Z. Sierra · Antiques and Decorative Objects

Results 1 to 24 of 87

«« « 12 3 4 » »»

SILVER TUREEN WITH TRAY. POSSIBLY SPAIN, 20TH CENTURY.

Soup tureen with tray. Silver. Possibly Spain, 20th century. With contrast marks. Silver-coloured soup tureen with handles ending in parchment (and with plant elements in the base) and bulging shapes that extend to both the base and the lid, the latter finished in a scalloped finish. It has initials of ownership on the front. The tray repeats the waves of the other piece, and has two handles also in the form of parchment. It has contrasting marks on the base of the tureen and on the tray, without identification. Weight: 1.773 kg.

· Size: 26x18x22 cms.
ANTIQUES

Ref.: ZF1318
SILVER NEOCLASSICAL SUGAR BOX. NORTH OF EUROPE, CIRCA FIRST HALF 19TH ...

Sugar box. Silver in colour. Northern Europe (possibly Berlin), first half of the 19th century. With contrast marks. Rectangular box with chamfered corners resting on four claws with nails and featuring a lid with a projection towards the centre and a plaque with engraved initials of ownership. On the outside, it has a frieze of plant motifs above the keyhole. There is evidence of a sugar box in a private European collection with a hallmark similar to that of this piece (the initial A in a circle), being a neoclassical work from Berlin, the work of Gottlob Ludwig Howalt, and dated around 1820. This type of sugar bowls with closure were common in certain areas of northern Europe, taking on an appearance similar to that of this piece following the invasion of Napoleon Bonaparte, with which the French aesthetic models spread. Weight: 487 grams.

· Size: 16x12x10 cms.
ANTIQUES

Ref.: ZF1319
SILVER CENTERPIECE. POSSIBLY SPAIN, LATE 18TH CENTURY.

Salvilla. Silver in colour. Possibly Spain, late 18th century. Without contrast marks. Silver salver in its colour, with a circular base that narrows to create a tubular shape that ends in the “plate” of the piece, which also has a circular shape and a slight elevation at the edges. Weight: 533 grams.

· Size: 23,5x23,5x6,5 cms.
ANTIQUES

Ref.: ZF1320
SILVER FISH SERVER SET. PUIFORCAT, FRANCE, CIRCA 1900.

Serving cutlery in a case. Silver, gilt silver, textile, etc. Puiforcat, France, circa 1900. With contrast marks. Pair of serving cutlery with a silver handle in its colour and the other part gilded, decorated with engraved and embossed elements in the neoclassical tradition, and openwork areas with plant elements. Émile Puiforcat, when he took over his uncle's company, registered the hallmark that the firm still uses today (a knife flanked by the letters E and P). The rectangular case, with clasps at the front, features a strip referring to a Brussels jewellery and goldsmith's shop called De Coster Paternoster (located at 128 rue Royale), which sold notable pieces such as diamond earrings, cufflinks, etc. Weight: 296 grams.

· Size: 5x1,5x32 cms
ANTIQUES

Ref.: ZF1309
PLATTER. SILVER. SPAIN, ZARAGOZA, CIRCA 1700.

Source. Silver in its colour. Zaragoza, Spain, circa 1700. With hallmarks and engraving marks. A circular silver-coloured dish or platter with a raised edge and decorated with a composition of plant elements and shields or flat mirrors between two lines of smooth mouldings. The seat, raised on two levels, has another plant decoration, with a smooth, domed centre. A completely smooth field has been arranged around the seat. The marks on the back are located on the piece. One is engraved on the seat, towards the centre of the piece. The other is on the edge or border, together with the only contrasting mark that has been found. This one has been linked to Zaragoza, placing the piece in this city. Compare this piece, noting its differences, with the Tudela fountain from the second quarter of the 17th century made by Noval, which is preserved in the Lázaro Galdiano Foundation museum in Madrid (Spain). Or the enamelled fountain in the National Archaeological Museum made by Rodrigo de Arenillas or Abaunza in Burgos. It is known that until the ordinances of 1742 it was not obligatory for the silversmith's mark to appear on pieces made by him in Zaragoza. After this date, pieces that only had the mark of the town continued to be abundant. At the end of the 17th century, chiseled work became very rare, with a bulky embossing with leaf motifs being the usual. Towards 1720 the decoration became thicker and more exuberant, and towards 1725, with the same ornamental motifs, the decorative sense changed (contrasts were sought between profusely decorated areas and others that were completely smooth and polished). The earliest example of Rococo silverwork in Zaragoza has been dated to 1742 (image of Saint Barbara from the Church of San Pablo). Weight: 2.4 kg.

· Size: 55,5x55,5x 4 cms.
ANTIQUES

Ref.: ZF1304
SILVER CUP. POSSIBLY NAVARRA, SPAIN, CIRCA 1700.

Wine tasting vessel. Silver. Possibly Navarre, Spain, circa 1700. Wine tasting glass with a base made of silver in its colour. The base has a decoration of smooth mouldings, and the upper part has a raised and scalloped central piece, with plant motifs in bands alternating with oval mirrors around, followed by a recess and, towards the outside, a band with semicircular arches with tears and simple elements at the top, all closed by a chain of pearls. Stylistically, they are very reminiscent of the 1697 design by Miguel de Amasa for his examination to become a master silversmith. Compare also with the two salvillas that follow this design and are preserved in the Museum of the Works of the Church of San Saturnino in Pamplona (Navarre, Spain), which are considered to be the work of Miguel de Amasa, made in Pamplona and dated 1697 (they have a hallmark, the double P crowned with a chain border that was used in the silverworks of Pamplona between 1652 and the first quarter of the 18th century). Weight: 294 grams.

· Size: 10x19x4,5 cms
ANTIQUES

Ref.: ZF1307
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 containers 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
SILVER CUP (TEMBLADERA) OR WINE TASTING CUP. 18TH CENTURY.

Quaking glass or wine-tasting glass. Silver. 18th century. One handle is missing. A vessel known as a catavinos or tembladera (as it has no foot) made of silver in its colour with a flat handle curved in the shape of an “S” decorated with simplified plant elements, and a line of mortise-shaped pieces (gallon-shaped shapes) on the edge enhanced by a smooth band. Towards the inside it has strings of pearls and dots, and a cross on the bottom. Bernegales and mortise-shaped pieces were frequent 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: 101 grams.

· Size: 12x10x4 cms.
ANTIQUES

Ref.: ZE367
CUP. SILVER (.833). PORTUGAL, 20TH CENTURY.

Cup. Silver in its colour (.833). Portugal, 20th century. With contrast marks. Goblet with a circular base and decoration and lines with a strong classicist influence based on plant elements, topped by an architectural form that also has two lion's head protomes with rings hanging from the jaws on the sides of the body. It has hallmarks (base, lower part of the body and edge of the lid) that identify it as a Portuguese piece (Oporto) of .833 grade, made between 1938 and 1984; the other mark has not been identified, but it would surely correspond to the silversmith. Weight: 950 grams.

· Size: 14x14x32 cms.
ANTIQUES

Ref.: ZF1267
GUILDED SILVER CUP. VALLADOLID, SPAIN, 17TH CENTURY..

Bernegal. Gilded silver. Valladolid, 17th century. With hallmark and engraving mark. Goblet with a circular foot (bernegal) decorated with fine smooth mouldings and a ribbed body (ten bites) with engraved plant-themed decoration on the inside and outside, made of gilded silver and which also has two "C" handles enhanced with strings of pearls in decreasing order at the top and a spherical element on the inside, at the junction of the ribs, reminiscent of a bezoar stone. The mark of contrast that places the cup's production in Valladolid is similar to that present in other outstanding pieces such as the late 16th-century spouted jar by Lázaro de Encalada from the Várez-Fisa Collection. Compare also with the Mexican bernegal and salvilla from the Monastery of the Conceptionists of Ágreda in Soria, decorated with vegetalized bracing; with the 17th-century bernegal from Toledo from the Lázaro Galdiano Museum in Madrid (inv. 03910); and with one from the collection of the Valencia de Don Juan Foundation (Madrid). Likewise, note the similarity with a copy from a private Chilean collection from the galleon Nuestra Señora de la Limpia y Pura Concepción (which follows the model considered to be traditional in South America with a smooth, ribbed body with ten equal-sized sections, two “C” shaped handles raised above the mouth and a circular foot below), and with the one made before 1622 (the date of the shipwreck) from the ship Nuestra Señora de Atocha, also in a private collection (considerable size, similar shape to the present one, etc.). Likewise, it is worth mentioning the oil painting from the Masaveu Collection (Oviedo) by Juan Bautista de Espinosa known as “Still Life with Gold and Silver Objects” made in 1624, since the bernegal with salvilla situated in the centre of the composition bears a notable resemblance to the present piece. Called "mouthful glasses" or "mouthful cups" at the time, they were common pieces until the 18th century in Spain, and sometimes a bezoar stone was placed at the bottom to, according to the beliefs of the time, detect or neutralize poisons (however, other times it was a different element, adding a touch of surprise to the person who used it). Frequently, they were made to match a salver, decorating both in a similar way. It should be noted that they have not been preserved in very large numbers because it is common to reuse the material in other works (very few have reached us from Spain, although some more from among those made in Latin America). Very similar model auctioned at Sothebys February 2, 2024. Lot 6. Weight: 480 grams.

· Size: 19x17x11 cms.
ANTIQUES

Ref.: ZF0597
SILVER BOAT CENSER. SPAIN, 17TH CENTURY.

Silver naveta. Spain, 17th century. A forged vessel with the base and lid finials obtained by mould casting. Shaped like a symmetrical boat, it stands on a low circular base with a disc-shaped base and a short shaft with a central lens. The body is decorated by chiselling, with oval cartouches flanked by braces and crowned by rhombuses and half-moons, located on the four axes and on a dotted shaded background that extends outlining the mouth. The lid has the same chiseled motif. At the stern end there is a finial in the form of an acanthus leaf, in relief, and at the bow end there is a handle in the form of a banded pillar. The bow lid is openable thanks to a central hinge. The piece has partial punch marks on the lid and body.

· Size: 18,5x9x8,5 cms.
ANTIQUES

Ref.: ZF1253
Sold

PAIR OF SILVER CANDLESTICKS. 18TH CENTURY.

Pair of silver candlesticks. 18th century. Pair of candlesticks made of silver in an unadorned Baroque style, with a clean and dynamic structure that expresses itself through the contrasting superposition of circular section elements. The lines engraved on the discs of the shaft influence this game of inscribed circles that determines the design. The foot is domed and stepped, combining curved mouldings and edges, and its stepped truncated cone shape is repeated, inverted and reduced in size, at the base of the lighter. The shaft is made up of two truncated cone-shaped necks, the upper one with a rounded base, alternating with lentils or discs of different diameters and narrow spools between them. Finally, the lighter is cylindrical, with the same game of parallel mouldings of various sizes that extend to form flat discs. Weight: 2 kg

· Size: 15,5x15,5x33 cms.
ANTIQUES

Ref.: ZF1250
Sold

SILVER JAR OR JUG. MARTÍNEZ MORENO, MATEO. CÓRDOBA, SPAIN, POSSIBLY 17...

Jug or jug with basin. Silver in its color. MARTINEZ MORENO, Mateo. Córdoba, Spain, 18th century With hallmarks and engraving marks. Made of silver in its color, the jug has an oval base, which rises flat until reaching a molding with vertical lines grouped in threes; after this it has a curve and a decoration of engraved circles until reaching the body of the piece. This is divided into three areas, a widening at the bottom until reaching the central area and, finally, another curve up to the mouth, all decorated with a series of curved "segments" of different widths. The handle, of a type known as a tornapunta, it presents architectural and vegetal decorations. The lid repeats the lines of the body and ends with a vegetal shape, in addition to presenting a piece towards the handle. The spout, curved towards the outside, shows two moldings halfway up the of its journey. The typology to which this jug belongs was common in Spanish silverwork during the Rococo period, and similar models can be found both in the capital and in other centres. With Philip V, numerous French influences came to silverwork, together with some Italian ones, both by artisans from these origins as well as pieces. There was still little marking on the works except in important centres such as Madrid, and civil typologies acquired great importance. As in the rest of the country, the Baroque tendencies coexisted in the Court , Rococo and Neoclassical, although, as it was the centre that set the tone for the rest, the former soon moved away, introducing Rococo before 1740 or at that time, and Neoclassicism around 1770 (gradually imposing itself from 1780). Let us remember, again, that 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 "spout jug" (present in the Renaissance, etc. ). It has several hallmarks at different points of the piece, some of them frustrated (partially preserved). It is possible to identify the locality, Córdoba, and the master silversmith's, but the numbering alluding to the date of creation of the work is still to be fully identified. Mateo Martínez Moreno was active in Córdoba during approximately the second half of the 18th century and was a faithful contrast to the city between 1780 and 1804 (the year in which he died). Weight: 1.167 kg.

· Size: 38,5x31,5x29 cms
ANTIQUES

Ref.: ZF1248A
MONSTRANCE, TEMPLE TYPE. SILVER, GLASS. 16TH CENTURY, WITH RESTORATION...

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

· Size: 21x21x58 cms
ANTIQUES

Ref.: ZF1162
Sold

TWO SILVER TRAYS. MEXICO, 18TH CENTURY. WITH HALLMARKS.

Pair of trays. Silver. Mexico, 18th century. With contrast marks. Two oval silver trays in their colour and with a curved shape, ending in a point and slightly raised on four spheres each, which have been decorated on the upper part with a raised moulding. The contrasting mark that each of the pieces presents is very similar to one of those used in Mexico in the 18th century, although the lines and the typology differ from what was usual at that time in that centre. Weight: 889 grams.

· Size: 29,5x15,5x6,5 cm
ANTIQUES

Ref.: ZF0689
Sold

SILVER SNUFFERS. REAL FÁBRICA DE PLATERÍA MARTÍNEZ, MADRID, SPAIN, 184...

Snuffers with case. Silver. Martínez Royal Silver Factory, Madrid, 1846. With contrast marks. Scissors for cutting candle wicks, known as snuffers, made of silver in their colour and with a decoration of a marked classical influence in all their elements. The set is completed by a case with a circular base and a striated body (of a type known as “umbrella” due to its shape) which was very common in many candlesticks of the time. The hallmarks indicate that they were made in Madrid in 1846, at the Real Fábrica de Platería Martínez (or Platerías Martínez), created by Royal Decree in 1778 by Charles III and thanks to Antonio Martínez Barrio (who died in 1798). To see how popular this model was, compare it with the sheathed snuffers by Ramón Espuñes, dated 1847, which are preserved in the National Archaeological Museum (Madrid, Spain). And to see something similar, with the pair dated 1838 and made by Platerías Martínez of the History Museum of Madrid. Weight: 406 grams.

· Size: 7x7x22 cms.
ANTIQUES

Ref.: Z2741
METAL AND GLASS CLARET JUG OR PITCHER. POSSIBLY WMF, GERMANY. CIRCA 19...

Jug. Glass, silver-plated metal. Possibly WMF, Germany. Circa 1900. With contrasting marks (handle). Jug with a transparent glass body decorated with geometric elements, a circular base, a globular body and a high cylindrical neck, which has a silver-plated metal handle with a “C” shape on the top. It has a decoration of architectural and plant elements with a marked classicist and Renaissance character, as well as a protomos with a horse’s front legs next to the top edge of the jug’s lid. The marks, present on the outer edge of the handle, would surely link the piece to the Württembergische Metallwarenfabrik or WMF. In 1853 Daniel Straub and the Schweizer brothers established a metalworks factory called Straub & Schweizer, which achieved recognition at the London Exhibition as early as 1862, and opened its first shop in Berlin in 1868. In 1880 they merged with Metallwarenfabrik Ritter & Co. to form the Württembergische Metallwarenfabrik (WMF), which is still in operation today. Weight: 0.9 kg.

· Size: 16x13x30 cms
ANTIQUES

Ref.: ZF1099
PAIR OF SILVER CANDLE HOLDERS. ASPIAZU, NICOLÁS. SAN SEBASTIÁN, SPAIN,...

Pair of candlesticks. Silver in its colour. ASPIAZU, Nicolás. San Sebastián, Spain, towards the end of the 18th century. With hallmarks and initials. Pair of silver candlesticks in their colour with curved profile bases, combining different lines and reminiscent of Rococo models, and a balustrade axis with mouldings and a polygonal section, which extends into the burner. One of them has engraved initials towards the base of the axis. On both pieces, on the edge of the base, you can see the hallmark accompanied by the engraved initials M and Jo. The silversmith Nicolás Aspiazu was active in the city of San Sebastián towards the end of the 18th century and beginning of the 19th century. Weight: 1,250 grams.

· Size: 13,5x13,5x25 cms.
ANTIQUES

Ref.: ZF1165
PAIR OF SILVER CONVERTIBLE CANDLESTICKS. MARTÍNEZ MORENO, MATEO; MUÑOZ...

Pair of convertible candlesticks. Silver. Córdoba, Spain, 1793. With hallmarks and engraving marks. Pair of silver candlesticks in their colour, which have pieces to convert them into two-light candlesticks each. Each one has an oval base with wavy profiles, creating lines that, when they visually ascend in a helical manner through the rest of the piece, provide it with a notable movement; the axis, balustraded, has two smooth narrowings; the lighter follows the aforementioned lines. The pieces have a base that reproduces the shapes of the candlestick, and from it two flat, openwork arms with “C” motifs with volutes and waves like a crest, which end in two lighters with a tray or saucer that follow the aforementioned lines on the axis of the candlestick. Stylistically speaking, this is a pair of candlesticks that are clearly in the Rococo style. Their lines are reminiscent of the usual Spanish trays with contours that are found in writing desks, spice racks, etc. What is worth highlighting is the fact that the pieces are used to convert the candlesticks into candlesticks and the decorative choice made for them. You can see a location mark (Córdoba), the mark of faithful hallmark Mateo Martínez Moreno with numbers alluding to the date (1793), and another mark of a silversmith named Muñoz (given the date of the piece it could be Francisco Muñoz, documented between 1792 and 1818). Mateo Martínez Moreno was active in Córdoba during approximately the second half of the 18th century and was a faithful hallmark of the same city between 1780 and 1804 (the year in which he died). Weight: 1.7 kg.

· Size: 26x14x24,5 cms
ANTIQUES

Ref.: ZF1122
SILVER CUP WITH INSCRIPTION. POSSIBLY SOUTH AMERICAN, 18TH CENTURY.

Tembladera or bernegal with ownership inscription. Possibly Hispanic American, 18th century. Silver-coloured trinket dish with a wide, circular base and a mouth of greater diameter than this, a body with a fine line engraved towards the edge and an inscription of ownership on the front (Lucas Vilacha) made with small dots. It also has two handles decorated with vegetal elements and grotesques with human heads, and shapes similar to lions or dogs can be seen on the upper part. In Spanish silversmithing, the Baroque trends were maintained for almost the first two thirds of the 18th century, except in the capital, where Rococo forms were introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centres, depending on the area and the masters. This survival of the 17th century forms can be seen in the handles of the tembladera: the grotesques with human heads are very prominent, decorative abundance that contrasts with the clean lines of the rest of the work but which is common in this type of work. The lack of hallmarks does not allow the work or the artist to be located, although it is precisely this that speaks in favour of a secondary silversmithing centre, where the lack of control of these works was more common due to the lack of masters and the means to ensure compliance with the marking regulations. Bernegales and tembladeras were the most common types of silverware in 17th century Spain (although they continued to be popular in the 18th century, especially in centres far from the main centres of creation). In the case of this piece, the handles could indicate that it was made in the Americas, although there are similar cases that are thought to have been made in the Iberian Peninsula. It is worth mentioning that there is evidence of the baptism of a Lucas Vilachá in 1783 in Lanza (La Paz, Bolivia). Compare with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of the Clarisas Mothers of Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 325 grams.

· Size: 20x15x7,6 cms.
ANTIQUES

Ref.: ZF1058
SILVER CUP. SPAIN, 18TH CENTURY.

Bernegal or scrapie with handles. Silver. Spain, 18th century. Avocado shaker in its colour with a circular base, without a pedestal or foot, and a hemispherical body that is wider at the top, which has two handles on the sides. These have two facing Cs of different sizes (the largest one on top) or in S-shape, and a decoration based on silver pearls and a bird perched on the top (the two on the piece facing the center). 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 introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these innovations in Madrid, which would spread slowly to the rest of the centres (as a general rule), depending on the areas and masters. This survival of the forms of the 17th century can be seen in the handles of the tembladera, decorative abundance (compared to the rest of the catavinos) that It contrasts with the clean lines of the rest of the work, which is common in this type of work. The lack of contrasting marks does not allow us to locate the work or the artist, although it is precisely this that speaks in favour of a secondary silversmith centre. , where the lack of control of these works was more common due to the lack of masters and means to ensure compliance with the marking regulations. It does show a fine engraving of initials on the front of the piece. Bernegales and tembladeras were more common types in Spanish silverware in the 17th century (although in the 18th century they continued to be popular, especially in centres far from the main ones). creative cores). In the case of the present piece, it is the handles that could indicate an American manufacture, although there are similar cases that are thought to have been made in the Iberian Peninsula. Compare this with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 Convent of the Clarissan Sisters of Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 213 grams.

· Size: 18,5x15x8 cms.
ANTIQUES

Ref.: ZF1057
SILVER TRAY. MATEO MARTÍNEZ MORENO, CÓRDOBA, SPAIN, 1789.

Source. Silver. Mateo Martinez Moreno, Cordoba, Spain, 1789. With contrast marks. Silver-coloured fountain, oval in shape and great depth, with contrasting marks and a border composed of smooth mouldings of different widths curved to form waves, ending in four peaks that extend towards the bottom of the piece, thus drawing a series of curves and counter-curves. This form is known as “cut-out profiles” and was a common resource in 18th century Spanish silverwork that followed or was influenced by Rococo models. The marks mentioned (frustras) could place the work's execution in Córdoba, during the period in which Mateo Martínez Moreno worked as a faithful contrast, also providing the date of 1789. Weight: 858 grams.

· Size: 38x6,5x27 cms.
ANTIQUES

Ref.: ZF1043
SILVER CLARET JUG. ANSELMO PRIOR AND MASON. VITORIA, SPAIN, 1816-1846.

Jug. Silver. Anselmo Prior y Mason. Vitoria, Spain, between 1816 and 1846. With contrast marks. Silver jug in its colour with a square base that serves as a support for the circular foot decorated with a band of eggs and ending in a scalloped shape, which gives way to the oval body, engraved with architectural, plant and animal elements; practically tubular neck with a band of egg motifs and another at the top with architectural elements, and a soft spout; lid with a swan, and the handle has a Medusa head in the area where it joins the body, a series of bands of architectural motifs and, creating a curve and towards the mouth, a two-headed snake that seems to intend to attack the bird. Typologically, the jug clearly responds to neoclassical models of the 19th century both in its lines and in some of its decorative elements (some close to the French school and others somewhat more common in the English school), adding to this base some details more common in Spanish works. The hallmarks, located at the base of the piece, link its creation in Vitoria, with the hallmark called Maison (actually 18th-19th centuries, probably as a hallmark in the 19th century) and the silversmith named Prior. Anselmo Prior was a master dated between 1816 and 1846. There is evidence of a head reliquary marked by both of the Eleven Thousand Virgins in the parish church of Alegría (Álava, Spain). Weight: 992 grams.

· Size: 15x12x30 cms
ANTIQUES

Ref.: ZF1042