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WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

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

· Size: 120x38x133 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

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

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

· Size: 38x31x40 cms.
ANTIQUES
SCULPTURE

Ref.: Z5882
WATERCOLOUR LANDSCAPE WILLIAM FREDERIC CASWELL

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

· Size: 78x103 int 49x71 cms
ANTIQUES
PAINTINGS

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

Box in enamelled porcelain and engraved glass. 19th century. Oval box with a base made of etched glass and a hinged lid, the latter made by combining enamel and metal. The lower part presents a bucolic landscape, with a series of human figures and buildings in it, combining trees with lakes and solid ground. The scene on the upper part responds to the same typology: a couple in an idealized rural landscape.

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

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

Toiletry bag. 19th century. Tortoiseshell, metal, glass. Rectangular case with a hinged lid made of tortoiseshell decorated with fine inlaid plant and floral elements on its sides, containing a toiletry bag set composed of various feminine toiletries and personal items (a small perfume bottle, scissors, a thimble, etc.), with a space designed for each of these utensils.

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

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

Catavinos or quaking glass. Silver. 18th century. Without contrast marks. Vessel known as catavinos or tembladera with two flat, closed “S” shaped handles and a line of “bites” (gallon-shaped shapes) highlighted by bands of dots that move to the inside of the piece. The bottom has a star shape (leaving smooth and with a shiny finish some stripes forming a Maltese Cross, and combining in the rest areas in the same finish with others in diamond-shaped lustre with dots). The bernegales and tembladeras with mortise-shaped pieces were frequent pieces in Spanish silverwork in the 17th century, usually being relegated to centres of somewhat less importance in the 18th century. Compare this with pieces such as the silver bernegal from the last third of the 17th century in the Lázaro Galdiano Museum (perhaps from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 83 gr.

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

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

Catavinos or quaking glass. Silver. 18th century. Without hallmarks. With ownership initials. Vessel known as a catavinos or tembladera with two curved flat handles decorated with simplified plant elements, and a line of morsels (gallon-shaped shapes) on the edge enhanced by bands of sunken dots that remain in relief on the inside of the piece, where they extend and frame the decoration on the bottom. In this area there is a florentine Greek cross in a smooth shiny finish with the letters “RA” engraved (initials of the property), highlighted on a dotted background. The bernegales and tembladeras with mortise-shaped pieces were frequent pieces in Spanish silverwork in the 17th century, usually being relegated to centres of somewhat less importance in the 18th century. Compare this with pieces such as the silver bernegal from the last third of the 17th century in the Lázaro Galdiano Museum (perhaps from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 94 gr.

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

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

Catavinos or quaking glass. Silver. 17th century. Without contrast marks. Vessel known as a catavinos or tembladera with two flat, closed “S”-shaped handles (with simplified plant decoration) and a line of “bites” (gallon-shaped shapes) highlighted with bands of dots. On the bottom, inside, there is an eight-petaled flower engraved with a cross inside. The bernegales and tembladeras with mortise-shaped pieces were frequent pieces in Spanish silverwork in the 17th century, usually being relegated to centres of somewhat less importance in the 18th century. Compare this with pieces such as the silver bernegal from the last third of the 17th century in the Lázaro Galdiano Museum (perhaps from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 96 gr.

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

Ref.: ZE195
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SAINT CRISTOPHER. JET. SPANISH SCHOOL, 16TH CENTURY.

Saint Christopher. Jet. Spanish School, 16th century.
A carving showing a male figure standing on a base and carrying a child on his shoulders. Saint Christopher of Lycia, best known thanks to the spread of the Golden Legend by James of the Voragine from the 13th century onwards, was best known for having crossed a river with Christ disguised as a child on his shoulders. Compare this work with the 16th-century jet-carved Saint James with Pilgrims in the Cathedral Museum of Ávila (Spain), the examples in the Valencia Museum of Don Juan (Madrid), etc."

· Size: 5x3x16 cms.
ANTIQUES
SCULPTURE

Ref.: Z3608X
RELIQUARY PENDANT. SILVER, ENAMEL. 17TH CENTURY.

Reliquary pendant. Silver, enamel, textile. 17th century. A large polygonal pendant with a silver frame in its colour decorated with small pearls of the same material located in the corners of the edge, which has a ring at the top so that it can be hung or carried. One of its fronts has a textile background under a sheet of transparent glass, probably designed to contain relics. The other has a brightly coloured enamel showing the Virgin Mary in three-quarters, with the naked Child Jesus in her arms and both figures cut out against a landscape background with classicist architectural elements (a column with a fluted shaft on a pedestal, with mouldings) and details of a natural landscape (thus linking the moment with the Rest on the Flight into Egypt; compare, also, with works such as the Virgin and Child by Anton van Dyck from the Cerralbo Museum in Madrid or the oil painting from The Walters Art Museum, or the engraving by Paulus Pontius following Van Dyck's models - where the elements coincide in arrangement with those of the medallion -, for example). This type of jewellery has always had great value, both for the materials used and for its religious content. Despite this (or perhaps because of this same appreciation) there are not many examples of quality and in good condition, and it is possible to find them only in important private collections and in outstanding museums such as the Fundación Valencia de Don Juan in Madrid, the Museo Nacional de Artes Decorativas in the same city, etc., or old religious centres such as the Convent of the Descalzas Reales in Madrid.

· Size: 6,5x0.5x8 cms.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: ZF0399
FRAME. POLYCHROMED AND GILT WOOD. 18TH CENTURY.

Frame. Carved, polychrome and gilded wood. 18th century. Rectangular frame made of wood and decorated with two bands of plant and architectural elements of classicist influence carved on the outside and towards the inside, finished in gold and located flanking a dark and smooth area.

· Size: 86x7x108,5 cms. Int 65x88 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZF1343
MUSTAR POTS AND SPICES BOWLS. SILVER, REGENT PLATE, GLASS. 20TH CENTUR...

Mustard and spice racks. Silver, regent plate, glass. 20th century. Incomplete. With contrast marks. Collection of sixteen pieces (a tubular salt shaker, three spice shakers, mustard pots) featuring hallmarks. There are English pieces (from Birmingham, by AL Davenport Ltd, established around 1927, by GJ Myatt & Co. Ltd., Arthur Willmore Pennington –established 1901-, S. Blanckensee & Son Ltd.; by Goldsmiths' & Silversmiths' Company –established in London in 1880-; etc.), and others that combine glass (white and transparent) with metal elements. Stylistically, they are inspired by traditional models. Weight: 900 grams

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

Ref.: ZF1374
VICTORIAN 18 KT GOLD BROOCH WITH AMETHYST

Victorian 18kt gold brooch with amethyst. 19th century. An 18-karat gold brooch featuring a fine hanging metal chain, ending in a gold safety pin designed to hold lightweight decorative elements or to attach to fabric, adding some movement to the piece. The focal point is a faceted oval amethyst, set in a fine setting to maintain attention from the gem's frame. This frame is formed by an elaborate and delicate composition: in the centers of the sides are four rectangular pieces with curved smaller ends, decorated with fine plant elements and scrolls reminiscent of classicism. These elements are interspersed with two concave scrolls flanking a leaf (which also features a fine plant decoration in light relief). This frame is visually attached to the gem by a series of elements reminiscent of fine ribbons, with a decoration similar to that of the aforementioned rectangular pieces. Historically, the Victorian Era began in 1837 with the coronation of a young Queen Victoria in England, and ended in 1901 with her death. It was the period of greatest development of the Industrial Revolution, something that also influenced jewelry thanks to important technological advances in virtually every field (water power, steam engines, gas, etc. influenced the machinery used), and England's broad political dominance allowed for the consideration of "exotic" materials from the colonies. Advances in machinery made it possible to slightly reduce jewelry costs, obtain new gem cuts with a greater number of facets (thanks to faster lathes), and introduced new alloys (the lowering of gold alloys starting in 1854 in England, the introduction of galvanization, etc.). As for the designs, these were always influenced by Queen Victoria's taste. Thus, in general, three stages can be distinguished: the Early Victorian or Romantic Period (c. 1837-1860), frequently inspired by the natural world; the Middle Victorian or Great Period (c. 1860-1885), marked by mourning for the death of the Queen's mother and her husband Albert in the same year and the Civil War in the United States, among other events, influenced by archaeological discoveries of the time and technical developments in enamelling and gold granulation, and the frequent presence of gems; the Late Victorian or Aesthetic Period (1885-1901), marked by the discovery of diamond mines in Africa, which made stones cheaper, allowing for more frequent use in jewellery, more frequent use of ivory and soft colour combinations, and a general reduction in the size of works. Measurements: 4.7 x 4.4 cm. Weight: 21.07 grams.

· Size: 4,7 x 4,4 cm.
ANTIQUES
MISCELLANEUS;JEWELRY

Ref.: JBR0196
STONE MORTAR. 18TH CENTURY.

Mortar. Carved stone. 18th century. Mortar made from a single piece of carved stone with a circular base and four handles or worn projections carved towards the outside of its body, in the shape of a cup. This type of piece was created for use in apothecaries (which could be in a city, in a religious institution or in a hospital) or in a kitchen (of a large residence or, again, of a religious institution), and it is not possible to specify its purpose further due to the lack of decorative elements and the usualness of the model to which this piece belongs, with a long tradition in Europe. Similar examples are preserved, for example, in the Museum of the Spanish Pharmacy of the Complutense University of Madrid, the Museum of the History of Pharmacy in Seville, the Museum of Pharmacy in Krakow, etc.

· Size: 73x73x45 cms.
ANTIQUES
MISCELLANEUS;MORTARS

Ref.: Z1057
GILT BRASS ALMS COLLECTING DISH. NUREMBERG, GERMANY, 16TH CENTURY.

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

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

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

Convoy of silver vinegar cruets, Santander, 19th century. With hallmarks, local and silversmith marks (Santander, Trabanco, M.Navarro). Holding a basket with a handle on his head is the figure of an Indian, wearing a skirt and a feathered headdress. The figure is standing on a column, flanked by two circular spaces for the vinegar cruets and by two other supports for the salt and pepper shakers. The decoration based on classical columns and palmettes is characteristic of Neoclassicism, while the presence of the feathered Indian provides a touch of exoticism highly appreciated in the 19th century. Weight 950 gr.

· Size: 22x9x34 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: Z6231
ORNAMENTAL MIRROR. GILDED WOOD. 18TH CENTURY.

Cornucopia. Gilded wood. 18th century. Rectangular cornucopia with a carved and gilded wooden frame decorated with a series of smooth mouldings and a very elaborate top (arranged in a symmetrical composition, architectural and plant elements, scrolls, etc. can be seen). Although the smooth mouldings are very classicist details common in Neoclassicism, the lines, curves and movement of the top are characteristic of Rococo. The combination of both styles of the 18th century is common both in Spanish furniture and in other schools. Requires restoration.

· Size: 33.5x4x57.5 LUZ 27x19 cms.
ANTIQUES
FURNITURE

Ref.: Z0311
WROUGHT IRON FASTENERS, 17TH CENTURY.

Pair of wrought iron fork locks. 17th century. Pair of forged iron fasteners of the so-called “fork” type due to their shape. This type of piece was used in furniture to secure tables, both dining tables and desks, and for this reason it is a very common piece of forged iron. The spirals and the balustrade parts date both to the Baroque period.

· Size: 22x6x78 cms
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: Z5019
SILVER VASE (BERNEGAL) WITH VIDAL MARKS. 18TH CENTURY

Bernegal, 18th century. Silver, with marks. Weight: 55 g. Spanish Bernegal from the 18th century, with Vidal mark and wide, low bowl, slightly rounded towards the base, following the typical typology of this vessel in the Spanish Baroque. Also typical of this typology are the two vertical handles over the mouth, in this case in the form of a mitred “S” brace with a cut-out profile, with small tendrils.

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

Ref.: Z5724
BOX. WOOD, NACRE. 19TH CENTURY.

Box. Wood, mother-of-pearl. 19th century. Rectangular box with lid made of dark wood and decorated with lines and plant elements, small furniture items, animals, etc. in marquetry mother-of-pearl applications, with engraved or inked details. This type of piece was highly appreciated in Europe, coming from workshops in China or Vietnam.

· Size: 22,5x15x11 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE358
SILVER CUP (TEMBLADERA) OR WINE TASTING CUP. 18TH CENTURY.

Catavinos or quaking glass. Silver. 18th century. Vessel known as a catavinos or tembladera (as it has no foot) made of silver in its colour with two curved flat handles decorated with simplified plant elements, and a line of mortise (gallon-shaped shapes) on the edge enhanced by bands of sunken dots that remain in relief on the inside of the piece, where they extend and frame the decoration on the bottom. In this area there is a flower, enhanced with a line of dots. Bernegales and mortise-shaped bernegales were frequent pieces in Spanish silverware in the 17th century, usually being relegated to centres of somewhat less importance 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 from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 79 grams.

· Size: 15x11x4 cms.
ANTIQUES
MISCELLANEUS;SILVER

Ref.: ZE366
SILVER CUP (TEMBLADERA) OR WINE TASTING CUP. 18TH CENTURY.

Quaking glass or wine-tasting glass. Silver. 18th century. Vessel known as a catavinos or tembladera (as it has no foot) made of silver in its colour with two flat handles in the shape of a “C” topped by volutes and decorated with wavy elements on the outside, which has a decoration on the edge (on the outside) of simple plant elements alternating with simple geometric elements made with lines and dots. On the bottom, on the inside, there is a plant element. In Spanish silverwork, the Baroque trends were maintained for 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 was not until 1740 when French silversmiths introduced these novelties in Madrid, which would slowly spread to the rest of the centres, depending on the areas and masters. This survival of the forms of the 17th century can be seen in the fact that bernegales tembladeras were, in general, more common pieces in the 17th century, remaining during the 18th century relegated to centres far from the main areas of creation. Weight: 91 grams.

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

Ref.: ZE368
LANDSCAPE. OIL ON CANVAS. GARCÍA LESMES, AURELIO (1884-1942).

Landscape. Oil on canvas. GARCÍA LESMES, Aurelio (Valladolid, Spain, 1884-Mexico City, Mexico, 1942). Signed (lower right area). Aurelio García Lesmes was a Spanish painter who began his training in Valladolid and, thanks to a pension from the Provincial Council, continued his training at the San Fernando Academy in Madrid, the city where he became better known at National Fine Arts Exhibitions (he won a Third Medal in 1917; Second in 1922 and First in 1926). In the capital he met Valle-Inclán, Ricardo Baroja, Darío de Regoyos, etc., and alternated his stay here with long periods in Valladolid, where he worked on his well-known canvases of Castilian fields. Over time, he established himself as one of the most prestigious Spanish landscape painters of his time and established his workshop in Valladolid. After the Civil War he went into exile in Mexico. His work can be seen in prominent institutions such as the Museo Nacional Centro de Arte Reina Sofía (Madrid), the Museo Patio Herreriano (Valladolid), etc.

· Size: 68x4x59 cms. int: 55x46,5 cms.
ANTIQUES
PAINTINGS

Ref.: ZE428
SNUFF BOX. HORN, WOOD, METAL. SPAIN, 1861.

Pastoral box. Carved horn, wood, metal. Spanish school, 1861. Submits registrations. Oval box made of antler carved in its colour, with wood on the lid to reinforce it, decorated on the outside with a series of engraved elements. On the base there is an animal or monster, on the lid there is a monstrance or ostensorium with a cross in the centre and a large base with geometric elements, surrounded by angular shapes acting as a frame. Under the antler hinge there is the date of the piece's creation (1861) and, between two bands of angular elements, an inscription (I am from francys / inverted d / a rhombus / poios), alluding to the owner (and possibly the craftsman) of the work. These types of boxes, of popular tradition, were common in ancient times and were usually made by shepherds or cattle breeders themselves to store snuff or tobacco.

· Size: 7x4x4 cms.
ANTIQUES
MISCELLANEUS;OTHER OBJECTS

Ref.: ZE351A