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CLOCK. PALO SANTO (HOLY WOOD), ROSEWOOD, ORMOLU. FRANCE, 19TH CENTURY,...

Clock. Palo santo, rosewood, gilt bronze. France, 19th century, following a design by Charles Cressent (France, 1685-1768). A grandfather clock with a wooden case combining palo santo, rosewood, and other woods, enhanced with a series of gilt bronze appliqués that complement the curved and counter-curved profiles of the piece. Both the decorative elements and the embellishments themselves reflect 18th-century French Rococo styles. This piece is inspired by the regulator clock in the Royal Collections of England, located in Buckingham Palace, and was made by Charles Cressent, a master cabinetmaker considered one of the leading exponents of the French Rococo, although he also created pieces in the Regency style and the early stages of the Rocaille style. A master sculptor from 1719, he worked as a cabinetmaker and sculptor for Regent Philippe II, Duke of Orléans, and is well known and highly regarded for his clocks, chests of drawers, andals (J. Paul Getty Museum), etc.

· Size: 81x40x232,5 cms
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Ref.: ZE298
”BARGUEÑO”. TORTOISESHELL, WALNUT, ROSE WOOD, WROUGHT IRON. 17TH CENTU...

Bargueño. Tortoiseshell, rosewood, walnut, gilt bronze, wrought iron. 17th and 20th centuries (table). A display desk made of wood, with a projecting central section featuring an architecturally composed chapel-like structure and an upper level dominated by a lobed piece. Each side has four drawers with tortoiseshell fronts and an elaborate gilt bronze keyhole escutcheon (two grotesques flanking vegetal motifs towards the center and two mascarons above and below the keyhole). The central front has two levels: the lower level features four columns, two on each side, with a series of gilt metal elements in the center, among which, sheltered under a splayed semicircular arch and crafted in gilt bronze, stands out the figure of Minerva (the Roman goddess associated with intelligence and closely linked to the Greek Athena; she was also associated with wisdom, warfare as a tactical concept, weaving, etc.), showing a marked Italian influence; the upper level features moldings forming recessed panels, with a quatrefoil piece in the center highlighted by a gilt bronze garland. The finial consists of an openwork gilt bronze "railing" alternating with tortoiseshell pieces, topped with birds on spheres, and in the center, an architectural composition that echoes the lower section of the piece (a central space with a semicircular arch featuring a sculpture of Minerva, columns, grotesques, etc.). It rests on spheres with gilt claws. Opening the central niche reveals five drawers, each with two molded tortoiseshell rectangles in the center and small gilt bronze rings with decorations. The general scheme of the furniture corresponds to a model that was widespread and 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 is usually seen in its fronts but changing slight decorative details and elements in the area of the central chapel, above all. The table on which it rests, inspired by antique models, was made in the 20th century. 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: Totales: 154X51X220 cms. Bargueño 133x44x138 cms.
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Ref.: ZE396
FRAME. WOOD, METAL. LATE 17TH CENTURY-EARLY 18TH CENTURY.

Frame. Carved wood. Late 17th-early 18th century. Rectangular frame that presents a “base structure” of straight lines, combining moldings of different widths and finishes (inside, a golden band with fine vegetal details towards the corners; then, a thin red one, and another wider green one, these last two imitating marble; outside, another thin golden molding), enhanced with a series of carvings of vegetal elements in the corners (symmetrical composition), two ovoid elements on the longer sides and a very elaborate cresting with vegetal elements, rocaille, volutes, flowers and imitation of fabrics (which join with those ovoid elements mentioned). The combination of red, green, and gold is common in certain types of frames (compare, for example, the Salamanca terracotta made around the mid-16th century by Juan de Juni, now in the Victoria and Albert Museum). A series of carvings with great movement and depth have been added to this frame, showing Baroque influence (it is reminiscent in certain details of works such as the frame of the Immaculate Conception by Alonso Cano in Málaga Cathedral).

· Size: 138x28x196 cms, Int. 86x128 cms.
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Ref.: ZF0582
WARDROBE. 18TH CENTURY

Wardrobe from the first half of the 18th century. Oak and walnut woods. A cabinet crafted from oak and walnut, adorned with elaborate carving and molding. Its architectural structure, inspired by contemporary Baroque architecture, is organized into two sections and three tiers, and is crowned at the top by a projecting cornice with a central sinuous pediment. The entire structure is rigorously organized with regular straight lines, emphasizing the differentiation of each of its parts. This adheres to a distinctly classical principle, characteristic of the Baroque even in its most ornate aspects, according to which decoration must always adapt to the structure, never exceeding it. This ensures that the structure's main lines are perfectly legible, as is the proportional and balanced relationship of the parts to each other and to the whole. Following this idea, we see the front divided into two sections and three registers, the latter continuing on the sides with panels that are in this case only molded, without visible carving on the front, although they stand out due to the work of volumes and light contrasts, typically Baroque, achieved through the simple use of moldings and stepped sections. In the lower register, we see two doors, each with its lock featuring a shield cut out with a double fleur-de-lis. Their design is organized around a central mixtilinear panel, typically Baroque, carved inside with a rocaille cresting that already speaks of an awareness of Rococo, although in the furniture, both structurally and ornamentally, the Baroque style still dominates. The perimeter of recesses and projections of this central panel is repeated, with increasingly complex lines, drawn with moldings that are very high in relation to the background, providing the contrast and chiaroscuro characteristic of Baroque furniture. Furthermore, the central area is distinguished by highly ornate carvings featuring vegetal scrolls, scallop shells, and rocaille cresting. The middle register, still visually part of the lower section, houses two drawers of the same size and design, combining diamond-point paneling with gilded fittings decorated with chiseling. Finally, the upper section also features two doors, like the lower section with their locks, and in fact follows a similar ornamental scheme to that of the lower doors, albeit more developed and with a vertical design. Here we also see rocaille and vegetal scrollwork, combined with profuse molding of dynamic, typically Baroque lines. As a crowning element, below the cornice and in the central area, a stepped motif appears, organized around the lines of two sinuous pediments, combined with carved floral and classical motifs.

· Size: 155x76x267 cms.
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Ref.: Z0740
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; furthermore, 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 story unfolds across 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
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Ref.: ZF0950
OIL ON CANVAS, “THE REAPER”, IGNACIO DÍAZ OLANO, 1890.

Oil on canvas, “The Reaper”, Ignacio Díaz Olano, 1890. Signed and dated in the lower right corner. Published in "Ignacio Díaz Olano. Passion and Reality" page 58 Ignacio Salvador Díaz Ruiz de Olano (Vitoria, 1860-1937), painter and teacher of painters, better known as Ignacio Díaz, studied at the Vitoria Academy of Fine Arts under Emilio Soubrier Martínez, and at the Llotja School of Fine Arts in Barcelona (1877-1880), where he met his teacher Gustavo Bacaristas. After completing his studies, he returned to his hometown, where he contributed illustrations to the weekly magazine "El Danzarín" under the pseudonym "Galop." Then, in 1890, he moved to Paris, where he spent four years studying anatomical drawing and working on set designs for the Paris Opera (although some argue that it is not entirely certain he was actually in Paris). Upon returning to Spain, he participated in the Vitoria Artistic and Industrial Exhibition with several works in 1884, the same year he opened his own studio in that city. There, he carried out significant teaching work until its closure in 1894, when he moved to Barcelona. That same year, he traveled to Rome, where he lived for two years. From 1912-1913, he also taught drawing at the General and Technical Institute, a position he held until reaching retirement age in 1932. Between 1890 and 1925, Díaz participated in numerous editions of the National Fine Arts Exhibitions, winning a bronze medal in 1895 and silver medals in 1899 and 1901. His works are held in the Prado Museum in Madrid, the Fine Arts Museums of Vitoria and Asturias, the Provincial Museum of Álava, the Vitoria City Hall and School of Arts and Crafts, private collections, and other institutions. Numerous experts have noted that Ignacio Díaz's art was heavily influenced by the fact that the painter spent a considerable amount of time surrounded by his fellow countrymen and neighbors. This led to the majority of his work consisting of oil paintings depicting popular and everyday subjects, portraits, landscapes, flowers, and still lifes. The present oil painting is a clear example: it shows a reaper in a half-harvested wheat field, holding a small sheaf, gazing at a point outside the frame. Likewise, his exceptional powers of observation and solid drawing skills are also evident. In this work, however, progress is already noticeable, as he presents light fully integrated into his compositions. Alongside light, and little by little, color penetrated his work, which is also presented in this painting as completely mastered. His search for immediacy brought forth the luminous splash and the chromatic flash, and, over time, he moved closer to naturalistic Impressionism without fully embracing this style, maintaining his own personality and formal distinctiveness.

· Size: 108 x 72 cm; 110 x 74 cm (marco)
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Ref.: Z6128
BACCARAT SIGNED CHANDELIER. GLASS AND GILT BRONZE. FRANCE, 19TH CENTUR...

Baccarat signed chandelier. Glass and gilt bronze. 19th century.
Gilt bronze and transparent glass chandelierwith eight lights. The upper part has a series of curved sticks from which hang some glass beads invarious 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 elementsof 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 Baccaratglass for its fame and quality.
Measures: 65x65x120 cms.

· Size: 65x65x120 cms.
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Ref.: ZF0004
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 lid's finial, which is shaped like a rosette. There are few other decorative elements on the pieces, apart from those already mentioned and a series of engraved motifs on the lids (bull's 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's heads, two above and one below, separated by a chevron; two rampant lions flanking a diagonal band on the shield's 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, Bullen or Boleyn, descendants of 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 a wealth of information about the pieces. The passant lion indicates London as the place of manufacture, while the two initials refer to Henry Chawner; the lowercase letter gives 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.
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Ref.: Z6774
COMMODE. CARVED WOOD. 16TH CENTURY

Chest of drawers. Carved wood. 16th century. Restorations. A chest of drawers with a carved wooden front in its natural color features two drawers with metal handles and lock escutcheons above two doors with similar handles and locks, and a carved top. The figurative elements (male and female busts) appear within plain tondos, with simple geometric elements defining the rectangular areas they occupy. The sides have simpler carvings based on plain moldings, and the lower section displays a wave-like pattern. This type of figurative bust is very common in the European Renaissance (compare, for example, Calderón's Plateresque carvings made in 1524 in the choir of Sigüenza Cathedral, 16th-century Portuguese writing desks, the sides of the Azay-le-Rideau chest in the Louvre Museum in Paris, etc.), with the surrounding elements typically varying within tondos. The shape of the piece of furniture is also noteworthy, as it is not entirely typical of the Spanish school of the period.

· Size: 150x60,5x161 cms.
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Ref.: ZF1317
”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 sides; 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.
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Ref.: Z6849
DEVOTIONAL PENDANT. OIL ON AVENTURINE, ENAMEL, GOLD… SPAIN, 17TH CENTU...

Devotional pendant or reliquary. Oil painting on aventurine, enamel, and gold. Spain, 17th century. This medallion, pendant, or reliquary is made of aventurine, with an octagonal shape and faceted edges. It is enhanced with a series of enamels combining black and gold, which protect two oil paintings on Catholic religious themes, one on each side of the piece. The paintings depict a Virgin and Child, quite unique for being inspired by the Madonna del Popolo icon (Rome, Italy), and a simplified Martyrdom of Saint Lawrence (showing the saint, the gridiron, and an angel with a crown and palm branch). The edges of the piece are protected with simple metal elements. The painting of Saint Lawrence follows a composition typical of the Spanish school, and is reminiscent of works such as the altarpiece of the Church of San Lorenzo in Huesca, for example, although it also shares some details with others, such as the engraving by Marcantonio Raimondi (executed around 1527). The so-called icon of the Madonna del Popolo was widely known for being attributed to Saint Luke, and it 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. Regarding the material of the piece, aventurine refers to a specific type of glass and a type of quartz (which can be green or reddish-brown and often contains tiny elements of yellow mica that give it golden reflections). In the first case, "aventurine" or "stellaria" is known to appear in Murano workshops for the first time during the first quarter of the 17th century, in reference to a very complicated paste to produce (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 (originating from India and Russia at that time) thanks to the inclusion of copper particles, and which was used as if it were (cut) stone given the complexity of its use in glassblowing (practically impossible). And, dealing with this material, it is necessary to mention “The Nativity” by Pietro da Cortona, dated around 1656, which is kept in the Prado Museum (Madrid) because it is an oil painting on aventurine. Compare this piece with the reliquary medallion with an image of the Virgin painted on aventurine, dated between 1600 and 1633, in the Lázaro Galdiano Museum (Madrid); with another devotional medallion in gold and aventurine in the National Museum of Decorative Arts (Madrid), dated to the 17th-18th centuries; or with the reliquary medallion depicting an Immaculate Conception painted on aventurine, dated between the 18th and 19th centuries, also in the National Museum of Decorative Arts (Madrid); or with the 16th-century Spanish devotional pendant in the Metropolitan Museum of New York depicting Saint John the Baptist and the Virgin (which combines black and white enamels in a manner different from the present piece); or with the 17th-century triangular pendant in black and white enamel and gold from the Valencia de Don Juan Institute in Madrid. Weight: 103 grams.

· Size: 9x0.7x8 cms.
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Ref.: ZF0700
CLOCK SET. BRONZE, ROUGE GRIOTTE MARBLE, GLASS. FRANCE, 19TH CENTURY, ...

Clock garniture and two candlesticks. Bronze, rouge griotte marble. France, 19th century, after models by Clodion. A set or garnish consisting of a table clock and two two-light candlesticks, crafted from burnished and gilded bronze and rouge griotte marble, among other materials. The clock, raised on legs, has a marble base embellished with gilded bronze elements in a strong classical style, as is the rest of the decoration. Its Parisian movement is housed within a rectangular case of bronze and clear glass, topped with a composition of flowers, leaves, and a torch. The dial (white with Arabic numerals for the hours and minutes every 15 minutes, set against a floral garland) is signed “P. Lombardi / AParis.” Beside this gilded structure stands a dark burnished bronze child figure with wings on its back. The two candlesticks, raised on legs and bases of the same marble and embellished with a chain of gilded bronze pearls, feature dark burnished bronze figures and two “branches” of grapes, each ending in a candle holder with a garland. The two candlesticks, featuring a satyr and Bacchus (or Bacchante), are inspired by pieces created by Claude Michel (1738–Paris, 1814), a French sculptor known as Clodion. Clodion received numerous awards, including the Grand Prize for Sculpture from the Académie Royale in 1759 and the Prix de Rome in 1762, and was highly regarded for his work. The satyr in this pair closely follows models by the master (compare it to Satyr Running with an Owl, created between 1770 and 1780, Cleveland Museum of Art), and several examples of candlesticks with figures like these are known (with variations in the lighting and bases). The Cupid on the table clock is also inspired by Clodion's reliefs and sculptures, but what is striking about this arrangement is that it is quite unusual to combine candlesticks with these figures and the clock with its own in a single set. Weight: 16 kg (clock); 6 kg (candelabras).

· Size: Reloj 28x24x45 cms. Cand. 18x13x31 cms.
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Ref.: ZF0790
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 pinecones, 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, a current within Neoclassicism and spans from around 1760 to approximately 1789 (although works inspired by it were created in 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.
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Ref.: ZF1261
PSIQUÉ DRESSING MIRROR. MAHOGANY, BRONZE. 19TH CENTURY.

Fitting mirror. Mahogany wood, gilt bronze, marble. 19th century. A full-length rectangular mirror of the type known as "psyche" (or a derivative thereof) with a marble base and two small circular tables on either side. These tables have white marble tops, vase-shaped bases with disc moldings, and, at the top, imitation textiles with tassels. The mirror is separated from the wood by a gilded band and flanked by two columns with spirally decorated shafts featuring vegetal motifs and classical capitals. The upper portion is enhanced with a molding and a figurative composition of a lady on a winged chariot holding a torch, accompanied by children and a cornucopia. The lower portion is enhanced with a symmetrical composition of vegetal motifs. Stylistically, the Neoclassical influence is clearly evident in the decorative elements and the composition of the piece, particularly the figure inspired by classical mythology at the top (possibly 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 the decoration and the lines of the piece. Note, however, that while these full-length mirrors were very common in European palaces, it is less common for them to be presented with two tables for displaying clothing or candlesticks, a detail that enhances this example. The fashion for the full-length mirror was introduced to Spain during the reign of Ferdinand VII. From the hinged, psyche-like mirrors of the early 19th century, the trend shifted to fixed, full-length mirrors, with the addition of supports (usually for light fixtures). Compare 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 auxiliary tables.

· Size: 172x65x292 cms
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Ref.: ZE175
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 from 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.
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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. This polychrome terracotta figure with gilded details depicts two male figures on a simple pedestal. The figure on the left wears a Franciscan habit (with a small red mark on his right hand) and embraces the figure on the right in a fraternal embrace, as equals. The figure on the right wears a dark cloak (decorated with fine gold lines forming a net) over a white habit adorned with abundant flowers and gilded elements, and a star in slight relief on his forehead. These figures represent Saint Francis of Assisi, with the stigmata on his hand, and Saint Dominic, both wearing their respective habits. The story, told with remarkable economy of words (which demonstrates the quality of the work), recounts 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 Encounter." According to tradition, Saint Dominic had a vision in which Mary implored Jesus for humankind, pointing to both of them as servants of God; the following day, Saint Dominic met Saint Francis in the church in Rome, recognizing him as his companion, and they embraced and kissed. This piece still shows Baroque influence, but already hints at a certain Neoclassical influence in some details, while maintaining the distinctive characteristics of its school. Compare it, for example, with the "Embrace" in the Monastery of Santo Tomás in Ávila by Luis Salvador Carmona, dating from the 18th century. It is also worth highlighting the quality of the modeling and polychromy of the piece, which is in a remarkable state of preservation considering its age and the delicate nature of the material.

· Size: 14x16x26 cms.
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Ref.: ZF1398
CIRCULAR PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Circular tabletop in marbles and hard stones. Inspired by Italian models from the 16th and 17th centuries. In the center of the panel, surrounded by a garland of flowers, is a pearl necklace with a bow. Around this element are four vases with birds perched on interspersed branches, and further out, a band with vegetal scrolls. This area is framed by another with simplified scrolls and yet another with more elaborate scrolls interspersed with scallop shells, heraldic shields, and perched birds. The fleur-de-lis border clearly shows the influence of Gobelins tapestry on this panel. The French workshop was established to produce this type of marquetry for the French court and is heir to the native center of hard stonework: Florence, under Piero de' Medici and Lorenzo the Magnificent, who sought to revive a Roman mosaic technique called opus sectile. It is also worth mentioning the Royal Workshop of Naples and the one established by Charles III at the Royal Palace of El Buen Retiro in Madrid, which closed at the beginning of the 19th century. After 1600, the primacy of the decorative motifs that appeared in the 15th century became clear, with elements such as birds, butterflies, and pearl necklaces being added over time. The present example inherits all this tradition: compare with the table made by Francesco Ghinghi in the Royal Laboratory of the Pietre Dure in Naples (catalog number O00511) and the board (O00466) from around the middle of the 18th century, both in the Prado Museum in Madrid, those preserved in the Opificio delle Pietre Dure Museum 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 marquetry was used, but employing, instead of wood, marbles of different colors and veins and hard stones (greater than 6 on the Mohs scale) such as lapis lazuli, agates… In the present example, many of those used in works between the 16th and 18th centuries have been included, which makes it an outstanding work.

· Size: Diam. 150 cms.
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Ref.: AWD1211 ...
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
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Ref.: Z5099
THIRTY LIGHTS GLASS AND BRONZE CHANDELIER. 19TH CENTURY.

Ceiling lamp in bronze and colorless carved and modeled glass with thirty lights. Late 19th century. It attaches to the ceiling via a hook concealed by a crown of stems, from which the lamp's central axis, made of glass in the shape of a double baluster, extends. From this axis rise the gilded bronze arms, decorated with architectural and vegetal motifs. The lights feature candle-shaped bulbs. Beads of various shapes (rectangular, octagonal, star-shaped, teardrop-shaped, and pendants with curvilinear profiles) are placed across the entire surface, attached by discreet metal hooks. It is worth highlighting the variety of shapes and the quality of the colorless glass. The profiles of some beads (teardrops, polygons, pendants) are found in Bohemian and French works, as well as in most pieces from the Royal Glass and Crystal Factory of La Granja de San Ildefonso (Segovia, Spain), due to the great popularity of these shapes. Stars or small flowers are considerably less common in the surviving examples. The mastery of the carving is evident in the profiles and the fineness of the shaping of the shaft. While the bronze decorative elements clearly show Neoclassical influences, the glasswork is reminiscent of the so-called "Maria Theresa" chandeliers, based on those commissioned by Empress Maria Theresa for her coronation in the factories of the Bohemian region of the Czech Republic in 1743. This style spread rapidly throughout Europe, with variations in design, and served as a model for major glass factories even to this day. Although clearly distinct from the work done in Murano, Italy, the chandelier follows a tradition rooted in Bohemia and continued in France, where as much attention was paid to gilded bronze as to glass, and the chandelier more closely resembles examples of French glasswork. Similar chandeliers can still be found in prominent residences such as the Fernán Núñez Palace (Madrid), the Viana Palace (Córdoba), the National Museum of Decorative Arts (Madrid), the Paz Palace (Buenos Aires, Argentina), the Louvre Museum (Paris), and others.

· Size: 100x100x130 cms.
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Ref.: Z6580
WROUGHT IRON BRAZIER. SPAIN, 13TH-14TH CENTURIES.

Brazier. Wrought iron. Spain, 13th-14th centuries. It features restoration on one handle. Rear grill. Reference: "The art of the ferro". Barcelona: Santiago Rusiñol, 2007, p. 151, image 137. A 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, opposing scrolls, and two handles at the top similar to the sections and ending in washers. Inside, it has an iron grill dating from a later period than the rest of the piece and one of the handles has been restored. It is very similar to another wrought iron brazier dating from between the 12th and 13th centuries, currently in a private collection; compare also with the rectangular one in the Episcopal Museum of Vic, dating from the 14th century. The spirals that form the decoration of the piece are frequently called "curl ironwork," and are a very common element in the few surviving examples of Romanesque ironwork and wrought iron. For this reason, they would be elements that continued to be used in wrought ironwork for centuries afterward in Spain (the Romanesque model with its volutes persisted well into the 15th century, with some variations). Examples include the grilles in the Church of Santa María del Camino or the Market in León, the one located in the choir of the Church of San Vicente in Ávila, and those preserved in the Diocesan Museum of Jaca (Huesca). Since it was a utilitarian piece, the lack of decorative elements is typical, as is the transformation of the decoration into functional parts of the brazier. Examples of Romanesque braziers that have survived are even rarer than those of ironwork. One is preserved in the Diocesan Museum of Tarragona and another in the possession of the Regional Government of Castile, both square but with this same type of spiral design, and several more in important museums and collections such as the National Archaeological Museum, Tarragona Cathedral, etc. Weight: 7.5 kg.

· Size: 52x39x54 cms.
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Ref.: ZF0635
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 y Provart/ à Paris/ 100 Rue Amelot" is also visible. Coupier Fila and 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.
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Ref.: ZF1434
PAIR OF PORCELAIN CENTERPIECES. MEISSEN, GERMANY, POSSIBLY SECOND HALF...

Pair of centerpieces. Glazed porcelain, wood, textile, etc. Meissen, Germany, possibly second half of the 19th century, following models by Acier. With marks at the base. They have hairs and missing parts; missing parts at the base. Two elaborate glazed porcelain figures each have a circular carved wooden base decorated with neoclassical elements and upholstered in red on top, raised on three spheres. The centerpieces are protected by two clear glass cloches, likely made by hand, judging by the bubbles visible on top. The blue marks on the base of both centerpieces are those used by Meissen between 1815 and 1924. They also feature other incised elements. The piece depicting three gallant couples around a tree is based on a 1772 model by Michael Victor Acier (1736, Versailles–Desde, 1799), who worked in Meissen from 1762, and is commonly known as “Gardeners around the Tree.” The one with the two musicians and two pairs of dancers around a tree is also based on another Acier model from the same year. In both cases, copies based on these 18th-century works were produced throughout the 19th century, becoming particularly popular in the second half, with variations in the polychromy and minor details.

· Size: 35,5x35,5x59 cms. Alt sin base 50 cms. Fanal 54 cms.
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Ref.: ZF1462
WALNUT AND IRON CUPBOARD. NAVARRA, SPAIN, 17TH CENTURY.

Panelled cabinet. Oak wood, iron. Navarre, 17th century. It has some defects. It comes with three keys. This is a single-piece piece of furniture, not two parts, made of walnut wood. It consists of a lower section with two doors opening into a single compartment containing a shelf and two drawers with simple handles and lock escutcheons, and a slightly recessed upper section with two doors opening into another single compartment. The exterior is decorated with rectangular panels carved with simple geometric shapes (diamonds on the doors, curved shapes and bands on the drawers, and simple panels on the sides). Stylistically, it is reminiscent of typical forms of 16th-century Spanish Renaissance cabinetmaking, both in its composition and its paneled decoration. Compare it, for example, with a sideboard from Guipúzcoa in the Núria Pla Collection, dated between 1670 and 1700; with the 17th-century alcove (upper section with lattice doors) made of walnut, pine, and iron, now in the National Museum of Decorative Arts in Madrid; or with the 17th-century alcove with turned balusters in the Cervantes House Museum in Valladolid.

· Size: 137X67X170 cms
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Ref.: ZE398
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 features, in the foreground, buildings with a distinctly classical style, accompanied by two female sculptures on pedestals. At the foot of this building stands a group of people, dressed in classical attire (women, children, and a soldier with a spear). Vicente Giner, a canon and artist originally from Castellón, is documented as working in Rome during the last quarter of the 17th century (until his death there in 1681), where he and others petitioned Charles II for the creation of an Academy of Spanish artists in the city. Experts consider him a collaborator and accomplished follower of Viviano Codazzi (in whose workshop he worked in the 1670s, possibly after having worked in that of Cornelio de Wael). He painted perspectives of classical temples and palaces, accompanied by scenes typically depicting popular themes, in which the figures (few in number) are merely anecdotal elements against the backdrop of the architecture. His work is held in several private collections and institutions, such as the Museum of Fine Arts of Valencia, the Bank of Spain Collection (Madrid), and collections of the National Trust (Scotland), among others.

· Size: 76x3x91 cms. int 71x87 cms.
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Ref.: ZF0795