Z. Sierra · Antiques and Decorative Objects

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POCKET CLOCK, JAQS BLANC. GOLD, ENAMEL, ETC. POSSIBLY CIRCA LATE 18TH ...

Pocket watch, Jaqs Blanc. Gold, enamel, etc. Possibly, towards the end of the 18th century. Pocket watch with white dial and Arabic numerals for the hours and lines and Arabic numerals every fifteen units for the minutes with a movement decorated and engraved with a serial number and the words Mavit and Jaqs Blanc. The box that contains and decorates it presents, on the back, an architectural decoration of clear classicist influence.

· Size: 6x5x1.5 cms
ANTIQUES

Ref.: ZE328
SILVER CUP. PERU, 18TH CENTURY.

Bernegal. Silver. Peru, 17th century. Tembladera or catavinos made of silver in its color, handles in the shape of “ese” (or “ce” with a lower finish) with scrolls and masks, and the rest of the piece is smooth. Bernegales and tembladeras were the most common typologies in Spanish silversmithing in the 17th century (although in the 18th century they continued to be popular, especially in centers far from the main creative centers). In the case of this piece, it is the handles that could indicate American manufacture, although there are similar cases that are thought to have been made in the Iberian Peninsula. Compare this piece with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of Madres Clarisas de Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 270 gr.

· Size: 19.5x14x8 cms.
ANTIQUES

Ref.: ZF0553
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PYX. WOOD. SPANISH SCHOOL, 16TH CENTURY.

Pyx. Carved and polychrome wood. Spanish school, 16th century. Box with a circular base and truncated conical body that has a domed lid topped with a molded knob, it is made of carved wood and retains traces of gilding on its exterior surface and also on the interior (lid and base). In this area it is decorated with plant-themed carvings on the lid and winged angel heads joined by curved textiles reminiscent of garlands on the front of the body. Typologically, the piece is reminiscent of silver pyxes in its shape: compare with two examples from the 16th century in the Museum of Burgos (one with a flatter body than the present piece, but with a similarly shaped lid; another similar to this one). , a pyx from around the middle of the 14th century from the Cluny Museum with similar proportions to this wooden box, etc. Likewise, it would be necessary to mention at least the one known as Salero de San Fernando (Convent of San Clemente in Seville). Pyxes or hosts made of wood are not common, either because the use of metals is preferred for these liturgical objects, or because they are less well preserved or replaced more frequently than silver ones. One is known from the 16th century from the Balkans or Venetian, preserved in the Victoria and Albert Museum in London; There is a wooden pyx case in the same museum dated between 1470 and 1540; etc

· Size: 14,5x14,5x14,5 cms
ANTIQUES

Ref.: ZF1041
SILVER CUP WITH INSCRIPTION. POSSIBLY SOUTH AMERICAN, 18TH CENTURY.

Tembladera or bernegal with ownership inscription. Possibly Hispanic American, 18th century. Silver quake in its color with a wide, circular base and a mouth of larger diameter than this, body with a fine line engraved towards the edge and an ownership inscription on the front (Lucas Vilacha) made with small dots. It also has two handles decorated with plant elements and grotesques with human heads, and shapes similar to lions or dogs can be seen at the top. 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 quake: the grotesques with human heads are very prominent, a decorative abundance that contrasts with the clean lines of the rest of the work but is common in this type of work. jobs. 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. Bernegales and tembladeras were the most common typologies in Spanish silversmithing in the 17th century (although in the 18th century they continued to be popular, especially in centers far from the main creative centers). In the case of this piece, it is the handles that could indicate American manufacture, although there are similar cases that are thought to have been made in the Iberian Peninsula. It is necessary to mention that there is evidence of the baptism of a Lucas Vilachá in 1783 in Lanza (La Paz, Bolivia). Compare with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of Madres Clarisas de Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 325 grams.

· Size: 20x15x7,6 cms.
ANTIQUES

Ref.: ZF1058
KEYS, IRON FITTING AND LOCK COLLECTION. WROUGHT IRON. 17TH-19TH CENTUR...

Collection of keys with padlock. Wrought iron, 17th to 19th centuries. Collection consisting of thirty-two keys and a padlock with its key, all made of wrought iron, with some pieces retaining their original patina. By the variety of decoration on the rings and teeth and shape of the blades, you can distinguish which era they belong to. It is essential to highlight the great variety and different chronology of the elements that make up this set. There are several keys that, due to the shape of their ring, can be dated to the Baroque (some whose ring has a circle or teardrop inscribed on the opposite side of the bit, which ends in the extension of the stem). Those with the simplest ring (large key) usually correspond to the 19th century, more focused on the utilitarian purpose of the object without stopping to give them a decorative touch as is done in the previous examples. Note the presence of double keys (with bits at both ends and a piece to open the door or whatever they close) and that there are some with interesting elements on their rings.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5334A
CERAMIC JAR. 18TH CENTURY

Jug from Villafeliche, Aragon, 18th century. Glazed ceramic. Late baroque style jug made of ceramic and decorated with high temperature enamels on a white tin slip. These enamelled motifs are combined with relief decorations obtained by mold. The typology of the piece combines the Italian-style jug, with an ovoid belly and vertical arc handle, with that of the typically Spanish spout jug, characterized by the protruding spout that starts from the mouth. The decorations reveal the oriental influence, with large floral bouquets arranged asymmetrically and complex landscapes with architecture and palm trees, in which some figures, these already completely Western, appear. The motifs appear brushed in black manganese, and colored with ocher, blue, green and red enamels, mainly. Aragonese ceramics from the 17th to 19th centuries will be characterized by a strong personality of its own, combined with the influences of Talavera and Catalonia. It will have three main centers: Teruel, Muel and Villafeliche, the first two with tradition since the 16th century, and the third created at the end of the 17th century. The one from Villafeliche will generally be very popular ceramics, although pieces of greater quality and complexity, both typological and ornamental, were also made in the 18th century.

· Size: 25x18x42 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z2627
TORCH STAND, GILT AND POLYCROMED WOOD, ROCOCO, 18TH CENTURY. RECONVERT...

Ax holder in carved, gilded and polychrome wood, Rococo, 18th century. Converted into a floor lamp. Ax holder with a triangular base on volute-shaped legs and a foot formed by a vase under a baluster that has been decorated on its surface with seed beads, putti heads, mirrors and gilded vegetal scrolls. Made to hold a candle, it has been converted into a floor lamp, allowing it to be used in a modern interior.

· Size: Alt. 166 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5286
SILVER AND GILT SILVER PYX. 16TH CENTURY.

Cast and chiseled silver pyx. Spain, towards the end of the 16th century. Cylindrical box with a molded base under a wide frieze with lacework of bands and simplified plant elements. Molded stopper decorated with bands creating figures of 8 alternating with flowers, and flordelised motifs, finished in a small cone with pearl, on which rises a Crucified with three nails with purity cloth at the knees and cartouche. Due to the gilding on the inside, this footless host would be used to contain the Sacred Forms, perhaps, in the tabernacle of a church. The decorative elements of the work and the figure of Christ at the top respond to the influence of the Renaissance, but also show Gothic memories. The Renaissance appears in Castilian silversmithing a little before 1520, and only since the end of the reign of Philip III is it usually spoken of as Baroque. In the Crown of Aragon, the political and economic decline of the area caused a significant decline in the number and quality of production, with the striking exception of Aragon and, above all, Zaragoza, which later achieved unparalleled splendor. Something similar happens with the form: although there are similar examples during the Gothic period (hostiary of Diego de Abanza or one of his sons, made in Burgos, towards the end of the 15th century and preserved in the Diocesan Museum of Sigüenza, Guadalajara), this typology It would be maintained even in the Baroque with numerous variations. Compare it with works such as a host from the Museum of Málaga (BA/CE00305), with a similar cover and decoration, or, above all, with that from the Ángel Quílez collection (inventory CAQ-47) from the future Museum of Alcáñiz (Teruel), in profile. and similar decoration, both from the end of the 16th century. And note the difference with, for example, the Castilian from the last third of the century preserved in the National Museum of Decorative Arts (CE19659) or that of Juan de Bendígar from the Lázaro Galdiano Museum (inventory 02165) from the second third of the century, of greater influence Renaissance. Weight: 176 gr.

· Size: 10x10x9,5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: ZA5725
SILVER CHEST, AFTER 17TH CENTURY MODELS. POSSIBLY, 20TH CENTURY.

Chest inspired by 17th century models. Silver. Spain, 20th century. Rectangular chest made of silver in its color, with four legs in the corners with a scroll shape and claw finishes, decorated on the fronts with a decoration of moldings, bands and motifs within rectangles (yokes, bundle of arrows, crowned letter f between two pomegranates, letter and crowned between two pomegranates) in clear allusion to the Catholic Monarchs. The stepped lid presents a composition of scrolls, architectural elements and plant motifs on a polished polished background, and a small rectangular “diamond” as the top. Closes with a pin with chain at the front. Compare, for example, with the 17th century silver ark in the museum of the Monastery of Santa María de la Caridad in Tudela, or with the so-called Chest of the Holy Martyrs of the parish of Santa María de Manlleu that is in the Episcopal Museum. from Vic. Weight: 526 grams.

· Size: 16x11x11 cms.
ANTIQUES

Ref.: ZE280
DIAL AND COMPASS. BRONZE. SCHRETTEGGER, JOHAN. AUGSBURG, GERMANY, CIRC...

Sundial and compass with case. Bronze. SCHRETTEGGER, Johan. Augsburg, Germany, around 1800. Sundial with a polygonal shape made of bronze, engraved with plant elements on the front, located around the center, where a compass is presented. On the back, the name of the author and the place of creation of the work have been engraved. The instrument is accompanied by a case, also polygonal, with a tab closure and upholstered on the inside with textile. Johan Schrettegger (1797-1843), son of Andreas Vogler, worked in that German city creating pieces like the present one.

· Size: 6 x 5,5 x 1,5 cm/ Estuche:7x6,5x2 cms
ANTIQUES

Ref.: ZE311
SHEPHERD’S BOX. ANTLER OR HORN. SPAIN, 1822.

Pastoral box. Carved antler. Spain, 1822. Rectangular box made of carved antler that has a date (1822) engraved on the lid and front, a legend (Soi de Manuel Zulueta year 1822) and an engraved decoration based on geometric, vegetal, figurative and heraldic elements. The base of the piece features a banded frame that highlights a composition of birds and animals accompanied by simple stems and flowers. The cover has interlaced bands with circles of different sizes and, in the center, a heraldic shield crowned and flanked by two flags, and quartered with castles with three towers and crowned rampant lions; Under this central element, the mentioned date is found again. Note that it differs from the shield of Castile (the one used by the kings of Castile since 1230) in the position occupied by the different elements in the barracks.

· Size: 8x5x2 cms
ANTIQUES

Ref.: ZF0730
CAPITAL. GRANITE. SPAIN, 15TH CENTURY.

Capital. Carved granite. Spain, 15th century. Capital with a circular base made of carved granite that has a polygonal shape enhanced with moldings, following shapes that still retain memories of Gothic works but with notable cleanliness of lines.

· Size: 60x60x64 cms.
ANTIQUES

Ref.: ZF0777
PAIR OF COLUMNS, CARVED WOOD, 17TH CENTURY.

Pair of carved wooden columns, 17th century. Each shows a lower part decorated in relief with vases joined by ties and a fluted shaft divided into two areas and presents a composite capital. Although the motifs are of classical tradition, the forcefulness of the reliefs and the lines of the columns unite the couple with Spanish baroque examples from the 17th century. Weight: 12kg

· Size: 17x17x106 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3391
WROUGHT IRON KITCHEN “LLAR” (POT HOLDER), 16TH CENTURY.

Wrought iron kitchen sink, 16th century. Kitchen rack of three hooks joined on a horizontal crossbar with engraved decoration and square and rectangular rings and bars, some of which have been twisted. The conservation of this type of utilitarian elements is not at all common despite their abundance due to their frequent replacement. Similar pieces have been made in all artistic styles, since it was used to hold the cauldron over the fire.

· Size: 79x200 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3829
THREE RECTANGULAR PANELS WITH RELIGIOUS FIGURES AND PUTTI, RENAISSANCE...

Three rectangular panels with carved wood reliefs. Century XVI. All three present figurative decorative motifs arranged within rectangles marked by smooth moldings: the longest has three (the sides show two children sitting flanking a shield and holding knotted cloth, while the central one has Saint Matthew and Saint John writing, identifiable thanks to to their symbols of the Tetramorphs) the shorts show two figures of the Church (Fathers, Prophets). Stylistically, they respond to the characteristics of Renaissance art, and would form part of the drawers of some piece of furniture.

· Size: 25x145; 25,5x144; 24,5x68,5 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z6581
PAIR OF SAUCEBOATS. ANTONIO MARTÍNEZ, “PLATERÍAS MARTÍNEZ”, MADRID, 17...

Pair of silver sauce boats. Antonio Martínez, Platerías Martínez, Madrid, 1797. Pair of cup-shaped sauce boats with a strong influence of contemporary French and English silverware. Both the handles and the decorative motifs they present (plant elements, birds holding laurel garlands, etc.) are the characteristics of Neoclassical silverware. Platerías Martínez, founded by Antonio Martínez with the support of Carlos III, were one of the most important creative centers in Spain in their time. Weight: 160 grams.

· Size: 16x10x14 cms
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6597
SILVER GLASS WITH TRAY. 18TH CENTURY.

Rinser. in silver in its color. Barcelona, 18th century. With hallmarks and ownership initials. A container with a small circular foot has simple, flat lines, as well as a space at the base of the interior space into which the glass fits, which has the same elegant shapes in its contours. In general, in the 18th century, the territories of the Crown of Aragon were recovered, which influenced its silverware. In Barcelona silverware we are witnessing a recovery of importance to levels that it had not had since the Gothic period, practically. As in the rest of Spain, Rococo would dominate during the reign of Charles III (1760-1788); At the Court, which was already familiar with Neoclassicism around 1735-1740, this style would appear around 1770 and, after coexisting with Rococo for a few years, it would gradually prevail from 1780. Barcelona quickly incorporated this new style and, apparently, would become in one of the main peninsular centers, although the frequency of changing markers, the frequent use of confusing symbols on the pieces and the absence of preserved works and studies make a detailed analysis of this center and its silversmiths difficult. The contrast marks on the piece place it in Barcelona, in the workshop of a silversmith whose punch is “F. Tur”, possibly (Turquet). Weight: 582 grams.

· Size: 18x18x9 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6871
PAIR OF TALL CANDELABRA OR CANDELABRUM, NEOGOTHIC STYLE. WROUGHT IRON....

Pair of Neo-Gothic style standing candelabras. Wrought iron. Spain, 20th century. Pair of standing candelabras made of wrought iron that present a tripod as a base, an axis decorated with small discs and ending in a circular plate, and an upper part composed of three levels of curved arms that end in floral elements, the third being the highest and finished in a spike. The game is inspired by lighting elements from the 15th century in Spain, specifically in pieces known as “floridas” or “florida style”, prior to the development of openwork plates that occurred at the end of that century. Compare it with ancient examples preserved in prominent institutions such as the Museu del Cau Ferrat in Sitges, the National Museum of Decorative Arts (Madrid), etc.

· Size: 62x62x219 cms.
ANTIQUES

Ref.: ZF0628
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SILVER MASS CRUET SET. ESTRADA, ZARAGOZA, SPAIN, 18TH CENTURY.

Pair of cruets with tray. Silver. Estrada, Zaragoza, 18th century. With contrast markings. Set made of silver in its color consisting of two cruets with a circular foot, oval body narrowing towards the top, stepped lid towards the center (surrounded by a circle with a V for the wine container and an A for the water container) and curved handle with a scroll topped by a small crest; and a tray of cut profiles following very common models of the time. The marks present are those of the faithful hallmark (unidentified), the locality (Zaragoza) and the silversmith's (Estrada). There is evidence of three silversmiths named Estrada in Zaragoza: Antonio (1714-1757), Domingo (1751-1800) and Manuel (1735-1742).

· Size: 26,5x16,5x11 cms
ANTIQUES

Ref.: ZF0960
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SILVER MOUNTED TORTOISE SHELL PERFUME CADDY. 18TH CENTURY.

Perfume case. Silver, tortoiseshell, glass, textile. Century XVIII. Case with an elongated shape, wider towards the lid, made of tortoiseshell with a silver frame in its color that has a closure towards one end operated by a button and a hinged lid. Inside, it has a textile upholstery on the lid and base, decorated in certain points with silver plant elements in its color, and an elongated translucent glass bottle. On the outside, it shows a series of plant and architectural elements of classicist influence but organized with a certain rococo rhythm in some points. The practice of using tortoiseshell plates in furniture and other luxury items reemerged in Europe during the 17th century. The high price and great demand for sea turtle shell furniture are explained by the scarcity of the material, which had to be imported (normally from Central America) and that, for its work, a highly specialized workforce was required. Thus, from that moment on, it was common to create boxes, vanity sets, cases with different uses, etc. in tortoise shell, normally combining it with frames in silver, gold, etc.

· Size: 5x3x13 cms.
ANTIQUES

Ref.: ZF0970
SILVER HEART SHAPED SPICES BOX. LÓPEZ PORTERO, MANUEL. SPAIN, GRANADA,...

Heart-shaped spice rack. Silver. LÓPEZ PORTERO, Manuel. Spain, Granada, 1870. With contrast and burilar marks. Silver spice rack in its color with a heart-shaped shape and curved spout towards one side that has two hinged lids and three spaces inside (partition at the top and not at the bottom); It is supported by three legs decorated with classicist elements and has, towards the side, a series of fine smooth moldings. The hallmarks are those corresponding to Granada, to date, and to the silversmith Manuel López Portero, who also worked as hallmarks in the city. The shape of the piece does not follow the usual prototypes of the time or the school to which it corresponds (a heart-shaped silver box is known in which an eagle appears with its wings spread out on its obverse and reverse, hand-held). by Manuel López Portero and dated 1773, which is the portico of the parish church of La Encarnación de Laujar de Andarax). Yes, the decorative elements of the box can be included, and easily, within the Neoclassical. Weight: 250 grams.

· Size: 10x11.5x4 cms.
ANTIQUES

Ref.: ZF1019
SILVER CUP. SPAIN, 18TH CENTURY.

Bernegal or scrapie with handles. Silver. Spain, 18th century. Avocado trembler in its color with a circular base, without base or foot, and a wider hemispherical body at the top, which has two handles on the sides. These have two Cs facing each other of different sizes (the largest on top) or in the shape of that, and a decoration based on silver pearls and a bird perched on the top (both of the piece facing towards the center). 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 (as a general rule), depending on areas and masters. This survival of the 17th century forms can be seen in the handles of the quake, a decorative abundance (compared to the rest of the catavino) 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. It does show a fine engraving of initials on the front of the piece. Bernegales and tembladeras were the most common typologies in Spanish silversmithing in the 17th century (although in the 18th century they continued to be popular, especially in centers far from the main creative centers). In the case of this piece, it is the handles that could indicate American manufacture, although there are similar cases that are thought to have been made in the Iberian Peninsula. Compare it with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of Madres Clarisas de Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 213 grams.

· Size: 18,5x15x8 cms.
ANTIQUES

Ref.: ZF1057
PORCELAIN CANDELABRUM LAMP

XIX century KPM The Berlin Porcelain or Royal Berlin Porcelain Factory (Königliche Porzellan-Manufaktur Berlin in German, which uses the acronym KPM) is a royal porcelain manufacturing factory founded in 1763 by Frederick II of Prussia "the Great". Its highly regarded brand is identified with a cobalt blue scepter (since 1837), to which a royal orb with the initials KPM in red was later added. Between 1751 and 1757, a private porcelain factory operated in Berlin, run by Wilhelm Caspar Wegely. One of his collaborators, Reichard, teamed up with the wealthy businessman Johann Ernst Gotzkowsky in 1761, to respond to the King of Prussia's desire to compete with the production of porcelain from Dresden, Meissen and Sèvres. During the Seven Years' War, Frederick the Great's troops occupied Meissen and Saxony. The industrial secrets kept there were extremely coveted throughout Europe. In 1763, the king bought the Berlin factory, which was on the verge of bankruptcy, and gave it the definitive boost that turned it into one of the most important in Europe. The painter Gottfried Wilhelm Völcker directed the Berlin Porcelain between 1833 and 1848.

· Size: 20x20x93 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z3667
GILT BRONZE AND WHITE MARBLE CLOCK GARNITURE IN LOUIS XVI STYLE, 19TH ...

Garrison in gilt bronze and white marble in the Louis XVI style, 19th century. Composed of two glasses on pedestals and a clock. The first ones are the same: on four circular legs, there is a polygonal base on which there is a low fluted column decorated with two strings of pearls in its lower area; Above, a tall-stemmed cup decorated with two handles in the shape of plant stems. The clock stands on four legs, a semicircular base with a floral frieze, four columns and another semicircular plate; highlighted by two branches with flowers joined together, it has a white dial and Arabic numerals, as well as hands of the type called Louis XVI and is presented topped by a vase. The pendulum of the clock, which has been shaped like a sun, appears between the columns and decorative chains. The French style called Louis XVI is characterized by its inspiration in classicism and covers approximately from 1760 to 1789. In the 19th century, numerous artistic movements from the past were recovered, among which the one mentioned stood out due to its inspiration, very much in line with with the Neoclassicism of the moment.

· Size: Reloj: 19x9x40 cms. Copas: 19x15x21 cms.
ANTIQUES
MISCELLANEOUS;CLOCKS

Ref.: Z6190