Z. Sierra · Antiques and Decorative Objects

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TABLE. WALNUT. POSSIBLY CASTILLE, SPAIN, 17TH CENTURY.

Table with turned leg. Walnut wood. Possibly Castile, Spain, 17th century. Walnut wood table carved in its color with a straight top board, two front drawers decorated with interconnected circles (the two on the outside with a star on both and wooden handles) and four turned legs with balustraded shapes joined together by straight chambrances (decorated only on the lower part with a simple cutout which is located on the front side, matching the cut edge of this front under the drawers). Being one of the most common typologies in the Castilian school of all antique Spanish furniture, it is relatively common to find similar specimens in important private collections and prominent institutions. Compare, for example, with the so-called “Buffet of the Inquisition” from around 1600 found in the National Museum of Decorative Arts in Madrid, or with several buffets from the 17th century in the Cervantes Birthplace Museum (Alcalá de Henares, Madrid). and the Lope de Vega House Museum (Madrid).

· Size: 104x60,5x74,5 cms.
ANTIQUES

Ref.: ZF0463
PAIR OF RELIEVES, SCENE WITH CHARIOT AND SCENE WITH TEMPLE. POLYCHROME...

Pair of reliefs; scene with a chariot with a skull and a scene with a porch from the 16th century. Gilded and polychrome wood. Castilian school, 16th century. Pair of rectangular carved, gilded and polychrome wooden reliefs located on a later dark support in which a series of figurative motifs common in the European Renaissance are represented. In the upper one, a figure appears with a fork or trident pushing a horse-drawn cart on which there is a skull on a pedestal; This element has a type of temple or building in the background, and is preceded by a child figure holding a cloth. The lower one, starting from the left, shows a winged angel head, two human figures holding a long cloth (which crosses a kind of circular domed building or temple), and another winged angel head looking towards this central motif. The first of the reliefs presents the viewer with a clear allusion to death, being able to understand the figure on the left as a demon (and link it to the Sins), and the one on the right as an angel. The second could also be linked to the literature of Emblems, common at the time, or be a decorative element. The present work bears a certain similarity to others such as the fourth of the Seven Emblems of the University of Salamanca (approximately, first third of the 16th century), based on the Poliphili Hypnerotomachia, and recalling compositions such as the Renaissance bars of the Chapel of the Knights of the Cathedral of Cuenca.

· Size: Soporte 45.5x29x3 cms.
ANTIQUES

Ref.: ZF0525
THE TEMPTATION OF SAINT ANTHONY. OIL ON CANVAS. 17TH CENTURY, AFTER DA...

Temptations of Saint Anthony Abbot. Oil on canvas. 17th century, following the model of David Teniers II (Antwerp, 1610-Brussels, 1690).
Oil on canvas showing a figurative scene located inside a cave. Towards the right, you can see a standing, supported cross; to the left, a hut; and in the center of the painting an older, bearded man appears leaning on a table on which there is a ceramic jug and a skull, with an open book at the foot of it. The man looks towards a woman, who points to something outside, and appears accompanied by a large frog and a series of ghostly beings or monsters dressed in brightly colored cloths and clothing.
Saint Anthony the Abbot or Anthony the Great (251-356) was a Christian monk, considered the founder of the hermitage movement. He was tempted on numerous occasions by the devil while he was in the desert, making this a frequently represented theme in art (as can be seen in this oil painting). He is represented with a black habit because the Order of the Knights of the Hospital of San Antonio (Hospitalarios) was placed under his patronage, being the color of the habits of the members of this order (the tau or Egyptian cross was also the symbol chosen by they).
David Teniers II or The Younger was a prominent Flemish painter and printmaker, son of David Teniers The Elder or I and father of David Teniers III, highly appreciated at the time for his scenes of villagers and common people, his paintings of monkey painters, etc. . He dealt with the theme of the Temptations of Saint Anthony on numerous occasions: Prado Museum in Madrid, National Museum of Western Art (Tokyo, Japan), Wallraf–Richartz Museum (Cologne, Germany), etc. In the case of the present work, it is necessary to mention and compare it both with an oil painting kept in a private Parisian collection and with another sold at Christie's in 2018, which was in a Belgian collection and has been dated between 1630. and 1680 and is signed. Likewise, it is necessary to indicate that there are known engravings with this theme made from works by the painter (work from the Fine Arts Museum of San Francisco, United States of America, according to Frans van der Wyngaerde and dated in the 17th century; at UCLA in California , United States of America, also by Frans van der Wyngaerde and from the 17th century)."

· Size: 52x4x47,5 cms. int: 42x35.5 cms.
ANTIQUES

Ref.: ZF0996
THREE FRAMED MINIATURES.19TH CENTURY

Frame with three miniatures. XIX century. Rectangular frame with a textile background that shows three oval miniatures with female portraits, enhanced with gilded bronze frames (the sides are finished with lacework, the central one crowned). The back has two rings at the top to hang the piece on a wall. Starting on the left and identified by small metal signs with black letters, we have “Madame Elisabeth” (Elisabeth of France [1764-1794] was the sister of Louis XVI and eldest daughter of Louis, Dauphin of France, and the Duchess Mary Josefa of Saxony), to “Marie Antoinette” (Marie Antoinette [1755-1793], archduchess of Austria and queen of France, was the daughter of Emperor Francis I and Empress Maria Theresa), and to “Madame Lebrun” (Louise-Elisabeth Vigeé LeBrun [1755-1842], was painter to Queen Marie Antoinette and member of the French Academy from 1783). The three paintings, signed “Lebrun”, are inspired by works from the 17th century. In the same order as before: portrait painted by Vigée LeBrun around 1782 (Versailles, Musée National des Chateaux de Versailles et de Trianon, inv. mv 8143); portrait of Marie Antoinette with roses painted by Vigée LeBrun in 1783 (Versailles, Musée National des Chateaux de Versailles et de Trianon, inv. 3063); This miniature, made from a print, copies the self-portrait of Vigée LeBrun painted in 1782 and currently kept in the National Gallery in London (NG1653). It should be noted that the Prado Museum (Madrid) preserves a composition similar to the present one in both the miniatures and the frame (inventory O000657, O000658 and O000659).

· Size: 41,5x1,5x22,5 cms.
ANTIQUES

Ref.: ZF1151
VIRGIN WOMAN WITH CHILD, 17TH TO 18TH CENTURIES

Spanish school from the late 17th – early 18th centuries. “Virgin with Child.” Carved and polychrome wood. Devotional image carved in wood in a round and polychrome shape, framed within the late Spanish Baroque. It is a sculpture of monumental conception, with large, monolithic figures, with volumes enhanced through the pompous folds of Mary's tunic. The Virgin appears standing, holding the Child in her lap, in a naturalistic position, full of movement. Thus, we see how Mary, to compensate for the weight of the Child, leans her back backwards, while Jesus in turn leans forward, thus compensating the composition. The Child appears raising his right hand in a sign of blessing, while the other hand rests on a sphere, a symbol of the universality of Christian doctrine and the redemptive act of Christ. Spanish baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and the deepest feelings that resided within them. With the State's economy broken, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and brotherhoods of clerics and laymen that promoted its development, the works sometimes being paid for by popular subscription. Sculpture was thus forced to capture the ideals prevailing in these environments, which were none other than religious ones, at a time when the counter-reformation doctrine required art to use a realistic language so that the faithful could understand and identify with what was represented. and an expression endowed with intense emotional content to increase the fervor and devotion of the people. The religious issue is, therefore, the preferred theme of Spanish sculpture of this period, which began in the first decades of the century with a priority interest in capturing nature, to progressively intensify throughout the century the expression of values. expressive, which is achieved through movement and the variety of gestures, the use of lighting resources and the representation of moods and feelings.

· Size: 32x26x70 cms.
ANTIQUES
SCULPTURE

Ref.: Z2514
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GILT BRONZE CLOCK. 19TH CENTURY. IN WORKING ORDER.

Table clock. Ormolu. XIX century. Machinery in working order. Table clock with a case made of gilded bronze, and Paris machinery in working condition. The base rises on legs decorated with plant and architectural elements of clear classicist influence, which is also present in the motifs that decorate the rectangular area of this area. The figures, a young couple seated on a rock formation with plants and classical elements in ruins, appear dressed in 19th century fashion (note in particular the fineness of the lady's mantilla). The dial has Roman numerals for the hours and lines for the minutes, and a plant decoration around it; On the back, a transparent glass plate allows you to see the machinery. Compare it with pieces such as the one dated to the mid-19th century, titled “La Müsica”, which is in the Museum of Romanticism (Madrid); or the one signed by Le Roy & Fils (from Paris), from the first half of the 19th century, from the Cerralbo Museum in Madrid (Salón de Confianza); and others preserved in private collections. In general, French bronze watches from the 19th century are considered outstanding pieces (especially in terms of the cases), due to the care taken by the government in organizing and legislating the manufacture of applications and elements in bronze, the bronze technique mercury gilding, and the participation in the creation process of leading artists who were in charge of the designs of the figures and decorative motifs (also, it was not unusual to make figures inspired by or more directly copying great works of Art History) . The resulting clocks were highly appreciated, being used to decorate the interiors of palaces and prominent residences. Due to this, in the rest of Europe, inspiration from these examples was common for the creation of pieces. Weight: 18kg.

· Size: 48x16x58 cms
ANTIQUES

Ref.: ZF0673
HOLY OILS RECIPIENT. PEWTER. 19TH CENTURY.

Holy Oils Container. Pewter. Century XVIII. Container made of pewter that has a foot, a curved body, two handles and a lid. Its exterior decoration shows a clear influence of the Rococo style of the 18th century in Europe (note the seed beads on the handles, the bands found on the body, etc.) along with some slightly classicist details. On one of the fronts there is a crowned heraldic shield framed with scrolls and, on the other, an ecclesiastical one.

· Size: 36x22x47 cms.
ANTIQUES

Ref.: ZF0937
ENGINE ORDER TELEGRAPH. FENYA, FABRICACIONES ELÉCTRICAS, NAVALES Y ART...

Synchronous type ship bridge electric telegraph. Fenya, Fabricaciones Eléctricas, Navales y Artilleras, SA Spain, around the middle of the 20th century. Bronze, glass, carved wooden base. Electrical bridge telegraph, synchronous type, used, thanks to a replica in the engine room, to transmit the required travel speed orders. It has a simple square carved wooden base, a metal body with a door closed by screws and a circular finish with the usual lever. This circular area features transparent glass and a blue arrow to indicate various speeds (forward and reverse), above the emblem of the manufacturing company and the type of machinery, model and power. It was a very effective mechanism and widely used while there was no internal voice communication between different parts of the ship and it was necessary to control the engines from the same engine room. Although they were often changed as new technical advances arose, they are pieces valued today for their appearance and their history. Fenya (Electrical, Naval and Artillery Manufacturing) was a company founded in Ferrol by José María González-Llanos y Caruncho (who also founded ASTANO -Astilleros y Talleres del Noroeste- in 1941), with three telephone designs as its first product. This was followed by telephone exchanges, electrical equipment for ships, electrical panels and motors, becoming one of the main auxiliary companies in Ferrol. It closed permanently in 1997.

· Size: 42x42x130 cms. base 55x55 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0434
EMPIRE COMMODE. MAHOGANY, OAK, ORMOLU BRONZE, SAINT ANNE MARBLE. FRANC...

Empire chest of drawers. Mahogany wood, oak, gilt bronze, Sainte Anne marble. France, 19th century. Rectangular chest of drawers with Sainte Anne marble top, made of carved mahogany and oak wood, which has three front drawers decorated on the front with two rings that emerge from the jaws of two lion protomes in gilded bronze and a shield of lock with two crossed cornucopias; Under the board there is another hidden drawer with internal divisions; The front legs have been carved in the shape of a claw, and the rear legs are rectangular. What is known as Saint Anne marble is a dark gray marble with veins from Belgium and widely used for furniture panels, monuments, etc., although Louis XV and Victorian style fireplace fronts and other objects made of this stone are preserved. The high-quality gilded bronze sconces, the composition of the furniture and its decoration link the piece with the French Empire Style, so called because it developed mainly during the First French Empire (although it began during Napoleon's military campaigns in Italy and Egypt). However, it is necessary to highlight the lack of decorative elements for which the French examples are known. Examples similar to the present one can be found in prominent European residences, mainly in France. In Spain, similar chests of drawers are preserved in different palaces and institutions such as the National Museum of Decorative Arts or the Museum of Romanticism in Madrid, for example.

· Size: 128x60x95 cms.
ANTIQUES
FURNITURE

Ref.: Z0546
WALNUT TABLE WITH WROUGHT IRON FASTENERS, SPAIN, 17TH CENTURY.

Dining table in walnut wood and wrought iron fasteners. Spain, 17th century. With restorations. Rectangular board table on two lyre legs with animated edges with curves and countercurves that have been secured to the table by two S-shaped wrought iron fasteners, with balustraded areas towards the center and decorated with discs where the latter two meet. . The top part, really simple and with clean lines, clearly shows that it is a piece of furniture created for purely utilitarian purposes. However, its size places it in a house of purchasing power: this meant that it was always seen in the same place, but dressed in quality fabric and with a series of important pieces on top of ceramics, silverware, glass..., the which were especially appreciated by the owner. For this reason, it is the lower part that does present a little more work with the lyre legs with their profiles animated by curves and countercurves and small semicircular moldings, elements that, due to their movement, place the work within the Baroque. These sinuous shapes are also seen in the retainers, tubular with a baluster shape towards the center and highlighted by discs in two sizes. Walnut wood was the wood most often used in the furniture of the time in Spain, and its shapes also respond to this origin. Although its presence was frequent in houses of a certain level, not so many examples have been preserved due to changes in taste and in uses and customs over the centuries. Noteworthy, for example, is the one in the Hall of Signatures of the Viana Palace in Córdoba, the one in the dining room of the Lope de Vega House Museum in Madrid, one in the National Museum of Decorative Arts in Madrid (CE inventory 27479), and one another in the Patio Elcano of the building called the Ministry of Foreign Affairs in Madrid (Plaza de Santa Cruz).

· Size: 229x89x81 cms.
ANTIQUES
FURNITURE

Ref.: Z0749
WROUGHT IRON GRILLE. 16TH CENTURY.

Gothic grille with frame. Wrought iron, wood. Century XVI. A carved wooden frame supports the wrought iron fence that has decorated balusters: all have a heart-shaped shape in the center, while the axes are smooth on top and spiraled below in those with the heart facing up, and spiraled. above and smooth below in those that show this shape with the beak downwards. These heart-shaped shapes appear, for example, in the Gothic grille of the Cathedral of Pamplona or in that of the Main Chapel of the Cathedral of Zamora, or in that of the Monastery of Guadalupe. Thin square-section bars, often twisted, appear in Spanish ironwork as early as the 14th century. The “opening” of the vertical bars forming rhombuses, hearts or more complex variants can be seen in examples from the 15th century (Ávila Cathedral, etc.)

· Size: 140x26x160 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3579
WALNUT AND OAK “PROVENZAL” LOUIS XV WARDROBE. FRANCE, 18TH CENTURY.

Wardrobe in walnut and oak. Rococo, France, 18th century. Two-door wardrobe with a lower drawer with two circular die handles inside a concave disc, located on two vase-shaped front legs and two square ones at the back and finished off at the top by a fine protruding molding. The drawer and one of the doors close with a key, but do not have a lock shield. Although the absence of gilded bronze applications could indicate that the origin is not French, it is one of the so-called “Provençal furniture”. These are characteristic of that area, although not exclusive to it, and are characterized by this lack of richness in their materials and a greater simplicity in the decoration compared to contemporary French furniture from, for example, Paris. It is necessary to highlight the use of two different woods for technical reasons but, also and above all, to highlight the carvings and moldings. The upper part has a veined capital framed by a straight molding below and with marked straight lines, curves and countercurves at the top. These lines, along with volutes, are repeated symmetrically but in very marked moldings, cutting the door panels into three parts, the central one being wider. The lower area leaves the drawer between a band with two flowers and an oval above and a symmetrical vegetal and floral motif below, which accompanies the curves of the lower skirt of the cabinet. These curved lines highlighted with the adjacent countercurves are reminiscent of those that describe rockeries, and show that the furniture belongs to the Rococo style. This, in France, is also known as the Louis XV style after the monarch in whose reign it flourished. This artistic movement developed there between approximately 1730 and 1760, with great influence even after those dates and throughout Europe. Note the differences between Provençal furniture, such as this one, with courtly Rococo examples such as the designs of Juste-Aurèle Meissonier or the works of Jean-Pierre Latz, for example. Cabinets similar to the present one are preserved in the Hospice Pailloux-Haumonté (Burgundy), in the Museum of European and Mediterranean Civilizations in Paris (inventory 13058), etc.

· Size: 150x52x234 cms.
ANTIQUES
FURNITURE

Ref.: Z4846
ORNAMENTAL MIRROR. 19TH CENTURY.

Cornucopia, carved and gilded wood. XIX century. Rectangular mirror with the frame highlighted by a trim that extends along the sides. This has been formed from scrolls and seed beads, directly inspired by examples from the 18th century that follow this style. It is the straight lines inside the mirror that show that, as was common in the 19th century, elements from past styles have been taken to create works more in line with the taste of the time.

· Size: 45,5x60 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z6615
CERAMIC DRUG JAR OR SYRUP JAR. POSSIBLY ITALY, 18TH CENTURY.

Orza. Ceramics. Possibly Italy, 18th century. Jug with a globular body with a small base, a reduced spout at the mouth (narrower than the body, and with a small neck) and a handle formed by a twisted flat element, made of enameled ceramic and decorated with a composition in blue on White background. Around a cartouche with an inscription (“AQa di MALVA”, alluding to a remedy derived from the common mallow, a common plant in Europe that was already mentioned, along with its healing properties, by Pliny the Elder among others), and using several shades of blue, an important variety of plant elements and flowers have been arranged, accompanied by a bird perched on the cartouche. The decoration of ceramics in blue tones on a white background was common in Europe as early as the 17th century (Dutch and English pieces, works in Talavera de la Reina in Spain, etc.). In the Italian case and in ceramics (with this origin, usually called “maiolic”), decoration in cobalt blue on white is already found in works of Byzantine inspiration in the Quattrocento, accompanying various influences. In the first third of the 16th century this “porcelain” decoration (since, apparently, it is distantly inspired by Chinese porcelain works that use these colors) continues, with touches of other colors. Compare the present work with the pieces known as “Medici Porcelain”, from the third quarter of the 16th century. The name "berrettina" is enamelled majolica from light blue to dark blue, obtained with cobalt oxide. It was used from the 16th century to the first half of the 17th century, in productions mainly from Liguria and Veneto. Likewise, it is worth pointing out a series of pieces with which this one has a little more relationship: a pharmacy bottle with Saint Paul (made in Savona in the 17th century, today in the International Museum of Ceramics in Faenza), or with albarelos preserved in the Hispanic Pharmacy Museum of the Complutense University of Madrid, works from the Italian region of Savona, pieces in private collections, etc.

· Size: 24x30x26 cms.
ANTIQUES

Ref.: ZE205
SET OF TWO ORNAMENTAL MIRRORS. GILT WOOD. ROCCOCO, 18TH CENTURY.

Pair of cornucopias. Carved and gilded wood. Century XVIII. Pair of cornucopias of carved and gilded wood decorated with a fine molding on the inside and an elaborate composition of plant elements with distressed shapes on the outside, leaving empty spaces and with a marked asymmetry in both, tempered by carving both examples with the same decoration. This type of work was only carried out for main houses, since its main use was to reflect the light of candles and lamps in these luxurious interiors, also showing the economic power of its owners. The method of manufacturing mirrors from sheets of glass was discovered in Venice in the 16th century, and was kept secret until approximately a century later, when the role of mercury in the process was known in London and Paris, allowing the expansion of these elements. However, the use of cornucopias did not spread throughout Europe until the Rococo, and their use and creation has continued since then. From the beginning and, with the idea of showing the economic prosperity of its owner and helping with illumination, it was normal for it to be overgilded after being carved. The movement that the pieces present inside, where the mirror would go, provides a first clue to place it in an artistic style. As for its decoration, the plant elements, the braces, the curved shapes contrasting with countercurves and the distressed details refer to the clear belonging of the two examples to the Rococo, differentiating them both from the 18th century examples with greater neoclassical influence, and from those of the 19th. The asymmetry that each of the cornucopias has in its decoration refers to the beginning of this style, since, after a time, the contrasts of this artistic style were softened by placing the decoration in markedly symmetrical compositions.

· Size: 64x25x110 cms.
ANTIQUES

Ref.: ZF0276
CUP COOLER. WITH MARKS. “SOFT PASTE”. “REAL FÁBRICA DE PORCELANA DEL B...

Cooler or glass cooler. With marks on the base. White paste. Royal Porcelain Factory of Buen Retiro (Madrid, Spain), around 1784-1803. Piece of tender pasta with wavy edges used to hold the stems of the glasses and cool them when filling the container with ice or similar. On the outside, it has two handles in the shape of plant elements and small reliefs on the fronts (also enhanced thanks to the gilding) which frame floral bouquets with colored leaves. It is possible that the piece belongs to the second period or intermediate stage of the Royal Porcelain Factory of Buen Retiro of Madrid, established in the Spanish capital from 1760 and thanks to Charles III; This stage corresponds to “the commands” of Carlos Scheppers and Felipe Gricci, and the Italian influence continues, adding relations with other currents (English, Saxon). Weight: 2225 grams

· Size: 33x19x13 cms.
ANTIQUES

Ref.: ZF0431
LANDSCAPE WITH A LAKE. OIL ON CANVAS. 18TH CENTURY.

Landscape with lake. Oil on canvas. Century XVIII. Landscape with a sunset located on a lake, with some mountains in the background and some trees and a hut in the foreground. Slightly animating the composition, boats of different types have been placed with characters on board, as well as two groups of constructions towards the right side of the work. The painting has numerous points in common with landscapes from European schools made towards the second half of the 18th century.

· Size: 116x3x50 cms. int: 35,5x102 cms
ANTIQUES

Ref.: ZF0973
STILL LIFE WITH FLOWERS. OIL ON CANVAS. GARCÍA-OCHOA IBÁÑEZ. LUIS (SPA...

Still life of flowers. Oil on canvas. GARCÍA-OCHOA IBÁÑEZ, Luis (San Sebastián, 1920-Madrid, 2019). 1949. Signed and dated towards the lower left corner. Label on the back. Still life showing a round table covered with cloth and a series of bouquets of flowers and plants, all placed in their respective vases or pots, as well as a small object in front and several loose flowers. In the lower left area, you can see the painter's signature and the date 1949 (49). On the back there are two labels that relate the work to the XXVI Biennale Internazionalde d'Arte in Venice in 1952. One with the numbering of the painting and the other with the author's information. Luis García-Ochoa was a painter and graphic artist who became an academic of Fine Arts in Madrid. He moved to the capital as a child and worked in his father's architecture studio, training there in avant-garde art. Enrolled in the Royal Academy of Fine Arts of San Fernando, he expanded his training in France, Italy and England. Around 1942, thanks to Benjamín Palencia, he participated in the second Vallecas School, a group that served as the basis for the Madrid School. At this time his style evolved from initial cubism to expressionism. He was invited to the Venice Biennale on several occasions (1940, 1950, 1952 and 1954), participated in several National Exhibitions of Fine Arts in Madrid, in group exhibitions and individual exhibitions, etc. In 1993 he founded the School of Figurative Painters of El Escorial. His work is preserved in several private collections and in institutions such as the Reina Sofía Art Center, the Bilbao Fine Arts Museum, etc.

· Size: 94x4,5x78 cms int 80x65 cms
ANTIQUES

Ref.: ZF1110
MIRROR WITH SILVER AND ENAMELS FRAME. WOOD, GLASS, ETC. MEXICAN SCHOOL...

Mirror with cabochon frame. Silver, enamel, wood, stucco, etc. Mexican school, 17th century. No contrast marks. It has faults. Mirror with a slightly rectangular frame made of wood with polychrome areas and an embossed silver plating on stucco and enhanced with enamel cabochons with geometric elements in dark and light blue. In front there are a series of smooth moldings, one of which is the one with the aforementioned polychrome. The silver stripe is distributed around the outside of the piece, with the corners in exposed wood and smooth silver stripes (two on each side), and a decoration with a certain volume in which architectural elements of clear classicist influence are combined (in the center of which are the enamel cabochons), flanked in the most elongated areas by compositions with scrolls, volutes, plant and fruit motifs. Stylistically speaking, the work can be linked to works in the same technique carried out in Mexico, mainly in caskets. Also, as is usual due to the peninsular influence, it is possible to remember works such as the Holy Thursday Chest from the 17th century from Barbastro. Weight: 5.7kg.

· Size: 54x6x61 cms. int: 39x46 cms
ANTIQUES

Ref.: ZF1191
MAHOGANY THREE-SEAT SOFA, ELISABETH II STYLE (SPAIN), 19TH CENTURY.

Elizabethan tresillo in mahogany wood, 19th century. Three-piece chair with carved floral motifs, four cabriole legs, short curved and partially upholstered arms, and one-person oval “á la reine” backrests, linked by vegetal motifs to give continuity. The influences of contemporary French furniture are clear in all Elizabethan works, a style so called because the reign of Elizabeth II (1830-1904) was its peak moment.

· Size: Sofa: 185x110x60 cms. / 66x60x110 cms.
ANTIQUES
FURNITURE

Ref.: Z0684
MAHOGANY SHOWCASE CABINET. ENGLAND, 19TH CENTURY.

English showcase. Mahogany wood. XIX century. Showcase with shelves and two doors with glass and geometric decoration topped by a split pediment with plant decoration, which is presented on a piece of furniture with two drawers in front, four legs and a shell or shelf in the lower area of the same. Certain elements of the furniture are reminiscent of the Chippendale style, and it is worth noting the bevel-carved decoration on the drawers and top of the “table”.

· Size: 77x43x195 cms.
ANTIQUES
FURNITURE

Ref.: Z5022
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FRAME WITH MIRROR. WOOD, METAL, GLASS. 17TH CENTURY

Mirror. Carved wood. XVII century. Mirror with a slightly rectangular carved wooden frame that has a metal piece on one of its smaller sides so it can be hung on the wall. The frame has been decorated with a composition based on somewhat fleshy plant elements concentrated in the corners and in the center of the smaller sides without protruding from the moldings in which they are located, and with a series of fine and smooth moldings towards the interior. . Although plant decoration is one of the most common in Art, curves, depth, lines, etc. of which the piece presents can be linked to Baroque works of the 17th century. Currently, the value and appreciation of frames are on the rise due to the search for them by museums and important institutions, with the aim of giving the works the frames they would have originally. Hence, similar examples are found in some paintings by masters of the time (Vermeer, for example), or can be found in important museums.

· Size: 110x90 int 68x88 cms.
ANTIQUES

Ref.: ZF0283
IRISH MAIL CAR. FIRST HALF 20TH CENTURY

“Irish mail” type manual movement car. First half of the 20th century. Traction vehicle that consists of four wheels, a single seat, a control in front to activate the gear and two levers (one on each side, one acts as a brake and the other is related to movement) and an acetylene headlight in front. The front axle is foot-operated for cornering. It is very similar to vehicles known as “Irish Mail”, which derived from the dresines or skunks that were used on the tracks in the construction and maintenance of railway tracks. According to another theory, these same cars, especially when they were not used on the tracks, were called the “Irish Mail” car. See, for example, children's examples from the AC McClurg and Co. catalogue; another company's 1938 Irish Mail Deluxe Racer; or with the 1920 Ben Hur Racer Irish Mail hand-car.

· Size: 150x63x73 cms
DECORATIVE ANTIQUES

Ref.: ZF0732
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BRONZE MORTAR WITH INSCRIPTION. SPAIN, 1823.

Mortar with inscriptions. Bronze. Spain, 1823. Mortar made of bronze with a recessed mouth and a throne-conical body developed without discontinuity and decreasing in diameter to the base; It has two handles or “pieces” towards the smooth decorative moldings at the top. The piece presents, almost on the edge, an inscription (I AM DE D GREGORIO OCANA ANO DE 1823) in capital letters and a date in Romans with spaces between them; and the text (the opposite of the other) “Mazon fecci”; both flanked by a simple molding above and another below. This large mortar is of the type that is usually known as “hospital” because it is usually used for medicines in environments with many patients or in important pharmacies. Typologically, it follows the usual line in these examples of the Spanish school during the 19th century: smooth, with moldings and, as a general rule, without those ribs (or derivatives thereof) that used to appear in the previous ones. Compare, for example, the large pharmacy mortar from the Calella Municipal Museum-Archive (with inscription, ribs and human heads as handles), a large pestle from the Hispanic Pharmacy Museum of the Complutense University of Madrid, etc

· Size: 37x34,5x25 cms.
ANTIQUES

Ref.: ZF1007

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