24th July - Decorative Arts & Oriental Art

Lot 1 - Desk clock; France, restoration period, c. 1820. Mercury gilt bronze and malachite plates. It shows wear on the dial and pendulum. Measurements: 63 x 46,5 x 17 cm. Table clock made of mercury gilded bronze and malachite plates. The piece is supported on four bronze legs arranged in the corners representing lions' heads. On them the base is arranged as a podium, which stands out for the expressive ornamentation of the grain and the color of the malachite plates. The base is divided into several bodies that are defined by bronze appliques that surround the perimeter. The central zone has a bronze applique in relief that represents a Roman standard on which the name Belisarius can be read, thus indicating who is the personage represented in the upper zone. The piece ends with a round sculpture representing Flavius Belisarius (, 505-565), general of the Eastern Roman Empire, famous for reconquering part of the Western Roman Empire. The figure, which shows a pensive attitude, rests on the box with the dial. In this area the author combines gilded and blued bronze with malachite. The dial stands out for its gilt finish with black Roman numerals and breguet hands, while the blued bronze is used for the round sculpture. During the Restoration period in France under the reigns of Louis XVIII and Charles X, the decorative arts and especially interior design experienced a boom period. This type of scenes were very common in the decoration of table clocks, often depicting mythical or religious characters. It shows wear on the dial and pendulum.

Estim. 4 600 - 5 000 EUR

Lot 2 - Desk on bridge foot buffet; Mexico, second half of the eighteenth century and later. Polychrome pine wood with embossed silver plates. It has a crest with the coat of arms of Francisco Antonio de Lorenzana y Butron. It has restorations and reforms. Measurements: 102 x 102 x 41 cm; 90,5 x 116 x 54,5 cm. Desk on buffet of Mexican origin with a prismatic and robust structure. The piece is composed of two parts; buffet with bridge foot and the upper desk. Both are made of polychrome pine wood and adorned with embossed silver appliqués that present vegetal motifs and religious scenes. The lower area is supported by two longitudinal feet on which are placed three columns, each of them of Doric order, with ebonized capital and base. The feet, located on the sides, are joined by a central structure architecturally conceived, simulating a corridor with semicircular arches. The legs give way to a top of angular profiles with the outer perimeter adorned with embossed silver applique. The desk is organized symmetrically, in three rows and three registers. The drawers are unified in the form of small drawers that have an identical design, varying only in size and arrangement. On the front, the central zone and the lower sides have silver appliqués of greater technical complexity. As a canopy the artist frames different scenes of religious character; the education of the Virgin and the nuptials of the Virgin in the lower zone and in the center the Annunciation. While the sides of the desk have large ornaments that welcome the flight to Egypt on one side and the other the birth in the manger of Christ. Finally, the piece of furniture is topped by a balustrade with a central crest and figures in round silver bulge dominating the corners. It is interesting to note the copete, since a coat of arms can be seen, indicating that the owner of the piece was Francisco Antonio de Lorenzana y Butrón (León, 1722-Rome, 1804), Archbishop of Mexico, Cardinal-Archbishop Primate of Spain, Inquisitor General. Silver was one of the main sources of export in Spanish America. First as a raw material in itself for its high economic value and later and with greater interest for its work in goldsmithing. Viceroyal silverware would reach very high levels of fineness and quality worthy of European works. The western tradition was joined by the cultural roots and inheritance of the places of work where the artisans displayed great talent both in the execution of the works and in the creation of especially novel and original models and decorations. It has a crest with the coat of arms of Francisco Antonio de Lorenzana y Butrón. It has faults, restorations and reforms.

Estim. 40 000 - 45 000 EUR

Lot 3 - Taller RIGALT, GRANELL i CIA. Modernist stained glass, ca. 1910. "Saint George, the princess and the dragon". Formed by 9 leaded glass panels. Hand painted with fire. Iron stretcher frame. Signed "Graell i Cia" on the right side. It has two damaged glass panes. Measurements: 206 x 150 cm. Modernist stained glass made in the prestigious Barcelona workshop founded by Antonio Rigalt and the Granell family. The aesthetics and quality of Rigalt & Granell's stained glass can be appreciated in the thickness and chromatic vividness of the crystals, in the delicate work of the leaded glass and in the attractive forms that derive from a laborious artisan process. This magnificent stained glass window is composed of individual pieces of colored glass, carefully cut and shaped to create a balanced and dynamic composition at the same time. St. George occupies the center of the composition, mounted on a white rearing steed. Dressed in armor, he thrusts his lance at the dying dragon: wings, scaly body and head are made of different colors, which gives it greater expressiveness. The princess, with idealized features, kneels and prays on a promontory. The rocky landscape is crowned by the castle. The emerald-colored foliage contrasts with the cobalt blue of the sky and the amber tones of the rocks. The stained glass workshop constituted by members of the Rigalt and Granell families of Barcelona, was operational 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. Because of the magnitude of his work and the great technical quality of his pieces, the Rigalt, Granell & Cía. workshop is comparable to the great stained glass workshops that were in force at the time in France, England and Germany. The company started operating in 1890 under the trade name of Antoni Rigalt y Cía. Later, from 1903 until 1923, it was renamed Rigalt, Granell y Cía. Jeroni F. Granell y Manresa was an architect and combined his career with the stained glass company, of which he was initially an investment partner but to which he gradually became more involved, until in 1914, when Rigalt died, he took charge of the company, even abandoning his work as an architect. Although most of the works coming out of this workshop were commissions for buildings in the city of Barcelona, they also received orders for the rest of Catalonia, some for different parts of Spain and even abroad, especially in South America. 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, 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. 9 000 - 10 000 EUR

Lot 4 - Attributed to FRANCESCO TOSO BORELLA (1846-1905); Italy, late 19th century. "Lilith". Ebonized pine wood, polychrome and gilded. Mother of pearl eyes. It has slight flaws. Measurements: 142 x 40,5 x 55 cm. The image loaded with expressive force of the Demon with blank eyes made with mother of pearl is perhaps something so shocking to the eyes of the faithful, and indicates that the sculptor who shaped this figure did so taking into account several aspects. The first to be mentioned is the movement. The protagonist standing on a pedestal, brings forward one of his hands with a delicate movement of his long, thin fingers that brings lightness to the verticality of the sculpture itself. The expression of her face full of folds attests to the tension of the moment. Lilith is a female figure from Mesopotamian and Jewish mythology, theorized as Adam's first wife and a primordial demon. Lilith is said to have been "banished"[2] from the Garden of Eden for not obeying Adam. Many have also linked her to the Mesopotamian demon Lamashtu, who shares similar traits and a similar position in mythology to Lilith. It presents minor faults.

Estim. 7 000 - 8 000 EUR

Lot 5 - Mirror; Toledo or Syria, late eighteenth century. Damascene metal. Presents a later moon and wear. Measurements: 97 x 55 x 4 cm. Large mirror made of damascened metal on a wooden core. The mirror of rectangular perimeter with the upper corners reserves, is presented with a cover made of sheet metal that covers the entire outer structure following a design of architectural character. In this layer an intricate design can be seen, composed mostly of vegetal elements and kufic writing. The western tradition of metal work was joined by the roots and cultural heritage of the workplaces where the artisans displayed great talent both in the execution of the works and in the creation of particularly novel and original models and decorations. It presents a later moon and slippage.

Estim. 11 000 - 12 000 EUR

Lot 6 - Reliquary; Northern Italy, late nineteenth century. Ebonized wood, gilded bronze, brass and enamel. Measurements: 38 x 23 x 12 cm. Tabernacle furniture with central door, flanked by openwork columns that end in the form of an angel whose wings support the entablature of the upper area. Area that ends with a great tympanum crowned by a sculpture of round bulk made in gilded bronze that presents the Virgin Mary. This is adored by two angels also of bronze, located each one of them in each corner of the entablature. The interior of this piece of furniture is adorned by a relief conceived in several planes; the first one frames the image as a frame and is defined by a border of flowers and fruits crowned by little angels. In the second plane there is a border of clouds with child angels trying to crown the virgin. Finally, in the background but in high relief, the figure of the seated Virgin with the Child on her knees can be seen. This type of religious objects were the most common in northern Italy and were exported all over Europe, being highly appreciated by the aristocratic classes. The realization of this type of religious objects, designed to house the relics of the saints, was common from the Gothic period, highlighting both the crosses or the so-called "testas", which, in the documentation contemporary to their realization, were very popular. They were used to contain relics. Although many of them took very different forms, they all had the same devotional purpose, which sometimes went beyond fanaticism. It should be remembered, however, that at that time, practically any element that had been in contact with the saint or his mortal remains (cloths, burial soil, etc.) was considered a sacred relic. This triggered a whole market for such objects. The best examples were made of precious metals, but specimens such as the present one were also highly valued, both for the container and, above all, for the content.

Estim. 3 500 - 4 000 EUR

Lot 7 - Pair of cups; France, restoration period, c. 1820. Chiseled bronze, patinated, gilded with mercury and burnished. Measurements: 40 x 15,5 x 12 cm (x2). Pair of ornamental cups of historicist style, whose forms are inspired by the style of classical antiquity. They consist of an ovoid amphora-shaped vessel made of bronze with gilded bronze decorations, cast in relief and with cold chiseled details. They consist of a base, typically of the period, prismatic, with sharp and smooth edges, and on it is placed directly the foot, composed of a tight crown of plant motifs, worked with the synthetic and refined style typical of around 1820. The bronze ornamentation stands out especially for the quality of the chisel work, which reproduces with great expressiveness the texture of the leaves. Over the ovoid shape of the body there is an intermediate neck that forms the union with the recipient, following classicist models.

Estim. 6 000 - 7 000 EUR

Lot 8 - Attributed to J. CHIURAZZI & DE ANGELIS. Naples, ca. 1900. "Deer." Pair of sculptures in patinated bronze. Measurements: 91 x 83 x 18,5 cm. These sculptures are based on the pair of deer discovered in 1756 in the garden of Villa Papiri in Herculaneum, models of the year 100 BC, now preserved in the Archaeological Museum of Naples. It responds in turn to the very long tradition in the history of art of animal themes, but it is only from the eighteenth century when they begin to occur with the characteristics that we see in this one: small format, "inconsequential subject matter" (no animal considered sacred by the commissioner...), interest in naturalism and detail, made in bronze... The rise of this type of work led to the birth of masters specialized in its realization with numerous variations (some are more directed to hunting dogs, others have work in which deer abound, others prefer more or less exotic animals, etc...) throughout Europe, being the French the most famous for the specialization of the foundries in this country and the control that the government exercised over the quality and care of them. Thus, we can mention masters such as Christopher Fratin (1801-1864), Paul Delabrierre (1829-1912), Auguste Nicolas Cain, etc., among the long list of sculptors dedicated to this theme.

Estim. 6 000 - 6 500 EUR

Lot 9 - HENRY CAHIEUX (France, 1825-1854), "Egyptian-inspired cup". ca.1850. Carved bronze. Signed. Measurements: 14 x 24,5 x 15 cm. Henry Cahieux was a Parisian sculptor who collaborated closely with the foundry of Ferdinand Barbedienne (1810-1892). Author of artistic bronzes of neoclassical inspiration, he participated in the Salons of 1850 and 1853. Most of these pieces were of Greek, Egyptian and historicist style, fashionable at the time. Victor Champier's article "Industrial Artists", which appeared in the Journal of Decorative Arts (December 1888), echoed the artist's genius and lamented his untimely death: "Barbedienne had just lost (in 1854), snatched by cholera in the prime of life, this young man with such a promising future, whose works, imbued with a taste full of grace, showed him to be a master". At the Paris Exposition Universelle of 1855, his lamps, which were listed as Henry Cahieux's last testimonial, won a medal of honor for the Barbedienne stand.

Estim. 600 - 700 EUR

Lot 10 - French tabletop centerpiece. Art Nouveau, ca.1900 Gilt bronze, glass and biscuit figure. Sculpture signed Dalfort on the back. Good preservation. Measurements: 38 x 33 x 33 cm (center); 18 x 10 x 10 x 10 cm (figure). Modernist centerpiece with gilded bronze structure that hosts between its columns a sculpture is biscuit worked in round bulk representing a goddess of Greco-Roman inspiration. The bronze is worked with floral and vegetal festoons adorning the gallery and the shafts.

Estim. 600 - 800 EUR

Lot 11 - JOSEP LLIMONA BRUGUERA (Barcelona, 1864 - 1934) and JOAQUIM VICENS GIRONELLA (1911-1997). "Crucifixion". Christ in stucco (Llimona) and cross in wood (Gironella), 1932. Cross signed and dated by Gironella. Measurements: 30 x 30 x 6 cm (Christ); 62 x 42 x 8 cm (cross). A self-taught artist, Joaquim Vicens Gironella made cork sculptures, and was discovered and exhibited by Jean Dubuffet. He also wrote many poems and plays. Josep Limona is remembered as the most important Catalan sculptor of modernism. Trained at the Llotja School in Barcelona, he obtained the pension to go to Rome in 1880. During his stay in Italy he was influenced by Florentine Renaissance sculpture. With the works he sent from there he obtained prizes (gold medal at the Universal Exhibition of Barcelona in 1888), as well as a great reputation. With his brother Joan he founded the Círculo Artístico de Sant Lluc, a Catalan artistic association of religious character (the two brothers were deep believers). Towards the middle of the 90's his style already drifts towards full modernism. He received the prize of honor at the International Exhibition of Fine Arts held in 1907 in Barcelona. From 1900 he focused on his famous female nudes, and in 1914 he created, in collaboration with Gaudí, his impressive "Resurrected Christ". His artistic genius also manifested itself in large public monuments such as the equestrian statue of St. Jordi in Montjuic Park in Barcelona, as well as in works of funerary imagery, such as the pantheons he created for several cemeteries. In addition to exhibiting in Barcelona and other Catalan cities, he exhibited his work in Madrid, Brussels, Paris, Buenos Aires and Rosario (Argentina). He was president of the Board of Museums of Barcelona between 1918 and 1924, and again from 1931 until his death in 1934. Throughout his life he received numerous decorations, including those awarded by the governments of France and Italy. He also received the Gold Medal of the City of Barcelona in 1932, in recognition of his extraordinary work in the development of museum activity. Llimona's work is preserved in the Monastery of Montserrat, the National Art Museum of Catalonia and the Reina Sofia Museum, among others.

Estim. 700 - 800 EUR

Lot 12 - Attributed to the workshop Rigalt-Graell i Cia. "Coat of arms of the King of Aragon", ca. 1940. Leaded glass, painted with fire grisaille. With the legend attributed to Horace: "Multa renascentur qua iam cecidere". The wooden frame has xylophages. It needs restoration. Measurements: 151 x 67 cm; 162 x 78 cm (frame). Stained glass painted with grisaille on fire. It dates from the forties and the experts presume its possible origin from the prestigious Barcelona workshop Rigalt, Graell i Cia. It shows the coat of arms of the king of Aragon framed by architectural arches of lobed profile. It is accompanied by a legend written in Latin on a phylactery that includes an aphorism attributed to Horace: "many things will be reborn that had already fallen". It can be interpreted as meaning that customs, beliefs and fashions perish but are always reborn, albeit camouflaged with other names or other forms. In this context, it refers to the imperishable values of the royal family. The stained glass workshop constituted by members of the Rigalt and Granell families of Barcelona, was operational 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. 1 000 - 1 200 EUR

Lot 13 - Samson vase, France, late nineteenth century. Glazed and glazed porcelain. Green family. Louis XV style gilt bronze mounts. Measurements: 42 x 23 x 23 cm. Glazed and glazed ceramic vase following Chinese molds of "powder blue" porcelain. In the interior of the cartouches of the vase you can appreciate a style inspired by models of the green family for export. In the area of the base and the mouth of the vase we can appreciate Louis XV style gilded bronze mounts. The lid with openwork decoration stands out. The firm Samson, Edmé et Cie. was founded by Edmé Samson in 1845 in Paris, with the aim of producing replicas of ceramic and porcelain pieces exhibited in museums and private collections. The factory, moved to Montreuil in 1864, focused on the reproduction of antique and also modern pieces from other manufactures, such as Meissen, Sèvres, Chelsea and Derby. Among the pieces reproducing styles of the past are objects inspired by Italian majolica, Persian plates, Bernard Palissy pieces and Hispano-Muslim ceramics, as well as Japanese Imari and Arita pieces and reproductions of Chinese porcelain, especially of the 18th century Pink Family and Green Family styles. Samson's pieces were always reproductions, never copies with deceptive intent, since they all originally featured the factory mark, an anchor (although on some pieces it was hidden or removed). In addition, he tried to distinguish his pieces by using hard porcelain paste, when most of the originals to which he referred were of soft paste. Likewise, the scale of the pieces was changed, as well as the colors used for their decoration. The firm continued in production until 1969, and its models were sold ten years later at Christie's London.

Estim. 1 600 - 1 700 EUR

Lot 14 - JEANNE CHATEIGNON (1876 - 1950) "The wind". Patinated bronze. Presents foundry stamp and inscription. Signed. Measurements: 37 x 26 x 23 cm. Sculpture in patinated bronze that presents a woman accompanied by a girl. The piece stands out for its realistic finish that can be seen both in the features of the protagonists, as in the clothing that inscribes the piece in an aesthetic trend of costumbrista character. The piece reveals the effect of the wind on the protagonists, in such a way that the author reveals all his virtuosity.

Estim. 700 - 800 EUR

Lot 15 - French school; third quarter of the 19th century. "Scottish hunter". Patinated and partially gilded bronze. Measurements: 34 x 17 x 35 cm. In this sculpture of round bulk the artist presents us the figure of a man sitting on a stump next to two hunting dogs that watch him attentively. The young man has a bow with arrows on his back, indicating that he is a hunter, although it is true that his melancholic posture distances the sculptural group from the usual activity of a hunting scene. The author thus recreates a scene of historicist character where the protagonism is given to the hunter's clothing. The work has its roots in the animalistic sculptural current that emerged in 19th century France, specifically in the genre of hunting representation, very much to the taste of the bourgeois clientele of the time. They were pieces of great naturalism and detail, generally small and medium-sized works cast in bronze.

Estim. 700 - 800 EUR

Lot 16 - French Aubusson tapestry, 19th century. "Landscape with castle". Hand-knotted wool. Measurements: 215 x 296 cm. The refinement of this hand-woven tapestry testifies to the high quality of Aubusson tapestries. A luxuriant garden opens before us showing a small lake with bridges on its banks and a castle in the background. Cherry blossoms and rose bushes border the pond. The landscape has been resolved with ease and descriptive precision, in richly contrasting tones with a predominance of green, blue and earthy tones, with pink details. The subject is in keeping with nineteenth-century aristocratic taste. The city of Aubusson agglutinated numerous tapestry workshops, which were created by Flemish weavers who settled in the area at the end of the 16th century. They had a rudimentary operation, compared to the Royal Gobelins Manufacture: they had no painters, dyers, nor a commercial structure, so their tapestries were sold in inns, to a lower class private clientele, mainly provincial aristocrats. In the sixteenth and seventeenth centuries, the Aubusson workshops specialized in vegetable tapestries (with eminently floral decoration), but the situation changed radically when, in the mid-seventeenth century, this center was reorganized by Jean-Baptiste Colbert, minister of Louis XIV, with the aim of converting these workshops into royal manufactories. He then subjected the Aubusson and Felletin workshops to a guild regulation and, in exchange, promised to provide them with a painter and a dyer. This promise, however, would not become effective until the 18th century, a turning point for the workshops of La Marche, which would see a considerable increase in the quality of their tapestries by being able to count on a painter dedicated to making cartons and a dyer who would produce dyes of a higher quality than those used until then.

Estim. 1 000 - 1 200 EUR

Lot 17 - Louis XVI style table clock; France, Napoleon III period, c. 1860. Chiseled and gilded bronze, with porcelain enamel dial. Preserves pendulum. Signed on the machinery: "JAPY FILS". Measurements: 63 x 51,5 x 19,5 cm. Table clock made of gilded bronze Louis XVI style. The base responds to a baroque inspiration with rococo elements, with mixtilinear plant adorned with elements in relief. The dial is located in the center of the piece. It presents Roman numerals in black on a white background and golden openwork hands. The watch is topped by a large cup of classic style. The French Louis XVI style is included within the Neoclassicism. The decorative elements, as already indicated, are classicist-inspired, but the curves and sinuosities of the rococo of Louis XV have not disappeared, although these are secondary.

Estim. 4 000 - 5 000 EUR

Lot 18 - Bust of Franz Joseph I of Austria; Vienna, c.1900. Calamine on marble base "brignoles". Measurements: 22 x 12,5 x 8,5 cm. Bust of Franz Joseph I of Austria. Emperor of Austria, king of Hungary and ruler of the other states of the Habsburg monarchy from December 2, 1848 until his death in 1916. At the beginning of his reign, his kingdoms and territories were called the Austrian Empire, but in 1867 they were reconstituted as the dual monarchy of the Austro-Hungarian Empire.

Estim. 500 - 600 EUR

Lot 19 - Bust of Charles V; After LEONE LEONI (1509 - 1590), Austria, early 19th century. Chiseled and bluing bronze on marble base "brocatel". Measurements: 31,5 x 14,5 x 9,5 cm. The same model is in the National Museum of Liverpool (Ref. WAG6235), which in turn derives from the bust in the Kunsthistorisches Museum in Vienna. Leone Leoni (c. 1509 - July 22, 1590) was an Italian sculptor of international renown who traveled in Italy, Germany, Austria, France, Spain and the Netherlands. Leoni is considered the best of the Cinquecento medalists. He became known thanks to the commissions he received from the Habsburg monarchs Charles V, Holy Roman Emperor, and Philip II of Spain. His usual medium was bronze, although he also worked in marble and alabaster, carved precious stones and probably left some finished works in wax.

Estim. 1 800 - 2 000 EUR

Lot 20 - Bust of Frederick William of Prussia; Northern Europe, c. 1880. Patinated bronze on marble base "rosso levanto". Measurements: 17 x 5,5 x 5,5 cm. Bust of Frederick William of Prussia, known as the Soldier King. King in Prussia and Elector of Brandenburg from 1713 until his death in 1740, as well as Prince of Neuchâtel. His political awakening came during the plague outbreak of the Great Northern War in Prussia, which led him to challenge the corruption and inefficiency of the government. He initiated reforms, especially in the military, significantly growing the Prussian army. A believer in absolute monarchy, he focused on state development and financial reorganization, imposing taxes and strict regulations on civil servants.

Estim. 600 - 800 EUR

Lot 21 - Spanish school of the early twentieth century. Following Greek models (440 BC). Vatican Museum. Rome "Amazona Mattei". Sculpture in plaster, with terracotta patina. It presents some cracks, restorations and faults. Measurements: 143 x 45 x 32 cm. This is a version in terracotta patinated plaster of the Amazona Mattei preserved in the Vatican Museum. There are several Roman copies of three types of statues from the classical period representing Amazons wounded in combat, and are reproductions of three lost bronze originals from Ephesus: Experts attribute the "Mattei type" (the one we show) to Phidias, but with regard to the "Sciarra" and "Sosicles" types, it is not known for sure which is the work of Polyclitus and which of Cressilas. The three statues have short chiton and hair up, reminiscent of the long-haired hairstyles of the ladies of the Greek high society, while the bodies and well exercised seem to emulate that of male warriors and athletes. The face of the Amazon Mattei and her dynamic posture reflect determination and courage, the feminine strength that characterizes mythological Amazons. The chiton, hanging from her shoulder, exposes her left breast where she shows a wound. In 440 BC the priests of the temple of Artemis convened a contest to create the official presentation of Amazona in which they determine three types of canons: Wounded Amazon of Berlin, the Mattei Amazon (Vatican Museum) and the wounded Amazon of the Capitol. Andrea Gisella Lopez Galeano Visual Culture Classical Roman architecture The details and the fidelity to reality become important and denotative, in this case a woman is shown with her face tilted to one side.

Estim. 300 - 400 EUR

Lot 22 - Set of four coffee sets, 1950s. Onyx and brass. It shows wear according to use and age. Measurements: 6,5 x 4 cm (cup); 11 cm (diameter plate). Vintage coffee set made of natural onyx and brass. Onyx has a long history of use in hard stone carving and jewelry, where it is usually carved as cabochon or in the form of beads. It has also been used for intaglio engraved gems and hardstone cameos, where the bands make the image contrast with the background. Onyx was often used for sculptures and decorative pieces created between the 1920s and 1970s.

Estim. 800 - 850 EUR

Lot 23 - Modeled after EUGÉNE CORNU (1827- 1875); France, c. 1890. Centerpiece. Algerian onyx, agate and bronze. One of the angels does not have a stable support. Measurements: 32,5 x 29 x 29 cm. Centerpiece made of agate, Algerian onyx and gilded bronze. The round foot of agate and defined by a bronze chain in the lower and upper zone, gives way to the base of onyx of Algeria, zone that sustains the shaft of the cup where two small angels of round bulk made in bronze are arranged. The piece has bronze appliques on the shaft as leaves and finally ends in the agate cup carved with gadroons. The piece follows the models of Louis-François-Eugène Cornu, designer and manufacturer of bronze. In 1858, after working as a draughtsman and directing works for Maison Tahan, he became creator and director of the Compagnie des Marbres et Onyx d'Algérie of A. Pallu & Co and then of his successor G. Viot. This company specialized in the manufacture of luxury items combining bronze, Algerian onyx-marble and champlevé enamel. Cornu's creations were exhibited at the London Universal Exhibitions of 1862, 1871 and 1872, and in Paris in 1867, where he was awarded a gold medal for a large pair of onyx, bronze and enamel vases. The Compagnie des Marbres et Onyx d'Algérie also produced objects based on designs by Albert Carrier-Belleuse, Charles Cordier and Louis-Alfred Barrias. In 1878, its stores were located at 24 Boulevard des Italiens in Paris. One of the angels does not have a stable hold.

Estim. 2 250 - 2 500 EUR

Lot 24 - Table clock; France late 19th century and China, Qing dynasty, Guanxu period, 1875-1908. Gilded bronze and enameled porcelain. Measurements: 33 x 31 x 15 cm. Table clock made of bronze and enameled porcelain. The piece sits on a base that houses two Foo dogs, or lions made of enameled porcelain and glazed deep blue glaze flanking a vase. Behind them, the body supporting the clock case emerges as a branch. From this branches sprout in turn ending in enameled porcelain flowers. The case has a white dial with Arabic numerals in black and gold-colored openwork hands. As for the style of the piece, it is evident that it responds to a taste for orientalizing. A fashion that had already begun in XVIII and that spread throughout Europe for the design of interiors, decorative objects and furniture. This interest in elements of oriental culture intensified during the 19th century, largely thanks to the commercial opening of China and Japan, compared to previous periods.

Estim. 1 300 - 1 500 EUR

Lot 25 - Mosque lamp; Syria or Egypt, 19th century. Colorless and partially gilded glass. Measurements: 34 x 25.5 x 25.5 cm. Mosque lamp of colorless glass ornamented with vegetal elements and kufic writing on the entire surface except the perimeter of the lip. The globular body piece has two small handles and a flared neck that opens to a flat profile mouth. Mosque lamps are oil lamps that usually have a large, round body and a narrower neck that widens toward the top, as in this case. They were often made with internal vessels that were filled with oil and a wick to produce light. They are usually made of enameled glass, often with gilding. Some were also made of Islamic pottery, although this was much less efficient for actual illumination. These lamps were usually hung from a circular metal frame and suspended by chains passing through a series of loops on the outside of the body. Circular frames are still used today in many mosques, but with plain or frosted glass lamps for electric lighting. The techniques used are typical of contemporary Islamic glass: the enameled decoration is applied to a pre-fired plain body and the whole is subjected to a second firing. The colored decoration may include verses from the Qur'an, especially the first part of Ayat an-Nur or "Verse of Light" (24:35, see below), inscriptions and heraldic emblems recording the donor, as well as purely decorative motifs.

Estim. 1 800 - 2 000 EUR

Lot 26 - Jewelry box; Germany or Austria, XIX century. Enameled and partially gilded porcelain and brass. It has Repainting. Presents numbering on base. Measurements: 33 x 42 x 26 cm. Jewelry chest made of gilded and enameled porcelain. Aesthetically the piece stands out for its rococo style. Thus, we see a very dynamic structure and profuse decoration, in which ornamental elements such as leaves, palmettes and flowers are placed. The pictorial decorations of hand-painted porcelain allude to the "locus amoenus", i.e., the right place for love, as we see idyllic landscapes inhabited by couples. It has Repainting.

Estim. 1 600 - 1 700 EUR

Lot 27 - Poster clock on bracket; France, first half of the nineteenth century. Gilded and chiseled bronze, enameled porcelain and marquetry. It has square Paris type machinery, wire suspension with chime on gong at the hours and half hours. Measurements: 74 x 33 x 20 cm; 31 x 41 x 22 cm. Set of table clock with matching bracket, created in the second half of the nineteenth century, based on the Boulle style models of the Napoleon III period. At that time it was common this look into the glorious past of the France of Louis XIV, of whom André-Charles Boulle was a decorator. From this artist we remember today mainly the type of decoration that we see here, a marquetry of part and counterpart in tortoiseshell and metal, combined with gilded bronze relief applications of great sculptural quality. The clock has an architectural structure of baroque inspiration, with large figurative feet in gilded bronze, with classical motifs, with the lower part of the body vegetalized and curled in the form of a scroll. In the central body the lateral ones present gilded borders, adorned again with classic ornaments, and finally crowns the set an openwork dome topped by a figure in round bulk, an eagle. Also noteworthy for its importance are the reliefs located under the sphere, also representing a bird. The dial has Roman numerals, enameled in cobalt blue on the white background, small pieces embedded in the metal frame, chiseled in the central area. The bracket follows the same style, although its bronzes are of lesser relief, so as not to detract from the main ensemble.

Estim. 2 250 - 2 500 EUR

Lot 28 - DAMIÁN CASTRO (Córdoba, 1716- Seville, 1793). Bishop's pastoral crozier, c. 1785- 1793. Gilded silver. It shows wear. It has marks. Measurements: 167,5 x 17 x 9 cm. Pastoral crozier made in gilded silver, following gothic models within the context of historicism. It is inspired by medieval goldsmith pieces made in precious metals, with set stones. The cresting that follows the general scroll that draws the line of the design, based on small vegetal stems, is also very typical of medieval pieces. The work bears the marks of the renowned silversmith Damián Castro (Córdoba, 1716 - Seville, 1793). Rafael Ramírez de Arellano, José Valverde and Hernández Perera were the scholars who highlighted the figure of this goldsmith. His career began at the hand of his father, who was also a silversmith, Juan de Castro. In 1729 he was awarded by the guild of silversmiths of the city of Cordova, being this the first rigorous data that is known of his career as a silversmith. Some historians point out, because of his style, that he may have also learned in the workshop of García de los Reyes. In 1736, after the death of his father, he began his career alone. In 1752 he began to work as a senior cathedral master and six years later he was named substitute hallmarks. It shows wear and tear. It has marks.

Estim. 11 000 - 12 000 EUR

Lot 29 - Pair of Blackmoors; Venice, 19th century. Carved and polychrome wood. Size: 182 x 50 x 30 cm (x2). This couple of Venetian servants are shown dressed in a completely idealised manner. The figures of black slaves as a support for the furniture, as well as free-standing as candlesticks, appear in Venice at the end of the 17th century, by the cabinetmaker and sculptor Andrea Brustolon (1662 - 1732). His furniture was characterised by the abundant presence of sculpture, often even in round figures. His most characteristic figures were black figures such as the one shown here, ebonised and painted, which served as supports for large pieces of furniture, or were freestanding. These figures were so popular throughout Europe that they became a key element in luxury Baroque furniture until well into the 18th century and, within the historicism, during the 19th century. They are pieces of exceptional carving quality, conceived as independent works of art. The iconography is the result of the taste for the exotic that characterised the 18th century, and which continued into the 19th century through the Romantic spirit, which liked to reflect and fantasise about everything that was different and distant, both in time and space. This piece recreates the idealised eighteenth-century Venetian world, which in the new industrial century symbolised an elegance and luxury that could never be recovered. This type of piece was meticulously and exquisitely worked, paying as much attention to the carving as to the polychromy, which freely and fancifully reproduces rich embroidered fabrics.

Estim. 7 000 - 8 000 EUR

Lot 30 - Table clock; France, third quarter of the nineteenth century. Chiseled and burnished bronze. Piece revised in 2018. Preserves key and pendulum. It presents faults in the glass and slight wear. Measurements: 38 x 53 x 13 cm. Napoleon III table clock with gilded bronze case. It presents a rococo-inspired design in combination with classical motifs such as the scrolls, a venera or the upper cornucopia. The two little child angels flanking the sphere, worked in round, provide compositional symmetry to the whole, topped with a top. The curvilinear body, chiseled at the base with gadroons. The enameled and glazed porcelain case has Roman numerals in black and gold-colored openwork hands. The decorative elements that are part of the clock continue the aesthetic that recalls the ornamentation used in Antiquity both Greek and Roman, but always maintaining a high degree of sumptuousness, adding the eclecticism of Renaissance or neoclassical inspiration. Part overhauled in 2018. Retains key and pendulum. It presents faults in the crystal and slight wear.

Estim. 1 200 - 1 500 EUR

Lot 31 - Table clock; c. 1820. Mercury gilded and chiseled bronze. It has slight wear in gilding and one of the figures is not consolidated. One of the front applications and the back cover are missing. It needs restoration. Preserves pendulum. Signed Mme Gentilhomme à Paris on the dial. Measurements: 42 x 30 x 12,5 cm. Desk clock made of mercury gilded bronze. It is a piece of sculptural conception supported on four conical legs that gives way to a volumetric base of geometric shapes, recessed at the corners and ornamented with appliques in relief; a border with a portrait in profile in each of the corners and a garland in the center. The base gives way to the sculptural set in round bulk that is limited by a structure of architectural inspiration flanked with a caryatid inspired by the Egyptian world and located on each side. Finally, this structure ends in a pediment where the round base clock case with Roman numerals in black is located. There is a similar model in the Nationalmuseum of Stockholm (Inv: NMK 50/2021) through which it is known that the scene represents Marie Caroline, Duchess of Berry, with her newborn son Henri, Duke of Bordeaux and her daughter Louis, praying before going to sleep. The model was conceived by Jean André Reiche (1752-1817) who established his own foundry in Paris in 1785. The dial of the watch bears the signature "Mme Gentilhomme à Paris", the pseudonym of Louise Admirat (1759-1829). This signature, which has long been unknown or erroneously attributed, is that of Louise Admirat (Besse 1759-Paris 1829), one of the few women watchmakers working in Paris during the first quarter of the 19th century. On 15 Ventose, year III of the revolutionary calendar, she married Jean-François Gentilhomme, a goldsmith's merchant. Madame Gentilhomme seems to have developed her activity during a period of about fifteen years, from 1805 to 1820. She was known to have worked with some of the most influential collectors of the time. The probate inventory of Anne-Joseph-Thibault, Count of Montmorency-Fosseux, Marshal of the King's camps and armies, made in January 1819, mentions "...a clock with the name Gentilhomme à Paris, with gilt dial, in an alabaster case surmounted by a vase..., which was in one of the bedrooms of the Count's house in Paris." It has slight wear in gold and one of the figures is not consolidated. One of the front applications and the back cover are missing. It needs restoration. Preserves pendulum.

Estim. 3 000 - 3 500 EUR

Lot 32 - French school of the XIX century. "Lion. Sculpture in chiseled bronze on wooden base carved and gilded period. Some flaws in the pedestal. Measurements: 12 x 26 x 18 cm (lion); 7 x 29 x 14 cm (pedestal). Lion made of chiseled bronze in resting position. The robust body is worked taking care of the right anatomy, giving an idea of classical proportion, according to the Renaissance period in which it is inspired. His mane is carved in long and dense chisels that frame the head. The lion is an emblem of power in heraldry and in the iconography of medieval bestiaries. Already in Greco-Roman times, seated lions symbolized victories over enemy peoples, such as the marble lion of the ancient Greek city of Cnidus. They were also defensive effigies of cities and temples. In Christian times, the lion also symbolizes the evangelist St. Mark, although in that case it is usually represented winged.

Estim. 800 - 1 000 EUR

Lot 33 - Table clock; France, late nineteenth century. Burnished and chiseled bronze and enameled porcelain. Missing pieces of machinery and some bronzes are loose. Machinery signed "Vassy Jeure Paris". Measurements: 68 x 50,5 x 14,5 cm. Table clock made of burnished and chiseled bronze with enameled porcelain cup "Beau bleu" in the manner of Sèvres. The piece sits on a golden pedestal base, inspired in its design by classical antique motifs. On the base sit two round figures flanking the sides representing a couple of children. In the center stands the cup with bronze base and porcelain body adorned with two goat heads as a handle, each of them on the sides. The front of the body houses the clock face with Roman numerals in black and gold-colored openwork hands. Finally, the cup has a gilded bronze finial. This type of work was very common in the interior decoration of houses and palaces of the upper class in the nineteenth century. Used to decorate rooms by placing them on tables, chests of drawers, etc., they were highly appreciated both by the nobility and by a certain part of the bourgeoisie (those who aspired to emulate the aristocracy, above all) and were made in practically all the important artistic schools of the time. However, the most valued creations were the French ones for several reasons. First, the quality of their design, always inspired by the artistic innovations of the time and avoiding excessive repetition, with a wide variety of models drawn from different sources (Greek sculptures, mythological themes, contemporary works, etc.). Secondly, for the quality of the materials used: high quality porcelain, well-crafted bronzes of good casting and excellent gilding (techniques that the French government itself always had very controlled so as not to lower their quality or, as a result, the category of their production), metals, sometimes carved and polychromed wood, etc. Parts of the machinery are missing and some bronzes are loose.

Estim. 2 000 - 2 250 EUR

Lot 34 - Pair of candlesticks; France, 19th century. Chiseled and burnished bronze with porcelain enameled body. Measurements: 87 x 43 x 40 cm (x2). Pair formed by two candlesticks of seven lights each, all of them made in bronze combined with porcelain in the Sèvres style. Both have the same design that starts from a round base that sits on four legs in the shape of a feline claw. The bronze piece ends with a decoration of stylized and synthetic leaves. From the base there are bronze putti-shaped appliqués, which give way to the handles. The central body of periform format is made of porcelain enameled in blue. This type of work was very common in the interior decoration of upper-class homes and palaces in the 19th century. Used to decorate rooms by placing them on tables, chests of drawers, etc., they were highly appreciated both by the nobility and by a certain part of the bourgeoisie (those who aspired to emulate the aristocracy, above all) and were made in practically all the important artistic schools of the time. However, the most valued creations were the French ones for several reasons. First, the quality of their design, always inspired by the artistic innovations of the time and avoiding excessive repetition, with a wide variety of models drawn from different sources (Greek sculptures, mythological themes, contemporary works, etc.). Secondly, for the quality of the materials used: high quality porcelain, well-crafted bronzes of good casting and excellent gilding (techniques that the French government itself always had very controlled so as not to lower their quality or, as a result, the category of their production), metals, sometimes carved and polychromed wood, etc.

Estim. 4 000 - 4 250 EUR

Lot 35 - Coffee and tea set; Pérez Hermanos and F.Sanz, 1991 and later. Spanish silver. Presents marks of Madrid Villa y Corte. The cups have porcelain body. Measurements: 12.5 x 15 x 11 cm (larger); 1.5 x 25 x 12.5 cm (smaller). Weight: 1840 g. Coffee and tea set composed of; coffee pot, third, milk, sugar bowl, tray and two cups with their plates. Aesthetically the set has a neoclassical style characterized by angular and geometric shapes. The cups bear the marks of the Sanz jewelry shop, which was founded by Felipe Sanz in Madrid. As an example of his work, Sanz mounted a short necklace with seven Colombian emeralds for Queen Victoria Eugenia.

Estim. 2 250 - 2 500 EUR

Lot 36 - Table clock. France, Napoleon III, ca. 1860. In gilded and chiseled bronze. Dial in enameled porcelain. Signed "Dussault à Paris". With pendulum. It shows wear. Measurements: 37,5 x 59 x 14,5 cm. French table clock from the Napoleon II period. Made entirely in gilded bronze, except for the porcelain dial, it is of sculptural character and represents an allegory of spring. A female figure that could represent Demeter reclines leaning her elbow on the case of the clock. The sculpture, of Greco-Roman inspiration, carries bundles of wheat and a sickle. She is accompanied by farming implements. The numbering of the enameled dial is Roman and Arabic. The whole rests on an openwork base with borders and scrolls.

Estim. 600 - 800 EUR

Lot 37 - Table clock. France, Napoleon III, ca. 1880. In bronze and Belgian marble plates. Porcelain enameled dial. Gilt wood pedestal with cloth mat. Music box inside. With pendulum. It shows wear and faults. Measurements: 48 x 26 x 12 cm (clock); 7,5 x 31 x 16 cm (stand). French table clock from the Napoleon III period. The case combines bega marble coating and foliated bronze moldings. A sculpture worked in bronze in round bulge crowns the clock. It represents a courtesan woman in finely brocaded Renaissance costume, reading a book on a lectern. The white enameled porcelain dial has Roman numerals and is decorated with a vegetable garland in gilded bronze. Valances and scrolls, cabochons and masks complete the decoration.

Estim. 500 - 600 EUR

Lot 38 - Table clock. France, Napoleon III, ca. 1880. In patinated and chiseled bronze. With Belgian marble plaques. With pendulum and key. Signed "H.Riondet". It shows wear on the dial and faults in the marble. Measurements: 51 x 37 x 16,5 cm. French table clock from the Napoleon III period. On a plinth that combines plates of Belgian marble marbled and in black, rests a sculpture in patinated bronze worked in round bulk. It represents a lady of Ancient Rome. She wears a draped tunic and her hair is curled. The clock face, in white enameled porcelain, has Roman numerals.

Estim. 400 - 500 EUR

Lot 39 - MARTÍN BENITO France, second half of the twentieth century. Vase. In carved glass to the wheel. Mounts in gilded bronze. Signed on the base. Measurements: 41 x 15 x 24,5 cm. Martin Benito was born into a family of expert manufacturers of perfume bottles, well known since the twenties. He began carving crystal at the age of 14, and in 1952 founded Cristal Benito, after training his father and two brothers to carve crystal instead of glass, and taking them to his workshop to practice alongside him. The family quickly achieved unprecedented mastery in this field, perfecting the use of grinding wheels (used to cut glass), as well as the technique of glass sculpting, in which glass is cut as deeply as possible, to the limit of its strength, to enhance its luster, brilliance and reflective capabilities. Martin designed the company's first unique creations. These soon achieved international recognition, particularly its famous Napoleon III-style liquor bar. Key to this recognition was the development of the 32-pointed Benito Crystal star, a technique still recognizable in many of the company's diverse creations. Today, the company remains one of France's finest crystal-cutting institutions, and is headed by Franck Benito.

Estim. 500 - 600 EUR

Lot 40 - Pair of English spice racks, ca. 1900. Punched silver. Silver vermeille interior. With hallmarks on both pieces: "Birmingham, 1902". Measurements: 3,5 x 6 x 6 cm. Pair of British spice bowls made entirely in silver. The interior of the bowls are made of vermeille silver. They present a design of organic inspiration, which is appreciated in the feet joined with palmettes in the bowls of rounded profiles and sinuous mouths.

Estim. 400 - 600 EUR

Lot 41 - Set of three catavinos, late XVIII-XIX century. Silver and silver plated metal. With hallmarks on two of them. One bears the signature of the silversmith "A. Andraud" and another is dated 1796. One of them presents a hole in the base. In general, marks of use and wear. Measurements: 3 x 8,5 x 8,5 cm. Set of three catavinos, two of them in silver chiseled with hallmarks. One of them is decorated with bunches of grapes, the other two with grooves and grooves respectively. They have ring handles, as it was usual in this type of designs.

Estim. 400 - 500 EUR

Lot 42 - Pair of palilleros. Possibly Portuguese, XIX century. Punched silver. With hallmarks in both pieces. Measurements: 7 x 10 x 6 cm. Pair of nineteenth century toothpick holders made entirely in chiseled silver. They represent two little pigs with the back punctured to keep the toothpicks. They are elevated on a base of oval profile elevated on palmetto feet.

Estim. 800 - 1 000 EUR

Lot 43 - Set of three English salt and pepper shakers. London, XIX century. Punched silver. With hallmarks on the three pieces. It has some dents. Measurements: 16 x 5,5 x 5,5 cm. the largest. Set of three British salt or pepper shakers made entirely in silver punched, with marks of London silversmiths. On a stepped circular base rises the slender and molded body. The upper dome has decorative chiseled and openwork for salting. A small pinnacle as a decorative knob crowns the pieces and facilitates their opening.

Estim. 600 - 800 EUR

Lot 44 - Pair of English salt cellars, ca. 1900. Punched silver. With hallmarks on both pieces: "Birmingham, 1906", by "William Hutton & Sons". Presents some faults. Measurements: 9 x 3 x 3 cm. Pair of British salt cellars made entirely in punched silver, with the silversmith's name. On a stepped circular base rises the slender and molded body. The upper dome has decorative chiseled and openwork for salting. A small pinnacle crowns the pieces.

Estim. 600 - 800 EUR

Lot 45 - English teapot, ca. 1900. Silver. Handle and handle in ebonized wood. With hallmarks on one side, marks on the reverse of origin and silversmith: "London. Goldsmith & Silversmith, 1902". Slight flaws in the handle. Measurements: 15,5 x 25 x 11 cm. British teapot from the late Victorian period. Made in silver except for the handle and the knob in ebonized wood, it has a half galloned body. The gallons ornament the belly as a sheath. They are worked in relief, and the same motif is repeated on the lid. The design sought a contrast of materials and shapes, between the organically inspired ornamentation of the silver body and the angular section of the wooden handle.

Estim. 600 - 800 EUR

Lot 46 - Spanish chest. Carlos IV period, late XVIII-early XIX century. Ebonized wood and bone chiseled with ink (includes a portrait of Charles IV). It presents marks of use, wear and faults. Measurements: 11 x 14 x 8,5 cm. Chest from the reign of Charles IV. The ebonized wood structure has been covered with sheets of bone in which battles and field scenes are developed, as well as hybrid motifs characteristic of the grotesques: mascarons joined to vegetal branches, etc. It also includes a portrait of the monarch. The chest is raised on lentil feet and its gabled lid also has all four sides decorated on bone.

Estim. 600 - 800 EUR

Lot 47 - Georgian gravy spoon. England, last third of the eighteenth century. Chiseled silver. Wooden handle. Measurements: 3 x 7 x 5,5 cm (spoon); 27 cm (handle length). Eighteenth century English sauce spoon in embossed and chiseled silver, with foliate motifs such as scrolls and borders, as well as bunches of grapes. It presents the base surrounded by a starry border. It is of Georgian style.

Estim. 300 - 400 EUR

Lot 48 - English cup, XIX century. In silver punched. Hallmarks on one side. Interior in vermeille silver. Presents some blows. Measurements: 16 x 10 x 10 cm. English nineteenth-century cup made entirely in silver. The lower part of the cup is highlighted with gadroons forming a sheath relief. Its interior is made of vermeille silver. The foot rests on a circular base bordered with decorative notches.

Estim. 300 - 400 EUR

Lot 49 - Pair of English spice racks, early 19th century. Punched silver. With hallmarks on both pieces and goldsmith's signature with initials: "London. E.W, 1804" Measurements: 3 x 8 x 6 cm. Pair of British spice racks from the nineteenth century period made entirely in silver. Their body is faceted and octagonal in its section, oval in the interior.

Estim. 400 - 500 EUR

Lot 50 - Cutlery of twelve services; Matilde Espuñes (1909 - 1950). Silver. Set of 130 pieces. It presents engraved initials. Measurements: 30 cm. (major height); 10 cm. (minor height). Weight: 5.874 g (without knives). Lot consists of; 12 table forks; 12 table knives; 12 soup spoons; 12 fish forks; 12 fish shovels; 12 dessert knives; 12 dessert forks; 12 dessert spoons; 12 mocha spoons; 10 serving pieces; 12 additional table forks. Espuñes was founded in Madrid in 1840 by the Catalan Ramón Espuñes, although it would be the advances implemented by his son Luis and his commercial vision that would grant greater prestige and renown to the family business. Although most of the work was destined to the creation of pieces for civilian use such as cutlery, they received the title of silversmiths of the Royal House for the Columbus Tableware, a gift to Queen Isabella II that included a candlestick representing Columbus receiving gifts from the American Indians. The firm acquired so much fame and volume that it not only sold products at a national level, but also crossed the frontier and even had warehouses in Barcelona, Havana and Mexico. Features engraved initials.

Estim. 6 500 - 7 000 EUR

Lot 51 - Pair of candlesticks; Spain, XX century. Punched, embossed and chiseled silver. Presents marks on the base. Measurements: 43 x 41 x 41 cm (x2). Weight: 3580 g. (with counterweights). Pair of five lights candlesticks in silver punched, embossed and chiseled. The pieces have the same design of turned 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 turn-point. They support the lighters on saucers and the mouths of the lampshades are shaped.

Estim. 3 000 - 4 000 EUR

Lot 52 - Chalice. Spain (possibly La Rioja), early 18th century. Punched silver. Weight: 886 grams. With engraved marks of the silversmith and locality on the base. It has the inscription: "It is for Our Lady of Dabalillo (sic)". Measurements: 26 x 16 x 16 cm. Chalice made entirely in quality silver, within a late Baroque style, specifically following the criteria of the refined Baroque, based on the expression of the structure, limiting the ornamentation to the slender turned foot, the stepped base and the cup with molding. The knot starts from the shape of the classic vessel typical of the Baroque chalice, but nevertheless its profile begins to take a winding path, moving towards what will be the knot par excellence of the Rococo: the inverted pear. During the 18th century, Spain followed the precepts of the Counter-Reformation, which influenced the production of liturgical objects of great splendor and symbolism to reinforce the Catholic faith. The Catholic Church promoted the use of high quality art and liturgical objects to inspire devotion and glorify Eucharistic rituals. Most of these chalices are made of silver, and goldsmithing techniques including embossing, chiseling and engraving are employed.

Estim. 1 800 - 2 000 EUR

Lot 53 - Tabernacle. Spain, XIX century and later. In pine wood carved, gilded and polychrome. Presents faults, wear and later interventions. Repainting. Measurements: 96 x 59 x 44,5 cm. Tabernacle in carved pine wood. It takes the form of an open chapel or pergola with Solomonic columns adorned with bunches of grapes crawling like ivy along its furrows. The capitals are of composite order. It houses a plinth in its interior. Festoons and bows decorate the entablature. Four figures worked in round bulk (angels and archangels) decorate the openwork dome.

Estim. 800 - 1 800 EUR

Lot 54 - Jewelry box. In the manner of Sèvres, ca.1900. In porcelain enameled and partially gilded. Copper mounts. The mark on the back emulates that of Sèvres. Scene signed: Garnier. Measurements: 14,5 x 34 x 24 cm. Box-jewelry box in enameled porcelain, with borders and golden scrolls. On a maroon vermilion background decorated with foliate motifs are distributed several white medallions decorated with floral compositions and landscapes. The lid is occupied by a country scene signed "Garnier". The design of the vessel is sinuous, organically inspired.

Estim. 500 - 600 EUR

Lot 55 - Potpourri. France, second third of the twentieth century. In porcelain enameled and partially gilded. With apocryphal marks of Sèvres. Measurements: 21 x 20 x 16,5 cm. French potpourri in enameled porcelain in pastel tones and golden borders. It follows models of Sèvres. Decorated with medallions with flowers, the bluish green background is pierced with small holes, since the purpose of this type of boxes is to perfume the environments, as a container of mixtures of dried flowers, spices and essential oils. The lid is topped with a sculptural floral bouquet.

Estim. 400 - 500 EUR

Lot 56 - Table clock. Louis XVI style, late nineteenth century. In burnished bronze and polychrome porcelain. Signed with initials. Presents faults in the dial. Measurements: 66 x 34 x 15 cm. Table clock in bronze, with a design in Louis XVI style characterized by a vase-shaped center seated on a raised base on fluted legs. The base, in bronze, is decorated with scallops and festoons. The dial has Roman numerals and a gilded border. It is surrounded by a polychrome porcelain plaque with a country scene. The clock is topped by a round sculpture of a young woman playing a lute.

Estim. 400 - 500 EUR

Lot 57 - Empire Style Candelabra. France, early twentieth century. In gilded bronze. Measurements: 76,5 x 29 x 29 cm. Six lights Empire or Restoration style candelabra. Made in gilded bronze, it is composed of six arms in the form of vegetal cornucopias crowned by foliate lampshades with motifs of palmettes. The stem is of vegetal inspiration, with fine grooves and lower part sheathed with lotus leaves. It rises on a rectangular and molded plinth, decorated with a floral garland.

Estim. 400 - 500 EUR

Lot 58 - Chalice. Cordoba, XVIII century. Punched silver. Weight: 358 grams. Marks on the base. Measurements: 22 x 14 x 14 cm. Cordovan chalice in punched silver, with the interior of the vessel in vermeille silver. It is made within a late baroque style, specifically following the criteria of the refined baroque, based on the expression of the structure, limiting the ornamentation to the slender foot and the base. The refined and classic aspect of the baroque can be appreciated in a very well thought structure, with a shaft composed of a shaft that advances rococo elements. Strings of ovals border a projection, harmonizing with the sinuous outline of the stem. The knot is based on the classic vase shape typical of the baroque chalice, but its profile moves towards what will become the quintessential rococo knot: the inverted pear. Otherwise, we see a succession of horizontal layers, ranging from the circular foot with step, through the various elements of the shaft structure in which balusters of cylindrical and mixtilinear forms are combined. The calyx is crowned by the cup.

Estim. 1 800 - 2 000 EUR

Lot 59 - Cup-fruit bowl. France, 19th century. Bronze and copper. It has marks of use and wear. With a slight dent in the upper edge. Measurements: 14 x 32 x 32 cm. Cup-fruit bowl raised on circular base from which emerges a cylindrical shaft that culminates in a flat circular container. The latter is embellished with allegorical scenes with fauns and vegetable ornaments.

Estim. 400 - 500 EUR

Lot 60 - Set of 5 decorative panels of Art Deco period, 30-40s. Wrought iron painted in gold. It presents marks of use and wear. Measurements: 56 x 22 x 2 cm (measurements of the largest). These decorative panels are inspired by motifs related to the world of drinking: a glass of vermouth, a bottle of wine, a bunch of grapes in allusion to wine, a bottle of soda for a cocktail and a pitcher of beer make up a set that pays homage to the culture of the bar and its surroundings.

Estim. 800 - 1 000 EUR

Lot 61 - Pair of candlesticks of the nineteenth century. In chiseled silver. With silversmith marks on the base. They show marks of use, wear and some small dents. Weight: 1300 grams. Measurements: 33 x 25 x 25 cm. Pair of four lights candelabra made entirely in silver. On a circular base rises the molded and turned shaft with projections and mixtilinear profiles. At its end it opens with four sinuous arms adorned with scrolls and scrolls born as whimsical twigs. The four lampshades, of bulbous and chiseled body, rest on small plates.

Estim. 600 - 800 EUR

Lot 62 - Table clock. France, XIX century. Black marble and calamine. With watchmaker's marks on the inside of the machinery: "Franjus Raison & Thomas". It has a key. Measurements: 59 x 44 x 18 cm; 2.5 x 13 x 8 cm. French table clock, nineteenth century period. The sculptural group in calamine and worked in round bulk represents a mother teaching her daughter to read. They wear simple but elegant dresses, skillfully draped. The lady is seated on the clock case and rests the open book on it. The clock face is black and the Roman numerals in gold stand out on it. The border of the dial, chiseled, is also gilded. The black marble base is raised on metal claw feet and the front is filleted in gold.

Estim. 500 - 600 EUR

Lot 63 - Louis XV style garnished table clock; France, Napoleon III period, third quarter of the nineteenth century. Chiseled, gilded and burnished bronze with porcelain enamel dial. Preserves pendulum. Presents loss of a lighter, restitution of a lighter and glass of later period. Signed on the dial: "Balthazard à Paris" and stamped on the mechanism: "Medaille d'argent; Vincenti & CIE". Measurements: 53.5 x 28.5 x 26 cm; 57.5 x 41.5 x 20 cm (clock). Garrison formed by two four-light candelabra and a table clock, with the three pieces that form the set entirely made of gilded bronze. It is a harness of historicist design, classically inspired, which harmoniously combines elements of different classicist periods: baroque, renaissance, neoclassicism and even Empire, in a fanciful and decorative mixture typical of the historicist context. The candelabra are made up of a superposition of elements, starting from a base formed by vegetal ornaments that intertwine, thus creating a very dynamic conception of the composition. Above it we see a body in which stands out for the plant-inspired design of the shaft. Finally, in each one of the candelabras, there is a vegetal element on which the body of lights rises, also based on stylized acanthus leaves. The lighters that finish them off are cylindrical, flower-shaped since they are decorated with motifs in relief that resemble petals and cover their entire surface. The clock follows a similar style, with a similar base. The case of the watch, with Roman numerals in cobalt blue on which Arabic numerals are arranged in relation to the minutes, the gold-colored openwork hands follow the ornamental line of the piece. This type of pieces reached great popularity during the 19th century, becoming an object of luxury and social significance. Destined to the upper zone of the chimneys, these sets were usually located in the visitors' room, so that their quality and good taste distinguished the taste of their owner. Preserves pendulum. Presents loss of a lighter, restitution of a lighter and glass of later period.

Estim. 4 000 - 6 000 EUR

Lot 64 - Table clock; France, Louis Philippe period, c. 1845. Modeled, enameled and gilded porcelain. Precisely set. Presents stamps: "Medaille dòr 1844, FR breveté fournisseur du roi". Measurements: 49 x 30,5 x 14 cm. The initials F.R. refer to the French porcelain painter Edmé-Alexandre-Francisque Rousseau, active in Paris between 1837 and 1853. According to the Bulletin des lois de la République Française (Vol.29, Paris, 1845) Francisque Rousseau registered a patent in 1844 for the invention of a new porcelain gilding process. Thanks to this invention, Rousseau was awarded the great gold medal of the Sociéte d'Encouragement pour l'Industrie Nationale and in the General Yearbook of Commerce, Industry, Magistracy and Administration of 1847 the entry to his name reads "author of the gilding process, on any background colored at half kiln fire of which the great application, the perfect and constant success earned him (several prizes)...". Gaultier de Claubry praises the "improvements he brought to the decoration of porcelain". He describes the process by which Rousseau achieved the application of relief on colored backgrounds, without altering their luster, to receive a dense gilding. The unprecedented solidity of these ornaments seems to have opened up new decorative possibilities for a wider range of objects. Francisque Rousseau's "unalterable gilding" will allow, according to Mr. Claubry, "to satisfy all the demands of art and the whims of fashion". The popularity of his products and his low prices brought him increasing attention, culminating in his appointment as Purveyor to the King (Fournisseur du Roi) Louis-Phillipe in 1847.

Estim. 1 500 - 2 000 EUR

Lot 65 - Table clock; France, Restoration period, c. 1815 and later. Chiseled bronze, gilded with mercury and patinated. Preserves pendulum. Presents loss of the crown and the original suspension of the machinery has been replaced. Measurements: 64 x 43 x 13,5 cm. Table clock with sculptural group based on the prolific model made by the sculptor Claude Michallon. It is a piece with a stepped base in whose upper part is the dial, with Roman numerals in black. As in Michallon's model, on the body of the clock rest the figures of Cupid and Psyche worked in patinated bronze: Psyche places a crown on Cupid, while he brings his hand to her cheek in a delicate gesture full of love and tenderness. Formally, the position of the bodies stands out, denoting Michallon's savoir faire, as well as the careful detail of the modeling in the anatomy and in the qualities. The attribution of the design to Michallon (d. 1799) derives from an 1816 invoice by Feuchère for Würzburg in which he mentions this "pendulum of Psyché couronnant l'amour groupe modelé par feu Michallon". It preserves the pendulum. It presents loss of the crown and the original suspension of the machinery has been replaced.

Estim. 5 000 - 6 000 EUR

Lot 66 - Pair of candlesticks; France, Empire period, c. 1805. Chiseled bronze, gilded with mercury and burnished. Measurements: 47 x 22 x 12,5 cm (x2). Lot consists of two gilded bronze candlesticks that have the same design. Both are arranged on a circular base, adorned with a chain of vegetal motifs that runs around the perimeter and gives way to an interior with details of overlapping synthetic leaves that rise adopting a flared shape. The shaft separated from the foot by a circular structure has been designed as a classic column. This area is richly adorned with a stylized leaf base, fluted body and capital. Finally, the zone of the wick takes the form of a fluted column with a lighter located on each side and the central one higher. The ornamental motifs are reminiscent of examples of the decorative art of the period, but reinterpreted to suit the aesthetic taste of the nineteenth century.

Estim. 5 000 - 7 000 EUR

Lot 67 - FERDINAND BARBEDIENNE (France, 1810-1892). "Bacchus (Antinous) and Ariadne", c. 1850. Chiseled bronze, patinated and partially gilded, on Belgian black marble base. Signed. Presents some pitting on the base. With Mechanical Reduction stamp. Measurements: 27 x 12 x 11 cm; 27,5 x 12 x 11 cm. Pair of busts in bronze representing Bacchus and Ariadne. The foundry F. Barbedienne was founded in Paris in 1838 by Ferdinand Barbedienne and Achille Collas, the latter inventor of a machine to mechanically reduce the format of sculptures. At first they were dedicated to the production of bronze reproductions of sculptures from Roman and Greek antiquity, such as the one presented here. Their first contract to publish works created by a living artist was signed in 1843, with the sculptor François Rude. During the following years, after surviving the economic collapse of 1848, the Barbedienne house signed contracts with many of the sculptors active in Paris at the time, including David d'Angers, Jean-Baptiste Clesinger, Antoine Louis Barye and others. Achille Collas died in 1859, after which Ferdinand Barbedienne was left as sole partner in a firm that had grown to approximately three hundred workers. In 1865 he was appointed president of the Association of Broncists, a position he held until 1885. However, the outbreak of the Franco-Prussian War in 1870, and the consequent shortage of raw metals, forced Barbedienne to interrupt his artistic production, although he signed a contract with the French government to make cannons, which allowed him to keep the foundry open. After the war, he resumed his sculptural production and put even more effort into signing contracts with various sculptors. At his death in 1891, he was praised as the best foundryman in France, and was called by Albert Susse "a source of pride for the nation". The management of the foundry then fell to Barbedienne's nephew, Gustave Leblanc, who continued the high quality of production and opened branches in Germany, England and the United States. It presents some pitting at the base.

Estim. 1 800 - 2 000 EUR

Lot 68 - Pair of candlesticks; France, restoration period, c. 1815. Chiseled bronze, patinated, gilded with mercury and burnished. Measurements: 65 x 29 x 29 cm (x2). Pair of candlesticks in Restoration style and period. Each one of them has a body of lights with five chandelier type arms, gilded and decorated with vegetal motifs, plus a sixth light in the central lampshade. The bodies of lights are supported by shafts of triple fluted bronze set in a gilded bronze triple foot pedestal, richly carved with rocaille motifs and vegetal elements ending in lion's claw feet. The mercury gilding is of high quality, as evidenced by its opulent luster. The feet rest on a molded base. Acanthus leaves, carved lighters, floral corollas and foliate sheaths alternate in the gilt highlighting with the plain black of the shaft and base. All these motifs, and the overall design, are directly drawn from the ornamental background of neoclassicism.

Estim. 6 000 - 9 000 EUR

Lot 69 - Blessing box; Augsburg, last quarter S. XVI. Carved and polished ebony wood; chiseled and embossed silver. Attached study by Dr. Rosario Coppel. Measurements: 52 x 32 x 12 cm. The blessing box is composed of an ebony wood frame in the shape of a Greek temple with Solomonic columns flanking a central silver relief where the "Adoration of the Shepherds" takes place. It has, in turn, different ornaments in this material: a relief with the bust of God the Father in the top of the split pediment and, on both sides, two allegorical recumbent feminine figures. The basin is located in the lower part, between the aforementioned columns -whose Corinthian capitals and bases are worked in silver-, with a cherub's head on garlands surrounded by pomegranates and acanthus leaves in its deposit. It also has a series of openwork applications in the stylobate and frieze. The iconography, the formal characteristics and the richness of the materials suggest that it must have been originally created for the private oratory of an important client. The main figures of the central relief have been represented with great care, and have characteristics of great particularity, such as the sunken cheeks of the male figures, the hands with long fingers, the movement of the clothes and the expressiveness of the faces. The figures in the background and the bust of God the Father, on the other hand, are more sketched. The relief scene may have been inspired by a print, while the structure and models, some naturalistic and others idealized, are reminiscent of the work of Guglielmo della Porta (1515 - 1577). The female figures can be found among the drawings made by the sculptor, as well as in some of his works, as can the angels or the cherub's head. The general composition also appears in pyxides, reliquaries and other devotional elements created by the sculptor and by the silversmiths who assisted him in his workshop. The blessing box, although it is related to the work of Guglielmo della Porta, has certain formal elements that invite us to place it among the German productions of the city of Augsburg, an outstanding center for the production of metalwork. The elegant combination of silver and ebony is characteristic of the region, and there are many known examples, such as those produced by Matthäus Walbaum (1554 - 1632). The decorative motifs in silver, such as flowers, leaves or cornice-like moldings on an ebony structure, are reminiscent of those on pieces such as the altar of the "Reiche Kapelle" in Munich, by Hans Scheibel and Jakob Anthoni. 1600), in the "Pomeranian Cabinet" (c. 1610), creation, precisely, of Matthäus Walbaum or the portable altar of Jeremias Flicker (c. 1647), whose relief is a copy of the one represented in the "Calvary" of El Escorial, work of Antonio Gentile after a model of Guglielmo della Porta. Moreover, the style used for the relief of the blessing box is very close to the so-called "Master GP", a silversmith who worked in Augsburg during the last quarter of the 16th century. The "Adoration of the Shepherds", a silver relief that can be found in the Museum "für Kunst und Gewerbe" in Hamburg, is similar to the one studied, not only with regard to the models of the figures, but also with regard to the construction of the background and, above all, with regard to the group of angels in the upper third who, on a semicircle of clouds, hold a phylactery that reads: GLORIA IN EXCELSIS DEO. PAX HOMINIBVS". Both pieces share a bold drawing, with sure but schematic strokes, the figures being represented in great detail, revealing the texture of the materials. Attached is a study conducted by Dr. Rosario Coppel.

Estim. 30 000 - 35 000 EUR

Lot 70 - Elizabethan style console table; circa 1860. Marble and stuccoed and gilded wood. It has slight damage. Measurements: 94,5 x 127 x 58,5 cm. The four legs of the console table have a light cabriole shape, a front carved with scrolls and vegetal elements, and are joined at the bottom by chambranes also decorated with classicist-inspired leaves, which are joined in a central form. The waist of the table has two curved areas towards the ends, and an openwork front with the same type of antique-inspired decoration as the legs: stems, garlands... The upper top follows the lines of the furniture: curved front corners, and a small projection towards the front. It is clearly inspired by decorative elements taken either from the Renaissance or from classical antiquity (more Imperial Rome than Greece), as is usual in the works that fall within the Neoclassicism. However, the movement of the upper panel, the openwork decoration on the front, the light cabriole legs and the abundance of decoration and gilding on this piece of furniture are also related to a continuation of the forms of another 18th century style: Rococo.

Estim. 500 - 700 EUR

Lot 71 - Set of 2 Georgian gravy boats and 2 Victorian teaspoons. London, England, 19th century. In silver. Vermeille silver interior. With marks on all pieces. Unidentified silversmiths Measurements: 6,5 x 80 cm (the larger gravy boat); 10,5 cm (length teaspoons). Set of two gravy boats of Georgian period made entirely in silver (the interior of the glasses, in silver Vermeille). They are in the form of cups with a circular base chiseled with parallel fillets, the same motif is repeated on the mouth. A lion is chiseled on the bellies. Two teaspoons, also in English silver but from the Victorian period, complete the pair.

Estim. 500 - 600 EUR

Lot 72 - ANTOINE-LOUIS BARYE (France, 1795 - 1875). "Jaguar devouring a captured bird". Bronze. Ferdinand Barbedienne Fondeur. Signed by the artist and the publisher. Measurements: 16 x 43 x 17 cm. Key sculptor of the French romanticism, Barye initiated his formation next to his father, goldsmith, and later he extended it with the teachers François Joseph Bosio and Antoine-Jean Gros, in the National Superior School of Fine Arts of Paris, where he entered in 1818. Especially appreciated were his animalistic sculptures, largely initiators of the genre. He had his own foundry, collaborated with Viollet-le-Duc on a project commissioned by Napoleon III and was the teacher of Auguste Rodin. He presented his works at the Paris Salon, and created monuments such as the "Lion with Serpent" in the Tuileries Garden (1833), commissioned by the king. He is currently represented in the Louvre and Orsay Museums in Paris, the National Gallery in London, the Hermitage in St. Petersburg, the Albertina in Vienna, the Art Institute of Chicago and the Smithsonian in Washington D.C., among other museums around the world.

Estim. 4 000 - 4 500 EUR

Lot 73 - French school of the XIX century. "Musketeer". Bronze. Measurements: 51 cm. In this sculpture a musketeer is presented to us in a relaxed attitude. The handsome young man wears the typical attire with elegant finery and hat with feather.

Estim. 3 000 - 3 500 EUR

Lot 74 - ÉTIENNE MÉLINGUE (Caen, 1807-1875). "Molière". Bronze. Susse Frères Editeur. Signed, with publisher's stamp and titled. Measurements: 26 cm. Molière was a famous French playwright. He is considered one of the greatest playwrights in history and father of French Comedy. His relationship with the theater began in 1643 when he signed, together with the Béjart family, comedians, the act of constitution of the Illustrious Theater, which he would direct without much success a year later. For five years, Molière left the French capital to be an actor, returning in 1650 to take charge of the company. Soon his farces and comic plays became famous, being installed by the French king in the Petit-Bourbon theater. His plays began to gain popularity, following the maxim of "correcting manners by laughing", which, together with the royal protection, made Molière gain enemies among those who were ridiculed in his plays. In 1664 he was appointed in charge of the Court entertainments; that same year "Tartuffe" was premiered, a play critical of religious hypocrisy and which provoked angry reactions among the conservative classes, forcing the king to ban the play for five years. With royal support, however, the company became the Royal Company. Although his health began to fail, Molière continued to write immortal plays such as "The Misanthrope" and "The Stick Doctor". His last play, "The Imaginary Sick Man", sadly went down in history due to the attack that the actor and author himself had in one of its representations, from which he did not recover and died. Actor, sculptor and painter with a passion for theater, Étienne Marin Mélingue was the popular interpreter of the romantic drama of the type popularized by Alexandre Dumas, Sr. One of his greatest successes was that of Benvenuto Cellini, in which he showed his skill as an actor and as a sculptor, modeling before the eyes of the public a statue of Hebe. His wife was also an actress.

Estim. 700 - 900 EUR

Lot 75 - After ANDREA DEL VERROCCHIO (Florence, 1435 - Venice, 1488). "The Condottiero Bartolomeo Colleoni". Bronze. Ferdinand Barbedienne Fondeur. Measurements: 16 x 43 x 17 cm. Replica in medium format of the equestrian monument in bronze dedicated to the Condottiero Bartolomeo Colleoni, 395 cm high without the pedestal, realized by Andrea del Verrocchio between 1480 and 1488 and located in Venice, in the square of Saints John and Paul. It is the second equestrian statue of the Renaissance, after the monument to Gattamelata by Donatello in Padua, 1446-53. Its history dates back to 1479, when the Republic of Venice decreed the realization of an equestrian monument dedicated to this Condottiero, who died three years earlier, to be placed in the Piazza dei Santi Giovanni e Paolo. In 1480 Verrocchio was commissioned to execute it, and he began the work in his workshop in Florence. In 1481 the wax model was sent to Venice, where the artist went in 1486 to personally direct the casting of the final model, in lost-wax bronze. Andrea Verrocchio died in 1488 with the work unfinished, although the wax model was to remain, and in his will he determined that Lorenzo di Credi should continue the project. However, the Venetian Signoria preferred the local artist Alessandro Leopardi, a painter and sculptor, multidisciplinary in the modern way, as Verrocchio himself had been. The Florentine artist based the creation of the monument on the equestrian statue of Donatello's Gattamelata, the ancient statues of Marcus Aurelius and the horses of St. Mark (13th century) and of the Regisole (a work of late antiquity in Pavia, lost in the 18th century). There were also frescoes by Giovanni Acuto, Paolo Ucello and Andrea del Castagno. There was, on the other hand, the important technical problem of representing the horse with a raised front leg, in a majestic forward position, which Donatello had prudently solved by placing a sphere under the raised leg. Verrocchio will be the first to succeed in erecting an equestrian statue supported only on three legs.

Estim. 4 000 - 5 000 EUR

Lot 76 - PAUL GUSTAVE DORÉ (Strasbourg, 1832-Paris,1883). "La Defense Nationale". Bronze. Signed. Measurements: 57 cm. Paul Gustave Doré was a French German shepherd artist, painter, sculptor and illustrator, considered in his country the last of the great illustrators. He began his artistic training working with Charles Philipo, who published one lithograph a week. Later he received various commissions from François Rabelais, Honoré de Balzac and Dante Alighieri, making him, still very young, charge more than his contemporary Honoré Daumier. In 1853 he illuminated some of Lord Byron's works. In 1862 he traveled through Spain with Baron Davillier. As a result of the trip, the following year he published a series of chronicles on Valencia, Galicia, Andalusia, with specific stays in Granada, Madrid, and other Spanish capitals. The work was included in the collection Le Tour du Monde. In the same decade of 1860, Doré illustrated a French edition of Miguel de Cervantes's El ingenioso hidalgo don Quijote de la Mancha, based on his life experience in the Spanish geography. Doré later signed a five-year contract with the publisher Grant & Co. This meant that he had to spend at least three months a year in London. The book London: A Pilgrimage, with 180 engravings, was published in 1872. Although it was a commercial success, many critics did not like the publication, scandalized by the fact that Doré showed in his work the poverty that existed in London. He was accused by the Art Journal of being a "fantasist rather than an illustrator", and denounced in other important magazines, such as the Westminster Review. However, the success of London: A Pilgrimage led to many more commissions from English publishers.

Estim. 500 - 600 EUR

Lot 77 - ANTOINE-LOUIS BARYE (France, 1795 - 1875). "Eagle holding a crane", ca. 1860-1880. Patinated bronze. F. Barbedienne Fondeur, Paris. Signed by the artist and the foundry. Measurements: 31 x 30 x 24 cm. Key sculptor of French Romanticism, Barye began his training with his father, goldsmith, and later expanded it with the masters François Joseph Bosio and Antoine-Jean Gros, at the Ecole Nationale Supérieure des Beaux-Arts in Paris, where he entered in 1818. Especially appreciated were his animalistic sculptures, largely initiators of the genre. He had his own foundry, collaborated with Viollet-le-Duc on a project commissioned by Napoleon III and was the teacher of Auguste Rodin. He presented his works at the Paris Salon, and created monuments such as the "Lion with Serpent" in the Tuileries Garden (1833), commissioned by the king. He is currently represented in the Louvre and Orsay Museums in Paris, the National Gallery in London, the Hermitage in St. Petersburg, the Albertina in Vienna, the Art Institute of Chicago and the Smithsonian in Washington D.C., among other museums around the world.

Estim. 2 500 - 3 000 EUR

Lot 78 - JEAN-BAPTISTE PIGALLE (Paris, 1714-1785). "Michel de Montaigne". Bronze. Signed. Measurements: 37 cm. height. Bronze sculpture signed by Jean-Baptiste Pigalle representing the Renaissance philosopher and writer Michel de Montaigne, author of "Essays" and inventor of the essay genre. He appears here characterized as a humanist with an aristocratic countenance, a ruffed collar, and an open book on his lap. Jean-Baptiste Pigalle was a French sculptor. Born into a family of cabinetmakers, he learned sculpture from Robert Le Lorrain and Jean-Baptiste Lemoyne. He was mainly influenced by Edmé Bouchardon. He moved to Italy from 1734 to 1737. Considered a great master by his contemporaries, his work stylistically straddles the baroque and neoclassical periods. One of his best known works is "Mercury tying his sandals", preserved in the Louvre Museum.

Estim. 500 - 600 EUR

Lot 79 - PIERRE MARIE-POISSON (Niort, 1876 - 1953, Paris). "Venus and Apollo". Bronze. With Bisceglia Frères foundry stamp. Signed by the artist. Measurements: 26,5 and 29,5 cm (height). Pierre-Marie Poisson was a French sculptor and medalist, he studied sculpture at the Ecole des Beaux-Arts in Toulouse from 1893 to 1896, where he was trained in plastic arts and plaster. He completed this teaching at the Barrias studio in Paris. In 1907 he obtained a medal of honor at the Salon des Artistes Français and an assignment to reside at the villa Abd-el-Tif in Algiers where he designed and realized the decorations. He returned there regularly until 1914. He is the author of a bust of Marianne in nude and solid style, commissioned in 1932 by Jean Mistler, Under-Secretary of State for Fine Arts, to replace the official bust of Marianne by Jean-Antoine Injalbert. He collaborated, with other artists, in the realization of decorations for the steamers France in 1912, Ile-de-France in 1927 and Normandy in 1935. He obtained the award of Commander of the Legion of Honor Commander of the Legion of Honor. Pierre-Marie Poisson was appointed Knight of the National Order of the Legion of Honor by decree of August 12, 1923, promoted to officer by decree of August 25, 1937 and finally Commander by decree of February 4, 1952. As for the foundry, Mario Bisceglia moved to Paris in 1906, encouraged by Henri Bouchard, whom he had met in Italy. Around 1907, he created his own foundry with two of his brothers, working with the lost wax technique. The foundry is known for its particularly fine patinas.

Estim. 4 500 - 5 500 EUR

Lot 80 - PIETRO PAOLETTI (Belluno, 1801-1847). Didactic souvenir of the Grand Tour. Book with plaster casts. Measurements: 27 x 17 x 5 cm. Collection of "Grand Tour" plaster medallions housed in three volumes of fake book boxes. Each volume includes two compartments with a variety of plaster casts of cameos, sculptures and engraved monuments. With catalog of contents hand inscribed on the inside of the front and back covers. The Paoletti firm was advertised in Count Hawks' guidebook Le Grice Walks Through the Studii of the Sculptors at Rome (1841) as follows: Paoletti begs to inform the public that he has prepared a collection of prints (Impronte in Scajola) of many of the works in sculpture executed by illustrious artists .... Although the Impronte are no more than miniature copies; nevertheless, they exhibit all the fidelity and beauty of the original and convey to the eye a better idea of the sculpted works of art than the more finished engravings. The Paoletti's, whose studio was located in Rome's Piazza di Spagna until 1847, enjoyed a stellar reputation and counted among their clients Catherine the Great of Russia and Ferdinand III, grand duke of Tuscany. The firm continued to operate after Pietro's death until at least 1865. Examples of Paoletti molds are preserved in the Victoria & Albert Museum in London and the Yale Center for British Art in New Haven, Connecticut.

Estim. 4 000 - 4 500 EUR

Lot 81 - Obelisk of the Grand Tour. Italy, ca. 1830. Belgian black marble. Measurements: 53 x 12 cm. The obelisk is a decorative piece very appreciated throughout the world, is a stone monument shaped pillar, square section, with four equal trapezoidal faces, slightly convergent, topped at the top in a small pyramid. Obelisks were prominently used in Ancient Egypt. The term "Grand Tour", which appears for the first time in the work "El Voyage d'Italie" by Richard Lassels, was the term used to define the long journey through Europe, especially Italy, which was usually made by young British aristocrats from the seventeenth century, but especially throughout the eighteenth and nineteenth centuries. The purpose of the trip was for young people to become acquainted with the art and culture of France and Italy, to admire classical art at first hand, to learn or improve their knowledge of languages, and to establish contacts and relationships with the cultural and political elites of these countries. Travelers were often 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 the replica of Roman pieces, both in bronze and marble, emerged, some of which acquired a great reputation.

Estim. 3 000 - 3 500 EUR

Lot 82 - Modeled after the Luxor obelisk, ca. 1850. Patinated bronze. Black Belgian marble base. Size: 66 x 17 x 17 cm. This obelisk reproduces the original of the temple of Luxor in ancient Thebes, placed since 1836 in the center of the Place de la Concorde in Paris, France. The obelisk, dating from the 13th century BC, is 23 meters high. C., is 23 meters high and weighs 222 tons, to which must be added the 240 tons of the pedestal. The monument is made of pink granite from Aswan. In the same quarries, an unfinished obelisk was found that attracted the attention of archaeologists.

Estim. 5 000 - 5 500 EUR

Lot 83 - Modeled after the obelisk of Hatshepsut in the Great Temple of Amun, ca. 1840. Carved walnut wood. Measurements: 74 x 15,5 x 15,5 cm. This obelisk reproduces the original located in the Great Temple of Amun in Karnak. It is formed by a single piece of pink granite and has a height of almost 30 meters. At present only one of the obelisks of Hatshepsut remains standing in its original location. Its pair can be seen on the floor of the temple, which allows to appreciate in detail its inscriptions.

Estim. 4 000 - 4 500 EUR

Lot 84 - Attributed to Hans Mayr. Oberammergau, Bavaria, ca. 1865. After LEONARDO DA VINCI (Anchiano, Italy, 1452-Amoise, France, 1519). "The Last Supper." Carved linden wood. Measurements: 38,5 x 13 x 16 cm. A stone's throw from the Austrian Tyrol, the small town of Oberammergau was home to many woodcarving craftsmen in the 19th century who specialized in creating religious figures. Another example of this Supper can be seen on the Kingston Lacy estate in Dorset, England (Inv. NT 1254554 2). In this sculptural group the author has chosen the most dramatic moment of the Last Supper, when Jesus after blessing the bread and wine announces that one of his disciples will betray him (John 13:21). This statement causes consternation among the twelve followers of Jesus, and that is the moment that the author represents, trying to reflect the feelings of each one, individualizing the characters; some are astonished, others are frightened, others comment among themselves the news.

Estim. 6 000 - 6 500 EUR

Lot 85 - Attributed to EDGAR BRANDT (Paris, 1880-Collonge-Bellerive, Switzerland, 1960). France, ca. 1925. Ashtray in the form of a real gruya. Wrought iron. Siena marble base. Measurements: 100 x 35 x 14,5 cm. Hammered wrought iron hall ashtray decorated with a stylized bird with long legs on a yellow marble base. French forger, Edgar Brandt was one of the most important iron craftsmen of the French Art Deco period, making the international leap and extending his fame worldwide. He made trellises and lamps for numerous private homes and hotels; he also received public commissions, such as the monument to the First World War. Brandt exhibited at the annual Salons, where he presented a wide variety of non-architectural metal objects, including grilles, radiator covers, lamps or consoles. The 1925 Exposition provided Brandt with numerous opportunities to showcase his work, starting with the imposing entrance to the Exposition, the Gate of Honor. He always had a great facility for combining materials: generally wrought iron and bronze, but also gilded copper and, later, steel, aluminum or the alloy "Studal" Raymond Subes was a follower of his.

Estim. 5 000 - 5 500 EUR

Lot 86 - Attributed to GIACOMO and GIONANNI ZOFFOLI (Rome, 18th century). From an original of "GIAMBOLOGNA", JEAN DE BOLOGNE (Douai, Flanders, 1529 - Florence, 1608). "Mercury", ca. 1800. Sculpture in bronze. Eyes in silver. Serpentine marble base. Measurements: 115 x 27 cm. The foundry workshop of the Zoffoli was one of the most famous and prolific in Rome during the eighteenth century. The work is modeled after the original sculpture by the Flemish-born artist Jean de Bologne, better known by the Italianized form of his name, "Giambologna", now in the Bargello Museum in Florence. The piece, originally made in 1567, presents the classical divinity 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 leaning only on the tips of his toes, which barely touch the base of the sculpture, which consists 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 Mercury's ally in the propagation of news, good and bad. Despite this reduced 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 support itself without the need for added elements. Thus, the right arm rises towards the sky in an expressive gesture, while the left arm moves back and balances it, holding the herald's emblematic rod. With this work, full of movement, grace and delicacy, where the artist also admirably works the nude, some of the most outstanding contributions of the classical Italian Renaissance are summarized: the recovery of Antiquity, both in the themes and forms, the monumental free-standing 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 Baroque trends of the late sixteenth and seventeenth centuries.

Estim. 6 000 - 6 500 EUR

Lot 87 - According to ANTOINE-DENIS CHAUDET (France, 1763-1810). Berlin, ca. 1820-1830. "Bust of Napoleon as Roman emperor". Zinc. Measures: 60 x 32,5 x 26 cm. Chaudet was a French sculptor of neoclassical style. He began his artistic training as a student of Jean-Baptiste Stouf at the Royal Academy of Painting and Sculpture. In 1784, his bas-relief "Joseph, sold into slavery by his brothers" won the Prix de Rome. He studied in Rome, but returned to France in 1802 to paint marble portraits of Napoleon. In 1805, Napoleon liked this representation of himself in the skin of a Roman emperor, and it was adopted as Napoleon's official portrait until 1810. Chaudet became a member of the Institut de France and, in February 1810, took the position of professor-rector at the École des Beaux-Arts.

Estim. 8 000 - 8 500 EUR

Lot 88 - After BARTHÉLÉMY TREMBLAY (Louvres, France, 1568-1629). France, ca. 1825-1830. "Bust of King Henry IV". Patinated bronze. Marble base. Measurements: 41 x 22 x 22 x 15 cm. The bust we now present is based on the original sculpture made by the French Barthélemy Tremblay to Henry IV, today visible in the castle of Pau. A black painted plaster copy of this sculpture is kept at the National Military Pristine Museum of La Flèche. This piece was produced in 1817 and donated by the Marshal Duke of Feltre.

Estim. 3 000 - 3 500 EUR

Lot 89 - Small throne of Tutankhamun Egyptian Revival. Paris, ca. 1920. Rosewood. Measurements: 49.5 x 25.5 x 24.5 cm. The openwork back of this chair is distinguished by the representation of the god Heh kneeling on the sign representing gold. In his hand he holds the stem of the palm. Around him and along the entire frame of the chair are inscribed the titles of the ruler. On the cartouches of hieroglyphs the name Tut is indicated. Napoleon's 1798 campaign in Egypt was the starting point for the Egyptomania that would dominate French art in the early 19th century. The future emperor and his troops were able to see at first hand the great temples, monumental sculptures and pyramids, but the main architects of the dissemination of these images were the artists who accompanied the troops, and who devoted themselves to making sketches and watercolors of the various landscapes. When these works arrived in France, they were engraved and used as the basis for large oil paintings. Thanks to these images, a new iconographic repertoire arrived in Europe, based on ancient Egyptian art but recreated with freedom and fantasy.

Estim. 2 000 - 2 200 EUR

Lot 90 - MANUEL RODRÍGUEZ VÁZQUEZ (Castellón, 1937). "Female nude", 1980. Bronze sculpture. Signed and dated on the base. Measurements: 72 x 14 x 14 cm. Sculptor born in Navajas in 1937 in the mansion of the Corell-Ayora family, where his father was a gardener. He spent his childhood there, and in his gardens he began to develop his love for art, drawing the beauty of nature and modeling the mud of the countryside. His first formative contacts began at the School of Arts and Crafts, achieving all the prizes. His sculptural activity begins in Valencia, making commissioned works, which he alternates with free sculptures and busts of the people of the show, so he begins to be known as "The sculptor of the Artists". He obtained numerous awards and mentions throughout his professional career and his works can be found in large public and private collections nationwide.

Estim. 750 - 800 EUR

Lot 91 - Astronomical clock; France, late nineteenth century. Bronze and marble. It has flaws in the marble and needs restoration. Preserves pendulum. Signed on the dial. Measurements: 43 x 24 x 27,5 cm. Clock with a rouge griotte marble base with an expressive veining. In the center of the base is the case with a round black dial with gold-colored Roman numerals and Breguet hands. In the upper area there is a bronze mobile diorama representing the sun and the earth, as well as other dials with numerals and locations. An astronomical clock, horologium or orloj is a clock with special mechanisms and dials to display astronomical information, such as the relative positions of the Sun, the Moon, the zodiacal constellations and, sometimes, the main planets. This type of clocks were highly appreciated for the originality of the designs, for the material chosen in their realization. In some cases the machinery was hidden, giving a sense of mystery, and, of course, for its function as an important decorative element in the interior of a palace of a member of the upper class. It presents faults in the marble and needs restoration.

Estim. 9 000 - 10 000 EUR

Lot 92 - MAISON ALPHONSE GIROUX ( act. 1799-1867). Etagère; c. 1860. Chiseled and burnished bronze with engraved glass plates. Work reproduced in C. Payne, Paris Furniture: the luxury market of the 19th century, Éditions Monelle Hayot, 2018, p. 77 (illustrated). Signed Aph Giroux Paris. Measurements: 89.5 x 48 x 48 cm. Etagère made of gilded bronze and Japanese-style glass in its design. Japanese products became increasingly familiar in Paris thanks to a large exhibition in the Japanese pavilion at the Universal Exhibition of 1867 and later in Vienna in 1873. The Parisian firms Christofle and Barbedienne were the main exponents of the new fashion for Japonisme. It was applied mainly to metal furniture with little or no woodwork. In the Western decorative arts and mixed motifs and Japanese in the same object, which can often make it difficult, if not impossible, to define precisely whether the object should be described as chinoiserie or Japonisme. A magazine called Art Amateur in New York was one of the first to use the word "japanesque" as an appropriate response to Giroux's cabinet. Two designer makers and early advocates of an oriental style in Paris were Giroux and Duvinage. The former sold his store to Ferdinand Duvinage and his partner Harinckouk in 1867. Giroux mainly adapted Chinese art; his publication Meubles et fantaisies, circa 1840, shows tables in this new fashionable idiom and is reminiscent of the papier-mâché furniture of the same period. Work reproduced in C. Payne, Paris Furniture: the luxury market of the 19th century, Éditions Monelle Hayot, 2018, p. 77 (illustrated). Signed Aph Giroux Paris.

Estim. 8 000 - 8 500 EUR

Lot 93 - Pair of fallow deer; Italy, c. 1930. Patinated bronze on gilded wood penalties. Measurements: 54 x 43,5 x 12 cm; 12 x 36 x 14 cm (bases, x2). Pair of fallow deer made in bronze that follow the models of those found in the Villa of the Papyrus of Pompeii. The originals, dated to the 1st century BC, are currently in the National Archaeological Museum of Naples. This pair is part of the "Grand Tour" aesthetic, which first appeared in the work "The Voyage d'Italie" by Richard Lassels, was used to define the long journey through Europe, especially Italy, which was usually made by young British aristocrats from the seventeenth century, but especially throughout the eighteenth and nineteenth centuries. The purpose of the trip was for young people to become acquainted with the art and culture of France and Italy, to admire classical art at first hand, to learn or improve their knowledge of languages, and to establish contacts and relationships with the cultural and political elites of these countries. Travelers were often 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 the replica of Roman pieces, both in bronze and marble, emerged, some of which acquired a great reputation.

Estim. 2 500 - 3 000 EUR

Lot 94 - Collection of miscellaneous objects from the 19th-20th centuries. Silver. Some of them with hallmarks. They show wear and some dents. Measurements: 11 x 6 x 10 cm. This set consists of a pitcher, a glass with Aztec-inspired reliefs, two thimbles embellished with floral motifs, two salt shakers and a serving spoon.

Estim. 600 - 800 EUR

Lot 95 - Two small jars of jam or compote. Catalonia and England, XIX century. Silver. With hallmarks on the two pieces (in the Catalan by Alfons Serrahima). One of them retains the spoon. Presents marks of use and wear. Measurements: 6 x 4,5 x 4,5 cm. Pair of jars with lid for jam or compote entirely made in silver. One of them has a cylindrical shape while the other one has a convex belly. Fine incisions or simple moldings embellish the containers, providing a line of modernity in which the delicate taste, far from eccentricities, predominates. Alfons Serrahima was a Catalan jeweler and goldsmith active from the 1930s until the end of the 20th century. His training was mainly centered in the workshop of Antoni Urpí in Sarrià (the neighborhood where he grew up), a leading figure in the exhibitions of 1898 and 1907. Later he continued his apprenticeship at the Círculo Artístico de Sant Lluc where he perfected his drawing technique.

Estim. 400 - 500 EUR

Lot 96 - Curious perfumery or elixir container in the form of a dromerary. Probably France, XIX century. Chiseled silver. Unmarked. It presents marks of use and wear. Measurements: 10,5 x 10 x 3 cm. This curious perfumery or elixir container takes the form of a dromerary. Its head is completely separated from the body. The detailed fur of the animal is striking, as well as its physiognomy in which its unique hump stands out.

Estim. 300 - 350 EUR

Lot 97 - Clock with automata scene; Attributed to XAVIER THARIN; France, c. 1860. Paper and lithographed cardboard illuminated in gouache. It has a carved and gilded wood frame. It has slight flaws in the frame. Measurements: 99 x 120 x 24 cm. Musical automaton clock by Xavier Tharin, c. 1860 Paris with hand-colored lithographed scene depicting a Mediterranean port scene with abbey, fountain, viaduct and watchtower on a hill, with two-train clock movement giving the hours and half-hours on the gong, Roman enameled dial of 5.6 cm (2 ½ in.). It shows a friar nodding off reading in a tower room, a musician nodding his head and tapping his foot while strumming a lute, glass rod spinning in the fountain, lady mending the net by the harbor wall, a ship rocking in the foreground and two more on the horizon, a locomotive passing over the viaduct, and the watchtower flag fluttering in the wind. The piece has an elaborate gilt wood frame with instructions for use printed inside. This type of objects were very appreciated since the 19th century, with a great variety of models, usually trying to hide the mechanism that moves them for a greater surprise to the spectator and often accompanied by a musical mechanism. However, they were always elements destined to the upper class, since their construction and design required a high quality and mastery for the delicate machinery and the chosen materials. It presents slight faults in the frame.

Estim. 7 500 - 8 000 EUR

Lot 98 - Reliquary; Spanish or French school; second third of the nineteenth century. Gilded bronze and malachite. Measurements: 67,5 x 21 x 18 cm. Reliquary made of gilded bronze with malachite applique on the base. The piece presents an ornamental design with round figures. The realization of this type of religious objects, designed to house the relics of the saints, was common from the Gothic period, highlighting both the crosses, as the so-called "testas", which, in the contemporary documentation to its realization, were very popular. They were used to contain relics. In spite of the fact that many of them adopted very diverse forms, all of them had the same devotional purpose, which sometimes went beyond fanaticism. It should be remembered, however, that at that time, practically any element that had been in contact with the saint or his mortal remains (cloths, burial soil, etc.) was considered a sacred relic. This triggered a whole market for such objects. The best examples were made of precious metals, but specimens such as the present one were also highly valued, both for the container and, above all, for the content.

Estim. 900 - 1 000 EUR

Lot 99 - Renaissance balcony bench, Catalonia or Aragon. Spain, ca. 1600 Walnut and boxwood. Bone inlay. Brass applications. Renaissance inlay decoration. It shows marks of use and wear. Leather handle with damage. Measurements: 130 x 140 x 60 cm. This Catalan-Aragonese bench-arch, dated around 1600, is decorated with a meticulous work of geometric marquetry, consisting of inlaying small plates of bone and other wood forming geometric motifs. This decoration has its roots in the Granada inlay, a block inlay of geometric motifs with Islamic roots. These inlays combine mainly bone and various woods, since these were the main materials for Hispano-Muslim furniture. Block inlay has its origins in Islamic Spain, and its technique consists of making a block by combining various woods to form a specific design, and then cutting sections that are inlaid into the furniture. In this way, mosaic plates or strips are obtained, like the ones we see here. Formally it is an ark raised on four claw feet, on which a wide skirt rests. Its front and sides are decorated with recessed square panels, alternating with molded surfaces with an architectural appearance. The chest remains closed, so it acts as a seat, and has a back with the same characteristics as the rest of the piece, culminating in a crest with a heraldic motif with the surname "Del Bosque". The chest was the most important container in Catalan houses since the 15th century. It was brought by the bride to the marriage, in fact, it was the patrimony that the bride's family gave to the groom. This was part of an exchange of wealth between the contracting families. Its ornamentation was a testimony of the social and economic level to which the new bride belonged.

Estim. 3 000 - 4 000 EUR

Lot 100 - Flowerpot; Triana, c. 1900. Glazed ceramic. Measurements: 60 x 62 cm (diameter). Pot made of polychrome and glazed ceramic. Ornamentally the work shows a design inspired by Renaissance motifs, this being a period of splendor of Triana ceramics. The design is starred by angels that are inscribed in a yellow background worshiping with vegetal and geometric motifs. Triana was a very popular center of pottery production since Roman times. Later the Arabs included in terms of technique and aesthetics of ceramic production in the area. At the end of the 15th century, Niculoso Francisco Pisano moved to the area and introduced the Italian style and a new technique in which the tile is worked like an oil painting.

Estim. 1 200 - 1 500 EUR

24th July - Decorative Arts & Oriental Art

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Lot 73 - French school of the XIX century. "Musketeer". Bronze. Measurements: 51 cm. In this sculpture a musketeer is presented to us in a relaxed attitude. The handsome young man wears the typical attire with elegant finery and hat with feather.