Z. Sierra · Antiques and Decorative Objects

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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 dark metal needle; In this area, “Butterfield AParis 43” is also engraved. On the back, the latitudes of several cities have been engraved (Madrid, Paris, Barcelona, etc.), 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 working until the beginning of the 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 silver model auctioned at Christies London on November 17, 2009. Lot 106

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

Ref.: ZE313
SILVER CEREMONIAL CUP. SPAIN,16TH CENTURY.

Catavinos or scrapie. Silver in its color. Spain, 16th century. With contrast marks, Illegible. Cup without stem or handles, made of silver in color and with a circular base, a curved edge towards the outside and a concave center upwards on the inside, which presents an embossed decoration based on plant elements (flowers on the edge, different ones towards the center around a central floral motif and alternating with rectangular motifs), veneered shapes (interspersed with flowers on the edge) and a small band of stars towards the edge of the piece. At this end, it presents a partially frustrated contrast mark, in which the letters “AIEB” can still be read followed by a rectangular motif located vertically. This type of drinking glasses, sometimes also known as bernegales, were used on special occasions (ceremonies...), hence their material and the decoration they have, and were very common during the reign of the Austrians in Spain. Although they were objects for civil use, it was not unusual for them to be donated or commissioned for use in churches or liturgical settings. Similar examples can be found in very few private collections and only in a few important museums. For example, similar bernegales from the 16th century are preserved in the Fundación Valencia de Don Juan (Madrid), and those from the 17th century are somewhat more abundant, as demonstrated by those in the Lázaro Galdiano Museum (inventory 3910 and 3916).

· Size: 16x16x2 cms.
ANTIQUES

Ref.: ZF0957
PAIR OF SILVER CANDLE HOLDERS. ASPIAZU, NICOLÁS. SAN SEBASTIÁN, SPAIN,...

Pair of candlesticks. Silver in its color. ASPIAZU, Nicolás. San Sebastián, Spain, towards the end of the 18th century. With hallmarks and initials. Pair of silver candlesticks in their color with bases with a curved profile, combining different lines and reminiscent of Rococo models, and a balustraded axis with moldings and a polygonal section, which extends into the lighter. One of them has engraved initials towards the base of the shaft. On both pieces, on the edge of the base, you can see the contrast mark accompanied by the engraved initials M and Jo. The silversmith Nicolás Aspiazu was active in the city of San Sebastián towards the end of the 18th century and the beginning of the 19th century. Weight: 1,250 grams.

· Size: 13,5x13,5x25 cms.
ANTIQUES

Ref.: ZF1165
SWISS GOLD MUSICAL FOB SEAL. CIRCA 1820

Music box pendant. Gold. Switzerland, around 1820. Pendant made of gold alloys with different metals to give it different tones that presents a piece at the top (which winds the mechanism of the music box), an arc ending in two ram's heads located facing each other with respect to an acorn and on an oval base (which contains the mechanism), decorated on the outside with a band of plant elements. Known as chain seals due to their shape, many are not really seals, but rather pieces designed to look like one and hide a series of curious mechanisms, whether flat figures, automata or music boxes. These types of pieces have been seen accompanying pocket watches and also on chains, worn around the neck or attached to the waist. Highly appreciated by private collectors, these types of pieces can also be found in decorative arts museums around the world (Victoria and Albert Museum, etc.) Weight: 21 grams.

· Size: 3x2.5x4.5 cms.
ANTIQUES

Ref.: ZF0832
DIAL WITH COMPASS. BRONZE. BION, NICOLAS. PARIS, FRANCE, 18TH CENTURY.

Sundial with compass and case. Bronze. BION, Nicolás. Paris, 18th century. Polygonal sundial with bird-shaped gnomon and engraved triangular piece, which presents, to one side, a compass with a needle with triangular ends. The name of the author and place where the work was made are found right next to it, surrounding a plant decoration. On the back, a series of cities with their corresponding latitudes have been engraved, both in the circular shape and on the sides of a fixed decorative element. It comes with a polygonal case. Nicolas Brion was a French engineer, and a similar piece is kept in the National Maritime Museum in London.

· Size: 6,5x7,5x1 cm Estuche 7,5x9x2 cms
ANTIQUES

Ref.: ZE312
SILVER CLARET JUG. ANSELMO PRIOR AND MASON. VITORIA, SPAIN, 1816-1846.

Jug. Silver. Anselmo Prior and Mason. Vitoria, Spain, between 1816 and 1846. With contrast markings. Silver jug in its color with a square base that serves as support for the circular foot decorated with a band of eggs and ending in a gallon shape, which gives way to the oval body, engraved with architectural, plant and animal elements; practically tubular neck with band of egg motifs and another at the top of architectural elements, and soft peak; It covers with a swan, and the handle presents a Medusa head in the area where it joins the body, a series of bands of architectural motifs and, creating a curve and towards the mouth, a two-headed snake that seems to intend to attack the bird. Typologically, the jug clearly responds to 19th century neoclassical models both in its lines and in some of its decorative elements (some close to the French school and others more common in the English school), adding to this base some detail more common in Spanish works. . The contrast marks, located at the base of the piece, link its creation in Vitoria, with the faithful contrast called Maison (act. 18th-19th centuries, surely as a faithful contrast in the 19th century) and the silversmith surnamed Prior. Anselmo Prior was a master dated between 1816 and 1846. There is evidence of a head reliquary marked by both of the Eleven Thousand Virgins in the parish church of Alegría (Álava, Spain). Weight: 992 grams.

· Size: 15x12x30 cms
ANTIQUES

Ref.: ZF1042
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RELIQUARY PENDANT. BRONZE, ENAMEL. 17TH

Reliquary pendant with cross of Saint Dominic. Gilt bronze, enamels. XVII century. Octagonal-shaped gilded bronze pendant with openings on the two smaller fronts and in the central part, decorated on the outside with smooth stepped moldings and, on the front parts, with the black and white cross with flordelised ends of the Order of Preachers (Saint Domingo) and, on the other hand, only the gold. When opening in the central part, a protected image of a Dominican saint is discovered with its corresponding relic highlighted in an oval at the bottom. Reliquaries or devotional pendants with opening have been preserved since Byzantine times, being usually in the shape of a cross or a book. Later, we have an example such as the book-shaped pendant from around 1600 from the Courtauld Gallery in London, with painted glass panels on a gilded silver frame; The most striking works are the Spanish pendant from around 1550-1600 from the British Museum in London (WB. 183); others are somewhat simpler, such as those made of silver that contain miniature carvings of religious scenes (Museo del Traje, Madrid) in oval, circular, square, etc. shapes; and devotional medals without an easily visible opening that contain relics inside. The present example would have surely been used by an important position within the Order of Preachers both for the material and for the fact that it contains a relic with an image of the saint, and we must not forget its connection with the Inquisition in Spain. Weight: 80 grams.

· Size: 5x2x6.5 cms.
ANTIQUES

Ref.: ZF0817
CENTERPIECE. ORMOLU, MARBLE. FRANCE, LATE 19TH CENTURY

Centerpiece. Gilded bronze, marble. France, late 19th century Centerpiece or planter that has a globular body carved in veined marble in pink tones (of a type similar to a very popular one often used in works of the French school during the Rococo of the 18th century) and some mercury-gilded marble highlights . These are decorated with lion's claws on the legs, simple architectural moldings and masks with vegetal elements (feminine and monstrous, alternating), and an edge that extends towards the interior area of the pieces creating like two wings or handles, decorated with plant and architectural elements (volutes, flowers, bows, leaves, etc.) both outside and inside this area, leaving what would be the internal area of the marble pieces smooth. The classicist inspiration of the decorative elements of the couple is common in works of the French school since the 18th century. Some details (for example, the claws serving as finials on the legs) are seen in Louis XIV style centerpieces dated to that century, while other elements are more often seen in Louis XVI style works (one of the main elements of the Neoclassical style). There is only one piece known to be preserved in a private collection in the United States of America. Weight: 16kg

· Size: 37x27x23 cms
ANTIQUES

Ref.: ZF1064A
SILVER JAR OR JUG. MADRID, SPAIN, 1803.

Jug. Silver. Madrid, Spain, 1803. With contrast markings. Published Encyclopedia of Spanish and Viceregal American silver. Bibliography: Fernández, Alejando; Munoa, Rafael; Rabasco, Jorge. “Encyclopedia of Spanish and American Viceregal Silver.” Second edition, corrected and increased. Torreangulo Graphic Art, Madrid, 1985. Page 361, image 671. Jug with a molded circular foot and semi-ovate belly on which, by means of a band, rises a neck with a concave profile. The mouth, with a sinuous layout, is highlighted with another fine smooth molding and is warped at the front; It is covered with a capper or lid that follows the same lines and has been finished with a frog. The handle has a broken line, ends in vegetal motifs and has been highlighted with a wide, smooth band or molding towards the center of it. The present jug can be included within a group that is inspired by a model of European tradition brought to Spain and spread, at first, by Platerías Martínez (compare, noting similarities and differences, with the silver jug in its color marked in 1806 from the Royal Silver Factory of Madrid of the National Archaeological Museum, also finished with a frog on the lid; or with a jug from Barcelona dated around 1810, preserved in the National Museum of Decorative Arts in Madrid). In 18th century Spain, it was the capital that set the standard in silversmithing: baroque, rococo and neoclassical styles coexisted, but the first trend was soon abandoned, replaced by the second that was introduced around 1740, with Neoclassicism appearing approximately in 1770 and gradually imposing itself since 1780. The contrast marks it presents are those of the Villa and Court of Madrid, which, in addition, allow the piece to be dated. Weight: 1,100 grams.

· Size: 16x12x30 cms.
ANTIQUES

Ref.: ZF1015
SILVER SPICES BOX. LIZASOAÍN. SPAIN, MADRID, 1768.

Salt shaker or spice shaker. Silver. LIZASOAÍN. Spain, Madrid, 1768. With contrast markings. Silver spice rack in its color with a truncated conical body, a sinuous lower edge that rests on volute legs, a hemispherical bowl without divisions, a domed lid (with lines creating segments), and decorated with vegetal and architectural elements of high relief. Typologically, it is a spice rack belonging to a somewhat peculiar tradition or model, common in Córdoba and Madrid but also present in Gerona, Antequera, etc. The contrast marks place its creation in 1768, in Madrid, and by the hand of a silversmith named Lizasoaín. Although three teachers are known with this surname, the most prominent in his time, both for his work and for his contemporaries, was Miguel Antonio Lizasoaín, a Navarrese active between 1735 and 1779, the year of his death, in the Spanish capital. . Weight: 300 grams.

· Size: 9x6.5x8 cms.
ANTIQUES

Ref.: ZF1018
CARVED WOOD HELM. 18-19TH CENTURIES

Eastern ship rudder, late 18th - early 19th century. Carved wood and brass. Eastern ship rudder of English influence, made of brass and high-quality carved wood. The top of the rudder is worked in a round shape, taking the shape of the head of a greyhound with stylized features. The greyhound is a typical motif of the English decorative arts of the time, but its essential, elongated treatment with sinuous lines reminds us that we are looking at a piece of oriental workmanship. In fact, the central area of the rudder appears completely carved with the figure of a dragon coiled around the mast. This mythical animal represents the power of change of nature, the Tao, in addition to the concept of yang (masculine), and is related to time as the propitiator of rain and water. Likewise, it is often used as a national symbol of China, and in fact appeared on the national flag until the end of the Qing dynasty. Here it is represented with great attention to detail, evidencing a virtuosity typical of oriental ornamental sculpture: we see each of the dragon's scales, and even the ripples of the water under its body, the leaves among which it swims... The lower third of the rudder appears almost completely de-ornamented, showing a smooth, slightly curved profile. At its end it is decorated with a simple recessed carving, with a geometric motif on two planes.

· Size: 10x10x160 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5907
SILVER JAR OR JUG. SELLÁN, JUAN. MADRID, 1847.

Jug. Silver. SELLÁN, Juan. Madrid, 1847. With contrast markings. Silver jug in its color that has a flat handle with decoration of simple openwork plant elements between two smooth bands and a shape raised upwards, a large mouth extended forward, and a body with different lines and decorations organized in three registers, and a circular foot with a band of architectural motifs. These three registers are organized: a smooth area facing upwards, followed by a grooved part and another galloned part. Both the decoration and the lines of the jug show a clear classicist influence. It has engraved initials of belonging (FAL). The contrast marks are those of Villa y Corte de Madrid (they also provide the date) and that of the silversmith Juan Sellán, trained at the Royal Silver Factory of Martínez since 1821 and incorporated into the College of Silversmiths since 1842, the year in which they are dated. his first known works. The present model can be found with slight variations in the production of the Real Fábrica de Platerías Martínez in Madrid, and was later taken up by Juan Sellán. Weight: 1108 grams.

· Size: 18x12x33 cms.
ANTIQUES

Ref.: ZF1013
WOODEN EASEL, 19TH CENTURY.

Easel lectern, 19th century. Magnificent carved wooden easel decorated, at the top, with a crest of plant motifs framed by a curved pediment and simple motifs on the sides. The support for the canvas or paper is provided thanks to a horizontal crossbar and two moldings with plant motifs, which also have plant decorations, like the molding located in this area. The legs have ornaments of the same type, but much flatter. In the 19th century, the mixture of styles presented in this work was very common: the upper finish is reminiscent of Rococo works, while the sides can be more related to the Renaissance.

· Size: 60x80x225 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZA4942
PROCESSIONAL CROSS. SILVER. WITH HALLMARKS. BARBASTRO (ARAGÓN), SPAIN,...

Processional cross. Gilded silver. Barbastro (Aragon), Spain, 16th century. With contrast and chisel marks (foot, surroundings of Christ). Latin-type processional cross made of gilded silver, with a foot formed by a cylindrical barrel that increases in width towards the end and has been decorated with floral elements within rhomboidal spaces, an almost spherical apple with male busts in relief (possibly the four Evangelists) and plant elements in composition similar to the one mentioned, and a molded upper body enhanced with fine plant stems that transform into “round bulge” monsters. The cross presents a crest in its contour of vegetal elements, masks (just in the widenings enhanced by an oval molding with corners) and vegetal and architectural compositions of classicist influence with winged angel heads (at the quadrifoliated ends of the same, enhanced with moldings and plant details). In the rest of the areas of the two main fronts of the same, there is a decoration of oval mirrors with frames of smooth bands and coiled volutes; The sides are smooth. On one of the fronts of the piece, the figure of Christ Crucified is located (three nails, short purity cloth, fallen head); On the other, and on a triangular openwork base with a clear Gothic memory, the crowned Virgin Mary appears standing, with the Child Jesus in her arms. It is necessary to indicate the survival in the present piece of some details of Spanish Gothic silverwork (crestwork - which appears around the 15th century -, flordelised finials of the cross - or similar shapes -, widenings on the arms of the cross, etc.) , along with elements that already respond to Renaissance influences (shape and decoration of the foot and apple, elements in slight relief around the Crucified, winged angel heads, masks, etc.). Likewise, it is possible to compare it with processional crosses such as the Buerba one in the Diocesan Museum of Barbastro-Monzón (from the 16th century, with a striking repertoire of late-Renaissance elements and certain similarities with the present one); some preserved in the Diocesan Museum of Barbastro (that of Trillo from the 15th century, for example); that of Bagüés de Zaragoza from the 16th century from the Diocesan Museum of Jaca; the one made in Burgos around 1550 that is today in the Los Angeles County Museum of Arts (United States); etc Weight: 2200 gr.

· Size: 36x13x73 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6463
"COL CHEMISE" NECKLACE IN 18K ROSE GOLD AND DIAMONDS

“Col Chemise” necklace, in 18k rose gold and platinum, with simple 8/8 cut diamond decoration. Designed as a box necklace, it is constructed by a double “Brick link” chain that develops on its front face a ribbon decoration decorated on its bezel by diamonds set on platinum as a crescent festoon at the end, creating a shirt collar with the center Two beehive-shaped tassels hang. Weight: 135 grams Diamonds set: 136 Approximate weight: 6.50 Cts. Period and style: Chevalier. Typology: “Col Chemise”, Around 1945-50

· Size: int 13x12 cms / long ext 19 cms.
ANTIQUES

Ref.: ZE104
CROWN OR PIECE OF ALTAR. EMBOSSED SILVER, MIRRORS, WOOD. LLORENTE, JOS...

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

· Size: 52x26x122 cms.
ANTIQUES

Ref.: ZE153
WROUGHT IRON GRILLE. SPAIN, 16TH CENTURY.

Rejería. Wrought iron, 16th century. Partial grating of squared bars torsos with molded splits without base and bolt on the right with a plate topped by simplified plant elements, topped by a frieze of canvases decorated on the front with plant scrolls alternating with heraldic shields with fleurs-de-lys and with an upper cresting composed of two flowered pine cones at the outer ends and scrolls outlined with flowers, two of which flank a Latin cross decorated with diamonds on which there is a wavy cross with flowered finials. Typologically, it is a partial architectural fence with both ornamental and defensive purposes. Likewise, it clearly shows some of the striking decorative and typological variety common in the florid Gothic ironwork of the 15th century, but it also responds to common evolutions in the 16th century. A first stage of evolution to the Renaissance is introduced, sometimes passing, until the first third of this century, and is characterized, among other things, by the variety of barrotage with frequent combination in the same rod of squared shapes and things, by the structure of three panels of very similar width and number of bars and central door with lintel, by decorative elements related to the Renaissance, the use of embossing, etc., characteristics that can be seen in the present example. The absence of interbody bands, common on bars from this period, only indicates that it was made to protect a small chapel. The presence of fleurs-de-lis indicates the expansion throughout the peninsula of Catalan models, which, coming directly from France, often showed this decorative element. The relationship between this grille and certain Gothic heritages is clear, especially if it were purchased with fully Renaissance examples such as that of the National Archaeological Museum from 1575 (inventory 57551). Normally, 16th century grilles are found, if they have been preserved, in the chapel for which they were made, in prominent private collections or in important museums. Compare this work with the grille at the head of the Church of San Julián de Nagore (Navarra) or that of the Chapel of the Santísimo of the Cathedral of Santa María la Real in Pamplona.

· Size: hojas 69 x 268 Copete 390 x 110 cms.
ANTIQUES

Ref.: Z0664
LATIN CROSS SHAPED PECTORAL CLOCK. SILVER.17TH CENTURY.

Pectoral clock in the shape of a cross. Silver 17th century.
Presents restorations.
Portable cross-shaped clock with an openwork exterior showing figurative Christian scenes and the movement inside, a gold band dial with Roman numerals for the hours, a single hand and an engraved decoration around it, also with a religious theme; On the back, you can see the back of the movement, with a delicate decoration also openwork and based on plant motifs reminiscent of classicism, and a band on the case of the piece with simplified plant elements.
Outside, we find on one side a crucified Christ, flanked by the Virgin Mary and Saint John, and the figures surrounded by a delicate composition based on vegetal scrolls, with an angel's head at the foot of the piece. The other side shows the Resurrection of Jesus, with Christ emerging from the empty tomb and the soldiers on the sides, again with scrolls and on another angel's head. On the edges there are vegetal and floral elements, accompanied by figures located inside plates. Inside, and flanking the clock face, we are presented with Original Sin below and the Expulsion from Paradise, with Adam on one arm of the cross that forms the clock, Eve on the other and the angel on top, brandishing the flaming sword (thus, in part, following the biblical text).
Several antique portable type clocks are known that have been given a shape that is not the usual one for these objects. Thus, although the best known is the one in the shape of a skull from the Metropolitan Museum (movement from around 1650 by Isaac Penard, box from around 1810-1820), and taking into account that they were not at all the usual type, several are preserved. examples in the shape of a Latin cross. Let us remember, for example, some of those preserved in the Ashmolean Museum in Oxford: one attributed to Cornelius Stimmer (active around 1660) presents Christ Crucified in front, flanked by the four Evangelists; another by Barthélemy Cheuillard (active 1636-1677) dated around 1650 has an openwork metal case and engraved decoration on the inside; Other examples, such as one dated around 1660 or another by Didier Lalemand (active 1675-1686) dated around 1660 or 1630, follow what is most common in these extraordinary examples, which is to present the outer box made of rock crystal. This is also what happens with the clock by Charles Bobinet probably painted by Werner Hassel and dated to the mid-17th century that is kept in the Metropolitan Museum, and with that of the British Museum in London by Jean Rouseeau the Younger which is dated between 1640 and 1650 and was made in Switzerland.
"

· Size: 7x5,5x2,5 cms
ANTIQUES

Ref.: ZF1032
SET OF STRIPS AND FRAME IN PAINTED WOOD WITH GOLDEN DETAIL. 17TH CENTU...

Lot consisting of strips and frame (lintel and two jambs) in gilded and polychrome carved wood. Decoration of plant motifs with golden scrolls on a green background. XVII century

· Size: 175x160 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3395
SILVER TASTEVIN FROM BECERRIL DE CAMPOS TOWN COUNCIL, 1806.

Catavinos of the chapter of Becerril de Campos, 1806. With legend at the base (“Catavino of the Most Illustrious Cabildo of Becerril de Campos with Royal Privilege year 1806”). Published in: Fernández, Alejandro et alt. Spanish and American Viceregal Silver Encyclopedia, Torreangulo Arte Grafico, Madrid, 1985. Page 485. / Redondo Aguayo, Anselmo. Historical monograph of the town of Becerril de Campos and biographical news of its most illustrious children. Bulletin of the Tello Tellez de Meneses Institution, 9, 1952. Page 149. Plain glass with a legend on the outer edge attached to a bowl with a convex seat decorated with relief gallons, engraved ovals and crosses and lines of beads arranged around a central circle that has been left plain. Due to its shape, it is closer to the Bordeaux type catawines than to the Burgundian type (the most common), and its shape seems to have been characteristic in Castile in the 17th century; It has not changed since then, maintaining its use and manufacturing. According to experts, these types of pieces were called “cups” until the 19th century, and we are not entirely sure that their use was utilitarian, with certain studies leaning towards a mainly decorative function. This would be the reason why, despite being a piece made in a secondary manufacturing center such as the municipality of Palencia, it has decoration all over its surface, in addition to the written legend. The gadroon motifs, like the oval shapes, are geometric decorations widely used in this type of pieces, especially since the Renaissance and due to the inspiration of this artistic style in Roman Antiquity. In the 19th century this inspiration in classicism returned to art, thanks to Neoclassicism. Despite the simplicity of the elements, there is a clear attempt by the artist to organize them harmoniously to give beauty to the piece. Both the material and the decorative excess (to come from a local center) support the theory, already mentioned, that the catavinos would have more representational use than normal use, being used in certain celebrations or events in which the council had a prominent role. This catavino is mentioned in Anselmo Redondo's study. It is very rare to preserve examples of civil silverware, since their owners used to sell objects with the intention of buying new ones, either better ones or made in another more modern artistic style, or for economic needs. Thus, the most common thing is to find religious silverware, which is the same as the civil one or varying only in its decorative elements. In addition, civil pieces used to be delivered to churches, convents, etc. as donations from individuals. It is worth highlighting, however, the extraordinary nature of this tasting wine: first, for its material; second, because of its typology; third, because its inscription makes it easy to locate its origin and date. Catavinos with similar characteristics to the present one are found at the Lázaro Galdiano Foundation in Madrid. Weight: 315g

· Size: 19x19x6 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6226
CARRIAGE, “JARDINERA” TYPE.

Garden type carriage. Open carriage with four wheels, with leaf springs and a raised davit, whose baluster box allows several people to be carried on each side of it. This type of vehicle was generally used in the countryside, although today it is seen more frequently at fairs and important events.

· Size: 234x156x173 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5023
WINEPRESS. WOOD, METAL. SPAIN, CIRCA 1800..

Wine press. Wood, metal. Spain, around 1800. Press to extract juice from grapes made of wood with two screws on the sides to manually move the plant part of the press located above, which also has a piece to fit into a container to put the fruit in. Also note the crossbars and legs to be able to transport it. This type of agricultural machinery was very common in the past, although it is preserved in small numbers due to having been replaced with the technological advances that occurred, above all, from the Industrial Revolution. They were used both in monasteries and in other centers where grapes were pressed for the manufacture of wine and other beverages.

· Size: 180x270x305 cms
ANTIQUES

Ref.: ZF0757
PAIR OF BOHEMIAN CRANBERRY RUBY RED GLASS ENAMELED AND GOLD URNS. 19TH...

Pair of vases. Glass. Bohemia, Czech Republic, 19th century. Pair of red glass vases decorated with white enamelled areas and gold spaces, highlighting the two female busts (practically portraits on an indefinite background) that both pieces present on their fronts. The two raised handles finished in a circle present a fine decoration of simplified plant elements; the glass shows decoration of the same type, but with a different influence (more classicist); The busts have been enhanced by two gold frames and dark lines with clear classicist memories; The white areas (with plant shapes) have golden lines. Both pieces show notable similarities both in the quality of the color of the glass and the decoration as well as in their lines, with outstanding red Bohemian glass urns, especially with works linked to Ludwig Moser & Söhne. Moser is a company that manufactures luxury glass objects located in Karlovy Vary (Czech Republic; formerly Karlsbad in Bohemia) that continues its work today (it was born in 1857, founded by Ludwig Moser), and is highly appreciated in the world. of art for his works from the late 19th and 20th centuries. Although Bohemia was a region known for its glass production as early as the 13th century (especially when they discovered that adding potassium created a colorless glass that was clearer and more stable than Italian glass), this activity became popular in the 19th century. XVII (although the term “Bohemian” or similar was used a hundred years before to differentiate the quality glass of this origin), and stood out above all in the 19th and 20th centuries thanks to important manufacturers for the quality of their materials and techniques and care in their designs. By the middle of the 19th century they already had a system of teaching glass manufacturing, and in the second half they exported very striking pieces in large quantities (usually pairs of glasses or vases of a single color in opaque or two-color glass, decorated with enamelled floral elements, painted details; sometimes lithographic techniques were used to copy famous paintings and capture them in works; etc.) created in large factories and in significant quantities.

· Size: 15x13x41 cms.
ANTIQUES

Ref.: ZE222
MANTEL CLOCK, DIANA. GILT BRONZE. FRANCE, 19TH CENTURY.

Table clock with Paris machinery, Diana the Huntress. Gilded bronze, metal. France, 19th century. Table clock with Paris machinery and gilt bronze case (probably mercury), composed of a rectangular base elevated on legs decorated on the front with architectural and plant elements, and a body of the same shape enhanced with bands of architectural motifs of clear influence classicist The sphere is located on it, within a shape that resembles rocks; In it lies a young female figure, reclining, dressed in a short tunic and accompanied by a bow at her side; On the other side of the sphere a hunting dog appears, raising its head towards the girl. The metal dial has Roman numerals for the hours and lines for the minutes. This is a common theme in French table clocks since the Empire era. Diana the Huntress appears with a bow, and almost always accompanied by a dog. Sometimes the set is completed by adding deer or other animals. Likewise, and as is common in French bronzes of the period, there are known table clocks with a sculptural arrangement similar to the present one (one, in a private collection and from the Charles X period, has blued bronze figures, for example) . Weight: 14.25 kg.

· Size: 43,5x5,5x64 cms
ANTIQUES

Ref.: ZE353