Z. Sierra · Antiques and Decorative Objects

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SILVER FRUIT BOWL 18TH CENTURY .

Cordoban save in silver, 1759-1768. With marks. Weight: 820g. Rococo style silver save, with punches from Córdoba and the marker Bartolomé Gálvez y Aranda. It has a high, stepped foot, with a circular base, adorned with incised grooves and other simple classical motifs, already announcing the change in language towards neoclassicism. However, the plate itself is still clearly Rococo, with a profile of mitered curves that translate into edges on the eaves. Bartolomé Gálvez y Aranda was a silversmith, although he worked as a marker between 1759 and 1772, using for this work the punch that we see here: his surname in capital letters, in a very oblong trapezoidal frame and surmounted by a fleur-de-lys in a trilobed projection. Gálvez y Aranda added the chronological mark to this punch from 1768, so this salvo would be dated between 1759 and 1768. It is also a particularly interesting piece because it comes from Córdoba, the main center of Spanish silversmithing of the Rococo period, whose workshops produced high-quality religious and secular pieces, destined for clients not only local but from the entire Iberian Peninsula, even reaching the Canary Islands and Latin America. The great diffusion of Córdoba silversmithing will take place, in fact, in the last quarter of the 18th century, through the so-called master fair silversmiths. These characters acted as trade brokers, according to Pérez Grande, visiting churches and fairs held throughout the country. The activity of these fair silversmiths was also favored by tax exemptions.

· Size: 32x32x13 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6259
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INFANT JESUS OR JESUS AS SAVIOUR OF THE WORLD. FLEMISH SCHOOL, CIRCA F...

Child Jesus. Carved and polychrome wood. Flemish school, towards the first half of the 16th century. Baby Jesus with polygonal base made of carved and polychrome wood. The figure is presented naked, standing, with the right hand raised in a gesture of blessing and the left holding a partially golden orb. It is necessary to highlight the shallow depth of the carving, polychrome on all sides, and the lack of work (or less detailed work) in an area on the back of the pedestal that the sculpture has, which would coincide with the part that would be attached to the altar , wall, etc. It should be noted that the hair curls are arranged in the usual way in the type on the back, but those on the front are somewhat peculiar. Reflecting the new “modern devotion” of the time, these figures of Children Jesus were usually used in private oratories (homes, convents, etc.), showing the desire of the time to emphasize the humanity of Christ and a possibly widespread particular cult. by the Dominicans. These small figures, prestigious but relatively affordable, had great success outside the Netherlands, with those made in Mechelen being the best considered, and with Spain being a very frequent destination for the “dolls or dolls of Mechelen” (Virgins, Children of Jesus , etc.). They were works that, on many occasions, bore marks, thus highlighting their origin. Within the stages into which Mechelen's production is usually divided, there is talk of a third in which the production of pieces intensifies (the majority of preserved works correspond, therefore, to this period), but, curiously, the Children (which until now were the second piece most often manufactured and requested by customers) move to third place, being surpassed by Santa Ana. The measurements are usually between 35 and 37 centimeters high in the classic format (with a depth of between 7 and 8 centimeters) and 29 to 30 centimeters in the smallest format (with a depth of between 4 and 7 centimeters). Their appearance is thinner, with facial features that are sometimes already angular (they continue to be made “round” following previous models, but these are more schematic now), and they occasionally place a cushion under their feet. This stage is dated between 1515 and 1535. Compare, for example, with a Child from the Louvain-la-Neuve Museum (inv. VH552), or with the base or pedestal (similar lines) of that from the Museum of the Hôpital Notre-Dame à la Rose (inv. 0108). Above all, we must remember one in the Museo voor Religieuze Junst (Inv. 0011) with the base with cushion on an architectural form due to its elongated shapes, located in the period of intensification of production. The arrangement of the hair resembles that of the Museum of Fairs, dated around 1500, and that of the Quinta das Cruzes Museum (inventory MQC 2307).

· Size: 11,5x7x33 cms.
ANTIQUES

Ref.: ZF1200
SAINT PAUL\'S SCULPTURE. 16TH CENTURY

Spanish school of the 16th century. "Saint Paul". Carved and polychrome wood. Devotional image of a round shape carved in wood, polychrome and gilded, representing the apostle Saint Paul, dressed in a tunic and mantle, with a parted beard, brown hair and a large sword, its main iconographic attribute. In the Middle Ages, numerous corporations were placed under his patronage, due to different aspects of his iconography, life and miracles. However, Saint Paul was never a popular saint, which proves the relative poverty of his iconography. In fact, the role it occupies in art is not proportionate to its importance in the spread of Christianity. In early Christian art his only attributes are a book or a scroll, and in the 13th century his emblem appears, the sword that was the instrument of his martyrdom. Once the clash between tradition and modernity was overcome, and the arrival of the influences of the Italian Renaissance in Spain, the 16th century would be characterized by the great development that religious imagery achieved. Likewise, stylistically there will be a confrontation between the classicist sculptors and those of Flemish affiliation, who were looking for more dramatic and emotional approaches. In this way, the dissemination of the religious image in Spain was based on two fundamental bases. On the one hand, the fact that the Nordic influence constitutes a clearly differentiated alternative to the Italian classicist model; on the other hand, that the emotional sense, which due to its own function the religious image must acquire, will be oriented more to enhance the feeling, to move the faithful, than to follow the rationalist dictates of the Renaissance. So much so, that in Spain the attention to the emotional was more relevant than in the rest of Europe. In this way the image, associated with the word of the preachers, was the most suitable instrument for the indoctrination of the people and for the defense of the canons of the Church, following scholastic and non-humanistic approaches.

· Size: 19x12x39 cms.
ANTIQUES
SCULPTURE

Ref.: Z3024
ORNAMENTAL TOP, POLYCHROMED AND GILT WOOD, 18TH CENTURY.

Finish in carved, polychrome and gilded wood, 18th century. Painted finish imitating marble decorated with scrolls and carved and gilded plant motifs on its front surface. It would be part of a larger work such as an altarpiece, and the quality of its work and its polychrome stand out. The volume of the carving and the movement that its curves provide relate this finish to the Baroque, recalling in some details the Rococo.

· Size: 20x87x37 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z2626
SMALL CHEST WITH PARTIAL POLYCHROMY, “TEJADILLO” (ROOF) TYPE, 16TH CEN...

Roof chest with remains of polychrome, 16th century. Rectangular chest with a roof-shaped lid, which gives its name to this very common typology in the Gothic. The lock shield and the bolt are old, although not from the 16th century like the rest of the work. It should be noted that it preserves part of the original polychrome: green on the outside and red on the inside.

· Size: 255.5x18x22 cms.
ANTIQUES
FURNITURE

Ref.: Z3394
WALNUT DINING TABLE WITH WROUGHT IRONWORK, 18TH CENTURY.

Dining table in walnut wood with wrought iron fasteners. Century XVIII. Dining table with a rectangular, smooth board supported on legs that follow, simplified, the most common examples of the Baroque known as "lyre", and are secured by straight wrought iron fasteners. The influence of models from the 17th century is common in the following century, although it is preferred to soften the curves and tend towards straight lines due to the influence of Neoclassicism.

· Size: 151x93x75 cms.
ANTIQUES
FURNITURE

Ref.: Z3698
PAIR OF PEDESTALS. WOOD. 19TH-20TH CENTURIES.

Pair of pedestals. Carved and polychrome wood. 19th-20th centuries. Pair of equal pedestals composed of a base raised on lion's claws with scrolls and birds, and a fluted shaft that ends in two circular moldings, decorated with vegetal and architectural elements. Branches of leaves have been carved in spirals on the shafts of the columns.

· Size: 38x38x110 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z4312
NAPOLEON III BEDROOM SUITE, CA SECOND HALF OF THE 19TH CENTURY.

Napoleon III Bedroom, second half of the 19th century. Bedroom consisting of a one-door wardrobe with a mirror, a dressing table-desk with three drawers in front and another three behind a door, in addition to the two under the mirror, a “boat” type bed and a four-drawer bedside table. All the decorative elements of the set refer to models from classical antiquity, clearly marking the works' belonging to the style called Napoleon III as it was during his reign (1852-1870) its peak period in France. Wardrobe 110x 46 x260 (interior with 5 shelves, interior drawer, and exterior drawer) Chest of drawers 108 x 52 x101+ 115 Bedside table 44x32.5x 100 Bed 210 x 135 x 128 for a 115 x 190 mattress. Erable wood, pine wood interior, stained moldings
ANTIQUES
FURNITURE

Ref.: Z5277
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SILVER PYX, 16TH CENTURY.

Silver pyx, 16th century. Cylindrical body with decoration of braces and acanthus engraved and with polished luster, and lid decorated with small crests, conical shape and decoration with the same techniques resembling a fabric cover. It follows the most common typology at the time for this type of pieces, intended to store or transport the Sacred Form. Weight: 184g

· Size: 10x10x10 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5726
SILVER “TEMBLADERA” OR TASTEVIN. 1739.

Pair of silver tremblers or catavinos. 1739. (Together with Ref.z5831) No contrast marks. With inscription on the front. Both the same, each one is formed by a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer edge that reads: “I am from the noble conzefo of Santiux that our local Jul presents them to us.” of the Zeballos Caves in the year 1739.” In Spanish silversmithing, Baroque trends were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centers, depending on areas and masters. This survival of the 17th century forms can be seen in the handles of the scrapie: the grotesques with a human head are highlighted by very moving plant motifs, a decorative abundance that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of contrast marks does not allow the work or the artist to be located, although this is precisely what speaks in favor of a secondary silversmithing center, where the absence of control of these works was more common due to the lack of teachers and means to Ensure compliance with marking regulations. Throughout these first two thirds of the 18th century, the certain monotony of the centers of Old Castile (to which Cantabria belonged), León and Galicia was notable in comparison with the importance of Valladolid and Salamanca, which is why perhaps in the Cantabrian environment. The inscription clarifies the purpose of the quakes: they were a gift to the Council of Santiurde de Reinosa (Cantabria) from Juan de las Cuevas Ceballos, a native of this town and resident of El Puerto de Santa María de Cádiz who, in addition, proved his nobility in 1733 before the Sonsdalgo Room of the Royal Chancery of Valladolid. These are therefore two pieces made for civil use, a detail that increases its importance due to the scarcity of this type of works.

· Size: 15x11x6.5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5829
SILVER “TEMBLADERA” OR TASTEVIN. 1739.

Pair of silver tremblers or catavinos. 1739. (Together with Ref.z5829) No contrast marks. With inscription on the front. Both the same, each one is formed by a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer edge that reads: “I am from the noble conzefo of Santiux that our local Jul presents them to us.” of the Zeballos Caves in the year 1739.” In Spanish silversmithing, Baroque trends were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centers, depending on areas and masters. This survival of the 17th century forms can be seen in the handles of the scrapie: the grotesques with a human head are highlighted by very moving plant motifs, a decorative abundance that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of contrast marks does not allow the work or the artist to be located, although this is precisely what speaks in favor of a secondary silversmithing center, where the absence of control of these works was more common due to the lack of teachers and means to Ensure compliance with marking regulations. Throughout these first two thirds of the 18th century, the certain monotony of the centers of Old Castile (to which Cantabria belonged), León and Galicia was notable in comparison with the importance of Valladolid and Salamanca, which is why perhaps in the Cantabrian environment. The inscription clarifies the purpose of the quakes: they were a gift to the Council of Santiurde de Reinosa (Cantabria) from Juan de las Cuevas Ceballos, a native of this town and resident of El Puerto de Santa María de Cádiz who, in addition, proved his nobility in 1733 before the Sonsdalgo Room of the Royal Chancery of Valladolid. These are therefore two pieces made for civil use, a detail that increases its importance due to the scarcity of this type of works.

· Size: 15x11x6.5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5831
ROUND WINGED TABLE. OAK. POSSIBLY SPAIN, 18TH CENTURY.

Circular wing table. Carved oak wood. Possibly Spain, 18th century. Circular wing table made of carved oak wood that has a series of legs joined by chambranas, which have a decoration of channels and small discs, contrasting with the mere undulating shapes of the edges of some of the legs of the furniture and the curve of the upper area of the spaces left in the fronts when the wings of the table are folded. The simplicity of the piece links it more with the utilitarian furniture of prominent residences than with examples intended for main pieces. However, the decorative elements indicated show a clear influence of Neoclassicism and a certain air of Baroque, a mixture somewhat common in 18th century Spanish furniture. Note that the decoration focuses on the lower part of the furniture due to the custom of dressing the tables with rich fabrics to enhance them even more. Although walnut wood was often used in old Spanish furniture, oak specimens are not too rare, as it is a wood with a showy grain, abundant at the time and resistant. Examples similar to the present one have been preserved in prominent residences and in important collections such as the Museum of Decorative Arts of Madrid, the Lope de Vega House Museum (slightly earlier specimens), National Heritage Collections, etc.

· Size: 154x141x77 cms.
ANTIQUES

Ref.: ZE149
POCKET WATCH, DEROCHES. METAL, ENAMEL, ETC. POSSIBLY CIRCA LATE 18TH C...

Pocket watch, Deroches Brothers. Gilded metal, enamels, etc. Possibly towards the end of the 18th century. Pocket watch with a case with a transparent glass part and a composition on enamels on the back (two ladies, with a score on a music stand and one of them playing a harp). The white dial has Arabic numbering for the hours and vertical lines and Arabic numbering every 15 units for the minutes, and the text “Deroches”. The machinery has a delicate decoration and engravings, a serial number and the name Deroches.” Similar pocket watches signed by the Deroches Brothers dated to the second half of the 18th century and examples of “Frères Deroches & Cìa.” of the 19th century.

· Size: 6.5x5x3 cms.
ANTIQUES

Ref.: ZE327
LZ MAURIN POCKET WATCH. METAL, ENAMEL, ETC. 19TH CENTURY.

Pocket watch, Lz MAURIN. Gilded metal, enamels, etc. XIX century. Pocket watch with a white dial with Roman numbering for the hours and, for the minutes, in Roman every fifteen and vertical lines for the rest, and the inscription “Lz. Maurin”; The movement presents a delicate decoration and, engraved, Lz Maurin. The box it presents is decorated, on the back, with a figurative composition of a couple, and has a number and the word Lepon engraved inside.

· Size: 7x5x2,5 cms
ANTIQUES

Ref.: ZE329
CROWN OR CREST. PINEWOOD. 17TH CENTURY.

Auction. Carved pine wood. XVII century. Finish or cape made of pine wood carved in its color with a human bust in the center, located holding two volutes and thus creating an axis of symmetry for the elaborate composition that the piece presents, based on flowers, plant motifs, architectural details, etc. with a certain classicist influence and a lot of movement and depth. The fact that the back is presented without working in detail suggests the possibility that this relief was originally part of an important altarpiece given the size of the piece and its quality. Both the movement and the decorative elements of the composition link the work with the Spanish Baroque.

· Size: 117x65x45 cms
ANTIQUES

Ref.: ZF0499
WALNUT TABLE. GUADALAJARA, SPAIN, 17TH CENTURY.

Table with lentil type leg. Walnut wood. Guadalajara, Spain, 17th century. Table with a flat rectangular board that has a drawer in front flanked by two corbels or smooth moldings, and is made of carved walnut wood, which has four turned legs in what is known as lentil type due to its shape based on small consecutive discs that are secured to each other at the bottom thanks to the presence of a smooth rectangular die in each one and an undecorated wooden crossbar. The front drawer, with a key closure and a weathered iron knob, has two carved rectangles flanking the lock hole and high-quality dovetail joints that are visible when opened. Compare, for example, with the walnut table with discs on the legs dated to the 17th century that is preserved in the collections of the old Municipal Museum of Madrid; with another dais table in walnut and pine wood with carved drawers and lenticular turned legs from the National Museum of Decorative Arts in Madrid, dated to the 17th century; or with a 17th century Castilian buffet table from the Cervantes Birthplace Museum (Alcalá de Henares, Madrid). Typologically, due to its decoration, it is a model with a long tradition in the Castilian school, particularly in the Guadalajara area.

· Size: 84,5x48,5x65 cms.
ANTIQUES

Ref.: ZF0946
DUCHT MARQUETRY COMMODE. 18TH CENTURY.

Dutch marquetry chest of drawers. Century XVIII. Requires restoration. Chest of drawers with four front drawers with key closure and two handles on each one, decorated with marquetry applications (on the sides, front and top board) with a plant theme. Both the top board and the front have a series of curvatures towards the front, and, in the lower area of the furniture, some downward protruding elements provide more movement (note the marquetry details also present here). Stylistically, you can see elements common to 18th century European furniture in the Rococo style (movement in the front, curves and countercurves, etc.) along with elements common in the Dutch school (note, above all, the designs and colors used in the marquetry decoration).

· Size: 90x47x79 cms.
ANTIQUES

Ref.: ZF0999
WALNUT BENCH. SPANISH SCHOOL, 17TH CENTURY.

Bank. Walnut. Spanish school, 17th century. Walnut wood bench carved in its color that has a backrest made of a smooth rectangular board and a seat made of another similar to the previous one, both arranged at an angle. The legs have a particular shape, known as "lyre", and a decoration of vegetal and architectural motifs (volutes) in relief. It also has two wooden “stays”, which have undulations in their profile. Lyre leg tables have their origin in the Spain of Charles II, during the second half of the 17th century. The simplest ones have a simple cutout in the side legs, becoming completely carved in the peripheral center models. This support element, as can be seen, was also used in other types of furniture. The material is also the usual one in ancient Spanish cabinetmaking, although it should be noted that the most common thing, apparently, is for the fasteners to be made of wrought iron.

· Size: 56x219x92 cms.
ANTIQUES

Ref.: ZF1107
VIRGIN MARY OR SAINT (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH ...

Saint or Virgin to dress. Wood, metal. Spanish school, 17th century. It has faults. The female figure stands (with her right leg forward) on a small polygonal base. Made of partially polychrome wood, note that the feet (which show through the “dress”), the hands up to the wrists, and the head and neck are worked. The skull is prepared to receive hairpieces or clothing. As for clothing carvings, these were very common during the Spanish Baroque, and there may be cases of works in which the unseen part was barely roughed out and others in which everything is carved, with many intermediate points (see the present case). . Remember the San Antonio Abad by Benito Silveira made in the second half of the 18th century that is in the National Museum of Sculpture in Valladolid, a San Francisco de Paula from the 18th century in the Museo del Carmen de Maipú (Santiago de Chile), etc.

· Size: 33x25x87 cms
ANTIQUES

Ref.: ZF1181
PAIR OF CARVED WOOD BRACKETS. VENICE, 19TH CENTURY.

Pair of carved wooden corbels. Venice, 19th century. Pair of figurative corbels from the 19th century, carved in wood in a round shape, with a beautiful dark patina that enhances the relief and details of the sculptural work. They are signed on the back “Felici Venezia”. The lintels, with a molded profile and a plan of Baroque heritage, with numerous recesses and projections, rise above two vegetated herms of classical style, with the lower part in the shape of a brace adorned with large acanthus leaves worked with a soft carving, of soft appearance, which moves away from the general classical inspiration to approach the naturalism of Art Nouveau. From these braces emerge the busts of two winged putti, children's bodies carved in a round shape with grace and attention to detail, with delicate dynamism. The two putti are represented in the same posture, with one arm bent over the chest and the other raised above the head. They form a symmetrical composition, each mirror reflection of the other. The high quality of the carving of these pieces is especially appreciated in these figurative representations: the anatomical work is impeccable, as is the expressiveness of the faces, and the carving of the wings, hair and ribbons that adorn their torsos reflects a work meticulous, naturalistic and precious in detail.

· Size: 25x15x48 cms.
ANTIQUES

Ref.: ZF1229
VICTORIAN DRESSING TABLE. MAHOGANY, METAL, GLASS. ENGLAND, 19TH CENTUR...

Victorian dressing table. Mahogany wood, metal, glass. England, 19th century. Dressing table made of carved mahogany wood with the front legs turned like sash columns topped by vase shapes, a drawer in front and a recessed upper body with three drawers on each side and a closed space in the center, under the rectangular mirror, which has been enhanced with openwork vegetal decorations on the sides and a small tuft of architectural motifs on the top. The tax is known as the Victorian style during the reign of Victoria I of Great Britain towards the second half of the 19th century, popular in the country and very influential outside its borders. The clean lines help to highlight the high quality wood grains, and refer to a long tradition in English furniture, almost always characterized by fewer decorative elements than French furniture.

· Size: 52x120x75 cms.
ANTIQUES
FURNITURE

Ref.: Z6691
PAIR OF GRILLES. WROUGHT IRON. 17TH CENTURY.

Pair of bars. Wrought iron. XVII century. Pair of bars made of wrought iron, located between two flat rectangular pieces and composed of six bars each. These show discs along their length and balustraded shapes, flanking a rectangular die from which another bar starts to join it to the bar located next to it. The shapes of the bars are the usual Baroque ones for this type of elements.

· Size: 83x180 cms.
ANTIQUES

Ref.: ZA1049
SILVER LAMP. WITH HALLMARKS. POSSIBLY MALAGA, SPAIN, 19TH CENTURY.

Oil lamp. Silver. Possibly Malaga, Spain, 19th century. With contrast markings. Two-light candelabra with a piece on the back that stands on a foot with a circular base, elevated and decorated with smooth concave moldings, pearl lines and a curved frieze of leaves, featuring an engraved crowned “F” (possible owner's mark) . The square and smooth foot gives way to a leaf-shaped key and two candle arms decorated with leaves, and is finished with an eagle spreading its wings. The aforementioned hollow tubular piece has a pineapple finial on the hinged lid and a piece along a channel. Both the decoration and the lines and shape of the candle show a strong French influence and a very close relationship with Neoclassicism and other styles derived from it. The eagle, for example, is reminiscent of pieces from the French Empire, although it is a very common animal in the decorative arts of the 19th century. The contrast marks present on the piece would allude to the master or silversmith responsible for the creation of the piece (Baños), perhaps to the year of completion of the work (1833) and, possibly, the third is either the rampant lion crowned on a related shield with the Royal Decree-Law of June 4, 1926 on the trade of precious metals in Spain (indicating then that it is first law) or that it comes from the city of León, dating in this case between the 19th century and the beginning of the 20th century. XX. The rampant lion is a common contrast mark in silverware, appearing, in Spain, in pieces from Córdoba from the 19th century (without a crowned shield), Calatayud, Córdoba (rampant lion with turned head and circular outline), Pamplona, etc. It is possible that this piece was made in Malaga. Weight: 1340 gr.

· Size: 27x16x31 cms
ANTIQUES

Ref.: ZF0342
NAPOLEON III WRITING SLOPE OR BOX. MARQUETRY. FRANCE, 19TH CENTURY.

Napoleon III box. Marquetry. France, 19th century. Rectangular wooden box with a flat lid and supported on circular legs that has a front opening with a key closure and a hinged folding top lid. Inside, there is a flat horizontal space with the edges highlighted with two lines of clear marquetry (the same as the lower area of the lid and the interior of the folding part of the front), and three drawers under it, also highlighted with details clear. These types of pieces were used to contain different items (writing messages, jewelry, documents, etc.) either during trips or to be placed on a table and used there. The exterior decoration, centered on the front and top, consists of delicate compositions with a plant theme and a strong classicist influence made with wood of different tones: shields, flowers, scrolls, cartouches, leaves, etc. The sides of the box are highlighted only with wooden lines in a lighter tone. In general, it is intended that the decorative elements, arranged with harmony and symmetry in various tones and light colors (rosewood, fruit trees, etc.), highlight the dark tone of the rosewood. This type of boxes or chests were very common throughout the 19th century in Europe. In the time of Napoleon III (emperor between 1852 and 1870), they were usually decorated with both Boulle-type marquetry and wood, highlighting works from houses such as the Maison Berthet & Peret (work preserved in private collections).

· Size: 58,5x38,5x22 cms
ANTIQUES

Ref.: ZF0895