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

Portable temple monstrance. Gilded silver, glass. 16th century, possible restorations. Monstrance made of gilded silver (the finish has been lost in some places) composed of a base, a shaft or stem and a two-storey upper architectural structure with some figures at the top. The base 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 plant elements in relief (flowers, scrolls, palms, etc.) and a heraldic shield. The shaft or stem begins with an architectural shape with flying buttresses and tubular shapes with discs (similar to those of the base) and continues with another body of niches with sculptures of saints, which have columns with double faced balusters and arches with arched elements finished on the outside by winged angel heads with leaves in their hair; this area ends with an architectural element that recalls the lower part. The upper two-storey area has a hexagonal base and architectural, figurative and vegetal decorative elements with a marked classicist influence, together with others of a classical 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 trilobed arches that top it off, two garlands of leaves and fruits hang; and two heraldic shields are engraved. Next, there is the virile for the Holy Form, sheltered in a structure with grotesques functioning as columns and angels playing musical instruments. Above this, another structure shows seated children holding the emblems of the Passion and an enclosed space with balustraded balconies with crosses in the centre, within which a haloed figure appears blessing and holding an orb topped with a cross (in reality, this figure tops the virile, but can be seen through this gap); there are also niches with figures. Between one floor and another, there are a series of chains attached to small rods that ensure that the vault does not open. One of the two engraved heraldic shields already mentioned shows a Tau, also known as the Cross of Saint Thecla or Saint Anthony, common in Tarragona and in orders such as the Franciscan Order, for example. The other heraldic shield, which is very similar to the one on the base (here the border is different, there are more plants...), is cut, with a bull or ox passing to the left in the upper part and three plant stems (perhaps reeds) coming out of the ground (under which there is another line that could allude to a water course) in the lower area. The temple custodians are a relatively frequent typology in the Burgos and Valladolid schools (in fact, it seems to be common in Castile and León except for some areas such as Palencia), although they appear throughout the Spanish school together with the tower custodians and the type known as "sun custodians". Compare, for example, with the monstrance from the Church of Santa Eulalia in Paredes de Nava, or that from the parish church of San Pedro de Aibar (dated around 1476-1488, perhaps made in Burgos by Juan de Santa Cruz), that from the parish church of Sasn Juan Bautista in Horta de Sant Joan (workshop in Tortosa, 16th century (documentation from around 1520); note the high base, with an openwork front with circles), the Samaniego monstrance (Diocesan Museum of Sacred Art of the Basque Country, made by Sancho de Salcedo –doc. Santo Domingo de la Calzada, 1495-1511-), the Arisgotas monstrance (Parish Museum of the Town of Orgaz, dated before 1547 and made by Francisco Martínez de San Román from Toledo), etc. Weight: 3 kg.

· Size: 21x21x58 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1162
SILVER PAX. 16TH CENTURY.

Peace-bearer. Silver in its colour and gilded. 16th century. A silver peace-bearer with a handle (decorated with delicate plant motifs similar to those on the pillars) and a female and male bust at the bottom, as well as other architectural elements on the back. On the front, there is a classicist architectural composition with a base (with busts flanking a flower and a cross), two pillars (plant decoration and a capital reminiscent of the Composite order) with an entablature (flowers flanking an angel's head; mouldings), and a semicircular arch top with raised elements in relief under a cross and flanked by two architectural motifs at the top. This composition frames and enhances a gilt silver relief where one can see the Lamentation or Lamentation over the Body of Christ, with the Virgin holding the head of Jesus, Saint John at her side, Mary Magdalene and other figures, a cross following the group and a landscape background with houses and plant elements. This architectural structure mentioned is similar to that present in other 16th century pavilions, such as that of the parish church of La Magdalena in Dos Hermanas (Hernando de Ballesteros el Mozo, around 1575); or that of the parish church of La Galaroza (same author and date); or that of the pavilion of San Miguel in Jerez de los Caballeros (in some details); etc. As for the relief, it is possible to clearly see a strong Italian influence, and the similarity between it and important pieces such as the Portapaz known as “de Cisneros” by Juan de Burgos (1493-1497; Alcalá de Henares Cathedral Museum), as well as in paintings and reliefs. It is also worth highlighting both the male and female busts in the lower area and the Maltese cross (or of Saint John) that appears in this area. This symbol was used from the 12th century as an insignia by the Knights Hospitallers of the Order of Saint John of Jerusalem, also known as the Order of Malta since Emperor Charles V gave them this island as a fief in the 16th century. Weight: 507 gr.

· Size: 10,5 x 4 x 21 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF0664
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 vase-shaped finial of the lid. There are few other decorative elements on the pieces, apart from those already mentioned and a series of engraved motifs on the lids (bull 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 heads, two above and one below, separated by a chevron; two rampant lions flanking a diagonal band on the 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, descended from 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 numerous details about the pieces. The passant lion places the piece in London, while the two initials refer to Henry Chawner; the lowercase letter indicates 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 contrast marks and initials of ownership at the base. The base tray is square in shape with mixed-linear profiles and rests on legs with plant motifs. The four containers have helical scalloped feet and flower-shaped pearl-like finials on the lids. A candlestick emerges from another container, taller than the others and fixed to the tray, with a curved arm ending in a volute, and is attached to it by a hinge. The bell, also with helical scalloped edges, is topped by a figure of a soldier. The pen holder has holes in the lid for the pens, and is the same size as another of the containers, which was probably the inkwell. Two others, slightly larger, also do not have a perforated lid, and may have been used for drying sand and were therefore called “areillos”. The bell, used to call the service, secretary, etc., has another small jar as its base, similar to the rest but much higher, from the top of which the candlestick emerges. Stylistically, the clean lines show a very slight influence of Neoclassicism, while the helical scallops, the movement of the profiles of the containers, and the type of tray (called “contours” and very popular in silverwork in this century) reflect a strong survival of models related to the Rococo. Zaragoza continued to be the main silver centre of Aragon, with an abundance of preserved pieces and many marked, allowing for a detailed study. The hallmarks ensure the quality of the material and allow us to locate the manufacture and the author of the work. The locality marks, on the arm of the candlestick, place the work in Zaragoza, and date it as having been made between around 1760 and 1770. The craftsman marks, also there and another one on the base, allude to the silversmith Vicente Roces, known for his fine works in the Rococo style 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 some others in important private collections. Weight: 1,525 gr.

· Size: 18x23x25 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6304
SILVER JAR. CÁDIZ, SPAIN, 1761.

Pitcher. Silver. Hallmark possibly Francisco de Arenas. Cádiz, Spain, 1761. With contrast and engraving marks. Crafted in silver, the jug features an oval base that rises flat to a molding with vertical lines. This molding curves, and the same undulations continue along the body of the piece. The handle, of a type known as a twisted handle, has scrolled finials. The lid echoes the lines of the body and is topped with a vegetal motif, also featuring a piece near the handle. The spout, curved outwards, displays a relief decoration of a mascaron with architectural and vegetal motifs of classical influence. The base features a series of punches around the engraved mark that can be identified with the city of Cádiz, a chronological mark (1761), an initial (B), and another that could be linked to Francisco Arenas or de Arenas, a Cádiz assayer (originally from Granada) who served as a reliable assayer between 1737 and 1771, the year of his death. Two punches are associated with him (one likely used until 1757 and another from that year onward, “ARE/NAS”). He also worked as a metal assayer for the Mint and the Mint. His mark is found, for example, on a chalice from around 1750 and another dated around 1780 in Santa María la Coronada de San Roque (Gibraltar), a ewer in the parish church of Realejo Bajo (Canary Islands, Spain) dated to the 1760s, and on the repairs to the processional float of the Virgen del Carmen in Cádiz. Weight: 1076 grams.

· Size: 18,5x9x25,5 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1508
SILVER WRITTING SET. WITH HALLMARKS. CORDOBA (SPAIN), ANTONIO JOSÉ SAN...

Spanish: Notary. With hallmarks and engraving marks. There is a defect in some container and a bell is added. Silver writing table consisting of a tray, four containers and a bell. The first element, oval in shape, has edges with soft curves and counter-curves, decorated on the upper part with flat mouldings, combined with volutes and osier shapes; it stands on legs composed of two volutes flanking a teardrop, a set topped by a symmetrical composition. The four containers, with lids, have profiles with soft curves (among which engraved initials can be seen), which run towards the upper part following parallel spirals, these lines being extended on the finished lids. Two of them, smaller, have holes in the lids. The bell to summon the service, which has a space for itself on the tray, has much simpler lines. The hallmarks placed at various points in the set provide information regarding their date, origin and place of creation. They were 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 marker from Córdoba, active around the same time, with works preserved in the area (Parish of San Miguel in Córdoba, a wine rack with cruets in Loja from 1778, works in the Costume Museum in Madrid, etc.). Stylistically, the lines of the entire set (except for the bell) show that it belongs to the Rococo style, with the usual influence of certain details of Neoclassicism, which influence the relative simplification of the decoration of the pieces, while still maintaining something 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
SILVER CLARET JUG. ANSELMO PRIOR AND MASON. VITORIA, SPAIN, 1816-1846.

Jug. Silver. Anselmo Prior y Mason. Vitoria, Spain, between 1816 and 1846. With contrast marks. Silver jug in its colour with a square base that serves as a support for the circular foot decorated with a band of eggs and ending in a scalloped shape, which gives way to the oval body, engraved with architectural, plant and animal elements; practically tubular neck with a band of egg motifs and another at the top with architectural elements, and a soft spout; lid with a swan, and the handle has 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 neoclassical models of the 19th century both in its lines and in some of its decorative elements (some close to the French school and others somewhat more common in the English school), adding to this base some details more common in Spanish works. The hallmarks, located at the base of the piece, link its creation in Vitoria, with the hallmark called Maison (actually 18th-19th centuries, probably as a hallmark in the 19th century) and the silversmith named 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
MISCELLANEUS;SILVER

Ref.: ZF1042
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SILVER JAR OR JUG. SELLÁN, JUAN. MADRID, 1847.

Jug. Silver. SELLÁN, Juan. Madrid, 1847. With contrast marks. A silver jug in its original color, featuring a flat handle decorated with simple openwork plant elements between two plain bands, a raised shape, a large mouth extended forward, and a body with distinct lines and decorations arranged in three registers. The circular foot features a band of architectural motifs. These three registers are arranged as follows: a plain area facing upwards, followed by a fluted section and a scalloped section. Both the decoration and the lines of the jug show a clear Classicist influence. It features engraved initials (FAL). The hallmarks are those of the Villa y Corte de Madrid (which also provide the date) and that of the silversmith Juan Sellán, who trained at the Royal Silversmith Factory of Martínez in 1821 and joined the College of Silversmiths in 1842, the year in which his first known works are dated. The present model can be found with slight variations in the production of the Royal Silversmith Factory of Martínez in Madrid, and was later revived by Juan Sellán. Weight: 1108 grams.

· Size: 18x12x33 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1013
CROWN OR PIECE OF ALTAR. EMBOSSED SILVER, MIRRORS, WOOD. LLORENTE, JOS...

Altar top. Embossed silver in its colour, wood, mirrors. LLORENTE, José (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century. With contrast marks. Altar top made of embossed silver in its colour on a wooden core with seven oval-shaped mirrors and profiles cut in curves and counter-curves. The upper part has a canopy imitating textiles from which hang a series of small bells and shelters a dove with outstretched wings, situated in front of a ventral figure and a cloud with winged angel heads. Approximately the upper three quarters of the work show a decoration in light relief with sun rays, scrolls, rocailles, oval mirrors, circular tears resembling rain, flowers, leaves, a bunch of ears of wheat next to a vine with a bunch of grapes, etc. combined with five mirrors and following a symmetrical arrangement; the remaining part does not have reliefs but does have two mirrors. This type of liturgical goldsmith's work was relatively common in churches, cathedrals, etc. with significant purchasing power and influence, although not many of those made have survived because they are valuable materials that can be melted down and looted at certain times. Let us mention, highlighting the differences, the silver Altar of the Cathedral of Seville (16th-17th centuries, several silversmiths), the set of the main chapel of the Cathedral of Santiago de Compostela (17th century), the Manifestador-Tabernacle of the Cathedral of Valencia from the 18th century, the silver altarpiece of the Diocesan Museum of Huesca (work of José Estrada and Juan and Jerónimo Carbonell y Gros made between the 17th and 19th centuries, which was placed in front of the Main Altarpiece of the Cathedral, and has a canopy and pendant bells), a display for the Blessed Sacrament made of gilded silver and in its colour dated in the 18th century and which is found in the Museum of the Cathedral of Segovia, etc. The presence of the Holy Spirit (a dove) and the bunch of wheat ears and the vine with the bunch of grapes would link the piece with the Eucharist, and it is possible that it is a fragment of an altar (permanent or not) of a monstrance. Stylistically, it is clear that the work belongs to a Rococo that was already somewhat advanced. The hallmarks present in various parts of the silver place the creation of the finial in Vitoria (Spain), also providing an approximate date (around the 18th century's 60s) 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 worked as a hallmark for the city (the City Council appointed him appraiser of diamonds and precious stones in 1751, and hallmark for the city in 1769, a position he held until 1779, when he resigned and Mauricio Llorente was appointed). Works with his hallmark are preserved in prominent institutions such as the Museum of Sacred Art in Vitoria (Reliquary of Santa Lucía from the hermitage of Santa Lucía 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 with his punch are preserved in the Church of Santiago de Logroño (portaviático), the Old Cathedral of Vitoria (four candlesticks), etc.

· Size: 52x26x122 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE153
SILVER PYX OR PIX. PALENCIA, SPAIN. PEDRO DE PALACIOS, CIRCA 1530.

Pyx. Silver. Palencia, Spain. Pedro de Palacios, hallmark Juan de Peso, circa 1530. With contrast and engraving marks. A circular box with a pointed lid, made of silver in its natural color and gilded, decorated on the exterior with a series of slanted segments or waves on the body and lid, and moldings with concatenations of pearls. The piece is topped by a sphere divided in two by a band of small lines. The interior is gilded. Typologically, it follows a very common model for pyxes in 16th-century Spanish silversmithing. Compare, for example, with the one dated to the third third of the 16th century (inventory 2165) in the Lázaro Galdiano Museum in Madrid (Spain), which also has spirals on the lid and a cruciform finial that the present example does not have; or several examples in the Diocesan Museum of Pamplona Cathedral; or an example with vertical drawers in the lid in the Museum of Sacred Art of Bilbao (Eleiz Museoa; inventory 0578) by Izangabea, dated between 1525 and 1530. At the base are the engraving mark and the hallmarks of the town and silversmith. One is the town mark, referring to Palencia (Spain). Another, with letters beneath a scale, is that of the assayer Juan de Peso, who worked from 1526 to 1532 (experts suggest that the triple hallmarking began in 1528). The third is that of the silversmith Pedro de Palacios (elected city assayer in 1532). Similar marks appear on the reliquary arm of Saint Lawrence in Santoyo, a work by Pedro de Palacios dated between 1528 and 1532, or, according to other experts, around 1526. Weight: 217 grams.

· Size: 9x9x11 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1504
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SILVER FRUIT BOWL 18TH CENTURY .

Cordoban silver shield, 1759-1768. With marks. Weight: 820 g. Rococo-style silver salver, with hallmarks from Córdoba and the marker Bartolomé Gálvez y Aranda. It features a tall, stepped, circular base adorned with incised grooves and other simple, classical-style motifs, already announcing the shift in language toward Neoclassicism. However, the plate itself is still distinctly Rococo, with a profile of mitered curves that translate into sharp edges on the eaves. Bartolomé Gálvez y Aranda was a silversmith, although he worked as a marker between 1759 and 1772, using for this work the punch seen here: his surname in capital letters, in a very horizontal trapezoidal frame and surmounted by a raised trilobed fleur-de-lis. Gálvez y Aranda added the chronological mark to this punch in 1768, so this salvo would be dated between 1759 and 1768. It is also a particularly interesting piece because it comes from Córdoba, the main center of Spanish silversmithing in the Rococo period, whose workshops produced high-quality religious and secular pieces, destined for clients not only locally but throughout the Iberian Peninsula, even reaching the Canary Islands and Latin America. The widespread diffusion of Cordoban silversmithing took place, in fact, in the last quarter of the 18th century, through the so-called master silversmiths. These figures acted as trade brokers, according to Pérez Grande, traveling to churches and fairs held throughout the country. The activity of these silversmiths was also favored by tax exemptions.

· Size: 32x32x13 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6259
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SILVER JAR OR JUG. ANTONIO SANTACRUZ, CÓRDOBA (SPAIN). 18TH CENTURY.

Jug. Silver. Santacruz Zaldúa, Antonio. Córdoba (Spain). 18th century. With contrast marks. A silver vase in its original color, featuring a circular base decorated with spiral segments also visible at the top of the piece. The body is wider at the bottom, with a decorated spout and a scrolled handle, and a lid with this decorative motif on the foot and body. It bears hallmarks by Antonio Santacruz Zaldúa (1733–1793), a silversmith from Córdoba, Spain. Weight: 875 grams.

· Size: 17x23x29 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1432
SILVER TWO-HANDLED CUP. WITH HALLMARKS. 17TH-18TH CENTURIES.Y

Bernegal or glass or wine tasting. Silver. 17th-18th centuries. With contrast markings. A silver-colored Bernegal coin with a circular foot, a body that widens towards the top, and two flat, S-shaped handles with a flared central section. It has hallmarks on the handle (unidentified) and an engraved mark on the base. Both bernegales and tembladeras were very common types in 17th-century Spanish Baroque silverware, and remained popular into the following century, mainly in areas far removed from the major centers of silversmithing. Also known as wine glasses, these types of drinking cups were used on special occasions (ceremonies, etc.), hence their material and decoration. They were objects of secular use, although it was not unusual or exceptional for them to be donated or commissioned for use in churches or liturgical settings. Compare this piece with two cups or bowls from the Monterrey Palace Collection in Salamanca (one Parisian, made around 1750, and the other from Salamanca) decorated with gadroons and two raised S-shaped handles; with the bowl from the Metropolitan Museum, made in London in 1680 from the Irwin Untermyer collection (very similar in form to the present one); or with the pair of bowls by Antonio López Díaz (made in Jaén and dated 1758/1772) from the Valencia de Don Juan Institute in Madrid. Weight: 162 grams.

· Size: 14x11x9 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6022
SILVER INCENSE BOAT (NAVICULAE). WITH HALLMARKS. POSSIBLY PORTUGAL, 18...

Naveta. Silver. Possibly Portugal, 18th century. Counterweighted base. With hallmarks. A boat with an oval base decorated with elements in relief and mouldings, a balustraded base and a body with a slight boat shape, presenting a lid with hinges at the front, a widening in the lower area towards the foot and a decoration distributed throughout the exterior based on rocaille motifs and vegetal elements (the same theme is presented on the foot and the base) on a lustre-painted background, with an angel's head on two small wings in relief towards the spout, accompanied by vegetal elements (which protrude from the edge of the lid). Although the shape of the piece generally follows the most common prototypes of these incense vessels used in the liturgy, it should be noted that it was more common to find them more similar to a boat. The belonging of the naveta to the Rococo influence is clear both from the lines of the object and from the decoration already mentioned (rocailles, moving plant elements, volutes with pronounced curves, contrasts between concave and convex lines...), and it is also possible to find some points in common with Portuguese works (a silver naveta with a spoon by Leandro Gagliardi made in Rome between 1744 and 1750, which is preserved in the Sao Roque Museum in Lisbon, Portugal, has a finial with an angel's head in relief; compare this with the gilded silver censer that the same master made between 1749 and 1751 for the Chapel of St. John the Baptist in the Church of St. Roque in Lisbon). The hallmarks present on the upper part of the naveta (the capital letters “de” in a rectangular space), although it should also be noted that this work does not follow the most striking typology of navetas related to this centre (18th century silver naveta from the Church of Alcántara in Maranhao, Brazil; naveta by Sebastiao Bernardes dos Santos dated 1747 from the Sé do Funchal which is preserved 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 CUP WITH INSCRIPTION. POSSIBLY SOUTH AMERICAN, 18TH CENTURY.

Tembladera or bernegal with ownership inscription. Possibly Hispanic American, 18th century. A silver-plated squib with a wide, circular base and a larger mouth. The body features a fine line engraved toward the rim and a ownership inscription on the front (Lucas Vilacha) made with small dots. It also features two handles decorated with plant elements and grotesques with human heads, with lion- or dog-like shapes visible at the top. Baroque tendencies continued in Spanish silversmithing for almost the first two-thirds of the 18th century, except in the capital, where Rococo forms were already being introduced without displacing the earlier ones. It wasn't until 1740 that French silversmiths introduced these innovations to Madrid, which slowly spread to the rest of the centers, depending on the area and master. This survival of 17th-century forms can be seen in the handles of the wobbler: the grotesques with human heads are prominently displayed, a decorative abundance that contrasts with the clean lines of the rest of the work, but which is common in this type of work. The lack of hallmarks makes it impossible to locate the work or the artist, although this is precisely what speaks in favor of a secondary silversmith center, where the lack of control over these works was more common due to the lack of masters and the means to ensure compliance with hallmarking regulations. Bernegales and tembladeras were the most common types of silverware in 17th-century Spain (although they remained popular in the 18th century, especially in centers far from the main craft centers). In the case of this piece, the handles could indicate American manufacture, although there are similar cases thought to have been made in the Iberian Peninsula. It is worth mentioning 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 the Poor Clares of Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 325 grams.

· Size: 20x15x7,6 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1058
SILVER CHEST, AFTER 17TH CENTURY MODELS. POSSIBLY, 20TH CENTURY.

Chest inspired by 17th century models. Silver. Spain, 20th century. Rectangular casket made of silver in its colour, with four legs in the corners in the shape of a scroll and finished in a claw, decorated on the fronts with a decoration of mouldings, bands and motifs within rectangles (yokes, a bundle of arrows, a letter f crowned between two pomegranates, a letter y crowned between two pomegranates) in clear allusion to the Catholic Monarchs. The stepped lid presents a composition of scrolls, architectural elements and plant motifs on a background with a lustre-like finish, and a small rectangular “diamond” as a finish. It closes with a pin and a 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 of the parish of Santa María de Manlleu which is 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. Cylindrical box with a moulded base under a wide frieze with latticework of bands and simplified plant elements. Moulded lid decorated with bands creating figures of 8 alternating with flowers and fleur-de-lis motifs, topped with a small cone with pearl, on which stands a three-nailed Crucifix with a loincloth around the knees and a cartouche. Given the gilding on the interior, this stemless host was perhaps used to contain the Holy Hosts in the tabernacle of some church. The decorative elements of the work and the figure of Christ in the upper part respond to the influence of the Renaissance, but also show Gothic memories. The Renaissance appeared in Castilian silverwork a little before 1520, and it was only from the end of the reign of Philip III that we usually speak of Baroque. In the Crown of Aragon, the political and economic decline of the area caused a significant decline in the number and quality of production, with the notable exception of Aragon and, above all, Zaragoza, which reached unequalled splendour later on. The same thing happens with the form: although there are similar examples during the Gothic period (a hostiary 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 continue even in the Baroque with numerous variations. Compare this with works such as a hostiary in the Museum of Malaga (BA/CE00305), with a similar cover 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 greater Renaissance influence. Weight: 176 gr.

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

Ref.: ZA5725
SILVER GLASS WITH TRAY. 18TH CENTURY.

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 HEART SHAPED SPICES BOX. LÓPEZ PORTERO, MANUEL. SPAIN, GRANADA,...

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

· Size: 10x11.5x4 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1019
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
CRUET SET. SILVER, GLASS. RENÉ-PIERRE FERRIER, PARIS, FRANCE, 1775.

Set of cruets. Silver and glass. René-Pierre Ferrier, Paris, 1775. With contrast marks. Set of cruets with salver made of silver in its colour and transparent glass, consisting of two jugs with handle, elongated neck and spout, and a body with a circular base, with a faceted exterior, an oval tray with two supports for the jugs and two others for the stoppers (decorated with leaves and fruits). The tray has four volute-shaped legs, a decoration that is repeated at the ends of the tray, and two architectural shapes on the longer sides, right where the supports for the spice racks are located. The supports for the jugs have an openwork decoration based on architectural motifs framing baskets with grapes and vine leaves and flowers. The hallmarks on the silver pieces indicate that they were the work of René-Pierre Ferrier (his hallmark can be seen), made in Paris between 1775 and 1776 (crowned M; “Maison Commune” mark) and with the corresponding taxes paid (the crowned A -this one in particular was used in Paris between 1775 and 1781- and the bull's head -same as the previous one-). René-Pierre Ferrier was a French silversmith whose mark can be seen used on work from 1775, the year he achieved the status of master. The shape of the tray is reminiscent of other works by the same silversmith dating from the end of the century and with a more pronounced “nave or ship shape”. The decorative elements respond to Neoclassicism, a very popular style in France at the time. It is possible to find pieces similar to the present one in some private collections and in institutions such as the Musée des Beaux-Arts de la Ville de Paris (Petit Palais), dated between 1783 and 1784 (inventory PPO2012), or in the Louvre Museum in Paris. Weight: 558 gr. silver / 1245 gr. c/bottle.

· Size: 27x16x23 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF0344
SILVER SHELL. GARCÍA REINA, MANUEL. TOLEDO, SPAIN, CIRCA 1730-1741

Baptismal shell. Silver in its colour. GARCÍA REINA, Manuel. Toledo, Spain, circa 1730-1751. With contrast marks, it is missing. A shell made of silver in its colour, with naturalistic details, and a top with a cartouche (on which there is an engraved element) and a simplified vegetal shape on one side (it is missing the symmetry to this). The contrasting marks are found in what would be the “ears” or “earlets”. A numerical mark can be seen on the outside. On the inside, hallmarks can be seen that identify the piece as having been made in the Spanish city of Toledo, when Diego Rodríguez de Lezama (or Lizana) was working as a hallmark, to whom the mark on the other ear belongs. The third mark, located under the location mark, identifies the piece as being made by Manuel García Reina, who was born around 1706 in Colmenar Viejo and trained in Madrid with Juan Löpez Sopuerta. He settled in Toledo around 1730, where he furthered his studies with Manuel Vargas Machuca, entering San Eloy in 1733. He was an approver in 1747 and 1755, and it is known that he had a shop since at least 1743 and is documented until 1772. Diego Rodríguez de Lizana or de Lezana was born in Bargas (Toledo) and trained with Juan de Jarauta, joining the Brotherhood of San Eloy de Toledo in 1699. He was an approver of the guild in 1715 and 1718, and worked as a contrast between around 1730 and his death in 1751 or 1754. His works are preserved in San Pedro Mártir, in the parish church of Miguelturra (Ciudad Real), in the cathedral of Lérida, etc. His work is preserved in Santo Domingo el Real, some cruets in the museum of Santa Cruz de Toledo, the parish of los Yébenes, etc. Weight: 98 grams.

· Size: 11x12x4 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1376
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
MUSTAR POTS AND SPICES BOWLS. SILVER, REGENT PLATE, GLASS. 20TH CENTUR...

Mustard and spice jars. Silver, "regent plate", glass. 20th century. Incomplete. With contrast marks. A collection of sixteen pieces (tubular salt shaker, three spice racks, mustard jars) bearing hallmarks. Some are English (from Birmingham, by AL Davenport Ltd, established around 1927, GJ Myatt & Co. Ltd., Arthur Willmore Pennington –established 1901–, S. Blanckensee & Son Ltd.; Goldsmiths' & Silversmiths' Company –established in London in 1880–; etc.), while others combine glass (both clear and transparent) with metal elements. Stylistically, they are inspired by traditional designs. Weight: 900 grams

· Size: 7x5,5x6,5 cms
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZF1374