4th September - Private Collection

Lot 1 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). Bookcase furniture, 50's-60's. Hand lacquered wood with flowers and birds decorations. It has a key. Presents marks of use and wear, some lack of polychrome. Measurements: 210 x 100 x 43 cm. Bookcase designed by Pierre Lottier, in hand lacquered wood in golden tones and decorated with chinoiseries. The decorations cover the drawers and the upper body, completely covering the front with big birds of paradise and floral proliferations. The hinged desk top hides an open gallery over a row of drawers. The interior is also decorated with vegetal bouquets. It has a double door in the upper body and crowned with a double-vaulted top. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the establishments of high society most valued by millionaires and aristocrats), Pierre Lottier settled in the 30s in Madrid, separated by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", mainly centered on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. By 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 2 000 - 2 200 EUR

Lot 2 - EULALIA FÁBREGAS DE SENTMENAT (Barcelona, 1900 - 1992). "Female nude". White marble. Stand in green marble. Signed on the right side. Presents marks of use and wear; stains of having been exposed outdoors. Slight chipping on the pedestal. Measurements: 110 x 75 x 63 cm. Eulalia Fábregas de Sentmenat developed a genuinely Mediterranean sculpture, and this is notably expressed in this seated figure: a female nude of essential lines, almost apollonian and idealized, but that at the same time transmits a naturalistic character, without any pomposity, thanks to the natural gesture that the young woman adopts when sitting with her legs folded and tilted, one hand on the slab and the other on the lower part of the right leg. The young woman assumes the aura of a Greek goddess, but also of a carnal woman. She exudes both dignity and grace. The modeling is perfect and gives the anatomy a warm carnality. Eulàlia Fàbregas Jacas, better known by her married name as Eulàlia Fàbregas de Sentmenat was a Catalan sculptor. She started sculpting at the age of 50, following the death of her son in a car accident. She trained then with the sculptor Rosa Martínez Brau, and in 1964 she exhibited for the first time in the Sala Parés in Barcelona. With a figurative tendency, she devoted herself especially to the female nude, generally in large format pieces - massive but elegant, harmonious and serene figures - and also made religious images. Most of his works are in Barcelona, among them: "Mediterrània", in the Royal Palace of Pedralbes (1962); Serenity, in Cervantes Park (1964); Female Nude, in the Gardens of Joan Maragall (1965); To Francesc Matheu, in Avenida Diagonal 696, in front of the University School of Business Studies (1968); and Women in the Cascade, in the Gardens of Joan Maragall (1970). He also has several works in Esplugues de Llobregat, especially in Can Sentmenat: Despertar, Eva, Juventud, Diana, Maternidad -in Can Vidalet Park-, Alba -in Carretera de Cornellà-, Bailarinas, Sin nombre I y II and Diosa mediterránea; as well as La Mujer del Parque -in Pou d'en Fèlix Park- or Alegoría a las víctimas de las guerras -in Ca n'Hospital Park.

Estim. 23 000 - 25 000 EUR

Lot 3 - Large baroque niche, XVIII century. Interior transformed into a bookcase. Pine wood carved by hand and polychrome with fine gold. On wooden base lined with green felt (XX century). It is in good condition, although it shows wear and some lack of polychrome. Measurements: 230 x 200 x 40 cm. (furniture); 20 x 190 x 32 cm. (pedestal). Niche of late baroque period, of great proportions and remarkable quality in its carving. Made of pine wood, its floral and foliated proliferations have been carved and gilded in fine gold. Its structure is architectural but it is entirely transfigured by the ornamental exuberance typical of the time. Thus, on a base with the front advanced in plan and molded profiles, the façade rises with an interior semicircular arch and two pilasters on which sits a cantilevered cornice. Around the interior arch there is a carved and gilded festoon with strings of flowers alternating with acanthus, topped on the keystone with a scallop. The same motif is repeated with variations on the columns, both flanked by a voluptuous cresting based on volutes, rockery motifs and sensual foliage. Likewise, the crest crowns the piece with a double acanthus leaf bordered with counterpoints and scallops carved in such a way that they draw attractive waves. The whole, in spite of the ornamental display, is subsumed by criteria of harmony, to a symmetrical order.

Estim. 18 000 - 20 000 EUR

Lot 4 - Catalan commode-bookcase Torroella, XVIII century. Walnut wood, boxwood marquetry. Presents marks of use and wear; traces of xylophages. Needs restoration. Measurements: 228 x 124 x 64 cm. Late Catalan Baroque chest of drawers and bookcase, from Torroella. The chest of drawers or chest of drawers has a slightly wavy front that harmonizes with the trimmed skirt and cabriole legs. The upper part of the bookcase also adopts the curved element in the top. The drawers are decorated with lobed and molded carvings forming four-leaf clovers that border the keyholes. Likewise, fine vegetal motifs in boxwood marquetry decorate the front of the drawers and drawers.

Estim. 2 500 - 3 000 EUR

Lot 5 - Pharmacy sideboard. Baroque, XVIII century. Hand painted pine wood. Drawers in the back. It shows marks of use and wear; lack of polychrome. On wooden base lined with green felt (20th century). Measurements: 85 x 212 x 55 cm (furniture); 20 x 225 x 61 cm (stand). We are in front of a collection piece, singular and unique in its kind, a sideboard or pharmacy counter of baroque epoch made of pine wood painted by hand. On the sides are represented, respectively, two male characters performing master formulas using a mortar and a glass still. On the front, a bucolic and wild landscape is developed with a hunting scene, a castle in the distance and a fountain in the foreground, with a young woman accompanied by a servant sitting next to her. These motifs (the hunter, the fountain) may allude in a biased way to the pharmacist's trade. Hunters, spending much time in nature, often acquired a thorough knowledge of the plants and herbs growing in their environment, including those with medicinal properties. This knowledge was essential for the preparation of remedies. Pharmacists and physicians of ancient times often relied on this local knowledge to formulate medicines. As for water sources, they were not only essential for life and the preparation of remedies, but also played a role in the growth of plants used in pharmacology. On the back of the counter, the cabinet has three small drawers or drawers with button pulls, decorated with borders and floral designs.

Estim. 30 000 - 35 000 EUR

Lot 6 - MARTÍ LLAURADÓ MARISCOT (Barcelona, 1903 - 1957). "Girl sleeping". Stone sculpture of Montjuïc. Signed on the left side. Presents marks of use and wear; some chipping. Measurements: 30 x 110 x 45 cm. The sleeping young woman is represented in this sculpture with a veristic intention, seeking in her the beauty that is born not from perfection but from the singularity and fragility of the body at rest. This is a work of quality by Martí Llauradó Mariscot, made with Montjuïc stone, a compact and resistant stone from the mountain of the same name, which has been used over the centuries in important sculptures and constructions in the city of Barcelona, including part of Gaudí's work. The sculptor Martí Llauradó worked during his youth with Joan Borrell and Joan Rebull, from whom he received important influences. In 1929 he made his debut with his first individual exhibition in Barcelona, together with Joan Commeleran. From then on he continued exhibiting his work and taking part in contests, and in 1933 he was awarded in the Exhibition of the Nude of the Artistic Circle of Barcelona. The following year he obtained the first medal at the National Exhibition of Fine Arts in Madrid. In the post-war period he obtained other important awards in cities such as Seville (for religious art), Madrid and Barcelona, and was invited to participate in two editions of the Venice Biennale. Llauradó was a leading figure of the young generation of postnoucentisme, and tempered the stylized idealism of the noucentistes with an accentuation of realism. He is currently represented at MACBA.

Estim. 5 000 - 6 000 EUR

Lot 7 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). Dining table. Wrought iron and painted brass. It shows marks of use and wear. Measurements: 72 x 200 x 110 cm. Dining table designed by Pierre Lottier. The originality of his designs (inspired by freely mixed historicist styles) is here embodied in forged legs with swan's head finials and an attractive openwork chambrana. The rectangular top, in painted brass, has been treated to acquire a particular patina that simulates wood. Pierre Lottier was a prominent furniture designer and decorator born in France but based in Barcelona, active from the post-war period onwards. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier was mainly dedicated to the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in Madrid in the 1930s, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", centered mainly on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. By 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 5 500 - 6 000 EUR

Lot 8 - Spanish door with two wings, XVIII century. Polychrome wood and wrought iron. Painted panels with scenes of saints and vegetal ornaments. With double opening hinges. It presents marks of use and wear; some faults. Measurements: 238 x 82 cm (each leaf). Eighteenth century Spanish door with two leaves. On the front, the wooden panels have been hand painted with the representation of saints and bishops with mitre and crosier. On the back, it is decorated with rhomboidal figures in molded highlights housed in each of the panels. The upper part is openwork with iron balusters.

Estim. 8 000 - 10 000 EUR

Lot 9 - Curious Empire style sewing box, first third of the twentieth century. Mahogany veneer. Ball with hinged lid and interior drawers. Sculpture of Atlas kneeling, in ebonized wood. It shows marks of use and wear. It does not keep the key. Measurements: 115 x 60 x 60 x 60 cm. Sewing box of singular design, inspired by the Venetian colonial furniture. The sculpture in round bulk that as Atlas (holding the ball of the world) holds the sewing box, represents a character with Asian features. The box, in the shape of a ball, has a hinged lid and several drawers and interior compartments. The figures of natives of the colonies as 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 characterized by the abundant presence of sculpture, often in the round. It was a style that spread rapidly throughout Europe.

Estim. 900 - 1 200 EUR

Lot 10 - Fireplace front in neoclassical style, mid-twentieth century. White marble and pink marble. In need of restoration. The piece will be delivered disassembled. It presents marks of use and wear; one piece detached. Measurements: 122 x 180 x 34,5 cm. Neoclassical style fireplace frontal, made entirely in marble: white for the caryatids and the swan, pink in the structural part and the festoons of flowers. Two sculptures of caryatids of Greek inspiration (filtered by the neoclassical taste) have been carved in white marble. With their right hand they lift the hems of their dresses, and with this gesture they cascade dynamic draperies. The draping of the drapery they hold over their heads to soften the weight of the entablature is also particularly well done. The lower part of the body takes the form of stilted pilasters perched on plinths. Their serene faces convey a timeless beauty. A swan or bird with a long neck worked in high relief and placed on a bed of leaf litter pecks at a rose in the center of the arch.

Estim. 5 000 - 6 000 EUR

Lot 11 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). Boardroom table and 4 English style armchairs. 70's. Iron base with wire decoration. Walnut wood. Upholstery in capitonné leather. It has marks of use and wear. The armchairs need to be reworked. Measurements: 72 x 120 x 120 cm (table); 89 x 51 x 52 cm (armchairs). Set of four armchairs designed by Pierre Lottier, following English models. The table, with a leather-covered cricular top, sits on crisscrossed iron legs that are joined with a wire knot in the form of an original design. The chairs, with turned and sable legs, are made of walnut and upholstered in capitonné leather. Pierre Lottier was a prominent furniture designer and decorator born in France but based in Barcelona, active from the post-war period. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier was mainly dedicated to the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in Madrid in the 1930s, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", mainly centered on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. By 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 1 600 - 1 800 EUR

Lot 12 - Great pagoda of the Qing dynasty. China, late 19th century-early 20th century. Carved bone. It shows wear and some slight flaws. Measurements: 90 x 45 x 34 cm. Great Chinese ornamental pagoda entirely carved in bone, with two differentiated levels, all with its typical slightly Chinese roof. The piece is carved with great virtuosity, with the representation of all kinds of naturalistic and geometric vegetal elements in the secondary areas. In the main areas, the rectangular bodies that separate each of the floors, we can see plates carved in relief with the representation of naturalistic elements, adorning the doors that, once opened, show a sculptural figure of religious type, also carved in bone, in which Buddha is represented in the process of meditation.

Estim. 800 - 900 EUR

Lot 13 - Following models of DONATELLO (Florence, 1386-1466). "David". Patinated bronze. On marble base. Measurements: 170 x 62 x 30 cm (figure); 28 x 62 x 62 x 62 cm (stand). Donatello's David is one of the most famous sculptures of the Italian Renaissance. Made around 1440, it has had a significant impact on the history of art. Donatello used the lost wax casting technique to create the statue, which allowed for fine details and a smooth surface. The copy we show, also in bronze and close in size to the original, makes him slightly taller than an average teenager. The statue depicts David, the young biblical shepherd boy who defeated the giant Goliath. He is portrayed nude except for a garlanded hat and boots, which was unusual for depictions of David. He appears in a relaxed, naturalistic pose, with one leg slightly bent and one hand on his hip. He holds Goliath's sword in one hand, while his foot rests on Goliath's decapitated head. David's expression is calm and confident, in contrast to the ferocity of the battle he has just fought. The sculpture symbolizes the victory of wit and faith over brute force, a common theme in the Renaissance. David was an important symbol for the city of Florence, which saw itself as a brave little David against the Goliaths of more powerful states.

Estim. 5 000 - 6 000 EUR

Lot 14 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). Coffee table, ca. 1960. Walnut wood, with hand painted top. It shows signs of use and wear. Measurements: 42 x 92 x 92 cm. Coffee table designed by Pierre Lottier in the sixties. In typology and decoration it shows a singular aesthetic, as it was common in Lottier's historicist pieces. A circular crossbar supports the thin turned legs on which sits the circular top, decorated with a composition of grooved lines forming a spiral in the center of which has been represented a figure of prehistoric inspiration. Pierre Lottier was a prominent furniture designer and decorator born in France but based in Barcelona, active from the post-war period. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier was mainly dedicated to the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in Madrid in the 1930s, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", centered mainly on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. By 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 800 - 1 000 EUR

Lot 15 - Pair of Chinese warriors with candleholders, 20th century. Patinated and chiseled bronze. Measurements: 148 x 57 x 37 cm. This pair of Chinese warriors with candleholders of five lights have been entirely made in patinated bronze, finely chiseled. They represent a couple of warriors worked in round bulk, with the armored costume described with great attention to detail. Also noteworthy is the depiction of their battle-hardened countenances.

Estim. 3 500 - 4 000 EUR

Lot 16 - Large English Regency style dining table, late 19th - early 20th century. Walnut wood. Gilded metal applications. It shows signs of wear and tear. Needs restoration. Measurements: 67 x 270 x 130 cm. Although made at the end of the century, this dining table follows in its design models of the Regency period (1811-1820), specifically a type of table with a solid top of blunt profile seated on a support whose trunk (in this case unfolded in two pieces) is bicurcated opening in four curved feet. These are topped with gilded metal applications in the form of claw feet.

Estim. 1 000 - 1 200 EUR

Lot 17 - Four Regency style armchairs, ca. 1950s. Bamboo-like wood. Upholstered seats. Shows signs of wear and tear, traces of xylophages. Measurements: 93 x 56 x 48 cm. Set of four armchairs made in the fifties, but following English models of the Regency style. Made entirely in wood that simulates bamboo, the handcrafted finish reinforces the attractiveness of the pieces, with armrests and openwork backs. The four legs are joined with crossbars. The seats are upholstered in ivory fabric.

Estim. 500 - 600 EUR

Lot 18 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). Sideboard, 1950s. Lacquered wood, chinoiserie scenes in gilt. With four front doors, two of them double. The back doors are missing (because it was used to house a television and a stereo). It presents marks of use, lack of polychromy and wear. Measurements: 100 x 136 x 55 cm. Sideboard designed by Pierre Lottier. It is a prototypical example of Lottier's use of chinoiseries in his painted wood furniture. Rectangular in structure, its lower line is decorated with floral bouquets and the upper body is decorated with Asian characters representing sages and scribes in their chambers. Pierre Lottier was a prominent furniture designer and decorator born in France but based in Barcelona, active from the post-war period. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier was mainly dedicated to the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in Madrid in the 1930s, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", mainly centered on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames that Lottier was most inspired by. By 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 1 000 - 1 200 EUR

Lot 19 - Chinese folding screen. Coromandel style, first third century. Carved and lacquered wood. Presents marks of use and wear, some faults. Needs to be reworked. Measurements: 175 x 240 cm (open); 175 x 40 cm (leaf). Chinese screen in carved and lacquered wood, representing a prototypical landscape of Chinese painting, based on trees with birds occupying the six leaves and bordered by a decorative strip. The landscape has a great lyrical force. A Coromandel screen is a folding screen made of several wooden panels covered with black lacquer and often with representations of Chinese daily life or landscape motifs, using different materials such as gold and precious stones like jade. It is estimated that the first Coromandel screens were made in Northern China during the Qing Dynasty. Despite being part of Chinese culture, the name comes from the coast of Coromandel, in India, where screens and other Chinese art pieces were shipped on ships carrying goods to Europe, with the first screens arriving at the end of the 17th century.

Estim. 800 - 1 000 EUR

Lot 20 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). French Empire style coffee table, 1950s. Walnut wood with different woods. Carved ornaments. It shows signs of wear and tear. Needs refinishing. Measurements: 70 x 100 x 100 cm. Coffee table designed by Pierre Lottier. On a tripod base rises a turned shaft decorated with a vegetal sheath carved with acanthus. The feet are topped with scrolls. The circular top has a geometric design of concentric figures based on fillets. Pierre Lottier was an outstanding furniture designer and decorator born in France but based in Barcelona, active from the post-war period onwards. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier was mainly dedicated to the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in Madrid in the 1930s, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", mainly centered on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. By 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 600 - 800 EUR

Lot 21 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). 6-piece chair, 1950s. Hand painted wood with carved decorations. Grid seats and backs. It shows marks of use and wear, some lack of paint. Measurements: 86 x 53 x 52 cm. Set of ten chairs, Pierre Lottier design. They show an unclassifiable style due to the historicist taste and the syncretist mixture of influences. The sabre legs combine with fine turned armrests. The wood has been decorated with geometric and floral motifs worked by hand. The openwork back is in the form of a hemicycle with a floral bouquet in the center. The hemicycle is of lattice, as is the seat. Pierre Lottier was a prominent furniture designer and decorator born in France but based in Barcelona, active from the post-war period onwards. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier was mainly dedicated to the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in Madrid in the 1930s, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", centered mainly on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. By 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 1 300 - 1 500 EUR

Lot 22 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). Chairs of 10 pieces, 1950s. Hand painted wood with carved decorations. Grid seats and backs. It presents marks of use and wear, some damage in the grille. Measurements: 86 x 53 x 52 cm. Set of ten chairs designed by Pierre Lottier. They are characterized by a unique and unclassifiable style due to the historicist taste and the syncretic mixture of influences. The sabre legs are matched with fine turned armrests. The wood is decorated with hand-worked geometric and floral motifs. The openwork back is in the form of a hemicycle with a floral bouquet in the center. The hemicycle is of lattice, as is the seat. Pierre Lottier was a prominent furniture designer and decorator born in France but based in Barcelona, active from the post-war period onwards. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier was mainly dedicated to the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in Madrid in the 1930s, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", centered mainly on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. Towards 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 1 800 - 2 000 EUR

Lot 23 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). Display cabinet, 1950s. Hand painted wood, Signed by the designer, with initials. It has a key. It has interior light. Presents marks of use and wear, some lack of polychrome. Measurements: 201 x 121 x 39 cm. Furniture-vitrine painted in lime green with chinoiserie motifs in gilt decorating the two front doors and the flanks: lake scenes with pagodas, lush gardens with Asian characters, flowery bouquets running along the shelves. The use of chinoiserie was a hallmark of the furniture of Pierre Lottier, the designer of this showcase. The upper part (the display cabinet) consists of three shelves protected by glass. The lower cabinet also has shelves. Pierre Lottier was a prominent furniture designer and decorator born in France but based in Barcelona, active from the post-war period. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier was mainly dedicated to the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in Madrid in the 1930s, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", mainly centered on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. Towards 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 1 500 - 1 800 EUR

Lot 24 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). Indian style cupboard. Carved and polychrome wood. It has inlaid crystals. It has marks of use and wear. Measurements: 177 x 106 x 55 cm. Magnificent cabinet made by Pierre Lottier in carved wood in shades of greenish blue and gold as predominant colors. It follows an aesthetic close to the Indian cabinetmaking, in which predominates the floral rosettes on the doors. In this cabinet, the floral tracery decorates each of the panels that compartmentalize the front, and ends with a crest of flowers intertwining their stems. The trimmed skirt harmonizes with the overall design. Pierre Lottier was a prominent furniture designer and decorator born in France but based in Barcelona, active from the post-war period onwards. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier was mainly dedicated to the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in Madrid in the 1930s, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", mainly centered on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. By 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 1 300 - 1 500 EUR

Lot 25 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). Pair of side tables, 1950s. Green polychrome wood. Ornaments in gold. It presents marks of use and wear. Measurements: 56,5 x 54,5 x 41,5 cm. Pair of identical oval tables made of painted wood, with a simple structure based on two-level boards and front drawer at the waist. Pierre Lottier was a prominent furniture designer and decorator born in France but based in Barcelona, active from the post-war period. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier was mainly dedicated to the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in Madrid in the 1930s, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", mainly centered on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. By 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 250 - 300 EUR

Lot 26 - Two table lamps, 90s. Wood. Electrified. They show marks of use and wear. Shades not included. Measurements: 70 cm (height greater). Pair of table lamp feet of different shapes and styles: while one has a globular body sectioned at the top, the other rises as if it were a classic column.

Estim. 150 - 180 EUR

Lot 27 - Side table GHIBLI 55. Murano glass base. Transparent glass top. Measurements: 58 x 55 x 55 cm. Coffee table with circular glass top and sculptural support in Murano glass. This one, of white striated color, traces a suggestive arabesque in the air, endowing of great personality and sophistication to the piece.

Estim. 1 500 - 1 600 EUR

Lot 28 - Set of four lamp feet of different periods and styles, 19th-20th century. Carved and polychrome wood and metal. Electrified. Presents marks of use, wear and some faults. Measurements: 71 cm (greater height). Two of the lamp feet have the same characteristics: they cover their bottom with a red shade that is embellished with vegetal motifs in black. The third of the lamp feet is inspired by baroque forms, while the fourth (in black) is decorated with golden laurel leaves of Empire inspiration.

Estim. 180 - 200 EUR

Lot 29 - GABRIEL TEIXIDÓ (Barcelona, 1947) for Carpyen Barcelona. Table lamp "Aura", 70s. Metal. Electrified. With wear and tear marks. With publisher's label. Measurements: 59 x 35 x 35 cm. Table lamp model "Aura" of purely functional design, reduced to its essence, but that at the same time is a nod to the traditional design of lighting pieces. Gabriel Teixidó trained at the Escuela de Artes Aplicadas y Oficios Artísticos in Barcelona and later established himself as a freelance in 1970. Throughout his career he has collaborated with companies such as Andreu World, Kendo Mobiliario, Enea, Oken, Joker, Grassoler, Santa&Cole, Disform, Grupo T, Interi, Aridi, Biok, Point, Levesta and Permasa. He has been awarded two SIDI prizes for the Bolero chair in 1986 (Gasisa) and the Columba lamp in 1987 (Carpyen Iluminación), Delta de Plata prizes from ADI-FAD in 1997 for the HI-FI lamp (Carpyen Iluminación) and more recently in 1997 the Truck table from the company Aridi and the Apta chair from Andreu World were also selected as finalists in the ADI-FAD prizes. He defines himself as a designer who is "quite" industrial, and is not influenced by fashions. The designer himself says "what interests me is that my designs are useful, that people feel comfortable with them, that they are a help".

Estim. 180 - 200 EUR

Lot 30 - Victorian seamstress box. England, XIX century. Rosewood with filleted metal marquetry. No key. With mirror inside. It has marks of use and wear. Measurements: 16 x 34 x 24 cm. British Victorian sewing box. Of rectangular structure, it is made of rosewood and decorated with metal fillet and top medallion. The interior has numerous compartments and, behind the lid pocket, hides a mirror. With handles for carrying.

Estim. 350 - 400 EUR

Lot 31 - Empire style table lamp, 90s. Wooden base with metal trim. Fabric lampshade with dirt. Electrified. It has marks of use and wear. Measurements: 95 x 42 x 42 cm. Table lamp of Empire style raised on a plinth of prismatic section on which rests the circular foot of the lamp, molded, which gives way to the globular main body. This central body is decorated with a metallic mask of the god Zeus inspired by Classical Antiquity.

Estim. 150 - 180 EUR

Lot 32 - Table lamp ALUMINOR. France, 1990s. Black patinated metal. Electrified. It has marks of use and wear. With manufacturer's label. Measurements: 62 x 55 x 22 cm. Table lamp with an articulated arm that allows to adapt the light to the needs of every moment and a dome diffuser. The French firm Aluminor is specialized in modern and very decorative pieces of lighting, despite the sobriety of its designs, above all functional.

Estim. 150 - 180 EUR

Lot 33 - Cigar box early twentieth century. Wood. With thermometer and humidor inside. It presents marks of use and wear; cracks in the lid. Measurements: 10,5 x 46,5 x 32,5 cm. Wooden cigar box, rectangular structure and simple design. Inside the lid, it has a humidifier and thermometer. The brass corner pieces are the only decorative element, besides the metal plate with the owner's initials engraved on it.

Estim. 220 - 250 EUR

Lot 34 - Pair of Chinese heart-shaped boxes from the Qing dynasty, late 19th century. Hand lacquered papier mache. With marks of use and wear. Measurements: 10 x 15 x 14 cm (larger). Pair of Chinese heart-shaped boxes delicately embellished with branches and fruits.

Estim. 180 - 200 EUR

Lot 35 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). Auxiliary table. Polychrome wood in black with carved decorations in gold. Signed on the back. Presents marks of use. Wear. Presents some lack of polychrome. Measurements: 61 x 55 x 36 cm. Side table designed by Pierre Lottier. It has a quadrangular top and trimmed waist embellished with fleurons and gilded details. Four sharply curved legs, narrowing towards the base, support a side tray. Pierre Lottier was a prominent furniture designer and decorator born in France but based in Barcelona, active from the post-war period onwards. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier was mainly dedicated to the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in Madrid in the 1930s, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", mainly centered on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. Towards 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 500 - 550 EUR

Lot 36 - Louis XVI style gueridon table, ca. 1900. Walnut wood with geometric marquetry decoration. Brass feet, handles and side edge. It shows signs of use and wear. Measurements: 62 x 69 x 69 cm. Louis XVI style Gueridon, French neoclassicism, with structure of refined architectural inspiration, legs in the form of stipes and waist as a frieze, with geometrical beading and geometric carvings made in marquetry. It has feet, a central drawer handle and filleting on the upper edge of the waist in brass.

Estim. 700 - 750 EUR

Lot 37 - Two Chinese boxes Qing Dynasty, late nineteenth century. Hand lacquered papier mache. It presents marks of use and wear; some slight lack. Measurements: 6,5 x 25 x 20 cm. Lot consists of two Chinese boxes belonging to the Qing Dynasty. They are made of lacquered papier mache. One of them takes the shape of a butterfly and the other, square, is decorated with chrysanthemums, water lilies and butterflies.

Estim. 150 - 200 EUR

Lot 38 - Japanese Meiji period box, early 19th century. Hand painted papier mache. The key is missing. It presents marks of use, wear and some faults. Measurements: 10 x 26 x 16 cm. Japanese box of prismatic format embellished with cut scenes of great detail. The special care of the craftsman in the treatment of the faces and clothes of the palace characters stands out. The Meiji era (an era of Japanese history that lasted from October 23, 1868 to 1912. It was the first half of the Empire of Japan, when the Japanese people went from being a feudal society to a modern, industrialized nation-state and an emerging great power, influenced by the West.

Estim. 200 - 250 EUR

Lot 39 - Two Arab table lamps, 1950s. Wrought iron and dyed leather. Electrified. Measurements: 48 x 31 x 31 cm (larger). This pair of table lamps rises on markedly curved legs. The main body is prismatic and widens towards the base. The walls are made of red and orange dyed leather.

Estim. 150 - 180 EUR

Lot 40 - Spanish school of the 20th century. "Dove". Sculpture in gilded bronze and patinated bronze. Marble pedestal, copy 8/20. Signed "José Manuel" and numbered. Measurements: 21 x 9 x 17 cm; 8 x 10 x 10 x 10 cm (pedestal). Ornamental sculpture in round bulk with the shape of a stylized but naturalistic dove. It is a realistic work in its modeling but rigorous and voluptuous in its composition, with some inspiration from the aesthetics of Art Deco.

Estim. 180 - 200 EUR

Lot 41 - Box for serving food. Southeast Asia, possibly Burma, 19th century. Lacquered wood and Betel nut leaf lattice. It shows marks of use and wear. Presents restorations. Measurements: 37.5 cm (height); 28 cm (largest diameter). This cylindrical box, which can be disassembled and separated into smaller structures, is distinguished by its reddish lacquered tonality. Its entire surface is divided into horizontal levels embellished with floral patterns. Its multiple compartments allow it to be used for serving food.

Estim. 150 - 200 EUR

Lot 42 - UGO ATTARDI (Genoa, 1923 - Rome, 2006). "Soldier", 2000. Bronze sculpture. Signed and dated on the right side of the base. Wooden base. Measurements: 40 x 14 x 50 cm (figure); 3 x 16 x 32 cm (base). Ugo Attardi was a painter, sculptor and writer trained at the Academy of Fine Arts and the Faculty of Architecture in Palermo. In 1945 he moved to Rome, where he joined the Forma 1 movement together with other artists such as Carla Accardi, Pietro Consagra, Piero Dorazio, Mino Guerrini, Concetto Maugeri, Achille Perilli, Antonio Sanfilippo and Giulio Turcato, with an abstract orientation. However, he developed divergent visions as he matured from the rest of the group. In 1948 he participated in the National Exhibition of Fine Arts (V National Art Quadrennial) in Rome. In the early fifties he oriented his art towards expressionism. His sculpture of Ulysses is now permanently installed in Battery Park in New York. In 1952 and 1954 he was invited to the XXVI and XXVII Venice Biennale. In the early 1960s he participated in numerous exhibitions both in Italy and abroad. In 1986 and 1987 he exhibited at the ICAF in London and at the International Exhibition of Contemporary Art in Milan. He has received numerous awards for his artistic merits and for having spread and promoted Italian genius and creativity throughout the world.

Estim. 350 - 400 EUR

Lot 43 - Table-top Victorian table-top box-costume case. England, 19th century. Root wood with metal fillet. Brass plate with initials on the top. Interior with thread spools and other carved bone and mother-of-pearl implements. Lined in blue velvet. Crack in the top of the box. Measurements: 13 x 31 x 21 cm. This Victorian sewing box is characterized by the beautiful wood grain interrupted by a fine metal fillet. With a prismatic structure and a hinged top lid, it has a lock and a metal plate on the top. The interior of the box is compartmentalized, lined with sky blue velvet and decorated with Grecian motifs. The sewing instruments have been worked in bone and mother-of-pearl.

Estim. 350 - 400 EUR

Lot 44 - LORENZO QUINN (Rome, 1966). "Ensoñaciones", 2001. Resin sculpture with patinated bronze finish. Marble base. Signed and numbered on the left side. Measurements: 16 x 39 x 24 cm (sculpture); 4 x 35 x 28 cm (pedestal). Son of the actor Anthony Quinn, this sculptor grew up between the United States and Italy, being in this last country where he learned to appreciate art. At the age of twenty-one he earned the respect of New York's artistic society by creating a work for the United Nations, a work that gave him the impetus to star in the much-lauded Absolut Vodka advertising campaign, for which the world's most acclaimed artists are selected. Shortly thereafter, he received an important commission from the Vatican, which commissioned him to create a sculpture of the saint on the occasion of the 8th Centenary of the Death of St. Anthony. Quinn has held exhibitions on five continents, and his work is present at major art fairs around the world. He has also created several public works, in cities such as London, Birmingham and Sant Climent de Llobregat (Barcelona). In November 2005, two monuments by his hand were inaugurated in the sports complex that hosted the 2006 Asian Olympic Games in Doha (Qatar).

Estim. 1 000 - 1 100 EUR

Lot 45 - JOANNA SARAPATA (Warsaw, 1962). "Female nude". Ink drawing on paper. Signed in the lower right corner. Attached to the back a label of the Polish gallery Renes. It has slight flaws in the golden frame. Measurements: 22,5 x 15 cm; 39,5 x 31,5 cm (frame). Joanna Sarapata is a Polish painter, set designer and poster artist. In 1987 she graduated from the Ecole Nationale Supérieure des Beaux-Arts in Paris. Since 1987, her works have been exhibited in European and American art galleries. In the 1990s she was director of exhibitions for Cartier. Her clients include Elton John and Madonna. Sarapata's art focuses on the female nude; the artist wants to portray strength, independence and sensitivity.

Estim. 1 500 - 1 600 EUR

Lot 46 - AURELIO TENO (Mina del Soldado, 1927 - Córdoba, 2013). "Fish and bird". Two sculptures in metal and stones. Marble bases. Signed with plaques on the base. Presents wear and some chipping on the bases. Measurements: 35 cm (height greater). Aurelio Teno Teno was a Spanish sculptor and painter who stood out for his interpretations of Don Quixote, represented as the first cosmonaut in history. Between 1936 and 1943 he lived in Cordoba where he received his artistic training. First as an apprentice in the workshop of sculptor Amadeo Ruiz Olmos, then in a silversmith's workshop, and from 1939 at the School of Arts and Crafts in Cordoba, where he studied painting and drawing. In 1950 he moved to Madrid to work as a goldsmith, and later to Paris where he lived for ten years. There he furthered his studies in fine arts, being influenced by Giacometti and expressionism. He held several painting exhibitions in the galleries Salón del Art Libre, Palais des Beaux Arts and others. At the same time, he dedicated himself to the creation of jewelry-sculptures. In 1965 he returned to Madrid, although he set up his studio in the Molino del Cubo (Ávila) where he investigated new plastic procedures. During this period he exhibited at the Ateneo de Madrid. From that year on, he began a series of international exhibitions in Copenhagen, Paris, New York, Rabat and St. Louis (Missouri), obtaining great artistic recognition and consolidating his international prestige as a monumental sculptor by winning the competition to create the sculpture of Don Quixote, which would be erected in front of the Kennedy Center in Washington, in competition with Salvador Dalí and José de Creeft. He finally set up his workshop, and a museum dedicated to his work, in the old monastery of Pedrique (near Villaharta), in the municipality of Pozoblanco.

Estim. 550 - 600 EUR

Lot 47 - Japanese school of the late 19th century. "Everyday scenes". 8 color ukiyo-e drawings on paper in a single frame. Signed. Measurements: 20 x 17 cm (largest); 54 x 86 cm (frame). The images of ukiyo-e ("floating world"), or Japanese woodblock prints, are color works produced in Japan since the 17th century, illustrating landscapes, themes of the theater or pleasure houses, genre scenes, folklore, etc., often starring famous actors and geishas. Although ukiyo-e enjoyed its greatest popularity in Japan during the second half of the 17th century, in Europe it was discovered at the end of the 19th century, when some artists, such as Van Gogh, noticed the paper, illustrated prints, that wrapped porcelain and other merchandise brought from Japan. Since then, these prints began to be collected, which fascinated the Western artist for their radically different concept, their essentiality and expressive force, and which represented a true revolution for European art, marking a before and after in its evolution.

Estim. 350 - 400 EUR

Lot 48 - JAIME GENOVART LLOPIS (Barcelona, 1941 - 1994). "Two heads", 1973. Mixed media on paper. Signed and dated in the upper right corner. Frame with some lack. Measurements: 21 x 31 cm. Painter of basically self-taught training, he became known in 1972. Grandson of a linotypist and son of a bookseller, he grew up in a world of passion for graphics, calligraphy and landscape, characteristic elements of his work. He was best known for his "Genographies", that is, simplified landscapes on which letters and other significant elements appear, producing an interesting sensation of movement. Genovart exhibited regularly in Spanish and German galleries, as well as participating in international exhibitions in Europe, America and Asia. He also represented Spain at the São Paulo Biennial, in Rijeka, at the New Delhi Triennial and in Alexandria.

Estim. 350 - 400 EUR

Lot 49 - JOSÉ MARÍA MALLOL SUAZO (Barcelona, 1910 - 1986). "Sketch of a young woman with a hat". Oil on panel. Signed in the lower right corner. With Sala Parés label on the back. Measurements: 31 x 36 cm; 52 x 58 cm (frame). Born in the bosom of a very religious family, Mallol Suazo was formed in the School of La Lonja, in Barcelona, where he was a disciple of Félix Mestres and Ramón Calsina between 1929 and 1935. He was a cartoonist as well as a painter, and published humorous illustrations in "En Patufet", "Virolet" and "L'Esquitx", magazines with which he collaborated since his student years. A congenital deformity in his feet, which made him walk with difficulty, prevented him from developing the landscape theme, as he could not move to make the copy from life. That is why he opted for other themes, such as still life or portraits. The first exhibition of his work took place at the Salon of Contemporary Art in Barcelona in 1936, months before the outbreak of the Civil War. That same year he was awarded a prize at the Spring Exhibition in Barcelona. The war forced the dispersion of his family, but Mallol remained in Barcelona, where he devoted himself entirely to painting and obtained, in 1938, the Nonell Painting Prize, awarded by the Sala Tardor. In 1945 he became a member of the group of artists of the Sala Parés, a gallery where he met the collector Josep Omar Gelpi, who became his art dealer from then on. Considered one of the most promising young Catalan painters, in 1953 he participated in the National Exhibition of Fine Arts in Barcelona with a nude, and in 1959 he visited Brazil for the first time, the country where his wife came from and to which he would travel several times throughout his life. Far from the feeling of "risk and adventure" in a plastic sense, Mallol did not allow himself to be dragged along by the prevailing artistic currents, always remaining faithful to his own realistic-poetic language. In 1987, a year after his death, the Sala Parés dedicated a large tribute exhibition to him, an anthology of his work. Mallol is represented in the National Art Museum of Catalonia, the Museum of Valls, the Deu Font Museum in El Vendrell, the Historical Archive of the City of Barcelona and the Abbey of Montserrat, as well as in important collections such as Caixa Terrassa, Caixa de Catalunya, Marta María Millet and Modest Rodríguez Cruells.

Estim. 500 - 550 EUR

Lot 50 - CLAUDIUS MARIOTON (Paris, 1844 - 1919). "Young man with tambourine". Patinated bronze sculpture. Signed and dated on the left side of the base. Measurements: 45 x 14 x 13 cm. Claudius Marioton's style is characterized by a remarkable classicism in the forms. His figures are based on the solid French neoclassical and academic tradition, as can be seen in this gypsy with tambourine. French sculptor active between the late nineteenth and early twentieth centuries, Claudius Marioton mainly made sculptures of classical type, mainly small bronze pieces but also other monumental ones in marble or other stones, as is the case of the allegorical sculpture representing the city of Lyon that today still decorates the facade of the City Hall in Paris. He also made portraits, such as the bust of Vice-Admiral Georges Charles Cloue. Marioton was the brother of the sculptor and medalist Eugène Marioton, and became known through the Paris Salon, being especially celebrated his "Diogenes", which earned him a third class medal in the 1883 edition. Today he is represented at the Ny Carlsberg Glyptotek in Copenhagen.

Estim. 350 - 400 EUR

Lot 51 - JOSEP MARIA DE SUCRE I DE GRAU (Barcelona, 1886 - 1969). "Personaje". Grease pencil on paper. Signed on the right side. Frame with some damage. Measurements: 18 x 13 cm; 36 x 31,5 cm (frame). Art critic, writer and painter, Josep Maria de Sucre held his first individual exhibition in October 1928, in the Dalmau Galleries, and that same year he took part in an exhibition of abstract art that caused a great scandal, being closed the second day. After the Civil War, Sucre was forced into poverty, although he gradually recovered his contacts and activities. In 1948 the first October Salon was held, in which the artist played an important organizational role. Two years later, on the occasion of his presence at the Cercle Maillol of the French Institute of Barcelona, conferences, projections and art exhibitions were held. In 1962 he was awarded the Juan Gris Prize for his pictorial career, and in 1964 a book of his memoirs was published. Sucre is currently represented in the MACBA in Barcelona and in the Gargallo Museum in Zaragoza, as well as in other public and private collections.

Estim. 180 - 200 EUR

Lot 52 - FRANCESC GARCIA VILELLA (Barcelona, 1922 - 2001). "Characters and animals". Pair of mixed media drawings on paper. One of them signed. Measurements: 32 x 25 cm; 58 x 51 cm (frame). Painter and draftsman, Francesc García Vilella enters the School of Sant Jordi in Barcelona, although he will soon abandon his studies. After a period dedicated to cartoons, he began his pictorial work, holding his first individual exhibition in 1945, at the Sala Rovira in Barcelona. During these years he was also a contributor to the last issue of the magazine "Dau al Set". He participated in the October Salons of 1948, 1949, 1955 and 1957, held in the Layetanas Galleries of Barcelona, and also took part in the Hispano-American Biennial. In 1950 he exhibited in Mallorca as part of the group Cobalto 49, but he slowly abandoned the exhibition activity in our country and increased his presence abroad. Thus, he held exhibitions in Vienna (1957, 1983), Venice (1960), Paris (1965, 1979), Düsseldorf (1970), Mannheim (1973, 1978), Perugia (1974), Munich (1984), etc. His work is present in various public and private collections.

Estim. 350 - 400 EUR

Lot 53 - JOSEP MARIA DE SUCRE I DE GRAU (Barcelona, 1886 - 1969). "Character". Grease pencil on paper. Signed on the right side. Frame with some damage. Measurements: 18 x 13 cm; 36 x 31,5 cm (frame). Art critic, writer and painter, Josep Maria de Sucre celebrated his first individual exhibition in October 1928, in the Dalmau Galleries, and that same year he took part in an exhibition of abstract art that caused great scandal, being closed the second day. After the Civil War, Sucre was forced into poverty, although he gradually recovered his contacts and activities. In 1948 the first October Salon was held, in which the artist played an important organizational role. Two years later, on the occasion of his presence at the Cercle Maillol of the French Institute of Barcelona, conferences, projections and art exhibitions were held. In 1962 he was awarded the Juan Gris Prize for his pictorial career, and in 1964 a book of his memoirs was published. Sucre is currently represented in the MACBA in Barcelona and in the Gargallo Museum in Zaragoza, as well as in other public and private collections.

Estim. 180 - 200 EUR

Lot 54 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). Pair of floor lamps, 1950s. Hand painted iron. It has marks of use and wear. The lampshades need cleaning. Measurements: 155 cm. height; 166 cm. with lampshade. Pair of floor lamps designed by Pierre Lottier in the fifties. On an iron shaft that in the base opens in four thin sheets rest the truncated cone-shaped lampshades. The foot has hand-painted decorative motifs inspired by Greek greca. Pierre Lottier was a prominent furniture designer and decorator born in France but based in Barcelona, active from the post-war period. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier was mainly dedicated to the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in Madrid in the 1930s, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", mainly centered on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. By 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 1 500 - 1 800 EUR

Lot 55 - Bride's chest of arches. Catalonia, 18th century. Walnut wood. Brass fittings. Presents marks of use, wear, some faults and xylophages. Measurements: 70 x 144 x 58 cm (closed); 121 x 144 x 58 cm (open). Baroque style bridal chest, made in Catalonia, decorated with profuse carved, geometric and architectural motifs. It stands on four claw feet, and has a hinged top lid, typical of this typology. The front is organized, through the ornamental scheme, in three recesses that house pairs of semicircular arches raised on pilasters, with narrower recesses between them, decorated with boxes that house floral motifs. The sides of the cabinet repeat the same pattern. The upper frieze is decorated with carved pilasters with simple vegetal motifs alternating with plain recesses, the central one housing the coat of arms. This type of chest has its origin in the 16th century, in the so-called "arcas embasadas de moldura, que dicen barcelonesas", typical of Catalonia, Aragon, Balearic Islands and Valencia. It is a type of chest very different from the contemporary French one, although similar to the Italian one. Although they have their origin in the Crown of Aragon (specifically in Barcelona, according to their name), today we know that they were made all over Spain, since the guild ordinances of the time of Charles I dictate the way to make them. They are, in any case, betrothal chests, also called "caixas de novia", which were an indispensable part of the wedding trousseau. Regarding their typology, they all have a truncated pyramidal molded base (hence the term "embasadas"), and their construction is deceptive, appearing on the outside to be a stretcher frame and panel structure that is not, since they are built with assembled one-piece boards, a typical characteristic of northern Spain at this time. There were different variants depending on the size and the number of squares placed on the front: two in the smallest ones, three in the medium ones and four or more in the larger ones. In fact, the ark could be as long as the wall on which it was placed. This ark would correspond to the groom, since it does not have a side door, reserved for the bride.

Estim. 500 - 600 EUR

Lot 56 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). Pair of planters George III style, ca. 1950's. Wood painted black and simulating root wood. It presents marks of use and wear. Measurements: 86 x 46 x 46 cm. Pair of planters designed by Pierre Lottier. The historicism and the free revisitation of the past was characteristic of Lottier's work, as can be seen in these planters in the form of cups with the exterior decorated with wooden ribs. He gives the wood different finishes and patinas. Pierre Lottier was a prominent furniture designer and decorator born in France but based in Barcelona, active from the post-war period. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier was mainly dedicated to the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in Madrid in the 1930s, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", mainly centered on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. By 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 500 - 600 EUR

Lot 57 - Rustic folding library ladder, ca. 1950. Walnut wood. Presents marks of use, wear and signs of xylophagous. Needs restoration. Measurements: 100 x 47 x 66 cm (open); 100 x 47 x 35 cm (closed). Library ladder with four steps. Folding system to save space.

Estim. 200 - 300 EUR

Lot 58 - Bride's chest of arches. Catalonia, 18th century. Walnut wood. Presents marks of use, wear, some faults and xylophages. Front door with interior drawers. Measurements: 70 x 144 x 58 cm (closed); 121 x 144 x 58 cm (open). Baroque bridal chest, made in Catalonia, decorated with profuse carved, geometric and architectural motifs. It stands on four claw feet, and has a hinged top lid, typical of this typology. The front is organized, through the ornamental scheme, in three recesses that house pairs of semicircular arches raised on pilasters, with narrower recesses between them, decorated with boxes that house floral motifs. The sides of the cabinet repeat the same pattern, as does the inside of the lid. The upper frieze is decorated with carved pilasters with simple vegetal motifs alternating with plain grooves. This type of chest originated in the 16th century, in the so-called "arcas embasadas de moldura, que dicen barcelonesas", typical of Catalonia, Aragon, the Balearic Islands and Valencia. It is a type of chest very different from the contemporary French one, although similar to the Italian one. Although they have their origin in the Crown of Aragon (specifically in Barcelona, according to their name), today we know that they were made all over Spain, since the guild ordinances of the time of Charles I dictate the way to make them. They are, in any case, betrothal chests, also called "caixas de novia", which were an indispensable part of the wedding trousseau. Regarding their typology, they all have a truncated pyramidal molded base (hence the term "embasadas"), and their construction is deceptive, appearing on the outside to be a stretcher frame and panel structure that is not, since they are built with assembled one-piece boards, a typical characteristic of northern Spain at this time. There were different variants depending on the size and the number of squares placed on the front: two in the smallest ones, three in the medium ones and four or more in the larger ones. In fact, the ark could be as long as the wall on which it was placed. This ark would correspond to the groom, since it does not have a side door, reserved for the bride.

Estim. 500 - 600 EUR

Lot 59 - French-influenced apothecary jar. Catalonia, 18th century. White ceramic hand painted in blue. It has marks of use, wear, some chipping and some lack of firing. Measurements: 21 cm (height) x 11.5 cm (larger diameter). Albarelo or pharmacy jar made of ceramic and decorated with cobalt blue glaze on white tin engobe. It has a typical 18th century shape, narrower towards the center. It includes a central cartouche that houses the inscription indicating its contents.

Estim. 200 - 250 EUR

Lot 60 - Three albarelos of pharmacy. Catalonia, 19th century. Hand-painted white ceramic. One of them is restored and with faults. They show marks of use, wear, some chipping and some firing faults. Measurements: 30 cm (height) x 13 cm (diameter). Three albarelos with lid of urn type format. They include a central cartouche that houses the inscription indicating their contents.

Estim. 200 - 250 EUR

Lot 61 - French-influenced apothecary jar. Catalonia, 18th century. White ceramic hand painted in blue. It has marks of use, wear, some chipping and some lack of firing. Measurements: 28 cm (height) x 11 cm (larger diameter). Albarelo or pharmacy jar made of ceramic and decorated with cobalt blue glaze on white tin engobe. It has a typical 18th century shape, narrower towards the center. It includes a central cartouche that houses the inscription indicating its contents.

Estim. 200 - 250 EUR

Lot 62 - Albarello de Manises, 18th century. Ceramic with metallic reflections. It has marks of use, wear, chipped and some lack of firing. Measurements: 29 x 12, 5 cm (larger diameter). Albarello in glazed ceramic glazed by hand in cobalt blue with vegetal decorations and metallic luster. The ceramics of metallic luster will be the great art of the Nasrid period, although it was born in the Spain of the Almohad period, between the second half of the XII century and the first half of the XIII century. In later times it will have special development in Manises, where the Hispano-Muslim tradition will continue in both the technical and decorative aspects. It is a glazed ceramic, that is to say, with a white enamel bath, very pure in the best examples, which is fired in the kiln. On it, once cold, it is decorated with a pigment composed of five basic ingredients: copper, silver, sulfur, almazarrón (iron oxide) and vinegar. The final tone will depend on the proportion of these components, resulting more golden if it has a greater amount of silver, and more reddish if copper predominates. Finally, the piece is fired a second time at 650ºC, in a reducing atmosphere, to fix the decoration. Once the piece is fired, the decoration is black, so it has to be burnished to obtain the final shiny metallic gold tone.

Estim. 350 - 450 EUR

Lot 63 - LORENZO QUINN (Rome, 1966). "The hand of God". Resin sculpture with patinated bronze finish. Marble base. Exemplary 136/999. Signed, numbered and with the artist's fingerprint. Measurements: 18 x 33 x 15 cm (figure); 2,5 x 34 x 17 cm (base). Son of the actor Anthony Quinn, this sculptor grew up between the United States and Italy, being in the latter country where he learned to appreciate art. At the age of twenty-one he earned the respect of New York's artistic society by creating a work for the United Nations, a work that gave him the impetus to star in the much-lauded Absolut Vodka advertising campaign, for which the world's most acclaimed artists are selected. Shortly thereafter, he received an important commission from the Vatican, which commissioned him to create a sculpture of the saint on the occasion of the 8th Centenary of the Death of St. Anthony. Quinn has held exhibitions on five continents, and his work is present at major art fairs around the world. He has also created several public works, in cities such as London, Birmingham and Sant Climent de Llobregat (Barcelona). In November 2005, two monuments by his hand were inaugurated in the sports complex that hosted the 2006 Asian Olympic Games in Doha (Qatar).

Estim. 1 000 - 1 500 EUR

Lot 64 - Albarello of the 18th century. Polychrome pottery from Banyoles. It presents marks of use, wear, chipping and some lack of firing. Measurements: 20 cm (height) x 11.5 cm (larger diameter). Albarello or pharmacy jar made of ceramic and decorated with cobalt blue and yellow glaze on white tin engobe. It has a typical shape of the 18th century, narrower towards the center. It includes a central cartouche that houses the inscription indicating its contents.

Estim. 350 - 450 EUR

Lot 65 - Dish of the series "faixes i cintes". Catalonia, 18th century. Hand painted ceramic. Two holes in the top to hang it on the wall. It presents marks of use, wear, chipped and some lack of firing. Measurements: 6.5 cm (height) x 29 cm (diameter). The series known as "faixas i cintes" was developed in the Catalan ceramic workshops during the 18th century, and is a blue series that usually presents motifs of ships, animals and landscapes.

Estim. 350 - 450 EUR

Lot 66 - 18th century Albarello. Polychrome pottery from Banyoles. It presents marks of use, wear, chipping and some lack of firing. Measurements: 20 cm (height) x 11.5 cm (larger diameter). Albarelo or pharmacy jar made of ceramic and decorated with cobalt blue and yellow glaze on white tin engobe. It has a typical shape of the 18th century, narrower towards the center. It includes a central cartouche that houses the inscription indicating its contents.

Estim. 350 - 450 EUR

Lot 67 - Albarelo following models of Alcora, late 18th century. Polychrome ceramic. With seal and date on the base. Presents marks of use, wear and slight flaking. Measurements: 28 cm (height) x 13 cm (larger diameter). Albarelo or pharmacy jar made of ceramic and decorated with cobalt blue and yellow enamel on white tin engobe. It has a typical 18th century shape, narrower towards the center. It includes a central cartouche that houses the inscription indicating its contents.

Estim. 150 - 250 EUR

Lot 68 - LORENZO QUINN (Rome, 1966). "Contigo". Resin with green patinated bronze finish. Stainless steel base and marble base. Exemplary 136/999. Signed and numbered. Measurements: 35 x 25 x 11 cm (figure); 3 x 26 x 18 cm (base). Son of the actor Anthony Quinn, this sculptor grew up between the United States and Italy, being in this last country where he learned to appreciate art. At the age of twenty-one he earned the respect of New York's artistic society by creating a work for the United Nations, a work that gave him the impetus to star in the much-lauded Absolut Vodka advertising campaign, for which the world's most acclaimed artists are selected. Shortly thereafter, he received an important commission from the Vatican, which commissioned him to create a sculpture of the saint on the occasion of the 8th Centenary of the Death of St. Anthony. Quinn has held exhibitions on five continents, and his work is present at major art fairs around the world. He has also created several public works, in cities such as London, Birmingham and Sant Climent de Llobregat (Barcelona). In November 2005, two monuments by his hand were inaugurated in the sports complex that hosted the 2006 Asian Olympic Games in Doha (Qatar).

Estim. 1 000 - 1 500 EUR

Lot 69 - Albarello following models of Alcora, late 18th century. Polychrome ceramic. With seal and date on the base. Presents marks of use, wear and slight flaking. Measurements: 28 cm (height) x 13 cm (larger diameter). Albarelo or pharmacy jar made of ceramic and decorated with cobalt blue and yellow enamel on white tin engobe. It has a typical 18th century shape, narrower towards the center. It includes a central cartouche that houses the inscription indicating its contents.

Estim. 150 - 250 EUR

Lot 70 - Albarello de Manises, 18th century. Ceramic with metallic reflections. It shows marks of use, wear, chipping and some lack of firing. Measurements: 30 cm (height) x 13 cm (largest diameter). Albarello in glazed ceramic glazed by hand in cobalt blue with vegetal decorations and metallic luster. The ceramics of metallic luster will be the great art of the Nasrid period, although it was born in the Spain of the Almohad period, between the second half of the XII century and the first half of the XIII century. In later times it will have special development in Manises, where the Hispano-Muslim tradition will continue in both the technical and decorative aspects. It is a glazed ceramic, that is to say, with a white enamel bath, very pure in the best examples, which is fired in the kiln. On it, once cold, it is decorated with a pigment composed of five basic ingredients: copper, silver, sulfur, almazarrón (iron oxide) and vinegar. The final tone will depend on the proportion of these components, resulting more golden if it has a greater amount of silver, and more reddish if copper predominates. Finally, the piece is fired a second time at 650ºC, in a reducing atmosphere, to fix the decoration. Once the piece is fired, the decoration is black, so it has to be burnished to obtain the final shiny metallic gold tone.

Estim. 350 - 450 EUR

Lot 71 - French-influenced apothecary jar. Catalonia, 18th century. White ceramic hand painted in blue. It has marks of use, wear, some chipping and some lack of firing. Measurements: 22 cm (height) x 11 cm (larger diameter). Albarello or pharmacy jar made of ceramic and decorated with cobalt blue glaze on white tin engobe. It has a typical 18th century shape, narrower towards the center. It includes a central cartouche that houses the inscription indicating its contents.

Estim. 200 - 250 EUR

Lot 72 - Dish of the series "faixes i cintes". Catalonia, 18th century. Hand painted ceramic. Two holes in the top to hang it on the wall. It presents marks of use, wear, chipped and some lack of firing. Measurements: 6 cm (height) x 29 cm (diameter). The series known as "faixas i cintes" was developed in the Catalan ceramic workshops during the 18th century, and is a blue series that usually presents motifs of ships, animals and landscapes.

Estim. 350 - 450 EUR

Lot 73 - Aragonese desk box, XIX century. In walnut wood and bone inlay. It shows signs of use and wear. Measurements: 21,5 x 44 x 30 cm. Desk-box with compartments inside for pens and papers. The pinyonet decoration, characteristic of Aragonese cabinetmaking, is based on inlaid bone inlays (pinion type) that are arranged in geometric and synthetic vegetal rosettes and fretwork. The marquetry decoration of small geometric pieces, known as grain of rice or pinyonet, appeared in Aragon from the 14th century with a clear aesthetic link to Mudejar art.

Estim. 500 - 600 EUR

Lot 74 - French liquor box. Napoleon III period, XIX century. Walnut root wood. Set of 4 bottles and 16 Baccarat crystal glasses. Decorated with brass and mother of pearl medallions. It presents marks of use and wear, some missing. Measurements: 27 x 34 x 24 cm. Functional in its design (it closes forming a compact rectangular box), it shows in its exterior a delicate marquetry combining walnut and walnut root. It is also decorated on the top and front with brass and mother-of-pearl medallions. It opens with two small doors and has a wooden tray with balusters at the corners. The Baccarat glassware set, consisting of 4 bottles and 16 glasses, is made of acid-etched glass with Greek fretwork and gold-plated brass fillets.

Estim. 700 - 900 EUR

Lot 75 - Side table or folding console, mid-twentieth century. Walnut wood. It has two folding wings. Presents marks of use and wear. Needs refinishing. Measurements: 71 x 110 x 83 cm (open); 71 x 85 x 36 x 36 cm (closed). Folding side table made entirely of walnut wood. It consists of a support with two fluted shafts and finished in double foot with volute. The legs are joined by a turned crossbeam. The rectangular top is formed by two folding wings, so that the piece of furniture can be stored without taking up space.

Estim. 500 - 600 EUR

Lot 76 - Pair of French candlesticks, XIX century. Bronze and white marble. It presents marks of use and wear. Measurements: 36 x 20 x 14 cm. Pair of nineteenth-century candlesticks of sculptural type, with two patinated bronze putti that gracefully turn their torsos to hold with turned arms the torches in the form of horns of plenty. The cornucopias are of gilded bronze. The sculptures are perched on white marble bases.

Estim. 500 - 600 EUR

Lot 77 - Pair of Chinese vases. Qing Dynasty, 19th century. Hand-painted white ceramic. With mark on one of them. Sealing wax seal for export. It shows wear. Measurements: 35 x 55 x 16 cm. Pair of nineteenth-century Chinese vases, belonging to the Qing dynasty. They are made of hand-painted ceramic with flowering branches and small yellow birds perched on them. With an elongated belly, the wide neck ends in a flared mouth. It has two openwork and golden handles.

Estim. 450 - 550 EUR

Lot 78 - Chinese furniture. Qing Dynasty, 19th century. Hand lacquered wood with palace scenes. Brass hardware and handles. The lock pin is missing. It has marks of use and wear. Needs refinishing. Measurements: 41 x 84 x 48 cm. Chinese furniture from the Qing Dynasty. Rectangular structure, three of its sides and the top have been hand lacquered with palace scenes, focusing especially the decoration on the front. Pagodas, terraces, court ladies and servants are framed against a landscape of bluish mountains. The chromatic vivacity used on the front doors stands out. In the margins, geometric greca and calligraphic details complete the decoration.

Estim. 1 500 - 1 700 EUR

Lot 79 - French style table clock, twentieth century. Bronze and cloisonné enamel. Porcelain pendulum. With chime. It has a key. Presents marks of use and wear. It needs to be reworked. Measurements: 49 x 40 x 17 cm. Table clock of architectural inspiration and sumptuous design. Made in bronze and decorated entirely with the cloisonné technique, the enamel in turquoise blue tones (with touches of red and yellow) covers its fine columns, the plinth and the entablature. In the center of the gazebo is the clock face, with Roman numerals and clover-shaped hands. The pendulum is decorated with the representation of a ship on porcelain. The dial is protected by a beveled glass door.

Estim. 500 - 600 EUR

Lot 80 - Chinese cow, Qing dynasty, 19th century. Bronze and cloisonné enamel. With numbering on a hoof. It presents marks of use and wear. Measurements: 35 x 55 x 16 cm. Small sculpture belonging to the Qing dynasty, representing a bronze cow richly ornamented with enamels in vivid colors following the cloisonné technique. It has golden hooves, muzzle and horns. Also called honeycombed or partitioned, cloisonné enamel is a technique that consists of depositing the vitreous paste of the enamel in recessed compartments or formed by metal sheets that, in relief, compose the silhouette of the design.

Estim. 1 400 - 1 600 EUR

Lot 81 - Censer. Japan, Meiji period, last third of the nineteenth century. Satsuma porcelain hand painted. It has marks of use and wear. The lid does not open. Measurements: 38 x 26 x 14,5 cm. This censer, made entirely in satsuma porcelain, is characterized by its marked sculptural character. On four legs in light cabriole, stands the body of the censer. Three Fu Dogs or guardian lions, made in round bulk, decorate the handles and the knob of the lid. Courtly personages wrapped in sumptuous kimonos have been depicted on the walls of the belly, along with decorative patterns in different colors, with a predominance of siennas, reds and browns. The Foo dog, similar to a lion, is an important symbol in Chinese Taoist culture and, due to its influence, also in Japanese and Thai culture. It is identified with protection against evil spirits, and hence it is often represented in pairs at the entrance of temples, imperial tombs, palaces, government buildings, etc.

Estim. 250 - 350 EUR

Lot 82 - Pair of Chinese vases. Qing Dynasty, late 19th century. Hand-painted white ceramic. With export sealing wax seal. It shows wear. Measurements: 42 x 20 x 20 cm. Pair of nineteenth-century Chinese vases, belonging to the Qing Dynasty. They are made of hand-painted ceramics with the representation of genre scenes. Courtesan ladies (in one of them) and peasant women (in the other) stroll through bucolic landscapes. With an elongated belly, the wide neck ends in a flared mouth. They have two openwork handles and calligraphic lines.

Estim. 450 - 550 EUR

Lot 83 - Prince Aphai Mani. Thailand, XIX century. Carved and polychrome wood. Decorated with inlaid carved crystals. It presents marks of use and wear. Needs to be reworked. Measurements: 65 x 46 x 50 cm. Thai sculpture in carved and polychrome wood, representing the prince Aphai Mani seated in the lotus posture and playing a kind of flute. This one, called "pi", is according to the legend a magic instrument with the power to bewitch those who listen to it. Aphai Mani is the hero of an epic poem written by one of Thailand's most beloved poets, Sunthorn Phu. The story begins with Prince Aphai Mani, who is banished by his father because of his interest in music and art, rather than military skills. Aphai Mani embarks on numerous adventures. In one of them, he is captured by a mermaid named Phisuea Samut, who falls in love with him. With the mermaid's help, Aphai Mani escapes and continues his journey. Aphai Mani meets several women and fights supernatural enemies, such as the giant Yaksa. Throughout his adventures, he faces challenges that test his wits and courage.

Estim. 400 - 500 EUR

Lot 84 - Chinese furniture. Qing Dynasty, 19th century. Hand lacquered wood with palace scenes. Brass hardware and handles. It shows marks of use and wear. Needs refinishing. Measurements: 41 x 84 x 48 cm. Chinese furniture from the Qing Dynasty. Rectangular structure, three of its sides and the top have been hand lacquered with palace scenes, focusing especially the decoration on the front. Pagodas, terraces, court ladies and servants are framed against a landscape of bluish mountains. The chromatic vivacity used on the front doors stands out. In the margins, geometric greca and calligraphic details complete the decoration. It has a pin lock.

Estim. 1 600 - 1 800 EUR

Lot 85 - Venetian mirror from the 50s. Murano glass. Presents marks of use and wear. In good condition. Measurements: 101 x 87 x 7 cm. Venetian mirror of rectangular format, with wooden core and front entirely covered by glass plates decorated with floral motifs and foliage engraved to the wheel. The fine and delicate vegetal pattern is characteristic of this type of Venetian mirror.

Estim. 1 200 - 1 300 EUR

Lot 86 - Pair of Qing dynasty chairs. China, late 19th-early 20th century. Carved wood. It shows signs of use and wear. One of them needs restoration on a crossbeam. Measurements: 95 x 45 x 40,5 cm. The uniqueness of this pair of Qing dynasty chairs lies in the decorativeness of their backs. Openwork forms typical of Chinese architecture flank a carefully carved central plate representing palace scenes. The legs of the furniture are embellished with grecate motifs. Chairs first appeared in China in the form of portable chairs used by commanders on the battlefield. Their use spread rapidly in domestic life, used by all classes and sectors of society. By the early Ming dynasty, various styles had been developed and little changed for several hundred years. In a society as hierarchical as China's, different styles of chair were associated with different ranks of society.

Estim. 500 - 550 EUR

Lot 87 - Venetian mirror from the 50s. Murano glass. Presents marks of use and wear. In good condition. Measurements: 101 x 87 x 7 cm. Venetian mirror of rectangular format, with wooden core and front entirely covered by glass plates decorated with floral motifs and foliage engraved to the wheel. The fine and delicate vegetal pattern is characteristic of this type of Venetian mirror.

Estim. 1 200 - 1 300 EUR

Lot 88 - Small Louis XV French style chest of drawers. Walnut wood, boxwood fillet. With bronze hardware and handles. It shows signs of wear and tear. Measurements: 76,5 x 66 x 44 cm. Small chest of drawers. It follows models of Louis XV furniture. It is made entirely of walnut wood. Boxwood marquetry fillets the drawers and the top. Bronze applications decorate the knees of the legs and the skirt. The handles are also in bronze. It is a piece of furniture with sinuous lines (characteristic of the Louis XV period), both in the profile of the top and in the cut-out skirt, in the cabriole legs and in the curvilinear front that houses the two drawers.

Estim. 350 - 400 EUR

Lot 89 - Design coffee table, 80's and 90's. Chromed steel and glass. It has marks of use and wear. With slight chipping on the sides of the glass and stripes. Measurements: 45,5 x 120 x 120 cm. Vintage design coffee table. It dates from the eighties or nineties. Its chromed steel structure consists of four identical modules forming a skeleton of four cubes. The top is made of transparent glass, which reveals the structural elegance of the design.

Estim. 500 - 550 EUR

Lot 90 - Pair of Brighton Pavilion style armchairs from the first half of the 20th century. Bamboo frame. Rattan seats. Shows signs of use and wear. Measurements: 88 x 55 x 55 cm. Bamboo armchairs like the ones presented here and Chinese furniture in general became very fashionable in the Western world after the completion of the Brighton Royal Pavilion, a former royal residence located in Brighton (England) built in the 19th century as a seaside retreat for George IV of England, then still Prince Regent. Armchairs in the same style as those now being bid for were part of the exotic furnishings of such a complex residence and are still found today in its grand foyers.

Estim. 1 000 - 1 100 EUR

Lot 91 - Scandinavian design armchair, 1960s. Root wood. Seat and back upholstered in fabric. Shows signs of wear and tear. Needs refinishing. Measurements: 86 x 65,5 x 90 cm. Scandinavian design armchair, in root wood. Its profile draws a fluid line that gently curves the openwork backrest and extends to the small feet and armrests topped with scrolls combos.

Estim. 350 - 400 EUR

Lot 92 - Set of chair and armchair, XIX-XX centuries. The chair in rococo style: the armchair in French Louis XVIII style. Wood, one of them polychrome. Presents marks of use and wear. Measurements: 90 x 62 x 53 cm; 108 x 51 x 45 cm. Lot consists of two chairs in polychrome wood. One of them, upholstered in seat and back, follows Louis XVIII models, and has turned legs and armrests. The other is rococo style, with bulrush seat, and has a high back and fretwork with crosspieces cut following the drawing of plant motifs. The front legs, with raised knees, end in cabriole.

Estim. 350 - 400 EUR

Lot 93 - Possibly PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). Desk with chair and cupboard, Empire style. Walnut wood, bronze decorations. It shows marks of use and wear. Needs refinishing. Measurements: 78 x 160 x 83 cm (table); 96 x 65 x 61 cm (chair); 175 x 203 x 60 cm (cabinet). Set of furniture in French Empire style, probably designed by Pierre Lottier. A great connoisseur of period furniture, Lottier revived styles and deployed in them singular syncretisms to turn his pieces into unique works. The walnut desk features walnut root soffits flanked by stipe-like columns topped by bronze busts. This echoes the Egyptian influence that also inspired the Empire style. The cabinet stands on bronze claw feet. The top is lined with leather upholstery. The matching chair has the same motifs: female busts in gilded bronze, claw feet, studded leather upholstery on the edges. The cabinet is structured in three modules, the central one with a grille that reveals the shelves inside. The bust stipe motif compartmentalizes the modules. Pierre Lottier was a prominent furniture designer and decorator born in France but based in Barcelona, active from the post-war period. Already in the sixties and seventies he had an important workshop, where important cabinetmakers of the new generation were trained. Lottier was mainly dedicated to the decoration of important houses in the Catalan capital, although he also designed others outside the city, such as Ava Gardner's house in Madrid. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in Madrid in the 1930s, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", mainly centered on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. By 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 1 600 - 1 800 EUR

Lot 94 - PIERRE LOTTIER (France, 1916 - Santa Susana, Spain, 1987). Pair of replica mirrors Bilbao Mirror, 60's. Painted wood and metal. Signatures on the back. Presents marks of use and wear. Measurements: 103 x 57,5 x 6 cm. The so-called "Bilbao Mirrors" were characterized by being made of pink marble adhered to wood and having thin columns with delicate plaster decorations, often with an urn or painting in the center. The name of the mirror comes from the pink marble that originated in Bilbao. They were shipped to port cities along the east coast of the United States, most notably New England. Born into a family of artists (his father was the famous restaurateur and namesake Pierre Lottier who founded in 1880 "La Reserve" on the Côte d'Azur, one of the high society establishments most valued by millionaires and aristocrats), Pierre Lottier settled in the 1930s in Madrid, set apart by French society. He came into contact with the Spanish elite of the time as a procurer of important works of art, especially porcelain and oriental bronzes. In the 1950s he settled between Madrid and Barcelona. He collaborated with important design houses such as Casa Valentí or Casa Gancedo for the most historical fabrics. Pierre Lottier began emulating the career of Marc du Plantier and the famous Maison Jansen in Paris. His beginnings were based on the purity of the French "Grand Gout", mainly centered on Louis XV and XVI styles. Later, in the 1950's, it drifted to the English styles typical of the late 18th century: Hepplewhite, Adam, Chippendale, Sheraton or Gillwood were the surnames with which Lottier was most inspired. By 1970 the style drifted into a more modern wake. His new designs were based on Art Deco and classical rationalism, typical of a new, more intellectual society.

Estim. 1 000 - 1 100 EUR

Lot 95 - Diana hunter, XX century. Bronze. On marble base. Measurements: 168 x 91 x 68 cm (sculpture); 29 x 63 x 63 x 63 cm (pedestal). Bronze sculpture, worked in round bulk. The Roman goddess of the hunt (Artemis, for the Greeks) appears here represented playing with one of her dogs. She is smiling and adopting a dynamic attitude, with her arm raised and her short tunic fluttering in deep, sensual folds. A quiver of arrows hangs from his sword. The bronze artist is inspired by neoclassical statuary.

Estim. 3 000 - 4 000 EUR

Lot 96 - Collection of more than 900 boxes of pharmacy, late nineteenth-mid twentieth century. In lithographed tinplate, porcelain and glass. With marks of use and wear. Fouls, dirt and some damage. Huge collection of medicinal boxes from the last third of the nineteenth century and early twentieth century. All of them are made of tinplate (a light and resistant material). Most of them keep in good condition the decorations, elegant typographies, bright colors and illustrations that show the evolution of the brands and the advertising aesthetics linked to health. Pain pills, throat candies, vaginal ovules, calcium supplements... are some of the products that are advertised on packages that, for their part, were made in a diversity of typologies: cylindrical and rectangular, large and small, flat and stylized... These little boxes have become highly valued collector's items. Tin boxes were used for the first time in Europe, in England, at the end of the 19th century. Before the diffusion by audio-visual media, tin boxes were a fundamental advertising claim. The contents of the box were as important as the colorful design on the outside. With industrial progress, the tinplate box was introduced as an essential means of preserving medicines and foodstuffs that needed insulation from heat and cold. Chromolithography on metal had a decisive importance in the beginning and diffusion of advertising communication, as we understand it today. Between 1870 and 1890, progress in laminating and printing techniques allowed the rise of decorated and lithographed cans to contain consumer products, including medicines.

Estim. 15 000 - 20 000 EUR

Lot 97 - Set of three tilt top side tables, late 19th-early 20th century. Walnut wood. Shows signs of wear and tear. In need of restoration. Measurements: 67 x 57 x 57 cm; 94 cm (open height). Set of three tilt top side tables, with folding top that can be placed vertically in order to save space in the home. Made entirely of walnut wood, its top is circular and rests on a turned foot that opens into a tripod.

Estim. 500 - 600 EUR

Lot 98 - Victorian English style writing desk. Walnut wood. Bronze handles and hardware. With drawers on both sides. It shows signs of wear and tear. Needs restoration. Measurements: 82 x 146 x 90 cm. Victorian style desk made entirely of walnut wood, except for the gilded bronze handles and fittings. It is raised on ball feet, a resource that subtly lightens the robustness of the furniture. A peculiarity of this writing desk is that it has drawers on the front and back, arranged in rows of four flanking the central recess and a ninth drawer at the waist. Each drawer is highlighted with a molded profile.

Estim. 500 - 600 EUR

Lot 99 - Baroque column of the eighteenth century transformed into a floor lamp. Carved and polychrome wood. Electrified. It presents marks of use and wear; some faults. It needs to be reworked. Measurements: 110 cm (column height); 170 cm (total height). Eighteenth century baroque column adapted for four-light chandelier. Made of carved and polychrome wood, on a base of octagonal profile and decorated with acanthus leaves rises the fluted shaft that crowns with a capital of Corinthian order.

Estim. 350 - 400 EUR

Lot 100 - Secretaire Biedermeier, XIX century. Mahogany. Boxwood and lemongrass fillets. Marble on the top. It has a key. It shows marks of use and wear. Needs restoration. Measurements: 167 x 106 x 51 cm. Secretaire of Biedermeier style, in mahogany wood. It presents a sober and rounded structure in its clean volumes. Devoid of ornamentation except for the boxwood fillet that outlines the drawers of the chest of drawers and the lemongrass of the drawers of the secretaire, the marquetry tends to enhance the refined structure. It consists of two bodies, the lower one with a drawer unit and the upper one with a hinged lid that protects the drawers and the small drawer with a key lock. The turned front legs take the form of a spinning top, the only curvilinear element, together with the molded projection on the upper part. It culminates with a marble top. It shows a characteristic language of the Biedermeier style, which began as a simplified interpretation of Napoleon I's influential French Empire style.

Estim. 700 - 800 EUR

4th September - Private Collection

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Lot 26 - Two table lamps, 90s. Wood. Electrified. They show marks of use and wear. Shades not included. Measurements: 70 cm (height greater). Pair of table lamp feet of different shapes and styles: while one has a globular body sectioned at the top, the other rises as if it were a classic column.

Lot 34 - Pair of Chinese heart-shaped boxes from the Qing dynasty, late 19th century. Hand lacquered papier mache. With marks of use and wear. Measurements: 10 x 15 x 14 cm (larger). Pair of Chinese heart-shaped boxes delicately embellished with branches and fruits.

Lot 39 - Two Arab table lamps, 1950s. Wrought iron and dyed leather. Electrified. Measurements: 48 x 31 x 31 cm (larger). This pair of table lamps rises on markedly curved legs. The main body is prismatic and widens towards the base. The walls are made of red and orange dyed leather.

Lot 57 - Rustic folding library ladder, ca. 1950. Walnut wood. Presents marks of use, wear and signs of xylophagous. Needs restoration. Measurements: 100 x 47 x 66 cm (open); 100 x 47 x 35 cm (closed). Library ladder with four steps. Folding system to save space.