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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
PAIR OF VASES WITH SIDE TABLES. BRONZE, WOOD, ETC. JAPAN, MEIJI PERIOD...

Pair of vases with elephant-headed bases. Bronze, wood, etc. Meiji period (1868-1912), Japan; Anglo-Indian school, towards the end of the 19th century. Pair of patinated bronze vases made up of several pieces, raised on three curved legs and decorated on the outside with reliefs of animals and mythological beasts, enhanced with gold details and bands of geometric motifs. They have metal containers that fit into the upper part. On both bases there are turtles with waves creating waves; on the central body, handles in the form of dragons and phoenixes on one side and dragons on the other; on the neck, more birds (herons or similar) flying among clouds. The bases are two side tables made of ebonized wood with elephants (heads decorated to resemble textile ornaments, with light-colored tusks) functioning as legs by curving the trunk outwards, an openwork chamfer, an openwork waist to secure the furniture and a top decorated with carvings and flat boards. These types of vases were one of the so-called "export" items, having been manufactured with the sole purpose of being sold to foreigners in the Meiji Era (1868-1912) of Japan, named after the reigning Emperor and in which the country began its modernization and westernization, establishing itself as a world power thanks to a certain openness to foreigners (presence and ideas), changes in the government, etc. Dragons are the most powerful symbol of all the animals in Japanese art, considered to be divinities related to water, and to which, for example, the change of seasons was attributed (when they flew through the sky it was spring). The crane and the turtle symbolize longevity, with the first animal in flight (in the upper area) associated with the sky and the second with the lower area (of a kimono, for example) linked to the earth. As for the elephant-headed side tables, it should be noted that they were highly prized pieces of furniture by the British during part of the colonial period in India (1858-1947), with numerous examples imported to the United Kingdom, including those found in Buckingham Palace and other noble residences. Note the quality of the present pair, which can be clearly seen in the animal carvings and plant motifs that complete the table. In Hindu iconography, the elephant is associated with wisdom, divine knowledge and royal power.

· Size: 60x60x165 cms.
ANTIQUES

Ref.: ZF1280
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WALNUT TABLE FOR BARGUEÑO DESK, 17TH CENTURY.

Walnut barqueñera table, 17th century. Turned legs joined with double chamfers are secured to the table top with curved wrought iron fasteners. This type of furniture was made to hold and display wastepaper baskets or desks, and they were utilitarian objects, but were often decorated in a restrained manner so as not to detract from the piece they supported. In this case, the movement for which Baroque art is known is seen in the legs and fasteners.

· Size: 106x38x82 cms.
ANTIQUES
FURNITURE

Ref.: Z6293
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
SILVER CEREMONIAL CUP. SPAIN,16TH CENTURY.

Catavinos or quaking glass. Silver in colour. Spain, 16th century. With contrast marks, illegible. A stemless, handleless goblet made of silver in its colour and with a circular base, a flared rim towards the outside and a concave centre upwards on the inside, which has an embossed decoration based on plant elements (flowers on the rim, other different ones towards the centre around a central floral motif and alternating with rectangular motifs), scallop-shaped 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 frustrated hallmark, in which the letters “AIEB” can still be read, followed by a rectangular motif placed vertically. These types of drinking cups, sometimes also known as bernegales, were used on special occasions (ceremonies, etc.), hence their material and the decoration they feature, and 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. Similar examples can be found in very few private collections and only in some important museums. For example, similar bernegales from the 16th century are kept 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: 16x16x2 cms.
ANTIQUES

Ref.: ZF0957
PAIR OF SILVER CANDLE HOLDERS. ASPIAZU, NICOLÁS. SAN SEBASTIÁN, SPAIN,...

Pair of candlesticks. Silver in its colour. ASPIAZU, Nicolás. San Sebastián, Spain, towards the end of the 18th century. With hallmarks and initials. Pair of silver candlesticks in their colour with curved profile bases, combining different lines and reminiscent of Rococo models, and a balustrade axis with mouldings and a polygonal section, which extends into the burner. One of them has engraved initials towards the base of the axis. On both pieces, on the edge of the base, you can see the hallmark accompanied by the engraved initials M and Jo. The silversmith Nicolás Aspiazu was active in the city of San Sebastián towards the end of the 18th century and beginning of the 19th century. Weight: 1,250 grams.

· Size: 13,5x13,5x25 cms.
ANTIQUES

Ref.: ZF1165
SILVER CUP. POSSIBLY NAVARRA, SPAIN, CIRCA 1700.

Wine tasting vessel. Silver. Possibly Navarre, Spain, circa 1700. Wine tasting glass with a base made of silver in its colour. The base has a decoration of smooth mouldings, and the upper part has a raised and scalloped central piece, with plant motifs in bands alternating with oval mirrors around, followed by a recess and, towards the outside, a band with semicircular arches with tears and simple elements at the top, all closed by a chain of pearls. Stylistically, they are very reminiscent of the 1697 design by Miguel de Amasa 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 the Works of the Church of San Saturnino in Pamplona (Navarre, Spain), which are considered to be the work of Miguel de Amasa, made in Pamplona and dated 1697 (they have a hallmark, the double P crowned with a chain border that was used in the silverworks of Pamplona between 1652 and the first quarter of the 18th century). Weight: 294 grams.

· Size: 10x19x4,5 cms
ANTIQUES

Ref.: ZF1307
SWISS GOLD MUSICAL FOB SEAL. CIRCA 1820

Music box pendant. Gold. Switzerland, circa 1820. Pendant made of gold alloys with different metals to give it different tones, which has a piece at the top (which winds the music box mechanism), an arch ending in two ram heads facing each other with respect to an acorn and on an oval base (which contains the mechanism), decorated on the outside with a band of plant elements. Known as chain seals because of their shape, many are not really seals but pieces designed to look like them and conceal a series of curious mechanisms, whether flat figures, automata or music boxes. These types of pieces have been seen accompanying pocket watches and also on chains, worn around the neck or attached to the waist. Highly prized by private collectors, these types of pieces can also be found in decorative arts museums around the world (Victoria and Albert Museum, etc.) Weight: 21 grams.

· Size: 3x2.5x4.5 cms.
ANTIQUES

Ref.: ZF0832
SAINT ANTHONY OF PADUA WITH JESUS, MALINAS. WOOD. MECHELEN, 16TH CENTU...

Saint Anthony with the Infant Jesus. Wood. School of Malines, 16th century. A carved wooden sculpture, worked, as was usual in this centre, on the front part because it was intended to be placed on an altar, representing Saint Anthony of Padua with the Child Jesus sitting on a book, in one of the most common iconographies for this Franciscan saint. The relationship with the school of Malines is evident in the physiognomy of the figures, the remains of the polychromy, etc. The "poupées malinoises" or "Malines dolls" are small sculptures of saints made in the late 15th century and early 16th century in the workshops of Malines (Flanders) and were known by these names because of the similarity of their faces to those of dolls or peponas ("poupins"); they were sometimes also called "cutlet sculptures" because they were finished only at the front, being flat at the back, depending on the depth of the bottom of the niche where they were to be placed. They were made for small domestic altarpieces - normally containing three statuettes or "dolls" - rectangular in the shape of a box and with painted wings or doors. The best-known example is perhaps the altarpiece preserved in the Mayer van den Bergh Museum in Antwerp.

· Size: 8,5x3,5x28,5 cms
ANTIQUES

Ref.: ZF0907
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
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PAIR OF NAPOLEON III PERIOD CANDLESTICKS OR CANDELABRA. WHITE MARBLE, ...

Pair of candelabras. Gilt bronze, white marble. Around the time of Napoleon III, France. Pair of two-light candelabra with a white marble base and gilt bronze details made in gilt bronze, each showing a half-naked Cupid or little angel with his body adorned with two garlands of roses and holding a large stem that divides in two and is decorated with leaves and topped with two large roses, which serve as a base for the candles. The pedestals have a circular gilt bronze base with disc legs on which a disc of greater diameter and lower height than the next has been placed, thus creating two levels, these enhanced with a band of pearls and a garland of laurels. Stylistically speaking, they resemble French examples from the Napoleon III period inspired by the Louis XVI style that are known to be preserved in private collections abroad. The style known as the Second Empire or Napoleon III in France was a very eclectic style in terms of the decorative arts, drawing inspiration from a large number of styles from the past of this school, sometimes combining the use of modern materials at that time. It flourished in the country during the reign of Napoleon III (1852-1871), and had a great influence both in Europe and in North America. The style known as Louis XVI was one inspired by classical antiquity, nature and the Louis XIV style.

· Size: 23x10x33 cms
ANTIQUES

Ref.: ZF0788
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
GILT BRONZE PAX BOARD. POSSIBLY ROME, LAST THIRD 16TH CENTURY-FIRST TH...

Peace-bearer, Pietà. Gilded bronze. Possibly Rome, last third of the 16th century-first quarter of the 17th century, following the model of Michelangelo Buonarroti. Gilt bronze plaque with an S-shaped handle on the back attached to an L-shaped piece decorated with plant elements, which has reliefs on the front. The architectural frame has two curved pediments as a finishing touch between which God the Father appears blessing, a series of motifs around the central theme and a flat base with fine mouldings on which a winged angel's head appears. This central motif is an image of the Virgin Mary with the dead Christ supported by two angels, which closely follows a drawing attributed to Michelangelo Buonarrotti dated between 1538 and 1544 and preserved in Boston (Isabella Stewart Gardner Museum). It should be remembered that, by the mid-sixteenth century, Michelangelo's Pietà to which we refer was widely known thanks to drawings, reliefs, engravings, etc. There is also evidence of a bronze peace-bearer made with this image (the one preserved in the Basilica della Santa Casa in Loreto is considered to be the only known example dated 1586), which gave rise to a notable production in Rome at the end of the 16th century, full of prominent foundries among which Jacopo (who worked with Michelangelo) and Ludovico Duca would stand out, linked to some of these peace-bearers. It is also worth noting the similarity of the architectural composition of this piece with the entrance to the façade of the church of Santa Maria di Trivio in Rome, a work by Jacopo del Duca carried out between 1573 and 1575. Compare this piece with the gilt bronze peace-bearer in the Bernard d'Agesci Museum in Niort, France (inventory 914.1.94), with another associated with the circle of Stefano Maderno preserved in a private collection (different handle to this one), with the aforementioned one from Loreto and with another, with openwork exterior decorative elements, also in a private Italian collection.

· Size: 11x5x17 cms.
ANTIQUES

Ref.: ZF1166
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CASTILLIAN TABLE. WALNUT, IRON. SPAIN, 17TH CENTURY.

Castilian table. Walnut wood, iron. Spain, 17th century. Restored board (brushed). Walnut table with four column-shaped legs, ending below in carved cubes on the fronts with geometric elements on which there are two circular shapes; these cubes are joined in pairs by means of carved jambs on the front with tabs. The waist of the piece of furniture has this same carved tabs around rectangular shapes on the sides and back (with ovals in the centre, highlighted with mouldings and circular elements). The drawer on the front has a decorated lock shield, lockable by key and two areas on the sides of it with rectangular panels framed by simple geometric shapes. Compare, for example, the walnut table with disc legs dating from the 17th century in the collections of the former Municipal Museum of Madrid; another walnut and pine dais with carved drawers and lenticular turned legs in the National Museum of Decorative Arts in Madrid, dating from the 17th century; or a Castilian buffet table from the 17th century in the Museo Casa Natal de Cervantes (Alcalá de Henares, Madrid). Typologically, due to its decoration, this is a model with a long tradition in the Castilian school. Weight: 20 kg.

· Size: 83,5x54,5x59,5 cms.
ANTIQUES

Ref.: ZF1238
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RELIQUARY PENDANT. BRONZE, ENAMEL. 17TH

Reliquary pendant with cross of Saint Dominic. Gilt bronze, enamels. 17th century. Octagonal gilt bronze pendant with openings on the two smaller fronts and in the central part, decorated on the outside with smooth stepped mouldings and, on the front parts, with the black and white cross with fleur-de-lis edges of the Order of Preachers (Saint Dominic) and, on the other side, only the gilding. When opened on the central part, a protected image of a Dominican saint is revealed with its corresponding relic highlighted in an oval at the bottom. There are reliquaries or devotional pendants with openings from the Byzantine period, and they are usually in the form of a cross or a book. Later, we have examples such as the book-shaped pendant from around 1600 in the Courtauld Gallery in London, with painted glass panels in a gilded silver frame; more striking works are the Spanish pendant from around 1550-1600 in the British Museum in London (WB. 183); other somewhat simpler works such as those made of silver containing miniature carvings of religious scenes (Museo del Traje, Madrid) in oval, circular, square, etc. shapes; and devotional medals without an easily visible opening that contain relics inside. The present example would surely have been used by an important official within the Order of Preachers, both because of the material and because it contained a relic with an image of the saint, and we must not forget its connection with the Inquisition in Spain. Weight: 80 grams.

· Size: 5x2x6.5 cms.
ANTIQUES

Ref.: ZF0817
DANCER WITH SNAKE OR CLEOPATRA. BRONZE, MARBLE. DEVENET,

Dancer with a snake or Cleopatra. Bronze, marble. DEVENET, Claude-Marie (1851-Paris, 1931), ca. 1925. With brand. Bronze figure on a pyramidal pedestal of veined stone showing a young woman in exotic clothing, crouching, holding a snake in her hands. Stylistically, it presents details that allow it to be considered within the Art Deco style and, as for the subject, there are known pieces in which she appears as a dancer and others that link the scene with the death of Cleopatra at the hands of the asp. A disciple of Auguste Dumond at the École des Beaux-Arts in Paris, Claude-Marie Devenet was awarded a Third Class Medal at the Salon of 1882, and a Bronze Medal at the Universal Exhibition in Paris in 1900. Weight: 3.4 kg.

· Size: 10x8x32 cms.
ANTIQUES

Ref.: ZF1194
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
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
SILVER SPICES BOX. LIZASOAÍN. SPAIN, MADRID, 1768.

Salt or spice shaker. Silver. LIZASOAÍN. Spain, Madrid, 1768. With contrast marks. Silver spice rack in its colour with a truncated cone-shaped body, a sinuous lower edge resting on volute legs, a hemispherical bowl without divisions, a dome-shaped lid (with lines creating segments), and decorated with plant and architectural elements in high relief. Typologically, this is a spice rack belonging to a somewhat peculiar tradition or model, common in Córdoba and Madrid but also present in Gerona, Antequera, etc. The hallmarks place its production in 1768, in Madrid, and by the hand of a silversmith named Lizasoaín. Although three masters are known by this surname, the most outstanding in his time, both for his work and for his contemporaries, was Miguel Antonio Lizasoaín, a Navarrese active between 1735 and 1779, the year of his death, in the Spanish capital. Weight: 300 grams.

· Size: 9x6.5x8 cms.
ANTIQUES

Ref.: ZF1018
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
VIENNA TABLE CABINET. WOOD, ENAMEL. 19TH CENTURY.

Viennese table jewellery box or chest. Wood, enamels, bronze. Austria, second half of the 19th century. Requires restoration. Rectangular table or desk cabinet with four rectangular protruding corners and a finial that projects from an openwork railing, forming an architectural composition and ending in a gilt bronze child figure. The four corners of the piece of furniture have semicircular arches with twisted gilt bronze columns, sheltering bronze female figures in a dancing attitude, with other children on top. In addition to a series of gilt bronze applications spread throughout the piece of furniture, there is a series of hand-painted enamel plaques with mythological scenes in pastel tones. Two doors on the front give access to three interior drawers, with handles and enamel plaque decorations with landscapes. Note that the doors are also decorated with scenes inside. This type of cabinet was highly appreciated in courtly circles, being used in the private sphere of women to store jewellery or other valuable objects, with the added bonus of being a very decorative piece of furniture. The shape, materials (ebony or ebonised wood, bronze...) and enamel plates follow the style of the 19th century Viennese school, specialised in this type of cabinet (the most important were made in Vienna), in which it is not usual to present the corners with architectural shelters as can be seen in this example (there are two other examples in private collections, one with smooth bronze columns and the other with porcelain and twisted columns, both dated around 1880).

· Size: 47x44x56 cms.
ANTIQUES

Ref.: ZE433