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Cordoban save in silver, 1759-1768. With marks. Weight: 820g. Rococo style silver save, with punches from Córdoba and the marker Bartolomé Gálvez y Aranda. It has a high, stepped foot, with a circular base, adorned with incised grooves and other simple classical motifs, already announcing the change in language towards neoclassicism. However, the plate itself is still clearly Rococo, with a profile of mitered curves that translate into edges on the eaves. Bartolomé Gálvez y Aranda was a silversmith, although he worked as a marker between 1759 and 1772, using for this work the punch that we see here: his surname in capital letters, in a very oblong trapezoidal frame and surmounted by a fleur-de-lys in a trilobed projection. Gálvez y Aranda added the chronological mark to this punch from 1768, so this salvo would be dated between 1759 and 1768. It is also a particularly interesting piece because it comes from Córdoba, the main center of Spanish silversmithing of the Rococo period, whose workshops produced high-quality religious and secular pieces, destined for clients not only local but from the entire Iberian Peninsula, even reaching the Canary Islands and Latin America. The great diffusion of Córdoba silversmithing will take place, in fact, in the last quarter of the 18th century, through the so-called master fair silversmiths. These characters acted as trade brokers, according to Pérez Grande, visiting churches and fairs held throughout the country. The activity of these fair silversmiths was also favored by tax exemptions.
· Size: 32x32x13 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS
Ref.: Z6259
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Finish in carved, polychrome and gilded wood, 18th century. Painted finish imitating marble decorated with scrolls and carved and gilded plant motifs on its front surface. It would be part of a larger work such as an altarpiece, and the quality of its work and its polychrome stand out. The volume of the carving and the movement that its curves provide relate this finish to the Baroque, recalling in some details the Rococo.
· Size: 20x87x37 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z2626
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Pair of pedestals. Carved and polychrome wood. 19th-20th centuries. Pair of equal pedestals composed of a base raised on lion's claws with scrolls and birds, and a fluted shaft that ends in two circular moldings, decorated with vegetal and architectural elements. Branches of leaves have been carved in spirals on the shafts of the columns.
· Size: 38x38x110 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z4312
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Sold
Silver pyx, 16th century. Cylindrical body with decoration of braces and acanthus engraved and with polished luster, and lid decorated with small crests, conical shape and decoration with the same techniques resembling a fabric cover. It follows the most common typology at the time for this type of pieces, intended to store or transport the Sacred Form. Weight: 184g
· Size: 10x10x10 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS
Ref.: Z5726
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Pair of silver tremblers or catavinos. 1739. (Together with Ref.z5831) No contrast marks. With inscription on the front. Both the same, each one is formed by a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer edge that reads: “I am from the noble conzefo of Santiux that our local Jul presents them to us.” of the Zeballos Caves in the year 1739.” In Spanish silversmithing, Baroque trends were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centers, depending on areas and masters. This survival of the 17th century forms can be seen in the handles of the scrapie: the grotesques with a human head are highlighted by very moving plant motifs, a decorative abundance that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of contrast marks does not allow the work or the artist to be located, although this is precisely what speaks in favor of a secondary silversmithing center, where the absence of control of these works was more common due to the lack of teachers and means to Ensure compliance with marking regulations. Throughout these first two thirds of the 18th century, the certain monotony of the centers of Old Castile (to which Cantabria belonged), León and Galicia was notable in comparison with the importance of Valladolid and Salamanca, which is why perhaps in the Cantabrian environment. The inscription clarifies the purpose of the quakes: they were a gift to the Council of Santiurde de Reinosa (Cantabria) from Juan de las Cuevas Ceballos, a native of this town and resident of El Puerto de Santa María de Cádiz who, in addition, proved his nobility in 1733 before the Sonsdalgo Room of the Royal Chancery of Valladolid. These are therefore two pieces made for civil use, a detail that increases its importance due to the scarcity of this type of works.
· Size: 15x11x6.5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS
Ref.: Z5829
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Pair of silver tremblers or catavinos. 1739. (Together with Ref.z5829) No contrast marks. With inscription on the front. Both the same, each one is formed by a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer edge that reads: “I am from the noble conzefo of Santiux that our local Jul presents them to us.” of the Zeballos Caves in the year 1739.” In Spanish silversmithing, Baroque trends were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centers, depending on areas and masters. This survival of the 17th century forms can be seen in the handles of the scrapie: the grotesques with a human head are highlighted by very moving plant motifs, a decorative abundance that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of contrast marks does not allow the work or the artist to be located, although this is precisely what speaks in favor of a secondary silversmithing center, where the absence of control of these works was more common due to the lack of teachers and means to Ensure compliance with marking regulations. Throughout these first two thirds of the 18th century, the certain monotony of the centers of Old Castile (to which Cantabria belonged), León and Galicia was notable in comparison with the importance of Valladolid and Salamanca, which is why perhaps in the Cantabrian environment. The inscription clarifies the purpose of the quakes: they were a gift to the Council of Santiurde de Reinosa (Cantabria) from Juan de las Cuevas Ceballos, a native of this town and resident of El Puerto de Santa María de Cádiz who, in addition, proved his nobility in 1733 before the Sonsdalgo Room of the Royal Chancery of Valladolid. These are therefore two pieces made for civil use, a detail that increases its importance due to the scarcity of this type of works.
· Size: 15x11x6.5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS
Ref.: Z5831
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Pocket watch, Deroches Brothers. Gilded metal, enamels, etc. Possibly towards the end of the 18th century. Pocket watch with a case with a transparent glass part and a composition on enamels on the back (two ladies, with a score on a music stand and one of them playing a harp). The white dial has Arabic numbering for the hours and vertical lines and Arabic numbering every 15 units for the minutes, and the text “Deroches”. The machinery has a delicate decoration and engravings, a serial number and the name Deroches.” Similar pocket watches signed by the Deroches Brothers dated to the second half of the 18th century and examples of “Frères Deroches & Cìa.” of the 19th century.
· Size: 6.5x5x3 cms.
ANTIQUES
Ref.: ZE327
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Pocket watch, Lz MAURIN. Gilded metal, enamels, etc. XIX century. Pocket watch with a white dial with Roman numbering for the hours and, for the minutes, in Roman every fifteen and vertical lines for the rest, and the inscription “Lz. Maurin”; The movement presents a delicate decoration and, engraved, Lz Maurin. The box it presents is decorated, on the back, with a figurative composition of a couple, and has a number and the word Lepon engraved inside.
· Size: 7x5x2,5 cms
ANTIQUES
Ref.: ZE329
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18 kt gold brooch with garnets. 18-karat gold brooch formed by a symmetrical composition based on bows and scrolls with a fine decoration in light relief of plant elements with a slight reminder of Neoclassical works. In the upper finish there is a circular faceted garnet, accompanied by three oval ones (the central one with gold pearls around it) in the central part (these highlighted thanks to the presence of other circular carved gems), and another one with a teardrop shape in the bottom. From this body hangs, thanks to four rings, two gold cords with links in the shape of scales, which end in separate tassels, recalling textile examples often used in curtains and other elements both in the 19th century and later. Jewelry with pendant elements joined together “in a trembling pattern” so that they move when attached or placed was common in 19th century jewelry, with the aim of adding some movement and avoiding the rigidity of the pieces, adding a touch of originality. to the compositions. At this time, the composition based on classicist plant elements accompanied by flowers and lacework was common. Comparing with the present example, this one is more reminiscent of models inspired by works that follow a style known as Neo-Renaissance for following the artistic style that was born in Italy in the 15th century, with those volutes and the powerful composition based on smooth shapes and volutes, Also responding to this relationship are the fine relief vegetal elements already mentioned. However, the chromatic combination achieved by the gems provides the softness required by the aesthetic taste of the time, without the striking contrasts more characteristic of the oldest jewelry that has been preserved. Weight: 19.4 grams.
· Size: 8x4 cms.
ANTIQUES
Ref.: JBR1713
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Pair of bars. Wrought iron. XVII century. Pair of bars made of wrought iron, located between two flat rectangular pieces and composed of six bars each. These show discs along their length and balustraded shapes, flanking a rectangular die from which another bar starts to join it to the bar located next to it. The shapes of the bars are the usual Baroque ones for this type of elements.
· Size: 83x180 cms.
ANTIQUES
Ref.: ZA1049
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Oil lamp. Silver. Possibly Malaga, Spain, 19th century. With contrast markings. Two-light candelabra with a piece on the back that stands on a foot with a circular base, elevated and decorated with smooth concave moldings, pearl lines and a curved frieze of leaves, featuring an engraved crowned “F” (possible owner's mark) . The square and smooth foot gives way to a leaf-shaped key and two candle arms decorated with leaves, and is finished with an eagle spreading its wings. The aforementioned hollow tubular piece has a pineapple finial on the hinged lid and a piece along a channel. Both the decoration and the lines and shape of the candle show a strong French influence and a very close relationship with Neoclassicism and other styles derived from it. The eagle, for example, is reminiscent of pieces from the French Empire, although it is a very common animal in the decorative arts of the 19th century. The contrast marks present on the piece would allude to the master or silversmith responsible for the creation of the piece (Baños), perhaps to the year of completion of the work (1833) and, possibly, the third is either the rampant lion crowned on a related shield with the Royal Decree-Law of June 4, 1926 on the trade of precious metals in Spain (indicating then that it is first law) or that it comes from the city of León, dating in this case between the 19th century and the beginning of the 20th century. XX. The rampant lion is a common contrast mark in silverware, appearing, in Spain, in pieces from Córdoba from the 19th century (without a crowned shield), Calatayud, Córdoba (rampant lion with turned head and circular outline), Pamplona, etc. It is possible that this piece was made in Malaga. Weight: 1340 gr.
· Size: 27x16x31 cms
ANTIQUES
Ref.: ZF0342
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Spanish brazier from the 18th century. Bronze. Baroque Spanish bronze brazier, raised on three legs in the shape of a curled volute on the outside, finished off at its base with grotesque masks with synthetic features. The container is flattened and stepped, with a clear cut separating the neck from the belly and a convex and slightly curved mouth. On both sides are the handles, mobile and with great decorative sense, composed of the figures of two hermes with a vegetalized body. Weight: 12kg
· Size: 55x55x40 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z0650
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Baroque private altar frontal in carved and polychrome wood, Spain, early 18th century. The work is completed by a broken pediment in the center on a projecting entablature that rests on the lower body, flanked by two columns with a helical shaft and a compound capital, and composed of a molding that frames a semicircular arch on pilasters and a trompe-l'oeil background. of cloth. This type of frontal was normally used in private chapels to highlight sacred images, and its decorative elements refer to 18th century Spain.
· Size: 140x35x155 cms. (Int. 46x26x85 cms.)
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z0747
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Frame in polychrome and gilded wood. End of the 18th century. Rectangular frame with golden seed beads on a red background and elements related to the Passion of Christ on shields in the corners and center of the longest sides: dice, nails, bag (of Judas coins), mallet and tongs, cross with spears and two whips. These motifs clearly show that it was made to highlight a passionate religious painting, surely in a particular chapel given the lack of relief, and the strong relationship of the work with the Rococo.
· Size: 187x3x87 cms LUZ 51X154 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z3627
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Two frame strips. Pinewood. XVII century. Dark polychrome carved pine wood strips decorated with smooth moldings on the front, combining curves with countercurves as is usual in the Baroque, also highlighting the classicist influence of the composition. Possibly, they were created to be part of the construction of an altarpiece or to frame a painting, without being able to know if they came from a civil or religious environment.
· Size: 15x12 cms. Long. 310 y 350 cms.
ANTIQUES
Ref.: Z3767
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Sold
Lectern. Mexico, Around 1700 Carved and gilded wood. Mexican baroque lectern entirely made of carved and gilded wood. It has a prismatic shape, with the front inclined to facilitate the support of the book. Halfway up the front there is a flat corbel with a molded perimeter, like a cornice, on which is placed an oval recess that forms the center of the body of a double-headed eagle, the main motif of the decoration. The eagle appears from the front, with its wings folded and its legs resting on the volutes formed by the tail on the sides, with the two heads in profile forming a rigorously symmetrical composition, typical of the classicist baroque. Between the two heads is a crenellated crown, supported in its center by a flowering stem. On the sides, openwork like the front, we see the only element that tells us that we are looking at a piece from the 18th century, although still fully baroque. This is the rockery created in the Rococo period, in the first half of the 18th century, an ornamental element that will be widely used since then and consists of an abstract crest that evokes in its texture and lines the exterior of a shell.
· Size: 30x18,5x39 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS
Ref.: Z3862
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Bernegal or glass or wine tasting. Silver. 17th-18th centuries. With contrast markings. Bernegal made of silver in its color that has a circular foot, body widening upwards and two flat handles in “that” with the central part widened. It has contrast marks on the handle (unidentified) and a chip mark on the base. Both bernegales and tembladeras were very common typologies in Spanish baroque silversmithing in the 17th century, and continued to be popular in the following century, mainly in centers far from important creative centers. Also known as catavinos, these types of drinking glasses were used on special occasions (ceremonies...), hence their material and the decoration they have, they were objects for civil use, although it was not strange or exceptional that they were donated or commissioned for use in churches or liturgical settings. Compare the present piece with two cups or shakers from the Collection of the Monterrey Palace in Salamanca (one from Paris made around 1750 and another from Salamanca) decorated with gallons and two raised “ese” handles; with the bernegal of the Metropolitan Museum made in London in 1680 from the Irwin Untermyer collection (very similar in shape to the present one); or with the pair of bernegales by Antonio López Díaz (made in Jaén and dated 1758/1772) from the Valencia Institute of Don Juan in Madrid. Weight: 162 grams.
· Size: 14x11x9 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS
Ref.: Z6022
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Naveta. Silver. SANZ DE VELASCO, Juan Antonio (1720-1778). Valladolid, Spain, 18th century. With contrast markings. Navete with a circular base raised towards the foot by a succession of stepped moldings that presents its body decorated with a cresting on the edge and an engraved composition based on vegetal elements and volutes (on a polished polished background, a finish that is also combined in decorative motifs) and a gallon element on one side and a scroll at the opening end. The contrast marks on the base place the creation of the piece in Valladolid (note that it is the so-called “cut mark”, which some experts place in time until the appointment of Antonio González Téllez as a faithful contrast). The other punch present is by Juan Antonio Sanz de Velasco (1720-1778), who served as a faithful contrast in the city between 1743 and 1774/8. Apart from other works preserved with hallmarks by the master (many in private Spanish collections), we must highlight the silver altar frontal of the Virgen del Sagrario (Valladolid Cathedral) by the Valladolid silversmiths Juan Antonio Sanz de Velasco and Miguel Fernández Yáñez de Vega, who finished in the last third of the 18th century a work begun in 1693 by the silversmith José de Aranda. The shape of the piece is the usual one for this type of container to store incense (in fact, the name naveta comes from “ship”) since the Middle Ages (naveta from the chapel of the Constables of the Cathedral of Burgos de Juan of Valladolid from the 15th century), with variations in shape and decorative elements depending on their belonging to a center, style, etc. Compare the present piece with works preserved, for example, in the Diocesan and Cathedral Museum of Valladolid, another from the Museum of Navarra from Mexico and dated between 1634 and 1666, another from the 18th century in silver in its color from the Cathedral of Tuy ( with a very different foot), etc. Weight: 347 grams.
· Size: 16x11x9 cms.
ANTIQUES
Ref.: ZE243
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Naveta. Silver. Possibly Portugal, 18th century. Counterweighted base. With contrast markings. Naveta with oval foot decorated with relief elements and moldings, balustraded foot and body with a slight boat shape, presenting a hinged lid at the front, a widening in the lower area towards the foot and a decoration distributed throughout the exterior to base of seed beads motifs and plant elements (the same theme is presented on the foot and base) on a polished polished background, with an angel's head on two wings in relief towards the beak, accompanied by plant elements (the which protrude over the edge of the lid). Although the shape of the piece generally follows the most common prototypes of these incense containers used in the liturgy, it should be noted that it was more common to find them more similar to a ship. The belonging of the nave to the influence of Rococo is clear both by the lines of the object and by the decoration to which reference has already been made (rockets, vegetal elements with movement, volutes with pronounced curves, contrasts between concave and convex lines... ), and it is also possible to find some points in common with Portuguese works (a silver naveta with a spoon by Leandro Gagliardi, made in Rome between 1744 and 1750, which is preserved in the Sao Roque Museum, has a finial with an angel's head in relief. from Lisbon in Portugal; compare with the gilded silver incense burner that the same master made between 1749 and 1751 for the Chapel of Saint John the Baptist in the Church of Saint Roch in Lisbon). The contrast marks present on the upper part of the nave (the capital letters “de” in a rectangular space), although it should also be noted that the present work does not follow the most striking typology of navetas related to this center (naveta de 18th century silver from the Church of Alcántara in Maranhao, Brazil; nave by Sebastiao Bernardes dos Santos dated 1747 from the Sé do Funchal that is preserved in the Museu de Arte Sacra do Funchal in Madeira –Portugal-).Weight: 715 gr (base with counterweight).
· Size: 19x9x14 cms.
ANTIQUES
Ref.: ZE244
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Pocket watch, engraved André Hessen. Gold, enamel. Paris, France, towards the last third of the 18th century. It has faults. Pocket watch in a case decorated with enamel on the back (within a pearl band you can see a composition of clear classicist influence with a female figure, perhaps an allegory of the arts), and a white dial with Roman numerals for the hours and lines and in Arabic for the minutes and in which you can see the text Adré Hessen. The delicately decorated movement features a numbering (549) and the name Adré Hessen (1745-1805), a watchmaker who established himself in Paris, France, in 1767 and who was highly recognized and appreciated in his time.
· Size: 7x5x1.5 cms.
ANTIQUES
Ref.: ZE326
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Courtiers and cage. Enameled porcelain. Johann Joachim model. Around 1800 Enameled porcelain figure with a base resembling rocks and a couple of lovers dressed in the style of the 18th century, with the boy extending his left hand towards a large bird cage. The piece is very similar to figures titled “Lovers with Cage” made by Du Paquier (who opened a porcelain factory in Vienna in 1719) in 1737 and of which examples are preserved in the Metropolitan Museum of New York or the Indianapolis. Museum of Art. In turn, Du Paquier took his inspiration from works carried out in Meissen thanks to Johan Joachim Kaendler around 1736-1740 (varying in details such as replacing the German table with the Viennese cage in some examples). , or colors, for example). If you compare the present work with the works of Du Paquier, you can see notable similarities in postures, elements, etc., but also important differences (color, details, base of the figure...).
· Size: 14x12x13 cms.
ANTIQUES
Ref.: ZF0445
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Box. Enameled porcelain. Potschappel-Dresden, Germany, 19th century. With mark on the base. Rectangular box with a slightly curved lid made of enameled porcelain with golden metal finials and hinges that has a decoration, on the outside, of figurative scenes of couples in natural landscapes of clear rococo memory enhanced by golden frames and scale elements in pink tones; Inside, on the cover, another scene of this type appears. The base of the piece presents a mark alluding to the factory responsible for it. In 1872 Carl Thieme (Carl Johann Gottlieb Thieme) converted his porcelain painting business into a porcelain factory, keeping the headquarters in Dresden and calling it Sächische Porzellanfabrik zu Potschappel (Dresden) von Carl Thieme. A brand like the one seen in this piece was used on it between 1888 and the beginning of the 20th century.
· Size: 12x8x7 cms
ANTIQUES
Ref.: ZF0702
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Pair of vases. Enameled porcelain. XIX century. Pair of vases with a circular foot, cylindrical body in the center and long neck and mouth open to the outside, decorated with pink bands, golden edges, grouped flowers and two genre scenes (humble characters dancing in rural landscapes; on the other side , similar scenes). They have been presented situated on separate metal feet, decorated with openwork elements and with claw-shaped legs finished with plant elements of classicist influence. They have marks on the base.
· Size: 24x24x62 cms
ANTIQUES
Ref.: ZF0884
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“Henri II” style wall clock, 19th century. The white dial has Arabic numerals and is protected by glass. The clock case, made of carved wood, shows a decoration based on architectural elements (diamond points, columns, vases, etc.) and leaves a rectangular space with a dark wood decoration based on putti and plant motifs on the There is a hole to see the pendulum, which is highlighted by a gilded metal decoration. The Enrique II style (“Henri II”) was the name given to an artistic style that emerged in France in the 19th century and was inspired by the Renaissance of this country, creating a series of furniture with the type of decoration that we see in the present work. It was so successful that it was recovered in the Neo-Renaissance style, which lasted well into the 20th century.
· Size: 45x23x130 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS
Ref.: Z0484
