scale elements in pink tones. On the inside, on the lid, another scene of this type appears. The base of the piece bears a mark alluding to the factory responsible for it. In 1872, Carl Thieme (Carl Johann Gottlieb Thieme) converted his porcelain painting business into a porcelain factory, keeping the headquarters in Dresden and calling it Sächische Porzellanfabrik zu Potschappel (Dresden) von Carl Thieme. A mark such as the one seen on this piece was used there between 1888 and the beginning of the 20th century.

· Size: 12x8x7 cms
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF0702
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PAIR OF PORCELAIN VASES.19TH CENTURY.

Pair of vases. Enameled porcelain. 19th century. Pair of circular-footed vases with a cylindrical body in the center, a long neck, and an open mouth. Decorated with pink bands, gold edges, grouped flowers, and two genre scenes (humble figures dancing in rural landscapes; on the other side, similar scenes). They are presented on metal feet, decorated with openwork elements, and have claw-shaped feet topped with plant elements of a Classicist influence. They bear marks on the base.

· Size: 24x24x62 cms
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF0884
VIRGIN MARY (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH CENTURY.

Virgin of Dressing. Wood, metal. Spanish school, 17th century. It has faults (hand, etc.). Sculpture made of polychrome wood showing a woman, with the head, neck and hands carved and polychrome in detail, a sketched dress and arms in exposed wood. Iconographically, it is probably a Virgin Mary, made in this way because it was designed to be dressed and adorned with hairpieces (hence the work on the skull area). It is worth highlighting the folds on the front, not common in this type of work, resembling clothing. It has a closed royal crown. Dress carvings were very common during the Spanish Baroque, and there may be cases of works in which the unseen part was barely roughed out and others in which the entire carving is found, with many intermediate points (see the present case). Remember the San Antonio Abad by Benito Silveira made in the second half of the 18th century that is in the National Museum of Sculpture in Valladolid, a San Francisco de Paula from the 18th century in the Museo del Carmen in Maipú (Santiago de Chile), etc.

· Size: 44x28x86 cms
ANTIQUES
SCULPTURE

Ref.: ZF1182
HENRI II STYLE PENDULUM CLOCK, 19TH CENTURY.

“Henri II” style wall clock, 19th century. The dial, in white, has Arabic numerals and is protected by glass. The clock case, made of carved wood, shows a decoration based on architectural elements (diamond points, columns, vases, etc.) and leaves a rectangular space with a dark wood decoration based on putti and plant motifs in which there is a hole to see the pendulum, which is highlighted by a decoration in gilded metal. The Henri II style (“Henri II”) was the name given to an artistic style that emerged in France in the 19th century and was inspired by the Renaissance of this country, creating a series of furniture with the type of decoration that we see in this work. It was so successful that it was revived in the Neo-Renaissance style, which lasted well into the 20th century.

· Size: 45x23x130 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: Z0484
WALNUT FAUTEUIL. 18TH CENTURY, CONTEMPORARY UPHOLSTERY.

Armchair in carved walnut wood, gilded and in its colour. 18th century, with current upholstery. Armchair with slightly cabriole-shaped legs secured with H-shaped frames, curved arms decorated with a scroll at the front, a queen-shaped backrest with a crown made up of a plant garland around a circular mirror and plant bows. Some elements are Neoclassical, but the armchair typology still retains some of the characteristic movement of Baroque furniture, but in a very softer way.

· Size: 63x69x127 cms.
ANTIQUES
FURNITURE

Ref.: Z3792
POCKET CLOCK, JAQS BLANC. GOLD, ENAMEL, ETC. POSSIBLY CIRCA LATE 18TH ...

Pocket watch, Jaqs Blanc. Gold, enamel, etc. Possibly circa late 18th century. Pocket watch with white dial and Arabic numerals for the hours and lines and Arabic numerals every fifteen units for the minutes with movement decorated and engraved with a serial number and the words Mavit and Jaqs Blanc. The box that contains and decorates it has, on the back, an architectural decoration with a clear classicist influence.

· Size: 6x5x1.5 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZE328
SILVER CUP WITH INSCRIPTION. POSSIBLY SOUTH AMERICAN, 18TH CENTURY.

Tembladera or bernegal with ownership inscription. Possibly Hispanic American, 18th century. Silver-coloured trinket dish with a wide, circular base and a mouth of greater diameter than this, a body with a fine line engraved towards the edge and an inscription of ownership on the front (Lucas Vilacha) made with small dots. It also has two handles decorated with vegetal elements and grotesques with human heads, and shapes similar to lions or dogs can be seen on the upper part. In Spanish silversmithing, the Baroque trends were maintained for almost the first two thirds of the 18th century, except in the capital, where Rococo forms were introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centres, depending on the area and the masters. This survival of the 17th century forms can be seen in the handles of the tembladera: the grotesques with human heads are very prominent, decorative abundance that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of hallmarks does not allow the work or the artist to be located, although it is precisely this that speaks in favour of a secondary silversmithing centre, where the lack of control of these works was more common due to the lack of masters and the means to ensure compliance with the marking regulations. Bernegales and tembladeras were the most common types of silverware in 17th century Spain (although they continued to be popular in the 18th century, especially in centres far from the main centres of creation). In the case of this piece, the handles could indicate that it was made in the Americas, although there are similar cases that are thought to have been made in the Iberian Peninsula. It is worth mentioning that there is evidence of the baptism of a Lucas Vilachá in 1783 in Lanza (La Paz, Bolivia). Compare with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of the Clarisas Mothers of Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 325 grams.

· Size: 20x15x7,6 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1058
CERAMIC JAR. 18TH CENTURY

Jug from Villafeliche, Aragon, 18th century. Glazed ceramic. Late Baroque style jug made of ceramic and decorated with high-temperature enamels on a white tin slip. These enamelled motifs are combined with mould-made relief decorations. The typology of the piece combines the Italian jug, with an ovoid belly and vertically arched handle, with that of the typically Spanish spouted jug, characterised by the protruding spout that starts from the mouth. The decorations reveal an oriental influence, with large floral bouquets arranged asymmetrically and complex landscapes with architecture and palm trees, in which some figures are removed, these now totally western. The motifs appear brushed in manganese black, and coloured with mainly ochre, blue, green and red enamels. Aragonese pottery from the 17th to the 19th century was characterised by a strong personality, combined with the influences of Talavera and Catalonia. It had three main centres: Teruel, Muel and Villafeliche, the first two with a tradition dating back to the 16th century, and the third created at the end of the 17th century. The pottery from Villafeliche was generally very popular, although pieces of greater quality and complexity, both typological and ornamental, were also made in the 18th century.

· Size: 25x18x42 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: Z2627
TORCH STAND, GILT AND POLYCROMED WOOD, ROCOCO, 18TH CENTURY. RECONVERT...

Carved, gilded and polychrome wooden torch holder, Rococo, 18th century. Converted into a floor lamp. A lamp with a triangular base on scroll-shaped legs and a base formed by a vase under a baluster that has been decorated on its surface with rocailles, putti heads, mirrors and gilded plant scrolls. Made to hold a candle, it has been converted into a floor lamp, allowing it to be used in a modern interior.

· Size: Alt. 166 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z5286
LOUIS XVI STYLE SETTEE. GOLDEN WOOD. UPHOLSTERY IN NEED OF RESTORATION...

Louis XVI style sofa. Gilded wood. Upholstery to restore or replace. Sofa on turned stipes legs and waist with flower-shaped cubes, repeating the decoration of the legs on the two columns on the sides. The lines and decoration show, for the realization of this work, the inspiration in Louis XVI furniture, a French style also known as “Style à la grecque” inspired by Antiquity and dated, approximately, between 1760 and 1789.

· Size: 181x70x102 cms.
ANTIQUES
FURNITURE

Ref.: Z5379
SILVER CHEST, AFTER 17TH CENTURY MODELS. POSSIBLY, 20TH CENTURY.

Chest inspired by 17th century models. Silver. Spain, 20th century. Rectangular casket made of silver in its colour, with four legs in the corners in the shape of a scroll and finished in a claw, decorated on the fronts with a decoration of mouldings, bands and motifs within rectangles (yokes, a bundle of arrows, a letter f crowned between two pomegranates, a letter y crowned between two pomegranates) in clear allusion to the Catholic Monarchs. The stepped lid presents a composition of scrolls, architectural elements and plant motifs on a background with a lustre-like finish, and a small rectangular “diamond” as a finish. It closes with a pin and a chain at the front. Compare, for example, with the 17th century silver casket in the museum of the Monastery of Santa María de la Caridad in Tudela, or with the so-called Casket of the Holy Martyrs of the parish of Santa María de Manlleu which is in the Episcopal Museum of Vic. Weight: 526 grams.

· Size: 16x11x11 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE280
DIAL AND COMPASS. BRONZE. SCHRETTEGGER, JOHAN. AUGSBURG, GERMANY, CIRC...

Sundial and compass with case. Bronze. SCHRETTEGGER, Johan. Augsburg, Germany, circa 1800. A polygonal sundial made of bronze, engraved with plant elements on the front, placed around the centre, where a compass is shown. On the back, the name of the author and the place where the work was created have been engraved. The instrument is accompanied by a case, also polygonal, with a flap closure and lined with textile on the inside. Johan Schrettegger (1797-1843), son of Andreas Vogler, worked in that German city creating pieces such as this one.

· Size: 6 x 5,5 x 1,5 cm/ Estuche:7x6,5x2 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE311
SILVER AND GILT SILVER PYX. 16TH CENTURY.

Cast and chased silver pyx. Spain, towards the end of the 16th century. Cylindrical box with a moulded base under a wide frieze with latticework of bands and simplified plant elements. Moulded lid decorated with bands creating figures of 8 alternating with flowers and fleur-de-lis motifs, topped with a small cone with pearl, on which stands a three-nailed Crucifix with a loincloth around the knees and a cartouche. Given the gilding on the interior, this stemless host was perhaps used to contain the Holy Hosts in the tabernacle of some church. The decorative elements of the work and the figure of Christ in the upper part respond to the influence of the Renaissance, but also show Gothic memories. The Renaissance appeared in Castilian silverwork a little before 1520, and it was only from the end of the reign of Philip III that we usually speak of Baroque. In the Crown of Aragon, the political and economic decline of the area caused a significant decline in the number and quality of production, with the notable exception of Aragon and, above all, Zaragoza, which reached unequalled splendour later on. The same thing happens with the form: although there are similar examples during the Gothic period (a hostiary by Diego de Abanza or one of his sons, made in Burgos towards the end of the 15th century and preserved in the Diocesan Museum of Sigüenza, Guadalajara), this typology would continue even in the Baroque with numerous variations. Compare this with works such as a hostiary in the Museum of Malaga (BA/CE00305), with a similar cover and decoration, or, above all, with the one in the Ángel Quílez collection (inventory CAQ-47) of the future Museum of Alcáñiz (Teruel), with a similar profile and decoration, both from the end of the 16th century. And note the difference with, for example, the Castilian from the last third of the century preserved in the National Museum of Decorative Arts (CE19659) or that of Juan de Bendígar from the Lázaro Galdiano Museum (inventory 02165) from the second third of the century, with greater Renaissance influence. Weight: 176 gr.

· Size: 10x10x9,5 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZA5725
PORCELAIN CENTREPIECE. VOLKSTEDT, RUDOLSTADT, GERMANY. CA END 19TH CEN...

Centerpiece. Volkstedt, Rudolstadt, Germany. Towards the end of the 19th century. Glazed porcelain. A circular centrepiece raised on simple legs, displaying a delicate multi-level composition. The children are arranged using a large stone and a tree trunk, with one child on top wearing a purple band holding flowers; below, there are four others, also half-naked, holding glasses, flowers, etc. Both the figures and the composition show a clear influence of Neoclassical models. This same relationship explains the theme: it is a series of figures linked to classical mythology, dealing with a pleasant and secondary theme (only a slight relationship with a bacchanal can be intuited by a cup that is presented), highly appreciated for the rich interiors of the period for maintaining the decorum required at the time. The factory's signature is clearly visible at the bottom in the centre and is in blue tones, with a signature (Marion) "engraved" below it. The Volkstedt factory, located in Rudolstadt (Thuringia, Germany), was founded at the official request of Georg Heinrich Macheleid in 1760, who had worked at the Glücksthal glassworks and had allegedly developed the porcelain formula on his own, without any contact with the Meissen ceramists Ehrenfried Walther von Tschirnhaus and Johann Friedrick Böttger. The privilege was granted in 1762 by Johann Friederich (Prince of Schwarzburg-Rudolstadt), specifying that it be established at that point, close to his court and under his personal direction. After several changes of hands over the years, it remains in force today.

· Size: 34x34x56cms.
ANTIQUES
SCULPTURE

Ref.: ZF0144
SHEPHERD’S BOX. ANTLER OR HORN. SPAIN, 1822.

Pastoral box. Carved horn. Spain, 1822. Rectangular box made of carved horn with a date (1822) engraved on the lid and front, a legend (Soi de Manuel Zulueta año 1822) and an engraved decoration based on geometric, vegetal, figurative and heraldic elements. The base of the piece has a banded frame that highlights a composition of birds and animals accompanied by simple stems and flowers. The lid has bands interlaced with circles of different sizes and, in the centre, a crowned heraldic shield flanked by two flags, and quartered with three-towered castles and crowned rampant lions; beneath this central element, the aforementioned date is again found. Note that it differs from the Castilian shield (the one used by the kings of Castile since 1230) in the position occupied in the quartering by the different elements.

· Size: 8x5x2 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0730
CAPITAL. GRANITE. SPAIN, 15TH CENTURY.

Capital. Carved granite. Spain, 15th century. Circular-based capital made of carved granite with a polygonal shape enhanced with mouldings, following forms that still retain a memory of Gothic works but with noticeable clean lines.

· Size: 60x60x64 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0777
LANDSCAPE. OIL ON CANVAS. FRAU, JOSÉ (SPAIN, 1898-1976).

Landscape. Oil on canvas. FRAU, José (Spain, 1898-1976). Signed (lower right area). José María Isidro Frau y Ruiz (Vigo, 15 May 1898 – Madrid, 24 March 1976) was a Spanish painter and academic, appreciated for his landscapes and for being part of the School of Painters of El Paular (created by Royal Decree on 22 February 1918, within the Chair of Landscape that the Academy of Fine Arts of San Fernando established in 1845 as part of the official teaching of its pedagogical programs in art; it ceased to operate in 1936 and was recovered in 2018). Known as José Frau, he began his pictorial training in Huelva with Antonio de la Torre and Eugenio Hermoso Huelva. In 1916 he entered the Academy of Fine Arts of San Fernando, and, from 1917, he participated in the National Exhibitions of Madrid, showing his work also in Barcelona, Buenos Aires, Montevideo, Mexico City, New York, etc. He travelled through South America in 1947, settling in Mexico three years later and returning to Spain in 1966. His work is preserved in notable private collections and institutions such as the Museo Municipal Quiñones de León (Spain), the Museo de Bellas Artes de La Coruña, the Museo Nacional Centro de Arte Reina Sofía (Madrid, Spain), the Museo de la Real Academia de Bellas Artes de San Fernando in Madrid, etc. He has been considered one of the representatives of the equivalent of “magical realism” in Spain. His pictorial work is based on figurative premises and a naturalistic and symbolic formation. He participated in the process of renewal of Spanish painting in the twenties and thirties, evolving towards a post-impressionist style. Later he focused on a calm post-Cézanne modernity in which he portrayed landscapes with figures recreated in fantastic and magical environments. During the post-war years he returned to a looser and more nervous brushstroke. In his later works he used a Fauvist chromatic palette in which greens, blues, earth tones and highly contrasting blacks predominated, while at the same time a progressive process of stylization occurred in his works in addition to the loss of the prominence of the human figure.

· Size: 91x3x71 cms. int: 79x59 cms.
ANTIQUES
PAINTINGS

Ref.: ZF1266
PAIR OF CANDLE HOLDERS. METAL, ENAMEL. LIMOGES, FRANCE, 19TH CENTURY.

Pair of candlesticks. Metal, enamel. Limoges, France, 19th century. They present faults. Pair of metal candlesticks decorated with polychrome enamel on the outside, each with an octagonal base that begins with a step and rises gently to the axis, which has discs and mouldings between jar-shaped shapes, ending in tubular candlesticks with a mouth that extends outwards in a smooth moulding. Throughout the piece, there are plant decorations in relief with a clear classicist influence, interspersed with medallions of male profiles in grisaille on the upper part and roundels on the base. Likewise, scrolls and plant, geometric and architectural motifs without relief can be seen, in a gold tone. These tondos of the base show a heraldic shield crowned and supported by two quadruped animals, and three-quarter figurative elements, identified with the name of the character represented in Latin. Thus, we see “Cephale”, “Lavrore” and “Adonis”. In Greek mythology, Cephalus was the lover of Eos, goddess of dawn, condemned by Aphrodite to only love mortals. Adonis was the lover of Aphrodite, eternally young and symbolizing death and the annual renewal of vegetation, and whose nature was tied to the calendar. This pair of candlesticks is closely inspired by a candlestick that the Louvre Museum in Paris (where it is preserved, inventory RFML.OA.2022.2.7) considers to have been made in the mid-16th century in Paris or Sèvres (France) and attributed with doubt to the master enameller Julien Robillard (active ca. 1850-1880). The inspiration in models and motifs of the Italian Renaissance is clear.

· Size: 12,5x12,5x15,5 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1328
PORCELAIN CHOCOLATE POT. SÈVRES, FRANCE, 1759-60 MARKED.

Chocolate maker. Enameled porcelain, wood, etc. Sèvres, France, with marks 1759-1760. Enameled porcelain jug with a spout and lid featuring a garland decoration with ribbons and loose flowers on the exterior, a carved wooden handle, and a wooden stick at the top, protruding through the gap in the lid. The base, handle, lid, and top of the jug feature silver-tone metal parts that still retain some gilding (see lid and top, inside). Marks can be clearly seen on the base. According to consulted sources, the intertwined double L with the G inside corresponds to the Sèvres works of 1759 and 1760. The so-called Manufacture nationale de Sèvres, located in the French city of the same name, was founded in 1740 (as the Vicennes Manufactory) with the support of Louis XV and Madame de Pompadour. They moved to Sèvres in 1756 and, around this time, were producing bone china with innovations in background colors and the use of biscuit in small sculptures. Hard porcelain was marketed in Sèvres from 1770. Compare this work with the top of a Louis XVI table in the Metropolitan Museum, New York (ca. 1775–1791; inventory 1975.1.2032), a covered bowl and saucer (écuelle) in this museum (Sèvres, 1764; inventory 50.211.149a, b, .150), a Sèvres jug decorated by François Binet, 1756/57 (Metropolitan, inventory 30.58.8), a pair of square sherds decorated by Charles-Louis Méreaud (1760, Metropolitan Museum, inventory 64.159.2a, b, .3a, b), the Louvre tableware (TH 809–1066) dated to the 18th century and painted by Charles Vandé, etc.

· Size: 21x14x28 cms
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF1441
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WALNUT CHEST WITH WROUGHT IRONWORK, BAROQUE, 17TH CENTURY.

Chest in walnut wood with wrought iron fittings. Baroque, 17th century. Rectangular chest with a flat lid, reinforcing ironwork on the sides and bottom and a key lock, placed on legs with mixed profiles. The lock shield has shapes that correspond to those made in the Baroque, while the type of chest was already used in Gothic and later examples, as well as showing a cross. This type of furniture was used to store all kinds of valuable objects, from brocade or embroidered cloths to books and quality tableware, both in civil and religious settings.

· Size: 157x60x77,5 cms.
ANTIQUES
FURNITURE

Ref.: Z3444
OIL ON CANVAS. ALEJANDRO GOMEZ MARCO

Signed in the lower left corner "GOMEZ MARCO". Alejandro Gomez Marco Born in Madrid. Studied at the National School of Graphic Arts and the School of Fine Arts of San Fernando. In 1968 he received a scholarship from the Institute of International Education to visit the United States, where he lived for several years. He represented Spain at the International Congress of Artistic Education in New York in 1970. Professor of Art at Jersey City State College and lecturer in Spanish at the Metropolitan Museum of Art in New York. Numerous solo exhibitions since 1964. He also participated in numerous international exhibitions since 1965: Alexandria Biennial, Paris Biennial, Krakow Engraving Triennial in Poland, Ljubljana Biennial, former Yugoslavia, etc. Painting and drawing awards: Provincial Council of Ciudad Real, Francisco Alcantara (Circle of Fine Arts, Granada City Council, Engraving Hall of the General Directorate of Fine Arts, Bronze Medal of the City of Bordeaux, and many others. He is an Associate Professor at the Faculty of Fine Arts of the Complutense University in the subject of Printing Techniques II and Planographic Techniques from 1988 to 2007, the year of his retirement.

· Size: 114x150 cms.
ANTIQUES
PAINTINGS

Ref.: Z3546