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PAIR OF NICHES. PINEWOOD. 17TH CENTURY.

Pair of niches. Carved pine wood. 17th century. Pair of altar fragments or niches made of carved pine wood that are decorated with a series of important, voluminous carvings with plant themes, scrolls, ropes, architectural details, cloths, etc., arranged symmetrically around the semicircular arch that acts as the central organizing element of the work and a shell located at the top. These types of pieces were used in the creation and construction of altars in churches, and it is possible that those with niches were in an altar notable for its size 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 of 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
SAINT DREAMING. POLYCHROMED WOOD. FLEMISH SCHOOL, 16TH CENTURY.

Dream of a Saint. Carved and polychrome wood. Flemish school, 16th century. Relief made of carved and polychrome wood showing an old man with a particular headdress (reminiscent of some chaperones) lying on a bed and accompanied by two friars dressed in habits, who are talking to each other. Iconographically, the figure of the old man lying in bed (note the cushion that raises the upper part of the body, following the usual use at the time) who has not died (probably) because he is not completely lying down, is reminiscent of how, for example, Saint Anthony, Saint Jerome, etc. were usually represented. It is not very likely that it is the subject of the Transit or Death of Saint Francis of Assisi due to the absence of the Stigmata and his age. It would have been part of a cycle of scenes on the altarpiece of some church, an accompaniment that would give the spectator more clues about the identity of those represented. Stylistically, Flemish sculpture, along with that of the Germanic countries, developed with a realism that could be appreciated in all the ornamental details, where the sculptural work was presented almost as a goldsmith's work that was applied to the large altars made of wood. In general, in the Netherlands, such a high level had been developed during the Gothic period that the acceptance of the Renaissance from Italy was late. Weight: 3 kg.

· Size: 36x6x36,5 cms.
ANTIQUES

Ref.: ZF1174
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 on 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 based on 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 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 RELIEVES, SCENE WITH CHARIOT AND SCENE WITH TEMPLE. POLYCHROME...

Pair of reliefs; scene with a cart with a skull and a scene with a portico from the 16th century. Gilded and polychrome wood. Castilian school, 16th century. Pair of rectangular reliefs made of carved, gilded and polychrome wood placed on a dark support at the back, depicting a series of figurative motifs common in the European Renaissance. The upper one shows a figure with a fork or trident 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 is preceded by a child figure holding a cloth. The lower one, starting from the left, shows a winged angel's head, two human figures holding a long cloth (which runs through a kind of domed circular building or temple), and another winged angel's head looking towards this central motif. The first of the reliefs presents the spectator with a clear allusion to death, with the figure on the left being understood as a demon (and linked to the Sins), and the one on the right as an angel. The second could also be linked to the literature of Emblems, common at the time, or be a decorative element. This work bears a certain similarity to others such as the fourth of the Seven Emblems of the University of Salamanca (approximately, first third of the 16th century), based on the Poliphili Hypnerotomachia, and recalling compositions such as the Renaissance railings 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 of the late 17th century – early 18th century. “Virgin and Child”. Carved and polychrome wood. Devotional image carved in wood in the round and polychrome, framed within the late Spanish Baroque. It is a sculpture of monumental conception, with large and monolithic figures, with volumes enhanced through the ample folds of Mary's tunic. The Virgin appears standing, holding the Child on her lap, in a naturalistic position, full of movement. Thus, we see how Mary, to compensate for the weight of the Child, leans her back backwards, while Jesus leans forwards in turn, thus compensating the composition. The Child appears raising his right hand in a sign of blessing, while the other hand rests on a sphere, a symbol of the universality of Christian doctrine and of Christ's redemptive act. Spanish Baroque sculpture is one of the most authentic and personal examples of our art, because its conception and its form of expression arose from the people and from the deepest feelings that nestled within them. With the State's economy in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and brotherhoods of clergy and lay people that promoted its development, the works being financed on occasion by popular subscription. Sculpture was thus forced to express the ideals that prevailed in these environments, which were none other than religious ones, at a time when the counter-reformist doctrine demanded from art a realistic language so that the faithful could understand and identify with what was represented, and an expression endowed with intense emotional content to increase the fervour and devotion of the people. Religious subject matter is, therefore, the preferred theme of Spanish sculpture in this period, which began in the first decades of the century with a priority interest in capturing nature, to progressively intensify throughout the century the embodiment of expressive values, which was achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.

· Size: 32x26x70 cms.
ANTIQUES
SCULPTURE

Ref.: Z2514
POLYCHROMED AND “ESTOFADA” WOODEN SCULPTURE. “LUKE THE EVANGELIST”. 16...

Polychrome and upholstered wood carving. “Saint Luke the Evangelist”. 16th century. Freestanding devotional figure of a bearded man standing with one knee raised to support a tablet on which he is writing. Beneath his left leg, a bull is looking towards him, lying on the ground. The clothing reveals the gold base that forms the stew. Saint Luke is frequently represented as a middle-aged, bearded man, accompanied by the Tetramorph animal with which he is associated (Revelation 4:6-7), an element that is also due to a verse in the Book of Ezekiel (1:10). The act of writing alludes to his authorship of one of the Gospels, although the Acts of the Apostles are also attributed to him. The image belonged to an altarpiece, hence the back part is barely worked and polychrome, and it was placed alone or as part of a scene such as a Last Judgement. Stylistically, the image's upholstery and its design are details that remain from the Gothic tradition. However, the correct anatomy of the figure, the contained movement conveyed by the drapes and its posture, and the naturalism and expression of its face relate the work to the Renaissance. In Spain, this artistic style was introduced during the 16th century, with great differences depending on the region and artist. After an initial stage in which strong medieval influences were still present, the second third of the century saw the introduction of Mannerism by artists who had travelled to Italy and returned with the novelties. It is with this second stage that the sculpture is most closely related, without forgetting the medieval details that it still maintains and the restraint of its movement and expressiveness. Compare, for example, with the works of Alonso de Berruguete and Juan de Juni, the evangelists Saint Luke and Saint Mark from the church of Santa Eulalia de Ganuza, today in the Diocesan Museum of Pamplona. Requires cleaning and polychrome restoration.

· Size: 16x7x36 cms,
ANTIQUES
SCULPTURE

Ref.: Z6546
GILDED BRONZE PROCESSIONAL CROSS TOP. 20TH CENTURY, AFTER EARLIER MODE...

Processional cross finial. Gilt bronze. 20th century. Latin cross with straight arms decorated with tabs between mouldings on both fronts, rays at the intersection of the arms, and multi-lobed finials reminiscent of fleur-de-lis decorated with flowers and palmettes at the ends; on the obverse, Christ crucified with a halo of rays and a loincloth; on the reverse, the Virgin Mary with a halo, standing in an attitude of prayer. Knot composed of various elements (mouldings of different radii, etc.) among which a circular central body stands out, enhanced with small cresting and reliefs with the four Evangelists accompanied by their element of the Tetramorph and situated in landscapes. As can be seen in various elements, the piece is inspired by styles of the past.

· Size: 56x36x108 cms
ANTIQUES

Ref.: ZF0612
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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, first half of the 16th century. Infant Jesus with a polygonal base made of carved and polychrome wood. The figure is presented naked, standing, with the right hand raised in a gesture of blessing and the left holding a partially gilded orb. It is necessary to highlight 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 necessary to highlight 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
SAINT PAUL\'S SCULPTURE. 16TH CENTURY

Spanish school of the 16th century. "Saint Paul". Carved and polychrome wood. A devotional image carved in wood, polychrome and gilded, representing the apostle Saint Paul, dressed in a tunic and cloak, with a parted beard, brown hair and a large sword, his main iconographic attribute. In the Middle Ages, numerous corporations were placed under his patronage, due to different aspects of his iconography, life and miracles. However, Saint Paul was never a popular saint, which proves the relative poverty of his iconography. In fact, the role he occupies in art is not proportional to his importance in the spread of Christianity. In early Christian art, his only attributes are a book or a scroll, and in the 13th century his emblem appears, the sword that was the instrument of his martyrdom. Once the clash between tradition and modernity was overcome, with the arrival of the influences of the Italian Renaissance in Spain, the full 16th century was characterised by the great development achieved by religious imagery. Likewise, stylistically there was a confrontation between the classicist sculptors and those of Flemish affiliation, who sought more dramatic and emotional approaches. Thus, the spread of religious images in Spain was based on two fundamental bases. On the one hand, the fact that the Nordic influence constituted a clearly differentiated alternative to the Italian classicist model; on the other, the emotional sense, which the religious image had to acquire due to its own function, was oriented more towards enhancing the feeling, to moving the faithful, than to following the rationalist dictates of the Renaissance. So much so that in Spain, attention to the emotional had a more relevant character than in the rest of Europe. In this way the image, associated with the words of the preachers, was the most suitable instrument for the indoctrination of the people and for the defense of the canons of the Church, following scholastic and not humanistic approaches.

· Size: 19x12x39 cms.
ANTIQUES
SCULPTURE

Ref.: Z3024
CROWN OR CREST. PINEWOOD. 17TH CENTURY.

Finial. Carved pine wood. 17th century. A finial or crest made of pine wood carved in its colour with a human bust in the centre, placed holding two volutes and thus creating an axis of symmetry for the elaborate composition that the piece presents, based on flowers, plant motifs, architectural details, etc. with a certain classicist influence and a lot of movement and depth. The fact that the back is unworked suggests that this relief may have originally been part of an important altarpiece, given the size and quality of the piece. Both the movement and the decorative elements of the composition link the work to the Spanish Baroque.

· Size: 117x65x45 cms
ANTIQUES

Ref.: ZF0499
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
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 vegetal herms in the classical style, 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
CROWN. POLYCHROMED WOOD. 18TH CENTURY.

Finial. Carved and polychrome wood. 18th century. Carved, polychrome and gilded wooden finial decorated with a light relief based on lying "C" volutes joined in pairs at one end and plant elements arranged in a rigid symmetrical composition with a clear classicist influence with movement of lines and a volume that is not too pronounced.

· Size: 145x10x68 cms.
ANTIQUES

Ref.: Z4926
FIGURE FOR HOLDING A CANDLE. POLYCHROMED WOOD, WROUGHT IRON. CASTILLIA...

Torch-bearing figure. Carved and polychrome wood, wrought iron. Castilian school, 16th-17th centuries. A carved and polychrome wooden sculpture placed on a simple base showing a half-naked male figure, holding in his hands a cloth that covers the lower part of his body in front and holding up a wrought iron cone intended to hold a candle. The nude, the study of anatomy, the contrapposto and the twist of the torso and waist of the figure are details that would speak of a classicist influence in the sculpture. It is also worth highlighting the movement that the posture brings to the piece, placing one foot behind the other and turned with respect to it and slightly turning the waist. Wood was the most worked material in Spanish Renaissance sculpture, normally with a polychrome finish and with gilding and upholstery. 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 adding their own national touch, creating different schools, and with a clear preference for polychrome and upholstery wood. At this time, one of the main workshops was Valladolid, with names such as Alonso Berruguete and Juan de Juni. Later, art evolved towards a classicist or Romanist mannerism, with a significant influence from Italian masters, with a clear influence from Michelangelo and names such as Gaspar Becerra, Esteban Jordán, Juan de Ancheta, etc.

· Size: 18x18x48 cms.
ANTIQUES

Ref.: ZF0461
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
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
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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
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SAINT JOHN THE BAPTIST. POLYCHROMED BOXWOOD. 17TH CENTURY.

“San Juan”. Carved and polychrome boxwood. 17th century. Standing on a simple base is the figure of Saint John the Baptist, partially dressed in a red tunic that reveals his anatomy by showing part of his body and identified by the lamb that accompanies him (in the Bible, Jesus is called “the Lamb of God,” hence this animal is one of his most common iconographic attributes). Stylistically, and to appreciate the stylistic differences, compare it with the Saint John the Baptist of the “Retablo de San Juan Bautista” by Juan de Juni and Inocencio Berruguete, dated 1551 and today in the National Museum of Sculpture in Valladolid, or with the carving of the same subject by Alonso Cano (commissioned in 1634) and which is in the same museum. It is also necessary to mention works such as that of Juan de Ávila from the Oratory of San Felipe Neri in Valladolid (today in the Diocesan and Cathedral Museum of Valladolid; dated 1699) or the carving by Juan de Mesa that is in the Museum of Fine Arts in Seville.

· Size: 11,5x7x31 cms.
ANTIQUES
SCULPTURE

Ref.: Z5790
PORCELAIN CENTREPIECE. VOLKSTEDT, RUDOLSTADT, GERMANY. CA END 19TH CEN...

Centerpiece. Volkstedt, Rudolstadt, Germany. Towards the end of the 19th century. Glazed porcelain. A circular centrepiece raised on simple legs, displaying a delicate multi-level composition. The children are arranged using a large stone and a tree trunk, with one child on top wearing a purple band 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 pleasant and secondary theme (only a slight relationship with a bacchanal can be intuited by a cup that is presented), highly appreciated for the rich interiors of the period for maintaining the decorum required at the time. The factory's signature is clearly visible at the bottom in the centre and is in blue tones, with a signature (Marion) "engraved" below it. The Volkstedt factory, located in Rudolstadt (Thuringia, Germany), was founded at the official request of Georg Heinrich Macheleid in 1760, who had worked at the Glücksthal glassworks and had allegedly developed the porcelain formula on his own, without any contact with the Meissen ceramists 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, close to his court and under his personal direction. After several changes of hands over the years, it remains in force today.

· Size: 34x34x56cms.
ANTIQUES

Ref.: ZF0144
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CHRIST CHILD BLESSING. WOOD. MALINES, 16TH CENTURY, WITH RESTORATIONS.

Infant Jesus on a pedestal. Polychrome wood. Mechelen, 16th century, with restorations. Carved and polychrome wooden Infant Jesus standing on a pedestal of the same material, standing, moving forward, with his right hand blessing and an orb in his left. Stylistically, it corresponds to the usual shape, size, iconographies, etc. of the so-called “Malines Dolls” or “Malines Infant Jesus”, polychrome wooden figures designed to be dressed and decorated, which were made in Malines (Belgium) in large numbers and were exported throughout Europe between the mid-15th century and the first half of the 16th century. Compare this example with the 16th century Infant from the Hof van Busleyden Museum (Malines, Belgium), the one dated around 1500 that is preserved in the Louvre Museum (Paris), the one from around 1500 from the Museo de las Ferias Foundation, etc. Weight: 700 grams.

· Size: 14x9x42 cms.
ANTIQUES

Ref.: ZF1184
GOLDEN PHEASANT. POLYCHROMED BRONZE. VIENNA, 19TH CENTURY.

Golden pheasant. Polychrome bronze. Vienna, 19th century. Polychrome bronze figure depicting a perched male golden pheasant. A bird originally from Asia, it was already known in the West in the 18th century (it appears in the tenth edition of Linnaeus' Systema Naturae) and appreciated for the bright colours of the male's plumage. In the 19th century, Vienna (and other European centres) produced bronze centrepieces and decorative figures of great originality and quality, usually with an exotic touch provided by anthropomorphic or animal motifs. Weight: 991 grams.

· Size: 33x9x17,5 cms.
ANTIQUES

Ref.: ZE262
BASE FOR SCULPTURE. POLYCHROMED AND GILDED WOOD.

Scallop base. Carved and polychrome wood. Inspired by 17th century models. Rectangular pedestal 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
BITE. BRONZE, MARBLE. FRANCE, CIRCA LATE 19TH CENTURY.

Grip. Blued bronze, marble. France, late 19th century. A sculpture in burnished bronze on an oval base in green-veined marble showing two lionesses or two panthers engaged in a fight, one biting the other's neck and both with their claws, limbs and muscles tense. It is worth highlighting the quality of the design and composition as well as the modelling and casting, as a series of striking details can be clearly seen in the work. On the base, engraved, there is an inscription linked to Clovis-Edmond Masson (Paris, France, 1838-1913). Trained with Antoine-Louis Barye, Rouillard and Santiago, he regularly showed his work (mainly on animal themes and almost always using bronze, wax or plaster) at the Paris Salon between 1867 and 1909. Thanks to the popularity and quality of his work, numerous bronze figures were made for the interiors of prominent residences. Currently, the most valued works are those of felines in violent attitudes and postures or showing strength, which seem to anticipate what was usual in this type of art in France between 1910 and 1930.

· Size: 65x23x38 cms.
ANTIQUES

Ref.: ZF0930