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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
SILVER TASTEVIN FROM BECERRIL DE CAMPOS TOWN COUNCIL, 1806.

Wine tasting room of the Becerril de Campos council, 1806. With legend on the base (“Catavino of the Most Illustrious Council of Becerril de Campos with Royal Privilege, year 1806”). Published in: Fernández, Alejandro et alt. Encyclopedia of Spanish and Viceregal American Silver, Torreangulo Graphic Art, Madrid, 1985. Page 485. / Redondo Aguayo, Anselmo. Historical monograph of the town of Becerril de Campos and biographical information on its most illustrious sons. Bulletin of the Tello Tellez de Meneses Institution, 9, 1952. Page 149. A plain vessel with a legend on the outer rim, joined to a bowl with a convex seat decorated with raised scallops, engraved ovals and crosses and lines of beads arranged around a central circle that has been left smooth. Its shape makes it closer to Bordeaux-type tasting glasses than to Burgundian-type ones (the most common), and its shape seems to have been characteristic of Castile in the 17th century; it has not changed since then, maintaining its use and manufacture. According to experts, this type of piece was called “cups” until the 19th century, and we are not entirely sure that its use was utilitarian, with some studies leaning towards a mainly decorative function. This would be the reason why, despite being a piece made in a secondary manufacturing centre such as the municipality of Palencia, it has decoration all over its surface, in addition to the written legend. The scallop motifs, like the oval shapes, are geometric decorations that are widely used in this type of piece, especially since the Renaissance and because of the inspiration of this artistic style in Roman Antiquity. In the 19th century, this inspiration in classicism returned to art, by way of Neoclassicism. Despite the simplicity of the elements, a clear attempt by the artist to organize them in a harmonious way to give beauty to the piece can be seen. Both the material and the decorative excess (for coming from a local center) support the theory, already mentioned, that the wine tasting bowl would have been used more for representation than for normal use, being used in certain celebrations or events in which the council had a prominent role. This tasting vessel is mentioned in Anselmo Redondo's study. It is very rare to find examples of civil silverware, as their owners usually sold objects with the intention of buying new ones, or better ones, or ones made in a more modern artistic style, or due to economic needs. Thus, it is most common to find religious silverware, which is the same as civil silverware or differs only in its decorative elements. In addition, civil pieces were usually given to churches, convents, etc. as donations from individuals. It is worth highlighting, however, the extraordinary nature of this tasting vessel: first, due to its material; second, due to its typology; third, because its inscription makes it easy to place its origin and date. There are tasting vessels with similar characteristics to the present one in the Lázaro Galdiano Foundation in Madrid. Weight: 315 gr

· Size: 19x19x6 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6226
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
PAIR OF BOHEMIAN CRANBERRY RUBY RED GLASS ENAMELED AND GOLD URNS. 19TH...

Pair of vases. Glass. Bohemia, Czech Republic, 19th century. Pair of red glass vases decorated with areas of white enamel and spaces in gold, highlighting the two female busts (practically portraits on an undefined background) that both pieces present on their fronts. The two raised handles finished in a circle have a fine decoration of simplified plant elements; the glass shows decoration of the same type, but of a different influence (more classicist); the busts have been enhanced by two frames in gold and dark lines clearly reminiscent of classicism; the white areas (with plant shapes) have gold lines. Both pieces show remarkable similarities in the quality of the colour of the glass and the decoration as well as in the lines of the pieces, with notable red Bohemian glass urns, especially with works linked to Ludwig Moser & Söhne. Moser is a company that manufactures luxury glass objects located in Karlovy Vary (Czech Republic; formerly Karlsbad in Bohemia) that continues its work today (it was founded in 1857 by Ludwig Moser), and is highly appreciated in the art world for its works from the late 19th and 20th centuries. Although Bohemia was a region known for its glass production as early as the 13th century (especially when they discovered that adding potassium created a clearer and more stable colourless glass than Italian glass), this activity became popular in the 17th century (although the term “Bohemian” or similar had been used for a hundred years before to distinguish quality glass from this origin), and it stood out especially in the 19th and 20th centuries thanks to important manufacturers for the quality of their materials and techniques and the care taken in their designs. By the mid-19th century they already had a system for teaching glassmaking, and in the second half they exported very striking pieces in large quantities (usually pairs of glasses or vases in a single colour in opaque glass or in two colours, decorated with enamelled floral elements, painted details; sometimes lithographic techniques were used to copy famous paintings and capture them in works; etc.) created in large factories and in large quantities.

· Size: 15x13x41 cms.
ANTIQUES

Ref.: ZE222
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
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CERAMIC BOWL. TALAVERA. 17-18TH CENTURIES

Bowl, Talavera, late 17th – early 18th century. Glazed ceramic. Ceramic bowl decorated with high-temperature glazes on an opaque white tin slip. The polychromy is based on typical Talavera colours: cobalt blue, copper green, manganese black, antimony yellow and iron ochres, browns and oranges. These glazes were applied to the raw slip, so the piece was fired only twice: once for the paste and once for the slip and glazes. In addition, the colours were protected with a varnish, which was also fired in this second firing. The pieces were placed in the kiln in blankets or boxes, so that the colours would not burn (they are fired at a very high temperature, 900º). In general, those from Talavera will be well fired, without significant defects. The peak of this ceramic manufacture will take place between the 16th century and the mid-18th century, when the French taste was introduced to Spain, and the clientele began to prefer pieces from Alcora. However, Talavera would experience a new Golden Age at the end of the 19th century, with historicism. This piece features a typical Talavera decoration, which would be widely imitated in other centres throughout the Modern Age: a rampant animal in the centre, on a schematic ground plane, flanked by two large plant elements. The decoration is completed with synthesised plant elements and bands of concentric lines, inside and out.

· Size: 32x32x15 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z5575
RELIQUARY PENDANT WITH FLAGELLATION OF CHRIST. SILVER, ENAMEL. 16TH CE...

Reliquary with “Flagellation of Christ”. Silver, enamel. 16th century. Oval reliquary pendant decorated on the outside with a striped band and some relief elements on the edge (with curved profiles and simple engraved scrolls), which has a chain of smooth oval links (all practically identical). On the front and back it shows two figurative scenes with striking polychromy. On the one hand, Christ is placed in the centre of the composition, tied to a high column, being whipped by two executioners or soldiers with branches, following a composition that was common in the 16th century. On the other hand, the focus is on a hollow in the pendant protected by glass (since it contains a relic, enhanced by a Latin cross), highlighted in the composition by rays of light and a beam of light; this element appears held by an angel and surrounded by little winged heads (common in the Renaissance) floating among clouds, and is accompanied by Saint Joseph with the Child and the Flowering Staff, and Saint Anthony of Padua (also with the Child and a bouquet of flowers). This type of jewellery has always had great value, both for the materials used and for its religious content. Despite this (or perhaps because of this same appreciation) there are not many examples of quality and in good condition, and it is possible to find them only in important private collections and in outstanding museums such as the Fundación Valencia de Don Juan in Madrid, the Museo Nacional de Artes Decorativas in the same city, etc., or old religious centres such as the Convent of the Descalzas Reales in Madrid. Weight: 160 gr

· Size: 8x1x10 cms.
ANTIQUES

Ref.: ZF0396
SILVER DRINKING CUP . SPAIN, 16TH CENTURY.

Silver wine tasting bowl, 16th century. “Cup” type wine glasses with plant motifs inside a six-pointed star at the bottom and with a cylindrical base decorated with circular geometric borders. Also known as wine glasses, this type of drinking glass was used on special occasions (ceremonies, etc.), hence the material and decoration they were made of, and they were very common during the reign of the Austrians in Spain. Although they were objects for civil use, it was not unusual for them to be donated or commissioned for use in churches or liturgical settings. Both the decoration and the shape of the cup show that it came from an artistic centre far from the main silver centres. The former, moreover, is more closely linked to Gothic art than to the Renaissance, which by this time had already made its presence felt in Spanish silverwork. Compare, for example, with the bernegal with cardboard-shaped handles from the Prado Museum in Madrid (catalogue O00085) from the end of the 16th century, which has the upper part carved in double concave scallops and shows plant and fruit engravings in festoons and ribbons. This difference does not detract from the value of the work, quite the contrary: it is proof of the attachment to designs with simple lines and Gothic plant and geometric decorations that existed in centres far from the creative capitals, whose influence can even be seen in Baroque works. Similar examples can be found in very few private collections and only in a few important museums. For example, similar bernegales from the 16th century are preserved in the Fundación Valencia de Don Juan (Madrid), and those from the 17th century are somewhat more abundant, as shown by those in the Lázaro Galdiano Museum (inventory 3910 and 3916).

· Size: 16x16x4 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6296
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
PAIR OF SILVER CONVERTIBLE CANDLESTICKS. MARTÍNEZ MORENO, MATEO; MUÑOZ...

Pair of convertible candlesticks. Silver. Córdoba, Spain, 1793. With hallmarks and engraving marks. Pair of silver candlesticks in their colour, which have pieces to convert them into two-light candlesticks each. Each one has an oval base with wavy profiles, creating lines that, when they visually ascend in a helical manner through the rest of the piece, provide it with a notable movement; the axis, balustraded, has two smooth narrowings; the lighter follows the aforementioned lines. The pieces have a base that reproduces the shapes of the candlestick, and from it two flat, openwork arms with “C” motifs with volutes and waves like a crest, which end in two lighters with a tray or saucer that follow the aforementioned lines on the axis of the candlestick. Stylistically speaking, this is a pair of candlesticks that are clearly in the Rococo style. Their lines are reminiscent of the usual Spanish trays with contours that are found in writing desks, spice racks, etc. What is worth highlighting is the fact that the pieces are used to convert the candlesticks into candlesticks and the decorative choice made for them. You can see a location mark (Córdoba), the mark of faithful hallmark Mateo Martínez Moreno with numbers alluding to the date (1793), and another mark of a silversmith named Muñoz (given the date of the piece it could be Francisco Muñoz, documented between 1792 and 1818). Mateo Martínez Moreno was active in Córdoba during approximately the second half of the 18th century and was a faithful hallmark of the same city between 1780 and 1804 (the year in which he died). Weight: 1.7 kg.

· Size: 26x14x24,5 cms
ANTIQUES

Ref.: ZF1122
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PAIR OF SILVER CANDLESTICKS. 18TH CENTURY.

Pair of silver candlesticks. 18th century. Pair of candlesticks made of silver in an unadorned Baroque style, with a clean and dynamic structure that expresses itself through the contrasting superposition of elements with a circular section. The lines engraved on the discs of the shaft have an impact on this play of inscribed circles that determines the design. The foot is domed and stepped, combining curved mouldings and edges, and its stepped truncated cone shape is repeated, inverted and reduced in size, at the base of the lighter. The shaft is made up of two truncated cone-shaped necks, the upper one with a rounded base, alternating with lentils or discs of different diameters and narrow spools between them. Finally, the lighter is cylindrical, with the same play of parallel mouldings of various sizes that extend to form flat discs. Weight: 2 kg

· Size: 15,5x15,5x33 cms.
ANTIQUES

Ref.: ZF1250
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
GILT BRONZE MANTEL CLOCK. 19TH CENTURY.

Table clock. Gilt bronze. 19th century. Table clock made of gilded bronze with a powerful base, enhanced by legs decorated with vegetal and architectural motifs of classical inspiration and a series of details on the front (scrolls on the chamfered corners, scrolls and a centre with a globe from which light radiates and a scroll, with inscriptions on both), as well as bands of simple architectural elements and plain spaces to enhance these decorations. On this pedestal is placed a scroll for the dial (white, with Roman numerals for the hours and lines for the minutes, Breguet-type hands), surrounded by a garland. In this area is a male figure, dressed in clothing reminiscent of the Renaissance, holding an unsheathed sword; in addition, a series of elements have been placed on the dial part (a globe, documents with cursive texts in French, etc.). The allusion to science is clear in the prominent presentation of the documents with their respective texts and the sphere. The detail of the sword refers to war. Thus, it would be a figure that would unite wisdom and action, uniting both in the knight of a certain age, as it should be in a ruler or people of a certain social class. The best examples of bronze table clocks were made in France during the 19th century, or so it was believed. This is due to the care with which the manufacture of bronze applications and elements was organised and regulated, the technique of mercury gilded bronze, and the participation in the creation process of top-notch artists who were in charge of the designs of the figures and decorative motifs (it was also not unusual to make figures inspired by or copying more directly great works from the History of Art). The resulting clocks were highly appreciated, and were used to decorate the interiors of palaces and notable residences. Machinery in working order.

· Size: 43x17x55 cms.
ANTIQUES

Ref.: ZF0207
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
CERAMIC DRUG JAR OR SYRUP JAR. POSSIBLY ITALY, 18TH CENTURY.

Orza. Ceramic. Possibly Italy, 18th century. A globular jug with a small base, a narrow spout at the mouth (narrower than the body, and with a small neck) and a handle formed by a twisted flat element, made of glazed ceramic and decorated with a composition in blue on a white background. Around a cartouche with an inscription (“AQa di MALVA”, alluding to a remedy derived from the common mallow, a common plant in Europe that was already mentioned, along with its healing properties, by Pliny the Elder among others), and using various shades of blue, a significant 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 early as the 17th century (Dutch and English pieces, works in Talavera de la Reina in Spain, etc.). In the case of Italy and in ceramics (with this origin, usually called “maiolica”), cobalt blue decoration on white is already found in works inspired by Byzantine in the Quattrocento, accompanying various influences. In the first third of the 16th century this “porcelain” decoration (since, apparently, it was distantly inspired by Chinese porcelain works that used these colours) continued, with touches of other colours. Compare this work with the pieces known as “Medici Porcelain”, from the third quarter of the 16th century. The name “berrettina” refers to glazed majolica in light blue to dark blue, obtained with cobalt oxide. It was used from the 16th century to the first half of the 17th century, mainly in Liguria and Veneto. It is also worth mentioning a series of pieces with which this one has something more closely related: a pharmacy jar with Saint Paul (made in Savona in the 17th century, now in the International Museum of Ceramics in Faenza), or with albarelos preserved in the Museum of Hispanic Pharmacy at the Complutense University of Madrid, works from 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...

Cooler or glass cooler. With marks on the base. White paste. Royal Porcelain Factory of Buen Retiro (Madrid, Spain), circa 1784-1803. A piece of soft paste with wavy edges used to hold the stems of glasses in place and cool them when filling the container with ice or similar. On the outside, it has two handles in the shape of plant elements and small reliefs on the fronts (also enhanced by gilding) which frame floral bouquets with coloured leaves. It is possible that the piece belongs to the second period or intermediate stage of the Royal Porcelain Factory of Buen Retiro in Madrid, established in the Spanish capital from 1760 onwards and thanks to Charles III; this stage corresponds to the “controls” of Charles Scheppers and Philip Gricci, and continues the Italian influence, adding a relationship with other currents (English, Saxon). Weight: 2225 grs

· Size: 33x19x13 cms.
ANTIQUES

Ref.: ZF0431
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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
BRONZE MORTAR WITH INSCRIPTION. SPAIN, 1823.

Mortar with inscriptions. Bronze. Spain, 1823. Mortar made of bronze with a flared mouth and a truncated cone-shaped body that develops without discontinuity and decreases in diameter towards the base; it has two handles or “pieces” towards the smooth decorative mouldings that it has on the upper part. The piece has, almost on the edge, an inscription (SOY DE D GREGORIO OCANA ANO DE 1823) in capital letters and a date in Roman numerals with spaces between them; and the text (the opposite of the other) “Mazon fecci”; both flanked by a simple moulding above and another below. This large mortar is of the type that is usually known as a “hospital” mortar, as it is usually used for medicines in environments with many patients or in important pharmacies. Typologically, it follows the usual line in these examples from the Spanish school during the 19th century: smooth, with mouldings and, as a general rule, without those ribs (or derivatives of them) that usually appeared in the previous ones. Compare, for example, with the large pharmacy mortar in the Municipal Museum-Archive of Calella (with an inscription, ribs and human heads as handles), a large mortar in the Museum of the Spanish Pharmacy of the Complutense University of Madrid, etc.

· Size: 37x34,5x25 cms.
ANTIQUES

Ref.: ZF1007