Z. Sierra · Antiques and Decorative Objects

Results 1 to 24 of 82

«« « 12 3 4 » »»

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 sauce boats Jorge III. 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 prolonged 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 more decorative elements in the pieces, apart from those already mentioned and a series of elements engraved on the lids (bull heads with necks) and on the front of the sauce boats. In this area there is a Latin motto ("Fide et amore", "fidelity and love") under a heraldic shield in each one (three bull heads, two above and one below, separated by a goat; two rampant lions flanking a diagonal band on the back of the same). The lines and elegance of the pieces are typical of the Jorge III style. The heraldry is very reminiscent of that of the Boleyn family, Bullen or Boleyn, a descendant of Anne Boleyn. The motto would allude to a game commissioned on the occasion of 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…). Contrast marks provide a wealth of part data. The passing lion places the realization in London, while the two initials refer to Henry Chawner; the lower case letter gives the exact year; the leopard head certifies the quality of the material. The silverware, still in operation, 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 surname of this master remained linked to the firm until the end of the 18th century in several of his relatives. His works are currently preserved in private English and American collections, mainly, but also in prominent institutions such as the George Washington's Mount Vernon Museum (Virginia, United States), which has an inkwell by George Washington's Henry Chawner, the 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 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 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
SILVER TRAY. BLAS DE AMATE, SEVILLA, MID 18TH CENTURY.

Silver salvilla "contour". Blas de Amate, Seville, mid-18th century. With contrast markings on the edge. Circular type tray with four legs decorated with scallops, vegetal motifs and cartridges, and a raised edge, decorated with chordate ogee motifs separated from each other by a vegetal element. The center is plain, with the interlocking initials P and S engraved in the center. This type of profile is called “contour”, and it was the most used in salvillas throughout the Rococo since the mid-18th century. However, the decoration of the piece responds more to models related to Neoclassicism, coexistence of trends that was common at the time and more in the area of origin of the salvilla. At the beginning of the 18th century, Seville's silverware would continue to maintain its primacy, but it would be surpassed by Cordoba's (although it still had a large number of craftsmen and very good quality in many of them). The contrast marks perfectly place the realization of the work: 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 since 1756 and for some 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-18th 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 prominent institutions such as the Lázaro Galdiano Museum (Madrid), and, above all, in religious centers of ancient tradition (Diocesan Museum of Huesca, Sevillian parishes, etc. .). Unfortunately, not many works have reached us 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 banner with an embossed silver shaft, made by him; a mancerina from between 1730 and 1740 wears her contrasting marks (Monastery of Santa María del Valle, Zafra). Weight 1870 gr

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

Ref.: Z6478
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
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
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
CHALICE. GILT BRONZE AND SILVER. SPAIN, DATED IN 1610.

Chalice. Gilt bronze and silver, enamels. Spain, dated 1610. Flared cup with rose with horizontal band or fillet and four vertical architectural elements (ribs) made of gilt silver. Cylindrical shaft with different radii with smooth moldings, pearl molding and a pedestal-shaped start with paired vertical elements (called ribs). Vase knot with upper fillet, and, below, smooth ribs alternating with enamel ovals. Circular, stepped base, decorated with a flat molding and a composition that alternates enamel ovals surrounded by a linear engraving with an engraved composition of eights next to diamond and between two ces with simplified vegetal elements. The enamels have a symmetrical composition in silver on a dark blue background. At the base, just at the edge, an inscription has been engraved (this chalice was given by Pablo Martinez Beltran canon in this holy church of Segobia year of 1610 year). There is news of a canon of the Cathedral of Segovia named Pablo Martínez Beltrán thanks to his donation to help the custody of the Corpus, which would later be carried out by Rafael González Sobera. Stylistically, it resembles an anonymous chalice made between 1625 and 1650 and another perhaps from Madrid between 1625 and 1640 with inscription, both preserved in the Bordonaro Collection and with enamels. Likewise, it recalls in proportions and lines a ciborium of gilded silver and enamels in blue, green and ocher, dated in the first half of the seventeenth century and located as the work of a Toledo workshop, which is preserved in the National Heritage Collections of Spain . The general scheme was widely used in the peninsula, following the guidelines set by court fashion. Compare also with a Mexican one from the mid-seventeenth century that is preserved in the Metropolitan Museum in New York, especially the area of the glass. Pearls, a common element of Toledo silverware of these dates, appear in A. Rodríguez's chalice dated 1696 in the Parish Museum of Villa de Orgaz. Note that it has some small faults. Weight: 1070 grams.

· Size: 15x15x25,5 cms.
ANTIQUES

Ref.: ZF0764
SILVER (916) MODERNIST TRAY. BACARIZA, EMILIO. SPAIN, CIRCA 1900. WITH...

Modernist tray. Silver (916 mm). BACARIZA, Emilio. Spain, around 1900. With contrast markings. Rectangular shaped tray with two handles with curved profiles that has been decorated on the edges with curves, floral motifs and small hunting scenes, all with a clear modernist influence. Emilio Bacariza was a goldsmith who had an outstanding workshop in Santiago de Compostela and is considered active between the end of the 19th century and the 1930s. Weight: 5035 grams.

· Size: 92x59x3 cms
ANTIQUES

Ref.: ZF0701
SILVER SALT CELLAR. TOLEDO, SPAIN, 16TH CENTURY.

Spice rack. Silver in its color. Toledo, 16th century. Spice or salt shaker made of silver in its color composed of a shallow, polygonal-shaped tray, raised and enhanced by four legs and that, in addition, has two protomes of animals holding rings (eagles or lions). The legs have a lower volute finish, which gives way to a vegetal shape and ends, separating them with a fine smooth molding, in a humanoid bust with architectural elements. The decorative elements are reminiscent of other Renaissance pieces preserved in prominent institutions such as the National Archaeological Museum of Madrid (Processional Cross of Juan Francisco Faraz de Alcalá de Henares, ca. 1560), Church of the Assumption of La Guardia (Toledo), City Hall Collection of Toledo, etc. Likewise, the legs somewhat resemble those of the open grocery store at the Victoria & Albert Museum in London (dated around 1540 and possibly located in Córdoba). The small central tray has been left smooth, in a glossy finish, in order to enhance its lines and the decoration of the legs and protomes that it presents. Regarding the shape, note that the open spice racks on a triangular base slightly raised by three legs were a common element in Europe in general during the 16th century, finding examples in the Victoria & Albert Museum, the British Museum in London, etc. However, traversing do not seem to have been so frequent. Weight: 325 grams.

· Size: 15x11x7 cms.
ANTIQUES

Ref.: ZF0309
SILVER JUG. DAMIÁN DE CASTRO (1716-1793), CÓRDOBA, SPAIN, 1772-1793.

Jug. Silver. Damián de Castro (Córdoba, 1716-Seville, 1793), Córdoba, 1772-1793. With contrast markings. Silver jug in its color with a circular foot, globular body and a slightly protruding spout at the front that shows striking lines along its surface arranged slightly in a spiral, also combining the curves and counter curves of the profile of the piece. The handle presents an outstanding sculptural decoration, based on vegetal elements of classicist influence. You can see some initials of property engraved, and the usual contrast and locality marks in this type of work. In the center, the local one links the jug with Córdoba (Spain), and the other two refer to Juan de Castro, who worked on it as a silversmith and as a faithful contrast. This allows placing his realization between 1772 and 1793, when he was granted to mark his own pieces as a silversmith and marker. Son of the silversmith Juan de Castro, he took the corresponding exam in 1736, from which time he would already carry out commissions. He was appointed Mayor Cathedral Master in 1752, beginning a very important stage that would lead him to be one of the best valued teachers of his time. Substitute contrast in 1758, he was appointed Elder Brother of the Colegio Congregación de San Eloy between 1779 and 1780, and embarked on a series of companies that led him to ruin, forcing him to go to Seville, where his brother Pedro, canon of the Cathedral. He died in this city in 1793. Regarding his work, a first stage and a change can be clearly distinguished from the mid-1750s, in which he opted for the Rococo, with a marked preference for curved silhouettes, the helical movement and the profusion of ornaments (rockeries, struts, plant motifs, highly prominent figurative elements, etc.); Likewise, it should be noted that, although religious works predominate, the master's artistic production is considered overwhelming, and encompasses a great variety of typologies. Among his work, it is necessary to highlight the Virgen de la Candelaria and the San Rafael del Tesoro in the Cathedral of Córdoba, the lanterns of the Brotherhood of Nuestra Señora de la Soledad del El Carmen de Écija, the silver chalice from the 18th century with its hallmarks of the Pontifical and Royal Brotherhood of Our Lady of the Immaculate Conception of Puente Genil, the silver jug in its color and gilded from the Treasury of the Cathedral of Seville, etc. Weight: 850 grams.

· Size: 12x19x24 cms
ANTIQUES

Ref.: ZF0660
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
Sold

SILVER PITCHER OR JAR. MADRID, 1790. WITH HALLMARKS.

Jug. Silver. Madrid, 1790. With contrast markings. Jug of silver in its color that presents an oval base with a stepped base of smooth moldings; smooth teardrop shaped body, with somewhat pronounced bill enhanced with engraved lines; lid joined with hinges and decorated with line and vegetal element to raise this part; the handle, in the shape of a “ce” with a scroll in the lower area or an uneven “ese”, has a series of lines and an element in the upper part with a rococo memory. The contrast marks are found one on the top and three on the bottom. Those of Villa and Corte de Madrid place the realization of the piece in the capital and in the year 1790 or 1791. A mancerina is known in a private collection with this same variation in the years of the date (cut with 91 and villa with the 90). Stylistically, the jug shows a clear neoclassical influence along with that aforementioned detail that is found in Madrid pieces closer to the Rococo. In eighteenth-century Spain, it was the capital that set the tone in 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 since 1780. Weight: 930 grams.

· Size: 17x10x23 cms
ANTIQUES

Ref.: ZF0599
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
SILVER FRUIT BOWL 18TH CENTURY .

Salva Cordovan in silver, 1759-1768. With marks. Weight: 820 g. Rococo-style silver save, with Cordoba punches and the Bartolomé Gálvez y Aranda marker. It has a tall, stepped foot, with a circular base, adorned with incised grooves and other simple motifs of a classical type, already announcing the change of language towards neoclassicism. However, the plate itself is still distinctly Rococo, with a profile of mitered curves that translate into ridges at the eaves. Bartolomé Gálvez y Aranda was a silversmith, although he worked as a marker between 1759 and 1772, using for this work the punch that we see here: his last name in capital letters, in a very horizontal trapezoidal frame and surmounted by a fleur de lis in trilobed highlight. Gálvez y Aranda added the chronological mark to this punch from 1768, so this salvo would date between 1759 and 1768. It is also a particularly interesting piece because it comes from Córdoba, the main center of Spanish silverware from the Rococo period, from whose workshops high quality religious and secular pieces came out, destined not only for local clients but from all over the Iberian Peninsula, even reaching the Canary Islands and Latin America. The great diffusion of the Cordoba silverware will take place, in fact, in the last quarter of the 18th century, through the so-called master silversmiths. These characters acted as trade corridors, according to Pérez Grande, visiting churches and fairs held throughout the country. The activity of these fairground silversmiths was also favored by tax exemptions.

· Size: 32x32x13 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6259
SILVER PYX, 16TH CENTURY.

Silver pyx, 16th century. Cylindrical body with studs and acanthus decoration engraved and polished, and a lid decorated with a small cresting, conical shape and decoration with the same techniques, resembling a fabric cover. It follows the most common typology at the time for this type of pieces, destined to save or transport the Sacred Form. Weight: 184 gr

· Size: 10x10x10 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5726
SILVER “TEMBLADERA” OR TASTEVIN. 1739.

Pair of scrapie or catavinos in silver. 1739. (Together with Ref.z5831) No contrast marks. With inscription on the front. Both the same, each one is made up of a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer edge that reads: “I am from the noble conzefo de Santiux that our time Jul. de las Cuevas Zeballos year 1739 ”. Baroque trends were maintained in Spanish silverware for almost the first two thirds of the 18th century, except in the capital, where Rococo forms are already being introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these novelties in Madrid, which would spread slowly through the rest of the centers, according to areas and masters. This survival of the seventeenth century forms can be seen in the handles of the scrapie: the grotesques with human heads are highlighted by highly moved plant motifs, a 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 contrast marks does not allow locating the work or the artist, although this is precisely what speaks in favor of a secondary silversmith center, where the absence of control of these works was more common due to the lack of teachers and the means to ensure compliance with the marking regulations. Throughout these first two thirds of the 18th century, the certain monotony of the centers of Old Castile (to which Cantabria belonged), León and Galicia was notorious in comparison with the importance of Valladolid and Salamanca, so perhaps they were carried out in the Cantabrian environment. The inscription clarifies the purpose of the scrapie: they were a gift to the Council of Santiurde de Reinosa (Cantabria) from Juan de las Cuevas Ceballos, a native of this town and a neighbor of El Puerto de Santa María de Cádiz, who also proved his nobility in 1733 before the Sala de los Hijosdalgo of the Royal Chancery of Valladolid. They are therefore two pieces made for civil use, a detail that increases its importance due to the scarcity of this type of works.

· Size: 15x11x6.5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5829
SILVER “TEMBLADERA” OR TASTEVIN. 1739.

Pair of scrapie or catavinos in silver. 1739. (Together with Ref.z5829) No contrast marks. With inscription on the front. Both the same, each one is made up of a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer edge that reads: “I am from the noble conzefo de Santiux that our time Jul. de las Cuevas Zeballos year 1739 ”. Baroque trends were maintained in Spanish silverware for almost the first two thirds of the 18th century, except in the capital, where Rococo forms are already being introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these novelties in Madrid, which would spread slowly through the rest of the centers, according to areas and masters. This survival of the seventeenth century forms can be seen in the handles of the scrapie: the grotesques with human heads are highlighted by highly moved plant motifs, a 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 contrast marks does not allow locating the work or the artist, although this is precisely what speaks in favor of a secondary silversmith center, where the absence of control of these works was more common due to the lack of teachers and the means to ensure compliance with the marking regulations. Throughout these first two thirds of the 18th century, the certain monotony of the centers of Old Castile (to which Cantabria belonged), León and Galicia was notorious in comparison with the importance of Valladolid and Salamanca, so perhaps they were carried out in the Cantabrian environment. The inscription clarifies the purpose of the scrapie: they were a gift to the Council of Santiurde de Reinosa (Cantabria) from Juan de las Cuevas Ceballos, a native of this town and a neighbor of El Puerto de Santa María de Cádiz, who also proved his nobility in 1733 before the Sala de los Hijosdalgo of the Royal Chancery of Valladolid. They are therefore two pieces made for civil use, a detail that increases its importance due to the scarcity of this type of works.

· Size: 15x11x6.5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5831