ANTIQUES

DECORATION

DECORATIVE ANTIQUES

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

Italian-style bargueño, 18th century. Tortoiseshell, wood and gilt bronze. A display desk made of wood, with a projecting central section featuring a double niche of architectural composition. Each side has five drawers with tortoiseshell fronts and an elaborate gilt bronze lock shield (two facing rampant lions, set upon a garland, with a crowned shield between them containing the keyhole). The center of the front has two levels: the lower level features four columns with entasis, two on each side, joined by an entablature and a dark wood finial, and a series of gilt metal elements in the center, among which, sheltered under a semicircular arch, stands out the figure of Hercules fighting Cacus (the giant who terrorized the Palatine Hill before the founding of Rome); the upper level features moldings forming recesses, with a prominent heraldic shield in the center, all enhanced with volutes towards the sides, and various gilt metal elements of classical inspiration. The overall design of the furniture follows a model that was widespread and highly valued in 17th-century Europe, of which the best examples have generally been those of Italian manufacture, and which continued into the 18th century without breaking the compositional clarity that it displays in this front panel, but changing slight decorative details and elements in the area of the central chapel, above all. The practice of using tortoiseshell in furniture resurfaced in Europe during the 17th century. The high price and demand for furniture made with sea turtle shells can be explained by the scarcity of the material, which had to be imported (usually from Central America), and the fact that its production required highly skilled labor. As is typical for this type of furniture, also called "paper cabinets" because they contained important documents, tortoiseshell inlays were often adorned with gilded metal decorations, with bronze being a common material for this purpose.

· Size: 69x137x160 cms.
ANTIQUES
FURNITURE

Ref.: Z6811
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PAIR OF GILTWOOD MIRRORS. ROCOCO, 18TH CENTURY.

Pair of cornucopias. Carved and gilded wood and porcelain. 18th century. A pair of mirrored cornucopias, virtually identical (except for details on the leaves of the frames), made of carved and gilded wood. Inside, the main mirror features moldings that depict curves and straight lines, scrolls, and other elements. The elaborate decoration of the wall mirrors begins with grotesques at the bottom, from which vegetal motifs emerge and extend, accompanied by hangings, upwards along the sides, with openwork details. Above, the crests feature circular spaces, flanked by birds perched with partially outstretched wings, and surrounded by elaborate frames that, like the rest of the pieces, incorporate architectural elements (volutes, plain oval mirrors, etc.), vegetal motifs, and forms reminiscent of Rococo rockwork. Clearly, these examples fall within the Rococo style, even considering the slight asymmetry in their decorative motifs and the subtle differences between the two examples. Similarities can be found in the design of these cornucopias with various engravings and works by Matthias Lock (London, ca. 1710–ca. 1765). Compare them with engravings from "A New Book of Ornaments with Twelve Leaves Consisting of Chimneys, Sconces, Tables, Spandle Panels, Spring Clock Cases, Stands, a Chandelier and Girandole, etc." (Henry Copland and Matthias Lock; London, 1752), with examples held in the Metropolitan Museum of Art in New York, drawings in the Victoria & Albert Museum in London, and so on. Matthias Lock was the first to publish Rococo designs in England, and is also considered the first to master the Rococo style and incorporate it into his work and designs. Little else is known about his life: he was a student of Thomas Chippendale and Adams, perhaps worked with Henry Copeland, and his work evolved from the most elaborate Rococo to the most harmonious Classicism. The small porcelain plates at the top depict a pheasant perched on a rock amidst chrysanthemums and other flowers, a common composition for this type of object. Made in China for export to Europe, these pieces were not imbued with any particular symbolism (the golden pheasant was a symbol of the Emperor, and the one on this plate lacks 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 renowned Blue and White pieces so highly valued that they even inspired local ceramics in various kingdoms. As for the so-called "Rose Family," named for the predominance of this color in its glaze, it originated with the introduction of pink to China in the early 18th century by the Jesuits and continued in production until the 19th century. Furthermore, it became so highly valued that it occasionally surpassed the Green Family in European courts, with works from the reigns of the Yongzheng (1678-1735) and Qianlong (1711-1799) Emperors being the most abundant and highly prized for their exceptional quality. Stylistically, these two plates set in mirrors are very similar to works from the Pink Family produced at the end of the Yongzheng Emperor's reign or the beginning of the Qianlong Emperor's in Kingdezhen (Jiangxi, Republic of China) around 1735. In fact, there are some plates in private collections depicting pheasants in the same pose and mounted on a stone virtually identical to that of these two examples. Note that the decorated rim of these plates, almost entirely hidden by the gilded wood, is still visible.

· Size: 100x68x12 cms.
ANTIQUES
FURNITURE

Ref.: Z6638
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SAINT HUBERT OR SAINT EUSTACE. GOLDEN AND POLYCHROMED WOOD. SPANISH S...

Possibly Saint Hubert or Saint Eustace. Carved, polychromed, and gilded wood. Spanish school, 16th century. Polychrome and gilded wood carving, simply roughed out on the back, showing a richly dressed young horseman, wearing a flat hat, and with a falcon on his right arm, his hand covered with a glove. Iconographically, it could be a secular sculpture, perhaps of a nobleman hunting, given that it lacks a halo and there are no other identifying features. However, it could also be a saint. In that case, it might be Saint Eustace of Rome, a Roman general martyred in the Italian capital during the persecutions of Emperor Hadrian in 118 AD. He converted when, while out hunting, he saw a stag with a crucifix between its antlers, illuminated by a bright light, and heard a voice warning him. This vision also appears in the lives of Saint Felix of Valois (canonized in 1666), who had it while walking, and Saint Hubert of Liège (a Merovingian nobleman who took up hunting after his wife died, and had the aforementioned vision while hunting on Good Friday, with a voice that told him, "Hubert, if you do not return to the Lord and lead a holy life, you will go to hell," and instructed him to seek out Lambert, Bishop of Maastricht. Hubert converted, renounced his office, and gave his wealth to the poor). Saint Hubert died in Tervuren, Brabant, and his remains ended up in Andain Abbey, in the present-day town of Saint-Hubert, but were lost in the 16th century (until then, the abbey was a very important center of pilgrimage). The importance of this saint was increased by several Military Orders that took his name in the 15th century; moreover, Philip IV of Spain considered him a patron. Normally, these saints (Saint Eustace and Saint Hubert) appear accompanied by a stag with the cross or a Crucifix between its antlers, as this is the most significant moment in their lives. However, when more space was available or when their stories spanned several periods, it was not uncommon to depict them with a horse: the portal of the Chapel of Saint Hubert in Amboise (a chapel built between 1491 and 1496) shows the saint beside a horse and kneeling before the stag; two works are held in the Metropolitan Museum of Art in New York: a French relief from the early 16th century with the saint on horseback (inventory 25.120.284) and a half-bead from the early 16th century in the Netherlands, also showing the saint mounted. Representations of Saint Eustace are less numerous, in principle. Stylistically, the work does not show much Hispano-Flemish influence (although the saint was very popular in Northern Europe). Furthermore, compare the attire: the hat is similar to the one worn by the portrait of John Calvin in the engraving attributed to Hans Holbein the Younger (ca. 1497-1543).

· Size: 64x20x77 cms
ANTIQUES
SCULPTURE

Ref.: ZF0950
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FOUR GEORGE III SAUCE BOATS SET. SILVER. HENRY CHAWNER, 1790.

Set of four Jorge III sauce boats. Silver. Henry Chawner (act. 1786-1796), 1790. Each saucer has an oval base with fine moldings that are repeated along the rim, visually extending into the curved lines of the two handles, and on the vase-shaped finial of the lid. There are few other decorative elements on the pieces, apart from those already mentioned and a series of engraved motifs on the lids (bull heads with necks) and on the front of the saucers. In this area, a Latin motto (“Fide et amore,” “fidelity and love”) appears beneath a heraldic shield on each saucer (three bull heads, two above and one below, separated by a chevron; two rampant lions flanking a diagonal band on the escutcheon). The lines and elegance of the pieces are typical of the George III style. The heraldry is very reminiscent of that of the Boleyn family, descended from Anne Boleyn. The motto likely refers to a game commissioned for a wedding. In 1790, William Bullen and Mary Collins married in the Irish branch of the family, although this was not the only wedding that year (Henry Bullen and Margaret Tarrent married in the Diocese of Cloyne, for example). The hallmarks provide numerous details about the pieces. The passant lion places the piece in London, while the two initials refer to Henry Chawner; the lowercase letter indicates the exact year; the leopard's head certifies the quality of the material. The silversmith, still in operation, called Edward Barnard & Sons Ltd., has a number of predecessors: it was founded by Anthony Nelme around 1680, and, after a succession of master silversmiths, the business was improved by Henry Chawner in 1786, master of the family successor then running the business (Edward Barnard I), who continued the tradition. He was active between 1786 and 1796, and this master's surname remained linked to the firm until the end of the 18th century through several of his relatives. His works are currently held in private collections, primarily in England and America, but also in prominent institutions such as the George Washington's Mount Vernon Museum (Virginia, USA), which owns a Henry Chawner inkwell belonging to George Washington, Scoteney Castle in Kent, the Victoria & Albert Museum in London, the Portland Art Museum, etc. Weight: 2110 grams.

· Size: 14x10x23 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6774
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”SECRETER “Á ABATTANT”. GILT BRONCE, MARQUETRY, PORCELAIN, CLOTH, MARB...

Drop-leaf secretary desk. Fine woods, marquetry, interior with drawers in rosewood and textile, gilt bronze and enameled porcelain; marble top. Signed HYPPOLYTE-EDME PRETOT (Paris, 1812-1855). 19th century. A secretary desk with a light veined marble top and a rectangular base, featuring curved edges and rounded corners highlighted with diamond marquetry and gilt metal appliqués reminiscent of classical architecture. The sides display a diamond-patterned featherwork decoration in the central wood section, separated by two gilt bronze moldings that extend along the three fronts; the same compositional scheme is repeated on the top. The front panel is the focal point of the decoration: a composition framed by featherwork of flowers and vegetal elements in delicate marquetry for each drawer, which, on the small door, is highlighted by a bronze molding and accompanied by an enameled porcelain plaque. This plaque depicts two cupids against a celestial background, framed in the same metal. Opening this small door reveals a small writing desk with a fabric-covered top and four drawers flanking a central compartment, positioned beneath another rectangular space. The corners of the furniture also feature classicist dolphins and grotesque figures of children with the lower half of their bodies transformed into plant elements and volutes. The piece of furniture bears a signature linked to Hippolyte-Edme Pretot, a Parisian cabinetmaker who established himself on Rue de l'Abbaye in 1836, moved to Rue Saint-Germain in 1841, and, from 1846, to Rue de Harlay. He displayed some of his finest work at the French National Exhibition of 1849 and won a medal at the Great Exhibition in London in 1851. This example can be compared to the lines of a Napoleon III cabinet in pietra dura, ebonized wood, and gilt bronze, dated to around 1850 and held in a private collection. Similarities can also be seen by comparing the bronze elements of both pieces. Some works by the master, or attributed to him, can be viewed at the Dayton Art Institute (United States), the Musée des Arts Décoratifs in Paris, the Embassy of Luxembourg in The Hague, the Spanish National Heritage collection, and elsewhere.

· Size: 80x44x109 cms.
ANTIQUES
FURNITURE

Ref.: Z6849
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LOUIS XVI STYLE DRESSER. GUÉRET FRÈRES, PARIS, FRANCE, 19TH CENTURY.

Louis XVI style dressing table. Woods, etc. Guéret Frères, Paris, France, 19th century. Marks on the back (stamp). A dressing table with a mirror topped by a crest and two gilt bronze pineapples, flanked by two shelves on each side with railings, features a veined marble top (also present on the shelves) and a front with three drawers in the upper section, two central doors (containing shelves inside pull-out wooden trays), and four small lockable drawers flanking them. On either side of this lower section are two columns with a strong classical influence, enhanced with gilt bronze elements. The piece stands on four legs. The back displays prints related to the manufacturer. The Louis XVI style is considered in France to be a movement within Neoclassicism, spanning from around 1760 to approximately 1789 (although works inspired by it continued into the 19th century), and was succeeded by the Directoire style. It is characterized by its influences from Ancient Rome and Enlightenment thought. The firm known as Guéret Frères (Denis-Désiré and Onésime) was established in Paris around 1853 and, from 1867, was known as Guéret Jeune et Cie., active until the 1880s. They exhibited their work at the International Exhibitions of 1855 (First Class Medal), 1867, and 1878, specializing in Louis XV and XVI style furniture, but also producing works inspired by other antique styles. Their pieces are held in the Victoria and Albert Museum in London, the Musée d'Orsay in Paris, the San Francisco Museum of Fine Arts (USA), and other institutions.

· Size: 140x55,5x219 cms.
ANTIQUES
FURNITURE

Ref.: ZF1261
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CHILD JESUS SAVIOUR OF THE WORLD, HISPANO-PHILIPPINE. IVORY. 17TH CENT...

Infant Jesus of the Globe. Ivory. Hispano-Philippine School, 17th century. The Christ Child, carved from polychrome ivory in certain areas, rests on a carved and gilded wooden base. The base features pronounced curves and movement, and a carefully crafted decoration of plant motifs. Iconographically, this figure of the Christ Child standing, holding the Orb of Creation in one hand and blessing with the other, is known as the "Child with the Orb," and it has a strong connection to the Salvator Mundi, known from paintings such as Leonardo da Vinci's, but already quite common by the end of the European Middle Ages (the adult Salvator Mundi appeared in Northern Europe in the second half of the 14th century). This particular piece reflects the popularization of numerous iconographies of the Christ Child during the Baroque period. Nudity is common in this type of sculpture, as these works were intended to be clothed and adorned with velvets, silks, embroidery, silver, and so on. Aesthetically, it is related to examples of the 17th-century Spanish Baroque school. Note the hairstyle, which has a slight resemblance to the works of Martínez Montañés, to name one. Compare, for example, with the Children preserved in the "Ivory Room" of the Museum of Mexican History in Monterrey (Nuevo León, Mexico), or with the 17th-century Filipino ivory Child Jesus in the Museum of the Americas in Madrid, or the 18th-century Hispano-Filipino Child Jesus from the Patricia Phelps de Cisneros Collection, housed in the Middlebury College Museum of Art (Vermont, United States). Religious carvings made of ivory were doubly valued for the prestige and richness of the material and for their subject matter in an era like the Baroque, which, like all periods, was focused on the defense of Catholicism in some areas and eager to display power and influence. In this particular case, the "exotic" factor must also be considered, as it is a Hispano-Philippine piece: alongside the Peninsular influence, the "touch" of Filipino artists (Chinese settlers on the islands, local artists, etc.) can be seen in these works, with their somewhat slanted eyes, prominent eyelids, and other features. While these sculptures were sometimes commissioned for private chapels of the upper classes of the time, they have frequently been preserved in important religious centers, where they have been found as donations. It has CITES certification. Valid for the European Union.

· Size: 11x11x29 cms. Altura niño 20 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0601
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MANTLE CLOCK, MERCURY OR HERMES. BRONZE. PARIS, FRANCE, 19TH CENTURY.

Table clock, Mercury/Hermes. Bronze, metal. Paris, France, circa 1825. In working order. Movement with engraving (signature). Table clock with a bronze case, combining a gilt finish (base, caduceus, rooster) and a dark-toned gunmetal finish. The pedestal has four legs (with claw-like ends and decorated with classical elements) supporting a smooth rectangular area, which leads to a smaller area with a garland of architectural palmettes in slight relief. This second area features relief decoration resembling a panoply (lyre with tortoiseshell, ribbons, ivy, staff, etc.). Above this is a gunmetal bronze male figure, seated sideways on a tree trunk on which the dial (metal, Roman numerals for the hours) is mounted, framed by a snake. A gilt rooster appears beside it. This semi-nude youth is Hermes or Mercury, a deity of classical mythology associated with commerce, communication, and so on, and often depicted carrying a caduceus (in his hand, made of gilded bronze) and wearing wings on a helmet or hat of a particular shape (note their presence on one foot as well). The rooster was one of the animals that frequently accompanied Mercury. Several cases very similar to that of the present clock are known: two by Louis-Sanislas Lenoir-Ravrio (one with a blued figure and marble base in the Musée de l'Horlogerie in Geneva; another with a gilt bronze figure in the Royal Pavilion in Brighton, England); one dated around 1825 and attributed to the same master (blued figure but the tree trunk of the dial and other details in gilt bronze; pedestal in a similar composition to the present one) in a private collection; another unattributed case in the "bureau du directeur" (General Inventory of the Cultural Heritage of the City of Lyon, France), dated with some uncertainty to the third quarter of the 19th century, which is very similar to this one. The Paris movement of the clock has two joined initials engraved on one side and a name in capital letters above the text "à Paris" on the other, referring to the clockmaker responsible for it. Similar model sold at Sotheby's auction 06.07.2011 lot 96. Weight: 21 kg.

· Size: 43x16x62 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF0949
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OIL ON COPPER. \'THE VIRGIN\'S ASCENSION\'. CIRCLE FRANS VAN DE KASTEE...

Circle of VAN DE KASTEELE, Frans (Brussels, c. 1541 – Italy, 1621). “Virgin with angels and saints.” Oil on copper. Ebony curled frame. This painting is devotional in nature, judging by its small size, its subject matter, and the fact that it is an oil painting on copper. Therefore, it was likely intended for an altar or private chapel. It features a large central burst of glory, framed by clusters of clouds from which cherub heads emerge, with the figure of the Virgin Mary at the center, carried by child angels. She wears a tunic of intense pink, with a violet undergarment (of which only the sleeves are visible), a blue mantle (a symbol of truth and eternity), and a white veil over her head, alluding to the concept of purity. Mary appears in a dynamic, typically Baroque, rotating pose, with one hand extended towards the ground, the other on her chest, and her head slightly turned, her eyes directed towards heaven. At his feet, four figures are set against a landscape enclosed on both sides and open in the center, revealing a city in the distance, shrouded in mist and tinged with blue by the distance. The composition is balanced, symmetrical, and ordered, typical of the Classical Baroque. From left to right, they represent Saint James the Greater, Saint John, Saint Francis, and Saint Maurice. All are depicted on a large scale, with particular attention paid to their anatomy and drapery, rendered in chiaroscuro folds characteristic of the Baroque style. Saint James wears a cloak adorned with a scallop shell on his shoulder and carries a pilgrim's staff and hat. Saint John wears the sheepskin typical of his iconography, a red cloak alluding to his Passion, and carries the cruciform banner and his Gospel in his hand. At his feet is the lamb that often accompanies him in artistic representations, a symbol of Christ and his sacrifice. On the right, we see Saint Francis in a brown habit, tied with the Franciscan cord, raising his gaze toward Mary and crossing his hands over his chest, displaying his stigmata and carrying a wooden crucifix. Finally, beside him, we see Saint Maurice, wearing a breastplate and cloak, carrying the palm of martyrdom. The blue and pink tones of his attire are in harmony with the colors of the Virgin's garments, as is Saint James's violet cloak—a device by which the painter balances the composition, unifying both planes and establishing a typically classical, balanced, and symmetrical pyramidal structure. Based on its formal characteristics, we can relate this work to the influence of Frans Van de Kasteele, known as Francesco da Castello, a Flemish painter who settled in Rome during the pontificate of Gregory XIII (1572-85). He is documented as a member of the Academy of Saint Luke as early as 1577, and in 1588 he was appointed consul. To this day, nothing is known of his training in the Low Countries or of his early works. A miniature on parchment, signed by the artist and dated 1584, depicting the Adoration of the Magi, exists in a private Viennese collection. A contract from 1588 is also known, commissioning him to produce six paintings on canvas and five miniatures on copper with religious themes. Although based in Rome, Kasteele maintained close ties with the Low Countries, especially with the humanists Philips van Winghe, Abraham Ortelius, and Henricus Corvinus. In Rome, he was respected and recognized, a member of the Pantheon and the Academy of the Virtuosi, as well as the Academy of Saint Luke. Although he also worked in easel painting, he was primarily known for small-format works, illuminations, and miniatures. Many of his works were sent to Spain, and he had a large following there.

· Size: 33x3x40 cms. int. 24x32 cms
ANTIQUES
PAINTINGS

Ref.: Z5099
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BRONZE SCULPTURE WITH CLOCK. BRONZE, STONE. COUPIER FILA Y PROVART. PA...

Clock with sculpture. Bronze, stone. Coupier Fila and Provart, Paris, France, towards the end of the 19th century. A bronze sculpture depicting a child seated on a rock formation, raising one bare foot directly above a crab with its claw raised. It features a carved stone and gilded bronze base (decorated with classical elements such as ribbons, garlands, etc.) on which sits a wind-up clock with a white dial and Roman numerals for the hours in blue, and Arabic numerals in black every five units for the minutes. The inscription "Coupier Fila and Provart/ to Paris/ 100 Rue Amelot" is also visible. Coupier Fila et Provart was a firm dedicated to the manufacture of clocks and bronze objects (sculptures, wall sconces, etc.) located in Paris towards the end of the 19th century. The Paris-style movement of the piece bears a stamp on the bronze that reads “medaille de bronze / J. Marti et Cie.,” referring to another well-known watchmaking firm active in Paris (France) in the second half of the 19th century. The name “August Moreau,” who inspired the sculpture, is engraved on the rock formation where the child sits. Auguste Moreau (Paris, 1834–?, 1917) was born in Paris, the son of Jean-Baptiste Moreau, also a sculptor, painter, and draftsman, with whom he began his training. He furthered his studies at the École des Beaux-Arts, the school that produced famous artists such as Henri Matisse and the sculptor Georges Gimel. His works were first exhibited in 1861, and he soon became a renowned artist. He developed a distinctive style of filigree figures, highly detailed figurines and busts. Weight: 50.3 kg.

· Size: 35x37x92 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1434
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AN ARCHITECTURAL CAPRICCIO OF ROMAN RUINS. OIL ON CANVAS. ATT TO GINER...

Landscape with Classical Ruins. Oil on canvas. Attributed to Giner, Vicente (ca. 1636–1681). Relining. A landscape with rocks and buildings in the background, featuring, in the foreground, buildings with a distinctly classicist feel, accompanied by two female sculptures on pedestals. At the foot of this building, a group of people, dressed in classical attire (women, children, and a soldier with a spear), are situated. Vicente Giner, a canon and artist originally from Castellón, is documented working in Rome during the last quarter of the 17th century (until his death there in 1681). He is documented there, along with others, petitioning Charles II to establish an Academy of Spanish artists in the city. Experts consider him a collaborator and distinguished follower of Viviano Codazzi (in whose studio he worked in the 1670s, possibly having come from that of Cornelius de Wael). He painted perspective views of classicist temples and palaces, usually accompanied by representations of popular themes, in which the figures (small in number) are merely anecdotal elements compared to these architectural elements. Several of his works are held in private collections and institutions, such as the Museum of Fine Arts in Valencia, the Bank of Spain Collection (Madrid), and the National Trust (Scotland), among others.

· Size: 76x3x91 cms. int 71x87 cms.
ANTIQUES
PAINTINGS

Ref.: ZF0795
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PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Rectangular tabletop with marbles and hard stones. Inspired by Italian models from the 16th and 17th centuries. The vein of a particular stone has been highlighted by placing it in the center and surrounding it with a necklace of round and rhomboid beads. Around it, a decoration of vegetal scrolls with flowers, clearly inspired by classical art, stands out. To complete the composition, without detracting from the central area, the outer band displays a series of empty mirrors within cartouches reminiscent of those used during the Renaissance. The technique is very similar to marquetry, but it uses marbles and hard stones (over 7 on the Mohs scale) to create these designs. Desks, boards, and other objects were crafted using this "hard stone work." Lapis lazuli was typically used with a Belgian marble background, often accompanied by jade, chalcedony, and other stones. The high cost of the materials and skilled labor made these works of art so expensive that they were only commissioned by the leading houses and courts of the time, which is why today they are only preserved in prominent private collections and major museums. Piero de' Medici and Lorenzo the Magnificent began to support a series of projects in Florence to revive, with thematic and technical modifications, the Roman mosaic technique known as "opus sectile." It was during this period that the greatest decorative variety emerged, because, from around 1600 onward, naturalistic motifs came to predominate. Over the years, birds, parrots, interlacing patterns, pearls, and other elements were added. The work with hard stones was so successful that, from the 17th century onward, a number of workshops were established in Europe to continue this tradition, most notably the Gobelins Manufactory in France, the Royal Workshop of Naples, and the El Retiro Palace in Madrid. Compare this table with other masterpieces: the “Duke of Osuna Table” (O00501) made in 1614 and kept in the Prado Museum in Madrid has an outer band that is reminiscent of this one; the “Farnese Table” in the Metropolitan Museum of New York (58.57 ad) also stands out for the veining of the stone in its central area; and some kept in the Opificio delle Pietre Dure Museum in Florence.

· Size: 180x120 cms.
DECORATION
HARDS STONES

Ref.: AWRT229 ...
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SPANISH DESK (BARGUEÑO). WOOD, METAL. 17TH CENTURY.

Bargueño or writing desk with a bridge base. Wood, metal. Spanish school, 17th century. It needs some restoration. A covered writing desk or wastepaper basket, placed on a support of the type known as a "bridge foot" due to its shape, made of carved wood and decorated with reliefs of architectural and vegetal elements of classical influence, vases, spherical finials, and twisted columns (two larger ones on either side of the bridge and two more flanking each of them, these combining fluted columns at the top with twisted elements at the bottom). On the exterior, the wastepaper basket is decorated with cut-out metal appliqués (with simplified geometric and vegetal elements) placed on fabric, with handles, shell-shaped nails, knobs, etc., and a lock in the center with architectural elements clearly reminiscent of the Baroque style. Opening the front reveals the display, with three levels and several streets (which do not correspond between these heights), with drawers with shell-shaped knobs and simple panels, and others with columns and metal knobs of the same shape, and chapels with architectural motifs on the front, combining gilded elements with polychrome motifs. These pieces of furniture are among the most common and highly regarded types from the 17th-century Castilian school, and their influence remained strong well into the 20th century. Exterior decorations and the arrangement of drawers and interior niches varied. The distinctive character of the Spanish style was so strong in the 17th century that it prevented the penetration of foreign influences, especially from France, due to the unfavorable diplomatic situation at the time. This resulted in a significant influence on the rest of Europe, where French models largely prevailed. The 17th century was a period of decline in Spain, and this was particularly evident in furniture. Pieces were not as luxurious as those in other countries, a fact also determined by the edicts against luxury issued by the monarchs. However, Spanish furniture of the Baroque period exhibits considerable quality, a strong personality, and, above all, great interest in terms of typology and the pursuit of functionality over decoration. It is also worth noting the increased appreciation of furniture compared to the previous century. Taking into account the inventories of goods, important changes can be seen, with furniture becoming, in the time of Charles II, even more expensive than tapestries.

· Size: 97x46x145 cms.
ANTIQUES
FURNITURE

Ref.: ZF1389
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BRONZE MANTLE CLOCK, CUPID WITH ROOSTER. BRONZE, MARBLE. POSSIBLY FRAN...

Mantel clock. Gilt and blued bronze, marble base. Possibly France, late 19th century. In operation. A working Parisian table clock with a rectangular light marble base, its front slightly projecting to accommodate the clock case. The clock face is white, with Louis XVI-style hands and Roman numerals for the hours and Arabic numerals in five-minute increments. This case rests on a gilded marble pedestal, which features a Greek key pattern resembling waves, a laurel wreath, and flanked by books, an overturned vase of flowers, and an arch. Above the base are vegetal motifs and a ribbon. A gilded bronze rooster sits atop the pedestal, and a burnished bronze cupid (note the bow, suggesting a connection to Cupid, the god of love) or cherub grasps the rooster, creating a striking contrast. A few similar examples are known in European private collections, as this was a highly prized model, and French workshops specializing in such pieces created variations for watchmakers upon request. There is also another model, without the rooster and with the reclining angel, very similar to the present one, of which porcelain examples made in Meissen are also known.

· Size: 35x15x40 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1036
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SPANISH CHEST OF DRAWERS FOR SACRISTY-USE. WALNUT AND IRON. SPAIN, 17T...

Walnut wood sacristy chest of drawers with carved decoration. Spain, 17th century. A cabinet with three very deep drawers, the bottom one being taller, mounted on rectangular legs and with a straight, slightly protruding wooden top. Each drawer has two wrought iron handles. The sides are decorated with simple rectangular panels of molding, while the drawers are carved in relief: the upper one with tendrils, vines, and leaves; the central one with fleshy vegetal scrolls; the lower one with three plaques, the side 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 attached to two keys. It is these carvings, along with the depth of the drawers, the horizontality of the composition and lines, and the straight top, that suggest the use of the piece in a sacristy for the proper storage of liturgical vestments and, furthermore, indicate that it may have been commissioned by a Franciscan institution (note the typical cord with knots) dedicated to Saint Peter (as indicated by the two keys in the corners). Although it lacks the typical 16th-century back paneling, it does feature a front with three-dimensional carvings, typical of the 17th century, and decorative elements characteristic of the Baroque period, as well as certain remnants of earlier furniture (panels in the lower section). The carving and the quality of the panel assembly (note the tongue-and-groove joints at the corners) indicate that these were important works, intended for religious settings. The panels on the sides are reminiscent of those on the central chest of drawers in the anteroom of the sacristy of Ávila Cathedral. As in the one in the sacristy of Murcia Cathedral, it is the fronts that feature carvings in this example, which are reminiscent of others such as those on the refectory table in the collection of the Marquis of Santo Domingo (Madrid). However, simpler fronts are more common, 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 former Convent of San Francisco in Havana (Cuba).

· Size: 175x105x112 cms.
ANTIQUES
FURNITURE

Ref.: Z5454
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”SAINT BARTHOLOMEW’S MARTYRDOM”. PAINTING ON VELLUM. AFTER MODELS FROM...

“Martyrdom of Saint Bartholomew”. Painting on vellum. After a model by Ribera and Cucó, José (Játiva, 1591 – Naples, 1652). The composition is organized around the diagonal line formed by the tree trunk to which the old man is tied. The soldier on the right is flaying him, while another figure on the left balances and harmonizes the painting. This is how Bartholomew the Apostle was martyred: according to tradition, the Armenian king Astyages ordered him to worship his idols, which he refused to do, and had him flayed alive. Virtually all the elements of the work can be linked to the Italian school, while the composition follows common models of the 17th-century Baroque. The coloring shows the work to be far removed from the Caravaggesque tenebrism that was common at the time, and it also lacks contrasts of light, instead recalling works more in line with the classicist Baroque or even earlier Mannerism. José de Ribera y Cucó was a painter and engraver born in Spain who spent his entire career in Italy, where he was known as Giuseppe Ribera and by the nickname "Lo Spagnoletto." His style evolved from the tenebrism of Caravaggio towards a much more luminous aesthetic influenced by figures such as Van Dyck, and he contributed greatly to the creation of the Neapolitan school (which included Giovanni Lanfranco, Luca Guiordano, and others). He was born in Játiva, and it is possible that he apprenticed with Francisco Ribalta. As a teenager, he traveled to northern Italy (Cremona, Milan, Parma), and then to Rome, where he came into contact with classical works (Reni and Ludovico Carracci). He eventually settled in Naples. His work is held in important private collections around the world, as well as in institutions such as the Prado Museum and the Royal Academy of Fine Arts of San Fernando in Madrid, the Capodimonte Museum in Naples, the Louvre in Paris, and others. The work is reminiscent of an oil on canvas painted by José de Ribera between 1617 and 1619 for Pedro Téllez Girón III, Duke of Osuna and Viceroy of Naples at that time, now housed in the Museum of Sacred Art of Osuna in Seville (the former Collegiate Church of Osuna). It was part of a group of five paintings (Saint Sebastian, Saint Peter Penitent, Saint Jerome, the Angel of Judgment, and Calvary, the latter commissioned by the Duchess and completed in 1618) that were already known to be in the Collegiate Church by April 1627. This group is considered one of the most important works from the beginning of Ribera's career. However, it is possible to relate it much more closely to another work with a similar composition: one of the four etchings Ribera produced between 1624 and 1628. The etching of the “Martyrdom of Saint Bartholomew” is signed, dated (1624), and dedicated to Prince Emmanuel Philibert of Savoy, nephew of Philip III and Viceroy of Sicily. In this etching and in the work on vellum, a figure on the left looks at the viewer, holding two rods in his hands; the saint looks upwards, his arms tied above his head, bent, and his legs drawn up, while a man flays him, holding a knife to his mouth. In the vellum, however, the male figures on the right, present in the etching, are absent; the sky is also different. As already noted, the main differences are the color and the lighting, which place this work closer to Baroque classicist currents.

· Size: 10,5x15 cms. / 22x26,5 cms.
ANTIQUES
PAINTINGS

Ref.: Z6742
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TAPESTRY. POSSIBLY AUBUSSON, FRANCE, 18TH CENTURY.

Tapestry. Wool, silk. Possibly Aubusson, France, 18th century. It has been restored. No signature or noticeable marks. An antique tapestry with a frame in ochre, red, and other tones, featuring vegetal and architectural elements clearly reminiscent of classical art, and a figurative scene in the center. With three trees (note the pair of birds perched on one of them) and numerous plants in the foreground, a hunting scene unfolds, depicting a hare and two dogs in pursuit. In the background, a landscape unfolds with a bridge and several buildings (houses, etc.), among which a palatial residence stands out in the center, its lower section finished in rusticated stonework, reminiscent of common examples throughout Europe. Despite lacking a signature or marks to attest to its provenance, it is very similar to examples held in private collections from Aubusson (Limousin, France) and dating from the 18th century. Aubusson tapestries are those made using traditional, artisanal methods in the town of Aubusson and other locations in the Creuse region of France. Their long history begins with the "vegetarian" tapestries already being produced in the 15th century, continues through the Royal Aubusson Tapestry Factory (1665), and, after periods of decline, culminates in a revival thanks to Jean Lurçat (1939). In addition to tapestries for wall decoration, they also produced furniture upholstery and carpets of exceptional quality. Notable examples are held by institutions such as the Louvre Museum in Paris, the Château de Val, the Metropolitan Museum of Art, the National Museum in Warsaw, the Musée Nissim de Camondo (Paris), and others. Between the 16th and 18th centuries, "MR Daubusson" was placed on the blue edge to identify the manufacture, often accompanied by the name or initials of the workshop that made the work (sometimes this signature has been lost due to damage to this edge). In this tradition, hunting scenes appear in works dating back to the 16th century, featuring unicorns, wolves, wild boars, and other animals. Production was very abundant, given the popularity and success of tapestries throughout Europe. These chases would typically be set in natural environments, such as those depicting "vegetables."

· Size: 475x297 cms.
ANTIQUES
FURNITURE

Ref.: ZF1446
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SILVER INKSTAND, MADRID, 1779.

Writing set in turned, cast and chased silver, Madrid, 18th century (1779). Contrasting markings on the edge of the tray, on its underside. Ownership mark “AL”. A tray with curved edges rests on four legs shaped like plant elements. Attached to it are the four containers that make up the writing set. These, and the bell, feature magnificent decoration of flat, turned gadroons on their body, base, and lid. It consists of a tray, a sand tray or duster (for drying the ink) with a bell (to summon the servant or the person responsible for delivering the written message), and three inkwells or dusters with lids, all attached to the tray by through screws. The profiles of the tray correspond to works from the Charles III period and style, while the small jugs still show some of the movement that characterized the Rococo, already introducing the clean lines characteristic of Neoclassicism. In the second half of the 18th century, with the accession of Charles III to the throne, Italian influences reached silversmithing once master craftsmen from that country had established themselves, either as silversmiths or, in many cases, also as bronze workers. Towards the end of the century, a shift away from Rococo forms towards the Neoclassical style is also evident, the distinctive features of which can be seen in this writing set. These scalloped patterns derive from decorations based on ancient Roman art, upon which this second artistic style was based, as do the vegetal motifs. Madrid, as the capital of the kingdom, set the standard in art, and the constant movement of pieces and the relative ease of communication and transmission of drawings and engravings make it difficult to distinguish particular styles and trends in many cases. It is also important to highlight the significant role played by the founding of the School-Workshop by Antonio Martínez in 1778 in improving the quality of silversmithing designs. It features a locality mark, Madrid Corte y Villa 1779, and the name of the artisan. Weight: 1850 gr.

· Size: 31x25Xx14 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6413
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DIANA OF GABII. BRONZE, MARBLE. RAINGO FRÈRES, FRANCE, CIRCA SECOND HA...

Diana of Gabies. Bronze, marble. Raingo Frères, France, circa second half of the 19th century. Signed on the base. A bronze figure on a stone base depicts a lady wearing sandals, adjusting a draped garment (called a chiton), and raising her arms to fasten a brooch. Her wavy hair is gathered high with a ribbon. The inscription “Raingo Fres.” can be seen on the bronze base, indicating the foundry that produced it. The work is inspired by a marble sculpture also known as the Artemis of Gabii, as it may represent this goddess. It was discovered in Gabii (near Rome, Italy) by Gavin Hamilton (Lanarkshire, 1723–Rome, 1798) on land belonging to Prince Borghese, who sold it to Napoleon in 1807. From that moment on, it became part of the collections of the Louvre Museum in Paris (inventory Ma. 529). The original is attributed to Praxiteles (although there is some doubt about this today). Raingo Frères was founded in 1823 by the four sons of the Belgian watchmaker and metalworker Zacharie Raingo (who moved to Paris in 1813): Adolphe, Charles, Denis, and Dorsant. Established as an industrial and commercial enterprise, the company quickly gained renown for its bronze work, in addition to its reputation as a watchmaker. It created pieces for a number of nobles and royalty, including the Duke of Chartres, King George V of England, and Emperor Napoleon III of France. They exhibited their work at the International Exhibitions in Paris in 1867, 1878, and 1889, winning several awards. Works from this house are held in prominent private collections and institutions such as the National Museum of Decorative Arts (Madrid, Spain), the Victoria and Albert Museum (London), and the Royal Collection Trust. Weight: 37 kg.

· Size: 21,6x24,7x86 cms
ANTIQUES
SCULPTURE

Ref.: ZF1385
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CARVED WOOD HELM. 18-19TH CENTURIES

Oriental ship's wheel, late 18th - early 19th century. Carved wood and brass. An oriental ship's wheel of English influence, crafted from brass and finely carved wood. The wheel's finial is sculpted in the round, taking the form of a greyhound's head with stylized features. The greyhound is a typical motif in English decorative arts of the period, but its essential, elongated, and sinuous lines remind us that this is an oriental piece. In fact, the central area of the wheel is entirely carved with the figure of a dragon coiled around the mast. This mythical creature represents the transformative power of nature, the Tao, as well as the concept of yang (masculine), and is associated with the weather as a bringer of rain and water. It is also often used as a national symbol of China, and indeed appeared on the national flag until the end of the Qing dynasty. Here it is depicted with great attention to detail, demonstrating a virtuosity typical of oriental ornamental sculpture: we see each of the dragon's scales, and even the ripples of the water beneath its body, the leaves among which it swims… The lower third of the rudder is almost entirely unadorned, displaying a smooth, slightly curved profile. Its tip is decorated with a simple recessed carving featuring a geometric motif in two planes.

· Size: 10x10x160 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z5907
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LOUIS XV STYLE SIDE TABLE WITH BRONZE AND MARQUETRY WORK.

Louis XV style bedside table with bronze decoration and marquetry. The four cabriole legs are joined at their base by a square shelf with concave edges and decorated with gilt bronze vegetal motifs, as is the table's waist. The round tabletop with straight extensions displays scrolls with leaves and flowers in marquetry. Both the curves of the profile and the bronze details are inspired by examples of the Louis XV style.

· Size: 59x59x77 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E553
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PORCELAIN VASE WITH TWO HANDPAINTED SCENES. AFTER MODELS FROM THE MANU...

Glazed porcelain vase with an interior scene. Inspired by Sèvres models. The interplay of tones between the vase's enamel and the gilded appliqués allows the two scenes on its fronts to take center stage. These depict two interiors of a house belonging to a wealthy bourgeois family, in the style typical of such works in the early 19th century. The classical elements that decorate the piece link it to works from the same century by the Manufacture Nationale de Sèvres (France).

· Size: 30x25x79 cms.
DECORATION
PORCELAIN

Ref.: S2552
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EXTENDING TABLE (6 M). MAHOGANY, METAL, ETC. ENGLAND, CIRCA 1930.

Extendable table (6 meters). Mahogany wood, metal, leather, etc. England, circa 1930. Rectangular mahogany wood table carved with rectangles of another material in green (leather) edged in gold on the top, which has eight legs ending in rollers and a "worm screw" system under the tabletop that allows its extension up to six meters thanks to a manual action crank that attaches to one of the shorter sides of the piece. The paw motif is already quite common in 18th-century English examples (a type known as "claw and ball" with a cabriole paw, a form that, although more of a French tradition, spread rapidly throughout Europe). The leading theory among experts is that it is a design derived from Chinese art (a dragon's claw grasping a pearl or similar object) and that it reached the West through the trade of porcelain, silk, etc., first appearing in English silverware and, from there, spreading to other arts. English cabinetmakers are credited with transforming the dragon's claw into a lion's paw, this animal symbolizing English authority. Thus, the "claw and ball" motif was popular in England between approximately 1710 and 1750 (later reappearing as past styles came back into fashion), with variations in shape and lines (shape of the claw, details of the nails and "fingers," proportion between the sphere and the limb, etc.) depending on the region where this decorative element was used. The decoration present towards the waist of the furniture and on the edge of the upper board, in slight relief and leaving the wood in its color, is of architectural and vegetal theme and shows an influence of ancient classical models (Greek and Roman) both in its motifs and in the composition (symmetry in the sides of the furniture, harmony, etc.). Regarding the fabric upholstery on the tabletop, this is more common on conference tables, desks, or gaming tables than on dining tables (which typically have wooden tops), although this detail doesn't preclude any function for the latter. It's also worth noting the preservation of the leg casters, an element that was often removed or lost with use and the passage of time. 428x160x86 cm. Extended 700x160x86 cm Height to ball 75 cm.
ANTIQUES
FURNITURE

Ref.: Z5694
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PAIR OF POLYCHROMED WOODEN SCULPTURES. “SAINTS APOSTLES JOHN AND PAUL”...

Pair of polychrome wooden sculptures. “Saint John and Saint Paul”. Castilian school, 16th century. Both male figures are depicted standing, with their principal iconographic attributes and dressed in the timeless robes that the period reserved for sacred individuals. The younger man holds a chalice in his hand, from which a serpent emerges, and an eagle at his feet; the bearded man presents a sword, the hilt of which is visible. The first is Saint John, with the eagle of the Tetramorph alluding to his Gospel, and the chalice related to the episode in Jacobus de Voragine's Golden Legend in which Emperor Domitian tried to kill him with poisoned wine, which escaped in the form of a serpent after the evangelist blessed the cup. The second is Saint Paul, with that characteristic appearance that links him to much earlier early Christian works and with the sword of his martyrdom, which also refers to a passage in his Letter to the Ephesians. Stylistically, both devotional sculptures in the round show a marked Italian Renaissance influence in drapery, contrapposto, proportions, and gestures, distancing the works from the other trend of the period, which leaned more towards Flemish models, favoring greater drama. The Gothic style has been left behind, as demonstrated by the naturalness of faces, folds, anatomy, and gestures, after much effort. It was first necessary to accustom the clientele to the new tastes and for artists to learn the technical and aesthetic innovations that the arrival of the Renaissance brought, and it developed at different times and to very different levels depending on the region or the artist. Compare the works, for example, with the Saint John from the circle of Juan Rodríguez in the Simón Díaz Foundation (a work on loan to the Museum of the Fairs in Medina del Campo, Valladolid).

· Size: 26x26x76 cms.
ANTIQUES
SCULPTURE

Ref.: Z3642

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