Z. Sierra · Antiques and Decorative Objects

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CARVED FRAME WITH PAINTING ON VELLUM, “OUR LADY OF THE ROSARY WITH SAI...

Carved and gilded frame with paint on vellum, “Virgen del Rosario with Santo Domingo de Guzmán and Santa Catalina de Siena”, 17th century. Inscription in the rear area (D. José Salazar). Quadrangular frame with square projections in the corners and semicircular projections in the centers of the sides. The fleshy and outstanding vegetal carving that it presents is gilded, and in some areas you can see the red bowl with which the thin metal sheets were adhered to the wood. The painting on vellum presents magnificent openwork work, flowers on the border and several characters. The scene represented is the Virgin giving the rosary to Saint Dominic de Guzmán and Saint Catherine of Siena. Mary appeared to the founder of the Dominicans, giving him the “Crown of Roses of Our Lady”, also called the rosary, and teaching him how to pray it, with the command that he preach it among men. This particular dedication is known as Virgen del Rosario. Saint Catherine of Siena took the habits of the third order of Saint Dominic at the age of 16, despite family opposition. That is why she is represented dressed like this. It was the members of her order who dedicated themselves to expanding her cult throughout Europe, attributing common miracles to other saints (stigmatization) and representing her in numerous scenes. One is that of the present work: despite not having participated in the delivery of the rosary, she is included in the theme along with Saint Dominic, flanking Mary, who usually appears with the Child. The Virgin appears in heaven, with the saint on her right and the saint on her left, giving them a garland of flowers that symbolizes this rosary; The buildings in the background refer to the religious foundations that were carried out thanks to Saint Dominic (the first formal community of “preaching brothers” was organized around 1215; the same saint founded a female monastery in Prohuille). The delicate vellum work with openwork and the marked presence of flowers put the work in relation to a female convent of the order. It would be ordered by themselves or brought as part of a sister's dowry. The high quality and importance of the frame indicate the great value given to the painting, which would be hung on a wall as evidenced by the presence of a metal hook on the back. Frames similar to the present one, with the same quality and importance of the size, are not easy to find. Similar examples are preserved in the J. Paul Getty Museum in Miami, the Victoria & Albert Museum in London, the National Museum of Decorative Arts in Madrid, the Louvre in Paris, etc. Paintings on vellum were very common in the Baroque because it was a much cheaper support than panel. However, as they were executed by minor artists, their value has only recently been recognized, so not many examples survive.

· Size: 33x37.5 LUZ 13.5X18 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZA5034
ROCCOCO STYLE MIRROR. WOOD. 19TH CENTURY.

Rococo style mirror. Carved and gilded wood. XIX century. Slightly rectangular mirror with a frame made of carved and gilded wood and decorated with elements inspired by 18th century Rococo art (rockets, curves and countercurves, fleshy plant elements, etc.) along with a composition more in the style of 19th century art ( Note the interior area of the frame, the symmetry, the crest...).

· Size: 157x27x158 cms
ANTIQUES

Ref.: ZE300
THREE LOCKS CHEST. WALNUT, IRON. SPAIN, 17TH CENTURY.

Town hall chest. Walnut wood. XVII century. Rectangular carved walnut wood chest, with a flat lid, and simple decoration on its fronts with smooth moldings of different widths. It is raised slightly from the ground thanks to six legs with a cylindrical socket on a flattened circle. On the outside, it has a series of wrought iron fittings (corner pieces with flordelised finish), two handles on the sides with openwork fittings and, on the front, three locks with keys with openwork lock shields and decorated with simplified plant elements. Inside, it has a wooden partition on one side and located high, which consists of a rectangular space with a hinged lid and two small drawers at the bottom. The three keys, made of iron, have their eyes worked and decorated, with simple decorative elements towards that side of the stem or central part and the usual flat bits. Chests with three locks are also often known as “Town Hall” or “Council” chests, because both these and those with two keys were often used by religious, military or civil organizations to store valuable objects and documents, securing them with a key. to each person responsible (as many people as there are locks and keys), so that they had to get together to open the furniture. In many places in the Spanish territories it was used as a municipal archive, following laws inherited from a pragmatic law of June 9, 1500 with which the Catholic Monarchs forced the Councils of their territories to build town hall houses, prisons and have an ark of privileges. and writings. Despite having been abundant in their time, numerous examples have not reached us because they fell into disuse and were replaced. Compare with that of the Council of Villafranca de la Marisma (Los Palacios and Villafranca, Seville), that of Valdipiélago (León), that of Matapozuelos (Valladolid), that of the Cabildo of Buenos Aires of Argentina (18th century, following previous models), etc

· Size: 157x64x78 cms
ANTIQUES

Ref.: ZF0870
SILVER DRINKING CUPS SET.17TH CENTURY.

Pair of catavinos. Silver. XVII century. Pair of glasses or cups for drinking wine made of silver in their color that have a small, low cylindrical foot, a curved edge towards the top and a central area curved upwards, which has been decorated with a composition based on motifs geometric embossed in stripes and around a central element. These types of glasses were used on special occasions (ceremonies...), hence their material and the decoration they have, and were very common during the reign of the Austrians in Spain. Although they were initially objects for civil use, it was not unusual for them to be donated or commissioned for use in churches or liturgical settings, and they were also frequently used in notable festivals (Corpus, pilgrimages, etc.). The shape of the pair is a good example of the attachment to certain previous traditions that occurred in Spanish silversmithing during the 17th and 18th centuries, especially in certain production centers. Weight: 435 grams.

· Size: 18x18x5 cms.
ANTIQUES

Ref.: ZF0958
SILVER WRITTING SET. WITH HALLMARKS. CORDOBA (SPAIN), ANTONIO JOSÉ SAN...

Writing desk. Córdoba, Antonio José de Santa Cruz (Córdoba, 1733 - ¿) and Juan de Luque y Leiva, 1773. With contrast and chipping marks. There is something missing in some container and a bell is added. Silver writing desk composed of a tray, four containers and a bell. The first element, oval in shape, has edges with soft curves and countercurves, decorated at the top with flat moldings, combined with volutes and veined 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 you can see engraved initials), which go towards the upper part following spirals parallel to each other, these lines that continue on the finished lids. Two of them, smaller, have holes in the covers. The bell to summon service, which has a space for itself on the tray, has much simpler lines. The contrast marks arranged at various points in the game provide data regarding its date, origin and place of creation. They would be held 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 work preserved in the area (Parish of San Miguel de Córdoba, a cruet holder with cruets in Loja from 1778, works in the Costume Museum in Madrid, etc. .). Stylistically, the lines of the entire set (except those of the bell), show that it belongs to the Rococo, with the usual influence of certain details of Neoclassicism, which affect 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
MISCELLANEOUS;SILVER WORKS

Ref.: Z6810
Sold

CHEST. WOOD, GILT IRON, RED VELVET. 16TH CENTURY.

“Rehearsed” chest. Wood, covered in velvet, gilded iron fittings. Century XVI.
Chest with a rectangular base and smooth walls with a lid with sloping sides and a straight top (trunk-pyramidal) made of carved wood. It stands out, above all, for still presenting (and in a remarkable state of conservation) the red velvet with which some of the main examples of this type of work used to be covered, and for maintaining elaborate hardware in its decoration and with gilding in numerous areas. . The three fittings that join the lid to the base have vegetal-shaped endings that are reminiscent of flordelised examples; The handle at the top has a disc in the center and sharpened finials; The shield of the lock is reminiscent of a heraldic one, topped with another simple plant element, and the bolt that joins it to the leg has simple architectural shapes; On the right, there is also a hook to prevent accidental opening of the chest when opening the lock. The interior, open and uncompartmented, has fine textile upholstery in a color similar to the exterior velvet.
This type of chests or caskets lined with fabric (the examples that have velvet are the highest quality, as this is a textile made with silk or linen) is very common in Spain during the 15th century, continuing in the 16th century. , being characteristic elements of the time of the Catholic Monarchs. As for the presence of a lining inside, it is due to the clear intention of preserving the contents of such a rich chest in the best possible condition, saving them from possible damage that the nails in the hardware could cause to the valuable objects that are stored. They were stored in this type of containers, which is why two hooks were also placed flanking the lock to prevent accidental opening once the key was turned. As for color, note that the most expensive dyes were red and blue, so these were the most expensive and valuable specimens.
As indicated, it is not common for such ancient velvet to still retain its characteristic pile, reducing the number of works with which we can compare the present chest. It is much smaller than the pine wood trunk covered in silk velvet, with iron fittings, preserved by the National Museum of Decorative Arts in Madrid, made in Castile between the last quarter of the 15th century and the first quarter of the 16th."

· Size: 27x14x16 cms.
ANTIQUES

Ref.: ZF0122
MINIATURE AFTER SIR JOSHUA REYNOLDS. POSSIBLY, 19TH CENTURIES. NEOCLAS...

Miniature with bronze frame in Neoclassical style (19th century). “Mrs. Smith (Charlotte Delaval) and her children (Jorge, Henry, Louisa and Charlote).” Following work by Sir Joshua Reynolds. Possibly, 19th century. Signed in the lower right corner (Reynolds). Rectangular frame arranged vertically that has a series of moldings with different decorations and a cape at the top of lacework, leaves and openwork flowers. Inside, it presents a band of fabric embroidered with plant elements, and also presents an ancient textile on the back to protect the work. The miniature in the center presents a background of a natural landscape (you can see some trees and an opening to the horizon to the right) and some figures in the foreground. A lady, elegantly dressed, raises a hand to her cheek; The three children, to his right, also appear dressed in gala clothes and playing with each other (two of them also look towards the viewer). The miniature is closely inspired by a painting currently kept in the Metropolitan Museum of Art in New York. This is a portrait of “Mrs Smith (Charlotte Delaval) and her children (George, Henry, Louisa and Charlotte)” made by Sir Joshua Reynolds (Plympton 1723-London, 1792) in 1787 (Inventory 25.110.10). It is known that engravings were made of this painting (Francesco Bartolozzi in 1789; R. Josey in 1880) and that Samuel Shelley (1750/56-1808) made an oval miniature closely inspired by it (Lady Smith appears without a hat in the same) and which is in a private collection (sold by Sotheby's in London in 1977). The clearest changes in the miniature, compared to Sir Joshua's work, are the color of Mrs. Smith's dress, the children's face (more delicate), the landscape in the background, the general tone of the work and the addition of the flowers in the lower right corner. In another private collection there is a miniature (by the British Frank W. Wilkin) showing the three children of Sir Robert Smith and Lady Charlotte, also inspired by the painting by Sir Joshua Reynolds. Samuel Shelley was born in London, and was a largely self-taught artist, best known for his miniature watercolor portraits. He exhibited his work for the first time at the “Society of Artists” in 1773, entering the Royal Academy Schools a year later, an institution where his work received the influence of Sir Joshua Reynolds. Work by his hand is preserved in numerous private collections around the world such as the Yale Center for British Art, the National Portrait Gallery in London, the Royal Collection of the British Royal Family, the Metropolitan Museum in New York, etc. Francis William Wilkin, or Frank Wilkin (1791-1842) was an engraver specialized in painting portraits who began working with miniatures, although he also tried other genres.

· Size: 19x13 cms / 37x25 cms.
ANTIQUES

Ref.: ZF0157
SILVER JAR O JUG. FAXARDO, ANTONIO. SPAIN, CÁDIZ, 1787; REMARKED IN IT...

Jug. Silver. FAXARDO, Antonio. Spain, Cádiz, 1787; highlighted in Italy (Naples). With contrast and burilar marks. Published in Encyclopedia of Spanish and American Viceregal Silver. Bibliography: Fernández, Alejando; Munoa, Rafael; Rabasco, Jorge. “Encyclopedia of Spanish and American Viceregal Silver.” Second edition, corrected and increased. Torreangulo Graphic Art, Madrid, 1985. Page 121; image 235 on page 331. Silver jug in its color that has a raised circular foot, a spherical body that narrows upwards and opens again towards the lid of the piece (which has an open spout, simple engraved decoration and a vegetal finish of branches with fruit) , and a curved handle decorated with architectural and plant elements of clear classicist inspiration. This same influence can be clearly seen in the lines of the piece. Typologically, it is situated within a common line of 18th century Neoclassical Spanish silversmithing that emerged in the capital of the Court (Madrid), a city from which it spread to other centers. Likewise, a certain Rococo souvenir is usually mentioned in some detail (the handle in the present case). The contrast marks it presents are those of the town of Cádiz, that of the silversmith Antonio Faxardo (active between 1775 and 1789), a chronological mark (1787) and that of Naples (considered as a mark). Note that the Cádiz punch, the contrast punch (illegible), the chronology punch (1786) and the silversmith Antonio Faxardo's punch appear on a chalice in the Cathedral of Santander. In the aforementioned book they identify the marks present on the piece, in addition to providing a photograph of it. Weight: 1008 grams.

· Size: 17x13x30 cms.
ANTIQUES

Ref.: ZF1014
BRONZE MANTLE CLOCK, CUPID WITH ROOSTER. BRONZE, MARBLE. POSSIBLY FRAN...

Table clock. Gilded and blued bronze, marble base. Possibly France, late 19th century. Working. Paris machinery table clock in working condition featuring a rectangular light marble base with the front pushed forward slightly to give space for the clock case. This has a white dial, Louis XVI type hands and Roman numerals for the hours and fives in Arabic for the minutes. This part is sheltered in a golden marble pedestal, which has a Greek fretwork base resembling waves, a laurel garland and, on the sides, some books, an overturned vase with flowers and an arch; Above, plant elements and a bow. A gilded bronze rooster has been placed at the top, and, holding the animal, a cupid appears (note the bow that would link him with the god of love Cupid) or a blued bronze cherub, thus creating a marked contrast. A few examples similar to the present one are known in private European collections, given that it was a highly appreciated model of which the French workshops specialized in this type of pieces created some variants for watchmakers who requested them. Likewise, there is another model without a rooster and with the lying angel, very similar to the present one, of which porcelain examples created in Meissen are also known.

· Size: 35x15x40 cms
ANTIQUES

Ref.: ZF1036
BRONZE CLOCK WITH MUSE. FRANCE, 19TH CENTURY.

Table clock with Muse and writers. Blued and gilded bronze, Paris machinery. France, 19th century. Machinery in perfect working order.
Blued and gilded bronze table clock with Paris machinery, and a white dial with a gilded bronze center (Roman numbering for the hours, lines for the minutes and Breguet-type hands). The rectangular pedestal stands on supports and has architectural decoration; The base of the clock, also rectangular, shows vegetal crowns with scrolls highlighting cartouches (with names: Virgile, Tasse, Homere, Racine, Voltaire); The sphere and the machinery are housed in a piece of gilded bronze that resembles a bookshelf, on which appear books, a laurel wreath and a musical instrument. A blued bronze female figure, dressed in a tunic, holds this kithara, a plucked string instrument typical of ancient Greece, similar to the lyre (the difference is the soundboard, so it could be a lyre at present).
The female figure would be a Muse: these classic divinities from Greek mythology inspired the arts; daughters of Zeus and Mnemosyne, companions of the god Apollo in his retinue, each one is related to a branch of art and knowledge. It is linked to the lyre Calliope (muse of eloquence, beauty and epic poetry) and with the zither Erató (muse of lyrical-love poetry).
As for the names mentioned, the first refers to Publius Virgil Marón (70 BC-19 BC), Roman poet, author of the Aeneid, the Georgics, etc. He was also known for his role as a guide in Dante Alighieri's Divine Comedy. Torquato Tasso (1544-1595), Italian poet and author of Jerusalem Liberated, Rinaldo, etc., is known as “Le Tasse” in French. Homer is the name given to the author of the Iliad and the Odyssey, foundations of Greco-Latin epic literature. Racine is the surname, among others, of the French playwright Jean Racine (1639-1699) and his son and poet Louis Racine (1692-1763). François-Marie Arouet (Paris, 1694-1778), better known as Voltaire, was a French writer, historian, philosopher and lawyer, with numerous literary and philosophical writings.
Curiously, there is knowledge of an Empire clock (located in a private French collection) in the shape of a library with books, very similar to the one in the present piece. And it is necessary to remember that the high specialization of French bronzesmiths, which gave rise to works of art of great quality, meant that several pieces of the same model were created if it was liked by the aristocracy and the upper class. For this reason, there is evidence of several watches, with slight differences compared to the present one (especially in the dial and the absence of blued bronze), preserved in private collections and dated to the beginning of the 19th century.
Weight: 12.7 kg."

· Size: 40x15x57 cms.
ANTIQUES

Ref.: ZF1069
SPANISH CHEST OF DRAWERS FOR SACRISTY-USE. WALNUT AND IRON. SPAIN, 17T...

Sacristy chest of drawers in walnut wood with carved decoration. Spain, 17th century. Furniture with three very deep drawers with the lower one higher, on rectangular legs and with a straight wooden top board, slightly protruding. Each of the drawers has two wrought iron handles. The sides have been decorated with simple rectangular molding panels, while the drawers have been carved in relief: the upper one, with branches, vines and leaves; the central one with fleshy vegetal scrolls; the lower one with three plates, the lateral ones with a central rhombus and flowers in the corners, and the central one with a rose framed by a cord with three knots on each side set in two keys. It is these carvings, in addition to the depth of the drawers, the horizontality of the composition and lines and the straight top board that suggests the use of the furniture in a sacristy to store liturgical clothing appropriately and, furthermore, indicates that there could have been been commissioned by a Franciscan institution (note the typical cord with the knots) dedicated to Saint Peter (because of the two keys in the corners). Although it does not have the usual rear paneling from the 16th century, it does have the front with volumetric carvings, typical of the 17th century, and decorative elements typical of the Baroque, in addition to certain memories of previous furniture (panels in the lower area). The carving and quality of the assembly of the panels (note the tongue and groove of the corners) shows that these were works of relevance, intended for religious environments. The boxes on the sides are reminiscent of those on the central chest of drawers in the Ante-sacristy of the Cathedral of Ávila. As in that of the sacristy of the Cathedral of Murcia, it is the fronts that present carvings in this example, which are reminiscent of others such as those on the refectory table from the collection of the Marquis of Santo Domingo (Madrid). More frequent, however, are those with simpler fronts, although, due to direct influences, examples can be found that demonstrate the popularity of this prototype, such as the chest of drawers in the sacristy of the Old Convent of San Francisco in Havana (Cuba).

· Size: 175x105x112 cms.
ANTIQUES
FURNITURE

Ref.: Z5454
”SAINT BARTHOLOMEW’S MARTYRDOM”. PAINTING ON VELLUM. AFTER MODELS FROM...

“Martyrdom of Saint Bartholomew.” Painting on vellum. According to the model of Ribera and Cucó, José (Játiva, 1591 – Naples, 1652). The composition is organized around the diagonal drawn by the trunk of the tree to which the old man is tied. The soldier on the right is skinning him, while another figure on the left balances and harmonizes the painting. This is the way in which Bartholomew the Apostle was martyred: according to tradition, the king of Armenia Astyages ordered him to worship his idols, which he refused, ordering him to be skinned. Practically all the elements of the work can be related to the Italian school, while the composition follows common models in the Baroque of the 17th century. The coloring shows the work very far from the Caravaggesque tenebrism that was common at that time, and does not present lighting contrasts, in addition to being reminiscent of works more in line with the classicist baroque or even previous Mannerism. José de Ribera y Cucó was a painter and printmaker born in Spain who developed his entire career in Italy, where he was known as Giuseppe Ribera and by the nickname “Lo Spagnoletto.” His style evolved from the tenebrism of Caravaggio towards a much more luminous aesthetic influenced by figures such as Van Dyc, and contributed greatly to creating the “Neapolitan school” (in which Giovanni Lanfranco, Luca Guiordano... stand out). He was born in Játiva, and it is possible that he learned with Francisco Ribalta, and, while still a teenager, he went to the north of Italy (Cremona, Milan, Parma), to later go to Rome, where he came into contact with classicist works (Reni and Ludovico Carracci ); He ended up settling in Naples. His work is preserved in important private collections around the world, as well as in institutions such as the Prado Museum and the Royal Academy of Fine Arts of San Fernando in Madrid, the Capodimonte Museum in Naples, the Louvre in Paris, etc. The work is reminiscent of an oil painting on canvas made by José de Ribera between 1617 and 1619 for Pedro Téllez Girón III, Duke of Osuna and viceroy of Naples in those years, preserved in the Museum of Sacred Art of Osuna in Seville (Antigua Collegiate Church of Osuna ). It was part of a group of five paintings (Saint Sebastian, Saint Peter the Penitent, Saint Jerome, the Angel of Judgment and The Calvary, the latter a work commissioned by the Duchess and completed in 1618) that are known in the Collegiate Church as early as April 1627. This group is considered one of the most important at the beginning of its activity. However, it is possible to relate it much more closely to another work that presents a similar composition: one of the four etchings that Ribera made between 1624 and 1628: the one of the “Martyrdom of Saint Bartholomew” is signed, dated (1624) and dedicated to the Prince Manuel Filiberto of Savoy, nephew of Philip III and viceroy of Sicily. In this engraving and the work on vellum, a figure on the left faces the viewer, holding two staffs in his hands; The saint looks up, with his arms tied above his head, bent, and his legs drawn up, while a man skins him, holding a knife in his mouth; On the vellum, however, the male figures on the right that are in the engraving are not presented; The sky is also different. As already noted, the main differences are color and lighting, which place the present work closer to baroque classicist currents.

· Size: 10,5x15 cms. / 22x26,5 cms.
ANTIQUES

Ref.: Z6742
”DISMISSAL OF HAGAR BY ABRAHAM”. MINIATURE. AFTER VAN RIJN, REMBRANDT ...

“Abraham disowning Hagar.” According to the model of VAN RIJN, Rembrandt (Leinden, 1606 – Amsterdam, 1669). Framed miniature. Century XVIII. The scene is set in an idealized landscape. In the foreground, a venerable old man, richly dressed (blue tunic, yellow belt and red cape with ermine, with a colorful turban to match), walks, indicating the act with his hands, towards a woman who covers her face, showing thus the artist his sorrow. She is accompanied by a child, with his back to the viewer, and carries a series of packages and a vessel, making one think of a trip. To the left, in some humble architecture, there is an elderly woman looking out to see the scene, smiling, while a young child does the same as her, opening a wooden door from which a small dog runs out. Shows a story from Genesis. The story tells that Sarah accepted that Abraham would obtain offspring thanks to an Egyptian slave, Hagar, a union from which Ishmael was born. However, when Sarah had Isaac thanks to a miracle, she convinced Abraham to expel Sarah and her son. The anecdotal detail of presenting Sara appearing smiling, the dog, Sara's sadness, etc. It can also be seen in the painting of the same subject by the Flemish Pieter-Jozef Verhaghen (1728-1811), in which Abraham also appears with a red cloak and turban, but the composition and environment differ; in the painting by Jan Victors from around 1635 (Budapest Museum of Fine Arts), with Sara and her son smiling; etc However, some drawings by Rembrandt are preserved (Herbert F. Johnson Museum of Art at Cornell University, two by Rembrandt; this institution has another, probably from the 18th century and anonymous but very similar; and there is another by the artist in the Metropolitan Museum) made in 1637 by the master that follow, almost point by point, the present work except, logically, in the coloring and in the background, where the architecture of the baroque master is replaced by a landscape.

· Size: 15,x18,5 / 28x30 cms.
ANTIQUES
PAINTINGS

Ref.: Z6786
DEVOTIONAL PLAQUE. IVORY, WOOD. CIRCA LAST THIRD 16TH CENTURY, AFTER J...

devotional plate; Last Supper, Christ on the Mount of Olives. Wood, tinted ivory and engraving. Towards the last third of the 16th century, following models by Jan Sadeler I (active 1550-1600). Rectangular carved wooden plaque with a ring and a hole on the back, presenting two ovals on the front with biblical themes enhanced with dark wood frames decorated with square diamond points above and below and rectangular on the sides, and winged heads of angels on the corners that these two compositions leave free. On the left, the Last Supper appears at the top, with Christ under a canopy and accompanied by Saint Peter and the rest of the Apostles on both sides; below, Judas receiving the bag of coins; A series of architectural elements, angels, fabrics, plant motifs, scrolls, etc. complete the space. of clear classicist influence. On the right, the theme of Christ on the Mount of Olives, with Jesus raising one hand towards the chalice offered to him by an angel and accompanied by two sleeping Apostles, and with two soldiers; below, and through a door, the Arrest of Christ; A series of bands topped with volutes, architectural and vegetal motifs, etc. complete and organize the composition. of classicist influence. Both scenes are inspired, very closely, by two engravings from the series “Passio Verbigenae Quae Nostra Redemptio Christi”, published by Jan Sadeler I (active 1550-1600) between 1575 and 1600 and inspired by Marcus Gheeraerts I (Bruges, 1516/ 21-London, c.1590). Engravings from this series are preserved in many prominent museums around the world (British Museum in London, Rijksmuseum in Amsterdam, etc.). According to experts, around 1580, the artist Marcus Gheeraerts designed this series of the Passion of Christ, framed, highlighted, hierarchical and structured thanks to an elaborate and delicate system of grotesques and other classicist elements that is applied to the iconographic themes it presents. At the time of the creation of engravings, and later, during the Baroque, the use of engraved (or carved) ivory or bone plaques on furniture, lecterns, altars of personal devotion, devotional plaques, etc. was common. Compare, for example, with desks from the Flemish school, the Neapolitan school, etc. such as the one dated around 1600 from the Philadelphia Museum of Art (workshop of Iacobus Fiamenco, Flemish; active in Naples, Italy, between 1594 and 1602; with scenes based on engravings by Dirk Volkertsz; Coornhert, Netherlandish, 1522 – 1590; following designs by Maarten van Heemskerck (active Haarlem and Rome, 1498-1574)). It is also necessary to mention pieces such as the reliquary altarpiece of the Brotherhood of the Blood of Christ from the Church of Santa Isabel de Portugal (San Cajetan) in Zaragoza, which presents religious scenes based on engravings by Antonius Wieris (1555/9-1604) .

· Size: 12x1,5x13 cms.
ANTIQUES

Ref.: ZF0963
TABLE FOR SPANISH WRITTING DESK (BARGUEÑO) WITH “SAINT ANTHONY” LEGS. ...

Bargueñera table with “San Antonio” leg. Wood and rosewood, wrought iron fasteners. Spain, 18th century. Rectangular table top decorated with simplified geometric motifs combining wood of different colors in a symmetrical arrangement. Two straight legs, open downwards and joined with a shell, have been secured by two curved fasteners with a disc in the center made of light-colored forged metal. Although the curves of the pawls and discs may recall examples from the Baroque, the simple geometric decoration of the upper board, the absence of movement and the straight lines of the legs, of the typology known as “San Antonio” (which also found in examples from the 17th century), they make us think of the 18th century, already under the influence of Neoclassicism. Compare, for example, with the magnificent example of a dining table from the Royal Workshops dated to the second third of this century and preserved in National Heritage. The usual thing is that this type of tables, made to hold desks, either Spanish or Italian, would have their tops smooth and without marquetry of any kind because with the furniture they would barely be seen and only the two iron fasteners would be left on the front. that this example has or, also, that they dressed in rich fabrics to highlight the trash cans, leaving little more than the legs visible. They were works made for upper-class homes just like those desks, so only prominent private collections and important museums preserve similar examples: one in the Sorolla (inventory 30023) in Madrid has a tabletop with pyrography-engraved white resin plates with mythological scenes, another from the 17th century in the National Museum of Decorative Arts (CE02068) with geometric motifs in marquetry, or another very similar to the one present in the Regional Museum of Daroca (00038) but of contemporary date, made inspired by buffets like the present one.

· Size: 176x70x79 cms.
ANTIQUES
FURNITURE

Ref.: Z4858
SQUARED PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Square table top. Marbles and hard stones. Inspired by Italian models from the 16th-17th centuries. A frame of simple geometric elements and white oval shields accompanied by architectural details highlights, thanks to its light tones, the decorative motif in the center. This one, located on a dark background, is made up of vegetal scrolls and flowers organized by lines towards the interior, camouflaged thanks to those stems, so that, despite the decorative abundance, the four-petal flower in the center stands out. The “hard stone work” used in this table is very similar to marquetry, but uses marbles and stones with a hardness greater than 6 on the Mohs scale. The idea arose in Florence, when trying to revitalize a type of mosaic that was used in Ancient Rome called “opus sectile” during the Medici era. Such success had that, very soon, other workshops emerged in Europe, among which it is necessary to highlight the Gobelin Factory in France, the Royal Workshop of Naples and the one established by Charles III in the Royal Site of El Buen Retiro in Madrid, the which closed at the beginning of the 19th century. The present example is heir to this tradition. And stylistic influences are also appreciated. Although at first there was a great variety of decorative elements in these stone inlays, from around 1600 the naturalistic motifs gained prominence, which gained in variety over time by including butterflies, birds, fruits... Compare the present example with those preserved in the Opificio delle Pietre Dure in Florence, with the Roman chess board from between 1565 and 1590 from the National Museum of Decorative Arts in Madrid (CE inventory 27144) or the anonymous Roman chess board from before 1636 (O00470) from the Prado Museum.

· Size: 120x120 cms.
DECORATION

Ref.: AWST91 1...
SILVER INKSTAND, MADRID, 1779.

Notary in turned, cast and chiseled silver, Madrid, 18th century (1779). Contrast marks on the edge of the tray, on the bottom. Property mark “AL”. A tray with curved profiles stands on four legs shaped like plant elements. Fixed to it are the four containers that make up the writing desk. These, and the bell, have a magnificent decoration based on turned flat gallons on their body, base and lid. It is composed of a tray, sandbox or sandbox (to dry the ink) with a bell (call the servant or the person responsible for carrying the message or written message) and three inkwells or dusters with lids, all attached to it by means of through screws. The profiles of the tray correspond to works of the Charles III period and style, while the jugs still show part of the movement that characterized Rococo, already introducing the clean lines characteristic of Neoclassicism. In the second half of the 18th century, with the accession of Charles III to the throne, Italian influences arrived in silversmithing once masters from this country had established themselves, either as silversmiths or, in many cases, also as bronzesmiths. At the end of the century there was also an abandonment of Rococo forms in favor of the Neoclassical style, whose particularities can be seen in this writing desk. These galloned shapes come from decorations based on ancient Roman art on which this second artistic style was based, as do the plant elements. Madrid would set the standard in art as the capital of the kingdom, and the continuous movement of pieces and the relative ease in communications and transmissions of drawings and engravings make it difficult to distinguish particular styles and trends in many cases. Likewise, we must highlight the great role in improving the quality of silverware designs that the founding of the School-Workshop by Antonio Martínez in 1778 had. It has a locality mark, Madrid Corte y Villa 1779, and an artist. Weight: 1850 gr.

· Size: 31x25Xx14 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6413
PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Round table top in marbles and hard stones. “Branches and grapes.” Inspired by Italian models from the 16th-17th centuries. Circular table top with a motif of vine leaves and black and white grapes in the center on a black background. An outer band, marked with two white lines, highlights this element and shows a variegated composition with varied flowers and stems with leaves. This form of inlay, called “hard stone work”, uses marbles of different colors and veins and stones with a hardness on the Mohs scale greater than 6. Lapis lazuli and Belgian black marble for the backgrounds were used very often and As was often the case with these materials, they had to be imported, hence the high price these works acquired. Desks, furniture, vases, plaques... were made for the high aristocracy and the courts in different European workshops. The technique was born in Florence, thanks to the interest on the part of Piero de Medici and Lorenzo the Magnificent to revitalize a Roman mosaic technique (opus sectile). Starting in 1600, naturalistic motifs were preferred over other themes and other production centers of great importance were established: in France, the Gobelin Factory; The Royal Workshop of Naples took over from the Florentine when the Medici disappeared; In Spain, Charles III established another in the Royal Site of El Buen Retiro, which disappeared at the beginning of the 19th century. The present example is inspired by this tradition. Compare with works preserved in important collections: those preserved in the Museo Opificio delle Pietre Dure in Florence, the table from the Prado Museum in Madrid made by Francesco Ghinghi in the Real Laboratorio Delle Piedre Dure in Naples (catalog number O00511), or the panel “Parrot perched on a pear tree” created in the workshops of the Grand Duke of Tuscany in Florence and preserved in the Moscow Kremlin Museum (Russia).

· Size: Diam. 120 cms.
DECORATION

Ref.: AWD13 D1...
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ENGRAVED SILVER CUP, \'POKAL\' GERMANY. 19TH CENTURY

German silver cup. XIX century It is made entirely of silver, and decorated with relief motifs, a round shape, engravings and chiseling. It is directly inspired by similar pieces made in 16th century Germany, in full Mannerism. This is due to the importance that Germanic silversmithing had in that century; German and Central European craftsmen in general created exquisite pieces for collectors' cabinets designed to be displayed and not used, the greatest example of virtuosity and ornamental richness of Mannerist silversmithing. One of the most recognizable typologies of Germanic Mannerist silverware will be this type of tall cup, with a cylindrical container with a differentiated subcup and a large lid. These are functional or ornamental glasses, depending on the richness and abundance of their decoration. This decorative profusion, combining all types of motifs, is key in Mannerist silversmithing, and went so far as to replace parts of the structure with decorative motifs, as we see here in the shaft, composed of a vase, and the knob, with the round figure of a young classical warrior. The main motif of this design is the raised gallons, which take the shape of oval recesses and are separated by baquetones with parallel transverse lines. We see them in the subcup, the boza and the lid, although they also appear on the foot, although simplified, without recesses or baquetones. The piece stands on a circular foot with a flat and smooth base, with two domed steps profusely decorated: gadroons above and intertwined braces, with flowers and classic masks below, typical motifs of the Mannerist ornamental background. The shaft, as we have mentioned, takes the shape of a balustraded vase adorned with large braces like ribs, topped by bird heads. The container has a cylindrical shape, with a highly relief cup, adorned with herms in relief, again a typical motif of Mannerist silverwork. The upper part, under the mouth, also extends outwards, although its gallon decoration is simple enough not to overshadow the delicate and meticulous embossed and chiseled engraving of the central area. In it we see two oval cartouches that house representations of two gods from classical mythology: Bacchus, serving wine in a glass against a background of a landscape with houses, and Mercury, running in a forested landscape. Between both cartouches are classical masks of great ornamental richness. Finally, the lid is domed, with a curly perimeter and a stepped structure. The pommel is sculptural and represents a classical young warrior, perhaps the god Mars. Weight: 1742 gr. (It has a counterweight on the base)

· Size: 10x10x33 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5957
”SAINT ROCH”. POLYCHROMED AND GILT WOOD SCULPTURE. JUAN DE ANCHIETA WO...

"San Roque". Sculpture in polychrome and stewed wood. Environment of Juan de Anchieta, 16th century. A bearded male figure is standing, holding a book and with a pilgrim hat on his back, in addition to presenting himself showing his right leg and resting his foot on a quadruped with something in its mouth. To his right, a naked child looks towards the saint while touching his leg with his left hand. He is presented with the angel on his left, the plague wound or buba on his leg (normally, the one shown is the other), the pilgrim's hat and cloak, and the dog with the loaf of bread located under one of his feet. in a very unusual way. All these attributes help to identify the image with Saint Roch, an Occitan pilgrim canonized in 1584, highly venerated before this date, above all, for considering him a healing saint, especially in cases of pestilence. A marked influence of the Italian Renaissance is clearly noticeable in the carving: from Michelangelo in the corporeality and anatomy of the two figures, the expressiveness of the saint, the composition, etc. These details, along with other particularities such as the hair and proportions, allow us to relate the sculpture to the workshop of Juan de Anchieta (Azpeitia, around 1533- Pamplona, 1588), a sculptor of great importance in 16th century Spanish art with work in the northern Castile, Aragon, the Basque Country, Navarra and Burgos, considered one of the main figures of Romanism. It is believed that he was trained in Italy, hence his stylistic connection with certain works by Jacobo della Quercia and, above all, his inspiration in the works of Michelangelo. The influence of the Valladolid focus is also clear in his style, where it has been documented between 1565 and 1570. Compare, for example, with the altarpiece of the church of San Pedro de Zumaia (Pamplona), completed already in 1577, the commissions which he made in the Cathedral of Burgos between 1576 and 1578 (Coronation of the Virgin and carving of Mary located on the lectern of the choir), or the main altarpiece of the Parish of Santa María de Tafalla made between 1581 and 1583. He set up his workshop in Pamplona, with numerous commissions and his style was so appreciated that it would influence works carried out in Aragon throughout the first third of the 17th century.

· Size: 16x11x25 cms.
ANTIQUES
SCULPTURE

Ref.: ZE062
SILVER JAR OR JUG. VITORIA, 18TH-19TH CENTURIES.

Jug. Silver. Vitoria, 18th-19th centuries. With hallmarks and chipping marks, and ownership initials (TN). Published in Encyclopedia of Spanish and American Viceregal Silver. Bibliography: Fernández, Alejando; Munoa, Rafael; Rabasco, Jorge. “Encyclopedia of Spanish and American Viceregal Silver”. Second edition, corrected and increased. Torreangulo Graphic Art, Madrid, 1985. Page 240; page 430, image 1472. Silver jug or jug in its color, with a circular foot decorated with moldings and a string of pearls, a semi-ovate belly on which, through a band of classicist architectural motifs, rise a curve, a step and a high neck with a concave profile. The mouth, with a sinuous layout and enhanced with another band of plant elements, presents an elevation towards the spout, and covers with a stopper or lid topped with a swan-shaped knob. The handle is a feline with a round shape, in an attitude of stalking towards the bird. Typologically, the piece follows neoclassical models, brought from Europe to Madrid and spread from this place. Likewise, it should be noted that the handle with a round figurative element is not entirely common, although examples are known in private collections of jugs with handles in the shape of a grotesque, lion, etc. The contrast marks it presents place the creation of the piece in Vitoria, at the hands of the silversmith Argandoña and with the faithful Maison contrast. Tomás de Argandoña has been active in the city between 1790 and 1810, while Maison has been dated between the 18th and 19th centuries. Weight: 1100 grams.

· Size: 14x12x31 cms.
ANTIQUES

Ref.: ZF1016
SILVER JAR OR JUG. SPAIN, MADRID, CIRCA LAST THIRD 18TH CENTURY.

Jug or jug. Silver. DE SAN FAURÍ, Juan (1745-1785). Spain, Madrid, towards the last third of the 18th century. With contrast and burilar marks, and property name (Ochoa). The jug has an oval base with slight curves and a body divided into two areas (wider in its lower half, slightly concave in the upper half) with a series of curved “segments”; the beak shows simple architectural decoration and smooth areas; The handle is of a type known as a brace, with classicist architectural elements; The lid follows the lines of the body and is finished with a vegetal shape creating a knob. On one of the sides, towards the foot, there is the engraved text “Ochoa”, in reference to a former owner. The contrast marks place the creation of the piece in Madrid. Another of those that appears could be one of those used by the silversmith Juan de San Faurí. With Philip V, numerous French influences came to silversmithing, along with some Italian ones, both by craftsmen from these origins and by pieces. There continues to be little marking on the works except in important centers such as Madrid, and civil typologies acquired great importance. As in the rest of the country, the Baroque, Rococo and Neoclassical trends coexisted at the Court, although, being the center that set the tone for the rest, the former soon moved away, introducing the Rococo before 1740 or on that date, and Neoclassicism around 1770 (gradually imposing itself since 1780). The jug follows the most common prototype since the arrival of the Bourbons, characterized by its European influence and by the great difference it shows with the type known as a “spout jug”. Compare it with the Francisco García cruet (inventory 03487) from the Cerralbo Museum in Madrid, with the Medina-Sidonia example (code 59906, Catalog of the Movable Heritage of Andalusia), or with examples from the National Museum of Decorative Arts, pieces conserved in Museums. and Treasures of Spanish Dioceses, etc. Weight: 1050 grams.

· Size: 17x8x26 cms.
ANTIQUES

Ref.: ZF1017
SILVER VASE WITH TRAY. MARTÍNEZ. MADRID, SPAIN,

Cup with tray. Silver. Royal Silver Factory of Antonio Martínez. Madrid, Spain, 1830s. Model cataloged in "Catalogue of National Heritage silverware", page 254, With contrast markings. Circular plate or tray with fluted molding towards the edge and smooth skirt and bottom; In the center of the background there is a support decorated with a fluted band and a smooth base into which the cup is fitted using a special piece. The cup or vase has a circular foot with a plinth and a body with a concave grooved surface; oval-shaped, gallon-shaped belly and two handles in the shape of female masks finished in venerated shapes; The neck is concave and has a smooth surface. The lid has a fluted edge matching the tray and a smooth area, ending in the center with a convex veined finish with a butterfly on a flower at the top. The contrast marks present place the manufacture of the Set in Madrid (with the date partially visible), in the Royal Silver Factory of Antonio Martínez. The Royal Silver Factory of Martínez was founded in 1778, and marked the introduction in Spain of the industrial manufacturing method in the field of silver work and of neoclassical aesthetics in Spanish silversmithing. Likewise, it was one of the most important silversmithing centers in the history of Spain, and was characterized by the originality of its designs and the perfect finish of its pieces. As for the present model, two sets like this are preserved in the National Heritage Collections, dated 1834 and published in the catalog of those collections. Weight: 2350 grams.

· Size: 27x27x34 cms
ANTIQUES

Ref.: ZF1021
RECTANGULAR PIETRA DURA TABLETOP. MARBLE AND HARDSTONES.

Rectangular table top in marble and hard stones. Inspired by Italian models from the 16th-17th centuries. Two axes of flowers flanked by vegetal scrolls facing each other and with a geometric arrangement have been placed in the center. This motif is framed by a white line that forms rhombuses on the smaller sides, along with another blue line. Towards the outside, another band leaves square spaces in the corners with simplified flowers and simple scrolls. A wide blue band and a narrower white band face the outside. The technique known as “hard stone work” is similar to marquetry, but uses marbles of different colors and stones with a hardness greater than 6 on the Mohs scale instead of wood. It was born in Florence, with the attempt carried out by Piero de Medici and Lorenzo the Magnificent to revitalize an Ancient Roman mosaic technique called “opus sectile”. Such was the success that the workshops multiplied throughout Europe, among which the Gobelin Factory in France, the Royal Workshop of Naples (which took over from the Medici) and the one established in the Royal Site of El Buen stand out. Retreat from Madrid by Charles III, which had the support of quality local specialists but which was closed under Napoleon in 1808 and destroyed in 1812. The objects made (desks, tables, vases, plates...) initially showed a great decorative variety, but, starting around 1600, a clear prominence of naturalistic elements over geometric ones was noticed: flowers, fruits, birds, pearls, butterflies... The present example is heir to this tradition, as demonstrated by comparing it with works such as the table from the Prado Museum in Madrid made by Francesco Ghinghi in the Real Laboratorio Delle Piedre Dure in Naples (catalog number O00511), or the board from the late 16th or early 17th century created in Rome (inventory 62,259) from the Metropolitan Museum in New York, or those preserved in the Museo Opificio delle Pietre Dure in Florence or the examples from the National Museum of Decorative Arts in Madrid. However, it is necessary to highlight the update towards more contemporary tastes that can be seen in the geometric play made with the white and blue bands.

· Size: 150x90 cms.
DECORATION

Ref.: ZAAWRT35...

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