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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
CROWN OR PIECE OF ALTAR. EMBOSSED SILVER, MIRRORS, WOOD. LLORENTE, JOS...

Altar top. Embossed silver in its colour, wood, mirrors. LLORENTE, José (1760-1799); SOTIL, Juan Antonio (1754-1768). Vitoria, Spain, 18th century. With contrast marks. Altar top made of embossed silver in its colour on a wooden core with seven oval-shaped mirrors and profiles cut in curves and counter-curves. The upper part has a canopy imitating textiles from which hang a series of small bells and shelters a dove with outstretched wings, situated in front of a ventral figure and a cloud with winged angel heads. Approximately the upper three quarters of the work show a decoration in light relief with sun rays, scrolls, rocailles, oval mirrors, circular tears resembling rain, flowers, leaves, a bunch of ears of wheat next to a vine with a bunch of grapes, etc. combined with five mirrors and following a symmetrical arrangement; the remaining part does not have reliefs but does have two mirrors. This type of liturgical goldsmith's work was relatively common in churches, cathedrals, etc. with significant purchasing power and influence, although not many of those made have survived because they are valuable materials that can be melted down and looted at certain times. Let us mention, highlighting the differences, the silver Altar of the Cathedral of Seville (16th-17th centuries, several silversmiths), the set of the main chapel of the Cathedral of Santiago de Compostela (17th century), the Manifestador-Tabernacle of the Cathedral of Valencia from the 18th century, the silver altarpiece of the Diocesan Museum of Huesca (work of José Estrada and Juan and Jerónimo Carbonell y Gros made between the 17th and 19th centuries, which was placed in front of the Main Altarpiece of the Cathedral, and has a canopy and pendant bells), a display for the Blessed Sacrament made of gilded silver and in its colour dated in the 18th century and which is found in the Museum of the Cathedral of Segovia, etc. The presence of the Holy Spirit (a dove) and the bunch of wheat ears and the vine with the bunch of grapes would link the piece with the Eucharist, and it is possible that it is a fragment of an altar (permanent or not) of a monstrance. Stylistically, it is clear that the work belongs to a Rococo that was already somewhat advanced. The hallmarks present in various parts of the silver place the creation of the finial in Vitoria (Spain), also providing an approximate date (around the 18th century's 60s) and the names of two master silversmiths: Juan Antonio Sotil or de Sotil (possibly the hallmark) and José Llorente. Juan Sotil was a silversmith based in Vitoria who also worked as a hallmark for the city (the City Council appointed him appraiser of diamonds and precious stones in 1751, and hallmark for the city in 1769, a position he held until 1779, when he resigned and Mauricio Llorente was appointed). Works with his hallmark are preserved in prominent institutions such as the Museum of Sacred Art in Vitoria (Reliquary of Santa Lucía from the hermitage of Santa Lucía in Vitoria, 18th century). José Llorente was another silversmith from Logroño. He passed his master's exam in Burgos, and is documented between 1760 and 1799. Works with his punch are preserved in the Church of Santiago de Logroño (portaviático), the Old Cathedral of Vitoria (four candlesticks), etc.

· Size: 52x26x122 cms.
ANTIQUES

Ref.: ZE153
PAIR OF CANDELABRA. ROUGE GRIOTTE, GILT BRONZE. FRANCE, POSSIBLY NAPOL...

Pair of candelabras. Rouge Griotte marble, gilded bronze. France, possibly Napoleon III, 19th century. Pair of seven-light candelabras made of marble and mercury-gilded bronze. The base, raised on four legs, has plant borders around a central element on its fronts, and gives way to a garland base of Roman influence. Next, the base of the “vase” that forms the body of the candelabra has been decorated with plant elements, also present on the body in the form of garlands, joining these two ram heads; note the extraordinary length of the marble neck, which serves as an axis for the arms of the lights, worked in the form of plant scrolls ending in vase-shaped burners. It is also worth noting that the marble part is not made in one piece. Although there is no record of the signature, certain details denote the high quality of this pair of candlesticks. First, the stone pieces are hand-carved Rouge Griotte. Also known as Rouge du Roi, it is a Belgian marble highly appreciated in decorative arts of French influence or origin. Second, the detail of the neck, elongated and drawing a flared mouth at the end, is not at all common in French candlesticks when we talk about marble. Third, the quality of the gilding is clear, surely mercury gilded (ormolu). Stylistically, influences of French decorative arts of the 18th century can be appreciated (ram protomes, garlands, etc.), but reinterpreted in the style of the 19th century (adding details of Rococo, neoclassical, etc. influence). Weight: 39 kg.

· Size: 35x35x90 cms
ANTIQUES

Ref.: ZE434
ALLEGORY OR VENUS WITH CUPIDS. OIL ON CANVAS. 18TH CENTURY

Allegory of Venus with Cupids. Oil on canvas. Enthroned by BOUCHER, François (Paris, 1703-1770). The scene presents, in the background, an idyllic natural landscape, with trees to the left and an open horizon to the right, revealing orange clouds alluding to a sunset over rocky mountains. In the foreground, a young woman appears reclining, dressed in a white tunic, a red skirt and a blue cloak, and a red ribbon in her hair; to her left, two cupids or cherubs appear, one with a garland of flowers and the other seems to be holding the young woman by the cloak. Iconographically, it could be Venus, although it is more common for the goddess to be presented half-naked or completely naked, so it is also possible that it is an allegory (given the crown of flowers, perhaps of Spring). Or, being a Rococo painting, it could also allude allegorically to a more abstract concept (virtue in the purity of love, etc.). The oil painting is set in the environment of François Boucher, a French painter considered one of the most important of the gallant style, situated within the Rococo. He was highly appreciated for his paintings of idyllic themes, the voluptuousness of his treatment, his mythological, allegorical and pastoral works and for several portraits of Madame de Pompadour. He sought a very detailed finish in his works, with a somewhat peculiar palette. After a somewhat troubled apprenticeship, he won the Prix de Rome in 1723 (which he could not enjoy due to lack of funds until four years later). Upon his return, he entered the Royal Academy of Painting and Sculpture, of which he became rector, and was also director of the Royal Gobelin Tapestry Factory, being named First Painter to the king in 1765. In addition to paintings, usually small in format, he also made illustrations for books, designed theatre costumes and sets, tapestries, porcelain, etc. His work is preserved in institutions such as the Alte Pinakothek in Munich, the Louvre Museum in Paris, the Thyssen-Bornemisza Museum in Madrid, the Metropolitan Museum in New York, etc.

· Size: 87x4x123 cms / int. 67x103 cms.
ANTIQUES

Ref.: ZF1127
FOUR IRON COLUMNS. 17TH CENTURY.

Four columns. Iron. 17th century Four iron supports with a polygonal shaft, balustrade shape and upper part with two sections on the sides of the central one ending in volutes and a horizontal part in the same material as the rest. This type of architectural element was very common in Spain even well into the 20th century in certain areas. Total weight: 620 kg

· Size: 76x21x249 cms
ANTIQUES

Ref.: ZF1271A
WROUGHT IRON GRILLE. SPAIN, 16TH CENTURY.

Grille. Wrought iron, 16th century. Partial ironwork of squared bars torsos with moulded incisions without a base and a bolt on the right with a plaque topped with simplified plant elements, topped by a frieze of canvas decorated at the front with plant scrolls alternating with heraldic shields with fleur-de-lis and with an upper crest composed of two flowering pine cones at the outer ends and schematic scrolls with flowers, two of which flank a fleur-de-lis Latin cross with diamonds on which is a wavy cross with flowery finials. Typologically, this is a partial architectural grille with both an ornamental and defensive purpose. It also clearly shows some of the striking decorative and typological variety that is common in the grillework of the florid Gothic style of the 15th century, but it also responds to common developments in the 16th century. A first stage of evolution towards the Renaissance is introduced, sometimes going on until the first third of this century, and is characterised, among other things, by the variety of the barring with frequent combinations of squared and coarse shapes in the same bar, by the structure of three panels of very similar width and number of bars and a central door with a lintel, by decorative elements related to the Renaissance, the use of embossing, etc., characteristics that can be appreciated in the present example. The absence of interbody bands, common in grilles of this period, only indicates that it was made to protect a small chapel. The presence of fleurs-de-lis indicates the expansion throughout the peninsula of Catalan models, which, coming directly from France, often showed this decorative element. The relationship between this grille and certain Gothic legacies is clear, especially if compared with fully Renaissance examples such as that of the National Archaeological Museum from 1575 (inventory 57551). Normally, 16th century ironwork is found, if it has been preserved, in the chapel for which it was made, in outstanding private collections or in important museums. Compare this work with the ironwork of the chancel of the Church of San Julián de Nagore (Navarra) or that of the Chapel of the Most Holy of the Cathedral of Santa María la Real in Pamplona.

· Size: hojas 69 x 268 Copete 390 x 110 cms.
ANTIQUES

Ref.: Z0664
LATIN CROSS SHAPED PECTORAL CLOCK. SILVER.17TH CENTURY.

Cross-shaped pectoral clock. Silver, 17th century. It has undergone restorations. Portable watch in the shape of a cross with an openwork exterior showing figurative Christian scenes and the movement inside, a gold-banded dial with Roman numerals for the hours, a single hand and an engraved decoration around it, also with a religious theme; on the back, you can see the back of the movement, with a delicate, also openwork decoration based on plant motifs reminiscent of classicism, and a band on the case of the piece with simplified plant elements. On the outside, we find on one side the crucified Christ, flanked by the Virgin Mary and Saint John, and the figures surrounded by a delicate composition based on vegetal scrolls, with an angel's head at the foot of the piece. The other side shows the Resurrection of Jesus, with Christ emerging from the empty tomb and the soldiers on either side, again with scrolls and above another angel's head. On the edges there are vegetal and floral elements, accompanied by figures placed within plaques. On the inside, and flanking the clock face, we are shown the Original Sin below and the Expulsion from Paradise, with Adam on one arm of the cross that forms the clock, Eve on the other and the angel on top, brandishing the flaming sword (thus following, in part, the biblical text). There are several known antique portable clocks which have been given a shape other than the usual one for such objects. Thus, although the best known is the skull-shaped clock in the Metropolitan Museum (movement from c. 1650 by Isaac Penard, case from c. 1810-1820), and bearing in mind that they were not at all the usual type, there are several examples in the shape of a Latin cross. Let us recall, for example, some of those preserved in the Ashmolean Museum in Oxford: one attributed to Cornelius Stimmer (active c. 1660) has Christ Crucified on the front, flanked by the four Evangelists; another by Barthélemy Cheuillard (active 1636-1677) dated c. 1650 has an uncut metal case and engraved decoration on the interior; Other examples, such as one dated c. 1660 or another by Didier Lalemand (active 1675-1686) dated c. 1660 or 1630, follow the usual pattern for such extraordinary examples, which is to have the outer case made of rock crystal. This is also the case with the clock by Charles Bobinet, probably painted by Werner Hassel and dated to the mid-17th century, which is kept in the Metropolitan Museum, and with the one in the British Museum in London by Jean Rouseeau the Younger, which is dated between 1640 and 1650 and was made in Switzerland.

· Size: 7x5,5x2,5 cms
ANTIQUES

Ref.: ZF1032
LANDSCAPE, PEÑAFIEL. OIL ON CANVAS. JOSÉ MARÍA “CASTILVIEJO” (ZAMORA, ...

“Rural scene, Peñafiel”. Oil on canvas. José María “Castilviejo” (Zamora, 1925-Valladolid, 2004). José María García Fernández, better known as José María Castilviejo, was a Spanish painter who worked in a variety of techniques (oil, watercolour, engraving, drawing) and on a wide range of subjects (known above all for his portraits, still lifes and landscapes). According to critics, his work was known for its fusion of the traditional and the contemporary, reflected in the deep existence of the community. Recognised with awards such as the Castilla y León de las Artes (2002), his work is preserved in private collections and institutions such as the Robinson and Rostchild Collections, the New York Museum of Art, the Universidad Laboral de Zamora, etc.

· Size: 290x185 cms.
ANTIQUES
PAINTINGS

Ref.: Z5633
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ASSUMPTION OF MARY. OIL ON COOPER. 17TH CENTURY. AFTER GUIDO RENI (157...

Assumption of the Virgin Mary. Oil on copper, 17th century Following the models of Guido Reni (Bologna, 1575-1642). Oil on copper showing the Virgin Mary seated on clouds, dressed in a red tunic and blue mantle, in a golden-toned Glory and surrounded by clouds and musician and singing angels, dressed in tunics, cloths, etc. and others naked, and represented both as small children and in the form of adolescents. Iconographically, the work combines two main themes: the Coronation of Mary (note the two angels placed above the Virgin's head), and the Assumption (a doctrine developed in the Western Church from the 12th century, according to tradition by Saint Augustine, which later became a dogma of Faith, and which maintains that, at the end of her life, Mary was taken up to heaven in body and soul). This oil painting is inspired by two works titled "Coronation of the Virgin," one housed in the Bonnat Museum in Baoyona (nicknamed "The Guide") and the other in the National Gallery in London. These, in turn, follow the composition of a painting in the Prado Museum in Madrid by the same master, also titled "Coronation of the Virgin," executed around 1602 or 1603.

· Size: 59,5x4,5x77 cms. int 49,5x67 cms.
ANTIQUES

Ref.: ZF0974
”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
HANNIBAL BARCA ORMOLU BRONZE CLOCK. FRANCE, 19TH CENTURY.

Table clock, Hannibal Barca. Ormolu bronze, metal. France, 19th century. Table clock with Paris machinery and a case made of mercury-gilded bronze, with a rectangular base on four legs (the front ones decorated with scrolls and ending in a claw), decorated with a series of mouldings in relief with vegetal and architectural elements. The dial (metal with Roman numerals for the hours) is inside a square shape, in which sits the male figure that decorates the piece. A bearded man, dressed in armour (loriga or muscular breastplate) and a cape fastened over one shoulder with a fibula, rests his left arm on the helmet, holding a rolled document, and with his left hand he holds a Roman standard (another appears broken, under his foot). Note, to the right and next to a sword, a vase full of rings. Hannibal Barca (247-183 BC) was a Carthaginian general and statesman, best known for his conflicts with the ancient Roman Empire. It was not uncommon for him to be depicted counting the rings of the fallen Roman knights at the Battle of Cannae (216 BC), as can be seen in the sculpture by Sébastien Slodtz (made in 1704, Louvre Museum, Paris), where he also carries a Roman standard. He is also shown with these two elements (vase with rings and standard) on a table clock in the Cagny Museum in Paris made during the French Restoration. Another piece is known, in a private collection, inspired by this clock, designed after models by Peirra-Francois Feuchère. These two models would surely have served as inspiration for the present table clock. Weight: 25 kg.

· Size: 53,5x20x76 cms.
ANTIQUES

Ref.: ZF1230
SET OF STRIPS AND FRAME IN PAINTED WOOD WITH GOLDEN DETAIL. 17TH CENTU...

Lot consisting of strips and frame (lintel and two jambs) in carved gilded and polychrome wood. Decoration of plant motifs with golden scrolls on a green background. 17th century

· Size: 175x160 cms.
ANTIQUES

Ref.: Z3395
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 protruding volutes 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 it was too strong), or some private oratory in some important residence.

· Size: 41x32x87 cms
ANTIQUES

Ref.: Z6564
”VIRGIN WITH CHILD ON THE THRONE”. BOXWOOD, BRONZE AND ROCK CRYSTAL. 1...

Enthroned Virgin and Child. Boxwood, bronze and carved rock crystal. 19th century. On a padded base, there is a second base made of bronze, the metal from which the throne is made. It stands on four low columns with smooth shafts and capitals decorated with scrolls and simplified plant forms, decorative elements that are repeated at the waist, combined with oval blue beads; the backrest, square and openwork with very schematic scrolls, is topped with four carved rock crystal pearls. The Virgin Mary is seated on it, with a crown that repeats the decorative elements of the throne, dressed in a tunic and cloak and with a book in her hand. The Child Jesus, on her lap, also looks forward, while blessing with his right hand. The iconography comes, as usual, from Byzantine models: among the types of Theotokos, the Panakranta or Panacranta is the one in which Mary appears seated on a throne, with the Child on her lap and both facing the spectator, showing what was agreed at the IV Ecumenical Council of Chalcedon (451 AD). These arrived in Europe already in the Romanesque, developing the iconography of the West. The present work can be compared with the Italo-Byzantine icon of the 13th century preserved in the National Gallery of Art in Washington DC (United States), or the carving of the "Virgin of the Battles" of the Monastery of San Pedro de Arlanza, made around 1225-1235, and preserved in the Museum of Burgos, or the Romanesque one from the mid-17th century today in the Museum of Fine Arts of Buenos Aires (Argentina), although there are a large number of examples. However, details such as the decoration of the capitals, the anatomy shown by the two figures, the scrolls of the throne and the crown, the folds of the draperies, a certain air in the faces despite their schematization, the symmetry present in various points of the work, etc., show that the carving belongs to a date closer to the present. Specifically, to the style known as Neo-Gothic: this was inspired by works from the 13th to the 15th-16th centuries and was opposed to the preceding Neoclassical style; it was born in England towards the middle of the 18th century, and spread throughout continental Europe in the 19th century.

· Size: 10x10x24 cms
ANTIQUES
SCULPTURE

Ref.: Z6707
PAIR OF LANDSCAPES, XALAPA, MEXICO. SPANISH SCHOOL, CIRCA 1840.

Landscapes, Xalapa, Mexico. Pair of oil paintings on canvas. Spanish School, ca. 1840. Provenance: Conde de la Cortina collection, Jalapa, Mexico. A pair of landscapes framed within the Spanish school of the first half of the 19th century, with a clear romantic affiliation. Both show the knowledge of the Dutch classicist landscape, one of the main influences on the Spanish romantic landscape. Thus, we see “V” compositions, closed on the sides and open in the centre, very low horizons that allow a wide development of the sky, spaces built in depth based on successive planes subtly differentiated by light and colour, and small figures perfectly integrated into the natural setting. In addition, the skies are scenic and effective, with low clouds behind which the golden light characteristic of the classicist landscape filters. One of the most radical aspects of Romantic painting was the attempt to replace large canvases with historical or religious themes with landscapes. They wanted pure landscapes, almost without figures or completely lacking them, to achieve the heroic significance of historical painting. They based their work on the idea that human feeling and nature should be complementary, one reflected in the other. That is, the landscape should arouse emotion and transmit ideas. Thus, landscape painters like the author of these paintings tried to express their feelings through the landscape, instead of imitating it. Romantic landscapes had two main aspects: the dramatic, with turbulent and fantastic views, and the naturalistic, which emphasized images of a peaceful and serene nature. This second conception is what we see reflected in these works; the painter tries to communicate a religious reverence for the landscape, nature in its fullness. In fact, the artist's own use of light here conveys a misty, murky, dreamlike atmosphere that invites the viewer to meditate and contemplate himself in the landscape. The romantic landscape is, however, made up of very diverse manifestations that are not comparable to each other; it does not affect all national schools equally, remaining more faithful to tradition in schools such as the French or the Dutch. Thus, in this canvas we do not find the grandiose British and German stage sets, the steep mountains or the monumental Gothic ruins. On the contrary, it is a flat landscape, very horizontal despite the vertical elements that close the sides in the foreground, endowed with a gentle dynamism determined by the hills and the moving clouds. The most typical elements of the romantic landscape do not appear, such as the hostile climate or the Gothic ruin, although there is a clear separation between the foreground and the background, which enhances the scenographic character derived from the effective lighting. The typical, very marked, abyss-shaped perspective is also used, complemented by a slight confusion of points of view. Thus, the bombastic perspectives of the 18th century veduta are applied here to a sober landscape, which nuances the scenographic construction of the landscape, so typically romantic. Despite these local differences, in this romanticism contained in the form, we find, however, a clearly poetic content, which goes beyond the simple representation of nature to depict nature as a reflection of the author's feelings, melancholic and dark, extremely solitary.

· Size: 66 x 80 cm; 74 x 87,5 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6227C
”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
NORTON MOTORCYCLE, ES2 500CC, CIRCA 1948.

Norton motorcycle, model ES2 500 CC, circa 1948 Incomplete documentation; it has circulation permits from 1958 and 1980. Norton, or Norton Motorcycles, is a British motorcycle brand founded in 1898 that ceased production in the 1990s and restarted activity in 2008. The company was acquired in 1952 by Associated Motor Cycles, becoming part of the Norton-Villiers group in 1966, and in 1972 it was integrated into the Norton-Villiers-Triumph group, following the liquidation of BSA (the former owner of Triumph). Designed by Walter Moore, the Norton CS1 engine appeared in 1927, based largely on the ES2 pushrod engine and using many of its parts. Moore was recruited by NSU in 1930, after which Arthur Carroll designed an entirely new OHC engine destined to become the basis for all subsequent OHC and DOHC Norton singles. (Moore's move to NSU prompted his former staff to joke that NSU stood for "Norton Spares Used.") The Norton racing legend began in the 1930s. Of the nine Isle of Man Senior TTs (500 cc) between 1931 and 1939, Norton won seven. After the Second World War, Norton returned to civilian motorcycle production, gradually increasing its range. A major addition in 1949 was the twin-cylinder Model 7, known as the Norton Dominator, a 500cc pushrod twin-cylinder machine designed by Bert Hopwood. Its chassis was derived from the single-cylinder ES2, with telescopic front and piston rear suspension, and an updated version of the gearbox known as a "lay-down" box. Sleeker mudguards and tanks completed the more modern styling of Norton's new premium twin-cylinder model.

· Size: 200x84x114 cms
ANTIQUES

Ref.: ZF0752
WROUGHT IRON GRILLE. SPAIN, 17TH CENTURY.

Gate with pass-through. Wrought iron. Spain, 17th century. Rectangular iron railing with a half-height railing, a frame and supports to keep it upright. The vertical bars have opposing balustrade shapes and a series of discs and small smooth mouldings, all arranged symmetrically around this horizontal railing. On the sides, two square bars have a series of smooth mouldings and architectural decoration with a strong classical influence. Compare, for example, with the works preserved in the Victoria and Albert Museum in London, or the confessional in the Metropolitan Museum in New York dated 1629 (inv 57.137.51) and with another from the same museum, the work of Francisco González (inv 56-234.12 Ad).

· Size: 194x61x294 cms
ANTIQUES

Ref.: ZF1308
OIL ON CANVAS MARRIAGE THETIS AND PELEUS

Madrid school of the 17th century. Circle of CORTE, Juan de la (Antwerp, c. 1585 – Madrid, 1662). “The Wedding of Thetis and Peleus”. Oil on canvas. This work describes the wedding of the Nereid Thetis and Prince Peleus, parents of Achilles. It was celebrated on Mount Pelion, and all the deities attended, although Eris, the goddess of discord, was not invited. In revenge, she threw a golden apple on which was written "for the most beautiful", which caused the dispute between Athena, Aphrodite and Hera that led to the Judgement of Paris, and finally caused the Trojan War. The banquet is depicted in a highly worked composition, set in a rich interior of classical architecture illuminated by the light of Apollo, who is situated at the farthest end from the viewer. At the head of the table, in the foreground, appears Zeus, accompanied by the eagle and with Hera, queen of the gods, to his left. In the lower right corner we see a group of satyrs serving wine, accompanied by rich metal vessels worked with a meticulous and descriptive brushstroke. The rest of the gods appear clearly differentiated, with Athena in the foreground on the right and, following an agile zigzag rhythm, typically baroque, Aphrodite with Eros, Hermes and the bride and groom, on the left, and Poseidon on the right. Formally, this is a work perfectly framed within the 17th century Madrid school, developed around the court. Thus, we see a sumptuous, allegorical classicist baroque, where the studies of light and colour take on special relevance, revealing the exalted and luminous tone typical of the maturity of this school. Specifically, we can relate this painting to the circle of Juan de la Corte, a painter of Flemish origin. Nothing is known today about his early training, since Palomino's claim that he was born in Spain was refuted by documents, citing in his will that he was born in Antwerp. Documents are also preserved in which the painter declares his apprenticeship in Flanders, where he “practiced his trade for many years”. For all these reasons, he has been related to Flemish artists of the time who, due to personal knowledge or the study of their works, strongly influenced the configuration of his personal language. We know of his establishment in Spain at least since 1613. His work at court encouraged him to apply for the position of royal painter left vacant by Bartolomé González in 1627, an objective which he did not achieve. There is no documentary evidence, therefore, to support Palomino's claim that he was the king's painter. However, he enjoyed moderate success in the capital of the kingdom, with his works being found in numerous noble inventories of the time. At the same time, he received royal commissions, such as the cycle of biblical stories that he painted for the Buen Retiro palace. His activity, according to his own confession, focused on "architectures, battles and countries", genres in which he was highly valued by his contemporaries. One of the most interesting characteristics of his style is the fact that he frequently dealt with mythological themes which, brought to the canvas in different cycles, offer us a singularly majestic panorama of a theme that was not very common in the painting of Spain at the time. Another of the outstanding aspects of his work was the proliferation of architectural perspectives clearly linked to Nordic writers, among whom Vredeman de Vries stands out in particular. His pictorial style remained anchored in earlier traditions, demonstrating an evident modesty and archaism, but the uniqueness of the subjects he dealt with makes him worthy of remembrance. Juan de la Corte is represented in the Museo del Prado, the Marítimo in Barcelona, the Cerralbo and the Municipal in Madrid, among others.

· Size: 97 x 122 cm; 116 x 143 cm (marco).
ANTIQUES
PAINTINGS

Ref.: Z6297
DINING ROOM WALNUT TABLE WITH SOLOMONIC LEGS

Dining table in walnut wood with Solomonic leg, 20th century. Dining table with a two-piece topped top on legs with Solomonic turning and chambrana joined to it with curved wrought iron fasteners, following Baroque models

· Size: 219x96x82,5 cms.
ANTIQUES
FURNITURE

Ref.: Z5591
SPANISH WOODEN TABLE WITH LYRE LEGS AND IRON FASTENERS, 18TH CENTURY.

Spanish table with lyre leg and iron fasteners, 18th century. The two lyre legs that support the work have wavy lines at the bottom and shapes on the sides that recall those of French cabriolets. Both are joined with an iron fastener and support a single-piece board with carved edges. This type of leg, called lyre legs due to their resemblance to the musical instrument, was widely used during the Renaissance, and continued to be used later due to the movement that their curved profiles provided to the piece of furniture.

· Size: 73x103x220 cms.
ANTIQUES

Ref.: Z6146
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
CARRIAGE, “JARDINERA” TYPE.

Gardener type carriage. An open four-wheeled carriage with leaf springs and a raised davit, with a baluster box allowing several people to be carried on each side. This type of vehicle was generally used in the countryside, although nowadays it is more frequently seen at fairs and important events.

· Size: 234x156x173 cms
ANTIQUES
MISCELLANEOUS;OTHER OBJECTS

Ref.: Z5023
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TABLE WITH SOLOMONIC SHAPE. WALNUT, METAL. 20TH CENTURY.

Table with Solomonic leg. Walnut wood, metal. 20th century. Rectangular table made of carved walnut wood with legs and decorated jambs combining smooth rectangular cubes and areas shaped like a Solomonic column between discs. The table top is secured to the jambs by means of two iron fasteners, following both the decoration and this detail of models common in antique Spanish furniture (mainly 17th and 18th centuries).

· Size: 104x247x79 cms.
ANTIQUES
FURNITURE

Ref.: Z6506