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

Bargueñera table with “San Antonio” leg. Wood and rosewood, wrought iron fasteners. Spain, 18th century. Table with a rectangular top decorated with simplified geometric motifs, combining woods of different colors in a symmetrical arrangement. Two straight legs, sloping downwards and joined with a stretcher, are secured by two curved braces with a disc in the center, made of light-colored forged metal. While the curves of the braces and discs may recall Baroque examples, the simple geometric decoration of the tabletop, the lack of movement, and the straight lines of the legs, of the type known as "San Antonio" (which is also found in 17th-century examples), 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, dated to the second third of that century and preserved in the National Heritage collection. It was common for these types of tables, made to support writing desks, whether Spanish or Italian, to have plain tabletops without any marquetry, as the furniture would barely be visible, leaving only the two iron supports on the front, as seen in this example. Alternatively, they might be covered with rich fabrics to highlight the writing surfaces, leaving little more than the legs exposed. These were pieces made for upper-class homes, as were the writing desks themselves, which is why only prominent private collections and important museums preserve similar examples: one in the Sorolla Museum (inventory 30023) in Madrid has a tabletop with pyrographically decorated white resin plaques depicting mythological scenes; another from the 17th century in the National Museum of Decorative Arts (CE02068) features geometric marquetry motifs; and yet another, very similar to the one present here, is in the Daroca Regional Museum (00038) but of a more recent date, inspired by writing desks like this one., detectedSourceLanguage: es

· Size: 176x70x79 cms.
ANTIQUES

Ref.: Z4858
CASTILLIAN CHEST. WALNUT, WROUGHT AND POLYCHROMED IRON. SPAIN, 17TH CE...

Castilian chest. Walnut wood, wrought iron and polychrome. Spain, 17th century. A rectangular chest with a flat lid, slightly raised on spheres, decorated on the exterior with smooth moldings at the top and bottom, and fittings (handles on the sides and a lock shield) carved into vegetal and geometric motifs. Of particular note is the interior compartment on one side, secured with a lock and decorated with an exterior ironwork panel that retains its original polychromy (as do some of the other fittings on the piece), featuring a design of volutes and vegetal elements reminiscent of the Renaissance and with a marked classical influence., detectedSourceLanguage: es

· Size: 166x64x81 cms.
ANTIQUES
FURNITURE

Ref.: ZF0265
SQUARED PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Square tabletop. Marbles and hard stones. Inspired by Italian models from the 16th and 17th centuries. A frame of simple geometric elements and white oval shields, accompanied by architectural details, highlights the central decorative motif thanks to its light tones. Set against a dark background, this motif consists of vegetal scrolls and flowers arranged inwards with lines, camouflaged by stems, so that despite the abundant decoration, the four-petaled flower at its center stands out. The "hardstone work" employed on this table is very similar to marquetry, but uses marbles and stones with a hardness greater than 6 on the Mohs scale. The idea originated in Florence, as an attempt to revive a type of mosaic used in Ancient Rome called "opus sectile" during the Medici era. It was so successful that other workshops soon emerged in Europe, most notably the Gobelins Manufactory in France, the Royal Workshop of Naples, and the one established by Charles III at the Royal Palace of El Buen Retiro in Madrid, which closed at the beginning of the 19th century. This example is a continuation of that tradition. Stylistic influences are also evident. While initially there was a wide variety of decorative elements in these stone marquetry pieces, from around 1600 onwards naturalistic motifs gained prominence, becoming increasingly diverse over time to include butterflies, birds, fruits, and more. Compare this example with those preserved in the Opificio delle Pietre Dure in Florence, the Roman chessboard from between 1565 and 1590 in the National Museum of Decorative Arts in Madrid (inventory CE 27144), or the anonymous Roman chessboard from before 1636 (O00470) in the Prado Museum.

· Size: 120x120 cms.
DECORATION

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

Round tabletop in marble and hard stones. “Vineyards and grapes”. Inspired by Italian designs from the 16th and 17th centuries. Circular tabletop with a motif of vine leaves and black and white grapes in the center against a black background. An outer band, marked with two white lines, highlights this element and displays a variegated composition of various flowers and stems with leaves. This form of marquetry, called "hardstone work," uses marbles of different colors and veins, and stones with a Mohs hardness greater than 6. Lapis lazuli and Belgian black marble were frequently used for backgrounds, and, as was often the case with these materials, they had to be imported, hence the high price of these pieces. Desks, furniture, vases, plaques, and other items were made for the high aristocracy and the courts in various European workshops. The technique originated in Florence, thanks to the interest of Piero de' Medici and Lorenzo the Magnificent in revitalizing a Roman mosaic technique (opus sectile). From 1600 onwards, naturalistic motifs were preferred over other themes, and other important production centers were established: in France, the Gobelins Manufactory; the Royal Workshop of Naples took over from the Florentine workshop when the Medici dynasty died out; in Spain, Charles III established another workshop 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 preserved in important collections: those preserved in the Museo Opificio delle Pietre Dure in Florence, the table in the Prado Museum in Madrid made by Francesco Ghinghi in the Royal Laboratory of Pietre Dure in Naples (catalog number O00511), or the panel “Parrot perched on a pear tree” created in the workshops of the Grand Duke of Tuscany in Florence and preserved in the Kremlin Museum in Moscow (Russia).

· Size: Diam. 120 cms.
DECORATION

Ref.: AWD13 D1...
RECTANGULAR PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Rectangular tabletop made of marble and hard stones. Inspired by Italian models from the 16th and 17th centuries. In the center are two axes of flowers flanked by facing vegetal scrolls arranged geometrically. This motif is framed by a white line forming rhombuses on the shorter sides, along with another blue line. Towards the outside, another band creates square spaces in the corners with simplified flowers and simple scrolls. A wide blue band and a narrower white band are also located on the outer edge. The technique known as "hardstone carving" resembles marquetry, but uses marbles of different colors and stones with a hardness greater than 6 on the Mohs scale instead of wood. It originated in Florence, with Piero de' Medici and Lorenzo the Magnificent attempting to revive an ancient Roman mosaic technique called "opus sectile." It was so successful that workshops sprang up throughout Europe, most notably the Gobelins Manufactory in France, the Royal Workshop of Naples (which took over from the Medici workshop), and the one established at the Royal Palace of El Buen Retiro in Madrid by Charles III. This last workshop, which benefited from the support of skilled local specialists, was closed by Napoleon in 1808 and destroyed in 1812. The objects produced (desks, tables, vases, plaques, etc.) initially displayed a wide variety of decorative styles, but from around 1600 onwards, a clear predominance of naturalistic elements over geometric ones became apparent: flowers, fruits, birds, pearls, butterflies, and so on. 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 Royal Workshop of Pietre Dure in Naples (catalog number O00511), or the late 16th- or early 17th-century table created in Rome (inventory 62.259) in the Metropolitan Museum of Art in New York, or those preserved in the Opificio delle Pietre Dure Museum in Florence, or the examples in the National Museum of Decorative Arts in Madrid. However, it is important to highlight the adaptation to more contemporary tastes evident in the geometric interplay of the white and blue bands.

· Size: 150x90 cms.
DECORATION

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

Pair of oriental pharmacy cabinets. Carved and polychrome wood. Possibly China, 19th century. Both are virtually identical, featuring an upper section adorned with simple openwork geometric designs and a railing at the bottom. The body contains a series of small drawers with handles (forty-two in total), and three wider drawers below. The lower section displays carved plant motifs. This type of furniture was used (and still is today) in pharmacies and establishments of some importance specializing in Chinese medicine.

· Size: 202x33,5x63 cms.
DECORATION

Ref.: XZ034
TABLE. WOOD, IRON. GUADALARA AREA, SPAIN, 17TH CENTURY.

Table. Wood, iron. Guadalajara area, Spain, 17th century. It has faults. A walnut wood table, carved in its natural color, with a one-piece, straight top that projects at the sides and is secured with two wooden supports (visible from the front and back). It features a drawer with a wooden knob and lock, decorated with two carved diamonds on the front, reminiscent of paneling. The legs, joined in pairs at their lower ends (cubes) with a turned "disc" design, a technique known as "lentil turning" due to its shape. This table belongs to one of the most common typologies in the Castilian school of all antique Spanish furniture, which is why it is relatively common to find similar examples in important private collections and prominent institutions. Compare, for example, with the so-called "Inquisition Desk" from around 1600, which is in the National Museum of Decorative Arts in Madrid, or with several 17th-century sideboards in the Cervantes Birthplace Museum (Alcalá de Henares, Madrid) and the Lope de Vega House Museum (Madrid).

· Size: 85x61,5x69,5 cms.
ANTIQUES
FURNITURE

Ref.: ZE397
CONSOLE. WOOD, MARBLE. 18TH CENTURY.

Console table. Carved and gilded wood, marble. 18th century. This console table, crafted from carved and gilded wood on the front and sides, features a top panel carved with curves and counter-curves in veined red marble. The legs, finished in straight, hooved shapes, and the waistline of the piece are adorned with carved vegetal motifs clearly influenced by the Rococo style. Note the openwork center on the front, decorated with roses, scrolls, and other designs, and a thin band running along the waistline, just below the tabletop, featuring delicately raised vegetal elements. These types of consoles are often called "side tables" because they are designed to be placed against a wall (hence the lack of gilding and carving on the back). The marble top is reminiscent of the Italian "Rosso antico," but it has enough differences to suggest another type of marble or veined red jasper (Alicante red marble, Rouge Incarnat or Rosso de France or Languedoc, Rosso Verona, etc.) frequently used in the furniture of various European schools in the 18th century, following the rise of interest in the Natural Sciences. Stylistically, both in terms of the waistline and tabletop, as well as the elements of the rest of the piece and the material, it can be linked to 18th-century European works, showing similarities with Spanish, Italian, and, to a lesser extent, French pieces. Compare it with a mid-18th-century console table in the Italian Embassy in Berlin, Germany (national catalog code 1201273839; inventory number 898-899); with a pair attributed to François Rournier (1735-40; Metropolitan Museum of Art, New York, inventory 1972.284.4); etc.

· Size: 126x57x89 cms.
ANTIQUES
FURNITURE

Ref.: ZF1542
BRASS SUNDIAL-COMPASS. BUTTERFIELD, MICHAEL (1635-1724). PARIS, CIRCA ...

Pocket sundial compass with case. Bronze. BUTTERFIELD, Michael (1635-1724). Paris, circa 1700. A pocket sundial made of engraved metal, featuring a gnomon in the shape of a bird with an engraved tree on a triangle, and a compass with a dark metal needle; the inscription “Butterfield A. Paris 43” is also found in this area. The latitudes of several cities (Madrid, Paris, Barcelona, etc.) are engraved on the back, and a decorative architectural element is placed in the center. The case, custom-made for the piece, has a lined interior for better protection. Michael Butterfield was a mathematician and instrument maker based in Paris from the last quarter of the 17th century until the beginning of the 18th. Although 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. A similar model in silver was auctioned at Christie's London on November 17, 2009. Lot 106

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

Ref.: ZE313
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.

Bolt. Wrought iron. Spanish school, 17th century. A working, wrought iron lock with a key mechanism, operated by a button on the lower right side, lifts the cover concealing the keyhole. The key is inserted in two steps to open the lock. The lock features a decorative molding, a pearl motif, and a trefoil ring. The outer edge of the lock displays architecturally influenced elements arranged symmetrically and in a balanced style, reminiscent of classical designs. The bar consists of a tubular section and a flat section (at one point on the flat section, there is another decoration similar to that of the lock). The heraldic shield with a closed crown on the lock's shield area is also noteworthy. Compare this work with, for example, the lock shields of antique Spanish chests such as those preserved in the Cervantes House Museum in Alcalá de Henares (Madrid), with locks from churches, convents, and other important antique institutions (the lock from El Escorial in the Royal Collections Museum of the National Heritage in Madrid, doors of the Hospital of the Third Order in Madrid, etc.), or pieces such as the 17th-century Sevillian lock from the collection of the Spanish Museum of Antiquities, now held in the National Archaeological Museum (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 Child Jesus. Wood. Mechelen School, 16th century. A carved wooden sculpture, worked, as was customary in that center, on the front because it was intended to be placed on an altar, depicting Saint Anthony of Padua with the Christ Child seated on a book, in one of the most common iconographies for this Franciscan saint. The influence of the Mechelen school is evident in the figures' features, the remnants of polychromy, and other aspects. The "poupées malinoises" or "Malines dolls" are small sculptures of saints made in the late 15th and early 16th centuries in the workshops of Mechelen (Flanders). They were known by these names because their faces resembled those of dolls or "poupins." They were sometimes also called "chop sculptures" because they were only finished on the front, being flat on the back, depending on the depth of the niche where they were to be placed. They were made for small domestic altarpieces—usually containing three statuettes or "dolls"—rectangular in shape, with painted wings or doors. Perhaps the best-known example is the altarpiece 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 tabletop. Marbles and hard stones. Inspired by Italian models from the 16th and 17th centuries. A pearl necklace with a bow is placed in the center of the board against a black background. It is surrounded by an area of vegetal scrolls, flowers, and perched birds, framed by a band of simplified scrolls. Outside, in the corners, eight fish face each other in pairs, each holding a ball and a crown, and are positioned on an architectural motif, visually connected by vegetal scrolls. This marquetry, called "hardstone work," which uses colored 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 revitalize and update a mosaic technique called "opus sectile" used in Ancient Rome. It was so successful in European courts that, from the 17th century onwards, a series of workshops were established following their example, among which the Gobelins Manufactory in France, the Royal Workshop of Naples, and the one established by Charles III at the Royal Palace of El Buen Retiro in Madrid, which remained in operation until the beginning of the 19th century, stand out. Stylistically, they began with a striking variety of motifs, but, from around 1600, naturalistic themes (flowers, fruits, butterflies, birds, etc.) were generally preferred. Tabletops, plaques, desks, vases, etc. were made using this technique, always for the high aristocracy and royalty due to the very high prices of these works, due to the high specialization required since, very often, it was necessary to import the raw material (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 of the Opificio delle Pietre Dure in Florence, the Roman panel from towards the end of the 16th century (inventory 62.259) of the Metropolitan Museum of New York, or the one made in Naples by Francesco Ghinghi around the middle of the 18th century (inventory O00511) preserved in the Prado Museum in Madrid.

· Size: 90x90 cms.
DECORATION

Ref.: AWST99 9...
SILVER CLARET JUG. ANSELMO PRIOR AND MASON. VITORIA, SPAIN, 1816-1846.

Pitcher. Silver. Anselmo Prior y Mason. Vitoria, Spain, between 1816 and 1846. With contrasting marks. Silver jug in its natural color with a square base supporting the circular foot decorated with a band of egg-and-dart motifs and ending in a scalloped shape, which gives way to the egg-and-dart body, engraved with architectural, plant and animal elements; a practically tubular neck with a band of egg-and-dart motifs and another at the top with architectural elements, and a smooth spout; the lid features a swan, and the handle presents a Medusa head where it joins the body, a series of bands of architectural motifs and, creating a curve towards the mouth, a two-headed snake that seems to be about to attack the bird. Typologically, the jug clearly corresponds to 19th-century neoclassical models in both its lines and 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 on the base of the piece link its creation to Vitoria, Spain, with the hallmark known as Maison (active in the 18th-19th centuries, likely as a hallmark in the 19th century) and the silversmith named Prior. Anselmo Prior was a master craftsman who worked between 1816 and 1846. A reliquary depicting the head of the Eleven Thousand Virgins, marked by both of them, is known to exist 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. Gilt bronze, marble. France, late 19th century A centerpiece or planter featuring a globular body carved from veined marble in pink tones (similar to a type often used in French Rococo works of the 18th century) and mercury-gilded marble accents. These are decorated with lion's claws on the feet, simple architectural moldings, and mascarons with alternating vegetal and monstrous elements. A rim extends inward, creating two wings or handles decorated with vegetal and architectural motifs (volutes, flowers, ribbons, leaves, etc.) both inside and out, leaving the inner surface of the marble smooth. The classical inspiration of the couple's decorative elements is common in French school works dating back to the 18th century. Some details (for example, the claw-like finials on the legs) are seen in Louis XIV-style centerpieces from that century, while other elements are more frequently found in Louis XVI-style works (one of the main styles of Neoclassicism). Only one piece is known to exist, held in a private collection in the United States. Weight: 16 kg

· Size: 37x27x23 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1064A
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
WOODEN EASEL, 19TH CENTURY.

Easel stand, 19th century. A magnificent carved wooden easel, decorated at the top with a crest of vegetal motifs framed by a curved pediment and simple motifs on the sides. The canvas or paper is supported by a horizontal crossbar and two moldings with vegetal motifs, which also feature vegetal decorations, as does the molding located in this area. The legs display ornamentation of the same type, but much flatter. In the 19th century, the mixture of styles seen in this piece was very common: the upper section is reminiscent of Rococo works, while the sides are 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

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

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

Advertising poster, Guerra y Ruiz, Exporters of Wines and Sherry Brandy in the style of cognac (…), Jerez de la Frontera. Cardboard. Valencia, Spain, first half of the 20th century. It shows 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 Wines of the Border (Jerez, Printing 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, Pharmacy and chemical laboratory of Buen Suceso in Jerez de la Frontera. Cardboard. Possibly Spain, around the first half of the 20th century. It shows marks. Interior sign advertising the Buen Suceso pharmacy and chemical laboratory in Jerez de la Frontera, which was opened at number 12 Calle Caballeros by Antonio Soto Flores (1866-1926) after completing his pharmacy studies in Madrid and returning to Jerez. He ran the business until the early 20th century, when he sold it to Manuel Salvago. In the 1920s, the business was managed by Rafael Bonald. Apparently, some of the pharmacy's original decoration can be seen in the Café Central on Calle Remedios.

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

Ref.: ZF135439
BRONZE SPIRAL LAMP, WITHOUT SHADE.

Bronze lamp in the shape of a spiral. Without a shade. A marble base highlights the spiral that forms the body of the lamp, created with bold lines using a bronze rod with a line running down the center of its profile, breaking up that area to add more movement to the piece. The edges have been emphasized, but without being too sharp, avoiding an overly aggressive feel in both the metal and the stone, while maintaining and highlighting the movement of the spiral. It is supplied without a screen. Weight: 11 kg. , detectedSourceLanguage: es

· Size: 19x28x45 cms.
DECORATION

Ref.: AS424
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
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

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