Z. Sierra · Antiques and Decorative Objects

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

Processional cross finish. Ormolu. Twentieth century. Latin cross with straight arms with decoration of tongues between moldings on both fronts, rays at the intersection of the arms, and multi-lobed finials recalling the flordelisados decorated with flowers and palmettes at the ends; on the obverse, crucified Christ with a nimbus of rays and a cloth of purity; On the reverse, Virgin Mary with nimbus standing, in an attitude of prayer. Knot composed of several elements (moldings of different radii, etc.) among which a circular central body stands out, enhanced with small crests and reliefs with the four Evangelists accompanied by their element of the Tetramorphs and located in landscapes. As can be seen from several elements, the piece is inspired by styles of the past.

· Size: 56x36x108 cms
ANTIQUES

Ref.: ZF0612
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INFANT JESUS OR JESUS AS SAVIOUR OF THE WORLD. FLEMISH SCHOOL, CIRCA F...

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

· Size: 11,5x7x33 cms.
ANTIQUES

Ref.: ZF1200
SAINT PAUL\'S SCULPTURE. 16TH CENTURY

Spanish school of the 16th century. "Saint Paul". Carved and polychrome wood. Devotional image of a round shape carved in wood, polychrome and gilded, representing the apostle Saint Paul, dressed in a tunic and mantle, with a parted beard, brown hair and a large sword, its main iconographic attribute. In the Middle Ages, numerous corporations were placed under his patronage, due to different aspects of his iconography, life and miracles. However, Saint Paul was never a popular saint, which proves the relative poverty of his iconography. In fact, the role it occupies in art is not proportionate to its importance in the spread of Christianity. In early Christian art his only attributes are a book or a scroll, and in the 13th century his emblem appears, the sword that was the instrument of his martyrdom. Once the clash between tradition and modernity was overcome, and the arrival of the influences of the Italian Renaissance in Spain, the 16th century would be characterized by the great development that religious imagery achieved. Likewise, stylistically there will be a confrontation between the classicist sculptors and those of Flemish affiliation, who were looking for more dramatic and emotional approaches. In this way, the dissemination of the religious image in Spain was based on two fundamental bases. On the one hand, the fact that the Nordic influence constitutes a clearly differentiated alternative to the Italian classicist model; on the other hand, that the emotional sense, which due to its own function the religious image must acquire, will be oriented more to enhance the feeling, to move the faithful, than to follow the rationalist dictates of the Renaissance. So much so, that in Spain the attention to the emotional was more relevant than in the rest of Europe. In this way the image, associated with the word of the preachers, was the most suitable instrument for the indoctrination of the people and for the defense of the canons of the Church, following scholastic and non-humanistic approaches.

· Size: 19x12x39 cms.
ANTIQUES
SCULPTURE

Ref.: Z3024
CROWN OR CREST. PINEWOOD. 17TH CENTURY.

Auction. Carved pine wood. XVII century. Finish or cape made of pine wood carved in its color with a human bust in the center, located holding two volutes and thus creating an axis of symmetry for the elaborate composition that the piece presents, 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 presented without working in detail suggests the possibility that this relief was originally part of an important altarpiece given the size of the piece and its quality. Both the movement and the decorative elements of the composition link the work with the Spanish Baroque.

· Size: 117x65x45 cms
ANTIQUES

Ref.: ZF0499
VIRGIN MARY OR SAINT (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH ...

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

· Size: 33x25x87 cms
ANTIQUES

Ref.: ZF1181
CROWN. POLYCHROMED WOOD. 18TH CENTURY.

Auction. Carved and polychrome wood. Century XVIII. Carved, polychrome and gilded wood finish decorated with a light relief based on lying "ce" volutes joined in pairs at one end and plant elements arranged following a rigid symmetrical composition with a clear classicist influence with movement of lines and a volume not too pronounced.

· Size: 145x10x68 cms.
ANTIQUES

Ref.: Z4926
VIRGIN MARY (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH CENTURY.

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

· Size: 44x28x86 cms
ANTIQUES

Ref.: ZF1182
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MATERNITY. BRONZE. FRANCE, CIRCA LATE 19TH CENTURY. PAUL DUBOIS.

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

· Size: 16x22x49cms
ANTIQUES

Ref.: ZF1178
PORCELAIN CENTREPIECE. VOLKSTEDT, RUDOLSTADT, GERMANY. CA END 19TH CEN...

Centerpiece. Volkstedt, Rudolstadt, Germany. Towards the end of the 19th century. Enameled porcelain. Centerpiece with a circular base raised on simple legs that shows a delicate composition on several levels. The children are organized thanks to a large stone and a trunk, on top is one with a purple band, holding flowers; Below, there are four others, also half-naked, holding glasses, flowers, etc. Both the figures and the composition show a clear influence of Neoclassical models. This same relationship explains the theme: it is a series of figures linked to classical mythology, being a friendly and secondary theme (only sensing a slight relationship with a bacchanal for a drink that is presented), highly appreciated for the rich interiors. of the time to maintain the decorum requested for the moment. The factory's signature is located at the bottom of the center, clearly visible, and in blue tones, with a signature (Marion) “engraved” below it. The Volkstedt factory, located in Rudolstadt (Thuringia, Germany), was founded by an official request made in 1760 by Georg Heinrich Macheleid, who had worked at the Glücksthal glass factory, and would have achieved the formula for porcelain by his own means. , without contacts with the Meissen ceramists Ehrenfried Walther von Tschirnhaus and Johann Friedrick Böttger. The privilege was granted in 1762 by Johann Friederich (prince of Schwarzburg-Rudolstadt), specifying that it be established at that point, near his court and under his personal direction. After several changes of hands over the years, it is still in force today.

· Size: 34x34x56cms.
ANTIQUES

Ref.: ZF0144
VIRGIN MARY (TO DRESS UP). WOOD, GLASS, METAL. SPANISH SCHOOL, 16TH CE...

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

· Size: 60x45x145 cms.
ANTIQUES

Ref.: ZF1180
CHRIST CHILD BLESSING. WOOD. MALINES, 16TH CENTURY, WITH RESTORATIONS.

Baby Jesus on pedestal. Polychrome wood. Mechelen, 16th century, with restorations. Carved and polychrome wooden Child Jesus standing on a pedestal of the same material, standing, advancing, with his right hand blessing and an orb in his left. Stylistically, it corresponds to the shape, size, iconography, etc. common among those known as “Malines Dolls” or “Children Jesus of Mechelen”, polychrome wooden figures designed to be dressed and decorated that were made in Mechelen (Belgium) in significant numbers and were exported throughout Europe between the mid-15th century and first half of the 16th century. Compare the present example with the 16th century Child from the Hof van Busleyden Museum (Mechelen, Belgium), the one dated around 1500 kept in the Louvre Museum (Paris), the one from around 1500 from the Museum of Fairs Foundation, etc. . Weight: 700 grams.

· Size: 14x9x42 cms.
ANTIQUES

Ref.: ZF1184
SAINT JOHN THE BAPTIST. POLYCHROMED BOXWOOD. 17TH CENTURY.

"San Juan". Carved and polychrome boxwood. XVII century. On a simple base stands the figure of Saint John the Baptist, partially dressed in a red tunic that reveals his anatomy by showing part of his body and identified by the lamb that accompanies him (in the Bible, he calls Jesus “the Lamb of God”, hence this animal is one of its most common iconographic attributes). Stylistically, and to appreciate the stylistic differences, compare with the Saint John the Baptist from the “Altarpiece of Saint John the Baptist” by Juan de Juni and Inocencio Berruguete, dated 1551 and today in the National Museum of Sculpture of Valladolid, or with the carving of the same theme by Alonso Cano (hired in 1634) and which is in the same museum. It is also necessary to mention works such as that of Juan de Ávila from the Oratory of San Felipe Neri in Valladolid (today in the Diocesan and Cathedral Museum of Valladolid; dated 1699) or the carving of Juan de Mesa that is in the Museum of Fine Arts of Sevilla.

· Size: 11,5x7x31 cms.
ANTIQUES
SCULPTURE

Ref.: Z5790
GOLDEN PHEASANT. POLYCHROMED BRONZE. VIENNA, 19TH CENTURY.

Golden pheasant. Polychrome bronze. Vienna, 19th century. Polychrome bronze figure showing a perched male golden pheasant. A bird native to Asia, it was already known in the West in the 18th century (it appears in the tenth edition of Linnaeus' Systema Naturae) and appreciated for the bright colors of the male's plumage. In the 19th century, bronze centerpieces and decorative figures of great originality and quality were made in Vienna (and in other European centers), usually with an exotic touch provided by anthropomorphic or animal motifs. Weight: 991 grams.

· Size: 33x9x17,5 cms.
ANTIQUES

Ref.: ZE262
BASE FOR SCULPTURE. POLYCHROMED AND GILDED WOOD.

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

· Size: 42x33x24 cms.
ANTIQUES

Ref.: ZE370
BITE. BRONZE, MARBLE. FRANCE, CIRCA LATE 19TH CENTURY.

Grip. Blued bronze, marble. France, towards the end of the 19th century. Blued bronze sculpture on an oval base in veined marble in green tones that shows two lionesses or two panthers immersed in a fight, one biting the other's neck and both with their claws, limbs and muscles in tension. It is necessary to highlight both the quality of the design and composition as well as that of the modeling and casting, since a series of striking details can be clearly seen in the work. On the base, engraved, there is an inscription, linked to Clovis-Edmond Masson (Paris, France, 1838-1913). Trained with Antoine-Louis Barye, Rouillard and Santiago, he showed his work (mainly animal themes and almost always using bronze, wax or plaster) at the Paris Salon on a regular basis between 1867 and 1909. Thanks to the popularity and quality of his works, numerous bronze figures were made for the interiors of prominent residences. Currently, the most valued works are those of felines in violent attitudes and postures or showing strength, which seem to anticipate what was common in this type of art in France between 1910 and 1930.

· Size: 65x23x38 cms.
ANTIQUES

Ref.: ZF0930
COLUMN. POLYCHROMED AND GILDED WOOD. 16TH CENTURY

Column. Carved, polychrome and gilded wood. Century XVI. Carved and polychrome wooden column that has a capital reminiscent of the composite order of classical antiquity (volutes, acanthus leaves in levels...), a series of moldings separating the shaft from the rest of the elements, a fluted shaft with a stripe in the lower part with figurative elements and lacework, and a base with prominent volutes arranged upwards and smooth moldings in the corners of it. The aforementioned frieze shows a series of figures with fabric hangings behind them as the only background and carrying a series of elements (flowers, one with a tower with three windows that could be linked to Santa Barbara, etc.). In some details it is reminiscent of columns from other notable works such as the Main Altarpiece of Our Lady of the Assumption of Tudela de Duero in Valladolid (last quarter of the 16th century - early 17th century, with traces 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 presented in the altarpiece of the Virgin Mary of Corcos del Valle (last quarter of the 16th century); etc

· Size: 28x28x90 cms
ANTIQUES

Ref.: ZE239
BRONZE “WOUNDED FIGHTING BULL”.

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

· Size: 55x27x40 cms.
ANTIQUES
SCULPTURE

Ref.: Z6180
RELIEVE. POLICHROMED AND GILDED WOOD. 16TH CENTURY.

Relief. Carved, polychrome and gilded wood. Century XVI. Slightly rectangular wooden plaque decorated with a relief on its front, made by lowering the shape so that “a frame” remains on the board that serves as the base of the work. It is possible to see, with a golden finish, a symmetrical composition with a polychrome angel head topped by an axis with plant elements and a molding, from which two fantastic birds resembling eagles stand back to back and joined to that “line.” for their tails. The background does not present any decorative element, neither carved nor painted, thus leaving the aforementioned elements to take center stage. These types of compositions were very common in the Renaissance throughout Europe, as the “fashion” of grotesques spread from Italy. In the Spanish case, it is possible to compare it with elements present in many other works of the 16th century, such as the Main Altarpiece of the Parish Church of Santa María (Villa de Tauste, Zaragoza) made of Scots pine wood and the polychrome probably finished in 1529; the frieze with angel heads from Diego de Sagredo's work titled “Medidas del Romano” (1526, Toledo); works of Diego de Siloé; Main Altarpiece of the Collegiate Church of Torrijos (Toledo), commissioned in 1558 by Juan Correa de Vivar and which presents fantastic winged animals similar to those of the present relief in some details; etc It is necessary to indicate that these decorative motifs will have a long tradition in Spanish Art. It is very possible that the present relief plaque was created to be part of an altar in a church although it is not decorated with a religious theme (note that the theme of the “winged heads”, often called “putti”, also comes from of Italy and is found in both civil and religious works).

· Size: 22x5x27 cms.
ANTIQUES

Ref.: ZE237
PAIR OF RELIEFS; GROTESQUE OR CANDELIERI. POLICHROMED AND GILDED WOOD....

Pair of reliefs; grotesques or candelieri. Carved, polychrome and gilded wood. Century XVI. Pair of reliefs made of hand-carved, gilded and polychrome wood, each showing a winged angel head (or putti), located on a vertical element that serves as the axis of symmetry for the composition of the relief. The rest of the motifs that complete the works are scrolled leaves, floral or vegetal details, lacework, moldings, all of clear classicist influence. The background does not present any decorative element, neither carved nor painted, thus leaving the aforementioned elements to take center stage. These types of compositions were very common in the Renaissance throughout Europe, as the “fashion” of grotesques spread from Italy. Compare, for example, with the frieze reflected in an image of Diego de Sagredo's work entitled “Medidas del Romano” (1526, Toledo); details of the Chapel of Santa Librada of the Sigüenza Cathedral by Francisco de Baeza (around 1520); others from the façade of the Senior Schools of the University of Salamanca; Main Altarpiece of the Collegiate Church of Torrijos (Toledo), commissioned in 1558 from Juan Correa de Vivar; etc It is necessary to indicate that these decorative motifs will have a long tradition in Spanish Art. It is very possible that the present relief plaque was created to be part of an altar in a church although it is not decorated with a religious theme (note that the theme of the “winged heads”, often called “putti”, also comes from of Italy and is found in both civil and religious works).

· Size: 14x5x22 cms.
ANTIQUES

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

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

· Size: 32x6x11 cms
ANTIQUES

Ref.: ZE371
CHRIST. IVORY, WOOD, ETC. POSSIBLY FRENCH SCHOOL, 19TH CENTURY.

Crucified Christ. Ivory, ebony wood. Possibly French school, 19th century. Christ crucified with three nails, Crown of Thorns with several intertwined branches and purity cloth with string, which is fixed to a Latin-type cross made of wood and with no other decorations than the INRI cartouche (JESUS NAZARENUS REX JUDAERUM, Jesus Nazarene King of the Jews) located above the head of Jesus. Note that there is no sore on the side. The entire piece is carved in ivory, and the nails mentioned (two in the hands, one for the feet) are made of metal. The piece presents similarities with works from the French school of the 19th century. Although it resembles in only some details (general posture, hands) carvings by Desirée Manceau (act. Paris late 19th century - early 20th century), it is necessary to highlight its greater resemblance to ivory crucifixes from A. Leroy's workshop in Brussels preserved in private collections (purity cloth, posture, absence of notable wounds, etc.).

· Size: 28x6x50 cms. Cristo: 22x3,5x25,5 cms. cabeza a pies 24 cms
ANTIQUES

Ref.: ZF1059
POLYCHROMED WOOD CORPUS CHRISTI. FLEMISH SCHOOL, MALINES, 16TH CENTURY...

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

· Size: 27x9x27 cms.
ANTIQUES

Ref.: ZF1207
POLYCHROMED WOOD CORPUS CHRISTI. FLEMISH SCHOOL, MALINES, 16TH CENTURY...

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

· Size: 7x6x29 cms.
ANTIQUES

Ref.: ZF1209
LETTER HOLDER. POLYCHROMED BRONZE. VIENNA, 19TH CENTURY.

Letter holder. Polychrome bronze. Vienna, 19th century. Polychrome bronze letter holder in the shape of a lectern decorated with elements of strong classicist influence (and reminiscent of the Renaissance and Mannerism) holding a folder, decorated on what would be its cover with a composition starring two swallows pecking at a garland. In the 19th century, bronze centerpieces and decorative figures of great originality and quality were made in Vienna (and in other European centers), usually with an exotic touch provided by anthropomorphic or animal motifs. In the present case, the influence is from artistic styles prior to the time, something common in 19th century art. Weight: 1700 grams.

· Size: 21,5x16x27 cms
ANTIQUES

Ref.: ZE263