Z. Sierra · Antiques and Decorative Objects

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SILVER WRITING SET. MADRID, SPAIN, 1819 AND 1841. WITH HALLMARKS.

Writing desk. Silver. Madrid, 1819 and 1841. With contrast markings. Artifice M. García. Property initials. Notary composed of three containers on a slightly raised base on animal claws made of silver in its color, which has contrast marks in several points. The entire game presents elegant and simple decoration and lines with a marked neoclassical influence. The contrast marks present on the bases of two containers and on the “tray” or base of the set place the creation of the work in Madrid, providing two different dates, probably due to the partial loss and subsequent restoration. Artificer: Manuel García.1838-1858 Weight: 800 grams.

· Size: 11x22x14 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5287
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

Gate with two passers-by. Wrought iron. Spain, 17th century. Window grille made of wrought iron that has two smooth circular section passages in the middle, inserted between the vertical bars. These present a decoration of small discs and balustraded shapes (which add a slight movement) between both passers, facing the compositions to create harmony. The decorative details mentioned refer to baroque works of this material from the 17th century: compare, for example, with the balconies of the Casa de Panadería in the Plaza Mayor in Madrid, or with Spanish pieces preserved in the Victoria and Albert Museum in London, a confessional grille from the Metropolitan Museum in New York dated 1629 (inv. 57.137.51) and another from the same museum made by master Francisco González (inv. 56-234.12Ad).

· Size: 120x38x133 cms.
ANTIQUES

Ref.: Z5602
”SATYR”. TERRACOTTA. AFTER MODELS FROM CLODION, CLAUDE MICHEL (FRANCE,...

"Satyr". Patinated terracotta. Following models of CLODION, Claude Michel (France, 1738-1814). Late 19th-early 20th century. Patinated terracotta sculpture consisting of an oval base decorated with simple architectural elements of classical influence and a tondo with a bust enhanced with a garland, and two figures. These, lying on top, are a satyr (with his usual goat legs) lifting a bunch of grapes, and a young nymph, who hugs him while he tries to reach these fruits. Compare the present sculpture (not so much the base) with the one titled “Nymph and Satyr” from the Calouste Gulbenkian Museum in Lisbon (Portugal), related to the sculptor Claude Michel, highlighting the similarities and differences. Pieces similar to the present work, also known as “Satyr feeding grapes to a nymph”, are preserved in several private collections. Claude Michel “Clodion” (1730-1814) was a French sculptor who trained with Lambert Sigisbert Adam and Jean-Baptiste Pigalle, recognized with numerous awards (Prize of Rome in 1762, etc.) who had an important workshop in Paris from 1771 Although he also made large-scale works, he is above all known for his small-format sculptural works, made in bronze (or other materials such as calamine or terracotta, for example), and which had a very important influence on both life of the sculptor as long after his death in a large number of works inspired by his creations.

· Size: 38x31x40 cms.
ANTIQUES
SCULPTURE

Ref.: Z5882
WATERCOLOUR LANDSCAPE WILLIAM FREDERIC CASWELL

CASWELL, William Frederick (United Kingdom, act. 1870 – 1914). "Landscape". Watercolor on paper. Signed with initials in the lower right corner. . In this work Caswell offers us an evocative landscape with romantic roots, typical of English landscaping of the time, worked with a light and translucent chromaticism that gives a special luminosity to the scene, at the same time enhancing its mysterious atmosphere. A British painter active between 1870 and 1914, William F. Caswell worked on landscapes and portraits in oils and watercolors, and also created series of prints such as “Le Barnabooth et other bêtes modernes.” He was a member of the Royal Birmingham Society of Artists, where he regularly exhibited his works.

· Size: 78x103 int 49x71 cms
ANTIQUES
PAINTINGS

Ref.: Z6194
PORCELAIN AND GLASS OVAL BOX, 19TH CENTURY.

Box in enameled porcelain and etched glass. XIX century. Oval box with engraved glass base and lid with hinged closure, the latter combining enamel and metal. The lower part presents a bucolic landscape, with a series of human figures and buildings in it, combining trees with lakes and dry land. The scene at the top responds to the same typology: a couple in an idealized rural landscape.

· Size: 7,5x6x4,5 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z6447
TORTOISESHELL CASE WITH UTENSILS. 19TH CENTURY.

Toiletry case. XIX century. Tortoiseshell, metal, glass. Rectangular case with a folding lid made of tortoiseshell decorated with fine inlays of vegetal and floral elements on its faces, which contains a set of toiletries made up of various feminine hygiene and personal use items (a small bottle of perfume, a pair of scissors, a thimble...) , with a space designed for each of these utensils.

· Size: 6x3x8 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z6854
SILVER CUP (“TEMBLADERA”). 18TH CENTURY.

Catavinos or scrapie. Silver. Century XVIII. No contrast marks. Container known as catavinos or trembladera with two flat closed “S” shaped handles and a line of “bites” (galled shapes) highlighted by bands of points that move to the interior of the piece. The background has a star shape (leaving some stripes smooth and in a glossy finish forming a Maltese Cross, and combining the rest of the areas in the same finish with others in polished rhombuses with dots). Bernegales and morsel shakers were frequent pieces in Spanish silversmithing in the 17th century, usually being relegated to centers of somewhat less importance in the 18th century. Compare it with pieces such as the silver bernegal from the last third of the 17th century from the Lázaro Galdiano Museum (perhaps from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or that of José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 83 gr.

· Size: 14,5x11x3 cms.
ANTIQUES

Ref.: ZE192
SILVER CUP (“TEMBLADERA”). 18TH CENTURY.

Catavinos or scrapie. Silver. Century XVIII. No contrast marks. With ownership initials. Container known as catavinos or scrapie with two flat curved handles decorated with simplified plant elements, and a line of morsels (gallion shapes) on the edge enhanced by bands of recessed dots that remain in relief inside the piece, where they extend and frame the background decoration. In this area there is a flordelised or flowered Greek cross in a smooth glossy finish with the engraved letters “RA” (property initials), highlighted on a dotted background. Bernegales and morsel shakers were frequent pieces in Spanish silversmithing in the 17th century, usually being relegated to centers of somewhat less importance in the 18th century. Compare it with pieces such as the silver bernegal from the last third of the 17th century from the Lázaro Galdiano Museum (perhaps from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or that of José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 94 gr.

· Size: 13,5x10,5x4,5 cms
ANTIQUES

Ref.: ZE193
SILVER CUP (“TEMBLADERA”). 17TH CENTURY.

Catavinos or scrapie. Silver. XVII century. No contrast marks. Container known as catavinos or scrapie with two flat, closed “S”-shaped handles (with simplified vegetal decoration) and a line “of morsels” (gallion-shaped shapes) enhanced with bands of dots. In the background, inside, there is an eight-petal flower engraved with a cross inside. Bernegales and morsel shakers were frequent pieces in Spanish silversmithing in the 17th century, usually being relegated to centers of somewhat less importance in the 18th century. Compare it with pieces such as the silver bernegal from the last third of the 17th century from the Lázaro Galdiano Museum (perhaps from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or that of José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 96 gr.

· Size: 15x10,5x4,5 cms.
ANTIQUES

Ref.: ZE195
RELIQUARY PENDANT. SILVER, ENAMEL. 17TH CENTURY.

Locket pendant. Silver, enamel, textile. XVII century. Polygonal pendant of significant size and silver frame in its color decorated with small pearls of the same material located in the corners of the edge that has a ring at the top so it can be hung or worn. One of its fronts presents a textile background under a transparent glass sheet, surely designed to contain relics. The other has a brightly colored enamel showing the Virgin Mary in three quarters, with the naked Child Jesus in her arms and both silhouetted figures on a landscape background with classicist architectural elements (column with a fluted shaft on a pedestal, with moldings) and details of a natural landscape (thus being able to link the moment with the Rest during the Flight into Egypt; compare, also, with works such as the Virgin and Child by Anton van Dyck from the Cerralbo Museum in Madrid or the oil painting from The Walters Art Museum, or the engraving by Paulus Pontius following models by Van Dyck - where the elements coincide in arrangement with those of the medallion -, for example). This type of jewelry always had great value both for the materials in which they were made and for their religious content. Despite this (or perhaps because of this same appreciation) not many quality examples are preserved and in good condition, being possible to find them only in important private collections and in prominent museums such as the Fundación Valencia de Don Juan in Madrid, the Museo National Center for Decorative Arts in the same city, etc., or ancient religious centers such as the Convento de las Descalzas Reales in Madrid.

· Size: 6,5x0.5x8 cms.
ANTIQUES

Ref.: ZF0399
COLECTION OF 49 METAL CATHOLIC MEDALS. 16TH-19TH CENTURIES.

Collection of forty-nine antique medals. 16th-19th centuries. Collection composed of forty-nine medals with a religious theme made of metal and decorated with reliefs on the fronts. Of various shapes (circular, oval, polygonal...), each one has an image of the Virgin Mary, or Christ, or a Saint, or a religious scene (or one on each side): Our Lady of Almudena ( Madrid); medal of the second centenary (1884) of the Immaculate Little Patroness of Benisa; one with Blessed Rita of Casia (Rome) on one side and the Virgin of Pilar on the other (exergus Rome); another from the San Blas Children's Association in San Jerónimo el Real; etc
ANTIQUES

Ref.: ZF0495
GAME TABLE WITH MARQUETRY. “PALO SANTO”, MAHOGANY, FRUIT TREE WOOD, BR...

Game table with marquetry. Rosewood, mahogany, fruit trees, bronze, leather. XIX century. Table with four fluted legs with metal elements towards the top that has a delicate marquetry decoration (flowers, bows, plant elements) on the main front and on an outer band on the top board, an area in which other marquetry is presented simpler geometric. It has a large drawer, and can be opened to play, leaving a more resistant textile finish on the top. Stylistically, the influence of classicist models in the piece is clear, responding to the norms and tastes of Neoclassicism. These types of pieces were relatively common in the interiors of the haute bourgeoisie, designed to be able to be placed against a wall when not in use and enhance the decorative function of the work while taking up less space, thus promoting the functional aspect of the table.

· Size: 88x43x76 cms.
ANTIQUES

Ref.: ZF0503
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MANOLO VARGAS IN “BOLERO”. WATERCOLOUR. SIGNED, DATED AND TITLED. CAPU...

Manolo Vargas in “Bolero”. Watercolor. Signed, dated and titled. CAPULETTI LILLO DEL POZO, José Manuel (Valladolid, 1925-Eltville am Rhein, Germany, 1978), 1947.
José Manuel Capuletti was a self-taught Spanish painter who began his career working mainly with drawing, watercolor and portraiture. A good draftsman, his work has strong influences of Surrealism and he designed sets and costumes for ballet works by frequenting the environment of Spanish ballets from 1946 onwards. In 1951 he settled in Paris, beginning to exhibit, becoming recognized in 1954. From 1958 his work could be seen in New York, Paris, etc., and he returned to Spain in 1968, settling first in Seville and then in Madrid. He died on a trip to Germany in 1978. The watercolor appears signed, dated and titled in the lower right corner."

· Size: 49x2x64 cms. int 41x56 cms.
ANTIQUES

Ref.: ZF0770
FRAME. GILT WOOD. 17TH CENTURY.

Frame. Carved and gilded wood. XVII century. Frame for tondo (the interior space is circular) made of carved and gilded wood, decorated with architectural reliefs of classicist influence and a wavy edge on the outside. In the past, frames used to be made for a specific work, so this case would be designed for a circular work (note the hole on the back).

· Size: 36x3,5x37 cms. / Int: 25x25 cms.
ANTIQUES

Ref.: ZF0877
HEAD OF A SAINT. POLYCHROMED WOOD. SPANISH SCHOOL, 17TH CENTURY.

Saint's head. Carved and polychrome wood. Spanish school, 17th century. Head made of carved and polychrome wood of a young man, with dark, curly hair and tonsured, who keeps his gaze downcast. It does not have hairpieces, but follows common lines of the Spanish Baroque of the 17th century. Due to its characteristics (hair, curls, tonsure, relatively young and beardless...), it is reminiscent of a very common model in the Andalusian school (and in others) used in sculptures of Saint Anthony of Padua, although it is not possible to specifically identify which one. saint belongs because there are no iconographic elements. The tonsure, however, slightly limits the options to saints belonging to religious orders.

· Size: 14x15x30 cms.
ANTIQUES

Ref.: ZF0943
BRONZE BRAZIER. POSSIBLY CASTILLE, SPAIN, 16TH CENTURY.

Brazier. Copper. Possibly Castile, 16th century. Brazier made of copper with a circular base decorated with vertical bands, a low tubular shaft enhanced with a fine rope molding and a semicircular body, with a wide mouth that extends outwards, and two metal handles in the shape of a half-rectangle and a torso on the sides. Of the piece. These types of pieces were used in both civil and ecclesiastical interiors with the aim of warming the occupants of the room as much as possible, and their conservation is rare because they were utilitarian elements that were discarded with the passage of time or over time. get damaged. They used to be objects intended for the upper class, and they followed the same typologies whether destined for a sacristy or a private residence. The present case, possibly intended for use in the sacristy, shows a common typology in the Spanish school of the time. Compare, for example, with the brazier present in The Birth of the Virgin Mary of the Altarpiece assembled around 1520 by the Valladolid Pedro de Guadalupe and found in the church of San Esteban de Amusquillo (which presided over the main altar of the cathedral of Valladolid until 1676, when it was sold to the parish church of Renedo); or with that of the Birth of San Eloy by Pedro Núñez (1526-1529, MNAC, Barcelona).

· Size: 25x25x15,5 cms
ANTIQUES

Ref.: ZF0989
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PAIR OF MIRRORS. WOOD. SPANISH SCHOOL, 18TH CENTURY.

Pair of mirrors. Carved and gilded wood. Spanish school, 18th century. Pair of rectangular sheet mirrors with a semicircular arch top that have two carved and gilded wooden frames, very similar to each other. Both have a crest topped with scallops and enhanced with scrolls and plant motifs; In the aforementioned arch, a garland of leaves enhances the plant compositions at the top and leads the viewer's eye to the garlands that hang from the respective capitals. This type of composition, with a strong memory of baroque works from the 17th century and little influence from Rococo, was very common in the Spanish school of the 18th century.

· Size: 36x9x84 cms. int. 24,5x58 cms.
ANTIQUES

Ref.: ZF0998
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VIRGIN WITH CHILD. OIL ON CANVAS. 19TH CENTURY, AFTER SANZIO, RAPHAEL.

Virgin with Child. Oil on canvas. 19th century, following models by SANZIO, Rafael (Urbino, 1433-Rome, 1520). Framed painting showing the Virgin Mary with the Child in her arms, both holding a book, and located on a natural landscape with buildings to the right. The frame leaves a tondo visible, showing the figurative composition, and, upon removing it, you can see in the corners a series of figurative and vegetal elements (grotesques) of clear Renaissance influence, also present in the rest of the work. This Madonna is clearly inspired by another, known as Madonna Conestabile, found in the Hermitage of Saint Petersburg, a work by Rafael Sanzio, dated around 1504 and which was acquired in Perugia by the Count Conestabile della Staffa and later acquired by the Tsar Alexander II and given to his wife, Maria Alexandrovna. The frame in which it is preserved in the museum is the original of the piece, which measures 17.5 centimeters high and 18 centimeters wide. Taking into account the quality of this piece, it is necessary to highlight the subtle differences it presents with respect to the work that inspired it (size, book cover, details in the brush strokes, etc.). Throughout the 19th century it was very common for important houses, artists, etc. They commissioned painters to create works inspired by their favorite pieces (whether they were in museums or in the residences of noble or aristocratic families), in the same way that they commissioned castings of important sculptures.

· Size: 33x5,5x34 cms / int: 20x20 cms.
ANTIQUES

Ref.: ZF1158
INFANT JESUS OR JESUS AS SAVIOUR OF THE WORLD. CIRCA FIRST HALF 16TH ...

Child Jesus. Carved and polychrome wood. towards the first half of the 16th century. Later adaptations probably in the 18th century Baby Jesus with polygonal base made of carved and polychrome wood. The figure is presented naked, standing, with the right hand raised in a gesture of blessing and the left holding a partially golden orb. It is necessary to highlight the shallow depth of the carving, polychrome on all sides, and the lack of work (or less detailed work) in an area on the back of the pedestal that the sculpture has, which would coincide with the part that would be attached to the altar , wall, etc. The arrangement of the hair is common at school, but the shape of the curls or their sculptural treatment is not, nor is the slight tilt of the head to one side. The base also responds to common models, but, again, the polychrome must be highlighted, since the presence of stripes, enhanced with plant elements, is not very common. Reflecting the new “modern devotion” of the time, these figures of Children Jesus were usually used in private oratories (homes, convents, etc.), showing the desire of the time to emphasize the humanity of Christ and a possibly widespread particular cult. by the Dominicans. These small figures, prestigious but relatively affordable, had great success outside the Netherlands, with those made in Mechelen being the best considered, and with Spain being a very frequent destination for the “dolls or dolls of Mechelen” (Virgins, Children of Jesus , etc.). They were works that, on many occasions, bore marks, thus highlighting their origin. Within the stages into which Mechelen's production is usually divided, there is talk of a third in which the production of pieces intensifies (the majority of preserved works correspond, therefore, to this period), but, curiously, the Children (which until now were the second piece most often manufactured and requested by customers) move to third place, being surpassed by Santa Ana. The measurements are usually between 35 and 37 centimeters high in the classic format (with a depth of between 7 and 8 centimeters) and 29 to 30 centimeters in the smallest format (with a depth of between 4 and 7 centimeters). Their appearance is thinner, with facial features that are sometimes already angular (they continue to be made “round” following previous models, but these are more schematic now), and they occasionally place a cushion under their feet. This stage is dated between 1515 and 1535. This carving must be compared, for example, with a Child from the Louvain-la-Neuve Museum (inv. VH552). Above all, we must remember one in the Museo voor Religieuze Junst (Inv. 0011) with the base with cushion on an architectural form due to its elongated shapes, located in the period of intensification of production. It is also necessary to mention that of the Louvre Museum in Paris from the 16th century (dated to the beginning of the century).

· Size: 13,5x7x40 cms.
ANTIQUES

Ref.: ZF1223
STONE MORTAR. 18TH CENTURY.

Mortar. Carved stone. Century XVIII. Mortar made of a single piece of carved stone that has a circular base and four worn handles or projections carved towards the outside of its body, in the shape of a cup. These types of pieces were created for use in pharmacies (which could be in a city, in a religious institution or in a hospital) or in a kitchen (of a large residence or, again, of a religious institution), not It is possible to further specify its purpose due to the lack of decorative elements and the usual nature of the model to which this piece belongs, with a long tradition in Europe. Similar specimens are preserved, for example, in the Museum of Hispanic Pharmacy of the Complutense University of Madrid, the Museum of the History of Pharmacy in Seville, the Museum of Pharmacy in Krakow, etc.

· Size: 73x73x45 cms.
ANTIQUES
MISCELLANEOUS;BRONZE MORTARS

Ref.: Z1057
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STRONG BOX KEY. 17TH CENTURY

Pair of safe keys from the 17th century. Wrought iron. Measurements: 13.5 x 4.5 cm. Pair of wrought iron safe keys, dating from the 17th century, with a complex design on the head, a hollow body and a flattened arch-shaped finish. Since the late Middle Ages, it was common for safes and treasure chests to have two or more locks, the keys of which remained in the possession of different people. In this way, it was ensured that the box was only opened in the presence of the owners of all the keys.

· Size: 5x1.5x13 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z4998
GILT BRASS ALMS COLLECTING DISH. NUREMBERG, GERMANY, 16TH CENTURY.

Alms dish. Nuremberg, 16th century. Dish for collecting alms made of golden brass decorated with a series of moldings and details both on the edge and towards the center. In this area there is a figurative motif in light relief (Adam and Eve flanking the tree in which the Serpent of Original Sin is coiled).

· Size: 38x38x5 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5163
SILVER CRUET STAND, SANTANDER, 19TH CENTURY.

Convoy of silver cruets, Santander, 19th century. With contrasting, local and silversmith marks (Santander, Trabanco, M.Navarro). Holding a basket with a handle above his head is the figure of an Indian, with a skirt and feather headdress. The figure stands on a column, flanked by two circular spaces for cruets and two other supports for salt and pepper shakers. The decoration based on columns and classic palmettes are characteristics of Neoclassicism, while the presence of the feathered indigenous person provides a touch of exoticism that was highly appreciated in the 19th century. Weight 950 gr.

· Size: 22x9x34 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6231
VICTORIAN BROOCH IN 18 KT GOLD WITH AMETHYST

Victorian brooch in 18kt gold with amethyst. XIX century. 18-karat gold brooch that has a thin hanging metal chain, finished with a gold safety pin intended to hold light decorative elements or be fixed to the fabric, providing some movement to the jewel. The center of attention is an oval, faceted-cut amethyst, with a fine setting so as not to divert attention from the setting of the gem. This is made up of an elaborate and delicate composition: in the centers of the sides there are four rectangular pieces with curved smaller ends, decorated with fine plant elements and scrolls reminiscent of classicism; These elements are interspersed with two concave volutes that flank a leaf (which also presents a fine plant decoration in slight relief); This frame is linked to the gem, visually, a series of elements reminiscent of fine bows with a decoration similar to that of those rectangular pieces mentioned. Historically, the Victorian Era begins in 1837 with the coronation of a young Queen Victoria in England, and would end in 1901 with her death. It was the time of greatest development of the Industrial Revolution, something that also influences jewelry thanks to important technological advances in practically all fields (hydraulic energy, the steam engine, gas, etc. influence the machinery to be used) , and the extensive political dominance of England allowed “exotic” materials from the colonies to be taken into account. Advances in machinery make it possible to slightly lower jewelry costs, obtain new cuts in gems with a greater number of facets (thanks to greater speed on the lathes), innovations in alloys (lowering of gold bands since 1854 in England, introduction of galvanization…), etc. As for the designs, they were always marked by the taste of Queen Victoria. Thus, in general, three stages are distinguished: the Early Victorian or Romantic Period (c. 1837-1860), with frequent inspiration in the world of nature; the Middle Victorian or Great Period (c. 1860-1885), marked by mourning for the death of the Queen's mother and her husband Albert in the same year and the Civil War in the United States among other events, with the influence of the archaeological discoveries of the moment and the technical innovations in the enameling and granulation of gold, and the frequent presence of gems; the Late Victorian or Aesthetic Period (1885-1901), marked by the discoveries of diamond mines in Africa, which made stones cheaper allowing for more frequent use in jewelry, more frequent use of ivory and soft color combinations, and a reduction the size of the works as a general rule. Measurements: 4.7 x 4.4 cm. Weight: 21.07 grams.

· Size: 4,7 x 4,4 cm.
ANTIQUES

Ref.: JBR0196