Z. Sierra · Antiques and Decorative Objects

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SILVER PAX. 16TH CENTURY.

peace bearer Silver in its color and gilt. Century XVI. Peace holder made of silver that has a handle (decorated with delicate plant motifs similar to those of the pilasters) and a female bust and a male bust at the bottom, as well as other architectural elements on the back, and, on the front, an architectural composition basement (with busts flanking a flower, and a cross), two pilasters (vegetable decoration and capital recalling the composite order) with entablature (flowers flanking an angel's head; mouldings), and a semicircular arch finish with venerated elements in low relief cross and flanked by two architectural motifs at the top. This composition frames and enhances a silver-gilt relief where you can appreciate the Lament or Weeping 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 after the group and a landscape background with houses and plant elements. This mentioned architectural structure is similar to the one present in other 16th century portapaces, such as the one in the parish of Magdalena de Dos Hermanas (Hernando de Ballesteros el Mozo, around 1575); or that of the parish of Galaroza (same author and date); or that of the peacekeeper 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 de Juan de Burgos (1493-1497; Alcalá de Henares Cathedral Museum), as well as in paintings and reliefs. We must also highlight both the male and female busts in the lower area as well as 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 him this island as a fief in the 16th century. Weight: 507 grams.

· 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 more decorative elements on 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 motto in Latin (“Fide et amore”, “fidelity and love”) under a heraldic shield in each one (three bull heads, two above and one below, separated by a rafter; two rampant lions flanking a diagonal band on the escutcheon of the same). The lines and elegance of the pieces are typical of the George III style. The heraldry is very reminiscent of that of the Boleyn, Bullen or Boleyn family, descendants of 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…). Contrast marks provide numerous piece data. 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 silversmith, still in operation, called Edward Barnard & Sons Ltd., has a number of predecessors: it was founded by Anthony Nelme around 1680, and, following a succession of master silversmiths, the business was improved by Henry Chawner in 1786, master of the successor to the family that was running the business at the time (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 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 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 notary. Vicente Roces, Zaragoza, around 1760. With hallmarks and membership initials on the base. The base tray has a square shape with mixed profiles and rests on legs with plant motifs. The four containers have helicoidal gallon feet, and low 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 off in a scroll, and is attached to it by means of a hinge. The bell, also with helical gallons, is topped by a figure of a soldier. The pen holder has holes in the lid for the feathers, and it 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 grit. The bell, used to call the service, secretary, etc., has another jug as its base, similar to the rest but much higher, from the top of which 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 "contours" 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 for a detailed study. The contrast marks ensure the quality of the material and allow us to locate the manufacture and the author of the work. Those of the town, in the arm of the candlestick, place the work in Zaragoza, and date it as being made 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 works of Rococo taste 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 private collections of importance. 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 cups for drinking wine made in silver in its color that have a small cylindrical and low foot, a flared edge towards the top and a central area curved upwards, which has been decorated with a composition based on motifs. geometric embossed in stripes and around a central element. These types of glasses were used on special occasions (ceremonies...), hence their material and decoration, and they were very common during the reign of the Habsburgs in Spain. Although they were initially objects for civil use, it was not surprising that they were donated or commissioned for use in churches or liturgical settings, and they were also frequently used in prominent festivals (Corpus, pilgrimages, etc.). The shape of the couple is a good example of the adherence to certain previous traditions that occurred in Spanish silverware during the 17th and 18th centuries, especially in certain producing centers. Weight: 435 grams.

· Size: 18x18x5 cms.
ANTIQUES

Ref.: ZF0958
SILVER TRAY. JOSÉ DE ASTEIZA, BILBAO, SPAIN, 1702.

Source or tray. Silver in its color. José de Asteiza Garay, Bilbao, Spain, 1702. With hallmark and inscription. Circular tray made of silver in its color that has a leaf garland border followed by a flat area and a decoration in the center of the piece made up of a band of plant motifs with a classicist influence, an inscription in capital letters (ESTA FVENTE ES OF SAN NICOLAS AÑO DE 1702), and a central motif of scrolls, leaves and flowers accompanied by a staff of command, a bishop's miter, a cord with tassels and shells (recalling the one linked to Santiago Apóstol). This decoration in the center alludes to San Nicolás de Bari. Also known as Saint Nicholas of Mari, he was a bishop who lived in the fourth century in what is now Turkey. He was imprisoned by a decree of the Emperor Licinius, released by Constantine, participated in the Council of Nicaea, etc. Typologically, it is an element in the shape of a decorative tray, but, as it has the inscription it presents (which links it to a religious environment), it could be a petition plate or tray, designed to collect offerings given by the faithful in Masses and other outstanding celebrations. Likewise, it is necessary to remember the Communion trays, which also follow civil models. A church dedicated to San Nicolás is known, founded in 1490 as a hermitage presiding over the fishermen's neighborhood located outside the city. The current building is, however, a temple inaugurated in 1756 and designed by the architect Ignacio Ibero. Let us mention that the altarpieces of the main chapel and the four interior exedras have altarpieces that were commissioned to Juan Pascual de Mena in 1754. Stylistically, it is a work of marked classicism, with some detail that could be reminiscent of Baroque work but without yet presenting elements of the Rococo style. There is no locality mark, but the one that is on the piece (towards the edge of it) is linked to a silversmith who worked in Bilbao (Basque Country) in the 18th century. José de Asteiza or Asteyza (1686-1738) was a silversmith active in Bilbao, a city where he worked for different parishes and also as a faithful contrast to around 1715, and by his hand works such as a ciborium are preserved in the church of San Pedro de Berriatua, the election pitcher of the Consulate of Bilbao (Basque Museum of Bilbao, made in 1733), the whistle of the Consulate of Bilbao (Basque Museum of Bilbao, 18th century), a chalice in the church of San Cosme and San Damián de Beci in Sopuerta, etc. Weight: 1170 grams.

· Size: 42,5x42,5x3,5 cms.
ANTIQUES

Ref.: ZF1051
SILVER WRITTING SET. WITH HALLMARKS. CORDOBA (SPAIN), ANTONIO JOSÉ SAN...

Writing desk. Córdoba, Antonio José de Santa Cruz (Córdoba, 1733 - ¿) and Juan de Luque y Leiva, 1773. With contrast and chisel marks. It presents some lack in some container and bell is added. Silver notary made up of a tray, four containers and a bell. The first element, oval in shape, presents edges with soft curves and countercurves, decorated on the upper part with flat moldings, combined with volutes and veneered shapes; it stands on legs made up of two volutes flanking a teardrop, a set topped by a symmetrical composition. The four containers, with lids, present profiles with smooth curves (among which engraved initials can be seen), which go towards the top following spirals parallel to each other, lines that continue on the finished lids. Two of them, smaller, have holes in the lids. The bell to summon the service, which has a space for itself on the tray, presents much simpler lines. The contrasting marks arranged at various points in the game provide information regarding its date, origin and place of creation. They would be held in Córdoba. Antonio José de Santa Cruz was a silversmith known for his work in Córdoba, active mainly in the second half of the 18th century; His works are preserved in some churches and in prominent institutions such as the National Museum of Decorative Arts in Madrid. Juan de Luque y Leiva was a renowned Cordovan marker, active around the same time, with works preserved in the area (Parish of San Miguel de Córdoba, a cruet holder in Loja from 1778, works in the Madrid Costume Museum, etc. .). Stylistically, the lines of the whole set (except those of the bell), show its belonging to the Rococo, with the usual influence 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; rebranded in Italy (Naples). With contrast and chisel marks. Published in the Encyclopedia of Spanish and American Viceroyalty Silver. Bibliography: Fernández, Alejandro; Munoa, Rafael; Rabasco, Jorge. "Encyclopedia of Spanish and American Viceregal Silver". Second edition, corrected and enlarged. Torreangulo Graphic Art, Madrid, 1985. Page 121; image 235 on page 331. Silver jug in its color that presents a raised circular foot, a spherical body that tapers upwards and opens again towards the lid of the piece (which has an open spout, simple engraved decoration and a vegetal finish of branches with fruit). , and a curved handle decorated with clearly classical-inspired architectural and plant elements. This same influence can be clearly seen in the lines of the piece. Typologically, it is located within a habitual line of Neoclassical Spanish silverware from the 18th century 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 contrast 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 remark). Note that the Cádiz hallmark, the hallmark (illegible), the chronology hallmark (1786) and the silversmith Antonio Faxardo hallmark appear on a chalice in the Cathedral of Santander. In the mentioned book they identify the marks present in 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 markings on the edge of the tray, at its bottom. Ownership mark “AL”. A tray with curved profiles is supported on four legs in the shape of plant elements. Fixed to it are the four containers that make up the notary's office. These, and the bell, present a magnificent decoration based on turned flat gallons on its body, base and lid. It is made up 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 feather dusters with a lid, all attached to the bell by through screws. The profiles of the tray correspond to works from the period and in the Carlos III style, while the jugs still show part of the movement that characterized Rococo, already introducing the clean lines characteristic of Neoclassicism. In the second half of the 18th century, with the accession to the throne of Carlos III, Italian influences arrived in silverware once masters from this country had established themselves, either as silversmiths or, in many cases, also as bronzesmiths. At the end of the century, an abandonment of the Rococo forms in favor of the Neoclassical style can also be seen, whose particularities can be seen in this notary. These embossed shapes come from decorations based on ancient Roman art on which this second artistic style was based, as do the plant elements. Madrid would set the standard in art for being the capital of the kingdom, and the continuous movement of pieces and the relative ease in the communications and transmission of drawings and engravings make it difficult to distinguish particular styles and tendencies in many cases. Likewise, it is necessary to highlight the great role played by the founding of the School-Workshop by Antonio Martínez in 1778 in improving the quality of silverware designs. Presents locality mark, Madrid Corte y Villa 1779, and artist. 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 bulge, engravings and chiseling. It is directly inspired by similar pieces made in 16th century Germany, in full mannerism. This is due to the importance that Germanic silverware had in that century; German and Central European craftsmen in general will create very rich pieces for collectors' cabinets designed to be displayed and not used, the greatest example of virtuosity and ornamental richness of Mannerist silverware. One of the most recognizable types of Germanic Mannerist silverware will be this type of tall cup, with a cylindrical container with a differentiated sub-cup and a large lid. These are functional or ornamental cups, 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 replacing parts of the structure with decorative motifs, as we see here in the shaft, made up of a vase, and the knob, with the round figure of a young classical warrior. The main motif of this design is the chevrons in relief, which take the shape of oval recesses and are separated by baquetones with parallel transversal lines. We see them in the sub-cup, the mouthpiece and the lid, although they also appear in the foot, although simplified, without recesses or drumsticks. The piece stands on a circular foot with a flat and smooth base, with two profusely decorated domed steps: gallons on top and intertwined 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 balustraded vase adorned with large braces in the form of ribs, topped by bird heads. The container is cylindrical in shape, with a cup-cup in great relief, adorned with herms in relief, again a typical motif in Mannerist silverware. The upper part, under the mouth, also juts out, although its gallon decoration is simple enough not to overshadow the delicate and meticulous embossed and chiselled engraving in 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 are classical masks of great ornamental richness. Finally, the lid is domed, with a curly perimeter and a stepped structure. The pommel is sculptural and represents a classical young warrior, perhaps the god Mars. Weight: 1742 grams. (It has a counterweight on the base)

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

Ref.: Z5957
Sold

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

Silver salvilla "contours". Blas de Amate, Seville, mid-18th century. With contrast markings on the edge. Circular tray with four legs decorated with scallops, plant motifs and cartouches, and a raised edge, decorated with chordate 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 “contours”, 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, a 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, Sevillian silverware would continue to maintain its primacy, but it would be surpassed by that of Cordoba (although it still had a large number of craftsmen and very good quality in many of them). The contrast marks perfectly place the completion 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 by Blas de Amate have come down to us: for example, the National Archaeological Museum preserves a sponge box made between 1740 and 1750 (inventory 2007/27/2); the Sacramental Brotherhood of San Isidoro de Sevilla a sacramental banner with the embossed silver pole, made by him; a mancerina from between 1730 and 1740 bears his hallmarks (Monasterio de Santa María del Valle, 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 bell-shaped cup gilded on the outer edge and on the 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 of wide diameter. Staggered circular foot forming decorated and smooth bands of different lines. It presents decoration based on smooth framed mirrors, C's facing each other like parentheses, simple plant and floral motifs, geometric shapes, etc. on a matte worked background, following rhythms with symmetry and order. The shape of this chalice is reminiscent of outstanding examples such as the one made of gilt 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 monastery of Villanueva de Sijena, etc. Regarding its decoration, similar compositions can be seen in some details in the Lázaro Galdiano Museum in Madrid (Agustín de Cuesta fountain, Granada, first third of the 17th century; Noval fountain, Tudela, second third of the 17th century), etc. . Compare, likewise, with a silver-gilt chalice preserved in the Diocesan Museum of Zaragoza, with very similar lines 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 hallmarks and chisel marks, and ownership initials (TN). Published in the Encyclopedia of Spanish and American Viceroyalty Silver. Bibliography: Fernández, Alejandro; Munoa, Rafael; Rabasco, Jorge. "Encyclopedia of Spanish and American Viceregal Silver". Second edition, corrected and enlarged. Torreangulo Graphic Art, Madrid, 1985. Page 240; page 430, image 1472. Silver jug or jug in its color, with a circular foot decorated with moldings and a string of pearls, a semi-ovate belly on which, by means of a band of classicist architectural motifs, a curve, a step and a high neck with a concave profile are raised. The mouth, with a sinuous outline and enhanced with another band of plant elements, presents an elevation towards the beak, and is covered 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 disseminated from this place. Likewise, it should be noted that the handle with a round figurative element is not entirely common, although examples are known in private collections of jugs with handles in the shape of a grotesque, a lion, etc. The contrast marks it presents place the making 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 Maison has been dated between the 18th and 19th centuries. Weight: 1100 grams.

· Size: 14x12x31 cms.
ANTIQUES

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

Jug or jug. Silver. DE SAN FAURÍ, Juan (1745-1785). Spain, Madrid, towards the last third of the 18th century. With hallmarks and carving marks, and property name (Ochoa). The jug has an oval base with slight curves and a body divided into two areas (wider in its lower half, slightly concave in the upper half) with a series of curved "gajos"; the spout shows simple architectural decoration and smooth areas; the handle is of a type known as a brace, with classicist architectural elements; the lid follows the lines of the body and is finished off with a vegetal shape creating a knob. On one of the sides, towards the bottom, there is the engraved text "Ochoa", in reference to a former owner. The contrast marks place the making of the piece in Madrid. Another of those that appears could be one of those used by the silversmith Juan de San Faurí. With Felipe V, numerous French influences came to silverware, along with some Italian ones, both at the hands of craftsmen of these origins and pieces. It continues with a scarce marking 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 tone for the rest, the former soon departed, introducing the 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 by the great difference it shows with the type known as "spout jug". Compare with the Francisco García cruet (inventory 03487) from the Cerralbo Museum in Madrid, with the Medina-Sidonia sample (code 59906, Catalog of Movable Heritage of Andalusia), or with samples 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 VASE WITH TRAY. MARTÍNEZ. MADRID, SPAIN,

Cup with tray. Silver. Antonio Martínez Royal Silver Factory. Madrid, Spain, 1830s. Model cataloged in "Catálogo de platería de Patrimonio Nacional", page 254, With contrast markings. Circular plate or tray with fluted molding towards the edge and smooth skirt and bottom; in the center of the bottom there is a support decorated with a fluted band and a smooth plinth into which the cup is fitted by means of a special piece. The cup or vase has a circular base with a plinth and a body with a concave grooved surface; embossed ovoid belly and two handles in the shape of female masks topped with veneered shapes; the neck is concave and has a smooth surface. The lid has a fluted edge matching the tray and a smooth area, ending in the center with a convex veneered finial with a butterfly on a flower on top. The contrast marks present indicate the manufacture of the Game in Madrid (with the date partially visible), in the Real Fábrica de Platería de Antonio 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 of 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. As for the present model, two sets like this are preserved in the National Heritage Collections, dated 1834 and published in the catalog of those collections. Weight: 2350 grams.

· Size: 27x27x34 cms
ANTIQUES

Ref.: ZF1021
SILVER WRITING SET. SPAIN, 20TH CENTURY, AFTER PLATERÍAS MARTÍNEZ.

Notary with four inkwells. Silver. Spain, 20th century, following models from the Real Fábrica de Platerías by Antonio Martínez. With contrast markings. Notary with a silver tray in its color and gilt that has four containers with lids and a pedestal in the center topped by a seated sculpture. The tray, rectangular in shape with the four sides slightly curved outwards, shows a border decorated with plant elements and, on the larger fronts, a crest at the top followed by another at the bottom, creating a symmetrical composition with scrollwork, a figurehead at the front and plant motifs, and four legs in the shape of monsters (foot of a leaf, elongated body with breasts, long neck, head of a lion or similar, and feathered wings). Each of the containers has a circular base on which the monstrous female figures that decorate them support their vegetal "leg" (winged, holding vegetal motifs in front of their breasts), a bulbous shape and a raised lid towards the center decorated with a band of simple architectural motifs, which is, in turn, topped by a bird hunting a snake. In the center, on a circular and stepped pedestal, there is a tubular pedestal decorated with garlands, vegetable scrolls, venerated forms and monstrous masks. Seated on a seat, there is a human figure dressed in a tunic and cloak, barefoot and carrying some objects, with short hair uncovered. Note that the monsters (sometimes called fantastic bugs) that the piece presents as legs are very similar to those on the notary dated around 1847 that has marks from the Antonio Martínez Royal Silver Factory and is kept in the Museum del Prado (Madrid). The masks mentioned on the pedestal are very similar to those presented by "The Allegory of Justice" which was a gift from Medina de Pomar to the Minister of Grace and Justice in 1849 (Museum of Romanticism, Madrid) and which also shows Martinez hallmarks. This work is clearly inspired by the notary office of the Presidency of the Council of Ministers of the Royal Palace of Madrid (National Heritage, ref. B. 428-9045) made in 1851 by the Real Fábrica de Platería Martínez. Note that the four “putti” or child figures that would surround the central figure do not appear here, that it has a slightly different posture, and that the crests on the tray are different, among other details. Weight: 3174 grams.

· Size: 29x22x21 cms.
ANTIQUES

Ref.: ZF1065
SILVER DESK WRITING SET. MADRID, SPAIN, PLATERÍAS MARTÍNEZ, 1819. WITH...

Notary's office with four inkwells and bell. Silver. Madrid, Platerías Martínez, 1819. With contrast markings. Silver notary in its color composed of a rectangular tray (raised on four claw-shaped legs with smoothed corners), four containers (two with holes in the lids, two without) 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 Neoclassicist models. Contrasting markings can be found on the bases of all four vessels 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 of 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 Madrid History Museum, although similar models to the present one can be found in private collections. Weight: 2,239 grams.

· Size: 29x24x15 cms
ANTIQUES

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

Catavinos or trembling. Silver in its color. Spain, 16th century. With hallmarks, illegible. Cup without foot or handles, silver in its color and with a circular base, rim flared outwards and a concave center on the inside, which presents an embossed decoration based on plant elements (flowers on the rim, other different ones towards center around a central floral motif and alternating with rectangular motifs), veneered shapes (interspersed with flowers on the edge) and a small band of stars towards the edge of the piece. At this end, it presents a partially frustrated hallmark, in which the letters “AIEB” can still be read, followed by a rectangular motif placed vertically. This type of drinking glasses, 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 uncommon for them to be donated or commissioned for use in churches or liturgical settings. Similar examples can be found in very few private collections and only in a few major museums. For example, similar bernegales from the 16th century are preserved in the Fundación Valencia de Don Juan (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. GONZALEZ TELLEZ, Antonio; Valladolid 1777. With contrast and engraving marks, and engraved shield and legend. Pair of silver candlesticks in their color with a circular base with edges combining curves and countercurves and a series of moldings that end in the axis of the piece, which maintains some helical lines towards the top 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 has a castle or tower surrounded by three fleurs-de-lys that point outwards. The text that accompanies it inevitably reminds us of Francisco Rábago y Noriega (Three-grandmother, Cantabria, 1685 - Madrid, 1763), also known as Francisco de Rávago y Noriega, or Francisco Rávago, a prominent Spanish ecclesiastic and Jesuit, confessor 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 last name. The contrast marks place the piece in Valladolid, and relate it to Antonio González Téllez (1720-1778). One is the so-called "cutting mark", which some experts place in the time until the appointment as a faithful contrast to Antonio González Téllez. This teacher acts as a faithful contrast in the city between 1743 and 1774/8. Apart from other works preserved with their contrast (many in Spanish private collections), we must highlight the silver altar frontal 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 CLARET JUG. ANSELMO PRIOR AND MASON. VITORIA, SPAIN, 1816-1846.

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

· Size: 15x12x30 cms
ANTIQUES

Ref.: ZF1042
SILVER JAR OR JUG. MADRID, SPAIN, 1803.

Jug. Silver. Madrid, Spain, 1803. With contrast markings. Published Encyclopedia of Spanish and American Viceroyalty silver. Bibliography: Fernández, Alejandro; Munoa, Rafael; Rabasco, Jorge. "Encyclopedia of Spanish and American Viceregal Silver". Second edition, corrected and enlarged. Torreangulo Graphic Art, Madrid, 1985. Page 361, image 671. Jug with a circular molded foot and a semi-ovate belly on which, by means of a band, a concave profile neck is raised. The mouth, with a sinuous layout, is enhanced with another fine smooth molding and is warped on the front; it covers with a cap or lid that follows the same lines and has been finished off with a frog. The handle presents 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 in a group that is inspired by a model of European tradition brought to Spain and spread, at first, by Platerías Martínez (compare, noting similarities and differences, with the silver jug in its marked color in 1806 from the Real Fábrica de Platería de Madrid in 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 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 prevailing from 1780. The contrast marks that it presents are those of the Villa and Corte de Madrid, which also allow the piece to be dated. Weight: 1,100 grams.

· Size: 16x12x30 cms.
ANTIQUES

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

Salt shaker or spice rack. Silver. LIZASOAIN. Spain, Madrid, 1768. With contrast markings. Silver spice rack in its color with a frustoconical body, a sinuous lower edge that rests on volute legs, a hemispherical bowl without divisions, a dome-shaped lid (with lines creating segments), and decorated with plant and architectural elements in 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 named Lizasoaín. Although three masters are known under this surname, the most prominent in his time, both for his work and for his contemporaries, was Miguel Antonio Lizasoaín, a Navarrese 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. SELLAN, Juan. Madrid, 1847. With contrast markings. Silver jug in its color that presents a flat handle decorated with simple openwork vegetal elements between two smooth bands and a shape raised upwards, a large mouth extended forwards, and a body with different lines and decorations organized into three registers, and a circular base with a band of architectural motifs. These three registers are organized: a smooth area facing up, followed by a grooved part and another embossed part. Both the decoration and the lines of the jug show a clear classicist influence. Presents engraved ownership initials (FAL). The hallmarks are those of Villa and Corte de Madrid (they also provide the date) and that of the silversmith Juan Sellán, trained in the Royal Silver Factory of Martínez since 1821 and incorporated into the College of Silversmiths since 1842, the year in which they are dated. his first known works. The present 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. gilt silver. Barbastro (Aragon), Spain, 16th century. With contrast marks and chiseling (foot, environment of Christ). Latin-type processional cross made of gilt silver, with a foot formed by a cylindrical barrel that increases in width towards the end and has been decorated with floral elements within rhomboid spaces, an almost spherical apple with male busts in relief (possibly the four Evangelists). and plant elements in a composition similar to the one mentioned, and a molded upper body enhanced with fine plant stems that transform into "round-bulge" monsters. The cross presents a cresting around its outline of plant elements, masks (just in the widenings enhanced by an oval molding with corners) and plant and architectural compositions of classicist influence with winged angel heads (at the quatrefoil ends of the same, enhanced with moldings and vegetal 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 coiled volutes; the sides appear smooth. On one of the fronts of the piece, the figure of Christ Crucified is located (three nails, short purity cloth, fallen head); in the other, and on a triangular openwork base clearly reminiscent of Gothic, 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 silverware (cresting -which appears around the 15th century-, flordelisados finials of the cross -or similar shapes-, widenings in the arms of the cross, etc.) , together with elements that already respond to Renaissance influences (shape and decoration of the foot and apple, elements in light relief around the Crucified, winged angel 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 one); some preserved in the Diocesan Museum of Barbastro (the one from Trillo from the 15th century, for example); that of Bagüés de Zaragoza from the 16th century in the Diocesan Museum of Jaca; the one made in Burgos around 1550 that is today 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 finish. Embossed silver in its color, wood, mirrors. LLORENTE, Jose (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century. With contrast markings. Altar finial made of silver embossed in its color on a wooden core that has seven oval-shaped mirrors and profiles cut into curves and countercurves. The upper part presents a canopy imitating textiles from which a series of small bells hang and shelters a dove with outstretched wings, located in front of a venerated figure and a cloud with winged angel heads. Approximately the upper three quarters of the work show a decoration in light relief with sun 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 does have two mirrors. This type of liturgical goldsmith work was relatively frequent in churches, cathedrals, etc. with significant purchasing power and influence, although many of those made have not been preserved as they are valuable material that can be melted down and looted at certain times. Let us mention, highlighting the differences, the Silver Altar of the Cathedral of Seville (16th-17th centuries, several silversmiths), the set of the main chapel of the Cathedral of Santiago de Compostela (17th century), the Manifestator-Sanctuary of the Cathedral of Valencia from the 18th century, the silver altarpiece of the Diocesan Museum of Huesca (the work of José Estrada y Juan and Jerónimo Carbonell y Gros made between the 17th and 19th centuries, which was placed before the Main Altarpiece of the Cathedral, and has a canopy and penchanting bells), an exhibitor for the Blessed Sacrament in gilded silver and in its color dated from the 18th century and found 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, possibly being a fragment of an altar (permanent or not) from a monstrance. Stylistically, the work's belonging to an already somewhat advanced Rococo is clear. The contrast marks present at various points on the silver place the creation of the auction in Vitoria (Spain), also providing an approximate date (around the 1860s) 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 trustee for the city (the City Council appointed him diamond and precious stones appraiser in 1751, and in 1769 as a trustee for the city, a position he held until 1779, when he resigned and was appointed Mauricio Llorente). Outstanding institutions such as the Museo de Arte Sacro de Vitoria (Relicario de Santa Lucía de la hermitage de Santa Lucía de Vitoria, 18th century) preserve works with his 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. still preserve works with his punch.

· Size: 52x26x122 cms.
ANTIQUES

Ref.: ZE153