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

Devotional medal of Saint Nicholas on a support. Gilt bronze, textile, metal. 18th century. Devotional medal in gilded bronze placed on a support with wires that presents an oval frame enhanced with a crest with vegetal elements in a symmetrical composition and another top below also with vegetal elements and scrolls, and the figure of a saint inside this 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 some 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. One of his most famous miracles was that of resurrecting three children (shown in this work) sacrificed by an innkeeper to feed his clients. Although he was bishop of the city of Myra, he is shown here wearing liturgical vestments but without the usual headdress (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 gather a dowry for them (as they are three golden spheres).

· Size: 9x11,5x1 cms.
ANTIQUES

Ref.: ZF0460
PAIR OF RELIEFS; GROTESQUE OR CANDELIERI. POLICHROMED AND GILDED WOOD....

Pair of reliefs; grotesques or candelieri. Carved, polychrome and gilded wood. 16th century. Pair of reliefs made of hand-carved, gilded and polychrome wood, each showing a winged angel's head (or putti), placed on a vertical element that acts as an axis of symmetry for the composition of the relief. The rest of the motifs that complete the works are leaves with scrolls, floral or vegetal details, latticework, mouldings, all of clear classicist influence. The background does not present any decorative element, neither carved nor painted, thus leaving the spotlight to the aforementioned elements. This type of composition was very common in the Renaissance throughout Europe, when the “fashion” of grotesques spread from Italy. Compare, for example, the frieze reflected in an image of the work by Diego de Sagredo entitled “Medidas del Romano” (1526, Toledo); details of the Chapel of Santa Librada in the Cathedral of Sigüenza by Francisco de Baeza (around 1520); others from the façade of the Escuelas Mayores of the University of Salamanca; 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 will 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 although it is not decorated with a religious theme (note that the theme of “winged heads”, often called “putti”, also comes from Italy and is found in both civil and religious works).

· Size: 14x5x22 cms.
ANTIQUES

Ref.: ZE238
”MADONNA WITH CHILD AND ANGELS”. BRONZE AND LAPIS LAZULI. ITALY, 15TH-...

Relief “Virgin and Child with Angels”. Italy, 15th-16th centuries. Bronze in its color and gold, lapis lazuli, rock crystal, enamel. In the centre of the work, the enthroned figure of Mary is shown, with a cloak over her shoulders and hair and holding the Child on her knees, who appears to be addressing one of the angels. The Virgin is also sheltered by an ogee arch supported by turned columns and elevated visually by steps. This composition achieves a very striking contrast: the figure in dark bronze, in contrast with the lapis lazuli background and the part of the arch and its exterior, in gilded bronze. Below the steps appears a heraldic shield in enamel with a key on an azure background. The kneeling angels are flanking this figure, and, as they appear in dark bronze, they visually share the “category” of religious figures with Mary, while their (lower) position gives greater status 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, etc. Towards the outside, there is another lapis lazuli frame decorated in the corners with appliqués, giving way to the carved and polychrome wood frame. Lapis lazuli is a semi-precious stone that was already known in the 7th millennium BC, found in deposits from the Caucasus to Mauritania. From the end of the Middle Ages, its export to Europe increased, and it was used more frequently since then both as a pigment in paintings after being ground (giving rise to the finest and most expensive of blues, and of colours in many cases), as a background for paintings, inlays in works of art, jewellery and, a little later, in the well-known “hard stone works”. The figure of Mary still shows an influence of Gothic models, although more European than Italian, together with elements that could already indicate a closeness to the Renaissance: although the nakedness of Jesus is already shown in Gothic works (Madonna with Angels by Fra Angelico), the creation of space by means of the play with the cloth in front of Christ can be appreciated in more advanced paintings (Madonna and Child by Domenico Ghirlandaio, National Gallery, London); the presence of a powerful throne can frequently be seen in Italian Madonnas of the Quattrocento (and before), but not quite as it is presented here. As for the landscape, it should be compared, for example, with that of the fresco by Condottiero Guidoriccio of Fogliano (Simone Martini, finished 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 from around the world, such as those preserved in the Palazzo Madama in Turin (Italy), in which coral also plays an important role. Also worth mentioning are works such as the plaque of hard stones (lapis lazuli among them) with a relief of Mary and Child in bronze, made around 1580-1600 in Italy and preserved in the Art Institute of Chicago; or the “Panorama della Piazza della Signoria” (Jacopo Bilivert, ca. 1599) from the Pitti Museum; or the “Banquet of the Gods”, based on a design by Guglielmo della Porta, preserved in the Metropolitan Museum of New York.

· Size: 20x22,5x3,5
ANTIQUES

Ref.: ZF0123
FRIEZE. POLYCHROMED PINE WOOD. 16TH CENTURY.

Frieze with reliefs. Carved and polychrome pine wood. 16th century. Rectangular frieze of carved, gilded and polychrome 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 on this cloth, which ends in fruit, thus joining the ends with the centre of the piece. In both the iconographic theme and the anatomy, composition and colours, the influence of the Italian Renaissance can be seen, with variations that may be due to the fact that it was 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 the carvings from the Ducal Palace of Pastrana (second half of the 16th century), works by Alonso de Covarrubias, the Renaissance doorway of the Church of the Assumption of Beteta (Cuenca), etc.

· Size: 96x9x20 cms.
ANTIQUES

Ref.: ZF0565
”VIRGIN WITH CHILD ON THE THRONE”. BOXWOOD, BRONZE AND ROCK CRYSTAL. 1...

Enthroned Virgin and Child. Boxwood, bronze and carved rock crystal. 19th century. On a padded base, there is a second base made of bronze, the metal from which the throne is made. It stands on four low columns with smooth shafts and capitals decorated with scrolls and simplified plant forms, decorative elements that are repeated at the waist, combined with oval blue beads; the backrest, square and openwork with very schematic scrolls, is topped with four carved rock crystal pearls. The Virgin Mary is seated on it, with a crown that repeats the decorative elements of the throne, dressed in a tunic and cloak and with a book in her hand. The Child Jesus, on her lap, also looks forward, while blessing with his right hand. The iconography comes, as usual, from Byzantine models: among the types of Theotokos, the Panakranta or Panacranta is the one in which Mary appears seated on a throne, with the Child on her lap and both facing the spectator, showing what was agreed at the IV Ecumenical Council of Chalcedon (451 AD). These arrived in Europe already in the Romanesque, developing the iconography of the West. The present work can be compared with the Italo-Byzantine icon of the 13th century preserved in the National Gallery of Art in Washington DC (United States), or the carving of the "Virgin of the Battles" of the Monastery of San Pedro de Arlanza, made around 1225-1235, and preserved in the Museum of Burgos, or the Romanesque one from the mid-17th century today in the Museum of Fine Arts of Buenos Aires (Argentina), although there are a large number of examples. However, details such as the decoration of the capitals, the anatomy shown by the two figures, the scrolls of the throne and the crown, the folds of the draperies, a certain air in the faces despite their schematization, the symmetry present in various points of the work, etc., show that the carving belongs to a date closer to the present. Specifically, to the style known as Neo-Gothic: this was inspired by works from the 13th to the 15th-16th centuries and was opposed to the preceding Neoclassical style; it was born in England towards the middle of the 18th century, and spread throughout continental Europe in the 19th century.

· Size: 10x10x24 cms
ANTIQUES
SCULPTURE

Ref.: Z6707
POLYCHROMED AND “ESTOFADA” WOODEN SCULPTURE. “LUKE THE EVANGELIST”. 16...

Polychrome and upholstered wood carving. “Saint Luke the Evangelist”. 16th century. Freestanding devotional figure of a bearded man standing with one knee raised to support a tablet on which he is writing. Beneath his left leg, a bull is looking towards him, lying on the ground. The clothing reveals the gold base that forms the stew. Saint Luke is frequently represented as a middle-aged, bearded man, accompanied by the Tetramorph animal with which he is associated (Revelation 4:6-7), an element that is also due to 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, hence the back part is barely worked and polychrome, and it was placed alone or as part of a scene such as a Last Judgement. Stylistically, the image's upholstery and its design are details that remain from the Gothic tradition. However, the correct anatomy of the figure, the contained movement conveyed by the drapes and its posture, and the naturalism and expression of its face relate the work to the Renaissance. In Spain, this artistic style was introduced during the 16th century, with great differences depending on the region and artist. After an initial stage in which strong medieval influences were still present, the second third of the century saw the introduction of Mannerism by artists who had travelled to Italy and returned with the novelties. It is with this second stage that the sculpture is most closely related, without forgetting the medieval details that it still maintains and the restraint of its movement and expressiveness. Compare, for example, with the works of Alonso de Berruguete and Juan de Juni, the evangelists Saint Luke and Saint Mark from the church of Santa Eulalia de Ganuza, today in the Diocesan Museum of Pamplona. Requires cleaning and polychrome restoration.

· Size: 16x7x36 cms,
ANTIQUES
SCULPTURE

Ref.: Z6546
MARBLE SCULPTURE. “PAIR TIGERS”.

Pair of carved marble sculptures. “Tiger”. Inspired by oriental models. The tigers are placed on a base that resembles earth thanks to sgraffito, and are shown roaring. The stripes on their bodies have been left in relief, like the hairs on their face; the whiskers and nose are not, but are simply engraved on the surface of the marble. Clear influences from Tibetan and Indian examples can be seen in the figure, which stands out for its magnificent combination of textures and the expressiveness of the animal.

· Size: 63x20x47 cms.
DECORATIVE ANTIQUES

Ref.: Z1128
SAINT PAUL\'S SCULPTURE. 16TH CENTURY

Spanish school of the 16th century. "Saint Paul". Carved and polychrome wood. A devotional image carved in wood, polychrome and gilded, representing the apostle Saint Paul, dressed in a tunic and cloak, with a parted beard, brown hair and a large sword, his 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 he occupies in art is not proportional to his 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, with the arrival of the influences of the Italian Renaissance in Spain, the full 16th century was characterised by the great development achieved by religious imagery. Likewise, stylistically there was a confrontation between the classicist sculptors and those of Flemish affiliation, who sought more dramatic and emotional approaches. Thus, the spread of religious images in Spain was based on two fundamental bases. On the one hand, the fact that the Nordic influence constituted a clearly differentiated alternative to the Italian classicist model; on the other, the emotional sense, which the religious image had to acquire due to its own function, was oriented more towards enhancing the feeling, to moving the faithful, than to following the rationalist dictates of the Renaissance. So much so that in Spain, attention to the emotional had a more relevant character than in the rest of Europe. In this way the image, associated with the words 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 not humanistic approaches.

· Size: 19x12x39 cms.
ANTIQUES
SCULPTURE

Ref.: Z3024
ORIENTAL FIGURE WITH WOODEN BASE

· Size: 9x5x12 cms.
DECORATIVE ANTIQUES
SCULPTURE

Ref.: Z4568
VIRGIN WOMAN WITH CHILD, 17TH TO 18TH CENTURIES

Spanish school of the late 17th century – early 18th century. “Virgin and Child”. Carved and polychrome wood. Devotional image carved in wood in the round and polychrome, framed within the late Spanish Baroque. It is a sculpture of monumental conception, with large and monolithic figures, with volumes enhanced through the ample folds of Mary's tunic. The Virgin appears standing, holding the Child on her lap, in a naturalistic position, full of movement. Thus, we see how Mary, to compensate for the weight of the Child, leans her back backwards, while Jesus leans forwards in turn, thus compensating the composition. The Child appears raising his right hand in a sign of blessing, while the other hand rests on a sphere, a symbol of the universality of Christian doctrine and of Christ's redemptive act. Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and its form of expression arose from the people and from the deepest feelings that nestled within them. With the State's economy in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and brotherhoods of clergy and lay people that promoted its development, the works being financed on occasion by popular subscription. Sculpture was thus forced to express the ideals that prevailed in these environments, which were none other than religious ones, at a time when the counter-reformist doctrine demanded from art a realistic language so that the faithful could understand and identify with what was represented, and an expression endowed with intense emotional content to increase the fervour and devotion of the people. Religious subject matter is, therefore, the preferred theme of Spanish sculpture in this period, which began in the first decades of the century with a priority interest in capturing nature, to progressively intensify throughout the century the embodiment of expressive values, which was achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

· Size: 32x26x70 cms.
ANTIQUES
SCULPTURE

Ref.: Z2514
CAPODIMONTE PORCELAIN. \'CHILDREN WITH FRUIT BASKETS\'

"

· Size: 40x30 cms.
DECORATIVE ANTIQUES
SCULPTURE

Ref.: Z6033
BRONZE BUST. “RAMÓN ARANAZ”. BY ANTONIO YERRO FELTRER (VALENCIA, 1842-...

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

· Size: 27x22x39 cms.
ANTIQUES
SCULPTURE

Ref.: Z3707
SCULTURE IN TERRACOTTA. FRANCISCO LUQUE

Terracotta Sculpture Signed Francisco Luque Francisco Luque Born in 1948, he began his studies at the School of Applied Arts in Córdoba in the early 1970s and began to participate in collective exhibitions in the local area of Córdoba and Jaén. His training is mainly self-taught, combining teaching tasks as a professor in his hometown with a notable artistic activity. In 1992 he took an engraving course that allowed him to expand his work. Luque has a long exhibition career and a packed curriculum. Some of his works are part of permanent exhibitions in important galleries in Madrid, Valencia, Seville, La Coruña, Murcia, Pamplona and Córdoba. His work can be admired regularly in both collective and individual exhibitions. His sculptural style is based on an ideal concept of human beauty in which forms are captured through a peculiar concept of volume and space. His work usually deals with the nude or the female figure. His Venuses are not very stylized and exuberant. In his works we can see disproportionate, exuberant and rotund proportions that the artist models, giving them his own stamp that denotes a spirit brimming with humanity. According to some critics3, his own style is inspired by the new currents of an aesthetic that has little to do with classical or academic models. Clearly influenced by the pictorial work of Peter Paul Rubens, his sculptures represent women with exuberant forms, brimming with sensuality and carnality, in which warmth is transmitted through form. The disproportion existing in his human figures, far from the canons of conventional beauty, brings him closer to a Boterism full of tenderness and serenity. The closed brushstrokes, with more defined figures and contours that characterize Fernando Botero's work, become in Francisco Luque's sculptures soft shapes and warped curves, which enclose within themselves the feminine spirit, the main motif of the author's work. Work and recognitions "Maternity" His work has received numerous awards and recognitions (First Prize in the National Painting and Sculpture Competition of Valdepeñas; First Prize for Sculpture at the 25th Anniversary of the Círculo de Bellas Artes in Pozoblanco, Córdoba; Second Prize for Sculpture at the 10th International Villa de Rota Prize, Cádiz; and Honorable Mention at the Club 63 Sculpture Prize, Jaén; among others). His works are permanently exhibited at the Diocesan Museum of Fine Arts in Córdoba, the Ruiz Mateos Museum in the city of Rota, Cádiz, the Provincial Council of Córdoba, the National Library in Madrid and the Town Hall of Santaella, among others.4 An example of Francisco Luque's urban monumental work can be seen on the promenade of his hometown, Santaella.

· Size: 12x10x33 cms.
DECORATIVE ANTIQUES
SCULPTURE

Ref.: Z6105

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