Results 97 to 120 of 305

«« « ...2 3 456 7 8... » »»

SILVER CUP WITH INSCRIPTION. POSSIBLY SOUTH AMERICAN, 18TH CENTURY.

Tembladera or bernegal with ownership inscription. Possibly Hispanic American, 18th century. A silver-plated squib with a wide, circular base and a larger mouth. The body features a fine line engraved toward the rim and a ownership inscription on the front (Lucas Vilacha) made with small dots. It also features two handles decorated with plant elements and grotesques with human heads, with lion- or dog-like shapes visible at the top. 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 the rest of the centers, depending on the area and master. This survival of 17th-century forms can be seen in the handles of the wobbler: the grotesques with human heads are prominently displayed, a decorative abundance that contrasts with the clean lines of the rest of the work, but which 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 the means to ensure compliance with hallmarking regulations. Bernegales and tembladeras were the most common types of silverware in 17th-century Spain (although they remained popular in the 18th century, especially in centers far from the main craft centers). In the case of this piece, the handles could indicate American manufacture, although there are similar cases thought to have been made in the Iberian Peninsula. It is worth mentioning that there is evidence of the baptism of a Lucas Vilachá in 1783 in Lanza (La Paz, Bolivia). Compare with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of the Poor Clares of Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 325 grams.

· Size: 20x15x7,6 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1058
SILVER PLATE. VALLADOLID, SPAIN. ANTONIO AMPUDIA, 1791.

Salvilla. Silver. Valladolid, Spain, Antonio Ampudia, 1791. With contrast and engraving marks. Silver-colored salver with legs and a top plate featuring a mitered curved profile that creates sharp edges at the rim. It displays contrasting and engraved marks. The hallmarks on the coins correspond to that of Valladolid Corte, to the hallmark of the assayer Antonio González Téllez used in 1791, and to that of a silversmith likely named Antonio Ampudia or de Ampudia. Antonio González Téllez (1720-1778) worked as an assayer in Valladolid between 1743 and 1774/78, and works by him dated after those provided are known. It is worth noting that he had two relatives with the same surname who worked as silversmiths in the same city (one being Eustasio González Téllez). Antonio Ampudia was a silversmith who worked in Valladolid, and works by him from the last quarter of the 18th century and the first decade of the 19th century are known (cruets from the parish church of San Millán de Baltanás, etc.). Weight: 802 grams.

· Size: 28x28x6 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1501
CERAMIC JAR. 18TH CENTURY

Jug from Villafeliche, Aragon, 18th century. Glazed ceramic. Late Baroque style jug made of ceramic and decorated with high-temperature enamels on a white tin slip. These enamelled motifs are combined with mould-made relief decorations. The typology of the piece combines the Italian jug, with an ovoid belly and vertically arched handle, with that of the typically Spanish spouted jug, characterised by the protruding spout that starts from the mouth. The decorations reveal an oriental influence, with large floral bouquets arranged asymmetrically and complex landscapes with architecture and palm trees, in which some figures are removed, these now totally western. The motifs appear brushed in manganese black, and coloured with mainly ochre, blue, green and red enamels. Aragonese pottery from the 17th to the 19th century was characterised by a strong personality, combined with the influences of Talavera and Catalonia. It had three main centres: Teruel, Muel and Villafeliche, the first two with a tradition dating back to the 16th century, and the third created at the end of the 17th century. The pottery from Villafeliche was generally very popular, although pieces of greater quality and complexity, both typological and ornamental, were also made in the 18th century.

· Size: 25x18x42 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: Z2627
TORCH STAND, GILT AND POLYCROMED WOOD, ROCOCO, 18TH CENTURY. RECONVERT...

Carved, gilded and polychrome wooden torch holder, Rococo, 18th century. Converted into a floor lamp. A lamp with a triangular base on scroll-shaped legs and a base formed by a vase under a baluster that has been decorated on its surface with rocailles, putti heads, mirrors and gilded plant scrolls. Made to hold a candle, it has been converted into a floor lamp, allowing it to be used in a modern interior.

· Size: Alt. 166 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z5286
SILVER AND GILT SILVER PYX. 16TH CENTURY.

Cast and chased silver pyx. Spain, towards the end of the 16th century. Cylindrical box with a moulded base under a wide frieze with latticework of bands and simplified plant elements. Moulded lid decorated with bands creating figures of 8 alternating with flowers and fleur-de-lis motifs, topped with a small cone with pearl, on which stands a three-nailed Crucifix with a loincloth around the knees and a cartouche. Given the gilding on the interior, this stemless host was perhaps used to contain the Holy Hosts in the tabernacle of some church. The decorative elements of the work and the figure of Christ in the upper part respond to the influence of the Renaissance, but also show Gothic memories. The Renaissance appeared in Castilian silverwork a little before 1520, and it was only from the end of the reign of Philip III that we usually speak of Baroque. In the Crown of Aragon, the political and economic decline of the area caused a significant decline in the number and quality of production, with the notable exception of Aragon and, above all, Zaragoza, which reached unequalled splendour later on. The same thing happens with the form: although there are similar examples during the Gothic period (a hostiary 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 continue even in the Baroque with numerous variations. Compare this with works such as a hostiary in the Museum of Malaga (BA/CE00305), with a similar cover 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 greater Renaissance influence. Weight: 176 gr.

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

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

Chest inspired by 17th century models. Silver. Spain, 20th century. Rectangular casket made of silver in its colour, with four legs in the corners in the shape of a scroll and finished in a claw, decorated on the fronts with a decoration of mouldings, bands and motifs within rectangles (yokes, a bundle of arrows, a letter f crowned between two pomegranates, a letter y crowned between two pomegranates) in clear allusion to the Catholic Monarchs. The stepped lid presents a composition of scrolls, architectural elements and plant motifs on a background with a lustre-like finish, and a small rectangular “diamond” as a finish. It closes with a pin and a 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 of the parish of Santa María de Manlleu which is 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, CIRC...

Sundial and compass with case. Bronze. SCHRETTEGGER, Johan. Augsburg, Germany, circa 1800. A polygonal sundial made of bronze, engraved with plant elements on the front, placed around the centre, where a compass is shown. On the back, the name of the author and the place where the work was created have been engraved. The instrument is accompanied by a case, also polygonal, with a flap closure and lined with textile on the inside. 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.

Pastoral box. Carved horn. Spain, 1822. Rectangular box made of carved horn with a date (1822) engraved on the lid and front, a legend (Soi de Manuel Zulueta año 1822) and an engraved decoration based on geometric, vegetal, figurative and heraldic elements. The base of the piece has a banded frame that highlights a composition of birds and animals accompanied by simple stems and flowers. The lid has bands interlaced with circles of different sizes and, in the centre, a crowned heraldic shield flanked by two flags, and quartered with three-towered castles and crowned rampant lions; beneath this central element, the aforementioned date is again found. Note that it differs from the Castilian shield (the one used by the kings of Castile since 1230) in the position occupied in the quartering by the different elements.

· Size: 8x5x2 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

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

Capital. Carved granite. Spain, 15th century. Circular-based capital made of carved granite with a polygonal shape enhanced with mouldings, following forms that still retain a memory of Gothic works but with noticeable clean 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 present faults. Pair of metal candlesticks decorated with polychrome enamel on the outside, each with an octagonal base that begins with a step and rises gently to the axis, which has discs and mouldings between jar-shaped shapes, ending in tubular candlesticks with a mouth that extends outwards in a smooth moulding. Throughout the piece, there are plant decorations in relief with a clear classicist influence, interspersed with medallions of male profiles in grisaille on the upper part and roundels on the base. Likewise, scrolls and plant, geometric and architectural motifs without relief can be seen, in a gold tone. These tondos of the base show a heraldic shield crowned and supported by two quadruped animals, and three-quarter figurative elements, identified with the name of the character represented in Latin. Thus, we see “Cephale”, “Lavrore” and “Adonis”. In Greek mythology, Cephalus was the lover of Eos, goddess of dawn, condemned by Aphrodite to only love mortals. Adonis was the lover of Aphrodite, eternally young and symbolizing death and the annual renewal of vegetation, and whose nature was tied to the calendar. This pair of candlesticks is closely inspired by a candlestick that the Louvre Museum in Paris (where it is preserved, inventory RFML.OA.2022.2.7) considers to have been made in the mid-16th century in Paris or Sèvres (France) and attributed with doubt to the master enameller Julien Robillard (active ca. 1850-1880). The inspiration in models and motifs of the Italian Renaissance 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. Enameled porcelain. Meissen, late 19th century. With marks and inscriptions on the bases. Presents defects. A pair of decorated glazed porcelain trays for confections (caramelized fruit, chocolates, etc.). Both have a base with elements clearly reminiscent of the Rococo period. The figure, dressed in 18th-century European fashion, appears reclining, "grasping" the elongated trays. The trays feature painted flowers on the inside and the same embossed elements on the outside, as well as a gold rim. Both the young man and the woman are shown with somewhat disheveled attire, revealing part of their chest in both cases. The Meissen marks (two crossed swords, in blue) that appear on the bases of both figures, would be those used by the factory between 1815 and 1924. The lady's also has a number in red ink (24) and other inscriptions (2858, which would be the model; 21 and 73). The man's has, in ink, what seems to be a 21, and other inscriptions (2863 would be the model; the other could be 72). Experts date both models of figures to the end of the 19th century.

· Size: 30x20x20 cms.
ANTIQUES
MISCELLANEUS;CERAMIC

Ref.: ZF1463
WROUGHT IRON KITCHEN “LLAR” (POT HOLDER), 16TH CENTURY.

Wrought iron kitchen hearth, 16th century. A kitchen hearth with three hooks joined together on a horizontal crossbar with engraved decoration and square and rectangular rings and bars, some of which have been twisted. It is not at all common to preserve this type of utilitarian element 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
Special Offer! - Off

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
Special Offer! - Off

SILVER GLASS WITH TRAY. 18TH CENTURY.

Rinse basin. In silver, in its natural color. Barcelona, 18th century. With contrasting marks and ownership initials. A container with a small circular foot features simple, flat lines, as well as a space at the base of the interior space in which the glass fits, which has the same elegant shapes in its contours. In general, the territories of the Crown of Aragon recovered during the 18th century, which influenced their silversmithing. Barcelona's silversmithing saw a resurgence in importance, reaching levels not seen since the Gothic period. As in the rest of Spain, the Rococo style dominated during the reign of Charles III (1760-1788). At court, which had already embraced Neoclassicism around 1735-1740, this style appeared around 1770 and, after coexisting with Rococo for a few years, gradually became dominant from 1780 onwards. Barcelona quickly adopted this new style and apparently became one of the main centers on the Iberian Peninsula. However, the frequent changes in hallmarks, the common use of confusing symbols on pieces, and the lack of surviving works and studies hinder a detailed analysis of this center and its silversmiths. The hallmarks on the piece place it in Barcelona, in the workshop of a silversmith whose mark is “F. Tur”, possibly (Turquet). Weight: 582 grams.

· Size: 18x18x9 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6871
PAIR OF TALL CANDELABRA OR CANDELABRUM, NEOGOTHIC STYLE. WROUGHT IRON....

Pair of Neo-Gothic style floor candelabras. Wrought iron. Spain, 20th century. Pair of wrought iron floor candelabras with a tripod base, a shaft decorated with small discs and ending in a circular plate, and a top made up of three levels of curved arms ending in floral elements, the third being the highest and ending in a spike. The set is inspired by 15th century Spanish lighting elements, specifically pieces known as “floridas” or “florid style”, prior to the development of openwork plates that occurred at the end of that century. Compare with older examples preserved in prominent institutions such as the Museu del Cau Ferrat in Sitges, the Museo Nacional de Artes Decorativas (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. Spain, Granada, 1870. With hallmarks and engraving marks. Silver spice rack in its heart shape with a spout curved towards one side that has two hinged lids and three spaces inside (partition at the top and not at the bottom); it rests on three legs decorated with classicist elements and has, towards the side, a series of fine smooth mouldings. The hallmarks are those of Granada, of the date, and of the silversmith Manuel López Portero, who also worked as a hallmark in the city. The shape of the piece does not follow the usual prototypes of the period or of the school to which it belongs (there is a known silver box in the shape of a heart in which an eagle with its wings spread out appears on its obverse and reverse, by the hand of Manuel López Portero and dated 1773, which is the portaviaticum of the parish church of the Encarnación in Laujar de Andarax). The decorative elements of the box can easily be included within the Neoclassical period. Weight: 250 grams.

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

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

Iron pharmacy mortar. 18th-19th centuries. An old cast iron mortar for pharmaceutical use. It follows the usual structure for this type of utensil between the 15th and 19th centuries, with a truncated cone-shaped body with very thick walls that has vertical ribs and perpendicular protruding handles to facilitate gripping during use. In this case it shows eight polylobed ribs and two large handles with ends in the shape of a child's head, indicating that it would be 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
Special Offer! - Off

FLEMISH BRONZE MORTAR, 17TH CENTURY

Flemish mortar. Bronze. 17th century. It features a brand. A mortar with a circular base and an outward-curving mouth formed by the two upper bands. The body exhibits a slight entasis and is decorated with figurative relief motifs. In addition to a series of moldings on its outer surface, two male protomes (heads with mustaches and non-human features) and a band with various elements (scrolls, leaves, quadrupedal monsters) are visible at the bottom. Note also a circular "seal" (or so it appears) with the letters (HLB / RA/TE) surrounding an emblem flanked by vegetal elements and placed on three oval objects. Compare the present example with those by P. van den Ghein in the Royal Carillon School Museum “Jef Denyn” in Mechelen (although earlier), a 17th-century example in the Pharmacy Museum of Berlin (Germany), another in the Pharmacy Museum of the Complutense University of Madrid (Spain), etc. Weight: 4.6 kg.

· Size: 17x17x14 cms.
ANTIQUES
MISCELLANEUS;MORTARS

Ref.: ZF1258
Sold

BRONZE BRAZIER. POSSIBLY SPANISH SCHOOL, 16TH CENTURY.

Frame for a hand brazier. Bronze. Possibly Spanish School, 16th century. A polygonal bronze frame for a brazier or table, raised on legs and featuring a decoration of human figures at the top, as a finial, and a series of openwork scenes on the front between Doric or Tuscan columns (human figures surrounded by plant and grotesque elements; two panels with handles), clearly influenced by Classicism. Weight: 1.1 kg.

· Size: 19x19x12 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1422
SILVER TRAY. SALAMANCA, SPAIN. POSSIBLY FRANCISCO DE VILLARROEL, FIRST...

Tray. Repoussé silver. Salamanca (Spain), possibly Francisco de Villarroel, first half of the 18th century. With contrast markings. A tray made of embossed silver in its natural color, decorated with a figurative relief depicting a child surrounded by war paraphernalia (shields, drums, spears, flags, etc.). The rim features a floral decoration with plant elements and ends, towards the outside, in a wavy curve. The hallmarks correspond to the city of Salamanca (Spain) and to those used by the silversmith Francisco de Villaroel y Gallarca (Salamanca, 1676-1749), who joined the Confraternity of Saint Eligius at the beginning of the 18th century (holding positions such as steward, deputy, examiner, and secretary) and was a silversmith and assayer (officially appointed in 1708) during the first half of the 18th century, using the same mark in both roles, which increases the complexity of attributing pieces to him. His work is held in several private collections, many religious centers (Zamora Cathedral, the Carmelite Convent of Alba de Tormes, Salamanca Cathedral, etc.), and institutions such as the Museu Medeiros e Almeida (Lisbon, Portugal) and the Museu Nacional de Arte Antiga (MNAA). Weight: 910 grams.

· Size: 46x45x6 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1495
SILVER PLATE. SALAMANCA, SPAIN, JUAN SANZ, CIRCA SECOND HALF 18TH CENT...

Salvilla. Silver. Salamanca, Juan Manuel Sanz, around the second half of the 18th century. With contrast markings. Silver salve in its natural color with legs formed by two joined "c"s enhanced with architectural elements and a top plate with a profile of mitered curves that translate into edges on the eaves, which are enhanced with several smooth moldings. Stylistically, the piece corresponds to a very common fashion in Spanish silversmithing of the second half of the 18th century in terms of the shape and contours of the upper part. However, the legs, curiously, are more reminiscent of earlier Baroque elements. The hallmarks refer to Juan Sanz de Velasco, a silversmith based in Salamanca since 1759 (specifically, active between 1746 and 1786). Juan Manuel Sanz de Velasco (1717-1786) was born in Ampudia (Palencia) and achieved the title of master in 1746. His works include a monstrance in Linares de Riofrío, an altar cross (parish of Rágana), altar cards in Salamanca Cathedral, cruets (La Vellés), a boat incense holder (Armenteros), and others. Weight: 880 grams.

· Size: 32x32x4,5 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1502
SILVER INCENSE BOAT (NAVICULAE). SANZ DE VELASCO, JUAN ANTONIO. VALLAD...

Small nave. Silver. SANZ DE VELASCO, Juan Antonio. Valladolid, Spain, 18th century. With contrasting marks. It has repairs at the base and flaws in the cresting. Small nave. Silver. SANZ DE VELASCO, Juan Antonio (1720-1778). Valladolid, Spain, 18th century. With hallmarks. Small nave with a circular base raised towards the foot by a succession of stepped mouldings. Its body is decorated with a cresting on the edge and an engraved composition based on vegetal elements and volutes (on a background of chopped lustre, a finish that is also combined in the decorative motifs), a scalloped element on one side and a volute at the open end. The hallmarks on the base place the piece's making in Valladolid (note that it is the so-called "cut mark", which some experts date back to the time when Antonio González Téllez was named as the true hallmark). The other punch present is by Juan Antonio Sanz de Velasco (1720-1778), which served as the true hallmark in the city between 1743 and 1774/8. Apart from other works preserved with hallmarks by the master (many in private Spanish collections), it is worth highlighting the silver altar frontal of the Virgin of the Tabernacle (Valladolid Cathedral) 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 project begun in 1693 by the silversmith José de Aranda. The shape of the piece is typical of this type of container for holding incense (in fact, the name naveta comes from the word "nave") since the Middle Ages (nave of the Constables' Chapel in Burgos Cathedral by Juan de Valladolid from the 15th century), with variations in shape and decorative elements depending on whether it belonged to a particular centre, style, etc. Compare this piece with works preserved, for example, in the Diocesan and Cathedral Museum of Valladolid, another from the Museum of Navarre from Mexico and dated between 1634 and 1666, another from the 18th century in silver in its color from the Cathedral of Tuy (with a very different foot), etc. Weight: 348 grams.

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

Ref.: Z5448
Special Offer! - Off

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 Devotional pendant made of silver and shaped like a Latin cross, decorated on the outside with simple scrolls, spikes, pearls and other elements of classical inspiration, as well as a ring to wear the jewel hanging from the neck. The front has seven oval holes (the one where the arms are crossed, which is larger) protected with transparent glass; the back is smooth, with the material in its colour. 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 between the 16th and 17th centuries, preserved in two private collections. The present jewel shows profiles with much more movement than these two, although the motifs and the simplicity of the lines respond to classicist influences. This type of jewellery was of great value to its owners, both for the materials from which it was made and for its content, which was considered sacred and protective. Despite this high value (or precisely for this reason), few examples of good quality and in good condition have reached us. There are medallions similar to the present one only in some important institutions such as the Fundación Valencia de Don Juan in Madrid, the Museo Nacional de Artes Decorativas (Madrid), the Lázaro Galdiano (Madrid), the Museo de Creencias y Religiosidad Popular del Pirineo Aragonés (Abizanda, Huesca), the Metropolitan Museum (New York), etc. And in prominent religious institutions such as the Cathedral of Santiago de Compostela or the Convent of the Descalzas Reales in Madrid.

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

Ref.: ZF0190