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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
SILVER TRAY. MATEO MARTÍNEZ MORENO, CÓRDOBA, SPAIN, 1789.

Source. Silver. Mateo Martinez Moreno, Cordoba, Spain, 1789. With contrast marks. Silver-coloured fountain, oval in shape and great depth, with contrasting marks and a border composed of smooth mouldings of different widths curved to form waves, ending in four peaks that extend towards the bottom of the piece, thus drawing a series of curves and counter-curves. This form is known as “cut-out profiles” and was a common resource in 18th century Spanish silverwork that followed or was influenced by Rococo models. The marks mentioned (frustras) could place the work's execution in Córdoba, during 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
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PAIR OF VASES. MARBLE, GILT BRONZE. FRANCE, CIRCA LATE 19TH CENTURY.

Pair of vases. Gilded bronze, veined marble. France, late 19th century Pair of centerpieces or vases that have an oval body carved in veined marble in pink tones (of a type very similar to one that was highly appreciated and often used in French school works during the Rococo of the 18th century) and gilded marble bosses, creating a kind of tripod to hold and enhance the stone pieces. These are decorated with lion's claws on the legs, simple architectural moldings, flowers and female masks with plant elements, as well as a border that extends towards the inner area of the pieces creating like three wings or handles, decorated with plant and architectural elements (scrolls, flowers, bows, leaves, etc.) both on the outside and inside of this area, leaving what would be the inner area of the marble pieces smooth. The classicist inspiration of the decorative elements of the pair is common in works of the French school since the 18th century. Some details (for example, the claws on the legs) are seen in Louis XIV style centrepieces dating from that century, while other elements are more often seen in Louis XVI style works (one of the main styles of the Neoclassical style). There is knowledge of a pair of centrepieces very similar to these vases and of a single piece (also a centrepiece) kept in a private collection in the United States of America. Weight: 7.25 kg.

· Size: 16x16x29 cms.
ANTIQUES

Ref.: ZF1063
18K GOLD LOSANGE BROOCH WITH CABOCHON GARNET

18kt gold rhombus brooch with cabochon garnet. Rhomboid brooch decorated with plant elements and gold pearls in a particular arrangement of hollows inspired by scallops, with a symmetrical and balanced composition. In the centre and surrounded by gold bands (concave, fine cord, etc.) is the oval, smooth garnet with an eight-pointed star in the centre highlighted by white elements (a larger pearl in the centre surrounded by eight smaller ones) contrasting and highlighting the gem. On the back, it has a particular figurative decoration with a hunting dog carrying a bird in its jaws. Weight: 14.60 grams.

· Size: 5,3x4 cms.
ANTIQUES

Ref.: JBR1732
ROMANESQUE STYLE CHEST. WOOD, METAL, BONE. SPAIN

Romanesque style chest. Wood, bone, metal. Spain Rectangular chest with a trough-shaped lid, decorated on the outside with rectangular plates of carved and tinted bone in some details (to enhance the figurative and vegetal elements it presents) and with simple metal fittings, finished in teardrop shapes. Typologically, this type of chest, intended to store valuable objects, was common in the arts since the Middle Ages. Given the Muslim presence in Spain, examples were made combining ivory and wood (Nasrid box from the Ancient Monastery of San Salvador de Oña in Burgos, etc.), and examples of ivory are also preserved in caskets in Christian territories (Arca de los Marfils de San Isidoro de León). It is also worth remembering the casket made by Mohamed ibn Assarch that is preserved in the Collegiate church of San Isidoro in León, dating from the Almohad period. Iconographically speaking, the piece would be more reminiscent of Sicilian or Hispano-Muslim objects, given the absence of human figures. Throughout the 19th century, and following a trend that is occurring throughout Europe, a series of works were produced in Spain in all artistic fields inspired by important styles from the ancient history of this country. Thus, numerous objects inspired by Romanesque, Gothic, etc. art were created.

· Size: 21x13,5x11 cms
ANTIQUES

Ref.: ZF1179
SILVER “TEMBLADERA” (CUP). JUAN MONTERO, SALAMANCA, SPAIN, 18TH CENTUR...

Quaking. Silver. Juan Ignacio Montero, Salamanca, 18th century. With contrast marks. Silver quaking coin in its colour, ready on the outside, decorated with two inverted “S” shaped handles and decorated with spikes on the outside. At the base of the piece there are four hallmarks (flanking the hallmark line), which place the piece's production in Salamanca (note the bull), with the intervention of Juan Ignacio Montero; there are two other frustrating marks. Juan Ignacio Montero was a silversmith and hallmarker, and the punch seen here appears to date to preserved works that have been dated between 1759 and 1779, such as a sacra in the Parish Church of San Lorenzo in Segovia (by Manuel Cardeñosa, dated 1767). It is known that he held the position of hallmarker 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
SNUFF BOX. HORN, WOOD, METAL. SPAIN, 1789.

Pastoral box. Antler or horn, wood, metal. Spanish school, 1789. Oval box with a flat lid decorated on the outside with a series of elements engraved on the shaft from which it is made. The base has some inscriptions. Under the hinge appears the date (possibly of manufacture) 1789, with the inscription in capital letters “Long live my master Jesus” (who may also have been the creator of the box). The lid has a rather curious scene: a Latin cross, flanked by two spheres (perhaps the sun and the moon, thus alluding to the Crucifixion), and with two arms arranged in an attitude of prayer emerging from the base of the cross, and, below, a human figure praying with two palms on its hands (note the halo); the area is completed by two stripes and a series of bands functioning as a frame. This type of box, of popular tradition, was common in ancient times and was usually made by shepherds or cattlemen themselves to store snuff or tobacco.

· Size: 7x6x2 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZE351B
BRONZE INKWELL. SPAN, 17TH CENTURY.

Bronze inkwell. Spain, 17th century. An octagonal bronze inkwell with eight small holes and one large hole in the centre of the upper part. It has a flat base and decoration on its fronts based on mouldings of different shapes and widths, all smooth and leaving flat areas in the centre of the piece. Around this central hole there is a raised moulding, in a combination similar to that mentioned above. Typologically, the most common form of inkwell in Baroque Spain was square, and they were made of bronze, ceramic, etc. The polygonal shape, although also relatively frequent and apparently more so in the 18th century, is less common. Compare, for example, the polygonal ceramic inkwell from Talavera de la Reina dated to the 17th century that is in the Museo Nacional de Artes Decorativas (Madrid), or the bronze one with an octagonal lid dated to the 19th century from the same institution, with several ceramic ones and different origins from the 18th century (same museum), etc. Above all, it is worth remembering, due to its similarity to the present piece, the polygonal inkwell with six holes made of bronze and dated to the 17th century that is in the Museo Casa Natal de Cervantes (Alcalá de Henares, Madrid). Likewise, it is possible to see the use of pieces of this type in paintings such as San Gregorio Magno by Fray Juan Andrés Rizi dated 1681 (Museo del Prado, Madrid). Weight: 1.701 kg.

· Size: 18,5x18,5x8 cms
ANTIQUES

Ref.: ZF1121
POWDER HORN. SPAIN, 19TH CENTURY.

Powder keg. Engraved horn, rope, cork. Spain, 19th century. A container for storing gunpowder made from a cow horn and decorated on the outside with a series of figurative, geometric and vegetal engravings and inscriptions enhanced with dark or black ink or dye. The decoration is arranged in horizontal bands, with some elements enhanced with “frames” of crossed lines, and one can clearly see Latin crosses, floral elements, a coiled snake, various human figures (note in particular the male figures at the top, with firearms), quadrupeds, birds, fish and inscriptions in capital letters (names such as Manuel, intertwined initials...). Also known as “horns”, these types of vessels were usually made not by skilled and specialised workers, but by shepherds, ranchers, etc., using their own names, important elements from their area or for themselves, or motifs of great tradition in a certain area in their decoration. Compare this with the one by Pedro Doncel, dated 1855 and preserved in the Museum of Olivenza (Spain), or the one from 1883 in the Museo del Traje in Madrid (Spain).

· Size: 27x8x7 cms.
ANTIQUES

Ref.: ZF1286
PAIR OF CHIMNEY ANDIRONS, GILT BRONZE. FRANCE, 19TH CENTURY.

Pair of andirons in gilded bronze and iron. France, 19th century. The area closest to the fireplace has been left undecorated. The front features two cupids with butterfly wings, a common detail in the 19th century, as well as the eggs, shields and plant elements that complete the figures. Shapes inspired by classicism are common in Neoclassicism and in all the decorative styles of the 19th century.

· Size: 25x20x10 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3052
IRON DOG DOOR KNOCKER 16TH CENTURY

Wrought iron. Dog shape. Spain 16th century

· Size: 15x5x21 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z3687
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 hallmarks and engraving marks. The present convoy maintains a slight Rococo reminiscence in its lines, but also advances something of the Neoclassical decorative purity. The craftsman, Cristóbal Sánchez Soto, is well known for works of great importance such as a float for the Virgin of Solitude and a tabernacle, both for the Brotherhood of the Nazarene of Córdoba, for example. The other two hallmarks that appear are those of the town (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
FRAME. WOOD. 18TH CENTURY.

Frame. Carved and gilded wood. 18th century. Rectangular frame made of carved and gilded wood that combines a thin smooth band on the inside, with another carved band with a band and another on the outside, in which smooth areas are combined with delicate plant details (these in the same finish as the rest of the molding, highlighted on a striped background). Nowadays, the value and appreciation of frames is on the rise due to the search for them by museums and important institutions, with the aim of giving the works the frames they would have had originally. Hence, similar examples are found in some paintings by Vermeer, for example, or can be found in the Metropolitan Museum in New York, in the Louvre Museum, in the British Museum and in the Victoria & Albert in London, etc.

· Size: 75x6x58 cms. / 50x38 cms.
ANTIQUES

Ref.: ZE225
COMPENDIO HISTORICO DE LOS ARCABUCEROS DE MADRID… SOLER, ISIDRO. MADRI...

Historical compendium of the arquebusiers of Madrid… Soler, Isidro (fl. Ca. 1795). Madrid, 1795. Original, leather binding. 86 pages. Perfect condition. “Historical compendium of the arquebusiers of Madrid from their origin to the present day, with two plates in which are engraved the marks and countermarks that they used in their works”, by Isidro Soler, arquebusier of the King Our Lord. Printing house of Pantaleón Aznar, 1795, Madrid. 86 p., 2 hr. of engraving. Full leather binding with gilt spines and decorated interveins; gilt edges, counter-edges and cuts; cover with embossed and gilt borders framing a royal superlibris with the Golden Fleece and closed crown.

· Size: 15,5x1,5x20,5 cms.
ANTIQUES

Ref.: ZF0568
SILVER DESK WRITING SET. PLATERÍAS MARTÍNEZ, MADRID, SPAIN, 1845. WITH...

Writing case with three inkwells. Silver. Martínez Royal Silversmiths Factory, Madrid, 1845. With contrast marks. Silver writing table in its colour, composed of a rectangular tray with raised, openwork sides and openwork decoration on the longer sides (downwards), and three containers (two cup-shaped) topped with figurative elements. Both the decoration of the elements and their lines show a clear influence of Neoclassical models based on Antiquity. The hallmarks present link the piece to the city of Madrid (Spain), also adding the date and the silversmith. The Royal Martínez Silver Factory was founded in 1778, and represented the introduction in Spain of the industrial manufacturing method in the field of silver work and of neoclassical aesthetics in Spanish silverwork. It was also one of the most important silver centres in the history of Spain, and was characterised by the originality of its designs and the perfect finish of its pieces. Compare this piece, for example, with the mancerina with a tray and acanthus leaves from the same factory dated 1834 in the Museum of History of Madrid, and with other works preserved in private collections. Weight: 490 grams.

· Size: 23x11x10 cms
ANTIQUES

Ref.: ZF0680
CLOCK WITH BELL GLASS. BRONZE, WOOD. 19TH CENTURY.

Table clock with lantern. Bronze, wood, glass. 19th century. Table clock with a base enhanced by a series of gilded bronzes in a marked Renaissance and Classicist style, which features a rocky upper part (where the white dial is located, with Roman numerals), on which a young man is leaning, looking up at a vine with bunches of grapes. The clock is protected by a glass lantern with a wooden base decorated with light-coloured marquetry, with a floral and plant theme.

· Size: 40x20x27 cms. reloj 33x13x45 cms.
ANTIQUES

Ref.: ZF0941
TWO SILVER PITCHERS SET. BENITO GÓMEZ, ANTONIO. SEGOVIA, SPAIN, 1831-1...

Pair of spouted jugs. Silver. BENITO GOMEZ, Antonio (1775-1835). Segovia, Spain, 1801-1835. With contrast marks. Pair of small jugs with a circular base with mouldings, a low conical foot and a tubular body ending in a hemisphere at the bottom and with a flat moulding at the top; the handle, in double C, has a simple volute or branch that rests towards the mouth of the piece; the spout shows simple decoration. Typologically, the present pair is linked to a type of spouted jug that, with variations, was common in Spanish domestic silverware from the first half of the 17th century until the beginning of the 18th century, and was 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 from at least 1801 until his death, and also a silversmith who worked between 1824 and 1828 and between 1831 and 1835. Son of the silversmith Juan de la Cruz Benito, several of his works have been preserved: a baptismal shell and a small 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 Rococo in style, although some Neoclassical pieces stand out.

· Size: 8,5x5,5x8 cms.
ANTIQUES

Ref.: ZF0984
14KTS GOLD BROOCH WITH THREE GARNETS

14kt gold brooch with three garnets. Ladies' brooch made of 14kt gold, consisting of base shapes arranged in a knot, leaving waves on the outer profile, with the surface decorated with fine plant shapes of leaves and flowers. In the centre, simple plant scrolls have been arranged, framing two teardrop-shaped garnets flanking another central oval garnet. The fastening element on the back positions the brooch to be, in principle, vertical. Weight: 17.11 grams.

· Size: 6 x 4 cms
ANTIQUES

Ref.: JBR1432
SILVER CHRISM VESSEL OR CHRISMARIUM (NO ORIGINAL LID). 16RH CENTURY.RY

Chrismera. Silver in its colour. 16th century. Non-original cover. Silver chrismera in its colour with a circular base decorated with an engraved composition of plant elements and a flat circular body with two “S” shaped handles with plant motifs and a small neck at the top covered with a lid topped with a ring (which is not the original piece). The body has engraved, on one side, a cross on a pedestal with a shroud hanging from it, all within an engraved frame; on the other side, with a frame similar to the one mentioned above, appear the letters “ihs” (Christogram of ancient origin, already used in Paleochristianity, which gave rise to varied etymologies and was adopted as a seal by Saint Ignatius of Loyola, founder of the Society of Jesus). Weight: 157 grams.

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

Ref.: Z5977
SHEPHERD’S BOX. ANTLER OR HORN. 1811.

Pastoral box. Carved horn. 1811. With engraved date. Carved horn box with an oval base and a polygonal lid decorated on the outside with a series of carvings. The lid has animals, scrolls and simple geometric elements arranged flanking and facing a crowned heraldic shield; the base has a geometric composition leaving a rectangle in the centre (where the date 1811 has been engraved, which would be the date of creation of the piece); the edges of the base have fine smooth mouldings. The aforementioned shield, very simplified, has five elements in the centre and a border of towers or castles under a closed crown.

· Size: 8,5x5x3 cms.
ANTIQUES

Ref.: ZF0658