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

Couple of vases. Glass. Bohemia, Czech Republic, 19th century.
Pair of red glass vases decorated with areas of white enameling and spaces in gold, enhancing the two female busts (practically portraits on undefined background) that present both pieces on their fronts. The two handles raised and finished in a circle present a fine decoration of simplified plant elements; the glass shows decoration of the same type, but of different influence (more classicist); the busts have been enhanced by two frames in gold and dark lines of clear classicist memory; white areas (with plant forms) have golden lines.
Both pieces show remarkable similarities both in the quality of the color of the glass and of the decoration and in the lines of the same ones, with prominent urns of red glass of Bohemia, especially with works linked with Ludwig Moser & Söhne. Moser is a company that manufactures luxury glass objects located in Karlovy Vary (Czech Republic, before Karlsbad in Bohemia) that continues today with its work (was born in 1857, founded by Ludwig Moser), and is very popular in the world of art for his works of the late nineteenth and twentieth century. Although Bohemia was a region known for its production of glass as early as the thirteenth century (especially when they discovered that by adding potassium glass was created a color clear and stable than Italian), this activity became popular in the century XVII (although the term "Bohemian" or similar was already used a hundred years earlier to differentiate quality glass from this source), and it was especially noted in the 19th and 20th centuries thanks to important manufacturers for the quality of their materials and techniques and care in their designs. By the mid-nineteenth century they already had a teaching system for the manufacture of glass, and in the second half exported in large quantities very striking pieces (usually pairs of vases or vases of a single color in opaque glass or two colors, decorated with floral enameled elements, painted details, sometimes lithographic techniques were used to copy famous paintings and translate them into works, etc.) created in large factories and in important quantities."

· Size: 15x13x41 cms.
ANTIQUES

Ref.: ZE222
CERAMIC PLATE. TALAVERA, 17TH CENTURY

Plate. Talavera, 17th century.
Glazed pottery
Ceramic plate 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 the center, on a schematic floor plan, flanked by two large plant elements, two trees in this case. The decoration is completed with a border of concentric bands separating the seat of the caveto, containing an inscription, and a richly ornamented border. This presents a decoration of alternating bushes and trees, and on the outside a new band of concentric lines."

· Size: 37x37x6 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z5335
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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
CERAMIC DRUG JAR OR SYRUP JAR. POSSIBLY ITALY, 18TH CENTURY.

Orza. Ceramics. Possibly Italy, eighteenth century.
Jug of globular body with a small base, a reduced peak in the mouth (narrower than the body, and with a small neck) and a handle formed by a flat twisted element, made of enameled ceramic and decorated with a composition in blue on White background. Around a plaque with inscription ("AQa di MALVA", referring to a remedy derived from the common mallow, common plant in Europe that was already mentioned, along with its healing properties, by Plinio the Elder among others), and employing 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 far back as the seventeenth 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 "maiólica"), it is already decorated in cobalt blue on white in works of Byzantine inspiration in the Quattrocento, accompanying varied influences. In the first third of the sixteenth century this decoration "porcelain" (since, apparently, is inspired distantly in Chinese porcelain works that use these colors) continues, with touches of other colors. Compare the present work with the pieces known as "Porcelana de los Médici", from the third quarter of the 16th century. It is called "berrettina" to the glazed majolica from light blue to dark blue, obtained with cobalt oxide. It was used from the sixteenth century to the first half of the seventeenth, in productions mainly of Liguria and Veneto. Likewise, it is worth mentioning a series of pieces with which this one has something more related: pharmacy bottle with San Pablo (made in Savona in the 17th century, now in the International Ceramics Museum of Faenza), or with preserved almonds the Museum of the Hispanic Pharmacy of the Complutense University of Madrid, works of the Italian region of Savona, pieces in private collections, etc."

· Size: 24x30x26 cms.
ANTIQUES

Ref.: ZE205
CUP COOLER. WITH MARKS. “SOFT PASTE”. “REAL FÁBRICA DE PORCELANA DEL B...

Fresquera or cooler of glasses. With marks in the base. White paste. Real Fábrica de Porcelana del Buen Retiro (Madrid, Spain), circa 1784-1803.
Piece of tender pasta with wavy edges used to hold the tops of the cups in them and cool them when filling the ice container or similar. On the outside, it has two handles in the shape of plant elements and small reliefs on the fronts (also enhanced by the gold) which frame floral bouquets with colored leaves. It is possible that the piece belongs to the second period or intermediate stage of the Real Fábrica de Porcelana del Buen Retiro in Madrid, established in the Spanish capital from 1760 and thanks to Carlos III; this stage corresponds to "the controls" of Carlos Scheppers and Felipe Gricci, and Italian influence continues, adding to the relationship with other currents (English, Saxon).
Weight: 2225 grs"

· Size: 33x19x13 cms.
ANTIQUES

Ref.: ZF0431
LOVERS WITH CAGE. PORCELAIN.

Courtesans and cage. Glazed porcelain. Model Johann Joachim
Enameled porcelain figurine with base resembling rocks and a couple of lovers dressed in the manner of the eighteenth century, with the boy extending his left hand towards a large bird cage.
The piece is very similar to figures entitled "Lovers with cage" made by Du Paquier (who opened a porcelain factory in Vienna in 1719) in 1737 and of which examples are preserved as in the Metropolitan Museum of New York or the Indianapolis Museum of Art. In turn, Du Paquier took his inspiration from work done in Meissen thanks to Johan Joachim Kaendler around 1736-1740 (varying in details such as the replacement of the table that the Germans have for the Viennese cage in some examples , or colors, for example). If you compare the present work with the works of Du Paquier, you can see remarkable similarities in postures, elements, etc., but also important differences (color, details, base of the figure ...)."

· Size: 14x12x13 cms.
ANTIQUES

Ref.: ZF0445
CERAMIC JAR. 18TH CENTURY

Jug of Villafeliche, Aragon, 18th century.
Glazed Ceramics
Late baroque style jug made of ceramics and decorated with high temperature enamels on a white tin engobe. These enameled motifs are combined with relief decorations obtained by mold. The typology of the piece combines the Italian jug, with an ovoid belly and a vertical arc handle, with that of the typically Spanish beak jug, characterized by the protruding beak that starts from the mouth. The decorations reveal the oriental influence, with large floral bouquets arranged asymmetrically and complex landscapes with architectures and palm trees, in which some figures are removed, these are now totally western. The motifs are brushed in manganese black, and colored with ocher, blue, green and red enamels, mainly.
Aragonese pottery from the 17th to the 19th centuries will be characterized by a strong personality of its own, combined with the influences of Talavera and Catalonia. It will have three main centers: Teruel, Muel and Villafeliche, the first two with tradition since the 16th century, and the third one created at the end of the 17th century. Villafeliche's will generally be very popular pottery, although pieces of higher quality and complexity, both typological and ornamental, were also made in the 18th century."

· Size: 25x18x42 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z2627
JAR. CERAMIC. 17TH CENTURY.

Orza Ceramics. XVII century.
Ceramic Orza decorated in blue tones on a white background that has lines in the lower area and a landscape with trees and animals (two lions and a heron) in the front, framed by two bands with simple plant elements. The decoration of ceramics in blue tones on a white background was common in Europe already in the 17th century (Dutch and English pieces, works in Talavera de la Reina in Spain, etc.). In the case of Talavera de la Reina (and Puente del Arzobispo), the so-called blue or blue and blue series was an important production during the 17th and 18th centuries, prolonged later, which, in turn, is divided into other series (jugs of Santiago , of the butterflies, etc.)."

· Size: 23x23x28 cms.
ANTIQUES

Ref.: ZF0511
PORCELAIN CANDELABRUM LAMP

XIX century

KPM
The Berlin Porcelain or Royal Porcelain Factory of Berlin (Königliche Porzellan-Manufaktur Berlin in German language, which uses the acronym KPM) is a real manufacture for the manufacture of porcelain founded in 1763 by Frederick II of Prussia "the Great". Its brand, of great reputation, is identified with a cobalt blue scepter (since 1837), to which a real orb was added later with the initials KPM in red.
Between 1751 and 1757 a private initiative porcelain factory operated by Wilhelm Caspar Wegely worked in Berlin. One of his collaborators, Reichard, partnered with the rich businessman Johann Ernst Gotzkowsky in 1761, to respond to the desire of the King of Prussia to compete with the production of porcelain from Dresden, Meissen and Sèvres. The troops of Frederick the Great, during the Seven Years' War, occupied Meissen and Saxony. The industrial secrets kept there were extremely coveted throughout Europe. In 1763, the king buys the Berlin factory, which was on the verge of bankruptcy, and gives it the definitive impulse that makes it one of the most important in Europe.
The painter Gottfried Wilhelm Völcker directed the Porcelain of Berlin between 1833 to 1848."

· Size: 20x20x93 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z3667
CHARGER OR PLATE WITH SAMURAIS. PORCELAIN. POSSIBLY, IMARI, JAPAN, 19T...

Plate with samurai. Porcelain. Possibly Imari, Japan, nineteenth century.
With marks in the base.
Deep enameled ceramic plate decorated with a composition of blue on white on the outside (three phallic birds of six tails alternating with simple floral compositions, and with two stripes above and below) and multicolored inside (a procession with an important samurai or shogun, accompanied by a few soldiers, traveling through a natural landscape with flowers, rocks and tree branches, and a series of areas enhanced with a particular background of geometric elements, birds and clouds in a striking tone, the composition is framed by a band with a zigzag line and floral elements in the triangular spaces it leaves, a strip similar to one of the outside of the piece).
The composition of the interior, as usual, is reminiscent of details of both Japanese ceramics and the ukiyo-e world: the flag or banner carried by one of the soldiers has an emblem (also present in some of the important rider's clothes, the which carries arrows, bow, etc.) reminiscent of some Japanese "mon" (Tosa clan, etc.), the figures, their armor ... Also, it is possible to appreciate details of Chinese ceramics, porcelain and art (rocks, motifs, etc.), among which we should highlight the base brands, more similar to examples from the Ming Dynasty of the Chenghua period than to Japanese works contemporary to the piece.
In the West, it is known as "porcelain of Imari" to a production usually decorated with bright colors made in Arita for export in large quantities, especially between the second half of the seventeenth century and the first of the eighteenth century, although trade continued until, even, the twentieth century. The name is due to the port of Imari, from which the pieces were sent to Nagasaki, where the Dutch Company of the East Indies and China had commercial posts; in the West, the pieces of colors used to be called "Imari", others were known as "kakiemon", and the ones decorated in blue and white "Arita". Normally, the blue goes under the glaze, and other details (red, gold, black in contours, etc.) are added over the glaze (sometimes the different decoration styles on the glaze of Kakiemon and Kutani are also included within the ceramic or porcelain "Imari" -in the Western sense of the term-). Their popularity caused them to be copied both in China and in Europe (Delft in the Netherlands at first, then, designs and colors "Imari" and "Kakiemon" were taken as inspiration in early orientalizing pieces produced in Meissen or Chantilly, and then in Vincennes , Vienna, etc., it is also worth noting the early 19th century production of Robert Chamberlain's Worcester porcelain, and the Royal Crown Derby Porcelain Compani, where Imari-style designs are still popular today; also teachers like Cornelis Pronk and his designs of Chinese influence, or the arrival of ukiyo-e to Europe)."

· Size: 62x62x9 cms.
ANTIQUES

Ref.: ZF0454
CRYSTAL. GALLE

"

· Size: 15x15x28 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z5671
PAIR OF PORCELAIN VASES (WITH FLAWS). FRANCE, 19TH CENTURY.

Pair of vases. Glazed porcelain. France, 19th century
Damage to the mouths.
Pair of vases with high neck and circular base made of enameled porcelain with touches of gold that have an elaborate floral composition in polychromy and a striking work in relief of plant elements around both pieces, also changing the contour of the necks. Both in its colors and in its forms, the inspiration in works of European porcelain manufactures of importance is clear."

· Size: 28x20x44 cms
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z6809
PORCELAIN VASE. 19TH-20TH CENTURIES.

Vase. Glazed porcelain XIX-XX centuries.
Circular body vase made of enameled porcelain with a bucolic scene on the front, starring a couple, and surrounded by different elements in gold on blue, as was usual in certain European porcelain of the nineteenth century. In the upper part the neck stands out, worked resembling a flower and combining gold with roses and whites, in addition to the blues of the rest of the piece. From the sides of this area several stems emerge, ending in flowers. Despite the lack of marks, it is possible to find similarities between this piece and works made by the factory known as "Old Paris", among others."

· Size: 22x16x45 cms.
ANTIQUES

Ref.: ZF0215