Z. Sierra · Antiques and Decorative Objects

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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 of carved and polychrome wood that each show a seated human figure 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 an inkwell to him; the second, younger (beardless) and with blond hair, is shown concentrating on a parchment, while an eagle brings an inkwell to him with one leg, leaning on one of them. As befits 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 gilded furniture and sitting on high-backed chairs or thrones. Note the vegetal scrollwork 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 volutes on the seats and desks, or the aforementioned decoration of the bindings of the books that appear in both works). The iconography that appears in this couple is frequent in Spanish art of the time, often located in the lower part of the altarpieces (Main Altarpiece of Foncea, Burgos school). Compare, for example, with the Saint John the Evangelist on the Retablo Mayor de la Asunción by 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 on 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 in the National Museum of Sculpture (Valladolid); or with the relief of San Marcos from the altarpiece of Santa Eulalia de Markinez or Marquinez from the Diocesan Museum of Sacred Art of Vitoria-Gasteiz (its sculpture attributed to the workshop of Juan de Ayala II and the polychromy to Santos Corres, dated from the second half of the the 16th century the sculpture and in 1747 the 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 (he also worked in the city), etc.

· Size: 72x4x99 cms.
ANTIQUES

Ref.: ZF0662A
THE ABDUCTION OF THE SABINE WOMEN. BRONZE. 19TH CENTURY, AFTER GIAMBOL...

Kidnapping of the Sabine women. Bronze. XIX century, following the model of Giambologna (John of Bologna; Douai, 1529-Florence 1608). Patinated bronze sculpture made with the lost wax casting technique that has a small polygonal base, also dark. The three human figures that make it up are placed on a small rocky surface, thus enhancing the complicated game of diagonals and spirals created by the postures of the two men and the woman, located at the top of the composition. Considered the masterpiece of Juan de Bologna, the Rape of the Sabine Women is a sculpture made between 1581 and around 1582 that measures 410 cm high, is carved from a single piece of marble and is located in the Loggia della Signoria (Florence , Italy). It shows a young man lifting a woman over his head, who struggles to get away from him, while an old man appears between the boy's legs. It is due to this popularity, apart from its quality, that casts of the work and works inspired by it were made in bronze already at the time the author was still alive, and, of course, of the Grand Tour and destined for everything, to England and Germany, in different sizes (almost always much smaller than the original). A bronze reduction of the work is attributed to the hand of Pietro Tacca, held at the Honolulu Academy of Arts; another, dated to the 18th century, is kept in the Metropolitan Museum in New York.

· Size: 37x38x114 cms.
ANTIQUES

Ref.: ZF0789
SAINT HUBERT OR SAINT EUSTACE. GOLDEN AND POLYCHROMED WOOD. SPANISH S...

Possibly Saint Hubertus or Saint Eustaquius. Carved, polychrome and gilded wood. Spanish school, 16th century. Polychrome and gilt wood carving, simply chipped on the back, showing a richly dressed young rider, wearing a flat hat, and with a falcon on his right arm, his hand covered with a glove. Iconographically, it could be a civil sculpture, of a hunting nobleman, since it does not wear a nimbus and there are no other elements that identify it. However, it can also be a saint. In this case, it may 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 it became when, going out 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 out for a walk, and Saint Hubert of Liège (a Merovingian nobleman who gave himself up hunting when his wife died, and had the aforementioned vision while hunting one Good Friday, with a voice that told him "Hubert, if you do not return to the Lord and lead a holy life, you will go to hell" and sent him to find the Bishop of Maastricht, Lambert, converting, resigning his position and giving to the poor his wealth). San Huberto died in Tervuren, Bravante, and his remains ended up in the Andain Abbey, in the current town of San Hubert, losing his remains in the 16th century (until then the abbey was a very important pilgrimage center). The importance of this saint was increased thanks to some Military Orders that took his name in the 15th century; In addition, Felipe IV of Spain had him as a protector. Normally, these saints (San Eustaquio and San 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 times in history, it was not uncommon for them to be shown with a horse: portal of the Saint Hubert chapel 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, New York: an 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 San Eustaquio are less numerous, in principle. Stylistically, the work does not show much Hispano-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 the portrait of John Calvin 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 garrison and two candlesticks. Bronze, marble rouge griotte. France, 19th century, after Clodion's models. Set or garnish made up of a table clock and two candlesticks with two lights each, made of bluing 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; its Paris machinery has been located inside a rectangular bronze and transparent glass case, topped by a composition of flowers, leaves and a torch at the top, and the dial (white with Arabic numerals for the hours and every 15 for the minutes, on a flower garland) is signed “P. Lombardi/AParis”; Next to this golden structure, there is a child's figure in dark bluing bronze, with wings on its back. The two candlesticks, raised on legs and bases of the same marble enhanced with a chain of gilded bronze pearls, present figures in dark bluing bronze and two "branches" with grapes ending 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 highly appreciated for his work. The satyr in this pair closely follows models by the master (compare Satyr Running with an Owl, made 1770-1780, Cleveland Museum of Art) and several examples of figured candlesticks such as this pair are known (with variations in lights and bases). The Cupid on 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 combine the candlesticks with these figures with the clock with his in the same set. Weight: 16 kg (watch); 6 kg (candelabras).

· 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
”SAINT ROCH”. POLYCHROMED AND GILT WOOD SCULPTURE. JUAN DE ANCHIETA WO...

"San Roque". Sculpture in polychrome and stewed wood. Environment of Juan de Anchieta, 16th century. A bearded male figure is standing, holding a book and wearing a pilgrim's hat on his back, as well as showing off his right leg and resting his foot on a quadruped with something in its mouth. To his right, a naked child looks towards the saint while touching his leg with his left hand. He appears with the angel on his left, the plague wound or buba on his leg (usually the one he shows is the other), the pilgrim's hat and cape, and the dog with the loaf of bread located 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, above all, as he is considered a healing saint, especially in cases of pestilence. A marked influence of the Italian Renaissance in the carving is clearly noticeable: Michelangelo's in the corporeality 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, allow us to relate the sculpture to the workshop of Juan de Anchieta (Azpeitia, around 1533- Pamplona, 1588), a sculptor of great importance in Spanish art of the 16th century with works in the north of Castile, Aragon, the Basque Country, Navarra and Burgos, considered one of the main figures of Romanism. It is believed that he was trained in Italy, hence his stylistic connection with certain works by Jacobo della Quercia and, above all, his inspiration in the works of Michelangelo. The influence of the focus of Valladolid 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 finished in 1577, the commissions that he carried out in the Cathedral of Burgos between 1576 and 1578 (Coronation of the Virgin and carving of Mary located on the choir lectern), or the main altarpiece of the Parish of Santa María de Tafalla made between 1581 and 1583. He set up his workshop in Pamplona, with numerous commissions and his style was so appreciated that it would influence works carried out in Aragon throughout the first third of the 17th century.

· Size: 16x11x25 cms.
ANTIQUES
SCULPTURE

Ref.: ZE062
PAIR OF NAPOLEON III PERIOD CANDLESTICKS OR CANDELABRA. WHITE MARBLE, ...

Pair of candlesticks. Gilt bronze, white marble. Around Napoleon III times, France. Pair of two-light candlesticks with a white marble base and gilt bronze details made of 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 into two and is decorated with leaves and topped with two large roses, which serve as the base for the candles. The pedestals have a circular base in gilt 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 laurel garland. Stylistically speaking, they resemble Napoleon III period French examples inspired by the Louis XVI style 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, inspired by 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 was highly influential in both Europe and North America. The so-called Louis XVI style was one inspired by classical antiquity, nature and the Louis XIV style.

· Size: 23x10x33 cms
ANTIQUES

Ref.: ZF0788
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 of polychrome wood of the Virgin Mary dressed in a red tunic and a white cloak covering her hair, shoulders and knees, seated on a backless throne with simple architectural elements on the sides, and with the Child Jesus also sitting on her kneeling, with a globe in his left hand and blessing with his right hand. On the back, at the base of the throne, there is a legend with some losses due to the passing of the years: “De do? Renown, Lady / did a religious write / the one from Monsarrate, dawn / because a child took him / to be my intercessor” February 2, 1688 The composition of the carving follows a habitual pattern 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, which is still popular in the 18th century. XV (compare with the carving of Santa Ana, the Virgin and Child from the fifteenth century in the Diocesan and Cathedral Museum 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 , is not the only one of the Spanish and South American geography. Compare the carving with the Virgin of Monserrate de 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 is also reminiscent of numerous painted images: “Our Lady of Monserrate” from the 18th century Santa Fe school (Art Collection of the Banco de la República de Bogotá, Colombia; inv. AP5203) , “Virgin of Monserrate” by Manuel García from the 17th century (Teodoro Vidal Collection; Museo de Arte de Puerto Rico), 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, 15th-16th centuries. Bronze in its color and gold, lapis lazuli, rock crystal, enamel. In the center of the work is presented, enthroned, the figure of Mary, with a cloak over 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 raised by some steps. This composition achieves a striking contrast: the figure in dark bronze, in contrast to the lapis lazuli background, and the part of the arch and its exterior, in gilded bronze. Under the steps there is a heraldic shield in enamel with a key on a blue background. Kneeling angels flank this figure and, appearing in dark bronze, visually share the “status” of religious figures with Mary, while their (lower) position gives greater status to both the Mother and Jesus. The rest of the composition is completed with a delicate landscape: buildings and walls on mountains, clouds in the sky, plants, stones, etc. Towards the outside, there is another lapis lazuli frame decorated in the corners with sconces, 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 paintings after grinding it (giving rise to the finest and most expensive of blues, and 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 closeness 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 Quattrocento (and earlier) Italian Madonnas, but not quite as presented here. As for the landscape, it is necessary to compare it, for example, with that of the fresco of the Condotiero Guidoriccio of Fogliano (Simone Martini, finished in 1328). This is a work of great technical and aesthetic quality, not to mention the materials chosen for its creation, comparable only to outstanding examples from around the world, such as those preserved in the Madama Palace in Torino (Italy), in which the coral also has an important role. It is also essential to mention works such as the hard stone plaque (including lapis lazuli) with a relief of Mary with the Child in bronze, made around 1580-1600 in Italy and preserved at the Art Institute of Chicago; or the “Panorama della Piazza della Signoria” (Jacopo Bilivert, ca. 1599) from the Pitti Museum; or the "Banquet of the Gods", which follows a design by Guglielmo della Porta, kept at 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 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 would otherwise be , it would perhaps be too static. Due to their postures and attitudes, they would form part of a large and high-quality altarpiece, judging by the size, the details, the hair, the proportions, etc., elements in which musical angels were not something strange. Note that those present do not have wings, being called 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 plasticity of the hair, etc. They are elements that speak of an influence of Neoclassicism in these sculptures. Likewise, a certain resemblance can be seen with works from the 18th century of the Castilian school.

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

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

Pair of sculptures in polychrome wood. "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 sacred people. The youngest has a chalice in his hand, from which comes a serpent, and an eagle at his feet; the bearded man presents a sword of which the hilt is visible. The first is Saint John, with the eagle of the Tetramorphs alluding to his Gospel, and the chalice related to the episode of the Golden Legend of Jacobo de la Vorágine in which he tells that the Emperor Domitian wanted to kill him with poisonous wine, which he 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 paleo-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 draperies, contrapposto, proportions, and gestures, moving the works away from the other trend of the time that was closer to Flemish models, which preferred more drama. The Gothic has been left behind, as evidenced by the naturalness of faces, folds, anatomy and gestures, after much effort. It was first necessary to accustom the clientele to the new tastes and for the artists to learn the technical and aesthetic novelties that the arrival of the Renaissance brought about, and it developed at different times and at very different levels depending on the region or the artist. Compare the works, for example, with the San Juan de circulo by Juan Rodríguez from the Simón Díaz Foundation (a work deposited in the Museo de las Ferias in 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, XIV 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 crozier). He is presented dressed in an alb and a chasuble, a garment decorated with golden stripes resembling gold embroidery and under which the stole appears to be peeking; the bishop's miter on the head also presents a series of decorations in light 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 Blaise, a doctor 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 clothing. 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 its expressiveness 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 be seen as it will be done when the Renaissance influence arrives. The use of gold in the decoration is also something common in the Castilian school of the time, and it will be maintained for quite some time. Also characteristic are the rigidity of the figure, which distances it from those examples more closely 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 gather 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 Archaeological Museum in Madrid, etc.

· Size: 30x16x106 cms.
ANTIQUES
SCULPTURE

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

Madonna 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. This stands on four low columns with a smooth shaft with capitals decorated with scrolls and simplified plant forms, decorative elements that are repeated at the waist, combined with blue oval beads; the back, square and openwork with highly schematized scrollwork, is topped by four carved rock crystal pearls. The Virgin Mary is seated on it, with a crown that repeats the decorative elements of the throne, dressed in a tunic and cloak and with a book in her hand. The Child Jesus, on his lap, also directs his gaze forward, while blessing with his right hand. The iconography comes, as usual, from Byzantine models: among the types of Theotokos, the Panakranta or Panacranta is the one in which Mary appears seated on a throne, with the Child on her lap and both facing the viewer, showing what was agreed. 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 13th 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 from 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 scrolling of the throne and the crown, the folding of the cloths, a certain air in the faces despite their schematization, the symmetry present in several points of the work, etc., show that the carving belonged to a date closer to the present. Specifically, in the style known as Neo-Gothic: this was inspired by works from the 13th to the 15th-16th centuries and was opposed to the preceding Neoclassical; It was born in England around the middle of the 18th century, and spread to 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 a golden shroud, appears in the middle of a beam of light and clouds, standing on the sepulcher and raising one arm while holding with the other hand a stick topped with a cross and a flag waving in the wind; Four soldiers have been placed in the lower part, in different postures and attitudes. The other side shows a chalice with a Sacred 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; To one side you can see a piece of wood where, 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 tabernacle door. The piece follows a habitual decoration in the Tabernacles of the Renaissance and the Baroque. Compare, for example, with that of 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 scene of the Resurrection 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. outstanding pieces such as the 16th century relief in the Renaissance style of the Museum of the Monastery of the Cistercian Abbey of Cañas in La Rioja. Although they are parts of an altar with varied themes, Salvation is always emphasized, since they are intended 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 barracked with towers and chevrons with pendant; third quarter cross bordered with seven crosses of San Andrés; fourth quarter with three horizontal bands. It is topped by a feathered knight's helmet looking to the left, and flanked by a composition of grotesques with busts, scrolls and architectural elements on the hats of the human figures; below, another bust flanked by plant and architectural elements. The composition corresponds to common models in the 17th century, maintaining a marked classicism. Compare, for example, with that of the Casa de 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...

Exempt carving in polychrome wood. "Virgin with Child". First half of the 16th century. The Virgin stands on a polygonal pedestal, with the Child supported by one arm. He raises his arms towards his Mother. Both blond and very light-skinned, she also wears a crown or headdress with plant motifs, which also appear on the edges of her cloak. 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. C. However, the recognition of Mary as Theotokos (“Mother of God”) at the Council of Ephesus in 431 was essential for this issue. It was fixed in the Byzantine Empire, both in icons of the Theotokos and in those of Hodegetria (“she who shows the way”), who 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 Child to develop and take shape. This 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 the faces and hair. It is the cloth, the corporeality of the image and its correct anatomy, which can be glimpsed, that place the work within the Renaissance. The Italian Renaissance influence arrived in Spain with great differences depending on the region and artist, 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
PAIR OF SOLOMONIC COLUMNS. PINE WOOD. 17TH CENTURY.

Pair of Solomonic columns. Carved pine wood. XVII century. Pair of carved pine wood columns with a helically twisted shaft (Solomonic) and decorated with reliefs of birds, volutes, leaves, fruits and intermingled birds and are topped by two Corinthian capitals (with the two levels of leaves under the volutes more similar to those of the oak than to those of the acanthus). Although it was an element used in architecture before, the Solomonic column is a better known and common piece in the Baroque, especially since its use by Bernini in the canopy of Saint Peter's in the Vatican (completed in 1633). It soon arrived in Spain, being used for the first time in Andalusia around 1639 and in Madrid in 1636, spreading throughout the peninsula and the colonial territories since then. Normally, they were decorated with branches and bunches of grapes in light relief. Although the presence of birds in this type of element 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 wingless putti pulling this cloth, which ends in fruits, thus joining the ends with the center of the part. Both in the iconographic theme and in the anatomy, composition and colors, the influence of the Italian Renaissance can be appreciated with variations that may be due to being a Spanish creation. Compare, for example, the engraving by Johann Theodor de Bry in 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 church of the Assumption of Beteta (Cuenca), etc.

· Size: 96x9x20 cms.
ANTIQUES

Ref.: ZF0565
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 lot of volume on plant themes, scrolls, ropes, architectural details, panels, etc., arranged symmetrically around the arch. semicircular that acts as the central organizing element of the work and a shell located in the upper auction. These types of pieces were used in the creation and construction of altars in churches, and it is possible that the niches present were in an altar that stood out due to 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 eighteenth-century niche altarpiece from the Fundación Pintor Julio Visconti (Guadix, Spain), the altar of the Adoration of the Magi in the Iglesia del Monasterio 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
PAIR OF RELIEVES, SCENE WITH CHARIOT AND SCENE WITH TEMPLE. POLYCHROME...

Pair of reliefs; scene with a carriage with a skull and a scene with a portico from the 16th century. Gilt and polychrome wood. Castilian school, 16th century. Pair of rectangular reliefs in carved, gilded and polychrome wood placed on a dark back support in which a series of figurative motifs common in the European Renaissance are represented. In the upper one, a figure with a fork or trident appears pushing a horse-drawn cart on which there is a skull on a pedestal; this element has a kind of temple or building in the background, and appears preceded by a child figure holding a cloth. The lower one, beginning at the left, shows a winged angel's head, two human figures clutching a long cloth (which passes through a kind of circular domed building or temple), and another winged angel's head facing this central motif. The first of the reliefs presents the viewer with a clear allusion to death, being able to understand the figure on the left as a demon (and link it to the Sins), and the one on the right as an angel. The second could also be linked to the Emblema literature, common at the time, or be a decorative element. This work bears a certain similarity with others such as the fourth of the Seven Emblems of the University of Salamanca (approximately the first third of the 16th century), based on the Poliphili Hypnerotomachia, and recalling compositions such as the Renaissance bars of the Chapel of the Knights of the Cathedral of Cuenca.

· Size: Soporte 45.5x29x3 cms.
ANTIQUES

Ref.: ZF0525
VIRGIN WOMAN WITH CHILD, 17TH TO 18TH CENTURIES

Spanish school from the late 17th century – early 18th century. "Virgin with Child". Carved and polychrome wood. Devotional image carved in wood in a round and polychrome shape, framed within the latest Spanish Baroque. It is a sculpture of a monumental conception, with large and monolithic figures, with volumes enhanced through the bombastic folds of Maria's tunic. The Virgin appears standing, holding the Child on her lap, in a naturalistic position, full of movement. Thus, we see how Mary, to compensate for the weight of the Child, leans her back backwards, while Jesus 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, a symbol of the universality of Christian doctrine and of Christ's redemptive act. Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and its form of expression arose from the people and from the deepest feelings that nested within it. With the State's economy bankrupt, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and brotherhoods of clergy and lay people who promoted its development, with the works sometimes being paid for by popular subscription. The sculpture thus found itself destined to capture the prevailing ideals in these environments, which were none other than religious, at a time when the Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was represented. and an expression endowed with an intense emotional content to increase the fervor and devotion of the people. The religious subject is, therefore, the preferred theme of Spanish sculpture of this period, which started in the first decades of the century from a priority interest in capturing the natural, to progressively intensify throughout the century the expression of values expressive, which he achieves through movement and the variety of gestures, the use of lighting resources and the representation of moods and feelings.

· Size: 32x26x70 cms.
ANTIQUES
SCULPTURE

Ref.: Z2514
POPULAR STYLE CHRIST. WOOD. SPANISH SCHOOL, 17TH CENTURY.

Popular style Christ. Carved and polychrome wood. Spanish school, 17th century. Crucified Christ made of carved, polychrome and gilt wood, with a Latin cross and cartouche with INRI, held with three nails and perizonium or short gilt wood purity cloth. He appears already deceased, with his head drooping and his eyes closed, with some touch of blood on his body and with a very prominent Crown of Thorns. Iconographically, it follows the usual traditional models in Spain since the Middle Ages (Jesus represented with wounds, the Crown of Thorns, deceased, etc.), with musculature with a naturalistic intention, purity cloth held with a cord or rope, beard, etc. . These same details can be seen in both Renaissance and Baroque works (for example, Juan de Mesa's Cristo de la Buena Muerte, 1620, Chapel of the University of Seville). The present work follows, as usual, well-known models of its time, but it was carried out by a center far from the most prominent nuclei of the time in which the work was carved.

· Size: 66x24x110 cms
ANTIQUES

Ref.: ZE121
”SAINT” (POSSIBLY, SAINT FIACRE). POLYCHROMED WOOD. 16TH CENTURY.

Polychrome wooden sculpture possibly Saint Fiacre. Century XVI. Polychrome wood carving of a bearded saint standing on a simple pedestal. They are shown staring straight ahead, holding one hand to their chest and holding a basket in this, the left, arm. In his right hand he holds a stick (or perhaps a shovel, since the lower end of the implement has been lost). The habits you wear are reminiscent of those worn by San Antonio Abad in some of the works in which this monk, founder of the hermitage movement, is shown. Saint Fiacre, a monk of Irish origin also called Saint Fiacre, lived as a hermit, healing with herbs and already being 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 in solitude, mortifying himself, fasting and working in the garden. In addition to being the patron saint 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 depicted with a shovel and a book or basket. Physically, sometimes he appears as a young man, and other times older, with a beard, slightly reminiscent of San Antonio Abad, as is the present case. The lack of carving on the back of this sculpture shows that it would have been 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, the alabaster figure of the saint in the Metropolitan Museum in New York, made in England or France in the mid-15th century (inv. 25.120.227); or the alabaster one 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
POLYCHROMED AND “ESTOFADA” WOODEN SCULPTURE. “LUKE THE EVANGELIST”. 16...

Polychrome and stewed wood carving. "Saint Luke the Evangelist". Century XVI. Free-standing devotional figure of a bearded man standing with one knee raised to support a table on which he writes. Under his left leg, a bull looks towards him, lying on the ground. The clothes reveal the gold base that forms the stew. Saint Luke is frequently represented as a man of mature age and bearded, accompanied by the Tetramorph animal with which he is related (Revelation 4:6-7), an element that is also due to a verse from the Book of Ezekiel (1:10). . The act of writing alludes to his authorship of one of the Gospels, although the Acts of the Apostles are also attributed to him. The image belonged to an altarpiece, hence the back part is hardly worked and polychromed, and it was placed alone or as part of a scene such as a Last Judgment. Stylistically, the stew of the image and its design are details that remain in the Gothic tradition. However, the correct anatomy of the figure, the restrained movement conveyed by the draperies and her posture, and the naturalism and expression of her face relate the work to the Renaissance. In Spain, this artistic style was introduced throughout the 16th century, with great differences according to regions and artists. After a first stage in which strong medieval influences were still maintained, the second third of the century saw the introduction of Mannerism at the hands of artists who had traveled to Italy and returned with the novelties. It is with this second stage that the carving is most closely related, without forgetting the medieval details that it still maintains and the content of its movement and expressiveness. Compare, for example, with the works of Alonso de Berruguete and Juan de Juni, the evangelists San Lucas and San Marcos from the church of Santa Eulalia de Ganuza, today in the Diocesan Museum of Pamplona. Requires cleaning and restoration of polychromy.

· Size: 16x7x36 cms,
ANTIQUES
SCULPTURE

Ref.: Z6546