Z. Sierra · Antiques and Decorative Objects

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CHEST. WOOD, GILT IRON, RED VELVET. 16TH CENTURY.

“Rehearsed” chest. Wood, covered in velvet, gilded iron fittings. Century XVI.
Chest with a rectangular base and smooth walls with a lid with sloping sides and a straight top (trunk-pyramidal) made of carved wood. It stands out, above all, for still presenting (and in a remarkable state of conservation) the red velvet with which some of the main examples of this type of work used to be covered, and for maintaining elaborate hardware in its decoration and with gilding in numerous areas. . The three fittings that join the lid to the base have vegetal-shaped endings that are reminiscent of flordelised examples; The handle at the top has a disc in the center and sharpened finials; The shield of the lock is reminiscent of a heraldic one, topped with another simple plant element, and the bolt that joins it to the leg has simple architectural shapes; On the right, there is also a hook to prevent accidental opening of the chest when opening the lock. The interior, open and uncompartmented, has fine textile upholstery in a color similar to the exterior velvet.
This type of chests or caskets lined with fabric (the examples that have velvet are the highest quality, as this is a textile made with silk or linen) is very common in Spain during the 15th century, continuing in the 16th century. , being characteristic elements of the time of the Catholic Monarchs. As for the presence of a lining inside, it is due to the clear intention of preserving the contents of such a rich chest in the best possible condition, saving them from possible damage that the nails in the hardware could cause to the valuable objects that are stored. They were stored in this type of containers, which is why two hooks were also placed flanking the lock to prevent accidental opening once the key was turned. As for color, note that the most expensive dyes were red and blue, so these were the most expensive and valuable specimens.
As indicated, it is not common for such ancient velvet to still retain its characteristic pile, reducing the number of works with which we can compare the present chest. It is much smaller than the pine wood trunk covered in silk velvet, with iron fittings, preserved by the National Museum of Decorative Arts in Madrid, made in Castile between the last quarter of the 15th century and the first quarter of the 16th."

· Size: 27x14x16 cms.
ANTIQUES

Ref.: ZF0122
MINIATURE AFTER SIR JOSHUA REYNOLDS. POSSIBLY, 19TH CENTURIES. NEOCLAS...

Miniature with bronze frame in Neoclassical style (19th century). “Mrs. Smith (Charlotte Delaval) and her children (Jorge, Henry, Louisa and Charlote).” Following work by Sir Joshua Reynolds. Possibly, 19th century. Signed in the lower right corner (Reynolds). Rectangular frame arranged vertically that has a series of moldings with different decorations and a cape at the top of lacework, leaves and openwork flowers. Inside, it presents a band of fabric embroidered with plant elements, and also presents an ancient textile on the back to protect the work. The miniature in the center presents a background of a natural landscape (you can see some trees and an opening to the horizon to the right) and some figures in the foreground. A lady, elegantly dressed, raises a hand to her cheek; The three children, to his right, also appear dressed in gala clothes and playing with each other (two of them also look towards the viewer). The miniature is closely inspired by a painting currently kept in the Metropolitan Museum of Art in New York. This is a portrait of “Mrs Smith (Charlotte Delaval) and her children (George, Henry, Louisa and Charlotte)” made by Sir Joshua Reynolds (Plympton 1723-London, 1792) in 1787 (Inventory 25.110.10). It is known that engravings were made of this painting (Francesco Bartolozzi in 1789; R. Josey in 1880) and that Samuel Shelley (1750/56-1808) made an oval miniature closely inspired by it (Lady Smith appears without a hat in the same) and which is in a private collection (sold by Sotheby's in London in 1977). The clearest changes in the miniature, compared to Sir Joshua's work, are the color of Mrs. Smith's dress, the children's face (more delicate), the landscape in the background, the general tone of the work and the addition of the flowers in the lower right corner. In another private collection there is a miniature (by the British Frank W. Wilkin) showing the three children of Sir Robert Smith and Lady Charlotte, also inspired by the painting by Sir Joshua Reynolds. Samuel Shelley was born in London, and was a largely self-taught artist, best known for his miniature watercolor portraits. He exhibited his work for the first time at the “Society of Artists” in 1773, entering the Royal Academy Schools a year later, an institution where his work received the influence of Sir Joshua Reynolds. Work by his hand is preserved in numerous private collections around the world such as the Yale Center for British Art, the National Portrait Gallery in London, the Royal Collection of the British Royal Family, the Metropolitan Museum in New York, etc. Francis William Wilkin, or Frank Wilkin (1791-1842) was an engraver specialized in painting portraits who began working with miniatures, although he also tried other genres.

· Size: 19x13 cms / 37x25 cms.
ANTIQUES

Ref.: ZF0157
SILVER JAR O JUG. FAXARDO, ANTONIO. SPAIN, CÁDIZ, 1787; REMARKED IN IT...

Jug. Silver. FAXARDO, Antonio. Spain, Cádiz, 1787; highlighted in Italy (Naples). With contrast and burilar marks. Published in Encyclopedia of Spanish and American Viceregal 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 121; image 235 on page 331. Silver jug in its color that has a raised circular foot, a spherical body that narrows upwards and opens again towards the lid of the piece (which has an open spout, simple engraved decoration and a vegetal finish of branches with fruit) , and a curved handle decorated with architectural and plant elements of clear classicist inspiration. This same influence can be clearly seen in the lines of the piece. Typologically, it is situated within a common line of 18th century Neoclassical Spanish silversmithing that emerged in the capital of the Court (Madrid), a city from which it spread to other centers. Likewise, a certain Rococo souvenir is usually mentioned in some detail (the handle in the present case). The contrast marks it presents are those of the town of Cádiz, that of the silversmith Antonio Faxardo (active between 1775 and 1789), a chronological mark (1787) and that of Naples (considered as a mark). Note that the Cádiz punch, the contrast punch (illegible), the chronology punch (1786) and the silversmith Antonio Faxardo's punch appear on a chalice in the Cathedral of Santander. In the aforementioned book they identify the marks present on the piece, in addition to providing a photograph of it. Weight: 1008 grams.

· Size: 17x13x30 cms.
ANTIQUES

Ref.: ZF1014
BRONZE MANTLE CLOCK, CUPID WITH ROOSTER. BRONZE, MARBLE. POSSIBLY FRAN...

Table clock. Gilded and blued bronze, marble base. Possibly France, late 19th century. Working. Paris machinery table clock in working condition featuring a rectangular light marble base with the front pushed forward slightly to give space for the clock case. This has a white dial, Louis XVI type hands and Roman numerals for the hours and fives in Arabic for the minutes. This part is sheltered in a golden marble pedestal, which has a Greek fretwork base resembling waves, a laurel garland and, on the sides, some books, an overturned vase with flowers and an arch; Above, plant elements and a bow. A gilded bronze rooster has been placed at the top, and, holding the animal, a cupid appears (note the bow that would link him with the god of love Cupid) or a blued bronze cherub, thus creating a marked contrast. A few examples similar to the present one are known in private European collections, given that it was a highly appreciated model of which the French workshops specialized in this type of pieces created some variants for watchmakers who requested them. Likewise, there is another model without a rooster and with the lying angel, very similar to the present one, of which porcelain examples created in Meissen are also known.

· Size: 35x15x40 cms
ANTIQUES

Ref.: ZF1036
BRONZE CLOCK WITH MUSE. FRANCE, 19TH CENTURY.

Table clock with Muse and writers. Blued and gilded bronze, Paris machinery. France, 19th century. Machinery in perfect working order.
Blued and gilded bronze table clock with Paris machinery, and a white dial with a gilded bronze center (Roman numbering for the hours, lines for the minutes and Breguet-type hands). The rectangular pedestal stands on supports and has architectural decoration; The base of the clock, also rectangular, shows vegetal crowns with scrolls highlighting cartouches (with names: Virgile, Tasse, Homere, Racine, Voltaire); The sphere and the machinery are housed in a piece of gilded bronze that resembles a bookshelf, on which appear books, a laurel wreath and a musical instrument. A blued bronze female figure, dressed in a tunic, holds this kithara, a plucked string instrument typical of ancient Greece, similar to the lyre (the difference is the soundboard, so it could be a lyre at present).
The female figure would be a Muse: these classic divinities from Greek mythology inspired the arts; daughters of Zeus and Mnemosyne, companions of the god Apollo in his retinue, each one is related to a branch of art and knowledge. It is linked to the lyre Calliope (muse of eloquence, beauty and epic poetry) and with the zither Erató (muse of lyrical-love poetry).
As for the names mentioned, the first refers to Publius Virgil Marón (70 BC-19 BC), Roman poet, author of the Aeneid, the Georgics, etc. He was also known for his role as a guide in Dante Alighieri's Divine Comedy. Torquato Tasso (1544-1595), Italian poet and author of Jerusalem Liberated, Rinaldo, etc., is known as “Le Tasse” in French. Homer is the name given to the author of the Iliad and the Odyssey, foundations of Greco-Latin epic literature. Racine is the surname, among others, of the French playwright Jean Racine (1639-1699) and his son and poet Louis Racine (1692-1763). François-Marie Arouet (Paris, 1694-1778), better known as Voltaire, was a French writer, historian, philosopher and lawyer, with numerous literary and philosophical writings.
Curiously, there is knowledge of an Empire clock (located in a private French collection) in the shape of a library with books, very similar to the one in the present piece. And it is necessary to remember that the high specialization of French bronzesmiths, which gave rise to works of art of great quality, meant that several pieces of the same model were created if it was liked by the aristocracy and the upper class. For this reason, there is evidence of several watches, with slight differences compared to the present one (especially in the dial and the absence of blued bronze), preserved in private collections and dated to the beginning of the 19th century.
Weight: 12.7 kg."

· Size: 40x15x57 cms.
ANTIQUES

Ref.: ZF1069
SPANISH CHEST OF DRAWERS FOR SACRISTY-USE. WALNUT AND IRON. SPAIN, 17T...

Sacristy chest of drawers in walnut wood with carved decoration. Spain, 17th century. Furniture with three very deep drawers with the lower one higher, on rectangular legs and with a straight wooden top board, slightly protruding. Each of the drawers has two wrought iron handles. The sides have been decorated with simple rectangular molding panels, while the drawers have been carved in relief: the upper one, with branches, vines and leaves; the central one with fleshy vegetal scrolls; the lower one with three plates, the lateral ones with a central rhombus and flowers in the corners, and the central one with a rose framed by a cord with three knots on each side set in two keys. It is these carvings, in addition to the depth of the drawers, the horizontality of the composition and lines and the straight top board that suggests the use of the furniture in a sacristy to store liturgical clothing appropriately and, furthermore, indicates that there could have been been commissioned by a Franciscan institution (note the typical cord with the knots) dedicated to Saint Peter (because of the two keys in the corners). Although it does not have the usual rear paneling from the 16th century, it does have the front with volumetric carvings, typical of the 17th century, and decorative elements typical of the Baroque, in addition to certain memories of previous furniture (panels in the lower area). The carving and quality of the assembly of the panels (note the tongue and groove of the corners) shows that these were works of relevance, intended for religious environments. The boxes on the sides are reminiscent of those on the central chest of drawers in the Ante-sacristy of the Cathedral of Ávila. As in that of the sacristy of the Cathedral of Murcia, it is the fronts that present carvings in this example, which are reminiscent of others such as those on the refectory table from the collection of the Marquis of Santo Domingo (Madrid). More frequent, however, are those with simpler fronts, although, due to direct influences, examples can be found that demonstrate the popularity of this prototype, such as the chest of drawers in the sacristy of the Old Convent of San Francisco in Havana (Cuba).

· Size: 175x105x112 cms.
ANTIQUES
FURNITURE

Ref.: Z5454
”SAINT BARTHOLOMEW’S MARTYRDOM”. PAINTING ON VELLUM. AFTER MODELS FROM...

“Martyrdom of Saint Bartholomew.” Painting on vellum. According to the model of Ribera and Cucó, José (Játiva, 1591 – Naples, 1652). The composition is organized around the diagonal drawn by the trunk of the tree to which the old man is tied. The soldier on the right is skinning him, while another figure on the left balances and harmonizes the painting. This is the way in which Bartholomew the Apostle was martyred: according to tradition, the king of Armenia Astyages ordered him to worship his idols, which he refused, ordering him to be skinned. Practically all the elements of the work can be related to the Italian school, while the composition follows common models in the Baroque of the 17th century. The coloring shows the work very far from the Caravaggesque tenebrism that was common at that time, and does not present lighting contrasts, in addition to being reminiscent of works more in line with the classicist baroque or even previous Mannerism. José de Ribera y Cucó was a painter and printmaker born in Spain who developed his entire career in Italy, where he was known as Giuseppe Ribera and by the nickname “Lo Spagnoletto.” His style evolved from the tenebrism of Caravaggio towards a much more luminous aesthetic influenced by figures such as Van Dyc, and contributed greatly to creating the “Neapolitan school” (in which Giovanni Lanfranco, Luca Guiordano... stand out). He was born in Játiva, and it is possible that he learned with Francisco Ribalta, and, while still a teenager, he went to the north of Italy (Cremona, Milan, Parma), to later go to Rome, where he came into contact with classicist works (Reni and Ludovico Carracci ); He ended up settling in Naples. His work is preserved in important private collections around the world, as well as in institutions such as the Prado Museum and the Royal Academy of Fine Arts of San Fernando in Madrid, the Capodimonte Museum in Naples, the Louvre in Paris, etc. The work is reminiscent of an oil painting on canvas made by José de Ribera between 1617 and 1619 for Pedro Téllez Girón III, Duke of Osuna and viceroy of Naples in those years, preserved in the Museum of Sacred Art of Osuna in Seville (Antigua Collegiate Church of Osuna ). It was part of a group of five paintings (Saint Sebastian, Saint Peter the Penitent, Saint Jerome, the Angel of Judgment and The Calvary, the latter a work commissioned by the Duchess and completed in 1618) that are known in the Collegiate Church as early as April 1627. This group is considered one of the most important at the beginning of its activity. However, it is possible to relate it much more closely to another work that presents a similar composition: one of the four etchings that Ribera made between 1624 and 1628: the one of the “Martyrdom of Saint Bartholomew” is signed, dated (1624) and dedicated to the Prince Manuel Filiberto of Savoy, nephew of Philip III and viceroy of Sicily. In this engraving and the work on vellum, a figure on the left faces the viewer, holding two staffs in his hands; The saint looks up, with his arms tied above his head, bent, and his legs drawn up, while a man skins him, holding a knife in his mouth; On the vellum, however, the male figures on the right that are in the engraving are not presented; The sky is also different. As already noted, the main differences are color and lighting, which place the present work closer to baroque classicist currents.

· Size: 10,5x15 cms. / 22x26,5 cms.
ANTIQUES

Ref.: Z6742
”DISMISSAL OF HAGAR BY ABRAHAM”. MINIATURE. AFTER VAN RIJN, REMBRANDT ...

“Abraham disowning Hagar.” According to the model of VAN RIJN, Rembrandt (Leinden, 1606 – Amsterdam, 1669). Framed miniature. Century XVIII. The scene is set in an idealized landscape. In the foreground, a venerable old man, richly dressed (blue tunic, yellow belt and red cape with ermine, with a colorful turban to match), walks, indicating the act with his hands, towards a woman who covers her face, showing thus the artist his sorrow. She is accompanied by a child, with his back to the viewer, and carries a series of packages and a vessel, making one think of a trip. To the left, in some humble architecture, there is an elderly woman looking out to see the scene, smiling, while a young child does the same as her, opening a wooden door from which a small dog runs out. Shows a story from Genesis. The story tells that Sarah accepted that Abraham would obtain offspring thanks to an Egyptian slave, Hagar, a union from which Ishmael was born. However, when Sarah had Isaac thanks to a miracle, she convinced Abraham to expel Sarah and her son. The anecdotal detail of presenting Sara appearing smiling, the dog, Sara's sadness, etc. It can also be seen in the painting of the same subject by the Flemish Pieter-Jozef Verhaghen (1728-1811), in which Abraham also appears with a red cloak and turban, but the composition and environment differ; in the painting by Jan Victors from around 1635 (Budapest Museum of Fine Arts), with Sara and her son smiling; etc However, some drawings by Rembrandt are preserved (Herbert F. Johnson Museum of Art at Cornell University, two by Rembrandt; this institution has another, probably from the 18th century and anonymous but very similar; and there is another by the artist in the Metropolitan Museum) made in 1637 by the master that follow, almost point by point, the present work except, logically, in the coloring and in the background, where the architecture of the baroque master is replaced by a landscape.

· Size: 15,x18,5 / 28x30 cms.
ANTIQUES
PAINTINGS

Ref.: Z6786
DEVOTIONAL PLAQUE. IVORY, WOOD. CIRCA LAST THIRD 16TH CENTURY, AFTER J...

devotional plate; Last Supper, Christ on the Mount of Olives. Wood, tinted ivory and engraving. Towards the last third of the 16th century, following models by Jan Sadeler I (active 1550-1600). Rectangular carved wooden plaque with a ring and a hole on the back, presenting two ovals on the front with biblical themes enhanced with dark wood frames decorated with square diamond points above and below and rectangular on the sides, and winged heads of angels on the corners that these two compositions leave free. On the left, the Last Supper appears at the top, with Christ under a canopy and accompanied by Saint Peter and the rest of the Apostles on both sides; below, Judas receiving the bag of coins; A series of architectural elements, angels, fabrics, plant motifs, scrolls, etc. complete the space. of clear classicist influence. On the right, the theme of Christ on the Mount of Olives, with Jesus raising one hand towards the chalice offered to him by an angel and accompanied by two sleeping Apostles, and with two soldiers; below, and through a door, the Arrest of Christ; A series of bands topped with volutes, architectural and vegetal motifs, etc. complete and organize the composition. of classicist influence. Both scenes are inspired, very closely, by two engravings from the series “Passio Verbigenae Quae Nostra Redemptio Christi”, published by Jan Sadeler I (active 1550-1600) between 1575 and 1600 and inspired by Marcus Gheeraerts I (Bruges, 1516/ 21-London, c.1590). Engravings from this series are preserved in many prominent museums around the world (British Museum in London, Rijksmuseum in Amsterdam, etc.). According to experts, around 1580, the artist Marcus Gheeraerts designed this series of the Passion of Christ, framed, highlighted, hierarchical and structured thanks to an elaborate and delicate system of grotesques and other classicist elements that is applied to the iconographic themes it presents. At the time of the creation of engravings, and later, during the Baroque, the use of engraved (or carved) ivory or bone plaques on furniture, lecterns, altars of personal devotion, devotional plaques, etc. was common. Compare, for example, with desks from the Flemish school, the Neapolitan school, etc. such as the one dated around 1600 from the Philadelphia Museum of Art (workshop of Iacobus Fiamenco, Flemish; active in Naples, Italy, between 1594 and 1602; with scenes based on engravings by Dirk Volkertsz; Coornhert, Netherlandish, 1522 – 1590; following designs by Maarten van Heemskerck (active Haarlem and Rome, 1498-1574)). It is also necessary to mention pieces such as the reliquary altarpiece of the Brotherhood of the Blood of Christ from the Church of Santa Isabel de Portugal (San Cajetan) in Zaragoza, which presents religious scenes based on engravings by Antonius Wieris (1555/9-1604) .

· Size: 12x1,5x13 cms.
ANTIQUES

Ref.: ZF0963
TABLE FOR SPANISH WRITTING DESK (BARGUEÑO) WITH “SAINT ANTHONY” LEGS. ...

Bargueñera table with “San Antonio” leg. Wood and rosewood, wrought iron fasteners. Spain, 18th century. Rectangular table top decorated with simplified geometric motifs combining wood of different colors in a symmetrical arrangement. Two straight legs, open downwards and joined with a shell, have been secured by two curved fasteners with a disc in the center made of light-colored forged metal. Although the curves of the pawls and discs may recall examples from the Baroque, the simple geometric decoration of the upper board, the absence of movement and the straight lines of the legs, of the typology known as “San Antonio” (which also found in examples from the 17th century), they make us think of the 18th century, already under the influence of Neoclassicism. Compare, for example, with the magnificent example of a dining table from the Royal Workshops dated to the second third of this century and preserved in National Heritage. The usual thing is that this type of tables, made to hold desks, either Spanish or Italian, would have their tops smooth and without marquetry of any kind because with the furniture they would barely be seen and only the two iron fasteners would be left on the front. that this example has or, also, that they dressed in rich fabrics to highlight the trash cans, leaving little more than the legs visible. They were works made for upper-class homes just like those desks, so only prominent private collections and important museums preserve similar examples: one in the Sorolla (inventory 30023) in Madrid has a tabletop with pyrography-engraved white resin plates with mythological scenes, another from the 17th century in the National Museum of Decorative Arts (CE02068) with geometric motifs in marquetry, or another very similar to the one present in the Regional Museum of Daroca (00038) but of contemporary date, made inspired by buffets like the present one.

· Size: 176x70x79 cms.
ANTIQUES
FURNITURE

Ref.: Z4858
SILVER INKSTAND, MADRID, 1779.

Notary in turned, cast and chiseled silver, Madrid, 18th century (1779). Contrast marks on the edge of the tray, on the bottom. Property mark “AL”. A tray with curved profiles stands on four legs shaped like plant elements. Fixed to it are the four containers that make up the writing desk. These, and the bell, have a magnificent decoration based on turned flat gallons on their body, base and lid. It is composed of a tray, sandbox or sandbox (to dry the ink) with a bell (call the servant or the person responsible for carrying the message or written message) and three inkwells or dusters with lids, all attached to it by means of through screws. The profiles of the tray correspond to works of the Charles III period and style, while the jugs still show part of the movement that characterized Rococo, already introducing the clean lines characteristic of Neoclassicism. In the second half of the 18th century, with the accession of Charles III to the throne, Italian influences arrived in silversmithing once masters from this country had established themselves, either as silversmiths or, in many cases, also as bronzesmiths. At the end of the century there was also an abandonment of Rococo forms in favor of the Neoclassical style, whose particularities can be seen in this writing desk. These galloned shapes come from decorations based on ancient Roman art on which this second artistic style was based, as do the plant elements. Madrid would set the standard in art as the capital of the kingdom, and the continuous movement of pieces and the relative ease in communications and transmissions of drawings and engravings make it difficult to distinguish particular styles and trends in many cases. Likewise, we must highlight the great role in improving the quality of silverware designs that the founding of the School-Workshop by Antonio Martínez in 1778 had. It has a locality mark, Madrid Corte y Villa 1779, and an artist. Weight: 1850 gr.

· Size: 31x25Xx14 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6413
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ENGRAVED SILVER CUP, \'POKAL\' GERMANY. 19TH CENTURY

German silver cup. XIX century It is made entirely of silver, and decorated with relief motifs, a round shape, engravings and chiseling. It is directly inspired by similar pieces made in 16th century Germany, in full Mannerism. This is due to the importance that Germanic silversmithing had in that century; German and Central European craftsmen in general created exquisite pieces for collectors' cabinets designed to be displayed and not used, the greatest example of virtuosity and ornamental richness of Mannerist silversmithing. One of the most recognizable typologies of Germanic Mannerist silverware will be this type of tall cup, with a cylindrical container with a differentiated subcup and a large lid. These are functional or ornamental glasses, depending on the richness and abundance of their decoration. This decorative profusion, combining all types of motifs, is key in Mannerist silversmithing, and went so far as to replace parts of the structure with decorative motifs, as we see here in the shaft, composed of a vase, and the knob, with the round figure of a young classical warrior. The main motif of this design is the raised gallons, which take the shape of oval recesses and are separated by baquetones with parallel transverse lines. We see them in the subcup, the boza and the lid, although they also appear on the foot, although simplified, without recesses or baquetones. The piece stands on a circular foot with a flat and smooth base, with two domed steps profusely decorated: gadroons above and intertwined braces, with flowers and classic masks below, typical motifs of the Mannerist ornamental background. The shaft, as we have mentioned, takes the shape of a balustraded vase adorned with large braces like ribs, topped by bird heads. The container has a cylindrical shape, with a highly relief cup, adorned with herms in relief, again a typical motif of Mannerist silverwork. The upper part, under the mouth, also extends outwards, although its gallon decoration is simple enough not to overshadow the delicate and meticulous embossed and chiseled engraving of the central area. In it we see two oval cartouches that house representations of two gods from classical mythology: Bacchus, serving wine in a glass against a background of a landscape with houses, and Mercury, running in a forested landscape. Between both cartouches are classical masks of great ornamental richness. Finally, the lid is domed, with a curly perimeter and a stepped structure. The pommel is sculptural and represents a classical young warrior, perhaps the god Mars. Weight: 1742 gr. (It has a counterweight on the base)

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

Ref.: Z5957
”SAINT ROCH”. POLYCHROMED AND GILT WOOD SCULPTURE. JUAN DE ANCHIETA WO...

"San Roque". Sculpture in polychrome and stewed wood. Environment of Juan de Anchieta, 16th century. A bearded male figure is standing, holding a book and with a pilgrim hat on his back, in addition to presenting himself showing his right leg and resting his foot on a quadruped with something in its mouth. To his right, a naked child looks towards the saint while touching his leg with his left hand. He is presented with the angel on his left, the plague wound or buba on his leg (normally, the one shown is the other), the pilgrim's hat and cloak, and the dog with the loaf of bread located under one of his feet. in a very unusual way. All these attributes help to identify the image with Saint Roch, an Occitan pilgrim canonized in 1584, highly venerated before this date, above all, for considering him a healing saint, especially in cases of pestilence. A marked influence of the Italian Renaissance is clearly noticeable in the carving: from Michelangelo in the corporeality and anatomy of the two figures, the expressiveness of the saint, the composition, etc. These details, along with other particularities such as the hair and proportions, allow us to relate the sculpture to the workshop of Juan de Anchieta (Azpeitia, around 1533- Pamplona, 1588), a sculptor of great importance in 16th century Spanish art with work in the northern Castile, Aragon, the Basque Country, Navarra and Burgos, considered one of the main figures of Romanism. It is believed that he was trained in Italy, hence his stylistic connection with certain works by Jacobo della Quercia and, above all, his inspiration in the works of Michelangelo. The influence of the Valladolid focus is also clear in his style, where it has been documented between 1565 and 1570. Compare, for example, with the altarpiece of the church of San Pedro de Zumaia (Pamplona), completed already in 1577, the commissions which he made in the Cathedral of Burgos between 1576 and 1578 (Coronation of the Virgin and carving of Mary located on the lectern of the choir), or the main altarpiece of the Parish of Santa María de Tafalla made between 1581 and 1583. He set up his workshop in Pamplona, with numerous commissions and his style was so appreciated that it would influence works carried out in Aragon throughout the first third of the 17th century.

· Size: 16x11x25 cms.
ANTIQUES
SCULPTURE

Ref.: ZE062
SILVER JAR OR JUG. VITORIA, 18TH-19TH CENTURIES.

Jug. Silver. Vitoria, 18th-19th centuries. With hallmarks and chipping marks, and ownership initials (TN). Published in Encyclopedia of Spanish and American Viceregal 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 240; page 430, image 1472. Silver jug or jug in its color, with a circular foot decorated with moldings and a string of pearls, a semi-ovate belly on which, through a band of classicist architectural motifs, rise a curve, a step and a high neck with a concave profile. The mouth, with a sinuous layout and enhanced with another band of plant elements, presents an elevation towards the spout, and covers with a stopper or lid topped with a swan-shaped knob. The handle is a feline with a round shape, in an attitude of stalking towards the bird. Typologically, the piece follows neoclassical models, brought from Europe to Madrid and spread from this place. Likewise, it should be noted that the handle with a round figurative element is not entirely common, although examples are known in private collections of jugs with handles in the shape of a grotesque, lion, etc. The contrast marks it presents place the creation of the piece in Vitoria, at the hands of the silversmith Argandoña and with the faithful Maison contrast. Tomás de Argandoña has been active in the city between 1790 and 1810, while Maison has been dated between the 18th and 19th centuries. Weight: 1100 grams.

· Size: 14x12x31 cms.
ANTIQUES

Ref.: ZF1016
SILVER JAR OR JUG. SPAIN, MADRID, CIRCA LAST THIRD 18TH CENTURY.

Jug or jug. Silver. DE SAN FAURÍ, Juan (1745-1785). Spain, Madrid, towards the last third of the 18th century. With contrast and burilar marks, and property name (Ochoa). The jug has an oval base with slight curves and a body divided into two areas (wider in its lower half, slightly concave in the upper half) with a series of curved “segments”; the beak shows simple architectural decoration and smooth areas; The handle is of a type known as a brace, with classicist architectural elements; The lid follows the lines of the body and is finished with a vegetal shape creating a knob. On one of the sides, towards the foot, there is the engraved text “Ochoa”, in reference to a former owner. The contrast marks place the creation of the piece in Madrid. Another of those that appears could be one of those used by the silversmith Juan de San Faurí. With Philip V, numerous French influences came to silversmithing, along with some Italian ones, both by craftsmen from these origins and by pieces. There continues to be little marking on the works except in important centers such as Madrid, and civil typologies acquired great importance. As in the rest of the country, the Baroque, Rococo and Neoclassical trends coexisted at the Court, although, being the center that set the tone for the rest, the former soon moved away, introducing the Rococo before 1740 or on that date, and Neoclassicism around 1770 (gradually imposing itself since 1780). The jug follows the most common prototype since the arrival of the Bourbons, characterized by its European influence and by the great difference it shows with the type known as a “spout jug”. Compare it with the Francisco García cruet (inventory 03487) from the Cerralbo Museum in Madrid, with the Medina-Sidonia example (code 59906, Catalog of the Movable Heritage of Andalusia), or with examples from the National Museum of Decorative Arts, pieces conserved in Museums. and Treasures of Spanish Dioceses, etc. Weight: 1050 grams.

· Size: 17x8x26 cms.
ANTIQUES

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

Cup with tray. Silver. Royal Silver Factory of Antonio Martínez. Madrid, Spain, 1830s. Model cataloged in "Catalogue of National Heritage silverware", page 254, With contrast markings. Circular plate or tray with fluted molding towards the edge and smooth skirt and bottom; In the center of the background there is a support decorated with a fluted band and a smooth base into which the cup is fitted using a special piece. The cup or vase has a circular foot with a plinth and a body with a concave grooved surface; oval-shaped, gallon-shaped belly and two handles in the shape of female masks finished in venerated shapes; The neck is concave and has a smooth surface. The lid has a fluted edge matching the tray and a smooth area, ending in the center with a convex veined finish with a butterfly on a flower at the top. The contrast marks present place the manufacture of the Set in Madrid (with the date partially visible), in the Royal Silver Factory of Antonio Martínez. The Royal Silver Factory of Martínez was founded in 1778, and marked the introduction in Spain of the industrial manufacturing method in the field of silver work and of neoclassical aesthetics in Spanish silversmithing. Likewise, it was one of the most important silversmithing centers in the history of Spain, and was characterized by the originality of its designs and the perfect finish of its pieces. As for the present model, two sets like this are preserved in the National Heritage Collections, dated 1834 and published in the catalog of those collections. Weight: 2350 grams.

· Size: 27x27x34 cms
ANTIQUES

Ref.: ZF1021
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WALNUT TABLE FOR BARGUEÑO DESK, 17TH CENTURY.

Boat table in walnut wood, 17th century. Turned legs joined with double chamfers are secured to the table plank with curved wrought iron fasteners. This type of furniture was made to hold and display bins or desks, being utilitarian objects that, however, were frequently decorated in a moderate way so as not to take away the prominence of the piece they supported. In the present case, the movement for which Baroque art is known can be seen in the legs and pawls.

· Size: 106x38x82 cms.
ANTIQUES
FURNITURE

Ref.: Z6293
SILVER DESK WRITING SET. MADRID, SPAIN, PLATERÍAS MARTÍNEZ, 1819. WITH...

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

· Size: 29x24x15 cms
ANTIQUES

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

Compass with pocket sundial, with case. Bronze. BUTTERFIELD, Michael (1635-1724). Paris, circa 1700. Pocket sundial made of engraved metal, with a gnomon in the shape of a bird with a triangle with an engraved tree, and a compass with a 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
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PAIR OF NAPOLEON III PERIOD CANDLESTICKS OR CANDELABRA. WHITE MARBLE, ...

Pair of candelabras. Gilded bronze, white marble. Around the time of Napoleon III, France. Pair of two-light candelabras with a white marble base and gilt bronze details made in gilt bronze that each show a semi-naked Cupid or little angel with his body adorned with two garlands of roses and holding a large stem that divides into two and it is decorated with leaves and topped with two large roses, which serve as a base for the candles. The pedestals have a circular base of gilt bronze with disc legs on which a disc of greater diameter and lower height than the next has been placed, thus creating two levels, enhanced with a band of pearls and a garland of laurels. Stylistically speaking, they resemble French examples from the Napoleon III period inspired by the Louis XVI style that are known to be preserved in foreign private collections. The style known as Second Empire or Napoleon III in France was a very eclectic one in terms of decorative arts, as it was inspired by a large number of styles from the past of this school, sometimes combining the use of modern materials at that time. . It flourished in the country during the reign of Napoleon III (1852-1871), and had a great influence in both Europe and North America. The one known as the Louis XVI style was one inspired by classical antiquity, nature and the Louis XIV style.

· Size: 23x10x33 cms
ANTIQUES

Ref.: ZF0788