Z. Sierra · Antiques and Decorative Objects

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VIRGIN OF CARMEL (DRESSED UP). WOOD, METAL AND TEXTILE. SPANISH SCHOOL...

Virgin of Carmen to dress. Wood, metal and textile. Spanish school of the 19th century. Virgin of Carmen carved in wood and polychrome, a dress image richly dressed in a gold embroidered tunic with a white lace collar, a white mantle with gold thread lace in the profile and a delicate veil on the head, also white. The Child, which he holds in his left arm, wears a white shirt with a lace collar and cuffs and a brown tunic also embroidered and finished in gold thread, with a cord at the waist of the same material. The golden lace that adorns Mary's mantle represents scallops, alluding to the marine character of the Virgin of Carmen. Mary holds the scapular with her right hand, and wears long earrings made of gold and silver thread and an openwork royal crown decorated with rays and stars, made of metal. The Child also appears wearing a radial metal crown, simpler than his mother's. The carving work balances naturalism and idealization, and shows a typically nineteenth-century delicacy and sweetness that is enhanced by the subtle polychromy, with light, evanescent tones, highly nuanced with glazes. The eyes of both figures are made of glass, a common element in 19th century Spanish dress images that adds vividness to the images. The set stands on a pedestal of clouds polychrome with the stew technique, supported by a stylized foot of architectural design with a marble plinth simulated using polychrome. Weight: 5.5kg.

· Size: 42x27x116 cms
ANTIQUES

Ref.: ZF1249
PAIR OF CARVED WOOD BRACKETS. VENICE, 19TH CENTURY.

Pair of carved wooden corbels. Venice, 19th century. Pair of figurative corbels from the 19th century, carved in wood in a round shape, with a beautiful dark patina that enhances the relief and details of the sculptural work. They are signed on the back “Felici Venezia”. The lintels, with a molded profile and a plan of Baroque heritage, with numerous recesses and projections, rise above two vegetated herms of classical style, with the lower part in the shape of a brace adorned with large acanthus leaves worked with a soft carving, of soft appearance, which moves away from the general classical inspiration to approach the naturalism of Art Nouveau. From these braces emerge the busts of two winged putti, children's bodies carved in a round shape with grace and attention to detail, with delicate dynamism. The two putti are represented in the same posture, with one arm bent over the chest and the other raised above the head. They form a symmetrical composition, each mirror reflection of the other. The high quality of the carving of these pieces is especially appreciated in these figurative representations: the anatomical work is impeccable, as is the expressiveness of the faces, and the carving of the wings, hair and ribbons that adorn their torsos reflects a work meticulous, naturalistic and precious in detail.

· Size: 25x15x48 cms.
ANTIQUES

Ref.: ZF1229
INFANT JESUS OR JESUS AS SAVIOUR OF THE WORLD. CIRCA FIRST HALF 16TH ...

Child Jesus. Carved and polychrome wood. towards the first half of the 16th century. Later adaptations probably in the 18th century Baby Jesus with polygonal base made of carved and polychrome wood. The figure is presented naked, standing, with the right hand raised in a gesture of blessing and the left holding a partially golden orb. It is necessary to highlight the shallow depth of the carving, polychrome on all sides, and the lack of work (or less detailed work) in an area on the back of the pedestal that the sculpture has, which would coincide with the part that would be attached to the altar , wall, etc. The arrangement of the hair is common at school, but the shape of the curls or their sculptural treatment is not, nor is the slight tilt of the head to one side. The base also responds to common models, but, again, the polychrome must be highlighted, since the presence of stripes, enhanced with plant elements, is not very common. Reflecting the new “modern devotion” of the time, these figures of Children Jesus were usually used in private oratories (homes, convents, etc.), showing the desire of the time to emphasize the humanity of Christ and a possibly widespread particular cult. by the Dominicans. These small figures, prestigious but relatively affordable, had great success outside the Netherlands, with those made in Mechelen being the best considered, and with Spain being a very frequent destination for the “dolls or dolls of Mechelen” (Virgins, Children of Jesus , etc.). They were works that, on many occasions, bore marks, thus highlighting their origin. Within the stages into which Mechelen's production is usually divided, there is talk of a third in which the production of pieces intensifies (the majority of preserved works correspond, therefore, to this period), but, curiously, the Children (which until now were the second piece most often manufactured and requested by customers) move to third place, being surpassed by Santa Ana. The measurements are usually between 35 and 37 centimeters high in the classic format (with a depth of between 7 and 8 centimeters) and 29 to 30 centimeters in the smallest format (with a depth of between 4 and 7 centimeters). Their appearance is thinner, with facial features that are sometimes already angular (they continue to be made “round” following previous models, but these are more schematic now), and they occasionally place a cushion under their feet. This stage is dated between 1515 and 1535. This carving must be compared, for example, with a Child from the Louvain-la-Neuve Museum (inv. VH552). Above all, we must remember one in the Museo voor Religieuze Junst (Inv. 0011) with the base with cushion on an architectural form due to its elongated shapes, located in the period of intensification of production. It is also necessary to mention that of the Louvre Museum in Paris from the 16th century (dated to the beginning of the century).

· Size: 13,5x7x40 cms.
ANTIQUES

Ref.: ZF1223
BRONZE “WOUNDED FIGHTING BULL”.

Bronze sculpture, “Wounded Bull.”
Signed “F. Bonilla Villalba” at the base.
On a wooden base, the figure of a bull is placed behind the banderillas and death thirds, since the elements used in both can be seen: three banderillas and the rapier. Thanks to the great quality of the artist, you can appreciate both the moment when the horned animal is about to expire and roars and the blood that flows from its wounds. The drama is accentuated thanks to that particular treatment of the animal's skin."

· Size: 55x27x40 cms.
ANTIQUES
SCULPTURE

Ref.: Z6180
CHILD RIDING A BUCKET. CIRCA 1900.

Child on cube. Calamine. Around 1900. Figure with a circular base that shows a child sitting astride a cube. Stylistically, the piece presents common characteristics in small French school sculptures from the second half of the 19th century. Weight: 450 grams.

· Size: 7,5x7,5x13 cms.
DECORATIVE ANTIQUES

Ref.: ZF1232
CHILD JESUS. WOOD. SPANISH SCHOOL, 17TH CENTURY.

"Child Jesus". Carved and polychrome wood. Spanish school, 17th century. Rear base. Christ is presented naked, with a slight contrapposto on the legs and hips that gives some movement to the size and with delicate carnations. He keeps his gaze fixed ahead, while raising one arm in an attitude of blessing, and holding a golden orb alluding to Creation with the other hand. Curly, blonde hair has a tuft in the center of the head. The carving is enhanced by a pedestal, modern but inspired by Spanish Baroque models, formed by lines with a lot of movement and decorated with architectural elements of classicist influence, among which the pairs of volutes projecting from the fronts stand out. Although the pompadour is reminiscent of the works of Martínez Montañés, in the present example the hair is clearly curly. Compare the present work with works such as those preserved in the Museum of Fine Arts of Córdoba, with one in the Municipal Museum of La Roda, some from the Real Monasterio de las Descalzas in Madrid, etc. This type of work was carried out to be dressed, and, normally, its destination was a feminine religious environment (it was considered that feminine devotion should not be directed to certain works or iconography of the Passion because it was too strong), or some oratory deprived of some important residence.

· Size: 41x32x87 cms
ANTIQUES

Ref.: Z6564
PAIR OF RELIEVES, HEAD OF ANGEL. POLYCHROMED WOOD. SPANISH SCHOOL, 16T...

Reliefs with heads of angels. Polychrome and gilded wood. Spanish school, 16th century. Pair of rectangular boards with a hanging ring on the back that present, on the front, two deep figurative reliefs. On a golden background, two winged children's heads are shown, one looking to each side. Note the golden details on the feathers, with a somewhat heraldic arrangement and shape, and the pictorial treatment of the hair. This type of reliefs were very common in the Spanish school since the Renaissance to decorate altarpieces, altars, etc. Weight: 600 grams.

· Size: 32x6x11 cms
ANTIQUES

Ref.: ZE371
”THE TRIUMPH OF BACCHUS AND ARIADNE”. MARBLE DUST. 20TH CENTURY, AFTER...

Triumph of Bacchus and Ariadne. Marble dust. 20th century, following the model of CARRACCI, Annibale. Panel made of marble powder with polychrome that shows, in relief, a common theme in classical mythology and art inspired by Ancient Rome. The classical divinities Bacchus and Ariadne have been represented in a chariot, accompanied by a procession formed by erotes, satyrs, maenads, Pan and Silenus, following a fragment of the well-known fresco from one of the vaults of the Farnese Palace in Rome, painted by Annibale Carracci (Bologna, 1560- Rome, 1609) between 1597 and 1600, considered one of the most important works of Romano-Bolognese Renaissance Classicism.

· Size: 110x3x140 cms.
DECORATIVE ANTIQUES
SCULPTURE

Ref.: Z1349
POLYCHROMED WOOD CORPUS CHRISTI. FLEMISH SCHOOL, MALINES, 16TH CENTURY...

Crucified Christ. Polychrome wood. Flemish school, Mechelen, 16th century. It has faults. Polychrome wood carving that shows the deceased Christ (eyes closed and head fallen) on the cross, with the Crown of Thorns, and a small purity cloth that reveals an anatomy already with a clear classicist influence, as is usual in carvings Renaissance from all over Europe, although somewhat stylized. The face and hair and their pictorialism also correspond to the period, and the presence of three nails instead of four. There are known works produced in Mechelen that, perhaps, were intended to form an iconography known as Déesis. These would be carvings of the Virgin and Saint John, which would flank a Crucified in a very common iconography of the time. Some Crucifieds have also been preserved whose group, in principle, would not be known. Compare the present example with the Christ from the so-called “Jardin clos du Calvaire” of the Hof van Busleyden Museum (inv. GHZ BH0003), or that of the Museum of Fine Arts of Arras (inv. 945.3.45), both linked to Master Cornelis . Weight: 150 grams.

· Size: 7x6x29 cms.
ANTIQUES

Ref.: ZF1209
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CORPUS CHRISTI. WOOD. 16TH CENTURY.

Christ crucified. Carved wood. Century XVI. It has faults. Carving made of wood in its color that shows Christ Crucified, already deceased (eyes closed, head fallen), with an anatomy of clear classicist influence and notable detail in the hair, beard and mustache. Also note the position of Jesus' body and the lack of perizonium or purity cloth, something relatively common, for example, in the Italian Renaissance school. Weight: 100 grams.

· Size: 6x4x17 cms.
ANTIQUES

Ref.: ZF1208
CHILD JESUS. POLYCHROMED WOOD. CASTILLIAN SCHOOL (SPAIN), 17TH CENTURY...

Child Jesus. Carved and polychrome wood. Castilian school, 17th century. It has faults. Polychrome wood carving with golden elements that shows a standing child figure, dressed in a suit carved in the same piece decorated with plant elements and well-defined folds, and hair with curls concentrated on the top of the head and on the shoulders. sides of the face. Iconographically, it is a Baby Jesus. In terms of its style, it would be part of the Castilian school of Baroque. Weight: 1.3kg.

· Size: 16x16x43 cms
ANTIQUES

Ref.: ZF1216
POLYCHROMED WOOD CORPUS CHRISTI. FLEMISH SCHOOL, MALINES, 16TH CENTURY...

Crucified Christ. Polychrome wood. Flemish school, Mechelen, 16th century. It has faults. Polychrome wood carving that shows the deceased Christ (eyes closed and head fallen) on the cross, with a small, golden purity cloth that reveals an anatomy already with a clear classicist influence, as is common in Renaissance carvings throughout Europe . The face and hair and their pictorialism, the movement of the perizonium and the presence of three nails instead of four also correspond to the period. There are known works produced in Mechelen that, perhaps, were intended to form an iconography known as Déesis. These would be carvings of the Virgin and Saint John, which would flank a Crucified in a very common iconography of the time. Some Crucifieds have also been preserved whose group, in principle, would not be known. Compare the present example with the Christ from the so-called “Jardin clos du Calvaire” of the Hof van Busleyden Museum (inv. GHZ BH0003), or that of the Museum of Fine Arts of Arras (inv. 945.3.45), both linked to Master Cornelis . Weight: 200 grams.

· Size: 27x9x27 cms.
ANTIQUES

Ref.: ZF1207
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INFANT JESUS OR JESUS AS SAVIOUR OF THE WORLD. FLEMISH SCHOOL, CIRCA F...

Child Jesus. Carved and polychrome wood. Flemish school, towards the first half of the 16th century. Baby Jesus with polygonal base made of carved and polychrome wood. The figure is presented naked, standing, with the right hand raised in a gesture of blessing and the left holding a partially golden orb. It is necessary to highlight the shallow depth of the carving, polychrome on all sides, and the lack of work (or less detailed work) in an area on the back of the pedestal that the sculpture has, which would coincide with the part that would be attached to the altar , wall, etc. It should be noted that the hair curls are arranged in the usual way in the type on the back, but those on the front are somewhat peculiar. Reflecting the new “modern devotion” of the time, these figures of Children Jesus were usually used in private oratories (homes, convents, etc.), showing the desire of the time to emphasize the humanity of Christ and a possibly widespread particular cult. by the Dominicans. These small figures, prestigious but relatively affordable, had great success outside the Netherlands, with those made in Mechelen being the best considered, and with Spain being a very frequent destination for the “dolls or dolls of Mechelen” (Virgins, Children of Jesus , etc.). They were works that, on many occasions, bore marks, thus highlighting their origin. Within the stages into which Mechelen's production is usually divided, there is talk of a third in which the production of pieces intensifies (the majority of preserved works correspond, therefore, to this period), but, curiously, the Children (which until now were the second piece most often manufactured and requested by customers) move to third place, being surpassed by Santa Ana. The measurements are usually between 35 and 37 centimeters high in the classic format (with a depth of between 7 and 8 centimeters) and 29 to 30 centimeters in the smallest format (with a depth of between 4 and 7 centimeters). Their appearance is thinner, with facial features that are sometimes already angular (they continue to be made “round” following previous models, but these are more schematic now), and they occasionally place a cushion under their feet. This stage is dated between 1515 and 1535. Compare, for example, with a Child from the Louvain-la-Neuve Museum (inv. VH552), or with the base or pedestal (similar lines) of that from the Museum of the Hôpital Notre-Dame à la Rose (inv. 0108). Above all, we must remember one in the Museo voor Religieuze Junst (Inv. 0011) with the base with cushion on an architectural form due to its elongated shapes, located in the period of intensification of production. The arrangement of the hair resembles that of the Museum of Fairs, dated around 1500, and that of the Quinta das Cruzes Museum (inventory MQC 2307).

· Size: 11,5x7x33 cms.
ANTIQUES

Ref.: ZF1200
BASE FOR SCULPTURE. POLYCHROMED AND GILDED WOOD.

Gallon base. Carved and polychrome wood. Inspired by models from the 17th century. Rectangular base with a similar cushion on the top (decorated with plant elements) and complex lines of curves and countercurves enhanced with architectural elements, among which stand out a “ce” volutes arranged in pairs on each of the sides. At the bottom, we must highlight the corner claws and the cut-out lower profile. Weight: 3.85kg.

· Size: 42x33x24 cms.
ANTIQUES

Ref.: ZE370
”HARMONY”. BRONZE. RANCOULET, ERNEST (FRANCE 1870-1915).

Bronze sculpture “Harmony”. RANCOULET, Ernest (France, 1870-1915). It has small flaws. On a square base, there is a circular shape with a string of pearls and a rocky finish at the top, which serves as support for a young, idealized, semi-naked male figure (note the animal skin), which appears in an attitude dancing, holding aloft a tambourine. Ernest Rancoulet was a French sculptor highly appreciated for his neoclassical style figures and mythological themes, his works reflecting women from high society, others of athletes, etc. Weight: 2.3kg.

· Size: 11x11x34 cms
ANTIQUES

Ref.: ZF1205
VIRGIN MARY OR SAINT (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH ...

Saint or Virgin to dress. Wood, metal. Spanish school, 17th century. It has faults. The female figure stands (with her right leg forward) on a small polygonal base. Made of partially polychrome wood, note that the feet (which show through the “dress”), the hands up to the wrists, and the head and neck are worked. The skull is prepared to receive hairpieces or clothing. As for clothing carvings, these were very common during the Spanish Baroque, and there may be cases of works in which the unseen part was barely roughed out and others in which everything is carved, with many intermediate points (see the present case). . Remember the San Antonio Abad by Benito Silveira made in the second half of the 18th century that is in the National Museum of Sculpture in Valladolid, a San Francisco de Paula from the 18th century in the Museo del Carmen de Maipú (Santiago de Chile), etc.

· Size: 33x25x87 cms
ANTIQUES

Ref.: ZF1181
VIRGIN MARY (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH CENTURY.

Virgin to dress. Wood, metal. Spanish school, 17th century. Has faults (hand, etc.). Sculpture made of polychrome wood that shows a woman, with the head, neck and hands carved and polychromed in detail, a sketched dress and arms in exposed wood. Iconographically, it is surely a Virgin Mary, made in this way because it was designed to be dressed and adorned with hairpieces (hence the work on the skull area). It is necessary to highlight the folds on the front, not common in this type of work, resembling clothing. Features a closed royal crown. Dress carvings were very common during the Spanish Baroque, and there may be cases of works in which the unseen part was barely roughed out and others in which everything is carved, with many intermediate points (see the present case). Remember the San Antonio Abad by Benito Silveira made in the second half of the 18th century that is in the National Museum of Sculpture in Valladolid, a San Francisco de Paula from the 18th century in the Museo del Carmen de Maipú (Santiago de Chile), etc.

· Size: 44x28x86 cms
ANTIQUES

Ref.: ZF1182
VIRGIN MARY (TO DRESS UP). WOOD, GLASS, METAL. SPANISH SCHOOL, 16TH CE...

Virgin to dress. Carved and polychrome wood, glass, metal. Spanish school, 16th century. It has faults. Virgin Mary made of carved and polychrome wood with hairpieces in the eyes and articulated arms of the type designed to be dressed (and with more hairpieces most likely), hence the simple wooden frame in the lower part of the body, the lack of work in the arms (the hands are carved and polychrome), the absence of feet and legs, the shape of the head, etc. The metal rod on the head is designed to hold a crown, which was normally made of bronze, silver, gilded silver... As for clothing carvings, these were very common during the Spanish Baroque, and there may be cases of works in which the unseen part was barely roughed out and others in which everything is carved, with many intermediate points (see the present case). . Remember the San Antonio Abad by Benito Silveira made in the second half of the 18th century that is in the National Museum of Sculpture in Valladolid, a San Francisco de Paula from the 18th century in the Museo del Carmen de Maipú (Santiago de Chile), etc.

· Size: 60x45x145 cms.
ANTIQUES

Ref.: ZF1180
VIRGIN MARY (TO DRESS UP). POLYCHROMED WOOD, TEXTILE, ETC. SPANISH SCH...

Virgin of Dress. Carved and polychrome wood, etc. Spanish school, 17th century; later clothing. Has damage. Polychrome wood carving of the type of dress or dress that has a series of garments: skirt, blouse, rostrillo, etc. Religious sculptures for clothing were very common during the Spanish Baroque (and later), and there may be cases of works in which the unseen part was barely roughed out and others in which everything is carved, with many intermediate points.

· Size: 26x26x57 cms.
ANTIQUES

Ref.: ZF1183
VIRGIN MARY OR SAINT (TO DRESS UP). POLYCHROMED WOOD, TEXTILE, ETC. SP...

Virgin of Dress or Saint. Carved and polychrome wood, etc. Spanish school, 17th century; later clothing. Has damage. Polychrome wood carving of the type of dress or dress that has a series of garments: skirt, sleeves, etc. Religious sculptures for clothing were very common during the Spanish Baroque (and later), and there may be cases of works in which the unseen part was barely roughed out and others in which everything is carved, with many intermediate points. Note, in the present case, the polychrome garments directly on the body.

· Size: 26x26x43 cms
DECORATIVE ANTIQUES

Ref.: ZF1189
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BIRD. BRONZE, METAL. BARÓN MOLINA, FRANCISCO (MADRID, 1931-2006).

Bird. Bronze, metal. BARÓN MOLINA, Francisco (Madrid, 1931 – 2006). Signed (side and figure) and numbered (6/75). On a base of outstanding size (compared to that of the figure) a bronze piece is placed into which another is fitted. This pedestal has two sides engraved with figurative elements (a bird on a woman's head on the front; a male figure on the side, where the signature and justification or numbering have also been engraved). On the back, in the area of the base of the fixed figure, are the name of the author and, again, the numbering (6/75). Francisco Barón Molina was a sculptor and painter trained first at the San Fernando School of Fine Arts, where he had Laviada and Ortells as teachers, and later in London and New York thanks to several scholarships. In 1960 and 1961 he was recognized at the New England Art Festival (First Prize), and in 1965, two years after returning permanently to Spain, he participated in the New York International Fair and obtained a scholarship from the March Foundation. Throughout his career Barón showed his work throughout Spain, as well as in Europe, Latin America, the United States and Africa, and was awarded the Valladolid Sculpture Prize (1983), the Art and Culture Prize of the Museum of Contemporary Art of Madrid (1965), the gold medal at the Exhibition of Minipaintings at the Círculo 2 gallery in Madrid and the Mojácar Prize. His work is preserved in private collections and in institutions such as the Alcalá de Henares Open Air Sculpture Museum. Weight: 400 grams.

· Size: 10x10x19 cms
ANTIQUES

Ref.: ZF1203
HOLY CORPUS CHRISTI OF BURGOS. WOOD, METAL. SPANISH SCHOOL, 19TH CENTU...

Christ of Burgos. Wood, metal. Spanish school, 19th century. A rectangular base serves as the base for a Latin cross with finials at the three upper ends. This has the usual “INRI” label and a particular figure of the Crucified Christ, with a very long purity cloth and an oval element at his feet. An anonymous articulated carving from the 14th century found in the Chapel of the Holy Christ of Burgos (Cathedral of Burgos, Spain) is known as Santo Cristo de Burgos and has been highly appreciated since ancient times. Weight: 750 grams.

· Size: 28x11,5x44 cms
DECORATIVE ANTIQUES

Ref.: ZF0376A
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MATERNITY. BRONZE. FRANCE, CIRCA LATE 19TH CENTURY. PAUL DUBOIS.

Maternity. Bronze. France, towards the end of the 19th century, PAUL DUBOIS, Paul (Nogent-sur-Seine, 1829-Paris, 1905). With inscriptions, signature and foundry seal (A. Collas). Bronze sculpture that has a simple base with inscriptions and on which a humbly dressed female figure is seated and looking down at the two children she is cradling in her arms. These, naked, are one asleep and the other suckling. On the rocky area where the woman sits you can read “P. Dubois.” Paul Dubois was a French sculptor and painter who enjoyed great recognition for the elegance and delicacy of his works, so appreciated that they were widely distributed by important publishers. He trained at the École natinale supérieure des beaux-arts and went to Rome. His work was recognized with awards (Medal in the Paris Salon of 1863, Medal of Honor in 1865, etc.) and with important positions (Director of the National School of Fine Arts, Grand Cross of the Legion of Honor, etc. .). His work can be seen in prominent private collections and in institutions such as the Musée Faure (Aix-les-Bains, France), Petit Palais (Paris), Musée d'Orsay, the Louvre, the Metropolitan Museum of New York (United States of America), etc. The present sculpture, in particular, is inspired, with a much smaller size, by the bronze sculpture of Charity (work by Paul Dubois) from the cenotaph of General La Moricière (Louis Juchault de Lamoricière, 1806-1865), installed and inaugurated in 1879 in the Cathedral of Nantes (France). On the base there is a foundry seal (“Reduction Mecanique Brevete/ A. Collas”). Achille Collas (Paris, 1795-1859) was a French engineer, engraver and illustrator known for his works and for being the inventor of a procedure for reproducing and reducing (size) sculptures that became well known and appreciated since he presented it in the Paris Universal Exhibition of 1855. On the front of it you can read “À Madame Nivromont / 1882-1892”. On one side appears “F. Barbedienne, Fondeur, Paris. Ferdinand Barbedienne (L'Oudon, 1810-Paris, 1892) was a French cabinetmaker and bronzesmith, considered one of the main artists of the Second Empire. In 1839 he partnered with the aforementioned Achille Collas to set up a bronze factory specializing in small sculptures (also furniture and silver pieces, all of various styles), which had three hundred workers. Weight 15 kg. .

· Size: 16x22x49cms
ANTIQUES

Ref.: ZF1178
SAINT DREAMING. POLYCHROMED WOOD. FLEMISH SCHOOL, 16TH CENTURY.

Dream of a saint. Carved and polychrome wood. Flemish school, 16th century. Relief made of carved and polychrome wood that shows an old man with a particular headdress (reminiscent of some chaperones) lying on a bed and accompanied by two friars dressed in habits, who talk to each other. Iconographically, the figure of the old man lying on the bed (note the cushion that raises the upper part of the body, following the common use of the time) who has not died (probably) because he was not completely lying down, is reminiscent of how he was usually represented, for example, to San Antón, San Jerónimo, etc. It is not very likely that it is the subject of the Transit or Death of Saint Francis of Assisi due to the absence of the Stigmata and due to age. It would be part of a cycle of scenes in the altarpiece of a church, an accompaniment that would give the viewer more clues about the identity of those represented. Stylistically, Flemish sculpture along with that of Germanic countries was developed with a realism that could be seen in all the ornamental details, where the sculptural work was presented almost as a goldsmith's work that was applied to the large altars made of wood. In general, in the Netherlands, such a high level had been developed during the Gothic period that the acceptance of the Renaissance from Italy was late. Weight: 3kg.

· Size: 36x6x36,5 cms.
ANTIQUES

Ref.: ZF1174

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