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TWO RELIEFS, EVANGELIST SAINTS JOHN AND MATTHEW. POLYCHROMED AND GILT ...

Pair of reliefs, Saint John and Saint Matthew. Polychrome wood. Possibly from the Burgos school, 16th century. A pair of reliefs carved and polychromed from wood, each depicting a seated human figure writing, surrounded by books and accompanied by another figure. One, with black hair and a beard, is accompanied by a winged child figure offering him an inkwell; the second, younger (beardless) and with blond hair, is shown engrossed in a parchment, while an eagle, perched on one talon, offers him an inkwell. As is typical of this subject matter, each Evangelist is usually accompanied by their corresponding figure from the four that make up the Tetramorph. Thus, Saint John is shown with the eagle and Saint Matthew with the winged man. Both are depicted surrounded by books, in interiors decorated with gilded furniture and seated on high-backed chairs or thrones. Note the vegetal scrolls on the books, furniture, and walls, accompanied by candelabra motifs and fish or dolphin heads, in compositions reminiscent of those found in Renaissance works. This classical influence can also be seen in the figures (faces, drapery, anatomy, posture, etc.) and in their surroundings (for example, the moldings and volutes on the seats and desks, or the aforementioned decoration of the book bindings that appear in both works). The iconography appearing in this pair is common in Spanish art of the period, often located in the lower part of altarpieces (Main Altarpiece of Foncea, Burgos school). Compare, for example, with the Saint John the Evangelist of the Main Altarpiece of the Assumption of Ullíbarri Viña (attributed to Juan de Ayala II, painted before 1579 by Juan de Oñate) in the Basque Country, where three books also appear in a low space in the background; or, to see a different composition, with the group of four Evangelists attributed to Felipe Bigarny (dated between 1501 and 1525) of the Castilian school in the National Sculpture Museum (Valladolid); or with the relief of Saint Mark from the altarpiece of Saint Eulalia of Markinez or Marquinez of the Diocesan Museum of Sacred Art of Vitoria-Gasteiz (its sculpture attributed to the workshop of Juan de Ayala II and the polychromy to Santos Corres, the sculpture dated to the second half of the 16th century and the polychromy to 1747). In addition to Felipe Vigarny, in the Burgos area it is necessary to take into account Bartolomé Ordóñez and Diego de Siloé (two of the most important names of the first third of the 16th century), along with masters such as Juan de Balmaseda, Andrés de Nájera, Juan de Juni (who also worked in the city), etc.

· Size: 72x4x99 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0662A
VIRGIN WITH CHILD. POLYCHROMED WOOD. SPANISH SCHOOL, 13TH CENTURY.

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

· Size: 28x20x90 cms
ANTIQUES
SCULPTURE

Ref.: ZE087
SAINT HUBERT OR SAINT EUSTACE. GOLDEN AND POLYCHROMED WOOD. SPANISH S...

Possibly Saint Hubert or Saint Eustace. Carved, polychromed, and gilded wood. Spanish school, 16th century. Polychrome and gilded wood carving, simply roughed out on the back, showing a richly dressed young horseman, wearing a flat hat, and with a falcon on his right arm, his hand covered with a glove. Iconographically, it could be a secular sculpture, perhaps of a nobleman hunting, given that it lacks a halo and there are no other identifying features. However, it could also be a saint. In that case, it might be Saint Eustace of Rome, a Roman general martyred in the Italian capital during the persecutions of Emperor Hadrian in 118 AD. He converted when, while out hunting, he saw a stag with a crucifix between its antlers, illuminated by a bright light, and heard a voice warning him. This vision also appears in the lives of Saint Felix of Valois (canonized in 1666), who had it while walking, and Saint Hubert of Liège (a Merovingian nobleman who took up hunting after his wife died, and had the aforementioned vision while hunting on Good Friday, with a voice that told him, "Hubert, if you do not return to the Lord and lead a holy life, you will go to hell," and instructed him to seek out Lambert, Bishop of Maastricht. Hubert converted, renounced his office, and gave his wealth to the poor). Saint Hubert died in Tervuren, Brabant, and his remains ended up in Andain Abbey, in the present-day town of Saint-Hubert, but were lost in the 16th century (until then, the abbey was a very important center of pilgrimage). The importance of this saint was increased by several Military Orders that took his name in the 15th century; furthermore, Philip IV of Spain considered him a patron. Normally, these saints (Saint Eustace and Saint Hubert) appear accompanied by a stag with the cross or a Crucifix between its antlers, as this is the most significant moment in their lives. However, when more space was available or when their story unfolds across several periods, it was not uncommon to depict them with a horse: the portal of the Chapel of Saint Hubert in Amboise (a chapel built between 1491 and 1496) shows the saint beside a horse and kneeling before the stag; two works are held in the Metropolitan Museum of Art in New York: a French relief from the early 16th century with the saint on horseback (inventory 25.120.284) and a half-bead from the early 16th century in the Netherlands, also showing the saint mounted. Representations of Saint Eustace are less numerous, in principle. Stylistically, the work does not show much Hispano-Flemish influence (although the saint was very popular in Northern Europe). Furthermore, compare the attire: the hat is similar to the one worn by the portrait of John Calvin in the engraving attributed to Hans Holbein the Younger (ca. 1497-1543).

· Size: 64x20x77 cms
ANTIQUES
SCULPTURE

Ref.: ZF0950
CLOCK SET. BRONZE, ROUGE GRIOTTE MARBLE, GLASS. FRANCE, 19TH CENTURY, ...

Clock garniture and two candlesticks. Bronze, rouge griotte marble. France, 19th century, after models by Clodion. A set or garnish consisting of a table clock and two two-light candlesticks, crafted from burnished and gilded bronze and rouge griotte marble, among other materials. The clock, raised on legs, has a marble base embellished with gilded bronze elements in a strong classical style, as is the rest of the decoration. Its Parisian movement is housed within a rectangular case of bronze and clear glass, topped with a composition of flowers, leaves, and a torch. The dial (white with Arabic numerals for the hours and minutes every 15 minutes, set against a floral garland) is signed “P. Lombardi / AParis.” Beside this gilded structure stands a dark burnished bronze child figure with wings on its back. The two candlesticks, raised on legs and bases of the same marble and embellished with a chain of gilded bronze pearls, feature dark burnished bronze figures and two “branches” of grapes, each ending in a candle holder with a garland. The two candlesticks, featuring a satyr and Bacchus (or Bacchante), are inspired by pieces created by Claude Michel (1738–Paris, 1814), a French sculptor known as Clodion. Clodion received numerous awards, including the Grand Prize for Sculpture from the Académie Royale in 1759 and the Prix de Rome in 1762, and was highly regarded for his work. The satyr in this pair closely follows models by the master (compare it to Satyr Running with an Owl, created between 1770 and 1780, Cleveland Museum of Art), and several examples of candlesticks with figures like these are known (with variations in the lighting and bases). The Cupid on the table clock is also inspired by Clodion's reliefs and sculptures, but what is striking about this arrangement is that it is quite unusual to combine candlesticks with these figures and the clock with its own in a single set. Weight: 16 kg (clock); 6 kg (candelabras).

· Size: Reloj 28x24x45 cms. Cand. 18x13x31 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0790
CHILD JESUS SAVIOUR OF THE WORLD, HISPANO-PHILIPPINE.IVORY. 17TH CENTU...

Infant Jesus of the Globe. Ivory. Hispano-Philippine School, 17th century. The Christ Child, carved from polychrome ivory in certain areas, rests on a carved and gilded wooden base. The base features pronounced curves and movement, and a carefully crafted decoration of plant motifs. Iconographically, this figure of the Christ Child standing, holding the Orb of Creation in one hand and blessing with the other, is known as the "Child with the Orb," and it has a strong connection to the Salvator Mundi, known from paintings such as Leonardo da Vinci's, but already quite common by the end of the European Middle Ages (the adult Salvator Mundi appeared in Northern Europe in the second half of the 14th century). This particular piece reflects the popularization of numerous iconographies of the Christ Child during the Baroque period. Nudity is common in this type of sculpture, as these works were intended to be clothed and adorned with velvets, silks, embroidery, silver, and so on. Aesthetically, it is related to examples of the 17th-century Spanish Baroque school. Note the hairstyle, which has a slight resemblance to the works of Martínez Montañés, to name one. Compare, for example, with the Children preserved in the "Ivory Room" of the Museum of Mexican History in Monterrey (Nuevo León, Mexico), or with the 17th-century Filipino ivory Child Jesus in the Museum of the Americas in Madrid, or the 18th-century Hispano-Filipino Child Jesus from the Patricia Phelps de Cisneros Collection, housed in the Middlebury College Museum of Art (Vermont, United States). Religious carvings made of ivory were doubly valued for the prestige and richness of the material and for their subject matter in an era like the Baroque, which, like all periods, was focused on the defense of Catholicism in some areas and eager to display power and influence. In this particular case, the "exotic" factor must also be considered, as it is a Hispano-Philippine piece: alongside the Peninsular influence, it is possible to see the "touch" of Filipino artists (Chinese settled in the islands, local artists, etc.) in these works, with their somewhat slanted eyes, prominent eyelids, and other features. While these sculptures were sometimes made and commissioned for private chapels of the upper classes of the time, it is common for them to have been preserved in important religious centers, where they were found as donations. It has CITES certification. Valid for the European Union.

· Size: 11x11x29 cms. Altura ni±o 20 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0601
”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. This polychrome terracotta figure with gilded details depicts two male figures on a simple pedestal. The figure on the left wears a Franciscan habit (with a small red mark on his right hand) and embraces the figure on the right in a fraternal embrace, as equals. The figure on the right wears a dark cloak (decorated with fine gold lines forming a net) over a white habit adorned with abundant flowers and gilded elements, and a star in slight relief on his forehead. These figures represent Saint Francis of Assisi, with the stigmata on his hand, and Saint Dominic, both wearing their respective habits. The story, told with remarkable economy of words (which demonstrates the quality of the work), recounts 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 Encounter." According to tradition, Saint Dominic had a vision in which Mary implored Jesus for humankind, pointing to both of them as servants of God; the following day, Saint Dominic met Saint Francis in the church in Rome, recognizing him as his companion, and they embraced and kissed. This piece still shows Baroque influence, but already hints at a certain Neoclassical influence in some details, while maintaining the distinctive characteristics of its school. Compare it, for example, with the "Embrace" in the Monastery of Santo Tomás in Ávila by Luis Salvador Carmona, dating from the 18th century. It is also worth highlighting the quality of the modeling and polychromy of the piece, which is in a remarkable state of preservation considering its age and the delicate nature of the material.

· Size: 14x16x26 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1398
SAINT ALOYSIUS DE GONZAGA (TO DRESS UP). POLYCHROMED WOOD, ETC. SPANIS...

Saint Louis Gonzaga, vestment room. Polychrome wood, etc. Spanish school, 18th century. A polychrome wood carving depicting a beardless young man on a rectangular base. His body is black, while his face, neck, hands, and part of his arms are polychrome. This treatment is common in sculptures intended to be dressed (note also the arms, each articulated at two points—shoulder and elbow). An antique metal piece is attached to one ankle, and two nails are in the feet, suggesting an earlier reinforcement and the possibility that the sculpture was carried in processions (another piece with screws is present in the head). As is typical of this type of work in the Spanish school since the Baroque period, the eyes are made of glass. Saint Aloysius Gonzaga (Castiglione delle Stiviere, March 9, 1568 – Rome, June 21, 1591) was an Italian Jesuit priest canonized in 1726 by Benedict XIII, who declared him patron saint of youth. While in the service of Philip II, he married a lady-in-waiting to Queen Elisabeth of Valois. He also served at the Spanish court as a page to Prince Diego, the monarch's heir, but ultimately ceded his rights as firstborn son 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 tending to plague victims in this Italian city. He is depicted as a young man dressed in a black cassock and surplice or as a young page. His attributes are a lily, representing his innocence; a cross, representing his piety and sacrifice; and a skull, representing his early death. and a rosary, referring to his devotion to the Virgin Mary.

· Size: 39x26x134 cms.
ANTIQUES
SCULPTURE

Ref.: ZE427
DIANA OF GABII. BRONZE, MARBLE. RAINGO FRÈRES, FRANCE, CIRCA SECOND HA...

Diana of Gabies. Bronze, marble. Raingo Frères, France, circa second half of the 19th century. Signed on the base. A bronze figure on a stone base depicts a lady wearing sandals, adjusting a draped garment (called a chiton), and raising her arms to fasten a brooch. Her wavy hair is gathered high with a ribbon. The inscription “Raingo Fres.” can be seen on the bronze base, indicating the foundry that produced it. The work is inspired by a marble sculpture also known as the Artemis of Gabii, as it may represent this goddess. It was discovered in Gabii (near Rome, Italy) by Gavin Hamilton (Lanarkshire, 1723–Rome, 1798) on land belonging to Prince Borghese, who sold it to Napoleon in 1807. From that moment on, it became part of the collections of the Louvre Museum in Paris (inventory Ma. 529). The original is attributed to Praxiteles (although there is some doubt about this today). Raingo Frères was founded in 1823 by the four sons of the Belgian watchmaker and metalworker Zacharie Raingo (who moved to Paris in 1813): Adolphe, Charles, Denis, and Dorsant. Established as an industrial and commercial enterprise, the company quickly gained renown for its bronze work, in addition to its reputation as a watchmaker. It created pieces for a number of nobles and royalty, including the Duke of Chartres, King George V of England, and Emperor Napoleon III of France. They exhibited their work at the International Exhibitions in Paris in 1867, 1878, and 1889, winning several awards. Works from this house are held in prominent private collections and institutions such as the National Museum of Decorative Arts (Madrid, Spain), the Victoria and Albert Museum (London), and the Royal Collection Trust. Weight: 37 kg.

· Size: 21,6x24,7x86 cms
ANTIQUES
SCULPTURE

Ref.: ZF1385
”MADONNA WITH CHILD AND ANGELS”. BRONZE AND LAPIS LAZULI. ITALY, 15TH-...

Relief “Virgin with Child and Angels”. Italy, 15th-16th centuries. Bronze in its natural color and gold, lapis lazuli, rock crystal, enamel. At the center of the work, enthroned, is the figure of Mary, with a mantle draped over her shoulders and hair, holding the Child on her knee, who appears to be addressing one of the angels. The Virgin is sheltered by an ogee arch supported by turned columns and visually elevated by a series of steps. This composition achieves a striking contrast: the figure in dark bronze, against the lapis lazuli background, and the gilded bronze of the arch and its exterior. Beneath the steps appears an enameled heraldic shield with a key on an azure background. The kneeling angels flank this figure, and, appearing in dark bronze, visually share the status of religious figures with Mary, while their lower position lends greater prominence to both the Mother and Jesus. The rest of the composition is completed with a delicate landscape: buildings and walls on mountains, clouds in the sky, plants, stones, and so on. Towards the outside, there is another lapis lazuli frame decorated at the corners with appliqués, giving way to the one made of carved and polychrome wood. Lapis lazuli is a semiprecious stone already known in the 7th millennium BC, found in deposits from the Caucasus to Mauritania. From the late Middle Ages onwards, its export to Europe increased, and its use became more frequent both as a pigment in paintings after being ground (resulting in the finest and most expensive of blues, and often of all colors), as well as for painting backgrounds, inlays in works of art, jewelry, and, a little later, in the well-known "hardstone work." The figure of Mary still shows an influence of Gothic models, albeit more European than Italian, along with elements that might already indicate a proximity to the Renaissance: while the nudity of Jesus is already depicted in Gothic works (Fra Angelico's Madonna with Angels), the creation of space through the interplay of drapery in front of Christ can be seen in more advanced paintings (Domenico Ghirlandaio's Virgin and Child, National Gallery, London); the presence of a powerful throne is frequently seen in Italian Madonnas of the Quattrocento (and earlier), but not quite as presented here. As for the landscape, it is necessary to compare it, for example, with that of the fresco of the Condottiero Guidoriccio by Fogliano (Simone Martini, completed in 1328). This is a work of great technical and aesthetic quality, not to mention the materials chosen for its creation, comparable only to outstanding examples worldwide, such as those preserved in the Palazzo Madama in Turin, Italy, where coral also plays an important role. Also essential to mention are works such as the plaque of hard stones (including lapis lazuli) with a bronze relief of Mary and Child, made around 1580-1600 in Italy and held at the Art Institute of Chicago; the “Panorama della Piazza della Signoria” (Jacopo Bilivert, ca. 1599) in the Pitti Museum; and the “Banquet of the Gods,” based on a design by Guglielmo della Porta, held at the Metropolitan Museum of Art in New York.

· Size: 20x22,5x3,5
ANTIQUES
SCULPTURE

Ref.: ZF0123
PAIR OF CHILDREN. POLYCHROMED PINE WOOD. 18TH CENTURY.

Pair of children. Polychrome pine wood. 18th century. Pair of polychrome pine wood carvings depicting two children playing a wind instrument, both seated, with their hands towards their face, and slightly raising one leg to add some movement to a posture that might otherwise be too static. Judging by their postures and attitudes, they would form part of a large and high-quality altarpiece, considering the carving, details, hair, proportions, etc., elements in which musical angels were not uncommon. Note that those present do not have wings, being called "putti" in these cases, and being, likewise, figures of common presence in religious settings despite having emerged from Renaissance classicism and its sources in Antiquity. The proportions of the figures, the anatomy, the symmetry, the almost plastic quality of the hair, etc., are elements that point to a Neoclassical influence on these sculptures. Likewise, a certain resemblance to 18th-century works from the Castilian school can be observed.

· Size: 22x42x85 cms / c/peanas 37x37x180 cms
ANTIQUES
SCULPTURE

Ref.: ZF0594
”RESSURRECTION”. POLYCHROMED WOOD. SPANISH SCHOOL, 16TH CENTURY.

Resurrection of Christ. Carved and polychromed wood. Spanish school, 16th century. On one side of the piece is a relief depicting the Resurrection of Christ: Jesus, clothed in the golden shroud, appears amidst a beam of light and clouds, standing on the tomb and raising one arm while holding in the other hand a staff topped with a cross and a banner waving in the wind; below are four soldiers in various poses and attitudes. The other side shows a chalice with a Sacred Host (in which a Crucified Christ appears flanked by the Virgin and Saint John in grisaille), held aloft by two angels; all the elements are set against a gold background, in a space surrounded by clouds; to one side is a piece of wood that would originally have held a lock, and to the other are the remains of two hinges. This last element suggests that the relief was likely a tabernacle door. The piece follows a style typical of Renaissance and Baroque tabernacles. Compare it, for example, with the 17th-century tabernacle on the high altar of the Church of the Monastery of Santa Isabel in Madrid, or with others held in private collections. The Resurrection scene, in details such as the variety of poses of the soldiers, the anatomy of Christ, the movement of the shroud around his body, etc., is reminiscent of outstanding pieces such as the 16th-century Renaissance relief in the Museum of the Cistercian Abbey of Cañas in La Rioja. Although these are parts of an altar with varied themes, the emphasis is always on Salvation, as they are intended to contain the Sacred Host.

· Size: 32x5x52 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0280
ADORATION OF THE SHEPHERDS. POLYCHROMED WOOD. COLONIAL SCHOOL (POSSIBL...

Adoration of the Shepherds. Carved and polychromed wood. Colonial school (possibly Viceroyalty of Peru), 18th century. It has faults. Fragment of a carved, polychrome, and gilded wooden altarpiece depicting a figurative scene within a rectangular space crowned by a semicircular arch. In the upper section, angels emerge from clouds holding a scroll on which some of the original text is still visible; below, a red roof partially covers vertical structures with a classical influence. In the lower section, four shepherds are depicted with a donkey and an ox. The Christ Child is positioned in the center (note that the halo resembles a cradle, or vice versa), with the Virgin Mary and Saint John at his side, their hands clasped in prayer. Iconographically, it is clear that this is the Adoration of the Shepherds. In sculpture, the school of the Viceroyalty of Peru is considered to have emerged with the establishment of the viceroyalty in 1542 (and to have disappeared in the 19th century). As was typical, in its beginnings it owed much to the influence of Spanish art (especially the Sevillian school), eventually acquiring a strong identity of its own thanks to the work of indigenous masters, religious orders, and others. The main artistic centers were often Lima (the viceroyalty's capital), Quito, and Cusco (from the second half of the 17th century onward, this area would become known primarily for its dressed religious images).

· Size: 63x7x140 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1483
ESCUTCHEON. ALABASTER. SPAIN, 17TH CENTURY

Heraldic shield. Carved alabaster. Spain, 17th century. A quartered shield with seven Moor's heads facing the center, each adorned with a crest, and a bird in the crest. The first quarter is checkered with chains in rows of three and five; the second quarter is quartered with rooks and chevrons, each bearing a pendant; the third quarter is a saltire surrounded by seven saltires; the fourth quarter has three horizontal bands. The shield is surmounted by a plumed knight's helmet facing left, flanked by a composition of grotesques with busts, volutes, and architectural elements above the hats of the human figures; below, another bust flanked by vegetal and architectural elements. The composition corresponds to typical models of the 17th century, maintaining a marked classicism. Compare, for example, with that of the Casa de Begoña in Agurain, one in the Barrio del Cantero in Barcenillas (Cantabria), etc.

· Size: 103x110 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0793
FRIEZE. POLYCHROMED PINE WOOD. 16TH CENTURY.

Frieze with reliefs. Carved and polychromed pine wood. 16th century. Rectangular frieze of carved, gilded, and polychromed pine wood decorated with figurative reliefs. An architectural piece with a garland serves as the axis for the symmetrical composition, formed by horses turning their heads and biting a cloth and two wingless children or putti pulling this cloth, which ends in fruit, thus joining the ends with the center of the piece. Both in its iconography and in its anatomy, composition, and colors, one can appreciate the influence of the Italian Renaissance, with variations that may be due to its being a Spanish creation. Compare, for example, with the engraving by Johann Theodor de Bry in the Metropolitan Museum of New York, dated between 1580 and 1600, or works by Paolo Farinati; and with Spanish creations such as carvings in the Ducal Palace of Pastrana (second half of the 16th century), works by Alonso de Covarrubias, the Renaissance portal of the Church of the Assumption in Beteta (Cuenca), etc.

· Size: 96x9x20 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0565
PAIR OF ANGELS. POLYCHROMED WOOD. SPANISH SCHOOL, 17TH CENTURY.

Pair of torch-bearing angels. Carved and polychromed wood. Spanish school, 17th century. They present faults. A pair of polychrome wooden sculptures depicting two angels, each raising an arm and standing on clouds with winged heads, following models common since the Renaissance. Known as lamp-bearing or thurifer angels, these sculptures were typically placed on important altars to hold lamps or censers, and were often identified as angels or archangels. Compare, for example, with 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
SCULPTURE

Ref.: ZE130
PAIR OF NICHES. PINEWOOD. 17TH CENTURY.

Pair of niches. Carved pine wood. 17th century. Pair of altar fragments or niches made of carved pine wood that are decorated with a series of important carvings with a lot of volume of vegetal themes, volutes, ropes, architectural details, cloths, etc., arranged symmetrically around the semicircular arch that acts as the central organizing element of the work and a shell located at the top. These types of pieces were used in the creation and construction of altars in churches, and it is possible that those with niches were part of an altar distinguished by its size and the quality of its carving. Certain similarities can be found between this work and other Spanish pieces, such as the 18th-century niche altarpiece of the Julio Visconti Painter Foundation (Guadix, Spain), the altar of the Adoration of the Magi in the Church of the Monastery of Sancti Spiritus el Real (Zamora, Spain), and elements of some altars in Cuenca Cathedral (especially part of the main altarpiece in the main sacristy), etc.

· Size: 75x30x230 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0498
SAINT DREAMING. POLYCHROMED WOOD. FLEMISH SCHOOL, 16TH CENTURY.

Dream of a Saint. Carved and polychromed wood. Flemish school, 16th century. Relief made of carved and polychromed wood showing an old man with a particular headdress (reminiscent of some chaperones) lying in a bed and accompanied by two friars dressed in habits, who are talking to each other. Iconographically, the figure of the old man reclining in bed (note the cushion that raises his upper body, following the common practice of the time), who is not (likely) dead because he is not lying completely flat, is reminiscent of how figures such as Saint Anthony and Saint Jerome were often depicted. It is unlikely to be the subject of the Passing or Death of Saint Francis of Assisi due to the absence of the Stigmata and his age. It would have formed part of a cycle of scenes in a church altarpiece, an arrangement that would provide the viewer with further clues about the identity of those represented. Stylistically, Flemish sculpture, along with that of Germanic countries, developed with a realism evident in every ornamental detail. The sculptural work was presented almost as goldsmithing, applied to the large wooden altarpieces. In general, the Netherlands had reached such a high level of artistry during the Gothic period that the acceptance of the Italian Renaissance was delayed. Weight: 3 kg.

· Size: 36x6x36,5 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1174
VIRGIN WOMAN WITH CHILD, 17TH TO 18TH CENTURIES

Spanish school of the late 17th – early 18th century. “Virgin with Child”. Carved and polychrome wood. A devotional image carved in the round and polychromed, belonging to the late Spanish Baroque period. It is a monumental sculpture with large, monolithic figures, their volumes emphasized by the voluminous folds of Mary's robe. The Virgin stands holding the Child in her lap, in a naturalistic pose, full of movement. To balance the Child's weight, Mary leans back, while Jesus leans forward, thus balancing the composition. The Child raises his right hand in blessing, while his other hand rests on a sphere, a symbol of the universality of Christian doctrine and Christ's redemptive act. Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and the deepest feelings that resided within them. With the state economy broken, the nobility in decline, and the high clergy burdened with heavy taxes, it was the monasteries, parishes, and confraternities of clergy and laity that drove its development, with works sometimes financed through public subscription. Sculpture was thus compelled to embody the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded that art employ a realistic language so that the faithful could understand and identify with what was represented, and an expression imbued with intense emotional content to increase the fervor and devotion of the people. Religious subjects are therefore the preferred theme of Spanish sculpture of this period, which in the first decades of the century started with a priority interest in capturing nature, gradually intensifying throughout the century the expression of expressive values, which it achieves through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

· Size: 32x26x70 cms.
ANTIQUES

Ref.: Z2514
LION AND CUPID. BRONZE. FERVILLE-SUAN, CHARLES GEORGES (FRANCE, 1847-1...

Cupid and the lion. Bronze. FERVILLE-SUAN, Charles Georges (France, 1847-1925). Signature on base. A bronze sculpture depicts a lion walking with its mouth open, flanked by a semi-nude child wearing a helmet and a strap over his shoulder to hold a quiver of arrows (identifying him as Cupid, the deity of classical mythology associated with love and son of Venus). The surname “FervilleSuan” is engraved in one corner of the rectangular base. Charles Georges Ferville-Suan, the adopted son of the painter Charles Suan, was a French sculptor who trained at the École Nationale Supérieure des Beaux-Arts in Paris under François Jouffroy. Well-known for his medallions and small statuettes in marble, plaster, or bronze, he exhibited his work at the Paris Salon between 1872 and 1909. Weight: 13 kg.

· Size: 31x17x33 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1506
CHILD JESUS. IVORY, WOOD. 18TH CENTURY.

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

· Size: 12x9x30 cms. Ni±o 9x6x22 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0756
GILDED BRONZE PROCESSIONAL CROSS TOP. 20TH CENTURY, AFTER EARLIER MODE...

Processional cross finial. Gilt bronze. 20th century. A Latin cross with straight arms, decorated with tongues between moldings on both sides, rays at the intersection of the arms, and polylobed finials reminiscent of fleur-de-lis decorated with flowers and palmettes at the ends; on the obverse, Christ crucified with a halo of rays and a loincloth; on the reverse, the Virgin Mary with a halo, standing in prayer. The knot is composed of several elements (moldings of varying radii, etc.), among which a central circular body stands out, enhanced with a small cresting and reliefs depicting the four Evangelists accompanied by their Tetramorph element and set in landscapes. As can be seen in several elements, the piece is inspired by past styles.

· Size: 56x36x108 cms
ANTIQUES
SCULPTURE

Ref.: ZF0612
CROWN OR CREST. PINEWOOD. 17TH CENTURY.

Finial. Carved pine wood. 17th century. The finial or crest is made of carved pine wood in its natural color with a human bust in the center, positioned holding two volutes and thus creating an axis of symmetry for the elaborate composition of the piece, based on flowers, plant motifs, architectural details, etc., with a certain classicist influence and a lot of movement and depth. The fact that the back is not detailed suggests that this relief may have originally been part of a large altarpiece, given the size and quality of the piece. Both the movement and the decorative elements of the composition link the work to the Spanish Baroque.

· Size: 117x65x45 cms
ANTIQUES
SCULPTURE

Ref.: ZF0499
PAIR OF CARVED WOODBRACKETS. VENICE, 19TH CENTURY.

Pair of carved wooden brackets. Venice, 19th century. Pair of 19th-century figurative corbels, carved in the round from 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 their molded profile and Baroque-inspired design, featuring numerous recesses and projections, rise above two vegetal herms in the Classical style. The lower portion, shaped like a corbel, is adorned with large acanthus leaves, delicately carved, giving them a soft, mellow appearance. This style departs from the general Classical inspiration, leaning towards the naturalism of Art Nouveau. From these corbels emerge the busts of two winged cherubs, childlike figures sculpted in the round with grace and attention to detail, possessing a delicate dynamism. The two putti are depicted in the same pose, with one arm flexed across their chest and the other raised above their heads. They form a symmetrical composition, each a mirror image of the other. The high quality of the carving of these pieces is especially evident 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 adorning their torsos reflects meticulous, naturalistic, and exquisite attention to detail.

· Size: 25x15x48 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1229
FIGURE FOR HOLDING A CANDLE. POLYCHROMED WOOD, WROUGHT IRON. CASTILLIA...

Torchbearer figure. Carved and polychromed wood, wrought iron. Castilian School, 16th-17th centuries. This carved and polychromed wooden sculpture, set on a simple base, depicts a semi-nude male figure holding a cloth that covers the lower part of his body in front and aloft a wrought iron cone for a candle. The nudity, the study of anatomy, the contrapposto, and the twist of the torso and waist suggest a classical influence on the sculpture. The movement conveyed by the pose is also noteworthy, with one foot placed behind the other and turned in relation to it, and the waist slightly twisted. Wood was the most frequently used material in Spanish Renaissance sculpture, typically finished with polychrome, gilding, and brocade. It wasn't until the second third of the 16th century that sculptors emerged in Spain who reached great heights in the Spanish Renaissance. Inspired by Italian forms, they contributed their own national style, creating distinct schools and showing a clear preference for polychrome and brocade wood. During this period, one of the main workshops was in Valladolid, with names like Alonso Berruguete and Juan de Juni. Later, art evolved towards a classicist or Romanist Mannerism, with a significant influence from Italian masters, particularly Michelangelo, and artists such as Gaspar Becerra, Esteban Jordán, and Juan de Ancheta.

· Size: 18x18x48 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0461