Sculpture en bois sculpté polychrome représentant The Virgin, an angel at her fe…

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Sculpture en bois sculpté polychrome représentant

The Virgin, an angel at her feet, the head in ivory. (Misses, accidents and cracks). A sad clown's head is attached H: 13cm H.: 25 cm.

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Sculpture en bois sculpté polychrome représentant

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Estim. 1 200 - 1 400 EUR

Russian icon of the 19th century. "Resurrection of Christ". Tempera, gold on panel. Measurements: 35 x 30 cm. The icon that concerns us, despite its relatively simple composition, with six scenes in its upper part that encompass the theme of the Passion of Christ and the Resurrection; a central space dedicated to the deesis and its lower half dedicated to the representation of the Evangelists, is very attractive for the symbolism of the symbolic details that accompanies each of the miniatures. Each of the upper cells represents, with marked detail, scenes from the life of Christ. The washing of the feet, the Crucifixion, the appearance of the angel to the Virgin or the Ascension of Christ to heaven are some of the images that the anonymous artist immortalizes on the panel. The main scene, which covers the entire lower half and part of the central register, represents, on the one hand, the "Spas" or Pantocrator, the Savior, a scene that can be seen in every Orthodox temple. It shows Christ blessing with his right hand and holding with his left the Gospel, which can be closed or open, as here. At his sides, the Virgin and St. John the Baptist, an iconography that, as a whole, is called Deésis. The lower half is destined to the representation of the most important Saints, with St. Peter and St. Paul. The visual characteristics of the icon help to deduce its chronological period, dating it to the 18th century. The gold leaf background, the stylized drawing that outlines each figure, the intense chromatism and the special attention to detail of the characters are elements that remain faithful to the tradition of Orthodox icons.

Estim. 1 000 - 1 200 EUR

Icon of the Russian School of the Old Believers' Workshops, 19th century. "The Virgin of All Sorrows". Tempera, gold leaf on board. Presents chips in the paint. Measurements: 31 x 26 cm. The Virgin of All Sorrows is a type of Marian iconography venerated in the Russian Orthodox Church, and is considered miraculous. The canon appears in 1688 in Moscow in the Church of the Virgin of All Sorrows, also known as the Church of the Transfiguration, although other earlier versions are known, but with different iconography. The final typology of the icon was formed in Russia under a powerful Western influence. One can perceive similarities with the iconography of Mercy, of the Immaculate Conception or Maestà. In this sense, the icon corresponds to the traditional canon. In addition to the Virgin Mary represented in the central register of the image, in a larger size than the other characters, the icon includes images of people afflicted by illness and pain, and of angels who perform good deeds on behalf of the Virgin. The Mother of God is represented full-length, standing on the clouds, in a mystical mandorla and surrounded by angels, with the Child Jesus in her left arm, although she can also be represented alone with open arms, and with the rosary in her right hand. In the upper register, in the clouds, the Sebaoth is represented, although versions with the Trinity are also accepted. The scenes of the icon are accompanied by numerous inscriptions, which are prayers and blessings to all the sorrowful, the sick and the suffering.

Estim. 1 200 - 1 500 EUR

Novo-Hispanic school; second half of the XVIII century. "Virgin of La Merced". Oil on canvas. Measurements: 62 x 45 cm; 79 x 63 cm (frame). Devotional image of the Virgin of Mercy, accompanied by two saints praying at her feet. The Virgin is represented seated on a pedestal of clouds, accompanied by several child angels, on her knees also standing can be seen Jesus Child. The Virgin of Mercy is a Marian invocation of the Virgin Mary, whose devotion has its origin in Catalonia. The Order of Mercy was founded around her, initiated by St. Peter Nolasco at the beginning of the 13th century. It was precisely the Mercedarian monks who spread her cult throughout Spain, France and Italy from that date onwards. The iconography for the representations of the Virgin of Mercy acquires its definitive form in the 16th century, and consists of the Mercedarian habit with tunic, scapular and cape, all in white, with the Mercedarian coat of arms on the chest. She usually appears with a queen's crown, and also with the scepter in her right hand. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening of some of the colonies, that several artists began to represent a new model of painting with its own identity.

Estim. 7 000 - 8 000 EUR

Follower of REMBRANDT HARMENSZOON VAN RIJN (Leiden,1606- Amsterdam, 1669). "The Dormition of the Virgin". Oil on panel. Cradled. It presents restorations and faults on the pictorial surface. Measurements: 79 x 63 cm; 100 x 84 cm (frame). This painting follows the compositional model established by Rembrandt in his engraving of the Virgin's Dormition, created in 1639. The Hispanic Digital Library has a copy in its collection, which it describes as follows: "One of his most famous religious etchings is The Death of the Virgin, 1639. It is the first etching in which he used drypoint in a generalized manner, and the largest after The Hundred Florins. There are three states of this engraving and the Biblioteca Nacional has two excellent copies of the second state. The scene can be related to Dürer's The Death of the Virgin, which Rembrandt bought at auction in 1638, and also to several drawings of this period, such as The Death of Jacob or those of Saskia ill in bed. In The Death of the Virgin, the apostles surround the Virgin's mortuary bed in grief, while the angels circle around her to receive her soul. It is a multitudinous composition in which each person shows their grief in a different way. The room is adorned with large curtains, rugs and a canopied bed. The play of light and shadow is studied so that the attention is focused on the dead Virgin and the break of glory that occupies the entire upper part of the print, where Rembrandt uses very long and crossed lines. It is in this print that he first uses, in a generalized way, the drypoint on the clean plate before completing it with etching. From this moment on, this technique becomes for Rembrandt a true means of artistic expression." Displaced from the center of the scene, rests the figure of the Virgin with closed eyes and lying on a bed. The presence of the afflicted apostles at the feet of the figure of the Virgin, and the appearance of the angels indicate to us that this is the representation of the passage of the Virgin. A theme that became popular during the Baroque period and later, due to the Counter-Reformation, which led the Christian religion to resort to various passages from the life of the Virgin. In the work, the great magnificence shown by the architecture that configures the scene stands out especially. According to the Apocryphal Gospels, after St. Michael announced her earthly end, the Virgin summoned the apostles, who came to her call except for St. Thomas, who was preaching in India. We can appreciate how the author of this canvas has been able to assimilate the lesson of the undisputed master of chiaroscuro, the monochromatic tonalities with spectacular hallmarks. We can also appreciate the imprint of Rembrandt's varied impastos, whose brushstrokes varied from delicate glazes to the touch of a brush rich in matter. Rembrandt was, in addition to being a master painter, an exceptional engraver. He worked with both burin and drypoint, always dispensing with prior drawing, attacking the plate directly and exploiting to the maximum the expressive possibilities of the etching technique. He made many tests, removing and inserting elements and retouching, hence the great sense of immediacy of his engravings. He made up to ten different states, and it even took him years to finish some of his works. His favorite theme was the self-portrait: he took himself as a model to study his affections, and at the same time he left a record of his personality and the passage of time. It presents restorations and faults on the pictorial surface.

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