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

Tembladera or bernegal with ownership inscription. Possibly Hispanic American, 18th century. Silver-coloured trinket dish with a wide, circular base and a mouth of greater diameter than this, a body with a fine line engraved towards the edge and an inscription of ownership on the front (Lucas Vilacha) made with small dots. It also has two handles decorated with vegetal elements and grotesques with human heads, and shapes similar to lions or dogs can be seen on the upper part. In Spanish silversmithing, the Baroque trends were maintained for almost the first two thirds of the 18th century, except in the capital, where Rococo forms were introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centres, depending on the area and the masters. This survival of the 17th century forms can be seen in the handles of the tembladera: the grotesques with human heads are very prominent, 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 does not allow the work or the artist to be located, although it is precisely this that speaks in favour of a secondary silversmithing centre, where the lack of control of these works was more common due to the lack of masters and the means to ensure compliance with the marking regulations. Bernegales and tembladeras were the most common types of silverware in 17th century Spain (although they continued to be popular in the 18th century, especially in centres far from the main centres of creation). In the case of this piece, the handles could indicate that it was made in the Americas, although there are similar cases that are 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 Clarisas Mothers of Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 325 grams.

· Size: 20x15x7,6 cms.
ANTIQUES

Ref.: ZF1058
SILVER CUP. SPAIN, 18TH CENTURY.

Bernegal or quaking iron with handles. Silver. Spain, 18th century. Avocado shaker in its colour with a circular base, without a pedestal or foot, and a hemispherical body that is wider at the top, with two handles on the sides. These have two facing Cs of different sizes (the largest one on top) or in the shape of an S, and a decoration based on silver pearls and a bird perched on the top (the two on the piece facing the centre). In Spanish silversmithing, the Baroque trends were maintained for almost the first two thirds of the 18th century, except in the capital, where Rococo forms were introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these innovations in Madrid, which would spread slowly to the rest of the centres (as a general rule), depending on the area and the masters. This survival of the 17th century forms can be seen in the handles of the tembladera, decorative abundance (compared to the rest of the wine-tasting vessel) that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of hallmarks does not allow the work or the artist to be located, although it is precisely this that speaks in favour of a secondary silversmithing centre, where the lack of control of these works was more common due to the lack of masters and the means to ensure compliance with the marking regulations. It does show a fine engraving of initials on the front of the piece. Bernegales and tembladeras were the most common types of silverware in 17th century Spain (although they continued to be popular in the 18th century, especially in centres far from the main creative centres). In the case of this piece, it is the handles that could indicate an American manufacture, although there are similar cases that are thought to have been made in the Iberian Peninsula. Compare this with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of the Clarissan Mothers of Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 213 grams.

· Size: 18,5x15x8 cms.
ANTIQUES

Ref.: ZF1057
SILVER TRAY. MATEO MARTÍNEZ MORENO, CÓRDOBA, SPAIN, 1789.

Source. Silver. Mateo Martinez Moreno, Cordoba, Spain, 1789. With contrast marks. Silver-coloured fountain, oval in shape and great depth, with contrasting marks and a border composed of smooth mouldings of different widths curved to form waves, ending in four peaks that extend towards the bottom of the piece, thus drawing a series of curves and counter-curves. This form is known as “cut-out profiles” and was a common resource in 18th century Spanish silverwork that followed or was influenced by Rococo models. The marks mentioned (frustras) could place the work's execution in Córdoba, during the period in which Mateo Martínez Moreno worked as a faithful contrast, also providing the date of 1789. Weight: 858 grams.

· Size: 38x6,5x27 cms.
ANTIQUES

Ref.: ZF1043
SILVER CLARET JUG. ANSELMO PRIOR AND MASON. VITORIA, SPAIN, 1816-1846.

Jug. Silver. Anselmo Prior y Mason. Vitoria, Spain, between 1816 and 1846. With contrast marks. Silver jug in its colour with a square base that serves as a support for the circular foot decorated with a band of eggs and ending in a scalloped shape, which gives way to the oval body, engraved with architectural, plant and animal elements; practically tubular neck with a band of egg motifs and another at the top with architectural elements, and a soft spout; lid with a swan, and the handle has 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 neoclassical models of the 19th century both in its lines and in some of its decorative elements (some close to the French school and others somewhat more common in the English school), adding to this base some details more common in Spanish works. The hallmarks, located at the base of the piece, link its creation in Vitoria, with the hallmark called Maison (actually 18th-19th centuries, probably as a hallmark in the 19th century) and the silversmith named 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
CERAMIC INKWELL. TALAVERA DE LA REINA, SPAIN, 17TH CENTURY.

Inkwell. Glazed ceramic. Talavera de la Reina, Spain, 17th century. A square-shaped inkwell or spice rack made of glazed ceramic with a polychrome decoration of plant elements on the top and fronts. Due to the colours used, it belongs to the so-called tricolour series, which began to be produced in Talavera de la Reina at the beginning of the 16th century and became common even at the beginning of the 18th century. Compare this with the decorations on pieces kept in the Museo Nacional de Artes Decorativas (Madrid, Spain), or in the Museo de Cerámica Ruiz de Luna in Talavera de la Reina (Toledo, Spain).

· Size: 9x9x5.5 cms
ANTIQUES

Ref.: ZF1047
PAIR OF FRAMES. WOOD. 20TH CENTURY.

Pair of frames. Wood. 20th century. Pair of carved wooden frames decorated on the front with a composition of mouldings of different widths, all smooth, combining straight and curved shapes.

· Size: 152x7x172 cms.
ANTIQUES

Ref.: Z3959
PINE WOOD AND WALNUT BENCH. SPAIN, 17TH CENTURY.

High-backed bench. Pine, walnut. Spain, 17th century. Carved wooden bench with a high backrest and arms decorated towards the inside (and in the lower area of the sides) with stripes formed by rectangular panels, following a very common motif in Spanish cabinetmaking. Requires restoration

· Size: 218x54,5x140 cms.
ANTIQUES
FURNITURE

Ref.: Z0605
PINE WOOD CUPBOARD. SPAIN, 17TH CENTURY.

Cupboard. Pine wood. Spain, 17th century. Two-body cupboard made of carved pine wood, with legs in the shape of a fluted jamb, a lower body decorated with simple panels (like the side ones) on the two doors that close with a key, and an upper one with latticework on the outside. The upper area is a single space, while the lower area has a shelf that divides it into two. The decoration links the piece of furniture with very common shapes of traditional Spanish cabinetmaking.

· Size: 104x60x175 cms.
ANTIQUES

Ref.: Z0634
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THE ABDUCTION OF THE SABINE WOMEN. BRONZE. 19TH CENTURY, AFTER GIAMBOL...

Rape of the Sabine Women. Bronze. 19th century, modeled after Giambologna (Juan de Bolonia; Douai, 1529–Florence 1608). A patinated bronze sculpture made using the lost-wax casting technique featuring a small, also dark, polygonal base. The three human figures are situated on a small rock surface, thus enhancing the complex interplay of diagonals and spirals created by the postures of the two men and the woman, positioned at the top of the composition. Considered Juan de Bolonia's masterpiece, the Rape of the Sabine Women is a sculpture created between 1581 and around 1582. It measures 410 cm in height, is carved from a single piece of marble, and is located in the Loggia della Signoria (Florence, Italy). It depicts a young man lifting a woman over his head, who struggles to free herself from him, while an old man appears between the boy's legs. It is because of this popularity, apart from its quality, that bronze casts of the work and works inspired by it were made even during the artist's lifetime, and, of course, during the Grand Tour and destined, above all, for England and Germany, in various sizes (almost always much smaller than the original). A bronze reduction of the work is attributed to the work by Pietro Tacca, preserved at the Honolulu Academy of Arts; another, dated to the 18th century, is preserved at the Metropolitan Museum of Art in New York.

· Size: 37x38x114 cms.
ANTIQUES

Ref.: ZF0789
DUCHT MARQUETRY COMMODE. 18TH CENTURY.

Dutch marquetry chest of drawers. 18th century. Requires restoration. Chest of drawers with four drawers at the front with a key lock and two handles on each, decorated with marquetry applications (on the sides, front and top panel) with a plant theme. Both the top panel and the front have a series of curves towards the front, and, in the lower area of the piece of furniture, some elements projecting downwards provide more movement (note the marquetry details present here as well). Stylistically, one can appreciate elements common to 18th century European furniture in the Rococo style (movement in the front, curves and counter-curves, etc.) together with elements common to the Dutch school (note, above all, the designs and colours used in the marquetry decoration).

· Size: 90x47x79 cms.
ANTIQUES

Ref.: ZF0999
NAPOLEON III WRITING SLOPE OR BOX. MARQUETRY. FRANCE, 19TH CENTURY.

Napoleon III box. Marquetry. France, 19th century. Rectangular wooden box with a flat lid and supported by circular legs, with a front opening with a locking key and a hinged, folding top lid. Inside, there is a horizontal, flat space with edges highlighted with two lines of light marquetry (as is the lower area of the lid and the inside of the folding part of the front), and three drawers beneath it, also highlighted with light details. These types of pieces were used to hold different items (writing materials, jewellery, documents, etc.) either during travel or to be placed on a table and used there. The exterior decoration, centred on the front and top, consists of delicate compositions with a plant theme and a strong classicist influence made with wood of different tones: shields, flowers, scrolls, cartouches, leaves, etc. The sides of the box are highlighted only with lines of wood in a lighter tone. In general, the decorative elements, arranged with harmony and symmetry in various tones and light colours (rosewood, fruit, etc.), are sought to stand out against the dark tone of the rosewood. These types of boxes or chests were very common throughout the 19th century in Europe. During the time of Napoleon III (emperor from 1852 to 1870), they were usually decorated with both Boulle-style marquetry and wood, with works from houses such as the Maison Berthet & Peret standing out (a work preserved in private collections).

· Size: 58,5x38,5x22 cms
ANTIQUES

Ref.: ZF0895
THE ABDUCTION OF EUROPA. OIL ON CANVAS. Probably 18TH CENTURY, AFTER V...

Rape of Europa. Oil on canvas. Probably 18th century, based on a model by VERONESE, Paolo Caliari (Verona, 1528-Venice, 1588). Oil on canvas showing a scene from classical mythology set in a natural landscape with leafy trees and a fragment of pyramid-shaped ruins in the background. Note (from her clothing) that the female figure on a white bull in the group on the left is the same one that appears moving away on the animal on the right and, again, in the water, in the background of the composition. Europa was a Phoenician princess who was abducted by Zeus: the god transformed himself into a white bull and mingled with the cattle that the girl's father had. The girl saw him while she was gathering flowers with her entourage of ladies and when she saw the bull, she approached the animal. After verifying that it was tame, she ended up on its back, at which point Zeus took advantage of the opportunity to take her on his back to Crete, going into the sea. Paolo Caliari or Cagliari, better known as Paolo Veronese or Veronese, was a very important painter of Venetian Mannerism. He treated the same theme with a very similar composition in a canvas painted in 1573 and preserved in the Antecollegia of the Doge's Palace in Venice, and in another canvas dated between 1580 and 1585 that is in the Capitoline Museum in Rome. The present work is clearly based on the second painting mentioned, since it was a frequent source of inspiration for numerous painters and, particularly, for Spanish scholarship holders in Rome (the Royal Academy of Fine Arts of San Fernando in Madrid preserves another Rape of Europa inspired by the same work by Veronese, but this one done by Alejandro de la Cruz, a student of Mengs who was granted a scholarship in 1765 by the Academy in Rome).

· Size: 191x7x158 cms. 167x134 cms.
ANTIQUES

Ref.: ZF0971
LANDSCAPE WITH A LAKE. OIL ON CANVAS. 18TH CENTURY.

Landscape with lake. Oil on canvas. 18th century. Landscape with a sunset on a lake, with mountains in the background and trees and a hut in the foreground. The composition is slightly enlivened by the presence of boats of various types with people on board, as well as two groups of buildings towards the right of the painting. The painting has many points in common with landscapes from European schools painted in the second half of the 18th century.

· Size: 116x3x50 cms. int: 35,5x102 cms
ANTIQUES

Ref.: ZF0973
POCKET WATCH, DEROCHES. METAL, ENAMEL, ETC. POSSIBLY CIRCA LATE 18TH C...

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

Ref.: ZE327
LZ MAURIN POCKET WATCH. METAL, ENAMEL, ETC. 19TH CENTURY.

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

Ref.: ZE329
POCKET WATCH, ANDRÉ HESSEN. GOLD, ENAMEL, ETC. PARIS, FRANCE, CIRCA LA...

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

Ref.: ZE326
POCKET CLOCK, JAQS BLANC. GOLD, ENAMEL, ETC. POSSIBLY CIRCA LATE 18TH ...

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

Ref.: ZE328
”MALA FAENA” (BAD BULLFIGHT PERFORMANCE). WATERCOLOUR. SIGNED. LLANECE...

Bad job. Watercolor. Signed in the lower left corner. José de San Bartolomé was a Spanish painter and sculptor who worked in the studio of the photographer Herbert from childhood and began his training at the School of Arts and Crafts in Madrid, continuing his studies at the Higher School of Painting at the Academy of San Fernando, while copying works by the masters of the Prado. In 1886 he settled in Paris, devoting himself mainly to genre painting in the wake of Fortuny, a theme that enjoyed great commercial success. He met Francisco Domingo, who opened the doors to the Buenos Aires market for him, where he received important commissions for painting and sculpture. He was Secretary of the Society of Artists of Paris, in 1894 he was named a knight of the Order of Charles III, in 1901 of the Legion of Honour and, in 1902, a commander of the Order of Isabel la Católica. At the beginning of the century he returned to Spain, and devoted himself mainly to portraiture, although he also painted landscapes and popular subjects. He enjoyed the protection of royalty, as evidenced by the portraits he painted of Queen Maria Cristina and various figures of the court. In 1925, the Paris Salon paid him a posthumous tribute with an exhibition of his work held in France. Works by Llaneces are preserved in the Prado Museum, the Pablo Sarasate Museum in Pamplona and in the Spanish embassy in Paris.

· Size: 52x2x42,5 / int 32x22,5
ANTIQUES

Ref.: ZF0997
PINE WOOD NICHE. SPANISH SCHOOL, 17TH CENTURY.

Niche. Gilded and polychrome pine wood. Spain, 17th century. A niche made of carved and gilded pine wood, decorated with mouldings, a scallop shape and plant elements on the upper part, which shows a clear classicist influence, common in some Spanish Baroque schools of the 17th century. This type of piece usually formed part of an altarpiece, and was normally used to house sculptures.

· Size: 47x14x66 cms
ANTIQUES

Ref.: ZF0954
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

Ref.: ZF1019
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SILVER JAR OR JUG. SPAIN, MADRID, CIRCA LAST THIRD 18TH CENTURY.

Jug or jar. Silver. DE SAN FAURÍ, Juan (1745-1785). Spain, Madrid, towards the end of the 18th century. With hallmarks and engraving marks, and property name (Ochoa). The jar has an oval base with slight curves and a body divided into two areas (wider at the bottom, slightly concave at the top) with a series of curved “segments”; the spout shows simple architectural decoration and smooth areas; the handle is of a type known as a tornapunta, with classicist architectural elements; the lid follows the lines of the body and is finished with a vegetal shape creating a knob. On one of the sides, towards the foot, there is the engraved text “Ochoa”, in reference to some former owner. The hallmarks indicate that the piece was made in Madrid. Another of those that appears could be one of those used by the silversmith Juan de San Faurí. With Philip V, numerous French influences came to silverwork, along with some Italian ones, both from the hands of craftsmen from these origins and from pieces. There was still little marking on the works except in important centres such as Madrid, and civil typologies acquired great importance. As in the rest of the country, the Baroque, Rococo and Neoclassical tendencies coexisted at the Court, although, as it was the centre that set the tone for the rest, the former soon moved away, introducing Rococo before 1740 or at that date, and Neoclassicism around 1770 (gradually imposing itself from 1780). The jug follows the most common prototype since the arrival of the Bourbons, characterised by its European influence and by the great difference it shows with the type known as “jug with spout”. Compare with the cruet by Francisco García (inventory 03487) from the Cerralbo Museum in Madrid, with the example from Medina-Sidonia (code 59906, Catalogue of the Movable Heritage of Andalusia), or with examples from the National Museum of Decorative Arts, pieces preserved in Museums and Treasures of Spanish Dioceses, etc. Weight: 1050 grams.

· Size: 17x8x26 cms.
ANTIQUES

Ref.: ZF1017
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SILVER JAR O JUG. FAXARDO, ANTONIO. SPAIN, CÁDIZ, 1787; REMARKED IN IT...

Jug. Silver. FAXARDO, Antonio. Spain, Cadiz, 1787; remarked in Italy (Naples). With hallmarks and engraving marks. Published in the Encyclopedia of Spanish and Viceroyal American Silver. Bibliography: Fernández, Alejandro; Munoa, Rafael; Rabasco, Jorge. “Encyclopedia of Spanish and Viceregal American Silver”. Second edition, corrected and expanded. Torreangulo Graphic Art, Madrid, 1985. Page 121; image 235 on page 331. A silver jug in its colour, featuring a raised circular foot, a spherical body that narrows upwards and opens again towards the lid of the piece (which has an open spout, simple engraved decoration and a vegetal finish of branches with fruit), and a curved handle decorated with architectural and vegetal elements of clear classical inspiration. This same influence can be clearly seen in the lines of the piece. Typologically, it is situated within a common line of 18th century Neoclassical Spanish silverwork that emerged in the capital of the Court (Madrid), a city from which it spread to other centres. Likewise, a certain reminder of Rococo is often mentioned in some detail (the handle in this case). The hallmarks it presents are those of the town of Cadiz, that of the silversmith Antonio Faxardo (active between 1775 and 1789), a chronological mark (1787) and that of Naples (considered as a remarque). Note that the hallmark of Cadiz, the hallmark (illegible), the chronological mark (1786) and that of the silversmith Antonio Faxardo appear on a chalice from the Cathedral of Santander. The aforementioned book identifies the marks present on the piece, as well as providing a photograph of it. Weight: 1008 grams.

· Size: 17x13x30 cms.
ANTIQUES

Ref.: ZF1014
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SILVER JAR OR JUG. MADRID, SPAIN, 1803.

Jug. Silver. Madrid, Spain, 1803. With hallmarks. Published in the Encyclopedia of Spanish and Viceroyal American Silver. Bibliography: Fernández, Alejandro; Munoa, Rafael; Rabasco, Jorge. “Encyclopedia of Spanish and Viceregal American Silver”. Second edition, corrected and expanded. Torreangulo Graphic Art, Madrid, 1985. Page 361, image 671. Jug with a moulded circular base and a semi-ovate belly on which a concave neck is raised by a band. The mouth, with a sinuous line, is highlighted with another fine smooth moulding and is warped at the front; it is covered with a lid that follows the same lines and is finished with a frog. The handle has a broken line, ends in plant motifs and is highlighted with a wide, smooth band or moulding towards the centre of the jug. This jug can be included in a group inspired by a traditional European model brought to Spain and initially spread by Platerías Martínez (compare, noting similarities and differences, with the silver jug in its colour marked in 1806 from the Royal Silver Factory of Madrid in the National Archaeological Museum, also topped 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 silverwork: baroque, rococo and neoclassical styles coexisted, but the first trend was soon abandoned, replaced by the second, which was introduced around 1740, with Neoclassicism appearing around 1770 and gradually imposing itself from 1780. The hallmarks it presents are those of the Villa y Corte de Madrid, which also allow the piece to be dated. Weight: 1,100 grams.

· Size: 16x12x30 cms.
ANTIQUES

Ref.: ZF1015
SILVER JAR OR JUG. SELLÁN, JUAN. MADRID, 1847.

Jug. Silver. Madrid, 1847. With contrast marks. Silver jug in its colour, with a flat handle decorated with simple openwork plant elements between two smooth bands and a raised shape towards the top, a large mouth that extends forward, and a body with different lines and decorations organised in three registers, and a circular foot with a band of architectural motifs. These three registers are organised: a smooth area towards the top, followed by a grooved part and another ribbed part. Both the decoration and the lines of the jug show a clear classicist influence. It has engraved initials of ownership (FAL). The hallmarks are those of Villa y Corte de Madrid (which also provide the date) and that of the silversmith Juan Sellán, trained at the Real Fábrica de Platerías de Martínez in 1821 and incorporated into the Colegio de Plateros in 1842, the year in which his first known works are dated. 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