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MONSTRANCE, TEMPLE TYPE. SILVER, GLASS. 16TH CENTURY, WITH RESTORATION...

Portable temple monstrance. Gilded silver, glass. 16th century, possible restorations. Monstrance made of gilded silver (the finish has been lost in some places) composed of a base, a shaft or stem and a two-storey upper architectural structure with some figures at the top. The base has a flat base on which tubular shapes with discs are placed, followed by a mixtilinear shape with an openwork front with circular details and an upper part with plant elements in relief (flowers, scrolls, palms, etc.) and a heraldic shield. The shaft or stem begins with an architectural shape with flying buttresses and tubular shapes with discs (similar to those of the base) and continues with another body of niches with sculptures of saints, which have columns with double faced balusters and arches with arched elements finished on the outside by winged angel heads with leaves in their hair; this area ends with an architectural element that recalls the lower part. The upper two-storey area has a hexagonal base and architectural, figurative and vegetal decorative elements with a marked classicist influence, together with others of a classical Gothic type, and is topped by a Deesis with a rocky floor (the Virgin and Saint John flanking a crucified Christ). Just below the gallery of trilobed arches that top it off, two garlands of leaves and fruits hang; and two heraldic shields are engraved. Next, there is the virile for the Holy Form, sheltered in a structure with grotesques functioning as columns and angels playing musical instruments. Above this, another structure shows seated children holding the emblems of the Passion and an enclosed space with balustraded balconies with crosses in the centre, within which a haloed figure appears blessing and holding an orb topped with a cross (in reality, this figure tops the virile, but can be seen through this gap); there are also niches with figures. Between one floor and another, there are a series of chains attached to small rods that ensure that the vault does not open. One of the two engraved heraldic shields already mentioned shows a Tau, also known as the Cross of Saint Thecla or Saint Anthony, common in Tarragona and in orders such as the Franciscan Order, for example. The other heraldic shield, which is very similar to the one on the base (here the border is different, there are more plants...), is cut, with a bull or ox passing to the left in the upper part and three plant stems (perhaps reeds) coming out of the ground (under which there is another line that could allude to a water course) in the lower area. The temple custodians are a relatively frequent typology in the Burgos and Valladolid schools (in fact, it seems to be common in Castile and León except for some areas such as Palencia), although they appear throughout the Spanish school together with the tower custodians and the type known as "sun custodians". Compare, for example, with the monstrance from the Church of Santa Eulalia in Paredes de Nava, or that from the parish church of San Pedro de Aibar (dated around 1476-1488, perhaps made in Burgos by Juan de Santa Cruz), that from the parish church of Sasn Juan Bautista in Horta de Sant Joan (workshop in Tortosa, 16th century (documentation from around 1520); note the high base, with an openwork front with circles), the Samaniego monstrance (Diocesan Museum of Sacred Art of the Basque Country, made by Sancho de Salcedo –doc. Santo Domingo de la Calzada, 1495-1511-), the Arisgotas monstrance (Parish Museum of the Town of Orgaz, dated before 1547 and made by Francisco Martínez de San Román from Toledo), etc. Weight: 3 kg.

· Size: 21x21x58 cms
ANTIQUES

Ref.: ZF1162
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
FOUR GEORGE III SAUCE BOATS SET. SILVER. HENRY CHAWNER, 1790.

Set of four Jorge III sauce boats. Silver. Henry Chawner (act. 1786-1796), 1790. Each one has an oval base, with fine mouldings that are repeated both on the edge of the sauce boat, visually extended by the curved line of the two handles, and on the top of the lid, in the shape of a vase. They present more decorative elements in the pieces, apart from those already mentioned and a series of elements engraved on the lids (bull heads with necks) and on the front of the sauce boats. In this area there is a motto in Latin ("Fide et amore”, “faithfulness and love”) under a heraldic shield on each one (three bull heads, two above and one below, separated by a goat; two rampant lions flanking a diagonal band on the shield itself). The lines and The elegance of the pieces is typical of the George III style. The heraldry is very reminiscent of that of the Boleyn family, Bullen or Boleyn, descended from Anne Boleyn. The motto would allude to a game commissioned on the occasion of a wedding. In 1790 William Bullen and Mary Collins were married in the Irish branch of the family, although it is not the only event of that year (Henry Bullen and Margaret Tarrent in the diocese of Cloyne…). The hallmarks provide a wealth of information about the pieces. The lion passant places the manufacture in London, while the two initials refer to Henry Chawner; the lowercase letter gives the exact year; the leopard's head certifies the quality of the material. The still-operating silversmith's business, Edward Barnard & Sons Ltd., has a number of predecessors: it was founded by Anthony Nelme around 1680, and, after a succession of master silversmiths, the business was improved by Henry Chawner in 1786, master of the successor of the family that was then running the business (Eduard Barnard I) and who continued with the business. It was active between 1786 and 1796, and the surname of this master remained linked to the firm until the end of the 18th century in several of his relatives. His works are currently preserved in private collections in England and America, mainly, but also in prominent institutions such as George Washington's Mount Vernon Museum (Virginia, United States), which has a Henry Chawner inkwell of George Washington, the Scoteney Castle of Kent, the Victoria & Albert in London, the Portland Art Museum, etc. Weight: 2110 grams.

· Size: 14x10x23 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6774
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SILVER JAR OR JUG. MARTÍNEZ MORENO, MATEO. CÓRDOBA, SPAIN, POSSIBLY 17...

Jug or jug with basin. Silver in its color. MARTINEZ MORENO, Mateo. Córdoba, Spain, 18th century With hallmarks and engraving marks. Made of silver in its color, the jug has an oval base, which rises flat until reaching a molding with vertical lines grouped in threes; after this it has a curve and a decoration of engraved circles until reaching the body of the piece. This is divided into three areas, a widening at the bottom until reaching the central area and, finally, another curve up to the mouth, all decorated with a series of curved "segments" of different widths. The handle, of a type known as a tornapunta, it presents architectural and vegetal decorations. The lid repeats the lines of the body and ends with a vegetal shape, in addition to presenting a piece towards the handle. The spout, curved towards the outside, shows two moldings halfway up the of its journey. The typology to which this jug belongs was common in Spanish silverwork during the Rococo period, and similar models can be found both in the capital and in other centres. With Philip V, numerous French influences came to silverwork, together with some Italian ones, both by artisans from these origins as well as 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 tendencies coexisted in the Court , Rococo and Neoclassical, 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 time, and Neoclassicism around 1770 (gradually imposing itself from 1780). Let us remember, again, that the jug follows the most common prototype since the arrival of the Bourbons, characterized by its European influence and by the great difference it shows with the type known as "spout jug" (present in the Renaissance, etc. ). It has several hallmarks at different points of the piece, some of them frustrated (partially preserved). It is possible to identify the locality, Córdoba, and the master silversmith's, although the numbering alluding to the date of creation of the work is still to be fully identified. Mateo Martínez Moreno was active in Córdoba during approximately the second half of the 18th century and was a faithful contrast to the city between 1780 and 1804 (the year in which he died). Weight: 1.167 kg.

· Size: 38,5x31,5x29 cms
ANTIQUES

Ref.: ZF1248A
SILVER WRTITING SET. VICENTE ROCES, ZARAGOZA (SPAIN), CA. 1760.

Silver writing desk. Vicente Roces, Zaragoza, circa 1760. With contrast marks and initials of ownership at the base. The base tray is square in shape with mixed-linear profiles and rests on legs with plant motifs. The four containers have helical scalloped feet and flower-shaped pearl-like finials on the lids. A candlestick emerges from another container, taller than the others and fixed to the tray, with a curved arm ending in a volute, and is attached to it by a hinge. The bell, also with helical scalloped edges, is topped by a figure of a soldier. The pen holder has holes in the lid for the pens, and is the same size as another of the containers, which was probably the inkwell. Two others, slightly larger, also do not have a perforated lid, and may have been used for drying sand and were therefore called “areillos”. The bell, used to call the service, secretary, etc., has another small jar as its base, similar to the rest but much higher, from the top of which the candlestick emerges. Stylistically, the clean lines show a very slight influence of Neoclassicism, while the helical scallops, the movement of the profiles of the containers, and the type of tray (called “contours” and very popular in silverwork in this century) reflect a strong survival of models related to the Rococo. Zaragoza continued to be the main silver centre of Aragon, with an abundance of preserved pieces and many marked, allowing for a detailed study. The hallmarks ensure the quality of the material and allow us to locate the manufacture and the author of the work. The locality marks, on the arm of the candlestick, place the work in Zaragoza, and date it as having been made between around 1760 and 1770. The craftsman marks, also there and another one on the base, allude to the silversmith Vicente Roces, known for his fine works in the Rococo style such as the Reliquary of Saint Francis Xavier from the last quarter of the 18th century in the Church of Santa María de Sangüesa (Navarra) and some others in important private collections. Weight: 1,525 gr.

· Size: 18x23x25 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6304
SILVER WRITTING SET. WITH HALLMARKS. CORDOBA (SPAIN), ANTONIO JOSÉ SAN...

Spanish: Notary. With hallmarks and engraving marks. There is a defect in some container and a bell is added. Silver writing table consisting of a tray, four containers and a bell. The first element, oval in shape, has edges with soft curves and counter-curves, decorated on the upper part with flat mouldings, combined with volutes and osier shapes; it stands on legs composed of two volutes flanking a teardrop, a set topped by a symmetrical composition. The four containers, with lids, have profiles with soft curves (among which engraved initials can be seen), which run towards the upper part following parallel spirals, these lines being extended on the finished lids. Two of them, smaller, have holes in the lids. The bell to summon the service, which has a space for itself on the tray, has much simpler lines. The hallmarks placed at various points in the set provide information regarding their date, origin and place of creation. They were made in Córdoba. Antonio José de Santa Cruz was a silversmith known for his work in Córdoba, active mainly in the second half of the 18th century; his works are preserved in some churches and in prominent institutions such as the National Museum of Decorative Arts in Madrid. Juan de Luque y Leiva was a renowned marker from Córdoba, active around the same time, with works preserved in the area (Parish of San Miguel in Córdoba, a wine rack with cruets in Loja from 1778, works in the Costume Museum in Madrid, etc.). Stylistically, the lines of the entire set (except for the bell) show that it belongs to the Rococo style, with the usual influence of certain details of Neoclassicism, which influence the relative simplification of the decoration of the pieces, while still maintaining something of the movement of the other artistic style mentioned, which is also characteristic of the 18th century. Weight: 1490 grams.

· Size: 26x30x15 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6810
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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
SILVER INKSTAND, MADRID, 1779.

Writing desk in turned, cast and chiseled silver, Madrid, 18th century (1779). Contrasting marks on the edge of the tray, on its underside. “AL” ownership mark. A tray with curved profiles is supported by four legs shaped like plant elements. Attached to it are the four containers that make up the writing desk. These, and the bell, have a magnificent decoration based on flat turned scallops on their body, base and lid. It is made up of a tray, a sandpit or sandbox (for drying ink) with a bell (to call the servant or the person in charge of carrying the written message or note) and three inkwells or feather dusters with lids, all attached to the lid by means of through screws. The profiles of the tray correspond to works from the period and style of Charles III, while the jars still show part of the movement that characterised Rococo, already introducing the clean lines characteristic of Neoclassicism. In the second half of the 18th century, with the accession of Charles III to the throne, Italian influences came to silverware once masters from this country had established themselves, either as silversmiths or, in many cases, also as bronze makers. At the end of the century, there was also an abandonment of Rococo forms in favour of the Neoclassical style, whose particularities can be seen in this writing desk. These scalloped forms come from decorations based on ancient Roman art on which this second artistic style was based, as do the plant elements. Madrid would set the standard in art as it was the capital of the kingdom, and the continuous movement of pieces and the relative ease of communication and transmission of drawings and engravings make it difficult to distinguish particular styles and trends in many cases. Likewise, it is worth highlighting the great role in improving the quality of silverware designs played by the foundation of the School-Workshop by Antonio Martínez in 1778. It has a town mark, Madrid Corte y Villa 1779, and its creator. Weight: 1850 gr.

· Size: 31x25Xx14 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6413
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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 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
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
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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
CROWN OR PIECE OF ALTAR. EMBOSSED SILVER, MIRRORS, WOOD. LLORENTE, JOS...

Altar top. Embossed silver in its colour, wood, mirrors. LLORENTE, José (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century. With contrast marks. Altar top made of embossed silver in its colour on a wooden core with seven oval-shaped mirrors and profiles cut in curves and counter-curves. The upper part has a canopy imitating textiles from which hang a series of small bells and shelters a dove with outstretched wings, situated in front of a ventral figure and a cloud with winged angel heads. Approximately the upper three quarters of the work show a decoration in light relief with sun rays, scrolls, rocailles, oval mirrors, circular tears resembling rain, flowers, leaves, a bunch of ears of wheat next to a vine with a bunch of grapes, etc. combined with five mirrors and following a symmetrical arrangement; the remaining part does not have reliefs but does have two mirrors. This type of liturgical goldsmith's work was relatively common in churches, cathedrals, etc. with significant purchasing power and influence, although not many of those made have survived because they are valuable materials that can be melted down and looted at certain times. Let us mention, highlighting the differences, the silver Altar of the Cathedral of Seville (16th-17th centuries, several silversmiths), the set of the main chapel of the Cathedral of Santiago de Compostela (17th century), the Manifestador-Tabernacle of the Cathedral of Valencia from the 18th century, the silver altarpiece of the Diocesan Museum of Huesca (work of José Estrada and Juan and Jerónimo Carbonell y Gros made between the 17th and 19th centuries, which was placed in front of the Main Altarpiece of the Cathedral, and has a canopy and pendant bells), a display for the Blessed Sacrament made of gilded silver and in its colour dated in the 18th century and which is found in the Museum of the Cathedral of Segovia, etc. The presence of the Holy Spirit (a dove) and the bunch of wheat ears and the vine with the bunch of grapes would link the piece with the Eucharist, and it is possible that it is a fragment of an altar (permanent or not) of a monstrance. Stylistically, it is clear that the work belongs to a Rococo that was already somewhat advanced. The hallmarks present in various parts of the silver place the creation of the finial in Vitoria (Spain), also providing an approximate date (around the 18th century's 60s) and the names of two master silversmiths: Juan Antonio Sotil or de Sotil (possibly the hallmark) and José Llorente. Juan Sotil was a silversmith based in Vitoria who also worked as a hallmark for the city (the City Council appointed him appraiser of diamonds and precious stones in 1751, and hallmark for the city in 1769, a position he held until 1779, when he resigned and Mauricio Llorente was appointed). Works with his hallmark are preserved in prominent institutions such as the Museum of Sacred Art in Vitoria (Reliquary of Santa Lucía from the hermitage of Santa Lucía in Vitoria, 18th century). José Llorente was another silversmith from Logroño. He passed his master's exam in Burgos, and is documented between 1760 and 1799. Works with his punch are preserved in the Church of Santiago de Logroño (portaviático), the Old Cathedral of Vitoria (four candlesticks), etc.

· Size: 52x26x122 cms.
ANTIQUES

Ref.: ZE153
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PAIR OF SILVER CANDLESTICKS. 18TH CENTURY.

Pair of silver candlesticks. 18th century. Pair of candlesticks made of silver in an unadorned Baroque style, with a clean and dynamic structure that expresses itself through the contrasting superposition of elements with a circular section. The lines engraved on the discs of the shaft have an impact on this play of inscribed circles that determines the design. The foot is domed and stepped, combining curved mouldings and edges, and its stepped truncated cone shape is repeated, inverted and reduced in size, at the base of the lighter. The shaft is made up of two truncated cone-shaped necks, the upper one with a rounded base, alternating with lentils or discs of different diameters and narrow spools between them. Finally, the lighter is cylindrical, with the same play of parallel mouldings of various sizes that extend to form flat discs. Weight: 2 kg

· Size: 15,5x15,5x33 cms.
ANTIQUES

Ref.: ZF1250
SILVER FRUIT BOWL 18TH CENTURY .

Cordoban silver salute, 1759-1768. With marks. Weight: 820 g. Silver salver in Rococo style, with hallmarks from Córdoba and the marker Bartolomé Gálvez y Aranda. It has a tall, stepped base, with a circular base, decorated with incised grooves and other simple classical motifs, already announcing the change of language towards neoclassicism. However, the plate itself is still clearly Rococo, with a profile of mitered curves that translate into edges on the eaves. Bartolomé Gálvez y Aranda was a silversmith, although he worked as a stamper between 1759 and 1772, using for this work the punch that we see here: his surname in capital letters, in a very horizontal trapezoidal frame and surmounted by a raised trilobed fleur-de-lis. From 1768, Gálvez y Aranda added the chronological mark to this punch, so this salute would be dated between 1759 and 1768. It is also a particularly interesting piece because it comes from Córdoba, the main centre of Spanish silverwork in the Rococo period, from whose workshops religious and secular pieces of high quality were produced, destined for clients not only locally but throughout the Iberian Peninsula, even reaching the Canary Islands and Latin America. The great diffusion of Cordoban silverwork took place, in fact, in the last quarter of the 18th century, through the so-called master silversmiths. These characters acted as trade brokers, according to Pérez Grande, visiting churches and fairs held throughout the country. The activity of these silversmiths was also favoured by tax exemptions.

· Size: 32x32x13 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6259
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
SILVER TWO-HANDLED CUP. WITH HALLMARKS. 17TH-18TH CENTURIES.Y

Bernegal or glass or wine tasting. Silver. 17th-18th centuries. With contrast marks. Bernegal made of silver in its colour, with a circular base, a body that widens upwards and two flat handles in an "S" shape with the central part widened. It has contrasting marks on the handle (unidentified) and a burin mark on the base. . Both bernegales and tembladeras were very common types of 17th century Spanish baroque silverware, and continued to be popular in the following century, mainly in centres far from the important creative centres. Also known as catavinos, this type of drinking glass was used in special occasions (ceremonies...), hence their material and the decoration they had, they were objects for civil use, although it was not strange or exceptional that they were donated or commissioned for use in churches or in liturgical settings. Compare this piece with two cups or tembladeras from the Monterrey Palace Collection in Salamanca (one Parisian made around 1750 and another from Salamanca) decorated with gallons and two raised “S” handles; with the bernegal from the Metropolitan Museum made in London in 1680 from the Irwin Untermyer collection (very similar in shape to the present one); or with the pair of bernegales 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
MISCELLANEOUS;SILVER WORKS

Ref.: Z6022
SILVER INCENSE BOAT (NAVICULAE). WITH HALLMARKS. POSSIBLY PORTUGAL, 18...

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

Ref.: ZE244
SILVER CUP. PERU, 18TH CENTURY.

Bernegal. Silver. Peru, 17th century. A silver-coloured tembladera or catavinos, with “S”-shaped handles (or “C”-shaped handles with a lower finish) with volutes and masks, and the rest of the piece plain. 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 piece with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of the Clarissan Mothers of Villacastín, others kept in the National Museum of Decorative Arts in Madrid, etc. Weight: 270 gr.

· Size: 19.5x14x8 cms.
ANTIQUES

Ref.: ZF0553
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 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
MISCELLANEOUS;SILVER WORKS

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

Ref.: ZE280
SILVER GLASS WITH TRAY. 18TH CENTURY.

Mouthwash. In silver in its colour. Barcelona, 18th century. With hallmarks and initials of ownership. A container with a small circular foot has simple, flat lines, as well as a space at the base of the interior into which the glass fits, which has the same elegant shapes in its contours. In general, in the 18th century, the territories of the Crown of Aragon were recovered, which influenced its silverwork. In Barcelona silverwork, there was a recovery of importance to levels that had not been seen since the Gothic period. As in the rest of Spain, Rococo would dominate during the reign of Charles III (1760-1788); in the Court, which was already familiar with Neoclassicism around 1735-1740, this style would appear around 1770 and, after coexisting with Rococo for a few years, it would gradually prevail from 1780. Barcelona quickly adopted this new style and, apparently, would become one of the main peninsular centres, although the frequency of changes in markers, the frequent use of confusing symbols on the pieces and the absence of preserved works and studies make a detailed analysis of this centre and its silversmiths difficult. The hallmarks on the piece place it in Barcelona, in the workshop of a silversmith whose punch is “F. Tur”, possibly (Turquet). Weight: 582 grams.

· Size: 18x18x9 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6871