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VIENNA TABLE CABINET. WOOD, ENAMEL. 19TH CENTURY.

Viennese tabletop jewelry box or chest. Wood, enamels, bronze. Austria, second half of the 19th century. It requires restoration. A rectangular cabinet or desk with four projecting rectangular corners and a projecting finial featuring an openwork railing, forming an architectural composition and culminating in a gilt bronze child figure. The four corners of the cabinet feature semicircular arches supported by twisted gilt bronze columns, sheltering bronze female figures in dancing poses, with other children above them. In addition to a series of gilt bronze mounts distributed throughout the cabinet, there are several hand-painted enamel plaques depicting mythological scenes in pastel shades. Two doors on the front provide access to three interior drawers with handles and enamel plaque decorations featuring landscapes. Note that the doors are also decorated with scenes on the inside. These types of cabinets were highly valued in courtly settings and were also used in women's private homes to store jewelry or other valuables, with the added benefit of being highly decorative pieces of furniture. The form, materials (ebony or ebonized wood, bronze, etc.), and enamel plaques follow the style of the 19th-century Viennese school, which specialized in this type of cabinet (the most important examples were made in Vienna). In this style, it is unusual to feature corners with architectural moldings, as can be seen in this example (two other examples are known in private collections, one with smooth bronze columns and the other with porcelain and twisted columns, both dating from around 1880).

· Size: 47x44x56 cms.
ANTIQUES
FURNITURE

Ref.: ZE433
ALLEGORY OF TIME. OIL ON BOARD. CIRCLE OF JACOB DE BACKER (ACT. 1571-1...

Allegory of Time. Oil on panel. Circle of Jacob de Backer (active Antwerp, 1571-1585). Exhibition: “Reality, time and artifice. Still life and vanitas in Baroque culture” (October 21, 2021 to January 30, 2022), Caja de Burgos Foundation, Cultural Cordón (Palace of the Constables of Castile), Burgos. Bibliography: brochure and catalogue of the aforementioned exhibition. Oil on panel depicting, in the foreground, a nude child and a scene in the background to the right, with a partially visible landscape of trees and rocks. The child sits on a pedestal, covered with a cloth, holding a branch in his right arm, which rests on an hourglass; his right foot rests on a skull; his left arm is outstretched, drawing the viewer's gaze to the scene. This scene features Christ silhouetted against a rocky form, semi-nude and with a halo; below, several male figures appear (some reclining, others barely visible), among whom the most prominent is a soldier with his back to the viewer, covering his face with his own shield. Both the hourglass and the skull are common elements in allegories related to the passage of time, dating back to the Renaissance, and are often reinforced with a Christian scene or allusion (here, the Resurrection on the right). Thus, the meaning conveyed would be very close to a well-known and common Baroque genre: the "Memento Mori" (remember that you will die), depicted in both allegorical and still-life forms. Compare the infant figure with the St. John the Baptist in the "Virgin and Child with St. John the Baptist" in the Kunsthistorisches Museum, Vienna, dated between 1590 and 1600, to see similarities and differences. Also compare the figure of the Risen Christ with the engraving by Hieronymus Wierix, following Jacob de Backer, which was published by Hans van Luck around 1580-1590 (British Museum, London). Jacob de Backer, or Jacques de Backer, was a Flemish painter active in Antwerp between 1571 and 1585. It is believed he trained under Antonio van Palermo and Hendrik van Steenwijk, and his work shows a marked influence of Vasari's High Mannerism, despite never having traveled to Italy. Although little is known about his life, the engravings based on his paintings are always noteworthy, a body of work that focused on religious subjects and allegories. His work is preserved in institutions such as the Museo di Capodimonte in Naples, the Hermitage Museum, the Royal Monastery of El Escorial (Madrid, Spain), the Getty Center (Los Angeles, USA), the Leuven Museum (Belgium), the Museum of Fine Arts in Houston (Texas, USA), the National Museum in Warsaw (Poland), etc., and some outstanding private collections.

· Size: 57x6x73 cms.int; 43x57 cms.
ANTIQUES
PAINTINGS

Ref.: ZE364
OIL PAINTING ON CANVAS, 17TH CENTURY. JEWS IN THE DESERT GATHERING MAN...

Jews in the desert gathering manna. Oil on canvas. 17th century. Oil on canvas, arranged horizontally, depicting a figurative subject with a mountainous landscape in the background. In the foreground, a series of figures are arranged in various planes, their postures and gestures highlighting the two central figures. Further back, to the right, tents and a series of cropped figures appear. Note the presence of vases and other vessels, decorated and with forms clearly influenced by classical art. The iconographic series of Moses (Exodus) has a large number of themes, and one of them is the fall and collection of Manna in the desert, which had to take place before the sun melted this food that God gave to the Jews six days a week. Stylistically, note the anatomical study of the figures with their backs turned in the foreground, which creates a space before the "protagonist" Moses, positioned with his hand raised and his gaze towards the sky, and the variety of positions and the careful composition, which results in a very clear work despite the number of figures present in it.

· Size: 208x6x154 cms.
ANTIQUES
PAINTINGS

Ref.: ZE283
”MADONNA WITH CHILD AND ANGELS”. BRONZE AND LAPIS LAZULI. ITALY, 15TH-...

Relief “Virgin with Child and Angels”. Italy, 15th-16th centuries. Bronze in its natural color and gold, lapis lazuli, rock crystal, enamel. At the center of the work, enthroned, is the figure of Mary, with a mantle draped over her shoulders and hair, holding the Child on her knee, who appears to be addressing one of the angels. The Virgin is sheltered by an ogee arch supported by turned columns and visually elevated by a series of steps. This composition achieves a striking contrast: the figure in dark bronze, against the lapis lazuli background, and the gilded bronze of the arch and its exterior. Beneath the steps appears an enameled heraldic shield with a key on an azure background. The kneeling angels flank this figure, and, appearing in dark bronze, visually share the status of religious figures with Mary, while their lower position lends greater prominence to both the Mother and Jesus. The rest of the composition is completed with a delicate landscape: buildings and walls on mountains, clouds in the sky, plants, stones, and so on. Towards the outside, there is another lapis lazuli frame decorated at the corners with appliqués, giving way to the one made of carved and polychrome wood. Lapis lazuli is a semiprecious stone already known in the 7th millennium BC, found in deposits from the Caucasus to Mauritania. From the late Middle Ages onwards, its export to Europe increased, and its use became more frequent both as a pigment in paintings after being ground (resulting in the finest and most expensive of blues, and often of all colors), as well as for painting backgrounds, inlays in works of art, jewelry, and, a little later, in the well-known "hardstone work." The figure of Mary still shows an influence of Gothic models, albeit more European than Italian, along with elements that might already indicate a proximity to the Renaissance: while the nudity of Jesus is already depicted in Gothic works (Fra Angelico's Madonna with Angels), the creation of space through the interplay of drapery in front of Christ can be seen in more advanced paintings (Domenico Ghirlandaio's Virgin and Child, National Gallery, London); the presence of a powerful throne is frequently seen in Italian Madonnas of the Quattrocento (and earlier), but not quite as presented here. As for the landscape, it is necessary to compare it, for example, with that of the fresco of the Condottiero Guidoriccio by Fogliano (Simone Martini, completed in 1328). This is a work of great technical and aesthetic quality, not to mention the materials chosen for its creation, comparable only to outstanding examples worldwide, such as those preserved in the Palazzo Madama in Turin, Italy, where coral also plays an important role. Also essential to mention are works such as the plaque of hard stones (including lapis lazuli) with a bronze relief of Mary and Child, made around 1580-1600 in Italy and held at the Art Institute of Chicago; the “Panorama della Piazza della Signoria” (Jacopo Bilivert, ca. 1599) in the Pitti Museum; and the “Banquet of the Gods,” based on a design by Guglielmo della Porta, held at the Metropolitan Museum of Art in New York.

· Size: 20x22,5x3,5
ANTIQUES
SCULPTURE

Ref.: ZF0123
HEALING THE PARALYTIC. OIL ON WOOD. CASTILLIAN SCHOOL, SPAIN, 16TH CEN...

Healing of the Paralytic. Oil on panel. Castilian School, 16th century. Partially rebuilt. This religious scene, set in a relatively elegant interior, is carved from two-tone stone and depicts a group of male figures interacting with one another. Ten stand with golden halos and are engraved with architectural motifs (one carries a palm, another a staff); one rests a bare foot on a footstool, which also appears to support the head or upper part of another reclining figure, his gaze raised and one foot bandaged. It is important to note the restorations the panel has undergone, in which several elements have been redrawn, continuing the original design where possible. Iconographically, it is a somewhat unclear subject: given the presence of a crutch in the hand, the bandaged foot of the reclining figure is logical and, if Christ is the central figure, we could be looking at a healing (perhaps that of the paralytic in Capernaum that took place in a house, or the healings in the temple of God mentioned by Matthew[21:14-15]…), although the presence of the palm suggests a burial (according to some apocryphal gospels, church fathers… an angel appeared to Mary three days before dying/ascending to give her a palm from Paradise and that she was to give to the Apostles to take before her body) or a saint who has been martyred. Stylistically, the panel clearly displays Flemish influences (faces, fabrics, etc.), alongside details more characteristic of Spanish Gothic painting (golden halos, architecture, etc.), placing the work within the Hispano-Flemish school. The oculus with its two-tone red and white voussoirs was common in Spanish architecture, and this element in the panel can be compared to that of the Church of Santa María la Mayor de Abiesgo in Huesca (without colors), the Mudéjar Church of the Virgen de Tobed in Zaragoza (with oculi featuring latticework in these colors), or the Church of San Pedro in Palencia (with an oculus bearing lines similar to its interior). The Virgin of the Catholic Monarchs, housed in the Prado Museum, dated between 1491 and 1493 and attributed to a Castilian Hispano-Flemish painter, features pink and green tiles (though not arranged as in this work). The National Art Museum of Catalonia holds a Virgin of the Milk with a donor, linked to León and dated to the second half of the 15th century, in which Jesus has a halo similar to those in this panel. Some see a strong influence of Pedro Berruguete (Paredes de Nava, Palencia c. 1450 - Madrid? 1503) in this panel; compare it with the Nativity of the Virgin from the altarpiece of the church of San Martín de Becerril de Campos (circa 1495, Diocesan Museum of Palencia), the Lamentation over the Dead Christ (Palencia Cathedral, circa 1490), etc.

· Size: 99x4x128 cms
ANTIQUES
PAINTINGS

Ref.: ZF1396
PAIR OF CHILDREN. POLYCHROMED PINE WOOD. 18TH CENTURY.

Pair of children. Polychrome pine wood. 18th century. Pair of polychrome pine wood carvings depicting two children playing a wind instrument, both seated, with their hands towards their face, and slightly raising one leg to add some movement to a posture that might otherwise be too static. Judging by their postures and attitudes, they would form part of a large and high-quality altarpiece, considering the carving, details, hair, proportions, etc., elements in which musical angels were not uncommon. Note that those present do not have wings, being called "putti" in these cases, and being, likewise, figures of common presence in religious settings despite having emerged from Renaissance classicism and its sources in Antiquity. The proportions of the figures, the anatomy, the symmetry, the almost plastic quality of the hair, etc., are elements that point to a Neoclassical influence on these sculptures. Likewise, a certain resemblance to 18th-century works from the Castilian school can be observed.

· Size: 22x42x85 cms / c/peanas 37x37x180 cms
ANTIQUES
SCULPTURE

Ref.: ZF0594
GILT WOOD CONSOLE WITH LIONS’ HEADS. MARBLE, WOOD. 18TH CENTURY.

Console with lion heads. Carved and gilded wood, marble top. Possibly Italian school, 18th century. A console table with four legs joined by a stretcher that culminates in a central piece, crafted from carved and gilded wood. Designed to be placed against a wall, it is topped with a light-toned, veined marble slab that follows the lines of the piece (curves on three sides and straight lines on the legs). The slender, molded waist features a raised garland of leaves that connects the lion protomes adorning the legs and the scallop shell with flowers at the front. The legs, with their architectural lines, volutes at the ends, and leaf garlands, are finished with lion heads. The stretcher also features carved leaves and flowers. Stylistically, both the lines of the waistline and tabletop, as well as the elements of the rest of the piece and the material, link it to 18th-century European works. The lines of the legs (straight compared to other Rococo pieces, for example, from the French school) are reminiscent of pieces following designs by Daniel Marot (1661-1752), a Dutch architect, furniture designer, and engraver, and of the Dutch school. However, it should be noted that his designs influenced numerous creations throughout the continent. It is also worth mentioning the presence of an 18th-century console table in the Royal Palace of Aranjuez, whose general lines (though not so much the decoration, which is more Rococo than this one) are reminiscent of this piece in some details. Compare it also with those in the Church of Santa Maria la Nova in Naples (Italy), the Castello Sforzesco in Milan, and so on.

· Size: 100x60x84 cms.
ANTIQUES
FURNITURE

Ref.: ZF1128
EXTENDING TABLE (6 M). MAHOGANY, METAL, ETC. ENGLAND, CIRCA 1930.

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

Ref.: Z5694
WALNUT DINING TABLE. CONTEMPORARY.

Contemporary dining table following English models. This dining table features a rectangular, one-piece top crafted from carved walnut, inspired by antique English examples in its simple and elegant lines. The six legs are joined in pairs at their base by a series of slats, acting as stretchers to stabilize the piece.

· Size: 400x92x80 cms.
DECORATIVE ANTIQUES
FURNITURE

Ref.: ZF0151
CROWN OR PIECE OF ALTAR. EMBOSSED SILVER, MIRRORS, WOOD. LLORENTE, JOS...

Altar finial. Repoussé silver in its natural color, wood, mirrors. LLORENTE, José (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century. With contrast markings. An altar finial crafted from repoussé silver on a wooden frame features seven oval mirrors with profiles cut in curves and counter-curves. The upper section presents a canopy imitating textiles, from which hang a series of small bells and shelters a dove with outstretched wings, positioned before a scallop-shaped motif and a cloud with winged angel heads. Approximately the upper three-quarters of the piece display a low-relief decoration with sunbeams, scrolls, rocaille, oval mirrors, circular teardrops resembling rain, flowers, leaves, a sheaf of wheat next to a vine with a bunch of grapes, etc., combined with five mirrors and arranged symmetrically; the remaining section has no reliefs but does contain two mirrors. This type of liturgical metalwork was relatively common in churches, cathedrals, and other institutions with significant purchasing power and influence, although many examples have not survived because the material was valuable, easily melted down, and subject to looting. Among the notable examples, highlighting their differences, are the silver altar of Seville Cathedral (16th-17th centuries, by various silversmiths), the ensemble of the main chapel of Santiago de Compostela Cathedral (17th century), the monstrance-tabernacle of Valencia Cathedral (18th century), the silver altarpiece in the Diocesan Museum of Huesca (a work by José Estrada and Juan and Jerónimo Carbonell y Gros, created between the 17th and 19th centuries, which was placed before the main altarpiece of the Cathedral and features a canopy and hanging bells), and the silver-gilt and natural-colored monstrance for the Blessed Sacrament, dating from the 18th century and located in the Segovia Cathedral Museum, among others. The presence of the Holy Spirit (dove), the bunch of wheat ears, and the vine with the bunch of grapes would link the piece to the Eucharist, and it is possible that it is a fragment of an altar (permanent or not) for a monstrance. Stylistically, the work clearly belongs to a somewhat advanced Rococo period. The hallmarks present in various places on the silver indicate that the finial was created in Vitoria, Spain, also providing an approximate date (around the 1760s) and the names of two master silversmiths: Juan Antonio Sotil or de Sotil (possibly the hallmark) and José Llorente. Juan Sotil was a silversmith based in Vitoria who also served as the city's hallmark (the City Council appointed him appraiser of diamonds and precious stones in 1751, and city hallmark in 1769, a position he held until 1779, when he resigned and Mauricio Llorente was appointed). Works bearing his hallmark are held by prominent institutions such as the Museum of Sacred Art in Vitoria (Reliquary of Saint Lucy from the Hermitage of Saint Lucy in Vitoria, 18th century). José Llorente was another silversmith from Logroño. He passed his master's exam in Burgos, and is documented between 1760 and 1799. Works bearing his mark are preserved in the Church of Santiago in Logroño (pyx), the Old Cathedral of Vitoria (four candlesticks), etc.

· Size: 52x26x122 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE153
PAIR OF CANDELABRA. ROUGE GRIOTTE, GILT BRONZE. FRANCE, POSSIBLY NAPOL...

Pair of candlesticks. Rouge Griotte marble, gilt bronze. France, possibly Napoleon III, 19th century. A pair of seven-light candelabra, each crafted from marble and mercury-gilded bronze. The base, raised on four legs, features vegetal friezes surrounding a central element on its fronts, leading to a garland-like base of Roman influence. The base of the "vase" that forms the body of the candelabra is further decorated with vegetal motifs, also present on the body in the form of garlands, connecting the two ram's heads. Note the extraordinary length of the marble neck, which serves as the axis for the light arms, worked in the form of vegetal scrolls and terminating in vase-shaped burners. It is also worth noting that the marble section is not carved from a single piece. Despite the lack of a signature, certain details denote a high quality in this pair of candlesticks. First, the stone pieces are hand-carved Rouge Griotte marble. Also known as Rouge du Roi, it is a Belgian marble highly prized in decorative arts of French influence or origin. Second, the detail of the neck, elongated and forming an everted mouth at the end, is quite uncommon in French marble candlesticks. Third, the quality of the gilding is evident, most likely mercury gilding (ormolu). Stylistically, influences of 18th-century French decorative arts can be seen (ram's head motifs, garlands, etc.), but reinterpreted in the 19th-century style (adding details of Rococo, Neoclassical, and other influences). Weight: 39 kg.

· Size: 35x35x90 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE434
ALLEGORY OR VENUS WITH CUPIDS. OIL ON CANVAS. 18TH CENTURY

Allegory or Venus with Cupids. Oil on canvas. Surroundings of BOUCHER, François (Paris, 1703-1770). The scene features an idyllic natural landscape in the background, with trees to the left and an open horizon to the right, revealing orange clouds alluding to a sunset over rocky mountains. In the foreground, a young woman reclins, dressed in a white tunic, red skirt, and blue cloak, with a red ribbon in her gathered hair. To her left are two cupids or cherubs, one holding a garland of flowers and the other seemingly grasping the young woman's cloak. Iconographically, it could be Venus, although the goddess is more commonly depicted semi-nude or fully nude, so it's also possible that it's an allegory (given the crown of flowers, perhaps representing Spring). Or, being a Rococo painting, it could also allude allegorically to a more abstract concept (virtue in the purity of love, etc.). The oil painting belongs to the circle of François Boucher, a French painter considered one of the most important figures of the galant style, a branch of the Rococo movement. He was highly regarded for his idyllic paintings, the voluptuousness of his style, his mythological, allegorical, and pastoral works, and for several portraits of Madame de Pompadour. He sought a highly detailed finish in his works, employing a somewhat distinctive palette. After a rather difficult apprenticeship, he won the Prix de Rome in 1723 (which he was unable to enjoy due to lack of funds until four years later). Upon his return, he joined the Royal Academy of Painting and Sculpture, eventually becoming its rector, and also directed the Royal Gobelins Tapestry Factory, being appointed First Painter to the King in 1765. In addition to paintings, usually small-format, he also produced book illustrations, designed costumes and theatrical sets, tapestries, porcelain, and more. His work is preserved in institutions such as the Alte Pinakothek in Munich, the Louvre Museum in Paris, the Thyssen-Bornemisza Museum in Madrid, the Metropolitan Museum of New York, etc.

· Size: 87x4x123 cms / int. 67x103 cms.
ANTIQUES
PAINTINGS

Ref.: ZF1127
FOUR IRON COLUMNS. 17TH CENTURY.

Four columns. Iron. 17th century Four iron supports with polygonal shafts, a balustraded shape, and an upper section with two wings flanking the central one, both ending in volutes, and a horizontal section made of the same material as the rest. This type of architectural element was very common in Spain, even well into the 20th century in certain areas. Total weight: 620 kg

· Size: 76x21x249 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1271A
WROUGHT IRON GRILLE GATE. 16TH CENTURY.

Gate. Wrought iron, 16th century. Partial gate of checkered bars with molded incisions without base and bolt on the right with plate topped by simplified vegetal elements, topped by a frieze of canvases decorated at the front with vegetal scrolls alternating with heraldic shields with fleurs-de-lis and with upper cresting composed of two flowering pineapples at the outer ends and stylized scrolls with flowers, two of which flank a fleur-de-lis Latin cross with diamonds on which there is an undulating saltire with flowered finials. Typologically, this is a partial architectural grille or gate with both ornamental and defensive purposes. It clearly displays some of the striking decorative and typological variety typical of the ironwork of the Flamboyant Gothic period of the 15th century, but also reflects common developments in the 16th century. An initial stage of evolution towards the Renaissance is introduced, sometimes even extending into the first third of this century, and is characterized, among other things, by the variety of the balusters, frequently combining square patterns and other elements on a single rod; by the structure of three panels of very similar width and number of bars, and a central door with a lintel; by decorative elements related to the Renaissance, the use of repoussé, etc., characteristics that can be appreciated in this example. The absence of inter-section bands, common in grilles of this period, only indicates that it was made to protect a small chapel. The presence of fleur-de-lis indicates the spread of Catalan models throughout the Iberian Peninsula. These models, originating directly from France, often featured this decorative element. The relationship between this grille and certain Gothic influences is clear, especially when compared with fully Renaissance examples such as the one in the National Archaeological Museum from 1575 (inventory 57551). Typically, 16th-century grilles, if they have survived at all, are found in the chapel for which they were made, in prominent private collections, or in important museums. Compare this work with the grille at the head of the Church of San Julián de Nagore (Navarre) or that of the Chapel of the Blessed Sacrament in the Cathedral of Santa María la Real in Pamplona.

· Size: hojas 69 x 268 Copete 390 x 110 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z0664
PAINO. WOOD, METAL, ETC. PATENT ERARD LONDON. POSSIBLY CIRCA 1870.

Grand piano. Walnut burl wood, metal, etc. Patent Erard London. London, England, possibly circa 1870. It requires tuning and minor restorations. A grand or horizontal piano with the strings and soundboard in a horizontal position, made of wood, with faceted front legs ending in metal casters and pedals arranged in a lyre shape, following, as was common at the time, models inspired by classicism. The music stand and other panels of the instrument are decorated with openwork architectural and vegetal elements. Sébastien Erard began working in France (Paris) in the mid-18th century, building his first small piano around 1777. After the French Revolution, he moved to London, where he soon opened a workshop with great success. He returned to Paris in 1796, but part of his family remained in England, where he continued making pianos throughout the 19th century, considered among the best in the world at the time, until the early 20th century. After World War I, Erard suffered considerably, continuing a slow decline until, in the mid-20th century, the name was sold among several manufacturers until Schimmel of Germany bought the rights in 1971.

· Size: 1,36x2,46x0,97 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1428
LATIN CROSS SHAPED PECTORAL CLOCK. SILVER.17TH CENTURY.

Chest clock in the shape of a cross. Silver. 17th century. It has undergone restorations. Portable cross-shaped clock with an openwork exterior showing figurative Christian scenes and the movement inside, a gold band dial with Roman numerals for the hours, a single hand and an engraved decoration around it also of religious theme; on the back, the back of the movement is seen, with a delicate openwork decoration based on plant motifs of classicist reminiscence, and a band on the case of the piece of simplified plant elements. On the exterior, one side depicts Christ crucified, flanked by the Virgin Mary and Saint John, the figures surrounded by a delicate composition of vegetal scrolls, with an angel's head at the foot of the piece. The other side shows the Resurrection of Jesus, with Christ emerging from the empty tomb and soldiers at his sides, again with scrolls and above another angel's head. Vegetal and floral elements adorn the edges, accompanied by figures set within plaques. Inside, flanking the clock face, are the Original Sin below and the Expulsion from Paradise, with Adam on one arm of the cross formed by the clock, Eve on the other, and the angel at the top, brandishing the flaming sword (thus partially following the biblical text). Several antique portable clocks are known to have unusual shapes. While the most famous is the skull-shaped clock in the Metropolitan Museum (movement circa 1650 by Isaac Penard, case circa 1810-1820), and considering that these were by no means the typical type, several examples with a Latin cross shape are preserved. For instance, some of those held in the Ashmolean Museum in Oxford: one attributed to Cornelius Stimmer (active circa 1660) depicts Christ Crucified on the front, flanked by the four Evangelists; another by Barthélemy Cheuillard (active 1636-1677), dated circa 1650, has an unpierced metal case with engraved decoration on the inside; Other examples, such as one dated around 1660 or another by Didier Lalemand (active 1675-1686) dated around 1660 or 1630, follow the most common practice in these extraordinary examples, which is to have an outer case made of rock crystal. This is also the case with the clock by Charles Bobinet, probably painted by Werner Hassel and dated to the mid-17th century, which is in the Metropolitan Museum, and with the one by Jean Rousseau the Younger in the British Museum in London, dated between 1640 and 1650 and made in Switzerland.

· Size: 7x5,5x2,5 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZF1032
PIETRA DURA RECTANGULAR TABLETOP. MARBLE AND HARDSTONES.

Rectangular tabletop. Marble and hard stones. Shows signs of restoration. A rectangular panel crafted using a technique inspired by Ancient Rome, very similar to marquetry, which employs marble and other hard stones instead of wood, often highlighting them against a black background. A decorated shield resembling a dome is placed in the center, flanked on the longer sides by two shell-shaped fruit bowls, and on the shorter sides by two bouquets of flowers (carnations, etc.) and fruit (cherries). A border frames these motifs, composed of bands that curve into scrolls and heraldic shields beneath lyres in the corners, enlivened by parrots perched upon them. The inspiration for this work is clearly drawn from the finest examples of the 17th and 18th centuries. The dashboard has been restored.

· Size: 120x240 cms.
DECORATION

Ref.: AM-167 1...
LANDSCAPE, PEÑAFIEL. OIL ON CANVAS. JOSÉ MARÍA “CASTILVIEJO” (ZAMORA, ...

“Rural scene, Peñafiel”. Oil on canvas. José María “Castilviejo” (Zamora, 1925-Valladolid, 2004). José María García Fernández, better known as José María Castilviejo, was a Spanish painter who worked in various techniques (oil, watercolor, engraving, drawing) and on a wide range of subjects (best known for his portraits, still lifes, and landscapes). Critics noted his remarkable ability to capture in his work the union of the traditional with the contemporary, reflecting a profound sense of community. Awarded prizes such as the Castilla y León Prize for the Arts (2002), his work is held in private collections and institutions such as the Robinson and Rothschild Collections, the Museum of Modern Art in New York, and the Labor University of Zamora, among others.

· Size: 290x185 cms.
ANTIQUES

Ref.: Z5633
LAST SUPPER. OIL ON BOARD. CASILLIAN SCHOOL, SPAIN, 16TH CENTURY.

The Last Supper. Oil on panel. Castilian school, 16th century. It has faults. This oil painting on panel presents a figurative image against a neutral background, with a checkered tiled floor arranged, like everything else, in a focal perspective. Around a rectangular table (with two figures at its corners, their backs to the viewer), a total of twelve figures dressed in tunics and cloaks are positioned, and in the center of the painting, another man, bathed in light. On the table, covered with a white cloth, food is arranged on plates, along with jugs, bottles, round loaves of bread, goblets, and other items. This Last Supper follows typical European Renaissance conventions (compare it, noting the differences, with Leonardo da Vinci's, painted between 1495 and 1498 for the refectory of the Dominican convent of Santa Maria delle Grazie in Milan, Italy, for example). Italian influence is evident, but it does not directly adhere to those models. Compare it with the Last Supper attributed to the workshop of Pedro Berruguete, circa 1495-1500, now in the Los Angeles County Museum of Art (USA), or, especially considering the lack of expressiveness in this panel, with Juan de Juanes's Last Supper of circa 1562 (Prado Museum, Madrid, Spain). Iconographically, the abundant use of yellow in the clothing is striking, given that it was usually reserved for the clothing of Judas (character on the left, with his back to the viewer, holding a bag of coins in his hand) and that the moment of the revelation of the betrayal of one of the disciples has been chosen (expressiveness is absent from the faces but not from the hands of the rest of the characters).

· Size: 141x10x90 cms. int. 122x73 cms.
ANTIQUES
PAINTINGS

Ref.: ZE383
”RESSURRECTION”. POLYCHROMED WOOD. SPANISH SCHOOL, 16TH CENTURY.

Resurrection of Christ. Carved and polychromed wood. Spanish school, 16th century. On one side of the piece is a relief depicting the Resurrection of Christ: Jesus, clothed in the golden shroud, appears amidst a beam of light and clouds, standing on the tomb and raising one arm while holding in the other hand a staff topped with a cross and a banner waving in the wind; below are four soldiers in various poses and attitudes. The other side shows a chalice with a Sacred Host (in which a Crucified Christ appears flanked by the Virgin and Saint John in grisaille), held aloft by two angels; all the elements are set against a gold background, in a space surrounded by clouds; to one side is a piece of wood that would originally have held a lock, and to the other are the remains of two hinges. This last element suggests that the relief was likely a tabernacle door. The piece follows a style typical of Renaissance and Baroque tabernacles. Compare it, for example, with the 17th-century tabernacle on the high altar of the Church of the Monastery of Santa Isabel in Madrid, or with others held in private collections. The Resurrection scene, in details such as the variety of poses of the soldiers, the anatomy of Christ, the movement of the shroud around his body, etc., is reminiscent of outstanding pieces such as the 16th-century Renaissance relief in the Museum of the Cistercian Abbey of Cañas in La Rioja. Although these are parts of an altar with varied themes, the emphasis is always on Salvation, as they are intended to contain the Sacred Host.

· Size: 32x5x52 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0280
NORTONMOTORCYCLE, ES2 500CC, CIRCA 1948.

Norton motorcycle, model ES2 500 CC, circa 1948 Incomplete documentation; it has a circulation permit from 1958 and 1980. Norton, or Norton Motorcycles, is a British motorcycle brand founded in 1898 that ceased production in the 1990s and restarted operations in 2008. The company was acquired in 1952 by Associated Motor Cycles, becoming part of the Norton-Villiers group in 1966, and in 1972 it was integrated into the Norton-Villiers-Triumph group, after the liquidation of BSA (former owner of Triumph). Designed by Walter Moore, the Norton CS1 engine appeared in 1927, based largely on the ES2 pushrod engine and using many of its parts. Moore was hired by NSU in 1930, after which Arthur Carroll designed an entirely new OHC engine intended to become the basis for all subsequent Norton OHC and DOHC single-engine engines. (Moore's move to NSU prompted his former staff to joke that NSU stood for "Norton Spares Used.") Norton's racing legend began in the 1930s. Of the nine Isle of Man Senior TT (500cc) races held between 1931 and 1939, Norton won seven. After World War II, Norton returned to civilian motorcycle production, gradually expanding its range. A significant addition in 1949 was the twin-cylinder Model 7, known as the Norton Dominator, a 500cc pushrod twin designed by Bert Hopwood. Its frame was derived from the single-cylinder ES2, with telescopic front and plunger rear suspension, and an updated version of the gearbox known as the "lay-down" gearbox. More stylish fenders and tanks completed the modern styling of Norton's new premium twin-cylinder model.

· Size: 200x84x114 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0752
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

Gate with pass-through. Wrought iron. Spain, 17th century. A rectangular iron gate with a central crossbar, a frame, and supports for upright mounting. The vertical bars feature opposing baluster-like shapes and a series of discs and small, smooth moldings, all arranged symmetrically around the horizontal crossbar. On either side, two square-section bars display a series of smooth moldings and architectural decoration with a strong classical influence. Compare, for example, with the works preserved in the Victoria and Albert Museum in London, or the confessional in the Metropolitan Museum of New York dated 1629 (inv 57.137.51) and with another in the same museum, a work by Francisco González (inv 56-234.12 Ad).

· Size: 194x61x294 cms
ANTIQUES
FURNITURE

Ref.: ZF1308
ADORATION OF THE SHEPHERDS. POLYCHROMED WOOD. COLONIAL SCHOOL (POSSIBL...

Adoration of the Shepherds. Carved and polychromed wood. Colonial school (possibly Viceroyalty of Peru), 18th century. It has faults. Fragment of a carved, polychrome, and gilded wooden altarpiece depicting a figurative scene within a rectangular space crowned by a semicircular arch. In the upper section, angels emerge from clouds holding a scroll on which some of the original text is still visible; below, a red roof partially covers vertical structures with a classical influence. In the lower section, four shepherds are depicted with a donkey and an ox. The Christ Child is positioned in the center (note that the halo resembles a cradle, or vice versa), with the Virgin Mary and Saint John at his side, their hands clasped in prayer. Iconographically, it is clear that this is the Adoration of the Shepherds. In sculpture, the school of the Viceroyalty of Peru is considered to have emerged with the establishment of the viceroyalty in 1542 (and to have disappeared in the 19th century). As was typical, in its beginnings it owed much to the influence of Spanish art (especially the Sevillian school), eventually acquiring a strong identity of its own thanks to the work of indigenous masters, religious orders, and others. The main artistic centers were often Lima (the viceroyalty's capital), Quito, and Cusco (from the second half of the 17th century onward, this area would become known primarily for its dressed religious images).

· Size: 63x7x140 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1483
BRONZE AND GLASS CHANDELIER.

Ceiling lamp in bronze and glass. It features three levels of lighting: the upper level, with bulbs concealed in white glass ovals decorated with leaves and blades; the lower level, with lights paired together and positioned on arms with plant motifs; and another, interior level, hidden within the bronze body and covered by glass ovals adorned with stars, leaving the lower portion open. The entire body of the lamp is decorated with plant and architectural elements, scallop shells, and spiraled and smooth rods. Antique-finished bronze inspired by early 20th-century French designs.

· Size: Altura 185 cms.
DECORATION

Ref.: E518

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