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CHRIST. PARTIALLY GILT COPPER. LIMOGES, FRANCE, CA BEGINNING OF THE 13...

Crucified Christ. Copper with traces of gilding. Limoges, France, around the beginning of the 13th century.
Christ crowned with open arms and perizonium or long cloth of purity tied to one side. The holes in the hands and feet and the fact that it is hollow at the back show that it was part of a work. It is a crucified with three nails, a common type in the Middle Ages and, above all, from the Gothic period.
Stylistically, it is clear that this work belongs to the Limoges enamels of the thirteenth century, and it would be part of a plate or would have been attached to a cross or a casket, all elements decorated with the usual technique, champlevé enamel, in the usual tones. (blue, yellow, green ...). The figure would have been completely gilded, and the inclination of the head, the lines that mark the anatomy of Jesus, the face and the shape of the arms and feet, among other details such as the iconographic type of Christ already deceased, relate it to the end of the Romanesque and the beginning of the influence of the Gothic.
Compare this example with the Crucified on the Chicago Art Institute plaque (inventory 1943.79) from about 1200-1210, one in the Metropolitan Museum in New York (25.120.441) with the purity cloth enameled in the characteristic blue tone of the center. producer, two in the British Museum in London (numbers 1925,0609.1 and 1882,1101.7) or that of the Cross of the Louvre Museum (OA 9956), which is very similar to the present and to that of the Cross of Ukna of the Nationalmuseum of Stockholm, this as the only preserved example of these small sculptures that still preserves the processional cross to which some would be subject according to the studies carried out. These similarities have turned out to be common thanks to the comparison between the examples that have come down to us, and which were one of the main details that contributed to making Limoges the main center for creating enamels of its time because using similar prototypes made the pieces somewhat more accessible to the market. Limoges, after inheriting the techniques of the Silos Monastery (Spain), made a great number of different works with these forms, so valued that they were exported throughout Europe in such quantities that today we have received a few examples of great importance in form of caskets, pixels, crosses, covers of bindings, etc."

· Size: 20x17x2,5 cms.
ANTIQUES
SCULPTURE

Ref.: Z6619
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, missing 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 membership in 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 numerous 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 small religious works abound, 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
PORCELAIN CENTREPIECE. VOLKSTEDT, RUDOLSTADT, GERMANY. CA END 19TH CEN...

Centerpiece. Volkstedt, Rudolstadt, Germany. Towards the end of the 19th century.
Glazed 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 log, one with a purple band stands above, 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, dealing with a friendly and secondary theme (only intuiting a slight relationship with a bacchanal for a glass that is presented), highly appreciated by rich interiors of the time to keep the decorum requested for the moment.
The factory signature is clearly visible at the bottom of the center and in shades of blue, with a signature (Marion) "etched" underneath. The Volkstedt factory, located in Rudolstadt (Thuringia, Germany), was founded by an official request made in 1760 by Georg Heinrich Macheleid, who had worked in 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 of 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 remember the iconographic resemblance between the sculptures of the Jesus Children and the Saint John's 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 de Sevilla (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
PAIR OF RELIEFS. POLYCHROMED AND GILT WOOD. CASTILIAN SCHOOL, SPAIN, 1...

Pair of reliefs. Carved, polychrome and gilded wood. Castilian school, 16th century.
Pair of carved and polychrome wood reliefs with religious figurative scenes located against a landscape background and under two semicircular arches, which present geometric squares with simple moldings on the spandrels. One of the panels shows Christ half naked, tied to a column with a smooth and tall shaft with a capital (reminiscent of that of the Ionic order), and flanked by two soldiers with armor of influence from Roman Antiquity (one with a three-tailed whip and the other raising a kind of bundle of branches). In the other panel, Jesus is bound, seated, covered with a golden cloak or mantle, and accompanied by three other soldiers dressed in armor similar to those in the other relief and holding various items in their hands.
From the postures of the characters and the elements in their hands, it can be said that the first of the panels shows the Flagellation and the second would be a Scorn (or, more specifically, the moment of the Crowning with Thorns). The first relief shows Jesus tied with his arms behind his back and one foot, to a column with a high, smooth shaft topped with a capital that closely resembles those of the Doric Roman order; the executioners or soldiers that flank him have moved postures, and classic-looking outfits. The other also has a clear Renaissance influence both in the anatomy of the figures and in certain elements, and in some small details it resembles engravings on the same subject (Hieronymus Wierix, etc.).
It was not until the second third of the 16th century when sculptors emerged in Spain who reached great heights in the Spanish Renaissance, inspired by Italian forms, but providing their own national touch, creating different schools, and with a clear preference for polychrome wood. and stew. At this time, one of the main workshops was Valladolid, with names like Alonso Berruguete and Juan de Juni. Later, the art evolved towards a classicist or Romanist mannerism, with an important influence of Italian masters, with a clear influence of Michelangelo and names such as Gaspar Becerra, Esteban Jordán, Juan de Ancheta, etc."

· Size: 34,5x5x72,5 cms. / 26x6x72 cms.
ANTIQUES

Ref.: ZE124
VIRGIN WITH CHILD JESUS. POLYCHROMED WOOD. SPAIN, CA. END 15TH CENTURY...

Virgin with Child. Polychrome wood. Spain, towards the end of the 15th 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 13th 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 reminds of numerous painted images: "Our Lady of Monserrate" from the Santafereña school of the 18th century (Art Collection of the Bank of the Republic of Bogotá, Colombia; inv. AP5203) , "Virgen de Monserrate" by Manuel García from the seventeenth century (Teodoro Vidal Collection; Puerto Rico Museum of Art), painting of the main altar of the Minor Basilica of Our Lady of Monserrate in Puerto Rico, etc."

· Size: 44x22x80 cms.
ANTIQUES

Ref.: ZE157
TANKARD. GILDED SILVER, IVORY. GERMANY, 18TH CENTURY.

Tankard. Silver gilt, ivory. Germany, 18th century.
Cylindrical container with a lid made of ivory carved in its color and gilt silver that has a flat base decorated with plant elements, a "ce" shaped handle decorated with engraved leaves, and a lid (this one with a piece of gilt silver similar to that of the base, and another piece of carved ivory, topped with an acorn of this material). On the front of the tankard, between two bands of garlands of clear classic memory, there is a scene with naked figures (some riding horses) in a fighting attitude.
On the lid, topped with an acorn, there is a figurative carving with various characters on a natural background, with glasses and other containers. This Bacchanal is one of the most common classical scenes at certain moments in Art History, and the aforementioned garlands and the theme of the front respond to this same influence. The Rape of the Sabine Women is a theme from ancient pagan mythology and chosen by masters such as Giambologna or Rubens. The composition in this piece shows movement and a clear study of anatomy (with a marked contrast between the male and female figures), but keeping a certain harmony and maintaining the flat background and "white" spaces between the figures.
Compare, for example, the 17th century ivory and gilt silver tankard from the Emma Budge Collection, or the ivory and gilt silver tankard by Octavian Cocssel (Austria, act. 1691-1716) from the Thomson Collection at the Art Gallery from Ontario presenting the Rape of the Sabine Women, appreciating the differences; and with others from leading institutions and private collections. Weight: 845 gr."

· Size: 17x13x19 cms
ANTIQUES

Ref.: ZF0551
PAIR OF CHILDREN. POLYCHROMED PINE WOOD. 18TH CENTURY.

Children couple. Polychrome pine wood. Century XVIII.
Pair of polychrome pine wood carvings representing two 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 perhaps be 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
Sold

PROCESSIONAL CROSS WITH CHRIST. COPPER, ENAMEL. LIMOGES, FRANCE, 13TH-...

Processional cross finish with Crucified. Golden copper, enamels. Limoges, France, 13th-14th centuries.
Latin-type processional cross made of gilded copper, with fleur-de-lis-shaped finials on its arms, four oval extensions on them (which are included above and below in the plates that decorate the piece), decorated on the back with a composition simplified plant elements in which there are three winged animals and a character seated at a table and with a space, in the center, with an enameled plate; In front, with a similar composition in the background, and apart from the two mentioned plates, there is a figure of Jesus Crucified with three nails, a short purity cloth, a softened anatomy and a face with schematic features and a slightly inclined head. The decorative motifs of the cross have been enhanced thanks to a work of "luster mince" based on small circles in the "background".
Iconographically, on the front of the piece, an angel appears descending from the heavens with a censer above it, and a human figure sitting on a throne, with a phylactery and nimbus around the head, with short hair; on the back, with remains of enamel, Christ on the Throne, holding the Orb of Creation, and, on the cross, the elements of the Tetramorph (lion, bull, eagle and "winged man").
Limoges enamels are known as a series of pieces of metal (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 from the Monastery of Silos (Spain), and with a great boom throughout Europe in the 12th and 13th centuries. Production had already declined by 1370, when the sack of Limoges by the English took place. However, towards the end of the 15th century it resurfaced, but already with the technique of "painted enamel" and clearly Renaissance models. The amount of conserved 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 the figures and in chests, staves, etc.; Likewise, it is necessary to insist on the variety of objects made in Limoges with the typical decoration of colored enamels and gold-plated metal, preserved in some of the main private collections and in prominent museums around the world.
Compare this piece with the 13th century processional cross of the Diocesan Museum of Lleida also made in Limoges, a specimen preserved in private collections, the silver with enamels dated in the 14th century known as "Cruz de Noguera" (today in the Museum Diocesan of the Cathedral of El Salvador de Albarracín) and one similar to this one that is in the Victoria & Albert Museum in London (with a stamp from Tarragona), for example."

· Size: 38x3x59 cms.
ANTIQUES

Ref.: ZF0375
”CHILD PORTRAIT”. MARBLE AND BRONZE. SPAIN, 19TH CENTURY.

"Girl with flowers on a basket". Sculpture in white marble and bronze, on base. Spain, 19th century.
The pedestal, in the shape of a smooth shaft column, elevates the sculpture and highlights it with its elegance of lines and lack of exaggerated decorative elements (apart from some moldings in what would be the capital and the change of veined marble in the upper piece, on which the sculpture is located). The figure of the girl, carved in a high quality white marble, is seated, looking into the distance, and with a bouquet of flowers in her arms and a medal hanging from a cord around her neck. When sitting on a basket with flowers, the figure is softened, in addition to enhancing it with the chromatic contrast between the flowers and the basket (patinated bronze) and the figure. The girl's hairstyle, with pictorial waves without a powerful chiaroscuro, contrasts with the detail of the dress, perfect both in the ruffles at the neck and in the embroidery on the fabric and with which, in addition, an “informal ”By showing a shoulder strap and a wrinkled skirt. This lack of formality fits the theme perfectly, and is slightly accentuated by presenting the figure in socks (or stockings, dropped) and without shoes. The realism of the face (attenuated with a slight idealization) suggests that it is a child portrait.
The pictorial treatment of the figure and the roses is related to artistic approaches that emerged throughout the 19th century and to a certain aesthetic and level of skill. Stylistically, it is possible to relate it to the environment and the influence of two key figures of 19th century Spanish art due to their craftsmanship, features, technical mastery and originality: Agustín Querol and Mariano Benlliure. The quality of the work is undeniable: with a great economy of elements, an elegant figure has been achieved, without losing childish details according to the theme; the qualities can be seen in both bronze and marble; the chromatic combination enhances the figure; the naturalism of the girl's face; the composition of the sculpture; etc. Thus, it is possible to find parallels with outstanding works from the 19th century: note the similarity in the hair with the "Naked Child" by Augstín Querol y Subirats (around 1900, Prado Museum in Madrid), it also recalls in certain details the bust of the 18th Duchess of Alba by Mariano Benlliure (made around 1928)."

· Size: Busto: 50x50x71 cms. Peana: 37x37x116 cms.
ANTIQUES
SCULPTURE

Ref.: Z6639
”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, 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 then 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.
These types of carvings are 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
”SAINT DOMINIC DE GUZMÁN AND SAINT FRANCIS OF ASSISI”. POLYCHROMED TER...

"Meeting of Santo Domingo and San Francisco". Sculpture in polychrome terracotta. Colonial school, 17th century.
Figure made in polychrome terracotta with golden details that represents two male characters on a simple pedestal. The one on the left appears wearing a Franciscan habit (and a small red mark on his right hand) and he embraces fraternally, and on equal terms, with the one on the right, with a dark cloak (decorated with fine golden lines creating a net) over white habit decorated with abundant flowers and golden elements, and a star in slight relief on the forehead. It is about San Francisco de Asís, with the stigma on his hand, and Santo Domingo de Guzmán, both with their respective habits.
It is narrated, with a notable economy of elements (which shows the quality of the work), the so-called "Brotherly Encounter of Santo Domingo and San Francisco", also called "Embrace of Peace" or, more colloquially and in some circles, " The Bump ”. According to tradition, Saint Dominic had a vision in which Mary implored Jesus for Men, pointing to both of them as servants of God; the next day, Santo Domingo met with San Francisco in the church of Rome, recognizing him as his companion and hugging and kissing.
The present piece still shows Baroque influence, but it already points to a certain neoclassical influence in some details, maintaining the particularities of its school. Compare, for example, the "Embrace" of the Monastery of Santo Tomás de Ávila by Luis Salvador Carmona, dated in the 18th century. Likewise, it is necessary to highlight the quality of the modeling and the polychromy of the piece, with a remarkable state of conservation for the antiquity and delicacy of the material of the figure."

· Size: 14x16x26 cms.
ANTIQUES

Ref.: ZE161
”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 middle of a beam of light and clouds, standing over the tomb and raising an arm while holding with the other hand a rod finished in a cross and a flag waving in the wind; At the bottom there are four soldiers, in different postures and attitudes. The other side shows a chalice with a Sacred Form (in which appears a Crucified one 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 in which, originally, a bolt would go, and on the other there are remains of two hinges. It is this element that makes us think that the relief was surely a door of the Sagrario.
The piece follows a customary decoration in the Renaissance and Baroque Tabernacles. Compare, for example, with the one from the 17th century on the main altar in the church of the Monastery of Santa Isabel in Madrid, or with others kept in private collections. The scene of the Resurrection recalls in 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 from 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 upon, as they are destined to contain the Sacred Form."

· Size: 32x5x52 cms.
ANTIQUES

Ref.: ZF0280
PAIR OF SOLOMONIC COLUMNS. PINE WOOD. 17TH CENTURY.

Pair of Solomonic columns. Carved pine wood. XVII century.
Pair of carved pine wood columns that have a helically twisted shaft (Solomonic) and decorated with reliefs of birds, scrolls, leaves, fruits and intermingled birds 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
FRIEZE. POLYCHROMED PINE WOOD. 16TH CENTURY.

Frieze with reliefs. Carved and polychrome pine wood. Century XVI.
Rectangular frieze in 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 children or putti without wings pulling this cloth, which ends in fruits, thus joining the ends with the center of the piece.
Both in the iconographic theme and in the anatomy, composition and colors, you can see the influence of the Italian Renaissance with variations that may be due to being a Spanish creation. Compare, for example, the Johann Theodor de Bry engraving from the Metropolitan Museum in New York dated between 1580 and 1600, or works by Paolo Farinati; and with Spanish creations such as carvings from the Ducal Palace of Pastrana (second half of the 16th century), works by Alonso de Covarrubias, the Renaissance façade of the Asunción de Beteta church (Cuenca), etc."

· Size: 96x9x20 cms.
ANTIQUES

Ref.: ZF0565
IVORY CORPUS CHRISTI. IVORY, WOOD. 17TH CENTURY.l.

Crucified Christ. Carved ivory; wooden cross. XVII century.
Crucified Christ made of carved ivory with remains of polychrome placed with four nails finished in a diamond point on a carved wooden Latin cross decorated with simplicity (ivory lines towards the outside of the crossbars, engraved with two lines each). Jesus appears still alive, raising and tilting his head to one side and looking up at the sky; the perizonium or cloth of purity that covers her nakedness is knotted on one side, with fine folds and still preserves traces of polychrome; the body has a slight movement thanks to a subtle contrapposto, thus counteracting that more static posture that is usually due to the presence of four nails. The face, framed by long curly hair and beard, presents striking expressiveness and remarkable quality and details (teeth, tongue, eyebrows, pupils, etc.).
Iconographically, the type of living or expiring Christ to which the present example belongs was frequent in Spanish (and European) Baroque sculpture, as was the recovery of the four nails for the crucified. In terms of material, ivory has always been one of the most appreciated for small-size sculpture and other high-quality luxury objects. In centers like Granada, it may have been the domain of the circle of Pablo de Rojas, Montañés, the García and Ocampo, who could have carried out work using it. Compare this example with works such as the 17th century ivory Christ with Crown of Thorns from the Diocesan Museum of Tarragona, or the Crucified marked Hedvi from the Cathedral of Badajoz (perhaps Spanish or French school, first half of the 18th century), or the de Beissonat del Convento de la Encarnación in Madrid, in addition to considering others from European schools."

ANTIQUES

Ref.: ZF0617
CHILD JESUS. WOOD. CASTILLIAN SCHOOL, 17TH CENTURY.

Child Jesus. Polychrome mother. Castilian school, 17th century.
Requires restoration.
Baby Jesus made of carved and polychrome wood standing, with a slight counterpost, and gazing straight ahead, keeping both arms slightly raised. The base it presents, with a rectangular base, has been carved with plant elements on the fronts, and has moldings at the top and bottom.
Iconographically, it is framed within the phenomenon of resurgence of the infantile iconography of Christ that emerged from the Council of Trent. Specifically, it would be related, by the posture of the hands, with the so-called Triumphant Jesus Children, surely. Regarding its style, it is usually spoken of the importance of the model established by Martínez Montañés in 1606-1607 for the Sacramental Brotherhood of the Sagrario de Sevilla (Sagrario de la Catedral de Sevilla), taken up and varied by numerous masters later. However, certain details of the present carving would place it within the Castilian school, then having to remember names such as Juan de Montejo (for example, the San José with the Child of around 1600 from Villafrades de Campos in Valladolid, deposited in the Museum de las Ferias), Sebastián Ducete (altarpiece of the Sagrada Familia from around 1600; Larreta Museum of Buenos Aires), etc. Requires restoration."

· Size: 23x18x78,5 cms.
ANTIQUES

Ref.: ZF0714
PAIR OF NICHES. PINEWOOD. 17TH CENTURY.

Pair of niches. Carved pine wood. XVII century.
Pair of altar fragments or niches made of carved pine wood that are decorated with a series of important carvings with a large volume of plant themes, scrolls, ropes, architectural details, cloths, etc., arranged symmetrically around the arch semicircular that acts as a central organizer of the work and a shell located at the top.
These types of pieces were used in the creation and construction of altars in the churches, and it is possible that the niches were on an altar that is notable for its measurements and the quality of its carving. It is possible to find certain similar details between this work and other Spanish works, such as, for example, the 18th-century niche altarpiece of the Fundación Pintor Julio Visconti (Guadix, Spain), the altar of the Adoration of the Magi in the Church of the Monastery of Sancti Spiritus el Real (Zamora, Spain), elements of some altars of the Cathedral of Cuenca (especially part of the Main Altarpiece of the Main Sacristy), etc."

· Size: 75x30x230 cms.
ANTIQUES

Ref.: ZF0498
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BRONZE SCULPTURE "SORIANO"

SORIANO MENÉNDEZ, Eduardo (Madrid, 1941 - 2007).
"Picador", 1991.
Bronze sculpture, copy 47/50.
Signed, dated and justified.

A sculptor specializing in medium-format bronze works on bullfighting and popular Andalusian themes, although he also produced more conceptual works of a vanguard nature, Eduardo Soriano demonstrated perfect technical and compositional mastery in his sculptures. He began his career very young, in the family workshop, where he learned wood and stone carving. Later he studied Fine Arts, mastering different technical procedures. Seeking to broaden his training, he moved to Paris in 1966, where he worked as a modeller in some of the most important artistic foundries of the time, expanding his knowledge of lost wax bronze casting. You will also see first-hand the work of Rodin, Zadkine, Henry Moore, Giacometti and other masters. He returned to Madrid in 1974 and opened his own foundry workshop, definitely choosing bronze as his favorite material. Throughout his career, Soriano made his work known through important individual and group exhibitions, held both in Madrid and in New York, Paris, Brussels, Panama and other cities. Although he mainly made works of small and medium format, he also executed monuments such as the "Freedom of Expression" in Marbella, those dedicated to the horse in Travagliato (Italy), or the Plaza del Mamelón in Jerez de la Frontera.
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· Size: 85x60x80 CMS.
ANTIQUES
SCULPTURE

Ref.: Z6178
”VIRGIN WITH CHILD ON THE THRONE”. IVORY. 19TH CENTURY.

"Virgin with Child enthroned". Carved ivory. XIX century, inspired by Romanesque models.
The Virgin Mary sits on a low-backed throne, semicircular in the rear area, and is dressed in the usual tunic under a cloak and a veil covering her hair, under the crown. The Child, with nimbus, is on his lap, blessing with his right hand while with the other he holds a book on his knees, and also looking straight ahead.
The iconography that this carving presents comes, as usual, from Byzantine models: a specific type of Theotokos is the Panakranta or Panacranta, in which Mary is presented sitting on a throne and with the Child on her knees, both looking straight ahead. , thus showing what was stipulated in the IV Ecumenical Council held in Chalcedon in the year 451. When the models arrived in Europe in the Romanesque and in successive waves, they spread rapidly across the continent. Compare, for example, with the ivory carving of the same subject, made in the 16th century and preserved in the Lázaro Galdiano Museum in Madrid, those of the Metropolitan Museum in New York (such as the mid-13th century Alsatian in polychrome wood that was in the Cathedral of Strasbourg), those of the Louvre in Paris, etc.
But there are certain details that separate this work from the medieval examples and place it in the 19th century: the folds of the cloths, the anatomy of the figures, the features of the faces, the proportions of the figures themselves and between the two. , the rigidity of Mary and Jesus while maintaining the smile, the shape and decoration of the crown, etc. The work belongs to the Neo-Gothic, a style inspired by works between the 13th and 15th or 16th centuries, opposed to Neoclassicism and with great force throughout Europe in the 19th century after its birth in the 18th century in England. Such value was given to this type of carvings that it is relatively common to find them in those same important museums that also treasure medieval examples. Suffice it to mention the one preserved in the Lázaro Galdiano Museum in Madrid, carved in ivory in the 19th century."

· Size: Alt. 12 cms.
ANTIQUES
SCULPTURE

Ref.: Z6708
SCULPTURE. POLYCHROMED WALNUT. SPAIN, 16TH CENTURY.

Sculpture. Carved and polychrome walnut wood. Spain, 16th century.
Male figure with a beard and dark hair, dressed in a robe and cloak, seated and holding an object in his right hand. The iconographic attributes are not enough to identify it, and it may be an Evangelist or another of the Apostles.
The anatomy, the posture of the figure, the bends, etc. They refer to models already influenced by the Italian Renaissance, which reached Spain as early as the first third of the 16th century at the hands of Italian artists, imported works, etc. (although at this time Gothic models still survive). In the second third of the century, these previous influences were abandoned and classicism prevailed (Valladolid consolidated as the main artistic center of the moment), already speaking of a marked Mannerism. From here it evolved towards a classicist or Romanist mannerism, emerging in the Court of Madrid a prominent focus around Felipe II and El Escorial."

· Size: 32x22x47 cms.
ANTIQUES

Ref.: ZF0353
RABBITS ORQUESTRA. SILVER. JOSÉ MARÍA CALERO SEGURA AND ALBERTY JOYERO...

Rabbit Orchestra. Silver. José María Calero Segura and Alberty Joyeros, SA Zaragoza, Spain, XX-XXI century.
Group of rabbits made up of fourteen pieces plus accessories, consisting of a grand piano (Music box with Alberty inscription) with its pianist and stool, conductor with baton and pedestal, lyric singer, three musicians with string instruments (violin, guitar and cello), flutist and saxophonist, another with xylophone, harp with its corresponding figure, another with cymbals, another with horn, and one more with trombone. The figures show signature on the clothes they wear (Calero). Opening the upper lid of the piano activates the music box, playing "Swan Lake" by Pyotr Ilyich Tchaikovsky, premiered in March 1877 at the Bolshoi Theater in Moscow (Russia).
Alberty Joyeros, SA is a firm based in Zaragoza (Spain), known for a great variety of high quality works, among which its interesting limited edition chess with human figures (Nubians and Egyptians), a well-known Mystery of silver plated nickel silver, etc. The present set was a design by José maría Calero Segura for the firm. José María Calero has also made important works such as the garlands of silver roses on the float of the Virgen de los Dolores de la Hermandad de San Joaquín and the Virgen de los Dolores de Zaragoza."

· Size: 58x42x25 cms. Altura figuras10-12 cms.
ANTIQUES

Ref.: ZF0609
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VIRGIN WOMAN WITH CHILD, 17TH TO 18TH CENTURIES

Spanish school from the late 17th - early 18th century.
"Virgin with Child".
Carved and polychrome wood.
Devotional image carved in wood in a round and polychrome bundle, framed within the late Spanish Baroque. It is a sculpture of monumental conception, with large and monolithic figures, with volumes enhanced through the bombastic folds of Mary's tunic. The Virgin appears standing up, 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 in turn leans forward, thus compensating for the composition. The Child appears raising his right hand as a sign of blessing, while the other hand rests on a sphere, 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 nested in it. With the State economy broken, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and brotherhoods of clergy and laity that promoted its development, the works being paid for at times by popular subscription. The sculpture was thus doomed to capture the prevailing ideals in these environments, which were none other than the religious ones, at a time when the counter-reformist doctrine demanded a realistic language from art so that the faithful understood and identified with what was represented, and an expression endowed with an intense emotional content to increase the fervor and devotion of the people. The religious issue is, therefore, the preferred theme of Spanish sculpture of this period, which starts in the first decades of the century from a priority interest in capturing the natural, to gradually intensify throughout the century the expression of values expressive, which he achieves 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
”SAINT” (POSSIBLY, SAINT FIACRE). POLYCHROMED WOOD. 16TH CENTURY.

Polychrome wood sculpture possibly Saint Fiacre. Century XVI.
Polychrome wood carving of a bearded saint standing on a simple pedestal. They are shown with their eyes fixed to the front, holding a hand to their chest and with a basket on this left arm. In his right hand he holds a stick (or perhaps a shovel, since the lower end of the utensil has been lost). The habits you wear are reminiscent of those that Saint Anthony the Abbot wears in some of the works that show this monk, founder of the hermit movement.
Saint Fiacro, a monk of Irish origin also called Saint Fiacre, lived as a hermit, healing with herbs and was already considered a saint in his country of origin. Seeking greater retirement, he went to France, where he took care of an oratory, a hospice and a cell in which he himself lived alone, mortifying himself, fasting and working in the garden. In addition to being the patron of gardeners, he is invoked for the cure of venereal diseases and the so-called "figs of San Fiacro". His cult is rooted in Ireland and France, but also in Belgium, Spain and the United Kingdom, for example. He is represented with a shovel and a book or a basket. Physically, sometimes he appears as a young man, and other times older, with a beard, slightly reminiscent of Saint Anthony the Abbot, as is the present case.
The lack of carving on the back of this sculpture shows that it was created to be placed on an altar. Likewise, it is necessary to highlight the expressiveness of the figure, centered on the face with prominent eyes, and a slight movement in the folds of the habit. Compare, for example, with the alabaster figure of the saint preserved in the Metropolitan Museum in New York, made in England or France in the middle of the 15th century (inv. 25,120,227); or that of alabaster from the Victoria & Albert Museum in London from the 15th century and English provenance (inv. A. 135-1946); or that of the French Church of Saint-Prix."

· Size: 32x18x77 cms.
ANTIQUES

Ref.: ZE120