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CORINTHIAN CHAPITEL. STONE. 17TH CENTURY.

Corinthian capital. Carved sandstone. 17th century. Capital made of sandstone carved in its colour, with two bands of acanthus leaves, volutes in the corners and towards the centre and a decorative vegetal element in the centre of the upper part. Due to its decorative elements, it can be linked to the Corinthian order, the most ornate of the architectural orders of Classical Antiquity and whose first known example was in the Temple of Apollo in Basas in 427 BC. Later it was very common to find it (with its derivations) in European art. Compare with the columns of the Pantheon in Rome, Italy.

· Size: 40x40x33 cms.
ANTIQUES

Ref.: ZF1272
CORPUS CHRISTI. POLYCHROMED WOOD. POSSIBLY SOUT GERMANY, 15TH CENTURY.

Crucified Christ, Sorrowful Crucifix. Carved and polychrome wood. Possibly South German school, 15th century. Polychrome and gilded wood carving showing Christ with the Crown of Thorns, on the Cross, already deceased (eyes closed), with the usual INRI phylactery on the upper crossbar of the Latin cross, three nails (note the crossed feet) and a short, gilded and polychrome purity cloth or perizonium. In German, the term “Gabelkreuz” or “Gabelkruzifix” (“Sorrowful Crucifix” in English) refers to a type of Gothic crucified Christ that is especially expressive (prioritizing external suffering over other aspects) and which normally presents the cross in the shape of a Y or ypsilon (alluding to the Tree of Life), apparently created thanks to the influence of the mysticism of the late 13th and early 14th centuries (Saint Bridget, etc.) and which can be found in the Rhineland (western Germany) and, through influences and contacts, in the rest of Europe (apparently, there are those who currently consider that the origin of the iconography is not German but Italian). Most of the sculptures of this type are concentrated in three European areas: the German zone, which includes the current federal states of northern Rhineland-Westphalia, Rheinland-Pfalz, Lower Saxony, and central and northern Italy, although they are also found in other enclaves such as Lucera in Puglia, Palermo in Sicily, and Oristiano in Sardinia. Nor should we forget the Spanish examples (usually included in three categories: those derived from the Holy Christ of Perpignan, the Castilian group, the Navarrese images, and the Andalusian Crucifixes). One of the oldest pieces that follows this typology is the Doloroso Crucifix from the Church of Santa Maria del Capitolio in Cologne. In Italy, the one from the Church of Santa Maria Novella in Florence is often highlighted. In Spain there is one in Puente la Reina (Navarre) that is considered to have been donated by a German pilgrim in the 14th century; There is one in the lower choir of the monastery of Santa María de las Huelgas Reales in Burgos, attributed to a Central European workshop or to a sculptor influenced by these models in the second half of the 14th century (with a Latin cross). It is also necessary to take into account the German sculptors who travelled and worked in Europe.

· Size: 76x26x135 / 62x23x85 cms.
ANTIQUES

Ref.: ZF1176
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SAINT JOSEPH WITH JESUS. POLYCHROMED WOOD, GLASS. SPANISH SCHOOL, 19TH...

Saint Joseph. Polychrome wood, glass. Spanish school, 19th century. Sculpture made of polychrome wood consisting of a base with very classic lines and appearance (smooth mouldings, resembling marble...) on which is a bearded male figure, dressed in sandals, a blue tunic and a cloak draped over one shoulder. The right hand is in the gesture of holding an element that is no longer there, and in the left hand is the Child Jesus, half-naked on a white cloth and with another covering him, raising his hand to touch the beard of Saint Joseph. Note the open mouths, revealing the teeth of both figures, and the presence of false eyes (glass eyes). The rise of the importance of Saint Joseph in Christianity was marked by the introduction of the saint's feast in the liturgy of the Catholic Church (1476), several notable writings, guidelines from the Council of Trent (exalting him as protector and guide of Jesus), etc. In Spain, it is also worth highlighting the work of Saint Teresa of Jesus, founder of the religious branch of the Discalced Carmelites, and that of Saint Peter of Alcántara, reformer of the Franciscan order, among others. One of the most common ways in which Saint Joseph is represented with the Child is the latter in the arms of the former, with works such as the carving by Andrés de Ocampo for the altarpiece of the convent church of Santa Marta in Córdoba (Sleeping Jesus) between 1592 and 1596. This iconography, although not as widespread as that of Saint Joseph walking beside Christ, has early examples in painting and sculpture, already seeing affectionate gestures in examples such as the painting by Vicente Carducho (1632, Narbonne Museum), that of Juan del Castillo from around 1622 for one side of the altarpiece of the Nativity in the convent church of the Holy Spirit in Seville, etc. Throughout the 17th century, representations of the Father with his Son in his arms would increase, also increasing the gestures of affection and the sweetness of the images. Compare this sculpture, noting the differences, with that of Alonso Cano in the Museum of Fine Arts in Granada (Spain) or that of Pedro Duque Cornejo for the Church of San Bautista in Écija. From the 18th century are that of Andrés de Carvajal for the sanctuary of Los Remedios in Antequera (Spain; dated 1760), that of Luis Salvador Carmona found in the church of San José in Madrid, or the sculpture attributed to Juan Pascual de Mena in the Church of San Marcos in Madrid, to mention a few examples. The 19th century, as a general rule, followed neoclassical models, accentuating the emotional relationship between the two figures. Weight: 57 kg

· Size: 57x57x155 cms.
ANTIQUES

Ref.: ZF1045
BUST OF MENELAUS OR AJAX (PASQUIN GROUP). BRONZE. 20TH CENTURY.

Bust of Menelaus or Ajax (Pasquino Group). Bronze. 20th century.
Bust made of bronze showing a bearded man, dressed in a cloak gathered with a circular brooch and with a strip over the other shoulder, and wearing a helmet decorated with reliefs.
The work is inspired by a highly prized sculpture known as the Pasquino Group (or Menelaus Carrying the Body of Patroclus or Ajax Carrying the Body of Achilles), made in marble copying a Hellenistic bronze and dated to around 200-150 BC. About fifteen Roman marble copies are known of it, many of which were “intervened” (or restored) during the 16th and 17th centuries. The earliest of these copies were documented for the first time in Rome in 1500. Cosimo I, Grand Duke of Tuscany, bought an ancient marble fragment of an armoured male bust supporting a dying companion, brought it to Florence (inventoried in 1574) and Ferdinando II commissioned its “restoration” (or rather intervention) to Lodovico Salvetti after a model by Pietro Tacca, giving rise to the so-called “Menelaus Holding the Body of Patroclus” in the Loggia dei Lanzi in Florence (Italy). In 1771, Anton Raphael Mengs (Aussig, Bohemia, 12 March 1728 – Rome, 29 June 1779) took moulds of the parts he considered ancient (original) of this group and of the one in the Palazzo Pitti (a gift from Paolo Antonino Soderini in 1570), and assembled them into a plaster model that he intended to be more faithful to the Roman original. After a series of changes, it was rebuilt in 1838 and exhibited in the Loggia dei Lanzi in the Piazza della Signoria in Florence.
This work by Mengs is cited to compare this bust with others inspired by those made by the neoclassical artist: Unknown creator, Head of Ajax from the Palazzo Pitti, c. 1770. Plaster cast. Dresden, Skulpturensammlung (ASN 1932); Head of Menelaus, Pushkin Museum, Moscow, etc. It should also be noted that many of these (for example, those mentioned in Dresden) are casts of a bust from the period of Hadrian of a head of Achilles originally Hellenistic which is in the Vatican Museums in Rome (inv. 694) and is also considered part of the Pasquino Group. We must emphasize the comparison of this bronze bust with this marble sculpture. Weight: 110 kg."

· Size: 82x55x116 cms.
ANTIQUES

Ref.: ZF1236
VIRGIN WITH CHILD. POLYCHROMED WOOD. SPANISH SCHOOL, 13TH CENTURY.

Virgin and Child. Carved and polychrome wood. Spanish school, 13th century. It has faults. Polychrome wooden carving showing the Virgin sitting on a throne, with her right hand raised holding a spherical object, dressed in a long tunic and cloak and wearing a veil and crown, also holding the Child on one knee, who is shown sitting on his mother's knee, dressed in a red and gold tunic and also a crown on his head. Iconographically, this type of work was common during the Romanesque period in Europe, a time when Christian theology saw the Virgin as a vehicle of Salvation, thanks to the figure of her son Jesus. Over time (and the theological work of highlighting the role of Mary as Mother of God), the initially hieratic pose of this group varied, an example of which is the present sculpture. Compare with Our Lady of the Snows of Villaumbroso in Palencia (14th century), or the Virgin of Mirón in Soria (carving from the 14th century), or the repainted Virgin of the Cerca de Andosilla in Navarre (13th-14th centuries), or the one in the church of San Pedro Apóstol de Arbués in Huesca which has been dated to the 14th century (similar to the one present on the throne, the crowns, the posture of Jesus, etc.), or the one from the last third of the 13th century which belongs to the collections of the Prado Museum in Madrid, the one from the Rosary of Villálvaro in Soria (14th century), etc.

· Size: 28x20x90 cms
ANTIQUES

Ref.: ZE087
PAIR OF VASES WITH SIDE TABLES. BRONZE, WOOD, ETC. JAPAN, MEIJI PERIOD...

Pair of vases with elephant-headed bases. Bronze, wood, etc. Meiji period (1868-1912), Japan; Anglo-Indian school, towards the end of the 19th century. Pair of patinated bronze vases made up of several pieces, raised on three curved legs and decorated on the outside with reliefs of animals and mythological beasts, enhanced with gold details and bands of geometric motifs. They have metal containers that fit into the upper part. On both bases there are turtles with waves creating waves; on the central body, handles in the form of dragons and phoenixes on one side and dragons on the other; on the neck, more birds (herons or similar) flying among clouds. The bases are two side tables made of ebonized wood with elephants (heads decorated to resemble textile ornaments, with light-colored tusks) functioning as legs by curving the trunk outwards, an openwork chamfer, an openwork waist to secure the furniture and a top decorated with carvings and flat boards. These types of vases were one of the so-called "export" items, having been manufactured with the sole purpose of being sold to foreigners in the Meiji Era (1868-1912) of Japan, named after the reigning Emperor and in which the country began its modernization and westernization, establishing itself as a world power thanks to a certain openness to foreigners (presence and ideas), changes in the government, etc. Dragons are the most powerful symbol of all the animals in Japanese art, considered to be divinities related to water, and to which, for example, the change of seasons was attributed (when they flew through the sky it was spring). The crane and the turtle symbolize longevity, with the first animal in flight (in the upper area) associated with the sky and the second with the lower area (of a kimono, for example) linked to the earth. As for the elephant-headed side tables, it should be noted that they were highly prized pieces of furniture by the British during part of the colonial period in India (1858-1947), with numerous examples imported to the United Kingdom, including those found in Buckingham Palace and other noble residences. Note the quality of the present pair, which can be clearly seen in the animal carvings and plant motifs that complete the table. In Hindu iconography, the elephant is associated with wisdom, divine knowledge and royal power.

· Size: 60x60x165 cms.
ANTIQUES

Ref.: ZF1280
”SAINT DOMINIC DE GUZMÁN AND SAINT FRANCIS OF ASSISI”. POLYCHROMED TER...

“Meeting of Saint Dominic and Saint Francis”. Polychrome terracotta sculpture. Colonial school, 17th century. Figure made of polychrome terracotta with gold details that represents two male figures on a simple pedestal. The one on the left is wearing a Franciscan habit (and a small red mark on his right hand) and is embracing fraternally, and on equal terms, the one on the right, wearing a dark cloak (decorated with fine gold lines creating a hairnet) over a white habit decorated with abundant flowers and gold elements, and a star in light relief on his forehead. They are Saint Francis of Assisi, with the stigmata in his hand, and Saint Dominic of Guzmán, both wearing their respective habits. The story is told, with a remarkable economy of elements (which shows the quality of the work), of the so-called “Fraternal Meeting of Saint Dominic and Saint Francis”, also called “Embrace of Peace” or, more colloquially and in some circles, “The Crash”. According to tradition, Saint Dominic had a vision in which Mary implored Jesus for Men, pointing them both out as servants of God; the next day, Saint Dominic met Saint Francis in the church of Rome, recognizing him as his companion and embracing and kissing each other. The present piece still shows Baroque influence, but already hints at a certain neoclassical influence in some details, maintaining the particularities of its school. Compare, for example, with the “Embrace” of the Monastery of Santo Tomás de Ávila by Luis Salvador Carmona, dated in the 18th century. It is also worth highlighting the quality of the modelling and the polychromy of the piece, with a remarkable state of conservation for the age and delicacy of the material of the figure.

· Size: 14x16x26 cms.
ANTIQUES

Ref.: ZE161
SAINT ALOYSIUS DE GONZAGA (TO DRESS UP). POLYCHROMED WOOD, ETC. SPANIS...

San Luis Gonzaga, dressing room. Polychrome wood, etc. Spanish school, 18th century. A sculpture made of polychrome wood, which shows, on a rectangular base, a young man without a beard, with a black body and a polychrome face, neck, hands and part of the arms. This treatment is common in sculptures created to be dressed (note also the arms articulated at two points each – shoulder and elbow). Attached to one ankle is an old piece of metal and two nails in the feet, which could be an old reinforcement that, in turn, suggests that the work was carried in a procession (there is another piece with screws in the head). As is common in this type of work in the Spanish school since the Baroque, the eyes are made of glass. Saint Aloysius Gonzaga (Castiglione delle Stiviere, 9 March 1568 – Rome, 21 June 1591) was an Italian Jesuit priest canonised in 1726 by Benedict XIII, who declared him patron saint of youth. While in the service of Philip II, he married a lady of Queen Isabella of Valois; he also served in the Spanish court as a page to Prince Don Diego, heir to the monarch, but ended up ceding his rights as first-born to his brother to enter the Society of Jesus (novitiate in Rome in 1583), despite his father's efforts to prevent it. He died after caring for people affected by the plague in this Italian city. He is represented as a young man dressed in a black cassock and surplice or as a young page. His attributes are a lily, referring to his innocence; a cross, referring to his piety and sacrifice; a skull, referring to his early death; and a rosary, referring to his devotion to the Virgin Mary.

· Size: 39x26x134 cms.
ANTIQUES

Ref.: ZE427
PAIR OF ANGELS. POLYCHROMED WOOD. SPANISH SCHOOL, 17TH CENTURY.

Pair of torch-bearing angels. Carved and polychrome wood. Spanish school, 17th century. They present faults. Pair of human-shaped carvings made of polychrome wood showing two angels each raising one arm and standing on clouds with winged heads, following models that were common since the Renaissance. Known as lamp-bearing angels or thurifers, they were carvings that were usually placed on important altars to hold lamps or incense burners, being identified with angels or archangels. Compare, for example, the lamp-bearing angels of the Hermitage of La Soledad in Cantillana (Seville, Spain) made between 1780 and 1799 to see, more or less, the function of these sculptures. But it must be remembered that, stylistically, they belong to the Spanish Baroque school (material, movement, etc.).

· Size: 32x16x71 cms.
ANTIQUES

Ref.: ZE130
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PAX WITH INFANT JESUS AS SALVATOR MUNDI. PARTIALLY GILT SILVER AND PEA...

Peace-bearer with the Child Jesus as Salvator Mundi. Partially gilded silver and a pearl. Madrid, 1781. A peace-bearer with a structure in silver in its colour, embossed and chiselled, and a round figure of the Child Jesus cast and gilded. The Child appears naked, with a radiant halo and resting his left leg on a rock, in a contrapposto position of classical heritage. He is represented as Salvator Mundi, with a sphere that symbolises the world in his left hand, crowned by the cross. The Salvator Mundi is usually shown blessing with his right hand, a gesture that is eliminated here to make the Child hold a sceptre of command topped with a pearl. The figure sits on a corbel in the shape of a scallop and is situated within a niche topped with a semicircular arch, with another scallop at its peak, alluding to the sacrament of baptism. The profile of the niche shows a fantastic architectural design, with C-shaped braces, floral elements, thick acanthus leaves, rows of bells and rocaille crests. In the upper area, the bottom of the arch appears worked with small incisions that shade the surface, highlighting the relief of the rest of the elements. The flat back has a support band also in silver, joined by soldering. The piece has hallmarks of Madrid Villa y Corte from 1781. Illegible silversmith's mark.

· Size: 11x6x13,5 cms
ANTIQUES

Ref.: ZF1251
VIRGIN OF CARMEL (DRESSED UP). WOOD, METAL AND TEXTILE. SPANISH SCHOOL...

Virgin of Carmen dressed. Wood, metal and textile. Spanish school of the 19th century. Virgin of Carmen carved in wood and polychrome, an image of richly dressed with a tunic embroidered in gold with a white lace collar, a white cloak with gold thread lace in the profile and a delicate veil over the head, also white. The Child, who is held in her left arm, wears a white shirt with a lace collar and cuffs and a brown tunic also embroidered and finished in gold thread, with a cord at the waist of the same material. The gold lace that adorns Mary's cloak represents scallops, in allusion to the marine character of the Virgin of Carmen. Mary holds the scapular with her right hand, and wears long earrings of gold and silver thread and a royal crown openwork and decorated with rays and stars, in metal. The Child also appears adorned with a radial metal crown, simpler than that of his mother. The carving balances naturalism and idealisation, and shows a typically 19th-century delicacy and sweetness that is enhanced by the subtle polychromy, with light, evanescent tones, highly nuanced by glazes. The eyes of both figures are made of glass, a common element in 19th-century Spanish images of clothing that adds liveliness to the images. The ensemble stands on a pedestal of clouds polychromed using the estofado technique, supported by a stylised architectural design foot with a marble plinth simulated by polychromy. Weight: 5.5 kg.

· Size: 42x27x116 cms
ANTIQUES

Ref.: ZF1249
PAIR OF CARVED WOOD BRACKETS. VENICE, 19TH CENTURY.

Pair of carved wooden corbels. Venice, 19th century. Pair of 19th century figurative corbels, carved in round wood, with a beautiful dark patina that enhances the relief and details of the sculptural work. They are signed on the back “Felici Venezia”. The lintels, with a moulded profile and a Baroque plan, with numerous recesses and projections, rise above two classical-style vegetal herms, with the lower part in the form of a brace decorated with large acanthus leaves worked with a soft, gentle-looking carving, which moves away from the general classical inspiration to approach the naturalism of Art Nouveau. From these braces emerge the busts of two winged cupids, children's bodies carved in the round with grace and attention to detail, with a delicate dynamism. The two putti are represented in the same position, with one arm bent over their chest and the other raised above their head. They form a symmetrical composition, each a mirror image of the other. The high quality of the carving of these pieces is particularly appreciated in these figurative representations: the anatomical work is impeccable, as is the expressiveness of the faces, and the carving of the wings, hair and ribbons that adorn their torsos reflects meticulous, naturalistic and precious work in detail.

· Size: 25x15x48 cms.
ANTIQUES

Ref.: ZF1229
BRONZE “WOUNDED FIGHTING BULL”.

Bronze sculpture, “Wounded Bull”. Signed “F. Bonilla Villalba” on the base. On a wooden pedestal, the figure of a bull is placed after the banderillas and death stages, as the elements used in both can be seen: three banderillas and the estoque. Thanks to the great quality of the artist, one can see both the moment when the bull is about to expire and bellows as well as the blood that flows from its wounds. The drama is accentuated thanks to the particular treatment of the animal's skin.

· Size: 55x27x40 cms.
ANTIQUES
SCULPTURE

Ref.: Z6180
CHILD JESUS. WOOD. SPANISH SCHOOL, 17TH CENTURY.

“Baby Jesus”. Carved and polychrome wood. Spanish school, 17th century. Later pedestal. Christ is presented naked, with a slight contrapposto in the legs and hips that give some movement to the sculpture and with delicate flesh tones. He keeps his gaze fixed forward, while raising one arm in an attitude of blessing, and holds a golden orb alluding to Creation with the other hand. His curly, blond hair has a tuft in the centre of his head. The sculpture is enhanced by a pedestal, modern but inspired by Spanish Baroque models, formed by lines with a lot of movement and decorated with architectural elements of classical influence, among which the pairs of volutes protruding from the fronts stand out. Although the forelock is reminiscent of the works of Martínez Montañés, in this example the hair is clearly curly. Compare this work with works such as those preserved in the Museum of Fine Arts in Córdoba, with one in the Municipal Museum of La Roda, some from the Royal Monastery of Las Descalzas in Madrid, etc. This type of work was made to be worn, and was normally intended for a female religious setting (it was considered that female devotion should not be directed towards certain works or iconography of the Passion because they were too strong), or some private oratory in some important residence.

· Size: 41x32x87 cms
ANTIQUES

Ref.: Z6564
PAIR OF RELIEVES, HEAD OF ANGEL. POLYCHROMED WOOD. SPANISH SCHOOL, 16T...

Reliefs with angel heads. Polychrome and gilded wood. Spanish school, 16th century. Pair of rectangular panels with a ring for hanging on the back, which feature two deep figurative reliefs on the front. On a gold background, two winged children's heads are shown, one looking to each side. Note the gold details on the feathers, with a somewhat heraldic arrangement and shape, and the pictorial treatment of the hair. This type of relief was very common in the Spanish school from the Renaissance onwards to decorate altars, reredos, etc. Weight: 600 grams.

· Size: 32x6x11 cms
ANTIQUES

Ref.: ZE371
CHILD JESUS. POLYCHROMED WOOD. CASTILLIAN SCHOOL (SPAIN), 17TH CENTURY...

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

· Size: 16x16x43 cms
ANTIQUES

Ref.: ZF1216
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INFANT JESUS OR JESUS AS SAVIOUR OF THE WORLD. FLEMISH SCHOOL, CIRCA F...

Infant Jesus. Carved and polychrome wood. Flemish school, towards the first half of the 16th century. Infant Jesus with a polygonal base made of carved and polychrome wood. The figure is naked, standing, with the right hand raised in a gesture of blessing and the left holding a partially gilded orb. It is worth noting the shallowness of the carving, polychrome on all sides, and the lack of work (or less detailed work) in an area of the back of the base of the sculpture, which would coincide with the part that would be attached to the altar, wall, etc. It is worth noting that the curls of the hair are arranged in the usual way in the typology on the back, but those on the front are somewhat peculiar. Reflecting the new “modern devotion” of the time, these figures of the Infant Jesus were often used in private oratories (houses, convents, etc.), showing the desire at the time to emphasise the humanity of Christ and a particular cult possibly spread by the Dominicans. These small figures, prestigious but relatively affordable, were very successful outside the Netherlands, with those made in Malines being the most highly regarded, and with Spain being a very frequent destination for the “Malines dolls” (Virgins, Infant Jesus, etc.). These works often bore marks highlighting their origin. Within the stages into which the production of Malinas is usually divided, there is talk of a third one in which the production of pieces intensified (the majority of the preserved works therefore correspond to this period), but, curiously, the Children (which until now were the second most frequently made and requested piece by clients) move to third place, being surpassed by Saint Anne. The measurements are usually between 35 and 37 centimetres in height in the classic format (with a depth of between 7 and 8 centimetres) and 29 to 30 centimetres in the smallest format (with a depth of between 4 and 7 centimetres). Their appearance is thinner, with facial features that are sometimes already angular (they are still made “chubby” following previous models, but these are more schematic now), and the occasional placement of a cushion under the feet appears. This stage is dated between 1515 and 1535. Compare, for example, a Child from the Musée Louvain-la-Neuve (inv. VH552), or the base or pedestal (similar lines) of that from the Musée du Hôpital Notre-Dame à la Rose (inv. 0108). Above all, one from the Musée voor Religieuze Junst (Inv. 0011) with its cushion-shaped base on an architectural form should be remembered for its elongated shapes, dating from the period of intensification of production. The arrangement of the hair is similar to that from the Musée des Fêtes, dated around 1500, and to that from the Musée Quinta das Cruzes (inventory MQC 2307).

· Size: 11,5x7x33 cms.
ANTIQUES

Ref.: ZF1200
BASE FOR SCULPTURE. POLYCHROMED AND GILDED WOOD.

Scallop base. Carved and polychrome wood. Inspired by 17th century models. Rectangular base with a similar cushion on the top (decorated with plant elements) and complex lines of curves and counter-curves enhanced with architectural elements, including “C” volutes arranged in pairs on each side. At the bottom, the corner claws and the cut-out lower profile are noteworthy. Weight: 3.85 kg.

· Size: 42x33x24 cms.
ANTIQUES

Ref.: ZE370
”HARMONY”. BRONZE. RANCOULET, ERNEST (FRANCE 1870-1915).

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

· Size: 11x11x34 cms
ANTIQUES

Ref.: ZF1205
VIRGIN MARY OR SAINT (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH ...

Saint or Virgin of dress. Wood, metal. Spanish school, 17th century. It has faults. The female figure is standing (with her right leg forward) on a small polygonal base. Made of partially polychrome wood, note the elaborate work on the feet (which peek out from the “dress”), the hands up to the wrists, and the head and neck. The skull is prepared to receive hairpieces or clothing. As for the carvings of clothing, these were very common during the Spanish Baroque, and there may be cases of works in which the unseen part was barely roughed out and others in which the entire carving is found, with many intermediate points (see the present case). Remember the San Antonio Abad by Benito Silveira made in the second half of the 18th century that is in the National Museum of Sculpture in Valladolid, a San Francisco de Paula from the 18th century in the Museo del Carmen in Maipú (Santiago de Chile), etc.

· Size: 33x25x87 cms
ANTIQUES

Ref.: ZF1181
VIRGIN MARY (TO DRESS UP). WOOD, METAL. SPANISH SCHOOL, 17TH CENTURY.

Virgin of Dressing. Wood, metal. Spanish school, 17th century. It has faults (hand, etc.). Sculpture made of polychrome wood showing a woman, with the head, neck and hands carved and polychrome in detail, a sketched dress and arms in exposed wood. Iconographically, it is probably a Virgin Mary, made in this way because it was designed to be dressed and adorned with hairpieces (hence the work on the skull area). It is worth highlighting the folds on the front, not common in this type of work, resembling clothing. It has a closed royal crown. Dress carvings were very common during the Spanish Baroque, and there may be cases of works in which the unseen part was barely roughed out and others in which the entire carving is found, with many intermediate points (see the present case). Remember the San Antonio Abad by Benito Silveira made in the second half of the 18th century that is in the National Museum of Sculpture in Valladolid, a San Francisco de Paula from the 18th century in the Museo del Carmen in Maipú (Santiago de Chile), etc.

· Size: 44x28x86 cms
ANTIQUES

Ref.: ZF1182
VIRGIN MARY (TO DRESS UP). POLYCHROMED WOOD, TEXTILE, ETC. SPANISH SCH...

Virgin of Dressing. Carved and polychrome wood, etc. Spanish school, 17th century; later clothing. It has damage. Polychrome wooden carving of the dressing or dressing room type that has a series of garments: skirt, blouse, rostrillo, etc. Religious dressing sculptures were very common during the Spanish Baroque (and later), and there may be cases of works in which the unseen part was barely rough-cut and others in which the entire thing is carved, with many intermediate points.

· Size: 26x26x57 cms.
ANTIQUES

Ref.: ZF1183
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BIRD. BRONZE, METAL. BARÓN MOLINA, FRANCISCO (MADRID, 1931-2006).

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

· Size: 10x10x19 cms
ANTIQUES

Ref.: ZF1203
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MATERNITY. BRONZE. FRANCE, CIRCA LATE 19TH CENTURY. PAUL DUBOIS.

Maternity. Bronze. France, towards the end of the 19th century, PAUL DUBOIS, Paul (Nogent-sur-Seine, 1829-Paris, 1905). With inscriptions, signature and foundry seal (A. Collas). Bronze sculpture with a simple base with inscriptions and on which a humbly dressed female figure sits, looking down at the two children she is cradling in her arms. These, naked, one is asleep and the other is breastfeeding. On the rocky area where the woman sits, one can read “P. Dubois”. Paul Dubois was a French sculptor and painter who enjoyed great recognition for the elegance and delicacy of his works, so appreciated that they were widely distributed by important publishers. He trained at the École natinale supérieure des beaux-arts and went to Rome. His work was recognized with awards (Medal at the Paris Salon of 1863, Medal of Honor at the 1865 Salon, etc.) and with important positions (Director of the National School of Fine Arts, Grand Cross of the Legion of Honor, etc.). His work can be seen in prominent private collections and in institutions such as the Musée Faure (Aix-les-Bains, France), Petit Palais (Paris), Musée d'Orsay, the Louvre, the Metropolitan Museum of New York (United States of America), etc. This sculpture, in particular, is inspired, in a much smaller size, by the bronze sculpture of Charity (work of Paul Dubois) from the cenotaph of General La Moricière (Louis Juchault de Lamoricière, 1806-1865), installed and inaugurated in 1879 in the Cathedral of Nantes (France). At the base there is a foundry stamp (“Reduction Mecanique Brevete/ A. Collas”). Achille Collas (Paris, 1795-1859) was a French engineer, engraver and illustrator known for his works and for being the inventor of a procedure for reproducing and reducing (in size) sculptures that became very well known and appreciated since he presented it at the Universal Exhibition in Paris in 1855. On the front you can read “À Madame Nivromont / 1882-1892”. On the side it appears “F. Barbedienne, Fondeur, Paris”. Ferdinand Barbedienne (L´Oudon, 1810-Paris, 1892) was a French cabinetmaker and bronze worker, considered one of the leading artists of the Second Empire. In 1839 he partnered with the aforementioned Achille Collas to set up a bronze factory specialising in small sculptures (also furniture and silver pieces, all in various styles), which came to have three hundred workers. Weight 15 kg.

· Size: 16x22x49cms
ANTIQUES

Ref.: ZF1178