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SILVER INKSTAND, MADRID, 1779.

Writing desk in turned, cast and chiseled silver, Madrid, 18th century (1779). Contrasting marks on the edge of the tray, on its underside. “AL” ownership mark. A tray with curved profiles is supported by four legs shaped like plant elements. Attached to it are the four containers that make up the writing desk. These, and the bell, have a magnificent decoration based on flat turned scallops on their body, base and lid. It is made up of a tray, a sandpit or sandbox (for drying ink) with a bell (to call the servant or the person in charge of carrying the written message or note) and three inkwells or feather dusters with lids, all attached to the lid by means of through screws. The profiles of the tray correspond to works from the period and style of Charles III, while the jars still show part of the movement that characterised Rococo, already introducing the clean lines characteristic of Neoclassicism. In the second half of the 18th century, with the accession of Charles III to the throne, Italian influences came to silverware once masters from this country had established themselves, either as silversmiths or, in many cases, also as bronze makers. At the end of the century, there was also an abandonment of Rococo forms in favour of the Neoclassical style, whose particularities can be seen in this writing desk. These scalloped forms come from decorations based on ancient Roman art on which this second artistic style was based, as do the plant elements. Madrid would set the standard in art as it was the capital of the kingdom, and the continuous movement of pieces and the relative ease of communication and transmission of drawings and engravings make it difficult to distinguish particular styles and trends in many cases. Likewise, it is worth highlighting the great role in improving the quality of silverware designs played by the foundation of the School-Workshop by Antonio Martínez in 1778. It has a town mark, Madrid Corte y Villa 1779, and its creator. Weight: 1850 gr.

· Size: 31x25Xx14 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6413
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SILVER JAR OR JUG. SPAIN, MADRID, CIRCA LAST THIRD 18TH CENTURY.

Jug or jar. Silver. DE SAN FAURÍ, Juan (1745-1785). Spain, Madrid, towards the end of the 18th century. With hallmarks and engraving marks, and property name (Ochoa). The jar has an oval base with slight curves and a body divided into two areas (wider at the bottom, slightly concave at the top) with a series of curved “segments”; the spout shows simple architectural decoration and smooth areas; the handle is of a type known as a tornapunta, with classicist architectural elements; the lid follows the lines of the body and is finished with a vegetal shape creating a knob. On one of the sides, towards the foot, there is the engraved text “Ochoa”, in reference to some former owner. The hallmarks indicate that the piece was made in Madrid. Another of those that appears could be one of those used by the silversmith Juan de San Faurí. With Philip V, numerous French influences came to silverwork, along with some Italian ones, both from the hands of craftsmen from these origins and from pieces. There was still little marking on the works except in important centres such as Madrid, and civil typologies acquired great importance. As in the rest of the country, the Baroque, Rococo and Neoclassical tendencies coexisted at the Court, although, as it was the centre that set the tone for the rest, the former soon moved away, introducing Rococo before 1740 or at that date, and Neoclassicism around 1770 (gradually imposing itself from 1780). The jug follows the most common prototype since the arrival of the Bourbons, characterised by its European influence and by the great difference it shows with the type known as “jug with spout”. Compare with the cruet by Francisco García (inventory 03487) from the Cerralbo Museum in Madrid, with the example from Medina-Sidonia (code 59906, Catalogue of the Movable Heritage of Andalusia), or with examples from the National Museum of Decorative Arts, pieces preserved in Museums and Treasures of Spanish Dioceses, etc. Weight: 1050 grams.

· Size: 17x8x26 cms.
ANTIQUES

Ref.: ZF1017
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FRAME. EBONIZED WOOD, METAL. DUTCH SCHOOL, 17TH CENTURY.

Frame. Ebonized wood, metal. Dutch School, 17th century. It has faults. Slightly rectangular frame made of ebonized wood and decorated with a series of smooth moldings of varying widths, decreasing in height toward the interior. It's worth highlighting both the depth of the frame and the two metal pieces (with distinctive shapes and a crest on the outside) that serve to hang it on the wall. Both in its color and in the aforementioned decoration, the piece follows Dutch models, very popular during the 17th-century Baroque period practically throughout Europe. Other schools even made frames modeled after these prototypes. Compare, for example, with the frame for Hans Memling's "Portrait of a Gentleman" in the Thyssen-Bornemisza collection (a Flemish piece, made of ebonized wood); or, in the same collection, with the frame for Ruysdael's "Winter Scene with Skaters and Sleds before a City"; or with the frame for Philippe de Marlier and Frans Francken's "Vase of Tulips" in the Bilbao Fine Arts Museum.

· Size: 86,5x11x110 cms. Int 56x73 cms
ANTIQUES

Ref.: ZF1353
SILVER DESK WRITING SET. MADRID, SPAIN, PLATERÍAS MARTÍNEZ, 1819. WITH...

Writing instrument with four inkwells and a bell. Silver. Madrid, Platerías Martínez, 1819. With contrast marks. Silver writing desk in its colour, composed of a rectangular tray (raised on four claw-shaped legs with softened corners), four containers (two with holes in the lids, two without) and a bell in the centre. Both the decorative elements (very few in number) and the lines of the different elements respond to a clear influence of European Neoclassical models. Hallmarks can be found on the bases of the four vessels and on the tray. These link the piece with the city of Madrid and with the so-called Platerías Martínez. The Real Fábrica de Platería de Martínez was founded in 1778, and represented the introduction in Spain of the industrial manufacturing method in the field of silver work and of neoclassical aesthetics in Spanish silverwork. It was also one of the most important silver centres in the history of Spain, and was characterised by the originality of its designs and the perfect finish of its pieces. Compare, for example, with the pieces kept in the Museum of History of Madrid, although similar models to the present one can be found in private collections. Weight: 2,239 grams.

· Size: 29x24x15 cms
ANTIQUES

Ref.: ZF0678
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
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SILVER CEREMONIAL CUP. SPAIN,16TH CENTURY.

Wine-tasting flask or shivering flask. Silver in its color. Spain, 16th century. With contrast marks, Illegible. Stemless and handleless cup, silver in its own color and with a circular base, a rim that flares outwards and a center that concave upwards on the inside. It features embossed decoration based on plant elements (flowers on the rim, other flowers towards the center around a central floral motif and alternating with rectangular motifs), veneered shapes (interspersed with flowers on the rim), and a small band of stars towards the edge of the piece. At this end, it has a partially foiled hallmark, on which the letters "AIEB" can still be read, followed by a vertical rectangular motif. These types of drinking cups, sometimes also known as bernegales, were used on special occasions (ceremonies, etc.), hence their material and decoration. They were very common during the reign of the Habsburgs in Spain. Although they were objects for civilian use, it was not unusual for them to be donated or commissioned for use in churches or liturgical settings. Similar examples can be found in very few private collections and only in a few important museums. For example, similar 16th-century bernegales are preserved in the Fundación Valencia de Don Juan (Madrid), and 17th-century ones are somewhat more abundant, as evidenced by those in the Lázaro Galdiano Museum (inventory 3910 and 3916).

· Size: 16x16x2 cms.
ANTIQUES

Ref.: ZF0957
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SILVER CUP. POSSIBLY NAVARRA, SPAIN, CIRCA 1700.

Wine tasting glasses. Silver. Possibly Navarre, Spain, circa 1700. Wine-tasting glass with a foot made of silver in its own color. The foot features a decoration of plain moldings, and the top has a scalloped and raised centerpiece with plant motifs in alternating bands with oval mirrors around it, followed by a recessed area and, towards the outside, a band with semicircular arches with teardrops and simple elements at the top, all closed by a pearl chain. Stylistically, they are very reminiscent of Miguel de Amasa's 1697 design for his examination to become a master silversmith. Compare also with the two salvillas that follow this design and are preserved in the Museum of Workmanship of the Church of San Saturnino in Pamplona (Navarre, Spain), which are considered the work of Miguel de Amasa, made in Pamplona and dated 1697 (these bear a hallmark, the double P crowned with a chain border, which was used in Pamplona silverwork between 1652 and the first quarter of the 18th century). Weight: 294 grams.

· Size: 10x19x4,5 cms
ANTIQUES

Ref.: ZF1307
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
SILVER CLARET JUG. ANSELMO PRIOR AND MASON. VITORIA, SPAIN, 1816-1846.

Jug. Silver. Anselmo Prior y Mason. Vitoria, Spain, between 1816 and 1846. With contrast marks. Silver jug in its colour with a square base that serves as a support for the circular foot decorated with a band of eggs and ending in a scalloped shape, which gives way to the oval body, engraved with architectural, plant and animal elements; practically tubular neck with a band of egg motifs and another at the top with architectural elements, and a soft spout; lid with a swan, and the handle has a Medusa head in the area where it joins the body, a series of bands of architectural motifs and, creating a curve and towards the mouth, a two-headed snake that seems to intend to attack the bird. Typologically, the jug clearly responds to neoclassical models of the 19th century both in its lines and in some of its decorative elements (some close to the French school and others somewhat more common in the English school), adding to this base some details more common in Spanish works. The hallmarks, located at the base of the piece, link its creation in Vitoria, with the hallmark called Maison (actually 18th-19th centuries, probably as a hallmark in the 19th century) and the silversmith named Prior. Anselmo Prior was a master dated between 1816 and 1846. There is evidence of a head reliquary marked by both of the Eleven Thousand Virgins in the parish church of Alegría (Álava, Spain). Weight: 992 grams.

· Size: 15x12x30 cms
ANTIQUES

Ref.: ZF1042
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
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SILVER JAR OR JUG. MADRID, SPAIN, 1803.

Jug. Silver. Madrid, Spain, 1803. With hallmarks. Published in the Encyclopedia of Spanish and Viceroyal American Silver. Bibliography: Fernández, Alejandro; Munoa, Rafael; Rabasco, Jorge. “Encyclopedia of Spanish and Viceregal American Silver”. Second edition, corrected and expanded. Torreangulo Graphic Art, Madrid, 1985. Page 361, image 671. Jug with a moulded circular base and a semi-ovate belly on which a concave neck is raised by a band. The mouth, with a sinuous line, is highlighted with another fine smooth moulding and is warped at the front; it is covered with a lid that follows the same lines and is finished with a frog. The handle has a broken line, ends in plant motifs and is highlighted with a wide, smooth band or moulding towards the centre of the jug. This jug can be included in a group inspired by a traditional European model brought to Spain and initially spread by Platerías Martínez (compare, noting similarities and differences, with the silver jug in its colour marked in 1806 from the Royal Silver Factory of Madrid in the National Archaeological Museum, also topped with a frog on the lid; or with a jug from Barcelona dated around 1810, preserved in the National Museum of Decorative Arts in Madrid). In 18th century Spain, it was the capital that set the standard in silverwork: baroque, rococo and neoclassical styles coexisted, but the first trend was soon abandoned, replaced by the second, which was introduced around 1740, with Neoclassicism appearing around 1770 and gradually imposing itself from 1780. The hallmarks it presents are those of the Villa y Corte de Madrid, which also allow the piece to be dated. Weight: 1,100 grams.

· Size: 16x12x30 cms.
ANTIQUES

Ref.: ZF1015
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
SILVER JAR OR JUG. SELLÁN, JUAN. MADRID, 1847.

Jug. Silver. Madrid, 1847. With contrast marks. Silver jug in its colour, with a flat handle decorated with simple openwork plant elements between two smooth bands and a raised shape towards the top, a large mouth that extends forward, and a body with different lines and decorations organised in three registers, and a circular foot with a band of architectural motifs. These three registers are organised: a smooth area towards the top, followed by a grooved part and another ribbed part. Both the decoration and the lines of the jug show a clear classicist influence. It has engraved initials of ownership (FAL). The hallmarks are those of Villa y Corte de Madrid (which also provide the date) and that of the silversmith Juan Sellán, trained at the Real Fábrica de Platerías de Martínez in 1821 and incorporated into the Colegio de Plateros in 1842, the year in which his first known works are dated. The present model can be found with slight variations in the production of the Real Fábrica de Platerías Martínez in Madrid, and was later taken up by Juan Sellán. Weight: 1108 grams.

· Size: 18x12x33 cms.
ANTIQUES

Ref.: ZF1013
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
POSTER, GUERRA Y RUIZ, JEREZ DE LA FRONTERA. CARDBOARD. SPAIN, FIRST H...

Advertising poster, Guerra y Ruiz, Exporters of Cognac-Style Wines and Sherry Brandy (…), Jerez de la Frontera. Cardboard. Valencia, Spain, first half of the 20th century. It has marks. Poster made in Valencia by Lit. S. Durt for the company Guerra y Ruiz, which is mentioned in the Statutes of the Guild Association of Breeders-Exporters of Jerez de la Forntera Wines (Jerez, Typographic Workshops: Plaza del Carmen, 1, 1921).

· Size: 38x0,1x50 cms
ANTIQUES

Ref.: ZF135429
"COL CHEMISE" NECKLACE IN 18K ROSE GOLD AND DIAMONDS

“Col Chemise” necklace, in 18k rose gold and platinum, with decoration of simple 8/8 cut diamonds. Designed as a necklace with a box, it is constructed by a double “Brick link” chain that develops on its front face a ribbon decoration decorated on its bezel by diamonds set in platinum in the form of a crescent festoon finishing off, creating a shirt collar from the center of which hang two beehive-shaped tassels. Weight: 135 grm Diamonds set: 136 Approximate weight: 6.50 Cts. Period and style: Chevalier. Typology: “Col Chemise”, Circa 1945-50

· Size: int 13x12 cms / long ext 19 cms.
ANTIQUES

Ref.: ZE104
CROWN OR PIECE OF ALTAR. EMBOSSED SILVER, MIRRORS, WOOD. LLORENTE, JOS...

Altar top. Embossed silver in its colour, wood, mirrors. LLORENTE, José (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century. With contrast marks. Altar top made of embossed silver in its colour on a wooden core with seven oval-shaped mirrors and profiles cut in curves and counter-curves. The upper part has a canopy imitating textiles from which hang a series of small bells and shelters a dove with outstretched wings, situated in front of a ventral figure and a cloud with winged angel heads. Approximately the upper three quarters of the work show a decoration in light relief with sun rays, scrolls, rocailles, oval mirrors, circular tears resembling rain, flowers, leaves, a bunch of ears of wheat next to a vine with a bunch of grapes, etc. combined with five mirrors and following a symmetrical arrangement; the remaining part does not have reliefs but does have two mirrors. This type of liturgical goldsmith's work was relatively common in churches, cathedrals, etc. with significant purchasing power and influence, although not many of those made have survived because they are valuable materials that can be melted down and looted at certain times. Let us mention, highlighting the differences, the silver Altar of the Cathedral of Seville (16th-17th centuries, several silversmiths), the set of the main chapel of the Cathedral of Santiago de Compostela (17th century), the Manifestador-Tabernacle of the Cathedral of Valencia from the 18th century, the silver altarpiece of the Diocesan Museum of Huesca (work of José Estrada and Juan and Jerónimo Carbonell y Gros made between the 17th and 19th centuries, which was placed in front of the Main Altarpiece of the Cathedral, and has a canopy and pendant bells), a display for the Blessed Sacrament made of gilded silver and in its colour dated in the 18th century and which is found in the Museum of the Cathedral of Segovia, etc. The presence of the Holy Spirit (a dove) and the bunch of wheat ears and the vine with the bunch of grapes would link the piece with the Eucharist, and it is possible that it is a fragment of an altar (permanent or not) of a monstrance. Stylistically, it is clear that the work belongs to a Rococo that was already somewhat advanced. The hallmarks present in various parts of the silver place the creation of the finial in Vitoria (Spain), also providing an approximate date (around the 18th century's 60s) and the names of two master silversmiths: Juan Antonio Sotil or de Sotil (possibly the hallmark) and José Llorente. Juan Sotil was a silversmith based in Vitoria who also worked as a hallmark for the city (the City Council appointed him appraiser of diamonds and precious stones in 1751, and hallmark for the city in 1769, a position he held until 1779, when he resigned and Mauricio Llorente was appointed). Works with his hallmark are preserved in prominent institutions such as the Museum of Sacred Art in Vitoria (Reliquary of Santa Lucía from the hermitage of Santa Lucía in Vitoria, 18th century). José Llorente was another silversmith from Logroño. He passed his master's exam in Burgos, and is documented between 1760 and 1799. Works with his punch are preserved in the Church of Santiago de Logroño (portaviático), the Old Cathedral of Vitoria (four candlesticks), etc.

· Size: 52x26x122 cms.
ANTIQUES

Ref.: ZE153
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
LATIN CROSS SHAPED PECTORAL CLOCK. SILVER.17TH CENTURY.

Cross-shaped pectoral clock. Silver, 17th century. It has undergone restorations. Portable watch in the shape of a cross with an openwork exterior showing figurative Christian scenes and the movement inside, a gold-banded dial with Roman numerals for the hours, a single hand and an engraved decoration around it, also with a religious theme; on the back, you can see the back of the movement, with a delicate, also openwork decoration based on plant motifs reminiscent of classicism, and a band on the case of the piece with simplified plant elements. On the outside, we find on one side the crucified Christ, flanked by the Virgin Mary and Saint John, and the figures surrounded by a delicate composition based on vegetal scrolls, with an angel's head at the foot of the piece. The other side shows the Resurrection of Jesus, with Christ emerging from the empty tomb and the soldiers on either side, again with scrolls and above another angel's head. On the edges there are vegetal and floral elements, accompanied by figures placed within plaques. On the inside, and flanking the clock face, we are shown the Original Sin below and the Expulsion from Paradise, with Adam on one arm of the cross that forms the clock, Eve on the other and the angel on top, brandishing the flaming sword (thus following, in part, the biblical text). There are several known antique portable clocks which have been given a shape other than the usual one for such objects. Thus, although the best known is the skull-shaped clock in the Metropolitan Museum (movement from c. 1650 by Isaac Penard, case from c. 1810-1820), and bearing in mind that they were not at all the usual type, there are several examples in the shape of a Latin cross. Let us recall, for example, some of those preserved in the Ashmolean Museum in Oxford: one attributed to Cornelius Stimmer (active c. 1660) has Christ Crucified on the front, flanked by the four Evangelists; another by Barthélemy Cheuillard (active 1636-1677) dated c. 1650 has an uncut metal case and engraved decoration on the interior; Other examples, such as one dated c. 1660 or another by Didier Lalemand (active 1675-1686) dated c. 1660 or 1630, follow the usual pattern for such extraordinary examples, which is to have the outer case made of rock crystal. This is also the case with the clock by Charles Bobinet, probably painted by Werner Hassel and dated to the mid-17th century, which is kept in the Metropolitan Museum, and with the one in the British Museum in London by Jean Rouseeau the Younger, which is dated between 1640 and 1650 and was made in Switzerland.

· Size: 7x5,5x2,5 cms
ANTIQUES

Ref.: ZF1032
HANNIBAL BARCA ORMOLU BRONZE CLOCK. FRANCE, 19TH CENTURY.

Table clock, Hannibal Barca. Ormolu bronze, metal. France, 19th century. Table clock with Paris machinery and a case made of mercury-gilded bronze, with a rectangular base on four legs (the front ones decorated with scrolls and ending in a claw), decorated with a series of mouldings in relief with vegetal and architectural elements. The dial (metal with Roman numerals for the hours) is inside a square shape, in which sits the male figure that decorates the piece. A bearded man, dressed in armour (loriga or muscular breastplate) and a cape fastened over one shoulder with a fibula, rests his left arm on the helmet, holding a rolled document, and with his left hand he holds a Roman standard (another appears broken, under his foot). Note, to the right and next to a sword, a vase full of rings. Hannibal Barca (247-183 BC) was a Carthaginian general and statesman, best known for his conflicts with the ancient Roman Empire. It was not uncommon for him to be depicted counting the rings of the fallen Roman knights at the Battle of Cannae (216 BC), as can be seen in the sculpture by Sébastien Slodtz (made in 1704, Louvre Museum, Paris), where he also carries a Roman standard. He is also shown with these two elements (vase with rings and standard) on a table clock in the Cagny Museum in Paris made during the French Restoration. Another piece is known, in a private collection, inspired by this clock, designed after models by Peirra-Francois Feuchère. These two models would surely have served as inspiration for the present table clock. Weight: 25 kg.

· Size: 53,5x20x76 cms.
ANTIQUES

Ref.: ZF1230
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

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