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CLOCK AND CANDELABRA GARNITURE. BRONZE, MARBLE. RAINGO FRÈRES, AARIA, ...

Clock and candelabra trim. Blued and gilded bronze, marble. Raingo Frères, Aaria, Clodion. Paris, France, second half of the 19th century. In operation. A garnish consisting of a table clock and two three-light candelabras each, made of bronze and white marble. The candelabras have legs and a circular base with a gilt bronze band with floral elements, and a child figure in burnished bronze with garlands of vines and grapes on its head, holding branches with roses and leaves, which end in candle holders; they have the name “Clodion” engraved on them. The clock has an elongated base on white marble legs decorated with gilt bronze plaques with figurative scenes (children playing instruments and carrying garlands) and others with plant motifs and lacework. The dial is raised on a pedestal with animal heads, and, on a white background, it has coloured garlands and Arabic numerals for the hours and points and Arabic numerals every fifteen minutes; you can read “Aaria” on it. The piece is crowned by a kneeling faun, in a pensive attitude and pointing to two doves. This central element is flanked by two blued bronze figures of children playing horns. On the Paris machinery it has, you can read a number (448) and “Rango Fres / Paris”. The two candlesticks follow a highly appreciated model in the 19th century of a bronze figure of a bacchante (a common figure in the procession of the classical god Bacchus) made by Claude Michel (1738-Paris, 1814), known as Clodion. This French sculptor, invited to Russia by Catherine II, established a workshop in Paris where he specialised in small-format Rococo mythological sculpture in terracotta, stucco, etc., with such success that his works inspired numerous bronze sculptors to make sculptures, clocks, etc. Raingo Frères was the partnership of the four sons of the Belgian-born watchmaker Zacharie Joseph Raingo (1775-1847), Adolphe, Charles, Denis and Dorsant, formed in 1823. During the 1860s they made important pieces for Napoleon III and his wife, all of which are now housed in the Louvre Museum in Paris. Their well-deserved fame led them to collaborate with leading bronze sculptors and masters of their time, such as Albert-Ernest Carrier-Belleuse and Auguste Moreau, and they won a Gold Medal at the 1889 Paris World's Fair. Weight: 33.5 kg.

· Size: Reloj 46x12x55 cms. Candelabros: 30x17x43 cms.
ANTIQUES

Ref.: ZF1040
MIRROR. WOOD. SPAIN, 19TH CENTURY.

Mirror. Carved and gilded wood. Spain, 19th century. Rectangular wall mirror with a frame made of carved and gilded wood, with some openwork areas. It has a crest at the top, with architectural and plant decoration (garlands of flowers, leaves, etc.) arranged around (and symmetrically) a curved shape reminiscent of 18th century Rococo rocailles. Also note the wavy edges of the frame in this area. In the rest, outside a usual composition of smooth mouldings, there are a series of plant and architectural motifs (scrolls, leaves, scrolls, etc.), with some details showing, again, a certain Rococo influence. The piece clearly shows the influence of 18th-century Rococo works, as already indicated, but with a more common arrangement in 19th-century works. In addition, a clear French influence can be mentioned (in this school we would speak of the Louis XV style). Compare, for example, with several mirrors in the Cerralbo Museum in Madrid in which the upper part of the mirrors shows soft curves (inv. 04166 –dated in the second half of the 19th century-, etc.).

· Size: 172x20x260 cms
ANTIQUES

Ref.: ZF1241
VALDELATEJA. OIL ON CANVAS. SANTA MARÍA, MARCELIANO. 1925.

View of Valdelateja. Oil on canvas. SANTA MARÍA SEDANO, Marceliano (Burgos, 1866-Madrid, 1952). 1925. Titled, signed and dated (bottom right). Bibliography: La Esfera Magazine (Madrid.1914), issue number 589 of 4/18/1925, page 28 (color illustration). Marceliano Santa María demonstrated his artistic ability as a child, beginning his training in this field at the Provincial Academy of Drawing in Burgos. He moved to Madrid in 1885, where he continued his studies at the Círculo de Bellas Artes, the San Fernando School of Fine Arts, and the studio of Manuel Domínguez Sánchez. He furthered his studies thanks to a grant from the Burgos Provincial Council, which allowed him to spend time in Rome between 1891 and 1895. He returned to Spain that year, settling in Burgos, painting and teaching, until he was appointed director of the School of Arts and Crafts in Madrid in 1934. During the Civil War, he had to reduce his output due to his health, but continued his work after the war ended. His work was recognized with several awards (the sole medal at the 1933 Chicago World's Fair, the Medal of Honor at the 1934 National Exhibition of Fine Arts in Spain, the Grand Cross of Alfonso X the Wise, etc.) and is held in important private collections as well as in institutions such as his own museum in Burgos (the Monastery of San Juan), the Museum of the Royal Academy of Fine Arts of San Fernando in Madrid, the Museum of Modern Art in Barcelona, etc. Although he was highly appreciated for his portraits, he is also known for his Castilian landscapes. This painting shows a landscape of Valdelateja, a town in the province of Burgos located in the Páramos region, and was published in the magazine La Esfera in issue 589, under the title “Castilian Landscapes” and with the title “A Corner of Valdelateja (Burgos)”.

· Size: 87,5x6x108 cms. int: 70x90 cms
ANTIQUES

Ref.: ZF1404
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SILVER JAR OR JUG. MARTÍNEZ MORENO, MATEO. CÓRDOBA, SPAIN, POSSIBLY 17...

Jug or jug with basin. Silver in its color. MARTINEZ MORENO, Mateo. Córdoba, Spain, 18th century With hallmarks and engraving marks. Made of silver in its color, the jug has an oval base, which rises flat until reaching a molding with vertical lines grouped in threes; after this it has a curve and a decoration of engraved circles until reaching the body of the piece. This is divided into three areas, a widening at the bottom until reaching the central area and, finally, another curve up to the mouth, all decorated with a series of curved "segments" of different widths. The handle, of a type known as a tornapunta, it presents architectural and vegetal decorations. The lid repeats the lines of the body and ends with a vegetal shape, in addition to presenting a piece towards the handle. The spout, curved towards the outside, shows two moldings halfway up the of its journey. The typology to which this jug belongs was common in Spanish silverwork during the Rococo period, and similar models can be found both in the capital and in other centres. With Philip V, numerous French influences came to silverwork, together with some Italian ones, both by artisans from these origins as well as pieces. There was still little marking on the works except in important centres such as Madrid, and civil typologies acquired great importance. As in the rest of the country, the Baroque tendencies coexisted in the Court , Rococo and Neoclassical, although, as it was the centre that set the tone for the rest, the former soon moved away, introducing Rococo before 1740 or at that time, and Neoclassicism around 1770 (gradually imposing itself from 1780). Let us remember, again, that the jug follows the most common prototype since the arrival of the Bourbons, characterized by its European influence and by the great difference it shows with the type known as "spout jug" (present in the Renaissance, etc. ). It has several hallmarks at different points of the piece, some of them frustrated (partially preserved). It is possible to identify the locality, Córdoba, and the master silversmith's, although the numbering alluding to the date of creation of the work is still to be fully identified. Mateo Martínez Moreno was active in Córdoba during approximately the second half of the 18th century and was a faithful contrast to the city between 1780 and 1804 (the year in which he died). Weight: 1.167 kg.

· Size: 38,5x31,5x29 cms
ANTIQUES

Ref.: ZF1248A
PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Rectangular table top with marble and hard stones. Inspired by Italian models from the 16th-17th centuries. The vein of a particular stone has been highlighted by placing it in the centre and surrounded by a necklace with round and rhomboidal beads. Around it, a decoration based on floral scrolls stands out, with a marked classical inspiration. To complete the composition, without taking away the central area's prominence, the outer band shows a series of empty mirrors within cartouches reminiscent of those used in the Renaissance. The technique is very similar to inlay, but uses marble and hard stones (more than 7 on the Mohs scale) to make these designs. Desks, boards and other objects were made with “hard stone work”. Lapis lazuli was usually used together with Belgian marble as a background, accompanied by jade, chalcedony, etc. The price of the material and the specialized labor raised the cost of this type of artwork so much that its recipients were only the main houses and courts of the time, which is why today they are only preserved in prominent private collections and important museums. Piero de Medici and Lorenzo the Magnificent began to support a series of works in Florence to revive, with thematic and technical changes, the Roman mosaic technique called “opus sectile”. It was during this period that the greatest decorative variety was produced, because, from around 1600, naturalistic motifs were the ones that ended up prevailing. Over the years, birds, parrots, lacework, pearls, etc. were also added. The work with hard stones was so successful that, from the 17th century, a series of workshops were created in Europe that continued with this tradition, among which the Gobelins Factory in France, the Royal Workshop of Naples and the El Buen Retiro factory in Madrid stand out. Compare this panel with other masterpieces: the “Panel of the Duke of Osuna” (O00501) made in 1614 and kept in the Museo del Prado in Madrid has a band on the outside that is reminiscent of this one; the “Farnese Table” in the Metropolitan Museum of New York (58-57 AD) also stands out for its grain in the central area; and some are kept in the Museo Opificio delle Pietre Dure in Florence.

· Size: 180x120 cms.
DECORATION

Ref.: AWRT229 ...
WALNUT THREE KEYS CHEST WITH WROUGHT IRONWORK, CASTILLE (SPAIN), 17TH ...

“Town Hall” chest made of walnut wood and wrought iron fittings. Castile, 17th century. Rectangular chest with a flat lid on four spherical legs and prominent moulding at the bottom, reinforced with corner pieces and featuring two handles with a central disc on the sides and, on its front, three bolts with a decorated lock shield and highlighted on a fabric background, with their respective keys. These have a decorated stem and a ring with openwork circular elements. This type of chest is called “Town Hall” or “Council” because of its three locks, each of which closes with its respective key. These pieces of furniture were used in any type of organisation, religious or civil, to store valuable objects, documents or money and each of the keys was given to a person in charge, it being essential that all three were together to open the piece of furniture, avoiding any possible temptation. They were a very common element in councils or town halls of towns and other villages, hence their name. Stylistically, it is situated within the Baroque period due to the strength of the lower moulding and the movement provided by the legs and the shapes of the different fittings. This typology was already used in the Gothic period and, given its success, would continue to be something common in the workshops of cabinetmakers and carpenters for many centuries. Sometimes they were made of iron, and, in very few cases, three keys were used to close a silver chest (the one containing the body of San Isidro, Madrid). In many places, such as La Rioja, it was used as a municipal archive, following laws inherited from a pragmatic of June 9, 1500 with which the Catholic Monarchs obliged the Councils of their territories to build town halls, prisons and to have a chest of privileges and deeds. Despite having been so abundant in their time, not many examples have reached us because they have fallen into disuse and been replaced. Compare with that of the Council of Villafranca de la Marisma (Los Palacios y Villafranca, Seville), that of Valdipiélago (León), that of Matapozuelos (Valladolid), that of the Cabildo of Buenos Aires in Argentina (18th century, following previous models), etc.

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

Ref.: Z3404
SILVER WRTITING SET. VICENTE ROCES, ZARAGOZA (SPAIN), CA. 1760.

Silver writing desk. Vicente Roces, Zaragoza, circa 1760. With contrast marks and initials of ownership at the base. The base tray is square in shape with mixed-linear profiles and rests on legs with plant motifs. The four containers have helical scalloped feet and flower-shaped pearl-like finials on the lids. A candlestick emerges from another container, taller than the others and fixed to the tray, with a curved arm ending in a volute, and is attached to it by a hinge. The bell, also with helical scalloped edges, is topped by a figure of a soldier. The pen holder has holes in the lid for the pens, and is the same size as another of the containers, which was probably the inkwell. Two others, slightly larger, also do not have a perforated lid, and may have been used for drying sand and were therefore called “areillos”. The bell, used to call the service, secretary, etc., has another small jar as its base, similar to the rest but much higher, from the top of which the candlestick emerges. Stylistically, the clean lines show a very slight influence of Neoclassicism, while the helical scallops, the movement of the profiles of the containers, and the type of tray (called “contours” and very popular in silverwork in this century) reflect a strong survival of models related to the Rococo. Zaragoza continued to be the main silver centre of Aragon, with an abundance of preserved pieces and many marked, allowing for a detailed study. The hallmarks ensure the quality of the material and allow us to locate the manufacture and the author of the work. The locality marks, on the arm of the candlestick, place the work in Zaragoza, and date it as having been made between around 1760 and 1770. The craftsman marks, also there and another one on the base, allude to the silversmith Vicente Roces, known for his fine works in the Rococo style such as the Reliquary of Saint Francis Xavier from the last quarter of the 18th century in the Church of Santa María de Sangüesa (Navarra) and some others in important private collections. Weight: 1,525 gr.

· Size: 18x23x25 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6304
SAINT ALOYSIUS DE GONZAGA (TO DRESS UP). POLYCHROMED WOOD, ETC. SPANIS...

San Luis Gonzaga, dressing room. Polychrome wood, etc. Spanish school, 18th century. A sculpture made of polychrome wood, which shows, on a rectangular base, a young man without a beard, with a black body and a polychrome face, neck, hands and part of the arms. This treatment is common in sculptures created to be dressed (note also the arms articulated at two points each – shoulder and elbow). Attached to one ankle is an old piece of metal and two nails in the feet, which could be an old reinforcement that, in turn, suggests that the work was carried in a procession (there is another piece with screws in the head). As is common in this type of work in the Spanish school since the Baroque, the eyes are made of glass. Saint Aloysius Gonzaga (Castiglione delle Stiviere, 9 March 1568 – Rome, 21 June 1591) was an Italian Jesuit priest canonised in 1726 by Benedict XIII, who declared him patron saint of youth. While in the service of Philip II, he married a lady of Queen Isabella of Valois; he also served in the Spanish court as a page to Prince Don Diego, heir to the monarch, but ended up ceding his rights as first-born to his brother to enter the Society of Jesus (novitiate in Rome in 1583), despite his father's efforts to prevent it. He died after caring for people affected by the plague in this Italian city. He is represented as a young man dressed in a black cassock and surplice or as a young page. His attributes are a lily, referring to his innocence; a cross, referring to his piety and sacrifice; a skull, referring to his early death; and a rosary, referring to his devotion to the Virgin Mary.

· Size: 39x26x134 cms.
ANTIQUES

Ref.: ZE427
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TABLE. WALNUT, IRON. SPANISH SCHOOL, 16TH CENTURY.

Buffet table. Walnut, iron. Spanish School, 16th century. Walnut table with a rectangular top projecting on the sides, iron fasteners decorated with discs, and stipe legs in the shape of coved columns joined at the bottom by a carved jamb with architectural elements ending in volutes, resembling in shape the so-called "Saint Anthony" legs. Walnut wood was the most common in antique Spanish furniture, and the lack of decoration in the upper area is due to the fact that these pieces of furniture were designed to be "dressed" (covered with a cloth). Compare, in general terms, the so-called Inquisition Buffet, dated around 1600 and housed in the National Museum of Decorative Arts in Madrid. A table with similar decoration, dating to the late 16th century, is also held in a private collection. These carved decorative elements on the legs show a clear classicist influence, which is why it is thought to be associated with the Renaissance.

· Size: 132x85x81 cms.
ANTIQUES

Ref.: ZF1296
SET OF MANTLE CLOCK AND CANDELABRA. GILT BRONZE, MARBLE. POCHON, JEAN-...

Louis XVI clock mount and candelabra. Gilt bronze, marble. POCHON, Jean-Charles (act. last third of the 18th century). Paris, France, ca. 1780 or 1790 and 19th century. Bibliography: (clock) NIEHÜSER, Elke. “Die französische Bronzeuhr. “Eine Typologie der figürlichen Darstellungen.” Callwey, 1997. Page 131. A garnish consisting of a table clock with a Paris mechanism and two three-light candelabras each, made of white marble and gilded bronze. The clock has a rectangular base with the central area projecting to the front and raised on four legs, further enhanced with plant elements (garlands, leaves, scrolls, etc.) and architectural elements with a marked classicist taste and a frieze of reliefs with children in various attitudes situated in an idyllic landscape with architecture in the background. The dial is white, with Arabic numerals for the hours and dots and Arabic numerals every fifteen minutes, with the fleur-de-lis hour hand and highly decorated minute hand. It is topped by a composition of flowers, fruit, leaves, garlands and a bow highlighting arrows and a lit torch; on the sides are Cupid with his bow and a female figure who is most likely the goddess Venus. The two candelabras, each with three lights, have a circular marble base raised on legs and enhanced with a string of pearls in gilded bronze, a material that is also used to make the leaves and stems that, intertwining, create each of the three arms, which end in candle holders with saucers decorated with raised leaves and strings of pearls. The dial bears the words “Pochon” and “Paris”, referring to the place where the movement was manufactured (the Paris machinery). Jean-Charles Pochon achieved the rank of master watchmaker around 1775 and is considered one of the leading watchmakers in his field in the French capital in the latter third of the 18th century. His works are preserved in some very important private collections such as the so-called “Liechtenstein. The princely collections, Vaduz-Vienna”, and in institutions such as the Museum of Decorative Arts in Paris (France). The machinery or movement may be from the 19th century. In the case of the clock (the case itself), examples similar to the present one are known in private collections, since the bronzes come from a Parisian workshop. It is known as “L'Amour drobe par ses armes” or “Amor Wird Seiner Waffen Beraubt” (Cupid is stripped of his arms) due to the iconographic theme it shows. As for the candlesticks, they are reminiscent of Louis XV style pieces in some details such as the use of leaves to create the shape of the pieces, but they also present elements more similar to Neoclassical style works (the lighters and their decoration). Total weight: 20.35 kg.

· Size: Reloj: 30x12x45 cms. Cand. 17x17x28 cms.
ANTIQUES

Ref.: ZE348
CARVED FRAME WITH PAINTING ON VELLUM, “OUR LADY OF THE ROSARY WITH SAI...

Carved and gilded frame with painting on vellum, “Virgin of the Rosary with Saint Dominic of Guzmán and Saint Catherine of Siena”, 17th century. Inscription on the back (D. José Salazar). A quadrangular frame with square projections at the corners and semicircular projections at the centres of the sides. The fleshy and prominent plant carving is gilded, and in some areas the red bowl with which the thin sheets of metal were attached to the wood can be seen. The painting on vellum has magnificent openwork, flowers on the border and various figures. The scene depicted is the Virgin giving the rosary to Saint Dominic de Guzman and Saint Catherine of Siena. Mary appeared to the founder of the Dominicans, giving him the “Crown of Roses of Our Lady”, also called the rosary, and teaching him to pray it, with the command that he should preach it among men. This particular devotion is known as the Virgin of the Rosary. Saint Catherine of Siena took the habit of the Third Order of Saint Dominic at the age of 16, despite family opposition. That is why she is represented dressed in this way. It was the members of her order who dedicated themselves to spreading her cult throughout Europe, attributing to her miracles common to other saints (stigmatization) and representing her in numerous scenes. One is that of the present work: despite not having participated in the delivery of the rosary, she is included in the theme together with Saint Dominic, flanking Mary, who is usually shown with the Child. The Virgin appears in the sky, with the saint on her right and the saint on her left, giving them a garland of flowers that symbolizes this rosary; the buildings in the background refer to the religious foundations that were carried out thanks to Saint Dominic (the first formal community of “preaching brothers” was organized around 1215; the saint himself founded a female monastery in Prohuille). The delicate work on vellum with openwork and the marked presence of flowers link the work to some female convent of the order. It would have been commissioned by the order itself or brought as part of the dowry of some sister. The high quality and importance of the frame indicate the great value given to the painting, which would have been hung on some wall as evidenced by the presence of a metal hook on the back. Similar frames to the present one, with the same quality and importance of the carving, are not easy to find. Similar examples are preserved in the J. Paul Getty Museum in Miami, the Victoria & Albert Museum in London, the Museo Nacional de Artes Decorativas in Madrid, the Louvre in Paris, etc. Paintings on vellum were very common in the Baroque because it was a much cheaper support than wood. However, since they were executed by lesser artists, their value has only recently been recognized, so not many examples have survived.

· Size: 33x37.5 LUZ 13.5X18 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZA5034
IMMACULATE CONCEPTION. WOOD, SILVER, GLASS. PORTUGUESE SCHOOL, 18TH CE...

Immaculate Conception. Carved and polychrome wood, glass, silver. Portuguese school, 18th century. Sculpture made of wood showing a young Mary, with her hands together in front of her chest in an attitude of prayer, and standing on a cloud, from which emerge winged angel heads and on which there is a “false” (a silver crescent moon with a face on both sides). Dressed in a tunic, the cloak appears waving, the garments decorated with flowers, waves, etc., combining polychromy and gilding. She has a crown, in silver in its colour, with architectural and plant elements of strong classicist influence, which does not show contrasting marks. Under the cloud, there is a rectangular pedestal, made of gilded wood and decorated with architectural and plant elements in relief. Note that it is also worked on the back, where a label appears after the completion of the work. Given its iconography, it is believed to be a carving of the Immaculate Conception. It is one of the most common models for depicting the Virgin in Spanish Baroque art, and is also common in other schools (where reference is usually made to the Virgin of the Conception or the Immaculate Conception). This devotion presents an iconography whose development began in Spanish Gothic art, responding to a desire to highlight the purity of the Mother of Christ. In its beginnings, it presented details of the Vision of Saint John on Patmos and elements belonging to the Marian Litanies, becoming simpler over time. Stylistically, the movement and certain details of the mantle show a certain influence of Rococo, an artistic movement that originated in France (where it developed between 1730 and 1760) and which spread from there to other European schools. There is evidence of the existence of a sculpture quite similar to the one present in the Portuguese 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, dated to the second half of the 18th century and considered to be from the Portuguese school, although no further details have been found about its authorship. This sculpture also has a base similar to that of this sculpture.

· Size: 21x15x56 cms
ANTIQUES

Ref.: ZF1324
ROCCOCO STYLE MIRROR. WOOD. 19TH CENTURY.

Rococo style mirror. Carved and gilded wood. 19th century. Slightly rectangular mirror with a frame made of carved and gilded wood and decorated with elements inspired by 18th century Rococo art (rocailles, curves and counter-curves, fleshy plant elements, etc.) together with a composition more in the taste of 19th century art (note the inner area of the frame, the symmetry, the crest...).

· Size: 157x27x158 cms
ANTIQUES

Ref.: ZE300
THREE LOCKS CHEST. WALNUT, IRON. SPAIN, 17TH CENTURY.

Town hall chest. Walnut wood. 17th century. A rectangular carved walnut chest with a flat lid and simple decoration on its fronts with smooth mouldings of different widths. It is slightly raised from the ground thanks to six legs with a cylindrical base on a flattened circle. On the outside, it has a series of wrought iron fittings (corners with a fleur-de-lis finish), two handles on the sides with openwork fittings and, on the front, three locks with a key with an openwork lock shield decorated with simplified plant elements. On the inside, it has a wooden partition on one side and situated high up, which consists of a rectangular space with a hinged lid and two small drawers at the bottom. The three iron keys have their worked and decorated eyes, with simple decorative elements on that side of the stem or central part and the usual flat keys. Chests with three locks are also known as “Town Hall” or “Council” chests, because both these and those with two keys were often used by religious, military or civil organisations to store valuable objects and documents, securing them by giving a key to each person in charge (as many people as there were locks and keys), so that they had to come together to open the cabinet. In many places in the Spanish territories, it was used as a municipal archive, following laws inherited from a pragmatic of 9 June 1500 with which the Catholic Monarchs obliged the Councils of their territories to build town halls, prisons and have a chest of privileges and deeds. Despite having been abundant in their time, not many examples have reached us because they have fallen into disuse and have been replaced. Compare with that of the Council of Villafranca de la Marisma (Los Palacios y Villafranca, Seville), that of Valdipiélago (León), that of Matapozuelos (Valladolid), that of the Cabildo of Buenos Aires in Argentina (18th century, following previous models), etc.

· Size: 157x64x78 cms
ANTIQUES

Ref.: ZF0870
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SILVER DRINKING CUPS SET.17TH CENTURY.

Pair of wine tasting glasses. Silver. 17th century. Pair of wine glasses or cups made of silver in their color. They feature a small, low, cylindrical base, a rim that flares toward the top, and a central area curved upwards, which has been decorated with a composition based on embossed geometric motifs in stripes and around a central element. These types of cups were used on special occasions (ceremonies, etc.), hence their material and decoration. They were very common during the reign of the Habsburgs in Spain. Although they were initially objects for civilian use, it was not unusual for them to be donated or commissioned for use in churches or liturgical settings. They were also frequently used for important festivals (Corpus Christi, pilgrimages, etc.). The shape of the pair clearly demonstrates the attachment to certain earlier traditions that prevailed in Spanish silversmithing during the 17th and 18th centuries, especially in certain production centers. Weight: 435 grams.

· Size: 18x18x5 cms.
ANTIQUES

Ref.: ZF0958
SILVER WRITTING SET. WITH HALLMARKS. CORDOBA (SPAIN), ANTONIO JOSÉ SAN...

Spanish: Notary. With hallmarks and engraving marks. There is a defect in some container and a bell is added. Silver writing table consisting of a tray, four containers and a bell. The first element, oval in shape, has edges with soft curves and counter-curves, decorated on the upper part with flat mouldings, combined with volutes and osier shapes; it stands on legs composed of two volutes flanking a teardrop, a set topped by a symmetrical composition. The four containers, with lids, have profiles with soft curves (among which engraved initials can be seen), which run towards the upper part following parallel spirals, these lines being extended on the finished lids. Two of them, smaller, have holes in the lids. The bell to summon the service, which has a space for itself on the tray, has much simpler lines. The hallmarks placed at various points in the set provide information regarding their date, origin and place of creation. They were made in Córdoba. Antonio José de Santa Cruz was a silversmith known for his work in Córdoba, active mainly in the second half of the 18th century; his works are preserved in some churches and in prominent institutions such as the National Museum of Decorative Arts in Madrid. Juan de Luque y Leiva was a renowned marker from Córdoba, active around the same time, with works preserved in the area (Parish of San Miguel in Córdoba, a wine rack with cruets in Loja from 1778, works in the Costume Museum in Madrid, etc.). Stylistically, the lines of the entire set (except for the bell) show that it belongs to the Rococo style, with the usual influence of certain details of Neoclassicism, which influence the relative simplification of the decoration of the pieces, while still maintaining something of the movement of the other artistic style mentioned, which is also characteristic of the 18th century. Weight: 1490 grams.

· Size: 26x30x15 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6810
MINIATURE AFTER SIR JOSHUA REYNOLDS. POSSIBLY, 19TH CENTURIES. NEOCLAS...

Miniature with bronze frame in Neoclassical style (19th century). “Mrs. Smith (Charlotte Delaval) and her children (George, Henry, Louisa and Charlotte)”. Based on the work of Sir Joshua Reynolds. Possibly, 19th century. Signed in the lower right corner (Reynolds). Rectangular frame arranged vertically with a series of mouldings with different decorations and a top with latticework, leaves and openwork flowers. Inside, there is a band of cloth embroidered with plant elements, and there is also an old textile on the back to protect the work. The miniature in the centre has a natural landscape background (some trees and an opening to the horizon can be seen to the right) and some figures in the foreground. An elegantly dressed lady brings her hand to her cheek; the three children to her right are also dressed in gala attire and playing with each other (two of them are also looking towards the viewer). The miniature is closely inspired by a painting now in the Metropolitan Museum of Art in New York, a portrait of “Mrs. Smith (Charlotte Delaval) and her children (George, Henry, Louisa and Charlotte)” by Sir Joshua Reynolds (Plympton 1723-London, 1792) in 1787 (Inventory 25.110.10). It is known that engravings were made of this painting (Francesco Bartolozzi in 1789; R. Josey in 1880) and that Samuel Shelley (1750/56-1808) made an oval miniature closely inspired by it (Lady Smith is shown without a hat in it) and which is in a private collection (sold by Sotheby's in London in 1977). The most obvious changes in the miniature compared to Sir Joshua's work are the colour of Mrs Smith's dress, the children's faces (more delicate), the landscape in the background, the general tone of the work and the addition of the flowers in the lower right corner. In another private collection there is a miniature (by the British artist Frank W. Wilkin) showing the three children of Sir Robert Smith and Lady Charlotte, also inspired by Sir Joshua Reynolds' painting. Samuel Shelley was born in London and was a largely self-taught artist, best known for his watercolour miniature portraits. He first exhibited his work at the Society of Artists in 1773 and a year later entered the Royal Academy Schools, where his work was influenced by Sir Joshua Reynolds. His work is held in numerous private collections around the world, including the Yale Centre for British Art, the National Portrait Gallery in London, the Royal Collection of the British Royal Family, the Metropolitan Museum in New York, etc. Francis William Wilkin, or Frank Wilkin (1791-1842) was an engraver who specialised in portrait painting and began working in miniatures, although he also worked in other genres.

· Size: 19x13 cms / 37x25 cms.
ANTIQUES

Ref.: ZF0157
GARNITURE, MANTEL CLOCK AND TWO CANDELABRA. BRONZE, MARBLE. FRANCE, 19...

Garniture, table clock, and candlesticks. Bronze, marble. Modeled after Clodion. France, 19th century. A set consisting of a table clock with Paris movement and two two-light candelabras, made of white marble and gilded and burnished bronze. The clock features a raised stone base with legs and a string of pearls, and the dial (with Arabic numerals and colored garlands; Arabic numerals every fifteen minutes) is contained within an architectural structure accompanied by a torch, a vase (part marble and part bronze), and an arch. The frame features a semi-nude child figure hugging a rooster. The candelabras, with circular bases, legs, and pearls, each feature a figure (a child with a flower garland on his head and a faun) holding two branches with their arms, each ending in the candlestick holders. The two candelabras, featuring the figures of a satyr and Bacchus, or bacchante, are inspired by pieces created by Claude Michel (1738-Paris, 1814; also known as Clodion), a French sculptor renowned for his work, having received awards such as the Grand Prix for Sculpture from the Academie Royale in 1759 and the Prix de Rome in 1762. The satyr in this pair closely follows the master's models (compare Satyr Running with an Owl, made between 1770 and 1780, Cleveland Museum of Art), and several examples of candelabras with figures like this pair are known (with variations in the lights and bases). The Cupid on the table clock is also inspired by reliefs and sculptures by Clodion, but what is striking about this garnish is that, according to the surviving sets, it is unusual to combine the candlesticks with these figures with the clock itself in the same set. Total weight: 27 kg.

· Size: 35x15x39 cms. Candelabros 23x15x40 cms
ANTIQUES

Ref.: ZF1381
SPANISH DESK (BARGUEÑO). WOOD, METAL. 17TH CENTURY.

A writing desk or wastepaper basket with a bridge base. Wood, metal. Spanish School, 17th century. It needs some restorations. Bargueño or covered wastepaper basket located on a support of the type known as "bridge foot" due to its shape, made of carved wood and decorated with reliefs of architectural and vegetal elements of Classicist influence, vases, spherical finials and twisted columns (two larger ones on the sides of the bridge and two more flanking each of them, these combining fluted columns at the top with twisted elements at the bottom). On the outside, the wastepaper basket is decorated with cut-out metal appliqués (with simplified geometric and vegetal elements) set on textile, with handles, shell-shaped nails, handles, knobs, etc. and a bolt in the center with architectural elements clearly reminiscent of the Baroque. When opening the front, the sample is seen, with three levels and several streets (which do not correspond between these heights), with drawers with shell-shaped knobs and simple panels, and others with columns and metal knobs of the same shape, and chapels with architectural motifs on the front, combining golden elements with polychrome motifs. These pieces of furniture are one of the most common and appreciated styles of the 17th-century Castilian school, and their influence remained strong well into the 20th century. The exterior decorations and the arrangement of drawers and chapels within varied. The personality of the Spanish style was so strong in the 17th century that it prevented the penetration of foreign influences, especially from France due to the poor diplomatic situation at the time. This had a significant influence on the rest of Europe, where French models predominated. The 17th century was a period of decadence in Spain, and this was greatly reflected in furniture. There were no pieces as luxurious as in other countries, a fact also determined by the pragmatic anti-luxury dictated by the monarchs. However, Spanish furniture of the Baroque period displayed considerable quality, enormous personality, and, above all, great interest in terms of typology and the pursuit of functionality over decoration. It is also worth noting the growing appreciation of furniture compared to the previous century. Considering the inventories of goods, significant changes are seen, with furniture becoming even more expensive than tapestries during the time of Charles II.

· Size: 97x46x145 cms.
ANTIQUES

Ref.: ZF1389
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SILVER JAR O JUG. FAXARDO, ANTONIO. SPAIN, CÁDIZ, 1787; REMARKED IN IT...

Jug. Silver. FAXARDO, Antonio. Spain, Cadiz, 1787; remarked in Italy (Naples). With hallmarks and engraving marks. Published in the Encyclopedia of Spanish and Viceroyal American Silver. Bibliography: Fernández, Alejandro; Munoa, Rafael; Rabasco, Jorge. “Encyclopedia of Spanish and Viceregal American Silver”. Second edition, corrected and expanded. Torreangulo Graphic Art, Madrid, 1985. Page 121; image 235 on page 331. A silver jug in its colour, featuring a raised circular foot, a spherical body that narrows upwards and opens again towards the lid of the piece (which has an open spout, simple engraved decoration and a vegetal finish of branches with fruit), and a curved handle decorated with architectural and vegetal elements of clear classical inspiration. This same influence can be clearly seen in the lines of the piece. Typologically, it is situated within a common line of 18th century Neoclassical Spanish silverwork that emerged in the capital of the Court (Madrid), a city from which it spread to other centres. Likewise, a certain reminder of Rococo is often mentioned in some detail (the handle in this case). The hallmarks it presents are those of the town of Cadiz, that of the silversmith Antonio Faxardo (active between 1775 and 1789), a chronological mark (1787) and that of Naples (considered as a remarque). Note that the hallmark of Cadiz, the hallmark (illegible), the chronological mark (1786) and that of the silversmith Antonio Faxardo appear on a chalice from the Cathedral of Santander. The aforementioned book identifies the marks present on the piece, as well as providing a photograph of it. Weight: 1008 grams.

· Size: 17x13x30 cms.
ANTIQUES

Ref.: ZF1014
BRONZE MANTLE CLOCK, CUPID WITH ROOSTER. BRONZE, MARBLE. POSSIBLY FRAN...

Table clock. Gilt and blued bronze, marble base. Possibly France, late 19th century. In operation. A working Parisian table clock with a rectangular light marble base with the front slightly pushed forward to make room for the clock case. This has a white dial, Louis XVI style hands and Roman numerals for the hours and Arabic numerals in fives for the minutes. This part is housed in a gilded marble pedestal, which has a Greek fretwork base resembling waves, a laurel wreath and, on the sides, some books, an overturned vase with flowers and an arch; above, plant elements and a bow. On the top is a gilded bronze rooster, and, holding the animal, a cupid (note the bow that would link him to the god of love Cupid) or a cherub made of burnished bronze, thus creating a marked contrast. There are only a few examples similar to the present one in private European collections, as it was a highly prized model, and French workshops specialising in this type of piece created variants for watchmakers who requested them. There is also another model without a rooster and with a reclining angel, very similar to the present one, of which there are also known porcelain examples created in Meissen.

· Size: 35x15x40 cms
ANTIQUES

Ref.: ZF1036
BRONZE CLOCK WITH MUSE. FRANCE, 19TH CENTURY.

Table clock with Muse and writers. Blued and gilded bronze, Paris machinery. France, 19th century. Machinery in perfect working order. Table clock in burnished and gilded bronze with Paris machinery and a white dial with a gilded bronze centre (Roman numerals for the hours, lines for the minutes and Breguet-type hands). The rectangular pedestal is raised on supports and has an architectural decoration; the base of the clock, also rectangular, shows plant crowns with scrolls enhancing cartouches (with names: Virgile, Tasse, Homere, Racine, Voltaire); the dial and the machinery are housed in a gilded bronze piece that resembles a bookcase, on which appear books, a laurel wreath and a musical instrument. A burnished bronze female figure, dressed in a tunic, holds this kithara, a plucked string instrument typical of ancient Greece, similar to the lyre (the difference is the sound box, so it could be a lyre in the present). The female figure would be a Muse: these classical divinities of Greek mythology inspired the arts; daughters of Zeus and Mnemosyne, companions of the god Apollo in his retinue, each one is related to a branch of art and knowledge. She is linked to the lyre Calliope (muse of eloquence, beauty and epic poetry) and to the zither Erato (muse of lyrical-love poetry). As for the names mentioned, the first refers to Publius Virgil Maro (70 BC-19 BC), Roman poet author of the Aeneid, the Georgics, etc. who was also known for his role as guide in Dante Alighieri's Divine Comedy. The French name “Le Tasse” refers to Torquato Tasso (1544-1595), Italian poet author of Jerusalem Delivered, Rinaldo, etc. Homer is the name given to the person credited with the authorship of the Iliad and the Odyssey, bases of Greco-Latin epic literature. Racine is the surname, among others, of the French playwright Jean Racine (1639-1699) and his son and poet Louis Racine (1692-1763). François-Marie Arouet (Paris, 1694-1778), better known as Voltaire, was a French writer, historian, philosopher and lawyer, with numerous literary and philosophical writings. Curiously, there is evidence of an Empire clock (located in a private French collection) in the shape of a library with books, very similar to the one in this piece. And it is worth remembering that the high specialization of French bronze makers, which gave rise to high-quality works of art, meant that several pieces of the same model were created if it was popular with the aristocracy and the upper class. For this reason, there is evidence of several clocks, with slight differences from the present one (especially in the dial and in the absence of blued bronze), kept in private collections and dated to the beginning of the 19th century. Weight: 12.7 kg.

· Size: 40x15x57 cms.
ANTIQUES

Ref.: ZF1069
SPANISH CHEST OF DRAWERS FOR SACRISTY-USE. WALNUT AND IRON. SPAIN, 17T...

Sacristy chest of drawers in walnut wood with carved decoration. Spain, 17th century. A cabinet with three very deep drawers, the lower one higher, on rectangular legs and with a straight wooden top, slightly protruding. Each of the drawers has two wrought iron handles. The sides are decorated with simple rectangular mouldings, while the drawers are carved in relief: the upper one with vines and leaves; the central one with fleshy vegetal scrolls; the lower one with three plaques, the lateral ones with a central rhombus and flowers in the corners, and the central one with a rose framed by a cord with three knots on each side linked to two keys. These carvings, in addition to the depth of the drawers, the horizontality of the composition and lines and the straight upper panel, suggest that the piece of furniture was used in a sacristy to store liturgical vestments appropriately, and also indicate that it could have been commissioned by a Franciscan institution (note the typical cord with knots) dedicated to Saint Peter (because of the two keys in the corners). Although it does not have the rear panelling that has been common since the 16th century, the front has voluminous carvings, typical of the 17th century, and decorative elements typical of the Baroque, as well as certain reminders of earlier furniture (panels in the lower area). The carving and the quality of the assembly of the boards (note the tongue and groove of the corners) show that these were important works, intended for religious environments. The side panels are reminiscent of those of the central chest of drawers in the sacristy of the Cathedral of Avila. As in the one in the sacristy of the Cathedral of Murcia, it is the fronts that have carvings in this example, which are reminiscent of others such as those on the refectory table in the collection of the Marquis of Santo Domingo (Madrid). However, those with simpler fronts are more common, although, due to direct influences, examples can be found that demonstrate the popularity of this prototype such as the chest of drawers in the sacristy of the Old Convent of San Francisco in Havana (Cuba).

· Size: 175x105x112 cms.
ANTIQUES
FURNITURE

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

“Martyrdom of Saint Bartholomew”. Painting on vellum. Based on a model by Ribera and Cucó, José (Játiva, 1591 – Naples, 1652). The composition is organised around the diagonal drawn by the trunk of the tree to which the old man is tied. The soldier on the right is skinning him, while another figure on the left balances and harmonises the painting. This is how Bartholomew the Apostle was martyred: according to tradition, the king of Armenia, Astyages, ordered him to worship his idols, which he refused to do, ordering him to be skinned. Almost all the elements of the work can be related to the Italian school, while the composition follows common models of the 17th century Baroque. The colouring shows the work as very far from the Caravaggesque tenebrism that was common at the time, and it also does not present light contrasts, as well as being reminiscent of works more in the line of classicist Baroque or even of earlier Mannerism. José de Ribera y Cucó was a painter and engraver born in Spain who developed his entire career in Italy, where he was known as Giuseppe Ribera and by the nickname “Lo Spagnoletto”. His style evolved from the tenebrism of Caravaggio towards a much more luminous aesthetic influenced by figures such as Van Dyc, and he contributed greatly to the creation of the “Neapolitan school” (in which Giovanni Lanfranco, Luca Guiordano stand out…). He was born in Játiva, and it is possible that he learned with Francisco Ribalta, and, while still a teenager, he went to the north of Italy (Cremona, Milan, Parma), then to Rome, where he came into contact with classicist works (Reni and Ludovico Carracci); he ended up settling in Naples. His work is preserved in important private collections around the world, as well as in institutions such as the Museo del Prado and the Real Academia de Bellas Artes de San Fernando in Madrid, the Museo de Capodimonte in Naples, the Louvre in Paris, etc. The work is reminiscent of an oil on canvas painted by José de Ribera between 1617 and 1619 for Pedro Téllez Girón III, Duke of Osuna and Viceroy of Naples at the time, now housed in the Museum of Sacred Art in Osuna, Seville (Old Collegiate Church of Osuna). It was part of a group of five paintings (Saint Sebastian, Saint Peter Penitent, Saint Jerome, the Angel of Judgement and Calvary, the latter being a commission by the Duchess and completed in 1618) that were seen in the Collegiate Church as early as April 1627. This group is considered one of the most important from the beginning of her career. However, it is possible to relate it much more closely to another work that presents a similar composition: one of the four etchings that Ribera made between 1624 and 1628: the one of the “Martyrdom of Saint Bartholomew” is signed, dated (1624) and dedicated to Prince Manuel Filiberto of Savoy, nephew of Philip III and viceroy of Sicily. In this engraving and in the work on vellum, a figure on the left looks at the spectator, holding two rods in his hands; the saint looks up, with his arms tied above his head, bent, and his legs drawn up, while a man skins him, holding a knife in his mouth; on the vellum, however, the male figures on the right that are in the engraving are not shown; the sky is also different. As already noted, the main differences are the colour and the lighting, which place the present work closer to Baroque classicist currents.

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

Ref.: Z6742

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