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”SAINT DOMINIC DE GUZMÁN AND SAINT FRANCIS OF ASSISI”. POLYCHROMED TER...

“Meeting of Saint Dominic and Saint Francis.” Polychrome terracotta sculpture. Colonial School, 17th century. A polychrome terracotta figure with gold details depicting two male figures on a simple pedestal. The one on the left is shown wearing a Franciscan habit (with a small red mark on his right hand) and fraternally embraces, on equal terms, the one on the right, wearing a dark cloak (decorated with fine gold lines creating a net) over a white habit decorated with abundant flowers and gold elements, and a star in light relief on his forehead. These are Saint Francis of Assisi, holding the stigmata, and Saint Dominic de Guzmán, both wearing their respective habits. It narrates, with a remarkable economy of elements (which demonstrates the quality of the work), the so-called "Fraternal Encounter of Saint Dominic and Saint Francis," also known as "The Embrace of Peace" or, more colloquially and in some circles, "The Bump." According to tradition, Saint Dominic had a vision in which Mary implored Jesus on behalf of mankind, identifying them both as servants of God. The following day, Saint Dominic met Saint Francis in the church of Rome, recognizing him as his companion and embracing and kissing him. The present piece still shows Baroque influence, but some details already show a certain neoclassical influence, while maintaining the distinctive features of its school. Compare, for example, with the "Embrace" from the Monastery of Santo Tomás de Ávila by Luis Salvador Carmona, dated to the 18th century. It is also worth highlighting the quality of the modeling and polychromy of the piece, with a remarkable state of preservation considering its age and the delicacy of the material used.

· Size: 14x16x26 cms.
ANTIQUES

Ref.: ZF1398
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SAINT JOSEPH WITH CHILD JESUS. POLYCHROMED WOOD. SPANISH SCHOOL, 19TH ...

Saint Joseph with the Child Jesus. Polychrome wood. Spanish School, 19th century. Polychrome sculpture depicting Saint Joseph dressed in a tunic and cloak, standing, holding the Child Jesus by the hand, who appears wearing a short tunic and holding a Latin cross to his chest, following the iconography and composition common in the Spanish school of the 19th and 20th centuries (compare with examples from Olot, etc.).

· Size: 25x16x56 cms.
ANTIQUES

Ref.: ZF1400
CHILD JESUS SAVIOUR OF THE WORLD, HISPANO-PHILIPPINE. IVORY. 17TH CENT...

Infant Jesus of the Ball. Ivory. Hispano-Philippine School, 17th century. Infant Jesus made of carved ivory, polychrome in some specific areas and placed on a carved and gilded wooden base. It has very pronounced curves and movement, and a very studied decoration based on plant elements. Iconographically, this figure of the Infant Jesus standing, holding the Orb of Creation in one hand and blessing with the other, is known as the “Boy with the Ball”, and has a strong relationship with that of the Salvator Mundi, known among others for paintings such as that of Leonardo da Vinci but very common already in the late European Middle Ages (the adult Salvator Mundi would appear in northern Europe in the second half of the 14th century). The present piece responds to the popularization of a large number of iconographies of the Infant Jesus that occurred in the Baroque. Nudity is usual in this type of sculptures, as they are works conceived to be dressed and adorned with velvet, silk, embroidery, silver, etc. Aesthetically, it is related to examples from the 17th century Spanish Baroque school. Note the hairstyle, which is slightly reminiscent of the work of Martínez Montañés, to name one. Compare, for example, with the Children preserved in the “Sala Marfiles” of the Museum of Mexican History in Monterrey (Nuevo León, Mexico), or with the 17th century ivory Filipino Infant Jesus from the Museum of America in Madrid, or the 18th century Hispano-Filipino from the Patricia Phelps de Cisneros Collection preserved in the Middlebury College Museum of Art (Vermont, United States). Religious carvings made of ivory were doubly appreciated for the prestige and richness of the material and for their subject matter in an era like the Baroque, which was focused on the defence of Catholicism in some areas and was eager to show power and influence like all others. In this case, it is also necessary to take into account the “exotic” factor, as it is a Hispano-Filipino piece: along with the peninsular influence, it is possible to see the “touch” of the Filipino artists (Chinese settled in the islands, locals, etc.) in these works with somewhat slanted eyes, bulging eyelids, etc. Although they were sometimes made and commissioned for private chapels of the upper classes of the time, it is common for this type of sculpture to have been preserved in religious centres of great importance, where they have been found as donations. It has a CITES certificate. Valid for the European Union.

· Size: 11x11x29 cms. Altura niño 20 cms.
ANTIQUES

Ref.: ZF0601
CHILD JESUS. IVORY, WOOD. 18TH CENTURY.

Infant Jesus. Ivory and polychrome wood. 18th century. Ivory carving of the Infant Jesus, standing and naked, raising one of his arms in a gesture of blessing and placed on a pedestal or base of carved, polychrome and gilded wood decorated with plant elements in the corners with a certain Baroque feel. It has a CITES certificate. Valid for the European Union

· Size: 12x9x30 cms. Niño 9x6x22 cms.
ANTIQUES

Ref.: ZF0756
IMMACULATE CONCEPTION. WOOD, SILVER, GLASS. PORTUGUESE SCHOOL, 18TH CE...

Immaculate Conception. Carved and polychrome wood, glass, silver. Portuguese school, 18th century. Sculpture made of wood showing a young Mary, with her hands together in front of her chest in an attitude of prayer, and standing on a cloud, from which emerge winged angel heads and on which there is a “false” (a silver crescent moon with a face on both sides). Dressed in a tunic, the cloak appears waving, the garments decorated with flowers, waves, etc., combining polychromy and gilding. She has a crown, in silver in its colour, with architectural and plant elements of strong classicist influence, which does not show contrasting marks. Under the cloud, there is a rectangular pedestal, made of gilded wood and decorated with architectural and plant elements in relief. Note that it is also worked on the back, where a label appears after the completion of the work. Given its iconography, it is believed to be a carving of the Immaculate Conception. It is one of the most common models for depicting the Virgin in Spanish Baroque art, and is also common in other schools (where reference is usually made to the Virgin of the Conception or the Immaculate Conception). This devotion presents an iconography whose development began in Spanish Gothic art, responding to a desire to highlight the purity of the Mother of Christ. In its beginnings, it presented details of the Vision of Saint John on Patmos and elements belonging to the Marian Litanies, becoming simpler over time. Stylistically, the movement and certain details of the mantle show a certain influence of Rococo, an artistic movement that originated in France (where it developed between 1730 and 1760) and which spread from there to other European schools. There is evidence of the existence of a sculpture quite similar to the one present in the Portuguese Nossa Senhora da Vila, Nossa Senhora do Bispo e Silveiras (officially: União de Freguesias de Nossa Senhora da Vila, Nossa Senhora do Bispo e Silveiras), Évora, dated to the second half of the 18th century and considered to be from the Portuguese school, although no further details have been found about its authorship. This sculpture also has a base similar to that of this sculpture.

· Size: 21x15x56 cms
ANTIQUES

Ref.: ZF1324
CORPUS CHRISTI. POLYCHROMED WOOD. POSSIBLY SOUT GERMANY, 15TH CENTURY.

Crucified Christ, Sorrowful Crucifix. Carved and polychrome wood. Possibly South German school, 15th century. Polychrome and gilded wood carving showing Christ with the Crown of Thorns, on the Cross, already deceased (eyes closed), with the usual INRI phylactery on the upper crossbar of the Latin cross, three nails (note the crossed feet) and a short, gilded and polychrome purity cloth or perizonium. In German, the term “Gabelkreuz” or “Gabelkruzifix” (“Sorrowful Crucifix” in English) refers to a type of Gothic crucified Christ that is especially expressive (prioritizing external suffering over other aspects) and which normally presents the cross in the shape of a Y or ypsilon (alluding to the Tree of Life), apparently created thanks to the influence of the mysticism of the late 13th and early 14th centuries (Saint Bridget, etc.) and which can be found in the Rhineland (western Germany) and, through influences and contacts, in the rest of Europe (apparently, there are those who currently consider that the origin of the iconography is not German but Italian). Most of the sculptures of this type are concentrated in three European areas: the German zone, which includes the current federal states of northern Rhineland-Westphalia, Rheinland-Pfalz, Lower Saxony, and central and northern Italy, although they are also found in other enclaves such as Lucera in Puglia, Palermo in Sicily, and Oristiano in Sardinia. Nor should we forget the Spanish examples (usually included in three categories: those derived from the Holy Christ of Perpignan, the Castilian group, the Navarrese images, and the Andalusian Crucifixes). One of the oldest pieces that follows this typology is the Doloroso Crucifix from the Church of Santa Maria del Capitolio in Cologne. In Italy, the one from the Church of Santa Maria Novella in Florence is often highlighted. In Spain there is one in Puente la Reina (Navarre) that is considered to have been donated by a German pilgrim in the 14th century; There is one in the lower choir of the monastery of Santa María de las Huelgas Reales in Burgos, attributed to a Central European workshop or to a sculptor influenced by these models in the second half of the 14th century (with a Latin cross). It is also necessary to take into account the German sculptors who travelled and worked in Europe.

· Size: 76x26x135 / 62x23x85 cms.
ANTIQUES

Ref.: ZF1176
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SAINT JOSEPH WITH JESUS. POLYCHROMED WOOD, GLASS. SPANISH SCHOOL, 19TH...

Saint Joseph. Polychrome wood, glass. Spanish school, 19th century. Sculpture made of polychrome wood consisting of a base with very classic lines and appearance (smooth mouldings, resembling marble...) on which is a bearded male figure, dressed in sandals, a blue tunic and a cloak draped over one shoulder. The right hand is in the gesture of holding an element that is no longer there, and in the left hand is the Child Jesus, half-naked on a white cloth and with another covering him, raising his hand to touch the beard of Saint Joseph. Note the open mouths, revealing the teeth of both figures, and the presence of false eyes (glass eyes). The rise of the importance of Saint Joseph in Christianity was marked by the introduction of the saint's feast in the liturgy of the Catholic Church (1476), several notable writings, guidelines from the Council of Trent (exalting him as protector and guide of Jesus), etc. In Spain, it is also worth highlighting the work of Saint Teresa of Jesus, founder of the religious branch of the Discalced Carmelites, and that of Saint Peter of Alcántara, reformer of the Franciscan order, among others. One of the most common ways in which Saint Joseph is represented with the Child is the latter in the arms of the former, with works such as the carving by Andrés de Ocampo for the altarpiece of the convent church of Santa Marta in Córdoba (Sleeping Jesus) between 1592 and 1596. This iconography, although not as widespread as that of Saint Joseph walking beside Christ, has early examples in painting and sculpture, already seeing affectionate gestures in examples such as the painting by Vicente Carducho (1632, Narbonne Museum), that of Juan del Castillo from around 1622 for one side of the altarpiece of the Nativity in the convent church of the Holy Spirit in Seville, etc. Throughout the 17th century, representations of the Father with his Son in his arms would increase, also increasing the gestures of affection and the sweetness of the images. Compare this sculpture, noting the differences, with that of Alonso Cano in the Museum of Fine Arts in Granada (Spain) or that of Pedro Duque Cornejo for the Church of San Bautista in Écija. From the 18th century are that of Andrés de Carvajal for the sanctuary of Los Remedios in Antequera (Spain; dated 1760), that of Luis Salvador Carmona found in the church of San José in Madrid, or the sculpture attributed to Juan Pascual de Mena in the Church of San Marcos in Madrid, to mention a few examples. The 19th century, as a general rule, followed neoclassical models, accentuating the emotional relationship between the two figures. Weight: 57 kg

· Size: 57x57x155 cms.
ANTIQUES

Ref.: ZF1045
BUST OF MENELAUS OR AJAX (PASQUIN GROUP). BRONZE. 20TH CENTURY.

Bust of Menelaus or Ajax (Pasquino Group). Bronze. 20th century. Bust made of bronze showing a bearded man, dressed in a cloak gathered with a circular brooch and with a strip on the other shoulder, and wearing a helmet decorated with reliefs. The work is inspired by a highly prized sculpture known as the Pasquino Group (or Menelaus Carrying the Body of Patroclus or Ajax Carrying the Body of Achilles), made in marble copying a Hellenistic bronze and dated to around 200-150 BC. About fifteen Roman marble copies are known of it, many of which were “intervened” (or restored) during the 16th and 17th centuries. The earliest of these copies were documented for the first time in Rome in 1500. Cosimo I, Grand Duke of Tuscany, bought an ancient marble fragment of an armoured male bust supporting a dying companion, brought it to Florence (inventoried in 1574) and Ferdinando II commissioned its “restoration” (or rather intervention) to Lodovico Salvetti based on a model by Pietro Tacca, giving rise to the so-called “Menelaus Holding the Body of Patroclus” in the Loggia dei Lanzi in Florence (Italy). In 1771, Anton Raphael Mengs (Aussig, Bohemia, 12 March 1728 – Rome, 29 June 1779) took moulds of the parts he considered ancient (original) of this group and of the one in the Palazzo Pitti (a gift from Paolo Antonino Soderini in 1570), and assembled them into a plaster model that he intended to be more faithful to the Roman original. After a series of changes, it was rebuilt in 1838 and exhibited in the Loggia dei Lanzi in the Piazza della Signoria in Florence. This work by Mengs is cited to compare this bust with others inspired by those made by the neoclassical artist: Unknown creator, Head of Ajax from the Palazzo Pitti, c. 1770. Plaster cast. Dresden, Skulpturensammlung (ASN 1932); Head of Menelaus, Pushkin Museum, Moscow, etc. It should also be noted that many of these (for example, those mentioned in Dresden) are casts of a bust from the period of Hadrian of a head of Achilles originally Hellenistic which is in the Vatican Museums in Rome (inv. 694) and is also considered part of the Pasquino Group. We must emphasize the comparison of this bronze bust with this marble sculpture. Weight: 110 kg.

· Size: 82x55x116 cms.
ANTIQUES

Ref.: ZF1236
VIRGIN WITH CHILD. POLYCHROMED WOOD. SPANISH SCHOOL, 13TH CENTURY.

Virgin and Child. Carved and polychrome wood. Spanish school, 13th century. It has faults. Polychrome wooden carving showing the Virgin sitting on a throne, with her right hand raised holding a spherical object, dressed in a long tunic and cloak and wearing a veil and crown, also holding on one knee the Child, who is shown sitting on one of his mother's knees, dressed in a red and gold tunic and also a crown on his head. Iconographically, this type of work was common during the Romanesque period in Europe, a time when Christian theology saw the Virgin as a vehicle of Salvation, thanks to the figure of her son Jesus. Over time (and the theological work of highlighting the role of Mary as Mother of God), the initially hieratic pose of this group varied, an example of which is the present sculpture. Compare with Our Lady of the Snows of Villaumbroso in Palencia (14th century), or the Virgin of Mirón in Soria (carving from the 14th century), or the repainted Virgin of the Cerca de Andosilla in Navarre (13th-14th centuries), or the one in the church of San Pedro Apóstol de Arbués in Huesca which has been dated to the 14th century (similar to the one present on the throne, the crowns, the posture of Jesus, etc.), or the one from the last third of the 13th century which belongs to the collections of the Prado Museum in Madrid, the one from the Rosary of Villálvaro in Soria (14th century), etc.

· Size: 28x20x90 cms
ANTIQUES

Ref.: ZE087
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PAIR OF VASES WITH SIDE TABLES. BRONZE, WOOD, ETC. JAPAN, MEIJI PERIOD...

Pair of vases with elephant-head bases. Bronze, wood, etc. Meiji period (1868–1912), Japan; Anglo-Indian school, late 19th century. Pair of patinated bronze vases made up of several pieces, raised on three curved legs and decorated on the outside with reliefs of mythological animals and beasts, enhanced with gilded details and bands of geometric motifs. They feature metal containers that fit together at the top. Both bases feature turtles with ripples creating waves; the central body features handles in the shape of dragons and phoenixes on one side and dragons on the other; the neck features more birds (herons or similar) flying among clouds. The bases are two ebonized wood side tables with elephants (heads decorated to resemble textile ornaments, with light-colored tusks) functioning as legs by curving the trunk outwards, openwork jamb, also openwork waist to secure the furniture and a top decorated with carvings and flat boards. These types of vases were one of the so-called "export" items because they were manufactured with the sole purpose of being sold to foreigners during the Meiji Era (1868-1912) in Japan, named after the reigning Emperor and in which the country began its modernization and westernization, establishing itself as a world power thanks to a certain openness to foreigners (presence and ideas), changes in government, etc. Dragons are the most powerful symbol of all the animals in Japanese art, considered deities associated with water, and attributed, for example, with the changing of the seasons (when they flew through the sky it was spring). The crane and the tortoise symbolize longevity, with the first animal in flight (in the upper area) associated with the sky and the second with the lower area (of a kimono, for example) linked to the earth. Regarding the elephant-headed side tables, it should be noted that they were highly prized pieces of furniture by the British during part of the Indian colonial era (1858-1947), with numerous examples imported to the United Kingdom, among which those present in Buckingham Palace and other noble residences are worth noting. Note the quality of the present pair, clearly evident in the animal carvings and plant motifs that complete the table. In Hindu iconography, the elephant is associated with wisdom, divine knowledge, and royal power.

· Size: 60x60x165 cms.
ANTIQUES

Ref.: ZF1280
SAINT ALOYSIUS DE GONZAGA (TO DRESS UP). POLYCHROMED WOOD, ETC. SPANIS...

San Luis Gonzaga, dressing room. Polychrome wood, etc. Spanish school, 18th century. A sculpture made of polychrome wood, which shows, on a rectangular base, a young man without a beard, with a black body and a polychrome face, neck, hands and part of the arms. This treatment is common in sculptures created to be dressed (note also the arms articulated at two points each – shoulder and elbow). Attached to one ankle is an old piece of metal and two nails in the feet, which could be an old reinforcement that, in turn, suggests that the work was carried in a procession (there is another piece with screws in the head). As is common in this type of work in the Spanish school since the Baroque, the eyes are made of glass. Saint Aloysius Gonzaga (Castiglione delle Stiviere, 9 March 1568 – Rome, 21 June 1591) was an Italian Jesuit priest canonised in 1726 by Benedict XIII, who declared him patron saint of youth. While in the service of Philip II, he married a lady of Queen Isabella of Valois; he also served in the Spanish court as a page to Prince Don Diego, heir to the monarch, but ended up ceding his rights as first-born to his brother to enter the Society of Jesus (novitiate in Rome in 1583), despite his father's efforts to prevent it. He died after caring for people affected by the plague in this Italian city. He is represented as a young man dressed in a black cassock and surplice or as a young page. His attributes are a lily, referring to his innocence; a cross, referring to his piety and sacrifice; a skull, referring to his early death; and a rosary, referring to his devotion to the Virgin Mary.

· Size: 39x26x134 cms.
ANTIQUES

Ref.: ZE427
PAIR OF ANGELS. POLYCHROMED WOOD. SPANISH SCHOOL, 17TH CENTURY.

Pair of torch-bearing angels. Carved and polychrome wood. Spanish school, 17th century. They present faults. Pair of human-shaped carvings made of polychrome wood showing two angels each raising one arm and standing on clouds with winged heads, following models that were common since the Renaissance. Known as lamp-bearing angels or thurifers, they were carvings that were usually placed on important altars to hold lamps or incense burners, being identified with angels or archangels. Compare, for example, the lamp-bearing angels of the Hermitage of La Soledad in Cantillana (Seville, Spain) made between 1780 and 1799 to see, more or less, the function of these sculptures. But it must be remembered that, stylistically, they belong to the Spanish Baroque school (material, movement, etc.).

· Size: 32x16x71 cms.
ANTIQUES

Ref.: ZE130
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PAX WITH INFANT JESUS AS SALVATOR MUNDI. PARTIALLY GILT SILVER AND PEA...

Peace-bearer with the Child Jesus as Salvator Mundi. Partially gilded silver and a pearl. Madrid, 1781. A peace-bearer with a structure in silver in its colour, embossed and chiselled, and a round figure of the Child Jesus cast and gilded. The Child appears naked, with a radiant halo and resting his left leg on a rock, in a contrapposto position of classical heritage. He is represented as Salvator Mundi, with a sphere that symbolises the world in his left hand, crowned by the cross. The Salvator Mundi is usually shown blessing with his right hand, a gesture that is eliminated here to make the Child hold a sceptre of command topped with a pearl. The figure sits on a corbel in the shape of a scallop and is situated within a niche topped with a semicircular arch, with another scallop at its apex, in allusion to the sacrament of baptism. The profile of the niche shows a fantastic architectural design, with C-shaped braces, floral elements, thick acanthus leaves, rows of bells and rocaille crests. In the upper area, the bottom of the arch appears worked with small incisions that shade the surface, highlighting the relief of the rest of the elements. The flat back has a support band also in silver, joined by soldering. The piece has hallmarks of Madrid Villa y Corte from 1781. Illegible silversmith's mark.

· Size: 11x6x13,5 cms
ANTIQUES

Ref.: ZF1251
PAIR OF CARVED WOOD BRACKETS. VENICE, 19TH CENTURY.

Pair of carved wooden corbels. Venice, 19th century. Pair of 19th century figurative corbels, carved in round wood, 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 moulded profile and a Baroque plan, with numerous recesses and projections, rise above two vegetal herms in the classical style, with the lower part in the form of a brace decorated with large acanthus leaves worked with a soft, gentle-looking carving, which moves away from the general classical inspiration to approach the naturalism of Art Nouveau. From these braces emerge the busts of two winged cupids, children's bodies carved in the round with grace and attention to detail, with a delicate dynamism. The two putti are represented in the same position, with one arm bent over their chest and the other raised above their head. They form a symmetrical composition, each a mirror image of the other. The high quality of the carving of these pieces is particularly 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 meticulous, naturalistic and precious work in detail.

· Size: 25x15x48 cms.
ANTIQUES

Ref.: ZF1229
BRONZE “WOUNDED FIGHTING BULL”.

Bronze sculpture, “Wounded Bull”. Signed “F. Bonilla Villalba” on the base. On a wooden pedestal, the figure of a bull is placed after the banderillas and death stages, as the elements used in both can be seen: three banderillas and the estoque. Thanks to the great quality of the artist, one can see both the moment when the bull is about to expire and bellows as well as the blood that flows from its wounds. The drama is accentuated thanks to the particular treatment of the animal's skin.

· Size: 55x27x40 cms.
ANTIQUES
SCULPTURE

Ref.: Z6180
CHILD JESUS. WOOD. SPANISH SCHOOL, 17TH CENTURY.

“Baby Jesus”. Carved and polychrome wood. Spanish school, 17th century. Later pedestal. Christ is presented naked, with a slight contrapposto in the legs and hips that give some movement to the sculpture and with delicate flesh tones. He keeps his gaze fixed forward, while raising one arm in an attitude of blessing, and holds a golden orb alluding to Creation with the other hand. His curly, blond hair has a tuft in the centre of his head. The sculpture 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 classical influence, among which the pairs of protruding volutes from the fronts stand out. Although the forelock is reminiscent of the works of Martínez Montañés, in this example the hair is clearly curly. Compare this work with works such as those preserved in the Museum of Fine Arts in Córdoba, with one in the Municipal Museum of La Roda, some from the Royal Monastery of Las Descalzas in Madrid, etc. This type of work was made to be worn, and was normally intended for a female religious setting (it was considered that female devotion should not be directed towards certain works or iconography of the Passion because it was too strong), or some private oratory in some important residence.

· Size: 41x32x87 cms
ANTIQUES

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

Reliefs with angel heads. Polychrome and gilded wood. Spanish school, 16th century. Pair of rectangular panels with a ring for hanging on the back, which feature two deep figurative reliefs on the front. On a gold background, two winged children's heads are shown, one looking to each side. Note the gold details on the feathers, with a somewhat heraldic arrangement and shape, and the pictorial treatment of the hair. This type of relief was very common in the Spanish school from the Renaissance onwards to decorate altars, reredos, etc. Weight: 600 grams.

· Size: 32x6x11 cms
ANTIQUES

Ref.: ZE371
BASE FOR SCULPTURE. POLYCHROMED AND GILDED WOOD.

Scallop base. Carved and polychrome wood. Inspired by 17th century models. Rectangular pedestal with a similar cushion on the top (decorated with plant elements) and complex lines of curves and counter-curves enhanced with architectural elements, including “C” volutes arranged in pairs on each side. At the bottom, the corner claws and the cut-out lower profile are noteworthy. Weight: 3.85 kg.

· Size: 42x33x24 cms.
ANTIQUES

Ref.: ZE370
VIRGIN MARY OR SAINT (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH ...

Saint or Virgin of dress. Wood, metal. Spanish school, 17th century. It has faults. The female figure is standing (with her right leg forward) on a small polygonal base. Made of partially polychrome wood, note the elaborate work on the feet (which peek out from the “dress”), the hands up to the wrists, and the head and neck. The skull is prepared to receive hairpieces or clothing. As for the carvings of clothing, 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 the entire carving is found, 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 in Maipú (Santiago de Chile), etc.

· Size: 33x25x87 cms
ANTIQUES

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

Virgin of Dressing. Wood, metal. Spanish school, 17th century. It has faults (hand, etc.). Sculpture made of polychrome wood showing a woman, with the head, neck and hands carved and polychrome in detail, a sketched dress and arms in exposed wood. Iconographically, it is probably 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 worth highlighting the folds on the front, not common in this type of work, resembling clothing. It has 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 the entire carving is found, 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 in Maipú (Santiago de Chile), etc.

· Size: 44x28x86 cms
ANTIQUES

Ref.: ZF1182
VIRGIN MARY (TO DRESS UP). POLYCHROMED WOOD, TEXTILE, ETC. SPANISH SCH...

Virgin of Dressing. Carved and polychrome wood, etc. Spanish school, 17th century; later clothing. It has damage. Polychrome wooden carving of the dressing or dressing room type that has a series of garments: skirt, blouse, rostrillo, etc. Religious dressing sculptures were very common during the Spanish Baroque (and later), and there may be cases of works in which the unseen part was barely rough-cut and others in which the entire thing is carved, with many intermediate points.

· Size: 26x26x57 cms.
ANTIQUES

Ref.: ZF1183
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 showing an old man with a particular headdress (reminiscent of some chaperones) lying on a bed and accompanied by two friars dressed in habits, who are talking to each other. Iconographically, the figure of the old man lying in bed (note the cushion that raises the upper part of the body, following the usual use at the time) who has not died (probably) because he is not completely lying down, is reminiscent of how, for example, Saint Anthony, Saint Jerome, etc. were usually represented. 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 his age. It would have been part of a cycle of scenes on the altarpiece of some church, an accompaniment that would give the spectator more clues about the identity of those represented. Stylistically, Flemish sculpture, along with that of the Germanic countries, developed with a realism that could be appreciated 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: 3 kg.

· Size: 36x6x36,5 cms.
ANTIQUES

Ref.: ZF1174
GILT BRONZE PAX BOARD. POSSIBLY ROME, LAST THIRD 16TH CENTURY-FIRST TH...

Peace-bearer, Pietà. Gilded bronze. Possibly Rome, last third of the 16th century-first quarter of the 17th century, following the model of Michelangelo Buonarroti. Gilt bronze plaque with an S-shaped handle on the back attached to an L-shaped piece decorated with plant elements, which has reliefs on the front. The architectural frame has two curved pediments as a finishing touch between which God the Father appears blessing, a series of motifs around the central theme and a flat base with fine mouldings on which a winged angel's head appears. This central motif is an image of the Virgin Mary with the dead Christ supported by two angels, which closely follows a drawing attributed to Michelangelo Buonarrotti dated between 1538 and 1544 and preserved in Boston (Isabella Stewart Gardner Museum). It should be remembered that, by the mid-sixteenth century, Michelangelo's Pietà to which we refer was widely known thanks to drawings, reliefs, engravings, etc. There is also evidence of a bronze peace-bearer made with this image (the one preserved in the Basilica della Santa Casa in Loreto is considered to be the only known example dated 1586), which gave rise to a notable production in Rome at the end of the 16th century, full of prominent foundries among which Jacopo (who worked with Michelangelo) and Ludovico Duca would stand out, linked to some of these peace-bearers. It is also worth noting the similarity of the architectural composition of this piece with the entrance to the façade of the church of Santa Maria di Trivio in Rome, a work by Jacopo del Duca carried out between 1573 and 1575. Compare this piece with the gilt bronze peace-bearer in the Bernard d'Agesci Museum in Niort, France (inventory 914.1.94), with another associated with the circle of Stefano Maderno preserved in a private collection (different handle to this one), with the aforementioned one from Loreto and with another, with openwork exterior decorative elements, also in a private Italian collection.

· Size: 11x5x17 cms.
ANTIQUES

Ref.: ZF1166
BASE. WOOD. SPANISH SCHOOL, 17TH CENTURY.

Base. Carved and gilded wood. Spanish school, 17th century. Base for sculpture made of carved and gilded wood, rectangular and flat, slightly raised on circular legs and decorated on the front and sides with carved plant and architectural elements with a clear classicist influence and baroque lines. The upper part has exposed wood, and when turned over, you can see that the back is ungilded and hollow. Weight: 9.5 kg.

· Size: 63x44x23 cms
ANTIQUES

Ref.: ZE347