Z. Sierra · Antiques and Decorative Objects

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PAX WITH VIRGIN AND CHILD AND A DONOR. SLATE, WITH SILVER FRAME. SPAIN...

Peace holder with the Virgen de la Soterraña and a donor. Slate, with silver frame. Segovia, 1798. Peace holder with a bas-relief image of the Virgin and Child, dressed in a large triangular cloak, meticulously decorated, standing on a crescent crowned by the head of an angel and raised by two other angels, represented as winged heads. The Virgin appears crowned, with a large circular mandorla around her head, topped by a cross, and flanked by two candles. In her right hand she holds a scepter, which identifies her as Queen of Heaven, and on her left arm the Child also wears a crown. On the ground plane there is a donor in a praying position on the left and an animal on the right, probably a lamb. Among them, under the Virgin, a noble shield. The stage is framed by a curtain whose thick cords fall on both sides. The image is finally closed by a border of vegetal scrolls. At the bottom of the border there is an inscription also worked in relief that identifies the Virgin as the Soterraña de Nieva (Santa María la Real de Nieva, Segovia). The slate plaque has an inscription engraved on the back, which includes the name of the author, Santiago Portillo, and the year of execution, 1798: EMMAN.L. EPISCOP.S / SEGO VIEN**S. / THE DRAWING*OE*. SA / NTIAGO PORTILLO ANOE / 1798. Below, an anagram that brings together the letters V, T, O and R. The plaque is housed in a baroque style frame made of openwork and cold-chiseled silver, with decoration of braces and rockery crests and a cross as the upper finish. It has an articulated rear support, of classic architectural design. The frame houses the punches of the city of Toledo and a chisel, without marks indicative of the date of completion.

· Size: 12x4,5x17,5
ANTIQUES

Ref.: ZF1252
SILVER BOAT CENSER. SPAIN, 17TH CENTURY.

Silver ship. Spain, 17th century. Naveta formed by forging, with the foot and the ends of the lid obtained by mold casting. Shaped like a symmetrical boat, it stands on a low circular foot, with a discoidal base and a short shaft with a central bob. The body is decorated by chiseling, with oval cartouches flanked by braces and crowned by rhombuses and crescents, located on the four axes and on a nuanced dotted background that continues outlining the mouth. The lid features the same chiseled motif. At the end of the stern there is a finial in the shape of an acanthus leaf, in relief, and at the end of the bow there is a handle in the shape of a banded pillar. The bow cover can be opened thanks to a central hinge. The piece has partial punches on the cover and body.

· Size: 18,5x9x8,5 cms.
ANTIQUES

Ref.: ZF1253
PAIR OF SILVER CANDLESTICKS. 18TH CENTURY.

Pair of silver candlesticks. Century XVIII. Pair of candlesticks made of silver in an unadorned baroque style, with a clean and dynamic structure that expresses itself through the contrasting superposition of circular section elements. The lines engraved on the discs of the shaft affect this game of inscribed circles that determines the design. The foot is domed and stepped, combining curved moldings and edges, and its stepped truncated shape is repeated, inverted and reduced in size, at the base of the lighter. The stem is made up of two truncated conical necks, the upper one with a rounded base, alternating with lentils or discs of different diameters and narrow spools between them. Finally, the lighter is cylindrical, with the same set of parallel moldings of various sizes that extend to form flat discs. Weight: 2kg

· Size: 15,5x15,5x33 cms.
ANTIQUES

Ref.: ZF1250
SILVER JAR OR JUG. MARTÍNEZ MORENO, MATEO. CÓRDOBA, SPAIN, POSSIBLY 17...

Jug or jug with basin. Silver in its color. MARTINEZ MORENO, Mateo. Córdoba, Spain, 18th century With contrast and burilar marks. Made of silver in its color, the jug has an oval base, which rises flat until reaching a molding with vertical lines grouped three by three; Following it, it presents a curve and a decoration of engraved circles until reaching the body of the piece. This is divided into three areas, a widening below until reaching the central area and, finally, another curve until the mouth, all decorated with a series of curved “segments” of different widths. The handle, of a type known as a brace, presents architectural and vegetal decorations. The lid repeats the lines of the body and ends with a vegetal shape, in addition to presenting a piece towards the handle. The beak, curved outwards, shows two moldings halfway along its length. The typology to which this jug belongs was common in Spanish silversmithing during the Rococo, and models similar to the present one can be found both in the capital and in other centers. 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). Let us remember, again, that 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 the “spout jug” (present in the Renaissance, etc. ). It presents several contrast marks at different points of the piece, some foils (partially preserved). It is possible to identify the locality, Córdoba, and that of the master silversmith, without fully identifying the numbering allusive to the date of creation of the work. Mateo Martínez Moreno was active in Córdoba during approximately the second half of the 18th century and was a faithful representative of the same city between 1780 and 1804 (the year he died). Weight: 1,167 kg.

· Size: 38,5x31,5x29 cms
ANTIQUES

Ref.: ZF1248A
MONSTRANCE, TEMPLE TYPE. SILVER, GLASS. 16TH CENTURY, WITH RESTORATION...

Portable temple custody. Gilded silver, glass. 16th century, possible restorations. Custody made of gilded silver (the finish has been lost in some points) composed of a base, an axis or stem and a two-story architectural upper structure with finishing figures. The foot has a flat base on which tubular shapes with discs are placed, followed by a mixtilinear shape with an openwork front with circular details and an upper part with vegetal elements in relief (flowers, scrolls, palms, etc.) and a heraldic shield. The axis or stem begins with an architectural form with flying buttresses and tubular forms with discs (similar to those of the base) and continues with another body of niches with sculptures of saints, which present columns with double-fronted balusters and arches with elements venerated ones topped on the outside by winged angel heads with leaves in their hair; This area ends with an architectural element reminiscent of the lower part. The two-story upper area has a hexagonal base and architectural, figurative and vegetal decorative elements of marked classicist influence along with others of a classic Gothic type, and is topped by a Deesis with a rocky floor (The Virgin and Saint John flanking a Crucified Christ ). Just below the gallery of trefoil arches that finish it below, two garlands of leaves and fruits hang; and two heraldic shields appear engraved. Next, the virile for the Sacred Form is presented, sheltered in a structure with grotesques functioning as columns and angels playing musical instruments. Above this, another structure presents seated children holding the emblems of the Passion and an enclosed space with balustraded balconies with crosses in the center, within which a haloed figure appears blessing and holding an orb topped with a cross (in reality, this figure tops the virile one, but he can be seen through this gap); There are also niches with figures. Between one floor and another, a series of chains appear attached to small poles that ensure that the guard does not open. One of those two engraved heraldic shields already mentioned shows a Tau, also known as the Cross of Santa Tecla or San Antonio, common in Tarragona and in orders such as the Franciscan, for example. The other heraldic shield, which is very similar to the one that appears on the base (here the edge is different, there are more plants...), is presented cut, with a bull or ox passing to the left at the top and three plant stems (perhaps reeds) emerging from the ground (under which there is another line that could allude to a watercourse) in the lower area. The temple monstrances are a relatively frequent typology in the Burgos and Valladolid schools (in fact, it seems to be common in Castilla y León except for some areas such as Palencia), although they appear throughout the Spanish school along with the tower monstrances and the known type. as “of sun”. Compare, for example, with the custody of the Church of Santa Eulalia de Paredes de Nava, or that of the parish of San Pedro de Aibar (dated around 1476-1488, made in Burgos perhaps by Juan de Santa Cruz), that of the parish church of Sasn Juan Bautista in Horta de Sant Joan (Tortosa workshop, 16th century (documentation from around 1520); note the high base, with openwork front with circles), the monstrance of Samaniego (Diocesan Museum of Sacred Art of Euskadi, made by Sancho de Salcedo –doc. Santo Domingo de la Calzada, 1495-1511-), custody of Arisgotas (Parish Museum of Villa de Orgaz, dated before 1547 and made by the Toledo native Francisco Martínez de San Román), etc. Weight: 3kg.

· Size: 21x21x58 cms
ANTIQUES

Ref.: ZF1162
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TWO SILVER TRAYS. MEXICO, 18TH CENTURY. WITH HALLMARKS.

Pair of trays. Silver. Mexico, 18th century. With contrast markings. Two oval silver trays in their color and with a curled shape, ending in a point and slightly raised on four spheres each that have been decorated on the upper part with a raised molding. The contrast mark that each of the pieces presents is very similar to one of those used in Mexico in the 18th century, although the lines and typology differ from what was common at that time in that center. Weight: 889 grams.

· Size: 29,5x15,5x6,5 cm
ANTIQUES

Ref.: ZF0689
SILVER SNUFFERS. REAL FÁBRICA DE PLATERÍA MARTÍNEZ, MADRID, SPAIN, 184...

Snuffers with cover. Silver. Real Fábrica de Platería Martínez, Madrid, 1846. With contrast markings. Scissors to cut the wick of candles, known as snuffers, made of silver in their color that have a decoration with a marked classicist influence in all their elements. The set is completed by a cover with a circular base and a fluted body (of a type known as “umbrella” due to its shape) that was very common in many candlesticks of the time. The hallmarks indicate that they were made in Madrid in 1846, in the Real Fábrica de Platería Martínez (or Platerías Martínez), created by Real Cédula in 1778 by Carlos III and thanks to Antonio Martínez Barrio (died in 1798). To see how popular this model was, compare it with the sheathed snuffers by Ramón Espuñes, dated 1847, which are preserved in the National Archaeological Museum (Madrid, Spain). And to see something similar, with the couple dated 1838 and made by Platerías Martínez from the Madrid History Museum. Weight: 406 grams.

· Size: 7x7x22 cms.
ANTIQUES

Ref.: Z2741
METAL AND GLASS CLARET JUG OR PITCHER. POSSIBLY WMF, GERMANY. CIRCA 19...

Jug. Glass, silver metal. Possibly WMF, Germany. Around 1900. With contrast markings (handle). Jug with a transparent glass body decorated with geometric elements, a circular base, a globulated body and a high cylindrical neck, which features an ornament with a “ce” handle on the top in silver metal. This has a decoration of architectural and plant elements of a marked classicist and Renaissance character, in addition to having a protome with horse's front legs next to the upper edge of the lid of the jar. The marks, present on the outer edge of the handle, would surely link the piece to the Württembergische Metallwarenfabrik or WMF. In 1853, Daniel Straub and the Schweizer brothers established a metalware factory called Straub & Schweizer, which already achieved recognition at the London Exhibition in 1862 and established the first shop in Berlin in 1868. In 1880 they merged with Metallwarenfabrik Ritter & Co., forming the Württembergische Metallwarenfabrik (WMF), which continues to operate today. Weight: 0.9kg.

· Size: 16x13x30 cms
ANTIQUES

Ref.: ZF1099
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
PAIR OF SILVER CONVERTIBLE CANDLESTICKS. MARTÍNEZ MORENO, MATEO; MUÑOZ...

Pair of convertible candlesticks. Silver. MARTINEZ MORENO, Mateo; MUÑOZ. Córdoba, Spain, 1793. With contrast and burilar marks. Pair of silver candlesticks in their color that have pieces to convert them into candlesticks with two lights each. Each one has an oval base with wavy profiles, already creating lines that, by visually ascending in a helical manner through the rest of the piece, provide outstanding movement to it; the balustraded shaft has two smooth narrowings; the lighter follows the mentioned lines. The pieces have a base that reproduces the shapes of the candlestick, and from it start two flat and openwork arms with “ce” motifs with volutes and waves like a crest, which end in two lighters with a tray or saucer that follow the mentioned lines on the axis of the candlestick. Stylistically speaking, it is a pair of candelabras clearly located within the Rococo style. They are lines that are reminiscent of the usual trays with Spanish contours and those present in writing desks, spice racks, etc. What should be highlighted is the fact of presenting the pieces to convert the candlesticks into candelabras and the decorative choice chosen for them. You can see a location mark (Córdoba), the faithful contrast mark Mateo Martínez Moreno with numbers alluding to the date (1793), and another mark of a silversmith named Muñoz (given the date of the piece it could be Francisco Muñoz, documented between 1792 and 1818). Mateo Martínez Moreno was active in Córdoba during approximately the second half of the 18th century and was a faithful representative of the same city between 1780 and 1804 (the year he died). Weight: 1.7kg.

· Size: 26x14x24,5 cms
ANTIQUES

Ref.: ZF1122
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
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
SILVER TRAY. MATEO MARTÍNEZ MORENO, CÓRDOBA, SPAIN, 1789.

Fountain. Silver. Mateo Martínez Moreno, Córdoba, Spain, 1789. With contrast markings. Silver fountain in its color, oval in shape and great depth, which presents contrast marks and an edge composed of smooth moldings of different widths curved drawing waves, ending in four peaks that extend towards the bottom of the piece, thus drawing a series of curves and countercurves This shape is known as “cut-out profiles,” and was a common resource in 18th century Spanish silversmithing that followed or was influenced by Rococo models. The aforementioned marks (frustras) could place the creation of the work in Córdoba, in the period in which Mateo Martínez Moreno worked as a faithful contrast, also providing the date of 1789. Weight: 858 grams.

· Size: 38x6,5x27 cms.
ANTIQUES

Ref.: ZF1043
SILVER CLARET JUG. ANSELMO PRIOR AND MASON. VITORIA, SPAIN, 1816-1846.

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

· Size: 15x12x30 cms
ANTIQUES

Ref.: ZF1042
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
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 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 SPICES BOX. LIZASOAÍN. SPAIN, MADRID, 1768.

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

· Size: 9x6.5x8 cms.
ANTIQUES

Ref.: ZF1018
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
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. MADRID, SPAIN, 1803.

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

· Size: 16x12x30 cms.
ANTIQUES

Ref.: ZF1015
SILVER JAR OR JUG. SELLÁN, JUAN. MADRID, 1847.

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

· Size: 18x12x33 cms.
ANTIQUES

Ref.: ZF1013
SILVER SMALL BRAZIER. 19TH CENTURY.

Gallonized choffeta. Silver, Wood. XIX century. Oval chopstick with turned wooden handles made of silver in its color that has a galloned or veined finish, as well as legs finished in a sphere with a claw. The lines and decorative elements of this piece are common in 19th century European art, and similar examples can be found in numerous schools influenced by French art. Weight: grams.

· Size: 23x6.5x6 cms.
ANTIQUES

Ref.: ZF0978
SILVER SPICE “BOX”. POSSIBLY, 19TH CENTURY.

Silver spice rack. Stefano Olivero, Italy. Possibly, 19th century. Silver spice rack raised on simple legs, located at the chamfered ends of the piece, decorated on the outside with garlands and other architectural elements of classicist influence in light relief. Weight: 198 grams.

· Size: 5,5 x 8,5 x 6,5 cm
ANTIQUES

Ref.: ZF0006