Z. Sierra · Antiques and Decorative Objects

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”CADRAN TOURNANT” CLOCK. BRONZE, MARBLE. AFTER AUGUSTIN PAJOU (FRANCE,...

Table clock "cadran tournant". Bronze, marble. Following models by Augustin Pajou (French, 1730-1809). Machinery in working order. Table clock composed of a stepped carved stone base decorated with classicist-inspired gilt bronze elements and raised on legs, and a gilt bronze composition with various mythological figures. To one side, a man of a certain age, bearded, holds up a scythe, and has a winged child on his back; on the other side of the sphere are two winged children, one with an arrow and the other with an hourglass and a torch. That aforementioned sphere contains the movement of the watch, with the hours and minutes arranged in two white stripes, with the system known as “cercles tournant” or “candran tournant”. The old man is Cronos (Greek god of Time who ended up assimilating to the Roman Saturn; certain errors or identifications with other deities ended up giving rise to the personification of time as "Father Time" as an old man with hourglasses, wings, scythe, etc.) , and appears accompanied by Eros (Roman Cupid; primordial god of sexual attraction, love and desire) with his arrows, and Hymenaeus (or Hymen, god of marriage ceremonies; holding a torch), who seems to have removed his hourglass to the god of Time. Thus, it could be said that this clock symbolizes the triumph of Love (legitimate or correct, hence the allusion to marriage) over Time, or that when love comes, time stops. It is necessary to compare this piece with a watch from the Halim Time & Glass Museum (Evanston, Illinois, United States) Louis XVI known as "The Triumph of Love Over Time", made in France circa 1780. The bronzes for this clock have been attributed to Étienne Martincourt, who used a design by the sculptor Augustin Pajou, and the machinery was the work of Gabriel Courieult (signature on the base). Several examples similar to this one are known, preserved in private collections. Mention should also be made of a table clock from the Wallace Collection in London in which this "Father Time" is patinated and not gilded and the piece stands on a porphyry base (inv. F264), dated around 1780 and also linked with the foundry Étienne Martincourt (act. 1763-1791) and the design of Augustin Pajou (1730-1809); It is said that this piece was possibly a version of another larger work commissioned by the Duchess of Mazarin. The present clock shows an iconography very similar to that of these examples, finding the same figures in both; however, there are a number of differences. Machinery in operation. Weight: 43 kg.

· Size: 32x25x68 cms
ANTIQUES

Ref.: ZE357
SILVER HOLY WATER FONT. GUILLA. MADRID, SPAIN, 1780.

Blessing font. Silver and gilt silver. Miguel Guilla. Madrid, Spain, 1780. With contrast marks, buriladas and initials. Holy water font to be placed on the wall thanks to a chain on the back, made of silver in its color with decorative elements of gilded silver. The small basin is located at the bottom, decorated with a vegetal knob with gilded leaves and a vegetal garland. The rest is organized within an architectural structure of strong classicist influence (note the pinjacent garlands of two square volutes reminiscent of Greek, or the two stylized volutes that frame the sides of the work), enhancing an oval framed with a vegetal garland with lacework. inside which there is a relief with a golden Immaculate Conception with a silver starry nimbus. Above and below this element are bouquets and garlands of different flowers, and the piece is crowned by a winged angel's head, more floral elements and an architectural form under a Latin cross (with arms topped with pearly trilobes and four golden rays emerging from the center). , where a small gold star appears. On the back, flat, you can see the screws with their nuts that hold some of the decorative elements mentioned and, at the bottom, the chipping mark and an engraved legend (MC de M.) that would surely be initials of ownership . Note the aforementioned chain, tied to the piece at three points, with elongated links and the three chains ending in a washer. The contrast marks, located on the back (above) and in the aforementioned central oval on the front, place the creation of the piece in Madrid, dating it to the year 1780. In the third one you can read “GUI/LLA”. With this surname, working at that time, and in Madrid, there is documentation of the silversmith Miguel Guilla (who is marked in other works as “MG”), originally from Cádiz, who was already trained in the capital with Benito Lázaro and approved as a teacher. in November 1775. Documentation is preserved that shows that he worked for the dukes of Osuna in 1781, and two papers on jewelry of the Countess of Benavente around the year 1779. He paid taxes until 1787, although not very high amounts except in the period between the years 1779 and 1780 (which indicates high or very high quality production in these years, as it was a tax that levied on commerce). Some private collections and institutions preserve the silversmith's work, such as the Instituto Valencia de Don Juan in Madrid (salsa boat from 1777, silver in its color. Weight: 4.6 kg.

· Size: 28,5x10x56 cms.
ANTIQUES

Ref.: ZF1105
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.: ZE345
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
WROUGHT IRON LECTERN. SPAIN, 16TH CENTURY

Folding standing lectern in wrought iron and fabric, Spain, 16th century. The two scissor-joined legs that support the lectern present architectural decorative elements (polylobed pointed arches) with highly stylized plant details. The upper zone shows some bands of rhombuses combined with lobed shapes, more plant elements, a fleurdelisada cross finish and two candelabras with torso and curved arms and bobeches with ornate edges. The arches that draw the legs of the work and the trilobe that is drawn in this area, in addition to those already mentioned decorative bands are two very characteristic elements of Gothic arts, as are the use of these highly stylized plant elements and the cross with fleurs de lis finishing off the piece. This piece could have had a religious or civil use, since in both cases the same models were used, only the decoration varying in some cases (as in the present, the presence of the cross). Despite the fact that functionality prevails, as can be seen from the presence of the chandeliers or the portability of the lectern, the interest of the master forger in decoration is notable when finishing off and curving the parts that make up the work and placing small plant elements. It stands out for the great scarcity of this type of furniture made of metal from the Gothic period, as well as for the undeniable elegance of its decorative elements. Normally, the iron works used to be recast once the decorative style in which they had been made had gone out of style, the owner of the work needed money, the metal was necessary for some reason, etc., hence it is not in absolute common its conservation. Even more striking, if possible, is the presence of a very similar lectern in the Metropolitan Museum in New York (inventory 10,158), which shows that both examples follow a typology that must have been very common in 16th-century Spain. . There are also other examples of standing iron lecterns in museums such as the Nacional de Artes Decorativas in Madrid (CE19517, CE27473, etc.), simpler, or those preserved, sometimes fragmented, in some churches and cathedrals.

· Size: 75x73x152 cms
ANTIQUES

Ref.: ZF1061
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
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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
CLOCK AND CANDELABRA GARNITURE. BRONZE, MARBLE. RAINGO FRÈRES, AARIA, ...

Clock and candelabra trim. Blued and gilded bronze, marble. Raingo Frères, Aaria, Clodion. Paris, France, second half of the 19th century. Working. Garnish composed of a table clock and two candelabras with three lights each, made of bronze and white marble. The candelabras have legs and a circular base with a gilt bronze band with floral elements, and a blued bronze child figure with garlands of branches and grapes on the head, holding branches with roses and leaves, which end in the lighters of the candles; They have the name “Clodion” engraved. The clock has an elongated base on white marble legs decorated with gilt bronze plates with figurative scenes (children playing instruments and carrying garlands) and others with plant motifs and lacework. The dial rises on a pedestal with animal heads, and, on a white background, it presents colored garlands and Arabic numerals for the hours and dots and Arabic numerals every fifteen for the minutes; you can read “Aaria” on it. The piece ends with a kneeling faun, in a pensive attitude and pointing to two doves. Flanking this central element are two blued bronze figures of children playing horns. On the Paris machinery you have you can read a number (448) and “Fres / Paris Range”. The two candelabras follow a model highly appreciated in the 19th century of a bronze figure of a bacchante (a common figure in the procession of the classical god Bacchus) made by Claude Michel (1738-Paris, 1814), known as Clodion. This French sculptor, invited to Russia by Catherine II, established a workshop in Paris where he specialized in small-format Rococo-style mythological sculpture in terracotta, stucco, etc., with such success that his works inspired numerous bronze artists to create of sculpture pieces, watches, etc. Raingo Frères is the association of the four sons of the Belgian-born watchmaker Zacharie Joseph Raingo (1775-1847), Adolphe, Charles, Denis and Dorsant, formed in 1823. During the 1860s they made important pieces for Napoleon III and his wife, which are preserved in the Louvre Museum in Paris. Thanks to their well-deserved fame, they collaborated with prominent bronze artists and sculptors of their time, such as Albert-Ernest Carrier-Belleuse and Auguste Moreau, and won a Gold Medal at the Universal Exhibition in Paris in 1889. Weight: 33.5 kg.

· Size: Reloj 46x12x55 cms. Candelabros: 30x17x43 cms.
ANTIQUES

Ref.: ZF1040
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
SET OF MANTLE CLOCK AND CANDELABRA. GILT BRONZE, MARBLE. POCHON, JEAN-...

Louis XVI clock garrison and chandeliers. Gilt bronze, marble. POCHON, Jean-Charles (act. last third of the 18th century). Paris, France, around 1780 or 1790 and the 19th century. Bibliography: (watch) NIEHÜSER, Elke. “Die französische Bronzeuhr. Eine Typologie der figürlichen Darstellungen”. Callwey, 1997. P. 131. Garnish composed of a table clock with Paris machinery and two candelabras with three lights each, made of white marble and gilt bronze. The clock has a rectangular base with the central area protruding to the front and raised on four legs, further enhanced with plant elements (garlands, leaves, scrolls, etc.) and architectural elements with a marked classicist taste and a relief frieze with children in various attitudes located in an idyllic landscape with architecture in the background. The dial is white, with Arabic numerals for the hours and Arabic dots and numerals every fifteen for the minutes, with a flowery hour hand and a highly decorated minute hand. It is finished off by a composition of flowers, fruits, leaves, garlands and a bow enhancing some arrows and a lit torch; on the sides are Cupid with his bow and a female figure who, most likely, is the goddess Venus. The two chandeliers, each with three lights, have a circular marble base raised on legs and enhanced with a string of gilt bronze pearls, a material from which the leaves and stems are also made, which, intertwining, create each of the three arms, which end in lighters with saucers decorated with raised leaves and strings of pearls. On the dial appears writing "Pochon" and "Paris", alluding to the place of manufacture of the movement (Paris machinery). Jean-Charles Pochon achieved the degree of master watchmaker around 1775, and is considered one of the leading watchmakers of the last third of the 18th century in his field in the French capital. His works are preserved in some private collections of great importance, such as the so-called “Liechtenstein. The princely collections, Vaduz-Vienna”, and institutions such as the Museum of Decorative Arts in Paris (France). It is possible that the machinery or movement is from the 19th century. In the case of the watch (the case itself), examples similar to the present are known in private collections, since the bronzes come from a Parisian workshop. It is known as “L'Amour drobe par ses armes” or “Amor Wird Seiner Waffen Beraubt” (Cupid is stripped of his weapons) due to the iconographic theme it shows. As for the chandeliers, they are reminiscent of Louis XV-style pieces in some details, such as playing with the leaves to create the shape of the pieces, but they also present elements more similar to Neoclassical-style works (the lighters and their decoration). Total weight: 20.35 kg.

· Size: Reloj: 30x12x45 cms. Cand. 17x17x28 cms.
ANTIQUES

Ref.: ZE348
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 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