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ITALIAN STYLE “BARGUEÑO”, TORTOISESHELL AND WOOD, 18TH CENTURY.

Italian style bargueño, 18th century.
Carey, wood and gilt bronze.
Open sample desk made of wood, with the central part advanced and highlighted with a double chapel of architectural composition. Each of the sides has five drawers with the front decorated with hawksbill and an elaborate golden bronze lock shield (two rampant lions facing each other, placed on a garland and with a shield crowned between them, in which the hollow of the key). The center of the front has two levels: the lower one has four columns with a stasis, two on each side and joined by an entablature and a top top in dark wood, and a series of elements in gold metal in the center, among which it stands out, sheltered under a semicircular arch, the figure of Hercules fighting Caco (the giant who terrorized the Palatine Hill before the foundation of Rome); the upper one has moldings forming a few holes, with an important heraldic shield in the center, all enhanced with volutes towards the sides, and different elements in golden metal, of classicist inspiration.
The general scheme of the furniture responds to a very widespread and valued model in seventeenth-century Europe of which the best examples have been, as a rule, those of Italian manufacture, and which is continued in the eighteenth century without breaking the compositional clarity of which shows on this front but changing light decorative details and elements in the area of the central chapel, especially.
The practice of using hawksbill plates in furniture resurfaced in Europe during the 17th century. The high price and the high demand for furniture with sea turtle shell are explained by the shortage of the material, which was essential to import it (usually from Central America) and that, for their work, a highly specialized workforce was required. As is normal for this type of furniture, also called “wastebaskets” for containing important documents, hawksbill plates were often highlighted with decorations in gilt metal, the use of bronze for this being very normal."

· Size: 69x137x160 cms.
ANTIQUES
FURNITURE

Ref.: Z6811
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OIL ON CANVAS, “THE REAPER”, IGNACIO DÍAZ OLANO, 1890.

Oil on canvas, "El segador", Ignacio Díaz Olano, 1890.
Signed and dated in the lower right corner.
Ignacio Salvador Díaz Ruiz de Olano (Vitoria, 1860-1937), painter and teacher of painters and better known as Ignacio Díaz, studied at the Academy of Fine Arts of Vitoria as a pupil of Emilio Soubrier Martínez, and at the Llotja de Barcelona (1877) -1880), where he met his teacher Gustavo Bacaristas. After finishing his apprenticeship, he returned to his hometown, where he collaborated in the weekly "El Danzarín" as a draftsman, under the pseudonym "Galop". Then, in 1890, he moved to Paris, where he spent four years studying anatomical drawing, and did stage work for the Opera House (some argue that it is not entirely sure that he was in Paris, however) . When he returned to Spain, he participated in the Artistic and Industrial Exhibition of Vitoria with several works in 1884, year in which he also opened his own studio in this city, in which he carried out an outstanding didactic work until its closure in 1894 to go to Barcelona. In this same year he would travel to Rome, where he lived for two years. From 1912-1913 he would also work as a drawing teacher at the General and Technical Institute, a task he carried out until he reached the statutory retirement age in 1932. Between 1890 and 1925 Diaz participated in multiple editions of the National Exhibitions of Fine Arts, achieving bronze medal in 1895 and silver in 1899 and 1901. The Prado Museum of Madrid, the Fine Arts of Vitoria and Asturias, the Provincial of Álava, the City Council and the School of Arts and Crafts of Vitoria, retain their work. private collections, etc.
Numerous experts have pointed out that the art of Ignacio Díaz is greatly influenced by the fact that the painter was surrounded by his countrymen and neighbors for a long time. This motivated that most of the production consisted of oil paintings of folklore and customs, portraits, landscapes and flowers and still lifes. The present oil is a clear example: it shows a harvester, in a wheat field half working and with a small sheaf in his hand, looking towards a point located outside the painting.
Also, you can also appreciate his exceptional observation skills and his solid drawing. In this work, however, we already notice advances when presenting in his work, fully integrated, the light in his compositions. From the hand of the light, and little by little, the color penetrated, which also appears in this painting as totally dominated. His search for immediacy will bring the luminous stain and the chromatic gleam and, over time, he was approaching naturalistic impressionism without entering entirely within this style to maintain his personality and its formal differences."

· Size: 108 x 72 cm; 110 x 74 cm (marco)
ANTIQUES
PAINTINGS

Ref.: Z6128
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BACCARAT SIGNED CHANDELIER. GLASS AND GILT BRONZE. FRANCE, 19TH CENTUR...

Baccarat signed chandelier. Glass and gilt bronze. 19th century.
Gilt bronze and transparent glass chandelier with eight lights. The upper part has a series of curved sticks from which hang some glass beads in various shapes (flower, tear). The central axis of the chandelier (made in metal and covered in glass with abundant curves) has a central piece in bronze and glass beads (very often seen in french chandeliers from around the middle of the 19th century and in Louis XVI style). From all the elements of the piece hang a large number of glass beads of various shapes (circular, flowers, tears, oval, etc.).
The Société Baccarat (which continues to manufacture luxury glassware in this French town) began as a glass workshop founded by Louis-Joseph de Laval-Montmorency, with the permission of Louis XV of France, in 1764. They received the first official order from the Royalty in 1823, giving rise to a huge number of petitions addressed to members of European royal families, nobility, heads of state, etc. Towards 1860, the company began to sign its products with a registered trademark, usually recorded in the base of the article, although it was also common for other broncists to use Baccarat glass for its fame and quality.
Measures: 65x65x120 cms.

· Size: 65x65x120 cms.
ANTIQUES

Ref.: ZF0004
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”SECRETER “Á ABATTANT”. GILT BRONCE, MARQUETRY, PORCELAIN, CLOTH, MARB...

"À abattant" secretary. Fine woods, marquetry, interior with drawers in rosewood and textile, gilt bronze and enameled porcelain; Marble envelope Signed HYPPOLYTE-EDME PRETOT (Paris, 1812-1855). XIX century.
Secreter with top cover in marbled light marble and rectangular floor plan, with a base of curved hems and rounded corners highlighted with a diamond marquetry and gold metal applications of classicist souvenir. The sides are decorated with diamond plumeados in the wood in the central area, separated by two gilded bronze moldings that extend along the three fronts; at the top, the same compositional scheme is repeated. The front front concentrates the decoration: a composition framed by plumeado based on flowers and plant elements in a delicate marquetry for each of the drawers that, in the door, is highlighted by a bronze molding and accompanied by an enameled porcelain plate . This presents two cupids in a celestial background, in addition to a frame in this same metal. Opening this door, you discover a small desk with a cover upholstered in fabric and four drawers flanking a central space, located under another rectangular space. The corners of the furniture, in addition, have classicist and grotesque dolphins of children with the lower half of the body transformed into plant elements and scrolls.
The furniture presents a firm linked to Hippolyte-Edme Pretot, a Parisian cabinetmaker who settled on Rue de l'Abbaye in 1836, moved to Rue Saint-Germain in 1841 and, since 1846, to Rue de Harlay. He showed some of his best works at the Exposition Nationale de France in 1849 and at the Great Exhibition in London in 1851 he won a Medal.
It is possible to compare the present example with the lines of a “cabinet” Napoleon III in “pietra dura”, ebonized wood and overdosed bronze that has been dated to 1850 and is preserved in a private collection, similarities that can be appreciated by comparing the elements in bronze of both furniture. It is possible to contemplate some works of the teacher, or attributed to him, at the Dayton Art Institute (United States), at the Musée des Arts Dècoratifs in Paris, at the Luxembourg Embassy in The Hague, in the National Heritage collection of Spain, etc."

· Size: 80x44x109 cms.
ANTIQUES
FURNITURE

Ref.: Z6849
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GOLDEN BRONZE AND TORTOISESHELL CHEST. 18TH CENTURY

Cache of the late eighteenth century
Wood, golden bronze and tortoiseshell.
Caqueta made at the end of the 18th century, with a wooden structure composed of a prismatic base and a vaulted lid, articulated by two prolonged hinges to the exterior with openwork and cut motifs, topped with fleurs de lis. The piece is decorated with tortoiseshell plates applied on red wax, framed by clear fillets and by the very structure of dark wood, in vivid contrast. The lines of the piece appear outlined by applied bands of bronze, with trimmed lilies, bands that compartmentalize the surface of the casket following the structural lines, a characteristic characteristic of the classical decorative arts. The piece also has an articulated upper handle, in gilded bronze, composed of curled and interlaced tornapuntas in a symmetrical design. The lock shield, of the same material, has a central bracket flanked by trimmed leathers and tornapuntas with crests of contario, adorned above and below with flecks of lily flowers and vegetal motifs. At the ornamental level, they stand out especially for their importance in the composition of the bronze figures, worked in half mold to mold, applied in the four corners of the chest. They are fantastic figures of Mannerist inspiration, hybrid, with a monstrous face and the lower half of the vegetalized body, similar to that of the hermes of the sixteenth century, which extends forward to form the foot. We also see decorative applications in bronze relief in the center of the sides, again of Mannerist influence
Weight 565 grs."

· Size: 20x12x10 cms.
ANTIQUES
FURNITURE

Ref.: Z5503
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SILVER WRITING DESK WITH CLOCK 19TH CENTURY

Writing with clock. With contrast marks. France, 19th century
Silver.
Scribe enhanced by a slightly elevated base through pieces decorated with stems and scrolls with motifs that show Rococo influence. The front of this lower area, gently curved on the fronts and the sides, shows human masks and mirrors with plant motifs, as well as a few shapes in the central part, raised to highlight the clock. This one has a white dial with Roman numerals and for the hours and lines for the minutes, and it is shown enhanced with a band of pearls in front and a winged mask in relief on the back, in addition to a vase finish that is based on the bell, topped by a half-naked lady who holds a tambourine on something. The inkwell and the sandbox, located on the sides of the base, have a vase shape similar to that of the bell, but less decorated (engravings of scallops, bands, plain shields ...), and their covers are topped by two figures human (a lady holding a bird of prey high, and a gentleman, dressed "in the manner of the Renaissance").
Both the decoration of the piece, of great quality and detail, as the curves and countercurves it presents, are a good example of the influence of several artistic styles of different centuries, something common in nineteenth-century silverware throughout Europe. The bell figure reminds of classical Greek sculptures of Venus whose influence is common in neoclassicist art, smooth mirrors and bands that enhance them can be seen in Renaissance examples, the movement that provides curves and countercurves and the shapes they remember to rockery can be related to Rococo.
The decorative details of the piece and its compositional lines are reminiscent of a copy preserved in a private French collection, from the Napoleon III era and made by Emile Hugo, a French silversmith active in Paris in the second half of the 19th century
Weight: 2975 gr"

· Size: 39x27x43 cms.
ANTIQUES

Ref.: ZF0220
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BRONZE SCULPTURE. “MAENADS”. 19TH CENTURY.

Sculpture. Maenads with satyr. Bronze. XIX century.
A small base worked so that it resembles earth supports the figures. On the right, two panthers appear, turning to the two ladies who support their feet as they advance just to the sides of a Cornucopia or Horn of Abundance. They appear dressed in robes, which conform to the body enough to reveal something of the classicist anatomy of the ladies without being entirely revealing; one of them creates a vertical line that brings movement to the composition of the sculpture, maintaining its harmony. The symmetry is completed by the figure of a child faun, holding a glass and a bunch of grapes and also advancing, like the rest of the figures in the sculpture.
The god Bacchus (Dionysus in Greek mythology) was associated with the grape harvest and wine, ecstasy, etc., and was an important deity of the pantheon. It is associated with the bull, the snake, the ivy and, to a greater extent, the wine (and the grapes, branches ...) and a certain procession and the so-called Bacchanalia. Likewise, it used to be accompanied by fauns, nymphs, centaurs, etc., and was served by the maenad nymphs and followed by the so-called "bacchantes."
Clearly, the influence of prominent 19th century French work is strong. Compare, for example, with A. Carrier's "Allegory of Friendship", or with Claude Michel Clodion's "Bacchante" (1738-1814), or with the "Ladies playing the tambourine with young satyr" by the same French sculptor , or Hyppolyte Moureau's "Bacchante" (1832,1927), to name just a few. These types of sculptures were highly appreciated and valued in the 19th century for responding to the aesthetic tastes of Neoclassicism, being very often that they were often fused following the models of outstanding masters, even though their authors were already deceased."

· Size: 35x20x59 cms.
ANTIQUES
SCULPTURE

Ref.: Z6850
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”HOLY FAMILY”. BRONZE. FRANCESCO MARTI, 16TH CENTURY.

"Sacred Family". Relief in bronze. Francesco Marti, 16th century.
Bronze tondo with relief of the Holy Family in the center, framed by simple moldings (which flank a religious legend, "Puer Natus Est Nobis", extracted from a Gregorian chant and Christmas mass) and with a work of elements Vegetables on top, of classicist influence. The scene shows Saint Joseph on the left, young man, and Mary with Jesus sitting on her lap.
Francesco Marti (active 1489-1516) was a Renaissance artist, active in the Lucca area of whom they conserve different works in metals (mainly bronze) outstanding private collections and museums such as the Metropolitan Museum of New York or the National Gallery of Art of Washington DC (United States). The present example is very similar to the overdosed bronze medallion dated around 1510 and preserved in The Walters Art Museum, including the text of the frame (inventory 54.1064), which has a ring at the top to be hung on the wall in a Private oratory, surely. The Bode-Museum in Berlin has another medallion of these characteristics (the part of the upper part varies slightly), thus showing the popularity of Marti's work and a customary custom at the time such as making several foundries.
The symmetrical composition and harmonious arrangement of the cloths of the figures are elements that place the work within the High Renaissance. Iconographically, the figures also correspond to the usual at the time (note, for example, the greater relationship of San José with the Child, which was not seen in previous medieval examples)
Weight: 408 gr. ."

· Size: 12x13,5 cms.
ANTIQUES

Ref.: ZF0217
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18 KT GOLD BROOCH WITH EARRINGS AND BRILLIANT"

18kts gold brooch with enamel and brilliants.
Brooch made in 18 carat gold with thought form. The stem has been left with the color of gold, but in a matte finish, while the petals of the flower show a worked composition combining several techniques: the base provides the color of the flower thanks to a delicate enamel with a predominance of purple tones, drawing waters for greater naturalism; Each of the four petals has been highlighted thanks to a decoration that recalls small stems in metal combining a white tone and a more golden one, and also by means of a series of circular brilliant circles surrounding them, juxtaposed to each other, in a light-colored setting.
The jewelry in the shape of flowers were very common in the nineteenth century, reaching its peak thanks to the current known as Modernism and Art Nouveau. In this style it was very frequent to make pieces with one or more flowers, alone or with leaves and stems, make the petals of the flower with elaborate enamels, and surround it with a series of elements in different metals with an abundance of curved lines, since it is about a style characterized by inspiration in nature, the abundance of curved lines, etc.
Enamel is a technique used in jewelry and other arts in which glass is usually fused on a metal base, giving rise to a bright "coat" of bright colors. It was already known in the ancient Greek and Egyptian civilizations, since then part of the techniques of Phoenicians, Assyrians, Persians, Byzantines, Arabs, Romans, etc. Thanks to the technical innovations brought by the Industrial Revolution, the enamel enjoyed a new boom with a difference in colors and uses with respect to the above, to be able to use new materials in the dyeing of glass, better control the temperature in the foundry, novelties in aesthetic taste, etc.
Weight: 31.69 cm.

"

· Size: 7,2 x 4 cm.
ANTIQUES

Ref.: JBR0705
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CERAMIC BOWL. TALAVERA. 17-18TH CENTURIES

Cuenco, Talavera, late seventeenth century - early eighteenth.
Glazed pottery
Ceramic bowl decorated with high-temperature enamels on a white tin opaque slip. The polychromy is based on typical Talavera colors: cobalt blue, copper green, manganese black, antimony yellow and ochres, browns and iron oranges. These enamels were applied on the raw slip, so the piece was baked only twice: once for the paste and once for the slip and enamels. In addition, the colors were protected with a varnish, which was also cooked in this second firing. The pieces were introduced in the oven in blankets or boxes, so that the colors will not burn (they are cooked at a very high temperature, 900º). In general, those of Talavera will be good cooking, without major defects. The rise of this ceramic manufacture will take place between the sixteenth and mid-eighteenth centuries, when French taste is introduced to Spain, and the clientele goes on to prefer Alcora pieces. However, Talavera will live a new Golden Age at the end of the 19th century, with historicisms.
This piece presents a typical decoration of Talavera, which will be very imitated in other centers throughout the Modern Age: an animal in a rampant position in the center, on a schematic floor plan, flanked by two large plant elements. The decoration is completed with synthesized plant elements and bands of concentric lines, inside and outside."

· Size: 32x32x15 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z5575
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MAHOGANY SWINGING CRADLE, NAPOLEON III STYLE, 19TH CENTURY.

Napoleon III style cradle in mahogany wood, 19th century.
On four legs in the form of S joined and secured with a chambrana, the two supports are raised: one, higher, has grooves in its shaft and an extension to place a canopy; the other does not exceed the height of the crib for easy access. The body of the work presents a magnificent carved decoration based on highly stylized plant elements and shapes reminiscent of wings in the corners; the color note is provided by a band of stars in light wood at the bottom; note the lamas inside.
Typologically, the furniture responds to the basic form of the highest quality cribs, like the one that the City of Paris gave to Napoleon III (today at the Carnavalet Museum in Paris). Stylistically, it belongs to the Second Empire or Napoleon III, called by the first president of the Second French Republic and emperor of the Second French Empire (1808-1873) and characterized by a great stylistic variety. Past styles are chosen, which are reproduced or taken to create free interpretations (with clear preference for Louis XIV, Louis XV, Louis XVI, Gothic and Renaissance). The quality of the pieces is also very varied because, although industrial production is already the norm for the mechanization of the industry, some unique and outstanding pieces will still be made following the techniques of the past for a select clientele.
Its purity of lines reminds in part of the sobriety that was sought in the Louis XVI style; the chosen motifs are characteristic of the period (Neoclassicism), based on models from Roman antiquity, such as the grooved shaft column. The movement in the legs reminds of Baroque furniture.
It is not at all to find cradles in such a good state of preservation as the present piece: only outstanding collections and important museums preserve comparable specimens in quality. Let's mention, for example, the Victoria & Albert in London, the National Museum of Romanticism (Madrid) or the National Museum of Decorative Arts in Madrid."

· Size: 129x54x170 cms.
ANTIQUES
FURNITURE

Ref.: Z6377
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GILT BRONZE MANTEL CLOCK. 19TH CENTURY.

Table clock. Ormolu. XIX century.
Table clock made of gilded bronze with a powerful base, enhanced with legs decorated with plant and architectural motifs of classicist inspiration and a series of details on the front (volutes in the chamfered corners, scrolls and a center with a globe from which radiates light and a parchment, with inscriptions in both), as well as bands of simple architectural elements and smooth spaces to enhance those decorations. On this pedestal has been placed a parchment for the sphere (white, with Roman numerals for the hours and lines for the minutes, breguet-type needles), surrounded by a garland. In this area a male figure is placed, dressed in suits reminiscent of the Renaissance, holding a drawn sword; In addition, a series of elements have been placed on the part of the sphere (a globe, documents with cursive texts in French, etc.).
The allusion to the sciences is clear when presenting at such a prominent point the documents with the respective texts and the sphere. The detail of the sword refers to the war. Thus, it would be a figure that would unite wisdom and action, uniting in the gentleman of a certain age both, as it should be in a ruler or people of a certain social class.
The best examples of bronze table clocks were made in France during the 19th century, or so it was considered. This is due to the care with which it was organized and legislated the manufacture of applications and elements in bronze, the gold bronze technique to mercury, and the participation in the creation process of front-line artists who were in charge of the designs of the figures and decorative motifs (likewise, it was not unusual to make figures inspired by or more directly copying great works of Art History). The resulting clocks were much appreciated, being destined to decorate interiors of palaces and residences.
Machinery in working order."

· Size: 43x17x55 cms.
ANTIQUES

Ref.: ZF0207
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ORNAMENTAL MIRROR. 19TH CENTURY.

Cornucopia, carved and gilded wood. XIX century.
Rectangular mirror with the frame highlighted by a cupete that extends along the sides. This one has been formed with scrolls and rockets, inspired directly by eighteenth-century examples that follow this style. It is the straight lines inside the mirror that show that, as was usual in the nineteenth century, elements of past styles have been taken to create works more to the taste of the time."

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

Ref.: Z6615
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WALL CLOCK WITH MUSIC BOX, 19TH CENTURY.

Carved wood wall clock with metal disc music box, 19th century.
Clock divided into two parts: the upper one, flanked by columns on moldings, features a dial with Roman numerals and a chromatic set in silver and gold with engraved details reminiscent of Gothic models; the lower one, flanked by pilasters and with a vegetal motif inspired by baroque works, presents a door that hides the pendulum and the mechanism of the music box. The mixture of decorative styles in the work is characteristic of the furniture of the nineteenth century, at which time the music box would be a technological novelty of great importance."

· Size: 37x22x95 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z3152
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IMPERIAL STYLE LOCKET. 19TH CENTURY

Empire style locket, circa 1800.
18 kts gold and enamel.

Beautiful locket entirely made of 18 kt gold filigree, composing a light and open structure that combines in its decoration synthetic plant motifs, rosettes, edges and fluted moldings, also including the suspension piece. The cover is decorated with a highly pictorial enamel, representing a winged girl, naked except for a cloak that covers her sex, wearing a gold crown and set against a delicate background of landscape. The rear lid, hinged by means of a hinge, is instead completely openwork, with a spike decoration"

· Size: 5,5x3,5x0,5 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5599
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18 KT VICTORIAN GOLD BRACELET WITH AMETHYST. XIX CENTURY"

Victorian 18k gold bracelet with amethyst. XIX century.
Victorian 18 carat gold bracelet composed of a body of calabrotes with pearls in the center, placed in pairs and alternated with small pieces highlighted with a vegetable element in light relief of classicist influence. The closure of the jewel is hidden in the front, covered by the centerpiece of the bracelet. It consists of a piece of gold with vegetal forms, scrolls and flowers in relief, topped by a trilobed form that responds to an influence of the Neo-Gothic of the 19th century. In the center of this part is an oval slightly oval shaped oval-shaped amethyst, finely linked so as not to detract from the composition of the closure. From this central element hang two chains, adding the usual movement that used to occur in nineteenth-century jewelry in many pieces.
The so-called Victorian Era begins, officially, in 1837 with the coronation of a young Queen Victoria in England, and would end in 1901 with the death of the same with 82 years. It was the time of greatest development of the Industrial Revolution, a detail that also influences jewelry with important technological advances (hydraulic power, steam engine, gas, etc. influence the machinery to be used). The advances in machinery allow to slightly lower the costs in jewelery, obtain new sizes in the gems with a greater number of facets (thanks to a greater speed in the lathes), novelties in the alloys (lowering of the gold leagues since 1854 in England, introduction of galvanization ...), etc. As for the designs, they were always marked by the taste of Queen Victoria. Thus, in general, three stages are distinguished: the Early Victorian or Romantic Period (1837-1860), with frequent inspiration in the world of nature; the Victorian Middle or Great Period (1860-1885), marked by the mourning for the death of the Queen's mother and her husband Alberto in the same year and the Civil War in the United States among other events, influenced by the archaeological discoveries of the moment and the technical novelties in the enamelling and granulation of gold, and the frequent presence of gems; the Late Victorian or Aesthetic Period (1885-1901), marked by the discoveries of diamond mines in Africa, which cheapened the stones allowing a more frequent use in jewelry, a more frequent use of ivory and soft color combinations, and a reduction of the size of the works as a rule.
Weight: 25.93 grams.
"

· Size: 18 cms
ANTIQUES

Ref.: J2121A
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BRONZE SCUPLUTRE CUPID. "L, AMOUR METTANT UNE CORDE À SON ARC"

"L'amour mettant unites corde à son arc". "Lemire"; SAUVAGE, Charles-Gabriel (Lunéville, France, 1741-Paris, 1827).
Patinated bronze on rectangular base in ocher marble.
The present work shows, raised on a marble pedestal, a figure of a child Cupid putting a rope in his bow. Nicknamed "Lemire", Charles-Gabriel Sauvage was a French artist. Son of a founder, Lemire was part of the Niderviller porcelain factory, becoming artistic director of the same in 1781; in 1802, he moved to the Parisian factory of Dihl et Guérjard and, when Christophe Dihl passed away, the sales of materials and other elements of the manufacture dispersed the molds of the works of Lemire, giving rise to the production of bronze models of his sculptures . The marble model that the master made to present it to the Paris Salon of 1814 is currently preserved in the Musée Historique de Lorraine in Nancy (in the Louvre Museum in Paris).
."

· Size: 30x17x50 cms.
ANTIQUES

Ref.: ZF0051
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BROOCH IN GOLD OF 18 KTS WITH GRANATES"

18 kts gold brooch with garnets.
18 carat gold brooch formed by a symmetrical composition based on loops and volutes with a fine decoration in light relief of plant elements with a slight memory of works of Neoclassicism. In the upper end there is a circular faceted garnet, accompanied by three ovals (the center with gold pearls around) in the central part (highlighted by the presence of other circular cut gems), and another teardrop shaped the bottom. From this body hangs, thanks to four rings, two gold cords with links in the form of scales, ending in separate tassels, recalling textile examples often used in draperies and other elements both in the nineteenth century and later.
The jewelry with hanging elements attached "in scrapie" so that they move when attached or placed was common in 19th century jewelry, with the aim of adding some movement and avoiding the rigidity of the pieces, adding a touch of originality to the compositions. At this time, the composition based on classicist vegetable elements accompanied by flowers and lacerías was usual. Comparing with the present example, it reminds more of models inspired by works that follow a style known as Neo-Renaissance to follow the artistic style that was born in Italy in the fifteenth century, with those volutes and the powerful composition based on smooth shapes and volutes, also responding to this relationship the fine plant elements in relief already mentioned. However, the chromatic combination achieved by the gems provides the softness required by the aesthetic taste of the time, without the striking contrasts more characteristic of the oldest jewelry that has been preserved.
Weight: 19.4 grams.

"

· Size: 8x4 cms.
ANTIQUES

Ref.: JBR1713
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WALNUT ROOT DAVENPORT DESK, ENGLAND, 19TH CENTURY.

Davenport desk in walnut root, England, 19th century.
Small and narrow desk with top inclined table and box with lid, located on a piece of furniture with four drawers. Its shape responds to the type known as Davenport desk: upper part with storage space and similar to a school desk, two columns inside, lateral drawer ... The name comes from the first commission of a piece with these characteristics, made by Captain Davenport to Gillows of Lancaster at the end of the 18th century. It was a very popular desk for the next century."

· Size: 55x54x85 cms.
ANTIQUES
FURNITURE

Ref.: Z4292
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GOLD BROOCH OF 18 KTS WITH CHRISTMAS AND AMAZONS"

18kts gold brooch with chrysoberyls and amethysts.
The present brooch is formed from two circular bands on the sides, flanking another more in the form of an oval with the major axis in vertical arranged on the two sides. The three elements have been enhanced with fine simplified plant elements and a cresting on the outer front, and serve as background to a fine composition of floral and floral elements of classicist memory in bright background combined with plant areas and elements in matte (with a delicately chopped luster). On this background, and to highlight it even more, have been arranged a series of faceted gems of different sizes and sizes: two square (chrysoberyls) at the ends next to oval faceted amethyst paths; in the central zone, a composition has been arranged alternating the same types of stones (highlighted by gold pearls) with the chrysoberyls in pairs and the larger oval amethysts) and fine leaves with a bit of luster.
The aforementioned plant elements located on the base bands are reminiscent of nineteenth century Neoclassicist works. However, both the composition and that base of three elements already mentioned is not usual in the jewelry of this era, nor is the marked chromatic contrast achieved by the gems that the brooch presents nor the fact that it does not follow a rigid symmetry in the arrangement of some of the different decorative plant elements. In addition, there are certain details in the plant elements of the sides that remind slightly of Rococo decorative motifs from the 18th century, although they show a very attenuated movement and depth (practically as it was done when in the 19th century this style was taken as model).
The mentioned elements speak of a remarkable care and quality at the time of designing the jewel as well as the choice of materials and the creation of the piece, something usual in this type of works, highly appreciated both for its economic value and for its beauty, its brightness, and the reflection of the taste and social position of its owner. The shapes of the brooch suggest a feminine use of it.
Weight: 12.47 grams.

"

· Size: 5,2 x 3,9 cms
ANTIQUES

Ref.: JBR1712
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PAIR OF CHIMNEY ANDIRONS, GILT BRONZE. FRANCE, 19TH CENTURY.

Pair of butts in gilded bronze and iron. France, nineteenth century.
The area closest to the fire has been left undecorated. The front has two cupids with butterfly wings, a usual detail in the nineteenth century, as are the ova, shields and plant elements that complete the figures. The forms inspired by classicism are typical of Neoclassicism and all decorative styles of the nineteenth century."

· Size: 25x20x10 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3052
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PAIR OF SILVER CANDLESTICH HOLDERS. BARCELONA, SPAIN, BEGINNING 19TH C...

Pair of silver candlesticks. F. Roca, Barcelona, h. first half of the XIX century.
Pair of candlesticks with a circular base, in which initials are presented, with a column-shaped shaft with a flared base decorated with leaves in slight relief. The forms and moldings that decorate them respond to the influence of Neoclassicism, common in the 19th century. Contrast marks place the pieces in Barcelona, by F. Roca, an active silversmith in the city during the second half of the eighteenth and early nineteenth centuries. Weight: 764 grams."

· Size: 11,5x11,5x23,5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6865
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14KTS GOLD BROOCH WITH THREE GARNETS

14kts gold brooch with three garnets.
Lady's brooch made of 14k gold, formed by base shapes arranged in a knot shape, leaving waves in the outer profile, with the surface decorated with fine vegetable shapes of leaves and flowers. In the center, simple vegetal scrolls have been arranged, framing two teardrop-shaped garnets flanking another central oval garnet. The fastening element on the back arranges the clasp to go, in principle, vertically.
Weight: 17,11 grams."

· Size: 6 x 4 cms
ANTIQUES

Ref.: JBR1432

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