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CARVED FRAME WITH PAINTING ON VELLUM, “OUR LADY OF THE ROSARY WITH SAI...

Carved and gilded frame with painting on vellum, “Virgin of the Rosary with Saint Dominic of Guzmán and Saint Catherine of Siena”, 17th century. Inscription on the back (D. José Salazar). A quadrangular frame with square projections at the corners and semicircular projections at the centres of the sides. The fleshy and prominent plant carving is gilded, and in some areas the red bowl with which the thin sheets of metal were attached to the wood can be seen. The painting on vellum has magnificent openwork, flowers on the border and various figures. The scene depicted is the Virgin giving the rosary to Saint Dominic de Guzman and Saint Catherine of Siena. Mary appeared to the founder of the Dominicans, giving him the “Crown of Roses of Our Lady”, also called the rosary, and teaching him to pray it, with the command that he should preach it among men. This particular devotion is known as the Virgin of the Rosary. Saint Catherine of Siena took the habit of the Third Order of Saint Dominic at the age of 16, despite family opposition. That is why she is represented dressed in this way. It was the members of her order who dedicated themselves to spreading her cult throughout Europe, attributing to her miracles common to other saints (stigmatization) and representing her in numerous scenes. One is that of the present work: despite not having participated in the delivery of the rosary, she is included in the theme together with Saint Dominic, flanking Mary, who is usually shown with the Child. The Virgin appears in the sky, with the saint on her right and the saint on her left, giving them a garland of flowers that symbolizes this rosary; the buildings in the background refer to the religious foundations that were carried out thanks to Saint Dominic (the first formal community of “preaching brothers” was organized around 1215; the saint himself founded a female monastery in Prohuille). The delicate work on vellum with openwork and the marked presence of flowers link the work to some female convent of the order. It would have been commissioned by the order itself or brought as part of the dowry of some sister. The high quality and importance of the frame indicate the great value given to the painting, which would have been hung on some wall as evidenced by the presence of a metal hook on the back. Similar frames to the present one, with the same quality and importance of the carving, are not easy to find. Similar examples are preserved in the J. Paul Getty Museum in Miami, the Victoria & Albert Museum in London, the Museo Nacional de Artes Decorativas in Madrid, the Louvre in Paris, etc. Paintings on vellum were very common in the Baroque because it was a much cheaper support than wood. However, since they were executed by lesser artists, their value has only recently been recognized, so not many examples have survived.

· Size: 33x37.5 LUZ 13.5X18 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZA5034
DEVOTIONAL PLAQUE. IVORY, WOOD. CIRCA LAST THIRD 16TH CENTURY, AFTER J...

Devotional plaque; Last Supper, Christ on the Mount of Olives. Wood, tinted ivory and engraving. Towards the end of the 16th century, following models by Jan Sadeler I (active 1550-1600). Rectangular carved wooden plaque with a ring and a hole on the back, which features two ovals on the front with biblical themes highlighted with dark wood frames decorated with square diamond points above and below and rectangular ones on the sides, and winged angel heads in the corners that these two compositions leave free. On the left, the Last Supper appears at the top, with Christ under a canopy and accompanied by Saint Peter and the rest of the Apostles on both sides; below, Judas receiving the bag of coins; the space is completed by a series of architectural elements, angels, fabrics, plant motifs, scrolls, etc. with a clear classicist influence. On the right, the theme of Christ on the Mount of Olives, with Jesus raising a hand towards the chalice offered to him by an angel and accompanied by two sleeping Apostles, and with two soldiers; below, and through a door, the Arrest of Christ; The composition is completed and organized by a series of bands ending in volutes, architectural and vegetal motifs, etc. with a classicist influence. Both scenes are closely inspired by two engravings from the series “Passio Verbigenae Quae Nostra Redemptio Christi”, published by Jan Sadeler I (active 1550-1600) between 1575 and 1600 and inspired by Marcus Gheeraerts I (Bruges, 1516/21-London, c.1590). Engravings from this series are held in many prominent museums around the world (British Museum in London, Rijksmuseum in Amsterdam, etc.). According to experts, around 1580, the artist Marcus Gheeraerts designed this series of the Passion of Christ, framed, highlighted, hierarchized and structured thanks to an elaborate and delicate system of grotesques and other classicist elements that he applies to the iconographic themes it presents. At the time of the creation of prints, and later during the Baroque, the use of engraved (or carved) ivory or bone plaques was common on furniture, lecterns, altars for personal devotion, devotional plaques, etc. Compare, for example, Flemish school desks, Neapolitan school desks, etc. such as the one dated c. 1600 in the Philadelphia Museum of Art (workshop of Iacobus Fiamenco, Flemish; active Naples, Italy, 1594–1602; with scenes based on engravings by Dirk Volkertsz; Coornhert, Netherlandish, 1522–1590; after designs by Maarten van Heemskerck (active Haarlem and Rome, 1498–1574)). Also worth mentioning are pieces such as the reliquary altarpiece of the Brotherhood of the Blood of Christ in the Church of Santa Isabel de Portugal (San Cayetano) in Zaragoza, which presents religious scenes based on engravings by Antonius Wieris (1555/9-1604).

· Size: 12x1,5x13 cms.
ANTIQUES

Ref.: ZF0963
BRASS SUNDIAL-COMPASS. BUTTERFIELD, MICHAEL (1635-1724). PARIS, CIRCA ...

Pocket sundial compass, with case. Bronze. BUTTERFIELD, Michael (1635-1724). Paris, circa 1700. Pocket sundial made of engraved metal, with a gnomon in the shape of a bird with a triangle with an engraved tree, and a compass with a needle in dark metal; in this area there is also engraved “Butterfield AParis 43”. On the back, the latitudes of various cities (Madrid, Paris, Barcelona, etc.) have been engraved, and a decorative architectural element has been placed in the centre of the piece. The case, adapted to the piece, has a lined interior to better protect it. Michael Butterfield was a mathematician who made measuring instruments based in Paris from the last quarter of the 17th century onwards and continued working until the beginning of the 18th century. Although he was of English origin, he collaborated with the Royal Academy of Sciences in the French capital and worked as an engineer at the court of Louis XIV. It is known that he opened a shop in Saint-Germain in 1677, from which he sold sundials. Similar model in silver auctioned at Christies London on November 17, 2009. Lot 106

· Size: 7,5x6,5x1 cms / Estuche 8,5x7,5x2 cms
ANTIQUES

Ref.: ZE313
DIAL WITH COMPASS. BRONZE. BION, NICOLAS. PARIS, FRANCE, 18TH CENTURY.

Sundial with compass and case. Bronze. BION, Nicolas. Paris, 18th century. Polygonal sundial with a bird-shaped gnomon and an engraved triangular piece, which has, on one side, a compass with a needle with triangular ends. The name of the author and the place where the work was made are located right next to it, surrounding a vegetal decoration. On the back, a series of cities with their corresponding latitudes have been engraved, both in the circular form and on the sides of a fixed decorative element. It is presented in a polygonal case. Nicolas Brion was a French engineer, and a similar piece is kept in the National Maritime Museum in London.

· Size: 6,5x7,5x1 cm Estuche 7,5x9x2 cms
ANTIQUES

Ref.: ZE312
CENTERPIECE. ORMOLU, MARBLE. FRANCE, LATE 19TH CENTURY

Centerpiece. Gilded bronze, marble. France, late 19th century Centrepiece or planter that has a globular body carved in veined marble in pink tones (of a type similar to a very popular one often used in works by the French school during the Rococo of the 18th century) and mercury-gilded marble bosses. These are decorated with lion's claws on the legs, simple architectural mouldings and masks with vegetal elements (feminine and monstrous, alternating), and a border that extends towards the inner area of the pieces creating like two wings or handles, decorated with vegetal and architectural elements (scrolls, flowers, bows, leaves, etc.) both on the outside and inside of this area, leaving what would be the inner area of the marble pieces smooth. The classicist inspiration of the decorative elements of the couple is common in works of the French school since the 18th century. Some details (for example, the claws that finish the legs) are seen in Louis XIV style centerpieces dating from that century, while other elements are more often seen in Louis XVI style works (one of the main styles of the Neoclassical style). There is only one known piece preserved in a private collection in the United States of America. Weight: 16 kg

· Size: 37x27x23 cms
ANTIQUES

Ref.: ZF1064A
CARVED WOOD HELM. 18-19TH CENTURIES

Oriental ship's rudder, late 18th – early 19th century. Carved wood and brass. An oriental ship's wheel with an English influence, made of brass and high-quality carved wood. The top of the wheel is worked in a round shape, taking the form of a greyhound's head with stylised features. The greyhound is a typical motif in English decorative arts of the period, but its essential, elongated and sinuous treatment reminds us that we are looking at a piece of oriental craftsmanship. In fact, the central area of the wheel is completely carved with the figure of a dragon coiled around the mast. This mythical animal represents the power of change in nature, the Tao, as well as the concept of yang (masculine), and is related to time as a bringer of rain and water. It is also often used as a national symbol of China, and in fact appeared on the national flag until the end of the Qing dynasty. Here he is depicted with great attention to detail, evidencing a virtuosity typical of oriental ornamental sculpture: we see each of the dragon's scales, and even the ripples of the water beneath its body, the leaves among which it swims... The lower third of the rudder is almost completely unadorned, displaying a smooth, slightly curved profile. At its end it is decorated with a simple recessed carving, with a geometric motif on two planes.

· Size: 10x10x160 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5907
WOODEN EASEL, 19TH CENTURY.

Lectern easel, 19th century. Magnificent carved wooden easel decorated at the top with a crest of plant motifs framed by a curved pediment and simple motifs on the sides. The support for the canvas or paper is provided by a horizontal crossbar and two mouldings with plant motifs, which also have plant decorations, as does the moulding located in this area. The legs have ornaments of the same type, but much flatter. In the 19th century, the mixture of styles that is presented in this work was very common: the top trim is reminiscent of Rococo works, while the sides can be more closely related to the Renaissance.

· Size: 60x80x225 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZA4942
PAIR OF CANDELABRA. ROUGE GRIOTTE, GILT BRONZE. FRANCE, POSSIBLY NAPOL...

Pair of candelabras. Rouge Griotte marble, gilded bronze. France, possibly Napoleon III, 19th century. Pair of seven-light candelabras made of marble and mercury-gilded bronze. The base, raised on four legs, has plant borders around a central element on its fronts, and gives way to a garland base of Roman influence. Next, the base of the “vase” that forms the body of the candelabra has been decorated with plant elements, also present on the body in the form of garlands, joining these two ram heads; note the extraordinary length of the marble neck, which serves as an axis for the arms of the lights, worked in the form of plant scrolls ending in vase-shaped burners. It is also worth noting that the marble part is not made in one piece. Although there is no record of the signature, certain details denote the high quality of this pair of candlesticks. First, the stone pieces are hand-carved Rouge Griotte. Also known as Rouge du Roi, it is a Belgian marble highly appreciated in decorative arts of French influence or origin. Second, the detail of the neck, elongated and drawing a flared mouth at the end, is not at all common in French candlesticks when we talk about marble. Third, the quality of the gilding is clear, surely mercury gilded (ormolu). Stylistically, influences of French decorative arts of the 18th century can be appreciated (ram protomes, garlands, etc.), but reinterpreted in the style of the 19th century (adding details of Rococo, neoclassical, etc. influence). Weight: 39 kg.

· Size: 35x35x90 cms
ANTIQUES

Ref.: ZE434
FOUR IRON COLUMNS. 17TH CENTURY.

Four columns. Iron. 17th century Four iron supports with a polygonal shaft, balustrade shape and upper part with two sections on the sides of the central one ending in volutes and a horizontal part in the same material as the rest. This type of architectural element was very common in Spain even well into the 20th century in certain areas. Total weight: 620 kg

· Size: 76x21x249 cms
ANTIQUES

Ref.: ZF1271A
WROUGHT IRON GRILLE. SPAIN, 16TH CENTURY.

Grille. Wrought iron, 16th century. Partial ironwork of squared bars torsos with moulded incisions without a base and a bolt on the right with a plaque topped with simplified plant elements, topped by a frieze of canvas decorated at the front with plant scrolls alternating with heraldic shields with fleur-de-lis and with an upper crest composed of two flowering pine cones at the outer ends and schematic scrolls with flowers, two of which flank a fleur-de-lis Latin cross with diamonds on which is a wavy cross with flowery finials. Typologically, this is a partial architectural grille with both an ornamental and defensive purpose. It also clearly shows some of the striking decorative and typological variety that is common in the grillework of the florid Gothic style of the 15th century, but it also responds to common developments in the 16th century. A first stage of evolution towards the Renaissance is introduced, sometimes going on until the first third of this century, and is characterised, among other things, by the variety of the barring with frequent combinations of squared and coarse shapes in the same bar, by the structure of three panels of very similar width and number of bars and a central door with a lintel, by decorative elements related to the Renaissance, the use of embossing, etc., characteristics that can be appreciated in the present example. The absence of interbody bands, common in grilles of this period, only indicates that it was made to protect a small chapel. The presence of fleurs-de-lis indicates the expansion throughout the peninsula of Catalan models, which, coming directly from France, often showed this decorative element. The relationship between this grille and certain Gothic legacies is clear, especially if compared with fully Renaissance examples such as that of the National Archaeological Museum from 1575 (inventory 57551). Normally, 16th century ironwork is found, if it has been preserved, in the chapel for which it was made, in outstanding private collections or in important museums. Compare this work with the ironwork of the chancel of the Church of San Julián de Nagore (Navarra) or that of the Chapel of the Most Holy of the Cathedral of Santa María la Real in Pamplona.

· Size: hojas 69 x 268 Copete 390 x 110 cms.
ANTIQUES

Ref.: Z0664
SET OF STRIPS AND FRAME IN PAINTED WOOD WITH GOLDEN DETAIL. 17TH CENTU...

Lot consisting of strips and frame (lintel and two jambs) in carved gilded and polychrome wood. Decoration of plant motifs with golden scrolls on a green background. 17th century

· Size: 175x160 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3395
NORTON MOTORCYCLE, ES2 500CC, CIRCA 1948.

Norton motorcycle, model ES2 500 CC, circa 1948 Incomplete documentation; it has circulation permits from 1958 and 1980. Norton, or Norton Motorcycles, is a British motorcycle brand founded in 1898 that ceased production in the 1990s and restarted activity in 2008. The company was acquired in 1952 by Associated Motor Cycles, becoming part of the Norton-Villiers group in 1966, and in 1972 it was integrated into the Norton-Villiers-Triumph group, following the liquidation of BSA (the former owner of Triumph). Designed by Walter Moore, the Norton CS1 engine appeared in 1927, based largely on the ES2 pushrod engine and using many of its parts. Moore was recruited by NSU in 1930, after which Arthur Carroll designed an entirely new OHC engine destined to become the basis for all subsequent OHC and DOHC Norton singles. (Moore's move to NSU prompted his former staff to joke that NSU stood for "Norton Spares Used.") The Norton racing legend began in the 1930s. Of the nine Isle of Man Senior TTs (500 cc) between 1931 and 1939, Norton won seven. After the Second World War, Norton returned to civilian motorcycle production, gradually increasing its range. A major addition in 1949 was the twin-cylinder Model 7, known as the Norton Dominator, a 500cc pushrod twin-cylinder machine designed by Bert Hopwood. Its chassis was derived from the single-cylinder ES2, with telescopic front and piston rear suspension, and an updated version of the gearbox known as a "lay-down" box. Sleeker mudguards and tanks completed the more modern styling of Norton's new premium twin-cylinder model.

· Size: 200x84x114 cms
ANTIQUES

Ref.: ZF0752
CARRIAGE, “JARDINERA” TYPE.

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

· Size: 234x156x173 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5023
WINEPRESS. WOOD, METAL. SPAIN, CIRCA 1800..

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

· Size: 180x270x305 cms
ANTIQUES

Ref.: ZF0757
LEATHERED CHEST. WOOD, TEXTILE, WROUGHT IRON. SPAIN, CA 1500.

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

· Size: 17x10x11 cms.
ANTIQUES

Ref.: ZF0339
WOODEN FRAME. 16TH CENTURY.

Frame. Carved, polychrome and gilded wood. 16th century. Carved, polychrome and gilded wooden frame made from different elements with a marked Renaissance influence, resulting in an architectural composition with a stepped base, two fluted pilasters with volutes on the sides and an upper finish formed by another stepped entablature and a triangular pediment with three balls on another narrower entablature.

· Size: 143x34x160 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z0876
GILLER-FALLER CAMERA WITH PROFESSIONAL STAND, FRANCE, CA 1925.

Gilles-Faller (Paris) studio camera with easel, France, circa 1925. Studio camera with bellows in very good condition, two lenses and mounted on a stand on wheels for professional use. It has a crank for adjusting the height and diagonals of the camera. Made of wood and gold metal and in its colour, it has the manufacturer's plate on the front. The company, which produced both professional and amateur photographic equipment, was founded in 1855 by Besson, who later joined forces with Gilles. Around 1870, this second family continued the business until around 1900, when “Guilles Fils” was succeeded by “Gilles E.”, who joined forces with Faller, giving rise to “Gilles-Faller”, which in 1924 became Société Anonyme (d'Exploiation) des Anciens Établissements Guilles-Faller. The identification plaque above the camera lens refers to this last stage, and places the headquarters at 31 Rue Navarin in Paris, where they had already established themselves around 1900, but without mentioning number 33 on the same street (which they would have bought, at the latest, in 1926, since this new door appears in L'Indicateur de l'Industrie Photographique of that year). This easel is very similar to the one in figure 2 (page 2) of the 1928 catalogue of the company (Bibliothèque Nationale Française, Paris) which was sold with the model “Chambre Gilles B 30x30” together with a series of elements. All the models of the company allowed the free combination of shutters and also lenses: note the two present, in good condition. Looking at the advertisement referred to, there is a peculiarity: in this case the rectangular camera (18X24) requires a specific easel, which could be included in the lot for an extra charge in francs. Made in walnut finish, which the client could choose between patent or varnished, you can see the rails that allow the movement of the camera by means of the wheels on its right and the reinforced canvas bellows.

· Size: 60x70x196 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3397
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

Grille. Wrought iron. Spain, 17th century. Wrought iron grille with double-pear-shaped vertical bars decorated with small discs and other simpler vertical ones (flat above and below, the central one tubular and inserted through the vertical ones). The bars have a light vegetal relief, a technique also present in two discs on the sides of the piece. The shape is slightly reminiscent of works kept in the Victoria and Albert Museum in London and a confessional grille in the Metropolitan Museum in New York dated 1629 (inv. 57.137.51) and another from the same museum by Francisco González (inv. 56-234.12Ad).

· Size: 104x25x143 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z4880
PAIR OF IRON COLUMNS. POSSIBLY SPANISH SCHOOL, 17 TH CENTURY.

Pair of columns. Wrought iron. Possibly Spanish school, 17th century. Pair of architectural supports made of iron with a polygonal central axis, ending in a spherical shape on one side and in a support for a horizontal crossbar on the other. At this point two volutes flanking the aforementioned axis end. Weight: 310 kg.

· Size: 79x21x249 cms.
ANTIQUES

Ref.: ZF1271B
HOLY OILS RECIPIENT. PEWTER. 19TH CENTURY.

Holy Oil Container. Pewter. 18th Century. A pewter vessel with a foot, a curved body, two handles and a lid. Its exterior decoration clearly shows the influence of the Rococo style of 18th century Europe (note the rocailles on the handles, the bands on the body, etc.) together 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 electric telegraph for a ship's bridge. Fenya, Fabricaciones Eléctricas, Navales y Artilleras, SA Spain, mid-20th century. Bronze, glass, carved wooden base. An electric bridge telegraph, of the synchronous type, used, thanks to a replica in the engine room, to transmit the required speed orders. It has a simple square base made of carved wood, a metal body with a door closed by screws and a circular top with the usual lever. This circular area has a 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 and widely used mechanism while there was no internal voice communication between different parts of the ship and it was necessary to operate the engines from the same engine room. Although they were often changed as new technical advances arose, they are pieces appreciated today for their appearance and history. Fenya (Fabricaciones Eléctricas, Navales y Artilleras) 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 definitively in 1997.

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

Ref.: Z0434
WROUGHT IRON GRILLE. 16TH CENTURY.

Gothic railing with frame. Wrought iron, wood. 16th century. A carved wooden frame supports the wrought iron gate, which has decorated balusters: all have a heart shape in the centre, while the axes are smooth above and spiralled below in those with the heart facing upwards, and spiralled above and smooth below in those with this shape with the point facing downwards. These heart-shaped shapes appear, for example, in the Gothic grille of the Cathedral of Pamplona or in the main chapel of the Cathedral of Zamora, or in the Monastery of Guadalupe. Thin square 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
ORNAMENTAL MIRROR. 19TH CENTURY.

Cornucopia, carved and gilded wood. 19th century. Rectangular mirror with a frame highlighted by a crest that extends along the sides. It is made from scrolls and rocailles, directly inspired by 18th century examples that follow this style. The straight lines on the inside of the mirror show that, as was common in the 19th century, elements of past styles have been taken to create works more in keeping with the taste of the time.

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

Ref.: Z6615
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FRAME WITH MIRROR. WOOD, METAL, GLASS. 17TH CENTURY

Mirror. Carved wood. 17th century. Mirror with a slightly rectangular carved wooden frame that has a metal piece on one of its smaller sides so that 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 centre of the smaller sides without protruding from the mouldings in which they are located, and with a series of fine, smooth mouldings towards the interior. Although plant decoration is one of the most common in art, the curves, depth, lines, etc. that the piece presents can be linked to works from the Baroque of the 17th century. Nowadays, the value and appreciation of frames is 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 had originally. Hence, similar examples can be 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