Z. Sierra · Antiques and Decorative Objects

Results 73 to 96 of 1513

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SET OF TWO ORIENTAL APOTHECARY CABINETS. WOOD, METAL. POSSIBLY CHINA, ...

Pair of oriental pharmacy furniture. Carved and polychrome wood. Possibly China, 19th century. Both practically the same, they present an upper space enhanced with simple openwork geometric compositions and a railing in the lower area; The body has a series of small drawers with handles (a total of forty-two), and three wider ones below; The lower area shows two carved plant elements. This type of furniture was used (and is still the custom today) in pharmacies and Chinese medicine establishments of some importance.

· Size: 202x33,5x63 cms.
DECORATION
FURNITURE;ORIENTAL

Ref.: XZ034
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WALNUT TABLE FOR BARGUEÑO DESK, 17TH CENTURY.

Boat table in walnut wood, 17th century. Turned legs joined with double chamfers are secured to the table plank with curved wrought iron fasteners. This type of furniture was made to hold and display bins or desks, being utilitarian objects that, however, were frequently decorated in a moderate way so as not to take away the prominence of the piece they supported. In the present case, the movement for which Baroque art is known can be seen in the legs and pawls.

· Size: 106x38x82 cms.
ANTIQUES
FURNITURE

Ref.: Z6293
SILVER DESK WRITING SET. MADRID, SPAIN, PLATERÍAS MARTÍNEZ, 1819. WITH...

Writing desk with four inkwells and a bell. Silver. Madrid, Platerías Martínez, 1819. With contrast markings. Silver writing desk in its color composed of a rectangular tray (raised on four claw-shaped legs and with smoothed corners), four containers (two with holes in the lids, two without) and a bell in the center. Both the decorative elements (very few in number) and the lines of the different elements respond to a clear influence of European Neoclassicist models. Contrast markings can be found on the bases of all four vessels and on the tray. These link the piece with the city of Madrid and with what is known as Platerías Martínez. The Royal Silver Factory of Martínez was founded in 1778, and marked the introduction in Spain of the industrial manufacturing method in the field of silver work and of neoclassical aesthetics in Spanish silversmithing. Likewise, it was one of the most important silversmithing centers in the history of Spain, and was characterized by the originality of its designs and the perfect finish of its pieces. Compare, for example, with the pieces preserved in the Madrid History Museum, although models similar to the present one are found in private collections. Weight: 2,239 grams.

· Size: 29x24x15 cms
ANTIQUES

Ref.: ZF0678
BRASS SUNDIAL-COMPASS. BUTTERFIELD, MICHAEL (1635-1724). PARIS, CIRCA ...

Compass with pocket sundial, with case. Bronze. BUTTERFIELD, Michael (1635-1724). Paris, circa 1700. Pocket sundial made of engraved metal, with a gnomon in the shape of a bird with a triangle with an engraved tree, and a compass with a dark metal needle; In this area, “Butterfield AParis 43” is also engraved. On the back, the latitudes of several cities have been engraved (Madrid, Paris, Barcelona, etc.), and a decorative architectural element has been placed in the center of the piece. The case, adapted to the piece, has an upholstered interior to better protect it. Michael Butterfield was a mathematician who made measuring instruments based in Paris from the last quarter of the 17th century who continued working until the beginning of the 18th century. Although he was of English origin, he collaborated with the Royal Academy of Sciences in the French capital and worked as an engineer at the court of Louis XIV. It is known that he opened a shop in Saint-Germain in 1677, from which he sold sundials. Similar silver model auctioned at Christies London on November 17, 2009. Lot 106

· Size: 7,5x6,5x1 cms / Estuche 8,5x7,5x2 cms
ANTIQUES

Ref.: ZE313
SILVER CEREMONIAL CUP. SPAIN,16TH CENTURY.

Catavinos or scrapie. Silver in its color. Spain, 16th century. With contrast marks, Illegible. Cup without stem or handles, made of silver in color and with a circular base, a curved edge towards the outside and a concave center upwards on the inside, which presents an embossed decoration based on plant elements (flowers on the edge, different ones towards the center around a central floral motif and alternating with rectangular motifs), veneered shapes (interspersed with flowers on the edge) and a small band of stars towards the edge of the piece. At this end, it presents a partially frustrated contrast mark, in which the letters “AIEB” can still be read followed by a rectangular motif located vertically. This type of drinking glasses, sometimes also known as bernegales, 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. 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: 16x16x2 cms.
ANTIQUES

Ref.: ZF0957
PAIR OF SILVER CANDLE HOLDERS. ASPIAZU, NICOLÁS. SAN SEBASTIÁN, SPAIN,...

Pair of candlesticks. Silver in its color. ASPIAZU, Nicolás. San Sebastián, Spain, towards the end of the 18th century. With hallmarks and initials. Pair of silver candlesticks in their color with bases with a curved profile, combining different lines and reminiscent of Rococo models, and a balustraded axis with moldings and a polygonal section, which extends into the lighter. One of them has engraved initials towards the base of the shaft. On both pieces, on the edge of the base, you can see the contrast mark accompanied by the engraved initials M and Jo. The silversmith Nicolás Aspiazu was active in the city of San Sebastián towards the end of the 18th century and the beginning of the 19th century. Weight: 1,250 grams.

· Size: 13,5x13,5x25 cms.
ANTIQUES

Ref.: ZF1165
SWISS GOLD MUSICAL FOB SEAL. CIRCA 1820

Music box pendant. Gold. Switzerland, around 1820. Pendant made of gold alloys with different metals to give it different tones that presents a piece at the top (which winds the mechanism of the music box), an arc ending in two ram's heads located facing each other with respect to an acorn and on an oval base (which contains the mechanism), decorated on the outside with a band of plant elements. Known as chain seals due to their shape, many are not really seals, but rather pieces designed to look like one and hide a series of curious mechanisms, whether flat figures, automata or music boxes. These types of pieces have been seen accompanying pocket watches and also on chains, worn around the neck or attached to the waist. Highly appreciated by private collectors, these types of pieces can also be found in decorative arts museums around the world (Victoria and Albert Museum, etc.) Weight: 21 grams.

· Size: 3x2.5x4.5 cms.
ANTIQUES

Ref.: ZF0832
SQUARE PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Square table top. Marbles and hard stones. Inspired by Italian models from the 16th-17th centuries. A pearl necklace with a bow has been placed in the center of the board, on a black background. It is surrounded by an area of plant scrolls, flowers and perched birds framed with a band of simplified scrolls. On the outside, eight fish facing each other with a ball and a crown have been placed in the corners, placed on an architectural motif, visually united by vegetal scrolls. This inlay, called “hard stone work”, which uses colored marbles and stones with a hardness greater than 6 on the Mohs scale, emerged in Florence, thanks to the attempt of Piero de Medici and Lorenzo the Magnificent to revitalize and update a technique mosaic called “opus sectile” used in Ancient Rome. It had such a success in the European courts that, since the 17th century, a series of workshops were created following its example, among which we must highlight the Gobelin Factory in France, the Royal Workshop of Naples and the one established by Charles III in the Royal Site of El Buen Retiro in Madrid, which continued in operation until the beginning of the 19th century. Stylistically, they began with a striking variety of motifs, but, from around 1600, naturalistic ones were generally preferred (flowers, fruits, butterflies, birds...). Table tops, plates, desks, vases, etc. were made with this technique, always for the high aristocracy and royalty due to the very high prices of these works, due to the high specialization required since, very often, it had to be imported. the raw material (lapis lazuli, agates, Belgian black marble used to be for the backgrounds...). The present example is heir to this important tradition, whose influence is demonstrated by comparing it with works such as those of the Opificio delle Pietre Dure in Florence, the Roman panel from towards the end of the 16th century (inventory 62,259) in the Metropolitan Museum of New York, or the one made in Naples by Francesco Ghinghi around the middle of the 18th century (inventory O00511) preserved in the Prado Museum in Madrid.

· Size: 90x90 cms.
DECORATION

Ref.: AWST99 9...
DIAL WITH COMPASS. BRONZE. BION, NICOLAS. PARIS, FRANCE, 18TH CENTURY.

Sundial with compass and case. Bronze. BION, Nicolás. Paris, 18th century. Polygonal sundial with bird-shaped gnomon and engraved triangular piece, which presents, to one side, a compass with a needle with triangular ends. The name of the author and place where the work was made are found right next to it, surrounding a plant decoration. On the back, a series of cities with their corresponding latitudes have been engraved, both in the circular shape and on the sides of a fixed decorative element. It comes with a polygonal case. Nicolas Brion was a French engineer, and a similar piece is kept in the National Maritime Museum in London.

· Size: 6,5x7,5x1 cm Estuche 7,5x9x2 cms
ANTIQUES

Ref.: ZE312
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PAIR OF NAPOLEON III PERIOD CANDLESTICKS OR CANDELABRA. WHITE MARBLE, ...

Pair of candelabras. Gilded bronze, white marble. Around the time of Napoleon III, France. Pair of two-light candelabras with a white marble base and gilt bronze details made in gilt bronze that each show a semi-naked Cupid or little angel with his body adorned with two garlands of roses and holding a large stem that divides into two and it is decorated with leaves and topped with two large roses, which serve as a base for the candles. The pedestals have a circular base of gilt bronze with disc legs on which a disc of greater diameter and lower height than the next has been placed, thus creating two levels, enhanced with a band of pearls and a garland of laurels. Stylistically speaking, they resemble French examples from the Napoleon III period inspired by the Louis XVI style that are known to be preserved in foreign private collections. The style known as Second Empire or Napoleon III in France was a very eclectic one in terms of decorative arts, as it was inspired by a large number of styles from the past of this school, sometimes combining the use of modern materials at that time. . It flourished in the country during the reign of Napoleon III (1852-1871), and had a great influence in both Europe and North America. The one known as the Louis XVI style was one inspired by classical antiquity, nature and the Louis XIV style.

· Size: 23x10x33 cms
ANTIQUES

Ref.: ZF0788
SILVER CLARET JUG. ANSELMO PRIOR AND MASON. VITORIA, SPAIN, 1816-1846.

Jug. Silver. Anselmo Prior and Mason. Vitoria, Spain, between 1816 and 1846. With contrast markings. Silver jug in its color with a square base that serves as support for the circular foot decorated with a band of eggs and ending in a gallon shape, which gives way to the oval body, engraved with architectural, plant and animal elements; practically tubular neck with band of egg motifs and another at the top of architectural elements, and soft peak; It covers with a swan, and the handle presents a Medusa head in the area where it joins the body, a series of bands of architectural motifs and, creating a curve and towards the mouth, a two-headed snake that seems to intend to attack the bird. Typologically, the jug clearly responds to 19th century neoclassical models both in its lines and in some of its decorative elements (some close to the French school and others more common in the English school), adding to this base some detail more common in Spanish works. . The contrast marks, located at the base of the piece, link its creation in Vitoria, with the faithful contrast called Maison (act. 18th-19th centuries, surely as a faithful contrast in the 19th century) and the silversmith surnamed Prior. Anselmo Prior was a master dated between 1816 and 1846. There is evidence of a head reliquary marked by both of the Eleven Thousand Virgins in the parish church of Alegría (Álava, Spain). Weight: 992 grams.

· Size: 15x12x30 cms
ANTIQUES

Ref.: ZF1042
GILT BRONZE PAX BOARD. POSSIBLY ROME, LAST THIRD 16TH CENTURY-FIRST TH...

Peacekeeper, Mercy. Gilded bronze. Possibly Rome, last third of the 16th century-first quarter of the 17th century, following the model of Michelangelo Buonarroti. Gilded bronze plate with a handle on the back in the shape of that attached to an ele piece decorated with plant elements, which has reliefs on the front. The architectural framework has two curved pediments as a crown between which God the Father appears blessing, a series of motifs around the central theme and a flat base with fine moldings on which a winged angel head appears. That central motif is an image of the Virgin Mary with the dead Christ supported by two angels, which closely follows a drawing attributed to Michelangelo Buonarrotti dated between 1538 and 1544 and preserved in Boston (Isabella Stewart Gardner Museum). It is necessary to remember that, by the middle of the 16th century, Michelangelo's Pietà to which we are referring was widely known thanks to drawings, reliefs, engravings, etc. Likewise, there is evidence of a bronze peace holder made with this image (it is considered that the one preserved in the Basilica della Santa Casa in Loreto would be the only known and dated example, in 1586), which would give rise to an outstanding production in Rome. from the end of the 16th century, full of outstanding foundry workshops, among which Jacopo (who worked with Michelangelo) and Ludovico Duca, linked to some of these peace holders, stand out. And it is also worth noting the similarity of the architectural composition of the present piece with the entrance to the façade of the church of Santa María de Trivio in Rome, a work by Jacopo del Duca carried out between the years 1573 and 1575. Compare the present piece with the gilt bronze peace holder from the Bernard d'Agesci Museum in Niort, France (inventory 914.1.94), with another associated with the circle of Stefano Maderno preserved in a private collection (handle different from this one), with the one mentioned from Loreto and with another, with openwork exterior decorative elements, also in a private Italian collection.

· Size: 11x5x17 cms.
ANTIQUES

Ref.: ZF1166
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RELIQUARY PENDANT. BRONZE, ENAMEL. 17TH

Reliquary pendant with cross of Saint Dominic. Gilt bronze, enamels. XVII century. Octagonal-shaped gilded bronze pendant with openings on the two smaller fronts and in the central part, decorated on the outside with smooth stepped moldings and, on the front parts, with the black and white cross with flordelised ends of the Order of Preachers (Saint Domingo) and, on the other hand, only the gold. When opening in the central part, a protected image of a Dominican saint is discovered with its corresponding relic highlighted in an oval at the bottom. Reliquaries or devotional pendants with opening have been preserved since Byzantine times, being usually in the shape of a cross or a book. Later, we have an example such as the book-shaped pendant from around 1600 from the Courtauld Gallery in London, with painted glass panels on a gilded silver frame; The most striking works are the Spanish pendant from around 1550-1600 from the British Museum in London (WB. 183); others are somewhat simpler, such as those made of silver that contain miniature carvings of religious scenes (Museo del Traje, Madrid) in oval, circular, square, etc. shapes; and devotional medals without an easily visible opening that contain relics inside. The present example would have surely been used by an important position within the Order of Preachers both for the material and for the fact that it contains a relic with an image of the saint, and we must not forget its connection with the Inquisition in Spain. Weight: 80 grams.

· Size: 5x2x6.5 cms.
ANTIQUES

Ref.: ZF0817
DANCER WITH SNAKE OR CLEOPATRA. BRONZE, MARBLE. DEVENET,

Dancer with snake or Cleopatra. Bronze, marble. DEVENET, Claude-Marie (1851-Paris, 1931), around 1925. With brand. Bronze figure on a pyramidal pedestal of veined stone that shows a young woman in exotic clothing, squatting, with a snake in her hands. Stylistically, it presents details that allow it to be considered within the Art Deco style and, as for the theme, there are known pieces in which she appears as a dancer and others that link the scene with the death of Cleopatra at the hands of the asp. A disciple of Auguste Dumond at the School of Fine Arts in Paris, Claude-Marie Devenet obtained a Third Class Medal at the Salon of 1882, and a Bronze at the Paris Universal Exhibition of 1900. Weight: 3.4 kg.

· Size: 10x8x32 cms.
ANTIQUES

Ref.: ZF1194
CENTERPIECE. ORMOLU, MARBLE. FRANCE, LATE 19TH CENTURY

Centerpiece. Gilded bronze, marble. France, late 19th century Centerpiece or planter that has a globular body carved in veined marble in pink tones (of a type similar to a very popular one often used in works of the French school during the Rococo of the 18th century) and some mercury-gilded marble highlights . These are decorated with lion's claws on the legs, simple architectural moldings and masks with vegetal elements (feminine and monstrous, alternating), and an edge that extends towards the interior area of the pieces creating like two wings or handles, decorated with plant and architectural elements (volutes, flowers, bows, leaves, etc.) both outside and inside this area, leaving what would be the internal area of the marble pieces smooth. The classicist inspiration of the decorative elements of the couple is common in works of the French school since the 18th century. Some details (for example, the claws serving as finials on the legs) are seen in Louis XIV style centerpieces dated to that century, while other elements are more often seen in Louis XVI style works (one of the main elements of the Neoclassical style). There is only one piece known to be preserved in a private collection in the United States of America. Weight: 16kg

· Size: 37x27x23 cms
ANTIQUES

Ref.: ZF1064A
SILVER JAR OR JUG. MADRID, SPAIN, 1803.

Jug. Silver. Madrid, Spain, 1803. With contrast markings. Published Encyclopedia of Spanish and Viceregal American silver. Bibliography: Fernández, Alejando; Munoa, Rafael; Rabasco, Jorge. “Encyclopedia of Spanish and American Viceregal Silver.” Second edition, corrected and increased. Torreangulo Graphic Art, Madrid, 1985. Page 361, image 671. Jug with a molded circular foot and semi-ovate belly on which, by means of a band, rises a neck with a concave profile. The mouth, with a sinuous layout, is highlighted with another fine smooth molding and is warped at the front; It is covered with a capper or lid that follows the same lines and has been finished with a frog. The handle has a broken line, ends in vegetal motifs and has been highlighted with a wide, smooth band or molding towards the center of it. The present jug can be included within a group that is inspired by a model of European tradition brought to Spain and spread, at first, by Platerías Martínez (compare, noting similarities and differences, with the silver jug in its color marked in 1806 from the Royal Silver Factory of Madrid of the National Archaeological Museum, also finished with a frog on the lid; or with a jug from Barcelona dated around 1810, preserved in the National Museum of Decorative Arts in Madrid). In 18th century Spain, it was the capital that set the standard in silversmithing: baroque, rococo and neoclassical styles coexisted, but the first trend was soon abandoned, replaced by the second that was introduced around 1740, with Neoclassicism appearing approximately in 1770 and gradually imposing itself since 1780. The contrast marks it presents are those of the Villa and Court of Madrid, which, in addition, allow the piece to be dated. Weight: 1,100 grams.

· Size: 16x12x30 cms.
ANTIQUES

Ref.: ZF1015
SILVER SPICES BOX. LIZASOAÍN. SPAIN, MADRID, 1768.

Salt shaker or spice shaker. Silver. LIZASOAÍN. Spain, Madrid, 1768. With contrast markings. Silver spice rack in its color with a truncated conical body, a sinuous lower edge that rests on volute legs, a hemispherical bowl without divisions, a domed lid (with lines creating segments), and decorated with vegetal and architectural elements of high relief. Typologically, it is a spice rack belonging to a somewhat peculiar tradition or model, common in Córdoba and Madrid but also present in Gerona, Antequera, etc. The contrast marks place its creation in 1768, in Madrid, and by the hand of a silversmith named Lizasoaín. Although three teachers are known with this surname, the most prominent in his time, both for his work and for his contemporaries, was Miguel Antonio Lizasoaín, a Navarrese active between 1735 and 1779, the year of his death, in the Spanish capital. . Weight: 300 grams.

· Size: 9x6.5x8 cms.
ANTIQUES

Ref.: ZF1018
CARVED WOOD HELM. 18-19TH CENTURIES

Eastern ship rudder, late 18th - early 19th century. Carved wood and brass. Eastern ship rudder of English influence, made of brass and high-quality carved wood. The top of the rudder is worked in a round shape, taking the shape of the head of a greyhound with stylized features. The greyhound is a typical motif of the English decorative arts of the time, but its essential, elongated treatment with sinuous lines reminds us that we are looking at a piece of oriental workmanship. In fact, the central area of the rudder appears completely carved with the figure of a dragon coiled around the mast. This mythical animal represents the power of change of nature, the Tao, in addition to the concept of yang (masculine), and is related to time as the propitiator of rain and water. Likewise, it is often used as a national symbol of China, and in fact appeared on the national flag until the end of the Qing dynasty. Here it is represented with great attention to detail, evidencing a virtuosity typical of oriental ornamental sculpture: we see each of the dragon's scales, and even the ripples of the water under its body, the leaves among which it swims... The lower third of the rudder appears almost completely de-ornamented, showing a smooth, slightly curved profile. At its end it is decorated with a simple recessed carving, with a geometric motif on two planes.

· Size: 10x10x160 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5907
SILVER JAR OR JUG. SELLÁN, JUAN. MADRID, 1847.

Jug. Silver. SELLÁN, Juan. Madrid, 1847. With contrast markings. Silver jug in its color that has a flat handle with decoration of simple openwork plant elements between two smooth bands and a shape raised upwards, a large mouth extended forward, and a body with different lines and decorations organized in three registers, and a circular foot with a band of architectural motifs. These three registers are organized: a smooth area facing upwards, followed by a grooved part and another galloned part. Both the decoration and the lines of the jug show a clear classicist influence. It has engraved initials of belonging (FAL). The contrast marks are those of Villa y Corte de Madrid (they also provide the date) and that of the silversmith Juan Sellán, trained at the Royal Silver Factory of Martínez since 1821 and incorporated into the College of Silversmiths since 1842, the year in which they are dated. his first known works. The present model can be found with slight variations in the production of the Real Fábrica de Platerías Martínez in Madrid, and was later taken up by Juan Sellán. Weight: 1108 grams.

· Size: 18x12x33 cms.
ANTIQUES

Ref.: ZF1013
WOODEN EASEL, 19TH CENTURY.

Easel lectern, 19th century. Magnificent carved wooden easel decorated, at the top, with a crest of plant motifs framed by a curved pediment and simple motifs on the sides. The support for the canvas or paper is provided thanks to a horizontal crossbar and two moldings with plant motifs, which also have plant decorations, like the molding located in this area. The legs have ornaments of the same type, but much flatter. In the 19th century, the mixture of styles presented in this work was very common: the upper finish is reminiscent of Rococo works, while the sides can be more related to the Renaissance.

· Size: 60x80x225 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZA4942
LOUIS XV STYLE SIDE TABLE WITH BRONZE AND MARQUETRY WORK.

Louis XV style bedside table with bronze decoration and marquetry. The four cabriole legs have been joined at the bottom with a square shelf with concave edges and have been decorated with gilded bronze plant elements, as has the waist of the table. The upper board, round with straight extensions, shows scrolls with leaves and flowers in inlay. Both the curves of the profile and the bronzes have been inspired by examples of the Louis XV style.

· Size: 59x59x77 cms.
DECORATION
FURNITURE;CLASSIC

Ref.: E553
PORCELAIN VASE WITH TWO HANDPAINTED SCENES. AFTER MODELS FROM THE MANU...

Enameled porcelain vase with interior scene. Inspired by Sèvres models The play of tones between the enamel of the vase and the gold appliqués gives all the prominence to the two scenes on its fronts. These show two interiors of a house belonging to a rich bourgeois family in the way in which these works were made towards the beginning of the 19th century. The classicist elements that decorate the work relate it to works from the same century at the Manufacture Nationale de Sèvres (France).

· Size: 30x25x79 cms.
DECORATION
PORCELAIN

Ref.: S2552
ALLEGORY OF TIME. OIL ON BOARD. CIRCLE OF JACOB DE BACKER (ACT. 1571-1...

Allegory of Time. Oil on panel. Circle of Jacob de Backer (act. Antwerp, 1571-1585). Exhibition: “Reality, time and artifice. Still life and vanitas in baroque culture” (October 21, 2021 to January 30, 2022), Caja de Burgos Foundation, Cultural Cordón (Palacio de los Condestables de Castilla), Burgos. Bibliography: brochure and catalog of the aforementioned exhibition. Oil on panel showing, in the foreground, a naked child figure and a scene in the background to the right, with a landscape of trees and rocks only partially visible. The child is sitting on a pedestal, protected with a cloth, and carries a branch in his right arm, which is resting on an hourglass; rests his right foot on a skull; The left arm is held outstretched, leading the viewer's gaze towards the scene. This has Christ silhouetted on a rocky form, semi-naked and with a nimbus; Below, several male characters appear (some reclining, others barely visible), among which the one standing with his back to the viewer stands out, a soldier who covers his face with his own shield. Both the hourglass and the skull are common elements in allegories related to the passage of time since the Renaissance, usually reinforced with some Christian scene or allusion (here, the Resurrection to the right). Thus, the meaning provided would be very close to a very common and well-known genre of the Baroque such as the “Memento Mori” (remember that you are going to die), shown both in the form of allegories and still lifes. Compare the child figure with the Saint John from “Madonna with Child and Saint John” from the Kunsthistorisches Museum in Vienna, dated between 1590 and 1600, to see similarities and differences. Also the figure of the Risen Christ with the engraving by Hieronymus Wierix after Jacob de Backer that was published by Hans van Luck around 1580-1590 (British Museum, London). Jacob de Backer or Jacques de Backer was a Flemish painter active in Antwerp between 1571 and 1585, who is believed to have trained with Antonio van Palermo and Hendrik van Steenwijk and who shows a marked influence of Vasari's High Mannerism, despite not having traveled to Italy. Despite the little that is known about his life, the engravings that emerged from his works always stand out, production that was focused on religious matters and allegories. His work is preserved in institutions such as the Museo di Capodimonte in Naples, the Hermitage Museum, the Royal Monastery of El Escorial (Madrid, Spain), the Getty Center (Los Angeles, USA), the Leuven Museum (Belgium), the Museum of Fine Arts. of Houston (Texas, USA), National Museum of Warsaw (Poland), etc., and some notable private collections.

· Size: 57x6x73 cms.int; 43x57 cms.
ANTIQUES

Ref.: ZE364
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

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