Results 145 to 168 of 1578

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PAIR OF MARBLE SPHYNX.

Pair of sphinxes in travertine marble. Although this mythological winged animal with a lion's body and a female head is found in ancient Egyptian art, the idealization, proportions and lines of the sculptures relate them much more to neoclassical examples of 19th century Europe, especially since Napoleon's campaigns on the banks of the Nile River.

· Size: 120x51x85 cms.
DECORATION
MARBLE SCULPTURES

Ref.: M0087
CARRIAGE, “JARDINERA” TYPE.

Gardener type carriage. An open four-wheeled carriage with leaf springs and a raised davit, with a baluster box allowing several people to be carried on each side. This type of vehicle was generally used in the countryside, although nowadays it is more frequently seen at fairs and important events.

· Size: 234x156x173 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5023
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TABLE WITH SOLOMONIC SHAPE. WALNUT, METAL. 20TH CENTURY.

Table with Solomonic leg. Walnut wood, metal. 20th century. Rectangular table made of carved walnut wood with legs and decorated jambs combining smooth rectangular cubes and areas shaped like a Solomonic column between discs. The table top is secured to the jambs by means of two iron fasteners, following both the decoration and this detail of models common in antique Spanish furniture (mainly 17th and 18th centuries).

· Size: 104x247x79 cms.
ANTIQUES
FURNITURE

Ref.: Z6506
LOUIS XVI STYLE TABLE WITH EIGHT LEGS.

Louis XVI style table with eight legs. Made of carved and gilded wood, the table rests on eight stipes-shaped legs decorated with plant motifs and arranged on a dado; these are joined in the centre by curved frames with plant elements. The waist has, on each side, a central motif formed by a circle with a flower and plant motifs on the lower part that develop towards the sides of the same and extend visually over the entire side, decorated with architectural elements. The Louis XVI style, on which this table is based, is also known in France as “Style à la grecque” due to its inspiration in elements of Antiquity.

· Size: 222.5x132x79 cms., Para tapa 210x120 cms.
N/D

Ref.: E325
PAIR OF BRONZE LIGHT STANDS WITH LADIES

Figure made of bronze, representing a woman holding a large thirteen-armed candelabrum. The base is formed by a pedestal decorated with a floral garland resting on lion's claws.

· Size: 60x60x252 cms.
DECORATION
BRONZE SCULPTURES

Ref.: V7001A
GILT WOODEN NICHE, ROCOCO, 18TH CENTURY.

Niche in carved and gilded wood, Rococo, 18th century. A niche formed by a back decorated with a moulding and a support for a sculpture decorated with a mask and plant motifs and topped by a split pediment with a central motif worked on its lower part resembling a cloth. Engraved cornucopias and leaves appear throughout the back. The work would have been part of an altarpiece or could have been created as it has been preserved for a private chapel.

· Size: 216x74x40 cms.
ANTIQUES
FURNITURE

Ref.: Z3413A
FRIEZE. POLYCHROMED PINE WOOD. 16TH CENTURY.

Frieze with reliefs. Carved and polychrome pine wood. 16th century. Rectangular frieze of carved, gilded and polychrome pine wood decorated with figurative reliefs. An architectural piece with a garland serves as the axis for the symmetrical composition, formed by horses turning their heads and biting a cloth and two wingless children or putti pulling on this cloth, which ends in fruit, thus joining the ends with the centre of the piece. In both the iconographic theme and the anatomy, composition and colours, the influence of the Italian Renaissance can be seen, with variations that may be due to the fact that it was a Spanish creation. Compare, for example, with the engraving by Johann Theodor de Bry in the Metropolitan Museum of New York dated between 1580 and 1600, or works by Paolo Farinati; and with Spanish creations such as the carvings from the Ducal Palace of Pastrana (second half of the 16th century), works by Alonso de Covarrubias, the Renaissance doorway of the Church of the Assumption of Beteta (Cuenca), etc.

· Size: 96x9x20 cms.
ANTIQUES

Ref.: ZF0565
MARQUETRY AND BRONZE SHOWCASE. FRENCH SCHOOL, 19TH CENTURY.

Louis XVI style display case. Wood, gilt bronze, etc. French School, 19th century. A wooden display case decorated with marquetry plaques with figurative motifs in the lower area and gilt bronze appliqués. It has three glass fronts that reveal the interior. It is upholstered in red textile and has two glass shelves. These marquetry scenes depict figures in landscapes, reminiscent of oriental works. The bronze appliqués and the "bombé" shape of the lower area demonstrate Rococo influences. The Louis XVI style is considered, in France, a movement within Neoclassicism and spans from around 1760 to around 1789 (although works inspired by it would be created in the 19th century). It was succeeded by the Directoire style. It is characterized by its influences from Ancient Rome and Enlightenment thought. In the French school, the style that presents Rococo influences is known as Louis XV, and it also inspires works in the 19th century, which receive the same name.

· Size: 43x63x172 cms.
ANTIQUES

Ref.: ZF0656
WINEPRESS. WOOD, METAL. SPAIN, CIRCA 1800..

Wine press. Wood, metal. Spain, circa 1800. Press for extracting grape juice made of wood with two screws on the sides to manually move the flat part of the press located on top, which also has a piece to fit into a container to put the fruit. Also note the crossbars and legs for transporting it. This type of agricultural machinery was very common in the past, although it is still in small numbers because it was replaced by technological advances that occurred, especially after the Industrial Revolution. They were used both in monasteries and in other centres where grapes were pressed for the production of wine and other drinks.

· Size: 180x270x305 cms
ANTIQUES

Ref.: ZF0757
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SAINT JOSEPH WITH JESUS. POLYCHROMED WOOD, GLASS. SPANISH SCHOOL, 19TH...

Saint Joseph. Polychrome wood, glass. Spanish school, 19th century. Sculpture made of polychrome wood consisting of a base with very classic lines and appearance (smooth mouldings, resembling marble...) on which is a bearded male figure, dressed in sandals, a blue tunic and a cloak draped over one shoulder. The right hand is in the gesture of holding an element that is no longer there, and in the left hand is the Child Jesus, half-naked on a white cloth and with another covering him, raising his hand to touch the beard of Saint Joseph. Note the open mouths, revealing the teeth of both figures, and the presence of false eyes (glass eyes). The rise of the importance of Saint Joseph in Christianity was marked by the introduction of the saint's feast in the liturgy of the Catholic Church (1476), several notable writings, guidelines from the Council of Trent (exalting him as protector and guide of Jesus), etc. In Spain, it is also worth highlighting the work of Saint Teresa of Jesus, founder of the religious branch of the Discalced Carmelites, and that of Saint Peter of Alcántara, reformer of the Franciscan order, among others. One of the most common ways in which Saint Joseph is represented with the Child is the latter in the arms of the former, with works such as the carving by Andrés de Ocampo for the altarpiece of the convent church of Santa Marta in Córdoba (Sleeping Jesus) between 1592 and 1596. This iconography, although not as widespread as that of Saint Joseph walking beside Christ, has early examples in painting and sculpture, already seeing affectionate gestures in examples such as the painting by Vicente Carducho (1632, Narbonne Museum), that of Juan del Castillo from around 1622 for one side of the altarpiece of the Nativity in the convent church of the Holy Spirit in Seville, etc. Throughout the 17th century, representations of the Father with his Son in his arms would increase, also increasing the gestures of affection and the sweetness of the images. Compare this sculpture, noting the differences, with that of Alonso Cano in the Museum of Fine Arts in Granada (Spain) or that of Pedro Duque Cornejo for the Church of San Bautista in Écija. From the 18th century are that of Andrés de Carvajal for the sanctuary of Los Remedios in Antequera (Spain; dated 1760), that of Luis Salvador Carmona found in the church of San José in Madrid, or the sculpture attributed to Juan Pascual de Mena in the Church of San Marcos in Madrid, to mention a few examples. The 19th century, as a general rule, followed neoclassical models, accentuating the emotional relationship between the two figures. Weight: 57 kg

· Size: 57x57x155 cms.
ANTIQUES

Ref.: ZF1045
PAIR OF BOHEMIAN CRANBERRY RUBY RED GLASS ENAMELED AND GOLD URNS. 19TH...

Pair of vases. Glass. Bohemia, Czech Republic, 19th century. Pair of red glass vases decorated with areas of white enamel and spaces in gold, highlighting the two female busts (practically portraits on an undefined background) that both pieces present on their fronts. The two raised handles finished in a circle have a fine decoration of simplified plant elements; the glass shows decoration of the same type, but of a different influence (more classicist); the busts have been enhanced by two frames in gold and dark lines clearly reminiscent of classicism; the white areas (with plant shapes) have gold lines. Both pieces show remarkable similarities in the quality of the colour of the glass and the decoration as well as in the lines of the pieces, with notable red Bohemian glass urns, especially with works linked to Ludwig Moser & Söhne. Moser is a company that manufactures luxury glass objects located in Karlovy Vary (Czech Republic; formerly Karlsbad in Bohemia) that continues its work today (it was founded in 1857 by Ludwig Moser), and is highly appreciated in the art world for its works from the late 19th and 20th centuries. Although Bohemia was a region known for its glass production as early as the 13th century (especially when they discovered that adding potassium created a clearer and more stable colourless glass than Italian glass), this activity became popular in the 17th century (although the term “Bohemian” or similar had been used for a hundred years before to distinguish quality glass from this origin), and it stood out especially in the 19th and 20th centuries thanks to important manufacturers for the quality of their materials and techniques and the care taken in their designs. By the mid-19th century they already had a system for teaching glassmaking, and in the second half they exported very striking pieces in large quantities (usually pairs of glasses or vases in a single colour in opaque glass or in two colours, decorated with enamelled floral elements, painted details; sometimes lithographic techniques were used to copy famous paintings and capture them in works; etc.) created in large factories and in large quantities.

· Size: 15x13x41 cms.
ANTIQUES

Ref.: ZE222
WALNUT WOOD AND IRONWORK CHEST, XVII CENTURY.

Chest in walnut wood and wrought iron fittings, 17th century. Rectangular chest with base and lid with mouldings and fittings and corners in wrought iron on a red cloth background made from stylised and simplified plant and architectural elements. Lock with key at the front. One-piece boards in excellent condition. The characteristic prototype of these pieces is followed in the Spanish examples for chests, which would have a civil or religious use, being used to store clothes, dishes, etc.

· Size: 75x190x80 cms.
ANTIQUES
FURNITURE

Ref.: Z6357
PAIR OF VASES ON PEDESTALS, POLYCHROMED MARBLE.

Pair of glasses on marble pedestals in their colour and polychrome. The pedestal, with a square section, has been decorated with garlands on its fronts. The vase, which features the same motif as well as scallops, has a series of leaves, flowers and fruits inside, spit out in different marbles to provide greater realism. This type of work, inspired by classical art, was widely used in the decoration of ancient gardens since the Renaissance.

· Size: 38x36 x150 base 28x28x50 cms copa
DECORATION
MARBLE SCULPTURES

Ref.: M0118
THREE LOCKS CHEST. WOOD, WROUGHT IRON, LEATHER. CA 1600.

Three-lock chest. Wood, leather, wrought iron. Circa 1600. Rectangular chest with a flat lid made of carved wood and covered on the outside with leather and wrought iron fittings (three bolts, corners, two handles, decorations, hinges). Inside, it has a red fabric covering both on the body of the chest and on the lid (an area in which there is embroidery based on geometric elements arranged in a symmetrical composition, including missing details). The type of piece (rectangular box with a flat lid) is one of the most common in Spanish chests and coffers, with examples of this shape being found as early as the early Middle Ages. As for the use of textiles, it was common in Spain as early as the 15th century to make chests lined on the outside and inside, usually in red (the most expensive dyes were red and blue), both to enhance the piece and to protect the contents. Covering the wood with leather on the outside was also common, again to enhance and protect the chest. As for the fittings, the lobed spear-shaped forged iron pieces are reminiscent of examples from the late Gothic period, already influenced by the Renaissance, with some more advanced forms. The three locks have openwork shields decorated with waves and simplified plant elements, and the presence of all three in the same chest refers to a type known as “town hall” or “council” (as there were three keys, it was necessary for the three authorities who had one to come together and agree to access the contents, adding an element of security). It is not very common for this type of piece to be preserved in good condition, and similar examples can be found in some important private collections and in institutions such as the Museum of the Cathedral of Valencia, the City Hall of Los Palacios y Villafranca, the Military History Museum of Seville, etc.

· Size: 125x48x57 cms.
ANTIQUES
FURNITURE

Ref.: Z2316
COMMODE (TAQUILLÓN). WALNUT, WROUGHT IRON. SPAIN, 17TH CENTURY.

Ticket office. Walnut wood, wrought iron. Spain, 17th century. Rectangular low cabinet made of oak wood with wrought iron elements, raised slightly on four legs, with a slightly protruding straight top and fronts decorated with carvings, and two doors under two drawers, all with a key lock (lock shields decorated with simple lines only on the doors). When the doors are opened, access is given to a space divided in two by a shelf decorated with a series of cut-out lines on its lower edge. The upper part, under the top, has corbels carved with scrolls, tabs and simple architectural elements; on the sides of the front, grooves recall architectural motifs. The exterior of the doors and drawers and the sides of the cabinet are decorated with panels of different sizes and shapes (crosses, squares, rectangles), following a tradition deeply rooted in Spanish furniture and which allows the cabinet to be compared with works such as the cupboard (upper part with lattice doors) from the last third of the 17th century made of walnut, pine and iron which is preserved in the Museo Nacional de Artes Decorativas in Madrid, or the cupboard with turned balusters from the 17th century which is in the Museo Casa de Cervantes in Valladolid, for example.

· Size: 113x52x86 cms.
ANTIQUES
FURNITURE

Ref.: Z5279
GOTHIC CHEST. PINEWOOD, METAL. 16TH CENTURY.

Gothic chest. Carved pine wood, iron. 16th century. Rectangular chest with a flat lid made of carved wood and decorated on the outside with a series of divisions into rectangular spaces using smooth mouldings. On the front, these spaces have been decorated with a relief of the type known as “napkin” or “folded cloth” or “parchment”. The rectangular and simple legs still retain some carved detail. In the centre of the front there is a metal lock shield (probably wrought iron) to secure the contents. The relief of folded cloths was common in Gothic furniture, originating in Flanders in the 15th century and commonly used in Spain until well into the 16th century, although there are examples from the 17th century that retain this decorative element. As for the wood, although walnut is common in Spanish furniture, it is not unusual to find examples carved in pine wood. Gothic chests can now be found in several prominent museums: the National Archaeological Museum in Madrid has four Gothic chests from the 15th century (with Gothic architectural decoration and other carved elements); the Lázaro Galdiano Museum has an Italian example from the 15th century with skylights and arches reminiscent of Muslim diamond-shaped panels (Inventory 2141); the Museum of Navarra has a wedding chest made of wood and embossed and polychrome leather from the last third of the 15th century (inventory CE000115); etc. The National Museum of Decorative Arts has an oak sideboard (CE01616) decorated with carved panels “of folds” or “of scrolls”, dated around 1500, and a chest with similar decoration dated between 1476 and 1525 (CE19287).

· Size: 189x62x90 cms
ANTIQUES

Ref.: ZE148
LEATHERED CHEST. WOOD, TEXTILE, WROUGHT IRON. SPAIN, CA 1500.

Rectangular chest with a semicircular lid made of carved wood and covered with worked leather that has been reinforced with a series of wrought iron fittings, a material that is also used to make the handle on the lid and a latch on the front with a lock shield decorated with simplified plant elements on the top. The interior has the fabric upholstery that was common in these pieces and that, as a general rule, has not been preserved in good condition, as in this piece. These types of chests were used both to store and transport precious objects, hence the lock, always seeking quality in materials and decoration that would demonstrate the economic power of its owner, as well as maintaining its usefulness. The shape is one of the most common for chests in Spanish Gothic, maintaining the way the fittings and a series of decorative elements are arranged in this style. The barred and rehearsed chests and small chests had very varied shapes and sizes, being so common in Spain during the 15th and 16th centuries that numerous examples are preserved today. Compare, for example, those in the Lope de Vega House Museum (Madrid), one dating from the beginning of the 16th century and with 19th century touches (CE00170) and another with a decoration (inventory CE00004), or the 15th century chest in the Museum of Decorative Arts in Madrid, for example, as well as several examples from private collections.

· Size: 17x10x11 cms.
ANTIQUES

Ref.: ZF0339
WOODEN BED WITH GILT BRONZE.

Bed with bronze applications At the foot of the bed there is a series of bronze applications made from plant scrolls, garlands and egg mouldings. The headboard is topped with a basket of flowers flanked by two putti. The four posts are topped with vases of flowers. All these elements are of classical inspiration, and contrast with the movement of the profiles of the footboard and the headboard. This combination is characteristic of 19th century furniture, and, due to its success, was maintained later.

· Size: 212x225x215 cms.
N/D

Ref.: E458
PAIR OF ANGELS. POLYCHROMED WOOD. SPANISH SCHOOL, 17TH CENTURY.

Pair of torch-bearing angels. Carved and polychrome wood. Spanish school, 17th century. They present faults. Pair of human-shaped carvings made of polychrome wood showing two angels each raising one arm and standing on clouds with winged heads, following models that were common since the Renaissance. Known as lamp-bearing angels or thurifers, they were carvings that were usually placed on important altars to hold lamps or incense burners, being identified with angels or archangels. Compare, for example, the lamp-bearing angels of the Hermitage of La Soledad in Cantillana (Seville, Spain) made between 1780 and 1799 to see, more or less, the function of these sculptures. But it must be remembered that, stylistically, they belong to the Spanish Baroque school (material, movement, etc.).

· Size: 32x16x71 cms.
ANTIQUES

Ref.: ZE130
NEOGOTHICH CUPBOARD. OAK. 19TH CENTURY.

Neo-Gothic wardrobe. Carved oak wood. 19th century. A tall piece of furniture made of carved oak with a dark finish, consisting of a hollow lower body decorated with “napkin” or “parchment” plaques, bands of linear motifs and thin columns, and an upper body with two doors (which give access to shelves with two spaces); between them there are two drawers with fronts carved with plant motifs. Raised on legs decorated with plaques on the front, the doors have a symmetrical composition of stems with grapes (around Gothic-type letters) in a setting of smooth mouldings, decorated ironwork and human figures on pedestals; the sides of this area have “parchment” decoration. The piece is finished off with a prominent smooth moulding. Typologically, the present piece follows a form that recalls certain Renaissance works (especially buffets) with variations that were already common in pieces from the 19th century. As for the decoration, focused on the front, the influence of Spanish Gothic works is clear both in the subject matter and in the composition: sculptures on pedestals and the clothing of the figures, the compositions of the drawers, the presence of those panels with “napkin” carvings, the panels with the stems and grapes, the letters, the thin columns, etc. Likewise, it is possible to appreciate a certain air from Neoclassicism, a common style in the 19th century. At this time, it was common to draw inspiration from styles of the past to create outstanding furniture, such as the present one. Although Neo-Gothic was more frequently used for ecclesiastical works, it was not absent from important residences and other institutions, as it was one of the favourite styles at the time. It is possible to find examples that recall this cabinet in museums such as the Romanticism Museum in Madrid, the National Museum of Decorative Arts in the same city, etc.

· Size: 50x132x170 cms.
ANTIQUES
FURNITURE

Ref.: Z4866
FOLDABLE MAHOGANY TABLE, 17TH CENTURY.

Mahogany dining table with straight folding leg, 17th century. The four legs, joined together by straight frames and fixed to the table top with frames, do not have any notable decorative elements, but they do have a series of metal fittings that allow it to be folded for storage. Despite belonging to the Baroque, there is no movement or hardly any decoration, as befits a strictly functional piece of furniture.

· Size: 188x133x79 cms.
ANTIQUES
FURNITURE

Ref.: Z6208
”TWO CHARACTERS”. OIL ON CANVAS. SIGNED. MARTÍNEZ NOVILLO, CIRILO (MAD...

“Two characters”. Oil on canvas. Signed (bottom right corner). MARTÍNEZ NOVILLO, Cirilo (Vallecas, Madrid, 1921 – Madrid, 2008). Cirilo Martínez Novillo was a painter from Madrid who began his training in the capital (School of Arts and Trades, Libertarian Athenaeum of the People of Vallecas during the Civil War, Higher School of Painting, Sculpture and Engraving at the National Library), beginning during the time of the conflict his first artistic works in the world of literature. At the end of the war, he was imprisoned for a year, at which time he devoted himself entirely to painting. In the 40s he went from setting up his first studio and focusing his work on figures and still lifes, with his first solo exhibition in 1942, to becoming known by critics at the end of the decade; the 50s were very important in his pictorial training, he toured Spain and presented his work in several national and international exhibitions, in addition to being from these years when he was framed within the "School of Madrid" (he presented many collective works together with other members of the same, such as Álvaro Delgado, Luis García Ochoa, Agustín Redondela, etc.). A scholarship from the French Institute in Madrid allowed him to travel to Paris for the first time in 1953, where he became acquainted with the paintings of masters such as Van Gogh, Picasso, Braque and Cézanne. In 1960 he obtained another scholarship from the Juan March Foundation, returning to Paris and settling in the city for several years, reflecting in his work an aesthetic transformation that brought his painting closer to a language closer to abstraction, also modifying his concept of light. He has received numerous awards (Painting Prize at the II Hispano-American Biennial in 1953 in Havana, Cuba; in 1962 he obtained First Medal at the National Exhibition of Fine Arts; in 1999 he was awarded the Gold Medal of the Arte-Santander Fair in recognition of his artistic career, etc.) and his work has been seen all over the world (Madrid, Paris, Zurich, New York, Barcelona, Santander, Oviedo, Zaragoza, etc.). His paintings are held in important private collections and prominent institutions such as the Banco Santander Collection, the Museum of Contemporary Art in Madrid, the Museum of Albacete, the Mapfre Foundation, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Telefónica Collection, the AENA Foundation, etc.

· Size: 50x61 cms.
ANTIQUES
PAINTINGS

Ref.: Z6263
”ABSTRACTION”. OIL ON CANVAS. SIGNED. MARTÍNEZ NOVILLO, CIRILO (MADRID...

“Abstraction”. Oil on canvas. Signed (bottom right corner). MARTÍNEZ NOVILLO, Cirilo (Vallecas, Madrid, 1921 – Madrid, 2008). Cirilo Martínez Novillo was a painter from Madrid who began his training in the capital (School of Arts and Trades, Libertarian Athenaeum of the People of Vallecas during the Civil War, Higher School of Painting, Sculpture and Engraving at the National Library), beginning during the time of the conflict his first artistic works in the world of literature. At the end of the war, he was imprisoned for a year, at which time he devoted himself entirely to painting. In the 40s he went from setting up his first studio and focusing his work on figures and still lifes, with his first solo exhibition in 1942, to becoming known by critics at the end of the decade; the 50s were very important in his pictorial training, he toured Spain and presented his work in several national and international exhibitions, in addition to being from these years when he was framed within the "School of Madrid" (he presented many collective works together with other members of the same, such as Álvaro Delgado, Luis García Ochoa, Agustín Redondela, etc.). A scholarship from the French Institute in Madrid allowed him to travel to Paris for the first time in 1953, where he became acquainted with the paintings of masters such as Van Gogh, Picasso, Braque and Cézanne. In 1960 he obtained another scholarship from the Juan March Foundation, returning to Paris and settling in the city for several years, reflecting in his work an aesthetic transformation that brought his painting closer to a language closer to abstraction, also modifying his concept of light. He has received numerous awards (Painting Prize at the II Hispano-American Biennial in 1953 in Havana, Cuba; in 1962 he obtained First Medal at the National Exhibition of Fine Arts; in 1999 he was awarded the Gold Medal of the Arte-Santander Fair in recognition of his artistic career, etc.) and his work has been seen all over the world (Madrid, Paris, Zurich, New York, Barcelona, Santander, Oviedo, Zaragoza, etc.). His paintings are held in important private collections and prominent institutions such as the Banco Santander Collection, the Museum of Contemporary Art in Madrid, the Museum of Albacete, the Mapfre Foundation, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Telefónica Collection, the AENA Foundation, etc.

· Size: 50 x 61 cm; 69 x 79,5 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6264
MAHOGANY AND METAL EXTENSIBLE DINING TABLE. ENGLAND, 19TH CENTURY.

Extendable table. Mahogany wood, metal. England, 19th century. Rectangular extendable table with boards and a mechanical system manually operated by crank, made of carved mahogany wood and with metal elements (leg ends, mechanism, rollers). The top board has been left smooth, with a slight recess towards the edges that curves the area and extends to the corners of the piece of furniture, contributing to the comfort of its use as a dining or conference table; the legs have outstanding carving and turning work, with a stipe shape and a reminder of architectural columns due to its combination of mouldings, highlighting the polygonal base and the fact that it retains the small metal wheels or rollers that help move the piece of furniture. Both the wood chosen for the table (mahogany) and the lack of decorative elements (which highlights the quality of the material and the lines) are common characteristics of antique English furniture. Note the similarities with English Victorian style pieces.

· Size: 150x180x71 / 150x320x71 cms.
ANTIQUES

Ref.: ZE229

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