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MANTEL CLOCK. BRONZE, MARBLE. MODEL FROM LENOIR-RAVRIO, LOUIS-SATINSLA...

Table clock, Apollo. Bronze, marble. Model by LENOIR-RAVRIO, Louis-Stanislas (1783-1846). Paris, circa 1820. Table clock consisting of a stepped rectangular base made of red veined marble and gilt bronze elements with a clear classicist influence (molding of architectural motifs, set of garlands and elements linked with latticework), and the area of the clock face, situated on a stepped pedestal, placing, on it, a patinated bronze figure representing the god Apollo (note the gilt bronze lyre he holds in one hand). The dial, made of gilt bronze with different finishes, has Roman numerals, Breguet-type hands, and the inscription “L. RAVRIO BRONZIER / A PARIS”, relating to the creator of the bronzes in the work. Louis-Stanislas Lenoir-Ravrio (Paris, 1783 – Ivry, 1846), adopted son of André-Antoine Ravrio (1759-1814), was one of the leading bronze makers of his time (his father was also one), and they worked together for a number of years (until 1814). He officially joined his father's business in 1811, gaining great recognition for his works at the Garde-Meuble and for his participation in International and National Exhibitions. Weight: 28 kg

· Size: 43x16x62 cms.
ANTIQUES

Ref.: ZE345
GUILDED SILVER CUP. VALLADOLID, SPAIN, 17TH CENTURY..

Bernegal. Gilded silver. Valladolid, 17th century. With hallmark and engraving mark. Goblet with a circular foot (bernegal) decorated with fine smooth mouldings and a ribbed body (ten bites) with engraved plant-themed decoration on the inside and outside, made of gilded silver and which also has two "C" handles enhanced with strings of pearls in decreasing order at the top and a spherical element on the inside, at the junction of the ribs, reminiscent of a bezoar stone. The mark of contrast that places the cup's production in Valladolid is similar to that present in other outstanding pieces such as the late 16th-century spouted jar by Lázaro de Encalada from the Várez-Fisa Collection. Compare also with the Mexican bernegal and salvilla from the Monastery of the Conceptionists of Ágreda in Soria, decorated with vegetalized bracing; with the 17th-century bernegal from Toledo from the Lázaro Galdiano Museum in Madrid (inv. 03910); and with one from the collection of the Valencia de Don Juan Foundation (Madrid). Likewise, note the similarity with a copy from a private Chilean collection from the galleon Nuestra Señora de la Limpia y Pura Concepción (which follows the model considered to be traditional in South America with a smooth, ribbed body with ten equal-sized sections, two “C” shaped handles raised above the mouth and a circular foot below), and with the one made before 1622 (the date of the shipwreck) from the ship Nuestra Señora de Atocha, also in a private collection (considerable size, similar shape to the present one, etc.). Likewise, it is worth mentioning the oil painting from the Masaveu Collection (Oviedo) by Juan Bautista de Espinosa known as “Still Life with Gold and Silver Objects” made in 1624, since the bernegal with salvilla situated in the centre of the composition bears a notable resemblance to the present piece. Called "mouthful glasses" or "mouthful cups" at the time, they were common pieces until the 18th century in Spain, and sometimes a bezoar stone was placed at the bottom to, according to the beliefs of the time, detect or neutralize poisons (however, other times it was a different element, adding a touch of surprise to the person who used it). Frequently, they were made to match a salver, decorating both in a similar way. It should be noted that they have not been preserved in very large numbers because it is common to reuse the material in other works (very few have reached us from Spain, although some more from among those made in Latin America). Very similar model auctioned at Sothebys February 2, 2024. Lot 6. Weight: 480 grams.

· Size: 19x17x11 cms.
ANTIQUES

Ref.: ZF0597
MONSTRANCE, TEMPLE TYPE. SILVER, GLASS. 16TH CENTURY, WITH RESTORATION...

Portable temple monstrance. Gilded silver, glass. 16th century, possible restorations. Monstrance made of gilded silver (the finish has been lost in some places) composed of a base, a shaft or stem and a two-storey upper architectural structure with some figures at the top. The base has a flat base on which tubular shapes with discs are placed, followed by a mixtilinear shape with an openwork front with circular details and an upper part with plant elements in relief (flowers, scrolls, palms, etc.) and a heraldic shield. The shaft or stem begins with an architectural shape with flying buttresses and tubular shapes with discs (similar to those of the base) and continues with another body of niches with sculptures of saints, which have columns with double faced balusters and arches with arched elements finished on the outside by winged angel heads with leaves in their hair; this area ends with an architectural element that recalls the lower part. The upper two-storey area has a hexagonal base and architectural, figurative and vegetal decorative elements with a marked classicist influence, together with others of a classical Gothic type, and is topped by a Deesis with a rocky floor (the Virgin and Saint John flanking a crucified Christ). Just below the gallery of trilobed arches that top it off, two garlands of leaves and fruits hang; and two heraldic shields are engraved. Next, there is the virile for the Holy Form, sheltered in a structure with grotesques functioning as columns and angels playing musical instruments. Above this, another structure shows seated children holding the emblems of the Passion and an enclosed space with balustraded balconies with crosses in the centre, within which a haloed figure appears blessing and holding an orb topped with a cross (in reality, this figure tops the virile, but can be seen through this gap); there are also niches with figures. Between one floor and another, there are a series of chains attached to small rods that ensure that the vault does not open. One of the two engraved heraldic shields already mentioned shows a Tau, also known as the Cross of Saint Thecla or Saint Anthony, common in Tarragona and in orders such as the Franciscan Order, for example. The other heraldic shield, which is very similar to the one on the base (here the border is different, there are more plants...), is cut, with a bull or ox passing to the left in the upper part and three plant stems (perhaps reeds) coming out of the ground (under which there is another line that could allude to a water course) in the lower area. The temple custodians are a relatively frequent typology in the Burgos and Valladolid schools (in fact, it seems to be common in Castile and León except for some areas such as Palencia), although they appear throughout the Spanish school together with the tower custodians and the type known as "sun custodians". Compare, for example, with the monstrance from the Church of Santa Eulalia in Paredes de Nava, or that from the parish church of San Pedro de Aibar (dated around 1476-1488, perhaps made in Burgos by Juan de Santa Cruz), that from the parish church of Sasn Juan Bautista in Horta de Sant Joan (workshop in Tortosa, 16th century (documentation from around 1520); note the high base, with an openwork front with circles), the Samaniego monstrance (Diocesan Museum of Sacred Art of the Basque Country, made by Sancho de Salcedo –doc. Santo Domingo de la Calzada, 1495-1511-), the Arisgotas monstrance (Parish Museum of the Town of Orgaz, dated before 1547 and made by Francisco Martínez de San Román from Toledo), etc. Weight: 3 kg.

· Size: 21x21x58 cms
ANTIQUES

Ref.: ZF1162
SILVER PAX. 16TH CENTURY.

Peace-bearer. Silver in its colour and gilded. 16th century. A silver peace-bearer with a handle (decorated with delicate plant motifs similar to those on the pillars) and a female and male bust at the bottom, as well as other architectural elements on the back. On the front, there is a classicist architectural composition with a base (with busts flanking a flower and a cross), two pillars (plant decoration and a capital reminiscent of the Composite order) with an entablature (flowers flanking an angel's head; mouldings), and a semicircular arch top with raised elements in relief under a cross and flanked by two architectural motifs at the top. This composition frames and enhances a gilt silver relief where one can see the Lamentation or Lamentation over the Body of Christ, with the Virgin holding the head of Jesus, Saint John at her side, Mary Magdalene and other figures, a cross following the group and a landscape background with houses and plant elements. This architectural structure mentioned is similar to that present in other 16th century pavilions, such as that of the parish church of La Magdalena in Dos Hermanas (Hernando de Ballesteros el Mozo, around 1575); or that of the parish church of La Galaroza (same author and date); or that of the pavilion of San Miguel in Jerez de los Caballeros (in some details); etc. As for the relief, it is possible to clearly see a strong Italian influence, and the similarity between it and important pieces such as the Portapaz known as “de Cisneros” by Juan de Burgos (1493-1497; Alcalá de Henares Cathedral Museum), as well as in paintings and reliefs. It is also worth highlighting both the male and female busts in the lower area and the Maltese cross (or of Saint John) that appears in this area. This symbol was used from 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 them this island as a fief in the 16th century. Weight: 507 gr.

· Size: 10,5 x 4 x 21 cms
ANTIQUES

Ref.: ZF0664
CLOCK. PALO SANTO (HOLY WOOD), ROSEWOOD, ORMOLU. FRANCE, 19TH CENTURY,...

Clock. Palo santo, rosewood, gilded bronze. France, 19th century, based on the model of Charles Cressent (France, 1685-1768). Grandfather clock with a wooden case that combines palo santo, rosewood and other woods, enhanced with a series of gilded bronze appliqués, which match the curved and counter-curved profiles of the piece. Both the decorative elements and these decorations respond to models of the French Rococo of the 18th century. This piece is inspired by the regulator clock in the royal collections of England, which is located in Buckingham Palace, and was made by Charles Cressent, a master cabinetmaker considered one of the main exponents of French Rococo, although he made pieces in the Regency style and at the beginning of the “rocaille style”. A master sculptor since 1719, he worked as a cabinetmaker and sculptor for the Regent Philip II, Duke of Orleans, and is well known and appreciated for his clocks, chests of drawers, andirons (J. Paul Getty Museum), etc.

· Size: 81x40x232,5 cms
ANTIQUES

Ref.: ZE298
PLATTER. SILVER. SPAIN, ZARAGOZA, CIRCA 1700.

Source. Silver in its colour. Zaragoza, Spain, circa 1700. With hallmarks and engraving marks. A circular silver-coloured dish or platter with a raised edge and decorated with a composition of plant elements and shields or flat mirrors between two lines of smooth mouldings. The seat, raised on two levels, has another plant decoration, with a smooth, domed centre. A completely smooth field has been arranged around the seat. The marks on the back are located on the piece. One is engraved on the seat, towards the centre of the piece. The other is on the edge or border, together with the only contrasting mark that has been found. This one has been linked to Zaragoza, placing the piece in this city. Compare this piece, noting its differences, with the Tudela fountain from the second quarter of the 17th century made by Noval, which is preserved in the Lázaro Galdiano Foundation museum in Madrid (Spain). Or the enamelled fountain in the National Archaeological Museum made by Rodrigo de Arenillas or Abaunza in Burgos. It is known that until the ordinances of 1742 it was not obligatory for the silversmith's mark to appear on pieces made by him in Zaragoza. After this date, pieces that only had the mark of the town continued to be abundant. At the end of the 17th century, chiseled work became very rare, with a bulky embossing with leaf motifs being the usual. Towards 1720 the decoration became thicker and more exuberant, and towards 1725, with the same ornamental motifs, the decorative sense changed (contrasts were sought between profusely decorated areas and others that were completely smooth and polished). The earliest example of Rococo silverwork in Zaragoza has been dated to 1742 (image of Saint Barbara from the Church of San Pablo). Weight: 2.4 kg.

· Size: 55,5x55,5x 4 cms.
ANTIQUES

Ref.: ZF1304
FRAME. WOOD, METAL. LATE 17TH CENTURY-EARLY 18TH CENTURY.

Frame. Carved wood. Late 17th century-early 18th century. Rectangular frame that presents a “base structure” of straight lines, combining moldings of different widths and finishes (on the inside, a gold band with fine plant details towards the corners; next, a thin red one, and another wider green one, these last two imitating marble; on the outside, another fine gold molding), enhanced with a series of carvings of plant elements in the corners (symmetrical composition), two ovoid elements on the longer sides and a very elaborate cresting with plant elements, rocailles, volutes, flowers and imitation fabrics (which are joined with those ovoid elements mentioned). The combination of red, green and gold is common in certain types of frames (compare, for example, the terracotta from Salamanca made around the middle of the 16th century by Juan de Juni, which is preserved in the Victoria and Albert Museum). A series of carvings with a lot of movement and depth have been added to it, showing the influence of the Baroque (it recalls in certain details works such as the frame of the Immaculate Conception by Alonso Cano in the Cathedral of Malaga).

· Size: 138x28x196 cms, Int. 86x128 cms.
ANTIQUES

Ref.: ZF0582
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 one has an oval base, with fine mouldings 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. They present more decorative elements in the pieces, apart from those already mentioned and a series of elements engraved on the lids (bull heads with necks) and on the front of the sauce boats. In this area there is a motto in Latin ("Fide et amore”, “faithfulness and love”) under a heraldic shield on each one (three bull heads, two above and one below, separated by a goat; two rampant lions flanking a diagonal band on the shield itself). The lines and The elegance of the pieces is typical of the George III style. The heraldry is very reminiscent of that of the Boleyn family, Bullen or Boleyn, descended from Anne Boleyn. The motto would allude to a game commissioned on the occasion of a wedding. In 1790 William Bullen and Mary Collins were married in the Irish branch of the family, although it is not the only event of that year (Henry Bullen and Margaret Tarrent in the diocese of Cloyne…). The hallmarks provide a wealth of information about the pieces. The lion passant places the manufacture in London, while the two initials refer to Henry Chawner; the lowercase letter gives the exact year; the leopard's head certifies the quality of the material. The still-operating silversmith's business, Edward Barnard & Sons Ltd., has a number of predecessors: it was founded by Anthony Nelme around 1680, and, after a succession of master silversmiths, the business was improved by Henry Chawner in 1786, master of the successor of the family that was then running the business (Eduard Barnard I) and who continued with the business. It was active between 1786 and 1796, and the surname of this master remained linked to the firm until the end of the 18th century in several of his relatives. His works are currently preserved in private collections in England and America, mainly, but also in prominent institutions such as George Washington's Mount Vernon Museum (Virginia, United States), which has a Henry Chawner inkwell of George Washington, the Scoteney Castle of Kent, the Victoria & Albert in London, the Portland Art Museum, etc. Weight: 2110 grams.

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

Ref.: Z6774
DEVOTIONAL PENDANT. OIL ON AVENTURINE, ENAMEL, GOLD… SPAIN, 17TH CENTU...

Devotional pendant or reliquary. Oil painting on aventurine, enamel, gold. Spain, 17th century. Devotional medallion or pendant or reliquary made of aventurine or aventurine with an octagonal shape and faceted fronts, enhanced with a series of enamels combining black and gold, which protect two oil paintings of a Catholic Christian religious theme, located one on each side of the piece. Protected, you can see a very particular Madonna and Child inspired by the Icon of the Madonna del Popolo (Rome, Italy), and a simplified Martyrdom of Saint Lawrence (the saint, the grill and an angel with a crown and the palm corresponding to the theme are shown). The edges of the piece have been protected with simple metal elements. The painting of San Lorenzo follows a composition common in the Spanish school, and would recall works such as the painting of the main altar of the Church of San Lorenzo in Huesca, for example, although also others such as the engraving by Marcantonio Raimondi (executed around 1527) in some details. The so-called icon of the Madonna del Popolo was well known because it was considered to have been made by Saint Luke, and was brought to the church of the same name by Gregory IX from the Sancta Sanctorum of the Lateran Palace after a flood caused a terrible plague in the city and through a solemn procession with the image to Santa Maria del Popolo. As for the material of the piece, aventurine or aventurine are known as a certain type of glass and a type of quartz (which can be green or reddish brown, and usually has tiny elements of yellow mica that give it golden reflections). In the first case, it is known that "venturine" or "stellaria" is mentioned in the workshops of Murano for the first time during the first quarter of the 17th century, in reference to a very complicated production paste (it is said that the name comes from this circumstance, that is, that its creation was due to luck or fortune) that imitates the effects of that stone (from India and Russia at that time) thanks to the inclusion of copper particles, and that was used as if it were stone (cut) given the complexity of its use in blowing (practically impossible). And, dealing with this material, it is necessary to mention “The Nativity” by Pietro da Cortona, dated around 1656, which is preserved in the El Prado Museum (Madrid) because it is an oil painting on aventurine. Compare this work with the reliquary medallion with an image of the Virgin painted on aventurine dated between 1600 and 1633 from the Lázaro Galdiano Museum (Madrid); with another devotional medallion in gold and aventurine from the Museo Nacional de Artes Decorativas (Madrid) dated in the 17th-18th centuries; or with the medallion that is also a reliquary that presents an Immaculate Conception painted on aventurine, dated between the 18th and 19th centuries from the Museo Nacional de Artes Decorativas (Madrid); or with the 16th-century Spanish devotional pendant from the Metropolitan Museum of New York with Saint John the Baptist and the Virgin (which combines black and white enamels, in a different way to the present piece); or with the 17th-century triangular-shaped pendant of black and white enamel and gold from the Valencia Institute of Don Juan in Madrid. Weight: 103 grams.

· Size: 9x0.7x8 cms.
ANTIQUES

Ref.: ZF0700
MANTLE CLOCK, MERCURY OR HERMES. BRONZE. PARIS, FRANCE, 19TH CENTURY.

Table clock, Mercury/Hermes. Bronze, metal. Paris, France, ca. 1825. In working order. Movement with engraving (signature). Table clock with a bronze case, combining a gilt finish (base, caduceus, rooster) and a dark blue finish. The pedestal has four legs (with a claw finish and decorated with classicist elements) on which there is a smooth rectangular area, which gives way to a smaller one with a garland of architectural palmettes in slight relief; this second area has a relief decoration resembling a panoply (lyre with tortoiseshell, bows, ivy, cane, etc.). Above is the male figure in blued bronze, sitting sideways on a trunk on which is the dial (metal, Roman numerals for the hours) framed with a snake; next to it is a rooster in a gilt finish. This half-naked young man is Hermes or Mercury, a deity from classical mythology related to commerce, communication, etc., and often known for carrying a caduceus (in his hand, made of gilded bronze) and wings on a helmet or hat with a certain shape (note also present on one foot). The rooster was one of the animals that often accompanied Mercury. There are several known cases very similar to that of the present clock: two by Louis-Sanislas Lenoir-Ravrio (one with a blued figure and a marble base in the Musée de l'Horlogerie in Geneva; another with a gilt bronze figure, in the Royal Pavilion in Brighton - England); one dated around 1825 and attributed to this same master (blued figure but the tree trunk of the dial and other details in gilt bronze; pedestal in a similar composition to the present one) in a private collection; another without attribution in the "bureau du directeur" (General inventory of the cultural heritage of the City of Lyon, France) dated with some doubt to the third quarter of the 19th century, which is very similar to this one. The Paris machinery of the clock has two joined initials engraved on one side and a name in capital letters above the text "a Paris" on the other, alluding to the watchmaker responsible for it. Similar model sold at Sothebys auction 06.07.2011 lot 96. Weight: 21 kg.

· Size: 43x16x62 cms.
ANTIQUES

Ref.: ZF0949
CLOCK AND CANDELABRA GARNITURE. BRONZE, MARBLE. RAINGO FRÈRES, AARIA, ...

Clock and candelabra trim. Blued and gilded bronze, marble. Raingo Frères, Aaria, Clodion. Paris, France, second half of the 19th century. In operation. A garnish consisting of a table clock and two three-light candelabras each, made of bronze and white marble. The candelabras have legs and a circular base with a gilt bronze band with floral elements, and a child figure in burnished bronze with garlands of vines and grapes on the head, holding branches with roses and leaves, which end in candle holders; they have the name “Clodion” engraved on them. The clock has an elongated base on white marble legs decorated with gilt bronze plaques with figurative scenes (children playing instruments and carrying garlands) and others with plant motifs and lacework. The dial rises on a pedestal with animal heads, and, On a white background, it has garlands of colors and Arabic numerals for the hours and points and Arabic numerals every fifteen minutes; you can read “Aaria” on it. The piece is finished off by a kneeling faun, in a pensive attitude and pointing to two doves. Flanking this central element are two blued bronze figures of children playing French horns. On the Paris machinery you can read a number (448) and “Rango Fres / Paris”. The two candlesticks follow a highly appreciated model in the 19th century of a bronze figure of a bacchante (a usual figure in the procession of the classical god Bacchus) made by Claude Michel (1738-Paris, 1814), known as Clodion. This French sculptor, invited to Russia by Catherine II, established a workshop in Paris where he specialized in small-format Rococo style mythological sculpture in terracotta, stucco, etc., with such success that his works inspired numerous bronze makers to make pieces of sculpture, clocks , etc. Raingo Frères is the partnership of the four sons of the Belgian-born watchmaker Zacharie Joseph Raingo (1775-1847), Adolphe, Charles, Denis and Dorsant, formed in 1823. During the 1860s they made important pieces for Napoleon III and his wife, which are preserved in the Louvre Museum in Paris. Thanks to their well-deserved fame, they collaborated with prominent bronze makers and sculptors of their time, such as Albert-Ernest Carrier-Belleuse or Auguste Moreau, and won a Gold Medal at the Universal Exhibition of Paris, 1889. Weight: 33.5 kg.

· Size: Reloj 46x12x55 cms. Candelabros: 30x17x43 cms.
ANTIQUES

Ref.: ZF1040
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SILVER JAR OR JUG. MARTÍNEZ MORENO, MATEO. CÓRDOBA, SPAIN, POSSIBLY 17...

Jug or jug with basin. Silver in its color. MARTINEZ MORENO, Mateo. Córdoba, Spain, 18th century With hallmarks and engraving marks. Made of silver in its color, the jug has an oval base, which rises flat until reaching a molding with vertical lines grouped in threes; after this it has a curve and a decoration of engraved circles until reaching the body of the piece. This is divided into three areas, a widening at the bottom until reaching the central area and, finally, another curve up to the mouth, all decorated with a series of curved "segments" of different widths. The handle, of a type known as a tornapunta, it presents architectural and vegetal decorations. The lid repeats the lines of the body and ends with a vegetal shape, in addition to presenting a piece towards the handle. The spout, curved towards the outside, shows two moldings halfway up the of its journey. The typology to which this jug belongs was common in Spanish silverwork during the Rococo period, and similar models can be found both in the capital and in other centres. With Philip V, numerous French influences came to silverwork, together with some Italian ones, both by artisans from these origins as well as pieces. There was still little marking on the works except in important centres such as Madrid, and civil typologies acquired great importance. As in the rest of the country, the Baroque tendencies coexisted in the Court , Rococo and Neoclassical, although, as it was the centre that set the tone for the rest, the former soon moved away, introducing Rococo before 1740 or at that time, and Neoclassicism around 1770 (gradually imposing itself from 1780). Let us remember, again, that 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" (present in the Renaissance, etc. ). It has several hallmarks at different points of the piece, some of them frustrated (partially preserved). It is possible to identify the locality, Córdoba, and the master silversmith's, although the numbering alluding to the date of creation of the work is still to be fully identified. Mateo Martínez Moreno was active in Córdoba during approximately the second half of the 18th century and was a faithful contrast to the city between 1780 and 1804 (the year in which he died). Weight: 1.167 kg.

· Size: 38,5x31,5x29 cms
ANTIQUES

Ref.: ZF1248A
SILVER WRTITING SET. VICENTE ROCES, ZARAGOZA (SPAIN), CA. 1760.

Silver writing desk. Vicente Roces, Zaragoza, circa 1760. With contrast marks and initials of ownership at the base. The base tray is square in shape with mixed-linear profiles and rests on legs with plant motifs. The four containers have helical scalloped feet and flower-shaped pearl-like finials on the lids. A candlestick emerges from another container, taller than the others and fixed to the tray, with a curved arm ending in a volute, and is attached to it by a hinge. The bell, also with helical scalloped edges, is topped by a figure of a soldier. The pen holder has holes in the lid for the pens, and is the same size as another of the containers, which was probably the inkwell. Two others, slightly larger, also do not have a perforated lid, and may have been used for drying sand and were therefore called “areillos”. The bell, used to call the service, secretary, etc., has another small jar as its base, similar to the rest but much higher, from the top of which the candlestick emerges. Stylistically, the clean lines show a very slight influence of Neoclassicism, while the helical scallops, the movement of the profiles of the containers, and the type of tray (called “contours” and very popular in silverwork in this century) reflect a strong survival of models related to the Rococo. Zaragoza continued to be the main silver centre of Aragon, with an abundance of preserved pieces and many marked, allowing for a detailed study. The hallmarks ensure the quality of the material and allow us to locate the manufacture and the author of the work. The locality marks, on the arm of the candlestick, place the work in Zaragoza, and date it as having been made between around 1760 and 1770. The craftsman marks, also there and another one on the base, allude to the silversmith Vicente Roces, known for his fine works in the Rococo style such as the Reliquary of Saint Francis Xavier from the last quarter of the 18th century in the Church of Santa María de Sangüesa (Navarra) and some others in important private collections. Weight: 1,525 gr.

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

Ref.: Z6304
CARVED FRAME WITH PAINTING ON VELLUM, “OUR LADY OF THE ROSARY WITH SAI...

Carved and gilded frame with painting on vellum, “Virgin of the Rosary with Saint Dominic of Guzmán and Saint Catherine of Siena”, 17th century. Inscription on the back (D. José Salazar). A quadrangular frame with square projections at the corners and semicircular projections at the centres of the sides. The fleshy and prominent plant carving is gilded, and in some areas the red bowl with which the thin sheets of metal were attached to the wood can be seen. The painting on vellum has magnificent openwork, flowers on the border and various figures. The scene depicted is the Virgin giving the rosary to Saint Dominic de Guzman and Saint Catherine of Siena. Mary appeared to the founder of the Dominicans, giving him the “Crown of Roses of Our Lady”, also called the rosary, and teaching him to pray it, with the command that he should preach it among men. This particular devotion is known as the Virgin of the Rosary. Saint Catherine of Siena took the habit of the Third Order of Saint Dominic at the age of 16, despite family opposition. That is why she is represented dressed in this way. It was the members of her order who dedicated themselves to spreading her cult throughout Europe, attributing to her miracles common to other saints (stigmatization) and representing her in numerous scenes. One is that of the present work: despite not having participated in the delivery of the rosary, she is included in the theme together with Saint Dominic, flanking Mary, who is usually shown with the Child. The Virgin appears in the sky, with the saint on her right and the saint on her left, giving them a garland of flowers that symbolizes this rosary; the buildings in the background refer to the religious foundations that were carried out thanks to Saint Dominic (the first formal community of “preaching brothers” was organized around 1215; the saint himself founded a female monastery in Prohuille). The delicate work on vellum with openwork and the marked presence of flowers link the work to some female convent of the order. It would have been commissioned by the order itself or brought as part of the dowry of some sister. The high quality and importance of the frame indicate the great value given to the painting, which would have been hung on some wall as evidenced by the presence of a metal hook on the back. Similar frames to the present one, with the same quality and importance of the carving, are not easy to find. Similar examples are preserved in the J. Paul Getty Museum in Miami, the Victoria & Albert Museum in London, the Museo Nacional de Artes Decorativas in Madrid, the Louvre in Paris, etc. Paintings on vellum were very common in the Baroque because it was a much cheaper support than wood. However, since they were executed by lesser artists, their value has only recently been recognized, so not many examples have survived.

· Size: 33x37.5 LUZ 13.5X18 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZA5034
SET OF MANTLE CLOCK AND CANDELABRA. GILT BRONZE, MARBLE. POCHON, JEAN-...

Louis XVI clock mount and candelabra. Gilt bronze, marble. POCHON, Jean-Charles (act. last third of the 18th century). Paris, France, ca. 1780 or 1790 and 19th century. Bibliography: (clock) NIEHÜSER, Elke. “Die französische Bronzeuhr. “Eine Typologie der figürlichen Darstellungen.” Callwey, 1997. Page 131. A garnish consisting of a table clock with a Paris mechanism and two three-light candelabras each, made of white marble and gilded bronze. The clock has a rectangular base with the central area projecting to the front and raised on four legs, further enhanced with plant elements (garlands, leaves, scrolls, etc.) and architectural elements with a marked classicist taste and a frieze of reliefs with children in various attitudes situated in an idyllic landscape with architecture in the background. The dial is white, with Arabic numerals for the hours and dots and Arabic numerals every fifteen minutes, with the fleur-de-lis hour hand and highly decorated minute hand. It is topped by a composition of flowers, fruit, leaves, garlands and a bow highlighting arrows and a lit torch; on the sides are Cupid with his bow and a female figure who is most likely the goddess Venus. The two candelabras, each with three lights, have a circular marble base raised on legs and enhanced with a string of pearls in gilded bronze, a material that is also used to make the leaves and stems that, intertwining, create each of the three arms, which end in candle holders with saucers decorated with raised leaves and strings of pearls. The dial bears the words “Pochon” and “Paris”, referring to the place where the movement was manufactured (the Paris machinery). Jean-Charles Pochon achieved the rank of master watchmaker around 1775 and is considered one of the leading watchmakers in his field in the French capital in the latter third of the 18th century. His works are preserved in some very important private collections such as the so-called “Liechtenstein. The princely collections, Vaduz-Vienna”, and in institutions such as the Museum of Decorative Arts in Paris (France). The machinery or movement may be from the 19th century. In the case of the clock (the case itself), examples similar to the present one are known in private collections, since the bronzes come from a Parisian workshop. It is known as “L'Amour drobe par ses armes” or “Amor Wird Seiner Waffen Beraubt” (Cupid is stripped of his arms) due to the iconographic theme it shows. As for the candlesticks, they are reminiscent of Louis XV style pieces in some details such as the use of leaves to create the shape of the pieces, but they also present elements more similar to Neoclassical style works (the lighters and their decoration). Total weight: 20.35 kg.

· Size: Reloj: 30x12x45 cms. Cand. 17x17x28 cms.
ANTIQUES

Ref.: ZE348
SILVER DRINKING CUPS SET.17TH CENTURY.

Pair of wine tasting glasses. Silver. 17th century. Pair of glasses or cups for drinking wine made of silver in its colour, which have a small, low cylindrical foot, a flared edge towards the top and a central area curved upwards, which has been decorated with a composition based on geometric motifs embossed in stripes and around a central element. These types of glasses were used on special occasions (ceremonies, etc.), hence the material and decoration they were made of, and were very common during the reign of the Austrians in Spain. Although they were originally objects for civil use, it was not unusual for them to be donated or commissioned for use in churches or liturgical settings, and they were also frequently used on important festivals (Corpus Christi, pilgrimages, etc.). The shape of the pair is a good example of the attachment to certain previous traditions that existed in Spanish silverwork during the 17th and 18th centuries, especially in certain production centres. Weight: 435 grams.

· Size: 18x18x5 cms.
ANTIQUES

Ref.: ZF0958
SILVER WRITTING SET. WITH HALLMARKS. CORDOBA (SPAIN), ANTONIO JOSÉ SAN...

Spanish: Notary. With hallmarks and engraving marks. There is a defect in some container and a bell is added. Silver writing table consisting of a tray, four containers and a bell. The first element, oval in shape, has edges with soft curves and counter-curves, decorated on the upper part with flat mouldings, combined with volutes and osier shapes; it stands on legs composed of two volutes flanking a teardrop, a set topped by a symmetrical composition. The four containers, with lids, have profiles with soft curves (among which engraved initials can be seen), which run towards the upper part following parallel spirals, these lines being extended 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, has much simpler lines. The hallmarks placed at various points in the set provide information regarding their date, origin and place of creation. They were made 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 marker from Córdoba, active around the same time, with works preserved in the area (Parish of San Miguel in Córdoba, a wine rack with cruets in Loja from 1778, works in the Costume Museum in Madrid, etc.). Stylistically, the lines of the entire set (except for the bell) show that it belongs to the Rococo style, with the usual influence of certain details of Neoclassicism, which influence the relative simplification of the decoration of the pieces, while 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
PAIR OF PORCELAIN VASES. PARIS, FRANCE, 1795-1799.

Pair of vases. Enameled and gilded porcelain. Paris, France, Directoire period, 1795-1799. No marks. Pair of vases made of enamelled porcelain with abundant surfaces and gilded details, with a square base forming a single piece with the rest. The circular foot rises to a moulding that curves downwards, which gives way to the body, which widens upwards, ending in a thin neck finished off by another shape that curves downwards and a fine moulding; note the handles, with protomes of Fauns or figures of Bacchus with elaborate horns, in gilt. The difference between the two is in the scenes on the front. One shows the goddess Selene or Diana accompanied by a nymph, in a natural landscape; the other side, with a pink background, shows a doe with two fawns. The other vase, also with a landscape in the background, shows two naked young women, with a swan (perhaps alluding to the classical myth of Leda); on the other side, with the same pink background tone as the other piece, it shows a dog with two goats. They do not have any marks that link them to any of the European factories of the period, and their appearance and lines derive from the so-called “amphora vases”, highly appreciated throughout the Neoclassical period for the details taken from Antiquity for their design and decoration. This popularity led to similar models being created in the most important factories throughout Europe (Meissen, KPM, Dresden, Sèvres or Sevres, etc.). Compare the pair with works of the so-called “Old Paris porcelain” (in particular the lines of the two vases), with works by Darte Frères, Carl Thieme, with the decoration on the feet and the satyrs used by the Manufacture nationale de Sèvres in some of its examples, etc. Two similar vases appeared at a prestigious auction, linked to Bringeon and dated to the beginning of the 19th century.

· Size: 21x17x42 cms.
ANTIQUES

Ref.: ZF1259
SILVER JAR O JUG. FAXARDO, ANTONIO. SPAIN, CÁDIZ, 1787; REMARKED IN IT...

Jug. Silver. FAXARDO, Antonio. Spain, Cadiz, 1787; remarked in Italy (Naples). With hallmarks and engraving marks. Published in the Encyclopedia of Spanish and Viceroyal American Silver. Bibliography: Fernández, Alejandro; Munoa, Rafael; Rabasco, Jorge. “Encyclopedia of Spanish and Viceregal American Silver”. Second edition, corrected and expanded. Torreangulo Graphic Art, Madrid, 1985. Page 121; image 235 on page 331. A silver jug in its colour, featuring a raised circular foot, a spherical body that narrows upwards and opens again towards the lid of the piece (which has an open spout, simple engraved decoration and a vegetal finish of branches with fruit), and a curved handle decorated with architectural and vegetal elements of clear classical inspiration. This same influence can be clearly seen in the lines of the piece. Typologically, it is situated within a common line of 18th century Neoclassical Spanish silverwork that emerged in the capital of the Court (Madrid), a city from which it spread to other centres. Likewise, a certain reminder of Rococo is often mentioned in some detail (the handle in this case). The hallmarks it presents are those of the town of Cadiz, that of the silversmith Antonio Faxardo (active between 1775 and 1789), a chronological mark (1787) and that of Naples (considered as a remarque). Note that the hallmark of Cadiz, the hallmark (illegible), the chronological mark (1786) and that of the silversmith Antonio Faxardo appear on a chalice from the Cathedral of Santander. The aforementioned book identifies the marks present on the piece, as well as providing a photograph of it. Weight: 1008 grams.

· Size: 17x13x30 cms.
ANTIQUES

Ref.: ZF1014
BRONZE MANTLE CLOCK, CUPID WITH ROOSTER. BRONZE, MARBLE. POSSIBLY FRAN...

Table clock. Gilt and blued bronze, marble base. Possibly France, late 19th century. In operation. A working Parisian table clock with a rectangular light marble base with the front slightly pushed forward to make room for the clock case. This has a white dial, Louis XVI style hands and Roman numerals for the hours and Arabic numerals in fives for the minutes. This part is housed in a gilded marble pedestal, which has a Greek fretwork base resembling waves, a laurel wreath and, on the sides, some books, an overturned vase with flowers and an arch; above, plant elements and a bow. On the top is a gilded bronze rooster, and, holding the animal, a cupid (note the bow that would link him to the god of love Cupid) or a cherub made of burnished bronze, thus creating a marked contrast. There are only a few examples similar to the present one in private European collections, as it was a highly prized model, and French workshops specialising in this type of piece created variants for watchmakers who requested them. There is also another model without a rooster and with a reclining angel, very similar to the present one, of which there are also known porcelain examples created in Meissen.

· Size: 35x15x40 cms
ANTIQUES

Ref.: ZF1036
BRONZE CLOCK WITH MUSE. FRANCE, 19TH CENTURY.

Table clock with Muse and writers. Blued and gilded bronze, Paris machinery. France, 19th century. Machinery in perfect working order. Table clock in burnished and gilded bronze with Paris machinery and a white dial with a gilded bronze centre (Roman numerals for the hours, lines for the minutes and Breguet-type hands). The rectangular pedestal is raised on supports and has an architectural decoration; the base of the clock, also rectangular, shows plant crowns with scrolls enhancing cartouches (with names: Virgile, Tasse, Homere, Racine, Voltaire); the dial and the machinery are housed in a gilded bronze piece that resembles a bookcase, on which appear books, a laurel wreath and a musical instrument. A burnished bronze female figure, dressed in a tunic, holds this kithara, a plucked string instrument typical of ancient Greece, similar to the lyre (the difference is the sound box, so it could be a lyre in the present). The female figure would be a Muse: these classical divinities of Greek mythology inspired the arts; daughters of Zeus and Mnemosyne, companions of the god Apollo in his retinue, each one is related to a branch of art and knowledge. She is linked to the lyre Calliope (muse of eloquence, beauty and epic poetry) and to the zither Erato (muse of lyrical-love poetry). As for the names mentioned, the first refers to Publius Virgil Maro (70 BC-19 BC), Roman poet author of the Aeneid, the Georgics, etc. who was also known for his role as guide in Dante Alighieri's Divine Comedy. The French name “Le Tasse” refers to Torquato Tasso (1544-1595), Italian poet author of Jerusalem Delivered, Rinaldo, etc. Homer is the name given to the person credited with the authorship of the Iliad and the Odyssey, bases of Greco-Latin epic literature. Racine is the surname, among others, of the French playwright Jean Racine (1639-1699) and his son and poet Louis Racine (1692-1763). François-Marie Arouet (Paris, 1694-1778), better known as Voltaire, was a French writer, historian, philosopher and lawyer, with numerous literary and philosophical writings. Curiously, there is evidence of an Empire clock (located in a private French collection) in the shape of a library with books, very similar to the one in this piece. And it is worth remembering that the high specialization of French bronze makers, which gave rise to high-quality works of art, meant that several pieces of the same model were created if it was popular with the aristocracy and the upper class. For this reason, there is evidence of several clocks, with slight differences from the present one (especially in the dial and in the absence of blued bronze), kept in private collections and dated to the beginning of the 19th century. Weight: 12.7 kg.

· Size: 40x15x57 cms.
ANTIQUES

Ref.: ZF1069
DEVOTIONAL PLAQUE. IVORY, WOOD. CIRCA LAST THIRD 16TH CENTURY, AFTER J...

Devotional plaque; Last Supper, Christ on the Mount of Olives. Wood, tinted ivory and engraving. Towards the end of the 16th century, following models by Jan Sadeler I (active 1550-1600). Rectangular carved wooden plaque with a ring and a hole on the back, which features two ovals on the front with biblical themes highlighted with dark wood frames decorated with square diamond points above and below and rectangular ones on the sides, and winged angel heads in the corners that these two compositions leave free. On the left, the Last Supper appears at the top, with Christ under a canopy and accompanied by Saint Peter and the rest of the Apostles on both sides; below, Judas receiving the bag of coins; the space is completed by a series of architectural elements, angels, fabrics, plant motifs, scrolls, etc. with a clear classicist influence. On the right, the theme of Christ on the Mount of Olives, with Jesus raising a hand towards the chalice offered to him by an angel and accompanied by two sleeping Apostles, and with two soldiers; below, and through a door, the Arrest of Christ; The composition is completed and organized by a series of bands ending in volutes, architectural and vegetal motifs, etc. with a classicist influence. Both scenes are closely inspired by two engravings from the series “Passio Verbigenae Quae Nostra Redemptio Christi”, published by Jan Sadeler I (active 1550-1600) between 1575 and 1600 and inspired by Marcus Gheeraerts I (Bruges, 1516/21-London, c.1590). Engravings from this series are held in many prominent museums around the world (British Museum in London, Rijksmuseum in Amsterdam, etc.). According to experts, around 1580, the artist Marcus Gheeraerts designed this series of the Passion of Christ, framed, highlighted, hierarchized and structured thanks to an elaborate and delicate system of grotesques and other classicist elements that he applies to the iconographic themes it presents. At the time of the creation of prints, and later during the Baroque, the use of engraved (or carved) ivory or bone plaques was common on furniture, lecterns, altars for personal devotion, devotional plaques, etc. Compare, for example, Flemish school desks, Neapolitan school desks, etc. such as the one dated c. 1600 in the Philadelphia Museum of Art (workshop of Iacobus Fiamenco, Flemish; active Naples, Italy, 1594–1602; with scenes based on engravings by Dirk Volkertsz; Coornhert, Netherlandish, 1522–1590; after designs by Maarten van Heemskerck (active Haarlem and Rome, 1498–1574)). Also worth mentioning are pieces such as the reliquary altarpiece of the Brotherhood of the Blood of Christ in the Church of Santa Isabel de Portugal (San Cayetano) in Zaragoza, which presents religious scenes based on engravings by Antonius Wieris (1555/9-1604).

· Size: 12x1,5x13 cms.
ANTIQUES

Ref.: ZF0963
SILVER INKSTAND, MADRID, 1779.

Writing desk in turned, cast and chiseled silver, Madrid, 18th century (1779). Contrasting marks on the edge of the tray, on its underside. “AL” ownership mark. A tray with curved profiles is supported by four legs shaped like plant elements. Attached to it are the four containers that make up the writing desk. These, and the bell, have a magnificent decoration based on flat turned scallops on their body, base and lid. It is made up of a tray, a sandpit or sandbox (for drying ink) with a bell (to call the servant or the person in charge of carrying the written message or note) and three inkwells or feather dusters with lids, all attached to the lid by means of through screws. The profiles of the tray correspond to works from the period and style of Charles III, while the jars still show part of the movement that characterised Rococo, already introducing the clean lines characteristic of Neoclassicism. In the second half of the 18th century, with the accession of Charles III to the throne, Italian influences came to silverware once masters from this country had established themselves, either as silversmiths or, in many cases, also as bronze makers. At the end of the century, there was also an abandonment of Rococo forms in favour of the Neoclassical style, whose particularities can be seen in this writing desk. These scalloped forms 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 as it was the capital of the kingdom, and the continuous movement of pieces and the relative ease of communication and transmission of drawings and engravings make it difficult to distinguish particular styles and trends in many cases. Likewise, it is worth highlighting the great role in improving the quality of silverware designs played by the foundation of the School-Workshop by Antonio Martínez in 1778. It has a town mark, Madrid Corte y Villa 1779, and its creator. Weight: 1850 gr.

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

Ref.: Z6413
SILVER JAR OR JUG. VITORIA, 18TH-19TH CENTURIES.

Jug. Silver. Vitoria, 18th-19th centuries. With hallmarks and engraving marks, and ownership initials (TN). Published in the Encyclopedia of Spanish and Viceroyal American Silver. Bibliography: Fernández, Alejandro; Munoa, Rafael; Rabasco, Jorge. “Encyclopedia of Spanish and Viceregal American Silver”. Second edition, corrected and expanded. Torreangulo Graphic Art, Madrid, 1985. Page 240; page 430, image 1472. A silver jug or pitcher in its colour, with a circular base decorated with mouldings 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 rise. The mouth, with a sinuous outline and enhanced with another band of plant elements, has a rise towards the spout, and is covered with a lid or cover finished with a swan-shaped knob. The handle is a round feline, stalking the bird. Typologically, the piece follows neoclassical models, brought from Europe to Madrid and spread from there. It should also be noted that the handle with a round figurative element is not entirely common, although examples of jugs with handles in the form of a grotesque, lion, etc. are known in private collections. The hallmarks on it place the piece's production in Vitoria, by the hands of the silversmith Argandoña and with the faithful hallmark Maison. Tomás de Argandoña is believed to have been 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