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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...
DIAL WITH COMPASS. BRONZE. BION, NICOLAS. PARIS, FRANCE, 18TH CENTURY.

Sundial with compass and case. Bronze. BION, Nicolas. Paris, 18th century. A polygonal sundial with a bird-shaped gnomon and an engraved triangular piece, which features, to one side, a compass with a needle with triangular ends. The name of the maker and the place of origin are located next to it, surrounding a vegetal decoration. On the back, a series of cities with their corresponding latitudes are 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 held 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.

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
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 rectangular dining table features a single-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
PAIR OF POLYCHROMED WOODEN SCULPTURES. “SAINTS APOSTLES JOHN AND PAUL”...

Pair of polychrome wooden sculptures. “Saint John and Saint Paul”. Castilian School, 16th century. Both male figures are depicted standing, with their principal iconographic attributes and dressed in the timeless tunics that the period reserved for sacred figures. The younger man holds a chalice in his hand, from which a serpent emerges, and an eagle at his feet; the bearded man holds a sword, the hilt of which is visible. The first is Saint John, with the eagle of the Tetramorph alluding to his Gospel, and the chalice related to the episode in Jacobus de Voragine's Golden Legend in which Emperor Domitian tried to kill him with poisoned wine, which escaped in the form of a serpent after the evangelist blessed the cup. The second is Saint Paul, with that characteristic appearance that links him to much earlier Paleochristian works and with the sword of his martyrdom, which also refers to a passage in his Letter to the Ephesians. Stylistically, both devotional sculptures in the round show a marked Italian Renaissance influence in drapery, contrapposto, proportions, and gestures, distancing the works from the other trend of the period that was closer to Flemish models, which favored greater drama. Gothic style has been left behind, as demonstrated by the naturalism of faces, folds, anatomy, and gestures, after much effort. It was first necessary to accustom the clientele to the new tastes and for the artists to learn the technical and aesthetic innovations that the arrival of the Renaissance brought, and it developed at different times and at very different levels depending on the region or the artist. Compare the works, for example, with the Saint John from the circle of Juan Rodríguez in the Simón Díaz Foundation (a work on deposit in the Museum of the Fairs of Medina del Campo, Valladolid).

· Size: 26x26x76 cms.
ANTIQUES

Ref.: Z3642

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