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PAIR OF ANDIRONS. BRONZE AND IRON. 19TH CENTURY.

Pair of andirons. Blued and gilded bronze, iron. 19th century. Fireplace andirons decorated with vine leaves and bunches of grapes on the side pieces and in the centre of the horizontal part, working the metal to also remind us of the plant. These three elements or areas are visually united by an openwork piece, decorated in a simpler way with motifs inspired by Neoclassicism.

· Size: 36x45x45 cms.
ANTIQUES

Ref.: ZF0126
WROUGHT IRON FLOOR TORCH (BIG CANDLE). 20TH CENTURY.

Axe. Wrought iron. 20th century. Tall wrought iron torch holder with a tripod base formed by scrolls and a triangular piece from which the axis emerges (with a balustrade profile with discs). This ends in a plate from which an openwork piece starts that would hold the candle. The scrolls, the lines of the axis, simplified plant details, etc. show a clear influence of ancient works, especially from the Baroque of the 17th century. This inspiration is frequent within the framework of Historicisms.

· Size: 38x38x133 cms
ANTIQUES

Ref.: ZF0310
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
BRONZE CANDLE HOLDER. 17TH-18TH CENTURIES.

Candlestick. Bronze. 17th-18th centuries. Candlestick made of bronze with a circular base and an axis combining discs, balustrade shapes, smooth areas, concave and convex mouldings of different widths, etc., creating a very lively profile common in this type of pieces since the Baroque in various European schools and reminiscent in some details of the so-called spool candlesticks. Weight: 520 gr.

· Size: 21x21x55 cms.
ANTIQUES

Ref.: ZF0491
COMPENDIO HISTORICO DE LOS ARCABUCEROS DE MADRID… SOLER, ISIDRO. MADRI...

Historical compendium of the arquebusiers of Madrid… Soler, Isidro (fl. Ca. 1795). Madrid, 1795. Original, leather binding. 86 pages. Perfect condition. “Historical compendium of the arquebusiers of Madrid from their origin to the present day, with two plates in which are engraved the marks and countermarks that they used in their works”, by Isidro Soler, arquebusier of the King Our Lord. Printing house of Pantaleón Aznar, 1795, Madrid. 86 p., 2 hr. of engraving. Full leather binding with gilt spines and decorated interveins; gilt edges, counter-edges and cuts; cover with embossed and gilt borders framing a royal superlibris with the Golden Fleece and closed crown.

· Size: 15,5x1,5x20,5 cms.
ANTIQUES

Ref.: ZF0568
SMALL SWORD WITH SCABBARD. METAL, LEATHER. FABRICA DE TOLEDO, CIRCA LA...

Sword. Metal, leather. Royal Factory of Toledo, towards the end of the 19th-20th century Small sword with a garnish bearing the emblem of the Infantry and the simplified coat of arms of Spain on the other side, cap with the monogram of King Alfonso XIII and wire-wrapped hilt, featuring a Toledo blade (inscription “Fca de Toledo”) and a scabbard combining leather and metal, slightly curved. Compare with the small sword for Infantry Officers, model 1901.

· Size: 12x2x97 cms.
ANTIQUES

Ref.: ZF0575
WROUGHT IRON LECTERN. 17TH CENTURY BALUSTER; 20TH CENTURY.

Lectern. Wrought iron. Baluster 17th century; rest 20th century. A wrought iron lectern with three twisted S-shaped legs with a disc in the centre, a balustraded base with different sections and a top with straight stripes. This central axis consists of different sections (solomonic and balustraded, joined by a piece of discs and other mouldings), and its lines are characteristic of ironwork of the period (compare, for example, with the Choir Grille of the Cathedral of Valladolid, currently in the Metropolitan Museum of New York, and note its differences). Weight: 22 kg.

· Size: 42x48x155 cms.
ANTIQUES

Ref.: ZF0581
ORIENTAL IVORY CARD CASE. 19TH CENTURY.

Oriental card holder. Ivory. 19th century. Rectangular card holder with opening on one of the smaller sides, made of ivory and decorated with bas-reliefs on its two main fronts. Garden scenes with pavilions and characters with a clear Chinese influence are presented within four mixtilinear shapes (the largest in the body area, the smallest on the lid). This piece is reminiscent of Canton card holders made to be exported to the West in the same material and with a very similar decoration. It has some damage.

· Size: 5.5x0.7x9.5 cms.
ANTIQUES

Ref.: ZF0584D
ORIENTAL IVORY CARD CASE. 19TH CENTURY.

Oriental card holder. Ivory. 19th century. Rectangular card holder with an opening on one of the smaller sides, made of ivory and decorated with bas-reliefs on both sides. A scene with characters set in a garden with pavilions (of clear Chinese influence) is framed within two mixed-linear areas, the largest located on the body of the piece and the smallest on the lid; note the similarity of the decoration on both sides. It is also necessary to compare this work with works from Canton made for export to the West in the 19th century.

· Size: 6x0.6x9.5 cms.
ANTIQUES

Ref.: ZF0586A
PAIR OF TALL CANDELABRA OR CANDELABRUM, NEOGOTHIC STYLE. WROUGHT IRON....

Pair of Neo-Gothic style floor candelabras. Wrought iron. Spain, 20th century. Pair of wrought iron floor candelabras with a tripod base, a shaft decorated with small discs and ending in a circular plate, and a top made up of three levels of curved arms ending in floral elements, the third being the highest and ending in a spike. The set is inspired by 15th century Spanish lighting elements, specifically pieces known as “floridas” or “florid style”, prior to the development of openwork plates that occurred at the end of that century. Compare with older examples preserved in prominent institutions such as the Museu del Cau Ferrat in Sitges, the Museo Nacional de Artes Decorativas (Madrid) etc.

· Size: 62x62x219 cms.
ANTIQUES

Ref.: ZF0628
SHEPHERD’S BOX. ANTLER OR HORN. 1811.

Pastoral box. Carved horn. 1811. With engraved date. Carved horn box with an oval base and a polygonal lid decorated on the outside with a series of carvings. The lid has animals, scrolls and simple geometric elements arranged flanking and facing a crowned heraldic shield; the base has a geometric composition leaving a rectangle in the centre (where the date 1811 has been engraved, which would be the date of creation of the piece); the edges of the base have fine smooth mouldings. The aforementioned shield, very simplified, has five elements in the centre and a border of towers or castles under a closed crown.

· Size: 8,5x5x3 cms.
ANTIQUES

Ref.: ZF0658
SHEPHERD’S BOX. ANTLER OR HORN. SPAIN, 1822.

Pastoral box. Carved horn. Spain, 1822. Rectangular box made of carved horn with a date (1822) engraved on the lid and front, a legend (Soi de Manuel Zulueta año 1822) and an engraved decoration based on geometric, vegetal, figurative and heraldic elements. The base of the piece has a banded frame that highlights a composition of birds and animals accompanied by simple stems and flowers. The lid has bands interlaced with circles of different sizes and, in the centre, a crowned heraldic shield flanked by two flags, and quartered with three-towered castles and crowned rampant lions; beneath this central element, the aforementioned date is again found. Note that it differs from the Castilian shield (the one used by the kings of Castile since 1230) in the position occupied in the quartering by the different elements.

· Size: 8x5x2 cms
ANTIQUES

Ref.: ZF0730
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
CAPITAL. GRANITE. SPAIN, 16TH CENTURY.

Capital. Carved granite. Spain, 16th century. Capital for a circular column made of carved granite, with volutes inspired by classical Corinthian capitals (three in total) and a series of mouldings. This is a common type in Spanish Renaissance buildings, as can be seen by comparing it with the Patio of the San Isidro or Los Orígenes museum in Madrid (Casa de los Vargas), the Cloister of Santa María de Ferreira de Pantón (Lugo), etc.

· Size: 60x60x40 cms. diam. columna 35 cms
ANTIQUES

Ref.: ZF0755
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
CAPITAL. GRANITE. SPAIN, 15TH CENTURY.

Capital. Carved granite. Spain, 15th century. Circular-based capital made of carved granite with a polygonal shape enhanced with mouldings, following forms that still retain a memory of Gothic works but with noticeable clean lines.

· Size: 60x60x64 cms.
ANTIQUES

Ref.: ZF0777
GLASS AND VASE. GLASS. REAL FÁBRICA DE CRISTALES DE LA GRANJA, SPAIN, ...

Jug and glass. Glass. Royal Glass Factory of La Granja de San Ildefonso, Segovia, Spain, 18th century. Jug or vase with lid and glass with a small spout made of clear, carved and engraved glass, decorated with plant elements and architectural motifs of classical influence. They were made in the Royal Glass Factory of La Granja de San Ildefonso, founded in 1727 by Buenaventura Sit and, initially, as a furnace for flat glass to supply the nearby Royal Palace. Shortly after, they would diversify their production, becoming one of the main centres in Spain.

· Size: Jarra 10x10x33 cms. Vaso 13x13x15 cms
ANTIQUES

Ref.: ZF0878
BRONZE BASSIN FOR HOLY WATER. SPAIN, 17TH CENTURY.

Wall-mounted holy font. Bronze. Spain, 17th century. Small font for holy water designed to be placed on a wall, which has a container decorated with mouldings and architectural elements and a plaque, at the top, cut out with plant and architectural elements highlighting two angels with elements of the Passion and an image of the Virgin Mary (with iconography of the Immaculate) with the Child Jesus.

· Size: 7,5x9x22 cms
ANTIQUES

Ref.: ZF0928
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
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
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PYX. WOOD. SPANISH SCHOOL, 16TH CENTURY.

Pyx. Carved and polychrome wood. Spanish school, 16th century. A box with a circular base and a truncated cone-shaped body with a domed lid topped with a moulded knob. It is made of carved wood and retains traces of gilding on its outer surface and also on the inside (lid and base). In this area it is decorated with carvings of plant themes on the lid and winged angel heads joined by curved textiles reminiscent of garlands on the front of the body. Typologically, the piece is reminiscent in its shape of silver pyxes: compare with two 16th-century examples from the Burgos Museum (one with a flatter body than the present piece, but with a similarly shaped lid; another similar to this one), a pyx from around the middle of the 14th century from the Cluny Museum with proportions similar to this wooden box, etc. Likewise, it would be necessary to mention at least the one known as the San Fernando Salt Shaker (Convent of San Clemente in Seville). Pyxises or hosts made of wood are not common, either because metal was preferred for these liturgical objects, or because they are less well preserved or are replaced more frequently than silver ones. One is known from the 16th century from the Balkans or Venetia, preserved in the Victoria and Albert Museum in London; there is a wooden pyx case in the same museum dated between 1470 and 1540; etc.

· Size: 14,5x14,5x14,5 cms
ANTIQUES

Ref.: ZF1041
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
BOUDOIR JARS SET. SILVER (800, ETC.), GLASS. SPAIN AND OTHERS, 20TH CE...

Dressing table set. Silver, low silver, glass. Spain and others, 20th century. With contrast marks. Set of four coloured silver headdress flasks of different grades and glass. Of the two tall flasks, with lids decorated with Rococo-style elements, one has marks in the area of the inner stoppers. The lower one, with a circular base, has ownership initials and hallmarks and a sterling mark (800 silver, possibly another from Hermann Behrnd, from Dresden, Germany – silversmith founded in 1881). The remaining flask has Rococo-style decorations on the lid and ownership initials engraved on it.

· Size: Perfumero: 5x5x13,5 cms.
ANTIQUES

Ref.: ZF1155
CHEST WITH ROYAL MONOGRAM. MAHOGANY, METAL. SPAIN, 19TH CENTURY.

Box or casket with royal monogram. Mahogany wood, metal. Spain, 19th century. It has slight damage. Rectangular box with a flat lid and a keyhole on the front, decorated with metal applications on the corners, edges, handles, etc. Below the keyhole there is a fleur-de-lis. The lid has a central motif with fleur-de-lis and a crowned M, and alternating crowned castles and lions in the corners. This emblem (and the fact that it is accompanied by lions and castles, alluding to Castilian heraldry) is reminiscent of the royal monograms that all members of the royal family apparently had in the past to mark their belongings. In this case, it is possible that it refers to Maria Cristina of Bourbon-Two Sicilies (Palermo, 1806-Sainte-Adresse, 1878), wife of Ferdinand VII and regent during the minority of Isabel II. However, we must remember Maria Cristina of Habsburg-Lorraine or of Austria (1858-1929), wife of Alfonso XII. The emblem of Maria de las Mercedes de Orleans and Bourbon (Madrid, 1860-1878), wife of Alfonso XII, used to appear with two capital “Ms”.

· Size: 78x31x24 cms.
ANTIQUES

Ref.: ZF1170