Z. Sierra · Antiques and Decorative Objects

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

"Satyr". Patinated terracotta. Following models of CLODION, Claude Michel (France, 1738-1814). Late 19th-early 20th century. Patinated terracotta sculpture consisting of an oval base decorated with simple architectural elements of classical influence and a tondo with a bust enhanced with a garland, and two figures. These, lying on top, are a satyr (with his usual goat legs) lifting a bunch of grapes, and a young nymph, who hugs him while he tries to reach these fruits. Compare the present sculpture (not so much the base) with the one titled “Nymph and Satyr” from the Calouste Gulbenkian Museum in Lisbon (Portugal), related to the sculptor Claude Michel, highlighting the similarities and differences. Pieces similar to the present work, also known as “Satyr feeding grapes to a nymph”, are preserved in several private collections. Claude Michel “Clodion” (1730-1814) was a French sculptor who trained with Lambert Sigisbert Adam and Jean-Baptiste Pigalle, recognized with numerous awards (Prize of Rome in 1762, etc.) who had an important workshop in Paris from 1771 Although he also made large-scale works, he is above all known for his small-format sculptural works, made in bronze (or other materials such as calamine or terracotta, for example), and which had a very important influence on both life of the sculptor as long after his death in a large number of works inspired by his creations.

· Size: 38x31x40 cms.
ANTIQUES
SCULPTURE

Ref.: Z5882
HEAD OF A SAINT. POLYCHROMED WOOD. SPANISH SCHOOL, 17TH CENTURY.

Saint's head. Carved and polychrome wood. Spanish school, 17th century. Head made of carved and polychrome wood of a young man, with dark, curly hair and tonsured, who keeps his gaze downcast. It does not have hairpieces, but follows common lines of the Spanish Baroque of the 17th century. Due to its characteristics (hair, curls, tonsure, relatively young and beardless...), it is reminiscent of a very common model in the Andalusian school (and in others) used in sculptures of Saint Anthony of Padua, although it is not possible to specifically identify which one. saint belongs because there are no iconographic elements. The tonsure, however, slightly limits the options to saints belonging to religious orders.

· Size: 14x15x30 cms.
ANTIQUES

Ref.: ZF0943
CORPUS CHRISTI. WOOD. 16TH CENTURY.

Christ crucified. Carved wood. Century XVI. Crucified Christ made of carved wood that does not present a Cross of Thorns but does have a short and tight perizonium, with numerous folds. With three nails, as is common late in the Middle Ages in Europe, it presents a certain classicist influence in the anatomy and proportions, with hair and beard with a certain pictorial treatment that gives it naturalism. Note, also, the closed eyes and the fallen head, symbolizing that Jesus is already dead. Weight: 300 grams.

· Size: 32x4x41 cms.
ANTIQUES

Ref.: ZF1211
INFANT JESUS OR JESUS AS SAVIOUR OF THE WORLD. CIRCA FIRST HALF 16TH ...

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

· Size: 13,5x7x40 cms.
ANTIQUES

Ref.: ZF1223
BASE. WOOD. SPANISH SCHOOL, 17TH CENTURY.

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

· Size: 63x44x23 cms
ANTIQUES

Ref.: ZE347
ANGEL. METAL. 19TH CENTURY.

Angel. Metal in silver finish. XIX century. Figure of an angel or archangel made of silver metal, and standing on a base that resembles clouds. These types of sculptures were common in the 19th century both for churches and for personal altars, alone holding lamps or incense burners or forming part of some composition. Weight: 4.7kg.

· Size: 20x17x29 cms.
ANTIQUES

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

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

· Size: 26x26x57 cms.
ANTIQUES

Ref.: ZF1183
BRONZE BUST. “RAMÓN ARANAZ”. BY ANTONIO YERRO FELTRER (VALENCIA, 1842-...

“Ramón Aranaz”. Bronze bust. Antonio Yerro Feltrer (Valencia, 1842-1911). Signed. Foundry “V. Rivers". Bust of Ramón Aranaz (Valencia 1831-Madrid 1898), Valencian businessman, banker and politician, dressed in a suit and with a ribbon of decoration crossing his chest. The sculptor, Antonio Yerro, studied at the Academy of Fine Arts of San Carlos in Valencia, and won various awards in exhibitions such as the National Fine Arts of 1884 and was awarded several decorations in recognition of his artistic merits.

· Size: 27x22x39 cms.
ANTIQUES
SCULPTURE

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

Base. Carved and polychrome wood. Spanish school, 17th century. Base with a rectangular base, made of carved and polychrome wood in gray tones, which has been decorated with a series of moldings and bulls, some smooth and others enhanced with a fine relief of plant elements and garlands of clear classicist influence. The piece is finished with a spike to secure the sculpture that is placed on it. Weight: 6.4kg.

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

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

Peace holder. Bronze. Century XVI. Bronze pencil holder with a handle on the back in the shape of that in the same material and a decoration in slight relief on the front that shows, under an architectural composition of clear classicist influence (semicircular arch with scallops inside and outside of scrolls, two pilasters with vegetal decoration and a base with heraldry), to the Virgin Mary with the Child, accompanied by two angels and placed on a pedestal on which you can see a legend (AVEREGINA/CELOUM?, in allusion to the Marian antiphon Ave Regina Caelorum , typical of the Lenten season).

· Size: 6.5x3x11 cms
ANTIQUES

Ref.: ZF0866
PINE WOOD NICHE. SPANISH SCHOOL, 17TH CENTURY.

Niche. Gilded and polychrome pine wood. Spain, 17th century. Niche made of carved and gilded pine wood, decorated with moldings, a venerated shape and plant elements in the upper part, which presents a clear classicist influence, common in some Spanish Baroque schools of the 17th century. These types of pieces were usually part of an altarpiece, and were normally used to house sculptures.

· Size: 47x14x66 cms
ANTIQUES

Ref.: ZF0954
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CORPUS CHRISTI. WOOD. 16TH CENTURY.

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

· Size: 6x4x17 cms.
ANTIQUES

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

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

· Size: 16x16x43 cms
ANTIQUES

Ref.: ZF1216
MISERICORD. WOOD. 16TH CENTURY.

Choir Mercy. Carved wood. Century XVI. Carved wooden Misericordia that surely belonged to a choir stall (see the upper flat part, which acts as a seat), decorated with a figurative relief combined with architectural elements of clear classicist influence. The human face has mustaches that transform into scrolls, somewhat reminiscent of English school works (Green Man). Weight: 1.1kg.

· Size: 36x10x23 cms.
ANTIQUES

Ref.: ZF1172
HEAD. CARVED STONE. 16TH CENTURY.

Male head. Carved stone. Century XVI. Carved stone relief showing a male face turned to the right. It is necessary to highlight both the quality of the face and the striking detail of the beards fluttering as if moved by an imaginary wind, matching the hair to create the harmony sought in the Renaissance.

· Size: 20x18x19 cms.
ANTIQUES

Ref.: ZE218
SAINT NICHOLAS DEVOTIONAL PENDANT. BRONZE, TEXTILE, METAL. 18TH CENTUR...

Devotional medal of Saint Nicholas on support. Gilded bronze, textile, metal. Century XVIII. Devotional gilt bronze medal placed on a wire support that presents an oval frame enhanced with a cape with plant elements in a symmetrical composition and another finish below also with plant elements and scrolls, and the figure of a saint inside that smooth frame. Standing, holding a staff in one hand and raising the other in a gesture of blessing, is a male figure dressed in liturgical attire, accompanied by small figures praying, placed in a barrel or bucket. Saint Nicholas of Myra or Bari was a bishop who died around the middle of the 4th century AD. C. One of his best-known miracles was that of resurrecting three children (shown in this work) sacrificed by a hotelier or innkeeper to feed his clients. Although he was bishop of the city of Myra, he is shown here in liturgical vestments but without the usual headdress of distinction (mitre). The three spheres that appear on the book would allude to the miracle in which the saint helps the father of three girls to collect a dowry for them (as they are three golden spheres).

· Size: 9x11,5x1 cms.
ANTIQUES

Ref.: ZF0460
”HARMONY”. BRONZE. RANCOULET, ERNEST (FRANCE 1870-1915).

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

· Size: 11x11x34 cms
ANTIQUES

Ref.: ZF1205
SCULPTURE. BRONZE. SIGNED AND NUMERED (1/6). VEIGA, FERNANDO (MADRID, ...

Sculpture. Bronze. Signed and numbered (1/6). VEIGA, Fernando (Madrid, 1943). Female sculpture located on a dark stone base that shows a young woman kneeling up and without her arms (recalling the Venus de Milo, for example, and adding the detail of showing the young lady with a face of the sculpture and larger on the other, in clear contrast), totally naked and with a treatment that brings it closer to innovations contributed by various artistic avant-garde of the 20th century. Fernando Veiga (Madrid, 1943) is a Spanish sculptor closely linked to the North American avant-garde, whom he knows from his stays in New York, along with fine modeling, present in some of his pieces, more linked to the realist tradition that began in Greece and Rome in Antiquity, can be seen in traditional Spanish imagery and is still valid today in some masters. He has exhibited his work in Spain on numerous occasions (Madrid, etc.).

· Size: 16x16x45 cms.
ANTIQUES
SCULPTURE

Ref.: Z3300
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BIRD. BRONZE, METAL. BARÓN MOLINA, FRANCISCO (MADRID, 1931-2006).

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

· Size: 10x10x19 cms
ANTIQUES

Ref.: ZF1203
CARVED BOX. LACQUER. POSSIBLY CHINA, 20TH CENTURY.

Box with landscape. Red lacquer. Possibly China, 20th century. Low cylindrical box with a flat lid, red on the outside and black on the inside, decorated on the lid and upper part of the body with bands of geometric and vegetal fretwork and a landscape and garden scene with pavilions and small-sized characters of the usual type in these visas. in the Far East.

· Size: 32x32x13.5
ANTIQUES

Ref.: ZF0922