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SILVER TANKARD “COMMODORE CUP” TROPHY FROM DOVER. ENGLISH IMPORT, CIRC...

Tankard, Dover Commodore Cup trophy. Silver. Possibly Germany and import to England, late 19th century.
With contrast marks.
Container with a handle and a hinged lid with a cylindrical body known as a "tankard" that has an abundant and delicate decoration on the outside. The circular and openwork legs have plant elements. The body of the piece shows a strip with teardrop shapes facing each other with symmetrical plant motifs; another much wider with a figurative theme (half-naked male figures hunting a wild boar with the help of dogs, an archer pointing at a fleeing deer, another deer harassed by dogs, two female figures appear, trees, etc.); and a finer one with a vegetal composition and an inscription divided into three areas ("RCPYC / Vc COMMODORES CUP", "WON BY / BRYNHILD", "DOVER / JULY 20 1900"); each of the areas is separated with a fine relief cord. The cover features an elaborate decoration of figures on a band with facing teardrop shapes: birds with their wings spread out on scrolls and plant shapes, a hunting Diana accompanied by a dog, and a lion and a smooth shield with plant elements in the area of the hinge. The handle has a vegetal composition flanked by laces in the front and smooth mirrors framed by smooth moldings on the sides, in addition to vegetal elements at the end of it.
The contrast marks indicate that it is, surely, a piece imported from England (letter F) in .925 sterling silver (lion) made or brought before 1900 (letter A would indicate the year 1896) and related to the city of london (leopard without crown). The remaining punch could refer to Berthold Muller, whose trademark was registered in 1897 and is usually seen on English imported pieces. It is possible to find similar pieces in some private collection that, without being trophies, show Neresheimer punches, in Hanau (Germany) and in the late 19th century.
The Dover Regatta has been held since 1826, organized by the community for the community and with several other organizations involved in it. On May 6, 1872, a Royal Order gave permission to form the Royal Cinque Ports Yacht Club (RCPYC) in Dover, conducting its first race on June 19, 1875 and with a strong relationship with members of the English Royal Family since the Initially (Prince Arthur, later Duke of Connaught, was the first "Commodore"; the Prince of Wales, later King Edward VII, often participated in the early days; Queen Victoria frequently gave trophies, etc.). The RCPYC would participate in the Dover Regatta on a regular basis towards the end of the 19th century, a time when this race already attracted thousands of visitors (national and foreign) and in which English, French, Belgian, etc. boats participated. The yacht built by Camper and Nicholson in 1898, designed by Charles E. Nicholson, was commissioned by Major Selwin Calvery and baptized Brynhild, participating in numerous races around the beginning of the 20th century (he won the King's Cup in 1902 ...); after navigating under the name Changrilla and a series of changes and restorations, it currently continues to operate under the name "Black Swan", mainly in the Mediterranean. Weight: 2875 gr."

· Size: 26x24x49 cms
ANTIQUES

Ref.: ZF0349
FOUR GEORGE III SAUCE BOATS SET. SILVER. HENRY CHAWNER, 1790.

Set of four saucers 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 extending through the curved line of the two handles, and on the top of the lid, in the form of a vase. Just more decorative elements are presented in the pieces, apart from those already mentioned and of a series of elements engraved on the covers (bull heads with neck) and on the front of the saucers. 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 with a cabrio; two rampant lions flanking a diagonal band in the escusón of the same). The lines and elegance of the pieces are the usual ones of the Jorge III style.
The heraldry is very reminiscent of that of the Bolena, Bullen or Boleyn family, descendant of Ana Bolena. The motto would refer to a game commissioned on the occasion of a wedding. In the year 1790, William Bullen and Mary Collins married on 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 pieces data. The passing lion places the realization 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 silverware, still in operation, called Edward Barnard & Sons Ltd. has a series 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 successor of the family that at that time was running the business (Eduard Barnard I) and who continued with the business. He was active between 1786 and 1796, and the last name of this teacher 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 Henry Chawner of George Washington, the Scoteney Castle of Kent, the Victoria & Albert of 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 contrast marks and initials of membership in the base.
The base tray has a square shape with mixtilinear profiles and rests on legs with vegetal motifs. The four containers present helical gallonized feet, and pearl flower finials on the covers. A candlestick emerges another container, higher 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 pen has holes in the cover for the pens, and has the same size as another of the containers, which probably was the inkwell. Two others, slightly larger, also do not have a leaky lid, which could have been used for the drying sand and therefore called grit. The bell, used to call the service, secretary, etc., is based on another jarrillo, similar to the rest but much higher, from whose upper part stands the candlestick. Stylistically, the cleaning of the lines shows a very slight influence of the Neoclassicism, while the helical gallons, the movement of the profiles of the containers, and the typology of the tray (denominated "of 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 of Aragon, with an abundance of preserved and many marked pieces, allowing a detailed study.
The contrast marks ensure the quality of the material and allow us to locate the fabrication and the author of the work. Those of locality, in the arm of the candlestick, locate the work in Zaragoza, and date it as made between 1760 and 1770. Those of artificer, also there and another one in the base, allude to the silversmith Vicente Roces, known for his fines works of taste Rococo as the Reliquary of San Francisco Javier of last quarter of the eighteenth century in the Church of Santa Maria de Sangüesa (Navarra) and some other private collections of importance. Weight: 1.525 gr."

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

Ref.: Z6304
SILVER WRITTING SET. WITH HALLMARKS. CORDOBA (SPAIN), ANTONIO JOSÉ SAN...

Clerkship. Córdoba, Antonio José de Santa Cruz (Córdoba, 1733 -) and Juan de Luque y Leiva, 1773.
With contrast and chisel marks.
It has some fault in some container and a bell is added.
Silver notary composed of tray, four containers and bell. The first element, of oval shape, presents edges with smooth curves and countercurves, decorated in the upper part with flat moldings, combined with volutes and aveneradas forms; stands on legs composed of two volutes flanking a tear, set topped by a symmetrical composition. The four containers, with a lid, present profiles with soft curves (among which engraved initials can be seen), which are directed towards the upper part following parallel spirals between each other, lines that extend into the caps, finished off. Two of them, smaller, have holes in the lids. The bell to summon the service, which has a space for itself in the tray, presents a much simpler lines.
Contrast markings arranged at various points in the game provide data regarding their date, origin and place of creation. They would be made in Córdoba. Antonio José de Santa Cruz was a silversmith known for his work in Córdoba, active in the second half of the eighteenth century mainly; his works are preserved in some churches and in outstanding institutions such as the National Museum of Decorative Arts of Madrid. Juan de Luque y Leiva was a reputed Cordovan marker, active towards the same time, with work preserved in the area (Parish of San Miguel de Córdoba, a portavinajera with vinajeras in Loja of 1778, works in the Museum of the Costume of Madrid, etc. .).
Stylistically, the lines of the whole (except those of the bell), show the 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 eighteenth century. Weight: 1490 grams."

· Size: 26x30x15 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6810
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SILVER WRITING DESK WITH CLOCK 19TH CENTURY

Writing with clock. With contrast marks. France, 19th century
Silver.
Scribe enhanced by a slightly elevated base through pieces decorated with stems and scrolls with motifs that show Rococo influence. The front of this lower area, gently curved on the fronts and the sides, shows human masks and mirrors with plant motifs, as well as a few shapes in the central part, raised to highlight the clock. This one has a white dial with Roman numerals and for the hours and lines for the minutes, and it is shown enhanced with a band of pearls in front and a winged mask in relief on the back, in addition to a vase finish that is based on the bell, topped by a half-naked lady who holds a tambourine on something. The inkwell and the sandbox, located on the sides of the base, have a vase shape similar to that of the bell, but less decorated (engravings of scallops, bands, plain shields ...), and their covers are topped by two figures human (a lady holding a bird of prey high, and a gentleman, dressed "in the manner of the Renaissance").
Both the decoration of the piece, of great quality and detail, as the curves and countercurves it presents, are a good example of the influence of several artistic styles of different centuries, something common in nineteenth-century silverware throughout Europe. The bell figure reminds of classical Greek sculptures of Venus whose influence is common in neoclassicist art, smooth mirrors and bands that enhance them can be seen in Renaissance examples, the movement that provides curves and countercurves and the shapes they remember to rockery can be related to Rococo.
The decorative details of the piece and its compositional lines are reminiscent of a copy preserved in a private French collection, from the Napoleon III era and made by Emile Hugo, a French silversmith active in Paris in the second half of the 19th century
Weight: 2975 gr"

· Size: 39x27x43 cms.
ANTIQUES

Ref.: ZF0220
SILVER INKSTAND, MADRID, 1779.

Writing in turned silver, cast and chiselled, Madrid, eighteenth century (1779).
Contrast marks on the edge of the tray, on its 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 desk. These, and the bell, present a magnificent decoration based on flat gallons turned on its body, base and lid.
It consists of a tray, sandbox or sandbox (to dry the ink) with bell (call the servant or the person responsible for carrying the message or written message) and three inkwells or dusters with a lid, all of which are attached by means of through screws. The profiles of the tray correspond to works of the period and style Carlos III, while the jars show part of the movement that characterized the Rococo, introducing the cleaning of lines characteristic of Neoclassicism.
In the second half of the eighteenth century, with the accession of Carlos III, Italian influences arrived at silverware once masters of this country had settled down, either as silversmiths or, in many cases, also as broncists. At the end of the century there is also an abandonment of the Rococo forms in favor of the Neoclassical style, whose particularities are appreciated in this office. These gilded forms come from decorations based on the 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 transmissions of drawings and engravings make it difficult to distinguish particular styles and trends in many cases. Also, it is necessary to emphasize the great paper in the improvement of the quality of the designs of the silverware that had the foundation of the School-Workshop by Antonio Martinez in 1778.
Presents locality brand, Madrid Court and Villa 1779, and architect.
Weight: 1850 gr."

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

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

German silver cup. XIX century
It is entirely made of silver, and decorated with relief motifs, round bulk, engravings and chisels. It is directly inspired by similar pieces made in sixteenth-century Germany, in full mannerism. This is due to the importance that Germanic silverware had in that century; German and Central European architects in general will create for the collector cabinets delicious pieces designed to be displayed and not used, the greatest example of virtuosity and ornamental wealth of mannerist silverware. One of the most recognizable typologies of German mannerist silverware will be this type of tall glass, with a cylindrical container with a differentiated sub-cup and a large lid. They 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 went so far as to replace 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 bulged figure of a young classical warrior.
The main reason for this design are the embossed gallons, which take the form of oval recesses and are separated by ramrods with parallel transverse lines. We see them in the sub-cup, the mouthpiece and the lid, although they also appear on the foot, although simplified, without pockets or rods. The piece stands on a circular foot with a flat and smooth base, with two lavishly decorated domed steps: gallons above and interlocking braces, with classic flowers and figureheads below, typical motifs of the Mannerist ornamental background. The shaft, as we have mentioned, takes the form of a balustraded vase adorned with large rib-like braces, topped by bird heads. The container has a cylindrical shape, with a large relief cup, adorned with hermes in relief, again a typical motif of Mannerist silverware. The upper part, under the mouth, also goes outwards, although its decoration of gallons is simple enough not to overshadow the delicate and meticulous engraving and embossing of the central area. In it we see two oval cartels that house the representations of two gods from classical mythology: Bacchus, serving wine in a glass against a background of landscape with houses, and Mercury, running in a wooded landscape. Between both gussets are classic masks of great ornamental richness. Finally, the lid 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. (It has a counterweight at the base)"

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

Ref.: Z5957
SILVER TRAY. BLAS DE AMATE, SEVILLA, MID 18TH CENTURY.

Silver salvilla "contours". Blas de Amate, Seville, mid 18th century.
With contrast marks on the edge.
Circular type tray with four legs decorated with scallops, plant motifs and cartridges, and raised edge, decorated with cornered conopial motifs separated from each other by a plant element. The center is smooth, with the initials P and S entwined engraved in the center.
This type of profile is called "contours", and was the most used in salverlas throughout the Rococo since the mid-eighteenth century. However, the decoration of the piece responds more to models related to Neoclassicism, coexistence of trends that were 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 the Cordoba (although it still maintained a large number of artisans and very good quality in many of them).
The contrast marks perfectly place us in the realization of the work: the one on the left (animal, possibly a pig) and the third one starting on 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 of the Seville office since 1756 and for about thirty years); the one on the right is the locality brand (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 be seen only 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, Blas de Amate has not reached many works: for example, the National Archaeological Museum has a sponge made between 1740 and 1750 (inventory 2007/27/2); the Sacramental Brotherhood of San Isidoro of Seville a sacramental banner with the embossed silver pole, made by him; a mancerina between 1730 and 1740 bears her contrast marks (Monastery of Santa María del Valle, Zafra).

Weight 1870 gr"

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

Ref.: Z6478
GOTHIC SILVER PROCESSIONAL CROSS 16TH CENTURY.

Gothic silver processional cross, 16th century.
With locality marks (Cervera).
Magnificent Gothic cross made of chiseled silver from those used in processions. Of Latin type, it presents the straight arms with flordelised terminations preceded by quadrilobed medallions and reliefs, and is separated from the shaft by an architectural temple with buttresses, columns and pinnacles and a band of openwork elements. The foot, polygonal, is topped by a knot and some scrolls, and its fronts are engraved with vegetal and geometric elements. The cresting is an element that did not appear before the fifteenth century.
On one of the faces there is a crucifix of three nails in the center of the cross, flanked by several figures. Above, a pelican feeds its young with its blood (according to numerous medieval bestiaries and texts of, for example, Saint Thomas of Aquino or Saint Isidore of Seville, was what they did, symbolizing with it the Passion of Christ and the Eucharist). On the sides, the Virgin and Saint John, referring to the theme of Deesis, iconography closely related to the Last Judgment in which Mary and the Apostle, who appears on the eagle that is her emblem, act as intercessors of Humanity. Below, a lamb introduces the figure of Agnus Dei, with which Jesus Christ is referred to as a victim of sacrifice for sins.
On the other side the Virgin appears crowned with the Child in the center of the cross. The remaining Apostles with their respective Tetramorph emblems have been placed on the lateral and lower crossbars: the winged man under Matthew, below the lion with Mark, and the bull with Luke. In the architectural knot there are a series of figures of saints among which San Lorenzo can be identified.
This typology of processional cross is common in Gothic Spain. Other similar examples are the crosses of the Victorian Albert Museum, the Museum of Art Ohio, the Monastery of Llivia, San Martin de Sarroca, or the crosses of the Episcopal Museum of VIc.
The locality contrast marks located in different areas (7 brands) in the nimbus of San Marcos and in the panel behind the Virgin among others, place the creation of the work in Cervera, Barcelona, as well as the aforementioned Cruz de Montblanc , published in "Gothic silverware in Tarragona and province" pag. 95 fig 52, also marked in Cervera and of practically identical typology.
Hexagonal cannon probably later.
Possible repairs to the trough."

· Size: 14x40X104 cms.(Con soporte altura 174 cms.)
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6303
PROCESSIONAL CROSS. SILVER. WITH HALLMARKS. BARBASTRO (ARAGÓN), SPAIN,...

Processional cross GOLD PLATED SILVER. Barbastro (Aragón), Spain, sixteenth century.
With marks of contrast and of burilada (foot, surroundings of the Christ).
Processional cross of Latin type made in gilt silver, with foot formed by a cylindrical barrel that increases in width towards the end and has been decorated with floral elements within rhombic spaces, almost spherical apple with male busts in relief (possibly the four Evangelists) and vegetal elements in composition similar to the aforementioned, and molded upper body enhanced with fine vegetable stems that transform into monsters "of round shape". The cross has a cresting on its outline of plant elements, masks (just in the enlargements enhanced by an oval molding with corners) and plant and architectural compositions of classicist influence with winged angel heads (at the quadrifoliate ends of the same, enhanced with moldings and vegetable details). In the other areas of the two main fronts of the same, there is a decoration of oval mirrors with frames of smooth bands and curled volutes; the sides are smooth. On one of the fronts of the piece, is the figure of Christ Crucified (three nails, cloth of short purity, fallen head); in the other, and on a triangular base set with clear gothic memory, stands the Virgin Mary crowned, with the Baby Jesus in her arms.
It is necessary to indicate the survival in this piece of some details of the Spanish Gothic silverware (cresting, which appears around the XV century-, cross finials flordelisados -or similar forms-, widening in 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 light relief around the Crucifix, winged angel heads, figureheads, etc.).
It is also possible to compare it with processional crosses such as the Buerba from 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 of Trillo of century XV, for example); that of Bagüés de Zaragoza of the sixteenth century from 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
SILVER PROCESSIONAL CROSS. SPAIN. CA HALF 17TH CENTURY.

Processional cross Silver. Towards the middle of the 17th century.
Processional cross made of silver in its color, of Latin typology. Arms topped in shapes that recall the traditional trilóbbles in these pieces of Gothic era, finished in silver pearls (finish that also appears in the center of the piece), with a similar shape at the beginning of the arms but smaller. It has a series of small elements slightly remembering a crest, and has been decorated with architectural elements, avenerados motifs and oval and rectangular mirrors engraved with very delicate scrolls and curves. In the center a medallion is shown on each side of the cross: a saint carrying a book and a bouquet, on a natural landscape with a tree and a building in the background (surely Santo Domingo de Guzmán, for the Macoya shield); Virgin with Child sitting, surrounded by a beam of rays. The macoya presents an architectural structure (cylindrical body topped in semi-sphere with moldings, on another relatively complex shape in its lines) and a decoration of smooth pieces in relief with engraved elements similar to those of the cross; Two heraldic shields stand out in this area (on the same side as the saint's medallion, the shield of the Dominican order is surmounted by a crown; on the side of Mary, Castile's shield under a similar crown). The cross ends in a corrugated tubular piece.
Stylistically, this piece recalls outstanding examples such as the processional cross of Andrés de Campos Guevara dated in 1630 (Museum of the Ways of Astorga, León) in certain details such as composition and general proportions and certain decorative elements; or the processional cross of Aldealseñor (Soria); or the one known as the 17th-century Santa Fe Processional Cross of the Cathedral of Granada; or the one dated in 1626 and which, like this one, follows the usual typology of the first half of the 17th century in general, of the Church of San Martín de Alauza (Navarra). Compare also, to appreciate the differences, with the processional cross of the last third of the seventeenth century of the convent of Madres Clarisas de Villacastín."

· Size: 16x40x95 cms.
ANTIQUES

Ref.: ZE160
CROWN OR PIECE OF ALTAR. EMBOSSED SILVER, MIRRORS, WOOD. LLORENTE, JOS...

Altar auction. Silver embossed in its color, wood, mirrors. LLORENTE, José (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century.
With contrast marks.
Altar made of silver embossed in its color on a wooden soul that has seven oval-shaped mirrors and profiles cut in curves and countercurves. The upper part has a canopy imitating textiles from which a series of small bells hang and a dove with wings extended, located in front of a winged shape and a cloud with winged angel heads. Approximately the three upper quarters of the work show a decoration in slight relief with solar rays, scrolls, rockery, oval mirrors, circular tears resembling rain, flowers, leaves, a bouquet of spikes next to a vine with a bunch of grapes, etc. combined with five mirrors and following a symmetrical arrangement; the remaining part has no reliefs but two mirrors.
These types of liturgical goldsmith works were relatively frequent in churches, cathedrals, etc. with important purchasing power and influence, although many of those made are not preserved because it is a valuable material that can be melted and subject to looting at certain times. Let us mention, highlighting the differences, the Silver Altar of the Cathedral of Seville (XVI-XVII centuries, several silversmiths), the whole of the main chapel of the Cathedral of Santiago de Compostela (XVII century), the Manifestador-Sagrario de la Catedral of Valencia of the 18th century, the silver altarpiece of the Diocesan Museum of Huesca (work by José Estrada and 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 bells pinjantes), exhibitor for the Blessed Silver and its color dated in the eighteenth century and is located 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 bunch of grapes would link the piece with the Eucharist, being possible that it is a fragment of an altar (permanent or not) of a custody. Stylistically, it is clear the belonging of the work to a Rococo already somewhat advanced.
The contrast marks present in several points of the silver place the creation of the auction in Vitoria (Spain), also providing an approximate date (towards the 60s of the 18th century) and the names of two silver masters: Juan Antonio Sotil or de Sotil (possibly the faithful contrast) and José Llorente. Juan Sotil was a silversmith based in Vitoria who also exercised as a faithful contrast of the city (the City Council appointed him in 1751 as an appraiser of diamonds and precious stones, and in 1769 contrast of the city, a position he held until 1779, when he resigned and was appointed Mauricio Llorente). Outstanding institutions such as the Sacred Art Museum of Vitoria (Reliquary of Saint Lucia of the Hermitage of Saint Lucia of Vitoria, 18th century) retain their works. José Llorente was another achievement silversmith. He passed his masters exam in Burgos, and is documented between 1760 and 1799. The Church of Santiago de Logroño (portaviático), the Old Cathedral of Vitoria (four candlesticks), etc., are preserved with their punch."

· 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 at the base ("Catavino del Ilustrísimo Cabildo de Becerril de Campos with Real Privilege year 1806").
Published in: Fernández, Alejandro et alt. Encyclopedia of Spanish and American Viceroyalty silver, Torreangulo Graphic Art, Madrid, 1985. Page 485. / Redondo Aguayo, Anselmo. Historical monograph of the town of Becerril de Campos and biographical news of his most illustrious children. Bulletin of the Tello Tellez de Meneses Institution, 9, 1952. Page 149.
Smooth glass with legend on the outer edge attached to a bowl with convex seat decorated with embossed gallons, ovals and engraved crosses and bead lines arranged around a central circle that has been left smooth. Because of its shape, it is closer to the Catadels of the Bordeaux type than those of the Burgundian type (the most common), and its shape seems to have been characteristic in Castile in the 17th century; It has not changed since then, maintaining its use and manufacturing.
According to experts, these types of pieces were called "cups" until the nineteenth 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 throughout its surface, in addition to the written legend.
Gallon motifs, like oval shapes, are geometric decorations widely used in this type of pieces, 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, by the hand of Neoclassicism. Despite the simplicity of the elements, there is a clear attempt by the artist to organize them harmoniously to give beauty to the piece. Both the material and the decorative excess (to come from a local center) support the theory, already mentioned, that the Catavinos would have more representation than normal use, being used in certain celebrations or events in which the council had A prominent role.
In Anselmo Redondo's study this catavin is mentioned. It is very rare to keep examples of civil silverware, as their owners used to sell objects with the intention of buying new ones, either better or made in another more modern artistic style, or for economic needs. 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 worth highlighting the extraordinary nature of this catavin: first, for its material; second, by its typology; third, because its registration makes it easy to locate its origin and its date. Catavinos with similar characteristics are presently present at the Lázaro Galdiano Foundation in Madrid.
Weight: 315 gr"

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

Ref.: Z6226
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SILVER JUG. WITH HALLMARKS (MATEO MARTÍNEZ MORENO AND, MAYBE, JUAN DE ...

Pitcher. Silver. Mateo Martínez Moreno and possibly Juan de Luque and Ramírez. Cordoba, late 18th century.
With contrast marks.
Silver jug in its color with circular base attached to the body by means of smooth moldings that create elevations in tune with the globular shape of the piece. It has a curved beak topped by a pearl and with two moldings in the center (repeated decoration on the edge of the piece), and a curved and countercurved handle with volute finishes and simple plant elements. The lid has smooth moldings, a flower finish and a piece to lift it.
As for the contrast marks, located at the base of the jar, they indicate that it is a piece made in Córdoba, with contrast punches Mateo Martínez Moreno and, according to experts, Juan de Luque and Ramírez. Mateo Martínez Moreno would begin his career as a master silversmith in 1767, and died in 1804 (exercising as a faithful contrast from 1780 to 1792, being reelected again in 1792); on his name the date appears in the contrast he uses (decade of the 90s, perhaps 1793). They conserve works linked to the master silversmith (both in his creative work and in control and contrast) important private collections and institutions such as the Museum of Albacete (tray of Antonio Ruiz de León dated in 1789), the Museum of the Costume of Madrid (necklace of jet, glass, coral and silver, made in Córdoba), etc. With the punch associated with Juan de Luque and Ramírez (master silversmith since 1783), a custody of the sun dated in 1793 and preserved in the parish of Santa Cecilia ("The Barefoot") of Ronda and some powers are preserved, among other pieces. dated in 1789 of the Old and Venerable Brotherhood of Our Father Jesus of Nazareno and Our Lady of the Dolores de Ronda (which also includes Martinez's punch with the N and E welded).
In the Spanish silverware of the 18th century, it is the Court of Madrid that sets the tone: although the baroque, rococo and neoclassical tendencies coexist, the first one departs soon (introduces the second one before 1740 or towards this date) and the Neoclassicism towards 1770 (gradually imposing itself from 1780), extending over time to the rest of the peninsular territory. Note the difference between the present example and the most common of the Spanish Neoclassical silverware (such as those prototypes extended with the arrival of the Bourbons by French influence, so different from the Spanish beak jugs), although the influence of this style can be seen in certain details such as the purity of lines, the scarcity of decorative elements in relief, etc. Weight: 1097 gr."

· Size: 20x12x26 cms.
ANTIQUES

Ref.: ZF0466
SILVER SALT CELLAR. TOLEDO, SPAIN, 16TH CENTURY.

Spice rack. Silver in its color. Toledo, sixteenth century.
Specie or silver salt cellar in its color composed of a tray not very deep polygonal, raised and enhanced by four legs and also has two protomes of animals holding rings (eagles or lions). The legs have a lower scroll finish, which gives way to a vegetal shape and ends, separating them a thin smooth molding, in a humanoid bust with architectural elements.
The decorative elements are reminiscent of other Renaissance pieces preserved in outstanding 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 from Toledo, etc. Likewise, the legs resemble in a certain way those of the open grocer of the Victoria & Albert Museum in London (dated around 1540 and located, possibly, in Córdoba). The small central tray has been left smooth, in glossy finish, with the aim of enhancing the lines of the same and the decoration of legs and protomes that it presents.
As for the shape, note that the open spiders on triangular base slightly raised by three legs were a common element in Europe in general during the sixteenth century, finding examples in the Victoria & Albert Museum, the British Museum in London, etc. However, the polygonal do not seem to have been so frequent. Weight: 325 grams."

· Size: 15x11x7 cms.
ANTIQUES

Ref.: ZF0309
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SILVER PITCHER OR JUG. MATEO MARTÍNEZ MORENO. CORDOBA, SPAIN, LATE 18T...

Jug. Silver. Contrast Mateo Martínez Moreno. Córdoba, late 18th century.
With contrast and derisive marks.
Silver jug in its color with oval base formed by several different moldings and convex body in its lower and concave upper area, with a series of lines extended from the base and that continue in the lid, topped in a flower. The pronounced beak has a smooth finish. The handle, in the form of "ce" with lower end, has scrolls and simplified plant shapes. Typologically, the jar follows common shapes and decoration in Spanish neoclassical silverware.
The contrast marks of the body place the piece in the Cordoba school (frunch punch) and link it with the Mateo Martínez Moreno counter; that of the base is frustrated, being able to belong to Juan de Aguilar, Manuel de Aguilar y Guerrero, etc .; Note that there is another frustra on the lid. A Cordovan silver tray features the contrast punch of Mateo Martínez Moreno (97 / MARTINEZ) that appears here, the rampant lion and, somewhat frustrating, what could be the mark of the silversmith Antonio Ruiz de León el Joven (parish of Our Lady of the Granada of Fuente de Cantos de Badajoz); that same punch appears in one of the pieces of the necklace with medals CE010678 that is in the Museum of the Suit of Madrid. Weight: 930 grams."

· Size: 20x10x25 cms.
ANTIQUES

Ref.: ZF0600
SILVER DRINKING CUP . SPAIN, 16TH CENTURY.

Silver Catavinos, sixteenth century.
Catavinos of "cup" type with vegetal motifs inside a six-pointed star in the background 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 were very common during the reign of the Habsburgs in Spain. Although they were objects of civil use, it was not strange that they were donated or ordered for use in churches or in liturgical areas.
Both the decoration and the shape of the glass show the origin of the same artistic core away 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 the Spanish silver. Compare, for example, with the bernegal with handles in the form of cartons from the Museo del Prado in Madrid (catalog O00085) of the late sixteenth century, which presents the upper part carved in concave double gallons and shows vegetable prints and fruits in festoons and tapes This difference does not detract from the work, quite the contrary: it shows the attachment to the designs of simple lines and Gothic vegetal and geometric decorations that were found in the centers far from the creative capitals, whose influence can be appreciated, even in works of the Baroque.
Similar examples can be found in very few private collections and only in some important museums. For example, similar bernegales from the 16th century are preserved in the Valencia de Don Juan Foundation (Madrid), and those of the 17th century are more abundant, as shown by those of the Lázaro Galdiano Museum (inventory 3910 and 3916)."

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

Ref.: Z6296
SILVER PITCHER OR JAR. MADRID, 1790. WITH HALLMARKS.

Jug. Silver. Madrid, 1790.
With contrast marks.
Silver jug in its color that features an oval base with staggering based on smooth moldings; smooth tear-shaped body, with a somewhat pronounced beak and enhanced with engraved lines; hinged lid and decorated with line and plant element to lift this part; The handle, in the form of "ce" with a scroll in the lower area or "uneven" that, has a series of lines and an element in the upper part with Rococo memory.
Contrast marks are found on the lid and three on the base. 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 private collection with this same variation in the years of the date (cut with 91 and villa with the 90).
Stylistically, the jar shows a clear neoclassical influence along with that mentioned detail found in Madrid pieces closer to the Rococo. In 18th-century Spain, it was the capital that marked the pattern in silverware: the baroque, rococo and neoclassical styles coexist, but the first trend is soon abandoned, replaced by the second one that is introduced around 1740, with the Neoclassicism appearing approximately in 1770 and gradually imposed since 1780. Weight: 930 grams."

· Size: 17x10x23 cms
ANTIQUES

Ref.: ZF0599
SILVER CUP. PERU, 18TH CENTURY.

Bernegal Silver. Peru, 17th century.
Trembling or catavinos made of silver in its color, handles in the form of "that" (or "ce" with lower end) with scrolls and masks, and the rest of the piece smooth. Bernegales and scrapiers were more common typologies in 17th-century Spanish silverware (although in the 18th century they were still popular, especially in centers away 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 Antonio Sánchez's scrapie, dated between 1655 and 1689 of the Convento de 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
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SILVER CROWN. 18TH CENTURY.

Crown. Silver in its color. Century XVIII.
Royal crown closed with a glow made of silver in its color. A smooth hoop for the most part (except for a fine line with simple plant elements) supports the basket decorated with undulations (alternating luster finish with other polished ones) and a composition starring a series of "ces" fronted surrounding a each couple flower, a motif surrounded by rockery compositions; the wide bands of the clasp (decorated with four-petal flowers and combining a smooth finish with a luster finish) end in a four-leaf or leaf-shaped finish and consists of a smooth molding, a sphere and a Greek cross with decorated arms vegetable and spikes at the junction of the crossbars. The blast or glow alternates smooth rays topped with seven-pointed stars with shorter wavy "sun" rays. Inside the base ring, there are two pieces of metal to fix the crown to a sculpture.
These types of crowns are commonly used to enhance a sculpture of the Virgin Mary. Compare, noting similarities and differences, with outstanding pieces such as the one known as the “crown of enamels” of the 18th century from the Royal Archconfraternity of María Santísima de Araceli (Lucena, Córdoba), or with the one made in 1654 by Diego Cervantes Pacheco known as Corona of Our Lady of "El Antigua" in the Cathedral of Granada, for example. Weight: 674 gr."

· Size: Diam. 10.5 boca
ANTIQUES

Ref.: ZE119
SILVER FRUIT BOWL 18TH CENTURY .

Salva cordobesa in silver, 1759-1768.
With brands.
Weight: 820 g.
Salva in silver Rococo style, with punches of Cordoba and the score Bartolomé Gálvez y Aranda. It has a high, stepped foot, with a circular base, adorned with incised streaks and other simple motifs of a classic type, announcing the change of language towards neoclassicism. However, the dish itself is still distinctly Rococo, with a profile of curved mitering that translates into edges in 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 surname in capital letters, in very trapezoidal frame and surmounted by a fleur-de-lys in three-lobed projection. To this punch Gálvez y Aranda will add since 1768 the chronological mark, so this salvo would be dated between 1759 and 1768.
It is also an especially interesting piece to come from Cordoba, the main center of Spanish silverware of the Rococo period, from whose workshops came religious and profane pieces of high quality, aimed at customers not only local but throughout the Iberian Peninsula, reaching even the Canary Islands and Latin America. The great diffusion of the Cordovan silversmith 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 the churches and fairs held throughout the country. The activity of these silversmiths was also favored by tax exemptions."

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

Ref.: Z6259
SILVER SMALL CHEST FOR THE HOLY OIL. 17TH CENTURY..

Arqueta for the saints silver oils. XVII century.
The silver box has elaborate legs, fixed in the corners of the same, which are a combination of volutes in C, plant elements and a lower end reminiscent of a claw. The rectangular body has a decoration embossed in light relief based on ribbons in ce (or "of tornapuntas in C", as they are also known) faced around a diamond (two pairs on the fronts and one on the sides), it is framed by stepped moldings straight down and not staggered and thinner above. The lid, slightly curved, appears decorated with the same composition of the fronts repeated four times and symmetrically, and has a top knob with two adjacent C volutes and topped by a pearl, and a chain that hangs from an edge and It serves to ensure the closure of the piece. Inside, it has a silver plate with two circular holes, and the legend "OL * M" (possibly the contrast mark of the piece) is engraved on it.
The decoration of the whole work is of clear classicist influence, recalling in certain details Renaissance works. Take a look, for example, with the first-quarter seventeenth-century Castilian foot of the Lázaro Galdiano Museum in Madrid to appreciate a similar composition (note also the differences), which would remain for a long time in the Spanish silver and is already in before the Baroque (as evidenced by the censer of the sixteenth century preserved in the Diocesan Museum of Sacred Art of Álava).
As for its function, this small chest was made, surely, intended to contain the Holy Oils, a function for which both a noble material (silver) and decoration is required according to the importance given to its content. Weight: 470 grams."

· Size: 13x9x9 cms.
ANTIQUES

Ref.: ZF0047
SILVER PYX, 16TH CENTURY.

Silver pyx, 16th century.
Cylindrical body with engraved and acanthus decoration of braces and acanthos, and top decorated with small crest, 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, intended to store 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. (Along with Ref.z5831)
No contrast marks. With inscription on the front.
Both equal, each one is formed by a circular bowl with smooth mouth and bottom of smaller diameter decorated with two handles in S and an inscription in the outer edge that reads: "I am of the noble conzefo de Santiux of which we presented them our vezino Jul of the Cuevas Zeballos year of 1739 ".
In the Spanish silverware the tendencies of the Baroque were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms are already 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 zones and teachers. This survival of the forms of the seventeenth century can be seen in the handles of the scrapie: grotesques with human heads are highlighted by plant motives very moved, abundant decorative contrasts with the clean lines of the rest of the work but it is common in this type of work.
The lack of contrast marks does not allow locating the work or the artist, although it is precisely this that speaks in favor of a secondary silversmith center, where the absence of control of these works was more usual due to the lack of teachers and means to ensure compliance with the marking regulations. Throughout these first two thirds of the 18th century, the monotony of the centers of Old Castile (to which Cantabria belonged), León and Galicia compared to the importance of Valladolid and Salamanca was noticeable. in the Cantabrian environment.
The inscription clarifies the purpose of the tembladeras: they were a gift to the Council of Santiurde de Reinosa (Cantabria) of Juan de las Cuevas Ceballos, a native of this town and neighbor of El Puerto de Santa María de Cádiz who, moreover, proved its nobility in 1733 before the Hall of the Hijosdalgo of the Royal Chancery of Valladolid. It treats therefore of two pieces realized for civil use, detail that increases his importance by the shortage of this type of works."

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

Ref.: Z5829