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SILVER SPICE DISH. DE CASTRO, DAMIÁN; SÁNCHEZ SOTO, JUAN. SPAIN, CÓRDO...

Spice rack. Silver. Spain, Cordoba, second half of the 18th century. With contrast marks. Silver spice rack in its colour with a truncated cone-shaped body, a sinuous lower edge resting on legs with scrolls and plant motifs, a semi-spherical bowl without divisions, a lid with a dome-shaped hinge and decorated with plant elements in high relief. The lid features a rose surrounded by a line of dots that create waves. The hallmarks place the piece's production in Córdoba, verified by Damián de Castro and by the hand of Juan Sánchez Soto (probably Cristóbal's son and brother), in the second half of the 18th century. Typologically, this is a spice rack belonging to a somewhat peculiar tradition or model, common in Córdoba and Madrid but also present in Gerona, Antequera, etc. Weight: 87 grams.

· Size: 7,5x6x5 cms
ANTIQUES

Ref.: ZF0982
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SILVER CEREMONIAL CUP. SPAIN,16TH CENTURY.

Wine-tasting flask or shivering flask. Silver in its color. Spain, 16th century. With contrast marks, Illegible. Stemless and handleless cup, silver in its own color and with a circular base, a rim that flares outwards and a center that concave upwards on the inside. It features embossed decoration based on plant elements (flowers on the rim, other flowers towards the center around a central floral motif and alternating with rectangular motifs), veneered shapes (interspersed with flowers on the rim), and a small band of stars towards the edge of the piece. At this end, it has a partially foiled hallmark, on which the letters "AIEB" can still be read, followed by a vertical rectangular motif. These types of drinking cups, sometimes also known as bernegales, were used on special occasions (ceremonies, etc.), hence their material and decoration. They were very common during the reign of the Habsburgs in Spain. Although they were objects for civilian use, it was not unusual for them to be donated or commissioned for use in churches or liturgical settings. Similar examples can be found in very few private collections and only in a few important museums. For example, similar 16th-century bernegales are preserved in the Fundación Valencia de Don Juan (Madrid), and 17th-century ones are somewhat more abundant, as evidenced by those in the Lázaro Galdiano Museum (inventory 3910 and 3916).

· Size: 16x16x2 cms.
ANTIQUES

Ref.: ZF0957
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
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
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
BRONZE MORTAR WITH PESTLE. 17TH CENTURY.

Mortar and pestle. Bronze. 17th century. Mortar with a circular base, cylindrical body and mouth slightly flared outwards, decorated with a series of smooth horizontal mouldings arranged both at the bottom and at the top and with some simple vertical elements (which still maintain slight balustrade shapes) derived from the ribs that these specimens used to have in the medieval Spanish school.

· Size: 13x13x8,5 cms
ANTIQUES

Ref.: ZF0966
AIR ALLEGORY. PORCELAIN. PORCELANA HISPANIA, SPAIN, 20TH CENTURY.

Allegory of Air. Enameled porcelain. Hispania porcelain, Spain, 20th century. Enameled porcelain figure with gold touches showing a half-naked child, with an old-style hot air balloon and bellows, sitting on a base clearly reminiscent of the Rococo era on which the text “El Aire” can be read, alluding to the allegory that the piece represents. This type of work is inspired by outstanding works from European factories. The factory known as Porcelana Hispania made a series of quality pieces in this same line (animals, couples with a Rococo influence, etc.).

· Size: 12x8x15 cms.
ANTIQUES

Ref.: ZF0992
BRONZE MORTAR WITH INSCRIPTION. SPAIN, 1823.

Mortar with inscriptions. Bronze. Spain, 1823. Mortar made of bronze with a flared mouth and a truncated cone-shaped body that develops without discontinuity and decreases in diameter towards the base; it has two handles or “pieces” towards the smooth decorative mouldings that it has on the upper part. The piece has, almost on the edge, an inscription (SOY DE D GREGORIO OCANA ANO DE 1823) in capital letters and a date in Roman numerals with spaces between them; and the text (the opposite of the other) “Mazon fecci”; both flanked by a simple moulding above and another below. This large mortar is of the type that is usually known as a “hospital” mortar, as it is usually used for medicines in environments with many patients or in important pharmacies. Typologically, it follows the usual line in these examples from the Spanish school during the 19th century: smooth, with mouldings and, as a general rule, without those ribs (or derivatives of them) that usually appeared in the previous ones. Compare, for example, with the large pharmacy mortar in the Municipal Museum-Archive of Calella (with an inscription, ribs and human heads as handles), a large mortar in the Museum of the Spanish Pharmacy of the Complutense University of Madrid, etc.

· Size: 37x34,5x25 cms.
ANTIQUES

Ref.: ZF1007
PAIR OF MARBLE AND BRONZE VASES. 19TH CENTURY.

Pair of vases. Bronze, marble. 19th century. Pair of vases made of carved light marble with a stepped and circular base of the same material, which also have decorative details in gilded bronze (chains of pearls, necks with architectural elements, etc.), with a clear classicist influence. This type of work was common in Europe during the 19th century, with the strong French influence of the pieces also being very common.

· Size: 10,5x10,5x27,5 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZF1004
SILVER SPICE DISH. DE LUQUE Y LEYVA, JUAN. SPAIN, CÓRDOBA, 18TH CENTUR...

Spice rack. Silver. Cordoba, 18th century. With contrast marks. Silver spice rack in its colour with a truncated cone-shaped body, a sinuous lower edge resting on volute legs with osier and floral motifs, a hemispherical bowl, a lid with a dome-shaped hinge, and decorated with plant elements in high relief. The hallmarks it presents identify it as an 18th century Cordoban work, by the hand of Juan de Luque y Leyva or Leiva (1721-1779/80), who was an official marker of the city between 1772 and 1779/80. Typologically, it is a spice rack belonging to a somewhat peculiar tradition or model, frequent in Cordoba and Madrid but also present in Gerona, Antequera, etc. Weight: 68 grams.

· Size: 7x7x4,5 cms
ANTIQUES

Ref.: ZF0983
PAIR OF STIRRUPS. CARVED WOOD, IRON. CHILE, SOUTH AMERICA, 18TH CENTUR...

Pair of stirrups. Carved wood, iron. Chile, 18th century. Pair of stirrups made up of a block of carved wood, in the shape of a half moon at the front, and decorated on the outside with geometric and vegetal elements, and an iron surround. Since metal was reserved for other uses during the 18th century, wood began to be used more frequently to make stirrups in Chile. The shape of the present pair, which follows a common typology of the time, seems to have been derived from Asturian pieces, preferred over metal stirrups to protect from water, branches, etc., and the artisanal development carried out mainly by the Jesuits in the area was what led to this type of carving and decoration, which survives to this day.

· Size: 16x20x17 cms.
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: ZF0933
GLASS AND VASE. GLASS. REAL FÁBRICA DE CRISTALES DE LA GRANJA, SPAIN, ...

Jug and glass. Glass. Royal Glass Factory of La Granja de San Ildefonso, Segovia, Spain, 18th century. Jug or vase with lid and glass with a small spout made of clear, carved and engraved glass, decorated with plant elements and architectural motifs of classical influence. They were made in the Royal Glass Factory of La Granja de San Ildefonso, founded in 1727 by Buenaventura Sit and, initially, as a furnace for flat glass to supply the nearby Royal Palace. Shortly after, they would diversify their production, becoming one of the main centres in Spain.

· Size: Jarra 10x10x33 cms. Vaso 13x13x15 cms
ANTIQUES

Ref.: ZF0878
BRONZE BASSIN FOR HOLY WATER. SPAIN, 17TH CENTURY.

Wall-mounted holy font. Bronze. Spain, 17th century. Small font for holy water designed to be placed on a wall, which has a container decorated with mouldings and architectural elements and a plaque, at the top, cut out with plant and architectural elements highlighting two angels with elements of the Passion and an image of the Virgin Mary (with iconography of the Immaculate) with the Child Jesus.

· Size: 7,5x9x22 cms
ANTIQUES

Ref.: ZF0928
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
BRASS SUNDIAL-COMPASS. BUTTERFIELD, MICHAEL (1635-1724). PARIS, CIRCA ...

Pocket sundial compass, with case. Bronze. BUTTERFIELD, Michael (1635-1724). Paris, circa 1700. Pocket sundial made of engraved metal, with a gnomon in the shape of a bird with a triangle with an engraved tree, and a compass with a needle in dark metal; in this area there is also engraved “Butterfield AParis 43”. On the back, the latitudes of various cities (Madrid, Paris, Barcelona, etc.) have been engraved, and a decorative architectural element has been placed in the centre of the piece. The case, adapted to the piece, has a lined interior to better protect it. Michael Butterfield was a mathematician who made measuring instruments based in Paris from the last quarter of the 17th century onwards and continued working until the beginning of the 18th century. Although he was of English origin, he collaborated with the Royal Academy of Sciences in the French capital and worked as an engineer at the court of Louis XIV. It is known that he opened a shop in Saint-Germain in 1677, from which he sold sundials. Similar model in silver auctioned at Christies London on November 17, 2009. Lot 106

· Size: 7,5x6,5x1 cms / Estuche 8,5x7,5x2 cms
ANTIQUES

Ref.: ZE313
PAIR OF PORCELAIN VASES.19TH CENTURY.

Pair of vases. Enameled porcelain. 19th century. Pair of circular vases with a cylindrical body in the centre and a long neck and mouth open towards the outside, decorated with bands in pink tones, gold edges, grouped flowers and two genre scenes (humble characters dancing in rural landscapes; on the other side, similar scenes). They have been presented placed on metal feet, decorated with openwork elements and with claw-shaped legs finished with vegetal elements of classicist influence. They have marks on the base.

· Size: 24x24x62 cms
ANTIQUES

Ref.: ZF0884
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
BRONZE CANDLE HOLDER. 16TH CENTURY.

Spool candlestick. Bronze. 16th century. A candlestick of the type known as a “spool” because of the shape of its base, made of bronze in its colour. This type can already be found in Spanish Gothic pieces, and has been very common ever since. Over the following centuries, details such as the proportion of the base, its lines and the top finish would be varied, adapting it to the taste of each moment.

· Size: 13.5x13.5x13 cms
ANTIQUES

Ref.: ZE315
BRONZE SITULA. 16TH CENTURY.

Acetre. Bronze. 16th century. Bronze piece with a circular base and a circular body with a mouth that extends outwards at the top and a relief decoration in this last area with masks that recall certain Renaissance pieces with Medusa (the rings for the handle emerge from two of these elements). This acetre, a vessel for holy water also known as a situla, is a piece that, in this religious context, appeared in the West in the Middle Ages. The present example is inspired by Renaissance pieces both in its lines and its decoration and, therefore, is also reminiscent of works from Ancient Rome (situla from the Landesmuseum in Hannover, etc.).

· Size: 19x18x19 cms.
ANTIQUES

Ref.: Z5937
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
DIAL WITH COMPASS. BRONZE. BION, NICOLAS. PARIS, FRANCE, 18TH CENTURY.

Sundial with compass and case. Bronze. BION, Nicolas. Paris, 18th century. Polygonal sundial with a bird-shaped gnomon and an engraved triangular piece, which has, on one side, a compass with a needle with triangular ends. The name of the author and the place where the work was made are located right next to it, surrounding a vegetal decoration. On the back, a series of cities with their corresponding latitudes have been engraved, both in the circular form and on the sides of a fixed decorative element. It is presented in a polygonal case. Nicolas Brion was a French engineer, and a similar piece is kept in the National Maritime Museum in London.

· Size: 6,5x7,5x1 cm Estuche 7,5x9x2 cms
ANTIQUES

Ref.: ZE312
POLYCHROMED AND GILDED WOOD FRAME. 17TH CENTURY.

Frame. Gilded and polychrome wood. 17th century. It presents loss in the lower left area. Frame made of carved wood, gilded and polychromed in certain areas, with decoration based on bands (alternating plain ones with others with vegetal and architectural elements) and a relief at the top with vegetal and architectural motifs, combining polychromy with gilding in this area and below. Note the similarity between the decoration and lines of this piece and certain Spanish Baroque altarpieces of the 17th century.

· Size: 105x16,5x101,5 / int 81x57 cms.
ANTIQUES

Ref.: ZF0631
BRONZE MORTAR. SPAIN, 1816.

Pharmacy mortar. Bronze. Spain, 1816. A mortar with a flared mouth, decorated with ribs derived from pillars and a band in the upper area with an inscription (I am Don Juan Antonio Martínez, apothecary in Nabalmoral de Pusa / Year 1816); the handles have been lost. Navalmoral de Pusa is a municipality in Toledo that was united in the 19th century with Navalmoral de Toledo, giving rise to Los Navalmorales. The decoration of the piece follows the usual for this type of mortar from prominent pharmacies. Weight: 39 kg.

· Size: 30,4 x 30,4 x 21 cm.
ANTIQUES

Ref.: ZF0792
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