Z. Sierra · Antiques and Decorative Objects

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MANTEL CLOCK. BRONZE, MARBLE. MODEL FROM LENOIR-RAVRIO, LOUIS-SATINSLA...

Table clock, Apollo. Bronze, marble. Model of LENOIR-RAVRIO, Louis-Stanislas(1783-1846). Paris, around 1820. Table clock composed of a staggered rectangular base made of red veined marble and with gilt bronze elements of clear classicist influence (architectural motif molding, set of garlands and elements linked with lacework), and the area of the clock face, located on a pedestal with a step, seated on it is a patinated bronze figure representing the god Apollo (note the gilt bronze lyre in one hand). The dial, in gilt bronze with different finishes, has Roman numerals, Breguet-type hands, and the inscription “L. RAVRIO BRONZIER / A PARIS”, relating to the creator of the bronzes in the work. Louis-Stanislas Lenoir-Ravrio (Paris, 1783-Ivry, 1846), adoptive son of André-Antoine Ravrio (1759-1814), was one of the leading bronze players of his time (his father was too), and they worked together for a series of years (until 1814). It became part of the parental business, officially, in 1811, gaining great recognition for works in the Garde-Meuble and for his participation in International and National Exhibitions. Weight: 28kg

· Size: 43x16x62 cms.
ANTIQUES

Ref.: ZF0853
SILVER PAX. 16TH CENTURY.

peace bearer Silver in its color and gilt. Century XVI. Peace holder made of silver that has a handle (decorated with delicate plant motifs similar to those of the pilasters) and a female bust and a male bust at the bottom, as well as other architectural elements on the back, and, on the front, an architectural composition basement (with busts flanking a flower, and a cross), two pilasters (vegetable decoration and capital recalling the composite order) with entablature (flowers flanking an angel's head; mouldings), and a semicircular arch finish with venerated elements in low relief cross and flanked by two architectural motifs at the top. This composition frames and enhances a silver-gilt relief where you can appreciate the Lament or Weeping over the Body of Christ, with the Virgin holding the head of Jesus, Saint John at her side, the Magdalene and other characters, a cross after the group and a landscape background with houses and plant elements. This mentioned architectural structure is similar to the one present in other 16th century portapaces, such as the one in the parish of Magdalena de Dos Hermanas (Hernando de Ballesteros el Mozo, around 1575); or that of the parish of Galaroza (same author and date); or that of the peacekeeper of San Miguel de 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 de Juan de Burgos (1493-1497; Alcalá de Henares Cathedral Museum), as well as in paintings and reliefs. We must also highlight both the male and female busts in the lower area as well as the Maltese cross (or Saint John's) that appears in this area. This symbol was used since 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 him this island as a fief in the 16th century. Weight: 507 grams.

· Size: 10,5 x 4 x 21 cms
ANTIQUES

Ref.: ZF0664
CLOCK. PALO SANTO (HOLY WOOD), ROSEWOOD, ORMOLU. FRANCE, 19TH CENTURY,...

Watch. Palo santo, rosewood, golden bronze. France, 19th century, modeled after Charles Cressent (French, 1685-1768). Floor clock with a wooden box in which palo santo, rosewood and others are combined, enhanced with a series of gilded bronze appliqués, which combine with the curved and counter-curved profiles of the piece. Both the decorative elements and those decorations respond to models of the 18th century French Rococo. This piece is inspired by the regulating clock from the royal collections of England that is located in Buckingham Palace and was made by Charles Cressent, a master cabinetmaker considered one of the main exponents of the French Rococo, although he made pieces in the Regency Style already beginnings of the “style rocaille”. A master sculptor since 1719, he worked as a cabinetmaker and sculptor for the Regent Philippe II Duke of Orléans, and is well known and appreciated for his clocks, chests of drawers, andirons (J. Paul Getty Museum), etc.

· Size: 81x40x232,5 cms
ANTIQUES

Ref.: ZE298
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 of them has an oval base, with fine moldings 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. There are hardly any more decorative elements on 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”, “fidelity and love”) under a heraldic shield in each one (three bull heads, two above and one below, separated by a rafter; two rampant lions flanking a diagonal band on the escutcheon of the same). The lines and elegance of the pieces are typical of the George III style. The heraldry is very reminiscent of that of the Boleyn, Bullen or Boleyn family, descendants of Anne Boleyn. The motto would allude to a game commissioned for a wedding. In the year 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…). Contrast marks provide numerous piece data. The passing lion places the production in London, while the two initials refer to Henry Chawner; the lowercase letter gives the exact year; the leopard head certifies the quality of the material. The silversmith, still in operation, called Edward Barnard & Sons Ltd., has a number of predecessors: it was founded by Anthony Nelme around 1680, and, following a succession of master silversmiths, the business was improved by Henry Chawner in 1786, master of the successor to the family that was running the business at the time (Eduard Barnard I) and who continued with the business. He 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 English and American private collections, mainly, but also in prominent institutions such as the George Washington's Mount Vernon Museum (Virginia, United States), which has an inkwell by George Washington's Henry Chawner, the Scoteney Castle in Kent, the Victoria & Albert in London, the Portland Art Museum, etc. Weight: 2110 grams.

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

Ref.: Z6774
DEVOTIONAL PENDANT. OIL ON AVENTURINE, ENAMEL, GOLD… SPAIN, 17TH CENTU...

Devotional pendant or reliquary. Oil paint on aventurine, enamel, gold. Spain, 17th century. Devotional medallion or pendant or reliquary made of aventurine or aventurine with an octagonal shape and faceted fronts, enhanced with a series of enamels combining black and gold, which protect two oil paintings of a Catholic Christian religious theme, located one on each side of the piece. . Protected, you can see a very particular Virgin and Child for being inspired by the Icon of the Madonna del Popolo (Rome, Italy), and a simplified Martyrdom of San Lorenzo (the saint, the grill and an angel with a crown and the palm corresponding to the theme). The edges of the piece have been protected with simple metallic elements. The painting of San Lorenzo follows a habitual composition in the Spanish school, and would be reminiscent of works such as the painting of the main altar of the Church of San Lorenzo in Huesca, for example, but also of others such as the engraving by Marcantonio Raimondi (executed around 1527 ) in some details. The so-called icon of the Madonna del Popolo was well known for being considered to have been made by Saint Luke, and was brought to the church of the same denomination by Gregory IX from the Sancta Sanctorum of the Lateran Palace after a flood caused a terrible plague in the city and through a solemn procession with the image to Santa Maria del Popolo. As for the material of the piece, a certain type of glass and a type of quartz (which can be green or reddish brown, and usually have tiny elements of yellow mica that give it golden reflections) are known as aventurine or aventurine. In the first case, it is known that "aventurine" or "stellaria" appears mentioned in the Murano workshops for the first time during the first quarter of the 17th century, in reference to a paste that is very complicated to produce (it is said that the name comes from of this circumstance, that is, that its creation was due to luck or chance) that imitates the effects of that stone (from India and Russia at that time) thanks to the inclusion of copper particles, and that it was used as if it was stone (cut) given the complexity of its use in blowing (practically impossible). And, dealing with this material, it is necessary to mention "The Nativity" by Pietro da Cortona, dated around 1656, which is kept in the El Prado Museum (Madrid) because it is an oil on aventurine or aventurine. Compare this work with the reliquary medallion with an image of the Virgin painted on aventurine dated between 1600 and 1633 in the Lázaro Galdiano Museum (Madrid); with another devotional medallion in gold and aventurine from the National Museum of Decorative Arts (Madrid) dated from the 17th-18th centuries; or with the medallion that is also a reliquary that presents an Immaculate Conception painted on aventurine, dated between the 18th and 19th centuries from the National Museum of Decorative Arts (Madrid); or with the 16th-century Spanish devotional pendant from the Metropolitan Museum in New York with Saint John the Baptist and the Virgin (which combines black and white enamel, in a different way than the present piece); or with the 17th century black and white enamel and gold triangular pendant from the Instituto de Valencia de Don Juan in Madrid. Weight: 103 grams.

· Size: 9x0.7x8 cms.
ANTIQUES

Ref.: ZF0700
FRENCH TABLE CLOCK ALLEGORY OF SCIENCES

French table clock with Allegory of Sciences. Belgian marble and gilt bronze. Brocot Ainé, Paris, France, 19th century. The white dial with Roman numerals features Breguet hands and part of the movement on view. It is housed in a protective glass, decorated with a band of pearls and highlighted with a magnificent vegetable decoration in gilt bronze that extends above and below. On the watch face you can read "Brocot Ainé Paris", alluding to the master responsible for its creation. The watch case is made of striking Belgian black marble, placed on four scrolled legs and with chamfered corners to accommodate more decorative bronzes. The choice of stone is determined by the magnificent result of contrasting gold and black. The so-called "Belgian marble" or "Noir Belge" refers to a type of limestone of that color extracted from various deposits in that country that was already known and used in Roman Antiquity but whose use was massive as a background for stone works. duras or intarsia of the Renaissance and later. Since the middle of the 20th century, its exploitation has been decreasing due to the progressive difficulty of accessing the few remaining veins of the material, and its use is now restricted to the most exclusive creations. At the top, two female figures flank a cloth-covered table on which are various books, documents, and a globe. The two ladies, dressed in robes and made of patinated bronze, represent the Sciences. Clocks of sculptural conception such as this used to be known as "French type" as opposed to English. The 18th century was the time when watchmaking combined the technical advances of that time with superb artistic works, characteristics that continued throughout the 19th century. It was common to choose works similar to this one to normally decorate fireplaces, but also tables and chests of drawers in palaces and important residences. Both the movements and the materials used to make these watches were expensive and required highly skilled labor, giving rise to authentic jewels. Allegories were a frequent theme in the decoration of sumptuary works of art in the 19th century, influenced by Neoclassicism. In general, minor divinities were chosen to decorate these elements of social distinction, hence the frequent appearance of "putti" or allegories of the arts or sciences or concepts such as time. · Measurements: 73x25x87 cm

· Size: 73x25x87 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z6311
BRONZE MORTAR. CARLOS FENOLLERA, VALENCIA, SPAIN, 1790.

Pharmacy mortar. Bronze. Carlos Fenollera, Valencia, Spain, 1790. Bibliography: VVAA "The Faculty of Medicine of Valencia". University of Valencia, publication services. P. 128-129. Mortar made in bronze with a mouth exvased towards the outside and a frustoconical body that has a forehead with reliefs of female grotesques (bust of a lady and architectural lower part) united by laurel garlands and two lion protomes on the sides that would serve as handles; In this area is the word Ano (under one of the lions) and the number 1790 (under the other head) relative to the date of manufacture. Flanking this decoration are two inscriptions in capital letters enhanced with smooth moldings (“From the public laboratory of chemistry of the Ylle University of Vaia” followed by a cross; Carlos Fenollera me f, with stars between some words). It is known of a Carlos Fenollera, a master bell ringer, who succeeded Josef Pérez in 1796 as a machinist at the University of Valencia, working for the Professors of Mechanics and Astronomy, initially repairing machines and instruments, their maintenance, etc. Likewise, there is knowledge of the proposal for a laboratory (leading in its time) located in the Colegio de Santo Tomás de Villanueva, for which this piece was made, which, moreover, supposes, according to experts, one of the few elements that have come down to us from this laboratory at the University of Valencia, responsible for which would be Thomas Villanova, who directly hired a series of Valencian teachers (among whom a bell ringer named Carlos Fenollera is mentioned). Weight: 60 kg.

· Size: 43x40x25 cms.
ANTIQUES

Ref.: ZF1033
BRONZE MORTAR. SPAIN, 1743.

Pharmacy mortar. Bronze. Spain, 1743. Pharmacy mortar made in bronze with mouth exvased to the outside from the last third of the piece with the upper part straight to the outside, and frustoconical body (developed in a slight decrease towards the base on the outside), decorated on the outside with a band between thin smooth moldings with balustraded shapes with great relief and two straight tubular handles inclined downwards. On the upper edge it has a band enhanced by smooth moldings in which a text can be read with words alternating with rhombuses with stars (Ave Maria Grcia Plena Dominvs Tecvm IHS); Under this decoration is a band of plant elements grouped in pairs. Between two of the balusters, there is also another inscription (this one owned) in capital letters with stars grouped between some of the letters: “soi de d / anto/ nio de / la peña / ano / 1743”. These balustraded forms were introduced in the Spanish school mortars during the Baroque, and are considered a logical evolution of the ribs that these pieces used to have in earlier dates. Compare this example with several from the Museo Nacional de Artes Decorativas in Madrid (CE06812 has simpler balusters and handles; CE02620 maintains the motif of ribs heir to the Middle Ages, in combination with high-relief female busts). As for the text it presents, it is common to find it in ecclesiastical settings (monasteries, convents, cathedrals, etc.), so it is possible to assume that the mortar belonged to a religious institution. However, being a common phrase of Catholic Christianity, its civil use cannot be rejected outright. Weight: 64kg

· Size: 43x40x25 cms.
ANTIQUES

Ref.: ZF1044
SILVER WRTITING SET. VICENTE ROCES, ZARAGOZA (SPAIN), CA. 1760.

Silver notary. Vicente Roces, Zaragoza, around 1760. With hallmarks and membership initials on the base. The base tray has a square shape with mixed profiles and rests on legs with plant motifs. The four containers have helicoidal gallon feet, and low pearl flower finials on the lids. A candlestick emerges from another container, taller than the others and fixed to the tray, with a curved arm finished off in a scroll, and is attached to it by means of a hinge. The bell, also with helical gallons, is topped by a figure of a soldier. The pen holder has holes in the lid for the feathers, and it is the same size as another of the containers, which was probably the inkwell. Two others, slightly larger, do not have a perforated lid either, and may have been used for drying sand and therefore called grit. The bell, used to call the service, secretary, etc., has another jug as its base, similar to the rest but much higher, from the top of which the candlestick emerges. Stylistically, the cleanliness of the lines shows a very slight influence of Neoclassicism, while the helical gallons, the movement of the profiles of the containers, and the typology of the tray (called "contours" and very popular in the silverware of this century) reflect a strong survival of models related to the Rococo. Zaragoza continued to be the main silversmith center in Aragon, with an abundance of preserved pieces and many marked, allowing for a detailed study. The contrast marks ensure the quality of the material and allow us to locate the manufacture and the author of the work. Those of the town, in the arm of the candlestick, place the work in Zaragoza, and date it as being made between around 1760 and 1770. Those of the artist, also there and another one at the base, allude to the silversmith Vicente Roces, known for his fine works of Rococo taste such as the Reliquary of San Francisco Javier from the last quarter of the 18th century in the Church of Santa María de Sangüesa (Navarra) and some others in private collections of importance. Weight: 1,525 gr.

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

Ref.: Z6304
CARVED FRAME WITH PAINTING ON VELLUM, “OUR LADY OF THE ROSARY WITH SAI...

Carved and gilded frame with painting on vellum, "Virgin of the Rosary with Saint Dominic de Guzmán and Saint Catherine of Siena", 17th century. Inscription in the back area (D. José Salazar). Quadrangular frame with square projections in the corners and semicircular projections in the centers of the sides. The meaty and outstanding vegetable carving that it presents is overgilded, being able to appreciate in some areas the red bowl with which the thin sheets of metal were adhered to the wood. The painting on vellum presents a magnificent openwork work, flowers on the border and various characters. The scene represented is the Virgin giving the rosary to Santo Domingo de Guzmán and Santa Catalina de Siena. Mary appeared to the founder of the Dominicans, giving him the "Crown of Roses of Our Lady", also called a rosary and teaching him to pray it, with the mandate that he preach it among men. This particular dedication is known as Virgen del Rosario. Santa Catalina de Siena took the habits of the third order of Santo Domingo at the age of 16, despite family opposition. That is why she is depicted dressed like this. It was the members of her order who dedicated themselves to expanding her cult throughout Europe, attributing common miracles to other saints (stigmatization) and representing her in numerous scenes. One is the one in this work: despite not having participated in the delivery of the rosary, she is included in the theme together with Santo Domingo, flanking Mary, who usually appears with the Child. The Virgin appears in heaven, with the saint on her right and the saint on her left, giving them a garland of flowers that symbolizes this rosary; the buildings in the background refer to the religious foundations that were carried out thanks to Santo Domingo (the first formal community of “hermanos preachers” was organized around 1215; the same saint founded a female monastery in Prohuille). The delicate work on vellum with the openwork and the marked presence of flowers put the work in relation to some feminine convent of the order. It would be commissioned by themselves or brought as part of a sister's dowry. The great quality and importance of the frame indicate the great value that was given to the painting, which would be hung on a wall as evidenced by the presence of a metal hook on the back. Frames similar to the present, with the same quality and importance of carving, are not easy to find. Similar examples are preserved in the J. Paul Getty Museum in Miami, the Victoria & Albert Museum in London, the National Museum of Decorative Arts in Madrid, the Louvre in Paris, etc. Paintings on vellum were very common in the Baroque because it was a much cheaper support than board. However, being executed by lesser artists, their value has only recently been recognized, so not many examples survive.

· Size: 33x37.5 LUZ 13.5X18 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZA5034
SILVER DRINKING CUPS SET.17TH CENTURY.

Pair of catavinos. Silver. XVII century. Pair of glasses or cups for drinking wine made in silver in its color that have a small cylindrical and low foot, a flared edge towards the top and a central area curved upwards, which has been decorated with a composition based on motifs. geometric embossed in stripes and around a central element. These types of glasses were used on special occasions (ceremonies...), hence their material and decoration, and they were very common during the reign of the Habsburgs in Spain. Although they were initially objects for civil use, it was not surprising that they were donated or commissioned for use in churches or liturgical settings, and they were also frequently used in prominent festivals (Corpus, pilgrimages, etc.). The shape of the couple is a good example of the adherence to certain previous traditions that occurred in Spanish silverware during the 17th and 18th centuries, especially in certain producing centers. Weight: 435 grams.

· Size: 18x18x5 cms.
ANTIQUES

Ref.: ZF0958
SILVER TRAY. JOSÉ DE ASTEIZA, BILBAO, SPAIN, 1702.

Source or tray. Silver in its color. José de Asteiza Garay, Bilbao, Spain, 1702. With hallmark and inscription. Circular tray made of silver in its color that has a leaf garland border followed by a flat area and a decoration in the center of the piece made up of a band of plant motifs with a classicist influence, an inscription in capital letters (ESTA FVENTE ES OF SAN NICOLAS AÑO DE 1702), and a central motif of scrolls, leaves and flowers accompanied by a staff of command, a bishop's miter, a cord with tassels and shells (recalling the one linked to Santiago Apóstol). This decoration in the center alludes to San Nicolás de Bari. Also known as Saint Nicholas of Mari, he was a bishop who lived in the fourth century in what is now Turkey. He was imprisoned by a decree of the Emperor Licinius, released by Constantine, participated in the Council of Nicaea, etc. Typologically, it is an element in the shape of a decorative tray, but, as it has the inscription it presents (which links it to a religious environment), it could be a petition plate or tray, designed to collect offerings given by the faithful in Masses and other outstanding celebrations. Likewise, it is necessary to remember the Communion trays, which also follow civil models. A church dedicated to San Nicolás is known, founded in 1490 as a hermitage presiding over the fishermen's neighborhood located outside the city. The current building is, however, a temple inaugurated in 1756 and designed by the architect Ignacio Ibero. Let us mention that the altarpieces of the main chapel and the four interior exedras have altarpieces that were commissioned to Juan Pascual de Mena in 1754. Stylistically, it is a work of marked classicism, with some detail that could be reminiscent of Baroque work but without yet presenting elements of the Rococo style. There is no locality mark, but the one that is on the piece (towards the edge of it) is linked to a silversmith who worked in Bilbao (Basque Country) in the 18th century. José de Asteiza or Asteyza (1686-1738) was a silversmith active in Bilbao, a city where he worked for different parishes and also as a faithful contrast to around 1715, and by his hand works such as a ciborium are preserved in the church of San Pedro de Berriatua, the election pitcher of the Consulate of Bilbao (Basque Museum of Bilbao, made in 1733), the whistle of the Consulate of Bilbao (Basque Museum of Bilbao, 18th century), a chalice in the church of San Cosme and San Damián de Beci in Sopuerta, etc. Weight: 1170 grams.

· Size: 42,5x42,5x3,5 cms.
ANTIQUES

Ref.: ZF1051
SILVER WRITTING SET. WITH HALLMARKS. CORDOBA (SPAIN), ANTONIO JOSÉ SAN...

Writing desk. Córdoba, Antonio José de Santa Cruz (Córdoba, 1733 - ¿) and Juan de Luque y Leiva, 1773. With contrast and chisel marks. It presents some lack in some container and bell is added. Silver notary made up of a tray, four containers and a bell. The first element, oval in shape, presents edges with soft curves and countercurves, decorated on the upper part with flat moldings, combined with volutes and veneered shapes; it stands on legs made up of two volutes flanking a teardrop, a set topped by a symmetrical composition. The four containers, with lids, present profiles with smooth curves (among which engraved initials can be seen), which go towards the top following spirals parallel to each other, lines that continue 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, presents much simpler lines. The contrasting marks arranged at various points in the game provide information regarding its date, origin and place of creation. They would be held 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 Cordovan marker, active around the same time, with works preserved in the area (Parish of San Miguel de Córdoba, a cruet holder in Loja from 1778, works in the Madrid Costume Museum, etc. .). Stylistically, the lines of the whole set (except those of the bell), show its belonging to the Rococo, with the usual influence of certain details of Neoclassicism, which affect the relative simplification of the decoration of the pieces, 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
CHEST. WOOD, GILT IRON, RED VELVET. 16TH CENTURY.

"Rehearsed" chest. Wood, covered in velvet, golden iron fittings. Century XVI. Box with a rectangular base and smooth walls with a lid with sloping sides and a straight upper part (truncated pyramidal) made of carved wood. It stands out, above all, for still presenting (and in a remarkable state of conservation) the red velvet with which some of the main examples of this type of work used to be covered, and for maintaining some elaborate ironwork in its decoration and with gold in numerous areas. . The three fittings that join the lid with the base have vegetable-shaped endings that are reminiscent of fleur-de-lis examples; the handle at the top has a disc in the center and sharpened finials; the shield of the lock is reminiscent of a heraldic one, topped with another simple plant element, and the bolt that joins it to the leg has simple architectural shapes; on the right, in addition, there is a hook to prevent accidental opening of the chest when opening the lock. Inside, diaphanous and without compartmentalization, it presents a fine textile upholstery in a color similar to that of the outer velvet. This type of chests or chests lined with fabric (the examples that have velvet are the highest quality, as this is a textile made with silk or linen) was already very common in Spain during the 15th century, extending into the 16th century. , in the case of characteristic elements of the time of the Catholic Monarchs. As for the presence of a lining inside, it is due to the clear intention of preserving the contents of such a rich chest in the best possible condition, saving them from the possible damage that the ironwork nails could cause to the valuable objects that were placed in it. They were kept in this type of container, which is why two hooks were also placed flanking the lock to prevent its accidental opening once the key was turned. Regarding color, note that the most expensive dyes were red and blue, so these were the most expensive and valuable specimens. As indicated, it is unusual for such old velvet to still retain its characteristic hair, reducing the number of works with which we can compare this casket. It is much smaller than the pine wood trunk lined in silk velvet, with iron fittings, kept by the National Museum of Decorative Arts in Madrid, made in Castile between the last quarter of the 15th century and the first quarter of the 16th century.

· Size: 27x14x16 cms.
ANTIQUES

Ref.: ZF0122
SILVER JAR O JUG. FAXARDO, ANTONIO. SPAIN, CÁDIZ, 1787; REMARKED IN IT...

Jug. Silver. FAXARDO, Antonio. Spain, Cadiz, 1787; rebranded in Italy (Naples). With contrast and chisel marks. Published in the Encyclopedia of Spanish and American Viceroyalty Silver. Bibliography: Fernández, Alejandro; Munoa, Rafael; Rabasco, Jorge. "Encyclopedia of Spanish and American Viceregal Silver". Second edition, corrected and enlarged. Torreangulo Graphic Art, Madrid, 1985. Page 121; image 235 on page 331. Silver jug in its color that presents a raised circular foot, a spherical body that tapers 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 clearly classical-inspired architectural and plant elements. This same influence can be clearly seen in the lines of the piece. Typologically, it is located within a habitual line of Neoclassical Spanish silverware from the 18th century that emerged in the capital of the Court (Madrid), a city from which it spread to other centers. Likewise, a certain memory of the Rococo is usually mentioned in some detail (the handle in the present case). The contrast marks that it presents are those of the town of Cádiz, that of the silversmith Antonio Faxardo (active between 1775 and 1789), a chronological mark (1787) and that of Naples (considered as a remark). Note that the Cádiz hallmark, the hallmark (illegible), the chronology hallmark (1786) and the silversmith Antonio Faxardo hallmark appear on a chalice in the Cathedral of Santander. In the mentioned book they identify the marks present in the piece, in addition to providing a photograph of it. Weight: 1008 grams.

· Size: 17x13x30 cms.
ANTIQUES

Ref.: ZF1014
BRONZE MANTLE CLOCK, CUPID WITH ROOSTER. BRONZE, MARBLE. POSSIBLY FRAN...

Table clock. Gilt and blued bronze, marble base. Possibly France, late 19th century. Working. Table clock with Paris machinery in working order that has a rectangular light marble base with the front slightly forward to allow space for the clock case. It has a white dial, Louis XVI type hands and Roman numerals for the hours and Arabic numerals five by five for the minutes. This part is sheltered in a golden marble pedestal, which has a base of Greek fretwork resembling waves, a laurel wreath and, on the sides, some books, an overturned vase with flowers and an arch; above, plant elements and a bow. In the upper part there is a gilt bronze rooster, and, holding the animal, appears a cupid (note the bow that would link him to the god of love Cupid) or a blued bronze cherub, thus creating a marked contrast. A few examples similar to the present one are known in European private collections, since it was a highly prized model of which the French workshops specialized in this type of piece created some variants for watchmakers who requested them. There is also another model without a rooster and with the angel lying down, very similar to the present one, of which porcelain examples created in Meissen are also known.

· Size: 35x15x40 cms
ANTIQUES

Ref.: ZF1036
PAIR OF CENTERPIECES. ORMOLU, MARBLE. FRANCE, LATE 19TH CENTURY

Pair of centerpieces. Gilded bronze, marble. France, late 19th century Pair of centerpieces or planters that have a globular body carved in marble veined in pink tones (of a type similar to a very popular one often used in French school works during the 18th century Rococo) and gilt marble accents to mercury. These are decorated with lion claws on the legs, simple architectural moldings and masks with plant elements (feminine and monstrous, alternating), and an edge that extends towards the interior of the pieces, creating two wings or handles, decorated with plant and architectural elements (scrolls, flowers, bows, leaves, etc.) both outside and inside this area, leaving what would be the internal area of the smooth marble pieces. The classicist inspiration of the decorative elements of the couple is common in French school works since the 18th century. Some details (for example, the claws finishing off the legs) are seen in Louis XIV-style centerpieces dating from that century, while other elements are seen more often in Louis XVI-style work (one of the main features of the Neoclassical style). Only one piece is known to be kept in a private collection in the United States of America. Weight: 16kg

· Size: 37x27x23 cms
ANTIQUES

Ref.: ZF1064
DEVOTIONAL PLAQUE. IVORY, WOOD. CIRCA LAST THIRD 16TH CENTURY, AFTER J...

devotional plate; Last Supper, Christ on the Mount of Olives. Wood, stained and engraved ivory. Around the last third of the 16th century, following the models of Jan Sadeler I (active 1550-1600). Rectangular carved wooden plaque with a ring and a hole on the back, which presents on the front two ovals with Biblical themes enhanced with dark wood frames decorated with square diamond points above and below and rectangular on the sides, and winged heads of angels on the corners that these two compositions leave free. On the left, the Last Supper appears at the top, with Christ under a canopy and accompanied by Saint Peter and the rest of the Apostles on both sides; below, Judas receiving the bag of coins; The space is completed by a series of architectural elements, angels, fabrics, plant motifs, scrolls, etc. of clear classicist influence. On the right, the theme of Christ on the Mount of Olives, with Jesus raising a hand towards the chalice offered to him by an angel and accompanied by two sleeping Apostles, and two soldiers; below, and through a door, the Arrest of Christ; The composition is completed and organized by a series of bands topped with volutes, architectural and plant motifs, etc. classicist influence. Both scenes are closely inspired by two engravings from the series “Passio Verbigenae Quae Nostra Redemptio Christi”, published by Jan Sadeler I (active 1550-1600) between 1575 and 1600 and inspired by Marcus Gheeraerts I (Bruges, 1516/ 21-London, c.1590). Prints from this series are preserved in many prominent museums around the world (British Museum in London, Rijksmuseum in Amsterdam, etc.). According to experts, around 1580, the artist Marcus Gheeraerts designs this series of the Passion of Christ, framed, highlighted, hierarchical and structured thanks to an elaborate and delicate system of grotesques and other classicist elements that is applied to the iconographic themes it presents. At the time of the creation of engravings, and later, during the Baroque, the use of engraved (or carved) ivory or bone plates was common in furniture, lecterns, altars of personal devotion, devotional plates, etc. Compare, for example, with desks from the Flemish school, from the Neapolitan school, etc. such as the one dated around 1600 in the Philadelphia Museum of Art (workshop of Iacobus Fiamenco, Flemish; active in Naples, Italy, between 1594 and 1602; with scenes based on engravings by Dirk Volkertsz; Coornhert, Netherlandish, 1522 – 1590; after designs by Maarten van Heemskerck (active Haarlem and Rome, 1498-1574)). It is also worth mentioning pieces such as the reliquary altarpiece of the Brotherhood of the Blood of Christ in the Church of Santa Isabel de Portugal (San Cayetano) in Zaragoza, which presents religious scenes based on engravings by Antonius Wieris (1555/9-1604). .

· Size: 12x1,5x13 cms.
ANTIQUES

Ref.: ZF0963
SILVER INKSTAND, MADRID, 1779.

Notary in turned, cast and chiseled silver, Madrid, 18th century (1779). Contrast markings on the edge of the tray, at its bottom. Ownership mark “AL”. A tray with curved profiles is supported on four legs in the shape of plant elements. Fixed to it are the four containers that make up the notary's office. These, and the bell, present a magnificent decoration based on turned flat gallons on its body, base and lid. It is made up of a tray, sandbox or sandbox (to dry the ink) with a bell (call the servant or the person responsible for carrying the message or written message) and three inkwells or feather dusters with a lid, all attached to the bell by through screws. The profiles of the tray correspond to works from the period and in the Carlos III style, while the jugs still show part of the movement that characterized Rococo, already introducing the clean lines characteristic of Neoclassicism. In the second half of the 18th century, with the accession to the throne of Carlos III, Italian influences arrived in silverware once masters from this country had established themselves, either as silversmiths or, in many cases, also as bronzesmiths. At the end of the century, an abandonment of the Rococo forms in favor of the Neoclassical style can also be seen, whose particularities can be seen in this notary. These embossed shapes 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 for being the capital of the kingdom, and the continuous movement of pieces and the relative ease in the communications and transmission of drawings and engravings make it difficult to distinguish particular styles and tendencies in many cases. Likewise, it is necessary to highlight the great role played by the founding of the School-Workshop by Antonio Martínez in 1778 in improving the quality of silverware designs. Presents locality mark, Madrid Corte y Villa 1779, and artist. Weight: 1850 gr.

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

Ref.: Z6413
ENGRAVED SILVER CUP, \'POKAL\' GERMANY. 19TH CENTURY

German cup in silver. XIX century It is made entirely of silver, and decorated with motifs in relief, round bulge, engravings and chiseling. It is directly inspired by similar pieces made in 16th century Germany, in full mannerism. This is due to the importance that Germanic silverware had in that century; German and Central European craftsmen in general will create very rich pieces for collectors' cabinets designed to be displayed and not used, the greatest example of virtuosity and ornamental richness of Mannerist silverware. One of the most recognizable types of Germanic Mannerist silverware will be this type of tall cup, with a cylindrical container with a differentiated sub-cup and a large lid. These are functional or ornamental cups, depending on the richness and abundance of their decoration. This decorative profusion, combining all kinds of motifs, is key in Mannerist silverware, and it reached the point of replacing parts of the structure with decorative motifs, as we see here in the shaft, made up of a vase, and the knob, with the round figure of a young classical warrior. The main motif of this design is the chevrons in relief, which take the shape of oval recesses and are separated by baquetones with parallel transversal lines. We see them in the sub-cup, the mouthpiece and the lid, although they also appear in the foot, although simplified, without recesses or drumsticks. The piece stands on a circular foot with a flat and smooth base, with two profusely decorated domed steps: gallons on top and intertwined braces, with flowers and classical masks below, typical motifs of the Mannerist ornamental background. The shaft, as we have mentioned, takes the form of a balustraded vase adorned with large braces in the form of ribs, topped by bird heads. The container is cylindrical in shape, with a cup-cup in great relief, adorned with herms in relief, again a typical motif in Mannerist silverware. The upper part, under the mouth, also juts out, although its gallon decoration is simple enough not to overshadow the delicate and meticulous embossed and chiselled engraving in the central area. In it we see two oval cartouches that house the representations of two gods from classical mythology: Bacchus, serving wine in a glass against a background of a landscape with houses, and Mercury, running in a wooded landscape. Between both cartouches are classical masks of great ornamental richness. Finally, the lid is domed, with a curly perimeter and a stepped structure. The pommel is sculptural and represents a classical young warrior, perhaps the god Mars. Weight: 1742 grams. (It has a counterweight on the base)

· Size: 10x10x33 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5957
Sold

SILVER TRAY. BLAS DE AMATE, SEVILLA, MID 18TH CENTURY.

Silver salvilla "contours". Blas de Amate, Seville, mid-18th century. With contrast markings on the edge. Circular tray with four legs decorated with scallops, plant motifs and cartouches, and a raised edge, decorated with chordate ogee motifs separated from each other by a plant element. The center is plain, with the interlocking initials P and S engraved in the center. This type of profile is called “contours”, and it was the most used in salvillas throughout the Rococo since the mid-18th century. However, the decoration of the piece responds more to models related to Neoclassicism, a coexistence of trends that was common at the time and more in the area of origin of the salvilla. At the beginning of the 18th century, Sevillian silverware would continue to maintain its primacy, but it would be surpassed by that of Cordoba (although it still had a large number of craftsmen and very good quality in many of them). The contrast marks perfectly place the completion of the work: the one on the left (animal, possibly a pig) and the third starting from the left belong to those of the faithful contrast Nicolás De Cárdenas (who directed the work of checking the quality of the material in these pieces from the Seville office since 1756 and for some thirty years); the one on the right is the locality mark (Seville); the second belongs to Blas de Amate, one of the main Sevillian silversmiths of the mid-18th century. It is necessary to highlight the elegance of the piece and its quality. For this reason, similar works of art can only be seen in important private collections and in prominent institutions such as the Lázaro Galdiano Museum (Madrid), and, above all, in religious centers of ancient tradition (Diocesan Museum of Huesca, Sevillian parishes, etc. .). Unfortunately, not many works by Blas de Amate have come down to us: for example, the National Archaeological Museum preserves a sponge box made between 1740 and 1750 (inventory 2007/27/2); the Sacramental Brotherhood of San Isidoro de Sevilla a sacramental banner with the embossed silver pole, made by him; a mancerina from between 1730 and 1740 bears his hallmarks (Monasterio de Santa María del Valle, Zafra). Weight 1870 grams

· Size: 43x43x6 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6478
SILVER CHALICE. SPAIN, POSSIBLY ZARAGOZA SCHOOL, 17TH CENTURY.

Chalice. Silver gilt and in its color. Spain, possibly Zaragoza school, 17th century. Chalice made of silver with a bell-shaped cup gilded on the outer edge and on the inside and bulbous rose. Balustraded shaft with smooth fillet, oval knot on a flared shape (also with moldings or smooth fillets) followed by a cylindrical body of wide diameter. Staggered circular foot forming decorated and smooth bands of different lines. It presents decoration based on smooth framed mirrors, C's facing each other like parentheses, simple plant and floral motifs, geometric shapes, etc. on a matte worked background, following rhythms with symmetry and order. The shape of this chalice is reminiscent of outstanding examples such as the one made of gilt silver during the second half of the 17th century that is in the Naval Museum of Ferrol (Spain), some of the Cathedral of Santiago de Compostela, two in the Barbastro Diocesan Museum -Monzón, profile similar to that of the monastery of Villanueva de Sijena, etc. Regarding its decoration, similar compositions can be seen in some details in the Lázaro Galdiano Museum in Madrid (Agustín de Cuesta fountain, Granada, first third of the 17th century; Noval fountain, Tudela, second third of the 17th century), etc. . Compare, likewise, with a silver-gilt chalice preserved in the Diocesan Museum of Zaragoza, with very similar lines to the present one. Weight: 960 grams.

· Size: 15x15x26 cms.
ANTIQUES

Ref.: ZF0988
SILVER JAR OR JUG. VITORIA, 18TH-19TH CENTURIES.

Jug. Silver. Vitoria, 18th-19th centuries. With hallmarks and chisel marks, and ownership initials (TN). Published in the Encyclopedia of Spanish and American Viceroyalty Silver. Bibliography: Fernández, Alejandro; Munoa, Rafael; Rabasco, Jorge. "Encyclopedia of Spanish and American Viceregal Silver". Second edition, corrected and enlarged. Torreangulo Graphic Art, Madrid, 1985. Page 240; page 430, image 1472. Silver jug or jug in its color, with a circular foot decorated with moldings and a string of pearls, a semi-ovate belly on which, by means of a band of classicist architectural motifs, a curve, a step and a high neck with a concave profile are raised. The mouth, with a sinuous outline and enhanced with another band of plant elements, presents an elevation towards the beak, and is covered with a cap or lid topped with a swan-shaped knob. The handle is a feline with a round shape, in an attitude of stalking towards the bird. Typologically, the piece follows neoclassical models, brought from Europe to Madrid and disseminated from this place. Likewise, it should be noted that the handle with a round figurative element is not entirely common, although examples are known in private collections of jugs with handles in the shape of a grotesque, a lion, etc. The contrast marks it presents place the making of the piece in Vitoria, by the silversmith Argandoña and with the faithful Maison contrast. Tomás de Argandoña is active in the city between 1790 and 1810, while Maison has been dated between the 18th and 19th centuries. Weight: 1100 grams.

· Size: 14x12x31 cms.
ANTIQUES

Ref.: ZF1016
SILVER JAR OR JUG. SPAIN, MADRID, CIRCA LAST THIRD 18TH CENTURY.

Jug or jug. Silver. DE SAN FAURÍ, Juan (1745-1785). Spain, Madrid, towards the last third of the 18th century. With hallmarks and carving marks, and property name (Ochoa). The jug has an oval base with slight curves and a body divided into two areas (wider in its lower half, slightly concave in the upper half) with a series of curved "gajos"; the spout shows simple architectural decoration and smooth areas; the handle is of a type known as a brace, with classicist architectural elements; the lid follows the lines of the body and is finished off with a vegetal shape creating a knob. On one of the sides, towards the bottom, there is the engraved text "Ochoa", in reference to a former owner. The contrast marks place the making of the piece in Madrid. Another of those that appears could be one of those used by the silversmith Juan de San Faurí. With Felipe V, numerous French influences came to silverware, along with some Italian ones, both at the hands of craftsmen of these origins and pieces. It continues with a scarce marking in the works except in important centers 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, being the center that set the tone for the rest, the former soon departed, introducing the Rococo before 1740 or on that date, and Neoclassicism around 1770 (gradually imposing itself from 1780). 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". Compare with the Francisco García cruet (inventory 03487) from the Cerralbo Museum in Madrid, with the Medina-Sidonia sample (code 59906, Catalog of Movable Heritage of Andalusia), or with samples 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