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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
MISCELLANEOUS;OTHER OBJECTS

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

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

· Size: 6x3x8 cms.
ANTIQUES
MISCELLANEOUS;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

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

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

Ref.: ZE195
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

Ref.: ZF0399
BRONZE BRAZIER. POSSIBLY CASTILLE, SPAIN, 16TH CENTURY.

Brazier. Copper. Possibly Castile, 16th century. Brazier made of copper with a circular base decorated with vertical bands, a low tubular shaft enhanced with a fine rope-like moulding and a semicircular body, with a wide mouth that flares outwards, and two metal handles shaped like a half rectangle and a twisted part on the sides of the piece. These types of pieces were used in both civil and ecclesiastical interiors with the aim of providing as much warmth as possible to the occupants of the room. Their preservation is rare because they were utilitarian elements that were discarded over time or when damaged. They were usually objects intended for the upper class, and followed the same typologies whether they were destined for a sacristy or a private residence. The present case, possibly intended for use in a sacristy, displays a common typology in the Spanish school of the period. Compare, for example, with the brazier featured in The Birth of the Virgin Mary in the Retablo, assembled around 1520 by the Valladolid native Pedro de Guadalupe and found in the church of San Esteban de Amusquillo (which presided over the main altar of Valladolid Cathedral until 1676, when it was sold to the parish church of Renedo); or with the Birth of Saint Eloy by Pedro Núñez (1526-1529, MNAC, Barcelona).

· Size: 25x25x15,5 cms
ANTIQUES

Ref.: ZF0989
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

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

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

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
MISCELLANEOUS;BRONZE 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
MISCELLANEOUS;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
MISCELLANEOUS;SILVER WORKS

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

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
MISCELLANEOUS;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
MISCELLANEOUS;SILVER WORKS

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

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

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

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

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
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZE351A
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THE SACRIFICE OF THE OLD COVENANT. OIL ON BOARD. 17TH CENTURY, AFTER R...

Sacrifice of the Mosaic Law. Oil on copper. 17th century, inspired by Rubens, Peter Paul (Siegen, 1577-Antwerp, 1640). Oil on panel depicting a figurative scene located in a building of great importance due to the columns shown. To the right, an altar with a priest, a sacrificed lamb, and bread on a table. In the center, a kneeling man offers another lamb. Towards the left, a crowd gathers around the Ark of the Covenant, above which is a crown held by two angels. When the Lord chose the children of Israel as His people, He established through Moses the worship that was to be given to Him, distinguishing between bloody and unbloody sacrifices. This work addresses this theme, depicting an altar with bloody sacrifices and the Ark of the Covenant. This work is somewhat loosely inspired by a work by Peter Paul Rubens (Siegen, 1577–Antwerp, 1640). It is one of the tapestries that make up the series known as The Triumph of the Eucharist (manufactured by Jan Il Raes, Hans Vervoert, and Jacques Fobert, c. 1625–33, wool and silk, 490 x 670 cm, National Heritage Madrid, Monastery of the Descalzas Reales, inv. no. 00614220). The original handwritten sketch by Rubens, dated around 1626, is held at the Museum of Fine Arts in Boston (USA).

· Size: 59x5x53 cms. int: 34,5x27,5 cms
ANTIQUES

Ref.: ZF1233
BRONZE MORTAR. 15TH CENTURY.

Mortar and pestle. Bronze. 15th century. Bronze mortar and pestle with a circular base and a spouted mouth decorated with a band beneath the rim. The base, facing outward, features three smooth lines in relief, above which appears a decoration framed by a band at the top consisting of heavily worn elements or masks over Gothic-style calligraphy. Reminiscent of French pieces held in private collections. Weight: 2.8 kg.

· Size: 13x13x9.5 cms
ANTIQUES
MISCELLANEOUS;BRONZE MORTARS

Ref.: ZF1401
”FRAILERO” CHAIR. WALNUT, TEXTILE. SPAIN, 17TH CENTURY.

Monk's armchair. Walnut wood, textile. Spain, 17th century. Armchair with arms and high backrest, of the type known as “frailero”, which has a textile upholstery with studs on the seat and backrest, low, cut-out profile jambs joining the front and back legs and middle jambs or smooth crossbars joining the two front and two back legs, and simple armrests (curved, ending in scrolls). The frailero armchair, originally of Italian origin, became one of the most common pieces of Spanish furniture since its introduction in the 16th century, being characteristic of both the 17th and 18th centuries and being recovered again in the historicist movement of the 19th century. Being such a deep-rooted tradition in Spain, this type of model was never stopped being created.

· Size: 74x67x128 cms.
ANTIQUES

Ref.: Z0665