23rd September - Decorative Arts & Oriental Art

Lot 1 - Table clock. First Empire. France, ca. 1810. Gilt bronze. Enamel dial. Paris movement, with chiming at the half hours and hours. It has a pendulum. The key is missing. The machinery needs to be reworked. Measurements: 61 x 51 x 16 cm. French table clock from the Empire period. The sculptural concept of Greco-Roman inspiration is characteristic of the time. Made all of it in gilded bronze, it consists of a base decorated with a bas-relief presided by the figure of Poseidon brandishing his trident and crossing the ocean on his two horses. Zephyrs and little lovebirds with cornucopiae blow wind to accompany the navigation of the marine god. A couple worked in round bulk flank the clock case. Probably inspired by Greek effigies of Apollo and Artemis (although they do not carry hunting attributes), they have idealized features and athletic bodies with turned limbs. The tunics adhere to the body emphasizing anatomical harmony, and are folded in sensual draperies. Fruit and vegetable festoons, together with laurel wreaths, become symbols of fertility and abundance in this context. In the center stands the clock case, which houses a white dial bordered by a foliate garland. The numerals are Roman numerals and the hands are Breguet type.

Estim. 4 000 - 5 000 EUR

Lot 2 - Italian school, ca. 1820. After JEAN-ANTOINE HOUDON (Versailles, 1741 - Paris, 1828). Bust of "Diana of Versailles". Carrara marble. Apocryphal signature. Measurements: 73 x 47 x 20 cm. The classicist sculptor that concerns us reproduces faithfully in this bust in Carrara marble the Roman model of Diana, a copy of the Greek original that represented the Greek goddess of hunting Artemis. The Roman copy, known as Diana the Huntress or Diana with Hind, is preserved in the Louvre Museum in Paris. The bust shown here focuses on the beautiful face and the folds of the peplum that drape around the turgid breasts, as well as the headdress with diadem and the waves of the hair gathered in a bun. The copy in the art gallery shows the goddess full-length, in movement, with her left hand resting on the antlers of a small deer and her right hand on her quiver. The authorship of the original statue was long attributed to Leocares, although Praxiteles has also been proposed as the author of the Greek bronze. The neoclassical sculptor Jean-Antoine Houdon made several versions of the goddess Diana. The bust in question is based on Houdon's marble Diana preserved in the National Gallery in London. It dates from 1778, and a waning quarter moon adorns her head. Along with the bow and arrow, the moon is an attribute of the Roman goddess (the Greek Artemis), the goddess of the hunt being a lunar divinity. Likewise, the moon is an emblem of chastity. The feminine features convey a powerful and haughty temperament, both in the original and in the excellent version shown here, also made in white marble. Diana's turgid breasts are exposed naked and her head is turned to her right side, gazing into the distance. Her kinky hair is gathered with the crescent-shaped comb, her emblem. A full-length Diana by Houdon (Diana the Huntress, 1776) is preserved in the Louvre Museum. Jean-Antoine Houdon was a French sculptor, a leading figure of the neoclassicism of his country. He stood out in his portraits by the search for individual character, which brought him closer to pre-Romanticism. A disciple of Jean-Baptiste Pigalle and Lemoyne, in 1764 he moved to Rome to complete his training. He devoted himself mainly to portraits, beginning the series with one of Diderot, in terracotta, followed by those of Mirabeau, D'Alembert, Molière, Voltaire, Rousseau and Franklin. The latter suggested to him the idea of traveling to the United States to portray Washington. Houdon arrived on the American continent in 1785 and, in addition to several busts of the president, he created the statue currently on display in the Capitol. During the French Revolution, he painted the faces of Necker, Lafayette and Napoleon.

Estim. 6 000 - 7 000 EUR

Lot 3 - Belgian tapestry, ca. 1600. "Paul in Thessalonica." Hand-woven wool. Signed. Measurements: 315 x 310 cm. In this important Flemish tapestry from the Baroque period, a biblical theme from the Acts of the Apostles is developed. Occupying the central field, of considerable dimensions, the visit of Saint Paul to the synagogue of Thessalonica, Greek city in whose synagogue he began to preach during several consecutive Saturdays, has been represented with great narrative eagerness. Using the Scriptures, he succeeded in converting some people, although he also aroused suspicion. Here we see, in the faces and gestures of the Jews, a great variety of attitudes before the sermons: reflective, distrustful, indifferent, passionate countenances? The clothing and architecture have been described in a sumptuous and aristocratic manner. The chromatic hallmarks that dynamize the composition stand out (reds and blues against ochers and siennas). The border also hosts characters, especially allegories, such as Charity and Victory, as well as saints housed in niches. The narrative and chromatic richness achieved with an intricate pattern, characteristic of the Brussels workshops, stands out. From the late Middle Ages until the 18th century, Flemish tapestries, as well as the pictorial production of the masters of Flemish painting, became a luxury commodity exported throughout Europe. The special relationship that was established between the region known as Flanders (an imprecise way of referring to the northern area of the Burgundian State) and the medieval Christian peninsular kingdoms (especially the Crown of Castile, and later the Hispanic Monarchy -which incorporated the Habsburg Netherlands-), from where much of the wool that reached the textile workshops of Bruges, Ghent, Antwerp, Brussels, Mechelen, Arras or Tou.

Estim. 18 000 - 20 000 EUR

Lot 4 - Pair of armchairs; attributed to VALENTINO (Astragal, Italy,1829-, Venice, 1902); Venice, c. 1880. Walnut and partially gilt embossed leather. They have tow on the inside. The original leather has been preserved and one of the moldings of the front pillar is missing. Measurements: 78 x 57 x 57 cm (x2). Pair of armchairs made of molded and carved walnut wood. Both have the same design of curved openwork backrest decorated with fantastic animals leaning on each other. The upper part of the backrest is decorated in high relief with a mask. The legs are baluster-shaped and have vegetal detailing on the knees. The style of this pair of chairs is very reminiscent of works by Valentino Besarel in fact in the book "Valentino Panciera Besarel (1829-1902) Storia e arte di una bottega d'intaglio in Veneto" you can see a very similar fireplace front made in marble. "Besarel" is a nickname of popular origin used to distinguish the artist's family from other homonymous lineages, but it has come to dominate even the surname, to the point that even in the artistic world he is known simply as "Valentino Besarel". The last representative of the "Besarel" Panciera was Valentino's daughter Caterina, who died in 1947. The Besarel family had been engaged in wood carving for generations: his great-grandfather Valentino (1747-1811), a pupil of Giampaolo Gamba "Zampòl" and disciple of the master Andrea Brustolon, his grandfather Giovanni (1778-1842) and also his father Giovanni Battista (1801-1873) had been carvers; the latter had achieved some local fame by leaving works in several churches in the Zoldo area. Valentino received his first training in his father's workshop, to which he added, in the early 1840s to the school of the Belluno draughtsman Antonio. The turning point came when he met Giuseppe Segusini, who saw him work while, following his father, he decorated the archdeaconry church of Agordo. Thanks to the architect from Feltre, he was able to attend the Accademia di Venezia from 1853 to 1855, although he was unable to complete his studies. His first independent works, also commissioned by Segusini, were Saints Peter and Paul for the high altar of the parish church of Tiser and the Four Evangelists for the cathedral of Belluno (1855-1856). Besarel worked for a long time in his native land, until in the sixties he moved to Venice, where he received great honors and European fame, to the point of becoming an official supplier to the main monarchies of the continent. Not even the disability he suffered with the loss of four fingers could interrupt Valentino's activity. They have tow in the interior. The original leather is preserved and one of the front pillar moldings is missing.

Estim. 2 000 - 3 000 EUR

Lot 5 - Tureen and surtout; Spain, 20th century. Silver and wooden core. Presents punches. Measurements: 29 x 49 x 25 cm; 8,5 x 55 x 40,5 cm (surtout). Weight: 3696 g. (tureen). Tureen with punches of the silversmith. The whole has a rococo-inspired design, based on striations that determine a moved gallonado elevation that can be seen in the eaves of the surtout. The tureen is supported on four legs of figurative design that represent four little love birds in the manner of Atlanteans. The piece has a profuse chiseled design that covers the belly inspired by classical motifs. The domed lid is topped by a naturalistic knob, two leaf buds.

Estim. 6 000 - 7 000 EUR

Lot 6 - Three monkey-wise; FRATELLI LISI E FIGLI, Florence, 20th century. 925 silver. Signed on the base "Fratelli Lisi e Figli". Measurements: 7 x 5 x 6 cm. Set consisting of three monkeys, known as the "wise monkeys" or "mystical monkeys". The three pieces are made in silver with the face, hands and feet chiseled and the body composed of filaments that reproduce in a naturalistic way the fur of the animals. One of the monkeys covers its eyes, another its ears and another its mouth. This was popularized in oriental art, being understood in some occasions as the representation of the submission of the people before the dominant powers. The pieces present in the base signature of the company Fratelli Lisi, which began its activity immediately after the Second World War. The family business was run by the three brothers, Adriano, Lionello and Romano. It was Adriano, known as "Dore", the eldest of the three, who realized that it was necessary to set out to improve, and so, with his two younger brothers, he started his own business, after a brief experience with an old silversmith.The beginnings were hard so the three brothers oriented their production towards uniqueness, inventing working methods impossible to recreate with machinery and departing immediately from classical production, creating a silver world made of animals, little fairytale characters and mysterious chests. The imagination, the special technique of "hair" and the natural ability of the three of them allowed them to create true sculptures, unique pieces that are still inimitable today. The workshop continues, among children and grandchildren, to maintain the traditional working methods that distinguish the Lisi family all over the world.

Estim. 4 000 - 5 000 EUR

Lot 7 - Pair of candlesticks; Spain, first half of the twentieth century. Embossed and chiseled silver. Presents punches. Measurements: 43,5 x 35 cm. Weight: 4580 g. Pair of silver candlesticks, five lights, the central one follows the line of the shaft. This one presents a turned profile based on moldings and protrusions emphasizing in each one of the pieces the presence in round bulk of figures of little love. The surface of the silver is chiseled with synthetic motifs. The serpentine arms, decorated with incised notches, are in the form of a mitered turnpoint. They support the lighters on saucers and the mouths of the lampshades are profiled.

Estim. 7 000 - 6 000 EUR

Lot 8 - Napoleon III candlestick. France, ca. 1870. Gilded bronze, with patinated bronze sculpture. Measurements: 33 x 26 x 26 cm. Six-light candelabrum in the Napoleon III style. Made entirely in bronze, it stands out for the quality of its organicist-inspired finish. The six curvilinear arms are sheathed in foliage and enveloping ribs, and start from a central stem that branches out into vegetal protuberances. Scrolls, palmettes and scrolls are set in rhythmic swells and crests that end in sensual foliated tulips. At the base, garlands of flowers complete the decoration. A putto, carved in a rounded form, sits amidst the foliage. His head is adorned with a crown of vine leaves and bunches of grapes.

Estim. 3 500 - 4 000 EUR

Lot 9 - Small basin; Triana, 19th century. Glazed ceramic. Measurements: 17 x 67 cm. Small basin made of ceramic and decorated with high-temperature enamels on a white tin engobe, which only covers the inside of the piece. The colours used are black, for the outline of the motifs, blue, green and yellow. The seat is occupied by a motif derived from Talavera models, with a very popular synthesised animal set in a landscape. The eaves are decorated with a geometric border based on zigzag lines. The decoration is completed with bands of concentric lines in blue and green, a motif typical of popular Spanish ceramics throughout the 19th century. Triana was a popular centre of pottery production from Roman times. Later the Arabs included the technique and aesthetics of pottery production in the area. At the end of the 15th century, Niculoso Francisco Pisano moved to the area and introduced the Italian style and a new technique in which the tile is worked like an oil painting.

Estim. 2 000 - 2 500 EUR

Lot 10 - Antique Wash-Basin; Triana, 19th century. Glazed ceramic. Measurements: 13 x 57.5 cm. Small basin made of ceramic and decorated with high-temperature enamels on a white tin engobe, which only covers the inside of the piece. The colours used for the outlines of the motifs are blue, green and yellow. The seat is occupied by a motif derived from Talavera models, with a very popular synthesised animal set in a landscape. The eaves are decorated with a geometric border based on zigzag lines. The decoration is completed with bands of concentric lines in blue and green, a motif typical of popular Spanish ceramics throughout the 19th century. Triana was a popular centre of pottery production from Roman times. Later the Arabs included the technique and aesthetics of pottery production in the area. At the end of the 15th century, Niculoso Francisco Pisano moved to the area and introduced the Italian style and a new technique in which the tile is worked like an oil painting.

Estim. 2 000 - 2 500 EUR

Lot 11 - Albarello. Southern Italy, ca.1560-1570. Glazed ceramic. In a good state of preservation. Measurements: 36.5 x 27 x 27 cm. Important enamelled ceramic albarelo from the Renaissance period. The Renaissance was the golden age of the albarelos or pharmacy jars, especially in Italy and Spain. Italian cities such as Faenza, Urbino and Palermo became hubs of albarello manufacture. The excellent piece shown here, in which the blue and yellow tones stand out, reflects the advances of the period in terms of representational complexity. While schematic drawings of oriental origin and chromatic reduction were initially predominant, here the polychromy and iconography have been enriched, presenting a more elaborate aesthetic: vegetal decoration based on borders coexist with figurative representations (a character inscribed on a cartouche and a pair of putti, characteristic of the Italian Cinquecento). The inclusion of a painted label containing the name of the product ("morphine", as we read) is also typical of the period. Thus, throughout the 16th century, animals, portraits, historical scenes, allegories and other themes appear. The albarello has a long history, dating back to Persian ceramics. They reached Europe in the Muslim-influenced areas of al-Andalus and Sicily, via Syria and Egypt. The etymology of the word suggests that its origin comes from 'al-barani' or, in other words, a drug vessel. These ceramics were very popular among apothecaries, but they had certain functional requirements, including a notched shape, a wide mouth and a flat base, and above all the use of glaze.

Estim. 12 000 - 15 000 EUR

Lot 12 - Antique Wash-Basin; Triana, 19th century. Glazed ceramic. Measurements: 16 x 67 cm. Small basin made of ceramic and decorated with high-temperature enamels on a white tin engobe, which only covers the inside of the piece. The colours used are black, for the outline of the motifs, blue, green and yellow. The seat is occupied by a motif derived from Talavera models, with a very popular synthesised animal set in a landscape. The eaves are decorated with a geometric border based on zigzag lines. The decoration is completed with bands of concentric lines in blue and green, a motif typical of popular Spanish ceramics throughout the 19th century. Triana was a popular centre of pottery production from Roman times. Later the Arabs included the technique and aesthetics of pottery production in the area. At the end of the 15th century, Niculoso Francisco Pisano moved to the area and introduced the Italian style and a new technique in which the tile is worked like an oil painting.

Estim. 2 000 - 2 500 EUR

Lot 13 - Antique Wash-Basin; Triana, 19th century. Glazed ceramic. Measurements: 16.5 x 67 cm. Small basin made of ceramic and decorated with high-temperature enamels on a white tin engobe, which only covers the inside of the piece. The colours used are black for the outline of the motifs, blue, green and yellow. The seat is occupied by a motif derived from Talavera models, with a very popular synthesised animal set in a landscape. The eaves are decorated with a geometric border based on zigzag lines. The decoration is completed with bands of concentric lines in blue and green, a motif typical of popular Spanish ceramics throughout the 19th century. Triana was a popular centre of pottery production from Roman times. Later the Arabs included the technique and aesthetics of pottery production in the area. At the end of the 15th century, Niculoso Francisco Pisano moved to the area and introduced the Italian style and a new technique in which the tile is worked like an oil painting.

Estim. 2 000 - 2 500 EUR

Lot 14 - Spanish "Salamanca" Bargueño from the XVII century. Polychrome wood, marquetry and pyrography bone. Measurements: 52 x 83 x 35 cm. Bargueño of uncovered sample. It presents a front work richly elaborated both for its inlaid with marquetry and ivory and for the distribution based on small columns that structure the streets and the registers, when flanking each one of the drawers. The keyholes alternate rhomboidal and lobe-shaped profiles, thus dynamizing the design. The central door conceals two more drawers. Stylistically it follows baroque patterns, being the "columnillas" or "salmantino" model one of the most developed. Although it also presents other influences, such as the Mudejar inlay. They are elements of architectural inspiration that structure the set based on arches. The perimeter is carved with rhythmic incisions, like geometric fretwork.

Estim. 4 000 - 5 000 EUR

Lot 15 - Eighteenth century chest. In pine wood, lined with painted canvases from the same period. It has marks of use, wear and tear and lack of polychromy on the canvases. Measures: 74 x 100 x 45 cm. Peculiar 18th-century boot with a rectangular body and vaulted lid, on cut-out feet. The whole of it is lined with scraps of fabrics painted with landscape and religious scenes from the same late Baroque period. A navy with twilight, other landscapes, a Pietà and scenes of saints make up the depictions.

Estim. 1 200 - 1 500 EUR

Lot 16 - GEORG ARTHUR JENSEN (Denmark, 1866 - 1935). Tray, ca. 1920 . 1930. In silver. With punches on the base. Measurements: 35 x 45 cm. Danish silversmith active in the late nineteenth century and during the first decades of the twentieth century, Jensen was the son of a knife sharpener from Raadvad, north of Copenhagen. He began his training as a silversmith at the age of fourteen in the Danish capital, as a disciple of Guldsmed Andersen, and became independent in 1884 to follow his own creative path. Interested in sculpture since he was a child, he then entered the Royal Academy of Fine Arts, where he graduated in 1892. From this date he began to exhibit his works. Although his clay sculpture will be well received, Jensen will focus on applied arts to earn a living. Thus, he began to work as a modeler in the porcelain manufactory Bing & Grøndahl, and from 1898 he would combine this activity with his work in the small ceramic workshop that he founded with Christian Petersen. However, although his pieces were again well received, his sales were not enough to support Jensen and his family, so in 1901 he abandoned ceramics and began to work as a silversmith and designer with Mogens Ballin. Three years later he became independent and opened his own silversmith's workshop in Copenhagen. Jensen's training as a silversmith and his education in fine arts enabled him to combine the two disciplines to revive the tradition of the artisan artist. Soon, the beauty and quality of his Art Nouveau creations fascinated the public, ensuring his success. By the end of the 1920s, his Copenhagen workshop had grown considerably, and he had also opened stores in New York, London, Paris, Stockholm, Berlin and other cities. In fact, during this decade Jensen sold his designs manufactured in Spain in the old jewelry store located at number 90 Paseo de Gracia in Barcelona. Today, the firm that bears his name is still active and has become the paradigm of Scandinavian luxury design.

Estim. 1 800 - 2 000 EUR

Lot 17 - Fireplace front; attributed to VALENTINO BESAREL (Astragal, Italy,1829-, Venice, 1902); Venice, c.1880. Carved walnut. It shows wear on the base. Provenance; Palace of the Marquises of Unza. Measurements: 259 x 204 x 44 cm. Front of fireplace made of carved walnut. The piece, which stands out for its monumental dimensions, is supported on a base whose pilasters adopt the realistic form of Atlas. Above them a delicate cornice shows a detailed ornamentation based on carved acanthus leaves, accompanied by sparrows of extreme lightness in form and in the center a feminine face of horses on a rampage. This horizontal frieze gives way to a cornice entablature inspired by classical architecture. Above it, a large crest presents in relief a scene of mythological inspiration that seems to represent Venus and Hephaestus in the workshop of the latter, framed by a large garland. This detail is accompanied by a round sculptural group with two little love birds on the top and a male and a female figure flanking the sides. The technical quality of the carving of this large fireplace frontal suggests that it is a work by Valentino Besarel. In fact, in the book "Valentino Panciera Besarel (1829-1902) Storia e arte di una bottega d'intaglio in Veneto" you can see a very similar fireplace frontal made in marble. "Besarel" is a nickname of popular origin used to distinguish the artist's family from other homonymous lineages, but it has come to dominate even the surname, to the point that even in the artistic world he is known simply as "Valentino Besarel". The last representative of the "Besarel" Panciera was Valentino's daughter Caterina, who died in 1947. The Besarel family had been engaged in wood carving for generations: his great-grandfather Valentino (1747-1811), a pupil of Giampaolo Gamba "Zampòl" and disciple of the master Andrea Brustolon, his grandfather Giovanni (1778-1842) and also his father Giovanni Battista (1801-1873) had been carvers; the latter had achieved some local fame by leaving works in several churches in the Zoldo area. Valentino received his first training in his father's workshop, to which he added, in the early 1840s to the school of the Belluno draughtsman Antonio. The turning point came when he met Giuseppe Segusini, who saw him work while, following his father, he decorated the archdeaconry church of Agordo. Thanks to the architect from Feltre, he was able to attend the Accademia di Venezia from 1853 to 1855, although he was unable to complete his studies. His first independent works, also commissioned by Segusini, were Saints Peter and Paul for the high altar of the parish church of Tiser and the Four Evangelists for the cathedral of Belluno (1855-1856). Besarel worked for a long time in his native land, until in the sixties he moved to Venice, where he received great honors and European fame, to the point of becoming an official supplier to the main monarchies of the continent. Not even the disability he suffered with the loss of four fingers could interrupt Valentino's activity. It shows wear at the base.

Estim. 25 000 - 30 000 EUR

Lot 18 - European school, 18th century. "Hercules". Marble. Measurements: 35 cm. height. In the representations of Hercules as a child, the hero is often represented defeating the serpent with his plump body. In the sculpture shown here, however, the legendary hero is not doing any of his "works", but his small body remains at rest, sitting on his bare buttocks. His kinky hair frames a face with fluffy cheeks. The half-open mouth gives him a vivid expression. In his right hand he holds his mace, attached to a shield with heraldic insignia. The sculpture is in the neoclassical style.

Estim. 1 500 - 2 000 EUR

Lot 19 - Coffee table. Spain, ca. 1950. Wrought iron and painted. Marble top. Shows signs of wear and tear. Measurements: 52 x 118 x 50 cm. Spanish coffee table, mid-twentieth century. The wrought iron structure presents a beautiful chambrana with triple crossbeam ornamented with metal studs and finished in small curved tongues that harmonize with the warped design of the feet. The iron surface has "hammered" decoration combined with grooves and, on the perimeter of the top, rhythmic notches or small pleats bordering the marble top. It shows signs of wear and tear.

Estim. 2 000 - 2 500 EUR

Lot 20 - Chandelier. Crystal and metal. Electrified. Presents marks of use. Missing some crystal teardrop. Measurements: 70 x 77 x 77 cm. Pendant chandelier. The circular structure of this attractive ceiling lamp is formed by concentric rings that are born in the suspension axis and fall in attractive cascades combining an infinity of small round facets, which progressively transform into tears. They hang like stalactites at the bottom, and their zenithal view shows an exuberant design in the form of a radial rosette. It has marks of use. Some crystal tears are missing.

Estim. 2 000 - 2 500 EUR

Lot 21 - Dutch watch WARMINK WUBA. Walnut wood case with brass decorations. With moon phase. Instructions enclosed inside. In working order. Measurements: 27 x 15 x 12 cm. Dutch table clock with the dial signed by Warmink. The case, in walnut wood, presents a design of architectural inspiration. Brass applications decorate the sides as scallops and rocailles topped by male busts. It has an upper handle. The dial is decorated with vegetal engravings and the representation of galleys sailing the sea, flanking the window for the lunar phase. The numbering is Roman. The clock rises on feet in the form of foliated scrolls.

Estim. 800 - 1 000 EUR

Lot 22 - Arquilla. Syria or Egypt, XVII century. Wood and bone. It shows wear and marks of use. Measurements: 21 x 34 x 23,5 cm. Syrian or Egyptian continuation of the prismatic shape. The laborious work of inlay and inlaid wood and ivory stands out. It shows a markedly baroque style, as can be seen in the taste for the contrast of materials or in the profuse use of ivory, typical of Italian baroque cabinetmaking, on a background of ebony and walnut. All its sides are ornamented with ivory inlays that form a dense floral design alternating with geometric elements. It has a hinged front lid. Inside, the front is divided into three registers, the central one with a small door. One of the drawers has space for letter openers and other writing utensils. This drawer also has a small secret. On the lid, a central star organizes a rigorously symmetrical composition around it. The handles are made of metal, in the shape of a teardrop. It shows wear and tear and marks of use.

Estim. 6 000 - 7 000 EUR

Lot 23 - Pair of sideboards Directory. France, late eighteenth century. Mahogany wood and gilded metal applications. Needs refinishing. Measurements: 104 x 78 x 35 cm. Pair of sideboards of identical structure, raised on four legs of circular profile narrower towards the base. It has the body divided into two levels, the lower one closed with two sliding shutter doors and the upper one with a shelf with mirrored bottom. The top, in white marble, is supported by two fluted columns that are continued in the lower body of the cabinet. The piece is crowned by a golden metal balustrade structure. This is a pair of furniture that continues the French Directory or neoclassical style, considered a transition between the Louis XVI style and the Empire style, of great functionality and lightness. This decorative simplicity and elegance of lines is common in French furniture, as well as the use of "exotic" woods and the valuation of their grain by arranging large surfaces in these materials (or in the plates), without decorative motifs that interrupt the natural lines created by the grain. Needs to be overhauled.

Estim. 2 500 - 3 000 EUR

Lot 24 - Chippendale style bureau dame / office table, England, XVIII century. In mahogany. Measurements: 77 x 108 x 64 cm. Rococo table in the Chippendale style. With a straight plan, it has a smooth top, with a leather tablecloth, bordered by a moulding. The moulding is decorated with decorative notches. The waist is supported by two drawers with iron handles, and stands on four slender legs with claw-and-ball feet. Foliage-like vegetal carving covers the shoulders of the slender legs. Thomas Chippendale (1718-1779) was one of the most important decorators of Rococo London, and indeed the originator of the English style of the period. The style known as Chippendale developed from about 1750, and although it began to decline in London around 1765, it was only then that it began to spread outside the capital, and indeed it was to enjoy great development in outlying centres for the rest of the century. The Chippendale style is composed of rococo features of French origin, Gothic and Chinese elements, mixed either separately, all together or only two of them.

Estim. 2 000 - 2 200 EUR

Lot 25 - ODOARDO LUIS RAZZAUTI (Italy, second half of the 19th century-early 20th century). "Saint Francis of Assisi", 1900. Embossed bronze plate. Signed and dated on the base. It presents a lack in a part of the cord of the cross, and damages in the patina, cracks and dents. Measurements: 137 x 35 x 37 cm. Odoardo Luis Razzauti was an Italian sculptor who specialised in bronze. In collaboration with Manuel Fuxà, he made a famous replica of the New York Statue of Liberty in 1895. This was commissioned by the Arús library in Barcelona, which specialised in Freemasonry, and the statue bore Masonic attributes. In the present piece, St. Francis of Assisi is depicted in a meditative pose, holding the Gospels in his hands, which protrude from the long sleeves of his tunic. The tunic covers his entire body, revealing his bare feet and an extremely expressive bearded face, furrowed with wrinkles. The eyes look upwards, establishing a silent dialogue with God.

Estim. 2 500 - 3 000 EUR

Lot 26 - Carlos IV dining room chair, ca. 1800. Lacquered and gilt wood. Fabric upholstery. With marks of use. Needs restoration. Measurements: 92 x 54 x 44 cm. This seating, made up of six chairs, corresponds in its entirety to the style and period of Charles IV. They all have a classic and refined structure, raised on inverted truncated pyramidal legs. The ornamentation is reduced to geometric motifs. The sobriety corresponds to a type of furniture that values simplicity and the expression of geometry and structural clarity. The Charles IV style developed during the golden age of furniture, which refers to the period between 1725 and 1835. During this period, furniture craftsmanship reached great splendour, as the design of each piece, its manufacturing techniques, sumptuousness and the variety of materials used all coincided at the highest point of quality. The characteristics of the Charles IV style are distinguished by the use of symmetry and aversion to curves, fine, classicist ornamentation, with geometric marquetry, usually with floral compositions in the centre. Applications of bronze with lacework and galleries on tables, chests of drawers and bureaus. Furniture gilded and painted in light colours, decorated with canes and grooves. Spanish furniture in the Charles IV style replicated French furniture, inspired by designs by Gasparini and Ventura Rodríguez. In Catalonia and Majorca, however, a furniture craftsmanship was produced whose interest lay in a greater independence from French canons and a greater influence from the Italians.

Estim. 1 000 - 1 200 EUR

Lot 27 - LENCI (Turin). "Ducks". 1938 Hand-painted ceramic figure. With manufacturing marks on the back. Measurements: 34 x 22 x 17 cm. Lenci was an Italian doll manufacturer based in Turin, founded in 1919. The name of the company is an acronym of the following Latin phrase: "Ludus est nobis constanter industria" (play is our constant work). The company was founded by Enrico Scavini, who married Elena König in 1915. They both started out producing pressed felt dolls, but in the late 1920s they turned to artistic ceramics and porcelain, collaborating with the best artists in Milan. Lenci's collaborators included Luigi Chessa, Giovanni Grande, Otto Maraini, Felice Tosalli, Mario Sturani and Sandro Vacchetti, who was also the first artistic director. The company's dolls achieved great renown, being the most famous dolls in Italy during the 1920s and 1930s, a time of upheaval due to the fascist dictatorship. Moreover, the success became international in a short time, receiving prizes at international exhibitions in Zurich, Rome, Paris and Milan.

Estim. 1 800 - 2 200 EUR

Lot 28 - LENCI (Turin, d. 1919-1940's). "Seated Baby with Fruit". Hand-painted ceramic figure. With house marks on the back. Measurements: 12 x 10 x 10 cm. Lenci was an Italian doll manufacturer based in Turin, founded in 1919. The name of the company is an acronym of the following Latin phrase: "Ludus est nobis constanter industria" (play is our constant work). The company was founded by Enrico Scavini, who married Elena König in 1915. They both started out producing pressed felt dolls, but in the late 1920s they turned to artistic ceramics and porcelain, collaborating with the best artists in Milan. Lenci's collaborators included Luigi Chessa, Giovanni Grande, Otto Maraini, Felice Tosalli, Mario Sturani and Sandro Vacchetti, who was also the first artistic director. The company's dolls achieved great renown, being the most famous dolls in Italy during the 1920s and 1930s, a time of upheaval due to the fascist dictatorship. Moreover, the success became international in a short time, receiving prizes at international exhibitions in Zurich, Rome, Paris and Milan.

Estim. 800 - 1 000 EUR

Lot 29 - LENCI (Turin, active 1919-1940's). "Madonna", ca.1940. Hand-painted ceramic figure. Signed "Spatini" at the bottom of the back. With manufacturing marks on the back. Measurements: 25 x 18 x 11 cm. Lenci was an Italian doll manufacturer based in Turin, founded in 1919. The name of the company is an acronym of the following Latin phrase: "Ludus est nobis constanter industria" (play is our constant work). The company was founded by Enrico Scavini, who married Elena König in 1915. They both started out producing pressed felt dolls, but in the late 1920s they turned to artistic ceramics and porcelain, collaborating with the best artists in Milan. Lenci's collaborators included Luigi Chessa, Giovanni Grande, Otto Maraini, Felice Tosalli, Mario Sturani and Sandro Vacchetti, who was also the first artistic director. The company's dolls achieved great renown, being the most famous dolls in Italy during the 1920s and 1930s, a time of upheaval due to the fascist dictatorship. Moreover, the success became international in a short time, receiving prizes at international exhibitions in Zurich, Rome, Paris and Milan.

Estim. 1 400 - 1 600 EUR

Lot 30 - JUAN OLIVEIRA VIÉITEZ (Tuy, 1928 - Vigo, 2002). "Horse". Bronze sculpture, P.A. copy. Signed and justified. Measurements: 40 x 54 x 23 cm (sculpture); 3 x 40 x 24 cm (marble base). Round sculpture representing a galloping horse. The piece stands out for the great expressiveness that the artist achieves by molding the gesture of an animal that stands out for its dignity and magnificence in the pose. Joan José de Oliveira specialized, throughout his career, in animal sculpture, focusing especially on figures of bulls and horses. He dedicated himself to art late in life, especially in his 40s, but he achieved considerable public and critical success, and his large-format works are currently found in important public spaces in many Galician cities, Madrid, Guadalajara, Menorca and elsewhere. Some of his most important pieces can be seen in Vigo, in the Plaza de España, or in his hometown, Tuy. His work is always extremely expressive, figurative, but with synthetic forms, where the author seeks to reproduce movement, emotion, dynamism, rather than anatomical details, which he sometimes simplifies or, conversely, exaggerates, in order to convey the emotion he is looking for.

Estim. 2 000 - 2 500 EUR

Lot 31 - Empire clock. France, ca. 1810. Gilt bronze. Paris movement. Half hour and hour chimes. With its key and pendulum. The dial has slight flaws in the silvering. The machinery needs to be overhauled. It shows wear and marks of use. Measurements: 47 x 30 x 10 cm. French table clock of Empire style and period. It is made of gilded bronze, with a sculptural concept typical of this time. It is a piece of classical aesthetics, with base decorated with classical scenes in bas-relief as a frieze. Above it rises a figure in round bulk representing a muse with a sheep. All these elements rest on the clock case. The dial has Roman numerals in black with breguet type hands and is bordered by a garland of flowers, in turn surrounded by baskets with fruit and newt heads on the sides.

Estim. 2 000 - 2 500 EUR

Lot 32 - Italian school. Grand Tour, XIX century. "Narcissus of Pompeii". In gilded bronze. Marble pedestal. Measurements: 34 cm.; 3,5 cm. pedestal. Sculpture in gilded bronze. Quality reproduction of a famous Roman sculpture representing Dionysus. Found in the excavations of 1862 in Pompeii, it is now in the National Archaeological Museum of Naples. The classical original showed the god of wine playing with an invisible panther. In the 19th century it began to be called "Narcissus" because it was erroneously interpreted as a young man gazing at his reflection in the water. The nineteenth century versions, like the one shown here, show the addition of a fig leaf covering the genitals. The term "Grand Tour", which first appeared in Richard Lassels' "The Voyage d'Italie", was used to define the long journey through Europe, especially Italy, that young British aristocrats usually made from the seventeenth century onwards, but especially throughout the eighteenth and nineteenth centuries. The purpose of the trip was for young people to become acquainted with the art and culture of France and Italy, to admire classical art at first hand, to learn or improve their knowledge of languages, and to establish contacts and relationships with the cultural and political elites of these countries. Travelers were often looking for pieces with which to start their own art collections, objects to take back to their places of residence as souvenirs. For this reason, workshops specialized in the replica of Roman pieces, both in bronze and marble, emerged, some of which acquired a great reputation.

Estim. 1 500 - 1 800 EUR

Lot 33 - Pair of lamps, Manises, 80s. Glazed ceramic. Bondia Collection. Measurements: 103 x 40 x 40 cm. Pair of table lamps with supports in red glazed ceramic. The body has a globular belly that is thinned at the base and neck, and a fine work with floral festoons and strings of eggs worked in relief. It is set on a golden metal base. The cylindrical shade is decorated with oriental-inspired bucolic landscapes. The whole is reminiscent of the chinoiserie.

Estim. 1 500 - 1 700 EUR

Lot 34 - French school of the XIX century. "Bust of noble lady". Marble. Measurements: 69 x 50 x 25 cm. Bust carved in marble round bulk, from the nineteenth century and baroque aesthetics. Thus, we see a female figure with wavy hair and melancholic attitude, with symmetrical features, of clear classical roots but treated from a pictorial point of view. Regarding the technical and formal aspects, the sculptor demonstrates a great mastery of the craft, a virtuosity especially evident in details such as the hair and facial features. In a certain way, the bust may remind us of the one made by Gian Lorenzo Bernini for the monarch Louis XIV of France. With this piece, a new sculptural concept is incorporated into the art world, at the same time that the typology of the bust that had been lost in the previous Renaissance period resurfaces.

Estim. 2 500 - 3 000 EUR

Lot 35 - French school of the XIX century. "Two young people". Couple in gilded bronze. Empire style pedestal. Measurements: 30 cm. total height. Pair of gilded bronze statuettes, French style. They represent a maiden and a young peasant whose gestures and clothing complement each other: the slightly tilted heads, framed by wavy hair, adorn an oval face with almond-shaped eyes. Likewise, both wear a knotted kerchief around their necks, fitted jackets and bare feet. The figures, worked in round bulk, rest on a cylindrical base adorned with two mermaids characterized as harpies with wings and forked tails.

Estim. 800 - 1 000 EUR

Lot 36 - French lantern. Empire style. 1930-40. Gilt bronze and glass. Electrified. Measurements: 80 x 36 x 36 cm. Lantern-type ceiling lamp, with the structure in gilded bronze and the facets in frosted glass. It follows a late Empire style design, which can be seen in the profusion of foliate motifs based on acanthus leaves that decorate the corners, as well as in the sogueada structure, the crown and the fruit ornament of the lower vertex. In contrast to the Roman Empire style during which lively volumes dominate and secondary decorative elements are avoided, the taste for relief motifs will increase throughout the nineteenth century, and this French lantern emulates this second period in its ornamented geometric lines.

Estim. 800 - 900 EUR

Lot 37 - Commemorative medal of Alfonso XII; Spain, c. 1885. Burnished bronze. Presents illegible signature. Measurements: 18.5 cm (diameter). Commemorative medal of Alfonso XII of Spain, "The Peacemaker", (Madrid 1857-1885), was King of Spain from 1874 to 1885. His reign marked the end of the First Republic, which gave way to the period known as the Restoration. It was characterized by the attempt to consolidate the monarchy and institutional stability. He approved the Constitution of 1876, put an end to the Carlist conflicts and signed the peace with Cuba, thus earning his nickname. The king's life ended when he was only twenty-seven years old, being a victim of tuberculosis, but achieving great popularity. His successor was his posthumous son Alfonso XIII.

Estim. 400 - 600 EUR

Lot 38 - Set of eight chairs and two armchairs from the 18th century. Walnut wood structure and grille seats. They show signs of use. In need of refinishing. Measurements: 88 x 44,5 x 48 cm (chairs); 86 x 57 x 54 cm (armchair). Set comprising eight chairs and two armchairs with armrests, with walnut wood structure, decorated with mouldings and carving. The seats are made of grille. The chairs have a stylised and light structure, which is made possible by the solidity of the walnut wood. The front legs are smooth, narrower towards the base, and the back legs show a soft and elegant curvature. The waist is smooth. The openwork backrest is practically open, with three half-height crosspieces, the upper one decorated with a circular fleuron, typically neoclassical motifs.

Estim. 2 000 - 2 500 EUR

Lot 39 - Set of bonbonniere and jewelry box. France, in the manner of Sèvres. Possibly BOURDOIS & BLOCH, first third of the twentieth century. In enameled and gilded porcelain with gilded bronze mounts. Stamps on the base. It has slight flaws. Measurements: 22 x 25 x 19 cm; 11 x 31 x 21,5 cm. Lot consists of a jewelry box and a bonbonniere of French manufacture, enameled porcelain in blue King combined with gold borders and medallions in which are represented gallant scenes and bucolic landscapes. Both pieces are inspired by rococo models. The jewelry box, with an elliptical body, sits on gilded bronze feet finished in cabriole. The bomboniere has a mixtilinear and lobed profile.

Estim. 700 - 800 EUR

Lot 40 - Large centerpiece EICHWALD (Germany), ca. 1900. Hand painted barbotine earthenware. With manufacturing marks on the back. Presents some hair and some restoration. Measurements: 86 x 59 x 25 cm. Centerpiece in hand-painted barbotine earthenware. Of German invoice (Eichwald), it has form of cup and its style oscillates between the rococo inspiration and the incipient modernism. Several putti play with a fabric that wraps like a curtain around the foot of the center. Each figure has been worked in high relief, practically as free-standing figures. The handle of the vase is decorated with a winged figure inspired by figureheads, with its lithe torso arched and attached to the mouth of the vase. Scrolls, medallions and borders are combined in intense chromaticism. Eichwald is a region known for its pottery production, which today is part of the Czech Republic (formerly part of the Austro-Hungarian Empire and later Czechoslovakia). The Eichwald pottery factory was founded in the 19th century. It often features styles that reflect 19th and early 20th century European artistic trends, including Art Nouveau. Pieces often include intricate details and elaborate designs.

Estim. 700 - 800 EUR

Lot 41 - Large centerpiece. Murano, 1970's-1980's. In translucent blue glass. Measurements: 8 x 43 x 43 cm. Centerpiece in navy blue Murano glass, with the seat and eaves decorated with organically inspired proliferations, reminiscent of filamentous algae from the bottom of the sea. Murano's reputation as a glassmaking center was born when the Republic of Venice, fearing fires and the destruction of the city's wooden buildings, ordered glassmakers to move their foundries to Murano in 1291. Murano glass is still associated with Venetian glass.

Estim. 500 - 600 EUR

Lot 42 - Pair of knobs of the nineteenth century. Honeycomb glass. Mounted on wooden bases. Measurements: 13,5 x 8 x 8 cm. Pair of nineteenth-century knobs, originally staircase knobs. Made in honeycomb glass, they show an attractive pattern of golden cells emulating a honeycomb. Their cylindrical form sits on molded wooden bases.

Estim. 800 - 1 000 EUR

Lot 43 - Motorcycle; 20th century. Silver. Measurements: 11 x 29 x 8 cm. Weight: 530 g. Motorcycle made in silver. This type of work was very common in the decoration of interiors since the twentieth century, making small sculptures of animal themes in many materials (bronze, silver, gold, etc.).

Estim. 600 - 700 EUR

Lot 44 - Spanish school; 20th century. "Pheasants". Silver. They present punches. Measurements: 20 x 24 x 6 cm (x2). Weight: 364 g. Pair of tabletop pheasants made in silver of the XX century, worked meticulously, with great detail, achieving a great naturalism. Made in mold, with details chiseled in cold, they present the feathers represented one by one, reflecting their qualities with great realism. This type of work was very common in interior decoration since the 19th century, with small animal-themed sculptures being made in numerous materials (bronze, silver, gold, etc.).

Estim. 500 - 600 EUR

Lot 45 - Spanish school; 20th century. "Pheasants". Silver. They present punches. Measurements: 16 x 25 x 6 cm (x2). Weight: 340 g. Pair of tabletop pheasants made in silver of the XX century, worked meticulously, with great detail, achieving a great naturalism. Made in mold, with details chiseled in cold, they present the feathers represented one by one, reflecting their qualities with great realism. This type of work was very common in interior decoration since the 19th century, with small animal-themed sculptures being made in numerous materials (bronze, silver, gold, etc.).

Estim. 500 - 700 EUR

Lot 46 - Salvilla; Spain; second half of the 20th century. Silver. Presents punches. Measurements: 2,5 x 21,5 cm. Weight: 454 g. Salvilla of silver with geometric ornamentation. Salvilla or salva, it is called to the dish in the shape of cup or tray with foot of pedestal, used as support for other smaller recipients. A more technical definition presents it as a vessel with a prominent foot and flat upper body, whose ratio between height and diameter is a quarter.

Estim. 500 - 700 EUR

Lot 47 - Vase; Joalharia do Carmo, Portugal, c. 1960-1970. Silver. It has dents. It has punches. Measurements: 27 x 13 cm. Weight: 700 g. Vase made entirely in silver with a periform body design and ornamentation based on a geometric pattern that is arranged over the entire surface of the vase. The Joalharia do Carmo jewelry store, located in Lisbon, was founded in 1924, becoming a reference of craftsmanship and filigree work. It has a dent.

Estim. 800 - 900 EUR

Lot 48 - Directory cylindrical desk, late 18th century. Mahogany wood and marble on the top. Metal applications. With marks of use. Needs refinishing. Measurements: 106 x 74.5 x 46 cm. French drum desk, dated XVIIIth century, period and Directory style, made in mahogany. It presents a clear and balanced structure, raised on four typically neoclassical legs, in the form of stylised fluted columns, narrower towards the foot. The front houses three drawers (two at the top and one at the bottom) and a hinged drum, all of which have separate locks. The inside of the drum has two further drawers, this time of smaller dimensions, both with handles, and a pull-out tray with a mat, which acts as a writing surface. The sample follows the same neoclassical criteria of simplicity and geometry, with a marked fillet that runs along the profile of each part of the structure.

Estim. 1 200 - 1 500 EUR

Lot 49 - Side table; Directory period; late 18th century. Walnut wood, gilt metal and marble. It shows signs of use and needs restoration. Measurements: 75 x 82. Gueridón of Directory epoch that follows the aesthetic models typical of the French neoclassicism, with structure of refined architectural inspiration, legs in the shape of stipe and waist in the shape of frieze, in which a small extensible lateral tray can be appreciated. It has metal feet with castors, and an upper balustrade, also in gilt metal, and a white marble tabletop.

Estim. 800 - 1 000 EUR

Lot 50 - Napoleon III table/peana. France, late 19th century. Gilded bronze. Onyx top. Measurements: 80 x 40 x 40 cm. Stylized side table with the possible function of pedestal with sinuous legs in gilded bronze, whose organic inspiration based on ribs is prolonged in the bronze applications in the chambranes (as floral compositions) and in the knees (with faunus masks). They are raised on ball and claw feet, following in this and in the slenderness of the design Louis XV courtly models. The onyx envelope is beautifully marbled in various shades of green.

Estim. 1 000 - 1 200 EUR

Lot 51 - Scissors of scribe; Albacete; XVIII century. Steel. Measurements: 32,5 x 4,5 cm. The scissors of notary or notary's office, acquire this name because its functionality resided in trimming the beards or edges of the sheets of paper, habitual practice among the notaries, civil servants or notaries. This type of scissors were of indispensable use from the XVI century to the XIX century, being those manufactured in Albacete the most famous. In the 17th century, due to the proliferation of the civil service, which allowed the management of the colonies, the demand for these utensils increased widely. In the case of scissors from Albacete, they usually have an inscription with the year and the name of the artisan and sometimes the name and position of the person who placed the order.

Estim. 1 200 - 1 500 EUR

Lot 52 - Scissors of scribe; Antequera, 1752. Steel. With inscription. Measurements: 23 x 4,5 cm. The scissors of notary or notary's office, acquire this name because its functionality resided in trimming the beards or edges of the sheets of paper, habitual practice among the notaries, civil servants or scribes. This type of scissors were of indispensable use from the XVI century to the XIX century, being those manufactured in Albacete the most famous. In the 17th century, due to the proliferation of the civil service, which allowed the management of the colonies, the demand for these utensils increased widely. In the case of scissors from Albacete, they usually have an inscription with the year and the name of the craftsman and sometimes the name and position of the one who placed the order. They present inscription.

Estim. 1 000 - 1 200 EUR

Lot 53 - Fan; France, second third of the eighteenth century. Polychrome bone and gouache painted paper country. Presents faults. Preserves fan holder. Measurements: 4 x 63 x 35 cm (fan holder). Fan that presents a country adorned with a figurative scene of great technical quality. The artist collects a costumbrista image close in thematic and aesthetic to the gallant ones that were so popular during the 19th century. In a wide landscape the author develops a scene of the taste of the time, where a large garden is represented, enjoyed by several characters. During the eighteenth and early nineteenth century, social gatherings in public events were the appropriate context for the ladies to show their new fashion acquisitions, of which the fans were the perfect complement. These became very important not only because of their usefulness, but also because the ladies developed a whole language around the use and arrangement of the fan. It presents faults. Retains fan holder.

Estim. 600 - 800 EUR

Lot 54 - Bowl; Salvati and Co, Murano, c. 1970. Filigree glass. Present label on the base. Measurements: 11 x 22,5 x 22,5 cm. Salviati & Co was founded in 1859 in Murano (Italy) by Dr. Antonio Salviati, Enrico Podio and Lorenzo Radi. In 1883, the company was acquired by the Barovier family, but continued under the name Salviati & Co. After Antonio Salviati's death in 1890, the company was taken over by Amalia Salviati Ivanich and Salviati's two sons, Giulio Salviati and Silvio Salviati. The company's leading designers include Dino Martens (1894-1970), Luciano Gaspari (1913-2007), Romano Chirivi (1931-), Renzo Camerino and Sergio Asti (1926-2021).

Estim. 400 - 500 EUR

Lot 55 - RENÉ LALIQUE (Aÿ, France, 1860- Paris, 1945). "Bagatelle", c. 1940. Frosted glass. Signed on the base. Measurements: 17 x 11 x 11 cm. The firm Lalique was founded by René Jules Lalique (1860 - 1945), one of the most prominent glassmakers of the time, and one of the first to sculpt glass for large monumental works, such as the fountains of the Champs Elysees. He enjoyed great recognition thanks to his original creations of jewelry, perfume bottles, glasses, plates, etc., within the Art Nouveau and Art Deco styles. He trained with the Parisian jeweler Louis Aucoq, and then continued his studies at Sudenham Art College in London. The excellence of his creations and the taste he applied to his works earned him important commissions for the interior decoration of ships, trains such as the Orient Express, churches such as St. Nicasius in Reims and numerous religious and civil goldsmiths. Lalique was not content with designing their models, but also founded a factory to produce large quantities, patenting several innovative manufacturing processes of glass, and various technical effects such as "satin Lalique" or opalescent glass. Lalique pieces are preserved in prominent museums such as the Corning Museum of Glass and the Metropolitan in New York, the Louvre or the Orsay in Paris, among many others.

Estim. 400 - 500 EUR

Lot 56 - LENCI (Turin, act. 1919-1940's). "Young woman sitting on a bench". 1935. Hand-painted porcelain. Signed and dated on the back. Measurements: 24 x 14 x 14 cm. Porcelain sculptural group of the Turinese house Lenci. Painted by hand with bright colors and a characteristic aesthetic of the thirties, it has been represented a young woman wearing a red beret and Scandinavian appearance sitting on a bench with an open book left on the seat and a frog perched on the edge of the backrest. Lenci was an Italian doll manufacturer based in Turin, founded in 1919. The company name is an acronym of the following Latin phrase: !Ludus est nobis constanter industria" (play is our constant work). The company was founded by Enrico Scavini, who in 1915 married Elena König. They both started out producing pressed felt dolls, but in the late 1920s they turned to artistic ceramics and porcelain, collaborating with the best artists in Milan. Lenci's collaborators included Luigi Chessa, Giovanni Grande, Otto Maraini, Felice Tosalli, Mario Sturani and Sandro Vacchetti, who was also the first artistic director. The company's dolls achieved great renown, being the most famous dolls in Italy during the 1920s and 1930s, a time convulsed by the fascist dictatorship. Moreover, the success became international in a short time, receiving awards at international exhibitions in Zurich, Rome, Paris and Milan. In the 1950s, the Lenci factory produced Disney figures such as Bambi, Thumper, Peter Pan, Dumbo and Pinocchio under license. Lenci ceramics are now highly prized collector's items.

Estim. 1 400 - 1 800 EUR

Lot 57 - Art Deco vase. LENCI (Turin, act. 1919-1940's). Hand painted porcelain. Signed and dated on the back. Measurements: 26,5 x 21 x 14 cm. Vase from the Turinese ceramic and porcelain house Lenci. The vase follows Art Deco models in its design and floral decoration in orange and black on white. Lenci was an Italian doll manufacturer established in Turin, founded in 1919. The company name is an acronym of the following Latin phrase: !Ludus est nobis constanter industria" (play is our constant work). The company was founded by Enrico Scavini, who in 1915 married Elena König. They both started out producing pressed felt dolls, but in the late 1920s they turned to artistic ceramics and porcelain, collaborating with the best artists in Milan. Lenci's collaborators included Luigi Chessa, Giovanni Grande, Otto Maraini, Felice Tosalli, Mario Sturani and Sandro Vacchetti, who was also the first artistic director. The company's dolls achieved great renown, being the most famous dolls in Italy during the 1920s and 1930s, a time convulsed by the fascist dictatorship. Moreover, the success became international in a short time, receiving awards at international exhibitions in Zurich, Rome, Paris and Milan. In the 1950s, the Lenci factory produced Disney figures such as Bambi, Thumper, Peter Pan, Dumbo and Pinocchio under license. Lenci ceramics are now highly prized collector's items.

Estim. 1 000 - 1 200 EUR

Lot 58 - Pair of sources; Company of the Indies, China, eighteenth century. Porcelain. Measurements: 37 x 45 cm (x2). Pair of porcelain trays with pink family enamels, part of a tableware with the coat of arms of the Carr families. Qing dynasty, Qianlong period, for export, British East India Company. The East India Company was a generic term for companies that managed trade between a European metropolis and its colonies. The Chinese manufacturers soon understood that Europeans were not experts in porcelain and produced a vulgar export porcelain, even with flaws, but which in the eyes of Westerners turned out to be authentic works of art. Once the trade was regularly organized, the India Companies supplied Chinese artists with European models, both for forms and decoration. Throughout the 18th century the blue and white series persisted, but of inferior quality, which was then called Nanjing porcelain.

Estim. 800 - 1 000 EUR

Lot 59 - Following models of KARL HAGENAUER (Austria, 1898 - 1956). "Horses galloping". Patinated bronze. Measurements: 9,5 x 27 x 3,5 cm. Son of the goldsmith Carl Hagenauer, Karl studied at the School of Arts and Crafts of Vienna, where he had as teachers Josef Hoffmann and Oskar Strnad and was imbued with the spirit of the Wiener Wekstätte. After obtaining his diploma in architecture, between 1917 and 1919 he did his military service, and upon his return he began working as an architect and in his father's workshop. During these years he created numerous pieces in silver, brass, copper, enamel, ivory, stone and wood. In 1928, after the death of his father, he took over the management of the workshop and was responsible for the expansion of the firm, expanding production to include cabinetmaking and opening stores in Vienna and Salzburg. From then on he exhibited his best pieces both in Austria and abroad, was twice awarded the gold medal at the Milan Triennale and was appointed a member of the Austrian Werkbund and the Werkstätte. Today his pieces are part of collections around the world, including the Victoria & Albert Museum in London, the MoMA and the Jewish Museum in New York, the Casa Lis in Salamanca and many others.

Estim. 1 000 - 1 200 EUR

Lot 60 - ÉMILE GALLÉ (Nancy, France, 1846 - 1904). Art Nouveau soliflore vase, ca. 1898. Acid-etched cameo glass. Signed on one side. Provenance: Spanish private collection, formed between 1970 and 1995. Measurements: 33 cm (height); 9 cm (diameter). Nature is one of the main sources of inspiration for Gallé, whose style was characterized by capturing the elements in a naturalistic way, as if observed through a macro, at a large size, or in the form of landscapes. This piece is worked in acid, which was the main technique of Gallé's industrial production. This is a cameo glass, which is to make a piece with two or more layers of glass of different colors so that, after immersing it in acid, the decorative motif is in relief on a smooth background of different color. The decoration in this case presents different levels, with variations in relief, with a landscape dominated by slender trees in the foreground and towering mountains in the background. Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing modernist glass to the public. It was a faster and cheaper form of decoration, resulting in more affordable pieces, mass-produced but handmade, as no stencils were used but the motif was drawn by hand on each piece. Émile Gallé began his career working for his father, who owned a glass and ceramics factory, making designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he traveled through Italy, England and Germany, becoming interested in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return, he settled in Meisenthal, where the glass furnaces of his family were, in order to fully learn the craft of glassmaker. He also traveled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory, and soon achieved great international success, winning awards at international exhibitions and selling works to major collections and museums. Today, pieces made by Émile Gallé can be seen in the Hermitage Museum in St. Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others. Nature is one of the main sources of inspiration for Gallé, whose style was characterized by capturing the elements in a naturalistic way, as if observed through a macro, at a large size, or in the form of landscapes. This piece is worked with hydrofluoric acid, which was the main technique of Gallé's industrial production. It is a cameo glass, which is to make a piece with two or more layers of different colored glass so that, after immersing it in the acid, the decorative motif is in relief on a smooth background of different color. The decoration in this case has three levels, with variations in relief, the dark motif on the light background and, finally, a twilight sky of ocher tone. Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing modernist glass to the public. This is a faster and cheaper way of decoration, so the result was more affordable pieces, mass-produced but handmade, since no templates were used but the motif was drawn by hand on each piece.

Estim. 1 400 - 1 500 EUR

Lot 61 - Bird; Following BUCCELLATI models, twentieth century. Silver 925. Presents punches. Measurements: 4 x 9,5 x 4,5 cm. Bird made entirely in silver with filaments as a thread in the body. Aesthetically the work is close to the models of the Italian firm Buccellati which was founded by Mario Buccellati in Milan in 1919, and soon acquired notoriety for the quality and elegance of his creations, both in silverware and jewelry. In 1951 the firm opened its first store in New York, followed only three years later by a second location in the same city. In 1979 Gianmaria Buccellati opened the firm's flagship store in Paris, in Place Vendome, thus confirming the firm's status among the most prestigious in the world. Already in the nineties its importance will be recognized with the exhibition "The Art of Buccellati", held at the Academy of Sciences in San Francisco in 1995, which the following year will travel to the Royal Ontario Museum in Toronto. In 2000 the Smithsonian Institution in Washington D.C. will dedicate to the firm the exhibition "Buccellati: Art in Gold, Silver and Gems", and in 2008 the exhibition "Buccellati, Timeless Art" will be inaugurated at the State Kremlin Museum in Moscow.

Estim. 700 - 800 EUR

Lot 62 - Fourteen figures; Swarovski, Austria, 20th century. Cut crystal. Some pieces have slight flaws. Signatures on the base. Measurements: 8.5 x 5 x 3.5 cm (larger); 2 x 2 x 2 x 2 cm (smaller). Lot consists of 14 cut glass figures. The Austrian firm Swarovski is dedicated to the creation of products made with crystal, a wide range that includes sculptures, crystal miniatures for jewelry and haute couture, interior decoration, candlesticks and "rhinestones" (type of diamond-like stone) for manufacturers and artists. The company was founded by Daniel Swarovski (1862-1956), who in 1892 invented a revolutionary machine that made it possible to cut crystal with greater precision than that obtained by hand cutting. Three years later he set up his own factory in Wattens (Tyrol), and in 1931 he launched the first line of bows with small cut crystals sewn on, thus entering the fashion accessories market. In 1956, shortly before his death, Swarovski developed with Christian Dior the "Aurora Borealis" effect, a shimmering finish that enhances the brilliance of the cut crystal. Some pieces have slight faults.

Estim. 600 - 700 EUR

Lot 63 - Scrivener's office, France, 1845- 1878. Silver. Measurements: 25,5 x 29 x 19,5 cm. Weight: 734 g. It is a writing desk of eighteenth-century inspiration, with a base with curved profile, richly decorated with braces, palmettes and acanthus leaves worked in relief, with chiseled details. In the center of the base, there is an ornamental round sculpture, also in silver, representing a young woman holding a bowl topped by a sculpture. On both sides, inkwell and drying rack in the form of a cup with a high foot, adorned with synthesized petals. It has punctures.

Estim. 800 - 900 EUR

Lot 64 - Salva with low foot; Spain, XVII century. Silver. Presents possible punches. Measurements: 4 x 18,5 x 18,5 cm. Weight: 296 g. Salvilla-frutero in Spanish silver, made between the late seventeenth century. It presents hallmarks on the inside of the base. It is a functional piece, with circular stepped foot, with no decoration other than the concentric incised grooves that follow the profile of the steps, smooth and wide shaft, and upper tray decorated with geometric elements. The salvillas were used to hold other smaller vessels and highlight them on the table, and they already appear in Spanish Baroque still lifes. They were made in different materials, being the silver ones one of the most valued. The present work corresponds, stylistically, to Neoclassicism models, characterized by their purity of lines and elegance.

Estim. 400 - 500 EUR

Lot 65 - Scrivener's office; France, 1840-1878. Silver. Presents punches. Measurements: 20,5 x 34 x 18,5 cm. Weight: 922 g. Scribe entirely made of silver, consisting of a base and three wells, each of them chiseled. Crowned with small figurines, they rest on a tray elevated on two feet topped with a feline claw and the sides as a finial of an amorcillo. It is a richly decorated writing desk. As is usual in 19th century art, the influence of Neoclassicism is clear in this work, as is the use of new techniques in the field of silver for the decoration of certain elements of the writing desk. The movement that can be seen in the tray, although very soft, is reminiscent of previous works of different styles, an influence that is also frequent in this period.

Estim. 1 200 - 1 500 EUR

Lot 66 - Scribanía; Carreras Platero ESM, Barcelona, third quarter of the nineteenth century. Silver. Presents faults. It has punches. Measurements: 16 x 27 x 16,5 cm. Weight: 636 g. Scribe consisting of two inkwells and three shell-shaped containers or venera, is accompanied by stamp. It has decorative motifs of branches and scallops, with a child riding on the back of a dog. It has a rococo design, in which the structure starts from a base with different vegetal motifs in relief. Rococo is presented as an art at the service of comfort, luxury and celebration. The predominant scenes are the forms inspired by nature and the beauty of naked bodies. Measurements: 16 x 27 x 16,5 cm.

Estim. 600 - 700 EUR

Lot 67 - Notary's office; Manuel Rebollo and Antonio García, León, 1849. Silver. Presents faults. It has punches on the base. Measurements: 20 x 22 x 13,5 cm. Weight: 1152 g. Silver writing desk, with tray-shaped support with vegetal tracery. The writing desk has three containers, inkwell, pen holder and sandbox. All of them have a cylindrical structure with a cloth-like design in the shoulder area, giving way to the dome-shaped lid with a top finish. Presents faults.

Estim. 1 200 - 1 400 EUR

Lot 68 - Scribanía; Master of the Peacock and Francisco de Paula Carreas y Durán; 1883-1847. Silver. Presents faults. It has punches and marks of law. Measurements: 19 x 23,5 x 12 cm. Weight: 722 g. Writing desk composed of an oval tray raised on four legs and decorated with scrolls and vegetal elements. On this part, there are two vases with lids, with clear lines and decoration inspired by nature, drawing simple flowers with their physiognomy. These two pieces flank a silver figure in the form of a dancer with her arms raised supporting a cup that ends in the upper area in the form of a fish. As is usual in 19th century art, the influence of Neoclassicism is clear in this work, as is the use of new techniques in the field of silver for the decoration of certain elements of the bunting. The movement seen in the tray is reminiscent of earlier works in different styles, an influence that is also frequent in this period. It has punches and marks of law.

Estim. 900 - 1 000 EUR

Lot 69 - Aubusson rug with nametag; Spain, 1950s. Wick wool and jute. Measurements: 142 x 323 cm. It presents an off-white field with a polylobed medallion entirely composed of vegetal elements such as naturalistic flowers, mainly roses, which is surrounded by undulating ribbons knotted in bows and arranged around garlands of flowers similar to those of the central medallion. Border composed of two bands; the main one decorated with a border of vegetal elements and an outer one with blue flowers. Complementary colors: various shades of pink, red, green, blue, mauve, gray and yellow.

Estim. 600 - 700 EUR

Lot 70 - Rug; Spain, 1950s. Wick wool and jute. Measurements: 135 x 250 cm. Rug of rectangular format that presents a green field with geometric motifs as a grid with stylized vegetal design inside. This element is repeated in a rhythmic way varying in size and arrangement. The piece has a smooth border.

Estim. 600 - 700 EUR

Lot 71 - Cuenca design rug; Spain, 1950s. Wick wool and jute. Spanish knot. Measurements: 250 x 290 cm. Rug made of wool and jute with Spanish knot. The carpet has a beige field decorated with synthesized vegetal motifs, forming linked medallions that are rhythmically repeated along the entire surface. The border is composed of a single band, occupied by a border that repeats a design similar to the one found on the carpet field.

Estim. 800 - 900 EUR

Lot 72 - Lama; South Vietnam, XVIII- XIX centuries. Red lacquered and gilded wood. Attached certificate issued by the specialist Le My Hao. Work exhibited at Highlights Maastricht 2007. Slight wear and tear. Measurements: 55 x 43,5 x 36 cm. Red lacquered wood sculpture representing a seated lama. He also adopts the posture of the lotus flower and performs a mudra that symbolizes that he takes the earth as a witness. It is called Bhumisparsa mudra, or gesture of touching the earth. It alludes to the moment in which Buddha solved the problem of ending suffering when he was under the tree in Bodhi-Gaya. In addition, we can identify numerous lakshana, iconographic symbols that identify Buddha, such as the half-closed eyes, the elongated lobes of the ears allude to the large earrings worn by members of the upper classes in India contemporary to Sakyamuni, and represent the concepts of greatness, nobility and wisdom.The protagonist wears a monastic robe with long folds that fall in a naturalistic way. The facial and body features are very human and, at the same time, individualized, and the attention to detail is extremely high. The ribs are extremely emphasized. He is seated cross-legged, in a meditation posture, his tremendous thinness could be due to a period of fasting, following the vital steps of Buddha. The piece is made from a single block of wood with the technique of lacquering and gilding, very common in the Vietnamese artistic tradition. First, a fairly thick layer of black lacquer was applied, which could then be followed by a thinner layer of red or brown lacquer, over which the gilding was applied. The habit lacquered in brown Attached certificate issued by the specialist Le My Hao. Work exhibited at Highlights Maastricht 2007. Slight wear and tear.

Estim. 3 000 - 4 000 EUR

Lot 73 - Laughing buddha; China, republic period, c. 1920. Glazed and glazed porcelain. It has incised marks on the base "Jingzhen Wan Tongshun Zao Bei Lou li". Measurements: 25,5 x 24,5 x 14 cm. Laughing Buddha made in glazed and enameled porcelain that represents a usual typology starring the figure of a large Buddha accompanied by five children. He appears characterized with the traditional iconographic features of the Maitreya of happiness, popularly known as fat Buddha or smiling Buddha: slanted eyes and frank laughter, elongated earlobes symbolizing nobility and wisdom, voluminous body that the mantle barely covers, because the bare belly is a giver of good luck to the one who caresses it. The great expressivity of the countenance, the relaxed aspect of the attitudes and the naturalism with which the generous flesh and the softness of the flesh is captured is characteristic of Chinese statuary. The mythological origin of this avatar of Buddha dates back to the time of the Chinese Liang Dynasty. It is believed that he was a Buddhist monk who, due to his benevolent nature, came to be considered an incarnation of the bodhisattva Maitreya.

Estim. 3 000 - 4 000 EUR

Lot 74 - Prajnaparamite; Indonesia, Central Java, Majapahit period, 16th century. White sandstone. Attached certificate of authenticity from the specialist Ha Thuc Can. It presents faults and restorations. Measurements: 99 x 51 x 49 cm. Stone stele made of white sandstone, which presents a rectangular structure finished in point as if it were an architectural motif that welcomes a figure carved in high relief. The stone is richly carved, in the lower area there is a rectangular body where there are details in relief arranged as a pedestal with lotus leaves schematized as an ornamental detail. On this base is the main figure carved almost in a round bulge, which is established as the main motif of the carving. The figure, as already mentioned, is framed by the stone itself, which has been carved recreating an architectural space. Prajnaparamita means "the Perfection of Wisdom" or "Transcendental Knowledge" in Mah?y?na. Prajnaparamita refers to a perfected way of seeing the nature of reality, as well as to a particular body of scriptures. Majapahit was a Hindu-Buddhist Javanese empire of Southeast Asia based on the island of Java. Majapahit was one of the last great Hindu-Buddhist empires of the region and is considered one of the largest and most powerful in Indonesian and Southeast Asian history. It is sometimes considered the forerunner of Indonesia's modern frontiers. Majapahit art was the continuation of East Javanese art, style and aesthetics developed since the 11th century during the Kediri and Singhasari period. Unlike the earlier naturalistic, relaxed and fluid figures of the classical Central Javanese style, this East Javanese style shows a more rigid, stylized pose depicted in wayang-like figures, such as those carved in the bas-reliefs of East Javanese temples. Attached certificate of authenticity of the specialist Ha Thuc Can. It presents faults and restorations.

Estim. 15 000 - 20 000 EUR

Lot 75 - Bodhisattva; China, Eastern Wei Dynasty, 534-550 or Northern Qí, 550-577. Limestone with remains of polychrome and gilding. Work exhibited at Feriarte 2008. Attached Test MEB-EDAX. Measurements: 108 x 30 x 26 cm. Sculpture made of limestone with remains of polychrome and gilding, mostly visible in the face, hands, torso and feet, although there are also ornamental details where you can see traces of gilding. The round sculpture has a polished finish on the front and back, indicating the technical quality of the sculptor and the piece. This sits on lotus flower petals, as usual. Upright and majestic, the figure rises with a serene face visible through closed eyelids and a slight smile, mudras characteristic of these pieces, as well as the position of the hands. The term bodhisattva designates a being who, by the systematic exercise of the perfect virtues, attains Buddhahood, but renounces to enter the complete Nirvana in order to help and guide all beings, until all of them are liberated. His determining quality is compassion, supported by wisdom and supreme knowledge. A bodhisattva gives active help and is ready to take upon himself the suffering of all beings and to transfer his karmic merit to others; logically, they are the object of veneration by the believers, who feel them closer and see in them guides and help in their needs. Work exhibited at Feriarte 2008. Attached MEB-EDAX test.

Estim. 6 000 - 8 000 EUR

Lot 76 - Parikara - Jain altar; India, South Rajasthan, Mount Abu; 10th-13th century. Marble with traces of polychrome. It has a pedestal made ex profeso. Measurements: 112 x 71 x 29 cm. Jainí niche intended to house an image of the victorious Jina. The piece made of marble presents symbolic and allegorical decoration. It is based on anthropomorphic and zoomorphic motifs that allude to futility. The piece that in spite of having an intricate ornamental pattern maintains a strict symmetry, still conserves part of the polychromy. The green, yellow and red tones that can be seen indicate the great expressiveness with which this work was originally conceived. Jainism, also known as Jain Dharma, is an Indian religion. Jainism traces its spiritual ideas and history through the succession of twenty-four tirthankaras (supreme preachers of Dharma), the first in the present time cycle being Rishabhadeva, whom tradition holds to have lived millions of years ago, the twenty-third tirthankara Parshvanatha, whom historians date to the ninth century B.C., and the twenty-fourth tirthankara Parshvanatha, whom historians date to the ninth century B.C., and the twenty-fourth tirthankara Parshvanatha Parshvanatha, whom historians date to the ninth century B.C.. Jainism is one of the oldest religions that is still practiced today. Mount Abu is home to several Jain temples, including the Dilwara temples, a complex of temples carved in white marble. These Jain temples were built by Vimal Shah and designed by Vastupala, Jain ministers of Dholka. They are famous for their use of white marble and intricate marble carvings.

Estim. 20 000 - 25 000 EUR

Lot 77 - Pair of baluster vases; China, Qing Dynasty, Qianlong Period, 1736-1795. Glazed porcelain and gilt bronze mounts. One of the mounts is missing. They have an inscription on the base. Measurements: 64,5 x 25,5 x 25,5 cm (x2). Pair of baluster vases made of porcelain enameled in blue, known as "powder blue". Both pieces have vegetal ornamentation in white on blue and elements in relief such as the dragons that act as handles. The mouths are adorned with gilded bronze mounts in which different fruits such as bunches of grapes are represented. The Qianlong emperor, belonging to the Qing dynasty, ruled China between 1736 and 1795, and is remembered to this day as one of the most cultured emperors and one of the most important in terms of art collecting. His long reign was a particularly interesting time in Chinese history. At the time, the country was the richest and most populous nation in the world. Qianlong was able to preserve and foster his own traditions of Manchu hunter and warrior, and combined them with the adoption of Confucianism's principles of political and cultural leadership, thus achieving an effective and stable government. In fact, it was precisely his ability to adopt Chinese customs, while still honoring his Manchu tradition, that made him one of the most successful emperors of the Qing dynasty. Qianlong studied Chinese painting, and especially enjoyed the art of calligraphy, highly regarded in this culture, conceived in fact as the highest of the arts. One of the saddles is missing.

Estim. 7 000 - 8 000 EUR

Lot 78 - Sage stones or Gongshi ; China, Qing dynasty, 19th century. Limestone on wooden base. Measurements: 39 x 17 x 11 cm. Gongshi also known as scholar's rocks or vision stones, are natural or shaped rocks traditionally prized by Chinese scholars. Scholar's stones can be of any color, and contrasting colors are not uncommon. The size of the stone can also vary widely: scholar's rocks can weigh hundreds of kilograms or less than one kilogram. The term also identifies stones placed in traditional Chinese gardens. In the Tang dynasty, a set of four important qualities was recognized for rocks. They are: thinness, openness, punctures and wrinkles. Scholar stones are usually karst limestones. In the 17th century, the aesthetic ideals of painting and Scholar rocks were almost indistinguishable. Sets of fantastical rocks in a garden, often arranged in front of a white wall, as in The Astor Court, could be inspired by compositional formulas developed in painted landscapes; conversely, the texture and fantastical forms of painted landscapes often resembled those of scholar's rocks more closely than those of the actual landscape. The passion for fantastic rocks culminated at this time in numerous "portraits" of real and imaginary specimens.

Estim. 600 - 700 EUR

Lot 79 - Jewelry box; Thailand or Burma, c. 1900. Embossed silver and wooden core. It has some flaws. Measurements: 8 x 25,5 x 15 cm. Weight: 965 g. Rectangular box with flat lid decorated with vegetal scrolls in the corners and central border of mixtilinear profile in whose interior is represented a complex figurative scene with armed characters mounted on elephants. The motif of the warriors, although without elephants, is repeated, more simplified, on the front of the piece. It is clearly inspired by models of the past, reinterpreting and updating them to adapt them to the new tastes of the present work. It presents some faults.

Estim. 1 200 - 1 500 EUR

Lot 80 - Nuo ritual mask; China, Hunan province, Qing Dynasty, 18th c. or earlier Zhang Mu wood Work exhibited at Brussels Oriental Art Fair, 2008. It has slight flaws. Measurements: 28 x 27 x 19 cm; 60 x 22 x 22 x 22 cm (with stand). It is a hand mask to perform the "Lion Dance". Because of its small dimensions. The Lion Dance began in China about 2000 years ago, during the Han Dynasty (206 BC-220 AD). It had its greatest apogee during the Tang Dynasty (618-907 A.D.), whose first references appear in the book On Music. The text states that the Lion Dance was danced with five lions, one large and four small, all of different colors. The dance was only for people belonging to the ruling structure of the empire, but little by little it became popular. This popularization facilitated its transformation into what it is today: a traditional dance performed with a single lion. It also had a great boom during the Qing Dynasty (1644-1911), when the Manchus banned the practice of martial arts, to prevent the people from rebelling against their despotic government. Most of the Kung Fu practitioners became revolutionaries who wanted to re-establish the Ming Dynasty, so the Lion Dance was used to exchange information among the revolutionaries. Within the Nuo rituals, there was a particular lion dance, very active among the Han ethnic group in Hunan. The mask was held in the hand, while the shaman or the person wearing it danced to the rhythm of the music. They sang and danced to musical accompaniment, thus attracting spirits to a certain area and begging for their favors. Work exhibited at Brussels Oriental Art Fair, 2008. It has slight faults.

Estim. 300 - 400 EUR

Lot 81 - Nuo ritual mask; China, Hunan Province, Qing Dynasty, 18th century or earlier. Zhang Mu wood Work exhibited at Brussels Oriental Art Fair, 2008. It has slight flaws. Measurements: 52 x 44 x 17 cm; 82 x 40 x 24 cm (with stand). It is a hand mask to perform the "Lion Dance". Because of its small dimensions. The Lion Dance began in China about 2000 years ago, during the Han Dynasty (206 BC-220 AD). It had its greatest apogee during the Tang Dynasty (618-907 A.D.), whose first references appear in the book On Music. The text states that the Lion Dance was danced with five lions, one large and four small, all of different colors. The dance was only for people belonging to the ruling structure of the empire, but little by little it became popular. This popularization facilitated its transformation into what it is today: a traditional dance that is danced with a single lion. It also had a great boom during the Qing Dynasty (1644-1911), when the Manchus banned the practice of martial arts, to prevent the people from rebelling against their despotic government. Most of the Kung Fu practitioners became revolutionaries who wanted to re-establish the Ming Dynasty, so the Lion Dance was used to exchange information among the revolutionaries. Within the Nuo rituals, there was a particular lion dance, very active among the Han ethnic group in Hunan. The mask was held in the hand, while the shaman or the person wearing it danced to the rhythm of the music. They sang and danced to musical accompaniment, thus attracting spirits to a certain area and begging for their favors. Work exhibited at Brussels Oriental Art Fair, 2008. It has slight faults.

Estim. 400 - 500 EUR

Lot 82 - Nuo ritual mask; China, Qing Dynasty, 19th century Zhang Mu wood. Work exhibited at Brussels Oriental Art Fair, 2008. It presents faults and wear. Measurements: 29 x 25 x 17 cm; 54 x 22 x 18 x 18 cm (with stand). It is a hand mask to perform the "Lion Dance". Due to its small dimensions. The Lion Dance began in China about 2000 years ago, during the Han Dynasty (206 BC-220 AD). It had its greatest apogee during the Tang Dynasty (618-907 A.D.), whose first references appear in the book On Music. The text states that the Lion Dance was danced with five lions, one large and four small, all of different colors. The dance was only for people belonging to the ruling structure of the empire, but little by little it became popular. This popularization facilitated its transformation into what it is today: a traditional dance that is danced with a single lion. It also had a great boom during the Qing Dynasty (1644-1911), when the Manchus banned the practice of martial arts, to prevent the people from rebelling against their despotic government. Most of the Kung Fu practitioners became revolutionaries who wanted to re-establish the Ming Dynasty, so the Lion Dance was used to exchange information among the revolutionaries. Work exhibited at Brussels Oriental Art Fair, 2008. It presents faults and wear

Estim. 300 - 400 EUR

Lot 83 - Nuo ritual mask; China, Hunan Province, Qing Dynasty, 18th century or earlier. Zhang Mu wood. Work exhibited at Brussels Oriental Art Fair, 2008. It has slight flaws. Measurements: 42 x 26 x 15 cm; 55 x 28 x 20 x 20 cm (with stand). It is a hand mask to perform the "Lion Dance". Because of its small dimensions. The Lion Dance began in China about 2000 years ago, during the Han Dynasty (206 BC-220 AD). It had its greatest apogee during the Tang Dynasty (618-907 A.D.), whose first references appear in the book On Music. The text states that the Lion Dance was danced with five lions, one large and four small, all of different colors. The dance was only for people belonging to the ruling structure of the empire, but little by little it became popular. This popularization facilitated its transformation into what it is today: a traditional dance performed with a single lion. It also had a great boom during the Qing Dynasty (1644-1911), when the Manchus banned the practice of martial arts, to prevent the people from rebelling against their despotic government. Most of the Kung Fu practitioners became revolutionaries who wanted to re-establish the Ming Dynasty, so the Lion Dance was used to exchange information among the revolutionaries. Within the Nuo rituals, there was a particular lion dance, very active among the Han ethnic group in Hunan. The mask was held in the hand, while the shaman or the person wearing it danced to the rhythm of the music. They sang and danced to musical accompaniment, thus attracting spirits to a certain area and begging for their favors. Work exhibited at Brussels Oriental Art Fair, 2008. It has slight faults.

Estim. 700 - 800 EUR

Lot 84 - Divine Beast Mask; China, Guizhou, Qing Dynasty, 18th-19th century. Wood by Zhang Mu. Missing on the left ear. Measurements: 50 x 39 x 13 cm; 65 x 40 x 24 cm (with stand). It is a hand mask to perform the "Lion Dance". Because of its small dimensions. The Lion Dance began in China about 2000 years ago, during the Han Dynasty (206 BC-220 AD). It had its greatest apogee during the Tang Dynasty (618-907 A.D.), whose first references appear in the book On Music. The text states that the Lion Dance was danced with five lions, one large and four small, all of different colors. The dance was only for people belonging to the ruling structure of the empire, but little by little it became popular. This popularization facilitated its transformation into what it is today: a traditional dance that is danced with a single lion. It also had a great boom during the Qing Dynasty (1644-1911), when the Manchus banned the practice of martial arts, to prevent the people from rebelling against their despotic government. Most of the Kung Fu practitioners became revolutionaries who wanted to re-establish the Ming Dynasty, so the Lion Dance was used to exchange information among the revolutionaries. Within the Nuo rituals, there was a particular lion dance, very active among the Han ethnic group in Hunan. The mask was held in the hand, while the shaman or the person wearing it danced to the rhythm of the music. They sang and danced to musical accompaniment, thus attracting spirits to a certain area and begging for their favors. It presents lack in the left ear.

Estim. 700 - 800 EUR

Lot 85 - Nuo ritual mask; China, Huan, Qing Dynasty, 19th century. Zhang Mu wood. Presents loss of the nose and faults. Measurements: 48 x 44 x 8 cm; 76 x 44,5 x 27,5 cm (with stand). It is a hand mask to perform the "Lion Dance". Because of its small dimensions. The Lion Dance began in China about 2000 years ago, during the Han Dynasty (206 BC-220 AD). It had its greatest apogee during the Tang Dynasty (618-907 A.D.), whose first references appear in the book On Music. The text states that the Lion Dance was danced with five lions, one large and four small, all of different colors. The dance was only for people belonging to the ruling structure of the empire, but little by little it became popular. This popularization facilitated its transformation into what it is today: a traditional dance performed with a single lion. It also had a great boom during the Qing Dynasty (1644-1911), when the Manchus banned the practice of martial arts, to prevent the people from rebelling against their despotic government. Most of the Kung Fu practitioners became revolutionaries who wanted to re-establish the Ming Dynasty, so the Lion Dance was used to exchange information among the revolutionaries. Within the Nuo rituals, there was a particular lion dance, very active among the Han ethnic group in Hunan. The mask was held in the hand, while the shaman or the person wearing it danced to the rhythm of the music. They sang and danced to musical accompaniment, thus attracting spirits to a certain area and begging for their favors. It presents loss of the nose and faults.

Estim. 150 - 200 EUR

Lot 86 - Nuo ritual mask; China, Hunan Province, Qing Dynasty, 18th century or earlier. Zhang Mu wood. Work exhibited at Brussels Oriental Art Fair, 2008. It has slight flaws. Measurements: 49 x 54 x 27 cm; 72 x 54 x 27 cm (with stand). Zoomorphic ritual mask, made of wood. It is a hand mask to perform the "Lion Dance". Due to its small size, it was probably used by a child. The Lion Dance began in China about 2000 years ago, during the Han Dynasty (206 BC-220 AD). It had its greatest heyday during the Tang Dynasty (618-907 AD), whose first references appear in the book On Music. The text states that the Lion Dance was danced with five lions, one large and four small, all of different colors. The dance was only for people belonging to the ruling structure of the empire, but little by little it became popular. This popularization facilitated its transformation into what it is today: a traditional dance that is danced with a single lion. It also had a great boom during the Qing Dynasty (1644-1911), when the Manchus banned the practice of martial arts, to prevent the people from rebelling against their despotic government. Most of the Kung Fu practitioners became revolutionaries who wanted to re-establish the Ming Dynasty, so the Lion Dance was used to exchange information among the revolutionaries. Within the Nuo rituals, there was a particular lion dance, very active among the Han ethnic group in Hunan. The mask was held in the hand, while the shaman or the person wearing it danced to the rhythm of the music. They sang and danced to musical accompaniment, thus attracting spirits to a certain area and begging for their favors. Work exhibited at Brussels Oriental Art Fair, 2008. It has slight faults.

Estim. 700 - 800 EUR

Lot 87 - Column; India, first third of the twentieth century. Carved marble. It shows wear and restorations. Measurements: 55,5 x 18 x 18 cm. Column made of carved marble with a square base from which the fluted shaft starts. The decorative patterns of Indian art are obtained, as can be seen in the tympanum, repeating simple elements intertwined or superimposed. The taste for symmetry stands out, thus achieving a dynamic and harmonious effect where the detail does not prevail over the whole. The infinite reiteration of ornaments in the Indian world is part of a representative metaphor close to the concept of eternity and the mutability of the universe. Indian art, unlike Western art, does not imitate nature. For this reason, a stylized representation of ornaments and plant motifs is very common. It presents wear and restorations.

Estim. 400 - 500 EUR

Lot 88 - Banteay Srei style Shiva head; Cambodia, second half of the 10th century. Limestone. Work exhibited at Feriarte 2007. It has very slight damage. Measurements: 32,5 x 16,5 x 20 cm; 44 x 18 x 17 cm (with base). Shiva is one of the gods of the Trimurti or main trinity of Hinduism. He is the destroyer god, together with Brahma, creator god, and Vishnu, conservative god, although he does not incarnate the destruction without sense, but that one that also allows the regeneration, the change, the rebirth. Together with his consort Parvati (goddess with double aspect: maternal and demon slayer) he is the father of Ganesha (god of wisdom) and Kartikeia (god of war). In this particular case of the face of this carving it transmits a great dignity based on the symmetry of the features and the delicacy of the carving that is summarized in subtle details of soft carving. The lower part of the neck indicates that this piece was probably originally part of a larger sculpture. Banteay Srei is a 10th century A.D. Cambodian temple dedicated to the Hindu gods Shiva and Parvati, located in Angkor. The temple is known for the beauty of its sandstone lintels, sculptures and pediments.The building and sculptures are mostly constructed of hard red sandstone. The sandstone used for such elaborate carvings had to be of extraordinary quality. In fact, red sandstone is a hallmark of the Banteay Srei style, never used in other Angkor styles. Its hardness is also the reason why, even after a millennium, the Banteay Srei carvings are the best preserved examples of Angkorian relief art, almost unchanged, as there is hardly anything eroded. Work exhibited at Feriarte 2007. It has very slight damage.

Estim. 7 000 - 9 000 EUR

Lot 89 - Pair of friezes; India, XX century. Carved stone with traces of polychrome. They present faults in the carving. Measurements: 20 x 20 x 10 cm (x2). Pair of friezes made in carved stone that still conserve part of the polychrome. In both cases the main figure is an elephant. Initially, the development of these works was dedicated to the royal court, which used the art to elaborate portraits, events and scenes of the life of the court, scenes of wild life and hunting, as well as illustrations of battles, with which they adorned the architecture , so the images are framed by richly decorated strips as if they were vignettes. They present shortcomings in size.

Estim. 400 - 500 EUR

Lot 90 - Trà Kieu style Lakshmi; Vietnam, Champa civilization, 10th century. Sedimentary rock. Attached certificate of authenticity from the specialist Ha Thuc Can. Measurements: 65 x 39 x 26 cm. Sculpture carved in sedimentary rock representing Lakshmi, sitting with her legs crossed and her hands on her knees, her torso naked and her eyes closed in a praying attitude. The piece has not been worked in the back area, a feature that indicates that it was conceived to be seen from the front. As for the carving, the voluptuousness of the forms stands out. Lakshmi is one of the main goddesses of Hinduism. She is the goddess of wealth, fortune, power, beauty, fertility and prosperity and is associated with Maya. Together with Parvati and Saraswati, she forms the Tridevi of Hindu goddesses. Lakshmi is both the consort and the divine energy (shakti) of the Hindu god Vishnu, the Supreme Being of Vaishnavism; She is also the Supreme Goddess in the sect and helps Vishnu to create, protect and transform the universe. Whenever Vishnu descended to Earth as an avatar, Lakshmi accompanied him as a consort, for example, as Sita and Radha or Rukmini as consorts of the avatars of Vishnu, Rama and Krishna, respectively.Trà Kieu was the first capital of the Hindu kingdom of Champa, then called Simhapura, between the 4th and 8th centuries AD. Nothing remains of the ancient city today, except for the rectangular walls. Although the Cham monuments of Trà Kieu, in Quang Nam province, have been destroyed, several magnificent pieces of sculpture associated with the site are still preserved in museums. Attached certificate of authenticity from specialist Ha Thuc Can.

Estim. 19 000 - 20 000 EUR

Lot 91 - Bodhisattva; China, Yuan-Ming Dynasty, XIII-XIV centuries. Wood with traces of polychrome. Attached certificate C-14. Work exhibited at Feriarte 2006. It has faults. Measurements: 137 x 70 x 37 cm; 137 x 72, 5 x 52 cm (with base). Wooden sculpture representing Bodhisattva. The term bodhisattva designates a being who, by the systematic exercise of the perfect virtues, reaches Buddhahood, but renounces to enter the complete Nirvana in order to help and guide all beings, until all of them are liberated. His determining quality is compassion, supported by wisdom and supreme knowledge. A bodhisattva gives active help and is ready to take upon himself the suffering of all beings and to transfer his karmic merit to others; logically, they are the object of veneration by the believers, who feel them closer and see in them guides and help in their needs. In this particular case, the way in which the back of the sculpture is worked indicates that the piece was originally part of the ornamentation of an architectural space and probably also of a larger sculptural group. In spite of the faults caused by the passage of time, the quality of the carving and the skill of the artist can still be appreciated. During the Yuan dynasty a rich cultural diversity developed. The main cultural achievements were the development of the theater and the novel and the increased use of the written vernacular. Arts and culture also developed and flourished greatly during the Yuan dynasty. The political unity of China and much of Central Asia promoted trade between East and West. The extensive contacts of the Mongols with Western Asia and Europe produced a great deal of cultural exchange. The other cultures and peoples of the Mongol Empire also greatly influenced China. It had greatly facilitated exchange and trade throughout Asia until its decline; communications between the Yuan dynasty and its ally and subordinate in Persia, the Ilkhanate, fostered this development. Buddhism had a great influence on Yuan rule, and Tantric Buddhism of the Tibetan rite had greatly influenced China during this period. Attached certificate C-14. Work exhibited at Feriarte 2006. It has faults.

Estim. 10 000 - 15 000 EUR

Lot 92 - Tray with legs Japan, c. 1900. Lacquer "Wakasa-nuri"; inlaid with mother of pearl. It has slight flaws and marks on the base. Measurements: 14.5 x 36 x 36.5 cm. Lacquered tray. "Wakasa-nuri" is produced in the vicinity of Obama City, Fukui Prefecture. It is said to have originated in the early Edo period (1603-1868) when a craftsman in the service of the Obama domain (present-day Obama City), which controlled the region near Wakasa Bay, created a design depicting the beautiful depths of the sea. The defining elements of Wakasa lacquerware are the creation of patterns with eggshells, seashells and pine needles and the use of togidashi maki-e, a technique that involves raising the pattern by applying multiple layers of lacquer. It has slight flaws and marks on the base.

Estim. 200 - 250 EUR

Lot 93 - Travel chest; Tibet, 18th century. Blued and scratched copper. It has slight flaws and wear. Measurements: 16,5 x 20,5 x 13 cm. The chests and chests were used as the perfect place to treasure jewels, documents or those elements of value of the owner. The importance of their contents was also often reflected on the exterior, for this reason they were profusely decorated with marquetry of exotic woods, stones, bone or ivory, they were polychromed with vegetal designs or scenes, and they used to present silver bronze applications or gilded iron fittings. Slight flaws and wear.

Estim. 400 - 500 EUR

Lot 94 - Water jug; Ceylon, nineteenth century. Silver plated metal. Measurements: 26,5 x 15 x 15 cm. Pitcher made in silver metal that presents a round base on which sits a globular body that gives way to a long faceted neck. This ends in a round mouth with a semi-spherical lid that is joined with a hinge. Ornamentally the piece has details in the form of gadroons on the base and body and a ring in relief, which joins the neck to the body.

Estim. 150 - 200 EUR

Lot 95 - Ceremonial perak; Tibet, 19th century. Silver, brass, hard stones and turquoise. Measurements: 9 x 20 x 20 cm. The perak is a typical headdress of the ancient aristocracy of the Asian region of Ladakh, in the Himalayas. It consists of a leather strap studded with semi-precious stones, such as lapis lazuli and turquoise. The perak is a symbol among the Ladakhis of the rank and economic position of the woman wearing it. Traditionally, the number of rows of turquoise from front to back signified the status of the wearer: nine rows for the queen of Leh (the capital of Ladakh), seven rows for the more modern aristocracy, five for the marvelites and three for the lower ranks. The jewels themselves are representative of the deities of Ladakh, who protect and guide the wearer through the dangerous human world.

Estim. 350 - 400 EUR

Lot 96 - Pincushions for ornamentation; China, Qing Dynasty, 19th century. Metal, hard stones and enamel. Measurements: 23 cm (larger); 11 cm (smaller). Set of pincushions made of metal with hard stone ornaments. Used in a decorative way this type of pieces became indispensable objects associated to the most elegant feminine clothing. The Ching or Qing dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the present-day northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, maintaining the capital in Beijing throughout this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best works were carried out by schoolchildren and the urban elite.

Estim. 400 - 500 EUR

Lot 97 - Pincushions for ornamentation; China, Qing Dynasty, 19th century. Metal and hard stones. Measurements: 21 cm (larger); 5,5 cm (smaller). Set of pincushions made of metal with hard stone ornaments. Used in a decorative way this type of pieces became indispensable objects associated with the most elegant feminine clothing. The Ching or Qing dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the present-day northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, maintaining the capital in Beijing throughout this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best works were carried out by schoolchildren and the urban elite.

Estim. 400 - 500 EUR

Lot 98 - "Oracle Crown"; Tibet, 19th century. Embossed and gilded silver, coral and turquoise. Measurements: 18,5 x 20 x 19 cm. This embossed and gilded silver oracle crown is decorated with turquoise and coral cabochons. The gold work is richly carved and the inside of the crown is provided with a cushion covered with fabric. This type of crown was worn by Tibetan oracles during trances. Bodhisattva figures in their wrathful form also often wear this type of headdress of five skulls, each of which represents one of the five "wisdom" Buddhas, the so-called Five Dhyani Buddhas. Similar crowns were also worn in Mongolia.

Estim. 1 000 - 1 200 EUR

Lot 99 - Ceremonial perak; Tibet, 19th century. Silver, brass, hard stones and turquoise. Measurements: 6,5 x 19,5 x 21,5 cm. The perak is a typical headdress of the ancient aristocracy of the Asian region of Ladakh, in the Himalayas. It consists of a leather strap studded with semi-precious stones, such as lapis lazuli and turquoise. The perak is a symbol among the Ladakhis of the rank and economic position of the woman wearing it. Traditionally, the number of rows of turquoise from front to back signified the status of the wearer: nine rows for the queen of Leh (the capital of Ladakh), seven rows for the more modern aristocracy, five for the marvelites and three for the lower ranks. The jewels themselves are representative of the deities of Ladakh, who protect and guide the wearer through the dangerous human world.

Estim. 200 - 300 EUR

Lot 100 - Pincushions for ornamentation; China, Qing Dynasty, 19th century. Gilded metal and enamel. Measurements: 11,5 cm. Pair of pincushions made of metal with blue enameled ornaments. Used in a decorative way this type of pieces became indispensable objects associated to the most elegant feminine dress. The Ching or Qing Dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the present-day northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, maintaining the capital in Beijing throughout this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best works were carried out by schoolchildren and the urban elite.

Estim. 200 - 250 EUR

23rd September - Decorative Arts & Oriental Art

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Lot 43 - Motorcycle; 20th century. Silver. Measurements: 11 x 29 x 8 cm. Weight: 530 g. Motorcycle made in silver. This type of work was very common in the decoration of interiors since the twentieth century, making small sculptures of animal themes in many materials (bronze, silver, gold, etc.).