Z. Sierra · Antiques and Decorative Objects

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SILVER DESK WRITING SET; DAOÍZ, VELARDE, RUIZ AND ARANGO DEFENDING MON...

Notary with four inkwells; Luis Daoíz, Pedro Velarde, Jacinto Ruiz and Rafael Arango defending the Monteleón Barracks on May 2, 1808. Silver in its color and gold plated. Madrid, Celestino Espinosa, 1822-1823. With contrast markings. Notary of silver gilt and in its color composed of a tray, two bells in the shape of a tent, four containers in the corners, four cannons with soldiers and a central architectural element resembling a fortification and including two drawbridges over a small "moat" circular fenced and topped with towers and flags. The fencing of the tray resembles that which would be done in a military environment; this element sits slightly elevated on monster heads on pearls. The containers have a lid, and a very striking textile and sabers openwork decoration. The figures, in military uniform, set fire to the fuse of the cannons. The center tower has two doors and, in addition to the above, a series of windows and oculi and a removable container. Captains Luis Daoíz (Seville, 1767-Madrid, 1808) and Pedro Velarde (Muriedas, 1779-Madrid, 1808), together with their lieutenants Jacinto Ruiz (Ceuta, 1779-Trujillo, 1809) and Rafael Arango (Havana, 1787- 1850), faced the French troops to defend the Monteleón Barracks (Plaza del Dos de Mayo, Madrid) on the day of May 2, 1808, considered the beginning of the so-called War of Spanish Independence. The contrast marks correspond to Celestino Espinosa. Celestino Espinosa (Madrid, 1782-1830) trained with José Larreur from Madrid and completed his apprenticeship in 1805. He was regent of the Real Fábrica de Martínez at least between 1815 and 1819, taking this center to a new level of importance. After this second date, he settled on his own until the year 1830, when it is probable that he died. Compare this with the silver writing notary with the mark of Celestino Espinosa dated 1827 that is kept in the National Archaeological Museum (Madrid). As in other pieces by the master, its originality can be appreciated, far away and ahead of the fashions of the moment, being possible even to speak of a certain romantic character and with the elements far removed from the usual forms and models at the time (the aforementioned containers , human figures of a popular and non-classical character, etc.). Several pieces of the dressing table set of Queen Isabel de Braganza (dated 1816, Royal Palace of Madrid), a chalice from the Municipal Museum of Madrid dated 1817, some cruets with salvilla from the church of Santa María de Alcalá also bear his mark. de Henares (1825), etc. Weight: 4600 grams.

· Size: 36x29x31 cms.
ANTIQUES

Ref.: ZF0676
SILVER PAX. 16TH CENTURY.

Portapaz. Silver in its color and gilt. Century XVI. Portapaz made of silver that has a handle (decorated with delicate plant motifs similar to those of the pilasters) and a female and a male bust at the bottom, as well as other architectural elements on the back, and, on the front, an architectural composition Classicist basement (with busts flanking a flower and a cross), two pilasters (vegetal decoration and capital recalling the composite order) with entablature (flowers flanking an angel's head; moldings), and a semicircular arch finish with elements veined in relief under cross and flanked by two architectural motifs in the upper part. This composition frames and enhances a gilt silver relief where you can see the Lament or Cry over the Body of Christ, with the Virgin holding the head of Jesus, Saint John at her side, the Magdalene and other characters, a cross following the group and a landscape background with houses and plant elements. This architectural structure mentioned is similar to that present in other 16th century portapaces, such as that of the Magdalena de Dos Hermanas parish (Hernando de Ballesteros el Mozo, around 1575); or that of the Galaroza parish (same author and date); or that of the portapaz of San Miguel de Jerez de los Caballeros (in some details); etc. As for the relief, it is possible to clearly see a strong Italian influence, and the similarity between it and important pieces such as the Portapaz known as “de Cisneros by Juan de Burgos (1493-1497; Museo Catedralicio de Alcalá de Henares), as well as in paintings and reliefs. Also noteworthy are both the male and female busts in the lower area and the Maltese cross (or Saint John's) that appears in this area. This symbol was used since the 12th century as an insignia by the Knights Hospitallers of the Order of Saint John of Jerusalem, also known as the Order of Malta since Emperor Charles V gave this island his fiefdom in the 16th century. Weight: 507 gr.

· Size: 10,5 x 4 x 21 cms
ANTIQUES

Ref.: ZF0664
FOUR GEORGE III SAUCE BOATS SET. SILVER. HENRY CHAWNER, 1790.

Set of four Jorge III sauce boats. Silver. Henry Chawner (act. 1786-1796), 1790. Each of them has an oval base, with fine moldings that are repeated both on the edge of the sauce boat, visually extended by the curved line of the two handles, and on the top of the lid, in the shape of a vase. There are hardly any other decorative elements in the pieces, apart from those already mentioned and a series of elements engraved on the lids (bull's heads with necks) and on the front of the sauce boats. In this area there is a motto in Latin (“Fide et amore”, “fidelity and love”) under a heraldic shield on each one (three bull heads, two above and one below, separated by a goatee; two rampant lions flanking a diagonal band in the escutcheon of the same). The lines and elegance of the pieces are the usual Jorge III style. The heraldry is very reminiscent of that of the Boleyn, Bullen or Boleyn family, descended from Anne Boleyn. The motto would allude to a game commissioned for a wedding. In the year 1790 William Bullen and Mary Collins were married in the Irish branch of the family, although it is not the only event of that year (Henry Bullen and Margaret Tarrent in the diocese of Cloyne…). The contrast marks provide numerous data on the pieces. The passing lion places the production in London, while the two initials refer to Henry Chawner; the lowercase letter gives the exact year; the leopard head certifies the quality of the material. The still operating silversmith called Edward Barnard & Sons Ltd. has a number of predecessors: it was founded by Anthony Nelme around 1680, and after a succession of master silversmiths, the business was improved by Henry Chawner in 1786, master of the successor of the family that at that time ran the business (Eduard Barnard I) and who continued with the business. He was active between 1786 and 1796, and the last name of this master continued to be linked to the firm until the end of the 18th century in several of his relatives. His works are currently preserved in English and American private collections, mainly, but also in prominent institutions such as the George Washington's Mount Vernon Museum (Virginia, United States), which has a Henry Chawner inkwell of George Washington, Scoteney Castle in Kent, the Victoria & Albert in London, the Portland Art Museum, etc. Weight: 2110 grams.

· Size: 14x10x23 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6774
SILVER WRTITING SET. VICENTE ROCES, ZARAGOZA (SPAIN), CA. 1760.

Silver writing desk. Vicente Roces, Zaragoza, around 1760. With contrast marks and initials of membership on the base. The base tray has a square shape with mixed profiles and rests on legs with plant motifs. The four containers have helical gallon feet, and pearl flower finials on the lids. A candlestick emerges from another container, taller than the others and fixed to the tray, with a curved arm finished in a scroll, and is joined by a hinge to it. The bell, also with helical gallons, is topped by a figure of a soldier. The nib has holes in the lid for the pens, and is the same size as another of the containers, which was probably the inkwell. Two others, slightly larger, do not have a perforated lid either, and may have been used for drying sand and therefore called grits. The bell, used to call the service, secretary, etc., has another vase as its base, similar to the rest but much taller, from whose upper part the candlestick emerges. Stylistically, the cleanliness of the lines shows a very slight influence of Neoclassicism, while the helical gallons, the movement of the profiles of the containers, and the typology of the tray (called "contour" and very popular in the silverware of this century) reflect a strong survival of models related to the Rococo. Zaragoza continued to be the main silversmith center in Aragon, with an abundance of preserved pieces and many marked, allowing a detailed study. Contrast marks ensure the quality of the material and allow us to locate the manufacture and the author of the work. The local ones, on the arm of the candlestick, place the work in Zaragoza, and date it as being done between around 1760 and 1770. Those of the artist, also there and another one at the base, allude to the silversmith Vicente Roces, known for his fine Rococo taste works such as the Reliquary of San Francisco Javier from the last quarter of the 18th century in the Church of Santa María de Sangüesa (Navarra) and some others in important private collections. Weight: 1,525 gr.

· Size: 18x23x25 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6304
SILVER DRINKING CUPS SET.17TH CENTURY.

Pair of catavinos. Silver. XVII century. Pair of glasses or mugs for drinking wine made of silver in its color that have a small and low cylindrical foot, a flared rim towards the top and a central area curved upwards, which has been decorated with a composition based on motifs. embossed geometric patterns in stripes and around a central element. These types of cups were used on special occasions (ceremonies...), hence their material and the decoration they have, and they were very common during the reign of the Habsburgs in Spain. Although they were originally objects for civil use, it was not unusual for them to be donated or commissioned for use in churches or in liturgical settings, as well as their frequent use in important festivals (Corpus, pilgrimages, etc.). The shape of the couple is a good example of the attachment to certain previous traditions that occurred in Spanish silver 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 contrasting and chipping marks. Presents a lack in a container and bell is added. Silver scribe composed of a tray, four containers and a bell. The first element, oval in shape, presents edges with soft curves and counter-curves, decorated in the upper part with flat moldings, combined with scrolls and veined shapes; It stands on legs composed of two volutes flanking a tear, a set topped by a symmetrical composition. The four containers, with lids, have profiles with smooth curves (among which engraved initials can be seen), which are directed towards the upper part following parallel spirals, lines that extend into the tops, finished off. Two of them, smaller, have holes in the covers. The bell to summon the 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, mainly active 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 Cordoba marker, active around the same time, with work preserved in the area (San Miguel de Córdoba Parish, a vinajera holder with cruets in Loja from 1778, works in the Madrid Costume Museum, etc. .). Stylistically, the lines of the whole set (except those of the bell) show that it belonged to the Rococo, with the usual influence already of certain details of Neoclassicism, which affect the relative simplification of the decoration of the pieces, 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
SILVER JAR O JUG. FAXARDO, ANTONIO. SPAIN, CÁDIZ, 1787; REMARKED IN IT...

Jug. Silver. FAXARDO, Antonio. Spain, Cadiz, 1787; highlighted in Italy (Naples). With contrasting and burilada marks. Published in Encyclopedia of Spanish and Viceregal American Silver. Bibliography: Fernández, Alejandro; Munoa, Raphael; Rabasco, Jorge. "Encyclopedia of Spanish and Viceregal American Silver". Second edition, corrected and enlarged. 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 plant finish of branches with fruit) , and a curved handle decorated with architectural and vegetal elements of clear classicist inspiration. This same influence can be clearly seen in the lines of the piece. Typologically, it falls within a common line of 18th-century Neoclassical Spanish silverware that emerged in the capital of the Court (Madrid), a city from which it spread to other centers. Likewise, a certain memory of the Rococo is usually mentioned in some detail (the handle in the present case). The contrasting marks that 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 remarca). Note that the Cadiz hallmark, the contrast hallmark (illegible), the chronology hallmark (1786) and the silversmith Antonio Faxardo's hallmark appear on a chalice in Santander Cathedral. 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
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 of curved profiles is supported on four legs in the shape of plant elements. Fixed to it are the four containers that make up the writing desk. These, and the bell, present a magnificent decoration based on flat gallons turned on its body, the base and the 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 a lid, all attached to it by means of through screws. The profiles of the tray correspond to period and style works of Carlos III, while the jarritos still show part of the movement that characterized the Rococo, already introducing the clean lines characteristic of Neoclassicism. In the second half of the 18th century, with the arrival to the throne of Carlos III, Italian influences came to silverware once masters from this country have established themselves, either as silversmiths or, in many cases, also as bronzistas. At the end of the century there was also an abandonment of the Rococo forms in favor of the Neoclassical style, whose peculiarities can be seen in this notary's office. These gallonized forms come from decorations based on the ancient Roman art on which this second artistic style was based, as do the vegetal elements. Madrid would set the standard in art for being the capital of the kingdom, and the continuous movement of pieces and the relative ease in communication and transmission of drawings and engravings make it difficult to distinguish particular styles and trends in many cases. Likewise, it is necessary to highlight the great role in improving the quality of the silverware designs that the foundation of the School-Workshop by Antonio Martínez had in 1778. Presents locality brand, Madrid Corte y Villa 1779, and architect. Weight: 1850 gr.

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

Ref.: Z6413
ENGRAVED SILVER CUP, \'POKAL\' GERMANY. 19TH CENTURY

German cup in silver. XIX century It is made entirely of silver, and decorated with motifs in relief, round shape, engraved and chiseled. It is directly inspired by similar pieces made in 16th century Germany, in full Mannerism. This is due to the importance that Germanic silverware had in that century; German and Central European artisans in general will create for collector's cabinets very rich pieces intended to be displayed and not used, the greatest example of virtuosity and ornamental richness of Mannerist silverware. One of the most recognizable types of Mannerist Germanic silverware will be this type of tall glass, with a cylindrical container with a differentiated sub-glass and a large lid. These are functional or ornamental glasses, depending on the richness and abundance of their decoration. This decorative profusion, combining all kinds of motifs, is key in Mannerist silverware, and it reached the point of substituting parts of the structure for decorative motifs, as we see here in the shaft, consisting of a vase, and the pommel, with the round figure of a young classical warrior. The main reason for this design is the raised ribs, which take the form of oval recesses and are separated by baquettes with parallel transverse lines. We see them in the sub-cup, the painter and the lid, although they also appear on the foot, although simplified, without recesses or baquetones. The piece stands on a circular base with a flat and smooth base, with two profusely decorated domed steps: gallons above and interlaced braces, with flowers and classical masks below, typical motifs of the Mannerist ornamental background. The shaft, as we have mentioned, takes the form of a balustrade vase adorned with large struts like ribs, topped by bird heads. The container has a cylindrical shape, with a high relief cup, adorned with embossed hermas, again a typical motif of Mannerist silverware. The upper part, under the mouth, also extends to the outside, although its gallon decoration is simple enough not to overshadow the delicate and meticulous embossing and chiselling of the central area. In it we see two oval cartouches that house the 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 wooded landscape. Between both cartouches there are classic masks of great ornamental wealth. Finally, the top is domed, with a curled perimeter and a stepped structure. The pommel is sculptural and represents a young classical warrior, perhaps the god Mars. Weight: 1742 gr. (Presents counterweight at the base)

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

Ref.: Z5957
Sold

SILVER TRAY. BLAS DE AMATE, SEVILLA, MID 18TH CENTURY.

Silver saucer “contours”. Blas de Amate, Seville, mid-eighteenth century. With contrast markings on the edge. A circular tray with four legs decorated with scallop shells, plant motifs and cartouches, and a raised edge, decorated with corded ogee motifs separated from each other by a plant element. The center is plain, with the interlocking initials P and S engraved in the center. This type of profile is called "contour", and was the most used in salvillas throughout the Rococo from the mid-eighteenth century. However, the decoration of the piece responds more to models related to Neoclassicism, a coexistence of trends that was common at the time and more so in the salvilla's area of origin. At the beginning of the 18th century, Sevillian silver would continue to maintain its primacy, but would be surpassed by Cordoba (although it still had a large number of craftsmen and very good quality in many of them). The contrast marks perfectly place the execution of the work for us: the one on the left (animal, possibly a pig) and the third starting from the left belong to those of the faithful contrast Nicolás De Cárdenas (who directed the work of checking the quality of the material in these pieces from the Seville office from 1756 and for about thirty years); the one on the right is the locality mark (Seville); the second belongs to Blas de Amate, one of the main Sevillian silversmiths of the mid-eighteenth century. It is necessary to highlight the elegance of the piece and its quality. For this reason, similar works of art can only be seen in important private collections and in outstanding institutions such as the Lázaro Galdiano Museum (Madrid), and, above all, in religious centers with an ancient tradition (Diocesan Museum of Huesca, Sevillian parishes, etc. .). Unfortunately, not many works have survived from Blas de Amate: for example, the National Archaeological Museum preserves a sponge made between 1740 and 1750 (inventory 2007/27/2); the Sacramental Brotherhood of San Isidoro de Sevilla a sacramental standard with the embossed silver shaft, made by him; a mancerina from between 1730 and 1740 bears his contrasting marks (Santa María del Valle Monastery, Zafra). Weight 1870 grams

· Size: 43x43x6 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6478
SILVER CHALICE. SPAIN, POSSIBLY ZARAGOZA SCHOOL, 17TH CENTURY.

Chalice. Silver gilt and in its color. Spain, possibly Zaragoza school, 17th century. Chalice made of silver with a flared cup gilded on the outer edge and inside and bulbous rose. Balustraded shaft with smooth fillet, oval knot on a flared shape (also with moldings or smooth fillets) followed by a cylindrical body with a wide diameter. Circular staggered foot forming decorated and smooth bands of different lines. It presents decoration based on smooth framed mirrors, cs facing each other as parentheses, simple plant and floral motifs, geometric shapes, etc. on a background worked in matt, following rhythms with symmetry and order. The shape of this chalice is reminiscent of outstanding examples such as the one made in gilded silver during the second half of the 17th century that is in the Naval Museum of Ferrol (Spain), some of the Cathedral of Santiago de Compostela, two in the Barbastro Diocesan Museum -Monzón, profile similar to that of the Villanueva de Sijena monastery, etc. As for its decoration, similar compositions can be seen in some details in the Lázaro Galdiano Museum in Madrid (Agustin de Cuesta fountain, Granada, first third of the 17th century; Noval fountain, Tudela, second third of the 17th century), etc. . Compare, likewise, with a gilded silver chalice preserved in the Diocesan Museum of Zaragoza, with lines very similar to the present one. Weight: 960 grams.

· Size: 15x15x26 cms.
ANTIQUES

Ref.: ZF0988
SILVER JAR OR JUG. VITORIA, 18TH-19TH CENTURIES.

Jug. Silver. Vitoria, 18th-19th centuries. With contrasting and burilated marks, and property initials (TN). Published in Encyclopedia of Spanish and Viceregal American Silver. Bibliography: Fernández, Alejandro; Munoa, Raphael; Rabasco, Jorge. "Encyclopedia of Spanish and Viceregal American Silver". Second edition, corrected and enlarged. Torreangulo Graphic Art, Madrid, 1985. Page 240; page 430, image 1472. Jug or pitcher of silver in its color, with a circular foot decorated with moldings and a string of pearls, semi-ovate belly on which, by means of a band of classicist architectural motifs, a curve, a step and a high neck with a concave profile rise. The mouth, with a sinuous outline and enhanced with another band of plant elements, presents an elevation towards the spout, and covers with a cap 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 figurative element of a round shape is not entirely common, although there are known examples in private collections of jars with handles in the shape of a grotesque, lion, etc. The contrast marks that it presents place the creation of the piece in Vitoria, by the silversmith Argandoña and with the faithful Maison contrast. Tomás de Argandoña is active in the city between 1790 and 1810, while the Maison has been dated to 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 burilada marks, and property name (Ochoa). The jug has an oval base with slight curves and a body divided into two areas (wider in the lower half, slightly concave in the upper half) with a series of curved “gajos”; the peak shows simple architectural decoration and smooth areas; the handle is of a type known as brace, with classicist architectural elements; the lid follows the lines of the body and is finished off with a vegetable shape creating a knob. On one of the sides, towards the foot, there is the engraved text "Ochoa", referring to a former owner. Contrasting marks place the creation of the piece in Madrid. Another one that appears could be one of those used by the silversmith Juan de San Faurí. With Felipe V, numerous French influences, along with some Italian ones, came to silverware, both from the hand of craftsmen of these origins and from pieces. Little marking continues in 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 tendencies coexisted at the Court, although, being the center that set the standard for the rest, the former soon departed, introducing Rococo before 1740 or on that date, and Neoclassicism around 1770 (gradually imposing itself from 1780). The jug follows the most common prototype since the arrival of the Bourbons, characterized by its European influence and the great difference it shows with the type known as the “spout jug”. Compare with the Francisco García cruet (inventory 03487) from the Cerralbo Museum in Madrid, with the Medina-Sidonia specimen (code 59906, Catalog of Movable Heritage of Andalusia), or with specimens from the National Museum of Decorative Arts, pieces preserved in museums. and Treasures of Spanish Dioceses, etc. Weight: 1050 grams.

· Size: 17x8x26 cms.
ANTIQUES

Ref.: ZF1017
SILVER DESK WRITING SET. MADRID, SPAIN, PLATERÍAS MARTÍNEZ, 1819. WITH...

Scribe with four inkwells and bell. Silver. Madrid, Silversmiths Martínez, 1819. With contrast markings. Scribble of silver in its color composed of a rectangular tray (raised on four claw-shaped legs and with smoothed corners), four containers (two with holes in the lids, two without them) and a bell in the center. Both the decorative elements (very few in number) and the lines of the different elements respond to a clear influence of European Neoclassical models. Contrast marks can be found on the bottoms of all four containers and on the tray. These link the piece with the city of Madrid and with what is known as Platerías Martínez. The Real Fábrica de Platería de Martínez was founded in 1778, and marked the introduction in Spain of the industrial manufacturing method in the field of silver work and neoclassical aesthetics in Spanish silverware. Likewise, it was one of the most important silversmith centers in the history of Spain, and was characterized by the originality of its designs and the perfect finish of its pieces. Compare, for example, with the pieces preserved in the Museum of History in Madrid, although models similar to the present one are found in private collections. Weight: 2,239 grams.

· Size: 29x24x15 cms
ANTIQUES

Ref.: ZF0678
SILVER CEREMONIAL CUP. SPAIN,16TH CENTURY.

Catavinos or scrapie. Silver in its color. Spain, 16th century. With contrast marks, illegible. Cup without foot or handles, in silver in its color and with a circular base, flared rim towards the outside and concave center upwards on the inside, which has an embossed decoration based on plant elements (flowers on the rim, other different towards the center around a central floral motif and alternating with rectangular motifs), veined shapes (interspersed with flowers on the edge) and a small band of stars towards the edge of the piece. At this end, it has a partially frustrated contrast mark, in which the letters “AIEB” can still be read, followed by a rectangular motif located vertically. This type of drinking cups, sometimes also known as bernegales, were used on special occasions (ceremonies...), hence their material and decoration, and they were very common during the reign of the Habsburgs in Spain. Although they were objects for civil use, it was not unusual for them to be donated or commissioned for use in churches or in liturgical settings. Similar examples can be found in very few private collections and only in a few major museums. For example, similar bernegals from the 16th century are preserved at the Valencia de Don Juan Foundation (Madrid), and those from the 17th century are somewhat more abundant, as shown by those in the Lázaro Galdiano Museum (inventory 3910 and 3916).

· Size: 16x16x2 cms.
ANTIQUES

Ref.: ZF0957
PAIR OF SILVER CANDLESTICKS OR CANDLE HOLDERS. WITH HALLMARKS. POSSIBL...

Pair of candlesticks. Silver. GONZÁLEZ TÉLLEZ, Antonio; Valladolid 1777. With contrasting and engraved marks, and engraved shield and legend. Pair of silver candlesticks in its color with a circular base of edges combining curves and counter curves and a series of moldings that end in the axis of the piece, which maintains helical lines towards the upper part throughout all the shapes and moldings that compose it, accentuating the movement created with this combination. At the base, you can see a heraldic shield engraved on each one, accompanied by the word "Ravago" in capital letters. Topped by a helmet facing left, the shield features a castle or tower surrounded by three fleurs-de-lis pointing outwards. The accompanying text inevitably reminds us of Francisco Rábago y Noriega (Tresabuela, Cantabria, 1685 - Madrid, 1763), also known as Francisco de Rávago y Noriega, or Francisco Rávago, a prominent Spanish ecclesiastic and Jesuit, confessor Real of Fernando VI, personal friend of Pope Benedict XIV and the Marquis of Ensenada, and professor at the University of Valladolid. However, it should be noted that there are other people at that time with the same surname. The contrast marks place the piece in Valladolid, and relate it to Antonio González Téllez (1720-1778). One is the so-called "cut mark", which some experts place in time until the appointment as a faithful contrast to Antonio González Téllez. This teacher served as a faithful contrast in the city between 1743 and 1774/8. Apart from other works preserved with their contrast (many in private Spanish collections), we must highlight the front of the silver altar of the Virgen del Sagrario (Cathedral of Valladolid) by the Valladolid silversmiths Juan Antonio Sanz de Velasco and Miguel Fernández Yáñez de Vega , who finished off in the last third of the 18th century a work begun in 1693 by the silversmith José de Aranda. The other punch, also frustrating, could be related to Carlos or José Reconcho. Weight: 1005 gr.

· Size: 14x14x24,5 cms.
ANTIQUES

Ref.: ZF0634
SILVER JAR OR JUG. MADRID, SPAIN, 1803.

Jug. Silver. Madrid, Spain, 1803. With contrast markings. Published Encyclopedia of Spanish and Viceregal American silver. Bibliography: Fernández, Alejandro; Munoa, Raphael; Rabasco, Jorge. "Encyclopedia of Spanish and Viceregal American Silver". Second edition, corrected and enlarged. Torreangulo Graphic Art, Madrid, 1985. Page 361, image 671. Jug with circular molded foot and semi-ovate belly on which, by means of a band, a neck with a concave profile rises. The mouth, with a sinuous outline, is enhanced with another fine smooth molding and is warped on the front; cover with a capper or cover that follows the same lines and has been finished off with a frog. The handle has a broken line path, ends in plant motifs and has been enhanced with a wide and smooth band or molding towards the center of it. This jug can be included within a group that is inspired by a model of European tradition brought to Spain and spread, initially, by Platerías Martínez (compare, noting similarities and differences, with the silver jug in its marked color in 1806 from the Royal Silver Factory of Madrid of the National Archaeological Museum, also topped with a frog on the lid; or with a jug from Barcelona dated around 1810, preserved in the National Museum of Decorative Arts in Madrid). In 18th-century Spain, it was the capital that set the standard for silverware: baroque, rococo and neoclassical styles coexist, but the first trend was soon abandoned, replaced by the second that was introduced around 1740, with Neoclassicism appearing approximately in 1770 and gradually imposing itself from 1780. The contrasting marks that it presents are those of the Villa and Court of Madrid, which, in addition, allow the piece to be dated. Weight: 1,100 grams.

· Size: 16x12x30 cms.
ANTIQUES

Ref.: ZF1015
SILVER SPICES BOX. LIZASOAÍN. SPAIN, MADRID, 1768.

Salt or spice shaker. Silver. LIZASOAIN. Spain, Madrid, 1768. With contrast markings. Silver spice rack in its color with a frustoconical body, sinuous lower edge that rests on scrolled legs, hemispherical bowl without divisions, dome-shaped lid (with lines creating segments), and decorated with plant and architectural elements of high relief. Typologically, it is a spice rack belonging to a somewhat peculiar tradition or model, frequent in Córdoba and Madrid but also present in Gerona, Antequera, etc. the contrast marks place its completion in 1768, in Madrid, and by the hand of a silversmith surnamed Lizasoaín. Although three masters are known by this surname, the most prominent in his time, both for his work and for his contemporaries, was Miguel Antonio Lizasoaín, a Navarrese who was active between 1735 and 1779, the year of his death, in the Spanish capital. . Weight: 300 grams.

· Size: 9x6.5x8 cms.
ANTIQUES

Ref.: ZF1018
SILVER JAR OR JUG. SELLÁN, JUAN. MADRID, 1847.

Jug. Silver. SELAN, Juan. Madrid, 1847. With contrast markings. Silver pitcher in its color that has a flat handle decorated with simple openwork plant elements between two smooth bands and an upward shape, a large mouth extended forward, and a body with different lines and decorations organized in three registers, and a circular foot with a band of architectural motifs. These three registers are organized: a smooth area at the top, followed by a ribbed part and another ribbed part. Both the decoration and the lines of the jug have a clear classicist influence. Presents engraved ownership initials (FAL). The contrast marks are those of Villa y Corte de Madrid (they also provide the date) and that of the silversmith Juan Sellán, trained in the Real Fábrica de Plataría de Martínez since 1821 and incorporated into the Colegio de Plateros since 1842, the year in which they are dated. his earliest known works. This model can be found with slight variations in the production of the Real Fábrica de Platerías Martínez in Madrid, and was later taken up by Juan Sellán. Weight: 1108 grams.

· Size: 18x12x33 cms.
ANTIQUES

Ref.: ZF1013
PROCESSIONAL CROSS. SILVER. WITH HALLMARKS. BARBASTRO (ARAGÓN), SPAIN,...

Processional cross. Silver gilt. Barbastro (Aragon), Spain, 16th century. With contrasting and burilada marks (foot, surroundings of Christ). Latin-type processional cross made of gilded silver, with a foot formed by a cylindrical barrel that increases in width towards the end and has been decorated with floral elements within rhomboidal spaces, an almost spherical apple with male busts in relief (possibly the four Evangelists) and vegetable elements in a composition similar to that mentioned, and a molded upper body enhanced with thin vegetable stems that transform into monsters "with a round bulge." The cross presents a cresting in its contour of vegetal elements, masks (just in the widenings enhanced by an oval molding with corners) and vegetal and architectural compositions of classicist influence with winged angel heads (in the quadrifoliate ends of the same, enhanced with moldings and plant details). In the rest of the areas of the two main fronts of the same, there is a decoration of oval mirrors with frames of smooth bands and threaded scrolls; the sides are smooth. On one of the fronts of the piece, the figure of the Crucified Christ is located (three nails, short purity cloth, head dropped); in the other, and on a triangular openwork base of clear Gothic memory, the crowned Virgin Mary appears standing, with the Child Jesus in her arms. It is necessary to indicate the survival in the present piece of some details of Spanish Gothic silverwork (cresting -which appears around the 15th century-, flower-pleated cross finials -or similar shapes-, broadening of the arms of the cross, etc.) , together with elements that already respond to Renaissance influences (shape and decoration of the foot and the apple, elements in slight relief around the Crucified, winged angels' heads, masks, etc.). Likewise, it is possible to compare it with processional crosses such as that of Buerba in the Diocesan Museum of Barbastro-Monzón (from the 16th century, with a striking repertoire of late-Renaissance elements and certain similarities with the present); Some conserved in the Diocesan Museum of Barbastro (the one in Trillo from the 15th century, for example); that of Bagüés de Zaragoza from the 16th century of the Diocesan Museum of Jaca; the one carried out in Burgos around 1550 which is now in the Los Angeles County Museum of Arts (United States); etc. Weight: 2200 gr.

· Size: 36x13x73 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6463
CROWN OR PIECE OF ALTAR. EMBOSSED SILVER, MIRRORS, WOOD. LLORENTE, JOS...

Altar auction. Embossed silver in its color, wood, mirrors. LLORENTE, José (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century. With contrast markings. Altar finish made of silver embossed in its color on a wooden core that has seven oval-shaped mirrors and profiles cut into curves and counter-curves. The upper part presents a canopy imitating textiles from which a series of small bells hang and shelters a dove with outstretched wings, situated in front of a veined shape and a cloud with the heads of winged angels. Approximately the three upper quarters of the work show a decoration in slight relief with solar rays, scrolls, rockeries, oval mirrors, circular tears resembling rain, flowers, leaves, a bouquet of wheat ears next to a vine with a bunch of grapes, etc. combined with five mirrors and following a symmetrical arrangement; the remaining part does not present reliefs but there are two mirrors. This type of liturgical goldwork was relatively frequent in churches, cathedrals, etc. with significant purchasing power and influence, although many of those made are not preserved because it is a valuable material that can be melted and be looted at certain times. Let us mention, highlighting the differences, the silver Altar of the Cathedral of Seville (16th-17th centuries, various silversmiths), the set of the main chapel of the Cathedral of Santiago de Compostela (17th century), the Manifestator-Tabernacle of the Cathedral from Valencia from the eighteenth century, the silver altarpiece of the Diocesan Museum of Huesca (work by José Estrada y Juan and Jerónimo Carbonell y Gros made between the seventeenth and nineteenth centuries, which was placed before the Main Altarpiece of the Cathedral, and has a canopy and pinjantes bells), exhibitor for the Santísimo in gilded silver and in its color dated in the 18th century and that is in the Museum of the Cathedral of Segovia, etc. The presence of the Holy Spirit (dove) and the cluster of ears of wheat and the vine with the cluster of grapes would link the piece with the Eucharist, being possible that it is a fragment of an altar (permanent or not) of a monstrance. Stylistically, it is clear that the work belongs to a somewhat advanced Rococo. The contrasting marks present in various points of the silver place the creation of the auction in Vitoria (Spain), also providing an approximate date (around the 60s of the 18th century) and the names of two master silversmiths: Juan Antonio Sotil or de Sotil (possibly the faithful contrast) and José Llorente. Juan Sotil was a silversmith living in Vitoria who also acted as a faithful contrast to the city (the City Council appointed him in 1751 as an appraiser of diamonds and precious stones, and in 1769 to contrast the city, a position he held until 1779, when he resigned and was appointed Mauricio Llorente). Notable institutions such as the Museum of Sacred Art of Vitoria (Reliquary of Santa Lucía in the hermitage of Santa Lucía de Vitoria, 18th century) conserve works with their punch. José Llorente was another silversmith from Logroño. He passed his master's exam in Burgos, and it is documented between 1760 and 1799. The Church of Santiago de Logroño (portaviático), the Old Cathedral of Vitoria (four candlesticks), etc. conserve works with his stamp.

· Size: 52x26x122 cms.
ANTIQUES

Ref.: ZE153
SILVER TASTEVIN FROM BECERRIL DE CAMPOS TOWN COUNCIL, 1806.

Catavinos of the town hall of Becerril de Campos, 1806. With legend on the base ("Catavino del Ilustrísimo Cabildo de Becerril de Campos with Royal Privilege year 1806"). Posted in: Fernández, Alejandro et alt. Encyclopedia of Spanish and American Viceregal silver, Torreangulo Graphic Art, Madrid, 1985. Page 485. / Redondo Aguayo, Anselmo. Historical monograph of the town of Becerril de Campos and biographical news of its most illustrious sons. Tello Tellez de Meneses Institution Bulletin, 9, 1952. Page 149. Plain vase with legend on the outer rim attached to a bowl with a convex seat decorated with raised gallons, engraved ovals and crosses, and lines of beads arranged around a central circle that has been left smooth. Due to its shape, it is closer to the Bordeaux type catavinos than to the Burgundian type (the most common), and its shape seems to have been characteristic of Castile in the seventeenth century; It has not changed since then, maintaining its use and manufacture. According to experts, these types of pieces were called "cups" until the 19th century, and we are not entirely sure that their use was utilitarian, with certain studies leaning towards a mainly decorative function. This would be the reason why, despite being a piece made in a secondary manufacturing center such as that municipality of Palencia, it presents decoration all over its surface, in addition to the written legend. The gallon motifs, like the oval shapes, are geometric decorations widely used in this type of piece, especially since the Renaissance and for the inspiration of this artistic style in Roman Antiquity. In the nineteenth century this inspiration in classicism returned to art, hand in hand with Neoclassicism. Despite the simplicity of the elements, there is a clear attempt by the artist to organize them harmoniously to give the piece beauty. Both the material and the decorative excess (to come from a local center) support the theory, already mentioned, that the catavinos would have more a representation use than normal use, being used in certain celebrations or acts in which the council had a prominent role. In Anselmo Redondo's study this catavino is mentioned. It is very rare to keep examples of civil silverware, since their owners used to sell objects with the intention of buying new ones, either better or made in a more modern artistic style, or for financial reasons. Thus, the most common is to find religious silverware, which is the same as civil or varying only in its decorative elements. In addition, civil pieces used to be delivered to churches, convents, etc. as donations from individuals. However, it is important to highlight the extraordinary nature of this catavinos: first, for its material; second, by its typology; third, because its inscription makes it easy to locate its origin and date. There are catavinos with similar characteristics to the present in the Fundación Lázaro Galdiano in Madrid. Weight: 315 gr

· Size: 19x19x6 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6226
SILVER DRINKING CUP . SPAIN, 16TH CENTURY.

Silver wine glasses, 16th century. Wineglass type "cup" with plant motifs inside a six-pointed star at the bottom and with a cylindrical base decorated with circular geometric borders. Also known as catavinos, this type of drinking glasses were used on special occasions (ceremonies ...), hence their material and the decoration they have, and they were very common during the reign of the Habsburgs in Spain. Although they were objects for civil use, it was not strange that they were donated or commissioned for use in churches or in liturgical settings. Both the decoration and the shape of the glass show its origin from an artistic nucleus far from the main silversmith centers. The first, moreover, links more with Gothic art than with the Renaissance, which by this time had already made an appearance in Spanish silverware. Compare, for example, the bernegal with carton-shaped handles from the Prado Museum in Madrid (catalog O00085) from the late 16th century, which presents the upper part carved in double concave gallons and shows plant and fruit engravings in festoons and tapes. This difference does not detract from the work's value, rather on the contrary: it is an example of the attachment to the designs of simple lines and gothic vegetal and geometric decorations that were had in centers far from the creative capitals, whose influence can be seen, even, in Baroque works. Similar examples can be found in very few private collections and only in a few major museums. For example, similar bernegalese from the 16th century are preserved in the Valencia de Don Juan Foundation (Madrid), and those from the 17th century are somewhat more abundant, as shown by those of the Lázaro Galdiano Museum (inventory 3910 and 3916).

· Size: 16x16x4 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6296
SILVER CUP. PERU, 18TH CENTURY.

Bernegal. Silver. Peru, 17th century. Tembladera or catavinos made of silver in its color, handles in the shape of an "ese" (or "ce" with a lower finish) with scrolls and masks, and the rest of the piece is smooth. Bernegales and scrapie were more common typologies in seventeenth-century Spanish silverware (although in the eighteenth century they continued to be popular, especially in centers far from the main creative nuclei). In the case of this 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 piece with works such as the scrapie by Antonio Sánchez dated between 1655 and 1689 from the Convent of Madres Clarisas de Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 270 gr.

· Size: 19.5x14x8 cms.
ANTIQUES

Ref.: ZF0553