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TABLE FOR SPANISH WRITTING DESK (BARGUEÑO) WITH “SAINT ANTHONY” LEGS. ...

Bargueñera table with “San Antonio” leg. Wood and rosewood, wrought iron fasteners. Spain, 18th century. Rectangular table top decorated with simplified geometric motifs combining woods of different colours in a symmetrical arrangement. Two straight legs, open downwards and joined with a jamb, have been secured by two curved fasteners with a disc in the centre made of forged metal in a coloured finish. clear. While the curves of the fasteners and discs may recall examples from the Baroque, the simple geometric decoration of the upper board, the absence of movement and the straight lines of the legs, of the typology known as “San Antonio” (which also (found in examples from the 17th century), suggest the 18th century, already under the influence of Neoclassicism. Compare, for example, with the magnificent example of a dining table from the Royal Workshops dating from the second third of this century and preserved in National Heritage. Typically, this type of table, made to support desks, whether Spanish or Italian, had smooth tops without any type of marquetry because they would hardly be visible with the furniture and only the two iron fasteners would remain on the front. that this example has or, alternatively, that they were dressed with rich fabrics to highlight the wastepaper baskets, leaving little more than the legs in sight. They were works made for high-class homes just like these desks, so only outstanding private collections and important museums preserve similar examples: one in the Sorolla (inventory 30023) in Madrid has a board with pyrographed white resin plates with mythological scenes, another from the 17th century in the National Museum of Decorative Arts (CE02068) with geometric motifs in marquetry, or Another one very similar to the one present in the Daroca Regional Museum (00038) but of contemporary date, made inspired by law firms like the present one.

· Size: 176x70x79 cms.
ANTIQUES
FURNITURE

Ref.: Z4858
SQUARED PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Square table top. Marble and hard stones. Inspired by Italian models from the 16th-17th centuries. A frame of simple geometric elements and white oval shields accompanied by architectural details highlights the decorative motif in the centre thanks to its light tones. This motif, set against a dark background, is made up of plant and flower scrolls organised in lines towards the interior, camouflaged by these stems, so that, despite the abundance of decoration, the four-petaled flower in the centre stands out. The “hard stone work” used in this table is very similar to marquetry, but uses marbles and stones with a hardness greater than 6 on the Mohs scale. The idea arose in Florence, when trying to revitalize a type of mosaic used in Ancient Rome called “opus sectile” in the time of the Medici. It was so successful that other workshops soon sprang up in Europe, including the Gobelins Factory in France, the Royal Workshop of Naples and the one established by Charles III in the Royal Site of El Buen Retiro in Madrid, which closed at the beginning of the 19th century. The present example is heir to this tradition. Stylistic influences can also be seen. Although at the beginning there was a great variety of decorative elements in these stone inlays, from around 1600 naturalistic motifs gained prominence, which became more varied over time by including butterflies, birds, fruits, etc. Compare this example with those preserved in the Opificio delle Pietre Dure in Florence, with the Roman chessboard from between 1565 and 1590 in the Museo Nacional de Artes Decorativas in Madrid (inventory CE 27144) or the anonymous Roman chessboard from before 1636 (O00470) in the Museo del Prado.

· Size: 120x120 cms.
DECORATION
HARDS STONES

Ref.: AWST91 1...
PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Round table top in marble and hard stone. “Vine branches and grapes”. Inspired by Italian models from the 16th-17th centuries. Circular table top with a motif of vine leaves and black and white grapes in the centre on a black background. An outer band, marked with two white lines, highlights this element and shows a variegated composition with various flowers and stems with leaves. This form of inlay, known as “hard stone work”, uses marbles of different colours and veins and stones with a hardness of over 6 on the Mohs scale. Lapis lazuli and Belgian black marble were often used for the backgrounds and, as was often the case with these materials, they had to be imported, hence the high price these works fetched. Desks, furniture, vases, plaques, etc. were made for the high aristocracy and the courts in various European workshops. The technique was born in Florence, thanks to the interest of Piero de Medici and Lorenzo the Magnificent in revitalising a Roman mosaic technique (opus sectile). From 1600 onwards, naturalistic motifs were preferred over other themes and other important production centres were established: in France, the Gobelins Factory; the Royal Workshop of Naples took over from the Florentine one when the Medici disappeared; in Spain, Charles III established another one at the Royal Site of El Buen Retiro, which disappeared at the beginning of the 19th century. The present example is inspired by this tradition. Compare with works in important collections: those kept at the Museo Opificio delle Pietre Dure in Florence, the table in the Museo del Prado in Madrid made by Francesco Ghinghi at the Real Laboratorio Delle Piedre Dure in Naples (catalogue number O00511), or the panel “Parrot perched on a pear tree” created in the workshops of the Grand Duke of Tuscany in Florence and kept at the Kremlin Museum in Moscow (Russia).

· Size: Diam. 120 cms.
DECORATION
HARDS STONES

Ref.: AWD13 D1...
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PAIR OF VASES WITH SIDE TABLES. BRONZE, WOOD, ETC. JAPAN, MEIJI PERIOD...

Pair of vases with elephant-head bases. Bronze, wood, etc. Meiji period (1868–1912), Japan; Anglo-Indian school, late 19th century. Pair of patinated bronze vases made up of several pieces, raised on three curved legs and decorated on the outside with reliefs of mythological animals and beasts, enhanced with gilded details and bands of geometric motifs. They feature metal containers that fit together at the top. Both bases feature turtles with ripples creating waves; the central body features handles in the shape of dragons and phoenixes on one side and dragons on the other; the neck features more birds (herons or similar) flying among clouds. The bases are two ebonized wood side tables with elephants (heads decorated to resemble textile ornaments, with light-colored tusks) functioning as legs by curving the trunk outwards, openwork jamb, also openwork waist to secure the furniture and a top decorated with carvings and flat boards. These types of vases were one of the so-called "export" items because they were manufactured with the sole purpose of being sold to foreigners during the Meiji Era (1868-1912) in Japan, named after the reigning Emperor and in which the country began its modernization and westernization, establishing itself as a world power thanks to a certain openness to foreigners (presence and ideas), changes in government, etc. Dragons are the most powerful symbol of all the animals in Japanese art, considered deities associated with water, and attributed, for example, with the changing of the seasons (when they flew through the sky it was spring). The crane and the tortoise symbolize longevity, with the first animal in flight (in the upper area) associated with the sky and the second with the lower area (of a kimono, for example) linked to the earth. Regarding the elephant-headed side tables, it should be noted that they were highly prized pieces of furniture by the British during part of the Indian colonial era (1858-1947), with numerous examples imported to the United Kingdom, among which those present in Buckingham Palace and other noble residences are worth noting. Note the quality of the present pair, clearly evident in the animal carvings and plant motifs that complete the table. In Hindu iconography, the elephant is associated with wisdom, divine knowledge, and royal power.

· Size: 60x60x165 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1280
RECTANGULAR PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Rectangular table top in marble and hard stone. Inspired by Italian models from the 16th-17th centuries. Two axes of flowers flanked by vegetal scrolls facing each other and arranged geometrically are placed in the centre. This motif is framed by a white line that forms rhombuses on the shorter sides, together with another blue line. Towards the outside, another band leaves square spaces in the corners with simplified flowers and simple scrolls. A wide blue band and a narrower white band remain towards the outside. The technique known as “hard stonework” is similar to marquetry, but uses marbles of different colours and stones with a hardness greater than 6 on the Mohs scale instead of wood. It originated in Florence, with the attempt made by Piero de Medici and Lorenzo the Magnificent to revitalise an ancient Roman mosaic technique called “opus sectile”. It was so successful that workshops multiplied throughout Europe, including the Gobelins Factory in France, the Royal Workshop of Naples (which took over from the Medici workshop) and the one established in the Royal Site of El Buen Retiro in Madrid by Charles III, which had the support of quality local specialists but was closed by Napoleon in 1808 and destroyed in 1812. The objects produced (desks, tables, vases, plaques, etc.) initially showed a great decorative variety, but from around 1600 onwards, a clear predominance of naturalistic elements over geometric ones was noted: flowers, fruit, birds, pearls, butterflies, etc. The present example is heir to this tradition, as can be seen by comparing it with works such as the table in the Prado Museum in Madrid made by Francesco Ghinghi at the Real Laboratorio Delle Piedre Dure in Naples (catalogue number O00511), or the board from the late 16th or early 17th century created in Rome (inventory 62,259) in the Metropolitan Museum in New York, or those kept at the Museo Opificio delle Pietre Dure in Florence or the examples in the Museo Nacional de Artes Decorativas in Madrid. However, it is worth highlighting the update towards more contemporary tastes that can be seen in the geometric interplay created with the white and blue bands.

· Size: 150x90 cms.
DECORATION
HARDS STONES

Ref.: ZAAWRT35...
SET OF TWO ORIENTAL APOTHECARY CABINETS. WOOD, METAL. POSSIBLY CHINA, ...

Pair of oriental pharmacy furniture. Carved and polychrome wood. Possibly China, 19th century. Both are practically identical, with an upper space enhanced by simple geometric openwork compositions and a railing in the lower area; the body has a series of small drawers with handles (forty-two in total), and three wider ones below; the lower area shows two carved plant elements. This type of furniture was used (and is still used today) in pharmacies and Chinese medicine establishments of some importance.

· Size: 202x33,5x63 cms.
DECORATION
FURNITURE;ORIENTAL

Ref.: XZ034
BRASS SUNDIAL-COMPASS. BUTTERFIELD, MICHAEL (1635-1724). PARIS, CIRCA ...

Pocket sundial compass, with case. Bronze. BUTTERFIELD, Michael (1635-1724). Paris, circa 1700. Pocket sundial made of engraved metal, with a gnomon in the shape of a bird with a triangle with an engraved tree, and a compass with a needle in dark metal; in this area there is also engraved “Butterfield AParis 43”. On the back, the latitudes of various cities (Madrid, Paris, Barcelona, etc.) have been engraved, and a decorative architectural element has been placed in the centre of the piece. The case, adapted to the piece, has a lined interior to better protect it. Michael Butterfield was a mathematician who made measuring instruments based in Paris from the last quarter of the 17th century onwards and continued working until the beginning of the 18th century. Although he was of English origin, he collaborated with the Royal Academy of Sciences in the French capital and worked as an engineer at the court of Louis XIV. It is known that he opened a shop in Saint-Germain in 1677, from which he sold sundials. Similar model in silver auctioned at Christies London on November 17, 2009. Lot 106

· Size: 7,5x6,5x1 cms / Estuche 8,5x7,5x2 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE313
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REBECCA AT THE WELL. MARBLE. ITALIAN SCHOOL, POSSIBLY AFTER GUGLIELMO ...

Rebecca at the Well. Marble. Italian school, possibly based on the model of Pugi, Guglielmo (Italy, 1850–1915). White marble sculpture on a small veined marble base depicting a young woman dressed in a long tunic, which she gathers to one side with one hand, while with the other she holds a jug on her head, resting it on one of her shoulders in an unusual position. She is wearing jewelry and has her hair covered. This sculpture is known by the aforementioned title, linking it to the biblical theme, due to the lady's clothing, given that there is no reference to a well. For this reason, it may also be known as the Water Carrier. Stylistically, it clearly displays influences from orientalizing currents, common in numerous European schools since the late 19th century. Guglielmo Pugi was an Italian sculptor whose workshop was located in Florence. He later worked with his sons (under the name Guglielmo Pugi and Sons). After their father's death, they continued working as Brothers G. and F. Pugi. His work focused primarily on the export market, producing sculptures of various sizes (made primarily of marble and alabaster) with varied themes.

· Size: 28.5x27x97 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1096
DIANA OF GABII. BRONZE, MARBLE. RAINGO FRÈRES, FRANCE, CIRCA SECOND HA...

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

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

Ref.: ZF1385
WROUGHT IRON LOCK. SPANISH SCHOOL, 17TH CENTURY.

Lock. Wrought iron. Spanish School, 17th century. A working wrought iron deadbolt with a key features a push-button mechanism on the lower right side to lift the cover concealing the keyhole. The key is opened in two steps by inserting the key. The key features a decoration of moldings and pearls, along with a tribolulated ring. The deadbolt features a series of elements on the outer edge, influenced by architecture and arranged symmetrically and balanced, following classicist motifs. The bar consists of a tubular section and a flat section (at one point, another decoration similar to that of the deadbolt appears). Also noteworthy is the heraldic shield-shaped section with a closed crown in the lock's escutcheon area. Compare this work with, for example, the lock shields of ancient Spanish chests such as those preserved in the Museo Casa de Cervantes in Alcalá de Henares (Madrid), with locks from churches, convents and other important ancient institutions (the bolt of El Escorial in the Museum of Royal Collections of National Heritage in Madrid, the doors of the Hospital of the Third Order in Madrid, etc.), or pieces such as the 17th-century Sevillian bolt from the collection of the Museo Español de Antigüedades, now preserved in the Museo Arqueológico Nacional (inventory 52014). Weight: 4 kg.

· Size: 40,5x6x15,5 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1402
SAINT ANTHONY OF PADUA WITH JESUS, MALINAS. WOOD. MECHELEN, 16TH CENTU...

Saint Anthony with the Infant Jesus. Wood. School of Malines, 16th century. A carved wooden sculpture, worked, as was usual in this centre, on the front part because it was intended to be placed on an altar, representing Saint Anthony of Padua with the Child Jesus sitting on a book, in one of the most common iconographies for this Franciscan saint. The relationship with the school of Malines is evident in the physiognomy of the figures, the remains of the polychromy, etc. The "poupées malinoises" or "Malines dolls" are small sculptures of saints made in the late 15th century and early 16th century in the workshops of Malines (Flanders) and were known by these names because of the similarity of their faces to those of dolls or peponas ("poupins"); they were sometimes also called "cutlet sculptures" because they were finished only at the front, being flat at the back, depending on the depth of the bottom of the niche where they were to be placed. They were made for small domestic altarpieces - normally containing three statuettes or "dolls" - rectangular in the shape of a box and with painted wings or doors. The best-known example is perhaps the altarpiece preserved in the Mayer van den Bergh Museum in Antwerp.

· Size: 8,5x3,5x28,5 cms
ANTIQUES
FURNITURE

Ref.: ZF0907
SQUARE PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Square table top. Marble and hard stones. Inspired by Italian models from the 16th-17th centuries. A pearl necklace with a bow is placed in the centre of the board on a black background. It is surrounded by an area of plant scrolls, flowers and perched birds framed by a band of simplified scrolls. On the outside, eight fish are placed in the corners, facing each other in pairs with a ball, a crown and placed on an architectural motif, visually linked by plant scrolls. This inlay, known as “hard stone work”, which uses coloured marbles and stones with a hardness greater than 6 on the Mohs scale, originated in Florence, thanks to the attempt by Piero de Medici and Lorenzo the Magnificent to revitalise and update a mosaic technique called “opus sectile” used in Ancient Rome. It was so successful in the European courts that, from the 17th century, a series of workshops were created following its example, among which the Gobelins Factory in France, the Royal Workshop of Naples and the one established by Charles III in the Royal Site of El Buen Retiro in Madrid, which continued to operate until the beginning of the 19th century, are worth mentioning. Stylistically, they began with a striking variety of motifs, but, from around 1600, naturalistic ones were generally preferred (flowers, fruits, butterflies, birds, etc.). Table tops, plaques, desks, vases, etc. were made using this technique, always for the high aristocracy and royalty due to the extremely high prices of these works, due to the high specialization required, since, very often, the raw material had to be imported (lapis lazuli, agates, Belgian black marble was usually for the backgrounds...). The present example is heir to this important tradition, whose influence is demonstrated by comparing it with works such as those in the Opificio delle Pietre Dure in Florence, the Roman panel from towards the end of the 16th century (inventory 62,259) in the Metropolitan Museum in New York, or the one made in Naples by Francesco Ghinghi towards the middle of the 18th century (inventory O00511) preserved in the Prado Museum in Madrid.

· Size: 90x90 cms.
DECORATION
HARDS STONES

Ref.: AWST99 9...
DIAL WITH COMPASS. BRONZE. BION, NICOLAS. PARIS, FRANCE, 18TH CENTURY.

Sundial with compass and case. Bronze. BION, Nicolas. Paris, 18th century. Polygonal sundial with a bird-shaped gnomon and an engraved triangular piece, which has, on one side, a compass with a needle with triangular ends. The name of the author and the place where the work was made are located right next to it, surrounding a vegetal decoration. On the back, a series of cities with their corresponding latitudes have been engraved, both in the circular form and on the sides of a fixed decorative element. It is presented in a polygonal case. Nicolas Brion was a French engineer, and a similar piece is kept in the National Maritime Museum in London.

· Size: 6,5x7,5x1 cm Estuche 7,5x9x2 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE312
SILVER CLARET JUG. ANSELMO PRIOR AND MASON. VITORIA, SPAIN, 1816-1846.

Jug. Silver. Anselmo Prior y Mason. Vitoria, Spain, between 1816 and 1846. With contrast marks. Silver jug in its colour with a square base that serves as a support for the circular foot decorated with a band of eggs and ending in a scalloped shape, which gives way to the oval body, engraved with architectural, plant and animal elements; practically tubular neck with a band of egg motifs and another at the top with architectural elements, and a soft spout; lid with a swan, and the handle has a Medusa head in the area where it joins the body, a series of bands of architectural motifs and, creating a curve and towards the mouth, a two-headed snake that seems to intend to attack the bird. Typologically, the jug clearly responds to neoclassical models of the 19th century both in its lines and in some of its decorative elements (some close to the French school and others somewhat more common in the English school), adding to this base some details more common in Spanish works. The hallmarks, located at the base of the piece, link its creation in Vitoria, with the hallmark called Maison (actually 18th-19th centuries, probably as a hallmark in the 19th century) and the silversmith named Prior. Anselmo Prior was a master dated between 1816 and 1846. There is evidence of a head reliquary marked by both of the Eleven Thousand Virgins in the parish church of Alegría (Álava, Spain). Weight: 992 grams.

· Size: 15x12x30 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1042
CENTERPIECE. ORMOLU, MARBLE. FRANCE, LATE 19TH CENTURY

Centerpiece. Gilded bronze, marble. France, late 19th century Centrepiece or planter that has a globular body carved in veined marble in pink tones (of a type similar to a very popular one often used in works by the French school during the Rococo of the 18th century) and mercury-gilded marble bosses. These are decorated with lion's claws on the legs, simple architectural mouldings and masks with vegetal elements (feminine and monstrous, alternating), and a border that extends towards the inner area of the pieces creating like two wings or handles, decorated with vegetal and architectural elements (scrolls, flowers, bows, leaves, etc.) both on the outside and inside of this area, leaving what would be the inner area of the marble pieces smooth. The classicist inspiration of the decorative elements of the couple is common in works of the French school since the 18th century. Some details (for example, the claws that finish the legs) are seen in Louis XIV style centerpieces dating from that century, while other elements are more often seen in Louis XVI style works (one of the main styles of the Neoclassical style). There is only one known piece preserved in a private collection in the United States of America. Weight: 16 kg

· Size: 37x27x23 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1064A
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SILVER JAR OR JUG. MADRID, SPAIN, 1803.

Jug. Silver. Madrid, Spain, 1803. With hallmarks. 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 361, image 671. Jug with a moulded circular base and a semi-ovate belly on which a concave neck is raised by a band. The mouth, with a sinuous line, is highlighted with another fine smooth moulding and is warped at the front; it is covered with a lid that follows the same lines and is finished with a frog. The handle has a broken line, ends in plant motifs and is highlighted with a wide, smooth band or moulding towards the centre of the jug. This jug can be included in a group inspired by a traditional European model brought to Spain and initially spread by Platerías Martínez (compare, noting similarities and differences, with the silver jug in its colour marked in 1806 from the Royal Silver Factory of Madrid in the National Archaeological Museum, also topped with a frog on the lid; or with a jug from Barcelona dated around 1810, preserved in the National Museum of Decorative Arts in Madrid). In 18th century Spain, it was the capital that set the standard in silverwork: baroque, rococo and neoclassical styles coexisted, but the first trend was soon abandoned, replaced by the second, which was introduced around 1740, with Neoclassicism appearing around 1770 and gradually imposing itself from 1780. The hallmarks it presents are those of the Villa y Corte de Madrid, which also allow the piece to be dated. Weight: 1,100 grams.

· Size: 16x12x30 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1015
CARVED WOOD HELM. 18-19TH CENTURIES

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

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

Ref.: Z5907
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SILVER JAR OR JUG. SELLÁN, JUAN. MADRID, 1847.

Jug. Silver. SELLÁN, Juan. Madrid, 1847. With contrast marks. A silver jug in its original color, featuring a flat handle decorated with simple openwork plant elements between two plain bands, a raised shape, a large mouth extended forward, and a body with distinct lines and decorations arranged in three registers. The circular foot features a band of architectural motifs. These three registers are arranged as follows: a plain area facing upwards, followed by a fluted section and a scalloped section. Both the decoration and the lines of the jug show a clear Classicist influence. It features engraved initials (FAL). The hallmarks are those of the Villa y Corte de Madrid (which also provide the date) and that of the silversmith Juan Sellán, who trained at the Royal Silversmith Factory of Martínez in 1821 and joined the College of Silversmiths in 1842, the year in which his first known works are dated. The present model can be found with slight variations in the production of the Royal Silversmith Factory of Martínez in Madrid, and was later revived by Juan Sellán. Weight: 1108 grams.

· Size: 18x12x33 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1013
WOODEN EASEL, 19TH CENTURY.

Lectern easel, 19th century. Magnificent carved wooden easel decorated at the top with a crest of plant motifs framed by a curved pediment and simple motifs on the sides. The support for the canvas or paper is provided by a horizontal crossbar and two mouldings with plant motifs, which also have plant decorations, as does the moulding located in this area. The legs have ornaments of the same type, but much flatter. In the 19th century, the mixture of styles that is presented in this work was very common: the top trim is reminiscent of Rococo works, while the sides can be more closely related to the Renaissance.

· Size: 60x80x225 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZA4942
LOUIS XV STYLE SIDE TABLE WITH BRONZE AND MARQUETRY WORK.

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

· Size: 59x59x77 cms.
DECORATION
FURNITURE;CLASSIC

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

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

· Size: 30x25x79 cms.
DECORATION
PORCELAIN

Ref.: S2552
POSTER, GUERRA Y RUIZ, JEREZ DE LA FRONTERA. CARDBOARD. SPAIN, FIRST H...

Advertising poster, Guerra y Ruiz, Exporters of Cognac-Style Wines and Sherry Brandy (…), Jerez de la Frontera. Cardboard. Valencia, Spain, first half of the 20th century. It has marks. Poster made in Valencia by Lit. S. Durt for the company Guerra y Ruiz, which is mentioned in the Statutes of the Guild Association of Breeders-Exporters of Jerez de la Forntera Wines (Jerez, Typographic Workshops: Plaza del Carmen, 1, 1921).

· Size: 38x0,1x50 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135429
POSTER, CHEMIST BUEN SUCESO, JEREZ DE LA FRONTERA. CARDBOARD. POSSIBLY...

Poster, Buen Suceso Pharmacy and Chemical Laboratory in Jerez de la Frontera. Cardboard. Possibly Spain, circa the first half of the 20th century. It has marks. Poster for a shop interior advertising the Buen Suceso pharmacy and chemical laboratory in Jerez de la Frontera, which was opened at 12 Calle Caballeros by Antonio Soto Flores (1866-1926) after completing his pharmacy studies in Madrid and returning to Jerez. He maintained this business until the beginning of the 20th century, when he transferred it to Manuel Salvago. In the 1920s, the business was run by Rafael Bonald. Apparently, part of the pharmacy's original decor can be seen in the Café Central on Calle Remedios.

· Size: 34x0,1x48 cms
ANTIQUES
MISCELLANEUS;GRAPHIC WORK

Ref.: ZF135439
VIENNA TABLE CABINET. WOOD, ENAMEL. 19TH CENTURY.

Viennese tabletop jewelry box or chest. Wood, enamel, bronze. Austria, second half of the 19th century. Requires restoration. Rectangular table or writing desk with four rectangular projecting corners and a finial projecting from an openwork railing, forming an architectural composition and ending in a gilt-bronze child figure. The four corners of the piece feature semicircular arches with gilt-bronze twisted columns, sheltering bronze female figures in a dancing pose, with other children above. In addition to a series of gilt-bronze appliqués throughout the piece, there are a series of hand-painted enamel plaques with mythological scenes in pastel tones. Two doors on the front give access to three interior drawers, with handles and enamel plaque decorations depicting landscapes. Note that the doors are also decorated with scenes inside. These types of cabinets were highly prized in courtly settings, and were used in private women's homes to store jewelry or other valuables, while also being highly decorative. The shape, 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 were made in Vienna). It was unusual to feature corners with architectural shelters, as can be seen in this example (there are two other examples in private collections, one with plain bronze columns and the other with porcelain and twisted columns, both dating from around 1880).

· Size: 47x44x56 cms.
ANTIQUES
FURNITURE

Ref.: ZE433

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