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TAPESTRY, ALEXANDRE THE GREAT WOUNDED IN THE THIGH AT THE BATTLE OF IS...

Tapestry, Alexander the Great wounded at the Battle of Issus. Flemish school, after Jacob Jordaens, attributed to the workshop of Jan Leyniers, ca. 1650. Large tapestry with a wide frame decorated with a plant composition which, on the sides, is partially replaced by a panoply of weapons (helmet, shields, etc.) and enhanced by some putti or half-naked children towards the corners; in the centre of the upper part there is a cartouche with a text in Latin and capital letters ("alexanderdarium persequens inter dimicantes in femore levit er mucrone perstrinc itur"; Alexander, pursuing Darius among the combatants, is slightly wounded in the thigh by a sword). The central scene, figurative, shows a battle, with the two protagonists in the centre (Alexander the Great highlighted by a red cape, thoracata armour following classical models and his posture), surrounded by a series of characters, some dressed in tunics, others in armour and others half-naked. This work is part of a series known as the “Historia de Alexander the Great”, designed by Jacob Jordaens in the 1630s. This scene is said to represent the Battle of Issus, dated 333 BC, which is considered one of the most significant episodes in the emperor’s life. Two preparatory drawings from this period have been preserved, one at the École des Beaux-Arts in Paris and the other at the Dahlem in Berlin. This series follows the “Life of Charlemagne” (based on designs by Jacob Jordaens and produced in the same years). Both stories, considered important moral examples for rulers, were influential for centuries. There are known to be two tapestries with this same theme, both sold at two prestigious auction houses, another one in the British Royal Collection, there are five tapestries from this same series in the Palazzo Chigi in Rome (Italy) signed by Leyniers, four in the Cathedral of Toledo (Spain) by another weaver, and one by Jacob II Guebels which is in the Palazzo Marino in Milan (Italy). Jacob Jordaens (1593-1678) was a prominent Antwerp painter, also highly regarded for his tapestry designs. He was active between 1630 and 1670, and extended the innovations brought to this luxury art by Rubens (namely, the introduction of large, colourful, dramatic and dynamic groups of figures with a marked attention to design). Jordaens brought a sense of "baroque" drama, with chiaroscuro and balance of figures with their settings, whether natural or architectural.

· Size: 402x612 cms.
ANTIQUES

Ref.: ZF1234
TWO RELIEFS, EVANGELIST SAINTS JOHN AND MATTHEW. POLYCHROMED AND GILT ...

Pair of reliefs, Saint John and Saint Matthew. Polychrome wood. Possibly from the Burgos school, 16th century. Pair of reliefs made of carved and polychrome wood, each showing a human figure sitting and writing, surrounded by books and accompanied by a figure respectively. One, with black hair and a beard, is accompanied by another winged child figure who brings him an inkwell; the second, younger (beardless) and with blond hair, is shown concentrating on a scroll, while an eagle brings him an inkwell with one paw, resting on one of them. As is appropriate for this type of subject, each of the Evangelists is usually accompanied by the corresponding figure of the four that make up the Tetramorph. Thus, Saint John is shown with the eagle and Saint Matthew with the “winged man”. Both are shown surrounded by books, in interiors decorated with gilded furniture and seated on high-backed chairs or thrones. Note the vegetal scrolls on the books, furniture and walls, accompanied by candelieri elements and fish or dolphin heads, in compositions reminiscent of those found in Renaissance works. This classicist influence can also be seen in the figures (faces, folds, anatomy, posture, etc.) and in the environment they occupy (for example, the mouldings and scrolls on the seats and desks, or the aforementioned decoration on the bindings of the books that appear in both works). The iconography that appears in this couple is frequent in Spanish art of the period, often situated in the lower part of altarpieces (Main Altarpiece of Foncea, Burgos school). Compare, for example, with Saint John the Evangelist of the Main Altarpiece of the Assumption of Ullíbarri Viña (execution attributed to Juan de Ayala II, painted before 1579 by Juan de Oñate) in the Basque Country, where three books also appear in a loft in the background; or, to see a different composition, with the set of four Evangelists attributed to Felipe Bigarny (dated between 1501 and 1525) from the Castilian school of the National Sculpture Museum (Valladolid); or with the relief of Saint Mark from the altarpiece of Saint Eulalia by Markinez or Marquinez in the Diocesan Museum of Sacred Art in Vitoria-Gasteiz (its sculpture attributed to the workshop of Juan de Ayala II and the polychrome to Santos Corres, the sculpture dated in the second half of the 16th century and the polychrome in 1747). In addition to Felipe Vigarny, in the Burgos area it is necessary to take into account Bartolomé Ordóñez and Diego de Siloé (two of the most important names of the first third of the 16th century), together with masters such as Juan de Balmaseda, Andrés de Nájera, Juan de Juni (who also worked in the city), etc.

· Size: 72x4x99 cms.
ANTIQUES

Ref.: ZF0662A
LOUIS XV CHANDELIER. BRONZE, GLASS. FRANCE, 19TH CENTURY.

Chandelier or ceiling lamp, Louis XVI style. Bronze, glass. France, 19th century. A ceiling lamp made of gilded bronze with transparent glass elements, with sixteen lights in total. Starting from the top, there is a small circular piece decorated in relief, from which emerges an axis that opens with four arms, which leave the center free for a series of faceted glass pieces (which function as a central visual axis) and go downwards (note the bronze band with a string of pearls), ending in a cup. These four arms divide at the bottom, giving rise to plant forms, scrolls and architectural details. Vase-shaped lighters have been placed on the main arms, from which glass droplets with pearls hang; the secondary arms are finished off with bronze lighters with plant elements (“cups” on bronze plates, almost resembling a flower emerging from leaves), which have glass saucers, some almost flat and others deeper. It is in this lower area where the hanging elements are concentrated in greater abundance: transparent glass teardrops, with pearls (sometimes in pairs, sometimes just one), and others in the shape of a flower. From the central point hangs a disk topped with a faceted sphere. Stylistically, the piece shows clear influences from 18th century French Rococo: rocailles, contrasting curves and counter-curves, vegetal elements with marked movement, etc. This influence is common in 19th century works, being called “Louis XV style”. It is also worth highlighting the similarity of the glass elements of the lamp with works by the Société Baccarat, a company founded with the permission of Louis XV in 1764 and which continues to operate today, specialising in high quality glass. It was common throughout the 19th century and part of the 20th century for prominent Parisian bronze makers to use Baccarat beads in their work (François Linke, E. Colin & Cie, etc.).

· Size: 80x80x132 cms
ANTIQUES

Ref.: ZF1129
MANTEL CLOCK. BRONZE, MARBLE. MODEL FROM LENOIR-RAVRIO, LOUIS-SATINSLA...

Table clock, Apollo. Bronze, marble. Model by LENOIR-RAVRIO, Louis-Stanislas (1783-1846). Paris, circa 1820. Table clock consisting of a stepped rectangular base made of red veined marble and gilt bronze elements with a clear classicist influence (molding of architectural motifs, set of garlands and elements linked with latticework), and the area of the clock face, situated on a stepped pedestal, placing, on it, a patinated bronze figure representing the god Apollo (note the gilt bronze lyre he holds in one hand). The dial, made of gilt bronze with different finishes, has Roman numerals, Breguet-type hands, and the inscription “L. RAVRIO BRONZIER / A PARIS”, relating to the creator of the bronzes in the work. Louis-Stanislas Lenoir-Ravrio (Paris, 1783 – Ivry, 1846), adopted son of André-Antoine Ravrio (1759-1814), was one of the leading bronze makers of his time (his father was also one), and they worked together for a number of years (until 1814). He officially joined his father's business in 1811, gaining great recognition for his works at the Garde-Meuble and for his participation in International and National Exhibitions. Weight: 28 kg

· Size: 43x16x62 cms.
ANTIQUES

Ref.: ZE345
VIRGIN WITH CHILD. POLYCHROMED WOOD. SPANISH SCHOOL, 13TH CENTURY.

Virgin and Child. Carved and polychrome wood. Spanish school, 13th century. It has faults. Polychrome wooden carving showing the Virgin sitting on a throne, with her right hand raised holding a spherical object, dressed in a long tunic and cloak and wearing a veil and crown, also holding on one knee the Child, who is shown sitting on one of his mother's knees, dressed in a red and gold tunic and also a crown on his head. Iconographically, this type of work was common during the Romanesque period in Europe, a time when Christian theology saw the Virgin as a vehicle of Salvation, thanks to the figure of her son Jesus. Over time (and the theological work of highlighting the role of Mary as Mother of God), the initially hieratic pose of this group varied, an example of which is the present sculpture. Compare with Our Lady of the Snows of Villaumbroso in Palencia (14th century), or the Virgin of Mirón in Soria (carving from the 14th century), or the repainted Virgin of the Cerca de Andosilla in Navarre (13th-14th centuries), or the one in the church of San Pedro Apóstol de Arbués in Huesca which has been dated to the 14th century (similar to the one present on the throne, the crowns, the posture of Jesus, etc.), or the one from the last third of the 13th century which belongs to the collections of the Prado Museum in Madrid, the one from the Rosary of Villálvaro in Soria (14th century), etc.

· Size: 28x20x90 cms
ANTIQUES

Ref.: ZE087
SAINT JEROME. OIL ON BOARD. CIRCLE OF WILLEM KEY, 16TH CENTURY.

Saint Jerome. Oil on slatted panel. Surroundings of KEY, Willem. 16th century. With monogram (illegible) and dated (right ear of the saint). Oil on oak panel showing a thin, elderly male figure, dressed from the waist down in cloth, sitting on a stone bench on which a skull and a scroll of parchment appear, along with other elements. To the right of the composition, a cloth can be seen in the background, a crucified Christ on a book, a red cap on a wall, placed on a closed book and a mechanical pencil; below, a lion. Eusebius Hieronymus (c. 340-420), better known as Saint Jerome or Saint Jerome of Stridon, was a Christian saint and Father of the Church, who translated the Bible from Hebrew and Greek into Latin at the request of Pope Damasus I (called The Vulgate, declared in 1546, at the Council of Trent, to be the authentic edition for the Latin Catholic Church). He is usually represented as in the present panel because of his desire during his life to live in asceticism and do penance for his sins. The lion is the beast that he rescued while meditating on the banks of the Jordan River and that never left the saint's side again. In the area of the saint's right ear there is an inscription, which seems to be a monogram with a date (possibly 1576). The present panel is related to the circle of Willem Key (Breda, 1516-Antwerp, 1568), a Flemish Renaissance painter specialising in portraits who, like his brother Wouters, trained in Antwerp (he with Pieter Coecke). Registered in 1549 as a citizen of Antwerp, he died suddenly in 1568 after achieving wealth and a solid social position thanks to his portraits and historical paintings, painted with a learned hand according to Lamposonio's verses on his portrait. His religious paintings were also highly appreciated. His work is preserved by important institutions such as the Dordrecht Museum, the collection of the House of Alba, the Rijksmuseum in Amsterdam, etc.

· Size: 125x5x120 cms. / Int 104x99 cms.
ANTIQUES

Ref.: ZF126
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THE ABDUCTION OF THE SABINE WOMEN. BRONZE. 19TH CENTURY, AFTER GIAMBOL...

Rape of the Sabine Women. Bronze. 19th century, modeled after Giambologna (Juan de Bolonia; Douai, 1529–Florence 1608). A patinated bronze sculpture made using the lost-wax casting technique featuring a small, also dark, polygonal base. The three human figures are situated on a small rock surface, thus enhancing the complex interplay of diagonals and spirals created by the postures of the two men and the woman, positioned at the top of the composition. Considered Juan de Bolonia's masterpiece, the Rape of the Sabine Women is a sculpture created between 1581 and around 1582. It measures 410 cm in height, is carved from a single piece of marble, and is located in the Loggia della Signoria (Florence, Italy). It depicts a young man lifting a woman over his head, who struggles to free herself from him, while an old man appears between the boy's legs. It is because of this popularity, apart from its quality, that bronze casts of the work and works inspired by it were made even during the artist's lifetime, and, of course, during the Grand Tour and destined, above all, for England and Germany, in various sizes (almost always much smaller than the original). A bronze reduction of the work is attributed to the work by Pietro Tacca, preserved at the Honolulu Academy of Arts; another, dated to the 18th century, is preserved at the Metropolitan Museum of Art in New York.

· Size: 37x38x114 cms.
ANTIQUES

Ref.: ZF0789
CLOCK SET. PORCELAIN AND GILT BRONZE. FRANCE, 19TH CENTURY.

Clock and candlesticks in porcelain and gilt bronze. France, 19th century. Mechanism in perfect working order. Mantelpiece consisting of a clock and two five-light candelabra, all three pieces made from a combination of gilt bronze, with raised and rounded elements and cold-chiseled details, and porcelain decorated with low-temperature enamels, including gilt enamel. The porcelain pieces follow 18th-century models from the Sèvres National Manufactory, with large pictorial cartouches on a cobalt blue background decorated with gilded plant motifs. The ensemble follows a historicist design that combines baroque and neoclassical elements with Rococo-inspired enamelled scenes, depicting landscapes and scenes with mythological themes alluding to the arts and the goddess Venus. The clock mechanism is stamped “Chles. MT”, with serial number 17420. The main enamelled porcelain plates are signed DP Boncher. The clock follows an architectural structure, with an oval base with a prominent front on the ground plan, raised on four moulded feet in the shape of a top, on which a large ornamental vase is placed. This base has a distinct pinto and, above it, a main body like a façade, with a circular pediment that houses the clock face. This includes black enamelled Roman numerals on white medallions with a gold border, arranged around the central representation of a cupid reclining among clouds, holding a floral garland and accompanied by musical instruments. Between the medallions that house the numbers, a small jewelled decoration evoking pearls and inlaid rubies, which is echoed in the secondary areas of the body of the piece and also of the vase, always combined with delicate gold filigree. On either side of the face are two female portraits of 18th century ladies, in oval frames. Below, a classically inspired scene with a muse holding musical instruments, probably Euterpe or Erato, accompanied by a cupid reading a score. On the sides of the clock body, two large curved rectangular plaques house highly pictorial enamelled landscapes, worked with the same miniaturist precision as the rest of the enamelled cartouches. These are landscapes of romantic heritage, again inspired by the 18th century, with ideal twilight-like settings, featuring classical ruins. The vase that tops the clock body has a hemispherical tank, shoulders ending in a ridge, an openwork truncated conical neck that opens gently towards the shoulders, and a domed lid, also openwork. The handles are figurative, in bronze, with two female herms crowned with flowers, clearly inspired by Greco-Latin, worked in the round. The vase houses two enamelled porcelain cartouches on the top, the front with two cupids and a dove – a symbolic allusion to Venus – and the back with musical instruments. The clock design is completed by two thick S-shaped plant supports in bronze, under the vase, and counter mouldings and plant motifs cast in relief and cold-chiselled, combining a matt and polished finish. The candelabra follow a similar design, with large neoclassical vases on pedestals, in this case cylindrical, raised on four low turned feet. The bases house porcelain cartouches with scenes of cupids related to the arts; one shows two cupids practising painting, and the other two in a scene related to classical lyric poetry, with one putto writing while the other, holding a lyre, raises a laurel wreath above his head. The cartouches on the front of the candelabra vases show scenes of Venus and Cupid in ideal landscape settings, one of them with a background of classical ruins. As with the clock, the candelabra vases include figurative bronze handles, in this case with rams' heads. The lighting body of both pieces includes four bronze arms based on vegetal braces, finished with cylindrical porcelain burners, with the fifth highest burner standing out, crowning the central axis.

· Size: Reloj: 42x60x65 cms. Candelabros: 20x20x62,5 cms.
ANTIQUES

Ref.: ZF1226
GARNITURE. GILT BRONZE. HENRI PICARD, VICTOR PAILLARD. PARIS, FRANCE, ...

Garrison, clock, and two candlesticks. Gilt bronze. Henri Picard and Victor Paillard. Paris, France, 1831–1864. With marks (base, back). Gilt bronze fittings composed of a clock and two four-light candelabras each, accompanied by flowers, with plain bases and vase-shaped feet of strong Classicist inspiration, decorated with reliefs (fauns, children's figures, garlands, grotesque heads, etc.). The clock has two female figures (allegories of Geography and Astronomy due to the objects they carry) flanking a vase containing the dial, which features Roman numerals for the hours and Arabic numerals every five minutes, in addition to the signature. The Paris-type movement features an engraved number and a stamp (Vr. Paillard / A. Paris). On the base of the clock, on the back, is engraved the legend H. Picard, referring to the founder and gilder Henri Picard (France, active 1831–1864), who worked for Defreveille and also collaborated with Charles Perrault and Grault. He produced numerous works for Napoleon III, many of which are preserved in the Louvre Museum in Paris. The dial reads "Victor Paillard / Ft de Bronzes / A Paris". Victor Paillard (1805-1886) was a French sculptor who furthered his training in Paris with Jean-François Denière, also collaborating with Ferdinand Barbedienne. In 1830, he founded a successful firm of movable art objects, which received state commissions (notably for the Palau d'Afers Exteriors du Quiai d'Orsay). There are records of other clocks like this one: one by the bronze artist Étienne Martincourt with a dial signed "Lepaute à Paris"; another identical to this one, now in the Paul Getty Museum in Malibu (California, USA), from the Tuileries; and yet another with a dial signed by Victor Paillard. As for the model of the vases, they seem to have been inspired by some, truly popular and appreciated, by Claude Michel (Clodion firm), who produced an original in terracotta in 1763, on which numerous pieces in bronze and other materials were based (a pair in marble is kept at the Art Institute of Chicago, dated 1766; in the Goncourt Collection there is one dated 1761 or 1762; a pair of candlesticks with these bases are known, attributed to Barbedienne, etc.). In turn, it seems that Clodion was inspired by some vases by François Boucher. Weight: 57 kg.

· Size: Reloj 60x27x72 cms Candelabros 32x25x83 cms
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: ZF1399
MARY MAGDALENE TRAVELLING TO MARSEILLE. OIL ON BOARD. CASTILLIAN SCHOO...

Mary Magdalene on the way to Marseille. Oil on panel. Castilian school, towards the end of the 15th century. Oil on panel showing a landscape with a walled city in the background, some mountains and the edge of a waterway (it is clear from the subject that it is the seashore). In the foreground, full-length, there is a boat with a sail and a circus of richly dressed figures with their respective halos (these decorated with geometric elements and engraved plants), two women and three men. Note the anecdotal detail of the fish crossing the waters beneath the ship. In the Golden Legend, chapter XCVI is dedicated to the figure of Mary Magdalene, including the journey she made with Saint Maximinus, Lazarus, Martha, her servant Martila and Saint Cedonius ("the man born blind and cured of his blindness by Christ), along with other Christians, after being expelled by the infidels who lived in the region they went to evangelise. They left the ship at sea, without oars or sails or anything that could help in navigation, with the idea that it would sink, but God saw to it that it reached Marseille. The Catholic Christian tradition ended this journey from the Holy Land in Saintes Maries de la Mer (near Arles), from where Mary Magdalene went to Marseille, undertaking the evangelisation of Provence. Note that the characters represented here are Saint Mary Magdalene, as the main figure of the group, Saint Maximinus, Lazarus, Saint Cedonius and Martha. There are some known examples in which the Saint is seen accompanied, with all the characters placed on a boat or related to it. However, this is not a very common iconography and it seems that it will be even less common after the Council of Trent. Let us cite, as examples, the altarpiece by Pere Mates (Museum of the Cathedral of Girona) from the 16th century with this legend (Provençal legend) in which the Saint appears already on land, with the boat in the background; she appears entering the boat in the altarpiece by Jean Béguin (Altarpiece of the Rosary of the Basilica of Saint Maximin in Var, France); she appears preaching in the port of Marseille in a painting by Ronzen (early 16th century, Museum of History of Marseille); in the Scrovegni Chapel in Padua Giotto painted the theme of the Miracle of the Governor of Marseille (theme related to this arrival) with figures in the boat and the governor's wife on the island; Magdalene Altarpiece by Lucas Moser (Church of St. Mary Magdalene, Tiefenbronn). Stylistically, a clear Flemish influence can be seen in the painting: note the details of the jewels on the garments, the qualities, the faces and the naturalism sought in them (within the idealization that corresponds to the sacred characters), the landscape and the fortress in the background, etc. The influence of Flemish art on the Castilian school began thanks to the patronage of the Mendozas, shortly after the middle of the century, and its development was also contributed to by the growing relations with Flanders (it is worth remembering the journey of Jan van Eyck in 1427) and the importation of Flemish works. Thus, the Hispano-Flemish style reached a great development in the last quarter of the 15th century as far as the Kingdom of Castile is concerned, with a series of interconnected minor schools, thereby providing a certain unitary character to the art of this style in this geographical area. As for names (and remembering that there are a large number of anonymous works and authors of whom we do not know the details), we have the one considered to be the introducer, Jorge Inglés, and figures such as Fernando Gallego, centres such as Valladolid and outstanding workshops such as those of Burgos or Toledo.

· Size: 83x11x128 cms int 73x118 cms
ANTIQUES

Ref.: ZF1052
MONSTRANCE, TEMPLE TYPE. SILVER, GLASS. 16TH CENTURY, WITH RESTORATION...

Portable temple monstrance. Gilded silver, glass. 16th century, possible restorations. Monstrance made of gilded silver (the finish has been lost in some places) composed of a base, a shaft or stem and a two-storey upper architectural structure with some figures at the top. The base has a flat base on which tubular shapes with discs are placed, followed by a mixtilinear shape with an openwork front with circular details and an upper part with plant elements in relief (flowers, scrolls, palms, etc.) and a heraldic shield. The shaft or stem begins with an architectural shape with flying buttresses and tubular shapes with discs (similar to those of the base) and continues with another body of niches with sculptures of saints, which have columns with double faced balusters and arches with arched elements finished on the outside by winged angel heads with leaves in their hair; this area ends with an architectural element that recalls the lower part. The upper two-storey area has a hexagonal base and architectural, figurative and vegetal decorative elements with a marked classicist influence, together with others of a classical Gothic type, and is topped by a Deesis with a rocky floor (the Virgin and Saint John flanking a crucified Christ). Just below the gallery of trilobed arches that top it off, two garlands of leaves and fruits hang; and two heraldic shields are engraved. Next, there is the virile for the Holy Form, sheltered in a structure with grotesques functioning as columns and angels playing musical instruments. Above this, another structure shows seated children holding the emblems of the Passion and an enclosed space with balustraded balconies with crosses in the centre, within which a haloed figure appears blessing and holding an orb topped with a cross (in reality, this figure tops the virile, but can be seen through this gap); there are also niches with figures. Between one floor and another, there are a series of chains attached to small rods that ensure that the vault does not open. One of the two engraved heraldic shields already mentioned shows a Tau, also known as the Cross of Saint Thecla or Saint Anthony, common in Tarragona and in orders such as the Franciscan Order, for example. The other heraldic shield, which is very similar to the one on the base (here the border is different, there are more plants...), is cut, with a bull or ox passing to the left in the upper part and three plant stems (perhaps reeds) coming out of the ground (under which there is another line that could allude to a water course) in the lower area. The temple custodians are a relatively frequent typology in the Burgos and Valladolid schools (in fact, it seems to be common in Castile and León except for some areas such as Palencia), although they appear throughout the Spanish school together with the tower custodians and the type known as "sun custodians". Compare, for example, with the monstrance from the Church of Santa Eulalia in Paredes de Nava, or that from the parish church of San Pedro de Aibar (dated around 1476-1488, perhaps made in Burgos by Juan de Santa Cruz), that from the parish church of Sasn Juan Bautista in Horta de Sant Joan (workshop in Tortosa, 16th century (documentation from around 1520); note the high base, with an openwork front with circles), the Samaniego monstrance (Diocesan Museum of Sacred Art of the Basque Country, made by Sancho de Salcedo –doc. Santo Domingo de la Calzada, 1495-1511-), the Arisgotas monstrance (Parish Museum of the Town of Orgaz, dated before 1547 and made by Francisco Martínez de San Román from Toledo), etc. Weight: 3 kg.

· Size: 21x21x58 cms
ANTIQUES

Ref.: ZF1162
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ORMOLU CHANDELIER. POSSIBLY FRANCE, NAPOLEON III, 19TH CENTURY.

Lamp or chandelier. Gilt bronze. Possibly France, Napoleon III, 19th century. Gilt-bronze ceiling lamp featuring a central axis enhanced by three volute structures that run from the leafy crest at the top to the lower body, featuring a series of crowned female grotesques on architectural moldings with volutes. The radiant arms are arranged in tiers and decorated with plant and architectural elements, ending in saucers that give rise to garlanded lighters and classicist shapes and decorations, as is the case throughout the piece. Stylistically, the influence of models taken from Ancient Greece and Imperial Rome is clear, as is common in 19th-century neoclassical works. Note the laurel wreaths, volutes, vegetal scrolls, combinations with gadroon motifs, etc. The 19th-century taste can be seen, above all, in the aforementioned female grotesques, with their crowns and pearl necklaces from which hang a Greek cross. The quality of the lamp is remarkable, both in the bronze and the gilding (most likely mercury) and in its design. Compare, for example, with works by the renowned French firm Maison Mottheau et Fils, prized above all for its lamps (also for supplying high-quality bronzes to prominent cabinetmakers) and famous throughout the 19th century. Or with works by Henri Vian (1860-1905), another master highly regarded for his gilded bronzes. Weight: 85 kg

· Size: 110x110x150 cms
ANTIQUES

Ref.: ZF1235
LOW TABLE. WALNUT, WROUGHT IRON. SPAIN, 17TH CENTURY.

Table with fork braces. Walnut wood, wrought iron. Spain, 17th century. Table made of carved and turned walnut wood with four A-shaped legs, two wrought iron hairpin fasteners and drawers on both fronts (four in total) decorated with plant-themed carvings. The legs have a type of turning known as “lentil”, with different types of discs depending on their width, creating a symmetrical composition, and placed above and below a simple cylindrical heel. The jambs have been carved with simplified plant shapes, and the fasteners have decoration of discs and balustrade shapes. The drawers are interspersed with “S”-shaped protruding pieces and have oval handles, and the sides have simple geometric carvings. Compare, for example, the walnut table with disc legs dating from the 17th century that is preserved in the collections of the former Municipal Museum of Madrid; with the Inquisition buffet in the National Museum of Decorative Arts in Madrid (in details such as the arrangement of the drawers); or with another walnut and pine platform table with carved drawers and lenticular turned legs from the same museum, dating from the 17th century; a Castilian buffet table from the 17th century from the Cervantes Birthplace Museum (Alcalá de Henares, Madrid).

· Size: 83x118x73 cms.
ANTIQUES

Ref.: ZF0619
PAIR OF MINIATURES ON VELLUM. FRANCESCO DA CASTELLO / FRANS VAN DE KAS...

Frans van de Casteele (Kasteels) called Francesco da Castello (Brussels, ca. 1541 - Rome, 1621) Adoration of the Shepherds Crowning with Thorns First decade of the 17th century. Tempera and gold on parchment, 290 x 240 mm (with frame). Original wooden frame with cut-out silver leaf applications; in the corners, medallions with the four evangelists. This beautiful pair of Agnus Dei is made up of two oval miniatures on parchment representing the Adoration of the Shepherds and the Crowning with Thorns, framed by contemporary frames of perforated silver sheet, on a blue taffeta background, inscribed in turn in frames of ebonized wood. In the corners of both frames of cut silver, there are four medallions with miniatures of the Evangelists on a gold background, while in the center of the side margins four angelic heads and three silver rosettes are applied respectively. The two miniatures The central panels, perfectly preserved, represent a joyful and a painful episode in the life of Jesus Christ. The first shows the Holy Family surrounded by shepherds in an attitude of worship, offering gifts to the Child Jesus. The shepherd in the foreground, kneeling and with his back to the viewer , he rests one hand on a wide-brimmed hat and with the other he offers a basket. Another shepherd hands him a sheep with its legs tied, a symbol of the Christian sacrificial lamb, while a third plays the panpipe accompanied by four other characters and a long-snouted dog. The scene takes place outdoors, next to a stable from which their heads the ox and the donkey, before a hilly landscape with the ruins of a temple. In the upper central part, an angel in a luminous glory holds a phylactery with the text "Gloria [...]". The Virgin shows tenderly to those present the Child wrapped in a white cloth, while Joseph leans on a pillar behind her. The miniature, with bright and vivid colours enhanced with chrysographies, has at its bottom the characteristic pile of dark earth with a small branch, unmistakable signature of the artist that appears in all his landscape miniatures. The Crowning with Thorns is an episode of the Passion cycle that follows the flagellation and precedes the Ecce Homo, after which Christ was led to crucifixion. The scene takes place in a courtyard, in the center of which Jesus, seated on a A platform and dressed in a purple cloak illuminated with chrysographies, he wears the crown of thorns and holds a reed in one hand like a scepter. Two soldiers place the crown on Christ's head with two reeds that when crossed form the symbol of the cross, making his forehead bleed, while another henchman kneels before him to mock him. In the background, some guards with characteristic turbans watch the scene under a green curtain lined in red, while in the lower area there is a hole opened in the pavement that It is a characteristic motif of the artist, present in all his miniatures set in interiors. Both miniatures, of great artistic quality, are undoubtedly the work of Francesco da Castello, the Italianized name of Frans van de Casteele (Brussels, ca. 1541 - Rome, October 23, 1621). Francesco da Castello, painter and miniaturist, came to Rome during the pontificate of Gregory XIII (r. 1572-1585) and specialized very early on in the “small manner”, as Giovanni Baglione recalls in the biography dedicated to the artist: “At that time Francesco da Castello came to Rome from Flanders, already having some knowledge of painting. But here in Rome he continued to improve, and delighting in working on a small scale, to which he felt inclined, genius led him in that direction.” , becoming a good miniaturist, and produced beautiful works, which went to Spain, as well as working for various personages and great princes, and carrying out things that brought him great praise. He also painted on a large scale, with success, and made many works for the Spanish nation. [...] This man painted few things for public places, because he was very busy making miniatures, which he carried out excellently, and he was paid a good price for; and many of his works have remained in hands of private individuals, and some of the most beautiful were sent to other parts of the world” (cfr. G. Baglione, Le Vite de' Pittori..., Rome 1642, pp. 86-87). In Rome Francesco da Castello developed a brilliant career, was portrayed by Hendrick Goltzius and associated with important Flemish figures and scholars, including Philips van Winghe, Abraham Ortelius and Hendrick de Raeff of Delft, called Enrico Corvino, who in 1603 married his daughter Caterina. Associated with the Congregation of the Virtuosi of the Pantheon, from 1577 he was a member of the Academy of Saint Luke, of which he was consul in 1588 and in 1591. His house soon became a meeting place for artists where many of his compatriots found hospitality and a valuable point of reference to introduce themselves to the Roman environment. In addition, together with Francesco da Castello they learned “the good way to paint small”, appropriating of the essential features of the master's style, as Baglione narrates about his German disciple Sigismondo Laire (ca. 1552-1639), who specialized in “coloring small figures on copper” and who “painted on various jewels, such as lapis lazuli, agates, emeralds, carnelians, and other things” (cfr. ibidem, p. 353). From these reports it is clear that Francesco da Castello was an artist appreciated by his contemporaries and well integrated into the Roman artistic and cultural environment. In recent years, the catalogue of works by the Flemish artist, best known for his large altar blades, has been expanded with new miniatures preserved in museums and private collections around the world. Among his most beautiful miniatures is the Adoration of the Virgin Mary. of the Magi from the Lázaro Galdiano Museum in Madrid, characterized by a bright chromaticism with iridescent effects and a descriptive preciosity typical of the Flemish style. Another miniature, with the Annunciation, previously in the Luigi Koelliker collection, is the reworking of a widespread iconographic model. derived from the famous 13th century fresco of the Annunciation in the church of the Santissima Annunciata in Florence, in which the face of the Virgin, which according to tradition had been painted by angels, was particularly venerated and considered miraculous. In the mid-15th century, the sacred image acquired a special value for the Medici, who prohibited its reproduction at least until the early 16th century, when, due to continuous requests from influential figures of the time, permission was granted. to copy it. In 1584 Alessandro Allori painted a replica of it on behalf of the Grand Duke of Tuscany, to send as a gift to Philip II of Spain, which is still preserved today in the Monastery of San Lorenzo de El Escorial. A delightful image of the Guardian Angel, recently found in a private collection in Valencia, in addition to fulfilling a devotional function –typical of this kind of work– it gave protection to whoever owned it. The cult of the saints, ratified in the XXV and last session of the The Council of Trent (1563) had firmly spread the belief that her intercession was increased by reciting the prayers in the presence of her relics or her images, especially if the latter had been in contact with her remains or had been blessed by the Pope. . Relics and sacred images were often associated with the power to grant or transmit indulgences to those who possessed them. This aroused the desire of the powerful to have numerous relics and increased the production of devotional images that often represented especially venerated themes or considered miraculous, like the antiquae madonnas of the Roman basilicas. A flourishing art market thus developed, largely made up of small sacred images of medium or high quality, the most prestigious examples of which were kept in reliquaries or finely framed, intended for a Catholic clientele not only in Italy but also abroad. Among the recipients Among these objects were numerous representatives of the most important noble lineages of Spain, eager to imitate the extraordinary devotion of Philip II for the relics that the monarch kept by the thousands in the Monastery of El Escorial and which he adored and kissed with the utmost reverence. A complex portable altar in ebony made up of various compartments with miniatures, sold at Sotheby's with an erroneous attribution to Giovanni Battista Castello the Genoese (Genoa, 1549-1639), is however most certainly the work of Francesco da Castello. The central miniature represents The Virgin of the Rosary with the Child and Pope Sixtus V (r. 1585-1590) kneeling at her feet with various saints in adoration, among whom St. Catherine of Siena and St. Dominic can be distinguished in the foreground. The central scene is Surrounded by the fifteen Mysteries of the Rosary, the Last Supper appears at the bottom and the Angelic Paradise at the top of the frame, while in the corners are the four evangelists followed by two other compartments with the apostles Peter and Paul. In relation to the examples cited, the two refined miniatures of the Adoration of the Shepherds and the Crowning with Thorns are works from the artist's full maturity, datable to the first decade of the 17th century, characterized by formal simplification and pure colors in the workmanship of the clothes which stand out against the ivory complexions of the figures. Among the numerous motifs comparable to those of other miniatures by Francesco da Castello, the small medallions with the Evangelists barely outlined on a gold background, closely recall the miniatures, of reduced dimensions, inserted in the compartments of the frame of the small altar with the Mysteries of the Rosary, as well as those of another small painting with compartments with the Tree of Jesse preserved in the Valencia Institute of Don Juan de Madrid, of which there is another period version earlier and with a marked Flemish influence with a reliquary frame currently in the Museum of Fine Arts in Valencia. In addition, another version of the Crowning with Thorns, rectangular in format and slightly weaker in workmanship, was sold at Christie's with an erroneous attribution to Giovanni Battista Castello the Genoese, although the miniature must certainly be attributed to the "Romanized" Flemish master Francesco da Castello. . Thanks to Ms. Elena De Laurentiis, PhD, University of Genoa, for carrying out the study.

· Size: 23,5x1,5x28,5 cms.
ANTIQUES

Ref.: Z6696
SILVER PAX. 16TH CENTURY.

Peace-bearer. Silver in its colour and gilded. 16th century. A silver peace-bearer with a handle (decorated with delicate plant motifs similar to those on the pillars) and a female and male bust at the bottom, as well as other architectural elements on the back. On the front, there is a classicist architectural composition with a base (with busts flanking a flower and a cross), two pillars (plant decoration and a capital reminiscent of the Composite order) with an entablature (flowers flanking an angel's head; mouldings), and a semicircular arch top with raised elements in relief under a cross and flanked by two architectural motifs at the top. This composition frames and enhances a gilt silver relief where one can see the Lamentation or Lamentation over the Body of Christ, with the Virgin holding the head of Jesus, Saint John at her side, Mary Magdalene and other figures, a cross following the group and a landscape background with houses and plant elements. This architectural structure mentioned is similar to that present in other 16th century pavilions, such as that of the parish church of La Magdalena in Dos Hermanas (Hernando de Ballesteros el Mozo, around 1575); or that of the parish church of La Galaroza (same author and date); or that of the pavilion of San Miguel in Jerez de los Caballeros (in some details); etc. As for the relief, it is possible to clearly see a strong Italian influence, and the similarity between it and important pieces such as the Portapaz known as “de Cisneros” by Juan de Burgos (1493-1497; Alcalá de Henares Cathedral Museum), as well as in paintings and reliefs. It is also worth highlighting both the male and female busts in the lower area and the Maltese cross (or of Saint John) that appears in this area. This symbol was used from the 12th century as an insignia by the Knights Hospitallers of the Order of Saint John of Jerusalem, also known as the Order of Malta since Emperor Charles V gave them this island as a fief in the 16th century. Weight: 507 gr.

· Size: 10,5 x 4 x 21 cms
ANTIQUES

Ref.: ZF0664
ITALIAN STYLE “BARGUEÑO”, TORTOISESHELL AND WOOD, 18TH CENTURY.

Italian style chest of drawers, 18th century. Carey, wood and gilded bronze. An open-plan writing desk made of wood, with the central part pushed forward and highlighted by a double chapel of architectural composition. Each of the sides has five drawers with the front decorated with tortoiseshell and an elaborate gilt bronze lock shield (two rampant lions facing each other, placed on a garland and with a crowned shield between them, in which the key hole is located). The centre of the front has two levels: the lower one has four columns with entasis, two on each side and joined by an entablature and a top finial in dark wood, and a series of gilt metal elements in the centre among which stands out, sheltered under a semicircular arch, the figure of Hercules fighting Cacus (the giant who terrorised the Palatine Hill before the founding of Rome); the upper one has mouldings forming recesses, with an important heraldic shield in the centre, all enhanced with volutes on the sides, and different elements in gilt metal, of classicist inspiration. The general layout of the furniture follows a model that was very widespread and valued in 17th century Europe, of which the best examples have generally been those of Italian manufacture, and which continued into the 18th century without breaking the compositional clarity that is displayed in this front, but rather changing slight decorative details and elements in the area of the central chapel, above all. The practice of using tortoiseshell plates in furniture re-emerged in Europe during the 17th century. The high price and great demand for furniture made from sea turtle shell are explained by the scarcity of the material, which had to be imported (usually from Central America) and the fact that its production required highly specialized labor. As is normal for this type of furniture, also called “waste bins” because they contain important documents, tortoiseshell plates were often highlighted with gilded metal decorations, with the use of bronze being very common for this type of furniture.

· Size: 69x137x160 cms.
ANTIQUES
FURNITURE

Ref.: Z6811
CORPUS CHRISTI. POLYCHROMED WOOD. POSSIBLY SOUT GERMANY, 15TH CENTURY.

Crucified Christ, Sorrowful Crucifix. Carved and polychrome wood. Possibly South German school, 15th century. Polychrome and gilded wood carving showing Christ with the Crown of Thorns, on the Cross, already deceased (eyes closed), with the usual INRI phylactery on the upper crossbar of the Latin cross, three nails (note the crossed feet) and a short, gilded and polychrome purity cloth or perizonium. In German, the term “Gabelkreuz” or “Gabelkruzifix” (“Sorrowful Crucifix” in English) refers to a type of Gothic crucified Christ that is especially expressive (prioritizing external suffering over other aspects) and which normally presents the cross in the shape of a Y or ypsilon (alluding to the Tree of Life), apparently created thanks to the influence of the mysticism of the late 13th and early 14th centuries (Saint Bridget, etc.) and which can be found in the Rhineland (western Germany) and, through influences and contacts, in the rest of Europe (apparently, there are those who currently consider that the origin of the iconography is not German but Italian). Most of the sculptures of this type are concentrated in three European areas: the German zone, which includes the current federal states of northern Rhineland-Westphalia, Rheinland-Pfalz, Lower Saxony, and central and northern Italy, although they are also found in other enclaves such as Lucera in Puglia, Palermo in Sicily, and Oristiano in Sardinia. Nor should we forget the Spanish examples (usually included in three categories: those derived from the Holy Christ of Perpignan, the Castilian group, the Navarrese images, and the Andalusian Crucifixes). One of the oldest pieces that follows this typology is the Doloroso Crucifix from the Church of Santa Maria del Capitolio in Cologne. In Italy, the one from the Church of Santa Maria Novella in Florence is often highlighted. In Spain there is one in Puente la Reina (Navarre) that is considered to have been donated by a German pilgrim in the 14th century; There is one in the lower choir of the monastery of Santa María de las Huelgas Reales in Burgos, attributed to a Central European workshop or to a sculptor influenced by these models in the second half of the 14th century (with a Latin cross). It is also necessary to take into account the German sculptors who travelled and worked in Europe.

· Size: 76x26x135 / 62x23x85 cms.
ANTIQUES

Ref.: ZF1176
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CABINET. TORTOISESHELL, BRONZE, WOOD, IRON. ITALY, 17TH CENTURY; TABLE...

Bargueño. Carey, bronze, wood, iron. Italy, 17th century; back table. An open-faced desk made of wood and finished in tortoiseshell, which has a division into three areas at the front. The side areas have four drawers each (each with two tortoiseshell-shaped slots highlighted with a metal band flanking each lock shield), gilded details with plant elements and Solomonic columns at the outer ends on a base and finished off with curved and straight architectural elements. The central part, called the chapel, is presented forward and has a prominent architectural composition with Solomonic columns and elements in gilded bronze. The piece of furniture is finished off with an openwork band under architectural elements and is situated on legs holding spheres. The buffet or bargueñera table that supports and highlights it, of a later date, has turned legs joined by a chambrana and two wrought iron fasteners. The general layout of the piece of furniture follows models that were known and used in cabinetmaking throughout Europe throughout the 17th century, of which the best examples are considered to be of Italian origin, like the present one. Thus, its decorative elements belong to the same tradition: the legs carved in the shape of a bird's claw synthesized on a ball are very typical of the period; the sides are flatter and simpler (geometric marquetry); etc. However, the present example stands out from the usual in its contemporaries due to the architectural elements of the front and the ribbed pieces of the drawers already mentioned and which are totally different from what can be found in the wastepaper baskets of this type linked to Antwerp. Compare the present example with the one preserved in the Museo Nacional de Cerámica y Artes Sumptuarias González Martí (Valencia) which does not have the elements of the drawers already mentioned.

· Size: Bargueño 146x50x100 cms Mesa 153x52x85 cms.
ANTIQUES

Ref.: ZE365
THREE DOOR LOUIS XV STYLE GLASS CABINET , MAHOGANY WOOD, 19TH CENTURY.

Louis XV style mahogany display cabinet, 19th century. Three-door display cabinet with glass shelves resting on cabriole legs with a scroll facing outwards and on a stopper. The doors lock and have panels with paintings and mouldings combined with frieze in a lighter wood. The entire surface of the cabinet is decorated with plant motifs, and an angel's head tops the central body of the cabinet, which is wider and higher than the sides. The plant elements that decorate the entire surface of the display case, focusing on the upper and lower ends, respond to the characteristics of the Rococo style. The curved shapes of these rocailles stand out, and extend into the doors of the cabinet to give it movement, combining asymmetrical elements with symmetrical ones. The only decorative fittings are the lock shields on the three doors and the hinges, made of gilded metal. Although the usual combination of decorative elements in bronze is common in French furniture, it is not particularly unusual to find examples in which the only decoration is carved wood and some frisage work. Here, however, a perfect union between structure and decoration can be appreciated. The painted scenes decorating the side doors show children and a harp on one and a woman with a Cupid on the other. Technically, they are reminiscent of the panels made with the so-called “Vernis Martin” that was often applied to furniture at the time. They show inconsequential themes, appropriate for interior decoration and which perfectly fulfilled their role of providing delicacy and colour to the furniture, as well as being part of the Gallant Painting, characteristic of the Rococo. All the decorative elements of the furniture have been made in the Rococo style, also known as Louis XV (1710-1774) because it was during his government that these forms were adopted in France. In the 19th century, as occurred with other pieces, numerous pieces were made taking inspiration from what was created in the 18th century and adding a series of peculiarities typical of the period such as, in this case, the abundance of decorative mouldings with rocailles and the striking movement of the lines that mark the lower and upper areas of the display case.

· Size: 250x65x292 cms.
ANTIQUES
FURNITURE

Ref.: Z3037
SPANISH WALNUT TABLE 17TH CENTURY

17th century lyre leg table. Walnut wood, with wrought iron fasteners and a single-piece board. Baroque style lyre-leg table, made entirely of walnut wood, with carved profile legs and a rectangular, smooth-profile top made from a single piece. The legs have a mixtilinear cut, based on recesses and projections of great dynamism and decorative sense, chiaroscuro even despite not being carved, which speak to us of the taste typical of Baroque Europe. Thus, we see complex lines that combine simple curves, edges and steps, creating lively shapes that are at the same time regular and symmetrical, in the style typical of Baroque classicism. The legs are joined to the top by means of curved iron fasteners, typical of this typology. Lyre-leg tables originated in the Spain of Charles II, during the second half of the 17th century. The simplest ones have a simple cut in the side legs, and are even completely carved in the models with peripheral centres. The fact that the top is left plain, without decoration, is due to the fact that the tables were covered with rich fabrics, which fell, practically hiding the entire table. Thus, in less wealthy houses, which could not afford to cover the tables in luxury, the decoration had to focus on the legs, and hence they were carved. Inspired by the tables of classical antiquity (made of marble and with cross supports), they have two side supports that can be dismantled to transport the piece of furniture, and which can have a lyre or vase profile.

· Size: 192x102x84 cms.
ANTIQUES
FURNITURE

Ref.: Z3070
PAIR OF GILTWOOD MIRRORS. ROCOCO, 18TH CENTURY.

Pair of cornucopias. Carved and gilded wood and porcelain. 18th century. Pair of cornucopias with mirrors, practically identical (except for details on the leaves of the frames), made of carved and gilded wood. Inside, the main mirror has mouldings that draw curves and straight areas, scrolls and other elements. The elaborate decoration of the wall mirrors starts with grotesques at the bottom, from which plant elements emerge that extend, accompanied by hangings, towards the top on the sides, with openwork details. Above, the tops have two circular spaces, flanked by birds perched with their wings partly extended, and surrounded by elaborate frames that, like the rest of the pieces, have architectural elements (scrolls, plain oval mirrors...), plant elements and shapes reminiscent of Rococo rocailles. Clearly, the examples belong to the Rococo style, even taking into account the slight asymmetry of the decorative motifs and the slight difference between the two examples. It is possible to find similarities in the design of these cornucopias with different engravings and works by Matthias Lock (London, ca. 1710-ca. 1765). Compare with engravings from the work “A New Book of Ornaments with Twelve Leaves Consisting of Chimneys, Sconces, Tables, Spandle Panels, Spring Clock Cases, Stands, a Chandelier and Girandole, etc.” (Henry Copland and Matthias Lock; London, 1752), with examples preserved in the Metropolitan Museum of New York, drawings from the Victoria & Albert Museum of London, etc. Matthias Lock was the first to publish Rococo designs in England, and is also considered the first to master the Rococo style and include it in his works and designs. Little else is known about his life: he was a disciple of Thomas Chippendale and Adams, he may have worked with Henry Copeland and his work ranged from the most elaborate Rococo to the most harmonious Classicism. The small porcelain plates on the top show a pheasant on a rock among chrysanthemums and other flowers, in a common composition in this type of object, made in China for export to Europe and, therefore, without having given meaning to any of the animals or plants (the golden pheasant was a symbol of the Emperor, and the one on this plate does not have yellow in its plumage). Chinese porcelain was already known in Europe in the 15th century, but its commercial boom occurred from the 16th century, with the well-known pieces in Blue and White so valued that they even inspired the local ceramics of the different kingdoms. As for the so-called "Pink Family" due to the predominance of this tone in its enamel, it was born with the introduction of this colour in China at the beginning of the 18th century by the Jesuits and its production continued until the 19th century. Furthermore, it became so highly valued that it displaced the Green Family at European courts at times, with works from the reigns of the Yongzheng (1678-1735) and Qianlong (1711-1799) Emperors being the most abundant and highly prized and sought after for their high quality. Stylistically, these two plates inserted into the mirrors are very similar to works from the Rose Family made at the end of the reign of the Yongzheng Emperor or at the beginning of the Qianlong Emperor at Kingdezhen (Jiangxi, Republic of China) around 1735. In fact, there are some plates in private collections with pheasants in the same position and on a stone practically identical to that of these two examples. Note that the decorated border of the same can be seen, almost entirely hidden by the gilded wood.

· Size: 100x68x12 cms.
ANTIQUES
FURNITURE

Ref.: Z6638
CHANDELIER. GLASS, BRONZE. LATE 19TH CENTURY.

Baccarat ceiling lamp. Bronze, glass. France, late 19th century. 36-light, electrified, bronze chandelier with numerous clear glass beads. Numerous different arms emerge from the central axis (decorated with leafy discs from which more glass elements hang) and can be divided into general rows: from above, some curved ones are finished with glass stars and from others a string of beads starts which ends in the lower ones, giving a striking waterfall effect; towards the centre, another row curved upwards holds more beads); the lower arms, thicker, curved and decorated with leaves, emerge from a bronze sphere, form three levels both in height and depth and end in saucers with the supports that, originally, held the candles. Most of the glass beads are polygonal and flatter, and these are combined with elongated teardrops (some rectangular and faceted, others oval). The Société Baccarat (which still makes luxury glassware in this French city) began as a glass workshop founded by Louis-Joseph de Laval-Montmorency, with the permission of Louis XV of France, in 1764. They received their first official order from royalty in 1823, leading to a large number of requests addressed to members of leading European families, nobility, heads of state, etc. Around 1860, the company began signing its products with a registered trademark, usually on the base of the work, although it was also common for other bronzesmiths to use Baccarat glass for its reputation and quality.

· Size: 120x120x145 cms.
ANTIQUES

Ref.: ZE248
OIL ON CANVAS, “THE REAPER”, IGNACIO DÍAZ OLANO, 1890.

Oil on canvas, “The Reaper”, Ignacio Díaz Olano, 1890. Signed and dated in the lower right corner. Ignacio Salvador Díaz Ruiz de Olano (Vitoria, 1860-1937), painter and teacher of painters, better known as Ignacio Díaz, studied at the Academy of Fine Arts in Vitoria as a disciple of Emilio Soubrier Martínez, and at the Llotja in Barcelona (1877-1880), where he met his teacher Gustavo Bacaristas. After completing his apprenticeship, he returned to his hometown, where he collaborated on the weekly “El Danzarín” as a draughtsman, under the pseudonym “Galop”. Then, in 1890, he moved to Paris, where he remained for four years studying anatomical drawing, and did stage design work for the Opera House (some people argue that it is not entirely certain that he was in Paris, however). On his return to Spain, he participated in the Artistic and Industrial Exhibition of Vitoria with several works in 1884, the year in which he also opened his own studio in this city, where he carried out an outstanding educational work until its closure in 1894 to go to Barcelona. In this same year he would travel to Rome, where he lived for two years. From 1912-1913 he would also work as a drawing teacher at the General and Technical Institute, a job he carried out until he reached the statutory retirement age in 1932. Between 1890 and 1925 Díaz participated in multiple editions of the National Fine Arts Exhibitions, winning a bronze medal in 1895 and silver in 1899 and 1901. His works are preserved in the Prado Museum in Madrid, the Fine Arts Museums of Vitoria and Asturias, the Provincial Museum of Álava, the City Council and the School of Arts and Crafts of Vitoria, private collections, etc. Many experts have pointed out that the art of Ignacio Díaz was greatly influenced by the fact that the painter spent a long time surrounded by his countrymen and neighbours. This led to the majority of his production consisting of oil paintings of popular and traditional subjects, portraits, landscapes and flowers, and still lifes. The present oil painting is a clear example: it shows a reaper, in a half-worked wheat field and with a small sheaf in his hand, looking towards a point outside the painting. Likewise, his exceptional observational skills and his solid training in drawing can also be appreciated. In this work, however, progress can already be seen in presenting light in his work, fully integrated into his compositions. Hand in hand with light, and little by little, colour penetrated, which is also presented in this painting as totally dominated. His search for immediacy will bring the luminous spot and the chromatic flash and, over time, he came closer to naturalistic impressionism without fully entering into this style by maintaining his personality and formal differences.

· Size: 108 x 72 cm; 110 x 74 cm (marco)
ANTIQUES
PAINTINGS

Ref.: Z6128
CLOCK. PALO SANTO (HOLY WOOD), ROSEWOOD, ORMOLU. FRANCE, 19TH CENTURY,...

Clock. Palo santo, rosewood, gilded bronze. France, 19th century, based on the model of Charles Cressent (France, 1685-1768). Grandfather clock with a wooden case that combines palo santo, rosewood and other woods, enhanced with a series of gilded bronze appliqués, which match the curved and counter-curved profiles of the piece. Both the decorative elements and these decorations respond to models of the French Rococo of the 18th century. This piece is inspired by the regulator clock in the royal collections of England, which is located in Buckingham Palace, and was made by Charles Cressent, a master cabinetmaker considered one of the main exponents of French Rococo, although he made pieces in the Regency style and at the beginning of the “rocaille style”. A master sculptor since 1719, he worked as a cabinetmaker and sculptor for the Regent Philip II, Duke of Orleans, and is well known and appreciated for his clocks, chests of drawers, andirons (J. Paul Getty Museum), etc.

· Size: 81x40x232,5 cms
ANTIQUES

Ref.: ZE298

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ANTIQUES

DECORATION

DECORATIVE ANTIQUES

TAPESTRY, ALEXANDRE THE GREAT WOUNDED IN THE THIGH AT THE BATTLE OF IS...

TWO RELIEFS, EVANGELIST SAINTS JOHN AND MATTHEW. POLYCHROMED AND GILT ...

LOUIS XV CHANDELIER. BRONZE, GLASS. FRANCE, 19TH CENTURY.

MANTEL CLOCK. BRONZE, MARBLE. MODEL FROM LENOIR-RAVRIO, LOUIS-SATINSLA...

VIRGIN WITH CHILD. POLYCHROMED WOOD. SPANISH SCHOOL, 13TH CENTURY.

SAINT JEROME. OIL ON BOARD. CIRCLE OF WILLEM KEY, 16TH CENTURY.

THE ABDUCTION OF THE SABINE WOMEN. BRONZE. 19TH CENTURY, AFTER GIAMBOL...

CLOCK SET. PORCELAIN AND GILT BRONZE. FRANCE, 19TH CENTURY.

GARNITURE. GILT BRONZE. HENRI PICARD, VICTOR PAILLARD. PARIS, FRANCE, ...

MARY MAGDALENE TRAVELLING TO MARSEILLE. OIL ON BOARD. CASTILLIAN SCHOO...

MONSTRANCE, TEMPLE TYPE. SILVER, GLASS. 16TH CENTURY, WITH RESTORATION...

ORMOLU CHANDELIER. POSSIBLY FRANCE, NAPOLEON III, 19TH CENTURY.

LOW TABLE. WALNUT, WROUGHT IRON. SPAIN, 17TH CENTURY.

PAIR OF MINIATURES ON VELLUM. FRANCESCO DA CASTELLO / FRANS VAN DE KAS...

SILVER PAX. 16TH CENTURY.

ITALIAN STYLE “BARGUEÑO”, TORTOISESHELL AND WOOD, 18TH CENTURY.

CORPUS CHRISTI. POLYCHROMED WOOD. POSSIBLY SOUT GERMANY, 15TH CENTURY.

CABINET. TORTOISESHELL, BRONZE, WOOD, IRON. ITALY, 17TH CENTURY; TABLE...

THREE DOOR LOUIS XV STYLE GLASS CABINET , MAHOGANY WOOD, 19TH CENTURY.

SPANISH WALNUT TABLE 17TH CENTURY

PAIR OF GILTWOOD MIRRORS. ROCOCO, 18TH CENTURY.

CHANDELIER. GLASS, BRONZE. LATE 19TH CENTURY.

OIL ON CANVAS, “THE REAPER”, IGNACIO DÍAZ OLANO, 1890.

CLOCK. PALO SANTO (HOLY WOOD), ROSEWOOD, ORMOLU. FRANCE, 19TH CENTURY,...

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