Results 49 to 69 of 69
«« « 123 » »»
-
Column. Carved, polychrome and gilded wood. 16th century. Carved and polychrome wooden column with a capital reminiscent of the Composite Order of Classical Antiquity (volutes, acanthus leaves in levels, etc.), a series of mouldings separating the shaft from the rest of the elements, a fluted shaft with a strip at the bottom with figurative elements and latticework, and a base with prominent upward-facing volutes and smooth mouldings at the corners. The aforementioned frieze shows a series of figures with only cloth hangings behind them as the background and carrying a series of elements (flowers, one with a tower with three windows that could be linked to Saint Barbara, etc.). In some details it is reminiscent of columns from other notable works such as the High Altarpiece of Our Lady of the Assumption of Tudela de Duero in Valladolid (last quarter of the 16th century-early 17th century, with designs by Manuel Álvarez and Francisco de la Maza); the High Altarpiece of the Cathedral of Astorga (1558-1584, following the architectural designs of Gaspar Becerra) has fluted columns with the lower part decorated with figurative reliefs; this detail is also present in the altarpiece of the Virgin Mary of Corcos del Valle (last quarter of the 16th century); etc.
· Size: 28x28x90 cms
ANTIQUES
Ref.: ZE239
-
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
-
Sold
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 apex, in allusion 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
-
Relief. Carved, polychrome and gilded wood. 16th century. A slightly rectangular wooden plaque decorated with a relief on its front, made by lowering the shape so that it forms a “frame” on the board that serves as the base of the work. It is possible to see, with a gilded finish, a symmetrical composition with a polychrome angel’s head topping an axis with plant elements and a moulding, from which two fantastic birds similar to eagles emerge, placed back to back and joined to this “line” by their tails. The background does not have any decorative elements, neither carved nor painted, thus leaving the spotlight to the aforementioned elements. This type of composition was very common in the Renaissance throughout Europe, when the “fashion” of grotesques spread from Italy. In the Spanish case, it is possible to compare it with elements present in many other works of the 16th century, such as the Main Altarpiece of the Parish Church of Santa María (Villa de Tauste, Zaragoza) made of Scots pine wood and surely finished in polychromy in 1529; the frieze with angel heads in the work by Diego de Sagredo entitled “Medidas del Romano” (1526, Toledo); works by Diego de Siloé; Main Altarpiece of the Collegiate Church of Torrijos (Toledo), commissioned in 1558 to Juan Corrrea de Vivar and which presents some fantastic winged animals similar to those of the present relief in some details; etc. It should be noted that these decorative motifs will have a long tradition in Spanish Art. It is quite possible that the present relief plaque was created to form part of an altar in a church although it is not decorated with a religious theme (note that the theme of “winged heads”, often called “putti”, also comes from Italy and is found in both civil and religious works).
· Size: 22x5x27 cms.
ANTIQUES
Ref.: ZE237
-
Pair of reliefs; grotesques or candelieri. Carved, polychrome and gilded wood. 16th century. Pair of reliefs made of hand-carved, gilded and polychrome wood, each showing a winged angel's head (or putti), placed on a vertical element that acts as an axis of symmetry for the composition of the relief. The rest of the motifs that complete the works are leaves with scrolls, floral or vegetal details, latticework, mouldings, all of clear classicist influence. The background does not present any decorative element, neither carved nor painted, thus leaving the spotlight to the aforementioned elements. This type of composition was very common in the Renaissance throughout Europe, when the “fashion” of grotesques spread from Italy. Compare, for example, the frieze reflected in an image of the work by Diego de Sagredo entitled “Medidas del Romano” (1526, Toledo); details of the Chapel of Santa Librada in the Cathedral of Sigüenza by Francisco de Baeza (around 1520); others from the façade of the Escuelas Mayores of the University of Salamanca; Main Altarpiece of the Collegiate Church of Torrijos (Toledo), commissioned in 1558 from Juan Correa de Vivar; etc. It should be noted that these decorative motifs will have a long tradition in Spanish art. It is quite possible that the present relief plaque was created to form part of an altar in a church although it is not decorated with a religious theme (note that the theme of “winged heads”, often called “putti”, also comes from Italy and is found in both civil and religious works).
· Size: 14x5x22 cms.
ANTIQUES
Ref.: ZE238
-
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
-
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
-
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
-
“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
-
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
-
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
-
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
-
“Ramón Aranaz”. Bust in bronze. Antonio Yerro Feltrer (Valencia, 1842-1911). Signed. Founder “V. Ríos”. Bust of Ramón Aranaz (Valencia 1831-Madrid 1898), businessman, banker and Valencian politician, dressed in a suit and with a ribbon across his chest. The sculptor, Antonio Yerro, studied at the Academy of Fine Arts of San Carlos in Valencia, and won various prizes at exhibitions such as the National Fine Arts Exhibition of 1884 and was awarded several decorations in recognition of his artistic merits.
· Size: 27x22x39 cms.
ANTIQUES
SCULPTURE
Ref.: Z3707
-
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
-
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
-
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
-
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
-
Male head. Carved stone. 16th century. Carved stone relief showing a male face turned to the right. It is worth highlighting both the quality of the face and the striking detail of the beard waving as if moved by an imaginary wind, matching the hair to create the harmony sought in the Renaissance.
· Size: 20x18x19 cms.
ANTIQUES
Ref.: ZE218
-
Devotional medal of Saint Nicholas on a support. Gilt bronze, textile, metal. 18th century. Devotional medal in gilded bronze placed on a support with wires that presents an oval frame enhanced with a crest with vegetal elements in a symmetrical composition and another top below also with vegetal elements and scrolls, and the figure of a saint inside this smooth frame. Standing, holding a staff in one hand and raising the other in a gesture of blessing, is a male figure dressed in liturgical attire, accompanied by some small figures praying, placed in a barrel or bucket. Saint Nicholas of Myra or Bari was a bishop who died around the middle of the 4th century AD. One of his most famous miracles was that of resurrecting three children (shown in this work) sacrificed by an innkeeper to feed his clients. Although he was bishop of the city of Myra, he is shown here wearing liturgical vestments but without the usual headdress (mitre). The three spheres that appear on the book would allude to the miracle in which the saint helps the father of three girls to gather a dowry for them (as they are three golden spheres).
· Size: 9x11,5x1 cms.
ANTIQUES
Ref.: ZF0460
-
Sold
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
-
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
