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

Pair of reliefs, San Juan and San Mateo. Polychrome wood. Possibly, Burgos school, 16th century. Pair of reliefs made in carved and polychrome wood that show, each one, a human figure seated writing, surrounded by books and accompanied by a figure respectively. One, with black hair and a beard, appears accompanied by another winged child figure who brings him an inkwell; the second, younger (beardless) and with blond hair, is shown concentrating on a parchment, while an eagle brings him an inkwell with one leg, leaning on one of them. As corresponds to this type of theme, each of the Evangelists usually appears accompanied by the corresponding figure of the four that make up the Tetramorphs. Thus, Saint John is shown with the eagle and Saint Matthew with the "winged man". Both are shown surrounded by books, in interiors decorated with gilt furniture, and sitting on high-backed chairs or thrones. Note the vegetal scrolls on the books, furniture and walls, accompanied by candelieri elements and fish or dolphin heads, in compositions reminiscent of those found in Renaissance works. This classicist influence can also be seen in the figures (faces, folds, anatomy, posture, etc.) and in the environment they occupy (for example, the moldings and scrolls of the seats and desks, or the decoration already mentioned). of the bindings of the books that appear in both works). The iconography that appears in this pair is common in Spanish art of the time, often located in the lower part of the altarpieces (Foncea High Altarpiece, Burgos school). Compare, for example, with the Saint John the Evangelist of the Altarpiece of the Assumption of Ullíbarri Viña (execution attributed to Juan de Ayala II, painted before 1579 by Juan de Oñate) in the Basque Country, where three books also appear in a loft From the bottom; or, to see a different composition, with the set of four Evangelists attributed to Felipe Bigarny (dated between 1501 and 1525) from the Castilian school of the National Museum of Sculpture (Valladolid); or with the relief of Saint Mark from the altarpiece of Santa Eulalia de Markinez or Marquinez from the Diocesan Museum of Sacred Art in Vitoria-Gasteiz (its sculpture is attributed to the workshop of Juan de Ayala II and the polychromy to Santos Corres, dated in the second half of the 16th century sculpture and in 1747 polychromy). In addition to Felipe Vigarny, in the Burgos environment it is necessary to take into account Bartolomé Ordóñez and Diego de Siloé (two of the most important names of the first third of the 16th century), together with masters such as Juan de Balmaseda, Andrés de Nájera, Juan de Juni (also worked in the city), etc.

· Size: 72x4x99 cms.
ANTIQUES

Ref.: ZF0662A
CHRIST (CORPUS CHRISTI). GILT COPPER, ENAMEL, JET (STONE) EYES, TEXTIL...

crucified Christ. Gilt copper, enamel, jet eyes. Limoges, France, 13th century. On a wooden and textile support, a gilt copper Crucified Christ has been placed to enhance it, crowned, with a tilted face and open jet eyes, with a long purity cloth and decorated with enamels in shades of blue and white, with two nails (one in each hand) and a footrest. The figure draws a smooth curve that adds some movement, maintaining a very schematic anatomy, as well as the expression of the face. Compare this piece with others conserved in outstanding institutions: the one dated around 1220-1230 from the Louvre Museum in Paris (OA 11935), the one from the 13th century with jet eyes from the Besançon Cathedral (France), several from the Galleria Farnese (Museo di Capodimonte) from Italy, another from the 13th century from the Metropolitan Museum in New York (25.120.441), pieces from the British Museum in London, etc. Although normally these Crucified were found in a composition with more figures or in some piece (processional cross, casket, etc.), it is more common for only the figure to be preserved. Limoges enamels are known as a series of metal pieces (copper, silver, gold) with a religious theme decorated with the champlevé enamel technique using a series of colors (blue, green, white...), inherited or inspired by the works of the Monastery of Silos (Spain), and with a great boom throughout Europe in the twelfth and thirteenth centuries. Production had already declined by 1370, when Limoges was sacked by the English. However, towards the end of the 15th century it resurfaced but already with the “painted enamel” technique and clearly Renaissance models. In this copy, its state of conservation and dimensions stand out.

· Size: Cristo: 17x23 cms.
ANTIQUES

Ref.: ZF0360
SAINT HUBERT OR SAINT EUSTACE. GOLDEN AND POLYCHROMED WOOD. SPANISH S...

Possibly Saint Hubertus or Saint Eustace. Carved, polychrome and gilded wood. Spanish school, 16th century. Carving in polychrome and gilded wood, simply roughened on the back, showing a richly dressed young horseman, wearing a flat hat, and with a falcon on his right arm, the latter's hand covered with a glove. Iconographically, it could be a civil sculpture, of a hunting nobleman, given that it does not have a nimbus and there are no other elements that identify it. However, it can also be a saint. In this case, it could be Saint Eustace of Rome, a Roman general martyred in the Italian capital during the persecutions of Emperor Hadrian in 118 AD. C. and that became when, going hunting, he saw a deer with a crucifix between its horns, illuminated with a strong light and hearing a voice that warned him. This vision also appears in the lives of Saint Felix of Valois (sanctified in 1666), who had it while walking, and Saint Hubertus of Liège (a Merovingian nobleman who gave himself up to hunting when his wife died, and had the aforementioned vision while hunting one Good Friday, with a voice that told him "Hubert, if you don't return to the Lord and lead a holy life, you will go to hell" and sent for the bishop of Maastritch, Lamberto, converting, resigning his position and giving to the poor his wealth). Saint Hubertus died in Tervuren, Bravante, and his remains ended up in the Abbey of Andain, in the current town of Saint Hubertus, his remains being lost in the 16th century (until then the abbey was a very important center of pilgrimage). The importance of this saint was increased thanks to some Military Orders that took his name in the fifteenth century; In addition, Felipe IV of Spain had him as a protector. Normally, these saints (Saint Eustace and Saint Hubertus), appear accompanied by the deer with the cross or a Crucified between the antlers, as it is the most outstanding moment of their lives. However, when more space or development was available at various points in history, it was not uncommon for them to be shown with a horse: doorway of the chapel of Saint Hubertus in Amboise (chapel built between 1491 and 1496), with the saint next to a horse and kneeling before the deer; two works held at the Metropolitan Museum in New York: early 16th century French relief with the saint on horseback (inventory 25,120,284) and an early 16th century half prayer bead from the Netherlands with the saint also mounted. The representations of Saint Eustace are less numerous, in principle. Stylistically, the work does not show much Spanish-Flemish influence (despite the fact that the saint was very popular in northern Europe). Also, compare the outfit: the hat is similar to the one worn by John Calvin's portrait in the engraving attributed to Hans Holbein the Younger (ca. 1497-1543).

· Size: 64x20x77 cms
ANTIQUES

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

Clock garnish and two candlesticks. Bronze, rouge griotte marble. France, 19th century, following Clodion's models. Set or garnish consisting of a table clock and two candlesticks with two lights each, made of blued and gilt bronze and rouge griotte marble, as well as other materials. The clock, raised on legs, has a marble base enhanced with gilt bronze elements with a strong classicist taste, like the rest of the decoration; The Paris machinery of the same has been placed inside a rectangular box of bronze and transparent glass, finished off by a composition of flowers, leaves and a torch in the upper part, and the dial (white with Arabic numerals for the hours and every 15 for the hours). minutes, on a flower garland) is signed “P. Lombardi / AParis ”; next to this gilded structure, there is a child figure in bronze bluded in a dark tone, with wings at the back. The two candlesticks, raised on legs and bases of the same marble enhanced with a chain of gilt bronze pearls, present figures in dark-blued bronze and two “branches” with grapes finished in containers with garlands for candles. The two chandeliers, with the figure of a satyr and Bacchus or Bacchante, are inspired by pieces created by Claude Michel (1738-Paris, 1814), a French sculptor known as Clodion recognized with awards such as the Grand Prize for Sculpture from the Academie Royale in 1759 , the Prix de Rome of 1762, etc., and much appreciated for his work. The satyr of this pair closely follows models of the master (compare Satyr running with an owl, made between 1770 and 1780, Cleveland Museum of Art) and several examples of candelabra with figures like those of this pair are known (with variations in lights and bases). The Cupid in the table clock is also inspired by reliefs and sculptures by Clodion, but what is striking about this garnish is that it is not at all common to join the chandeliers with these figures with the clock with his in the same game. Weight: 16 kg (watch); 6 kg (candlesticks).

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

Ref.: ZF0790
TWO IVORY SCULPTURES. 17TH CENTURY.

Pair of ivory sculptures. XVII century. Both figures stand on darker bases. The female is dressed in a long, short-sleeved tunic, showing the sleeves of a shirt with delicate pleats, and a cloak on the shoulders that falls to the feet and covers the figure from the front. The male, elderly and bearded, also presents a cloth covering her waist to the feet, and the sleeves rolled up. Their identity is somewhat difficult to ascertain due to the lack of iconographic attributes, but their features and position suggest that perhaps they are two of the three figures that would have formed a Holy Family, missing the Child Jesus in this case and in the case of Mary and Saint Joseph. Or it is also probable that it is San Joaquín and Santa Ana, lacking in this case the figure of the Virgin Mary as a child. The high quality of the sculptures can be seen both in the material used and in the carving, with great delicacy in the folds and with a certain pictorialism in the hair. Stylistically, their belonging to the Baroque is clear despite the classicist influence they present, common in certain currents of this style throughout Europe. Between around 1600 and the middle of the 18th century, trade routes to the African coasts were recovered that allowed access to ivory from many European centers, coinciding with the development of the Baroque, especially in the area of the Netherlands and Central Europe, with a prominent center around the papal court of Rome and without forgetting the Hindo-Portuguese school. The theme varies, although there are more small religious works, highly appreciated by the upper class and important religious centers. As the seventeenth century progressed, the Italian classicist influence spread through Germany, Austria and the rest of the centers of central Europe, in some cases agreeing with a more traditional trend. It has an ivory expert document

· Size: 9x9x22 cms.
ANTIQUES
SCULPTURE

Ref.: Z6789
CRUCIFIED CHRIST (CORPUS CHRISTI). COPPER, ENAMEL, WOOD. LIMOGES, FRAN...

Christ on cross. Copper, enamel, wood. Limoges, France, 12th-13th centuries. Latin cross in carved wood on which a figure of Christ Crucified in copper has been placed, decorated with colored enamels and that still maintains some of the original gilding of the metal. Crowned, Jesus is presented with four nails, highly schematized anatomy, open eyes and a crown on his head slightly tilted to the right, a loin cloth around the knees in front and longer in the back (with green and light blue enamels), with a footrest. Limoges enamels are known as a series of metal pieces (copper, silver, gold) with a religious theme decorated with the champlevé enamel technique using a series of colors (blue, green, white...), inherited or inspired by the works of the Monastery of Silos (Spain), and with a great boom throughout Europe in the twelfth and thirteenth centuries. Production had already declined by 1370, when Limoges was sacked by the English. However, towards the end of the 15th century it resurfaced but already with the “painted enamel” technique and clearly Renaissance models. The number of preserved pieces has allowed a series of more or less detailed studies, immediately perceiving the existence of a series of "prototypes" or "models" that would be repeated with slight variations for quite some time both in figures and in chests, staffs, etc.; Likewise, it is necessary to insist on the variety of objects made in Limoges with the typical decoration of colored enamels and gilded metal, preserved in some of the main private collections and in outstanding museums around the world. Compare this piece, for example, with the processional cross with Christ from the Diocesan Museum of Lleida dated in the 13th century, with a Christ from the Saint-Jean Cathedral of Besançon (France), with one from the Louvre Museum in Paris dated between around 1220 and 1230 (with which there are striking differences), several from the Galleria Farnese (Museo di Capodimonte) in Italy, another from the 13th century from the Metropolitan Museum in New York (25.120.441), pieces from the British Museum in London, etc. . Although normally these Crucified were found in a composition with more figures or in some piece (processional cross, chest, etc.), it is more common for only the figure to be preserved, varying greatly from one piece to another depending on the circumstances. of it, the care that has been taken, etc.

· Size: Cristo 12,5x2x17 cms.
ANTIQUES

Ref.: ZF0372
CRUCIFIED CHRIST (CORPUS CHRISTI). COPPER, ENAMEL, JET (STONE). LIMOGE...

crucified Christ. Copper, enamels, jet (eyes). Limoges, France, 12th-13th centuries. Metal figure of Christ crucified with four nails, short loincloth decorated in all blue enamels, simplified anatomy, open eyes (with jets) and open crown; Surrounding the feet of the figure appears a widening that would serve as a "support" for Christ, since these figures were made to be placed on a cross (whether this was another piece of enamel, a decoration on illuminated manuscript covers or a chest, etc., which was usual in Limoges, although it is more normal that only the figure of Jesus has been preserved). The enamels have a clear predominance of blue tones, as is usual in the works of the center and of the time, although the white strip of the "perizonium" stands out above all. Remains of gold on the metal. Limoges enamels are known as a series of metal pieces (copper, silver, gold) with a religious theme decorated with the champlevé enamel technique using a series of colors (blue, green, white...), inherited or inspired by the works of the Monastery of Silos (Spain), and with a great boom throughout Europe in the twelfth and thirteenth centuries. Production had already declined by 1370, when Limoges was sacked by the English. However, towards the end of the 15th century it resurfaced but already with the “painted enamel” technique and clearly Renaissance models. The number of preserved pieces has allowed a series of more or less detailed studies, immediately perceiving the existence of a series of "prototypes" or "models" that would be repeated with slight variations for quite some time both in figures and in chests, staffs, etc.; Likewise, it is necessary to insist on the variety of objects made in Limoges with the typical decoration of colored enamels and gilded metal, preserved in some of the main private collections and in outstanding museums around the world. Compare this piece, for example, with several copies from the Galleria Farnese (Museo di Capodimonte, Italy), a Christ dated to the 13th century from the Metropolitan Museum in New York (25,120,441); some from the British Museum in London; one with jet eyes that has been dated to the 13th century and is in the Cathedral of Besançon (France) with a crown very similar to the one in this piece; the figure of the cross from the Salisbury Museum; etc. Likewise, it should be noted that these figures were made to be placed on processional crosses, covers of illuminated manuscripts, chests, etc., and that, frequently, only the Christ has been preserved.

· Size: 14,5x2,5x18 cms.
ANTIQUES

Ref.: ZF0379
”SAINT ROCH”. POLYCHROMED AND GILT WOOD SCULPTURE. JUAN DE ANCHIETA WO...

"San Roque". Sculpture in polychrome and stewed wood. Surroundings of Juan de Anchieta, 16th century. A bearded male figure stands, holding a book and wearing a pilgrim hat on his back, in addition to presenting himself showing his right leg and resting his foot on a quadruped with something in his mouth. To his right, a naked child looks towards the saint while touching his leg with his left hand. He is presented with the angel on his left, the plague wound or buba on his leg (normally, the one shown is the other), the pilgrim's hat and cape, and the dog with the loaf of bread placed under one of his feet. in a very unusual way. All these attributes help to identify the image with San Roque, an Occitan pilgrim canonized in 1584, highly venerated before this date, especially because he is considered a holy healer, especially in cases of pestilence. A marked influence of the Italian Renaissance is clearly noticeable in the carving: from Michelangelo on the corporeity and anatomy of the two figures, the expressiveness of the saint, the composition, etc. These details, together with other peculiarities such as the hair and the proportions, make it possible to relate the sculpture to the workshop of Juan de Anchieta (Azpeitia, around 1533- Pamplona, 1588), a sculptor of great importance in 16th century Spanish art with work in the North of Castilla, Aragon, the Basque Country, Navarra and Burgos, considered one of the main figures of Romanism. It is believed that it was formed in Italy, hence its stylistic connection with certain works by Jacobo della Quercia and, above all, the inspiration in the works of Michelangelo. The influence of the Valladolid focus is also clear in his style, where he has been documented between 1565 and 1570. Compare, for example, with the altarpiece in the church of San Pedro de Zumaia (Pamplona), already completed in 1577, the commissions that he made in the Cathedral of Burgos between 1576 and 1578 (Coronation of the Virgin and carving of Mary located on the lectern of the choir), or the main altarpiece of the Parish of Santa María de Tafalla made between 1581 and 1583. He installed his workshop in Pamplona, with numerous commissions and, so appreciated was its style that it would influence works carried out in Aragon throughout the first third of the seventeenth century.

· Size: 16x11x25 cms.
ANTIQUES
SCULPTURE

Ref.: ZE062
PIERRE-PAUL RIQUET. BRONZE, ROUGE GRIOTTE. MARIOTON, CLAUDIUS. FRANCE,...

Pierre-Paul Riquet. Bronze, rouge griotte marble. MARIOTON, Claudius. France, 19th century. Bronze figure of a male character, standing full-length on a rock formation, identified thanks to an inscription on the front with Pierre-Paul Riquet. The base, stepped and enhanced with various smooth moldings, is made of rouge griotte marble. Pierre-Paul Riquet (perhaps Béziers, France, 1609-Toulouse, 1680), Baron de Bonrepos, was known above all for carrying out the work of the Languedoc Canal. He proposed his project for it in 1662 to Colbert, and the minister appointed a committee of experts to study the work, the first section of which was entrusted to the engineer after the success of a test ditch. It was, however, his children who finished the work, eight months after his death, in 1681. The sculpture is very similar to the one made in the 19th century by Bernard Griffoul-Duval (Toulouse, France, 1788-1861), located on the Paseo J. Jaurès in Toulouse. The artist entered the Toulouse Special School of Arts in 1807; in 1813 he went to Paris, and continued his training in the workshop of Pierre Cartellier. In addition to his sculptures, he is known for his writings and his teaching work, and is currently considered one of the main artists of the revival of the 19th century Toulouse School in the field of sculpture. This piece presents, towards the base, the engraved legend “Marioton sc. Cis”, linked to Claudius Marioton (France, 1844-1919). He had two brothers who were also artists (Eugène Marioton, sculptor, and Jean Alfred Marioton, painter), and he exhibited work at every Paris Salon from 1873 onwards, receiving honorary mentions every year between 1879 and 1882, a Third Class Medal in 1883 and one Second Class out of competition in 1885. In addition, he won two Gold Medals and one Silver at the Universal Exhibition in Paris in 1889. His works were so recognized and recognizable that, during the artist's lifetime, works in bronze of the same. Weight: 38kg

· Size: 24x24x76 cms.
ANTIQUES

Ref.: ZF0919
FAUN AND BACCHANTE. BRONZE, ROUGE GRIOTTE. FRANCE, 19TH CENTURY, AFTER...

Faun and Bacchante. Bronze, Rouge Griotte marble. France, 19th century, following models by Claude Michel “Clodion” (1738-Paris, 1814). Pair of figures based on classical mythology, made of patinated bronze and placed on two circular Rouge Griotte marble bases, decorated with a string of pearls in the same metal. One shows a half-naked young woman holding bunches of grapes; the other presents a male figure with the legs of a goat, drinking from a skin and with a crown of branches and grapes on his head, between two small horns. The two figures are inspired by pieces created by Claude Michel (1738-Paris, 1814), a French sculptor known as Clodion, recognized with awards such as the grand prize for sculpture at the Academie Royale in 1759, the Prix de Rome in 1762, etc. , and highly appreciated for their work. Compare with “Satyre buvant à une outre” and with “Bacchante à la grappe de reisin”, both nineteenth-century terracottas belonging to the collections of the Louvre Museum in Paris and on deposit at the Lorrain Historical Museum (Nancy, France). Rouge Griotte is a marble of French origin characterized by its dark red color with veins in light tones and whose quarries were declared of royal use by Louis XIV at the end of the 17th century. However, it was a common stone in high-quality French works in the 19th century. Both the inspiration in models of classical antiquity and high-quality gilt bronze and the use of this stone are common in French works of the 19th century in the Neoclassical style, finding slightly later works that follow this important tradition with some variations.

· Size: Sátiro: 14,5 x14,5x46 cm, Bacante: 15x15x42 cm
ANTIQUES

Ref.: ZF0852
PAIR OF NAPOLEON III PERIOD CANDLESTICKS OR CANDELABRA. WHITE MARBLE, ...

Pair of candlesticks. Gilt bronze, white marble. Around Napoleon III period, France. Pair of two-light chandeliers with a white marble base and gilt-bronze details made in gilt-bronze that each show a half-naked Cupid or little angel with its body adorned with two garlands of roses and holding a large stem that divides in two and is decorated with leaves and topped with two large roses, which serve as a base for the candles. The pedestals They have a circular base of gilded bronze with disk legs on which a disk of greater diameter and less height than the next has been placed, thus creating two levels, enhanced with a band of pearls and a garland of laurels. Stylistically speaking, they resemble French Napoleon III-era Louis XVI-inspired examples known to be held in foreign private collections. The style known as the Second Empire or Napoleon III in France was a very eclectic one in terms of decorative arts, drawing inspiration from a large number of styles from the past of this school, sometimes combining the use of modern materials at that time. . It flourished in the country during the reign of Napoleon III (1852-1871), and had a great influence in both Europe and North America. The one known as the Louis XVI style was one inspired by classical antiquity, nature and the Louis XIV style.

· Size: 23x10x33 cms
ANTIQUES

Ref.: ZF0788
PORCELAIN CENTREPIECE. VOLKSTEDT, RUDOLSTADT, GERMANY. CA END 19TH CEN...

Centerpiece. Volkstedt, Rudolstadt, Germany. Towards the end of the 19th century. Glazed porcelain. Table 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. Above is one with a purple band, holding flowers; below, there are four others, also semi-naked, holding cups, 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 keep the decorum requested for the moment. The factory's signature is placed in the lower 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 by an official request made in 1760 by Georg Heinrich Macheleid, who had worked at the Glücksthal glass factory, and would have achieved the porcelain formula by his own means. , without contacts with the Meissen potters 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: 33,5x33,5x58 cms.
ANTIQUES

Ref.: ZF0144
SAINT JOHN THE BAPTIST CHILD ON 17TH CENTURY BASE. IVORY, WOOD. (WITH ...

San Juanito on pedestal from the 17th century. Ivory, wood. It has a CITES certificate. Dress size of a male child figure made in ivory in its color, following 17th century models that has been arranged on an elaborate carved, gilded and polychrome wood base from the 17th century. This piece presents an elaborate and moving decoration based on moldings, scrolls, architectural elements, diamonds, etc. of clear classicist memory under the cushion on which the sculpture rests. The sculpture is standing, taking a step and twisting one of its feet, with a very slight counterpoint. While your left arm is down, with your hand open as if holding something, raise your right in a gesture of blessing, keeping your gaze straight ahead but with a slight bow of the head. Before continuing, it is necessary to recall the iconographic resemblance between the sculptures of the Infant Jesus and the Saint John the Baptist in Spanish Baroque art that occurs on some occasions, especially in certain clothing works and when iconographic attributes are not available. Compare, also noting the differences, this work with masterpieces such as the Niño Jesús by Juan Martínez Montañés from the Iglesia Sacramental del Sagrario in Seville (dated between 1606 and 1607) or the Niño Jesús Blessing by Juan de Mesa found in the Museum of Fine Arts of Córdoba, among others.

· Size: 40x32x88 cms. altura niño 63 cms
ANTIQUES
SCULPTURE

Ref.: ZE173
VIRGIN WITH CHILD JESUS. POLYCHROMED WOOD. SPAIN, CA. END 15TH CENTURY...

Virgin with Child. Polychrome wood. Spain, towards the end of the XV century. Carving made in polychrome wood of the Virgin Mary dressed in a red tunic and with a white cloak covering her hair, shoulders and knees, sitting on a backless throne with simple architectural elements on the sides, and with the Child Jesus also sitting on her knees, with a globe in the left hand and blessing with the right hand. On the back, at the base of the throne, there is a legend with some losses over the years: “De do? Renonbres, Madam / Did a religiosso write / the one from Monsarrate, aurora / because a child took him / to be my entourage "February 2, 1688 The composition of the carving follows a common rule in Spanish sculpture already present in works from the thirteenth century, as can be seen by comparing the work with a sculpture dated around 1200 from the National Museum of Art of Catalonia, and which continues to be popular in the century XV (compare with the carving of Santa Ana, the Virgin and the Child of the XV century of the Diocesan Museum and Cathedral of Valladolid). However, it should be noted that it is also a popular scheme in the rest of Europe. Taking into account the inscription on the back (which, given the date, is a later addition), it is necessary to indicate that, although the best known Virgin of Montserrat "La Moreneta" is the patron saint of Catalonia venerated in the Monastery of Monsterrat It is not the only one in the Spanish and South American geography. Compare the carving with the Virgin of Monserrate in Orihuela (the original image disappeared in the Civil War, but after the conflict José María Sánchez Lozano was commissioned to make a new carving, crowned in 1959), whose name was changed from that of the image Catalan by order of Pope Sixtus IV in 1483. This sculpture also recalls numerous painted images: "Our Lady of Monserrate" from the 18th century Santafereña school (Art Collection of the Bank of the Republic of Bogotá, Colombia; inv. AP5203) , “Virgen de Monserrate” by Manuel García from the 17th century (Teodoro Vidal Collection; Puerto Rico Art Museum), painting of the main altar of the Minor Basilica of Our Lady of Monserrate in Puerto Rico, etc.

· Size: 44x22x80 cms.
ANTIQUES

Ref.: ZE157
”MADONNA WITH CHILD AND ANGELS”. BRONZE AND LAPIS LAZULI. ITALY, 15TH-...

Relief "Virgin with Child and angels". Italy, XV-XVI centuries. Bronze in its color and gold, lapis lazuli, rock crystal, enamel. In the center of the work, the figure of Mary is presented, enthroned, with a cloak on her shoulders and hair and holding the Child on her knees, who appears addressing one of the angels. The Virgin is also sheltered by an ogee arch supported on turned columns, and visually elevated by steps. This composition achieves a very striking contrast: the figure in dark bronze, in contrast to the lapis lazuli background and the part of the arch and the exterior of it, in gilt bronze. Under the steps there is an enamel heraldic shield with a key on an azure background. The angels, kneeling, are flanking this figure, and, appearing in dark bronze, they visually share the “category” of religious figures with Mary, while their (lower) position gives greater category 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 appliques, giving way to the carved and polychrome wood. Lapis lazuli is a semi-precious stone already known in the VII millennium BC. C., found in deposits from the Caucasus to Mauritania. From the end of the Middle Ages, its export to Europe increased, its use being more frequent since then both to use it as a pigment in pictures after grinding it (giving rise to the finest and most expensive of the blues, and of the colors on many occasions ), as well as for painting backgrounds, inlays in works of art, jewelry 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 show a proximity to the Renaissance: although the nudity of Jesus is already shown in Gothic works (Madonna with Angels by Fra Angelico ), the creation of space by playing with the cloth in front of Christ can be seen in more advanced paintings (Virgin and Child by Domenico Ghirlandaio, National Gallery, London); the presence of a powerful throne can be seen frequently in Italian Madonnas of the Quattrocento (and earlier), but not quite as presented here. As for the landscape, it is necessary to compare it, for example, with that of the fresco by Condotiero Guidoriccio de 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 Madama Palace in Torino (Italy), in which the coral it also has an important role. It is essential to mention, also, works such as the plate of hard stones (lapis lazuli among them) with a relief of Mary with the 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) of the Pitti Museum; or the "Banquet of the Gods", which follows a design by Guglielmo della Porta, preserved in the Metropolitan Museum in New York.

· Size: 20x22,5x3,5
ANTIQUES

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

Children couple. Polychrome pine wood. Century XVIII. Pair of polychrome pine wood carvings that represent children in an attitude of playing a wind musical instrument, both seated, with their hands towards their faces, and slightly raising one leg to add some movement to a posture that, otherwise , it would be perhaps too static. Due to their postures and attitudes, they would be part of a large and quality altarpiece, judging by the size, the details, the hair, the proportions, etc., elements in which the musical angels were not something strange. Note that those present do not have wings, calling themselves in these cases "putti" and being, in the same way, figures of habitual presence in religious environments despite having emerged from Renaissance classicism and its sources from Antiquity. The proportions of the sizes, the anatomy, the symmetry, the certain plasticism of the hair, etc. are elements that speak of an influence of Neoclassicism in these sculptures. Likewise, a certain resemblance to works from the 18th century of the Castilian school can be appreciated.

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

Ref.: ZF0594
PAIR OF POLYCHROMED WOODEN SCULPTURES. “SAINTS APOSTLES JOHN AND PAUL”...

Pair of polychrome wood sculptures. "Saint John and Saint Paul". Castilian school, 16th century. Both male figures have been represented standing, with their main iconographic attributes and dressed in the timeless robes that the time reserved to highlight the sacred people. The youngest has a chalice in his hand, from which comes out a serpent, and an eagle at his feet; the bearded man presents a sword with the hilt visible. The first is Saint John, with the eagle of the Tetramorph allusive to his Gospel, and the chalice related to the episode of the Golden Legend of Jacobo de la Maelstrom in which he tells that the Emperor Domitian wanted to kill him with a wine with poison, which escaped in the form of a serpent after the evangelist blessed the cup. The second is Saint Paul, with that characteristic aspect that relates him to much earlier early Christian works and to the sword of his martyrdom, which also refers to a text from his Letter to the Ephesians. Stylistically, both round-shaped devotional carvings show a marked Italian Renaissance influence in cloths, contrapposto, proportions and gestures, distancing the works from the other trend of the time that was closer to Flemish models, who preferred greater drama. The Gothic has been left behind, as evidenced by the naturalness of faces, folds, anatomy and gestures, after much effort. It was necessary first to accustom the clientele to new tastes and for the artists to learn the technical and aesthetic innovations brought about by the arrival of the Renaissance, and it developed at different times and at very different levels depending on the region or artist. Compare the works, for example, with the San Juan de Círculo by Juan Rodríguez from the Simón Díaz Foundation (work deposited in the Museum of the Fairs of Medina del Campo, Valladolid).

· Size: 26x26x76 cms.
ANTIQUES
SCULPTURE

Ref.: Z3642
”SAINT BLAISE”. POLYCHROMED AND GILT WOOD. CASTILLIAN SCHOOL, SPAIN, 1...

Sculpture "San Blas". Carved, polychrome and gilded wood. Castilian school, 14th century. The figure stands, looking straight ahead with large and expressive eyes, a slight smile on his face, blessing with his right hand raised and holding an item in his left hand (probably a bishop's staff). He is presented dressed in an alb and chasuble, a garment decorated with golden stripes resembling gold embroidery and under which the stole seems to appear; the bishop's miter on the head also presents a series of decorations in slight relief resembling cabochons and golden stripes. Although it is not presented accompanied by many iconographic attributes, it is possible to relate this carving to Saint Blas, a physician and bishop of Sebaste (Armenia) executed at the beginning of the 4th century and known for his gift of miraculous healing, which he applied to people and animals. Normally, he is represented accompanied by a pig, with two crossed candles (his festival is celebrated after Candlemas), a horn, a carding rake (he was tortured with this element) and bishop's clothes. Its history and veneration were very popular from the High Middle Ages, first in the East and later also in the Western Christian world. The expression of the saint and the expressiveness of the same place the carving within the Gothic, already concerned with showing a certain movement and some closeness in the figures, introducing the feeling in the faces. The folds are now less geometric than in the Romanesque, looking for some anatomy but still without showing it or letting it glimpse how it will be done when the Renaissance influence arrives. The use of gold in decoration is also common in the Castilian school of the time, and it will continue for quite some time. Also characteristic are the rigidity of the figure, which distances it from those examples more related to France, and the lack of delicacy in the folds, which do present works from the Flemish school. This type of carving is kept in certain churches and in certain private collections. Likewise, some museums have managed to collect works similar to this Saint: the Lázaro Galdiano Museum in Madrid, the N. de Catalunya Art Museum in Barcelona, the Navarra Museum in Pamplona, the Madrid Archaeological Museum, etc.

· Size: 30x16x106 cms.
ANTIQUES
SCULPTURE

Ref.: Z6749
”VIRGIN WITH CHILD ON THE THRONE”. BOXWOOD, BRONZE AND ROCK CRYSTAL. 1...

Virgin with Child enthroned. Boxwood, bronze and carved rock crystal. XIX century. On an upholstered base, another second base has been placed in bronze, the metal in which the throne is made. It is raised on four low columns of smooth shaft with capitals decorated with scrolls and simplified vegetal forms, decorative elements that are repeated at the waist, combined with oval blue beads; the back, square and openwork with highly schematic scrolls, is topped by four carved rock crystal pearls. The Virgin Mary is seated on it, wearing 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 his lap, also directs his gaze forward, while blessing with his right hand. The iconography comes, as usual, from Byzantine models: among the Theotokos types, the Panakranta or Panacranta is in which Mary appears seated on a throne, with the Child on her lap and both facing the viewer, showing what was agreed upon. at the IV Ecumenical Council of Chalcedon (451 AD). These were arriving in Europe already in the Romanesque, developing the iconography of the West. This work can be compared with the Italo-Byzantine icon from the thirteenth century preserved in the National Gallery of Art in Washington DC (United States), or the carving of the “Virgen de las Batallas” from the Monastery of San Pedro de Arlanza, made around 1225-1235, and preserved in the Museum of Burgos, or the Romanesque of the mid-seventeenth century today in the Museum of Fine Arts in 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 cloths, a certain air in the faces despite their schematization, the symmetry present in various points of the work, etc., show the belonging of the carving a date closer to the present. Specifically, the style known as Neo-Gothic: this was inspired by works from the 13th to 15th-16th centuries and was opposed to the preceding Neoclassical; It was born in England around the middle of the 18th century, and spread across continental Europe in the 19th century.

· Size: 10x10x24 cms
ANTIQUES
SCULPTURE

Ref.: Z6707
”RESSURRECTION”. POLYCHROMED WOOD. SPANISH SCHOOL, 16TH CENTURY.

Resurrection of Christ. Carved and polychrome wood. Spanish school, 16th century. On one side of the piece there is a relief with the theme of the Resurrection of Christ: Jesus, dressed in the golden shroud, appears in the midst of a beam of light and clouds, standing on the tomb and raising an arm while holding with the other hand a rod topped with a cross and a flag waving in the wind; In the lower part there are four soldiers, in different postures and attitudes. The other side shows a chalice with a Holy Form (in which a Crucified appears flanked by the Virgin and Saint John in grisaille), raised by two angels; all the elements are placed on a golden background, in a space surrounded by clouds; On one side there is a piece of wood on which, originally, a bolt would go, and on the other there are remains of two hinges. It is this element that suggests that the relief was surely a Tabernacle door. The piece follows a usual decoration in Renaissance and Baroque Tabernacles. Compare, for example, with the one from the 17th century of the main altar of the church of the Monastery of Santa Isabel in Madrid, or with others preserved in private collections. The Resurrection scene is reminiscent of details such as the variety of postures of the soldiers, the anatomy of Christ, the movement of the shroud around his body, etc. to outstanding pieces such as the 16th century relief in Renaissance style in the Museum of the Monastery of the Cistercian Abbey of Cañas in La Rioja. Although they are parts of an altar with a varied theme, Salvation is always insisted on, since they are destined to contain the Sacred Form.

· Size: 32x5x52 cms.
ANTIQUES

Ref.: ZF0280
ESCUTCHEON. ALABASTER. SPAIN, 17TH CENTURY

Heraldic shield. Carved alabaster. Spain, 17th century. Quartered shield with seven Moorish heads facing the center touched on the edge and a bird on the crest. The first barracks, checkered or checkered with chains in orders of three and five; second barracks barracks with towers and chevrons with pinjante; third barracks sails edged with seven sails of San Andrés; fourth quarter with three horizontal bands. It is finished off by a feathered knight's helmet looking to the left, and is flanked by a composition of grotesques with busts, scrolls and architectural elements on the hats of the human figures; below, another bust flanked by vegetal and architectural elements. The composition corresponds to common models in the seventeenth century, maintaining a marked classicism. Compare, for example, with that of the House of Begoña de Agurain, one of the Barrio del Cantero in Barcenillas (Cantabria), etc.

· Size: 103x110 cms.
ANTIQUES

Ref.: ZF0793
POLYCRHOMED WOODEN SCULPTURE. “VIRGIN WITH CHILD”. AROUND FIRST HALF O...

Free carving in polychrome wood. "Virgin with Child". First half of the 16th century. The Virgin stands on a polygonal pedestal, with the Child supported with one arm. He raises his arms towards his Mother. Both blonde and very light complexion, she also wears a crown or headdress with plant motifs, which also appear on the edges of her mantle. The iconography of the Virgin with Jesus is already present in the early Christian catacombs, specifically in those of Priscilla in Rome, in an image from the 3rd century AD. However, the recognition of Mary as Theotokos ("Mother of God") at the Council of Ephesus in 431 was capital for this issue. ("The one who shows the way"), which appears pointing to Jesus. It was these prototypes that came to the West from the Romanesque, but it was necessary to wait for the Gothic for the relationship between Mother and Son to develop and take shape. The present devotional carving is heir to those Gothic "Virgins of Tenderness" that were highly valued throughout Europe and whose representation continued during the Renaissance in some specific places and times. A series of elements put the work in relation to examples from northern Europe and France, such as faces and hair. It is the cloths, the corporeity of the image and its correct anatomy, which can be glimpsed, that place the work within the Renaissance. The Italian Renaissance influence came to Spain with great differences according to regions and artists, and we can speak of a first stage in which a marked Gothicism was maintained on which some slight influence of this new artistic style can be appreciated.

· Size: 16x20x55 cms.
ANTIQUES
SCULPTURE

Ref.: Z5827
PROCESSIONAL CROSS WITH CHRIST. COPPER. 14TH CENTURY.

Processional Cross auction with Crucified. Golden copper. XIV century. Latin cross in gilt copper with fleur-de-lised finishing touches and oval widenings on its four arms, decorated on the front and back with an engraved composition based on plant elements (stem from which leaves emerge) and simple geometric elements on a "polished luster" that enhances the outer band that runs through the entire cross, the square space of the intersection of the crossbars with petals and the aforementioned stems and leaves. On the front, several dark red cabochon and circular stones appear, and a figure fastened to the Cross by means of three nails (already in the usual iconography since the Gothic), dressed in a short purity cloth and with his head slightly inclined. This type of liturgical work was used in processions and other important liturgical acts, often changing when there were economic means for it and thus following new fashions. Due to its relationship with the Catholic religion and its use in important events, it was preferred to use precious metals and materials for its realization (gold, silver, gilded silver, enamels, precious stones...); in case the parish or ecclesiastical authority could not afford its cost, they were made in others more humble in comparison but with the appearance of wealth (as in the present case, in gilt copper). In this second case, the fashions and techniques of silverware were also followed, being able to find striking similarities in works of different materials. The type of this cross finial, known as “flordelisada” due to the finials on its arms, was one of the most common in Spanish silverware of the time and enjoyed a long tradition. Compare this piece with the processional cross from the end of the 14th century, from Spain and currently preserved in the Metropolitan Museum of New York (inv. 36.134), or with the piece with enamels from the 14th century from Urruez and found in the Burgos Altarpiece Museum, pieces from the Valencian school (where flordelisadas crosses were created, with few exceptions, between the 14th and 16th centuries, to the point of being the most abundant typology 3 at this time; in Catalonia, this typology survives until well entered the "Six hundred"), crosses from the Cathedral and Diocesan Museum of León from this time, with another silver from 1400 from the Museum of the Cathedral of Tarragona, with the so-called "Cruz de Torrijas" (13th century, today in the Museum of Sacred Art of Teruel) in copper with cabochons of a similar profile, or with the one from the Municipal Cemetery of Muriel Viejo (Soria), or with the more elaborate cross from the first third of the 15th century in gilded silver from the National Archaeological Museum of Madrid (proceedings entity of the church of San Martín de la Vega de Paje, Asturias, and of realization linked with Burgos), etc.

· Size: 19x1,5x30,5 cms.
ANTIQUES

Ref.: ZF0373
PAIR OF SOLOMONIC COLUMNS. PINE WOOD. 17TH CENTURY.

Pair of Solomonic columns. Carved pine wood. XVII century. Pair of carved pine wood columns that present a helically twisted shaft (Solomonic) and decorated with reliefs of birds, scrolls, leaves, fruits and birds intermingled and are topped by two Corinthian capitals (with the two levels of leaves under the scrolls more like oak than acanthus). Although it was an element used in architecture previously, the Solomonic column is a more well-known and common piece in the Baroque, especially since its use by Bernini on the baldachin of St. Peter's in the Vatican (completed in 1633). It soon arrived in Spain, being used in Andalusia for the first time around 1639 and in Madrid in 1636, spreading throughout the peninsula and colonial territories since then. Normally, they were decorated with branches and bunches of grapes in slight relief. Although the presence of birds in these types of elements is not the most common, they can be seen in pieces such as the Solomonic column preserved in the collection of the Vivanco Foundation (Briones, La Rioja, Spain).

· Size: 37x37x215 cms.
ANTIQUES

Ref.: ZF0497