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WARDROBE. 18TH CENTURY

Wardrobe from the first half of the 18th century. Oak and walnut woods. Wardrobe made of oak and walnut, decorated with profuse carving and moulding. With an architectural structure inspired by contemporary Baroque architecture, it is organised into two rows and three registers, and is finished at the top by a projecting cornice with a central sinuous pediment. The entire structure appears rigorously organised by regular straight lines, which emphasise 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 always adapt to the structure, without ever going beyond it, so that the main lines of the latter are perfectly legible, as well as the relationship of proportion and balance of the parts between themselves and with respect to the whole. Following this idea, we see the front divided into two sections and three registers, and the latter are continued on the sides, with moulded recesses in this case, without the carving visible on the front, although highlighted by the work of volumes and light contrasts, typically baroque, achieved through the simple use of mouldings and steps. In the lower register we see two doors, each with its lock with a shield cut out with a double fleur-de-lis. Its design is organised around a central mixtilinear recess, typically baroque, carved on the inside with a rocaille crest that already tells us about the knowledge of the rococo, although in the furniture, both at a structural and ornamental level, the baroque language still dominates. The perimeter of recesses and projections of this central recess is repeated, with increasingly complex lines, drawn on the basis of mouldings very raised with respect to the background, which provide the contrast and chiaroscuro typical of baroque furniture. Furthermore, the central area is highlighted by very bulging carvings based on vegetal scrolls, scallops and rocaille crests. The middle register, still belonging to the lower body at a visual level, houses two drawers of the same size and design, which combine diamond-pointed recesses with gilded fittings decorated by chiseling. Finally, the upper body also has two doors, like the lower one with its locks, and in fact follows an ornamental scheme similar to that of the lower doors, although more developed and with a vertical design. Here we also see rocailles and vegetalized braces, combined with a profuse molding of dynamic lines, typically baroque. As a finishing touch, under the cornice and in the central area, there appears a stepped motif that is organized around the lines of two sinuous pediments, combined with floral and classical carved motifs.

· Size: 155x76x267 cms.
ANTIQUES
FURNITURE

Ref.: Z0740
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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
PAIR OF MIRRORS. WOOD. SPANISH SCHOOL, 17TH CENTURY.

Pair of mirrors. Carved and polychrome wood. Spanish School, 17th century. Pair of wall mirrors, each with a rectangular frame and a prominent frame made of carved, polychrome, and gilded wood. These elements are arranged symmetrically, divided into two areas: a thin band with leaves on the inside and a wider one on the outside, with scrolls, acanthus leaves, volutes on the outside, protrusions on the sides, a finial at the bottom, and a helmet-shaped crown, more heraldic than royal due to its details. This one has also been decorated with lines of pearls and an elaborate composition based on simplified plant motifs on a dark background, recalling the bluing common on this type of piece when they were made of metal and royal. One of the helmets faces right, the other left. This crest features a neck guard and a single-piece neck guard, a lowered visor ending in a point, a nape of the neck (which would have been used to accommodate a crest or crest), and, despite not having a wreath, its features are what separate it from royal closed helmets, helms, bascinet, and snouts. Compare, for example, with the Italian cuirassier helmet from around 1615–1620 held by the Metropolitan Museum in New York (inventory 2011.80). As for the mirror, it follows a common design for this type of work in the Spanish school during the Baroque period. Considering the differences (size, etc.), it can be compared with the early 18th-century mirror from the Guevara Palace in Lorca (Murcia, Spain). Also worth noting, due to the similar distribution of the decorative elements on the frames, is the 17th-century mirror with an eagle's head frame in the Prado Museum in Madrid (catalog number O000473), a smaller and simpler pair in the Cervantes Birthplace Museum (Alcalá de Henares, Madrid), etc.

· Size: 96x17x138 int 30x42 cms
ANTIQUES
FURNITURE

Ref.: ZF1394
HANNIBAL BARCA ORMOLU BRONZE CLOCK. FRANCE, 19TH CENTURY.

Table clock, Hannibal Barca. Ormolu bronze, metal. France, 19th century. Table clock with Paris movement and a case made of mercury-gilt bronze, featuring a rectangular base on four legs (the front ones decorated with scrolls and ending in claws), decorated with a series of relief moldings depicting plant and architectural elements. The metallic dial (with Roman numerals for the hours) sits within a square shape, on which sits the male figure that decorates the piece. A bearded man, dressed in armor (a loriga or muscled breastplate) and a cape secured over one shoulder with a fibula, rests his left arm on his helmet, holding a rolled-up document, and with his left hand he holds a Roman standard (another appears broken under his foot). Note, to the right and next to a sword, a vase filled with rings. Hannibal Barca (247-183 BC) was a Carthaginian general and statesman best known for his clashes with the Ancient Roman Empire. He was often depicted counting the rings of fallen Roman knights at the Battle of Cannae (216 BC), as can be seen in the sculpture by Sébastien Slodtz (made in 1704, Louvre Museum, Paris), where he also carries a Roman standard. He is also shown with these two elements (vase with rings and standard) in a table clock in the Cagny Museum in Paris, made during the French Restoration. Another piece, in a private collection, inspired by this clock is known, designed after models by Peirra-Francois Feuchère. These two models would surely have served as inspiration for the present table clock. Weight: 25 kg.

· Size: 53,5x20x76 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1230
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
FURNITURE

Ref.: ZF0004
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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
COMMODE. CARVED WOOD. 16TH CENTURY

Chest of drawers. Carved wood. 16th century. Restorations. Chest of drawers with a carved wooden front in its own color, featuring two drawers with metal handles and locking escutcheons above two doors with handles and locks similar to the previous ones, and a carved top. The figurative elements (busts of men and female figures) appear within plain tondos, with simple geometric elements overlooking the rectangular areas in which they are located. The sides have simpler carvings based on plain moldings, and the lower part features wave-like work. These types of figurative busts are very common in the European Renaissance (compare, for example, the Plateresque carvings by Calderón, created in 1524 in the choir stalls of Sigüenza Cathedral, with 16th-century Portuguese desks, the sides of the Azay-le-Rideau chest or trunk in the Louvre Museum in Paris, etc.), with the elements surrounding these busts typically varying within tondos. The shape of the piece of furniture is also striking, being unusual in the Spanish school of the period.

· Size: 150x60,5x161 cms.
ANTIQUES
FURNITURE

Ref.: ZF1317
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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
DEVOTIONAL PENDANT. OIL ON AVENTURINE, ENAMEL, GOLD… SPAIN, 17TH CENTU...

Devotional pendant or reliquary. Oil painting on aventurine, enamel, gold. Spain, 17th century. Devotional medallion or pendant or reliquary made of aventurine or aventurine with an octagonal shape and faceted fronts, enhanced with a series of enamels combining black and gold, which protect two oil paintings of a Catholic Christian religious theme, located one on each side of the piece. Protected, you can see a very particular Madonna and Child inspired by the Icon of the Madonna del Popolo (Rome, Italy), and a simplified Martyrdom of Saint Lawrence (the saint, the grill and an angel with a crown and the palm corresponding to the theme are shown). The edges of the piece have been protected with simple metal elements. The painting of San Lorenzo follows a composition common in the Spanish school, and would recall works such as the painting of the main altar of the Church of San Lorenzo in Huesca, for example, although also others such as the engraving by Marcantonio Raimondi (executed around 1527) in some details. The so-called icon of the Madonna del Popolo was well known because it was considered to have been made by Saint Luke, and was brought to the church of the same name by Gregory IX from the Sancta Sanctorum of the Lateran Palace after a flood caused a terrible plague in the city and through a solemn procession with the image to Santa Maria del Popolo. As for the material of the piece, aventurine or aventurine are known as a certain type of glass and a type of quartz (which can be green or reddish brown, and usually has tiny elements of yellow mica that give it golden reflections). In the first case, it is known that "venturine" or "stellaria" is mentioned in the workshops of Murano for the first time during the first quarter of the 17th century, in reference to a very complicated production paste (it is said that the name comes from this circumstance, that is, that its creation was due to luck or fortune) that imitates the effects of that stone (from India and Russia at that time) thanks to the inclusion of copper particles, and that was used as if it were stone (cut) given the complexity of its use in blowing (practically impossible). And, dealing with this material, it is necessary to mention “The Nativity” by Pietro da Cortona, dated around 1656, which is preserved in the El Prado Museum (Madrid) because it is an oil painting on aventurine. Compare this work with the reliquary medallion with an image of the Virgin painted on aventurine dated between 1600 and 1633 from the Lázaro Galdiano Museum (Madrid); with another devotional medallion in gold and aventurine from the Museo Nacional de Artes Decorativas (Madrid) dated in the 17th-18th centuries; or with the medallion that is also a reliquary that presents an Immaculate Conception painted on aventurine, dated between the 18th and 19th centuries from the Museo Nacional de Artes Decorativas (Madrid); or with the 16th-century Spanish devotional pendant from the Metropolitan Museum of New York with Saint John the Baptist and the Virgin (which combines black and white enamels, in a different way to the present piece); or with the 17th-century triangular-shaped pendant of black and white enamel and gold from the Valencia Institute of Don Juan in Madrid. Weight: 103 grams.

· Size: 9x0.7x8 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF0700
CLOCK SET. BRONZE, ROUGE GRIOTTE MARBLE, GLASS. FRANCE, 19TH CENTURY, ...

Clock mount and two candlesticks. Bronze, red griotte marble. France, 19th century, following Clodion's models. Set or garnish consisting of a table clock and two candlesticks with two lights each, made of burnished and gilded bronze and rouge griotte marble, as well as other materials. The clock, raised on legs, has a marble base enhanced with gilded bronze elements in a strong classicist style, like the rest of the decoration; the Paris machinery of the clock has been placed inside a rectangular box of bronze and transparent glass, topped by a composition of flowers, leaves and a torch at the top, and the dial (white with Arabic numerals for the hours and every 15 for the minutes, on a garland of flowers) is signed “P. Lombardi / AParis”; next to this gilded structure, there is a child figure in burnished bronze in a dark tone, with wings on its back. The two candlesticks, raised on legs and bases of the same marble enhanced with a chain of gilded bronze pearls, present figures in dark-coloured burnished bronze and two “branches” with grapes ending in containers with garlands for candles. The two candelabras, depicting a satyr and Bacchus or a bacchante, were inspired by pieces created by Claude Michel (1738-Paris, 1814), a French sculptor known as Clodion, who won awards such as the Grand Prix for sculpture from the Academie Royale in 1759, the Prix de Rome in 1762, etc., and was highly appreciated for his work. The satyr in this pair closely follows models by the master (compare Satyr Running with an Owl, made between 1770 and 1780, Cleveland Museum of Art) and there are several examples of candelabras with figures like this pair (with variations in the lights and bases). The Cupid on the table clock is also inspired by Clodion's reliefs and sculptures, but what is striking about this fitting is that it is not at all usual to combine candlesticks with these figures with the clock in the same set. Weight: 16 kg (clock); 6 kg (candlesticks).

· Size: Reloj 28x24x45 cms. Cand. 18x13x31 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0790
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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
PSIQUÉ DRESSING MIRROR. MAHOGANY, BRONZE. 19TH CENTURY.

Dressing table mirror. Mahogany, gilded bronze, marble. 19th century. Full-length rectangular mirror of the type known as “psyché” (or derived from it) that has a marble base and two circular tables on the sides, these with a white marble top, a vase-shaped foot with disc mouldings and, on the top, imitation textiles with tassels. The mirror has a gold band separating it from the wood, and has been flanked by two columns with a spiral-shaped shaft decorated with plant motifs and classical capitals; the upper part has been enhanced with a moulding and a figurative composition of a winged lady on a chariot holding a torch, accompanied by child figures and a Cornucopia; the lower part has been enhanced with a symmetrical composition based on plant motifs. Stylistically, the Neoclassical influence of the decorative elements and the composition of the piece of furniture can be clearly seen, with the figure inspired by classical mythology on the upper part standing out (it is possible that it is the goddess Aurora or Eos, or Diana-Artemis, Selene, etc.). A close relationship can be found with examples from the French Empire period, both in this decoration and in the lines of the piece. Note, however, that these full-length mirrors were very common in European palaces, but it is not so common for them to be presented with two tables to support clothing items or candelabras, a detail that is enhanced by the present example. The fashion of the full-length mirror was introduced in Spain during the reign of Ferdinand VII. From the swinging psyche mirrors of the early 19th century, the full-length fixed mirrors were later adopted, adding supports (normally for lighting). Compare this with outstanding mirrors such as those preserved in the Museum of Romanticism in Madrid, in the Royal Palace of the same city, or the one preserved in the Cerralbo Museum (inventory VH 0556) from between 1834 and 1866, which has two round side tables.

· Size: 172x65x292 cms
ANTIQUES
FURNITURE

Ref.: ZE175
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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
”SAINT DOMINIC DE GUZMÁN AND SAINT FRANCIS OF ASSISI”. POLYCHROMED TER...

“Meeting of Saint Dominic and Saint Francis.” Polychrome terracotta sculpture. Colonial School, 17th century. A polychrome terracotta figure with gold details depicting two male figures on a simple pedestal. The one on the left is shown wearing a Franciscan habit (with a small red mark on his right hand) and fraternally embraces, on equal terms, the one on the right, wearing a dark cloak (decorated with fine gold lines creating a net) over a white habit decorated with abundant flowers and gold elements, and a star in light relief on his forehead. These are Saint Francis of Assisi, holding the stigmata, and Saint Dominic de Guzmán, both wearing their respective habits. It narrates, with a remarkable economy of elements (which demonstrates the quality of the work), the so-called "Fraternal Encounter of Saint Dominic and Saint Francis," also known as "The Embrace of Peace" or, more colloquially and in some circles, "The Bump." According to tradition, Saint Dominic had a vision in which Mary implored Jesus on behalf of mankind, identifying them both as servants of God. The following day, Saint Dominic met Saint Francis in the church of Rome, recognizing him as his companion and embracing and kissing him. The present piece still shows Baroque influence, but some details already show a certain neoclassical influence, while maintaining the distinctive features of its school. Compare, for example, with the "Embrace" from the Monastery of Santo Tomás de Ávila by Luis Salvador Carmona, dated to the 18th century. It is also worth highlighting the quality of the modeling and polychromy of the piece, with a remarkable state of preservation considering its age and the delicacy of the material used.

· Size: 14x16x26 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1398
COUNTRYMAN. OIL ON CANVAS. VELA ZANETTI, JOSÉ. 1972.

Peasant. Oil on canvas. VELA ZANETTI, José. 1972. Signed and dated (bottom right). José Vela Zanetti (Milagros, Burgos, 1913–Burgos, 1999) was a painter best known for his murals. He began his training in León, where he moved with his family and held his first exhibition in 1931. Supported by his father, he traveled to Madrid for a few months to see exhibitions and visit the Prado Museum. Shortly afterward, he received a scholarship to visit Italy, awarded by the Provincial Council of León. As a result of the Spanish Civil War, he moved to the Dominican Republic, where he remained until 1960. In Santo Domingo, along with other exiled artists, he founded the National School of Fine Arts. During this period, he held exhibitions and projects in Mexico, Colombia, Puerto Rico, and the United States. Throughout his life, he received important public commissions, such as the mural inaugurated in 1953 at the UN headquarters, commemorating the fiftieth anniversary of the Universal Declaration of Human Rights, considered his most important work. Also notable are his historic murals for the Provincial Council of Burgos and the frescoes of the former Ercilia Theater in Barahona, Dominican Republic. He was a member of the San Fernando Academy and awarded an Honorary Doctorate by the University of Burgos. In 2001, the Cultural Center of the City of Madrid held a retrospective exhibition on Vela Zanetti's work, entitled "Anthological," the most important to date. A commemorative exhibition for the tenth anniversary of his death was recently held at the Ángeles Penche gallery in Madrid. His works are held in the collections of the Caja Rural de Burgos and the Vela Zanetti Foundation in León, as well as murals in various cities in Spain, Santo Domingo, the United States, Colombia, and Switzerland. In 2013, the Fórum Evolución in Burgos held an important exhibition dedicated to Vela Zanetti's work, commemorating the centenary of his birth.

· Size: 83x5x99 cms. int 65x81 cms.
ANTIQUES
PAINTINGS

Ref.: ZF1406
CIRCULAR PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Circular table top in marble and hard stone. Inspired by Italian models from the 16th-17th centuries. In the centre of the panel, surrounded by a garland of flowers, there is a pearl necklace with a bow. Around this element, there are four vases with birds perched on branches interspersed and, further outwards, a band with vegetal scrolls. This area is framed by another with simplified scrolls and another with more elaborate ones interspersed with scallop shapes and heraldic shields, and perched birds. The fleur-de-lis on the border clearly shows the influence of Gobelins' work on this panel. The French workshop was set up to make this type of inlay for the French court, and is the heir to the native centre of “hard stonework”: the Florence of Piero de Medici and Lorenzo the Magnificent, who wanted to revive a Roman technique called “opus sectile” mosaic. Mention should also be made of the Royal Workshop of Naples and the one created by Charles III at the Royal Site of El Buen Retiro in Madrid, which closed at the beginning of the 19th century. After 1600, the primacy of the decoration that appeared in the 15th century is clear, and elements such as birds, butterflies and pearl necklaces were added over time. The present example inherits this whole tradition: compare the table made by Francesco Ghinghi in the Real Laboratorio Delle Piedre Dure in Naples (catalogue number O00511) and the board (O00466) from around the mid-18th century, both in the Museo del Prado in Madrid, those kept in the Museo Opificio delle Pietre Dure in Florence (especially works such as the board made as a model for a table by Jacopo Ligozzi around 1610). Traditionally, a technique very similar to inlay was used, but instead of wood, using marbles of different colours and veins and hard stones (greater than 6 on the Mohs scale) such as lapis lazuli, agates, etc. In the present example, many of those used in works between the 16th and 18th centuries have been included, making it an outstanding work.

· Size: Diam. 150 cms.
DECORATION
HARDS STONES

Ref.: AWD1211 ...
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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
THIRTY LIGHTS GLASS AND BRONZE CHANDELIER. 19TH CENTURY.

Ceiling lamp in bronze and colourless carved and modelled glass with thirty lights. Late 19th century. It is attached to the ceiling by a hook hidden by a crown with stems, from which the central axis of the lamp, made of glass in the shape of a double baluster, starts. The arms, made of gilded bronze, decorated with architectural and plant elements, start from this. The lights have candle-shaped bulbs. Beads of various shapes (rectangular, octagonal, star, teardrop and pendants with mixed profiles) have been placed all over the surface, joined by discreet metal hooks. The variety of shapes and the quality of the colourless glass should be highlighted. The profiles of some beads (teardrops, polygons, pendants) are found in both Bohemian and French works and in most of the Royal Glass and Crystal Factory of La Granja de San Ildefonso (Segovia, Spain) due to the great popularity of these shapes. The stars or small flowers are much rarer in the preserved examples. The mastery of the cut can be appreciated in the profiles and in the fineness of the modelling of the axis. While the decorative elements of the bronze clearly show influences of Neoclassicism, the glass work is reminiscent of the so-called “Maria Theresa chandeliers”, works based on those commissioned by the Empress Maria Theresa for her coronation in factories in the Bohemian part of the Czech Republic in 1743. This typology spread rapidly throughout Europe, varying in design and serving as an example in the main glass factories up to the present day. Although it is clearly different from the work done in Murano (Italy), the chandelier follows a tradition that has its roots in Bohemia and was continued in France, where as much attention was devoted to gilded bronze as to glass, and whose examples the chandelier somewhat more closely resembles. Similar lamps can still be found in very prominent residences such as the Fernán Núñez Palace (Madrid), Viana Palace (Córdoba), National Museum of Decorative Arts (Madrid), Paz Palace (Buenos Aires, Argentina), Louvre Museum (Paris), etc.

· Size: 100x100x130 cms.
ANTIQUES
FURNITURE

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

Brazier. Wrought iron. Spain, 13th-14th centuries. It has restoration on one handle. Rear grill. Reference: "The art of the ferro". Barcelona: Santiago Rusiñol, 2007, p. 151, image 137. Brazier made of wrought iron, consisting of a circular base, three flat legs, a body formed by two flat rings joined by vertical sections decorated with simple facing scrolls, and two handles on the top similar to the sections and ending in washers. Inside, it has an iron grill from a later date than the rest of the piece and has a restoration on one handle. It is very similar to another wrought iron brazier dating from the 12th or 13th centuries that is currently in a private collection; compare also with the rectangular one in the Museu Episcopal de Vic dated in the 14th century. The spirals that form the decoration of the piece are frequently called “curly irons”, and are an element very often used in the few examples of Romanesque ironwork and ironwork that we have preserved, and, for this very reason, they will be elements that will be maintained in forging works for centuries after in Spain (the Romanesque model with its volutes lasted well into the 15th century, with some variation). For example, the railings of the Church of Santa María del Camino or del Mercado in León or the one that has been placed 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 made 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 reached us are even scarcer than those with ironwork. One is preserved in the Diocesan Museum of Tarragona and another in the possession of the Junta de Castilla, both square but with this 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
FURNITURE

Ref.: ZF0635
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IMMACULATE CONCEPTION. WOOD, SILVER, GLASS. PORTUGUESE SCHOOL, 18TH CE...

Immaculate Conception. Carved and polychromed wood, glass, silver. Portuguese school, 18th century. A wooden sculpture depicting a young Mary, clasped in prayer before her chest, standing on a cloud from which winged angels' heads emerge. She wears a tunic with a flowing mantle, the garments adorned with flowers, waves, and other motifs, combining polychromy and gilding. She wears a silver crown with architectural and vegetal elements of strong classical influence, which shows no contrasting marks. Beneath the cloud is a rectangular, gilded wooden base decorated with architectural and vegetal elements in relief. Note that the back is also decorated, bearing a label added after the work's completion. Based on its iconography, it appears to be a sculpture of the Immaculate Conception. This is one of the most common depictions of the Virgin Mary in Spanish Baroque art, and it is also frequent in other schools (where the Virgin of the Conception or the Immaculate Conception is more commonly used). This devotion features an iconography whose development began in Spanish Gothic art, reflecting a desire to emphasize the purity of the Mother of Christ. Initially, it included details from the Vision of Saint John on Patmos and elements from the Marian Litany, but these were simplified over time. Stylistically, the movement and certain details of the cloak reveal a Rococo influence, an artistic movement that originated in France (where it flourished between approximately 1730 and 1760) and spread to other European schools. A sculpture quite similar to the one in the Portuguese church of Nossa Senhora da Vila, Nossa Senhora do Bispo e Silveiras (officially: União de Freguesias de Nossa Senhora da Vila, Nossa Senhora do Bispo e Silveiras), Évora, is known to exist. Dating from the second half of the 18th century and considered to be of the Portuguese school, it has not been possible to find further details about its authorship. This sculpture also features a base similar to that of this one.

· Size: 21x15x56 cms
ANTIQUES
SCULPTURE

Ref.: ZF1324
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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
PAIR OF PORCELAIN CENTERPIECES. MEISSEN, GERMANY, POSSIBLY SECOND HALF...

Pair of centerpieces. Glazed porcelain, wood, textile, etc. Meissen, Germany, possibly the second half of the 19th century, modeled after Acier. With markings at the base. They have hairs and defects; defects at the bases. Two elaborate glazed porcelain figures each stand on a circular carved wooden base decorated with neoclassical elements and upholstered in red, raised on three spheres. Protecting the centerpieces are two clear glass bells, likely blown from the bubbles visible at the top. The marks on the base (blue) of both centerpieces are those used by Meissen between 1815 and 1924. They also feature other incised elements. The piece featuring three gallant couples around a tree is based on a model dated 1772 by Michael Victor Acier (1736, Versailles–from 1799), who worked in Meissen from 1762 and is often referred to as "Gardeners around a Tree." The one with the two musicians and two pairs of dancers around a tree is based on another model by Acier dated the same year. In both cases, examples based on these 18th-century works were produced throughout the 19th century, with particular popularity in the second half, varying in color and small details.

· Size: 35,5x35,5x59 cms. Alt sin base 50 cms. Fanal 54 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF1462
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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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