Z. Sierra · Antiques and Decorative Objects

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SILVER DESK WRITING SET; DAOÍZ, VELARDE, RUIZ AND ARANGO DEFENDING MON...

Notary with four inkwells; Luis Daoíz, Pedro Velarde, Jacinto Ruiz and Rafael Arango defending the Monteleón Barracks on May 2, 1808. Silver in its color and gold plated. Madrid, Celestino Espinosa, 1822-1823. With contrast markings. Notary of silver gilt and in its color composed of a tray, two bells in the shape of a tent, four containers in the corners, four cannons with soldiers and a central architectural element resembling a fortification and including two drawbridges over a small "moat" circular fenced and topped with towers and flags. The fencing of the tray resembles that which would be done in a military environment; this element sits slightly elevated on monster heads on pearls. The containers have a lid, and a very striking textile and sabers openwork decoration. The figures, in military uniform, set fire to the fuse of the cannons. The center tower has two doors and, in addition to the above, a series of windows and oculi and a removable container. Captains Luis Daoíz (Seville, 1767-Madrid, 1808) and Pedro Velarde (Muriedas, 1779-Madrid, 1808), together with their lieutenants Jacinto Ruiz (Ceuta, 1779-Trujillo, 1809) and Rafael Arango (Havana, 1787- 1850), faced the French troops to defend the Monteleón Barracks (Plaza del Dos de Mayo, Madrid) on the day of May 2, 1808, considered the beginning of the so-called War of Spanish Independence. The contrast marks correspond to Celestino Espinosa. Celestino Espinosa (Madrid, 1782-1830) trained with José Larreur from Madrid and completed his apprenticeship in 1805. He was regent of the Real Fábrica de Martínez at least between 1815 and 1819, taking this center to a new level of importance. After this second date, he settled on his own until the year 1830, when it is probable that he died. Compare this with the silver writing notary with the mark of Celestino Espinosa dated 1827 that is kept in the National Archaeological Museum (Madrid). As in other pieces by the master, its originality can be appreciated, far away and ahead of the fashions of the moment, being possible even to speak of a certain romantic character and with the elements far removed from the usual forms and models at the time (the aforementioned containers , human figures of a popular and non-classical character, etc.). Several pieces of the dressing table set of Queen Isabel de Braganza (dated 1816, Royal Palace of Madrid), a chalice from the Municipal Museum of Madrid dated 1817, some cruets with salvilla from the church of Santa María de Alcalá also bear his mark. de Henares (1825), etc. Weight: 4600 grams.

· Size: 36x29x31 cms.
ANTIQUES

Ref.: ZF0676
SILVER PAX. 16TH CENTURY.

Portapaz. Silver in its color and gilt. Century XVI. Portapaz made of silver that has a handle (decorated with delicate plant motifs similar to those of the pilasters) and a female and a male bust at the bottom, as well as other architectural elements on the back, and, on the front, an architectural composition Classicist basement (with busts flanking a flower and a cross), two pilasters (vegetal decoration and capital recalling the composite order) with entablature (flowers flanking an angel's head; moldings), and a semicircular arch finish with elements veined in relief under cross and flanked by two architectural motifs in the upper part. This composition frames and enhances a gilt silver relief where you can see the Lament or Cry 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 following the group and a landscape background with houses and plant elements. This architectural structure mentioned is similar to that present in other 16th century portapaces, such as that of the Magdalena de Dos Hermanas parish (Hernando de Ballesteros el Mozo, around 1575); or that of the Galaroza parish (same author and date); or that of the portapaz 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 by Juan de Burgos (1493-1497; Museo Catedralicio de Alcalá de Henares), as well as in paintings and reliefs. Also noteworthy are both the male and female busts in the lower area and 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 this island his fiefdom in the 16th century. Weight: 507 gr.

· Size: 10,5 x 4 x 21 cms
ANTIQUES

Ref.: ZF0664
PAIR OF CANDELABRA. ROUGE GRIOTTE MARBLE, GILT BRONZE. FRANCE, 19TH CE...

Pair of candlesticks. Rouge Griotte marble, gilt bronze. France, 19th century. Pair of chandeliers with seven lights each, made of Rouge Griotte marble and gilt bronze that have circular legs and a base decorated with a string of pearls and plates with reliefs of cupids in different attitudes. On it have been placed two stone and bronze vases, decorated with spiral grooves and elements of marked classicist influence (Bacchic masks, plant elements, leaves, garlands, etc.), and topped with stems with leaves and flowers, some of the which have been finished in candle holders and are situated almost vertically. The bronze is signed with the initials ED. The Rouge Griotte is a marble of French origin characterized by its dark red color with veins in light tones and whose quarries were declared of royal use by Louis XIV at the end of the 17th century. Nonetheless, it was a common stone in high-quality French work in the 19th century. Both the inspiration in models of classical antiquity and the high quality gilt bronze and the use of this stone are common in French works of the 19th century in the Neoclassical style, finding slightly later works that follow this important tradition with some variations. Weight: 45 kg.

· Size: 42x42x74 cms.
ANTIQUES

Ref.: ZF0758
CLOCK. PALO SANTO (HOLY WOOD), ROSEWOOD, ORMOLU. FRANCE, 19TH CENTURY,...

Clock. Palo santo, rosewood, gilt bronze. France, 19th century, modeled after Charles Cressent (France, 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 French Rococo of the 18th century. This piece is inspired by the regulating clock of the royal collections of England that is found in Buckingham Palace and was made by Charles Cressent, a master cabinetmaker considered one of the main exponents of French rococo, although he made pieces in Regency Style already early rock style. A master sculptor since 1719, he worked as a cabinetmaker and sculptor for the Regent Philip 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 other decorative elements in the pieces, apart from those already mentioned and a series of elements engraved on the lids (bull's 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 on each one (three bull heads, two above and one below, separated by a goatee; two rampant lions flanking a diagonal band in the escutcheon of the same). The lines and elegance of the pieces are the usual Jorge III style. The heraldry is very reminiscent of that of the Boleyn, Bullen or Boleyn family, descended from 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…). The contrast marks provide numerous data on the pieces. 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 still operating silversmith called Edward Barnard & Sons Ltd. has a number of predecessors: it was founded by Anthony Nelme around 1680, and after a succession of master silversmiths, the business was improved by Henry Chawner in 1786, master of the successor of the family that at that time ran the business (Eduard Barnard I) and who continued with the business. He was active between 1786 and 1796, and the last name of this master continued to be 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 a Henry Chawner inkwell of George Washington, 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 painting 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 Catholic Christian religious themes, located one on each side of the piece . Protected, you can see a very particular Virgin with 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 common composition in the Spanish school, and would recall works such as the painting of the main altar of the Church of San Lorenzo in Huesca, for example, but also 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 has tiny yellow mica elements that give it golden reflections) is known as aventurine or aventurine. In the first case, it is known that the “venturina” or “stellaria” is mentioned in the Murano workshops for the first time during the first quarter of the 17th century, in reference to a very complicated production paste (the name is said to come from of this circumstance, that is to say, 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 outside 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 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 in the XVII-XVIII 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 enamels, in a different way from that of the present piece); or with the black and white enamel and gold pendant from the 17th century with a triangular shape from the Instituto de Valencia de Don Juan de Madrid. Weight: 103 grams.

· Size: 9x0.7x8 cms.
ANTIQUES

Ref.: ZF0700
FRENCH MANTEL CLOCK DEPICTING ALLEGORY OF THE SCIENCES, XIX CENTURY.

French table clock with Allegory of Sciences, 19th century. Belgian marble and gilt bronze. France. The white dial with Roman numerals features Breguet hands and part of the movement in sight. It is housed in protective glass, decorated with a band of pearls and highlighted by a magnificent gilt bronze plant decoration that extends above and below. The watch case is made of striking black Belgian marble, set on four scrolling 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. hard or intarsia from 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 already restricted to the most exclusive creations. At the top, two female figures flank a table covered by a cloth on which are several books, documents and a globe. The two ladies, dressed in tunics and made of patinated bronze, represent the Sciences. Clocks of sculptural conception such as the present used to be known as "French-type" as opposed to English. The eighteenth century was the time when watchmaking combined the technical advances of that time with superb artistic work, characteristics that continued throughout the nineteenth century. It was common to choose works similar to the present one to normally decorate fireplaces, but also tables and dressers in palaces and important residences. Both the movements and the materials used to make these watches were expensive and required highly skilled workmanship, resulting in 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 deities were chosen for the decoration of these elements of social distinction, hence the frequent appearance of "putti" or allegories of the arts or sciences or of concepts such as time.

· Size: 73x25x87 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z6311
SILVER WRTITING SET. VICENTE ROCES, ZARAGOZA (SPAIN), CA. 1760.

Silver writing desk. Vicente Roces, Zaragoza, around 1760. With contrast marks and initials of membership on the base. The base tray has a square shape with mixed profiles and rests on legs with plant motifs. The four containers have helical gallon feet, and 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 in a scroll, and is joined by a hinge to it. The bell, also with helical gallons, is topped by a figure of a soldier. The nib has holes in the lid for the pens, and is the same size as another of the containers, which was probably the inkwell. Two others, slightly larger, do not have a perforated lid either, and may have been used for drying sand and therefore called grits. The bell, used to call the service, secretary, etc., has another vase as its base, similar to the rest but much taller, from whose upper part 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 "contour" 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 a detailed study. Contrast marks ensure the quality of the material and allow us to locate the manufacture and the author of the work. The local ones, on the arm of the candlestick, place the work in Zaragoza, and date it as being done 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 Rococo taste works 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 important private collections. 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...

Frame carved and gilded with painting on vellum, "Virgin of the Rosary with Santo Domingo de Guzmán and Santa Catalina de Siena", 17th century. Registration in the back area (D. José Salazar). Quadrangular frame with square protrusions in the corners and semicircular in the centers of the sides. The fleshy and outstanding vegetable carving that it presents is over gilded, being able to appreciate in some areas the red bowl with which the thin metal sheets were adhered to the wood. The painting on vellum presents magnificent openwork work, flowers on the border and various characters. The scene represented is the Virgin delivering 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 the 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 his order who were dedicated to expanding his cult throughout Europe, attributing common miracles to other saints (stigmatization) and representing it in numerous scenes. One is that of the present work: despite not having participated in the delivery of the rosary, it is included in the theme along 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 "preacher brothers" was organized around 1215; the same saint founded a female monastery in Prohuille). The delicate vellum work with the openwork and the marked presence of flowers put the work in relation to some female convent of the order. It would be commissioned by themselves or brought as part of a sister's dowry. The high quality and importance of the frame indicate the great value that was given to the painting, which would hang 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 the carving, are not easy to find. Similar examples are kept 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 they were a much cheaper support than table. However, being performed by minor artists, their value has only recently been recognized, so not many examples are preserved.

· 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 mugs for drinking wine made of silver in its color that have a small and low cylindrical foot, a flared rim towards the top and a central area curved upwards, which has been decorated with a composition based on motifs. embossed geometric patterns in stripes and around a central element. These types of cups were used on special occasions (ceremonies...), hence their material and the decoration they have, and they were very common during the reign of the Habsburgs in Spain. Although they were originally objects for civil use, it was not unusual for them to be donated or commissioned for use in churches or in liturgical settings, as well as their frequent use in important festivals (Corpus, pilgrimages, etc.). The shape of the couple is a good example of the attachment to certain previous traditions that occurred in Spanish silver during the 17th and 18th centuries, especially in certain production 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 contrasting and chipping marks. Presents a lack in a container and bell is added. Silver scribe composed of a tray, four containers and a bell. The first element, oval in shape, presents edges with soft curves and counter-curves, decorated in the upper part with flat moldings, combined with scrolls and veined shapes; It stands on legs composed of two volutes flanking a tear, a set topped by a symmetrical composition. The four containers, with lids, have profiles with smooth curves (among which engraved initials can be seen), which are directed towards the upper part following parallel spirals, lines that extend into the tops, finished off. Two of them, smaller, have holes in the covers. The bell to summon the service, which has a space for itself on the tray, has much simpler lines. The contrast marks arranged at various points in the game provide data 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, mainly active 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 Cordoba marker, active around the same time, with work preserved in the area (San Miguel de Córdoba Parish, a vinajera holder with cruets in Loja from 1778, works in the Madrid Costume Museum, etc. .). Stylistically, the lines of the whole set (except those of the bell) show that it belonged to the Rococo, with the usual influence already 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.

Casket "rehearsed". Wood, lined in velvet, gilt iron fittings. Century XVI. Rectangular base casket and smooth walls with a lid with sloping longer 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 preservation) the red velvet with which some of the main examples of this type of work used to be lined, and for maintaining elaborate ironwork in its decoration and with gilding in many areas. . The three fittings that join the lid to the base have plant-shaped finishes that are reminiscent of flordelisados examples; the handle at the top has a disc in the center and sharpened edges; The shield on the lock recalls a heraldic one, finished off with another simple plant element, and the bolt that joins it to the leg has simple architectural forms; 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 is upholstered in fine textile in a color similar to that of the exterior velvet. This type of chests or caskets lined in fabric (the examples that have velvet are the highest quality, as this is a textile made with silk or linen) is 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 nails of the fittings could cause to the valuable objects that are They were kept in this type of container, which is why two hooks were also placed flanking the lock to prevent 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 has been indicated, it is not usual for velvet so old to still retain its characteristic hair, reducing the number of works with which we can compare the present casket. It is much smaller than the pine wood trunk lined with silk velvet, with iron fittings, which is kept in the National Museum of Decorative Arts in Madrid, made in Castile between the last quarter of the 15th century and the first 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; highlighted in Italy (Naples). With contrasting and burilada marks. Published in Encyclopedia of Spanish and Viceregal American Silver. Bibliography: Fernández, Alejandro; Munoa, Raphael; Rabasco, Jorge. "Encyclopedia of Spanish and Viceregal American Silver". Second edition, corrected and enlarged. Torreangulo Graphic Art, Madrid, 1985. Page 121; image 235 on page 331. Silver jug in its color that has a raised circular foot, a spherical body that narrows upwards and opens again towards the lid of the piece (which has an open spout, simple engraved decoration and a plant finish of branches with fruit) , and a curved handle decorated with architectural and vegetal elements of clear classicist inspiration. This same influence can be clearly seen in the lines of the piece. Typologically, it falls within a common line of 18th-century Neoclassical Spanish silverware 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 contrasting 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 remarca). Note that the Cadiz hallmark, the contrast hallmark (illegible), the chronology hallmark (1786) and the silversmith Antonio Faxardo's hallmark appear on a chalice in Santander Cathedral. In the aforementioned book they identify the marks present on the piece, in addition to providing a photograph of it. Weight: 1008 grams.

· Size: 17x13x30 cms.
ANTIQUES

Ref.: ZF1014
DEVOTIONAL PLAQUE. IVORY, WOOD. CIRCA LAST THIRD 16TH CENTURY, AFTER J...

devotional plaque; Last Supper, Christ on the Mount of Olives. Wood, stained ivory and engraving. Towards 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 two ovals on the front with biblical themes enhanced with dark wood frames decorated with square diamond points on the top and bottom and rectangular on the sides, and winged heads of angels on the sides. 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 by an angel and accompanied by two sleeping Apostles, and with two soldiers; below, and through a door, the Arrest of Christ; the composition is completed and organized by a series of bands topped with scrolls, architectural and plant motifs, etc. classicist influence. Both scenes are closely inspired by two engravings from the “Passio Verbigenae Quae Nostra Redemptio Christi” series, 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 by many leading museums around the world (British Museum in London, Rijksmuseum in Amsterdam, etc.). According to experts, around 1580, the artist Marcus Gheeraerts designed 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 creation of the engravings, and later, during the Baroque, the use of engraved (or carved) ivory or bone plates was common in furniture, lecterns, personal devotion altars, devotional plates, etc. Compare, for example, with Flemish school desks, Neapolitan school desks, etc. like the one dated ca. 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 necessary to mention pieces such as the reliquary altarpiece of the Brotherhood of the Blood of Christ of 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 marks on the edge of the tray, on the bottom. Property mark "AL". A tray of curved profiles is supported on four legs in the shape of plant elements. Fixed to it are the four containers that make up the writing desk. These, and the bell, present a magnificent decoration based on flat gallons turned on its body, the base and the lid. It is composed 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 dusters with a lid, all attached to it by means of through screws. The profiles of the tray correspond to period and style works of Carlos III, while the jarritos still show part of the movement that characterized the Rococo, already introducing the clean lines characteristic of Neoclassicism. In the second half of the 18th century, with the arrival to the throne of Carlos III, Italian influences came to silverware once masters from this country have established themselves, either as silversmiths or, in many cases, also as bronzistas. At the end of the century there was also an abandonment of the Rococo forms in favor of the Neoclassical style, whose peculiarities can be seen in this notary's office. These gallonized forms come from decorations based on the ancient Roman art on which this second artistic style was based, as do the vegetal 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 communication and transmission of drawings and engravings make it difficult to distinguish particular styles and trends in many cases. Likewise, it is necessary to highlight the great role in improving the quality of the silverware designs that the foundation of the School-Workshop by Antonio Martínez had in 1778. Presents locality brand, Madrid Corte y Villa 1779, and architect. 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 shape, engraved and chiseled. 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 artisans in general will create for collector's cabinets very rich pieces intended to be displayed and not used, the greatest example of virtuosity and ornamental richness of Mannerist silverware. One of the most recognizable types of Mannerist Germanic silverware will be this type of tall glass, with a cylindrical container with a differentiated sub-glass and a large lid. These are functional or ornamental glasses, 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 substituting parts of the structure for decorative motifs, as we see here in the shaft, consisting of a vase, and the pommel, with the round figure of a young classical warrior. The main reason for this design is the raised ribs, which take the form of oval recesses and are separated by baquettes with parallel transverse lines. We see them in the sub-cup, the painter and the lid, although they also appear on the foot, although simplified, without recesses or baquetones. The piece stands on a circular base with a flat and smooth base, with two profusely decorated domed steps: gallons above and interlaced 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 balustrade vase adorned with large struts like ribs, topped by bird heads. The container has a cylindrical shape, with a high relief cup, adorned with embossed hermas, again a typical motif of Mannerist silverware. The upper part, under the mouth, also extends to the outside, although its gallon decoration is simple enough not to overshadow the delicate and meticulous embossing and chiselling of 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 there are classic masks of great ornamental wealth. Finally, the top is domed, with a curled perimeter and a stepped structure. The pommel is sculptural and represents a young classical warrior, perhaps the god Mars. Weight: 1742 gr. (Presents counterweight at the base)

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

Ref.: Z5957
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SILVER TRAY. BLAS DE AMATE, SEVILLA, MID 18TH CENTURY.

Silver saucer “contours”. Blas de Amate, Seville, mid-eighteenth century. With contrast markings on the edge. A circular tray with four legs decorated with scallop shells, plant motifs and cartouches, and a raised edge, decorated with corded 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 "contour", and was the most used in salvillas throughout the Rococo from the mid-eighteenth 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 so in the salvilla's area of origin. At the beginning of the 18th century, Sevillian silver would continue to maintain its primacy, but would be surpassed by Cordoba (although it still had a large number of craftsmen and very good quality in many of them). The contrast marks perfectly place the execution of the work for us: 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 from 1756 and for about 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-eighteenth 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 outstanding institutions such as the Lázaro Galdiano Museum (Madrid), and, above all, in religious centers with an ancient tradition (Diocesan Museum of Huesca, Sevillian parishes, etc. .). Unfortunately, not many works have survived from Blas de Amate: for example, the National Archaeological Museum preserves a sponge made between 1740 and 1750 (inventory 2007/27/2); the Sacramental Brotherhood of San Isidoro de Sevilla a sacramental standard with the embossed silver shaft, made by him; a mancerina from between 1730 and 1740 bears his contrasting marks (Santa María del Valle Monastery, Zafra). Weight 1870 grams

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

Ref.: Z6478
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SPANISH CASKET 16TH CENTURY

Chest "ensalayada". Spain, 16th century. Wood lined with red velvet, with golden iron clasps and handle, with trimmings. Chest known as rehearsals, because they are lined on the outside in fabric. It is a piece probably created in the 16th century, although it connects with a very widely diffused typology as early as the 15th century. It has a rectangular lower body and a domed upper lid. The handle and closures, both the central lock and the side locks, have been made of wrought iron, as well as the reinforcements with fleur-de-lis finishes on the sides. Both have been over-gilded so that they are more decorative. The corners of the lid and the lower side of the box are enriched with the application of a trimmings tape. The interior is diaphanous, without compartmentalisation, and also presents a lining, which protected the objects deposited in the box from the humidity of the wood and the rust that could lead to the nailing of the box or the rivets of locks and handles. The rehearsed coffers are characteristic of the time of the Catholic Monarchs. They were lined in cloth, the richest of them in silk or linen velvet. Silk and linen velvet was known in Europe since the 14th century and was used both for the manufacture of clothes of great sumptuousness (both for lay people and for liturgical vestments) and for the decoration of rich furniture and interiors. It was usually made in rich shades, such as red, blue or green. These were tones highly appreciated at the time, as it was very difficult to make dyes with bright and vivid tones, and which also had heraldic value. However, today these velvets have lost their hair, both due to use and due to the passage of time, and present the characteristic wear of material and color that we can see in this casket.

· Size: 24x16’5 x15’6 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z6485
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 flared cup gilded on the outer edge and 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 with a wide diameter. Circular staggered foot forming decorated and smooth bands of different lines. It presents decoration based on smooth framed mirrors, cs facing each other as parentheses, simple plant and floral motifs, geometric shapes, etc. on a background worked in matt, following rhythms with symmetry and order. The shape of this chalice is reminiscent of outstanding examples such as the one made in gilded 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 Villanueva de Sijena monastery, etc. As for its decoration, similar compositions can be seen in some details in the Lázaro Galdiano Museum in Madrid (Agustin de Cuesta fountain, Granada, first third of the 17th century; Noval fountain, Tudela, second third of the 17th century), etc. . Compare, likewise, with a gilded silver chalice preserved in the Diocesan Museum of Zaragoza, with lines very similar 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 contrasting and burilated marks, and property initials (TN). Published in Encyclopedia of Spanish and Viceregal American Silver. Bibliography: Fernández, Alejandro; Munoa, Raphael; Rabasco, Jorge. "Encyclopedia of Spanish and Viceregal American Silver". Second edition, corrected and enlarged. Torreangulo Graphic Art, Madrid, 1985. Page 240; page 430, image 1472. Jug or pitcher of silver in its color, with a circular foot decorated with moldings and a string of pearls, 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 rise. The mouth, with a sinuous outline and enhanced with another band of plant elements, presents an elevation towards the spout, and covers 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 spread from this place. Likewise, it should be noted that the handle with a figurative element of a round shape is not entirely common, although there are known examples in private collections of jars with handles in the shape of a grotesque, lion, etc. The contrast marks that it presents place the creation 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 the Maison has been dated to 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 contrast and burilada marks, and property name (Ochoa). The jug has an oval base with slight curves and a body divided into two areas (wider in the lower half, slightly concave in the upper half) with a series of curved “gajos”; the peak shows simple architectural decoration and smooth areas; the handle is of a type known as brace, with classicist architectural elements; the lid follows the lines of the body and is finished off with a vegetable shape creating a knob. On one of the sides, towards the foot, there is the engraved text "Ochoa", referring to a former owner. Contrasting marks place the creation of the piece in Madrid. Another one that appears could be one of those used by the silversmith Juan de San Faurí. With Felipe V, numerous French influences, along with some Italian ones, came to silverware, both from the hand of craftsmen of these origins and from pieces. Little marking continues 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 standard for the rest, the former soon departed, introducing 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 the great difference it shows with the type known as the “spout jug”. Compare with the Francisco García cruet (inventory 03487) from the Cerralbo Museum in Madrid, with the Medina-Sidonia specimen (code 59906, Catalog of Movable Heritage of Andalusia), or with specimens from the National Museum of Decorative Arts, pieces preserved in museums. and Treasures of Spanish Dioceses, etc. Weight: 1050 grams.

· Size: 17x8x26 cms.
ANTIQUES

Ref.: ZF1017
SILVER VASE WITH TRAY. MARTÍNEZ. MADRID, SPAIN,

Cup with tray. Silver. Royal Silver Factory of Antonio Martínez. Madrid, Spain, 1830s. Model cataloged in "National Heritage Silverware Catalog", page 254, With contrast markings. Circular dish or tray with fluted molding towards the rim and plain skirt and bottom; In the center of the bottom there is a support decorated with a grooved band and a smooth base in which the cup is fitted by means of a special piece. The cup or vase has a circular base with a base and a body with a concave striated surface; ribbed ovoid belly and two handles in the form of female masks finished off in avenerated shapes; the neck is concave and has a smooth surface. The lid has a fluted edge matching the tray and a smooth area, ending in the center with a convex veined finish with a butterfly on a flower on top. The contrasting marks present place us in the manufacture of the Game in Madrid (with the date partially visible), in the Royal Silver Factory of Antonio Martínez. The Real Fábrica de Plataría de Martínez was founded in 1778, and meant the introduction in Spain of the industrial manufacturing method in the field of silver work and the neoclassical aesthetics in Spanish silverware. Likewise, it was one of the most important silversmith centers in the history of Spain, and was characterized by the originality of its designs and the perfect finish of its pieces. As for the present model, two sets like this are preserved in the National Heritage Collections, dated 1834 and published in the catalog of those collections. Weight: 2350 grams.

· Size: 27x27x34 cms
ANTIQUES

Ref.: ZF1021
SILVER DESK WRITING SET. MADRID, SPAIN, PLATERÍAS MARTÍNEZ, 1819. WITH...

Scribe with four inkwells and bell. Silver. Madrid, Silversmiths Martínez, 1819. With contrast markings. Scribble of silver in its color composed of a rectangular tray (raised on four claw-shaped legs and with smoothed corners), four containers (two with holes in the lids, two without them) and a bell in the center. Both the decorative elements (very few in number) and the lines of the different elements respond to a clear influence of European Neoclassical models. Contrast marks can be found on the bottoms of all four containers and on the tray. These link the piece with the city of Madrid and with what is known as Platerías Martínez. The Real Fábrica de Platería de Martínez was founded in 1778, and marked the introduction in Spain of the industrial manufacturing method in the field of silver work and neoclassical aesthetics in Spanish silverware. Likewise, it was one of the most important silversmith centers in the history of Spain, and was characterized by the originality of its designs and the perfect finish of its pieces. Compare, for example, with the pieces preserved in the Museum of History in Madrid, although models similar to the present one are found in private collections. Weight: 2,239 grams.

· Size: 29x24x15 cms
ANTIQUES

Ref.: ZF0678
BRASS SUNDIAL-COMPASS. BUTTERFIELD, MICHAEL (1635-1724). PARIS, CIRCA ...

Compass with pocket sundial, with case. Bronze. BUTTERFIELD, Michael (1635-1724). Paris, circa 1700. Pocket sundial made of engraved metal, with a gnomon in the shape of a bird with a triangle with an engraved tree, and a compass with a needle in dark metal; In this area, “Butterfield AParis 43” is also engraved. On the back, the latitudes of various cities (Madrid, Paris, Barcelona, etc.) have been engraved, and a decorative architectural element has been placed in the center of the piece. The case, adapted to the piece, has an upholstered interior to better protect it. Michael Butterfield was a mathematician who made measuring instruments based in Paris from the last quarter of the 17th century who continued to work until the early 18th century. Although he was of English origin, he collaborated with the Royal Academy of Sciences in the French capital and worked as an engineer at the court of Louis XIV. It is known that he opened a shop in Saint-Germain in 1677, from which he sold sundials. Similar model in silver auctioned at Christies London on November 17, 2009. Lot 106

· Size: 7,5x6,5x1 cms / Estuche 8,5x7,5x2 cms
ANTIQUES

Ref.: ZE313