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THREE LOCKS CHEST. WALNUT, IRON. SPAIN, 17TH CENTURY.

Town hall chest. Walnut wood. 17th century. A rectangular carved walnut chest with a flat lid and simple decoration on its fronts with smooth mouldings of different widths. It is slightly raised from the ground thanks to six legs with a cylindrical base on a flattened circle. On the outside, it has a series of wrought iron fittings (corners with a fleur-de-lis finish), two handles on the sides with openwork fittings and, on the front, three locks with a key with an openwork lock shield decorated with simplified plant elements. On the inside, it has a wooden partition on one side and situated high up, which consists of a rectangular space with a hinged lid and two small drawers at the bottom. The three iron keys have their worked and decorated eyes, with simple decorative elements on that side of the stem or central part and the usual flat keys. Chests with three locks are also known as “Town Hall” or “Council” chests, because both these and those with two keys were often used by religious, military or civil organisations to store valuable objects and documents, securing them by giving a key to each person in charge (as many people as there were locks and keys), so that they had to come together to open the cabinet. In many places in the Spanish territories, it was used as a municipal archive, following laws inherited from a pragmatic of 9 June 1500 with which the Catholic Monarchs obliged the Councils of their territories to build town halls, prisons and have a chest of privileges and deeds. Despite having been abundant in their time, not many examples have reached us because they have fallen into disuse and have been replaced. Compare with that of the Council of Villafranca de la Marisma (Los Palacios y Villafranca, Seville), that of Valdipiélago (León), that of Matapozuelos (Valladolid), that of the Cabildo of Buenos Aires in Argentina (18th century, following previous models), etc.

· Size: 157x64x78 cms
ANTIQUES

Ref.: ZF0870
SPANISH CHEST OF DRAWERS FOR SACRISTY-USE. WALNUT AND IRON. SPAIN, 17T...

Sacristy chest of drawers in walnut wood with carved decoration. Spain, 17th century. A cabinet with three very deep drawers, the lower one higher, on rectangular legs and with a straight wooden top, slightly protruding. Each of the drawers has two wrought iron handles. The sides are decorated with simple rectangular mouldings, while the drawers are carved in relief: the upper one with vines and leaves; the central one with fleshy vegetal scrolls; the lower one with three plaques, the lateral ones with a central rhombus and flowers in the corners, and the central one with a rose framed by a cord with three knots on each side linked to two keys. These carvings, in addition to the depth of the drawers, the horizontality of the composition and lines and the straight upper panel, suggest that the piece of furniture was used in a sacristy to store liturgical vestments appropriately, and also indicate that it could have been commissioned by a Franciscan institution (note the typical cord with knots) dedicated to Saint Peter (because of the two keys in the corners). Although it does not have the rear panelling that has been common since the 16th century, the front has voluminous carvings, typical of the 17th century, and decorative elements typical of the Baroque, as well as certain reminders of earlier furniture (panels in the lower area). The carving and the quality of the assembly of the boards (note the tongue and groove of the corners) show that these were important works, intended for religious environments. The side panels are reminiscent of those of the central chest of drawers in the sacristy of the Cathedral of Avila. As in the one in the sacristy of the Cathedral of Murcia, it is the fronts that have carvings in this example, which are reminiscent of others such as those on the refectory table in the collection of the Marquis of Santo Domingo (Madrid). However, those with simpler fronts are more common, although, due to direct influences, examples can be found that demonstrate the popularity of this prototype such as the chest of drawers in the sacristy of the Old Convent of San Francisco in Havana (Cuba).

· Size: 175x105x112 cms.
ANTIQUES
FURNITURE

Ref.: Z5454
LAMP. BRONZE, GLASS. LATE 19TH CENTURY.

Ceiling lamp. Gilt bronze, glass. Late 19th century. Ceiling lamp with arms made of gilded bronze and decorated with plant elements, which also has a series of transparent glass beads in the shape of teardrops and pearls, and with points of light inside translucent glass lampshades with transparent oval-shaped elements. Electrical installation replaced.

· Size: 80x80x95 cms.
ANTIQUES

Ref.: ZF1142
TABLE FOR SPANISH WRITTING DESK (BARGUEÑO) WITH “SAINT ANTHONY” LEGS. ...

Bargueñera table with “San Antonio” leg. Wood and rosewood, wrought iron fasteners. Spain, 18th century. Rectangular table top decorated with simplified geometric motifs combining woods of different colours in a symmetrical arrangement. Two straight legs, open downwards and joined with a jamb, have been secured by two curved fasteners with a disc in the centre made of forged metal in a coloured finish. clear. While the curves of the fasteners and discs may recall examples from the Baroque, the simple geometric decoration of the upper board, the absence of movement and the straight lines of the legs, of the typology known as “San Antonio” (which also (found in examples from the 17th century), suggest the 18th century, already under the influence of Neoclassicism. Compare, for example, with the magnificent example of a dining table from the Royal Workshops dating from the second third of this century and preserved in National Heritage. Typically, this type of table, made to support desks, whether Spanish or Italian, had smooth tops without any type of marquetry because they would hardly be visible with the furniture and only the two iron fasteners would remain on the front. that this example has or, alternatively, that they were dressed with rich fabrics to highlight the wastepaper baskets, leaving little more than the legs in sight. They were works made for high-class homes just like these desks, so only outstanding private collections and important museums preserve similar examples: one in the Sorolla (inventory 30023) in Madrid has a board with pyrographed white resin plates with mythological scenes, another from the 17th century in the National Museum of Decorative Arts (CE02068) with geometric motifs in marquetry, or Another one very similar to the one present in the Daroca Regional Museum (00038) but of contemporary date, made inspired by law firms like the present one.

· Size: 176x70x79 cms.
ANTIQUES
FURNITURE

Ref.: Z4858
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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
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
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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
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
EXTENDING TABLE (6 M). MAHOGANY, METAL, ETC. ENGLAND, CIRCA 1930.

Extendable table (6 metres). Mahogany wood, metal, leather, etc. England, circa 1930. Rectangular table made of mahogany carved with rectangles of another material in green (leather) edged in gold on the top, which has eight legs finished with rollers and a “worm screw” system under the tabletop that allows its extension up to six meters thanks to a manually operated crank that is attached to one of the smaller sides of the piece. The claws are very common in 18th century English examples (a type known as “claw and ball” with a cabriolet leg, a shape that, although more traditionally French, spread rapidly throughout Europe). The main theory of experts is that it is a design derived from Chinese art (a dragon’s claw grasping a pearl or similar) and that it would have reached the West thanks to the trade in porcelain, silk, etc., appearing for the first time in English silverware and, from there, spreading to other arts. The transformation of the dragon’s claw into a lion’s paw is attributed to English cabinetmakers, this animal symbolising English authority. Thus, the “ball and claw” was popular in England between approximately 1710 and 1750 (later recovering as the styles of the past became fashionable again), and with variations in shape and lines (shape of the claw, details of the nails and “fingers”, proportion between the sphere and the extremity, etc.) depending on the area in which this decorative element was used. The decoration present towards the waist of the piece of furniture and on the edge of the upper board, in slight relief and leaving the wood in its colour, is of an architectural and vegetal theme and shows an influence of ancient classical models (Greek and Roman) both in its motifs and in the composition (symmetry on the sides of the piece of furniture, harmony, etc.). As for the presence of the fabric upholstery on the top, this is a more common element in tables intended for conferences, desks or games than in dining tables (which usually have a wooden top), although this detail does not exclude any function for it. Also worth noting is the preservation of the rollers on the legs, an element that used to be removed or lost with use and the passage of time. 428x160x86 cm. Extended 700x160x86 cm Height up to ball 75 cms.
ANTIQUES

Ref.: Z5694
WALNUT DINING TABLE. CONTEMPORARY.

Contemporary dining table following English models. Dining table with a rectangular board made from a single piece of carved walnut wood, inspired by old examples of English origin in its simple and elegant lines. The six legs are joined in pairs at the bottom by a series of slats in the form of frames to stabilise the piece.

· Size: 400x92x80 cms.
DECORATIVE ANTIQUES

Ref.: ZF0151
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

Gate with pass-through. Wrought iron. Spain, 17th century. Rectangular iron railing with a half-height railing, a frame and supports to keep it upright. The vertical bars have opposing balustrade shapes and a series of discs and small smooth mouldings, all arranged symmetrically around this horizontal railing. On the sides, two square bars have a series of smooth mouldings and architectural decoration with a strong classical influence. Compare, for example, with the works preserved in the Victoria and Albert Museum in London, or the confessional in the Metropolitan Museum in New York dated 1629 (inv 57.137.51) and with another from the same museum, the work of Francisco González (inv 56-234.12 Ad).

· Size: 194x61x294 cms
ANTIQUES

Ref.: ZF1308
DINING ROOM WALNUT TABLE WITH SOLOMONIC LEGS

Dining table in walnut wood with Solomonic leg, 20th century. Dining table with a two-piece topped top on legs with Solomonic turning and chambrana joined to it with curved wrought iron fasteners, following Baroque models

· Size: 219x96x82,5 cms.
ANTIQUES
FURNITURE

Ref.: Z5591
SPANISH WOODEN TABLE WITH LYRE LEGS AND IRON FASTENERS, 18TH CENTURY.

Spanish table with lyre leg and iron fasteners, 18th century. The two lyre legs that support the work have wavy lines at the bottom and shapes on the sides that recall those of French cabriolets. Both are joined with an iron fastener and support a single-piece board with carved edges. This type of leg, called lyre legs due to their resemblance to the musical instrument, was widely used during the Renaissance, and continued to be used later due to the movement that their curved profiles provided to the piece of furniture.

· Size: 73x103x220 cms.
ANTIQUES

Ref.: Z6146
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TABLE WITH SOLOMONIC SHAPE. WALNUT, METAL. 20TH CENTURY.

Table with Solomonic leg. Walnut wood, metal. 20th century. Rectangular table made of carved walnut wood with legs and decorated jambs combining smooth rectangular cubes and areas shaped like a Solomonic column between discs. The table top is secured to the jambs by means of two iron fasteners, following both the decoration and this detail of models common in antique Spanish furniture (mainly 17th and 18th centuries).

· Size: 104x247x79 cms.
ANTIQUES
FURNITURE

Ref.: Z6506
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LOUIS XV STYLE CHANDELIER, TWELVE LIGHTS. GLASS, BRONZE. SIGNED. BACCA...

Louis XV style chandelier; twelve lights. Glass, bronze. Baccarat, France, 19th century. Signed. Adapted to electric light. Chandelier with a golden metal body as an axis from which a series of rods of the same material branch out in different positions, creating a composition of several floors and giving space for the points of light and the elements of white transparent glass. These come in a wide variety of shapes and sizes (star-shaped or flower-shaped; others have a complex design and are engraved with a Greek cross on the lower part of them; there are others with vase-shaped shapes; saucers that were originally under the candles and are now under the rods of the light bulbs), combining smooth areas with other striped and engraved ones. The metal arms have hardly any decoration, thus giving prominence to the glass; in this same material there are polygonal “saucers” under the points of light, a crown in the upper area of the lamp, etc. It has three points of light wrapped in lampshades facing downwards, another three points of light facing upwards in an inner circle, and six more in the outer area. The French Baccarat factory received its first order in 1823, thus beginning a long series of works for royal houses, heads of state, etc. around the world. The first of many accolades would come in 1855 when it was awarded the Gold Medal at the World's Fair in Paris. Between 1846 and 1849 the manufacture marked some of its finest crystal items with the letter “B” and the year in which the piece was created. Crystal production expanded during this period, and earned the firm a well-deserved international reputation for quality glassware, with pieces such as candlesticks and perfume bottles. By 1860 the manufacture began marking its products with a trademark, usually engraved on the base of the piece. During the second half of the 19th century, the Imperial era ended with the fall of Napoleon III, and trends outside French art began to have a significant influence on the company's work (particularly Japanese, a key influence on the development of French decorative arts at the end of this century). During these years, the factory also grew significantly on the Asian continent (India received some of the most striking orders...), and the production of perfume bottles became one of the most important for Baccarat (by 1907 production was around four thousand bottles a day). In 1936, Baccarat began to engrave its work with acid and the shot-blasting technique. Today, historical Baccarat pieces can be seen in the museum that bears its name in Paris, in prominent residences in Europe and Asia, etc.

· Size: 90x90x130 cms.
ANTIQUES

Ref.: ZF0279
GILT WOODEN NICHE, ROCOCO, 18TH CENTURY.

Niche in carved and gilded wood, Rococo, 18th century. A niche formed by a back decorated with a moulding and a support for a sculpture decorated with a mask and plant motifs and topped by a split pediment with a central motif worked on its lower part resembling a cloth. Engraved cornucopias and leaves appear throughout the back. The work would have been part of an altarpiece or could have been created as it has been preserved for a private chapel.

· Size: 216x74x40 cms.
ANTIQUES
FURNITURE

Ref.: Z3413A
WALNUT WOOD AND IRONWORK CHEST, XVII CENTURY.

Chest in walnut wood and wrought iron fittings, 17th century. Rectangular chest with base and lid with mouldings and fittings and corners in wrought iron on a red cloth background made from stylised and simplified plant and architectural elements. Lock with key at the front. One-piece boards in excellent condition. The characteristic prototype of these pieces is followed in the Spanish examples for chests, which would have a civil or religious use, being used to store clothes, dishes, etc.

· Size: 75x190x80 cms.
ANTIQUES
FURNITURE

Ref.: Z6357
THREE LOCKS CHEST. WOOD, WROUGHT IRON, LEATHER. CA 1600.

Three-lock chest. Wood, leather, wrought iron. Circa 1600. Rectangular chest with a flat lid made of carved wood and covered on the outside with leather and wrought iron fittings (three bolts, corners, two handles, decorations, hinges). Inside, it has a red fabric covering both on the body of the chest and on the lid (an area in which there is embroidery based on geometric elements arranged in a symmetrical composition, including missing details). The type of piece (rectangular box with a flat lid) is one of the most common in Spanish chests and coffers, with examples of this shape being found as early as the early Middle Ages. As for the use of textiles, it was common in Spain as early as the 15th century to make chests lined on the outside and inside, usually in red (the most expensive dyes were red and blue), both to enhance the piece and to protect the contents. Covering the wood with leather on the outside was also common, again to enhance and protect the chest. As for the fittings, the lobed spear-shaped forged iron pieces are reminiscent of examples from the late Gothic period, already influenced by the Renaissance, with some more advanced forms. The three locks have openwork shields decorated with waves and simplified plant elements, and the presence of all three in the same chest refers to a type known as “town hall” or “council” (as there were three keys, it was necessary for the three authorities who had one to come together and agree to access the contents, adding an element of security). It is not very common for this type of piece to be preserved in good condition, and similar examples can be found in some important private collections and in institutions such as the Museum of the Cathedral of Valencia, the City Hall of Los Palacios y Villafranca, the Military History Museum of Seville, etc.

· Size: 125x48x57 cms.
ANTIQUES
FURNITURE

Ref.: Z2316
COMMODE (TAQUILLÓN). WALNUT, WROUGHT IRON. SPAIN, 17TH CENTURY.

Ticket office. Walnut wood, wrought iron. Spain, 17th century. Rectangular low cabinet made of oak wood with wrought iron elements, raised slightly on four legs, with a slightly protruding straight top and fronts decorated with carvings, and two doors under two drawers, all with a key lock (lock shields decorated with simple lines only on the doors). When the doors are opened, access is given to a space divided in two by a shelf decorated with a series of cut-out lines on its lower edge. The upper part, under the top, has corbels carved with scrolls, tabs and simple architectural elements; on the sides of the front, grooves recall architectural motifs. The exterior of the doors and drawers and the sides of the cabinet are decorated with panels of different sizes and shapes (crosses, squares, rectangles), following a tradition deeply rooted in Spanish furniture and which allows the cabinet to be compared with works such as the cupboard (upper part with lattice doors) from the last third of the 17th century made of walnut, pine and iron which is preserved in the Museo Nacional de Artes Decorativas in Madrid, or the cupboard with turned balusters from the 17th century which is in the Museo Casa de Cervantes in Valladolid, for example.

· Size: 113x52x86 cms.
ANTIQUES
FURNITURE

Ref.: Z5279
GOTHIC CHEST. PINEWOOD, METAL. 16TH CENTURY.

Gothic chest. Carved pine wood, iron. 16th century. Rectangular chest with a flat lid made of carved wood and decorated on the outside with a series of divisions into rectangular spaces using smooth mouldings. On the front, these spaces have been decorated with a relief of the type known as “napkin” or “folded cloth” or “parchment”. The rectangular and simple legs still retain some carved detail. In the centre of the front there is a metal lock shield (probably wrought iron) to secure the contents. The relief of folded cloths was common in Gothic furniture, originating in Flanders in the 15th century and commonly used in Spain until well into the 16th century, although there are examples from the 17th century that retain this decorative element. As for the wood, although walnut is common in Spanish furniture, it is not unusual to find examples carved in pine wood. Gothic chests can now be found in several prominent museums: the National Archaeological Museum in Madrid has four Gothic chests from the 15th century (with Gothic architectural decoration and other carved elements); the Lázaro Galdiano Museum has an Italian example from the 15th century with skylights and arches reminiscent of Muslim diamond-shaped panels (Inventory 2141); the Museum of Navarra has a wedding chest made of wood and embossed and polychrome leather from the last third of the 15th century (inventory CE000115); etc. The National Museum of Decorative Arts has an oak sideboard (CE01616) decorated with carved panels “of folds” or “of scrolls”, dated around 1500, and a chest with similar decoration dated between 1476 and 1525 (CE19287).

· Size: 189x62x90 cms
ANTIQUES

Ref.: ZE148
NEOGOTHICH CUPBOARD. OAK. 19TH CENTURY.

Neo-Gothic wardrobe. Carved oak wood. 19th century. A tall piece of furniture made of carved oak with a dark finish, consisting of a hollow lower body decorated with “napkin” or “parchment” plaques, bands of linear motifs and thin columns, and an upper body with two doors (which give access to shelves with two spaces); between them there are two drawers with fronts carved with plant motifs. Raised on legs decorated with plaques on the front, the doors have a symmetrical composition of stems with grapes (around Gothic-type letters) in a setting of smooth mouldings, decorated ironwork and human figures on pedestals; the sides of this area have “parchment” decoration. The piece is finished off with a prominent smooth moulding. Typologically, the present piece follows a form that recalls certain Renaissance works (especially buffets) with variations that were already common in pieces from the 19th century. As for the decoration, focused on the front, the influence of Spanish Gothic works is clear both in the subject matter and in the composition: sculptures on pedestals and the clothing of the figures, the compositions of the drawers, the presence of those panels with “napkin” carvings, the panels with the stems and grapes, the letters, the thin columns, etc. Likewise, it is possible to appreciate a certain air from Neoclassicism, a common style in the 19th century. At this time, it was common to draw inspiration from styles of the past to create outstanding furniture, such as the present one. Although Neo-Gothic was more frequently used for ecclesiastical works, it was not absent from important residences and other institutions, as it was one of the favourite styles at the time. It is possible to find examples that recall this cabinet in museums such as the Romanticism Museum in Madrid, the National Museum of Decorative Arts in the same city, etc.

· Size: 50x132x170 cms.
ANTIQUES
FURNITURE

Ref.: Z4866
FOLDABLE MAHOGANY TABLE, 17TH CENTURY.

Mahogany dining table with straight folding leg, 17th century. The four legs, joined together by straight frames and fixed to the table top with frames, do not have any notable decorative elements, but they do have a series of metal fittings that allow it to be folded for storage. Despite belonging to the Baroque, there is no movement or hardly any decoration, as befits a strictly functional piece of furniture.

· Size: 188x133x79 cms.
ANTIQUES
FURNITURE

Ref.: Z6208
MAHOGANY AND METAL EXTENSIBLE DINING TABLE. ENGLAND, 19TH CENTURY.

Extendable table. Mahogany wood, metal. England, 19th century. Rectangular extendable table with boards and a mechanical system manually operated by crank, made of carved mahogany wood and with metal elements (leg ends, mechanism, rollers). The top board has been left smooth, with a slight recess towards the edges that curves the area and extends to the corners of the piece of furniture, contributing to the comfort of its use as a dining or conference table; the legs have outstanding carving and turning work, with a stipe shape and a reminder of architectural columns due to its combination of mouldings, highlighting the polygonal base and the fact that it retains the small metal wheels or rollers that help move the piece of furniture. Both the wood chosen for the table (mahogany) and the lack of decorative elements (which highlights the quality of the material and the lines) are common characteristics of antique English furniture. Note the similarities with English Victorian style pieces.

· Size: 150x180x71 / 150x320x71 cms.
ANTIQUES

Ref.: ZE229
ENGLISH REGENCY MONOPODIA CONSOLE. ROSEWOOD, BRONZE, MIRROR. FIRST HAL...

English Regency console table. Rosewood, gilded wood, bronze, mirror. First half of the 19th century. Console with a rectangular top with smooth wooden edges, featuring a waist decorated with gilded bronzes and a band of black architectural elements. At the front, it rests on two gilded legs with a feline head (leopard or panther), plant decorations and a lion's claw finish; the back features a rectangular mirror. The base repeats the pattern of the upper area, and is also decorated with gilded appliqués. Although the model shows the influence of the French Empire consoles common at the time, details such as the wooden top, dark lines, felines on the front, etc., are more reminiscent of English examples from the Regency period, so called because it was set at the time when the future George IV was Prince Regent (1811-1820). Compare the feline legs with illustrations by Charles Heathcote Tatham (1772-1842) and Thomas Hope (1769-1831), and with furniture designs by George Smith (1756-1826).

· Size: 99x38,5x93 cms
ANTIQUES

Ref.: ZF1097

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