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HENRI II STYLE PENDULUM CLOCK, 19TH CENTURY.

“Henri II” style wall clock, 19th century. The white dial features Arabic numerals and is protected by glass. The clock case, made of carved wood, displays a decoration based on architectural elements (diamond points, columns, vases, etc.) and leaves a rectangular space decorated in dark wood with putti and vegetal motifs. This space contains a recess to reveal the pendulum, which is highlighted by a gilded metal ornament. The Henry II style was the name given to an artistic style that emerged in 19th-century France, inspired by the French Renaissance. It produced a series of furniture pieces with the type of decoration seen in this work. It was so successful that it was revived in the Neo-Renaissance style, which lasted well into the 20th century.

· Size: 45x23x130 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: Z0484
POCKET CLOCK, JAQS BLANC. GOLD, ENAMEL, ETC. POSSIBLY CIRCA LATE 18TH ...

Pocket watch, Jaqs Blanc. Gold, enamel, etc. Possibly towards the end of the 18th century. Pocket watch with a white dial and Arabic numerals for the hours and lines and Arabic numerals every fifteen units for the minutes, with a decorated movement engraved with a serial number and the words Mavit and Jaqs Blanc. The case that contains and decorates it features, on the back, an architectural decoration of clear classical influence.

· Size: 6x5x1.5 cms
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: ZE328
SILVER AND GILT SILVER PYX. 16TH CENTURY.

Cast and chased silver pyx. Spain, towards the end of the 16th century. A cylindrical box with a molded base beneath a wide frieze featuring interlaced bands and simplified vegetal motifs. The molded lid is decorated with bands forming figure-eight patterns alternating with flowers and fleur-de-lis motifs, topped with a small cone adorned with a pearl. Above this rises a three-nailed Crucifix, draped with a loincloth around the knees and accompanied by a cartouche. Judging by the gilding on the interior, this standless pyx would have been used to hold the Sacred Hosts, perhaps in the tabernacle of a church. The decorative elements of the piece and the figure of Christ at the top reflect Renaissance influence, but also show Gothic reminiscences. The Renaissance appears in Castilian silversmithing shortly before 1520, and it is only from the end of Philip III's reign that the term Baroque is generally used. In the Crown of Aragon, the political and economic decline of the region led to a significant decrease in both the quantity and quality of production, with the notable exception of Aragon and, above all, Zaragoza, which subsequently reached unparalleled splendor. Something similar occurs with the form: while there are similar examples during the Gothic period (a pyx by Diego de Abanza or one of his sons, made in Burgos towards the end of the 15th century and preserved in the Diocesan Museum of Sigüenza, Guadalajara), this typology would persist even into the Baroque period with numerous variations. Compare it with works such as a pyx in the Museum of Málaga (BA/CE00305), with a similar lid and decoration, or, above all, with the one in the Ángel Quílez collection (inventory CAQ-47) of the future Museum of Alcáñiz (Teruel), with a similar profile and decoration, both from the end of the 16th century. And note the difference with, for example, the Castilian from the last third of the century preserved in the National Museum of Decorative Arts (CE19659) or that of Juan de Bendígar from the Lázaro Galdiano Museum (inventory 02165) from the second third of the century, with a greater Renaissance influence. Weight: 176 gr.

· Size: 10x10x9,5 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZA5725
SILVER CHEST, AFTER 17TH CENTURY MODELS. POSSIBLY, 20TH CENTURY.

Small casket inspired by 17th-century models. Silver. Spain, 20th century. A rectangular casket made of silver in its natural color, with four scroll-shaped legs at the corners, each ending in a claw. The front is decorated with moldings, bands, and motifs within rectangles (yokes, a bundle of arrows, a crowned letter "f" between two pomegranates, and a crowned letter "y" between two pomegranates), clearly alluding to the Catholic Monarchs. The stepped lid features a composition of volutes, architectural elements, and vegetal motifs on a background with a stippled finish, and is topped with a small rectangular "diamond." It closes with a pin and chain at the front. Compare, for example, with the 17th-century silver casket in the museum of the Monastery of Santa María de la Caridad in Tudela, or with the so-called Casket of the Holy Martyrs from the parish church of Santa María de Manlleu, now in the Episcopal Museum of Vic. Weight: 526 grams.

· Size: 16x11x11 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE280
DIAL AND COMPASS. BRONZE.SCHRETTEGGER, JOHAN. AUGSBURG, GERMANY, CIRCA...

Sundial and compass with case. Bronze. SCHRETTEGGER, Johan. Augsburg, Germany, circa 1800. A polygonal bronze sundial, engraved with plant motifs on the front, arranged around a central compass. The reverse is engraved with the artist's name and the place of creation. The sundial is accompanied by a polygonal case with a flap closure and a fabric lining. Johan Schrettegger (1797-1843), son of Andreas Vogler, worked in that German city, creating pieces such as this one.

· Size: 6 x 5,5 x 1,5 cm/ Estuche:7x6,5x2 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE311
SHEPHERD’S BOX. ANTLER OR HORN. SPAIN, 1822.

Shepherd's box. Carved horn. Spain, 1822. Rectangular box made of carved horn that has a date (1822) engraved on the lid and front, a legend (I am from Manuel Zulueta year of 1822) and an engraved decoration based on geometric, vegetal, figurative and heraldic elements. The base of the piece features a banded frame that highlights a composition of birds and animals accompanied by simple stems and flowers. The lid has interlaced bands with circles of varying sizes and, in the center, a crowned heraldic shield flanked by two flags, quartered with three-towered castles and crowned rampant lions; below this central element, the aforementioned date appears again. Note that it differs from the coat of arms of Castile (the one used by the kings of Castile from 1230) in the position of the different elements within the quartering.

· Size: 8x5x2 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0730
CAPITAL. GRANITE. SPAIN, 15TH CENTURY.

Capital. Carved granite. Spain, 15th century. Circular base capital made of carved granite that has a polygonal shape enhanced with moldings, following forms that still retain a memory of Gothic works but already with a notable cleanliness of lines.

· Size: 60x60x64 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0777
PAIR OF CANDLE HOLDERS. METAL, ENAMEL. LIMOGES, FRANCE, 19TH CENTURY.

Pair of candlesticks. Metal, enamel. Limoges, France, 19th century. They have faults. A pair of metal candlesticks decorated with polychrome enamel on the exterior, each with an octagonal base that begins with a step and rises gently to the central axis. This axis features discs and moldings interspersed with vase-like forms, culminating in tubular wicks with flared mouths set within a smooth molding. Throughout the pieces, there are relief vegetal decorations of clear classical influence, interspersed with grisaille medallions of male profiles at the top and roundels at the base. Additionally, scrolls and vegetal, geometric, and architectural motifs in a gilded tone can be seen, rendered in low relief. The tondos at the base display a crowned heraldic shield supported by two quadrupeds, and three-quarter-length figurative elements, identified with the Latin name of the represented figure. Thus, we see “Cephale,” “Lavrore,” and “Adonis.” In Greek mythology, Cephalus was the lover of Eos, goddess of the dawn, condemned by Aphrodite to love only mortals. Adonis was also a lover of Aphrodite, eternally young, and symbolized death and the annual renewal of vegetation, his nature tied to the calendar. This pair of candlesticks is closely inspired by a candlestick that the Louvre Museum in Paris (where it is kept, inventory RFML.OA.2022.2.7) considers to have been made in the mid-16th century in Paris or Sèvres (France) and tentatively attributed to the enamel master Julien Robillard (active around 1850-1880). The inspiration from Italian Renaissance models and motifs is clear.

· Size: 12,5x12,5x15,5 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1328
PORCELAIN SWEET MEAT DISHES.MEISSEN, LATE 19TH CENTURY.

Pair of figurine jam trays. Glazed porcelain. Meissen, late 19th century. With marks and inscriptions on the bases. Some damage. A pair of trays for confectionery (candied fruits, chocolates, etc.) made of glazed porcelain and decorated, both with a base featuring elements clearly reminiscent of the Rococo style and a reclining figure dressed in the European 18th century, seemingly holding the elongated trays. The trays are decorated with painted flowers on the inside and similar motifs in relief on the outside, as well as a gilded rim. Both the young man and the lady are depicted with somewhat disheveled clothing, revealing part of their chests. The Meissen marks (two crossed swords in blue) that appear on the bases of both figures are believed to be those used by the factory between 1815 and 1924. The lady's figure also has a number in red ink (24) and other inscriptions (2858, which would be the model; 21 and 73). The man's figure has what appears to be a 21 in ink, and other inscriptions (2863 would be the model; the other could be 72). Experts date both figures to the late 19th century.

· Size: 30x20x20 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF1463
GILT BRONZE CANDELABRA PAIR. 19TH CENTURY, AFTER FRENCH MODELS.

Pair of candlesticks. Gilt bronze. 19th century, following French models. It is missing. Pair of gilt bronze candelabra with bases featuring architectural and vegetal elements clearly influenced by the Rococo style. The stems are decorated with human figures derived from classical mythological models, arranged in a spiral reminiscent of Italian Baroque works (Bacchanalia). The arms feature vegetal motifs typical of 19th-century French school pieces. Each arm terminates in a more or less flat surface decorated with vegetal elements, from which a candle holder emerges (some candle ornaments are missing), providing a total of six lights per candelabra. Weight: 14.4 kg.

· Size: 30x20x61 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1519
WROUGHT IRON KITCHEN “LLAR” (POT HOLDER), 16TH CENTURY.

wrought iron kitchen hearth, 16th century. A kitchen hearth with three hooks joined by a horizontal crossbar, decorated with engraved rings and square and rectangular bars, some of which have twisted. The preservation of this type of utilitarian item is quite unusual despite its abundance, due to its frequent replacement. Similar pieces have been made in all artistic styles, as it was used to hold the cauldron over the fire.

· Size: 79x200 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z3829
THREE RECTANGULAR PANELS WITH RELIGIOUS FIGURES AND PUTTI, RENAISSANCE...

Three rectangular panels with reliefs in carved wood. 16th century. All three feature figurative decorative motifs arranged within rectangles defined by plain moldings: the longest has three (the side ones show two seated children flanking a shield and holding knotted cloths, while the central one depicts Saint Matthew and Saint John writing, identifiable by their Tetramorph symbols); the shorter ones show two figures from the Church (Fathers, Prophets). Stylistically, they reflect the characteristics of Renaissance art and would have formed part of the drawers of some piece of furniture.

· Size: 25x145; 25,5x144; 24,5x68,5 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z6581
PAIR OF TALL CANDELABRA OR CANDELABRUM, NEOGOTHIC STYLE. WROUGHT IRON....

Pair of Neo-Gothic style floor candelabras. Wrought iron. Spain, 20th century. A pair of wrought iron floor candelabras featuring a tripod base, a central shaft decorated with small discs and terminating in a circular plate, and a top section composed of three tiers of curved arms ending in floral motifs, the third being the tallest and ending in a spike. The set is inspired by 15th-century Spanish lighting fixtures, specifically pieces known as "florid" or "florid-style" candelabras, which predate the development of openwork plaques at the end of that century. Compare with antique examples held in prominent institutions such as the Museu del Cau Ferrat in Sitges, the National Museum of Decorative Arts (Madrid), etc.

· Size: 62x62x219 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0628
SILVER HEART SHAPED SPICES BOX. LÓPEZ PORTERO, MANUEL. SPAIN, GRANADA,...

Heart-shaped spice rack. Silver. LÓPEZ PORTERO, Manuel. Spain, Granada, 1870. With contrast and engraving marks. Silver spice rack in its natural color with a heart shape and a spout curved to one side, featuring two hinged lids and three interior spaces (partition at the top, not the bottom); it stands on three legs decorated with classicist elements and has, towards the side, a series of fine, smooth moldings. The hallmarks are those corresponding to Granada, the date, and the silversmith Manuel López Portero, who also worked as an assayer in the city. The shape of the piece does not follow the usual prototypes of the period or the school to which it belongs (a silver box in the shape of a heart is known, featuring an eagle with outstretched wings on its obverse and reverse, also by Manuel López Portero and dated 1773; this is the pyx of the parish church of the Incarnation in Laujar de Andarax). However, the decorative elements of the box can easily be classified as Neoclassical. Weight: 250 grams.

· Size: 10x11.5x4 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1019
IRON APOTHECARY MORTAR. 18TH-19TH CENTURIES.

Iron pharmacy mortar. 18th-19th centuries. Antique mortar used in pharmaceuticals, made of cast iron. It follows the typical structure for this type of utensil between the 15th and 19th centuries, with a truncated conical body with very thick walls, vertical ribs, and perpendicular protruding handles to facilitate gripping during use. In this case, it displays eight polylobed ribs and two large handles with finials in the shape of a child's head, indicating that it is a piece from the Baroque period or later, probably from the 18th or 19th centuries.

· Size: 40x31,5x26 cms. Mano: L. 40 cms
ANTIQUES
MISCELLANEUS;MORTARS

Ref.: ZF1242
SILVER INCENSE BOAT (NAVICULAE). SANZ DE VELASCO, JUAN ANTONIO. VALLAD...

Naveta. Silver. SANZ DE VELASCO, Juan Antonio. Valladolid, Spain, 18th century. With contrasting marks. It shows repairs at the base and losses in the cresting. Boat. Silver. SANZ DE VELASCO, Juan Antonio (1720-1778). Valladolid, Spain, 18th century. With hallmarks. Boat with a circular base raised towards the foot by a series of stepped moldings. Its body is decorated with a cresting on the rim and an engraved composition of vegetal elements and volutes (on a background of stippled luster, a finish also used in the decorative motifs), a gadrooned element on one side, and a volute at the opening end. The hallmarks on the base place the piece's manufacture in Valladolid (note that it is the so-called "cutting mark," which some experts date to before the appointment of Antonio González Téllez as a certified assayer). The other hallmark present is that of Juan Antonio Sanz de Velasco (1720-1778), who served as a certified assayer in the city between 1743 and 1774/8. Apart from other surviving works by the master (many in private Spanish collections), the silver altar frontal of the Virgin of Sagrario (Valladolid Cathedral) stands out. It was crafted by the Valladolid silversmiths Juan Antonio Sanz de Velasco and Miguel Fernández Yáñez de Vega, who completed in the last third of the 18th century a work begun in 1693 by the silversmith José de Aranda. The shape of the piece is typical of this type of vessel for storing incense (in fact, the name naveta comes from "nave," meaning ship) dating back to the Middle Ages (e.g., the naveta in the Chapel of the Constables in Burgos Cathedral by Juan de Valladolid, from the 15th century), with variations in form and decorative elements depending on its origin, style, etc. Compare this piece with works preserved, for example, in the Diocesan and Cathedral Museum of Valladolid, another from the Museum of Navarre originating in Mexico and dated between 1634 and 1666, another from the 18th century in silver in its natural color from the Cathedral of Tuy (with a very different base), etc. Weight: 348 grams.

· Size: 16x10x9,5 cms,
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z5448
GILT BRONZE AND WHITE MARBLE CLOCK GARNITURE IN LOUIS XVI STYLE, 19TH ...

Gilded bronze and white marble garniture in the Louis XVI style, 19th century. Composed of two vases on pedestals and a clock. The vases are identical: a polygonal base rests on four circular legs, supporting a low, fluted column decorated with two strings of pearls at its base. Above this is a tall-stemmed vase adorned with two handles shaped like plant stems. The clock sits on four legs, a semicircular base with a floral frieze, four columns, and another semicircular plaque. Distinguished by two intertwined flowering branches, it has a white dial with Arabic numerals, Louis XVI-style hands, and is topped by a vase. The clock's pendulum, shaped like a sun, emerges between the columns and decorative chains. The French style known as Louis XVI is characterized by its inspiration from classicism and spans approximately from 1760 to 1789. In the 19th century, numerous artistic movements from the past were revived, among which the aforementioned style stood out due to its inspiration, very much in line with the Neoclassicism of the time.

· Size: Reloj: 19x9x40 cms. Copas: 19x15x21 cms.
ANTIQUES
MISCELLANEUS;CLOCKS

Ref.: Z6190
DEVOTIONAL SILVER PENDANT. 17-18TH CENTURIES.

Reliquary cross. Silver, clear glass. 17th-18th century A devotional pendant made of silver in the shape of a Latin cross, decorated on the outside with simple scrolls, points, pearls, and other classically inspired elements, as well as a ring for wearing the piece around the neck. The front has seven oval openings (the one at the intersection of the arms being the largest) protected with clear glass; the back is smooth, with the silver in its natural color. Typologically, there are similar examples of Portuguese origin, made of rock crystal and protected by silver bands, without the scrolls and other decorations, dating from the 16th and 17th centuries, and preserved in private collections. The present jewel displays profiles with much more movement than these two, although the motifs and the simplicity of the lines reflect classical influences. These types of jewels held great value for their owners, both for the materials from which they were made and for their contents, considered sacred and protective. Despite this high value (or perhaps precisely because of it), few examples of good quality and in good condition have survived. Similar medallions to this one are found only in a few important institutions such as the Valencia de Don Juan Foundation in Madrid, the National Museum of Decorative Arts (Madrid), the Lázaro Galdiano Museum (Madrid), the Museum of Beliefs and Popular Religiosity of the Aragonese Pyrenees (Abizanda, Huesca), the Metropolitan Museum of Art (New York), and others. They are also found in prominent religious institutions such as the Cathedral of Santiago de Compostela and the Royal Convent of Las Descalzas Reales in Madrid.

· Size: 6,5x10 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF0190
CRUET SET. SILVER, GLASS. RENÉ-PIERRE FERRIER, PARIS, FRANCE, 1775.

Set of vinegar cruets. Silver and glass. René-Pierre Ferrier, Paris, 1775. With contrast markings. A set of cruets and saltines made of silver and clear glass, comprising two jugs with handles, elongated necks and spouts, and circular bases with faceted exteriors; an oval tray with two stands for the jugs and two more for the stoppers (decorated with leaves and fruit). The tray has four volute-shaped legs, a decoration that is repeated at its ends, and two architectural forms on the longer sides, precisely where the spice rack stands are located. The jug stands feature openwork decoration of architectural motifs framing baskets of grapes, vine leaves, and flowers. The hallmarks on the silver pieces identify it as a work by René-Pierre Ferrier (his hallmark is present), made in Paris between 1775 and 1776 (the crowned M; mark of “Maison Commune”) and with the corresponding taxes paid (the crowned A—this particular mark was used in Paris between 1775 and 1781—and the bull's head—identical to the previous one). René-Pierre Ferrier was a French silversmith whose mark appears to have been used on pieces from 1775, the year he achieved the rank of master. The shape of the tray is reminiscent of other works by the same silversmith dating from the end of the century, with a more pronounced "nave" or "ship" shape. The decorative elements reflect Neoclassicism, a very popular style in France at the time. Similar pieces can be found in some private collections and in institutions such as the Musée des Beaux-Arts de la Ville de Paris (Petit Palais), dated between 1783 and 1784 (inventory PPO2012), or in the Louvre Museum in Paris. Weight: 558 g silver / 1245 g with bottle.

· Size: 27x16x23 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF0344
CAPITAL. GRANITE. SPAIN, 16TH CENTURY.

Capital. Carved granite. Spain, 16th century. A capital for a circular column made of carved granite, featuring volutes inspired by classical Corinthian capitals (three in total) and a series of moldings. This type is common in Spanish Renaissance buildings, as can be seen by comparing it with the courtyard of the San Isidro Museum or the Origins of Madrid (Casa de los Vargas), the cloister of Santa María de Ferreira de Pantón (Lugo), etc.

· Size: 60x60x40 cms. diam. columna 35 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0755
WROUGHT IRON FIREDOG OR ANDIRON. 16TH CENTURY.

Morillo. Wrought iron. 16th century. A wrought iron hearth of the type commonly used for cooking in large hearths or fireplaces. It features a series of upward-facing hooks for holding spits when paired, and a semicircular "plate" for placing a pot or similar item. Compare with the one in the Metropolitan Museum.

· Size: 35x92x102 cm
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF0843
SILVER SHELL. GARCÍA REINA, MANUEL. TOLEDO, SPAIN, CIRCA 1730-1741

Baptismal shell. Silver in its natural color. GARCÍA REINA, Manuel. Toledo, Spain, circa 1730-1751. With contrast marks, it presents a deficiency. A shell crafted in silver in its natural color, featuring naturalistic details, and topped with a cartouche (containing an engraved element) and a simplified plant form on one side (the symmetrical version is missing). The hallmarks are located on what would be the "ears" or "little ears." A numerical mark is visible on the exterior. On the interior are the hallmarks that place the creation of the piece in the Spanish city of Toledo, when Diego Rodríguez de Lezama (or Lizana), whose mark is also found on the other ear, worked as a certified assayer. The third mark, located below the location mark, identifies the piece as being made by Manuel García Reina, who was born around 1706 in Colmenar Viejo and trained in Madrid with Juan López Sopuerta. He settled in Toledo around 1730, where he furthered his studies with Manuel Vargas Machuca, entering the Royal Academy of Fine Arts of San Eloy in 1733. He was an assimilator in 1747 and 1755, is known to have had a shop from at least 1743, and is documented until 1772. Diego Rodríguez de Lizana or de Lezana was born in Bargas (Toledo) and trained under Juan de Jarauta, joining the Guild of Saint Eligius of Toledo in 1699. He served as an approver for the guild in 1715 and 1718, and worked as an assayer from around 1730 until his death in 1751 or 1754. His works are preserved in San Pedro Mártir, the parish church of Miguelturra (Ciudad Real), the cathedral of Lleida, and elsewhere. His work is also found in Santo Domingo el Real, some cruets in the Santa Cruz Museum of Toledo, the parish church of Los Yébenes, and other locations. Weight: 98 grams.

· Size: 11x12x4 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1376
PAIR OF WALL BRACKETS. BRONZE, PORCELAIN. FRENCH SCHOOL, CIRCA LATE 19...

Pair of wall pedestals. Gilt bronze, porcelain. French school, towards the end of the 19th century. A pair of small wall-mounted shelves made of gilt bronze decorated with relief elements of clear classical inspiration (architectural motifs, scrolls, fluted moldings, garlands of roses, ribbons, etc.), following common trends in the 19th-century French school. Each shelf features three glazed porcelain plaques decorated in colors and forms typical of the Sèvres factory (Manufacture nationale de Sèvres): two with a medallion of flowers and a blue border (all four are different), and a larger one in the center with a medallion depicting a female portrait (both are different: one shows a young woman with a frame of gilt flowers; the other shows a lady with her hair covered and a plain gilt frame). Note that the backs of these medallions and plaques are unmarked and have some imperfections not visible on the front. As is typical of this type of decorative piece from the French school, other similar examples exist, varying in the porcelain medallions and the number of porcelain plaques on the bases. Weight: 1.87 kg and 1.86 kg.

· Size: 27x10x18,5 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF1524
POWDER HORN. SPAIN, 19TH CENTURY.

Powder flask. Engraved shaft, rope, cork. Spain, 19th century. A powder magazine made from a cow horn and decorated on the outside with a series of figurative, geometric, and vegetal engravings and inscriptions highlighted with dark or black ink or dye. The decoration is arranged in horizontal bands, with some elements highlighted by "frames" of crossed lines. Latin crosses, floral elements, a coiled snake, several human figures (note especially the male figures at the top, with firearms), quadrupeds, birds, fish, and inscriptions in capital letters (names such as Manuel, intertwined initials, etc.) are clearly visible. Also known as "cuernas" (horns), these types of vessels were usually made not by skilled and specialized workers, but by shepherds, cattle herders, and others, who decorated them with their own names, elements important to their region or to themselves, or motifs with a long tradition in a particular area. Compare this to the one by Pedro Doncel, dated 1855 and kept in the Olivenza Museum (Spain), or the one from 1883 in the Costume Museum of Madrid (Spain).

· Size: 27x8x7 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1286