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.
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.
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.
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.
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.
Washing machine. Metal, etc. SKRAT, model P-7, Leonard Ryznar, circa 1945. Metal washing machine with an electric motor that would drive a circular container (which moves the clothes, a “drum”), with a water inlet at the bottom to the right and with several valves and levers, as well as four circular base legs. to better support the ground and prevent, as far as possible, the machine from moving when it was in operation. Leonard Ryznar (or Rýznar) was the founder of the Skrat company, which made several models similar to the present one, very popular among those who could afford them in certain areas of Europe in the 20th century. As indicated on the aircraft itself, it is the P-7 model, produced around 1945. Towards the beginning of the 19th century, several “machines” were developed for washing clothes, consisting of a wooden box in which the clothes were placed and a manually operated system that moved them. Another variant was those that had a drum in which the clothes were pressed. clothes to wring them out. Electric washing machines were not created until the beginning of the 20th century (these appliances were already being advertised in the United States in 1904; apparently, the first one in Europe appeared somewhat later), becoming a mass appliance from the end of the 1900s onwards. from the 1940s to the early 1950s, and in Western Europe developed into an everyday appliance from about 1960.
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 moulding and a semicircular body, with a wide mouth that flares outwards, and two metal handles in the shape of 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 warming the occupants of the room as much as possible, and they are rarely preserved 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 intended for a sacristy or a private residence. The present case, possibly intended for use in a sacristy, shows a typology common in the Spanish school of the time. Compare, for example, with the brazier present in The Birth of the Virgin Mary of the Altarpiece assembled around 1520 by Pedro de Guadalupe from Valladolid and found in the church of San Esteban de Amusquillo (which presided over the main altar of the cathedral of Valladolid until 1676, when it was sold to the parish church of Renedo); or with that of the Birth of Saint Eloy by Pedro Núñez (1526-1529, MNAC, Barcelona).
Plate. Silver in its colour. Madrid, Spain, 1731-1738. With contrast marks. Circular plate made of silver in its colour with smooth mouldings on the outside and contrasting and engraved marks on the base, on the outside. These place the creation of the piece in Madrid (Corte), dating it between 1731 and 1738, when Domingo Fernández Castelao was also a Court marker (whose mark also appears). Weight: 982 grams.
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.
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
Ameyaltepec, Guerrero. Tempera on paper. Venancio, Eugenio. Mexico, 20th century. Naïve rural landscape titled in the lower right and signed in the lower left, with people, buildings, animals, and plants in various poses, framed by lines and stripes of plant elements, all in flat, vivid colors. Eugenio Venancio was an artist active in the 20th century, with work held in several private collections and institutions such as the Musée International dÀrt Naïf de Magog in Canada.
Headboard with marquetry. Due to its purpose, the decoration is concentrated on the upper part of the headboard. This is done with classically inspired plant scrolls with two hunters and two dogs facing each other at the bottom. It is worth highlighting the shapes of the headboard's top: the lower curves are flanked by volutes; in the centre there is a shape reminiscent of Roman architectural models, and it is topped by a scallop with two branches on either side.
Vase in glazed porcelain. Inspired by models from the Manufacture Nationale de Sèvres The work, with classicist lines and decorative motifs, presents several spaces in porcelain in its colour with bouquets of flowers: on the neck, other larger ones on the fronts and, of medium size, on the circular base. It is inspired by examples from the beginning of the 19th century made by the Manufacture Nationale de Sèvres.
Desk display case. Four smooth, stipe-shaped legs form the base of the desk. It is rectangular in shape, with a semicircular extension in the centre of the main front, where there is also a drawer. In this space stands the one-door display case, which repeats this semicircle in its profile; it reveals the two spaces formed by a shelf thanks to a design of oval and ogee shapes.
Eleven-light ceiling lamp. Bronze with antique finish. The central body of the lamp is made up of a vase with garlands resting on a round moulding. From the top, a series of stems extend outwards, ending in the lights, whose curved stem has been made from laurel stems and its shades made from translucent glass in the shape of a blooming rose. From the bottom, there are crossbars with garlands that extend upwards, ending in the element that joins the lamp to the ceiling, where another point of light is presented. Classicist-inspired model.
Six-light ceiling light. Antique bronze finish and glass. The central stem is decorated with vases, oval shapes and plant scrolls. From its upper part emerge several buttons decorated with ovals from which stems curved with scrolls emerge in which the lamp lights are placed, which are shaped like candlesticks with a base made of translucent white glass. Along with the clear classicist inspiration derived from models related to the 19th century, one can appreciate some other elements inspired by the Renaissance.
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.
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).
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.
Bottle rack. Polychrome iron. 20th century. Tall cabinet with curved legs and double doors at the front, with iron shelves (double wires on each “shelf”) for storing bottles. It is decorated with curved rods accompanied by bunches of grapes at the front, and a simple trellis on the other sides of the cabinet, as well as crests and curves at the top.
Sèvres style vase. Enameled porcelain. Vase in cobalt blue with gold elements on a pedestal to which it is attached, forming a single piece. On the fronts of both parts bucolic scenes with a classical theme have been depicted: Diana the huntress on the pedestal and Venus dressed with cupids within ovals framed with gold plant motifs. The inspiration is clearly in the creations of the Sèvres Manufacture in France.
Enameled porcelain vase. Inspired by the Sèvres Manufacture. A vase is placed on a pedestal, and joined to it to form a single work. The dark cobalt blue background is decorated with gilded plant elements and, on the fronts of the vase, a figurative scene is placed: several women, dressed in 19th century fashion, appear seated on an idealised landscape; on the other side, two young women are the protagonists. The inspiration is clearly in the works of the Sèvres Manufactory in France.
Victorian brooch in 18kt gold with amethyst. 19th century. 18-carat gold brooch with a thin metal chain hanging down, ending in a gold safety pin intended to hold light decorative elements or to be fixed to the fabric, giving some movement to the jewel. The centre of attention is an oval faceted-cut amethyst, with a fine setting so as not to distract attention from the gem's frame. This is made up of an elaborate and delicate composition: in the centres of the sides there are four rectangular pieces with the smaller ends curved, decorated with fine plant elements and scrolls reminiscent of classicism; these elements are interspersed with two concave scrolls that flank a leaf (which also has a fine plant decoration in light relief); this frame is visually joined to the gem by a series of elements that resemble fine bows 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 era of greatest development of the Industrial Revolution, something that also influenced jewelry thanks to important technological advances in practically all fields (hydraulic energy, steam engines, gas, etc. influenced the machinery to be used), and England's broad political dominance allowed for the use of "exotic" materials from the colonies. Advances in machinery allowed for slightly lower costs in jewelry, new cuts in gems with a greater number of facets (thanks to faster lathes), new developments in alloys (lowering of gold alloys since 1854 in England, introduction of galvanization...), etc. As for the designs, these were always marked by Queen Victoria's taste. Thus, in general, three stages can be distinguished: the Early Victorian or Romantic Period (c. 1837-1860), often inspired by the world of nature; 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 the archaeological discoveries of the time and technical innovations 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 reduction in the size of the works as a general rule. Measurements: 4.7 x 4.4 cm. Weight: 21.07 grams.
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