20th June - Decorative Arts

Lot 1 - Bureau-secretaire. Russian Empire (1721-1917), late 18th-early 19th century. In mahogany and mahogany palm. Mounts and ornaments in gilt bronze. Gilt bronze handles and locks. Measurements: 117 x 71 x 174 cm. Important bureau-secretaire from the Russian Empire period. It follows neoclassical models by the contemporary Petersburg cabinetmaker Christian Meyer, which became popular at the end of the 18th century in the royal palaces and aristocratic houses of Russia. In proportions (architectural form) and materials (mahogany palm, mahogany veneers, bronze appliqués) we can appreciate the fidelity to the models established by Meyer, models that cabinetmakers in the service of Catherine the Great, such as David Roentgen, introduced into the imperial apartments. This piece of furniture has a classical structure, with its parts defined and emphasised by the recesses: the seven drawers, filleted in gilt bronze, are housed between 'spade' legs, decorated in the form of fluted pilasters. The gilt-bronze handles, keyholes and rounded bosses combine simple and elegant geometries. The cylindrical lid or drum, in mahogany palm-leaf, also has linear decorations in gilded bronze, and its interior reveals a variety of drawers and compartments for documents and office supplies. The writing tablet slides outwards and is covered in maroon leather. The most brilliant period of Russian cabinetmaking was between the end of the 18th century and the first quarter of the 19th century. This period produced the finest examples of Russian Empire furniture. Most of the furniture was made of mahogany, poplar or birch and is characterised by its simple, clean lines. The high-gloss surfaces were adorned with gilt bronzes. This bureau-secreter is a clear testimony to that elegance.

Estim. 6 000 - 7 000 EUR

Lot 2 - Table clock; Manufacture Meissen, Germany, c. 1749. "Allegory of time." Porcelain. Presents marks in the lower area. Measurements: 73 x 69 x 23 cm. Table clock made of porcelain, which has been conceived in a sculptural way. The piece follows classic models in terms of the creation of the base that gives way to the clock case bordered with a large garland inside which is the dial with the hours in Roman numerals. On this base and on the watch case has been created a complex sculptural group starring children angels, located in the lower area and a winged old man, crowned the watch face, this hand points directly to the hours thus indicating the allegorical theme of the whole representing the passage of time. The Meissen Manufactory was the first European factory to produce genuine porcelain. The manufacture was started by the scientist Ehrenfried Walther von Tchirnhaus in 1708, and after his untimely death his work was continued by Joahnn Friedrich Böttger, who remained practically imprisoned on the factory premises in order to protect the secret of the porcelain formula. The production of Meissen porcelain began in 1710, one year after the factory was founded by Augustus the Strong, and soon achieved great fame throughout Europe. In order to prevent forgeries, he introduced his famous mark, two crossed swords, in 1720, making his one of the oldest pottery marks in existence (it still remains on the pieces of Meissen's heir firm, the Staatliche Porzellan-Manufaktur Meissen GMBH). Initially, Meissen's production imitated oriental production, especially Japanese kakiemon ("indianische Blumen"), although enameled pieces with landscape, floral and gallant themes were also produced, the latter derived from the painting of the Frenchman Antoine Watteau. Undecorated glazed porcelain pieces were also produced, which were sold to other workshops, where they were decorated with enamels. However, in 1717 a former Meissen worker, Samuel Stöltzel, sold the secret of porcelain to a manufactory in Vienna, and by 1760 there were about thirty manufacturers of genuine porcelain in Europe. However, most of these manufactories produced soft-paste porcelain, due to the difficulty of accessing kaolin, the basic ingredient of authentic porcelain (hard paste). After an initial production of rococo style, which evolved towards neoclassical in the 1750s, in the nineteenth century we witnessed a new style known as "second rococo", inspired by the first productions of the manufacture, which coexisted with other historicisms, including the sculpture in round bulk, mainly in glazed porcelain, following models of both rococo and neoclassical.

Estim. 8 500 - 9 000 EUR

Lot 3 - Pair of candlesticks D. GARCÍA, first third of the twentieth century. Silver. With hallmarks. Measurements: 53 x 30 x 30 cm. The silversmith D. Garcia, with workshop in Ferraz street in Madrid, came to work even with the Royal House. We are in front of a pair of silver candelabra, five lights, the central one follows the line of the shaft. This has a profile based on moldings and protrusions. The surface of the silver is chiseled with synthetic motifs. The serpentine arms, decorated with incised notches, are in the form of a mitered turnpoint. They support the lighters on saucers and the mouths of the lampshades are outlined with ovals.

Estim. 3 200 - 3 500 EUR

Lot 4 - Table clock. Empire. France, ca. 1810. In mercury gilt bronze. With key and pendulum. Dial signed: "Portefais a Paris". Missing the back cover of the machinery. It presents some wear in the gilding. Measurements: 52 x 37 x 13,5 cm. Period clock and Empire style, completely made in gilded bronze mercury. The sculptural theme is an allegory of Love. Eros has been characterized as an adolescent with a harmonious body. His shapely calves peek out from under a short tunic of fine fabric. With his left hand he pours water into an oil lamp and in the other he holds an arrow. The oil lamp reminds us of the dramatic moment when he is awakened by Psyche in the middle of the night, when his lover breaks her promise and he disappears from her side in spite of himself. On the frieze of the base are represented two putti balancing on a ball, flanking a trophy surrounded by vegetation. A lyre rests next to Eros. The clock face, also gilded, has beguet hands and Roman numerals.

Estim. 2 000 - 2 500 EUR

Lot 5 - AMALRIC WALTER (Sèvres, 1870 - Lury-sur-Arnon, 1959). Bombonera, ca.1920. In glass paste. Signed on one side "A. Walter-Nancy". Measurements: 16 x 18 x 13 cm. Amalric Walter was a French ceramist and glassmaker who became known primarily for his art glass "Pâte de verre". This is the result of a glass created by a technique in which the ground glass is converted into paste and modeled as a glass or a figure, and then trace the design by carving. The glass created by this method was known in ancient times and revived in France in the late nineteenth and early twentieth centuries. Henri Bergé was a decorator and illustrator of Art Nouveau and the French École de Nancy. He was a student of Jules Larcher at the École des Beaux-Arts de Nancy and completed his training at the Compagnie française du cristal Daum. In that company he made an impact as a decorator in glass and stained glass by introducing a new style and concept in floral, pastoral and other motifs inspired by nature. He is the author, among others, of the stained glass windows of the Cure d'air Trianon de Malzéville. As an illustrator, he made several works such as posters, advertising posters, such as those of the Maison d'art de Lorraine.

Estim. 5 000 - 6 000 EUR

Lot 6 - LOUIS MAJORELLE (France, 1859 - 1926) Art noveau tea table, circa 1900. Wood. Measurements: 83 x 92 x 57 cm. The structure and typology of great elegance, is made of wood. The tops are marked with a combination of different woods and express an almost obsessive love of plants and animals, a real symbolic scene where nature reappears in the grain, in the softness of the material and in the different woods representing leaves, stems, hazel flowers... in fact, nature freely evoked by the richness and variety of the living forms. A cabinetmaker and designer who was a member of the Nancy School, of which he was even vice-president, Louis Majorelle was the son of a furniture designer and manufacturer based in Toul, from where he moved to Nancy with his family. Majorelle received his first artistic training there and then went to Paris in 1877, where he studied for two years at the Ecole Nationale Supérieure des Beaux-Arts, where his teacher was Jean-François Millet. However, the death of his father forced him to return to Nancy to run the family earthenware and furniture factory, a task he would combine with his artistic practice for the rest of his life. In the 1980s and until the early 1990s, Majorelle produced Louis XV-style furniture in the family firm, which he took to the 1894 Exhibition of Decorative and Industrial Arts in Nancy. There, however, he was able to see at first hand the works of Émile Gallé, whose influence would determine a radical change in Majorelle's production. From then on, his work was characterised by the use of naturalistic elements in his forms and marquetry. From the nineteen-nineties onwards, his furniture became fully Art Nouveau, with intertwined forms and a clear direct inspiration from nature, with motifs such as plants, water lilies, the typical Nancy thistle and the dragonfly, an icon of French modernism. In 1900, he went a step further and set up a forge workshop in his factory, in order to be able to make iron fittings in accordance with his designs. Over time, this became more important and he was responsible for the staircase handrails and the exterior details of many of Nancy's buildings.

Estim. 3 500 - 4 000 EUR

Lot 7 - RIGALT, GRANELL i CIA. Pair of modernist stained glass windows, ca. 1920. One of them signed. Measurements: 161 x 50 cm. each one. Pair of stained glass windows made in the prestigious Barcelona workshop founded by Antonio Rigalt and the Granell family. The aesthetics and quality of the fin-de-siglo stained glass can be appreciated in the work of the leaded glass, in the thickness and vivid colors of the crystals, as well as in the attractive forms in which they are combined, all the product of a laborious artisan process. The stained glass workshop, formed by members of the Rigalt and Granell families of Barcelona, was in operation from 1890 to 1984. Its precedents are found in the draftsman and glazier Antoni Rigalt i Blanch (1850-1914), raised in an artistic environment, since he was the nephew of the painter and draftsman Lluís Rigalt i Farriols (1814-1894). He trained as a draughtsman at the Llotja school in Barcelona, teaching drawing until 1901. His move to glassmaker did not follow the traditional pattern starting as an apprentice in a workshop, but he did it after his artistic and theoretical training. Related to the most important artists and architects of the time, he was a regular collaborator in the works of the architect Lluís Domènech i Montaner. From the Rigalt and Granell workshop came some of the most important works of stained glass of Catalan modernism, such as those made for the Palau de la Música Catalana, the Casa Lleó Morera in Barcelona or the Casa Navàs in Reus. They worked on the works of architects Lluís Domènech i Montaner, Enric Sagnier, August Font i Carreras, among others. They also carried out a large number of restorations of medieval stained glass, such as those of the Cathedral of León or the monastery of Santes Creus. The workshop participated in numerous exhibitions, especially in the period under the direction of Antoni Rigalt, in many of which it received awards: the Universal Exhibition of Barcelona in 1888; the Exhibition of Fine Arts and Artistic Industries of Barcelona, in 1892, 1896 and 1898; the Exhibition of Fine Arts in Madrid in 1899; the National Exhibition of Art in 1900; the International Exhibition of Art in Barcelona in 1907 and 1911; the Universal Exhibition of Barcelona in 1929; the National Exhibition of Decorative Arts in 1947.

Estim. 2 500 - 3 000 EUR

Lot 8 - M.P. (Paul Millet) vase for Sèvres. France, Art Deco period, 1911-1930. Hand painted porcelain. With stamp on the base M.P. Millet (signature used between 1911 and 1930). Signature of the collaborator "E. Roger". Measurements: 35 x 20 x 20 cm. Turquoise, green and black ceramic vase created by the French ceramist Paul Milet for Sèvres. Its front represents a griffin whose front part is that of a giant eagle with sharp beak and powerful claws and the back part is that of a lion, with muscular legs and long tail.

Estim. 1 600 - 1 700 EUR

Lot 9 - Table clock with garnish. Spain, first quarter of the twentieth century. In veined marble and gilded bronze. With mercury pendulum and key. Signed: J. Anduaga, Madrid. Measurements: 48 x 38 x 13,5 cm (clock); 29 x 18 x 13,5 cm (fittings). Table clock with trimmings. Combines marble marbled in different tones and details in gilded bronze. It presents an architectural structure, like a portico with fluted columns and pinnacles, bases decorated with bas-reliefs in cylindrical bronze friezes. The clock face, with Roman numerals, is housed in the upper part of the structure, like an architectural rosette. The garnishings follow the same model of colonnade, and are crowned by tulip-shaped cups with a blistered profile.

Estim. 550 - 600 EUR

Lot 10 - Desk clock; France, restoration period, c. 1820. Mercury gilt bronze with porcelain enamel dial. It has no key, no pendulum and is missing. Measurements: 45 x 19,5 x 10,5 cm. Table clock made of gilded bronze. The piece sits on four legs of chamfered ball that gives way to a prismatic base of polished sides. On it emerges a pedestal on whose front can be seen a relief with the representation of Cupid and Psyche. This relief follows the models of the work painted in 1798 by François Gérard known as "Psyche receiving the first kiss of Cupid". This painting belongs to the collection of the Louvre Museum in Paris. The upper area houses the watch case adorned with two large acanthus leaves that run around the perimeter. The dial has bruguet type hands with Roman numerals in black. It has no key, no pendulum and has no faults. In the description of the watches when it is marked "in working order" it means that the watch is in working order. Since collector's watches often have delicate and complex mechanisms, the buyer is responsible for any general service, overhaul, battery change, adjustment or repair that may be necessary. We do not guarantee the perfect functioning of any watch. All the photographs of our watches are original and have been taken by our photographers, that is to say, we do not work with stock photography and that is why the photographs are considered part of the cataloging.

Estim. 800 - 900 EUR

Lot 11 - HENRYK KOSSOWSKI (Krakow, Poland, 1855-Paris, France, 1921). Garrison "La vendage", Art Nouveau, ca.1900. Green alabaster and gilt and blued calamine. With key and pendulum. Signed on the centerpiece, on the back of the clock. Measurements: 61 x 30 x 21 cm (clock); 58 x 14 x 14 x 14 cm (candlesticks). The set formed by the five-armed candelabra and the chimney clock is the work of the bronze artist Henrik Kossowaki. The title "The Harvest" is given by the sculpture of the slender female figure holding a bunch of grapes in one hand and a festoon of vine leaves in the other. The theme of the grape harvest is also reflected in the golden putti sitting on the pedestal. The clock face has Arabic numerals. Gilt cabriole feet support the three pieces with green alabaster bases. The candelabra are topped with sensual foliate lampshades. Henryk Kossowski was initially a student of his father, Henryk I Kossowski (1815-1878) and Marceli Guyski (1830-1893). After graduating from the School of Fine Arts in Krakow, he studied in Paris (among others with Mathurin Moreau). He exhibited in Paris and Vienna, as well as in Warsaw, Lviv and Krakow. He was famous for motifs of popular sculptural genre and portraits made in bronze, terracotta and patinated plaster.

Estim. 700 - 800 EUR

Lot 12 - KARL ENS (Germany, 1867- 1940). After CHARLES PERCIER (France, 1764-1838) and PIERRE F. L. FONTAINE (1762-1853). Table clock. Biscuit. With manufacturing marks on the base. Presents faults on the dial. Measurements: 36 x 19 x 10 cm. This table clock in biscuit closely follows models made by Charles Percier in collaboration with Pierre François Léonard Fontaine, who in the eighteenth century left an impression on the aristocratic tastes in terms of interior design. The clock we show, made by Karl Ens, has a trapezoidal body in the center of which the dial has double numeration, Arabic and Roman. Bas-reliefs of female figures inspired by the friezes of Ancient Greece run along the front. The god Apollo crosses the sky with his solar chariot. Floral festoons complete the decoration. Karl Ens was a renowned German potter known for his porcelain creations. Ens developed his passion for ceramics at a young age, honing his skills under the tutelage of his father, Eduard Ens, who was also a respected potter. In 1890, Karl Ens took over his father's porcelain factory in Volkstedt and began expanding the business. Under his leadership, the company flourished.

Estim. 400 - 500 EUR

Lot 13 - Table clock. France, late nineteenth century. Belgian black marble and marble "rouge griotte". Mounts of gilded brass. Presents some lack in the marble. Signed (possibly "Roilin"). Measurements: 23 x 31,5 x 12 cm. French table clock. It presents a design of historicist aesthetics. The rectangular and molded case (of neoclassical inspiration) rises on claw feet (of eighteenth-century inspiration). It is topped with an overhanging eave. It has lateral handles. The structure is symmetrical and houses in its center the dial, with Roman numerals in gold, matching the hands and the mount. Filleting in vegetal fretwork and Greek fretwork complete the sober decoration.

Estim. 300 - 400 EUR

Lot 14 - Six American Chippendale style dining table chairs, 19th century. Mahogany wood. Imitation boa skin upholstery. Measurements: 99 x 53 x 50 cm. Set of six chairs inspired by the work of the English cabinetmaker Thomas Chippendale (1718-1779), the main representative of the British Rococo style. The chairs repeat models typical of English Rococo, although with a taste for ornamentation that indicates that this is an American design. Thomas Chippendale created a new style of luxury furniture that was widely disseminated, and which perfectly represented the personality of the English Rococo. His designs were also very popular in the mid to late 19th century, giving name to a new style that was cultivated even in the 20th century. This new Chippendale style even gave rise to sub-genres such as Chinese Chippendale, Gothic and Irish Chippendale. The Chippendale style developed from about 1750, and although it began to decline in London around 1765, it was only then that it began to spread outside the capital, and indeed it was to enjoy a great deal of development in outlying centres for the rest of the century. The Chippendale style is composed of rococo features of French origin, Gothic and Chinese elements, mixed, either separately, all together or only two of them. It will therefore be a very varied and heterogeneous style, but nevertheless, with the passage of time, in the recreations of the 19th and 20th centuries, it will be clearly identifiable by elements such as the typical fretworked paddles of the chairs, which we see here. In fact, Chippendale was the creator of the "new pattern" model, a new model of chair that would become the dining chair par excellence, and which is characterised above all by its paddle based on the ribbon backrest.

Estim. 1 000 - 1 200 EUR

Lot 15 - Mute servant. England, early 20th century. Panelled and turned wood. With castors. Measurements: 112 x 73 x 38 cm. Server raised on four turned legs that elevate in height a piece of furniture of two clearly differentiated bodies, a compact lower one with drawers to the interior and an upper one with two shelves. The result is a piece of furniture with three smooth shelves, with clean and pure forms, whose elegance is reinforced by the beautiful grain characteristic of the wood.

Estim. 400 - 500 EUR

Lot 16 - Modernist secretaire, . ca 1900-1910. Walnut wood. Slight wear due to age. Measurements: 165 x 102 x 53,5 cm. Modernist secretaire of stylized design. It rises on slender stipe legs, decorated with grooved incisions and floral carving. The four legs are joined by a chambrana of fine crosspieces with lentil carving. The upper body stands out for the fine chiseling that decorates the front of each door and drawer, based on "coups de Fouet" and sinuous floral bouquets characteristic of Art Nouveau. The central body is enhanced by an architectural structure based on flanking sogueado columns and a projecting eave. The table, at its waist, also has drawers. Slight wear due to age.

Estim. 600 - 800 EUR

Lot 17 - Coffee table; c. 1930. Wood and fruit marquetry. Signed "Gallé". Presents faults and restorations. Measurements: 75 x 57 x 33,5 cm. Art Nouveau style side table, with a structure defined by sinuous and moved forms typical of this language. The tops are marked with stylized vegetal bouquets of great naturalism combining fruit woods, following the classic procedure. The feet are turned, with fine moldings, and with an open, carved base. It presents faults and restorations.

Estim. 600 - 700 EUR

Lot 18 - Boulle style writing desk. France, 19th century. Ebonised wood. Marquetry in simile of tortoiseshell and metal. The metal fillets are loose at some points. Needs to be reworked. Measurements: 75 x 45 x 95 cm (height). French writing desk, Napoleon III period. It follows Boulle models, which can be appreciated in the decorative profusion based on inlaid in simile of tortoiseshell and metal to compose medallions and soffits of fine tracery. The inclusion of metal ornaments that stand out against the ebonised wood is also characteristic of the Boullé style. The central part, which houses drawers and compartments, has a hinged lid and an extendable desk. Stylised cabriole legs are adorned with vegetal pods on feet and knees.

Estim. 500 - 600 EUR

Lot 19 - Davenport. England, last quarter of the 19th century. Root wood. Leather. Metal railing. Measurements: 83 x 54 x 55 cm. English writing desk of the "Davenport" type. The upper area with a slightly inclined desk has space to keep sheets of paper and other elements, and the main body houses drawers inside. The piece of furniture stands on flattened spherical legs and is topped by a brass balustrade. The Davenport is an English piece of 18th-century writing-desk furniture, characterised by its console-shaped structure, with concealed drawers and often side drawers. It always has a sloping front top. Its name derives from the first known model, made by Gillows for Captain Davenport. It was a very comfortable piece of furniture for writing, small in size, and from it a portable model was derived that could be used for writing on campaign or on a ship. Its functionality made it a very popular piece of furniture in the 19th century.

Estim. 500 - 600 EUR

Lot 20 - Pair of dancing chairs. Spain, ca. 1880. In gilded wood. Upholstery in satin and velvet. It presents faults in the gilding and in the upholstery. Measurements: 91 x 43,5 x 40 cm. Pair of carved and gilded wooden dancing chairs. The turned legs present sections in stipes between moldings. The designs of the backs are highly original. They are decorated, respectively, with a fan-shaped carving and a floral plafond emulating a tambourine. Scrolls, braces, fleur-de-lis and geometric fretwork intertwine to form unique openwork designs. A dragon's head tops one of the backrests. It presents faults in the gilding and upholstery.

Estim. 1 000 - 1 200 EUR

Lot 21 - Pair of corner pieces; Spain, c. 1850. Gilded stuccoed wood. Presents faults and marble top. Measurements: 86 x 70 x 51 cm. Each of the two corner consoles has cabriole-shaped legs, joined by a chambrana decorated in the center with a finial and secured to the floor by a worked crossbeam. The waist of the furniture has a decoration based on vegetal elements, and the center of the front presents an openwork based on scrolls, vegetal motifs and forms reminiscent of the Rococo Rococo of the 18th century, but with its movement and contraposition very smoothed. To this reminiscence of Rococo furniture details must be added the strong classicist influence of other decorative elements of the consoles. This mixture of influences is common in 19th century French cabinetmaking, which is inspired by styles of the past to create examples adapted to the tastes and spaces of the time. It presents faults and marble cover.

Estim. 700 - 900 EUR

Lot 22 - Pair of classical column stands, 19th century. Mahogany wood. Measurements: 102 x 34 x 34 cm. Pair of pedestals in the shape of a classically inspired column. Each one of them stands on a quadrangular base on which the circular foot rests, moulded, with bulls and escocias. The smooth shaft culminates in a moulded capital which in turn supports a quadrangular tabletop.

Estim. 1 500 - 1 800 EUR

Lot 23 - Grenadian game table from the 19th century. Walnut wood, marquetry and granadine inlay. It has marks of use. Needs refinishing. Measurements: 80 x 85 x 44 cm. closed; 78 x 88 x 85 cm. (open). Game table in walnut wood worked with fine marquetry with a geometric design made of small tesserae, a decoration that covers the cabriole legs, the sinuous hips and the cut-out skirts. As for the mobile and folding top, it integrates, in addition to green felt upholstery, rich combinations of fruit marquetry and Grenadian mother-of-pearl inlay applied to the different game boards, such as backgammon and chess. The name, 'inlay', comes from the Arabic word 'tarsia', which means 'inlay'. This technique was traditionally used in Al-Andalus in many decorative objects and furnishings.

Estim. 1 000 - 1 200 EUR

Lot 24 - ARCA ARTE METALLICA stool following neoclassical models, 30s-40s. Painted iron structure. Upholstery in good condition. Measurements: 56 x 104 x 46 cm. This neoclassical style stool stands on curved legs. Its front is ornamented with a mask in bas-relief in gilded brass representing a masculine face, possibly of mythological character. The upholstery has cords on its profile and cushions on its sides. Arca Arte Metálica is a company from Yecla (Murcia, Spain) renowned for the manufacture of all types of metal furniture since 1985. It is an artisan company that offers metal furniture for both classic and modern decorations and a wide range of materials such as iron, stainless steel, brass, bronze, aluminium or corten steel, combining them with wood, textile and others.

Estim. 1 500 - 2 000 EUR

Lot 25 - Reclinatory. Italy, XVII century. Carved wood. Measurements: 88 x 50 x 42 cm. The recliner presents a refined design, which bases its main formal values on the curved line and the decorative synthesis. It is supported on three legs, the front one turned and finished off with a sphere. The two rear legs, on the other hand, end in two very synthetic claws. The lower platform, destined to support the knees of the orante, has a carved skirt with an undulating profile. Above this platform rises the shaft that supports the upper platform, used to hold the prayer book or the missal. The shaft adopts a format of phytomorphic inspiration, with an undulating profile. The upper platform again has an undulating profile and is decorated, like the lower one, with a delicate skirt in a mixtilinear format.

Estim. 1 000 - 1 200 EUR

Lot 26 - Venetian gondola door of the 19th century. Oak wood. Presents marks of use and restorations. Measurements: 130 x 117 cm.

Estim. 1 200 - 1 500 EUR

Lot 27 - Pair of columns of the 18th century. Carved and polychrome wood. Measurements: 173 x 40 x 26 cm. Pair of columns raised on a prismatic plinth with the profiles molded in gold and the bottom of marbled appearance. Both cylindrical shafts repeat the marbled aspect and are embellished in front with garlands, foliated and floral elements in relief. The gilded capital responds to the Corinthian order. It is a pair of columns that do not belong to any particular order, but are characterized by their eclectic character.

Estim. 2 500 - 2 800 EUR

Lot 28 - 19th century Italian writing desk. Various stained woods (walnut, mahogany, among others). Various marquetry decorations and bone and shell ornaments. It shows wear and tear and old xylophagous marks. Needs restoration. Measurements: 83 x 86 x 60 cm. This desk is distinguished by the two free-standing sculptures that decorate its front and that adopt the form of two hybrid beings with panther head, wings and turned body. Behind them is the main body, recessed, with two front doors with geometric decoration that are reflected in the side panels of the piece of furniture. The upper body consists of a slightly inclined desk sample that opens to the interior with spaces to store sheets and other elements. The sides of this upper body are embellished with medieval-inspired motifs worked with shell and bone inlays, as well as heraldic motifs on the top. The furniture is inspired by the English Davenport desks, very common in the 19th century. .

Estim. 1 000 - 1 200 EUR

Lot 29 - Showcase; Madrid, second half of the seventeenth century. Ebonized ribera wood with bone applications. Presents faults. Measurements: 105 x 74 x 38,5 cm. Showcase in ebonized riparian wood, with decorative details of marquetry and bone appliques. The structure, of architectural inspiration, is rectangular, with carved cornices at the base that rest on four legs. The upper body is topped with an openwork gallery as a balustrade. The Madrid school arose around the court of Philip IV first and then Charles II, and developed throughout the seventeenth century. Analysts of this school have insisted on considering its development as a result of the agglutinating power of the court; what is truly decisive is not the place of birth of the different artists, but the fact that they were educated and worked around and for a nobiliary and religious clientele located next to the royalty. This allows and favors a stylistic unity, although the logical divergences due to the personality of the members can be appreciated. In its origin, the Madrid school is linked to the rise to the throne of Philip IV, a monarch who made Madrid, for the first time, an artistic center. This meant an awakening of the nationalist conscience by allowing a liberation from the previous Italianizing molds to jump from the last echoes of Mannerism to Tenebrism. This will be the first step of the school, which in a gradual sense will walk successively until the achievement of a more autochthonous baroque language and linked to the political, religious and cultural conceptions of the monarchy of the Austrias, to go to die with the first outbreaks of rococo that are manifested in the production of the last of its representatives.

Estim. 1 500 - 1 300 EUR

Lot 30 - Pair of 19th century neo-Gothic candlesticks. Bronze. Measurements: 197 x 85.5 cm. The candelabras, with the same characteristics, are raised on an architectural base with large Gothic windows, on which a Solomonic baluster rests. The main body has two lateral arms decorated with Gothic openwork fleurons. The piece is crowned by a lighter to hold the candles. Both the dimensions and the intricate ornamentation with openwork and incised motifs are reminiscent of the large candelabra used to light churches and noble residences throughout the 14th-15th centuries. In the late 19th and 20th centuries the historicist movements revisited these historical styles, updating and revaluing them.

Estim. 2 500 - 3 000 EUR

Lot 31 - William & Mary commode. England, ca. 1680. Walnut root and rosewood. Marquetry depicting borders and birds. Metal keyholes and handles. With marks of use. Measurements: 90 x 110 x 58 cm. English chest of drawers made of walnut root and rosewood, which stands on rounded legs and consists of five drawers, the last two united in a single register. The design, sober and elegant in the style of the William & Mary period, has as its only decorative element a fine marquetry work based on borders and synthesized birds. The William & Mary style is a furniture design common between 1700 and 1725 in the Netherlands, England, Scotland and, later, in England's American colonies. It was a transitional style between Mannerist and Queen Anne furniture. It was a sturdy piece of furniture whose design emphasized both straight lines and curves, with elaborate wood carvings and turnings, and was one of the first to imitate elements of Asian design, such as Japanese. In 1688, James II of England was deposed by his daughter, Mary, and her husband, William of Orange, in what became known as the "Glorious Revolution." William and Mary brought a taste for Dutch furniture styles to their reigns, as did several of the Dutch furniture makers. Although the movement toward what would become known as the William and Mary style had begun during the reign of Charles II of England, primarily due to the influence of his Portuguese-born queen, Catherine of Braganza.

Estim. 3 000 - 3 500 EUR

Lot 32 - Georgian bureau cabinet. England, 18th century. Root wood. Measurements: 224 x 97 x 53 cm. A two-part piece of furniture, with a bureau in the lower part and a cabinet in the upper part, a typology that was very popular at this time, known in the Anglo-Saxon world as "secretaire and bookcase", very representative of English cabinetmaking in the Baroque period. Dutch cabinetmaking in the late Baroque period was heavily influenced by English furniture. The lower body has a chest of drawers raised on bracket feet, a common feature of English furniture. It consists of four registers of decreasing height, with the largest at the bottom, so as to avoid overloading the structure (by placing the heaviest objects in this drawer at the base). The bureau that crowns the chest of drawers has a 45º inclined top, as usual. Inside, the bureau has a simple display of small drawers and niches in a symmetrical arrangement. The upper cabinet has two doors that end in semicircular arches, fitting into the arch of the finial and following the same forms as the William & Mary and Queen Anne mirrors. Inside, the cabinet has drawers, pidgeon holes, with sinuous frontal cut-outs and rounded arches, arranged in attractive combinations. It is topped by a truncated round arch, typical of the Georgian style.

Estim. 4 000 - 4 500 EUR

Lot 33 - Frame. France, Limoges, ca. 1880. Cloisonné enamels and painted bone plaque. Measurements: 20 x 9 cm. The piece in bidding is remarkable both for the neo-Gothic frame decorated with champlevé enamels and for the image of the Virgin inside. The Limoges workshop appeared in the last quarter of the 12th century and continued its activity until the 14th century. It flourished again in the 15th century with the new technique of painted enamel. It became the most important enamel workshop, ahead of Rhineland and Meuse, which disappeared in the 12th century and were dedicated to the production of individual plates on commission, which were then mounted on an object or joined together to form altar frontals. In Limoges, on the other hand, the production of objects, no longer just plaques, decorated with enamels, began, above all for religious but also for secular use. They were cheaper, copper-based pieces, and very attractive because of the enamelled decoration, which made them a huge and immediate success throughout Europe. Limoges is also mentioned in documents, indicating that it was an important centre known throughout Western Europe. One of the distinguishing characteristics of Limoges is its very shallow background dragging, which does not go beyond two or three millimetres. To depict detail, such fine partitioning is used that it can only be distinguished from the excavated one by close observation through a magnifying glass. In Limoges, the enamels were applied according to the client's taste, filling only the background, only the figures, or both. As for the colour range, he used that of the Meuse workshops, which was very varied, but added new colours, such as olive green, a light greyish blue or white for the flesh tones. In the long history of these workshops, one of their main successes was precisely the fact that they did not only produce plaques, but also complete pieces.

Estim. 500 - 600 EUR

Lot 34 - Modernist sofa, ca. 1900. Wooden frame. Non original fabric upholstery. Measurements: 164 x 170 x 70 cm. Modernist sofa with walnut wood structure, upholstered in leather on seat and back. A refined carving surrounds the piece, from the feet and the skirt to the top of the backrest: zigzagging vegetal bouquets with leaves, coups-de-fouet in the upper profiles, sinuous grooves with a delicate appearance, the armrests... all these are genuinely modernist elements.

Estim. 500 - 600 EUR

Lot 35 - BUSQUETS BROTHERS BUSQUETS I CIA, late nineteenth century. Dressing table, ca. 1877. Black painted wood and marble. Marks and wear on the marble. There is a similar model published in Estand Busquets, Hermanos y Cia. in the "Manifestació Catalana de 1877", Biblioteca del Taller Busquets, fig. 9. Measurements: 178 x 104 x 52 cm. Dresser made in the Barcelona workshop of the Busquets brothers at the end of the nineteenth century. The dresser consists of five drawers, three large lower drawers and two upper drawers. The front is decorated with incised and chiseled vegetal alternating with rhomboidal shapes. The top is made of marble and the mirror is framed in a rectangular frame with carved elements in the form of scrolls and volutes. The Busquets cabinetmaking workshop was created in Barcelona in 1840 by Josep Busquets i Cornet. In the 1860s his brothers Miguel, Marco Antonio and Juan joined the business. In 1878, after Josep's death in 1875, the workshop was renamed "Busquets Hermanos". The following year the participation in the family business was expanded with Francesca Cornet and Maria Busquets i Minguell, daughter of Josep Busquets i Cornet, changing the name again to "Busquets, Hermanos y Compañía". Joan Busquets i Cornet played a prominent role in the family workshop from the beginning and in 1880 he appears as majority partner in the accounting sources, with 47% of the capital. In 1888 he became the head of the workshop, with the title of cabinetmaker-tapper, and the company was renamed "Casa Juan Busquets". That same year, at the Universal Exposition of Barcelona, Joan Busquets i Cornet won a gold medal for the good installation and for distinguishing himself in the upholstery work. After the Exposition of Fine Arts and Artistic Industries of Barcelona in 1898, the name "Joan Busquets and Son" begins to appear in the press. The name refers to Joan Busquets i Jané, who was trained at the Llotja School in Barcelona as a cabinetmaker and furniture design technician, and from the beginning of the nineties he was already collaborating in the Busquets House making drawings for furniture designs. In the 1895-96 academic year he finished his studies and the School awarded him a travel grant to visit Spanish museums. In 1896 Joan Busquets i Jané received an honorary mention for furniture projects at the Fine Arts and Artistic Industries Exhibition in Barcelona. His work as a designer for the company became more important in 1898, when Busquets i Jané produced his first watercolor drawing with a modernist tendency.

Estim. 500 - 600 EUR

Lot 36 - Following models by FRANCESC VIDAL JEVELLÍ (Barcelona, 1848-1914). Modernist chair, ca.1900. Wooden structure, red velvet upholstery. In good condition. Measurements: 112 x 47,5 x 47 cm. Modernist chair whose design is inspired in models of the cabinetmaker Francesc Vidal. The quality of the carving can be appreciated in every detail: the coup-de-fuet, bouquets and lanceolate leaves of the backrest, in the openwork of the waist and in the turning of the legs, joined with chambrana. The design responds to a historicist or syncretic style, taking different styles from the past and channeling them into the current of Catalan modernism, of which Vidal was a prominent member. A cabinetmaker and decorator, Francesc Vidal traveled to Paris to direct the exhibition of his father's bookbinding samples at the Universal Exposition of 1867, and there he had the opportunity to meet other young artists, to study at the School of Decorative Arts and to travel repeatedly around Europe. In 1878 he established himself as an art dealer, and in 1883 he inaugurated a building designed by Vilaseca, an unusual polytechnic complex, where he would work intensely from then on in the production of quality furniture, as well as its complements in glasswork, metalwork and foundry. In his studio Rigalt and Masriera collaborated in the foundry, and as designers Joan González, Gaspar Homar and Santiago Marco. Vidal's clientele included the high bourgeoisie and official corporations, and he made the furniture designed by Gaudí for the Palacio Güell. He exerted a great influence on the society of his time, and practiced patronage with talented young artists such as Pau Casals, Isaac Albéniz, C. G. Vidiella, etc. Simón Gómez, by portraying this outstanding cabinetmaker, carried out perhaps the best portrait of the Catalan painting of his time. Works by Francesc Vidal are currently preserved in the National Museum of Art of Catalonia and in the National Museum of Decorative Arts, as well as in important private collections. Good condition

Estim. 500 - 600 EUR

Lot 37 - JOAN BUSQUETS I JANÉ (Barcelona, 1874 - 1949). Pair of modernist chairs, ca.1900. Wood, upholstered in fabric. Not original upholstery. In perfect condition. Measurements: 92 x 40 x 41 cm. Pair of modernist chairs designed by Joan Busquets. Together with the lightness of the design, which avoids sharp profiles but without giving up the synthetic stylization. A line of flowers is cut into the openwork of the backrest. The rear sabre legs combine with grooved front legs. Furniture designer and decorator, Juan Busquets is currently considered one of the most representative figures of Catalan modernism. He began his training in the family workshop, and then studied at the Escuela de La Lonja in Barcelona, where his teachers were Guitart and Lostaló. In the 1895-96 academic year he was awarded a scholarship that allowed him to travel around Spain, which he obtained thanks to a project for a Renaissance-style bookcase-cabinet. He exhibited furniture projects for the first time at the Barcelona Exhibition of 1896. The workshop of Joan Busquets was one of the most outstanding of modernist Catalonia and is currently, together with the production of Gaspar Homar, the most representative testimony of the furniture and decoration of Catalan modernism. He was president of the Fomento de las Artes Decorativas between 1918 and 1921, and supervised the manufacture of furniture for Gaudí's Casa Calvet. Works by Busquets can currently be found in the National Art Museum of Catalonia, the Güell Palace in Barcelona, the National Museum of Decorative Arts and the Museum of Catalan Modernism in Barcelona, among others, as well as in several important private collections. In perfect condition.

Estim. 500 - 600 EUR

Lot 38 - Fernandina game box; Spain, first quarter of the nineteenth century. Pine with rosewood veneer and gilded bronze applications. It presents faults. Preserves key and shows the initials BS in brass inlay. Measurements: 25 x 56 x 28 cm. Box made of pine wood with rosewood veneer. On the sides of the front it has gilded bronze appliqués representing schematic leaves. The piece has three drawers and in the upper area a lid that opens with hinges, revealing a compartmentalized space. This is a piece of late neoclassical furniture. During the reign of Ferdinand VII, the stylistic legacy of the First French Empire was perpetuated, balancing Greco-Roman, neoclassical and Egyptian influences. Presents faults. Preserves key and shows the initials BS in brass.

Estim. 350 - 400 EUR

Lot 39 - JOAN BUSQUETS I JANÉ (Barcelona, 1874 - 1949). Modernist rocking chair, ca.1895. Walnut wood structure, fabric and velvet upholstery. In perfect condition. Measurements: 104 x 57 x 86 cm. Modernist rocking chair designed by Joan Busquets. The carving integrates floral elements with synthetic motifs. Furniture designer and decorator, Juan Busquets is currently considered one of the most representative figures of Catalan modernism. He began his training in the family workshop, and then studied at the Escuela de La Lonja in Barcelona, where his teachers were Guitart and Lostaló. In the 1895-96 academic year he obtained a scholarship that allowed him to travel around Spain, which he obtained thanks to a project for a Renaissance-style bookcase-cabinet. He exhibited furniture projects for the first time at the Barcelona Exhibition of 1896. The workshop of Joan Busquets was one of the most outstanding of modernist Catalonia and is currently, together with the production of Gaspar Homar, the most representative testimony of the furniture and decoration of Catalan modernism. He was president of the Fomento de las Artes Decorativas between 1918 and 1921, and supervised the manufacture of furniture for Gaudí's Casa Calvet. Works by Busquets can currently be found in the National Art Museum of Catalonia, the Güell Palace in Barcelona, the National Museum of Decorative Arts and the Museum of Catalan Modernism in Barcelona, among others, as well as in several important private collections.

Estim. 300 - 400 EUR

Lot 40 - Art Deco dresser or chest of drawers, ca. 1940s. Mahogany wood and ebonized details. Can be matched with the lot 35346495. Measurements: 75,5 x 53 x 42,5 cm. Auxiliary chest of drawers made entirely of wood. It presents a characteristic Art Deco design, with its rectangular structure preceded by a molded plinth and with the front reticulated by square shapes separated by ebonized shelves. Each grid has its own metal ring handle, so that each of the three drawers has three handles. It is a piece of furniture with clean and refined lines, harmonious proportions and studied symmetry. It has an additional drawer under the top.

Estim. 500 - 600 EUR

Lot 41 - Armchair. England, regency style, first third of the nineteenth century. Mahogany wood. Upholstered in green. Measurements: 88 x 59 x 57 cm. Armchair in mahogany wood, with fluted and stippled front legs, while the back legs are sabre-like. The wood of the armrest is arched in a graceful design and the backrest has a cross fretwork inserted in a rectangular stretcher frame. The top of the backrest is slightly cambered to harmonize with the sabre profile of the legs. The set has a historicist design, combining elements of various British eighteenth-century and French nineteenth-century styles. It features marquetry work with vegetal scallops at the waist and back.

Estim. 400 - 500 EUR

Lot 42 - Mirror of the eighteenth century. Polychrome and gilded wood. Presents marks of use, faults and some xylophages. It needs restoration. Measurements: 38 x 32 cm (total). Rococo period mirror, with the frame carved with serpentine highlights crawling through the rectangular structure. The corners are decorated with leaves of acanthus and braces. Sinuous loops outline the outer perimeter, while the inner perimeter retains its geometric clarity.

Estim. 250 - 350 EUR

Lot 43 - Art Nouveau table; Spain or France, c. 1900. Wood. Presents faults. Measurements: 79 x 44 x 25 cm. Art Nouveau style side table, with an open structure, stylized and defined by sinuous and moving shapes, typical of this language. It consists of two open lateral feet, joined by a low straight frame and a tabletop. The rectangular tabletop is decorated with classic marquetry combining different woods, representing a floral composition of great naturalism, both in its details and in its open and asymmetrical structure. Presents faults.

Estim. 200 - 300 EUR

Lot 44 - Modernist bedside table; Spain, c. 1900. Carved wood. Presents reinforcement and interior counterweight. One of the legs is consolidated. Measurements: 61 x 44 x 44 cm. Modernist style table made of carved wood. The piece is supported by four carved legs with fluted shaft and stylized vegetal details in the area of the feet and shoulders. The piece has a drawer, with a skirt in the lower area that runs around the waist. It has internal reinforcement and counterweight. One of the legs is consolidated.

Estim. 100 - 200 EUR

Lot 45 - Tokino design rug; End of the XX century. New Zealand wool. It has slight stains and marks of use. Measurements: 195 x 310 cm. Handmade rug in New Zealand wool. The piece presents a salmon-colored finish that extends throughout the entire piece, including the body and the border. The latter has a design of synthetic lines that is based on geometric lines that define the entire perimeter of the piece, alternating white and brown. The piece is finished with bangs at the top and bottom. Slight stains and marks of use.

Estim. 700 - 800 EUR

Lot 46 - Rug; Miguel Stuyck, c. 1950. Three ply wool. 60,000 knots per square meter. Signed. Measurements: 315 x 365 cm. The factory of Miguel Stuyck, descendant of Jacobo van der Gotem, after ten generations dedicated to the manufacture of carpets and tapestries, can be considered one of the most important in the world, since it has produced and continues to produce true works of art that have embellished the best palaces, luxury hotels, banks, government agencies. etc.

Estim. 800 - 900 EUR

Lot 47 - Persian Kashan rug; c. 1920. Wool. 400,000 knots per square meter. It shows wear. Measurements: 310 x 410 cm. The Kashan carpet is a type of Persian carpet, the production was interrupted in Kashan between the Afghan invasion (1722) and the end of the 19th century. The revival of production was made with carpets of a superior quality wool. The earliest examples of this revival are called Kashan Motashemi, probably the name of a craftsman. The traditional techniques of carpet weaving in Kashan were chosen as Intangible Cultural Heritage of Humanity in 2010, by Unesco. The carpets of Kashan are among the best in Iran thanks to the quality of their wool, their extraordinarily dense knotting and the beauty of the colors and patterns, the background is almost always decorated with a central medallion that ends at the top and bottom with two floral crowns. The rest of the background is interlaced with flowers and foliage. The border is often decorated with the herati motif in the central band and with rosettes in the secondary bands. It shows wear and tear.

Estim. 900 - 1 000 EUR

Lot 48 - Tapestry; late 20th century. Wool of three threads. Measurements: 170 x 106 cm. Tapestries in this style were generally made for rural castles and hunting lodges in which courtly and country pastimes were represented instead of religious themes. Gallant scenes such as the one we see here were very common in the French tapestry tradition. France, a country of reference in the creation of tapestries, had numerous manufactories spread throughout the territory. One of the most appreciated factories was Gobelins, located in Paris and linked to royalty.

Estim. 1 300 - 1 400 EUR

Lot 49 - Hand Tuffting rug on sketch by Andrea Stuyck; Spain, c.2010. Wool. Measurements: 200 x 240 cm. Rug made of wool with white field with black geometric decoration. The factory of Miguel Stuyck, descendant of Jacobo van der Gotem, after ten generations dedicated to the manufacture of carpets and tapestries, can be considered one of the most important in the world, since it has produced and continues to produce true works of art that have embellished the best palaces, luxury hotels, banks, government agencies ... The purchase of any of its products produces the satisfaction of owning a true work of art, with the guarantee offered by their high quality raw materials, always coupled with the classic beauty of their drawings, designs and colors.

Estim. 1 500 - 1 600 EUR

Lot 50 - Aubusson design rug; End of the 20th century. Three ply wool. Design by Miguel Stuyck. Measurements: 275 x 183 cm. Woven in high-warp loom. Carpet made in wool of three threads. The carpet presents a field in ochre and pink tones with a floral decoration combined with vegetal elements, arranged in the reserved areas. The border is composed of a single band in a red tone, the same as the central area reserved in the field, following a similar design to visually unify the composition. Aubusson wool rugs were first woven by hand in the town of Aubusson from which they take their name. Aubusson style rugs are extremely refined, following 19th century weaving patterns. The factory of Miguel Stuyck, descendant of Jacob van der Gotem, after ten generations dedicated to the manufacture of carpets and tapestries, can be considered one of the most important in the world, since it has produced and continues to produce true works of art that have embellished the finest palaces, luxury hotels, banks, government agencies, etc.

Estim. 1 500 - 1 600 EUR

Lot 51 - Tapestry following the cardboard of FRANCISCO DE GOYA; Miguel Stuyck, late 20th century. "Boys playing soldiers". Three-thread wool. Signed "Miguel Stuyck" in the lower right corner. Measurements: 150 x 107 cm. Handmade on a high-warp loom, it has a simple border framing the central composition, clearly inspired by one of the cartons designed by Goya for the Royal Tapestry Factory of Santa Barbara, which was (and is currently) in Madrid. Specifically, it is the cartoon entitled "Boys playing soldiers", today preserved in the Prado Museum and made by the master for a tapestry of overdoor (hence its size) that would be in the bedroom of the Princes of Asturias (future Charles IV, and Maria Luisa de Parma) in the Palace of El Pardo, along with others of the same series, made this between 1778 and 1779. The Stuyck family, given their experience in the art of weaving, would take over from the master directors brought directly from Flanders to the Royal Tapestry Factory in Madrid. The Stuycks would exercise the artistic direction from the 18th century until the dawn of the 21st century. It was in 1786 when Miguel Stuyck, a descendant of Jacobo, asked the king for permission for his nephew to weave "Turkish" carpets (knotted, not woven like a tapestry). These first carpets will be in the Charles IV style, a language very indebted to French classicism, with Hispanic touches and sometimes certain influences of the Empire style.

Estim. 1 600 - 1 700 EUR

Lot 52 - Cuenca design rug; End of the XX century. Wool and cotton warp. 65,000 knots per m2. Signed by Miguel Stuyck. Measurements: 255 x 175 cm. Amphorae model rug handmade in wool with Spanish knot. The carpet has an ochre color field decorated with synthesized plant motifs and amphorae, forming linked medallions that are rhythmically repeated along the entire surface. The border is composed of a single band, occupied by a border in which a design similar to that found on the carpet field is repeated. The factory of Miguel Stuyck, descendant of Jacobo van der Gotem, after ten generations dedicated to the manufacture of carpets and tapestries, can be considered as one of the most important in the world, since it has produced and continues to produce true works of art that have embellished the best palaces, luxury hotels, banks, government agencies...

Estim. 1 700 - 1 800 EUR

Lot 53 - Sabonnerie design rug; Royal Tapestry Factory, 1947. Wick wool. 20,000 knots per m2. Signed. Measurements: 270 x 270 cm. Made in wool presents a field in ochre tones with a floral decoration combined with geometric and vegetal elements, arranged both in the area and in the central oval area. The border is composed of a single band of a darker tone than the field, but similar to visually unify the composition. The birth of the first tapestry factory in Spain dates back to 1721, when Philip V entrusted the Belgian subject Jacob van der Gotem with its creation. Shortly thereafter, the new factory, the Real Fábrica de Tapices de Santa Bárbara, expanded its production to include carpets. The factory of Miguel Stuyck, descendant of Jacobo van der Gotem, after ten generations dedicated to the manufacture of carpets and tapestries, can be considered one of the most important in the world, since it has produced and continues to produce true works of art that have embellished the best palaces, luxury hotels, banks, government agencies ... The purchase of any of its products produces the satisfaction of owning a true work of art, with the guarantee offered by their high quality raw materials, always coupled with the classic beauty of their drawings, designs and colors.

Estim. 1 900 - 2 000 EUR

Lot 54 - Fragment of tapestry. Brussels, late 17th century. "Banquet of Cleopatra and Mark Antony". Hand-knotted wool. Border of later period. Lined back. Use marks. Wear and tear. Presents some restorations. Measurements: 260 x 290 cm. Tapestry made in hand-knotted wool in which a scene is represented in a garden full of vegetation with a castle in the background, in which we see Marco Antonio seated in front of a table and behind him, the servants bring all kinds of delicacies to the table, it is decorated with characteristics that come from the inspiration of the art in the classical antiquity. As for the central scene, it is worth mentioning the great dynamism achieved by the author through a composition conceived as a frieze, where, despite the evident depth of the image, the great majority of the figures are located in the foreground. From the late Middle Ages until the 18th century, Flemish tapestries, as well as the pictorial production of the Flemish masters of painting, became a luxury commodity exported throughout Europe. The special relationship that was established between the region known as Flanders (an imprecise way of referring to the northern part of the Burgundian state) and the medieval Christian peninsular kingdoms (especially the Crown of Castile, and later the Hispanic Monarchy - which incorporated the Habsburg Netherlands), from where much of the wool that reached the textile workshops of Bruges, Ghent, Antwerp, Brussels, Mechelen, Arras came from.

Estim. 5 000 - 6 000 EUR

Lot 55 - Neoclassical design carpet; Royal Tapestry Factory, 1944. Wool. Signed and dated. Measurements: 335 x 545 cm. Handmade wool rug, which presents a black field on which is arranged a neoclassical-inspired design. A rosette is inscribed in a medallion as a vegetal garland, dominates the center of pink and blue tones. This center is surrounded by a chain of vegetal motifs inherited from classicist aesthetics. Finally, the field is delimited by the border, through a motif in the form of a fretwork. The border has three bands, two thinner and simpler in terms of decoration and a central one decorated with an aesthetic of rhythmic character with areas reserved for the corners. The birth of the first tapestry factory in Spain dates back to 1721, when Philip V entrusted the Belgian subject Jacob van der Gotem with its creation. Shortly thereafter, the new factory, the Real Fábrica de Tapices de Santa Bárbara, expanded its production to include carpets. The factory of Miguel Stuyck, descendant of Jacobo van der Gotem, after ten generations dedicated to the manufacture of carpets and tapestries, can be considered one of the most important in the world, since it has produced and continues to produce true works of art that have embellished the best palaces, luxury hotels, banks, government agencies ... The purchase of any of its products produces the satisfaction of owning a true work of art, with the guarantee offered by their high quality raw materials, always coupled with the classic beauty of their drawings, designs and colors.

Estim. 7 000 - 8 000 EUR

Lot 56 - French school of the XIX century. "Two young people". Couple in gilded bronze. Empire style pedestal. Measurements: 30 cm. total height. Pair of gilded bronze statuettes, French style. They represent a maiden and a young peasant whose gestures and clothing complement each other: the slightly tilted heads, framed by wavy hair, adorn an oval face with almond-shaped eyes. Likewise, both wear a knotted kerchief around their necks, fitted jackets and bare feet. The figures, worked in round bulk, rest on a cylindrical base adorned with two mermaids characterized as harpies with wings and forked tails.

Estim. 800 - 1 000 EUR

Lot 57 - According to the model of the Spinario Capitalino (1st century B.C.). "The child of the thorn", early 20th century. Sculpture in stucco. It has a slight crack at the base. Measurements: 80 x 50 x 60 cm. Successful plaster reproduction of the Child of the Thorn or Spinario, a sculpture from the Hellenistic period that is exhibited in the Capitoline Museums in Rome. It represents a boy sitting while removing a thorn from the sole of his left foot. It knew important versions throughout the history of art. The statue is documented in Rome since the twelfth century and was donated to the city by Sixtus IV in 1471, remaining in the Lateran Palace. Throughout the Renaissance it was one of the most admired and copied ancient statues. At that time was born the legend of the Roman shepherd boy Cnaeus Martius, in charge of delivering an important message to the Senate, who ran a long way ignoring the thorn in his foot until he did not see his mission accomplished. In 1798, Napoleon appropriated the statue and sent it to his museum in Paris (now the Louvre Museum), where it remained until 1815.

Estim. 1 200 - 1 500 EUR

Lot 58 - UGO CIPRIANI (Florence, 1887 - Paris, 1960). "The Strongman, 1930s. Bronzed terracotta. Signed. With stamp "Terre Cuite d'Art". Size: 45 x 77 x 23 cm. Ornamental sculpture in round bulk, made in bronzed terracotta, with the shape of a young strong man with a naturalistic complexion, executing a movement in tension. It is a realistic work in its modelling but rigorous and geometric in its composition, perfectly reflecting the aesthetic basis of Art Deco. On the other hand, the figure is represented almost naked in order to avoid any reference to time, seeking an ideal and absolute image of movement, without concessions to decorative or accessory elements. Son of the sculptor Adolfo Cipriani, Ugo trained at the Academy of Fine Arts in Florence. One of his best known works is a bronze monument (1919) to the Italian nationalist Guglielmo Oberdan, now in the square of the same name in Florence. In 1935, Ugo Cipriani emigrated to France to escape Mussolini's fascist regime.

Estim. 1 000 - 1 200 EUR

Lot 59 - "Adonis", early twentieth century. Sculpture in stucco. It has a crack in a finger. Measurements: 138 x 45 x 32 cm. Sculpture of classical inspiration representing a young ephebe, possibly Adonis, a character of Greek mythology to whom numerous legends linked to love and death are attributed. His unsurpassed beauty wanted to be replicated by the sculptors of antiquity, concretizing in the representation of male nudes with turned limbs and subtle contrapostos, like the one we show. The slight inclination of the hips imprints a barely perceptible sinuous movement that enhances the perfection of the anatomy. Sympathetic ringlets frame a countenance that exudes a serenity in keeping with the elegance of the body.

Estim. 1 200 - 1 500 EUR

Lot 60 - After “GIAMBOLOGNA”, JEAN DE BOLOGNE (Douai, Flanders, 1529 – Florence, 1608). Italy, 19th century. "Mercury". Bronze sculpture. Marble base. He has lost part of the caduceus. Measurements: 84 cm. (total height with base). The work, from the neoclassical period, follows the model of the original sculpture by the Renaissance artist Jean de Bologne, better known by the Italianized form of his name, “Giambologna”, today preserved in the Museo del Bargello in Florence. The version in question also presents a frieze on the base that did not exist in Flemish sculpture. The original piece, originally made in 1567, features the classical deity Mercury (Roman version of the Greek Hermes), the messenger of the gods. The artist has sought to translate the lightness and speed of the character through a posture of great audacity. The god defies the laws of gravity by barely resting on the tips of the toes of his left foot, which barely touches the base of the sculpture, made up of a male head exhaling a breath of air. This is the personification of the south wind, a figure also deified in classical mythology and an ally of Mercury in the spread of news, good and bad. Despite this small base, the artist managed to create a very balanced piece, where the gestures of the arms and legs are perfectly balanced to allow the bronze to stand without the need for added elements. Thus, the right arm rises towards the sky in an expressive gesture, while the left moves back and balances it, holding the emblem of the herald. With this work, overflowing with movement, grace, delicacy, where the artist also works admirably with the nude, some of the most outstanding contributions of the classical Italian Renaissance are summarized: the recovery of Antiquity, both in the themes as in the forms, the free-standing monumental sculpture or the nude, male and female. On the other hand, the search for movement, dynamism, even the instability of the figure, prelude some aspects of mannerism and the baroque currents of the late 16th and 17th centuries.

Estim. 1 800 - 2 000 EUR

Lot 61 - AUGUSTE CAIN, (Paris, 1821 - 1894). "Children with basket". In bronze. Signed on the base with marble base. Measurements: 52 x 26 x 49 cm. Auguste Cain, French sculptor specialized in portraying animals. He is known for being the father of the painter and writer Georges Cain, and of the man of letters and painter Henri Cain. After working in the family butcher's shop, he studied with Alexandre Guionnet and François Rude, then devoted himself to animal anatomy at the Jardin des Plantes in Paris. In the 1840s, he provided goldsmith models and became associated with the sculptor Pierre-Jules Mène. He began exhibiting at the Paris Salon in 1846. His works, both statuettes and larger sculptures, focus on the realistic representation of animals in their natural environment. From the 1860s, he received official commissions, most notably his monumental animal sculptures in Parisian gardens. His best known works show large carnivores and their prey, as well as domestic and big game animals, such as lions and lions.

Estim. 2 200 - 2 400 EUR

Lot 62 - AUGUST GAUL (Hanau, 1869- Berlin, 1921). "Don penguins", c. 1911. Patinated and gilded bronze. Signed A. Gaul. Measurements: 16 x 17, 5 x 8,5 cm; 4,5 x 21,5 x 10,5 cm (base). During the nineteenth and twentieth century the animal-themed sculpture will finally reach a status of its own, within the context of romantic sculpture. Seeking to break away from the classical sculptural ideal, many artists saw in the animal theme a new way of expression, linked to the emotional and irrational nature, in a purely romantic sense. August Gaul was a German sculptor and medalist active during the transition from historicism to modernism. The son of the stonemason Philipp Gaul (1840-1910), he received his first inspiration for his later profession in his father's workshop. He served an apprenticeship as a model maker in a silversmith's factory, and from 1884 he was a student at the Royal Prussian Academy of Drawing in Hanau. With the support of his teacher, the sculptor Max Wiese, he moved to Berlin in 1888. There he initially worked in the sculpture workshop of Alexander Calandrelli and attended courses at the Museum of Decorative Arts in Berlin. After obtaining a permanent free pass to the Berlin Zoological Garden in 1890, he studied drawing there intensively. In 1894 he began studying at the Berlin Academy of Art, in the class of the painter Paul Meyerheim, whose strong point was the depiction of animals. In 1895, Gaul began working as an advanced student in the studio of Reinhold Begas, the leading exponent of neo-baroque at the Berlin sculpture school. Begas commissioned from him and August Kraus two of the four lions for the National Monument to Kaiser Wilhelm, located in front of the Berlin City Hall. A prize awarded by the Academy for a relief allowed Gaul to study in Italy between 1897- 1898. Upon his return, he became best known for his sculpture of the two Roman goats, which he was also able to exhibit at the 1900 Paris Universal Exposition. In 1898, he was one of the founding members of the Berlin Secession, an association of artists such as Max Liebermann, Louis Tuaillon and Walter Leistikow, who opposed the prevailing academic art scene; he was a member of the board of the Secession from 1902. August Gaul was appointed professor at the Academy of Art in 1908 and in 1919 he was appointed member of the acquisitions commission of the National Gallery in Berlin.

Estim. 3 000 - 4 000 EUR

Lot 63 - CHARLES MALFRAY (Orleans, 1887-Dijon, 1940). "Le Silence. 1916. Bronze. Exemplary 6/8. Signed and numbered at the bottom. Founder's stamp. Measures: 32 cm. high. This body folded in on itself tries to protect itself from an aggressive exterior. The figure, whose rounded volume is constrained by the bronze block, was intended as a tribute to the combatants of the First World War. With "The Silence", Charles Malfray allegorised the loneliness and powerlessness felt in the face of the violence of war. Human drama and avant-garde style come together in this subjugating piece. Charles Malfray was a French sculptor. The son of a stonemason from Orléans, he studied at the École des Beaux-Arts in Orléans. At seventeen, he attended the École des Arts Décoratifs in Paris and the École nationale supérieure des Beaux-Arts. However, he rejected the school's academic teaching and was attracted to the art of Auguste Rodin and Antoine Bourdelle, who were based in Montmartre. Malfray survived the First World War after being gassed and participating in the battle of Verdun, but was deeply affected by his experiences. Together with his brother, he created the war memorials to the dead of Pithiviers (1920) and Orleans (1924), whose modernism was much discussed. In 1920 he was awarded the Prix Blumenthal, but due to his illness as a result of the war, he was on the point of abandoning sculpture. However, in 1931, his friend Aristide Maillol appointed him his successor as professor at the Académie Ranson in Paris. During the following years, Malfray had many pupils in his studio, among them Étienne Martin, François Stahly, Nessa Cohen and Jean Le Moal. A street in Orléans is named after Rue Charles Malfray.

Estim. 6 000 - 8 000 EUR

Lot 64 - ESTEVA Y CÍA., Barcelona, ca. 1900. "Virgin of La Merced". Plafón of golden stucco. Stamp and numbering on the left side. It presents marks of use, wear and faults, as well as restorations. Measurements: 120 x 52 x 15 cm. Plafon of gilded stucco manufactured in the Barcelona workshops of Casa Esteva y Cia. It represents the Virgin of La Merced with the Child Jesus. The Child holds the scapular, characteristic symbol of this Marian devotion. The soffit combines high and bas-relief, and the undulating qualities of the garments denote its full belonging to Catalan modernism. Also the way of resolving the floral friezes and the delicacy of the faces is characteristic of this movement. The Casa Esteva y Cía. of Barcelona, was active between the late nineteenth and early twentieth centuries, and they worked as designers for prominent figures of the time, such as Pablo Gargallo. Currently, pieces of this firm are preserved in outstanding collections such as the National Museum of Art of Catalonia. The Virgin of Mercy is the patron saint of captives, not only physical but also spiritual captives, and of all those who have been marginalized by society. Her devotion has its origin in Catalonia. The Order of Mercy was founded around her, initiated by Saint Peter Nolasco at the beginning of the 13th century. It was precisely the Mercedarian monks who spread her cult throughout Spain, France and Italy from that date onwards. The iconography for the representations of the Virgin of Mercy acquires its definitive form in the 16th century, which in the Baroque period drifts towards more dynamic representations, with breaks of glory.

Estim. 1 000 - 1 200 EUR

Lot 65 - Italian school, 18th century. "Two putti. Terracotta. Damaged. Measurements: 12 x 8 x 5,5 cm. Pair of late-baroque putti. Made in terracotta, in round bulk. Their curly hair frames angelic faces. With rounded and turned limbs, the couple adopt graceful postures.

Estim. 350 - 400 EUR

Lot 66 - JOSÉ ESTEVE EDO (Valencia, 1917-2015). "Seated girl". Bronze with stone base. Signed. With whitish patina. Measurements: 26 x 9 x 13 cm; 28 x 9 x 13 x 13 cm (with pedestal). The sculptor José Esteve Edo studied at the School of Arts and Artistic Trades and the Superior School of Fine Arts of San Carlos, both in Valencia. He is an academician of San Carlos, and Doctor in Fine Arts by the School of San Carlos of Valencia. Co-founder of the Parpalló group, he has received distinctions such as the First Prize at the First University Art Exhibition in Valencia, the National Prize for the Requena Grape Harvest Monument, the Gold Medal at the Second Hispano-American Biennial and the First Prize for Sculpture at the Exhibition of Painters of Africa. He is currently represented in the Museum of Fine Arts of Valencia, the Royal Academy of San Carlos and the Enrique Giner Museum of Nules, among others, and has public monuments in the city of Valencia.

Estim. 600 - 700 EUR

Lot 67 - Modeled after KARL HAGENAUER (1898-1956). "Ballerina and dog". Chromed iron. Measurements: 20 x 18 cm. The modeling of this sculpture is essential and synthetic without leaving aside the naturalism, typically Art Deco. Thus, in general, the details are left aside, the meticulous rendering of the real model, although the author, a follower of Karl Hagenauer's style, pays special attention to the capture of the movement of the anatomy of the protagonists. The son of the goldsmith Carl Hagenauer, Karl studied at the School of Arts and Crafts in Vienna, where he was taught by Josef Hoffmann and Oskar Strnad and imbued with the spirit of the Wiener Wekstätte. After obtaining his diploma in architecture, between 1917 and 1919 he did his military service, and upon his return he began working as an architect and in his father's workshop. During these years he created numerous pieces in silver, brass, copper, enamel, ivory, stone and wood. In 1928, after his father's death, he took over the management of the workshop and was responsible for the expansion of the firm, expanding production to include cabinetmaking and opening stores in Vienna and Salzburg. From then on he exhibited his best pieces both in Austria and abroad, was twice awarded the gold medal at the Milan Triennale and was named a member of the Austrian Werkbund and the Werkstätte. Today his pieces are part of collections around the world, including the Victoria & Albert Museum in London, the MoMA and the Jewish Museum in New York, the Casa Lis in Salamanca and many others.

Estim. 500 - 550 EUR

Lot 68 - MAURICE SÉBASTIEN LAURENT ( Nancy, 1887- Draveil, 1973). "Bison", c. 1930. Glazed stoneware. Signed. Measurements: 22 x 25,5 x 8,5 cm. French painter and sculptor born in Nancy, Sébastien Laurent studied with Émile Friant at the School of Fine Arts in Nancy. In 1912 he won a medal of honor at the Salon des Artistes Français. He painted genre scenes and regional paintings, often with a symbolist aesthetic. In the thirties, he collaborated with the Bank of France, for which he made several banknotes, such as the 10,000 franc Génie français, as well as banknotes for the Bank of Syria and Lebanon (1939). In 1945, he was commissioned to design a 1,000 franc banknote, which he proposed under the emblem of Athena, but which was finally rejected; in 1985, the Institut d'émission used it to test banknote dispensers. He collaborated with the Mougins earthenware factory, creating sculptures and vases.

Estim. 400 - 500 EUR

Lot 69 - ANDOR RUFF (Taksony, Hungary, 1885-1951). "Peasant on horseback with dog". Bronze. Signed. The horse is not well anchored to the base. The object in his right hand is missing. Measurements: 24 x 25 x 9 cm. Ruff studied in Budapest and Brussels. Later he lived and worked as a sculptor, landscape painter and draughtsman in Budapest. In this sculpture highlights the laborious work of the two animals and the male character, captured with a precision, a naturalism and an expressiveness that denote not only mastery on the part of the sculptor, but also a careful study of the natural.

Estim. 400 - 450 EUR

Lot 70 - French or Italian school of the 19th century. "Bust of Lucius Verus. Bronze. Measurements: 23 x 11 x 10 cm. The luxuriant beard and the curly hair show that we are in front of a bust of Lucius Verus, Roman co-emperor together with Marcus Aurelius, from the year 161 until the time of his death in 169. Lucius Verus and Marcus Aurelius were adopted sons of Antoninus Pius by order of Hadrian and the first two who reigned together in the history of Rome. This is a sculpture made during the "Grand Tour", a term that first appeared in "Le Voyage d'Italie" by Richard Lassels, was used to define the long journey through Europe, especially Italy, that young British aristocrats used to undertake from the seventeenth century onwards, but especially throughout the eighteenth and nineteenth centuries. The aim of the trip was for the young men to get to know the art and culture of France and Italy mainly, to admire classical art at first hand, to learn or improve their language skills, and to establish contacts and relationships with the cultural and political elites of these countries. Often, travelers were looking for pieces with which to start their own art collections, objects to take back to their places of residence as souvenirs. For this reason, workshops specialized in replicating Roman pieces, both in bronze and marble, sprang up, some of which acquired a great reputation.

Estim. 400 - 600 EUR

Lot 71 - Pair of Renaissance altarpiece finials. Spain, 16th century. Carved, gilded and polychrome wood. Measurements: 15 x 59 x 4,5 cm. The markedly horizontal character of the pair of structures in bidding indicates that they could belong to the upper part of a Renaissance altarpiece. Both pieces present the same disposition: an angel's head is flanked by wings and curtains. It is also framed by relief moldings embellished with floral motifs.

Estim. 350 - 400 EUR

Lot 72 - FRANCISCO GUTIERREZ FRECHINA, (Sweden, 1908 - 1950). "Bullfighter. In bronze. Signed on the base. Measurements: 38 x 12 x 11 cm. Francisco Gutiérrez Frechina was born in the Valencian town of Sueca, in the region of the Ribera Baixa. He was the son of a modest family of day laborers. He refused to work in the fields and to work as a llaurador. At the age of fifteen he began to study at the School of Fine Arts in Valencia. There he received classes from Francisco Paredes García and Luis Marco Pérez. After attending classes, he worked as a model maker, obtaining at the age of twenty the title of professor of drawing and modeling. In April 1931 he obtained a scholarship in Madrid to study four years in Rome by opposition in the work entitled The Triumph of Life, and also traveled to Athens (1933), Cairo and Damascus. In 1933 he also received another government scholarship to travel to North America and Mexico. His first exhibition took place in the Sala Abad (Pintor Sorolla Street) in the city of Valencia. His aesthetic work was of great quality to the point that the sculptor Capuz stated that Frechina was the most outstanding value among current young sculptors.

Estim. 300 - 400 EUR

Lot 73 - Pair of vases SEVRES, late XIX century. Blue glass and gilt metal. With marks of use. Measurements: 57 x 23 x 17 cm. Pair of Sèvres vases. The stylised bodies in cobalt blue glass are set on gilt metal feet, worked with fine vegetal sheaths. The slender geometric arms match the gilt metal ornaments surrounding the mouth and lid. The lid is topped with a knob in the shape of an acorn. At the end of the 18th century, the prestigious Sèvres began to specialise in glass under the direction of Abel-François Poisson de Vandières, Marquis de Marigny and brother of Madame de Pompadour. His clients ranged from royal houses and noble courtiers to wealthy merchants and bankers. Originally founded in Vincennes in 1740, the Manufacture Nationale de Sèvres was moved here in 1756. One of Europe's leading porcelain factories, the Manufacture was successively named after different political regimes: royal, imperial and national manufactory. Still active today, the firm continues to produce objects created since 1740, although its current production is largely oriented towards contemporary creation. The Manufacture de Vincennes was founded with the support of Louis XV and Madame de Pompadour, with the idea of creating pieces for the court and competing with the porcelain productions of Meissen and Chantilly. In fact, the first experiments were carried out by the brothers Robert and Gilles Dubois, who came from the Chantilly manufactory. By 1745, under the direction of the Gravant couple, important results had been achieved, in particular the creation of models of porcelain flowers to decorate all kinds of pieces. The new building in Sèvres, where the manufactory moved to in 1756, was built on the initiative of Madame de Pompadour.

Estim. 1 200 - 1 400 EUR

Lot 74 - Art Deco MOSER vase. Czechoslovakia, ca. 1930. Amethyst glass and gold. With marks of use. With very slight chipping at the mouth. Signed on the back. Measures: 13 x 13 x 13 cm. Vase in amethyst glass of violet tonality and border in gold decorated with characters inspired in the Classical Antiquity. The Moser glassworks was established in Karlsbad in 1857, in the north-eastern part of Bohemia. In 1873 Ludwig Moser, its founder, won a prize for a glass at the International Exhibition in Vienna. This prize enabled Moser to penetrate the market with greater force, establishing a factory in Meierhofen in 1893. In this year, the factory had four hundred employees and was renamed the Karlsbaderglasindustrie Gesellschaft Ludwig Moser & Söhne. After years of success in the 19th century in various international competitions, the company underwent several closures and transfers during the 20th century. Nevertheless, it has always remained one of the most important glass companies in Bohemia. It is a brand with more than a century of tradition in the production of high quality, luxury glassware, having been an official supplier to several royal houses and palaces in Europe.

Estim. 500 - 600 EUR

Lot 75 - Pair of vases; Possibly France, late nineteenth century. Wheel engraved glass with silver mounts. Embossed and chiseled. Measurements: 18.5 x 10 x 6.5 cm (x2). Pair of jars made of colorless glass wheel engraved. The pieces have the same design, this sits on a round base that gives way to a globular body that widens in the area of the shoulders to make way for the neck, which is mounted in silver. The upper area where you can see the neck, the mouth of each one and the handle are silver with an ornate design with plant motifs and clear baroque inspiration in terms of style.

Estim. 550 - 600 EUR

Lot 76 - Étui; France, second half of the nineteenth century. Enameled and gilded porcelain. It shows wear. Measurements: 15,5 x 6 x 3 cm. Case "Étui" of white porcelain and bronze. Elongated and flat shape with rounded ends. It consists of two parts, body and lid, which closes with pressure and gilded bronze mouthpiece. Magnificently decorated in Rococo style, offers, center of the body with a large oval on each side, hand painted, front river landscape and, rear lady in garden with basket of flowers and putti on the head; rest decoration in relief of rockeries and golden braces, flowers or stars and losanges. Lid same decoration with fluvial landscape. This type of box or étui became fashionable in the French society of the eighteenth century as a sign of luxury and power, its use was to contain things of personal use of the most varied. Paris in the eighteenth century, had an economic explosion with a great artistic and cultural dynamism, became the capital of Western Europe. It is common to remember that, at that time, from St. Petersburg, Stockholm or Berlin to Madrid, the whole of Europe spoke French, a language that prevailed both in diplomacy and, in general, in life in society. However, very few know that this primacy was rooted in the lifestyle that the intellectuals, artists and craftsmen who had studied and lived in Paris displayed in their daily lives with extraordinary dynamism. Many of them were, by the way, of foreign origin.

Estim. 650 - 700 EUR

Lot 77 - Set of bonbonniere and jewelry box. France, in the manner of Sèvres. Possibly BOURDOIS & BLOCH, first third of the twentieth century. In enameled and gilded porcelain with gilded bronze mounts. Stamps on the base. It has slight flaws. Measurements: 22 x 25 x 19 cm; 11 x 31 x 21,5 cm. Lot consists of a jewelry box and a bonbonniere of French manufacture, enameled porcelain in blue King combined with gold borders and medallions in which are represented gallant scenes and bucolic landscapes. Both pieces are inspired by rococo models. The jewelry box, with an elliptical body, sits on gilded bronze feet finished in cabriole. The bomboniere has a mixtilinear and lobed profile.

Estim. 700 - 800 EUR

Lot 78 - Pair of candlesticks "Danse de flore"; VAL SAINT LAMBERT; early twentieth century. Cobalt blue and clear glass. Signed on the base. Measurements: 30,5 x 9 x 9 x 9 cm (x2). This pair of candlesticks made in blue and colorless glass with gold details is a design by Léon Ledru, who worked for the manufacture of Val Saint Lambert, from 1896 to 1926. The pieces are known with the model "Danse de Flore", for the bacchantes that adorn the central area. Val Saint Lambert is a glass firm whose headquarters is located in the former abbey of Seraing, province of Liège, Belgium. The company has been in operation since 1826, Val St. Lambert is the official supplier of King Albert II of Belgium. It is characterized by a quality production due to the clarity of its glasses. In 1825, Jean-François Deneef settled in Val Saint-Lambert with the intention of creating a glass factory whose quality would surpass that of the neighboring Baccarat. Val Saint Lambert was founded by the chemist M. Kemlin, who was previously employed at Vonêche in the Ardennes. It soon achieves several medals due to the clarity of its crystal pieces. Val Saint Lambert is known for its art nouveau and art deco style in the pieces.

Estim. 750 - 800 EUR

Lot 79 - LE VERRE FRANÇAIS. France, ca.1925. Vase. Paste glass with acid-etched decoration. Measurements: 15 cm (height) x 5 cm (diameter). Piece made by the glassmaking firm Schneider-Le Verre Français in which the Art Deco aesthetic beats strongly. Ernest (1877-1937) and Charles Schneider (1881-1953) founded in 1911 a small glassworks located in Epinay-sur-Seine, France. Charles Schneider, a graduate of the School of Fine Arts in Paris and gifted with artistic skills out of the ordinary, will get along with his brother that their production becomes the most important art glassware in France between 1926 and 1930. His were always hand-blown pieces, which meant that each glass in the same series would never be identical to another. At the same time, the range of hot and cold decoration processes was always applied with virtuoso mastery. Charles Schneider meticulously studied the temperature and chemical compositions to obtain an extremely extensive palette of colors, some of them never seen before and of unprecedented strength in the art of glass. The so-called Tango, for example, an explosive orange, will become the most innovative. Known as Verreries Schneider, the firm made two production lines. The first, under the Le Verre Français brand, includes pieces decorated with the acid-etched cameo technique, with generally two colors of glass superimposed and a stylized floral decoration, shiny on a matte background. The second line, under the emblematic Schneider brand, consists of pieces in shorter series, sometimes unique, proposing a smooth and shiny glassware, with more elaborate and personal decorative techniques. In any case, the triumph of this firm was undoubtedly due to the creative frenzy, enthusiasm, talent and genius of one man, Charles Schneider.

Estim. 600 - 800 EUR

Lot 80 - ANTONI SERRA (Barcelona, 1869-1932). "Modernist lady". Signed and stamped on the base. Measurements: 33 x 21 x 17 cm. The lineage of the Serra ceramists begins with Antoni Serra Fiter (1869-1932), within the framework of modernism, who founded the first workshop specializing in ceramics and porcelain art in Spain. Serra Fiter was followed by his sons Antonio (1905-85), Josep (1906-89) and Enric (1908-86) Serra Abella, who began a new stage with a completely new orientation. Finally, Jordi Serra Moragas (1942), son of Josep Serra Abella, continues the family tradition. The sculptor Enric Casanovas began his training as a disciple of Josep Llimona, to then enter the School of La Lonja in Barcelona. In 1900 he made his first trip to Paris, and on his return he showed his work at Els Quatre Gats. Between 1904 and 1913 he lived between Paris and Barcelona, in contact with Picasso, Maillol and Gargallo, among other artists. In 1920 he obtained a special room at the Fine Arts Exhibition, and in 1922 he took part in the Catalan Artists' Exhibition in Amsterdam. Five years later he showed his work in Italy, and in 1929 he won the gold medal at the Universal Exhibition in Barcelona. In 1932 he enters the Academy of Fine Arts of San Jorge, and in 1935 he obtains the Campeny prize of the Generalitat de Catalunya. He is currently represented in the National Art Museum of Catalonia, the Municipal Museum of Tossa de Mar, the Jaume Morera Art Museum in Lleida, the Luis Perlotti Sculpture Museum in Buenos Aires and the MACBA in Barcelona.

Estim. 900 - 1 000 EUR

Lot 81 - Ewer and basin; Old Paris, c. 1810-1820. Porcelain. It has slight wear. Measurements: 8 x 33 x 25.5 cm; 29 x 13 x 10 x 10 cm. Jug and basin made of porcelain that have an ornamentation based on the ruins of the paintings found in Pompeii. This style became widely popular at the beginning of the 19th century. Paris Porcelain, also called Old Paris, is a denomination that groups together the production of a series of smaller manufactories established in Paris from the last quarter of the 18th century to the end of the 19th century. The first factories appeared around 1770, following the discovery of a kaolin deposit in Limoges. During the 18th century, the so-called Paris Porcelain was that manufactured and decorated in Paris, although the 19th century also included pieces manufactured in the provinces and decorated in the capital. The production will be homogeneous in all factories, with good kaolin paste and golden decorations, used with royal permission, although it will not be the gold of Sèvres law until the French Revolution, when the monarchy disappears and with it the royal privileges of the factories of the crown. It was precisely the date of the Revolution that marked the beginning of the expansion of Paris Porcelain; production increased, with pieces that followed the stylistic and typological models of Sèvres, important technical improvements were achieved and a new and thriving clientele was supplied: the bourgeoisie. Slight wear and tear.

Estim. 900 - 1 000 EUR

Lot 82 - Collection of 103 hard Sevillian coins. In silver 9900. Description of the collection by tray: 32 coins of Alfonso XII, 39 coins of Alfonso XIII "Pelón", 17 coins of Alfonso XIII "Bucles", and 15 coins of Alfonso XIII "Flequillo". Enclosed is a book: "La Guía de los duros sevillanos" by José Francisco Martínez Roca. There are several theories about calling the fake duros with the name "Sevillanos". On the one hand, there was the general thought that these coins were manufactured by the aristocracy of Seville, with some consent of the government, although on the other hand, it could come simply because it was in this city where (it is supposed) they first appeared. It must be clear, first of all, that "sevillanos" is the generic name for the false duros minted only in silver, not having this denomination the rest of the abundant false duros made with vile metals of lesser value. The silver used for the "duros sevillanos" had a good purity grade to be as similar as possible to the authentic ones, normally 900 thousandths and with an identical coin weight, even many times higher than the 25 grams of the real ones. Enclosed is a book: "La Guía de los duros sevillanos" by José Francisco Martínez Roca.

Estim. 3 400 - 3 500 EUR

Lot 83 - Dish; Manises, XVI century. Glazed ceramic. It presents fracture lines and restorations. Measurements: 4 x 63 cm (diameter). Ceramic plate of metallic luster with a central tetón decorated with a bull, corresponding to the coat of arms of the Borgia family. The wing is decorated with oblique gadroons, inspired by contemporary silverware, alternating geometric motifs. Lustre ceramics will be the great art of the Nasrid period, although it was born in Spain during the Almohad period, between the second half of the 12th century and the first half of the 13th century. In later times it will have special development in Manises, where the Hispano-Muslim tradition will continue in both the technical and decorative aspects. It is a glazed ceramic, that is to say, with a white enamel bath, very pure in the best examples, which is fired in the kiln. On it, once cold, it is decorated with a pigment composed of five basic ingredients: copper, silver, sulfur, almazarrón (iron oxide) and vinegar. The final tone will depend on the proportion of these components, resulting more golden if it has a greater amount of silver, and more reddish if copper predominates. Finally, the piece is fired a second time at 650ºC, in a reducing atmosphere, to fix the decoration. Once the piece is fired, the decoration is black, so it has to be burnished to obtain the final shiny metallic gold tone. It presents fracture lines and restorations.

Estim. 1 400 - 1 500 EUR

Lot 84 - Pair of decanters; Schleissner J.D. & Söhne -Hanau, late nineteenth century. Carved glass and silver mounts. They present punches. Measurements: 24,5 x 7,5 x 7,5 cm (x2). Pair of decanters whose design is inspired by Renaissance motifs. The bodies in cut crystal, present elements of geometric and stylized vegetal character. In each of the decanters the design ends with silver mounts, which are arranged in the lower area and in the neck, serving as a stopper for each of the decanters.

Estim. 850 - 900 EUR

Lot 85 - Art Nouveau figure of ROYAL DUX; Bohemia ca. 1930. Enameled porcelain. With marks. Measurements: 21 x 23 x 19 cm. Royal Dux was one of the most prominent porcelain manufactures of the Art Nouveau and Art Deco periods in Bohemia. Founded by E. Eichler in 1853 in Dux (now Duchov), near Prague, it has remained in business to this day. Around the turn of the century, the firm specialized in the production of Art Nouveau figures and busts. These were large pieces, mainly female-themed, as well as vases decorated with round figures.

Estim. 800 - 1 000 EUR

Lot 86 - Art Nouveau DAUM vase. Nancy, France, 1905. Cameo glass. With mark. Measurements: 12 cm (height) x 6 cm (diameter). Vase with a circular base on which stands the body of the vase, decorated with floral motifs on a bichrome background. Formally the piece presents a slight bulge in its belly. Regarding the technique, in fact the cameo glass is known since ancient times, although it was taken up again in the late nineteenth century in France and England. Émile Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing modernist glass to the public. It was a form of decoration faster and cheaper than the cameo engraved wheel, so the result was more affordable pieces, mass-produced but handmade, since no templates were used but the motif was drawn by hand on each piece. The cameo glass technique consists of blowing a bubble of two or more layers of glass of different colors, which are then carved or removed by acid re-melting the bottom, thus leaving the motif in relief, in the color of the top layer of glass. This novel technique was soon adopted also by other artistic glass firms, such as Daum. The Daum manufacture was founded in the late nineteenth century by Augustin Daum (1853-1909), from a small family glassworks in Nancy. He would be joined by his brother Antonin (1864-1931), and Daum's workshops would soon after become a meeting and training place for many young artists, who promoted the Art Nouveau style in Nancy. At first they made ordinary glass, but in 1891 they decided to open a decorative workshop and undertake an artistic production, probably as a result of the success of Émile Gallé (1846-1904) at the 1889 Exhibition. Eventually, Daum will have a factory with more than three hundred employees and an artistic production of great variety. During World War I, the factory closed, but resumed production after the war, adapting to the change of aesthetics and leaving behind the modernism of its first period. During the Art Nouveau period, most of Daum's pieces were made of acid-etched cameo glass, but with the new Art Deco style, new techniques and decorative styles were investigated.

Estim. 1 000 - 1 200 EUR

Lot 87 - THIEME POSTCHAPPEL (1888-1901). Enameled, gilded and glazed porcelain. It presents faults and restorations. Measurements: 58,5 x 24 x 43,5 cm. The Carl Thieme porcelain company was founded in 1886 (or 1836) in Potschappel (Saxony, Germany) by Carl Thieme. The town of Potschappel, along with nearby Dresden and Meissen, has a long history of porcelain production dating back to the 18th century. The company quickly became one of the most successful porcelain factories in Germany. In 1900, the company received a gold medal at the Universal Exhibition in Paris for its exquisite porcelain figurines. The Carl Thieme Porcelain Company continued to produce high-quality porcelain until its closure in 1935. It presents faults and restorations.

Estim. 1 100 - 1 200 EUR

Lot 88 - Art Nouveau figure by ROYAL DUX; Bohemia ca. 1930. "Snake charmer". Enameled porcelain. With marks. Measurements: 24 x 18 x 9 cm. Royal Dux was one of the most outstanding porcelain manufactures of the Art Nouveau and Art Deco periods in Bohemia. Founded by E. Eichler in 1853 in Dux (now Duchov), near Prague, it has remained in business to this day. Around the turn of the century, the firm specialized in the production of Art Nouveau figures and busts. These were large pieces, mainly female-themed, as well as vases decorated with round figures.

Estim. 1 000 - 1 200 EUR

Lot 89 - Vase VERRERIES SCHNEIDER; France, early twentieth century. Glass. Signed. Measurements: 16 x 12 cm. The Schneider firm was founded by Charles and Ernest Schneider in 1911. The first had studied at the School of Fine Arts in Nancy and his brother and partner, Ernest, worked in Daum as a designer. After the hiatus of the war, the firm continued its production, leaving behind the first functional pieces and focusing on Art Nouveau art glass. From the 1920s onwards, they exclusively used the decorative technique of acid etching.

Estim. 1 000 - 1 200 EUR

Lot 90 - ÉMILE GALLÉ (Nancy, France, 1846 - 1904). Vase, 1908-1920. Acid-carved cameo glass. Signed. Measurements: 20 x 10 x 10 cm. Émile Gallé began his career working for his father, who owned a glass and ceramics factory, making designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he traveled through Italy, England and Germany, becoming interested in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return, he settled in Meisenthal, where his family's glass furnaces were, in order to fully learn the craft of glassmaking. He also traveled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory, and soon achieved great international success, winning awards at international exhibitions and selling works to major collections and museums. Today, pieces made by Émile Gallé can be seen in the Hermitage Museum in St. Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others. Nature is one of the main sources of inspiration for Gallé, whose style was characterized by capturing the elements in a naturalistic way, as if observed through a macro, at a large size, or in the form of landscapes. This piece is worked with hydrofluoric acid, which was the main technique of Gallé's industrial production. It is a cameo glass, which is to make a piece with two or more layers of different colored glass so that, after immersing it in the acid, the decorative motif is in relief on a smooth background of different color.

Estim. 900 - 1 000 EUR

Lot 91 - ÉMILE GALLÉ (Nancy, France, 1846 - 1904). Vase, 1908-1920. Acid-carved cameo glass. Signed. Measurements: 35.5 x 14 x 14 cm. Émile Gallé began his career working for his father, who owned a glass and ceramics factory, making designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he traveled through Italy, England and Germany, becoming interested in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return, he settled in Meisenthal, where his family's glass furnaces were, in order to fully learn the craft of glassmaking. He also traveled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory, and soon achieved great international success, winning awards at international exhibitions and selling works to major collections and museums. Today, pieces made by Émile Gallé can be seen in the Hermitage Museum in St. Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others. Nature is one of the main sources of inspiration for Gallé, whose style was characterized by capturing the elements in a naturalistic way, as if observed through a macro, at a large size, or in the form of landscapes. This piece is worked with hydrofluoric acid, which was the main technique of Gallé's industrial production. It is a cameo glass, which is to make a piece with two or more layers of different colored glass so that, after immersing it in the acid, the decorative motif is in relief on a smooth background of different color.

Estim. 1 200 - 1 300 EUR

Lot 92 - ÉMILE GALLÉ (Nancy, France, 1846 - 1904). Vase, 1905-1908. Acid-carved cameo glass. Signed. Measurements: 31 x 10.5 x 10.5 cm. Émile Gallé began his career working for his father, who owned a glass and ceramics factory, making designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he traveled through Italy, England and Germany, becoming interested in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return, he settled in Meisenthal, where the glass furnaces of his family were, in order to fully learn the craft of glassmaker. He also traveled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory, and soon achieved great international success, winning awards at international exhibitions and selling works to major collections and museums. Today, pieces made by Émile Gallé can be seen in the Hermitage Museum in St. Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others. Nature is one of the main sources of inspiration for Gallé, whose style was characterized by capturing the elements in a naturalistic way, as if observed through a macro, at a large size, or in the form of landscapes. This piece is worked with hydrofluoric acid, which was the main technique of Gallé's industrial production. It is a cameo glass, which is to make a piece with two or more layers of different colored glass so that, after immersing it in the acid, the decorative motif is in relief on a smooth background of different color.

Estim. 1 200 - 1 300 EUR

Lot 93 - ÉMILE GALLÉ (Nancy, France, 1846 - 1904). Vase, 1905-1908. Acid-carved cameo glass. Signed. Measurements: 24 x 20 x 20 cm. Émile Gallé began his career working for his father, who owned a glass and ceramics factory, making designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he traveled through Italy, England and Germany, becoming interested in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return, he settled in Meisenthal, where his family's glass furnaces were, in order to fully learn the craft of glassmaking. He also traveled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory, and soon achieved great international success, winning awards at international exhibitions and selling works to major collections and museums. Today, pieces made by Émile Gallé can be seen in the Hermitage Museum in St. Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others. Nature is one of the main sources of inspiration for Gallé, whose style was characterized by capturing the elements in a naturalistic way, as if observed through a macro, at a large size, or in the form of landscapes. This piece is worked with hydrofluoric acid, which was the main technique of Gallé's industrial production. It is a cameo glass, which is to make a piece with two or more layers of different colored glass so that, after immersing it in the acid, the decorative motif is in relief on a smooth background of different color.

Estim. 1 400 - 1 500 EUR

Lot 94 - ÉMILE GALLÉ (Nancy, France, 1846 - 1904). Vase, 1908-1920. Acid-carved cameo glass. Signed. Measurements: 49 x 18 x 18 cm. Émile Gallé began his career working for his father, who owned a glass and ceramics factory, making designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he traveled through Italy, England and Germany, becoming interested in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return, he settled in Meisenthal, where his family's glass furnaces were, in order to fully learn the craft of glassmaking. He also traveled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory, and soon achieved great international success, winning awards at international exhibitions and selling works to major collections and museums. Today, pieces made by Émile Gallé can be seen in the Hermitage Museum in St. Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others. Nature is one of the main sources of inspiration for Gallé, whose style was characterized by capturing the elements in a naturalistic way, as if observed through a macro, at a large size, or in the form of landscapes. This piece is worked with hydrofluoric acid, which was the main technique of Gallé's industrial production. It is a cameo glass, which is to make a piece with two or more layers of different colored glass so that, after immersing it in the acid, the decorative motif is in relief on a smooth background of different color.

Estim. 1 500 - 1 600 EUR

Lot 95 - GABRIEL ARGY-ROUSSEAU (France, 1885 - 1953). Ashtray, ca. 1925. Paste glass. Signed on the side. Measurements: 3.5 x 9 cm. Argy-Rousseau began drawing very early, and also at a very young age he became interested in physics and chemistry, which led him to study first at the École Brequet and later at the École de Sèvres (1902). He graduated in 1906 with a degree in ceramist engineering, and began working in a technical research laboratory. At the École de Sèvres he had met Henri Cros, a pioneer in the use of "pâte-de-verre", and soon his interests would focus on this technique. He devoted himself from then on to the production of artistic glass, and in 1914 he participated for the first time in the Salon des Artistes Français in Paris. He would soon achieve remarkable success, which led him to found his own artistic glass firm in 1921: Société Anonyme des Pâtes de Verre d'Argy-Rousseau. From then on, he produced pieces mainly to order, and patented several new techniques. His works were sold throughout Europe and also in the United States, North Africa and Latin America. However, the economic crisis of 1929-30 led him to close the factory and to establish himself as an independent artist in Paris in 1932. By this time stop using glass paste to focus on the production of enameled glass, more in line with the new taste.

Estim. 1 500 - 1 800 EUR

Lot 96 - FRANÇOIS ÉMILE DÉCORCHEMONT (Conches-en-Ouche, France, 1880-1971). Ashtray, ca.1930. In glass paste. With stamp on one side. Measurements: 3.5 x 15 x 10 cm. Décorchemont was born into a family of artists. In 1902, he began experimenting with glass, inspired by the work in pâte de noche of the glass artist Albert Dammouse. In 1903 he made his debut at the Salon des Artistes Français with paintings and some pâte de nuit vases. He received an honorable mention for his vases. After that, he focused entirely on working with pâte de nuit. These first experiments were laborious, but he persevered and exhibited regularly at the Paris Salons, with great success, receiving several prizes and even a travel grant in 1908. On his return he settled in Conches-en-Ouches. He then also began to use the cire-perdue technique, (lost-wax technique) by which he attempted to achieve the brilliance of precious stones in the pâte de nuit.He showed his new work at the Salon des Artistes in 1911 and in 1912 at the Salon d'Automne and immediately received the gold medal. During the 1920s, Décorchemont's designs often became more stylized; he also began to use geometric patterns. Figures were often incorporated into his handles, such as chameleons, snakes, fish and caryatids. Décorchemont's fame rose quickly and he was awarded many honorable positions in the various Paris salons. His works became (and still are) very valuable. He also exhibited at the 1925 Exposition Internationale des Arts Decoratifs in Paris. His work can be seen in several pavilions, such as Jacques Ruhlmann's "Hotel d'un Collectioneur". He participated in important international special exhibitions, in Geneva, USA, Athens, Amsterdam and Barcelona.

Estim. 1 800 - 2 200 EUR

Lot 97 - GIULIANO TOSI (Murano, 1942) ; Murano, Italy, c.1970. "Center." Glass. Signed. Measurements: 16 x 41 cm. Giuliano Tosi, comes from a lineage steeped in glassmaking tradition dating back to 1483. His journey in the world of glass began at the tender age of 12, under the tutelage of the master Albino Carrara. Recognizing Tosi's growing mastery, Carrara gave him his corteo, an essential glass cutting tool, symbolizing a rite of passage and an honor that Tosi cherishes to this day. Tosi's expertise goes beyond traditional techniques, as evidenced by his introduction of the external sbruffi technique in kilns, a method that enhances vibrancy and color variation. His works have graced galleries around the world, including Milan's Fashion District, Chicago, New York and the Museum of Contemporary Art in Los Angeles, making him a significant figure in the history of Murano glass over the past six decades.

Estim. 1 900 - 2 000 EUR

Lot 98 - AMALRIC WALTER (Sèvres, 1870 - Lury-sur-Arnon, 1959). Tray, ca.1920. In glass paste. Signed "A. Walter-Nancy". Measurements: 3 x 18 x 6 cm. Amalric Walter was a French ceramist and glassmaker who became known primarily for his art glass "Pâte de verre". This is the result of a glass created by a technique in which the ground glass is converted into paste and modeled as a glass or a figure, and then trace the design by carving. The glass created by this method was known in ancient times and revived in France in the late nineteenth and early twentieth centuries. Henri Bergé was a decorator and illustrator of Art Nouveau and the French École de Nancy. He was a student of Jules Larcher at the École des Beaux-Arts de Nancy and completed his training at the Compagnie française du cristal Daum. In that company he made an impact as a decorator in glass and stained glass by introducing a new style and concept in floral, pastoral and other motifs inspired by nature. He is the author, among others, of the stained glass windows of the Cure d'air Trianon de Malzéville. As an illustrator, he made several works such as posters, advertising posters, such as those of the Maison d'art de Lorraine.

Estim. 2 000 - 2 400 EUR

Lot 99 - Pair of vases SÈVRES Art Nouveau, ca. 1900. Porcelain and bronze. With signature marks on the base. Measurements: 36 cm. height. Pair of Sèvres vases fin de siècle. They follow in their decoration the Art Nouveau aesthetics to whose period they belong. Graceful fluvial nymphs surrounded by chrysanthemums and zigzagging vegetal stems decorate the oval bellies. The foliate handles and the base are made of gilded bronze. Originally founded in Vincennes in 1740, the Manufacture Nationale de Sèvres was transferred to this location in 1756. One of the main European porcelain factories, the Manufacture was successively named after different political regimes: royal, imperial and national manufactory. Still in activity today, the firm continues to edit the objects created since 1740, although its current production is largely oriented towards contemporary creation. The Manufacture de Vincennes was founded with the support of Louis XV and Madame de Pompadour, with the idea of creating pieces for the court and competing with the porcelain productions of Meissen and Chantilly. The first experiments were carried out by the brothers Robert and Gilles Dubois, who came from the manufacture of Chantilly. Important results were obtained as early as 1745, under the direction of the Gravant couple, especially the creation of models of porcelain flowers to decorate all types of pieces. The new building in Sèvres was built on the initiative of Madame de Pompadur. Three years later, it was named a royal factory, and from that moment on it would use fine gold, the only one with this privilege in all of France. During the French Revolution, the factory suffered a decrease in production, but experienced a resurgence between 1800 and 1847 under the direction of Alexandre Brongniart. From the middle of the 19th century, the dominant styles were eclecticism and historicism, and some models recovered typologies of the past, such as the mannerism of Fontainebleau and the baroque of Versailles.

Estim. 3 000 - 4 000 EUR

Lot 100 - GOLDSCHEIDER; Vienna, ca. 1930. Figure. Glazed porcelain. It has marks on the base. Measurements: 25 x 18 x 15 cm. The Austrian ceramic and porcelain firm Goldscheider was founded in 1885 by the Bohemian sculptor Friedrich Goldscheider. For more than half a century the firm created masterpieces of historicism, Art Nouveau and Art Deco. The founder was able to attract both acclaimed artists and young innovators to his factory, so that great ceramists of the time, such as W. Bosse, B. Geiger, J. Lorenzl, I. Meisinger and M. Powolny, among others, worked there. After Goldscheider's death, the factory was taken over by his widow Regina, who continued to produce her husband's models, along with new ones created by artists who worked for the firm, such as D. Chiparus during the Art Deco period. Until its closure with the rise of National Socialism, more than four thousand different models were made in the factory, both by Goldscheider himself and other authors. From the beginning, the factory won a multitude of awards, first prizes and gold medals at countless world fairs, exhibitions and trade fairs. Today its pieces are in great demand by collectors from all over the world. They can currently be admired in various museums around the world, such as the Fine Arts Museum of San Francisco, the Metropolitan Museum of Art in New York or the Minneapolis Institute of Arts. In 2007, Goldscheider's pieces were exhibited at the Vienna Museum and, the following year, at the LBI in New York.

Estim. 2 000 - 2 400 EUR

20th June - Decorative Arts

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Lot 26 - Venetian gondola door of the 19th century. Oak wood. Presents marks of use and restorations. Measurements: 130 x 117 cm.

Lot 65 - Italian school, 18th century. "Two putti. Terracotta. Damaged. Measurements: 12 x 8 x 5,5 cm. Pair of late-baroque putti. Made in terracotta, in round bulk. Their curly hair frames angelic faces. With rounded and turned limbs, the couple adopt graceful postures.