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BASE. WOOD. SPANISH SCHOOL, 17TH CENTURY.

Base. Carved and gilded wood. Spanish school, 17th century. Base for sculpture made of carved and gilded wood, rectangular and flat, slightly raised on circular legs and decorated on the front and sides with carved plant and architectural elements with a clear classicist influence and baroque lines. The upper part has exposed wood, and when turned over, you can see that the back is ungilded and hollow. Weight: 9.5 kg.

· Size: 63x44x23 cms
ANTIQUES

Ref.: ZE347
POLYCHROMED WOOD BASE OR PEDESTAL. SPANISH SCHOOL, 17TH CENTURY.

Base. Carved and polychrome wood. Spanish school, 17th century. Rectangular base, made of carved and polychrome wood in grey tones, which has been decorated with a series of mouldings and toruses, some smooth and others enhanced with a fine relief of plant elements and garlands with a clear classicist influence. The piece is finished off with a spike to secure the sculpture that is placed on it. Weight: 6.4 kg.

· Size: 37x25x44 cms , altura base 23 cms
ANTIQUES

Ref.: ZE346
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
CHRIST. IVORY, WOOD, ETC. POSSIBLY FRENCH SCHOOL, 19TH CENTURY.

Crucified Christ. Ivory, ebony wood. Possibly French school, 19th century. Christ crucified with three nails, a Crown of Thorns with several intertwined branches and a loincloth with a cord, which is fixed to a Latin-style cross made of wood and with no other decorations than the INRI sign (JESUS NAZARENUS REX JUDAERUM, Jesus of Nazareth, King of the Jews) located above Jesus' head. Note that there is no wound on his side. The entire piece is carved from ivory, and the nails mentioned (two in the hands, one for the feet) are made of metal. The piece bears similarities to works from the French school of the 19th century. Although it resembles only in some details (general posture, hands) carvings by Desirée Manceau (act. Paris, late 19th-early 20th century), it is worth highlighting its greater resemblance to ivory crucifixes from the workshop of A. Leroy in Brussels preserved in private collections (loincloth, posture, absence of prominent wounds, etc.).

· Size: 28x6x50 cms. Cristo: 22x3,5x25,5 cms. cabeza a pies 24 cms
ANTIQUES

Ref.: ZF1059
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THE ABDUCTION OF THE SABINE WOMEN. BRONZE. 19TH CENTURY, AFTER GIAMBOL...

Rape of the Sabine Women. Bronze. 19th century, modeled after Giambologna (Juan de Bolonia; Douai, 1529–Florence 1608). A patinated bronze sculpture made using the lost-wax casting technique featuring a small, also dark, polygonal base. The three human figures are situated on a small rock surface, thus enhancing the complex interplay of diagonals and spirals created by the postures of the two men and the woman, positioned at the top of the composition. Considered Juan de Bolonia's masterpiece, the Rape of the Sabine Women is a sculpture created between 1581 and around 1582. It measures 410 cm in height, is carved from a single piece of marble, and is located in the Loggia della Signoria (Florence, Italy). It depicts a young man lifting a woman over his head, who struggles to free herself from him, while an old man appears between the boy's legs. It is because of this popularity, apart from its quality, that bronze casts of the work and works inspired by it were made even during the artist's lifetime, and, of course, during the Grand Tour and destined, above all, for England and Germany, in various sizes (almost always much smaller than the original). A bronze reduction of the work is attributed to the work by Pietro Tacca, preserved at the Honolulu Academy of Arts; another, dated to the 18th century, is preserved at the Metropolitan Museum of Art in New York.

· Size: 37x38x114 cms.
ANTIQUES

Ref.: ZF0789
PINE WOOD NICHE. SPANISH SCHOOL, 17TH CENTURY.

Niche. Gilded and polychrome pine wood. Spain, 17th century. A niche made of carved and gilded pine wood, decorated with mouldings, a scallop shape and plant elements on the upper part, which shows a clear classicist influence, common in some Spanish Baroque schools of the 17th century. This type of piece usually formed part of an altarpiece, and was normally used to house sculptures.

· Size: 47x14x66 cms
ANTIQUES

Ref.: ZF0954
”RESSURRECTION”. POLYCHROMED WOOD. SPANISH SCHOOL, 16TH CENTURY.

Resurrection of Christ. Carved and polychrome wood. Spanish school, 16th century. On one side of the piece there is a relief with the theme of the Resurrection of Christ: Jesus, dressed in the golden shroud, appears in the middle of a beam of light and clouds, standing over the tomb and raising one arm while holding with the other hand a staff topped with a cross and a flag waving in the wind; on the lower part there are four soldiers, in different postures and attitudes. The other side shows a chalice with a Holy Host (in which a Crucified Christ appears flanked by the Virgin and Saint John in grisaille), raised by two angels; all the elements are placed on a golden background, in a space surrounded by clouds; on one side there is a piece of wood on which, originally, there would have been a bolt, and on the other there are remains of two hinges. It is this element that makes one think that the relief was surely a door of a Tabernacle. The piece follows a decoration that is common in Renaissance and Baroque tabernacles. Compare, for example, with the 17th century altarpiece 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 recalls in details such as the variety of postures of the soldiers, the anatomy of Christ, the movement of the shroud around his body, etc. outstanding pieces such as the 16th century relief in Renaissance style in the Museum of the Monastery of the Cistercian Abbey of Cañas in La Rioja. Although they are parts of an altar with varied themes, the emphasis is always on Salvation, since they are intended to contain the Holy Host.

· Size: 32x5x52 cms.
ANTIQUES

Ref.: ZF0280
”SATYR”. TERRACOTTA. AFTER MODELS FROM CLODION, CLAUDE MICHEL (FRANCE,...

“Satyr”. Patinated terracotta. Following models by CLODION, Claude Michel (France, 1738-1814). Late 19th century-early 20th century. A patinated terracotta sculpture consisting of an oval base decorated with simple architectural elements of classical influence and a tondo with a bust enhanced by a garland and two figures. These, lying on the upper part, are a satyr (with his usual goat-like legs) raising a bunch of grapes, and a young nymph, who embraces him while trying to reach these fruits. Compare this sculpture (not so much the base) with the one entitled “Nymph and Satyr” from the Calouste Gulbenkian Museum in Lisbon (Portugal), related to the sculptor Claude Michel, highlighting the similarities and differences. Pieces similar to the present work, also known as “Satyr Feeding a Nymph Grapes”, are kept in several private collections. Claude Michel “Clodion” (1730-1814) was a French sculptor who trained with Lambert Sigisbert Adam and Jean-Baptiste Pigalle. He was recognised with numerous awards (the Prix de Rome in 1762, etc.) and had an important workshop in Paris from 1771. Although he also produced large-scale works, he is above all known for his small-format sculptural works, made in bronze (or other materials such as corrugated iron or terracotta, for example), and which had a very important influence both during the sculptor's lifetime and long after his death on a large number of works inspired by his creations.

· Size: 38x31x40 cms.
ANTIQUES
SCULPTURE

Ref.: Z5882
SAINT HUBERT OR SAINT EUSTACE. GOLDEN AND POLYCHROMED WOOD. SPANISH S...

Possibly Saint Hubert or Saint Eustace. Carved, polychrome and gilded wood. Spanish school, 16th century. Polychrome and gilded wooden carving, simply polished 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 nobleman on a hunt, given that he does not wear a halo and there are no other elements that identify him. However, it could also be a saint. In this case, it could be Saint Eustace of Rome, a Roman general martyred in the Italian capital during the persecutions of Emperor Hadrian in 118 AD and who was converted when, out hunting, he saw a deer with a crucifix between its antlers, illuminated by a strong light and heard a voice warning him. This vision also appears in the lives of St. Felix of Valois (saintified in 1666), who had it while he was walking, and St. Hubert of Liège (a Merovingian nobleman who took up hunting after his wife died, and had the aforementioned vision while hunting on 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, where he converted, renouncing his position and giving his wealth to the poor). St. Hubert died in Tervuren, Brabant, and his remains ended up in the Abbey of Andain, in the current town of St. Hubert, his remains being lost in the 16th century (until then the abbey was a very important pilgrimage centre). The importance of this saint was increased thanks to some Military Orders that took his name in the 15th century; in addition, Philip IV of Spain had him as a protector. Normally, these saints (Saint Eustace and Saint Hubert) are shown accompanied by a deer with a cross or a crucified Christ between its antlers, as this was the most important moment of their lives. However, when there was more space or development at various times in history, it was not unusual to see them with a horse: the portal of the chapel of Saint Hubert in Amboise (chapel built between 1491 and 1496), with the saint next to a horse and kneeling before the deer; two works preserved in the Metropolitan Museum of New York: a French relief from the beginning of the 16th century with the saint mounted on horseback (inventory 25.120.284) and a half prayer bead from the beginning of the 16th century, from the Netherlands, with the saint also mounted. Representations of Saint Eustace are less numerous, in principle. Stylistically, the work does not show much Hispano-Flemish influence (although the saint was very popular in northern Europe). Also, compare the attire: 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
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
CARVED BOX. LACQUER. POSSIBLY CHINA, 20TH CENTURY.

Box with landscape. Red lacquer. Possibly China, 20th century. Low cylindrical box with a flat lid, red on the outside and black on the inside, decorated on the lid and the upper part of the body with bands of geometric and vegetal frets and a landscape and garden scene with pavilions and small-sized figures of the type common on these visas in the Far East.

· Size: 32x32x13.5
ANTIQUES

Ref.: ZF0922
BRONZE PAX OR PAX BOARD. 16TH CENTURY.

Peace-bearer. Bronze. 16th century. Bronze peace-bearer with an S-shaped handle on the back made of the same material and a decoration in light relief on the front showing, beneath an architectural composition with a clear classicist influence (a semicircular arch with a scallop shell inside and scrolls outside, two pillars with vegetal decoration and a base with heraldry), the Virgin Mary with the Child, accompanied by two angels and placed on a pedestal on which a legend can be seen (AVEREGINA/CELOUM?, in allusion to the Marian antiphon Ave Regina Caelorum, typical of the time of Lent).

· Size: 6.5x3x11 cms
ANTIQUES

Ref.: ZF0866
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
CLOCK SET. BRONZE, ROUGE GRIOTTE MARBLE, GLASS. FRANCE, 19TH CENTURY, ...

Clock mount and two candlesticks. Bronze, red griotte marble. France, 19th century, following Clodion's models. Set or garnish consisting of a table clock and two candlesticks with two lights each, made of burnished and gilded bronze and rouge griotte marble, as well as other materials. The clock, raised on legs, has a marble base enhanced with gilded bronze elements in a strong classicist style, like the rest of the decoration; the Paris machinery of the clock has been placed inside a rectangular box of bronze and transparent glass, 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 garland of flowers) is signed “P. Lombardi / AParis”; next to this gilded structure, there is a child figure in burnished bronze in a dark tone, 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-coloured burnished bronze and two “branches” with grapes ending in containers with garlands for candles. The two candelabras, depicting a satyr and Bacchus or a bacchante, were inspired by pieces created by Claude Michel (1738-Paris, 1814), a French sculptor known as Clodion, who won awards such as the Grand Prix for sculpture from the Academie Royale in 1759, the Prix de Rome in 1762, etc., and was highly appreciated for his work. The satyr in this pair closely follows models by the master (compare Satyr Running with an Owl, made between 1770 and 1780, Cleveland Museum of Art) and there are several examples of candelabras with figures like this pair (with variations in the lights and bases). The Cupid on the table clock is also inspired by Clodion's reliefs and sculptures, but what is striking about this fitting is that it is not at all usual to combine candlesticks with these figures with the clock in the same set. Weight: 16 kg (clock); 6 kg (candlesticks).

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

Ref.: ZF0790
”SAINT ROCH”. POLYCHROMED AND GILT WOOD SCULPTURE. JUAN DE ANCHIETA WO...

“San Roque”. Sculpture in polychrome and upholstered wood. Surroundings of Juan de Anchieta, 16th century. A bearded male figure stands, holding a book and wearing a pilgrim's hat on his back, and is shown showing 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 the saint's leg with his left hand. The image is shown with the angel on his left, the plague wound or bubo on his leg (normally, the one he shows is the other one), the pilgrim's hat and cloak and the dog with the loaf of bread placed under one of his feet in a very unusual way. All these attributes help to identify the image with Saint Roch, an Occitan pilgrim canonised in 1584 who was highly venerated before this date, above all, for being considered a healing saint, especially in cases of pestilence. The influence of the Italian Renaissance can be clearly seen in the sculpture: that of Michelangelo 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, ca. 1533 - Pamplona, 1588), a sculptor of great importance in 16th century Spanish art with work in northern Castile, Aragon, the Basque Country, Navarre and Burgos, and considered one of the leading figures of Romanism. It is believed that he trained in Italy, hence his stylistic connection with certain works by Jacopo della Quercia and, above all, his inspiration from the works of Michelangelo. The influence of the focus of Valladolid is also clear in his style, where he is documented between 1565 and 1570. Compare, for example, with the altarpiece of the church of San Pedro de Zumaia (Pamplona), finished in 1577, the commissions he carried out for the Cathedral of Burgos between 1576 and 1578 (Coronation of the Virgin and carving of Mary located above the choir lectern), or the main altarpiece of the Parish of Santa María de Tafalla carried out 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
ESCUTCHEON. ALABASTER. SPAIN, 17TH CENTURY

Heraldic shield. Carved alabaster. Spain, 17th century. Quartered shield with seven Moorish heads facing the centre, adorned on the border and a bird on the crest. The first quarter is checkered or chequered with chains in orders of three and five; the second quarter is quartered with towers and chevrons with a pendant; the third quarter is a saltire bordered with seven saltires of Saint Andrew; the fourth quarter is with three horizontal bands. It is crowned by a feathered knight's helmet facing left, and is flanked by a composition of grotesques with busts, volutes and architectural elements on the hats of the human figures; below, another bust flanked by vegetal and architectural elements. The composition corresponds to models common in the 17th century, maintaining a marked classicism. Compare, for example, with the one in the Casa de Begoña de Agurain, one in the Barrio del Cantero in Barcenillas (Cantabria), etc.

· Size: 103x110 cms.
ANTIQUES

Ref.: ZF0793
PAIR OF POLYCHROMED WOODEN SCULPTURES. “SAINTS APOSTLES JOHN AND PAUL”...

Pair of polychrome wooden sculptures. “Saint John and Saint Paul”. Castilian school, 16th century. Both male figures are depicted standing, with their main iconographic attributes and dressed in the timeless tunics that the period reserved for sacred persons. The younger one holds a chalice in his hand, from which a snake emerges, and an eagle at his feet; the bearded man holds a sword with the hilt visible. The first is Saint John, with the Tetramorph eagle alluding to his Gospel, and the chalice related to the episode of the Golden Legend of James of the Voragine in which he tells how the Emperor Domitian tried to kill him with poisoned wine, which escaped in the form of a snake after the evangelist blessed the cup. The second is Saint Paul, with that characteristic appearance that relates him to much earlier paleo-Christian works and with the sword of his martyrdom, which also refers to a text from his Letter to the Ephesians. Stylistically, both devotional carvings in the round show a marked Italian Renaissance influence in the drapery, contrapposto, proportions and gestures, distancing the works from the other trend of the time which was closer to Flemish models, which preferred greater drama. Gothic has been left behind, as demonstrated by the naturalness of the faces, folds, anatomy and gestures, after much effort. It was necessary to first accustom the clientele to the new tastes and for the artists to learn the technical and aesthetic novelties that the arrival of the Renaissance entailed, and it developed in different periods and at very different levels depending on the region or the artist. Compare the works, for example, with the San Juan de circo by Juan Rodríguez from the Fundación Simón Díaz (work housed in the Museo de las Ferias in Medina del Campo, Valladolid).

· Size: 26x26x76 cms.
ANTIQUES
SCULPTURE

Ref.: Z3642
PAIR OF CHILDREN. POLYCHROMED PINE WOOD. 18TH CENTURY.

Pair of children. Polychrome pine wood. 18th century. Pair of polychrome pine wood carvings depicting two children playing a wind 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 perhaps too static. Given their postures and attitudes, they would have been part of a large, high-quality altarpiece, judging by the carving, the details, the hair, the proportions, etc., elements in which musical angels were not unusual. Note that the angels present do not have wings, and in these cases are called “putti” and are, in the same way, figures that are commonly present in religious settings despite having emerged from Renaissance classicism and its sources from Antiquity. The proportions of the sculptures, the anatomy, the symmetry, the certain plasticity of the hair, etc. are elements that speak of a Neoclassical influence 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
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
ANGEL. METAL. 19TH CENTURY.

Angel. Silver-plated metal. 19th century. Figure of an angel or archangel made of silver-plated metal, standing on a base resembling clouds. This type of sculpture was common in the 19th century both for churches and for personal altars, alone holding lamps or incense burners or forming part of a composition. Weight: 4.7 kg.

· Size: 20x17x29 cms.
ANTIQUES

Ref.: ZE294
TWO RELIEFS, EVANGELIST SAINTS JOHN AND MATTHEW. POLYCHROMED AND GILT ...

Pair of reliefs, Saint John and Saint Matthew. Polychrome wood. Possibly from the Burgos school, 16th century. Pair of reliefs made of carved and polychrome wood, each showing a human figure sitting and writing, surrounded by books and accompanied by a figure respectively. One, with black hair and a beard, is accompanied by another winged child figure who brings him an inkwell; the second, younger (beardless) and with blond hair, is shown concentrating on a scroll, while an eagle brings him an inkwell with one paw, resting on one of them. As is appropriate for this type of subject, each of the Evangelists is usually accompanied by the corresponding figure of the four that make up the Tetramorph. 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 seated on high-backed chairs or thrones. Note the vegetal scrolls on the books, furniture and walls, accompanied by candelieri elements and fish or dolphin heads, in compositions reminiscent of those found in Renaissance works. This classicist influence can also be seen in the figures (faces, folds, anatomy, posture, etc.) and in the environment they occupy (for example, the mouldings and scrolls on the seats and desks, or the aforementioned decoration on the bindings of the books that appear in both works). The iconography that appears in this couple is frequent in Spanish art of the period, often situated in the lower part of altarpieces (Main Altarpiece of Foncea, Burgos school). Compare, for example, with Saint John the Evangelist of the Main Altarpiece of the Assumption of Ullíbarri Viña (execution attributed to Juan de Ayala II, painted before 1579 by Juan de Oñate) in the Basque Country, where three books also appear in a loft in the background; or, to see a different composition, with the set of four Evangelists attributed to Felipe Bigarny (dated between 1501 and 1525) from the Castilian school of the National Sculpture Museum (Valladolid); or with the relief of Saint Mark from the altarpiece of Saint Eulalia by Markinez or Marquinez in the Diocesan Museum of Sacred Art in Vitoria-Gasteiz (its sculpture attributed to the workshop of Juan de Ayala II and the polychrome to Santos Corres, the sculpture dated in the second half of the 16th century and the polychrome in 1747). In addition to Felipe Vigarny, in the Burgos area 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 (who also worked in the city), etc.

· Size: 72x4x99 cms.
ANTIQUES

Ref.: ZF0662A
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
LETTER HOLDER. POLYCHROMED BRONZE. VIENNA, 19TH CENTURY.

Letter holder. Polychrome bronze. Vienna, 19th century. Polychrome bronze letter holder in the shape of a lectern decorated with elements of strong classicist influence (and reminiscent of the Renaissance and Mannerism) holding a folder, decorated on what would be its cover with a composition featuring two swallows pecking at a garland. In the 19th century, it was They made in Vienna (and in other European centres) table centres and decorative figures in bronze of great originality and quality, usually with an exotic touch provided by anthropomorphic or animal motifs. In the present case, the influence is from artistic styles prior to the period, which is common in 19th century art. Weight: 1700 grams.

· Size: 21,5x16x27 cms
ANTIQUES

Ref.: ZE263
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