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FOUR GEORGE III SAUCE BOATS SET. SILVER. HENRY CHAWNER, 1790.

Set of four Jorge III sauce boats. Silver. Henry Chawner (act. 1786-1796), 1790. Each saucer has an oval base with fine moldings that are repeated along the rim, visually extending into the curved lines of the two handles, and on the lid's finial, which is shaped like a rosette. There are few other decorative elements on the pieces, apart from those already mentioned and a series of engraved motifs on the lids (bull's heads with necks) and on the front of the saucers. In this area, a Latin motto ("Fide et amore," "fidelity and love") appears beneath a heraldic shield on each saucer (three bull's heads, two above and one below, separated by a chevron; two rampant lions flanking a diagonal band on the shield's escutcheon). The lines and elegance of the pieces are typical of the George III style. The heraldry is very reminiscent of that of the Boleyn family, Bullen or Boleyn, descendants of Anne Boleyn. The motto likely refers to a game commissioned for a wedding. In 1790, William Bullen and Mary Collins married in the Irish branch of the family, although this was not the only wedding that year (Henry Bullen and Margaret Tarrent married in the Diocese of Cloyne, for example). The hallmarks provide a wealth of information about the pieces. The passant lion indicates London as the place of manufacture, while the two initials refer to Henry Chawner; the lowercase letter gives the exact year; the leopard's head certifies the quality of the material. The silversmith, still in operation, called Edward Barnard & Sons Ltd., has a number of predecessors: it was founded by Anthony Nelme around 1680, and, after a succession of master silversmiths, the business was improved by Henry Chawner in 1786, master of the family successor then running the business (Edward Barnard I), who continued the tradition. He was active between 1786 and 1796, and this master's surname remained linked to the firm until the end of the 18th century through several of his relatives. His works are currently held in private collections, primarily in England and America, but also in prominent institutions such as the George Washington's Mount Vernon Museum (Virginia, USA), which owns a Henry Chawner inkwell belonging to George Washington, Scoteney Castle in Kent, the Victoria & Albert Museum in London, the Portland Art Museum, etc. Weight: 2110 grams.

· Size: 14x10x23 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6774
SILVER WRTITING SET. VICENTE ROCES, ZARAGOZA (SPAIN), CA. 1760.

Silver writing desk. Vicente Roces, Zaragoza, circa 1760. With contrasting marks and initials of belonging on the base. The base tray is square with curvilinear profiles and rests on legs with vegetal motifs. The four vessels have helical fluted feet and flower finials beneath pearls on their lids. A candlestick rises from another vessel, taller than the others and fixed to the tray, with a curved arm ending in a volute, and is joined to it by a hinge. The bell, also with helical fluting, is topped by a figure of a soldier. The quill case has hollows in its lid for quills and is the same size as another of the containers, which was probably the inkwell. Two others, slightly larger, also lack perforated lids and may have been used for drying sand, hence their name, "little sands." The bell, used to summon the servants, secretary, etc., rests on another small jug, similar to the others but much taller, from the top of which the candlestick emerges. Stylistically, the clean lines show a very slight Neoclassical influence, while the helical fluting, the movement of the vessel profiles, and the type of tray (known as "contoured" and very popular in silverware of this century) reflect a strong persistence of Rococo-related styles. Zaragoza continued to be the main silversmithing center of Aragon, with an abundance of surviving pieces, many of them marked, allowing for detailed study. The hallmarks guarantee the quality of the material and allow us to trace the manufacture and the artist of the piece. The locality marks, on the arm of the candlestick, place the work in Zaragoza and date it to between 1760 and 1770. The maker's mark, also there and another on the base, refers to the silversmith Vicente Roces, known for his fine Rococo works such as the Reliquary of Saint Francis Xavier from the last quarter of the 18th century in the Church of Santa María de Sangüesa (Navarra) and others in important private collections. Weight: 1,525 g.

· Size: 18x23x25 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6304
SILVER WRITTING SET. WITH HALLMARKS. CORDOBA (SPAIN), ANTONIO JOSÉ SAN...

Notary office. Cordoba, Antonio José de Santa Cruz (Cordoba, 1733 - ?) and Juan de Luque y Leiva, 1773.With hallmarks and engraving marks. It has some defect in some container and a bell is added. A silver writing set consisting of a tray, four containers, and a bell. The tray, oval in shape, features gently curved edges and counter-curves, decorated at the top with flat moldings combined with scrolls and scallop-shaped motifs. It stands on legs composed of two scrolls flanking a teardrop shape, the whole topped by a symmetrical composition. The four lidded containers have gently curved profiles (among which engraved initials can be seen) that curve upwards in parallel spirals, lines that extend onto the lids. Two of the smaller containers have holes in their lids. The bell, used to summon the servants and set into its own space on the tray, has much simpler lines. The hallmarks placed at various points on the set provide information regarding its date, origin, and place of creation. They were likely made in Córdoba. Antonio José de Santa Cruz was a silversmith known for his work in Córdoba, active mainly in the second half of the 18th century; his works are preserved in some churches and in prominent institutions such as the National Museum of Decorative Arts in Madrid. Juan de Luque y Leiva was a renowned silversmith from Córdoba, active around the same time, with works preserved in the area (Parish of San Miguel in Córdoba, a cruet case with cruets in Loja from 1778, works in the Costume Museum in Madrid, etc.). Stylistically, the lines of the entire piece (except for the bell) show its Rococo origins, with the usual influence of certain Neoclassical details, which contribute to the relative simplification of the decoration, while still retaining some of the movement of the other artistic style mentioned, which is also characteristic of the 18th century. Weight: 1490 grams.

· Size: 26x30x15 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6810
CROWN OR PIECE OF ALTAR. EMBOSSED SILVER, MIRRORS, WOOD. LLORENTE, JOS...

Altar finial. Repoussé silver in its natural color, wood, mirrors. LLORENTE, José (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century. With contrast markings. An altar finial crafted from repoussé silver on a wooden frame features seven oval mirrors with profiles cut in curves and counter-curves. The upper section presents a canopy imitating textiles, from which hang a series of small bells and shelters a dove with outstretched wings, positioned before a scallop-shaped motif and a cloud with winged angel heads. Approximately the upper three-quarters of the piece display a low-relief decoration with sunbeams, scrolls, rocaille, oval mirrors, circular teardrops resembling rain, flowers, leaves, a sheaf of wheat next to a vine with a bunch of grapes, etc., combined with five mirrors and arranged symmetrically; the remaining section has no reliefs but does contain two mirrors. This type of liturgical metalwork was relatively common in churches, cathedrals, and other institutions with significant purchasing power and influence, although many examples have not survived because the material was valuable, easily melted down, and subject to looting. Among the notable examples, highlighting their differences, are the silver altar of Seville Cathedral (16th-17th centuries, by various silversmiths), the ensemble of the main chapel of Santiago de Compostela Cathedral (17th century), the monstrance-tabernacle of Valencia Cathedral (18th century), the silver altarpiece in the Diocesan Museum of Huesca (a work by José Estrada and Juan and Jerónimo Carbonell y Gros, created between the 17th and 19th centuries, which was placed before the main altarpiece of the Cathedral and features a canopy and hanging bells), and the silver-gilt and natural-colored monstrance for the Blessed Sacrament, dating from the 18th century and located in the Segovia Cathedral Museum, among others. The presence of the Holy Spirit (dove), the bunch of wheat ears, and the vine with the bunch of grapes would link the piece to the Eucharist, and it is possible that it is a fragment of an altar (permanent or not) for a monstrance. Stylistically, the work clearly belongs to a somewhat advanced Rococo period. The hallmarks present in various places on the silver indicate that the finial was created in Vitoria, Spain, also providing an approximate date (around the 1760s) and the names of two master silversmiths: Juan Antonio Sotil or de Sotil (possibly the hallmark) and José Llorente. Juan Sotil was a silversmith based in Vitoria who also served as the city's hallmark (the City Council appointed him appraiser of diamonds and precious stones in 1751, and city hallmark in 1769, a position he held until 1779, when he resigned and Mauricio Llorente was appointed). Works bearing his hallmark are held by prominent institutions such as the Museum of Sacred Art in Vitoria (Reliquary of Saint Lucy from the Hermitage of Saint Lucy in Vitoria, 18th century). José Llorente was another silversmith from Logroño. He passed his master's exam in Burgos, and is documented between 1760 and 1799. Works bearing his mark are preserved in the Church of Santiago in Logroño (pyx), the Old Cathedral of Vitoria (four candlesticks), etc.

· Size: 52x26x122 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE153
SILVER INCENSE BOAT (NAVICULAE). WITH HALLMARKS. POSSIBLY PORTUGAL, 18...

Naveta. Silver. Possibly Portugal, 18th century. Counterweighted base. With contrasting markings. Boat with an oval foot decorated with relief elements and moldings, balustraded foot and body with a slight boat shape, featuring a hinged lid at the front, a widening at the bottom towards the foot and a decoration spread throughout the exterior based on rocaille motifs and plant elements (the same theme is presented on the foot and base) on a background of stippled luster, with an angel's head on two small wings in relief towards the beak, accompanied by plant elements (which protrude from the edge of the lid). While the shape of the piece generally follows the most common prototypes for these incense vessels used in liturgy, it should be noted that they were more frequently found to resemble a boat. The incense boat's Rococo influence is clear both from the object's lines and from the decoration already mentioned (rococo motifs, dynamic plant elements, volutes with pronounced curves, contrasts between concave and convex lines, etc.). It is also possible to find some commonalities with Portuguese works (a silver incense boat with a spoon by Leandro Gagliardi, made in Rome between 1744 and 1750 and now in the São Roque Museum in Lisbon, Portugal, features a finial with a relief angel's head; compare it with the silver-gilt censer that the same master made between 1749 and 1751 for the Chapel of St. John the Baptist in the Church of São Roque in Lisbon). The contrasting marks present on the top of the naveta (the capital letters “de” in a rectangular space), although it should also be noted that the present work does not follow the most striking typology of navetas related to this center (18th century silver naveta from the Church of Alcántara in Maranhao, Brazil; naveta of Sebastiao Bernardes dos Santos dated 1747 from the Sé do Funchal that is kept in the Museu de Arte Sacra Do Funchal in Madeira –Portugal-). Weight: 715 gr (base with counterweight).

· Size: 19x9x14 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE244
SILVER CHEST, AFTER 17TH CENTURY MODELS. POSSIBLY, 20TH CENTURY.

Small casket inspired by 17th-century models. Silver. Spain, 20th century. A rectangular casket made of silver in its natural color, with four scroll-shaped legs at the corners, each ending in a claw. The front is decorated with moldings, bands, and motifs within rectangles (yokes, a bundle of arrows, a crowned letter "f" between two pomegranates, and a crowned letter "y" between two pomegranates), clearly alluding to the Catholic Monarchs. The stepped lid features a composition of volutes, architectural elements, and vegetal motifs on a background with a stippled finish, and is topped with a small rectangular "diamond." It closes with a pin and chain at the front. Compare, for example, with the 17th-century silver casket in the museum of the Monastery of Santa María de la Caridad in Tudela, or with the so-called Casket of the Holy Martyrs from the parish church of Santa María de Manlleu, now in the Episcopal Museum of Vic. Weight: 526 grams.

· Size: 16x11x11 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE280
SILVER AND GILT SILVER PYX. 16TH CENTURY.

Cast and chased silver pyx. Spain, towards the end of the 16th century. A cylindrical box with a molded base beneath a wide frieze featuring interlaced bands and simplified vegetal motifs. The molded lid is decorated with bands forming figure-eight patterns alternating with flowers and fleur-de-lis motifs, topped with a small cone adorned with a pearl. Above this rises a three-nailed Crucifix, draped with a loincloth around the knees and accompanied by a cartouche. Judging by the gilding on the interior, this standless pyx would have been used to hold the Sacred Hosts, perhaps in the tabernacle of a church. The decorative elements of the piece and the figure of Christ at the top reflect Renaissance influence, but also show Gothic reminiscences. The Renaissance appears in Castilian silversmithing shortly before 1520, and it is only from the end of Philip III's reign that the term Baroque is generally used. In the Crown of Aragon, the political and economic decline of the region led to a significant decrease in both the quantity and quality of production, with the notable exception of Aragon and, above all, Zaragoza, which subsequently reached unparalleled splendor. Something similar occurs with the form: while there are similar examples during the Gothic period (a pyx by Diego de Abanza or one of his sons, made in Burgos towards the end of the 15th century and preserved in the Diocesan Museum of Sigüenza, Guadalajara), this typology would persist even into the Baroque period with numerous variations. Compare it with works such as a pyx in the Museum of Málaga (BA/CE00305), with a similar lid and decoration, or, above all, with the one in the Ángel Quílez collection (inventory CAQ-47) of the future Museum of Alcáñiz (Teruel), with a similar profile and decoration, both from the end of the 16th century. And note the difference with, for example, the Castilian from the last third of the century preserved in the National Museum of Decorative Arts (CE19659) or that of Juan de Bendígar from the Lázaro Galdiano Museum (inventory 02165) from the second third of the century, with a greater Renaissance influence. Weight: 176 gr.

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

Ref.: ZA5725
SILVER GLASS WITH TRAY. 18THCENTURY.

Rinse basin. In silver, in its natural color. Barcelona, 18th century. With contrasting marks and ownership initials. A container with a small circular foot features simple, flat lines, as well as a space at the base of the interior space in which the glass fits, which has the same elegant shapes in its contours. In general, the territories of the Crown of Aragon recovered during the 18th century, which influenced their silversmithing. Barcelona's silversmithing saw a resurgence in importance, reaching levels not seen since the Gothic period. As in the rest of Spain, the Rococo style dominated during the reign of Charles III (1760-1788). At court, which had already embraced Neoclassicism around 1735-1740, this style appeared around 1770 and, after coexisting with Rococo for a few years, gradually became dominant from 1780 onwards. Barcelona quickly adopted this new style and apparently became one of the main centers on the Iberian Peninsula. However, the frequent changes in hallmarks, the common use of confusing symbols on pieces, and the lack of surviving works and studies hinder a detailed analysis of this center and its silversmiths. The hallmarks on the piece place it in Barcelona, in the workshop of a silversmith whose mark is “F. Tur”, possibly (Turquet). Weight: 582 grams.

· Size: 18x18x9 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6871
SILVER INCENSE BOAT (NAVICULAE). SANZ DE VELASCO, JUAN ANTONIO. VALLAD...

Naveta. Silver. SANZ DE VELASCO, Juan Antonio. Valladolid, Spain, 18th century. With contrasting marks. It shows repairs at the base and losses in the cresting. Boat. Silver. SANZ DE VELASCO, Juan Antonio (1720-1778). Valladolid, Spain, 18th century. With hallmarks. Boat with a circular base raised towards the foot by a series of stepped moldings. Its body is decorated with a cresting on the rim and an engraved composition of vegetal elements and volutes (on a background of stippled luster, a finish also used in the decorative motifs), a gadrooned element on one side, and a volute at the opening end. The hallmarks on the base place the piece's manufacture in Valladolid (note that it is the so-called "cutting mark," which some experts date to before the appointment of Antonio González Téllez as a certified assayer). The other hallmark present is that of Juan Antonio Sanz de Velasco (1720-1778), who served as a certified assayer in the city between 1743 and 1774/8. Apart from other surviving works by the master (many in private Spanish collections), the silver altar frontal of the Virgin of Sagrario (Valladolid Cathedral) stands out. It was crafted by the Valladolid silversmiths Juan Antonio Sanz de Velasco and Miguel Fernández Yáñez de Vega, who completed in the last third of the 18th century a work begun in 1693 by the silversmith José de Aranda. The shape of the piece is typical of this type of vessel for storing incense (in fact, the name naveta comes from "nave," meaning ship) dating back to the Middle Ages (e.g., the naveta in the Chapel of the Constables in Burgos Cathedral by Juan de Valladolid, from the 15th century), with variations in form and decorative elements depending on its origin, style, etc. Compare this piece with works preserved, for example, in the Diocesan and Cathedral Museum of Valladolid, another from the Museum of Navarre originating in Mexico and dated between 1634 and 1666, another from the 18th century in silver in its natural color from the Cathedral of Tuy (with a very different base), etc. Weight: 348 grams.

· Size: 16x10x9,5 cms,
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z5448
SILVER “TEMBLADERA” (CUP). JUAN MONTERO, SALAMANCA, SPAIN, 18TH CENTUR...

Trembladera. Silver. Juan Ignacio Montero, Salamanca, 18th century. With contrast markings. Silver trembler in its natural color, smooth on the outside, decorated with two inverted "S" shaped handles adorned with external spikes. At the base of the piece are four hallmarks (flanking the hallmark line), which place the piece's creation in Salamanca (note the bull), with the involvement of Juan Ignacio Montero; two other hallmarks are also present, but they were not made. Juan Ignacio Montero was a silversmith and hallmarker, and the hallmark seen here appears to date from surviving works dated between 1759 and 1779, such as a reliquary altarpiece in the Parish Church of San Lorenzo in Segovia (by Manuel Cardeñosa, dated 1767). He is known to have served as a hallmarker in Salamanca between 1758 and 1781 and to have been active until 1779. He used a hallmark that included dates for the year, although sometimes the same mark was used in several years. Weight: 70 g.

· Size: 10x7x5 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6251
SILVER CHRISM VESSEL OR CHRISMARIUM (NO ORIGINAL LID). 16RH CENTURY.RY

Chrism. Silver in its natural color. 16th century. Non-original lid. Silver chrismatory in its natural color, with a circular base decorated with an engraved composition of vegetal elements and a flat, circular body with two S-shaped handles adorned with vegetal motifs and a small neck at the top covered with a cap topped by a ring (which is not original to the piece). The body is engraved, on one side, with a cross on a pedestal and a shroud hanging from it, all within an engraved frame; on the other side, within a similar frame, appear the letters "ihs" (a Christogram of ancient origin, already used in Early Christian times, which gave rise to various etymologies and was adopted as a seal by Saint Ignatius of Loyola, founder of the Society of Jesus). Weight: 157 grams.

· Size: 6,5x 10x15 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z5977
SILVER CUP (“TEMBLADERA”). 18TH CENTURY.

Wine tasting glass or shudder. Silver. 18th century. Without contrast marks. A vessel known as a wine glass or tembladera, with two closed, flat, S-shaped handles and a line of "bites" (scalloped shapes) highlighted by bands of dots that extend into the interior of the piece. The bottom has a star-shaped pattern (leaving some stripes smooth and with a glossy finish, forming a Maltese Cross, and combining the remaining areas with the same finish with others in diamond-shaped, pricked luster with dots). The bernegales and tembladeras de bocados were common pieces in 17th-century Spanish silverwork, generally becoming relegated to less important centers in the 18th century. Compare with pieces such as the silver bernegal from the last third of the 17th century in the Lázaro Galdiano Museum (perhaps of the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 in the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 83 g.

· Size: 14,5x11x3 cms.
ANTIQUES
MISCELLANEUS;SILVER

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

Wine tasting glass or shudder. Silver. 18th century. No contrast marks. With ownership initials. A vessel known as a wine glass or tasting glass, with two flat, curved handles decorated with simplified plant motifs, and a line of scalloped shapes along the rim, enhanced by bands of recessed dots that remain in relief on the interior of the piece, where they extend and frame the background decoration. In this area is a Greek cross with a fleur-de-lis or floriated design in a smooth, glossy finish, engraved with the letters "RA" (owner's initials), standing out against a background of dotted stippling. The bernegales and tembladeras de bocados were common pieces in 17th-century Spanish silverwork, generally becoming relegated to less important centers in the 18th century. Compare with pieces such as the silver bernegal from the last third of the 17th century in the Lázaro Galdiano Museum (perhaps of the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 in the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 94 g.

· Size: 13,5x10,5x4,5 cms
ANTIQUES
MISCELLANEUS;SILVER

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

Wine tasting glass or shudder. Silver. 17th century. Without contrast marks. A vessel known as a wine glass or tasting glass, with two flat, closed "S"-shaped handles (decorated with simplified plant motifs) and a line of "bites" (scalloped shapes) highlighted with bands of dots. On the inside bottom, there is an eight-petaled flower engraved with a cross inside. The bernegales and tembladeras de bocados were common pieces in 17th-century Spanish silverwork, generally becoming relegated to less important centers in the 18th century. Compare with pieces such as the silver bernegal from the last third of the 17th century in the Lázaro Galdiano Museum (perhaps of the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 in the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 96 g.

· Size: 15x10,5x4,5 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE195
SILVER VASE (BERNEGAL) WITH VIDAL MARKS. 18TH CENTURY

Bernegal, 18th century. Silver, with marks. Weight: 55 g. Spanish Bernegal from the 18th century, marked Vidal, with a wide, low bowl, slightly rounded towards the base, following the typical style of this vessel in the Spanish Baroque period. Also characteristic of this style are the two vertical handles above the rim, in this case in the form of a mitered "S"-shaped bracket with a cut-out profile and small tendrils.

· Size: 4x10,5x7,2 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z5724
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SILVER “BERNEGAL” (DRINKING CUP). PORTUGAL, 19TH CENTURY.

Silver Bernegal. Portugal, 19th century. With contrasting markings on the base. A Bernegal with a wavy rim, decorated with rocaille and vegetal motifs on the exterior, and two S-shaped handles. The hallmarks on the flower adorning the base of the vessel date and place its creation in 19th-century Portugal, a period when it was common to draw inspiration from past styles (Baroque, in this case). Weight: 170 g.

· Size: 18,5x15x7 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z4961
SILVER CANDLESTICK OR CANDLE HOLDER. FRANCESC P. ARQUER, BARCELONA, SP...

Candlestick with chain. Silver. Francesc. P. Arquer, Barcelona, Spain, circa 1825. With contrast, engraved and ownership marks (AS). Silver candlestick in its natural color with an openwork bowl on two levels, raised on two small legs (inside which is a vase-shaped candle holder with braided decoration towards the center), and a flat handle (curved towards the end, where the third leg is located), decorated with a series of simple openwork shapes and fine strings of small pearls along the edges of the handle and bowl. The piece bears engraving marks, ownership marks (AS) under the bowl, and hallmarks. These latter marks link the piece to Barcelona silversmithing, placing it in the workshop of Francesc Arquer and in the 19th century. Weight: 183 grams.

· Size: 28,9,5x5,5 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6733
SILVER CANDLESTICK OR CANDLE HOLDER, WITH CHAIN AND TONGS. F. ROCA, BA...

Candlestick with chain and clips. Silver. F. Roca, Barcelona, circa first half of the 19th century. With contrast and engraving marks. A silver candlestick in its natural color, with an openwork bowl raised on two small legs (inside is a vase-shaped piece for holding the candle), and a flat handle (curved towards the end, where the third leg is located), decorated with two bands of pearls on the sides (a motif that also appears on the rim of the bowl). From the end of the handle emerges a small chain that terminates in tongs (which are attached to a piece soldered to the lower part of the handle). The piece bears two engraving marks and hallmarks beneath the bowl. These latter marks indicate that the piece was made in Barcelona by F. Roca, a silversmith active in the city during the second half of the 18th and the beginning of the 19th centuries. Weight: 185 grams.

· Size: 23,5 x 8,5 x 7 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6734
CARVED SILVER BOX, 20TH CENTURY.

Engraved silver box, 20th century. A small, ornate silver box with a wide variety of motifs, all belonging to different artistic traditions based on Roman classicism. The lid features two musicians framed by a decoration of figures and vegetal and architectural elements. The front displays garlands of flowers and leaves and parchment shields. The base is adorned with conch shells, flowers, and vegetal motifs. These types of pieces were used to store various objects and were usually carried on one's person or left on a dressing table, always belonging to people of importance due to the quality of the craftsmanship and the material from which they were made. Weight: 300 gr

· Size: 11,5x6,5x4 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z0327
SILVER “THREE PIECES” SALT CELLAR. 19TH CENTURY.

Three-part silver spice rack. 19th century. Spice rack composed of three sections with tapered edges, designed to fit together and join in a chamfered half-oval at the top. It is decorated with simple lines, typical of a 19th-century work influenced by Neoclassicism. This type of spice rack is reminiscent of the so-called "tower" spice racks of the Renaissance, but much simpler in design. Weight: 150 grams.

· Size: 5x5x5,5 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z3035
19th CENTURY SILVER BAG

Silver mesh bag, 19th century. A silver mesh handbag, decorated with triangular elements at the bottom, featuring a smooth hinged closure and a chain with alternating long and short links. This type of bag was very common in the 19th century, both as a luxury item and a practical accessory for galas and other special events. Weight: 187 gr

· Size: 15x15 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6876I