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SILVER CUP (TEMBLADERA) OR WINE TASTING CUP. 18TH CENTURY.

Quaking glass or wine-tasting glass. Silver. 18th century. Vessel known as a catavinos or tembladera (as it has no foot) made of silver in its colour with two flat handles in the shape of a “C” topped by volutes and decorated with wavy elements on the outside, which has a decoration on the edge (on the outside) of simple plant elements alternating with simple geometric elements made with lines and dots. On the bottom, on the inside, there is a plant element. In Spanish silverwork, the Baroque trends were maintained for almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these novelties in Madrid, which would slowly spread to the rest of the centres, depending on the areas and masters. This survival of the forms of the 17th century can be seen in the fact that bernegales tembladeras were, in general, more common pieces in the 17th century, remaining during the 18th century relegated to centres far from the main areas of creation. Weight: 91 grams.

· Size: 14,5x11x3,5 cms
ANTIQUES

Ref.: ZE368
SILVER INCENSE RECIPIENT (NAVETA). SPAIN, SALAMANCA, 1824-1850.

Naveta. Silver in its colour. Salamanca, Spain, 1824-1850. With contrast marks and text. Silver vessel in its colour with a circular, stepped base decorated with ready mouldings, a turned axis or base with lines, and an elongated upper part, with a lid on one side and a protuberance on the other side of the piece (note the damage here). The hallmarks on the edge of the upper part (under the hinged lid) and on the foot place the production of this naveta in Salamanca, during the years of the faithful hallmark known as Bernabé Hidalgo (apparently documented in 1840, considered by some to be active in the 18th and 19th centuries; there is evidence of a Bernabé Sahagún Hidalgo working as a hallmark in Salamanca between 1824 and 1850). The other hallmark could not be identified. Also note the legend “Billaberde” located on the foot of the piece. Weight: 454 grams.

· Size: 16x10x18 cms.
ANTIQUES

Ref.: ZE438
SILVER SPICE “BOX”. POSSIBLY, 19TH CENTURY.

Silver spice rack. Stefano Olivero, Italy. Possibly 19th century. Silver spice rack raised on simple legs, located at the chamfered ends of the piece, decorated on the outside with garlands and other architectural elements of classicist influence in light relief. Weight: 198 grams.

· Size: 5,5 x 8,5 x 6,5 cm
ANTIQUES

Ref.: ZF0006
SILVER LAMP. WITH HALLMARKS. POSSIBLY MALAGA, SPAIN, 19TH CENTURY.

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

Ref.: ZF0342
CRUET SET. SILVER, GLASS. RENÉ-PIERRE FERRIER, PARIS, FRANCE, 1775.

Set of cruets. Silver and glass. René-Pierre Ferrier, Paris, 1775. With contrast marks. Set of cruets with salver made of silver in its colour and transparent glass, consisting of two jugs with handle, elongated neck and spout, and a body with a circular base, with a faceted exterior, an oval tray with two supports for the jugs and two others for the stoppers (decorated with leaves and fruits). The tray has four volute-shaped legs, a decoration that is repeated at the ends of the tray, and two architectural shapes on the longer sides, right where the supports for the spice racks are located. The supports for the jugs have an openwork decoration based on architectural motifs framing baskets with grapes and vine leaves and flowers. The hallmarks on the silver pieces indicate that they were the work of René-Pierre Ferrier (his hallmark can be seen), made in Paris between 1775 and 1776 (crowned M; “Maison Commune” mark) and with the corresponding taxes paid (the crowned A -this one in particular was used in Paris between 1775 and 1781- and the bull's head -same as the previous one-). René-Pierre Ferrier was a French silversmith whose mark can be seen used on work from 1775, the year he achieved the status of master. The shape of the tray is reminiscent of other works by the same silversmith dating from the end of the century and with a more pronounced “nave or ship shape”. The decorative elements respond to Neoclassicism, a very popular style in France at the time. It is possible to find pieces similar to the present one 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 gr. silver / 1245 gr. c/bottle.

· Size: 27x16x23 cms.
ANTIQUES

Ref.: ZF0344
SILVER PAX. 16TH CENTURY.

Peace-bearer. Silver in its colour and gilded. 16th century. A silver peace-bearer with a handle (decorated with delicate plant motifs similar to those on the pillars) and a female and male bust at the bottom, as well as other architectural elements on the back. On the front, there is a classicist architectural composition with a base (with busts flanking a flower and a cross), two pillars (plant decoration and a capital reminiscent of the Composite order) with an entablature (flowers flanking an angel's head; mouldings), and a semicircular arch top with raised elements in relief under a cross and flanked by two architectural motifs at the top. This composition frames and enhances a gilt silver relief where one can see the Lamentation or Lamentation over the Body of Christ, with the Virgin holding the head of Jesus, Saint John at her side, Mary Magdalene and other figures, a cross following the group and a landscape background with houses and plant elements. This architectural structure mentioned is similar to that present in other 16th century pavilions, such as that of the parish church of La Magdalena in Dos Hermanas (Hernando de Ballesteros el Mozo, around 1575); or that of the parish church of La Galaroza (same author and date); or that of the pavilion of San Miguel in Jerez de los Caballeros (in some details); etc. As for the relief, it is possible to clearly see a strong Italian influence, and the similarity between it and important pieces such as the Portapaz known as “de Cisneros” by Juan de Burgos (1493-1497; Alcalá de Henares Cathedral Museum), as well as in paintings and reliefs. It is also worth highlighting both the male and female busts in the lower area and the Maltese cross (or of Saint John) that appears in this area. This symbol was used from the 12th century as an insignia by the Knights Hospitallers of the Order of Saint John of Jerusalem, also known as the Order of Malta since Emperor Charles V gave them this island as a fief in the 16th century. Weight: 507 gr.

· Size: 10,5 x 4 x 21 cms
ANTIQUES

Ref.: ZF0664
SILVER DESK WRITING SET. MADRID, SPAIN, PLATERÍAS MARTÍNEZ, 1819. WITH...

Writing instrument with four inkwells and a bell. Silver. Madrid, Platerías Martínez, 1819. With contrast marks. Silver writing desk in its colour, composed of a rectangular tray (raised on four claw-shaped legs with softened corners), four containers (two with holes in the lids, two without) and a bell in the centre. Both the decorative elements (very few in number) and the lines of the different elements respond to a clear influence of European Neoclassical models. Hallmarks can be found on the bases of the four vessels and on the tray. These link the piece with the city of Madrid and with the so-called Platerías Martínez. The Real Fábrica de Platería de Martínez was founded in 1778, and represented the introduction in Spain of the industrial manufacturing method in the field of silver work and of neoclassical aesthetics in Spanish silverwork. It was also one of the most important silver centres in the history of Spain, and was characterised by the originality of its designs and the perfect finish of its pieces. Compare, for example, with the pieces kept in the Museum of History of Madrid, although similar models to the present one can be found in private collections. Weight: 2,239 grams.

· Size: 29x24x15 cms
ANTIQUES

Ref.: ZF0678
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SILVER DESK WRITING SET. PLATERÍAS MARTÍNEZ, MADRID, SPAIN, 1845. WITH...

Writing case with three inkwells. Silver. Martínez Royal Silversmiths Factory, Madrid, 1845. With contrast marks. Silver writing table in its colour, composed of a rectangular tray with raised, openwork sides and openwork decoration on the longer sides (downwards), and three containers (two cup-shaped) topped with figurative elements. Both the decoration of the elements and their lines show a clear influence of Neoclassical models based on Antiquity. The hallmarks present link the piece to the city of Madrid (Spain), also adding the date and the silversmith. The Royal Martínez Silver Factory was founded in 1778, and represented the introduction in Spain of the industrial manufacturing method in the field of silver work and of neoclassical aesthetics in Spanish silverwork. It was also one of the most important silver centres in the history of Spain, and was characterised by the originality of its designs and the perfect finish of its pieces. Compare this piece, for example, with the mancerina with a tray and acanthus leaves from the same factory dated 1834 in the Museum of History of Madrid, and with other works preserved in private collections. Weight: 490 grams.

· Size: 23x11x10 cms
ANTIQUES

Ref.: ZF0680
SILVER OVAL BOX. 19TH CENTURY.

Oval case. Silver. 19th century. With contrast marks. Oval box with flat lid made of silver, partially gilded, decorated on the outside with framed figurative scenes and landscapes and geometric motifs arranged in bands and architectural and plant motifs. The Rococo influence can be seen, for example, in the frames chosen for the landscapes on the body of the piece and in the figurative scene on the lid. Weight: 96 grams. Hallmarks are on the inside.

· Size: 6x4,3x2,2 cms.
ANTIQUES

Ref.: ZF0690
SILVER TRAY. EDWARD, JOHN & WILIAM BARNARD. ENGLAND, LONDON, 1862. WIT...

Salvilla. Silver. Edward, John & William Barnard. England, London, 1862. With contrast marks. Round salver with mixed linear contours decorated with elements in light relief towards the edge and engravings towards the centre, arranged around initials, and raised on legs with vegetal and architectural elements combining a polished finish with another. Edward Barnad & Sons was a company that was founded in London around 1860 by Anthony Nelme. Edward Barnad (died 1855) became the owner in 1829, trading as Edward Barnad & Sons, together with his sons Edward (died 1868), John and William (died 1851). Weight: 750 gr.

· Size: 30x30x3,5 cms.
ANTIQUES

Ref.: ZF0721
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SILVER CEREMONIAL CUP. SPAIN,16TH CENTURY.

Wine-tasting flask or shivering flask. Silver in its color. Spain, 16th century. With contrast marks, Illegible. Stemless and handleless cup, silver in its own color and with a circular base, a rim that flares outwards and a center that concave upwards on the inside. It features embossed decoration based on plant elements (flowers on the rim, other flowers towards the center around a central floral motif and alternating with rectangular motifs), veneered shapes (interspersed with flowers on the rim), and a small band of stars towards the edge of the piece. At this end, it has a partially foiled hallmark, on which the letters "AIEB" can still be read, followed by a vertical rectangular motif. These types of drinking cups, sometimes also known as bernegales, were used on special occasions (ceremonies, etc.), hence their material and decoration. They were very common during the reign of the Habsburgs in Spain. Although they were objects for civilian use, it was not unusual for them to be donated or commissioned for use in churches or liturgical settings. Similar examples can be found in very few private collections and only in a few important museums. For example, similar 16th-century bernegales are preserved in the Fundación Valencia de Don Juan (Madrid), and 17th-century ones are somewhat more abundant, as evidenced by those in the Lázaro Galdiano Museum (inventory 3910 and 3916).

· Size: 16x16x2 cms.
ANTIQUES

Ref.: ZF0957
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SILVER DRINKING CUPS SET.17TH CENTURY.

Pair of wine tasting glasses. Silver. 17th century. Pair of wine glasses or cups made of silver in their color. They feature a small, low, cylindrical base, a rim that flares toward the top, and a central area curved upwards, which has been decorated with a composition based on embossed geometric motifs in stripes and around a central element. These types of cups were used on special occasions (ceremonies, etc.), hence their material and decoration. They were very common during the reign of the Habsburgs in Spain. Although they were initially objects for civilian use, it was not unusual for them to be donated or commissioned for use in churches or liturgical settings. They were also frequently used for important festivals (Corpus Christi, pilgrimages, etc.). The shape of the pair clearly demonstrates the attachment to certain earlier traditions that prevailed in Spanish silversmithing during the 17th and 18th centuries, especially in certain production centers. Weight: 435 grams.

· Size: 18x18x5 cms.
ANTIQUES

Ref.: ZF0958
SILVER SMALL BRAZIER. 19TH CENTURY.

Gallon-shaped chofeta. Silver, Wood. 19th Century. Oval chofeta with turned wooden handles made of silver in its colour and with a scalloped or grooved finish, as well as legs finished in a ball with claw. The lines and decorative elements of this piece are common in 19th century European art, and similar examples can be found in numerous schools influenced by French art. Weight: grams.

· Size: 23x6.5x6 cms.
ANTIQUES

Ref.: ZF0978
SILVER SPICE DISH. DE CASTRO, DAMIÁN; SÁNCHEZ SOTO, JUAN. SPAIN, CÓRDO...

Spice rack. Silver. Spain, Cordoba, second half of the 18th century. With contrast marks. Silver spice rack in its colour with a truncated cone-shaped body, a sinuous lower edge resting on legs with scrolls and plant motifs, a semi-spherical bowl without divisions, a lid with a dome-shaped hinge and decorated with plant elements in high relief. The lid features a rose surrounded by a line of dots that create waves. The hallmarks place the piece's production in Córdoba, verified by Damián de Castro and by the hand of Juan Sánchez Soto (probably Cristóbal's son and brother), in the second half of the 18th century. Typologically, this is a spice rack belonging to a somewhat peculiar tradition or model, common in Córdoba and Madrid but also present in Gerona, Antequera, etc. Weight: 87 grams.

· Size: 7,5x6x5 cms
ANTIQUES

Ref.: ZF0982
SILVER SPICE DISH. DE LUQUE Y LEYVA, JUAN. SPAIN, CÓRDOBA, 18TH CENTUR...

Spice rack. Silver. Cordoba, 18th century. With contrast marks. Silver spice rack in its colour with a truncated cone-shaped body, a sinuous lower edge resting on volute legs with osier and floral motifs, a hemispherical bowl, a lid with a dome-shaped hinge, and decorated with plant elements in high relief. The hallmarks it presents identify it as an 18th century Cordoban work, by the hand of Juan de Luque y Leyva or Leiva (1721-1779/80), who was an official marker of the city between 1772 and 1779/80. Typologically, it is a spice rack belonging to a somewhat peculiar tradition or model, frequent in Cordoba and Madrid but also present in Gerona, Antequera, etc. Weight: 68 grams.

· Size: 7x7x4,5 cms
ANTIQUES

Ref.: ZF0983
TWO SILVER PITCHERS SET. BENITO GÓMEZ, ANTONIO. SEGOVIA, SPAIN, 1831-1...

Pair of spouted jugs. Silver. BENITO GOMEZ, Antonio (1775-1835). Segovia, Spain, 1801-1835. With contrast marks. Pair of small jugs with a circular base with mouldings, a low conical foot and a tubular body ending in a hemisphere at the bottom and with a flat moulding at the top; the handle, in double C, has a simple volute or branch that rests towards the mouth of the piece; the spout shows simple decoration. Typologically, the present pair is linked to a type of spouted jug that, with variations, was common in Spanish domestic silverware from the first half of the 17th century until the beginning of the 18th century, and was also found after this date. As usual, the civil model was quickly assimilated by religious silverware, especially for use in liturgical cruets. Antonio Benito Gómez (1775-1835) was a silversmith who worked in Segovia from at least 1801 until his death, and also a silversmith who worked between 1824 and 1828 and between 1831 and 1835. Son of the silversmith Juan de la Cruz Benito, several of his works have been preserved: a baptismal shell and a small rostrillo for the church of Vera Cruz in Zamarramala, a hyssop found in the church of Nuestra Señora de los Dolores in La Granja de San Ildefonso (Segovia), etc. Stylistically, most of his known work is clearly Rococo in style, although some Neoclassical pieces stand out.

· Size: 8,5x5,5x8 cms.
ANTIQUES

Ref.: ZF0984
BRONZE BRAZIER. POSSIBLY CASTILLE, SPAIN, 16TH CENTURY.

Brazier. Copper. Possibly Castile, 16th century. Brazier made of copper with a circular base decorated with vertical bands, a low tubular shaft enhanced with a fine rope-like moulding and a semicircular body, with a wide mouth that flares outwards, and two metal handles shaped like a half rectangle and a twisted part on the sides of the piece. These types of pieces were used in both civil and ecclesiastical interiors with the aim of providing as much warmth as possible to the occupants of the room. Their preservation is rare because they were utilitarian elements that were discarded over time or when damaged. They were usually objects intended for the upper class, and followed the same typologies whether they were destined for a sacristy or a private residence. The present case, possibly intended for use in a sacristy, displays a common typology in the Spanish school of the period. Compare, for example, with the brazier featured in The Birth of the Virgin Mary in the Retablo, assembled around 1520 by the Valladolid native Pedro de Guadalupe and found in the church of San Esteban de Amusquillo (which presided over the main altar of Valladolid Cathedral until 1676, when it was sold to the parish church of Renedo); or with the Birth of Saint Eloy by Pedro Núñez (1526-1529, MNAC, Barcelona).

· Size: 25x25x15,5 cms
ANTIQUES

Ref.: ZF0989
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
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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
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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
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
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
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