Spanish beaker ? Castle w/crown.ESPUNES

[afaynerman]

Hello,

Your help is much appreciated.

I have a beaker. It has a castle with crown, number 67 and word 'ESPUNES'. I've been told this is a Spanish silver beaker of 19th century.
I need to know if this a true information. Please see the attachment


Thank you

[Theoderich]

It is Madrid in Spain.
The year ist 1867.


You will find this mark from 1869 in this link "Saulgau"
http://www.925-1000.com/Fgerman_marks_b1884_4.html" onclick="window.open(this.href);return false;

[silverport]

Ramón Espuñez, this mark: 1867-1884, Madrid, Spain.

Hello

»Theoderich's« attribution is very correct.

José Luís Muñoz Diaz, Madrid, show also a by Ramón Espuñez used former mark, for the time span of 1840-1859. The interims mark of about 8 years isn't shown.

Please look here: http://www.munozarce.com/contrastes/plateros/AF/id5.htm" onclick="window.open(this.href);return false;

Many thank to José Luís for his informative site - ¡ muchas grácias José Luís por Vd. página de web !

Kind regards silverport

[afaynerman]

great,
thank you gentleman :-)

[Funkel]

Platero leridano afincado en Madrid entre 1840 y 1884, en sus primeras obras puede verse cierta influencia de la Fabrica Martínez por lo que pudiéramos situar su aprendizaje dentro de la misma. A partir de 1859 junto a su hermano Francisco, fundan una sociedad con el cincelador Angel Marquina, estos hicieron para la Reina Isabel II la famosa "Vajilla de Colón", conservada hoy en día como Patrimonio Nacional.
La marca Espuñes, perteneció a la sociedad Espuñes Hermanos, la cual se formó en el año 1867, una vez que se separo del bilbaíno Angel Marquina y Ramón se asocia con su hermano Francisco. Al fallecimiento de Ramón en 1884 su hijo Luis asume el mando de la sociedad, ampliando su producción a la joyería y manteniendo durante un tiempo la misma marca.
Empleó una marca diferente en cada una sus etapas; en la primera (1847–1869) marca en dos líneas, en la superior la inicial de su nombre y punto, y apellido completo en la inferior: R./ESPUÑES; en su época de relación con Marquina (1860-1874) pone su apellido sólo debajo del de su compañero y grabando la marca: ESPUÑES. En la última etapa (1874–1884) marca con el apellido en una sola línea: ESPUÑES.
Actualmente conservar su negocio, pero la fabrica la cerraron recientemente. http://www.espunyes.com/" onclick="window.open(this.href);return false;

silverport, muchas gracias por sus comentarios sobre mi página web. Siento mucho no saber espresarme en su idioma.

Atentamente
José Luis Muñoz

[silverport]

Ramón Espuñes and his 1840-1884 maker’s marks.

Hola José Luis

¡Muchisimas grácias por sus adícional y muy informativa contribución suplementario!

Translation:

Ramón Espuñes, from Llerida (Catalonia, Spain), moved to Madrid (Spain) in 1840, and lived there until 1884, when he has died.

In his early work, [Neoclassical] influences from the »Real Escuela de Platería “Martínez”« * (Kings College of Silversmith’s) are visible. For that reason, probably his apprenticeship was there? [1819-1846 was there director Pablo Carrero; 1846-1869 probably Luis Macazaga, son of José Ignacio Macazaga].

In 1859 Ramón Espuñes founded together with his brother Francisco Espuñes and the chaser Ángel Teresa Marquína the companionship »Marquina-Espuñes Hermanos«. [In 1859-1860, one of their first works for Queen Isabel II of Spain was cutleries. Their cutleries were, in relation to the courts tradition, in a very advanced decorative style. Later, during the short regency of King Amadeo de Savoy, 1870-1873, these cutleries were modified by the »ANSORENA« workshop. See p. 408, p.409 lamina 9: http://books.google.com/books?id=7u_dCT ... 22&f=false" onclick="window.open(this.href);return false;
Some of them were in 1995 in ownership of Ansorena, Madrid]

[In 1863-1864 they made the »Cáliz limosnero« chalice of charity, now in the church »Asunción de Nosa Señora«, in Villalbilla, Province Madrid]. One of the other famous works for Queen Isabel II of Spain was in 1865, during their advanced partnership, the »Vajilla de Colón« (Center piece, and candelabra). Both works are now having the status of »National Patrimony«.

The »ESPUÑES« mark (of the beaker; struck in 1867) is that of »Espuñes Hermanos« (Espuñes Bros.), which was formed by Ramón Espuñes with his brother Francisco Espuñes; after their partnership with the chaser Ángel Teresa Marquína, Bilbao originated, was ceased in 1867.

After the death of Ramón Espuñes in 1884, his son Luis Espuñes took over the leadership; and he has started to diversify their former production by adding jewellery to their program — their mark remained for a long time still the same as before.

Ramón Espuñes has, during each period of his work, used another maker’s mark:

1847-1859 a maker’s mark in two lines:
In the upper one an abbreviation of his Christians name, followed by a dot: R.
And in the lower line his father’s family name: ESPUÑES =
R.
ESPUÑES

1859-1867, during his partnership with Ángel Teresa Marquína, Ramón Espuñes only engraved ESPUÑES below the name of his companion Marquína.

1867-1884, during his last working period, Ramón Espuñes struck an only one line maker’s mark: ESPUÑES

Actually Ramón Espuñes shop still exists in Madrid: http://www.espunyes.com/" onclick="window.open(this.href);return false;

But their manufactory was ceased recently.

Brief additional explanations:

»Vajilla de Colón« (Center piece and candelabra with statuettes, of Christopher Colombo and two Indian’s, are protected by him); now in the Royal Palace of Madrid:
http://193.146.141.134/cgi-bin/GOWE/BRS ... R=&COLE=PL&" onclick="window.open(this.href);return false;

* The »Real Escuela de Platería “Martínez”« (Kings College of Silversmith’s [well also for Goldsmith’s, Jeweller’s, Enameller’s … Invention of Production Techniques, and Machines; and their use for Iron, Copper, Similor, Gold and Silver. Similor, american. “Ormolu” = Copper-Zinc alloy with an appearance of Gold] was founded in Madrid by an order of King Carlos III of Spain, dated from 29 April 1778; founding director was the famous artist and silversmith António Martínez (born in Huesca in 1750). In 1798 he has died, and was followed by his widow María Ignacia Árto, and his two brethren-in-law Domíngo Conde and José Ignacio Macazaga, former early apprentices of the also baptized »Real Fábrica de Platería«.

Kind regards silverport