Z. Sierra · Antiques and Decorative Objects

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SILVER FRUIT BOWL 18TH CENTURY .

Cordoban save in silver, 1759-1768. With marks. Weight: 820g. Rococo style silver save, with punches from Córdoba and the marker Bartolomé Gálvez y Aranda. It has a high, stepped foot, with a circular base, adorned with incised grooves and other simple classical motifs, already announcing the change in language towards neoclassicism. However, the plate itself is still clearly Rococo, with a profile of mitered curves that translate into edges on 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 a very oblong trapezoidal frame and surmounted by a fleur-de-lys in a trilobed projection. Gálvez y Aranda added the chronological mark to this punch from 1768, so this salvo would be dated between 1759 and 1768. It is also a particularly interesting piece because it comes from Córdoba, the main center of Spanish silversmithing of the Rococo period, whose workshops produced high-quality religious and secular pieces, destined for clients not only local but from the entire Iberian Peninsula, even reaching the Canary Islands and Latin America. The great diffusion of Córdoba silversmithing will take place, in fact, in the last quarter of the 18th century, through the so-called master fair silversmiths. These characters acted as trade brokers, according to Pérez Grande, visiting churches and fairs held throughout the country. The activity of these fair silversmiths was also favored by tax exemptions.

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

Ref.: Z6259
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SILVER PYX, 16TH CENTURY.

Silver pyx, 16th century. Cylindrical body with decoration of braces and acanthus engraved and with polished luster, and lid decorated with small crests, 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: 184g

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

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

Pair of silver tremblers or catavinos. 1739. (Together with Ref.z5831) No contrast marks. With inscription on the front. Both the same, each one is formed by a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer edge that reads: “I am from the noble conzefo of Santiux that our local Jul presents them to us.” of the Zeballos Caves in the year 1739.” In Spanish silversmithing, Baroque trends were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centers, depending on areas and masters. This survival of the 17th century forms can be seen in the handles of the scrapie: the grotesques with a human head are highlighted by very moving plant motifs, a decorative abundance that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of contrast marks does not allow the work or the artist to be located, although this is precisely what speaks in favor of a secondary silversmithing center, where the absence of control of these works was more common due to the lack of teachers and means to Ensure compliance with marking regulations. Throughout these first two thirds of the 18th century, the certain monotony of the centers of Old Castile (to which Cantabria belonged), León and Galicia was notable in comparison with the importance of Valladolid and Salamanca, which is why perhaps in the Cantabrian environment. The inscription clarifies the purpose of the quakes: they were a gift to the Council of Santiurde de Reinosa (Cantabria) from Juan de las Cuevas Ceballos, a native of this town and resident of El Puerto de Santa María de Cádiz who, in addition, proved his nobility in 1733 before the Sonsdalgo Room of the Royal Chancery of Valladolid. These are therefore two pieces made for civil use, a detail that increases its importance due to the scarcity of this type of works.

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

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

Pair of silver tremblers or catavinos. 1739. (Together with Ref.z5829) No contrast marks. With inscription on the front. Both the same, each one is formed by a circular bowl with a smooth mouth and a smaller diameter bottom decorated with two S-shaped handles and an inscription on the outer edge that reads: “I am from the noble conzefo of Santiux that our local Jul presents them to us.” of the Zeballos Caves in the year 1739.” In Spanish silversmithing, Baroque trends were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centers, depending on areas and masters. This survival of the 17th century forms can be seen in the handles of the scrapie: the grotesques with a human head are highlighted by very moving plant motifs, a decorative abundance that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of contrast marks does not allow the work or the artist to be located, although this is precisely what speaks in favor of a secondary silversmithing center, where the absence of control of these works was more common due to the lack of teachers and means to Ensure compliance with marking regulations. Throughout these first two thirds of the 18th century, the certain monotony of the centers of Old Castile (to which Cantabria belonged), León and Galicia was notable in comparison with the importance of Valladolid and Salamanca, which is why perhaps in the Cantabrian environment. The inscription clarifies the purpose of the quakes: they were a gift to the Council of Santiurde de Reinosa (Cantabria) from Juan de las Cuevas Ceballos, a native of this town and resident of El Puerto de Santa María de Cádiz who, in addition, proved his nobility in 1733 before the Sonsdalgo Room of the Royal Chancery of Valladolid. These are therefore two pieces made for civil use, a detail that increases its importance due to the scarcity of this type of works.

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

Ref.: Z5831
SILVER LAMP. WITH HALLMARKS. POSSIBLY MALAGA, SPAIN, 19TH CENTURY.

Oil lamp. Silver. Possibly Malaga, Spain, 19th century. With contrast markings. Two-light candelabra with a piece on the back that stands on a foot with a circular base, elevated and decorated with smooth concave moldings, pearl lines and a curved frieze of leaves, featuring an engraved crowned “F” (possible owner's mark) . The square and smooth foot gives way to a leaf-shaped key and two candle arms decorated with leaves, and is finished with an eagle spreading its wings. The aforementioned hollow tubular piece has a pineapple finial on the hinged lid and a piece along a channel. Both the decoration and the lines and shape of the candle show a strong French influence and a very close relationship with Neoclassicism and other styles derived from it. The eagle, for example, is reminiscent of pieces from the French Empire, although it is a very common animal in the decorative arts of the 19th century. The contrast marks present on the piece would allude to the master or silversmith responsible for the creation of the piece (Baños), perhaps to the year of completion of the work (1833) and, possibly, the third is either the rampant lion crowned on a related shield with the Royal Decree-Law of June 4, 1926 on the trade of precious metals in Spain (indicating then that it is first law) or that it comes from the city of León, dating in this case between the 19th century and the beginning of the 20th century. XX. The rampant lion is a common contrast mark in silverware, appearing, in Spain, in pieces from Córdoba from the 19th century (without a crowned shield), Calatayud, Córdoba (rampant lion with turned head and circular outline), Pamplona, etc. It is possible that this piece was made in Malaga. Weight: 1340 gr.

· Size: 27x16x31 cms
ANTIQUES

Ref.: ZF0342
SILVER TWO-HANDLED CUP. WITH HALLMARKS. 17TH-18TH CENTURIES.Y

Bernegal or glass or wine tasting. Silver. 17th-18th centuries. With contrast markings. Bernegal made of silver in its color that has a circular foot, body widening upwards and two flat handles in “that” with the central part widened. It has contrast marks on the handle (unidentified) and a chip mark on the base. Both bernegales and tembladeras were very common typologies in Spanish baroque silversmithing in the 17th century, and continued to be popular in the following century, mainly in centers far from important creative centers. Also known as catavinos, these types of drinking glasses were used on special occasions (ceremonies...), hence their material and the decoration they have, they were objects for civil use, although it was not strange or exceptional that they were donated or commissioned for use in churches or liturgical settings. Compare the present piece with two cups or shakers from the Collection of the Monterrey Palace in Salamanca (one from Paris made around 1750 and another from Salamanca) decorated with gallons and two raised “ese” handles; with the bernegal of the Metropolitan Museum made in London in 1680 from the Irwin Untermyer collection (very similar in shape to the present one); or with the pair of bernegales by Antonio López Díaz (made in Jaén and dated 1758/1772) from the Valencia Institute of Don Juan in Madrid. Weight: 162 grams.

· Size: 14x11x9 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6022
SILVER INCENSE BOAT. WITH HALLMARKS. SANZ DE VELASCO, JUAN ANTONIO (17...

Naveta. Silver. SANZ DE VELASCO, Juan Antonio (1720-1778). Valladolid, Spain, 18th century. With contrast markings. Navete with a circular base raised towards the foot by a succession of stepped moldings that presents its body decorated with a cresting on the edge and an engraved composition based on vegetal elements and volutes (on a polished polished background, a finish that is also combined in decorative motifs) and a gallon element on one side and a scroll at the opening end. The contrast marks on the base place the creation of the piece in Valladolid (note that it is the so-called “cut mark”, which some experts place in time until the appointment of Antonio González Téllez as a faithful contrast). The other punch present is by Juan Antonio Sanz de Velasco (1720-1778), who served as a faithful contrast in the city between 1743 and 1774/8. Apart from other works preserved with hallmarks by the master (many in private Spanish collections), we must highlight the silver altar frontal of the Virgen del Sagrario (Valladolid Cathedral) by the Valladolid silversmiths Juan Antonio Sanz de Velasco and Miguel Fernández Yáñez de Vega, who finished in the last third of the 18th century a work begun in 1693 by the silversmith José de Aranda. The shape of the piece is the usual one for this type of container to store incense (in fact, the name naveta comes from “ship”) since the Middle Ages (naveta from the chapel of the Constables of the Cathedral of Burgos de Juan of Valladolid from the 15th century), with variations in shape and decorative elements depending on their belonging to a center, style, etc. Compare the present piece with works preserved, for example, in the Diocesan and Cathedral Museum of Valladolid, another from the Museum of Navarra from Mexico and dated between 1634 and 1666, another from the 18th century in silver in its color from the Cathedral of Tuy ( with a very different foot), etc. Weight: 347 grams.

· Size: 16x11x9 cms.
ANTIQUES

Ref.: ZE243
SILVER INCENSE BOAT (NAVICULAE). WITH HALLMARKS. POSSIBLY PORTUGAL, 18...

Naveta. Silver. Possibly Portugal, 18th century. Counterweighted base. With contrast markings. Naveta with oval foot decorated with relief elements and moldings, balustraded foot and body with a slight boat shape, presenting a hinged lid at the front, a widening in the lower area towards the foot and a decoration distributed throughout the exterior to base of seed beads motifs and plant elements (the same theme is presented on the foot and base) on a polished polished background, with an angel's head on two wings in relief towards the beak, accompanied by plant elements (the which protrude over the edge of the lid). Although the shape of the piece generally follows the most common prototypes of these incense containers used in the liturgy, it should be noted that it was more common to find them more similar to a ship. The belonging of the nave to the influence of Rococo is clear both by the lines of the object and by the decoration to which reference has already been made (rockets, vegetal elements with movement, volutes with pronounced curves, contrasts between concave and convex lines... ), and it is also possible to find some points in common with Portuguese works (a silver naveta with a spoon by Leandro Gagliardi, made in Rome between 1744 and 1750, which is preserved in the Sao Roque Museum, has a finial with an angel's head in relief. from Lisbon in Portugal; compare with the gilded silver incense burner that the same master made between 1749 and 1751 for the Chapel of Saint John the Baptist in the Church of Saint Roch in Lisbon). The contrast marks present on the upper part of the nave (the capital letters “de” in a rectangular space), although it should also be noted that the present work does not follow the most striking typology of navetas related to this center (naveta de 18th century silver from the Church of Alcántara in Maranhao, Brazil; nave by Sebastiao Bernardes dos Santos dated 1747 from the Sé do Funchal that is preserved in the Museu de Arte Sacra do Funchal in Madeira –Portugal-).Weight: 715 gr (base with counterweight).

· Size: 19x9x14 cms.
ANTIQUES

Ref.: ZE244
SILVER CUP. PERU, 18TH CENTURY.

Bernegal. Silver. Peru, 17th century. Tembladera or catavinos made of silver in its color, handles in the shape of “ese” (or “ce” with a lower finish) with scrolls and masks, and the rest of the piece is smooth. Bernegales and tembladeras were the most common typologies in Spanish silversmithing in the 17th century (although in the 18th century they continued to be popular, especially in centers far from the main creative centers). In the case of this piece, it is the handles that could indicate American manufacture, although there are similar cases that are thought to have been made in the Iberian Peninsula. Compare this piece with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of Madres Clarisas de Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 270 gr.

· Size: 19.5x14x8 cms.
ANTIQUES

Ref.: ZF0553
SILVER CUP WITH INSCRIPTION. POSSIBLY SOUTH AMERICAN, 18TH CENTURY.

Tembladera or bernegal with ownership inscription. Possibly Hispanic American, 18th century. Silver quake in its color with a wide, circular base and a mouth of larger diameter than this, body with a fine line engraved towards the edge and an ownership inscription on the front (Lucas Vilacha) made with small dots. It also has two handles decorated with plant elements and grotesques with human heads, and shapes similar to lions or dogs can be seen at the top. In Spanish silversmithing, Baroque trends were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centers, depending on areas and masters. This survival of the 17th century forms can be seen in the handles of the quake: the grotesques with human heads are very prominent, a decorative abundance that contrasts with the clean lines of the rest of the work but is common in this type of work. jobs. The lack of contrast marks does not allow the work or the artist to be located, although this is precisely what speaks in favor of a secondary silversmithing center, where the absence of control of these works was more common due to the lack of teachers and means to Ensure compliance with marking regulations. Bernegales and tembladeras were the most common typologies in Spanish silversmithing in the 17th century (although in the 18th century they continued to be popular, especially in centers far from the main creative centers). In the case of this piece, it is the handles that could indicate American manufacture, although there are similar cases that are thought to have been made in the Iberian Peninsula. It is necessary to mention that there is evidence of the baptism of a Lucas Vilachá in 1783 in Lanza (La Paz, Bolivia). Compare with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of Madres Clarisas de Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 325 grams.

· Size: 20x15x7,6 cms.
ANTIQUES

Ref.: ZF1058
SILVER CHEST, AFTER 17TH CENTURY MODELS. POSSIBLY, 20TH CENTURY.

Chest inspired by 17th century models. Silver. Spain, 20th century. Rectangular chest made of silver in its color, with four legs in the corners with a scroll shape and claw finishes, decorated on the fronts with a decoration of moldings, bands and motifs within rectangles (yokes, bundle of arrows, crowned letter f between two pomegranates, letter and crowned between two pomegranates) in clear allusion to the Catholic Monarchs. The stepped lid presents a composition of scrolls, architectural elements and plant motifs on a polished polished background, and a small rectangular “diamond” as the top. Closes with a pin with chain at the front. Compare, for example, with the 17th century silver ark in the museum of the Monastery of Santa María de la Caridad in Tudela, or with the so-called Chest of the Holy Martyrs of the parish of Santa María de Manlleu that is in the Episcopal Museum. from Vic. Weight: 526 grams.

· Size: 16x11x11 cms.
ANTIQUES

Ref.: ZE280
SILVER AND GILT SILVER PYX. 16TH CENTURY.

Cast and chiseled silver pyx. Spain, towards the end of the 16th century. Cylindrical box with a molded base under a wide frieze with lacework of bands and simplified plant elements. Molded stopper decorated with bands creating figures of 8 alternating with flowers, and flordelised motifs, finished in a small cone with pearl, on which rises a Crucified with three nails with purity cloth at the knees and cartouche. Due to the gilding on the inside, this footless host would be used to contain the Sacred Forms, perhaps, in the tabernacle of a church. The decorative elements of the work and the figure of Christ at the top respond to the influence of the Renaissance, but also show Gothic memories. The Renaissance appears in Castilian silversmithing a little before 1520, and only since the end of the reign of Philip III is it usually spoken of as Baroque. In the Crown of Aragon, the political and economic decline of the area caused a significant decline in the number and quality of production, with the striking exception of Aragon and, above all, Zaragoza, which later achieved unparalleled splendor. Something similar happens with the form: although there are similar examples during the Gothic period (hostiary of Diego de Abanza or one of his sons, made in Burgos, towards the end of the 15th century and preserved in the Diocesan Museum of Sigüenza, Guadalajara), this typology It would be maintained even in the Baroque with numerous variations. Compare it with works such as a host from the Museum of Málaga (BA/CE00305), with a similar cover and decoration, or, above all, with that from the Ángel Quílez collection (inventory CAQ-47) from the future Museum of Alcáñiz (Teruel), in profile. and similar decoration, both from the end of the 16th century. And note the difference with, for example, the Castilian from the last third of the century preserved in the National Museum of Decorative Arts (CE19659) or that of Juan de Bendígar from the Lázaro Galdiano Museum (inventory 02165) from the second third of the century, of greater influence Renaissance. Weight: 176 gr.

· Size: 10x10x9,5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: ZA5725
PAIR OF SAUCEBOATS. ANTONIO MARTÍNEZ, “PLATERÍAS MARTÍNEZ”, MADRID, 17...

Pair of silver sauce boats. Antonio Martínez, Platerías Martínez, Madrid, 1797. Pair of cup-shaped sauce boats with a strong influence of contemporary French and English silverware. Both the handles and the decorative motifs they present (plant elements, birds holding laurel garlands, etc.) are the characteristics of Neoclassical silverware. Platerías Martínez, founded by Antonio Martínez with the support of Carlos III, were one of the most important creative centers in Spain in their time. Weight: 160 grams.

· Size: 16x10x14 cms
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6597
SILVER GLASS WITH TRAY. 18TH CENTURY.

Rinser. in silver in its color. Barcelona, 18th century. With hallmarks and ownership initials. A container with a small circular foot has simple, flat lines, as well as a space at the base of the interior space into which the glass fits, which has the same elegant shapes in its contours. In general, in the 18th century, the territories of the Crown of Aragon were recovered, which influenced its silverware. In Barcelona silverware we are witnessing a recovery of importance to levels that it had not had since the Gothic period, practically. As in the rest of Spain, Rococo would dominate during the reign of Charles III (1760-1788); At the Court, which was already familiar with Neoclassicism around 1735-1740, this style would appear around 1770 and, after coexisting with Rococo for a few years, it would gradually prevail from 1780. Barcelona quickly incorporated this new style and, apparently, would become in one of the main peninsular centers, although the frequency of changing markers, the frequent use of confusing symbols on the pieces and the absence of preserved works and studies make a detailed analysis of this center and its silversmiths difficult. The contrast marks on the piece place it in Barcelona, in the workshop of a silversmith whose punch is “F. Tur”, possibly (Turquet). Weight: 582 grams.

· Size: 18x18x9 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6871
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SILVER MASS CRUET SET. ESTRADA, ZARAGOZA, SPAIN, 18TH CENTURY.

Pair of cruets with tray. Silver. Estrada, Zaragoza, 18th century. With contrast markings. Set made of silver in its color consisting of two cruets with a circular foot, oval body narrowing towards the top, stepped lid towards the center (surrounded by a circle with a V for the wine container and an A for the water container) and curved handle with a scroll topped by a small crest; and a tray of cut profiles following very common models of the time. The marks present are those of the faithful hallmark (unidentified), the locality (Zaragoza) and the silversmith's (Estrada). There is evidence of three silversmiths named Estrada in Zaragoza: Antonio (1714-1757), Domingo (1751-1800) and Manuel (1735-1742).

· Size: 26,5x16,5x11 cms
ANTIQUES

Ref.: ZF0960
SILVER HEART SHAPED SPICES BOX. LÓPEZ PORTERO, MANUEL. SPAIN, GRANADA,...

Heart-shaped spice rack. Silver. LÓPEZ PORTERO, Manuel. Spain, Granada, 1870. With contrast and burilar marks. Silver spice rack in its color with a heart-shaped shape and curved spout towards one side that has two hinged lids and three spaces inside (partition at the top and not at the bottom); It is supported by three legs decorated with classicist elements and has, towards the side, a series of fine smooth moldings. The hallmarks are those corresponding to Granada, to date, and to the silversmith Manuel López Portero, who also worked as hallmarks in the city. The shape of the piece does not follow the usual prototypes of the time or the school to which it corresponds (a heart-shaped silver box is known in which an eagle appears with its wings spread out on its obverse and reverse, hand-held). by Manuel López Portero and dated 1773, which is the portico of the parish church of La Encarnación de Laujar de Andarax). Yes, the decorative elements of the box can be included, and easily, within the Neoclassical. Weight: 250 grams.

· Size: 10x11.5x4 cms.
ANTIQUES

Ref.: ZF1019
SILVER CUP. SPAIN, 18TH CENTURY.

Bernegal or scrapie with handles. Silver. Spain, 18th century. Avocado trembler in its color with a circular base, without base or foot, and a wider hemispherical body at the top, which has two handles on the sides. These have two Cs facing each other of different sizes (the largest on top) or in the shape of that, and a decoration based on silver pearls and a bird perched on the top (both of the piece facing towards the center). In Spanish silversmithing, Baroque trends were maintained during almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It would not be until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centers (as a general rule), depending on areas and masters. This survival of the 17th century forms can be seen in the handles of the quake, a decorative abundance (compared to the rest of the catavino) that contrasts with the clean lines of the rest of the work but is common in this type of work. . The lack of contrast marks does not allow the work or the artist to be located, although this is precisely what speaks in favor of a secondary silversmithing center, where the absence of control of these works was more common due to the lack of teachers and means to Ensure compliance with marking regulations. It does show a fine engraving of initials on the front of the piece. Bernegales and tembladeras were the most common typologies in Spanish silversmithing in the 17th century (although in the 18th century they continued to be popular, especially in centers far from the main creative centers). In the case of this piece, it is the handles that could indicate American manufacture, although there are similar cases that are thought to have been made in the Iberian Peninsula. Compare it with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of Madres Clarisas de Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 213 grams.

· Size: 18,5x15x8 cms.
ANTIQUES

Ref.: ZF1057
CRUET SET. SILVER, GLASS. RENÉ-PIERRE FERRIER, PARIS, FRANCE, 1775.

Cruet set. Silver and glass. René-Pierre Ferrier, Paris, 1775. With contrast markings. Set of cruet with salvilla made of silver in its color and transparent glass composed of two jugs with handle, elongated neck and spout, and a circular base body, with a faceted exterior, an oval tray with two supports for the jugs and another two for the plugs (decorated with leaves and fruits). The tray has four scroll-shaped legs, decoration that is repeated at the ends of it, and two architectural shapes on the longer sides, right where the spice rack supports are located. The jug supports have an openwork decoration based on architectural motifs framing baskets with grapes and vine leaves and flowers. The hallmarks present on the silver pieces place it as a work by René-Pierre Ferrier (his punch appears), made in Paris between 1775 and 1776 (crowned M; “Maison Commune” mark) and with the corresponding taxes paid (the crowned A - this specific one was used in Paris between 1775 and 1781 - and the bull's head - the same as the previous one -). René-Pierre Ferrier was a French silversmith whose brand can be seen used in work since 1775, the year in which he achieved master status. The shape of the tray is reminiscent of other works by the same silversmith dated at the end of the century and with a more pronounced “naveta or ship shape.” The decorative elements respond to Neoclassicism, a very popular style in France at the time. It is possible to find pieces similar to the present one in some private collections and in institutions such as the Musée des Beaux-Arts de la Ville de Paris (Petit Palais), dated between 1783 and 1784 (inventory PPO2012), or in the Louvre Museum in Paris . Weight: 558 gr. silver / 1245 gr. w/bottle.

· Size: 27x16x23 cms.
ANTIQUES

Ref.: ZF0344
SILVER TRAY. MATEO MARTÍNEZ MORENO, CÓRDOBA, SPAIN, 1789.

Fountain. Silver. Mateo Martínez Moreno, Córdoba, Spain, 1789. With contrast markings. Silver fountain in its color, oval in shape and great depth, which presents contrast marks and an edge composed of smooth moldings of different widths curved drawing waves, ending in four peaks that extend towards the bottom of the piece, thus drawing a series of curves and countercurves This shape is known as “cut-out profiles,” and was a common resource in 18th century Spanish silversmithing that followed or was influenced by Rococo models. The aforementioned marks (frustras) could place the creation of the work in Córdoba, in the period in which Mateo Martínez Moreno worked as a faithful contrast, also providing the date of 1789. Weight: 858 grams.

· Size: 38x6,5x27 cms.
ANTIQUES

Ref.: ZF1043
SILVER “TEMBLADERA” (CUP). JUAN MONTERO, SALAMANCA, SPAIN, 18TH CENTUR...

Tremor. Silver. Juan Ignacio Montero, Salamanca, 18th century. With contrast markings. Silver tremble in its color ready on the outside decorated with two inverted “S” shaped handles and decorated with spikes on the outside. At the base of the piece are the four contrast marks (flanking the contrast line), which place the creation of the piece in Salamanca (note the bull), with the intervention of Juan Ignacio Montero; Two more appear, you frustrate. Juan Ignacio Montero was a silversmith and contrast-marker, and the punch seen here seems to date from preserved works that have been dated between 1759 and 1779, such as a sacral in the Parish Church of San Lorenzo de Segovia (by Manuel Cardeñosa, dated in 1767). It is known that he held the position of contrast-marker in Salamanca between 1758 and 1781 and that he was active until 1779. He used a punch that incorporated the dates relative to the year, although sometimes the same iron was used in several years. Weight: 70 gr.

· Size: 10x7x5 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6251
SILVER CRUET STAND. CÓRDOBA (SPAIN), CRISTÓBAL SÁNCHEZ SOTO (1755-1802...

Convoy of silver cruets. Córdoba, Cristóbal Sánchez Soto (1755-1802), towards the third third of the 18th century. With contrast and burilar marks. The present convoy maintains a slight Rococo memory in its lines, but also advances some of the Neoclassical decorative purity. The architect, Cristóbal Sánchez Soto, is well known for works of great importance such as litters for the Virgen de la Soledad and a tabernacle, both for the Brotherhood of the Nazarene of Córdoba, for example. The other two punches that appear are those of the locality (Córdoba) and that of the assayer, Juan de Luque y Leyva (1721-1779). Weight 400 gr. .

· Size: 20x11x21 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6547
SILVER DESK WRITING SET. PLATERÍAS MARTÍNEZ, MADRID, SPAIN, 1845. WITH...

Writing desk with three inkwells. Silver. Real Fábrica de Platerías Martínez, Madrid, 1845. With contrast markings. Silver notary in its color composed of a rectangular tray with raised and openwork sides and openwork decoration on the longer sides (down), and three containers (two cup-shaped) topped by figurative elements. Both the decoration of the elements and their lines show a clear influence of Neoclassical models based on Antiquity. The contrast marks present link the piece with the city of Madrid (Spain), also adding the date and the silversmith. The Royal Silver Factory of 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 silversmithing. Likewise, it was one of the most important silversmithing centers in the history of Spain, and was characterized by the originality of its designs and the perfect finish of its pieces. Compare the present piece, for example, with the mancerina with tray and acanthus leaves from the same factory dated 1834 in the History Museum of Madrid, and with other works preserved in private collections. Weight: 490 grams.

· Size: 23x11x10 cms
ANTIQUES

Ref.: ZF0680
TWO SILVER PITCHERS SET. BENITO GÓMEZ, ANTONIO. SEGOVIA, SPAIN, 1831-1...

Pair of spout jugs. Silver. BENITO GÓMEZ, Antonio (1775-1835). Segovia, Spain, 1801-1835. With contrast markings. Pair of spout jugs with a circular base with moldings, a low conical foot and a tubular body finished in a semisphere in the lower area and with a flat molding in the upper part; The handle, in double shape, has a simple volute or branch that rests towards the mouth of the piece; The beak shows a simple decoration. Typologically, the present pair is linked to a type of spout jug that, with variations, is common in Hispanic domestic silverware from the first half of the 17th century to the beginning of the 18th century, and is also found after this date. As usual, the civil model was quickly assimilated by religious silverware, especially for use in liturgical cruets. Antonio Benito Gómez (1775-1835) was a silversmith who worked in Segovia, at least, from 1801 until he died, also being a marker of carved silver between 1824 and 1828, and between 1831 and 1835. Son of the silversmith Juan de la Cruz Benito , several works by his hand have been preserved: baptismal shell and rostrillo for the church of Vera Cruz in Zamarramala, a hyssop found in the church of Nuestra Señora de los Dolores in La Granja de San Ildefonso (Segovia), etc. Stylistically, most of his known work is clearly reminiscent of Rococo, although some Neoclassical pieces stand out.

· Size: 8,5x5,5x8 cms.
ANTIQUES

Ref.: ZF0984
SILVER CHRISM VESSEL OR CHRISMARIUM (NO ORIGINAL LID). 16RH CENTURY.RY

Crismera. Silver in its color. Century XVI. Non-original cover. Silver chrysmera in its color with a circular foot decorated with an engraved composition of plant elements and a flat circular body with two handles in “ese” with plant motifs and a small neck at the top covered with a lid topped by a ring (which It is not the original of the piece). The body has, on one side, engraved a cross on a pedestal with a shroud hanging from it, all within an engraved frame; On the other hand, with a frame similar to the one mentioned, the letters “ihs” appear (a Christogram of ancient origin, already used in the Paleochristian era, which gave rise to varied etymologies and was adopted as a seal by Saint Ignatius of Loyola, founder of the Jesus company). Weight: 157 grams.

· Size: 6,5x 10x15 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5977