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Pharmacy mortar. Bronze. Spain, 1816. A mortar with a flared mouth, decorated with ribs derived from pillars and a band in the upper area with an inscription (I am Don Juan Antonio Martínez, apothecary in Nabalmoral de Pusa / Year 1816); the handles have been lost. Navalmoral de Pusa is a municipality in Toledo that was united in the 19th century with Navalmoral de Toledo, giving rise to Los Navalmorales. The decoration of the piece follows the usual for this type of mortar from prominent pharmacies. Weight: 39 kg.
· Size: 30,4 x 30,4 x 21 cm.
ANTIQUES
MISCELLANEUS;MORTARS
Ref.: ZF0792
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Scale with weights. Iron. Widow of José Menaya, Valencia (Spain), around the second half of the 19th century. Iron scale made up of a swinging arm with a structure at each end from which hooks hang, and elements in the centre that determine the weight (note the hook to hang it, the needle to measure the weights and the elements that still show traces of gilding). On the front it has an inscription in capital letters (Viuda de José / Menaya Valencia) related to its place of creation. They are accompanied by a remnant of a chain of elongated links and eight circular weights with rings at the top of different sizes. D. José Menaya is given an honourable mention for a collection of scales at the Valencia Regional Exhibition of the Economic Society of Friends of the Country in the “public session of 1867”. It is said that in the second room there are “Scales and safes by D. José Menaya”, and that “the José Menaya workshop” specialised in scales (succeeding Malabouche in this market niche)” at the Valencia Regional Exhibition of 1909. The Museum of Spanish Pharmacy at the Faculty of Pharmacy of the Complutense University of Madrid (Spain), preserves a hand scale with a case by José Menaya, mentioning that he was a “weight refiner” from Valencia, located on Calle Cerrajeros. Weight: 45 kg.
· Size: 190x23x80 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS
Ref.: ZE436
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Carved, polychrome and gilded wooden finial, 18th century. Painted marble-like finish decorated with scrolls and carved and gilded plant motifs on its front surface. It would have formed part of a larger work such as an altarpiece, and the quality of its workmanship and polychromy stand out. The volume of the carving and the movement that its curves provide relate this finish to the Baroque, recalling the Rococo in some details.
· Size: 20x87x37 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS
Ref.: Z2626
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Pair of pedestals. Carved and polychrome wood. 19th-20th centuries. Pair of identical pedestals composed of a base raised on lion's claws with scrolls and birds, and a fluted shaft ending in two circular mouldings, decorated with plant and architectural elements. On the shafts of the columns, spiral branches of leaves have been carved.
· Size: 38x38x110 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS
Ref.: Z4312
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Pair of silver tasting glasses. 1739. (Along with Ref. z5831) No hallmarks. With inscription on the front. Both identical, each one is made up of a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer rim that reads: “I am from the noble council of Santiux, to which our neighbor Jul de las Cuevas Zeballos presented us in the year 1739.” Baroque tendencies continued in Spanish silversmithing for almost the first two-thirds of the 18th century, except in the capital, where Rococo forms were already being introduced without displacing the earlier ones. It wasn't until 1740 that French silversmiths introduced these innovations to Madrid, which slowly spread to other centers, depending on the region and master. This survival of 17th-century forms can be seen in the handles of the wobbler: the human-headed grotesques are highlighted by vibrant 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 hallmarks makes it impossible to locate the work or the artist, although this is precisely what speaks in favor of a secondary silversmith center, where the lack of control over these works was more common due to the lack of masters and resources to ensure compliance with hallmarking regulations. Throughout the first two thirds of the 18th century, the somewhat monotonous nature of the centers of Old Castile (to which Cantabria belonged), León, and Galicia was noticeable compared to the importance of Valladolid and Salamanca, so they may have been made in the Cantabrian area. The inscription clarifies the purpose of the quaking stones: 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 also proved his nobility in 1733 before the Court of the Hijosdalgo of the Royal Chancery of Valladolid. These are therefore two pieces made for civil use, a detail that increases their importance due to the scarcity of this type of work.
· Size: 15x11x6.5 cms.
ANTIQUES
MISCELLANEUS;SILVER
Ref.: Z5829
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Pair of silver tasting glasses. 1739. (Along with Ref. z5829) No hallmarks. With inscription on the front. Both identical, each one is made up of a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer rim that reads: “I am from the noble council of Santiux, to which our neighbor Jul de las Cuevas Zeballos presented us in the year 1739.” Baroque tendencies continued in Spanish silversmithing for almost the first two-thirds of the 18th century, except in the capital, where Rococo forms were already being introduced without displacing the earlier ones. It wasn't until 1740 that French silversmiths introduced these innovations to Madrid, which slowly spread to other centers, depending on the region and master. This survival of 17th-century forms can be seen in the handles of the wobbler: the human-headed grotesques are highlighted by vibrant 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 hallmarks makes it impossible to locate the work or the artist, although this is precisely what speaks in favor of a secondary silversmith center, where the lack of control over these works was more common due to the lack of masters and resources to ensure compliance with hallmarking regulations. Throughout the first two thirds of the 18th century, the somewhat monotonous nature of the centers of Old Castile (to which Cantabria belonged), León, and Galicia was noticeable compared to the importance of Valladolid and Salamanca, which is why they may have been made in the Cantabrian area. The inscription clarifies the purpose of the quaking stones: 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 also proved his nobility in 1733 before the Court of the Hijosdalgo of the Royal Chancery of Valladolid. These are therefore two pieces made for civil use, a detail that increases their importance due to the scarcity of this type of work.
· Size: 15x11x6.5 cms.
ANTIQUES
MISCELLANEUS;SILVER
Ref.: Z5831
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Pocket watch, Deroches Brothers. Gilt metal, enamels, etc. Possibly towards the end of the 18th century. Pocket watch with a case with a transparent glass section and an enamelled composition on the back (two ladies, with a score on a music stand, one of them playing a harp). The white dial has Arabic numerals for the hours and vertical lines and Arabic numerals every 15 units for the minutes, and the text “Deroches”. The movement is delicately decorated and engraved with a serial number and the name “Deroches”. Similar pocket watches signed by the Deroches Brothers dating from the second half of the 18th century and examples by “Frères Deroches & Cìa.” from the 19th century are known.
· Size: 6.5x5x3 cms.
ANTIQUES
MISCELLANEUS;CLOCKS
Ref.: ZE327
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Pocket watch, Lz MAURIN. Gilt metal, enamels, etc. 19th century. Pocket watch with white dial with Roman numerals for the hours and, for the minutes, Roman numerals every fifteen minutes and vertical lines for the rest, and the inscription “Lz. Maurin”; the movement has a delicate decoration and the engraving “Lz Maurin”. The case is decorated on the back with a figurative composition of a couple, and has a number and the word Lepon engraved on the inside.
· Size: 7x5x2,5 cms
ANTIQUES
MISCELLANEUS;CLOCKS
Ref.: ZE329
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Sold
Jug. Silver. Santacruz Zaldúa, Antonio. Córdoba (Spain). 18th century. With contrast marks. A silver vase in its original color, featuring a circular base decorated with spiral segments also visible at the top of the piece. The body is wider at the bottom, with a decorated spout and a scrolled handle, and a lid with this decorative motif on the foot and body. It bears hallmarks by Antonio Santacruz Zaldúa (1733–1793), a silversmith from Córdoba, Spain. Weight: 875 grams.
· Size: 17x23x29 cms
ANTIQUES
MISCELLANEUS;SILVER
Ref.: ZF1432
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Salvilla. Silver. Salamanca, 1759 With contrast markings. Silver salve in its natural color with a plate featuring a mitered curved profile that translates into edges on the rim, which has a series of fine moldings, and three claw-shaped legs, each with a bracelet in the ankle joint area and finished to resemble animal skin. The hallmarks present place the piece in Salamanca during the period when Juan Montero (whose mark was used from 1759) was an authentic assayer, and it is attributed to a silversmith (FZ). Juan Ignacio Montero was a silversmith and assayer, and the hallmark seen here appears to date from surviving works dated between 1759 and 1779, such as a reliquary in the Parish Church of San Lorenzo in Segovia (by Manuel Cardeñosa, dated 1767). It is known that he held the position of assayer in Salamanca between 1758 and 1781 and remained active until 1779. He used a hallmark that included dates, although sometimes the same mark was used in several years. Regarding the silversmith, experts suggest that the mark could belong to Antonio Fernández Clemente (c. 1708-1766) or his son of the same name. Interestingly, three similar examples of this particular type of salver (named for the claws on which it rests) are known: one with marks by Juan Montero, made by C. Aillón (reproduced in Enciclopedia de la plata española y virreinal americana, Asociación Española de Joyeros, Plateros y Relojeros, 1984; Pages 200 and 398 –illustration 1058–) and another, also from the 18th century, held in a private collection. Weight: 1182 grams.
· Size: 34,5x34,5x7 cms.
ANTIQUES
MISCELLANEUS;SILVER
Ref.: ZF1500
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Pair of railings. Wrought iron. 17th century. Pair of wrought iron railings, situated between two flat rectangular pieces and composed of six bars each. These have discs along their length and balustrade shapes, flanking a rectangular cube from which another bar starts to join it to the bar situated next to it. The shapes of the bars are typical of the Baroque in this type of elements.
· Size: 83x180 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS
Ref.: ZA1049
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Candle. Silver. Possibly Málaga, Spain, 19th century. With contrast marks. Two-light candelabra with a back piece that stands on a raised circular base decorated with smooth concave moldings, lines of pearls and a curved frieze of leaves, with an engraved crowned “F” (possible owner’s mark). The smooth, square foot gives way to a leaf-shaped key and two arms for the candles decorated with leaves, and is topped with an eagle spreading its wings. The aforementioned hollow tubular piece has a pineapple finial on the hinged lid and a piece along a channel. The decoration, lines and shape of the candle show a strong French influence and a very close relationship with Neoclassicism and other styles derived from it. The eagle, for example, is reminiscent of pieces from the French Empire, although it is a very common animal in the decorative arts of the 19th century. The hallmarks present on the piece would allude to the master or silversmith responsible for its creation (Baños), perhaps to the year in which the piece was made (1833) and, possibly, the third is either the crowned rampant lion on a shield related to the Royal Decree-Law of June 4, 1926 on the trade of precious metals in Spain (indicating then that it is of first grade) or that it comes from the city of León, dating in this case between the 19th century and the beginning of the 20th century. The rampant lion is a common hallmark on silverware, appearing in Spain on 19th century pieces from Cordoba (without a crowned shield), Calatayud, Cordoba (rampant lion with turned head and circular outline), Pamplona, etc. It is possible that this piece was made in Malaga. Weight: 1340 gr.
· Size: 27x16x31 cms
ANTIQUES
MISCELLANEUS;SILVER
Ref.: ZF0342
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18th century Spanish brazier. Bronze. Spanish Baroque bronze brazier, raised on three legs in the form of a curled volute on the outside, topped at the base with grotesque masks with synthetic features. The vessel is flattened and stepped, with a clear cut separating the neck from the belly and a flared and slightly curved mouth. On both sides are the handles, mobile and highly decorative, composed of the figures of two Hermes with vegetal bodies. Weight: 12 kg
· Size: 55x55x40 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS
Ref.: Z0650
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Baroque private altar frontal in carved and polychrome wood, Spain, early 18th century. The work is crowned by a broken pediment in the centre on a projecting entablature that rests on the lower body, flanked by two columns with a helical shaft and a composite capital, and composed of a moulding that frames a semicircular arch on pilasters and a trompe l'oeil background. This type of frontal was normally used in private chapels to highlight sacred images, and its decorative elements refer to 18th century Spain.
· Size: 140x35x155 cms. (Int. 46x26x85 cms.)
ANTIQUES
MISCELLANEUS;OTHER OBJECTS
Ref.: Z0747
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Polychrome and gilded wood frame. Late 18th century. Rectangular frame with golden rocailles on a red background and elements related to the Passion of Christ in shields in the corners and centre of the longer sides: dice, nails, bag (with Judas' coins), mallet and tongs, cross with lances and two whips. These motifs clearly show that it was made to highlight a religious painting of the Passion, probably in a private chapel given the lack of relief, and the strong relationship of the work with the Rococo.
· Size: 187x3x87 cms LUZ 51X154 cms.
ANTIQUES
MISCELLANEUS;FRAMES
Ref.: Z3627
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Two frame strips. Pine wood. 17th century. Strips of carved pine wood in a dark polychrome tone decorated with smooth mouldings on their front, combining curves with counter-curves as is usual in the Baroque, also highlighting the classicist influence of the composition. Possibly, they were created to form part of the construction of an altarpiece or to frame a painting, without being able to know if they come from a civil or religious environment.
· Size: 15x12 cms. Long. 310 y 350 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS
Ref.: Z3767
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Bernegal or glass or wine tasting. Silver. 17th-18th centuries. With contrast markings. A silver-colored Bernegal coin with a circular foot, a body that widens towards the top, and two flat, S-shaped handles with a flared central section. It has hallmarks on the handle (unidentified) and an engraved mark on the base. Both bernegales and tembladeras were very common types in 17th-century Spanish Baroque silverware, and remained popular into the following century, mainly in areas far removed from the major centers of silversmithing. Also known as wine glasses, these types of drinking cups were used on special occasions (ceremonies, etc.), hence their material and decoration. They were objects of secular use, although it was not unusual or exceptional for them to be donated or commissioned for use in churches or liturgical settings. Compare this piece with two cups or bowls from the Monterrey Palace Collection in Salamanca (one Parisian, made around 1750, and the other from Salamanca) decorated with gadroons and two raised S-shaped handles; with the bowl from the Metropolitan Museum, made in London in 1680 from the Irwin Untermyer collection (very similar in form to the present one); or with the pair of bowls by Antonio López Díaz (made in Jaén and dated 1758/1772) from the Valencia de Don Juan Institute in Madrid. Weight: 162 grams.
· Size: 14x11x9 cms.
ANTIQUES
MISCELLANEUS;SILVER
Ref.: Z6022
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Naveta. Silver. Possibly Portugal, 18th century. Counterweighted base. With hallmarks. A boat with an oval base decorated with elements in relief and mouldings, a balustraded base and a body with a slight boat shape, presenting a lid with hinges at the front, a widening in the lower area towards the foot and a decoration distributed throughout the exterior based on rocaille motifs and vegetal elements (the same theme is presented on the foot and the base) on a lustre-painted background, with an angel's head on two small wings in relief towards the spout, accompanied by vegetal elements (which protrude from the edge of the lid). Although the shape of the piece generally follows the most common prototypes of these incense vessels used in the liturgy, it should be noted that it was more common to find them more similar to a boat. The belonging of the naveta to the Rococo influence is clear both from the lines of the object and from the decoration already mentioned (rocailles, moving plant elements, volutes with pronounced curves, contrasts between concave and convex lines...), and it is also possible to find some points in common with Portuguese works (a silver naveta with a spoon by Leandro Gagliardi made in Rome between 1744 and 1750, which is preserved in the Sao Roque Museum in Lisbon, Portugal, has a finial with an angel's head in relief; compare this with the gilded silver censer that the same master made between 1749 and 1751 for the Chapel of St. John the Baptist in the Church of St. Roque in Lisbon). The hallmarks present on the upper part of the naveta (the capital letters “de” in a rectangular space), although it should also be noted that this work does not follow the most striking typology of navetas related to this centre (18th century silver naveta from the Church of Alcántara in Maranhao, Brazil; naveta by Sebastiao Bernardes dos Santos dated 1747 from the Sé do Funchal which is preserved in the Museu de Arte Sacra Do Funchal in Madeira –Portugal-). Weight: 715 gr (base with counterweight).
· Size: 19x9x14 cms.
ANTIQUES
MISCELLANEUS;SILVER
Ref.: ZE244
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Pocket watch, engraved André Hessen. Gold, enamel. Paris, France, towards the end of the 18th century. It has some flaws. Pocket watch with a case decorated with enamel on the back (within a band of pearls you can see a composition with a clear classicist influence with a female figure, perhaps an allegory of the arts), and a white dial with Roman numerals for the hours and lines and Arabic numerals for the minutes, on which you can see the text Adré Hessen. The delicately decorated movement has a number (549) and the name Adré Hessen (1745-1805), a watchmaker who settled in Paris, France, in 1767 and who was very well-known and appreciated in his time.
· Size: 7x5x1.5 cms.
ANTIQUES
MISCELLANEUS;CLOCKS
Ref.: ZE326
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Box. Enameled porcelain. Potschappel-Dresden, Germany, 19th century. With mark on the base. Rectangular box with a slightly curved lid made of enamelled porcelain with gold metal trim and hinges. The box features a decoration on the outside of figurative scenes of couples in natural landscapes with a clear Rococo feel, enhanced by gold frames and scale elements in pink tones. On the inside, on the lid, another scene of this type appears. The base of the piece bears a mark alluding to the factory responsible for it. In 1872, Carl Thieme (Carl Johann Gottlieb Thieme) converted his porcelain painting business into a porcelain factory, keeping the headquarters in Dresden and calling it Sächische Porzellanfabrik zu Potschappel (Dresden) von Carl Thieme. A mark such as the one seen on this piece was used there between 1888 and the beginning of the 20th century.
· Size: 12x8x7 cms
ANTIQUES
MISCELLANEUS;CERAMIC
Ref.: ZF0702
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Pair of vases. Glazed porcelain. 19th century. A pair of vases with circular bases, cylindrical bodies in the center, long necks, and mouths that open outwards, decorated with pink bands, gilded rims, clusters of flowers, and two genre scenes (humble figures dancing in rural landscapes; on the other side, similar scenes). They are displayed on metal feet decorated with openwork elements and claw-shaped feet topped with classically influenced vegetal motifs. Markings are present on the base.
· Size: 24x24x62 cms
ANTIQUES
MISCELLANEUS;CERAMIC
Ref.: ZF0884
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“Poster” wall clock. Gilt bronze. France, 19th century. Gilt bronze wall clock of the type known as a "cartel" due to its shape, featuring Parisian movement and a white dial with Roman numerals for the hours and Arabic numerals every five minutes. Surrounding a body with openwork panels, it features a garland decoration based on ribbons and architectural and plant elements in a distinctly classicist style, an influence also evident in the vase-shaped upper finial and the lower mask placed on a plant motif. This is a fairly popular model within the French school, as similar boxes are known in private collections dating from the last third of the 18th century. The shape of the top vase and the front garlands vary mainly in later known examples (made both in the first half of the 19th century and during the time of Napoleon III). Weight: 9 kg.
· Size: 30x10x66 cms
ANTIQUES
MISCELLANEUS;CLOCKS
Ref.: ZF1411
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“Henri II” style wall clock, 19th century. The dial, in white, has Arabic numerals and is protected by glass. The clock case, made of carved wood, shows a decoration based on architectural elements (diamond points, columns, vases, etc.) and leaves a rectangular space with a dark wood decoration based on putti and plant motifs in which there is a hole to see the pendulum, which is highlighted by a decoration in gilded metal. The Henri II style (“Henri II”) was the name given to an artistic style that emerged in France in the 19th century and was inspired by the Renaissance of this country, creating a series of furniture with the type of decoration that we see 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
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Pocket watch, Jaqs Blanc. Gold, enamel, etc. Possibly circa late 18th century. Pocket watch with white dial and Arabic numerals for the hours and lines and Arabic numerals every fifteen units for the minutes with movement decorated and engraved with a serial number and the words Mavit and Jaqs Blanc. The box that contains and decorates it has, on the back, an architectural decoration with a clear classicist influence.
· Size: 6x5x1.5 cms
ANTIQUES
MISCELLANEUS;CLOCKS
Ref.: ZE328
