Z. Sierra · Antiques and Decorative Objects

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CARVED SILVER BOX, 20TH CENTURY.

Carved silver box, 20th century. Small silver box carved with a wide variety of motifs, all belonging to different artistic traditions based on Roman classicism. On the cover, two musicians appear framed in a decoration made up of figures and plant and architectural elements. The front shows garlands of flowers and leaves and shields of scrolls. The base is decorated with scallops, flowers and plant elements. These types of pieces were used to store various objects, and were usually carried on one's person or left on the dressing table, in any case belonging to people of importance due to the quality of the work and the material in which they were made. Weight: 300 gr

· Size: 11,5x6,5x4 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z0327
SILVER ”JARRA DE PICO” (SPANISH JAR), 17TH CENTURY.

Silver spout jug, 17th century. On a circular foot stands the smooth spout jug, with the “C” shaped handle with the branch that is common to see in this type around the 1730s and 40s of the 17th century. Typologically, it belongs to the courtly model, which appeared in Madrid towards the beginning of this century, possibly derived from the Valladolid model and which would spread throughout Spain.

· Size: Alt. 8 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z4700
SILVER “BERNEGAL” (DRINKING CUP). PORTUGAL, 19TH CENTURY.

Silver Bernegal. Portugal, 19th century. With contrast markings on the base. Bernegal with a wavy edge with decoration of rockeries and plant elements on the outside and two “S”-shaped handles. In the flower that decorates the base on which this container rests are the contrast marks, which date and place the creation of the work in Portugal, in the 19th century, a time when it was very common to be inspired by styles from the past ( Baroque, in the present case). Weight: 170 gr.

· Size: 18,5x15x7 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z4961
SILVER WRITING SET. MADRID, SPAIN, 1819 AND 1841. WITH HALLMARKS.

Writing desk. Silver. Madrid, 1819 and 1841. With contrast markings. Artifice M. García. Property initials. Notary composed of three containers on a slightly raised base on animal claws made of silver in its color, which has contrast marks in several points. The entire game presents elegant and simple decoration and lines with a marked neoclassical influence. The contrast marks present on the bases of two containers and on the “tray” or base of the set place the creation of the work in Madrid, providing two different dates, probably due to the partial loss and subsequent restoration. Artificer: Manuel García.1838-1858 Weight: 800 grams.

· Size: 11x22x14 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5287
SILVER VASE (BERNEGAL) WITH VIDAL MARKS. 18TH CENTURY

Bernegal, 18th century. Silver, with marks. Weight: 55g. Spanish Bernegal from the 18th century, with the Vidal mark and a wide, low bowl, slightly rounded towards the base, following the typical typology of this glass in the Hispanic Baroque. Also typical of this typology are the two vertical handles above the mouth, in this case in the shape of a mitered “S” brace with a cut profile, with small tendrils.

· Size: 4x10,5x7,2 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5724
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SILVER PYX, 16TH CENTURY.

Silver pyx, 16th century. Cylindrical body with decoration of braces and acanthus engraved and with polished luster, and lid decorated with small crests, conical shape and decoration with the same techniques resembling a fabric cover. It follows the most common typology at the time for this type of pieces, intended to store or transport the Sacred Form. Weight: 184g

· Size: 10x10x10 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5726
SILVER “TEMBLADERA” OR TASTEVIN. 1739.

Pair of silver tremblers or catavinos. 1739. (Together with Ref.z5831) No contrast marks. With inscription on the front. Both the same, each one is formed by a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer edge that reads: “I am from the noble conzefo of Santiux that our local Jul presents them to us.” of the Zeballos Caves in the year 1739.” In Spanish silversmithing, Baroque trends were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centers, depending on areas and masters. This survival of the 17th century forms can be seen in the handles of the scrapie: the grotesques with a human head are highlighted by very moving plant motifs, a decorative abundance that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of contrast marks does not allow the work or the artist to be located, although this is precisely what speaks in favor of a secondary silversmithing center, where the absence of control of these works was more common due to the lack of teachers and means to Ensure compliance with marking regulations. Throughout these first two thirds of the 18th century, the certain monotony of the centers of Old Castile (to which Cantabria belonged), León and Galicia was notable in comparison with the importance of Valladolid and Salamanca, which is why perhaps in the Cantabrian environment. The inscription clarifies the purpose of the quakes: they were a gift to the Council of Santiurde de Reinosa (Cantabria) from Juan de las Cuevas Ceballos, a native of this town and resident of El Puerto de Santa María de Cádiz who, in addition, proved his nobility in 1733 before the Sonsdalgo Room of the Royal Chancery of Valladolid. These are therefore two pieces made for civil use, a detail that increases its importance due to the scarcity of this type of works.

· Size: 15x11x6.5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5829
SILVER “CUP” (TASTEVIN OR “BERNEGAL”). 20TH CENTURY.

“Catavinos” or bernegal. Silver. Twentieth century. Container of the type known as “tembladera” with two circular handles decorated with very simplified plant elements and a ribbed body reminiscent of the pieces called “de morsels”. Bernegales and morsel shakers were frequent pieces in Spanish silversmithing in the 17th century, usually being relegated to centers of somewhat less importance in the 18th century. During the 19th and 20th centuries, it was common in silversmithing and other arts to draw inspiration from past styles for the creation of numerous pieces, such as the present one. Weight: 151 gr.

· Size: 15x11,5x7,5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5830
SILVER “TEMBLADERA” OR TASTEVIN. 1739.

Pair of silver tremblers or catavinos. 1739. (Together with Ref.z5829) No contrast marks. With inscription on the front. Both the same, each one is formed by a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer edge that reads: “I am from the noble conzefo of Santiux that our local Jul presents them to us.” of the Zeballos Caves in the year 1739.” In Spanish silversmithing, Baroque trends were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centers, depending on areas and masters. This survival of the 17th century forms can be seen in the handles of the scrapie: the grotesques with a human head are highlighted by very moving plant motifs, a decorative abundance that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of contrast marks does not allow the work or the artist to be located, although this is precisely what speaks in favor of a secondary silversmithing center, where the absence of control of these works was more common due to the lack of teachers and means to Ensure compliance with marking regulations. Throughout these first two thirds of the 18th century, the certain monotony of the centers of Old Castile (to which Cantabria belonged), León and Galicia was notable in comparison with the importance of Valladolid and Salamanca, which is why perhaps in the Cantabrian environment. The inscription clarifies the purpose of the quakes: they were a gift to the Council of Santiurde de Reinosa (Cantabria) from Juan de las Cuevas Ceballos, a native of this town and resident of El Puerto de Santa María de Cádiz who, in addition, proved his nobility in 1733 before the Sonsdalgo Room of the Royal Chancery of Valladolid. These are therefore two pieces made for civil use, a detail that increases its importance due to the scarcity of this type of works.

· Size: 15x11x6.5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5831
SILVER CHRISM VESSEL OR CHRISMARIUM (NO ORIGINAL LID). 16RH CENTURY.RY

Crismera. Silver in its color. Century XVI. Non-original cover. Silver chrysmera in its color with a circular foot decorated with an engraved composition of plant elements and a flat circular body with two handles in “ese” with plant motifs and a small neck at the top covered with a lid topped by a ring (which It is not the original of the piece). The body has, on one side, engraved a cross on a pedestal with a shroud hanging from it, all within an engraved frame; On the other hand, with a frame similar to the one mentioned, the letters “ihs” appear (a Christogram of ancient origin, already used in the Paleochristian era, which gave rise to varied etymologies and was adopted as a seal by Saint Ignatius of Loyola, founder of the Jesus company). Weight: 157 grams.

· Size: 6,5x 10x15 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5977
SILVER TWO-HANDLED CUP. WITH HALLMARKS. 17TH-18TH CENTURIES.Y

Bernegal or glass or wine tasting. Silver. 17th-18th centuries. With contrast markings. Bernegal made of silver in its color that has a circular foot, body widening upwards and two flat handles in “that” with the central part widened. It has contrast marks on the handle (unidentified) and a chip mark on the base. Both bernegales and tembladeras were very common typologies in Spanish baroque silversmithing in the 17th century, and continued to be popular in the following century, mainly in centers far from important creative centers. Also known as catavinos, these types of drinking glasses were used on special occasions (ceremonies...), hence their material and the decoration they have, they were objects for civil use, although it was not strange or exceptional that they were donated or commissioned for use in churches or liturgical settings. Compare the present piece with two cups or shakers from the Collection of the Monterrey Palace in Salamanca (one from Paris made around 1750 and another from Salamanca) decorated with gallons and two raised “ese” handles; with the bernegal of the Metropolitan Museum made in London in 1680 from the Irwin Untermyer collection (very similar in shape to the present one); or with the pair of bernegales by Antonio López Díaz (made in Jaén and dated 1758/1772) from the Valencia Institute of Don Juan in Madrid. Weight: 162 grams.

· Size: 14x11x9 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6022
SILVER TASTEVIN FROM BECERRIL DE CAMPOS TOWN COUNCIL, 1806.

Catavinos of the chapter of Becerril de Campos, 1806. With legend at the base (“Catavino of the Most Illustrious Cabildo of Becerril de Campos with Royal Privilege year 1806”). Published in: Fernández, Alejandro et alt. Spanish and American Viceregal Silver Encyclopedia, Torreangulo Arte Grafico, Madrid, 1985. Page 485. / Redondo Aguayo, Anselmo. Historical monograph of the town of Becerril de Campos and biographical news of its most illustrious children. Bulletin of the Tello Tellez de Meneses Institution, 9, 1952. Page 149. Plain glass with a legend on the outer edge attached to a bowl with a convex seat decorated with relief gallons, engraved ovals and crosses and lines of beads arranged around a central circle that has been left plain. Due to its shape, it is closer to the Bordeaux type catawines than to the Burgundian type (the most common), and its shape seems to have been characteristic in Castile in the 17th century; It has not changed since then, maintaining its use and manufacturing. According to experts, these types of pieces were called “cups” until the 19th century, and we are not entirely sure that their use was utilitarian, with certain studies leaning towards a mainly decorative function. This would be the reason why, despite being a piece made in a secondary manufacturing center such as the municipality of Palencia, it has decoration all over its surface, in addition to the written legend. The gadroon motifs, like the oval shapes, are geometric decorations widely used in this type of pieces, especially since the Renaissance and due to the inspiration of this artistic style in Roman Antiquity. In the 19th century this inspiration in classicism returned to art, thanks to Neoclassicism. Despite the simplicity of the elements, there is a clear attempt by the artist to organize them harmoniously to give beauty to the piece. Both the material and the decorative excess (to come from a local center) support the theory, already mentioned, that the catavinos would have more representational use than normal use, being used in certain celebrations or events in which the council had a prominent role. This catavino is mentioned in Anselmo Redondo's study. It is very rare to preserve examples of civil silverware, since their owners used to sell objects with the intention of buying new ones, either better ones or made in another more modern artistic style, or for economic needs. Thus, the most common thing is to find religious silverware, which is the same as the civil one or varying only in its decorative elements. In addition, civil pieces used to be delivered to churches, convents, etc. as donations from individuals. It is worth highlighting, however, the extraordinary nature of this tasting wine: first, for its material; second, because of its typology; third, because its inscription makes it easy to locate its origin and date. Catavinos with similar characteristics to the present one are found at the Lázaro Galdiano Foundation in Madrid. Weight: 315g

· Size: 19x19x6 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6226
SILVER CRUET STAND, SANTANDER, 19TH CENTURY.

Convoy of silver cruets, Santander, 19th century. With contrasting, local and silversmith marks (Santander, Trabanco, M.Navarro). Holding a basket with a handle above his head is the figure of an Indian, with a skirt and feather headdress. The figure stands on a column, flanked by two circular spaces for cruets and two other supports for salt and pepper shakers. The decoration based on columns and classic palmettes are characteristics of Neoclassicism, while the presence of the feathered indigenous person provides a touch of exoticism that was highly appreciated in the 19th century. Weight 950 gr.

· Size: 22x9x34 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6231
SILVER “TEMBLADERA” (CUP). JUAN MONTERO, SALAMANCA, SPAIN, 18TH CENTUR...

Tremor. Silver. Juan Ignacio Montero, Salamanca, 18th century. With contrast markings. Silver tremble in its color ready on the outside decorated with two inverted “S” shaped handles and decorated with spikes on the outside. At the base of the piece are the four contrast marks (flanking the contrast line), which place the creation of the piece in Salamanca (note the bull), with the intervention of Juan Ignacio Montero; Two more appear, you frustrate. Juan Ignacio Montero was a silversmith and contrast-marker, and the punch seen here seems to date from preserved works that have been dated between 1759 and 1779, such as a sacral in the Parish Church of San Lorenzo de Segovia (by Manuel Cardeñosa, dated in 1767). It is known that he held the position of contrast-marker in Salamanca between 1758 and 1781 and that he was active until 1779. He used a punch that incorporated the dates relative to the year, although sometimes the same iron was used in several years. Weight: 70 gr.

· Size: 10x7x5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6251
SILVER FRUIT BOWL 18TH CENTURY .

Cordoban save in silver, 1759-1768. With marks. Weight: 820g. Rococo style silver save, with punches from Córdoba and the marker Bartolomé Gálvez y Aranda. It has a high, stepped foot, with a circular base, adorned with incised grooves and other simple classical motifs, already announcing the change in language towards neoclassicism. However, the plate itself is still clearly Rococo, with a profile of mitered curves that translate into edges on the eaves. Bartolomé Gálvez y Aranda was a silversmith, although he worked as a marker between 1759 and 1772, using for this work the punch that we see here: his surname in capital letters, in a very oblong trapezoidal frame and surmounted by a fleur-de-lys in a trilobed projection. Gálvez y Aranda added the chronological mark to this punch from 1768, so this salvo would be dated between 1759 and 1768. It is also a particularly interesting piece because it comes from Córdoba, the main center of Spanish silversmithing of the Rococo period, whose workshops produced high-quality religious and secular pieces, destined for clients not only local but from the entire Iberian Peninsula, even reaching the Canary Islands and Latin America. The great diffusion of Córdoba silversmithing will take place, in fact, in the last quarter of the 18th century, through the so-called master fair silversmiths. These characters acted as trade brokers, according to Pérez Grande, visiting churches and fairs held throughout the country. The activity of these fair silversmiths was also favored by tax exemptions.

· Size: 32x32x13 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6259
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SILVER CANDLEHOLDER, 19TH CENTURY. WITH MARKS.

Sterling silver candlestick, 19th century. With hallmarks and ownership initials. Raised on three legs finished in pearl, the circular base of the candlestick has been decorated with openwork rhombuses, while the candle holder presents a string of pearls and lines of classical inspiration, to which the curved handle, located on another leg and on which the contrast marks are located. Weight: 245 gr.

· Size: 21x10x9,5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6279
SILVER DRINKING CUP . SPAIN, 16TH CENTURY.

Silver catavinos, 16th century. “Cup” type catavinos with plant motifs inside a six-pointed star at the bottom and with a cylindrical base decorated with circular geometric borders. Also known as catavinos, these types of drinking glasses were used on special occasions (ceremonies...), hence their material and the decoration they have, and were very common during the reign of the Austrians in Spain. Although they were objects for civil use, it was not unusual for them to be donated or commissioned for use in churches or liturgical settings. Both the decoration and the shape of the cup show its origin from an artistic nucleus far from the main silversmithing centers. The first, furthermore, links more with Gothic art than with the Renaissance, which by this time had already made an appearance in Spanish silversmithing. Compare, for example, with the bernegal with cardboard-shaped handles from the Prado Museum in Madrid (catalog O00085) from the late 16th century, which has the upper part carved in double concave gallons and shows engraved vegetables and fruits in festoons and ribbons. This difference does not detract from the value of the work, quite the contrary: it is a sign of the attachment to the designs of simple lines and gothic vegetal and geometric decorations that were had in centers far from the creative capitals, whose influence can be seen even in Baroque works. Similar examples can be found in very few private collections and only in a few important museums. For example, similar bernegales from the 16th century are preserved in the Fundación Valencia de Don Juan (Madrid), and those from the 17th century are somewhat more abundant, as demonstrated by those in the Lázaro Galdiano Museum (inventory 3910 and 3916).

· Size: 16x16x4 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6296
SILVER WRTITING SET. VICENTE ROCES, ZARAGOZA (SPAIN), CA. 1760.

Silver notary. Vicente Roces, Zaragoza, around 1760. With contrast marks and initials of belonging on the base. The base tray has a square shape with mixtilinear profiles and rests on legs with plant motifs. The four containers have helical gallon feet, and flower-shaped under-pearl finials on the lids. A candlestick emerges from another container, higher than the others and fixed to the tray, with a curved arm finished in a scroll, and is joined by a hinge to it. The bell, also with helical gallons, is topped by a figure of a soldier. The quillbox has holes in the lid for the pens, and is the same size as another of the containers, which was probably the inkwell. Two others, slightly larger, do not have a perforated lid either, and may have been used for drying sand and therefore called grits. The bell, used to call the service, secretary, etc., has another jar as its base, similar to the rest but much higher, from the upper part of which the candlestick emerges. Stylistically, the cleanliness of the lines shows a very slight influence of Neoclassicism, while the helical gallons, the movement of the profiles of the containers, and the typology of the tray (called “contour” and very popular in the silverware of this century) reflect a strong survival of models related to the Rococo. Zaragoza continued to be the main silversmithing center in Aragon, with an abundance of preserved pieces and many marked, allowing for detailed study. The contrast marks ensure the quality of the material and allow us to locate the manufacture and the author of the work. Those of locality, on the arm of the candlestick, place the work in Zaragoza, and date it as being made between around 1760 and 1770. Those of artist, also there and another one at the base, allude to the silversmith Vicente Roces, known for his fine works of Rococo taste such as the Reliquary of San Francisco Javier from the last quarter of the 18th century in the Church of Santa María de Sangüesa (Navarra) and some others in important private collections. Weight: 1,525 gr.

· Size: 18x23x25 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6304
SILVER INKSTAND, MADRID, 1779.

Notary in turned, cast and chiseled silver, Madrid, 18th century (1779). Contrast marks on the edge of the tray, on the bottom. Property mark “AL”. A tray with curved profiles stands on four legs shaped like plant elements. Fixed to it are the four containers that make up the writing desk. These, and the bell, have a magnificent decoration based on turned flat gallons on their body, base and lid. It is composed of a tray, sandbox or sandbox (to dry the ink) with a bell (call the servant or the person responsible for carrying the message or written message) and three inkwells or dusters with lids, all attached to it by means of through screws. The profiles of the tray correspond to works of the Charles III period and style, while the jugs still show part of the movement that characterized Rococo, already introducing the clean lines characteristic of Neoclassicism. In the second half of the 18th century, with the accession of Charles III to the throne, Italian influences arrived in silversmithing once masters from this country had established themselves, either as silversmiths or, in many cases, also as bronzesmiths. At the end of the century there was also an abandonment of Rococo forms in favor of the Neoclassical style, whose particularities can be seen in this writing desk. These galloned shapes come from decorations based on ancient Roman art on which this second artistic style was based, as do the plant elements. Madrid would set the standard in art as the capital of the kingdom, and the continuous movement of pieces and the relative ease in communications and transmissions of drawings and engravings make it difficult to distinguish particular styles and trends in many cases. Likewise, we must highlight the great role in improving the quality of silverware designs that the founding of the School-Workshop by Antonio Martínez in 1778 had. It has a locality mark, Madrid Corte y Villa 1779, and an artist. Weight: 1850 gr.

· Size: 31x25Xx14 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6413
PROCESSIONAL CROSS. SILVER. WITH HALLMARKS. BARBASTRO (ARAGÓN), SPAIN,...

Processional cross. Gilded silver. Barbastro (Aragon), Spain, 16th century. With contrast and chisel marks (foot, surroundings of Christ). Latin-type processional cross made of gilded silver, with a foot formed by a cylindrical barrel that increases in width towards the end and has been decorated with floral elements within rhomboidal spaces, an almost spherical apple with male busts in relief (possibly the four Evangelists) and plant elements in composition similar to the one mentioned, and a molded upper body enhanced with fine plant stems that transform into “round bulge” monsters. The cross presents a crest in its contour of vegetal elements, masks (just in the widenings enhanced by an oval molding with corners) and vegetal and architectural compositions of classicist influence with winged angel heads (at the quadrifoliated ends of the same, enhanced with moldings and plant details). In the rest of the areas of the two main fronts of the same, there is a decoration of oval mirrors with frames of smooth bands and coiled volutes; The sides are smooth. On one of the fronts of the piece, the figure of Christ Crucified is located (three nails, short purity cloth, fallen head); On the other, and on a triangular openwork base with a clear Gothic memory, the crowned Virgin Mary appears standing, with the Child Jesus in her arms. It is necessary to indicate the survival in the present piece of some details of Spanish Gothic silverwork (crestwork - which appears around the 15th century -, flordelised finials of the cross - or similar shapes -, widenings on the arms of the cross, etc.) , along with elements that already respond to Renaissance influences (shape and decoration of the foot and apple, elements in slight relief around the Crucified, winged angel heads, masks, etc.). Likewise, it is possible to compare it with processional crosses such as the Buerba one in the Diocesan Museum of Barbastro-Monzón (from the 16th century, with a striking repertoire of late-Renaissance elements and certain similarities with the present one); some preserved in the Diocesan Museum of Barbastro (that of Trillo from the 15th century, for example); that of Bagüés de Zaragoza from the 16th century from the Diocesan Museum of Jaca; the one made in Burgos around 1550 that is today in the Los Angeles County Museum of Arts (United States); etc Weight: 2200 gr.

· Size: 36x13x73 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6463
SILVER CRUET STAND. CÓRDOBA (SPAIN), CRISTÓBAL SÁNCHEZ SOTO (1755-1802...

Convoy of silver cruets. Córdoba, Cristóbal Sánchez Soto (1755-1802), towards the third third of the 18th century. With contrast and burilar marks. The present convoy maintains a slight Rococo memory in its lines, but also advances some of the Neoclassical decorative purity. The architect, Cristóbal Sánchez Soto, is well known for works of great importance such as litters for the Virgen de la Soledad and a tabernacle, both for the Brotherhood of the Nazarene of Córdoba, for example. The other two punches that appear are those of the locality (Córdoba) and that of the assayer, Juan de Luque y Leyva (1721-1779). Weight 400 gr. .

· Size: 20x11x21 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6547
SILVER PAIR OF SNUFFERS, 19TH CENTURY.

Silver snuffers. XIX century. The handle has been worked into the shape of a vase, with the lobed handles in the lower area to recall cloth hangings, while the spout of the snuffers has a needle with a pearl and the oval area has a decoration of grooves. All these elements, and the elegant lines of the work, relate it to Neoclassicism, a characteristic artistic style of the 19th century. Weight: 117g

· Size: 7x3,5x15 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6587
PAIR OF SAUCEBOATS. ANTONIO MARTÍNEZ, “PLATERÍAS MARTÍNEZ”, MADRID, 17...

Pair of silver sauce boats. Antonio Martínez, Platerías Martínez, Madrid, 1797. Pair of cup-shaped sauce boats with a strong influence of contemporary French and English silverware. Both the handles and the decorative motifs they present (plant elements, birds holding laurel garlands, etc.) are the characteristics of Neoclassical silverware. Platerías Martínez, founded by Antonio Martínez with the support of Carlos III, were one of the most important creative centers in Spain in their time. Weight: 160 grams.

· Size: 16x10x14 cms
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6597
SILVER CANDLESTICK OR CANDLE HOLDER. FRANCESC P. ARQUER, BARCELONA, SP...

almatoria. Silver. Francesc P. Arquer, Barcelona, around 1825. With contrast and burilar marks. Silver candlestick in its color with a bowl raised on two small legs and a flat handle (curved towards the end, the area in which the third leg is located), decorated with a series of plant elements and details common in Neoclassicism in light relief (string of pearls, etc.) The piece has some chipping marks and others of contrast. These seconds link the piece with Barcelona silversmithing, placing it in the workshop of Francesc Arquer, and in the 19th century. Weight: 158 grams.

· Size: 29x9x7 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6732