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

Tembladera or bernegal with ownership inscription. Possibly Hispanic American, 18th century. Silver-coloured trinket dish with a wide, circular base and a mouth of greater diameter than this, a body with a fine line engraved towards the edge and an inscription of ownership on the front (Lucas Vilacha) made with small dots. It also has two handles decorated with vegetal elements and grotesques with human heads, and shapes similar to lions or dogs can be seen on the upper part. In Spanish silversmithing, the Baroque trends were maintained for almost the first two thirds of the 18th century, except in the capital, where Rococo forms were introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these innovations in Madrid, which would slowly spread to the rest of the centres, depending on the area and the masters. This survival of the 17th century forms can be seen in the handles of the tembladera: the grotesques with human heads are very prominent, 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 hallmarks does not allow the work or the artist to be located, although it is precisely this that speaks in favour of a secondary silversmithing centre, where the lack of control of these works was more common due to the lack of masters and the means to ensure compliance with the marking regulations. Bernegales and tembladeras were the most common types of silverware in 17th century Spain (although they continued to be popular in the 18th century, especially in centres far from the main centres of creation). In the case of this piece, the handles could indicate that it was made in the Americas, although there are similar cases that are thought to have been made in the Iberian Peninsula. It is worth mentioning 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 the Clarisas Mothers of Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 325 grams.

· Size: 20x15x7,6 cms.
ANTIQUES

Ref.: ZF1058
KEYS, IRON FITTING AND LOCK COLLECTION. WROUGHT IRON. 17TH-19TH CENTUR...

Collection of keys with padlock. Wrought iron, 17th to 19th centuries. Collection consisting of thirty-two keys and a padlock with its key, all made of wrought iron, with some pieces retaining their original patina. The variety of decoration on the rings and teeth and the shape of the blades allow us to distinguish which period they belong to. It is essential to highlight the great variety and different chronology of the elements that make up this set. There are several keys that, due to the shape of their ring, can be dated to the Baroque (some with a circle or teardrop inscribed on the ring opposite the bit, which ends in the extension of the stem). Those with a simpler ring (large key) usually correspond to the 19th century, more focused on the utilitarian purpose of the object without stopping to give them a decorative touch as is done in the previous examples. Note the presence of double keys (with bits at both ends and a piece to open the door or whatever they are locking) and that there are some with interesting elements on their rings.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5334A
CERAMIC JAR. 18TH CENTURY

Jug from Villafeliche, Aragon, 18th century. Glazed ceramic. Late Baroque style jug made of ceramic and decorated with high-temperature enamels on a white tin slip. These enamelled motifs are combined with mould-made relief decorations. The typology of the piece combines the Italian jug, with an ovoid belly and vertically arched handle, with that of the typically Spanish spouted jug, characterised by the protruding spout that starts from the mouth. The decorations reveal an oriental influence, with large floral bouquets arranged asymmetrically and complex landscapes with architecture and palm trees, in which some figures are removed, these now totally western. The motifs appear brushed in manganese black, and coloured with mainly ochre, blue, green and red enamels. Aragonese pottery from the 17th to the 19th century was characterised by a strong personality, combined with the influences of Talavera and Catalonia. It had three main centres: Teruel, Muel and Villafeliche, the first two with a tradition dating back to the 16th century, and the third created at the end of the 17th century. The pottery from Villafeliche was generally very popular, although pieces of greater quality and complexity, both typological and ornamental, were also made in the 18th century.

· Size: 25x18x42 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z2627
TORCH STAND, GILT AND POLYCROMED WOOD, ROCOCO, 18TH CENTURY. RECONVERT...

Carved, gilded and polychrome wooden torch holder, Rococo, 18th century. Converted into a floor lamp. A lamp with a triangular base on scroll-shaped legs and a base formed by a vase under a baluster that has been decorated on its surface with rocailles, putti heads, mirrors and gilded plant scrolls. Made to hold a candle, it has been converted into a floor lamp, allowing it to be used in a modern interior.

· Size: Alt. 166 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5286
SILVER AND GILT SILVER PYX. 16TH CENTURY.

Cast and chased silver pyx. Spain, towards the end of the 16th century. Cylindrical box with a moulded base under a wide frieze with latticework of bands and simplified plant elements. Moulded lid decorated with bands creating figures of 8 alternating with flowers and fleur-de-lis motifs, topped with a small cone with pearl, on which stands a three-nailed Crucifix with a loincloth around the knees and a cartouche. Given the gilding on the interior, this stemless host was perhaps used to contain the Holy Hosts in the tabernacle of some church. The decorative elements of the work and the figure of Christ in the upper part respond to the influence of the Renaissance, but also show Gothic memories. The Renaissance appeared in Castilian silverwork a little before 1520, and it was only from the end of the reign of Philip III that we usually speak of 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 notable exception of Aragon and, above all, Zaragoza, which reached unequalled splendour later on. The same thing happens with the form: although there are similar examples during the Gothic period (a hostiary by 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 would continue even in the Baroque with numerous variations. Compare this with works such as a hostiary in the Museum of Malaga (BA/CE00305), with a similar cover and decoration, or, above all, with the one in the Ángel Quílez collection (inventory CAQ-47) of the future Museum of Alcáñiz (Teruel), with a similar profile and 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, with greater Renaissance influence. Weight: 176 gr.

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

Ref.: ZA5725
SILVER CHEST, AFTER 17TH CENTURY MODELS. POSSIBLY, 20TH CENTURY.

Chest inspired by 17th century models. Silver. Spain, 20th century. Rectangular casket made of silver in its colour, with four legs in the corners in the shape of a scroll and finished in a claw, decorated on the fronts with a decoration of mouldings, bands and motifs within rectangles (yokes, a bundle of arrows, a letter f crowned between two pomegranates, a letter y 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 background with a lustre-like finish, and a small rectangular “diamond” as a finish. It closes with a pin and a chain at the front. Compare, for example, with the 17th century silver casket in the museum of the Monastery of Santa María de la Caridad in Tudela, or with the so-called Casket of the Holy Martyrs of the parish of Santa María de Manlleu which is in the Episcopal Museum of Vic. Weight: 526 grams.

· Size: 16x11x11 cms.
ANTIQUES

Ref.: ZE280
DIAL AND COMPASS. BRONZE. SCHRETTEGGER, JOHAN. AUGSBURG, GERMANY, CIRC...

Sundial and compass with case. Bronze. SCHRETTEGGER, Johan. Augsburg, Germany, circa 1800. A polygonal sundial made of bronze, engraved with plant elements on the front, placed around the centre, where a compass is shown. On the back, the name of the author and the place where the work was created have been engraved. The instrument is accompanied by a case, also polygonal, with a flap closure and lined with textile on the inside. Johan Schrettegger (1797-1843), son of Andreas Vogler, worked in that German city creating pieces such as this one.

· Size: 6 x 5,5 x 1,5 cm/ Estuche:7x6,5x2 cms
ANTIQUES

Ref.: ZE311
SHEPHERD’S BOX. ANTLER OR HORN. SPAIN, 1822.

Pastoral box. Carved horn. Spain, 1822. Rectangular box made of carved horn with a date (1822) engraved on the lid and front, a legend (Soi de Manuel Zulueta año 1822) and an engraved decoration based on geometric, vegetal, figurative and heraldic elements. The base of the piece has a banded frame that highlights a composition of birds and animals accompanied by simple stems and flowers. The lid has bands interlaced with circles of different sizes and, in the centre, a crowned heraldic shield flanked by two flags, and quartered with three-towered castles and crowned rampant lions; beneath this central element, the aforementioned date is again found. Note that it differs from the Castilian shield (the one used by the kings of Castile since 1230) in the position occupied in the quartering by the different elements.

· Size: 8x5x2 cms
ANTIQUES

Ref.: ZF0730
CAPITAL. GRANITE. SPAIN, 15TH CENTURY.

Capital. Carved granite. Spain, 15th century. Circular-based capital made of carved granite with a polygonal shape enhanced with mouldings, following forms that still retain a memory of Gothic works but with noticeable clean lines.

· Size: 60x60x64 cms.
ANTIQUES

Ref.: ZF0777
PAIR OF CANDLE HOLDERS. METAL, ENAMEL. LIMOGES, FRANCE, 19TH CENTURY.

Pair of candlesticks. Metal, enamel. Limoges, France, 19th century. They present faults. Pair of metal candlesticks decorated with polychrome enamel on the outside, each with an octagonal base that begins with a step and rises gently to the axis, which has discs and mouldings between jar-shaped shapes, ending in tubular candlesticks with a mouth that extends outwards in a smooth moulding. Throughout the piece, there are plant decorations in relief with a clear classicist influence, interspersed with medallions of male profiles in grisaille on the upper part and roundels on the base. Likewise, scrolls and plant, geometric and architectural motifs without relief can be seen, in a gold tone. These tondos of the base show a heraldic shield crowned and supported by two quadruped animals, and three-quarter figurative elements, identified with the name of the character represented in Latin. Thus, we see “Cephale”, “Lavrore” and “Adonis”. In Greek mythology, Cephalus was the lover of Eos, goddess of dawn, condemned by Aphrodite to only love mortals. Adonis was the lover of Aphrodite, eternally young and symbolizing death and the annual renewal of vegetation, and whose nature was tied to the calendar. This pair of candlesticks is closely inspired by a candlestick that the Louvre Museum in Paris (where it is preserved, inventory RFML.OA.2022.2.7) considers to have been made in the mid-16th century in Paris or Sèvres (France) and attributed with doubt to the master enameller Julien Robillard (active ca. 1850-1880). The inspiration in models and motifs of the Italian Renaissance is clear.

· Size: 12,5x12,5x15,5 cms
ANTIQUES

Ref.: ZF1328
WROUGHT IRON KITCHEN “LLAR” (POT HOLDER), 16TH CENTURY.

Wrought iron kitchen hearth, 16th century. A kitchen hearth with three hooks joined together on a horizontal crossbar with engraved decoration and square and rectangular rings and bars, some of which have been twisted. It is not at all common to preserve this type of utilitarian element despite its abundance due to its frequent replacement. Similar pieces have been made in all artistic styles, as it was used to hold the cauldron over the fire.

· Size: 79x200 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3829
THREE RECTANGULAR PANELS WITH RELIGIOUS FIGURES AND PUTTI, RENAISSANCE...

Three rectangular panels with carved wooden reliefs. 16th century. All three have figurative decorative motifs arranged within rectangles marked by smooth mouldings: the longest has three (the side ones show two seated children flanking a shield and holding knotted cloths, while the central one has Saint Matthew and Saint John writing, identifiable thanks to their Tetramorph symbols) the short ones show two figures of the Church (Fathers, Prophets). Stylistically, they respond to the characteristics of Renaissance art, and would have been part of the drawers of some piece of furniture.

· Size: 25x145; 25,5x144; 24,5x68,5 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z6581
SILVER GLASS WITH TRAY. 18TH CENTURY.

Mouthwash. In silver in its colour. Barcelona, 18th century. With hallmarks and initials of ownership. A container with a small circular foot has simple, flat lines, as well as a space at the base of the interior 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 silverwork. In Barcelona silverwork, there was a recovery of importance to levels that had not been seen since the Gothic period. As in the rest of Spain, Rococo would dominate during the reign of Charles III (1760-1788); in 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 adopted this new style and, apparently, would become one of the main peninsular centres, although the frequency of changes in markers, the frequent use of confusing symbols on the pieces and the absence of preserved works and studies make a detailed analysis of this centre and its silversmiths difficult. The hallmarks 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
PAIR OF TALL CANDELABRA OR CANDELABRUM, NEOGOTHIC STYLE. WROUGHT IRON....

Pair of Neo-Gothic style floor candelabras. Wrought iron. Spain, 20th century. Pair of wrought iron floor candelabras with a tripod base, a shaft decorated with small discs and ending in a circular plate, and a top made up of three levels of curved arms ending in floral elements, the third being the highest and ending in a spike. The set is inspired by 15th century Spanish lighting elements, specifically pieces known as “floridas” or “florid style”, prior to the development of openwork plates that occurred at the end of that century. Compare with older examples preserved in prominent institutions such as the Museu del Cau Ferrat in Sitges, the Museo Nacional de Artes Decorativas (Madrid) etc.

· Size: 62x62x219 cms.
ANTIQUES

Ref.: ZF0628
SILVER HEART SHAPED SPICES BOX. LÓPEZ PORTERO, MANUEL. SPAIN, GRANADA,...

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

· Size: 10x11.5x4 cms.
ANTIQUES

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

Bernegal or quaking iron with handles. Silver. Spain, 18th century. Avocado shaker in its colour with a circular base, without a pedestal or foot, and a hemispherical body that is wider at the top, with two handles on the sides. These have two facing Cs of different sizes (the largest one on top) or in the shape of an S, and a decoration based on silver pearls and a bird perched on the top (the two on the piece facing the centre). In Spanish silversmithing, the Baroque trends were maintained for almost the first two thirds of the 18th century, except in the capital, where Rococo forms were introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these innovations in Madrid, which would spread slowly to the rest of the centres (as a general rule), depending on the area and the masters. This survival of the 17th century forms can be seen in the handles of the tembladera, decorative abundance (compared to the rest of the wine-tasting vessel) that contrasts with the clean lines of the rest of the work but is common in this type of work. The lack of hallmarks does not allow the work or the artist to be located, although it is precisely this that speaks in favour of a secondary silversmithing centre, where the lack of control of these works was more common due to the lack of masters and the means to ensure compliance with the marking regulations. It does show a fine engraving of initials on the front of the piece. Bernegales and tembladeras were the most common types of silverware in 17th century Spain (although they continued to be popular in the 18th century, especially in centres far from the main creative centres). 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 with works such as the tembladera by Antonio Sánchez dated between 1655 and 1689 from the Convent of the Clarissan Mothers of Villacastín, others preserved in the National Museum of Decorative Arts in Madrid, etc. Weight: 213 grams.

· Size: 18,5x15x8 cms.
ANTIQUES

Ref.: ZF1057
IRON APOTHECARY MORTAR. 18TH-19TH CENTURIES.

Iron pharmacy mortar. 18th-19th centuries. An old cast iron mortar for pharmaceutical use. It follows the usual structure for this type of utensil between the 15th and 19th centuries, with a truncated cone-shaped body with very thick walls that has vertical ribs and perpendicular protruding handles to facilitate gripping during use. In this case it shows eight polylobed ribs and two large handles with ends in the shape of a child's head, indicating that it would be a piece from the Baroque period or later, probably from the 18th or 19th centuries.

· Size: 40x31,5x26 cms. Mano: L. 40 cms
ANTIQUES

Ref.: ZF1242
FLEMISH BRONZE MORTAR, 17TH CENTURY

Flemish mortar. Bronze. 17th century. Presents brand. A mortar with a circular base and a mouth that extends outwards from the two upper bands and a body with a slight entasis and a relief decoration with figurative motifs. In addition to a series of mouldings on its outer area, two male protomes can be seen (heads with moustaches and non-human features) and a band with different elements on the lower part (scrolls, leaves, quadruped monsters). Also note a kind of circular “seal” (or so it seems), with letters (HLB / RA/TE) around a flag flanked by plant elements and placed on three oval objects. Compare this example with those by P. van den Ghein from the Royal Carillon School Museum “Jef Denyn” in Mechelen (although they are older), a 17th century example from the Pharmacy Museum in Berlin (Germany), another in the Pharmacy Museum of the Complutense University of Madrid (Spain), etc. Weight: 4.6 kg.

· Size: 17x17x14 cms.
ANTIQUES

Ref.: ZF1258
SILVER TUREEN WITH TRAY. POSSIBLY SPAIN, 20TH CENTURY.

Soup tureen with tray. Silver. Possibly Spain, 20th century. With contrast marks. Silver-coloured soup tureen with handles ending in parchment (and with plant elements in the base) and bulging shapes that extend to both the base and the lid, the latter finished in a scalloped finish. It has initials of ownership on the front. The tray repeats the waves of the other piece, and has two handles also in the form of parchment. It has contrasting marks on the base of the tureen and on the tray, without identification. Weight: 1.773 kg.

· Size: 26x18x22 cms.
ANTIQUES

Ref.: ZF1318
GILT BRONZE AND WHITE MARBLE CLOCK GARNITURE IN LOUIS XVI STYLE, 19TH ...

Gilt bronze and white marble fittings in Louis XVI style, 19th century. It is made up of two cups on pedestals and a clock. The first ones are identical: on four circular legs, there is a polygonal base on which there is a low fluted column decorated with two strings of pearls in its lower area; above it, there is a tall-stemmed cup decorated with two handles in the shape of plant stems. The clock is placed on four legs, a semicircular base with a floral frieze, four columns and another semicircular plate; highlighted by two branches with flowers joined together, it has a white face and Arabic numerals, as well as hands of the type known as Louis XVI and is topped by a vase. The pendulum of the clock, which has been shaped like a sun, can be seen between the columns and the decorative chains. The French style known as Louis XVI is characterized by its inspiration in classicism and spans approximately from 1760 to 1789. In the 19th century, numerous artistic movements from the past were recovered, among which the aforementioned stood out due to its inspiration, very much in line with the Neoclassicism of the time.

· Size: Reloj: 19x9x40 cms. Copas: 19x15x21 cms.
ANTIQUES

Ref.: Z6190
DEVOTIONAL SILVER PENDANT. 17-18TH CENTURIES.

Reliquary cross. Silver, clear glass. 17th-18th century Devotional pendant made of silver and shaped like a Latin cross, decorated on the outside with simple scrolls, spikes, pearls and other elements of classical inspiration, as well as a ring to wear the jewel hanging from the neck. The front has seven oval holes (the one where the arms are crossed, which is larger) protected with transparent glass; the back is smooth, with the material in its colour. Typologically, there are similar examples of Portuguese origin, made of rock crystal and protected by silver bands, without the scrolls and other decorations, dating from between the 16th and 17th centuries, preserved in two private collections. The present jewel shows profiles with much more movement than these two, although the motifs and the simplicity of the lines respond to classicist influences. This type of jewellery was of great value to its owners, both for the materials from which it was made and for its content, which was considered sacred and protective. Despite this high value (or precisely for this reason), few examples of good quality and in good condition have reached us. There are medallions similar to the present one only in some important institutions such as the Fundación Valencia de Don Juan in Madrid, the Museo Nacional de Artes Decorativas (Madrid), the Lázaro Galdiano (Madrid), the Museo de Creencias y Religiosidad Popular del Pirineo Aragonés (Abizanda, Huesca), the Metropolitan Museum (New York), etc. And in prominent religious institutions such as the Cathedral of Santiago de Compostela or the Convent of the Descalzas Reales in Madrid.

· Size: 6,5x10 cms.
ANTIQUES

Ref.: ZF0190
CRUET SET. SILVER, GLASS. RENÉ-PIERRE FERRIER, PARIS, FRANCE, 1775.

Set of cruets. Silver and glass. René-Pierre Ferrier, Paris, 1775. With contrast marks. Set of cruets with salver made of silver in its colour and transparent glass, consisting of two jugs with handle, elongated neck and spout, and a body with a circular base, with a faceted exterior, an oval tray with two supports for the jugs and two others for the stoppers (decorated with leaves and fruits). The tray has four volute-shaped legs, a decoration that is repeated at the ends of the tray, and two architectural shapes on the longer sides, right where the supports for the spice racks are located. The supports for the jugs have an openwork decoration based on architectural motifs framing baskets with grapes and vine leaves and flowers. The hallmarks on the silver pieces indicate that they were the work of René-Pierre Ferrier (his hallmark can be seen), made in Paris between 1775 and 1776 (crowned M; “Maison Commune” mark) and with the corresponding taxes paid (the crowned A -this one in particular was used in Paris between 1775 and 1781- and the bull's head -same as the previous one-). René-Pierre Ferrier was a French silversmith whose mark can be seen used on work from 1775, the year he achieved the status of master. The shape of the tray is reminiscent of other works by the same silversmith dating from the end of the century and with a more pronounced “nave 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. c/bottle.

· Size: 27x16x23 cms.
ANTIQUES

Ref.: ZF0344
CAPITAL. GRANITE. SPAIN, 16TH CENTURY.

Capital. Carved granite. Spain, 16th century. Capital for a circular column made of carved granite, with volutes inspired by classical Corinthian capitals (three in total) and a series of mouldings. This is a common type in Spanish Renaissance buildings, as can be seen by comparing it with the Patio of the San Isidro or Los Orígenes museum in Madrid (Casa de los Vargas), the Cloister of Santa María de Ferreira de Pantón (Lugo), etc.

· Size: 60x60x40 cms. diam. columna 35 cms
ANTIQUES

Ref.: ZF0755
WROUGHT IRON FIREDOG OR ANDIRON. 16TH CENTURY.

Morillo. Wrought iron. 16th century. A wrought-iron andiron of the type commonly used for cooking in large fireplaces or hearths. It has a series of hooks facing upwards to accommodate spits when the andirons are placed in pairs, and a semicircular "plate" to hold a pot or similar. Compare with the one in the Metropolitan Museum.

· Size: 35x92x102 cm
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZF0843