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BRONZE BULL. AFTER BENLLIURE, MARIANO (1862-1947).

Bull. Bronze. Based on the model by BENLLIURE GIL, Mariano (Valencia 1862-Madrid, 1947). Mariano Benlliure was a Spanish sculptor, a precocious creator both in the field of painting and sculpture. He trained in Valencia, Madrid, Paris, Rome, etc., and his name became famous, more or less, when he settled in Madrid in 1887, obtaining a First Medal at the National Exhibition of that year. His healthy financial situation allowed him to have a great social life, meeting prominent figures of the time. He produced numerous religious, civil and funerary works (Cabra, Madrid, Seville, Navarra, etc.), and his work is preserved in important private collections and institutions.

· Size: 84x39xx54 Base 74x39
DECORATIVE ANTIQUES

Ref.: ZF0871
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
PIETÁ. PLASTER. 20TH CENTURY.

Pietà. Plaster. 20th century. A relief sculpture group made of plaster depicting a passionate theme with the deceased Christ and the fainting Virgin Mary, accompanied by various figures. It is important to highlight the influence of past styles on the present work (Renaissance, Baroque).

· Size: 80x14x60 cms
DECORATIVE ANTIQUES

Ref.: Z0092A
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
DEVOTIONAL PLAQUE, SAINT MARY MAGDALENE. BRONZE. 19TH-20TH CENTURIES.

Devotional plaque, Saint Mary Magdalene. Bronze. 19th-20th centuries. Rectangular devotional plaque made of bronze featuring a relief figure of Saint Mary Magdalene as a penitent, accompanied by a skull, the usual perfume bottle and a small crucifix. The piece is inspired by very common models and iconographies of the 17th century.

· Size: 7,5x11,5 cms.
DECORATIVE ANTIQUES

Ref.: Z6494AB
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
BRONZE DEVOTIONAL PLAQUE, SAINT JOHN THE BAPTIST. 19TH-20TH CENTURIES.

Devotional plaque, Saint John the Baptist. Bronze. 19th-20th centuries. Rectangular devotional plaque depicting a relief of Saint John the Baptist, holding a book with the Lamb and a staff topped with a cross, accompanied by the partially erased legend “NON SV RE XIT MAIOR” (in reference to the text of Matthew alluding to Saint John, “non surrexit inter natos mulierum maior Ioanne Baptista”). This is a very common type of plaque since the 17th century in Spain (compare the two examples in the Lázaro Galdiano Museum in Madrid).

· Size: 7,5x11,5 cms.
DECORATIVE ANTIQUES

Ref.: Z6494AA
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
CHILD. POLYCHROMED WOOD. 17TH CENTURY.

Child. Carved and polychrome wood. 17th century. Polychrome wooden carving showing a half-naked child, accompanied by a cloth fluttering in the wind that partially covers him, and standing with a marked contrapposto, a movement softened by the position of the hands and the expression of the face, with the head bowed. It is possible that it is a sculpture of the Child Jesus, given the similarity it presents with sculptural groups or painted scenes made up of various characters (more of the Child with Saint John than of the Holy Family) of the Baroque.

· Size: 18x11x33 cms.
DECORATIVE ANTIQUES
SCULPTURE

Ref.: Z3498
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 CANDLE HOLDERS, CHILDREN. CALAMINE, MARBLE. FRANCE, 19TH CENTU...

Pair of candlesticks. Calamine, marble. France, 19th century. Pair of candlesticks made of corrugated iron on dark marble bases with sculptures of children in similar positions. The proportions, positions, decorative elements, etc. of these two figures show a clear influence from French Neoclassical models, a relationship also present in the pedestals.

· Size: 10x12,5x41 cms.
DECORATIVE ANTIQUES
SCULPTURE

Ref.: Z3894
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
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
COLUMN. POLYCHROMED AND GILDED WOOD. 16TH CENTURY

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
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
SAINT NICHOLAS DEVOTIONAL PENDANT. BRONZE, TEXTILE, METAL. 18TH CENTUR...

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

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