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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
LETTER HOLDER. POLYCHROMED BRONZE. VIENNA, 19TH CENTURY.

Letter holder. Polychrome bronze. Vienna, 19th century. Polychrome bronze letter holder in the shape of a lectern decorated with elements of strong classicist influence (and reminiscent of the Renaissance and Mannerism) holding a folder, decorated on what would be its cover with a composition featuring two swallows pecking at a garland. In the 19th century, it was They made in Vienna (and in other European centres) table centres and decorative figures in bronze of great originality and quality, usually with an exotic touch provided by anthropomorphic or animal motifs. In the present case, the influence is from artistic styles prior to the period, which is common in 19th century art. Weight: 1700 grams.

· Size: 21,5x16x27 cms
ANTIQUES

Ref.: ZE263
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
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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
IRON STRONG BOX. 19TH CENTURY.

Safe box. Iron. 19th century. Rectangular safe made of iron, with a rectangular base, two handles on the sides and classical-influenced moulding decorations on the fronts and top. It opens from the top with a door with two hinges, which also has a knob and a lock with a cover to cover it. It is reminiscent of Victorian examples, some of the models made by Cannon, etc. Weight: 43 kg.

· Size: 48x30x33 cms.
ANTIQUES

Ref.: ZF1265
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
CHEST OF DRAWERS. LEMON WOOD. 19TH CENTURY.

Chest of drawers. Lemongrass wood. 19th century. A chest of drawers made of lemongrass wood with a straight, rectangular top and five drawers at the front (two narrow and three long), decorated with simple flat mouldings and spherical legs. This decorative simplicity, which highlights the quality and grain of the lemongrass wood finish, is reminiscent of English examples.

· Size: 103x49x106 cms.
ANTIQUES
FURNITURE

Ref.: Z0312
BURGALESAN CHEST. WALNUT, IRON. SPAIN, 17TH CENTURY.

Chest. Walnut wood, iron. Burgos, 17th century. Rectangular chest with a flat lid made of carved walnut wood, with corners and a latch at the front to lock it with a key, and a carved decoration on the bottom with simple geometric elements, and simple lines on the outer edge of the lid. This type of furniture was very common in Spain, frequently used to store objects of a certain value such as clothes, dishes, etc.

· Size: 169x52x73 cms.
ANTIQUES
FURNITURE

Ref.: Z4841
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
”SATYR”. TERRACOTTA. AFTER MODELS FROM CLODION, CLAUDE MICHEL (FRANCE,...

“Satyr”. Patinated terracotta. Following models by CLODION, Claude Michel (France, 1738-1814). Late 19th century-early 20th century. A patinated terracotta sculpture consisting of an oval base decorated with simple architectural elements of classical influence and a tondo with a bust enhanced by a garland and two figures. These, lying on the upper part, are a satyr (with his usual goat-like legs) raising a bunch of grapes, and a young nymph, who embraces him while trying to reach these fruits. Compare this sculpture (not so much the base) with the one entitled “Nymph and Satyr” from the Calouste Gulbenkian Museum in Lisbon (Portugal), related to the sculptor Claude Michel, highlighting the similarities and differences. Pieces similar to the present work, also known as “Satyr Feeding a Nymph Grapes”, are kept in several private collections. Claude Michel “Clodion” (1730-1814) was a French sculptor who trained with Lambert Sigisbert Adam and Jean-Baptiste Pigalle. He was recognised with numerous awards (the Prix de Rome in 1762, etc.) and had an important workshop in Paris from 1771. Although he also produced large-scale works, he is above all known for his small-format sculptural works, made in bronze (or other materials such as corrugated iron or terracotta, for example), and which had a very important influence both during the sculptor's lifetime and long after his death on a large number of works inspired by his creations.

· Size: 38x31x40 cms.
ANTIQUES
SCULPTURE

Ref.: Z5882
WATERCOLOUR LANDSCAPE WILLIAM FREDERIC CASWELL

CASWELL, William Frederick (United Kingdom, act. 1870 – 1914). "Landscape". Watercolor on paper. Signed with initials in the lower right corner. . In this work, Caswell offers us an evocative landscape with romantic roots, typical of the English landscaping of the time, worked with a light and translucent chromatism that gives a special luminosity to the scene, while enhancing its mysterious atmosphere. British painter active between 1870 and 1914, William F. Caswell worked in landscapes and portraits in oils and watercolours, and also produced series of prints such as “Le Barnabooth et autres bêtes modernes”. He was a member of the Royal Birmingham Society of Artists, where he frequently exhibited his works.

· Size: 78x103 int 49x71 cms
ANTIQUES
PAINTINGS

Ref.: Z6194
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
GAME TABLE WITH MARQUETRY. “PALO SANTO”, MAHOGANY, FRUIT TREE WOOD, BR...

Gaming table with marquetry. Rosewood, mahogany, fruitwood, bronze, leather. 19th century. Table with four fluted legs with metal elements towards the top that has a delicate marquetry decoration (flowers, bows, plant elements) on the main front and on an outer band on the top board, an area in which another simpler geometric marquetry is presented. It has a large drawer, and can be opened to play, leaving a more resistant textile finish on the top. Stylistically, the influence of classicist models is clear in the piece, responding to the norms and tastes of Neoclassicism. This type of piece was relatively common in the interiors of the upper bourgeoisie, designed to be placed against a wall when not in use and to enhance the decorative function of the piece while taking up less space, thus promoting the functional aspect of the table.

· Size: 88x43x76 cms.
ANTIQUES

Ref.: ZF0503
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MANOLO VARGAS IN “BOLERO”. WATERCOLOUR. SIGNED, DATED AND TITLED. CAPU...

Manolo Vargas in “Bolero”. Watercolor. Signed, dated and titled. José Manuel Capuletti was a self-taught Spanish painter who began his career working mainly in drawing, watercolours and portraiture. A good draughtsman, his work shows strong influences of Surrealism and he designed sets and costumes for ballet works after frequenting the Spanish ballet scene from 1946 onwards. In 1951 he settled in Paris, where he began to exhibit and became recognised in 1954. From 1958 his work could be seen in New York, Paris, etc., and he returned to Spain in 1968, settling first in Seville and then in Madrid. He died on a trip to Germany in 1978. The watercolour is signed, dated and titled in the lower right corner.

· Size: 49x2x64 cms. int 41x56 cms.
ANTIQUES

Ref.: ZF0770
FRAME. GILT WOOD. 17TH CENTURY.

Frame. Carved and gilded wood. 17th century. Frame for a tondo (the interior space is circular) made of carved and gilded wood, decorated with architectural reliefs of classical influence and a wavy edge on the outside. In ancient times, frames were usually made for a specific work, so the present case would have been designed for a work of circular format (note the gap on the back).

· Size: 36x3,5x37 cms. / Int: 25x25 cms.
ANTIQUES

Ref.: ZF0877
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
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VIRGIN WITH CHILD. OIL ON CANVAS. 19TH CENTURY, AFTER SANZIO, RAPHAEL.

Virgin and Child. Oil on canvas. 19th century, following models by SANZIO, Rafael (Urbino, 1433-Rome, 1520). Framed painting showing the Virgin Mary with the Child in her arms, both holding a book, and placed against a natural landscape with buildings to the right. The frame leaves a tondo visible, showing the figurative composition, and, when removed, a series of figurative and vegetal elements (grotesques) can be seen in the corners with a clear Renaissance influence, also present in the rest of the work. This Madonna is clearly inspired by another, known as the Conestabile Madonna, which is in the Hermitage in St. Petersburg, a work by Raphael Sanzio, dated around 1504 and which was acquired in Perugia by Count Conestabile della Staffa and later acquired by Tsar Alexander II and given to his wife, Maria Alexandrovna. The frame in which it is kept in the museum is the original of the piece, which measures 17.5 centimetres high and 18 centimetres wide. Considering the quality of this piece, it is worth highlighting the subtle differences it presents with respect to the work it is inspired by (size, book cover, details in the brushstrokes, etc.). Throughout the 19th century, it was very common for important houses, artists, etc. to commission painters to create works inspired by their favourite pieces (whether these were in museums or in the residences of noble or aristocratic families), in the same way that casts of important sculptures were commissioned.

· Size: 33x5,5x34 cms / int: 20x20 cms.
ANTIQUES

Ref.: ZF1158