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POLYCHROMED AND “ESTOFADA” WOODEN SCULPTURE. “LUKE THE EVANGELIST”. 16...

Polychrome and gilded wood carving. “Saint Luke the Evangelist”. 16th century. A freestanding devotional figure of a bearded man standing with one knee raised to support a tablet on which he writes. Beneath his left leg, a bull lies on the ground, looking towards him. The drapery reveals the gold base of the brocade decoration. Saint Luke is frequently depicted as a mature, bearded man, accompanied by the Tetramorph, the animal with which he is associated (Revelation 4:6-7), an element also derived from a verse in the Book of Ezekiel (1:10). The act of writing alludes to his authorship of one of the Gospels, although the Acts of the Apostles are also attributed to him. The image belonged to an altarpiece, which explains why the back is only sparsely worked and polychromed, and it was displayed either alone or as part of a scene such as the Last Judgment. Stylistically, the gilding and design of the sculpture retain details from the Gothic tradition. However, the figure's accurate anatomy, the restrained movement conveyed by the drapery and posture, and the naturalism and expression of its face link the work to the Renaissance. In Spain, this artistic style was introduced throughout the 16th century, with significant variations depending on the region and artist. After an initial period in which strong medieval influences persisted, the second third of the century saw the introduction of Mannerism by artists who had traveled to Italy and returned with these innovations. The sculpture is most closely related to this second period, though it still retains medieval details and the restraint of its movement and expressiveness. Compare, for example, the works of Alonso de Berruguete and Juan de Juni, such as the Evangelists Saint Luke and Saint Mark from the Church of Santa Eulalia de Ganuza, now in the Diocesan Museum of Pamplona. It requires cleaning and restoration of polychromy.

· Size: 16x7x36 cms,
ANTIQUES

Ref.: Z6546
GILDED BRONZE PROCESSIONAL CROSS TOP. 20TH CENTURY, AFTER EARLIER MODE...

Finial of a processional cross. 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
VIRGIN MARY (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH CENTURY.

Dressed Virgin. Wood, metal. Spanish school, 17th century. It has faults (hand, etc.). This polychrome wooden sculpture depicts a woman, with her head, neck, and hands meticulously carved and polychromed. She wears a sketched dress, and her arms are left exposed. Iconographically, it is almost certainly a representation of the Virgin Mary, crafted in this manner to be dressed and adorned with embellishments (hence the detailed work on the skull). The folds on the forehead, unusual in this type of work, are particularly noteworthy, resembling clothing. She wears a closed royal crown. Dressed sculptures were very common during the Spanish Baroque period. Some works had only the unseen portions roughly hewn, while others were entirely carved, with many intermediate steps (as in the present case). Examples include the Saint Anthony Abbot by Benito Silveira, created in the second half of the 18th century and housed in the National Sculpture Museum of Valladolid, and an 18th-century Saint Francis of Paola in the Carmen Museum of Maipú (Santiago, Chile), among others.

· Size: 44x28x86 cms
ANTIQUES
SCULPTURE

Ref.: ZF1182
ALLEGORIES. BRONZE, MARBLE. DEVAULX, FRANÇOIS THÉODORE. FRANCE, 19TH C...

Allegorical figures. Bronze, marble. DEVAULX, François Théodore. France, 19th century. Inscription (lower area of male figure). A pair of bronze figures on circular bases of veined marble depict two figures, one male and one female, both semi-nude and raising one arm in an almost dancing pose. The young woman holds a tambourine and a bunch of grapes, and also has vines draped over her body. The young man carries an object in his arm. The inscription “de Vaulx” appears at the bottom of the male figure. François Théodore Devaulx (or Théodore-François Devaulx; Paris, 1808–1871) was a French sculptor trained at the École des Beaux-Arts in Paris. The sculptures on which the present pair is based are attributed to him. These small-scale works were highly valued in the 19th century, used to decorate important houses and palaces, with French examples being particularly prized for their variety of styles and the quality of their castings and compositions. Weight: 21.55 kg.

· Size: 18x18x59 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1452
PORCELAIN CENTREPIECE. VOLKSTEDT, RUDOLSTADT, GERMANY. CA END 19TH CEN...

Centerpiece. Volkstedt, Rudolstadt, Germany. Towards the end of the 19th century. Glazed porcelain. A circular centerpiece raised on simple legs displays a delicate, multi-tiered composition. The children are arranged using a large stone and a log; at the top, one child wears a purple sash and holds flowers; below, four others, also semi-nude, hold cups, flowers, etc. Both the figures and the composition show a clear influence of Neoclassical models. This same relationship explains the subject matter: it is a series of figures linked to classical mythology, a pleasant and secondary theme (only hinting at a slight connection to a bacchanal through a cup that is presented), highly valued for the opulent interiors of the period for maintaining the decorum demanded by the time. The factory's signature is located at the bottom center, clearly visible, and in shades of blue, with a signature (Marion) "engraved" below it. The Volkstedt factory, located in Rudolstadt (Thuringia, Germany), was founded following an official request made in 1760 by Georg Heinrich Macheleid, who had worked at the Glücksthal glassworks and had developed the porcelain formula independently, without contact with the Meissen ceramists Ehrenfried Walther von Tschirnhaus and Johann Friedrich Böttger. The charter was granted in 1762 by Johann Friedrich (Prince of Schwarzburg-Rudolstadt), specifying that it be established at that location, near his court and under his personal direction. After several changes of ownership over the years, it remains in operation today.

· Size: 34x34x56cms.
ANTIQUES
SCULPTURE

Ref.: ZF0144
BITE. BRONZE, MARBLE. FRANCE, CIRCA LATE 19TH CENTURY.

Grip. Oxidized bronze, marble. France, towards the end of the 19th century. A burnished bronze sculpture on an oval base of veined green marble depicts two lionesses or panthers locked in combat, one biting the other's neck, both with claws, limbs, and muscles tense. The quality of the design and composition, as well as the modeling and casting, is remarkable, revealing a number of striking details. The engraved base bears an inscription linked to Clovis-Edmond Masson (Paris, France, 1838–1913). Trained by Antoine-Louis Barye, Rouillard, and Santiago, he regularly exhibited his work (primarily animal-themed, almost always using bronze, wax, or plaster) at the Paris Salon between 1867 and 1909. Thanks to the popularity and quality of his work, numerous bronze figures were created for the interiors of prominent residences. Currently, his most highly valued works are those depicting felines in violent or powerful poses, which seem to foreshadow the style that became common in this type of art in France between 1910 and 1930.

· Size: 65x23x38 cms.
ANTIQUES
SCULPTURE

Ref.: ZF0930
BRONZE CAPITALS WITH BASES, FOUR SETS. SPANISH SCHOOL, 20TH CENTURY.

Capitals with bases, four units. Bronze. Spanish school, 20th century. Origin: Caryatids Building (former Spanish Bank of the River Plate; headquarters of the Cervantes Institute), Calle Alcalá, number 49 in Madrid (Spain). Four capitals with their respective bases, made of bronze, show a clear classical influence in their moldings, lines, and decorative elements. However, the arrangement of these motifs and other details reveals an evolution or departure from these 19th-century classical models (volutes, stepped elements, etc.). They come from a building located at Calle Alcalá, number 49, in the city of Madrid (Spain), known as the Edificio de las Cariátides (Building of the Caryatids), which was built as the headquarters for the Banco Español del Río de la Plata by Antonio Palacios Ramilo and Joaquín Otamendi between 1911 and 1918. It was expanded and renovated between 1944 and 1953 (architect Manuel Cabanyes), and has been the headquarters of the Instituto Cervantes since 2006. Weight: 534 kg. Price per unit

· Size: 63x63x75 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1436
CHILDREN’SDANCE WITH THE GOD PAN. BRONZE. AFTER FAYDHERBE. POSSIBLY 19...

Children's dance with the god Pan. Bronze. Following models by Lucas Faydherbe (1617-1697). Possibly 19th century. A bronze plaque with a figurative relief depicts a natural landscape with trees to the left and an overturned basket of flowers in the foreground. A group of naked children are arranged dancing, linked by their hands in clusters; the figures in the foreground are prominent, while those in the background are barely sketched, creating a sense of space. Towards the center of the scene, a male figure with horns and goat's legs, identified as Pan, son of Jupiter and the nymph Callisto, plays a flute. In classical mythology, Pan was associated with the wilderness. This god, especially venerated in Arcadia, is associated with shepherds and flocks and often appears in scenes linked to Bacchus (Dionysus). This work is closely inspired (note the initial F in the lower left corner, which, along with an L, also appears in the original; there are differences between the two) by a carved ivory relief in the Prado Museum in Madrid (catalog number E000257). It was owned by the painter Rubens and is the work of Lucas Faydherbe (Mechelen, Belgium, 1617 – Mechelen, Belgium, 1697), who worked as an assistant or pupil in Rubens's workshop four years before the latter's death. The terracotta sketch is held in the Royal Museums of Art and History in Brussels and shows slight variations from this Prado original. Note that the Royal Academy of Fine Arts of San Fernando in Madrid holds a plaster cast of the original work (Model from the Casting Workshop, inventory M-903), which features a capital F in the lower left corner, as in this bronze relief. Weight: 6350 grams.

· Size: 54,5x5,5x28 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1510
COLUMN. POLYCHROMED AND GILDED WOOD. 16TH CENTURY

Column. Carved, polychrome and gilded wood. 16th century. A carved and polychrome wooden column features a capital reminiscent of the Composite order of classical antiquity (volutes, acanthus leaves in tiers, etc.), a series of moldings separating the shaft from the other elements, a fluted shaft with a band at the bottom featuring figurative elements and interlacing patterns, and a base with prominent upward-pointing volutes and plain moldings at its corners. The aforementioned frieze displays a series of figures with fabric hangings behind them as the sole backdrop, carrying various objects (flowers, one with a tower with three windows that could be linked to Saint Barbara, etc.). In some details it is reminiscent of columns from other outstanding works such as the Main Altarpiece of Our Lady of the Assumption of Tudela de Duero in Valladolid (last quarter of the 16th century-beginning of the 17th century, with designs by Manuel Álvarez and Francisco de la Maza); the Main Altarpiece of the Cathedral of Astorga (1558-1584, following the architectural designs of Gaspar Becerra) has fluted columns with the lower part decorated with figurative reliefs; this detail is also present in the altarpiece of the Virgin Mary of Corcos del Valle (last quarter of the 16th century); etc.

· Size: 28x28x90 cms
ANTIQUES
SCULPTURE

Ref.: ZE239
BRONZE “WOUNDED FIGHTING BULL”.

Bronze sculpture, “Wounded Bull”. Signed “F. Bonilla Villalba” on the base. On a wooden base stands the figure of a bull after the final stages of the bullfight, depicted with the banderillas and the sword, as evidenced by the elements used in both: three banderillas and the sword. Thanks to the artist's exceptional skill, one can clearly see both the moment when the bull is about to die and bellows, and the blood flowing from its wounds. The drama is heightened by the unique treatment of the animal's hide.

· Size: 55x27x40 cms.
ANTIQUES

Ref.: Z6180
PAIR OF RELIEFS; GROTESQUE OR CANDELIERI. POLICHROMED AND GILDED WOOD....

Pair of reliefs; grotesques or candelabra. Carved, polychrome and gilded wood. 16th century. A pair of reliefs made of hand-carved, gilded, and polychromed wood, each depicting a winged cherub's head (or putti) positioned on a vertical element that serves as the axis of symmetry for the relief's composition. The remaining motifs include scrolled leaves, floral and vegetal details, interlacing patterns, and moldings, all clearly influenced by classical art. The background is devoid of any decorative elements, either carved or painted, thus allowing the aforementioned elements to take center stage. These types of compositions were very common during the Renaissance throughout Europe, as the "fashion" for grotesques spread from Italy. Compare, for example, with the frieze depicted in an image from Diego de Sagredo's work entitled "Medidas del Romano" (1526, Toledo); details from the Chapel of Santa Librada in Sigüenza Cathedral by Francisco de Baeza (circa 1520); others from the façade of the Escuelas Mayores of the University of Salamanca; the main altarpiece of the Collegiate Church of Torrijos (Toledo), commissioned in 1558 from Juan Correa de Vivar; etc. It should be noted that these decorative motifs would have a long tradition in Spanish art. It is quite possible that the present relief plaque was created to form part of an altar in a church even though it is not decorated with a religious theme (note that the theme of the “winged heads”, often called “putti”, also comes from Italy and is found in both civil and religious works).

· Size: 14x5x22 cms.
ANTIQUES
SCULPTURE

Ref.: ZE238
PAIR OF RELIEVES, HEAD OF ANGEL. POLYCHROMED WOOD. SPANISH SCHOOL, 16T...

Reliefs with angels' heads. Polychrome and gilded wood. Spanish school, 16th century. Pair of rectangular panels with a hanging ring on the back, featuring two deep figurative reliefs on the front. Against a gold background are depicted two winged children's heads, one looking to each side. Note the gilded details on the feathers, arranged in a somewhat heraldic style, and the painterly treatment of the hair. This type of relief was very common in the Spanish school from the Renaissance onward for decorating altarpieces, altars, etc. Weight: 600 grams.

· Size: 32x6x11 cms
ANTIQUES
SCULPTURE

Ref.: ZE371
BRONZE SCULPTURE, HOPE ALLEGORY. AFTER GIAMBOLOGNA, POSSIBLY EARLY 17T...

Hope. Gilded bronze. Possibly early 17th century, following the model of Juan de Bolonia (1529-1608). With inscription on base (“Speransa”). Minor flaws and restoration. A bronze gilt figure with a simple base engraved with the name of the allegory, depicting a young lady, joining her hands in a gesture of prayer, dressed in a tunic and cloak, barefoot and with a crown of leaves on her head. Iconographically, the allegory has been identified thanks to the inscription on the base (“Speransa,” meaning Hope), as it lacks any iconographic attributes beyond the aforementioned gesture of prayer. However, the inspiration and closeness of this figure to the allegory of Hope created between 1582 and 1584 by Giambologna (Douai, 1529 – Florence, 1608) for the Grimaldi Chapel in the church of San Francesco di Castelletto in Genoa is clear. This earlier work, now housed at the University of Genoa, was part of a set of six life-size bronze allegorical figures of Virtues. It is also worth mentioning the existence of several small gilded bronze sculptures made in Europe following models by Giambologna, such as the one in the Victoria & Albert Museum in London (inventory A.60-1956), which is 13.5 cm high and considered a German or Dutch creation from the first half of the 17th century. Weight: 606 grams.

· Size: 5x4,5x18,5 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1523
”SATYR”. TERRACOTTA. AFTER MODELS FROM CLODION, CLAUDE MICHEL (FRANCE,...

“Satyr”. Patinated terracotta. Following models by Claude Michel Clodion (France, 1738-1814). Late 19th-early 20th century. A patinated terracotta sculpture consisting of an oval base decorated with simple architectural elements of classical influence and a tondo with a bust adorned with a garland, and two figures. These figures, reclining at the top, are a satyr (with his characteristic goat-like legs) holding a bunch of grapes, and a young nymph embracing him as she tries to reach the fruit. Compare this sculpture (though not so much the base) with the one entitled “Nymph and Satyr” in the Calouste Gulbenkian Museum in Lisbon, Portugal, attributed to the sculptor Claude Michel, noting the similarities and differences. Pieces similar to this work, also known as “Satyr Feeding a Nymph with Grapes,” are held in several private collections. Claude Michel “Clodion” (1730–1814) was a French sculptor who trained with Lambert Sigisbert Adam and Jean-Baptiste Pigalle. He received numerous awards (Prix de Rome in 1762, etc.) and maintained a prominent workshop in Paris from 1771. While he also produced large-scale works, he is best known for his small-format sculptures in bronze (or other materials such as calamine or terracotta). These works had a significant influence both during his lifetime and long after his death, inspiring countless other works.

· Size: 38x31x40 cms.
ANTIQUES

Ref.: Z5882
ANGEL. METAL. 19TH CENTURY.

Angel. Metal with a silver finish. 19th century. A figure of an angel or archangel made of silver-plated metal, standing on a base resembling clouds. This type of sculpture was common in the 19th century, both for churches and personal altars, either alone holding lamps or censers or as part of a larger composition. Weight: 4.7 kg.

· Size: 20x17x29 cms.
ANTIQUES
SCULPTURE

Ref.: ZE294
VIRGIN MARY (TO DRESS UP). POLYCHROMED WOOD, TEXTILE, ETC. SPANISH SCH...

Dressed Virgin. Carved and polychromed wood, etc. Spanish school, 17th century; clothing added later. Shows damage. Polychrome wooden carving of the type of dressed figure or vestment that has a series of garments: skirt, blouse, veil, etc. Religious sculptures of dressed figures were very common during the Spanish Baroque (and later), there may be cases of works in which the unseen part was barely roughed out and others in which it is all carved, with many intermediate points.

· Size: 26x26x57 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1183
THREE PUTTI AND A PANTHER. BRONZE. FRENCH SCHOOL, 19TH CENTURY.

Three children playing with a wild animal. Bronze. French school, 19th century. Bronze sculpture depicting three children accompanied by a panther. The presence of plant elements (grapes, vines) suggests a possible mythological theme from classical antiquity, perhaps Dionysus riding his panther accompanied by two putti. Stylistically, it is reminiscent of models common in the 19th-century French school, such as those created by Claude Michel "Clodion" (December 20, 1738 – Paris, March 29, 1814). Weight: 8287 g.

· Size: 23x20x32 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1511
BRONZE BUST. “RAMÓN ARANAZ”. BY ANTONIO YERRO FELTRER (VALENCIA, 1842-...

“Ramón Aranaz”. Bronze bust. Antonio Yerro Feltrer (Valencia, 1842-1911). Signed. Founder “V. Ríos”. Bust of Ramón Aranaz (Valencia 1831-Madrid 1898), Valencian businessman, banker, and politician, dressed in a suit and wearing a medal sash across his chest. The sculptor, Antonio Yerro, studied at the San Carlos Academy of Fine Arts in Valencia and won several prizes at exhibitions, such as the National Fine Arts Exhibition of 1884. He was also awarded various decorations in recognition of his artistic merits.

· Size: 27x22x39 cms.
ANTIQUES

Ref.: Z3707
POLYCHROMED WOOD BASE OR PEDESTAL. SPANISH SCHOOL, 17TH CENTURY.

Pedestal. Carved and polychromed wood. Spanish school, 17th century. Rectangular base, made of carved and polychromed wood in shades of gray, decorated with a series of moldings and tori, some plain and others enhanced with a fine relief of vegetal elements and garlands of clear classical influence. A tenon to secure the sculpture placed upon it is used to finish the piece. Weight: 6.4 kg.

· Size: 37x25x44 cms , altura base 23 cms
ANTIQUES
SCULPTURE

Ref.: ZE346
BRONZE PAX OR PAX BOARD. 16TH CENTURY.

Pax bearer. Bronze. 16th century. Bronze pax holder with an S-shaped handle on the back in the same material and a light relief decoration on the front that shows, under an architectural composition that declares classicist influence (semicircular arch with scallop shell inside and scrolls outside, two pilasters with vegetal decoration and a base with heraldry), the Virgin Mary with the Child, accompanied by two angels and placed on a pedestal on which a legend can be seen (AVEREGINA/CELOUM?, in allusion to the Marian antiphon Ave Regina Caelorum, proper to the time of Lent).

· Size: 6.5x3x11 cms
ANTIQUES
SCULPTURE

Ref.: ZF0866
POLYCHROMED WOOD NICHE. 16TH CENTURY.XVI

Niche. Carved and polychromed wood. 16th century. Wall niche with a rectangular front opening topped by a gilded, shell-shaped motif with two polychrome angel heads at the corners, and a dark polychrome space with gilded classical elements (candelabra with grotesques, interlacing patterns, scrolls, etc.). The base has a polygonal finish on the front, with a red edge, like the rest of the piece. This type of pedestal was very common in private oratories in both secular (houses, etc.) and religious (convents, chapels, etc.) settings to display and enhance small-format sculptures. Weight: 850 grams.

· Size: 18x9x47 cms.
ANTIQUES
SCULPTURE

Ref.: ZF1204