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SILVER CLARET JUG. ANSELMO PRIOR AND MASON. VITORIA, SPAIN, 1816-1846.

Jug. Silver. Anselmo Prior y Mason. Vitoria, Spain, between 1816 and 1846. With contrast marks. Silver jug in its colour with a square base that serves as a support for the circular foot decorated with a band of eggs and ending in a scalloped shape, which gives way to the oval body, engraved with architectural, plant and animal elements; practically tubular neck with a band of egg motifs and another at the top with architectural elements, and a soft spout; lid with a swan, and the handle has a Medusa head in the area where it joins the body, a series of bands of architectural motifs and, creating a curve and towards the mouth, a two-headed snake that seems to intend to attack the bird. Typologically, the jug clearly responds to neoclassical models of the 19th century both in its lines and in some of its decorative elements (some close to the French school and others somewhat more common in the English school), adding to this base some details more common in Spanish works. The hallmarks, located at the base of the piece, link its creation in Vitoria, with the hallmark called Maison (actually 18th-19th centuries, probably as a hallmark in the 19th century) and the silversmith named Prior. Anselmo Prior was a master dated between 1816 and 1846. There is evidence of a head reliquary marked by both of the Eleven Thousand Virgins in the parish church of Alegría (Álava, Spain). Weight: 992 grams.

· Size: 15x12x30 cms
ANTIQUES

Ref.: ZF1042
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
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
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
METAL AND GLASS CLARET JUG OR PITCHER. POSSIBLY WMF, GERMANY. CIRCA 19...

Jug. Glass, silver-plated metal. Possibly WMF, Germany. Circa 1900. With contrasting marks (handle). Jug with a transparent glass body decorated with geometric elements, a circular base, a globular body and a high cylindrical neck, which has a silver-plated metal handle with a “C” shape on the top. It has a decoration of architectural and plant elements with a marked classicist and Renaissance character, as well as a protomos with a horse’s front legs next to the top edge of the jug’s lid. The marks, present on the outer edge of the handle, would surely link the piece to the Württembergische Metallwarenfabrik or WMF. In 1853 Daniel Straub and the Schweizer brothers established a metalworks factory called Straub & Schweizer, which achieved recognition at the London Exhibition as early as 1862, and opened its first shop in Berlin in 1868. In 1880 they merged with Metallwarenfabrik Ritter & Co. to form the Württembergische Metallwarenfabrik (WMF), which is still in operation today. Weight: 0.9 kg.

· Size: 16x13x30 cms
ANTIQUES

Ref.: ZF1099
MONSTRANCE, TEMPLE TYPE. SILVER, GLASS. 16TH CENTURY, WITH RESTORATION...

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

· Size: 21x21x58 cms
ANTIQUES

Ref.: ZF1162
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SILVER JAR OR JUG. MARTÍNEZ MORENO, MATEO. CÓRDOBA, SPAIN, POSSIBLY 17...

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

· Size: 38,5x31,5x29 cms
ANTIQUES

Ref.: ZF1248A
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PAIR OF SILVER CANDLESTICKS. 18TH CENTURY.

Pair of silver candlesticks. 18th century. Pair of candlesticks made of silver in an unadorned Baroque style, with a clean and dynamic structure that expresses itself through the contrasting superposition of elements with a circular section. The lines engraved on the discs of the shaft have an impact on this play of inscribed circles that determines the design. The foot is domed and stepped, combining curved mouldings and edges, and its stepped truncated cone shape is repeated, inverted and reduced in size, at the base of the lighter. The shaft is made up of two truncated cone-shaped necks, the upper one with a rounded base, alternating with lentils or discs of different diameters and narrow spools between them. Finally, the lighter is cylindrical, with the same play of parallel mouldings of various sizes that extend to form flat discs. Weight: 2 kg

· Size: 15,5x15,5x33 cms.
ANTIQUES

Ref.: ZF1250
SILVER BOAT CENSER. SPAIN, 17TH CENTURY.

Silver naveta. Spain, 17th century. A forged vessel with the base and lid finials obtained by mould casting. Shaped like a symmetrical boat, it stands on a low circular base with a disc-shaped base and a short shaft with a central lens. The body is decorated by chiselling, with oval cartouches flanked by braces and crowned by rhombuses and half-moons, located on the four axes and on a dotted shaded background that extends outlining the mouth. The lid has the same chiseled motif. At the stern end there is a finial in the form of an acanthus leaf, in relief, and at the bow end there is a handle in the form of a banded pillar. The bow lid is openable thanks to a central hinge. The piece has partial punch marks on the lid and body.

· Size: 18,5x9x8,5 cms.
ANTIQUES

Ref.: ZF1253
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PLATTER. SILVER. SPAIN, ZARAGOZA, CIRCA 1700.

Fountain. Silver in its color. Zaragoza, Spain, circa 1700. With contrast and engraving marks. A circular silver platter or dish, in its own color, with a raised rim decorated with a composition of plant elements and shields or flat mirrors between two lines of plain moldings. The seat, raised on two levels, features another plant decoration, with a smooth, domed center. A completely plain field surrounds the seat. The back contains the markings on the piece. One is an engraved one on the seat, toward the center. The other is on the edge or rim, along with the only contrasting one found. This one has been linked to Zaragoza, placing the piece in that city. Compare this piece, noting its differences, with the Tudela fountain from the second quarter of the 17th century, made by Noval and housed in the Lázaro Galdiano Foundation Museum in Madrid (Spain). Or the enameled fountain in the National Archaeological Museum, made by Rodrigo de Arenillas or Abaunza in Burgos. It is known that until the ordinances of 1742, it was not mandatory for the silversmith's mark to appear on the pieces he made in Zaragoza. After this date, pieces with only the town mark continued to be abundant. At the end of the 17th century, chiseled work became very rare, with embossed work with leaf motifs being the norm. Around 1720, the decoration became thicker and more exuberant, and around 1725, with the same ornamental motifs, the decorative style varied (contrasts were sought between profusely decorated areas and others that were completely smooth and polished). The earliest example of Rococo silverwork in Zaragoza has been dated to 1742 (the statue of Saint Barbara in the Church of Saint Paul). Weight: 2.4 kg.

· Size: 55,5x55,5x 4 cms.
ANTIQUES

Ref.: ZF1304
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SILVER CUP. POSSIBLY NAVARRA, SPAIN, CIRCA 1700.

Wine tasting glasses. Silver. Possibly Navarre, Spain, circa 1700. Wine-tasting glass with a foot made of silver in its own color. The foot features a decoration of plain moldings, and the top has a scalloped and raised centerpiece with plant motifs in alternating bands with oval mirrors around it, followed by a recessed area and, towards the outside, a band with semicircular arches with teardrops and simple elements at the top, all closed by a pearl chain. Stylistically, they are very reminiscent of Miguel de Amasa's 1697 design for his examination to become a master silversmith. Compare also with the two salvillas that follow this design and are preserved in the Museum of Workmanship of the Church of San Saturnino in Pamplona (Navarre, Spain), which are considered the work of Miguel de Amasa, made in Pamplona and dated 1697 (these bear a hallmark, the double P crowned with a chain border, which was used in Pamplona silverwork between 1652 and the first quarter of the 18th century). Weight: 294 grams.

· Size: 10x19x4,5 cms
ANTIQUES

Ref.: ZF1307
SILVER FISH SERVER SET. PUIFORCAT, FRANCE, CIRCA 1900.

Serving cutlery in a case. Silver, gilt silver, textile, etc. Puiforcat, France, circa 1900. With contrast marks. Pair of serving cutlery with a silver handle in its colour and the other part gilded, decorated with engraved and embossed elements in the neoclassical tradition, and openwork areas with plant elements. Émile Puiforcat, when he took over his uncle's company, registered the hallmark that the firm still uses today (a knife flanked by the letters E and P). The rectangular case, with clasps at the front, features a strip referring to a Brussels jewellery and goldsmith's shop called De Coster Paternoster (located at 128 rue Royale), which sold notable pieces such as diamond earrings, cufflinks, etc. Weight: 296 grams.

· Size: 5x1,5x32 cms
ANTIQUES

Ref.: ZF1309
SILVER PLATE. MADRID, 1731-1738.

Plate. Silver in its colour. Madrid, Spain, 1731-1738. With contrast marks. Circular plate made of silver in its colour with smooth mouldings on the outside and contrasting and engraved marks on the base, on the outside. These place the creation of the piece in Madrid (Corte), dating it between 1731 and 1738, when Domingo Fernández Castelao was also a Court marker (whose mark also appears). Weight: 982 grams.

· Size: 31x31x3 cms.
ANTIQUES

Ref.: ZF1316
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
SILVER NEOCLASSICAL SUGAR BOX. NORTH OF EUROPE, CIRCA FIRST HALF 19TH ...

Sugar box. Silver in colour. Northern Europe (possibly Berlin), first half of the 19th century. With contrast marks. Rectangular box with chamfered corners resting on four claws with nails and featuring a lid with a projection towards the centre and a plaque with engraved initials of ownership. On the outside, it has a frieze of plant motifs above the keyhole. There is evidence of a sugar box in a private European collection with a hallmark similar to that of this piece (the initial A in a circle), being a neoclassical work from Berlin, the work of Gottlob Ludwig Howalt, and dated around 1820. This type of sugar bowls with closure were common in certain areas of northern Europe, taking on an appearance similar to that of this piece following the invasion of Napoleon Bonaparte, with which the French aesthetic models spread. Weight: 487 grams.

· Size: 16x12x10 cms.
ANTIQUES

Ref.: ZF1319
SILVER AND GLASS MUSTAR POTS. ENGLAND, 20TH CENTURY.

Seven mustache makers with spoons. Silver, glass. England, 20th century. With contrast marks. Silver plated cutlery with glass elements inside and hallmarked: Henry Hobson & Sons., Birmingham, 1900; possibly E Druiff & Co., established 1919, Birmingham, possibly 1924; etc. They feature spoons, as is typical of this type, and are stylistically inspired by trends common in 19th century English silverware. Weight 530 grams.

· Size: 7,4x5x6 cms
ANTIQUES

Ref.: ZF1373
MUSTAR POTS AND SPICES BOWLS. SILVER, REGENT PLATE, GLASS. 20TH CENTUR...

Mustard and spice racks. Silver, regent plate, glass. 20th century. Incomplete. With contrast marks. Collection of sixteen pieces (a tubular salt shaker, three spice shakers, mustard pots) featuring hallmarks. There are English pieces (from Birmingham, by AL Davenport Ltd, established around 1927, by GJ Myatt & Co. Ltd., Arthur Willmore Pennington –established 1901-, S. Blanckensee & Son Ltd.; by Goldsmiths' & Silversmiths' Company –established in London in 1880-; etc.), and others that combine glass (white and transparent) with metal elements. Stylistically, they are inspired by traditional models. Weight: 900 grams

· Size: 7x5,5x6,5 cms
ANTIQUES

Ref.: ZF1374
SILVER SHELL. GARCÍA REINA, MANUEL. TOLEDO, SPAIN, CIRCA 1730-1741

Baptismal shell. Silver in its colour. GARCÍA REINA, Manuel. Toledo, Spain, circa 1730-1751. With contrast marks, it is missing. A shell made of silver in its colour, with naturalistic details, and a top with a cartouche (on which there is an engraved element) and a simplified vegetal shape on one side (it is missing the symmetry to this). The contrasting marks are found in what would be the “ears” or “earlets”. A numerical mark can be seen on the outside. On the inside, hallmarks can be seen that identify the piece as having been made in the Spanish city of Toledo, when Diego Rodríguez de Lezama (or Lizana) was working as a hallmark, to whom the mark on the other ear belongs. The third mark, located under the location mark, identifies the piece as being made by Manuel García Reina, who was born around 1706 in Colmenar Viejo and trained in Madrid with Juan Löpez Sopuerta. He settled in Toledo around 1730, where he furthered his studies with Manuel Vargas Machuca, entering San Eloy in 1733. He was an approver in 1747 and 1755, and it is known that he had a shop since at least 1743 and is documented until 1772. Diego Rodríguez de Lizana or de Lezana was born in Bargas (Toledo) and trained with Juan de Jarauta, joining the Brotherhood of San Eloy de Toledo in 1699. He was an approver of the guild in 1715 and 1718, and worked as a contrast between around 1730 and his death in 1751 or 1754. His works are preserved in San Pedro Mártir, in the parish church of Miguelturra (Ciudad Real), in the cathedral of Lérida, etc. His work is preserved in Santo Domingo el Real, some cruets in the museum of Santa Cruz de Toledo, the parish of los Yébenes, etc. Weight: 98 grams.

· Size: 11x12x4 cms
ANTIQUES

Ref.: ZF1376
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
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CERAMIC BOWL. TALAVERA. 17-18TH CENTURIES

Bowl, Talavera, late 17th – early 18th century. Glazed ceramic. Ceramic bowl decorated with high-temperature glazes on an opaque white tin slip. The polychromy is based on typical Talavera colours: cobalt blue, copper green, manganese black, antimony yellow and iron ochres, browns and oranges. These glazes were applied to the raw slip, so the piece was fired only twice: once for the paste and once for the slip and glazes. In addition, the colours were protected with a varnish, which was also fired in this second firing. The pieces were placed in the kiln in blankets or boxes, so that the colours would not burn (they are fired at a very high temperature, 900º). In general, those from Talavera will be well fired, without significant defects. The peak of this ceramic manufacture will take place between the 16th century and the mid-18th century, when the French taste was introduced to Spain, and the clientele began to prefer pieces from Alcora. However, Talavera would experience a new Golden Age at the end of the 19th century, with historicism. This piece features a typical Talavera decoration, which would be widely imitated in other centres throughout the Modern Age: a rampant animal in the centre, on a schematic ground plane, flanked by two large plant elements. The decoration is completed with synthesised plant elements and bands of concentric lines, inside and out.

· Size: 32x32x15 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z5575
GLASS VASE. AFTER MODELS FROM ÉMILE GALLÉ.

Vase. Glass. Following models by Émile Gallé (Nancy, 1846-1904). Vase made of glass, with white, brown and gold tones, following both in technique and decoration the well-known Art Nouveau works of Émille Gallé, an artist internationally recognized both for his aesthetics and for his technical advances with glass ("enamel", "cameo", etc.).

· Size: 15x15x28 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z5671
CERAMIC INKWELL. 18TH CENTURY

Talavera inkwell, 18th century. Glazed ceramic. Talavera ceramic inkwell, decorated with cobalt blue enamel on a white tin slip With restorations

· Size: 16x16x7 cms.
ANTIQUES
MISCELLANEOUS;CERAMIC

Ref.: Z5695
CERAMIC DRUG JAR OR SYRUP JAR. POSSIBLY ITALY, 18TH CENTURY.

Orza. Ceramic. Possibly Italy, 18th century. A globular jug with a small base, a narrow spout at the mouth (narrower than the body, and with a small neck) and a handle formed by a twisted flat element, made of glazed ceramic and decorated with a composition in blue on a white background. Around a cartouche with an inscription (“AQa di MALVA”, alluding to a remedy derived from the common mallow, a common plant in Europe that was already mentioned, along with its healing properties, by Pliny the Elder among others), and using various shades of blue, a significant variety of plant elements and flowers have been arranged, accompanied by a bird perched on the cartouche. The decoration of ceramics in blue tones on a white background was common in Europe as early as the 17th century (Dutch and English pieces, works in Talavera de la Reina in Spain, etc.). In the case of Italy and in ceramics (with this origin, usually called “maiolica”), cobalt blue decoration on white is already found in works inspired by Byzantine in the Quattrocento, accompanying various influences. In the first third of the 16th century this “porcelain” decoration (since, apparently, it was distantly inspired by Chinese porcelain works that used these colours) continued, with touches of other colours. Compare this work with the pieces known as “Medici Porcelain”, from the third quarter of the 16th century. The name “berrettina” refers to glazed majolica in light blue to dark blue, obtained with cobalt oxide. It was used from the 16th century to the first half of the 17th century, mainly in Liguria and Veneto. It is also worth mentioning a series of pieces with which this one has something more closely related: a pharmacy jar with Saint Paul (made in Savona in the 17th century, now in the International Museum of Ceramics in Faenza), or with albarelos preserved in the Museum of Hispanic Pharmacy at the Complutense University of Madrid, works from the Italian region of Savona, pieces in private collections, etc.

· Size: 24x30x26 cms.
ANTIQUES

Ref.: ZE205
PAIR OF BOHEMIAN CRANBERRY RUBY RED GLASS ENAMELED AND GOLD URNS. 19TH...

Pair of vases. Glass. Bohemia, Czech Republic, 19th century. Pair of red glass vases decorated with areas of white enamel and spaces in gold, highlighting the two female busts (practically portraits on an undefined background) that both pieces present on their fronts. The two raised handles finished in a circle have a fine decoration of simplified plant elements; the glass shows decoration of the same type, but of a different influence (more classicist); the busts have been enhanced by two frames in gold and dark lines clearly reminiscent of classicism; the white areas (with plant shapes) have gold lines. Both pieces show remarkable similarities in the quality of the colour of the glass and the decoration as well as in the lines of the pieces, with notable red Bohemian glass urns, especially with works linked to Ludwig Moser & Söhne. Moser is a company that manufactures luxury glass objects located in Karlovy Vary (Czech Republic; formerly Karlsbad in Bohemia) that continues its work today (it was founded in 1857 by Ludwig Moser), and is highly appreciated in the art world for its works from the late 19th and 20th centuries. Although Bohemia was a region known for its glass production as early as the 13th century (especially when they discovered that adding potassium created a clearer and more stable colourless glass than Italian glass), this activity became popular in the 17th century (although the term “Bohemian” or similar had been used for a hundred years before to distinguish quality glass from this origin), and it stood out especially in the 19th and 20th centuries thanks to important manufacturers for the quality of their materials and techniques and the care taken in their designs. By the mid-19th century they already had a system for teaching glassmaking, and in the second half they exported very striking pieces in large quantities (usually pairs of glasses or vases in a single colour in opaque glass or in two colours, decorated with enamelled floral elements, painted details; sometimes lithographic techniques were used to copy famous paintings and capture them in works; etc.) created in large factories and in large quantities.

· Size: 15x13x41 cms.
ANTIQUES

Ref.: ZE222