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TWO SILVER TRAYS. MEXICO, 18TH CENTURY. WITH HALLMARKS.

Pair of trays. Silver. Mexico, 18th century. With contrast marks. Two oval silver trays in their colour and with a curved shape, ending in a point and slightly raised on four spheres each, which have been decorated on the upper part with a raised moulding. The contrasting mark that each of the pieces presents is very similar to one of those used in Mexico in the 18th century, although the lines and the typology differ from what was usual at that centre at that time. Weight: 889 grams.

· Size: 29,5x15,5x6,5 cm
ANTIQUES

Ref.: ZF0689
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PAIR OF BRONZE CANDLE HOLDERS. 17TH CENTURY.

Pair of candlesticks. Bronze. 17th century. Stem replaced. Pair of bronze candlesticks raised on three legs, with triangular bases and enhanced with smooth mouldings, turned stems with architectural profiles with a classicist air and circular finials following this same decoration.

· Size: 19x16,5x45 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZF0869
SILVER WRITING SET. MADRID, SPAIN, 1819 AND 1841. WITH HALLMARKS.

Notary office. Silver. Madrid, 1819 and 1841. With hallmarks. Artist M. García. Owner's initials. Writing set composed of three containers on a slightly raised base on animal claws made of silver in its colour, which has contrasting marks in several points. The entire set presents a decoration and elegant and simple lines with a marked neoclassical influence. The contrasting marks present on the bases of two containers and on the “tray” or base of the set place the execution of the work in Madrid, providing two different dates probably due to the partial loss and subsequent restoration. Artist: Manuel García.1838-1858 Weight: 800 grams.

· Size: 11x22x14 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5287
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

Gate with two passages. Wrought iron. Spain, 17th century. Window grille made of wrought iron with two smooth circular cross-sections in the middle, inserted between the vertical bars. These have a decoration of small discs and balustrade shapes (which add a slight movement) between both cross-sections, facing the compositions to create harmony. The decorative details mentioned refer to 17th century Baroque works in this material: compare, for example, with the balconies of the Casa de Panadería in the Plaza Mayor in Madrid, or with Spanish pieces preserved in the Victoria and Albert Museum in London, a confessional grille in the Metropolitan Museum in New York dated 1629 (inv. 57.137.51) and another from the same museum made by the master Francisco González (inv. 56-234.12Ad).

· Size: 120x38x133 cms.
ANTIQUES

Ref.: Z5602
PORCELAIN AND GLASS OVAL BOX, 19TH CENTURY.

Box in enamelled porcelain and engraved glass. 19th century. Oval box with a base made of etched glass and a hinged lid, the latter made by combining enamel and metal. The lower part presents a bucolic landscape, with a series of human figures and buildings in it, combining trees with lakes and solid ground. The scene on the upper part responds to the same typology: a couple in an idealized rural landscape.

· Size: 7,5x6x4,5 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z6447
TORTOISESHELL CASE WITH UTENSILS. 19TH CENTURY.

Toiletry bag. 19th century. Carey, metal, glass. Rectangular case with a hinged lid made of tortoiseshell decorated with fine inlays of plant and floral elements on its faces, containing a set of toiletries made up of various feminine toiletries and personal items (a small bottle of perfume, scissors, a thimble, etc.), with a space designed for each of these utensils.

· Size: 6x3x8 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z6854
SILVER CUP (“TEMBLADERA”). 18TH CENTURY.

Catavinos or quaking glass. Silver. 18th century. Without contrast marks. Vessel known as catavinos or tembladera with two flat, closed “S” shaped handles and a line of “bites” (gallon-shaped shapes) highlighted by bands of dots that move to the inside of the piece. The bottom has a star shape (leaving smooth and with a shiny finish some stripes forming a Maltese Cross, and combining in the rest areas in the same finish with others in diamond-shaped lustre with dots). The bernegales and tembladeras with mortise-shaped pieces were frequent pieces in Spanish silverwork in the 17th century, usually being relegated to centres of somewhat less importance in the 18th century. Compare this with pieces such as the silver bernegal from the last third of the 17th century in the Lázaro Galdiano Museum (perhaps from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 83 gr.

· Size: 14,5x11x3 cms.
ANTIQUES

Ref.: ZE192
SILVER CUP (“TEMBLADERA”). 18TH CENTURY.

Catavinos or quaking glass. Silver. 18th century. Without hallmarks. With ownership initials. Vessel known as a catavinos or tembladera with two curved flat handles decorated with simplified plant elements, and a line of morsels (gallon-shaped shapes) on the edge enhanced by bands of sunken dots that remain in relief on the inside of the piece, where they extend and frame the decoration on the bottom. In this area there is a florentine Greek cross in a smooth shiny finish with the letters “RA” engraved (initials of the property), highlighted on a dotted background. The bernegales and tembladeras with mortise-shaped pieces were frequent pieces in Spanish silverwork in the 17th century, usually being relegated to centres of somewhat less importance in the 18th century. Compare this with pieces such as the silver bernegal from the last third of the 17th century in the Lázaro Galdiano Museum (perhaps from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 94 gr.

· Size: 13,5x10,5x4,5 cms
ANTIQUES

Ref.: ZE193
SILVER CUP (“TEMBLADERA”). 17TH CENTURY.

Catavinos or quaking glass. Silver. 17th century. Without contrast marks. Vessel known as a catavinos or tembladera with two flat, closed “S”-shaped handles (with simplified plant decoration) and a line of “bites” (gallon-shaped shapes) highlighted with bands of dots. On the bottom, inside, there is an eight-petaled flower engraved with a cross inside. The bernegales and tembladeras with mortise-shaped pieces were frequent pieces in Spanish silverwork in the 17th century, usually being relegated to centres of somewhat less importance in the 18th century. Compare this with pieces such as the silver bernegal from the last third of the 17th century in the Lázaro Galdiano Museum (perhaps from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 96 gr.

· Size: 15x10,5x4,5 cms.
ANTIQUES

Ref.: ZE195
RELIQUARY PENDANT. SILVER, ENAMEL. 17TH CENTURY.

Reliquary pendant. Silver, enamel, textile. 17th century. A large polygonal pendant with a silver frame in its colour decorated with small pearls of the same material located in the corners of the edge, which has a ring at the top so that it can be hung or carried. One of its fronts has a textile background under a sheet of transparent glass, probably designed to contain relics. The other has a brightly coloured enamel showing the Virgin Mary in three-quarters, with the naked Child Jesus in her arms and both figures cut out against a landscape background with classicist architectural elements (a column with a fluted shaft on a pedestal, with mouldings) and details of a natural landscape (thus linking the moment with the Rest on the Flight into Egypt; compare, also, with works such as the Virgin and Child by Anton van Dyck from the Cerralbo Museum in Madrid or the oil painting from The Walters Art Museum, or the engraving by Paulus Pontius following Van Dyck's models - where the elements coincide in arrangement with those of the medallion -, for example). This type of jewellery has always had great value, both for the materials used and for its religious content. Despite this (or perhaps because of this same appreciation) there are not many examples of quality and in good condition, and it is possible to find them only in important private collections and in outstanding museums such as the Fundación Valencia de Don Juan in Madrid, the Museo Nacional de Artes Decorativas in the same city, etc., or old religious centres such as the Convent of the Descalzas Reales in Madrid.

· Size: 6,5x0.5x8 cms.
ANTIQUES

Ref.: ZF0399
BRONZE BRAZIER. POSSIBLY CASTILLE, SPAIN, 16TH CENTURY.

Brazier. Copper. Possibly Castile, 16th century. Brazier made of copper with a circular base decorated with vertical bands, a low tubular shaft enhanced with a fine rope moulding and a semicircular body, with a wide mouth that flares outwards, and two metal handles in the shape of a half rectangle and a twisted part on the sides of the piece. These types of pieces were used in both civil and ecclesiastical interiors with the aim of warming the occupants of the room as much as possible, and they are rarely preserved because they were utilitarian elements that were discarded over time or when damaged. They were usually objects intended for the upper class, and followed the same typologies whether they were intended for a sacristy or a private residence. The present case, possibly intended for use in a sacristy, shows a typology common in the Spanish school of the time. Compare, for example, with the brazier present in The Birth of the Virgin Mary of the Altarpiece assembled around 1520 by Pedro de Guadalupe from Valladolid and found in the church of San Esteban de Amusquillo (which presided over the main altar of the cathedral of Valladolid until 1676, when it was sold to the parish church of Renedo); or with that of the Birth of Saint Eloy by Pedro Núñez (1526-1529, MNAC, Barcelona).

· Size: 25x25x15,5 cms
ANTIQUES

Ref.: ZF0989
VICTORIAN BROOCH IN 18 KT GOLD WITH AMETHYST

Victorian brooch in 18kt gold with amethyst. 19th century. 18-carat gold brooch with a thin metal chain hanging down, ending in a gold safety pin intended to hold light decorative elements or to be fixed to the fabric, giving some movement to the jewel. The centre of attention is an oval faceted-cut amethyst, with a fine setting so as not to distract attention from the gem's frame. This is made up of an elaborate and delicate composition: in the centres of the sides there are four rectangular pieces with the smaller ends curved, decorated with fine plant elements and scrolls reminiscent of classicism; these elements are interspersed with two concave scrolls that flank a leaf (which also has a fine plant decoration in light relief); this frame is visually joined to the gem by a series of elements that resemble fine bows with a decoration similar to that of the aforementioned rectangular pieces. Historically, the Victorian era began in 1837 with the coronation of a young Queen Victoria in England, and ended in 1901 with her death. It was the era of greatest development of the Industrial Revolution, something that also influenced jewelry thanks to important technological advances in practically all fields (hydraulic energy, steam engines, gas, etc. influenced the machinery to be used), and England's broad political dominance allowed for the use of "exotic" materials from the colonies. Advances in machinery allowed for slightly lower costs in jewelry, new cuts in gems with a greater number of facets (thanks to faster lathes), new developments in alloys (lowering of gold alloys since 1854 in England, introduction of galvanization...), etc. As for the designs, these were always marked by Queen Victoria's taste. Thus, in general, three stages can be distinguished: the Early Victorian or Romantic Period (c. 1837-1860), often inspired by the world of nature; the Middle Victorian or Great Period (c. 1860-1885), marked by mourning for the death of the Queen's mother and her husband Albert in the same year and the Civil War in the United States among other events, influenced by the archaeological discoveries of the time and technical innovations in enamelling and gold granulation, and the frequent presence of gems; the Late Victorian or Aesthetic Period (1885-1901), marked by the discovery of diamond mines in Africa, which made stones cheaper, allowing for more frequent use in jewellery, more frequent use of ivory and soft colour combinations, and a reduction in the size of the works as a general rule. Measurements: 4.7 x 4.4 cm. Weight: 21.07 grams.

· Size: 4,7 x 4,4 cm.
ANTIQUES

Ref.: JBR0196
GOLD (14kts) BROOCH WITH GARNET AND DIAMOND

14kt gold brooch with garnet and diamond. 14-carat gold oval brooch with an outer edge finished with a cord with gold pearls, decorated on the front with a composition based on curves that leaves smooth spaces for simplified plant motifs and two semicircles on the vertical axis of the smaller side that shelter other plant elements. In the center, framed by a band with cords and pearls in gold and with two small pearls on the larger axis (in the triangular spaces left by the aforementioned curves), there is a smooth cabochon garnet, with an eight-pointed star in the center of the gem (in turn, a diamond appears in the star), achieving a striking color combination. The marked symmetry of the piece is reminiscent of jewelry work made in the 19th century in the Neoclassical style. Weight: 19.81 grams.

· Size: 4,6 x 3,6 cm.
ANTIQUES

Ref.: JBR2568
STONE MORTAR. 18TH CENTURY.

Mortar. Carved stone. 18th century. Mortar made from a single piece of carved stone with a circular base and four handles or worn projections carved towards the outside of its body, in the shape of a cup. This type of piece was created for use in apothecaries (which could be in a city, in a religious institution or in a hospital) or in a kitchen (of a large residence or, again, of a religious institution), and it is not possible to specify its purpose further due to the lack of decorative elements and the usualness of the model to which this piece belongs, with a long tradition in Europe. Similar examples are preserved, for example, in the Museum of the Spanish Pharmacy of the Complutense University of Madrid, the Museum of the History of Pharmacy in Seville, the Museum of Pharmacy in Krakow, etc.

· Size: 73x73x45 cms.
ANTIQUES
MISCELLANEOUS;BRONZE MORTARS

Ref.: Z1057
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STRONG BOX KEY. 17TH CENTURY

Pair of 17th century safe keys. Wrought iron. Measurements: 13.5 x 4.5 cm. Pair of wrought iron safe keys, dating from the 17th century, with a complex design on the head, hollow body and flattened arched top. Since the late Middle Ages, it was common for safes and cash chests to have two or more locks, the keys to which remained in the possession of different people. In this way, it was ensured that the safe was only opened in the presence of the owners of all the keys.

· Size: 5x1.5x13 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z4998
GILT BRASS ALMS COLLECTING DISH. NUREMBERG, GERMANY, 16TH CENTURY.

Alms dish. Nuremberg, 16th century. Plate for collecting alms made of gilded brass decorated with a series of mouldings and details both on the edge and towards the centre. In this area there is a figurative motif in light relief (Adam and Eve flanking the tree around which the Serpent of Original Sin is coiled).

· Size: 38x38x5 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5163
SILVER CRUET STAND, SANTANDER, 19TH CENTURY.

Convoy of silver vinegar cruets, Santander, 19th century. With hallmarks, local and silversmith marks (Santander, Trabanco, M.Navarro). Holding a basket with a handle on his head is the figure of an Indian, wearing a skirt and a feathered headdress. The figure is standing on a column, flanked by two circular spaces for the vinegar cruets and by two other supports for the salt and pepper shakers. The decoration based on classical columns and palmettes is characteristic of Neoclassicism, while the presence of the feathered Indian provides a touch of exoticism highly appreciated in the 19th century. Weight 950 gr.

· Size: 22x9x34 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z6231
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SILVER SNUFFERS. REAL FÁBRICA DE PLATERÍA MARTÍNEZ, MADRID, SPAIN, 184...

Snuffers with case. Silver. Martínez Royal Silver Factory, Madrid, 1846. With contrast marks. Scissors for cutting candle wicks, known as snuffers, made of silver in their colour and with a decoration of a marked classical influence in all their elements. The set is completed by a case with a circular base and a striated body (of a type known as “umbrella” due to its shape) which was very common in many candlesticks of the time. The hallmarks indicate that they were made in Madrid in 1846, at the Real Fábrica de Platería Martínez (or Platerías Martínez), created by Royal Decree in 1778 by Charles III and thanks to Antonio Martínez Barrio (who died in 1798). To see how popular this model was, compare it with the sheathed snuffers by Ramón Espuñes, dated 1847, which are preserved in the National Archaeological Museum (Madrid, Spain). And to see something similar, with the pair dated 1838 and made by Platerías Martínez of the History Museum of Madrid. Weight: 406 grams.

· Size: 7x7x22 cms.
ANTIQUES

Ref.: Z2741
WROUGHT IRON FASTENERS, 17TH CENTURY.

Pair of wrought iron fork locks. 17th century. Pair of forged iron fasteners of the so-called “fork” type due to their shape. This type of piece was used in furniture to secure tables, both dining tables and desks, and for this reason it is a very common piece of forged iron. The spirals and the balustrade parts date both to the Baroque period.

· Size: 22x6x78 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5019
SILVER VASE (BERNEGAL) WITH VIDAL MARKS. 18TH CENTURY

Bernegal, 18th century. Silver, with marks. Weight: 55 g. Spanish Bernegal from the 18th century, with Vidal mark and wide, low bowl, slightly rounded towards the base, following the typical typology of this vessel in the Spanish Baroque. Also typical of this typology are the two vertical handles over the mouth, in this case in the form of a mitred “S” brace with a cut-out profile, with small tendrils.

· Size: 4x10,5x7,2 cms.
ANTIQUES
MISCELLANEOUS;SILVER WORKS

Ref.: Z5724
SNUFF BOX. HORN, WOOD, METAL. SPAIN, 1861.

Pastoral box. Carved horn, wood, metal. Spanish school, 1861. Submits registrations. Oval box made of antler carved in its colour, with wood on the lid to reinforce it, decorated on the outside with a series of engraved elements. On the base there is an animal or monster, on the lid there is a monstrance or ostensorium with a cross in the centre and a large base with geometric elements, surrounded by angular shapes acting as a frame. Under the antler hinge there is the date of the piece's creation (1861) and, between two bands of angular elements, an inscription (I am from francys / inverted d / a rhombus / poios), alluding to the owner (and possibly the craftsman) of the work. These types of boxes, of popular tradition, were common in ancient times and were usually made by shepherds or cattle breeders themselves to store snuff or tobacco.

· Size: 7x4x4 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZE351A
SILVER CUP (TEMBLADERA) OR WINE TASTING CUP. 18TH CENTURY.

Catavinos or quaking glass. Silver. 18th century. Vessel known as a catavinos or tembladera (as it has no foot) made of silver in its colour with two curved flat handles decorated with simplified plant elements, and a line of mortise (gallon-shaped shapes) on the edge enhanced by bands of sunken dots that remain in relief on the inside of the piece, where they extend and frame the decoration on the bottom. In this area there is a flower, enhanced with a line of dots. Bernegales and mortise-shaped bernegales were frequent pieces in Spanish silverware in the 17th century, usually being relegated to centres of somewhat less importance in the 18th century. Compare with pieces such as the silver bernegal from the last third of the 17th century in the Lázaro Galdiano Museum (perhaps from the Portuguese school; inventory 3916), or the one dated between 1640 and 1665 from the same museum (inventory 3910), or the one by José Jiménez de Illescas (inventory 3915, dated 1715-1725) in the same institution. Weight: 79 grams.

· Size: 15x11x4 cms.
ANTIQUES

Ref.: ZE366
SILVER CUP (TEMBLADERA) OR WINE TASTING CUP. 18TH CENTURY.

Quaking glass or wine-tasting glass. Silver. 18th century. Vessel known as a catavinos or tembladera (as it has no foot) made of silver in its colour with two flat handles in the shape of a “C” topped by volutes and decorated with wavy elements on the outside, which has a decoration on the edge (on the outside) of simple plant elements alternating with simple geometric elements made with lines and dots. On the bottom, on the inside, there is a plant element. In Spanish silverwork, the Baroque trends were maintained for almost the first two thirds of the 18th century, except in the capital, where Rococo forms were already introduced without displacing the previous ones. It was not until 1740 when French silversmiths introduced these novelties in Madrid, which would slowly spread to the rest of the centres, depending on the areas and masters. This survival of the forms of the 17th century can be seen in the fact that bernegales tembladeras were, in general, more common pieces in the 17th century, remaining during the 18th century relegated to centres far from the main areas of creation. Weight: 91 grams.

· Size: 14,5x11x3,5 cms
ANTIQUES

Ref.: ZE368
FRENCH HUNTING KNIFE OR SWORD. STEEL, HORN. 19TH CENTURY.

Hunting sword. Steel, horn. French school, 19th century. Sword designed for use during hunting, with a grooved blade and a chiseled steel guard in the shape of a double boar's head (arranged facing each other). The handle is made of carved horn with parallel grooves and is finished at the tip with a garland of leaves and other plant elements with a classicist influence. Weight: 550 grams.

· Size: 9,5x2x62 cms.
ANTIQUES

Ref.: ZF1269