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Thu 18 Jul

() - Porcelain statuette Colommella flag bishop, 20TH century Mark under base. Inscription on front Bishop Band. Colommella L.T.L. 1795 Guard of Finance. Spinning on flag.Mark under base. Inscription on front Bishop Band. Colommella L.T.L. 1795 Guard of Finance. Spinning on flag.

Thu 18 Jul

() - Porcelain statuette Alfiere combattente Guardia di finanza, 1914 cm 24.2X9 Mark under base. Inscription on front Alfiere combattente di guerra 1914 Guardia di Finanza.Mark under base. Inscription on front Banner combatant of war 1914 Guardia di Finanza.

Thu 18 Jul

() - Polychrome alabaster parrot, 20th century H cm 27 Hand carved.Hand carved.

Thu 18 Jul

() - Gilt metal table clock, late 19th century 27X26 cm To be serviced.To be serviced.

Thu 18 Jul

() - Pendulum table clock painted and lacquered in shades of green , 20th century cm 58X24.5 Roman numerals. To be overhauled, lacking glass.Roman numerals. To be overhauled, lacking glass.

Thu 18 Jul

Reuge Swisse - Reuge Swisse - Musical cigarette case with music box, 20th century cm 28X18

Thu 18 Jul

() - Bottle and travel glass holder box 28X34 cm Painted wooden box with four bottles and ten decorated glass liquor glasses insidePainted wooden box with four bottles and ten decorated glass liquor glasses inside

Thu 18 Jul

() - Pair of gilt porcelain Empire cups and saucers in ormolu and polychrome plant decorations, Old France, early 19th century cup H cm 9.5x9.4 - saucer diam. cm 12 Different decorations, same in shape.Different decorations, same in shape.

Thu 18 Jul

() - Seal, nineteenth century cm 9.5

Thu 18 Jul

() - Commander's plaque, with central star, Royal Order of the North Star , 1919-1951 cm 7X7

Thu 18 Jul

Pair of Monumental Sèvres Vases from the 18th century, dedicated by the Marquis of Argens to the Marquise de Villette in 1777 - Condition: only one small hairline to one of the lids: made in "Bleu Royale" porcelain from Sèvres Manufacture, France, very good overall condition, mounted in mercury gilt bronze. Measurements each: 80 x 30 x 25 cm

Sat 20 Jul

Wooden sculpture - around 1900, Baroque style, wood, carved, polychrome painted, gilded, St. John the Evangelist, attribute eagle, right hand with feather (enclosed), left hand with book, rectangular base, drilled hole in the head, partly chipped, paint chipped, feather enclosed, h approx. 53cm

Sat 20 Jul

Wooden sculpture - Baroque, South German, wood, carved in full relief, partially gilded, Christ as the Risen Christ, standing on an amorphous, cloud-like base, with banner and gesture of blessing, halo of rays, gold, polychrome and incarnate setting, setting, staff added, signs of age, minimal paint flaking, total height approx. 57 cm

Sat 20 Jul

Wooden sculpture - c. 1900, wood, fully carved, painted and naturalistically painted group of figures, depicting Mary, the boy Jesus and Joseph, in the Baroque period this motif known as the 'Holy Walk' was very popular, it was also called Return from Egypt or Return from the Temple or Walk of the Holy Family over the Mountains, traces of age, 1 finger damaged, 1 hand loose, glued, c. 82x75cm

Sat 20 Jul

Wooden sculpture - 18th/19th century, Baroque, wood, painted in color, worked out in full relief, flattened and slightly concave on the back, Pieta - image of grace, seated Virgin Mary on a cloud-like throne, her right hand supporting her, with her left hand she holds the head of her son, reworked version, supplemented, minimally bumped, rubbed, signs of age, approx. 48x58cm

Sat 20 Jul

Wooden sculpture - 18th century, Baroque, South German or Austrian, wood, fully sculpted, carved, unframed, large angel figure, moving figure with raised arms and pointing gesture, traces of age, remains of old paint, damaged, parts missing, right arm loose, stress cracks, h approx. 71cm

Sat 20 Jul

Wooden sculpture - 18th/19th century, carved wood, fully sculpted, flattened on the back, unframed, large Madonna, figure standing in a contrapposto with a mourning gesture, probably part of a crucifixion group, remains of an old version, damaged, left foot missing, h approx. 54cm

Sat 20 Jul

Wooden sculpture - 18th/19th century, Baroque, carved in full relief, polychrome painted, angel figure with candlestick, metal insert, signs of age, reworked frame, chipped paint, replaced, h approx. 52cm

Sat 20 Jul

wooden sculptures - pair - gothic style, wood, carved, unframed, almost full-round carved and flattened on the back, standing Virgin Mary with blessing baby Jesus on her arm, standing apostle with a book in his left hand, minimal wooden parts missing, left arm of the Virgin Mary and right arm of the apostle missing, traces of age, h approx. 30cm each

Sat 20 Jul

Wooden sculptures - pair - Baroque, South German, carved wood, flattened at the back, 1x polxchrome painted, gilded, 1 x unframed, winged angel heads, with stylized cloud and leaf wreath, traces of age, paint chipping, old anobia, cracks, partly repainted, reworked, approx. 23x21cm and 30x45cm

Sat 20 Jul

Wooden sculptures - pendant - 18th/19th century, Baroque, Southern Germany, carved wood, polychrome painted, gilded, two angels with cornucopia sitting on a cloud, new paint, partial loss of color, partly bumped, h approx. 40cm each

Sun 21 Jul

VERY FINE POLYCHROME WOOD AND GILDED WOOD SCULPTURE OF A BISHOP HOLDING HIS CROZIER IN HIS RIGHT HAND AND WEARING HIS MITRE Late 17th - early 18th century 101 x 50 x 25 cm Condition of use and maintenance

CENTRAL AFRICAN REPUBLIC. BANKNOTE: - Issue of January 1, 1986. MILLE FRANC - right 3/4 face bust of General Kolingba, left wooden sculpture, center state map with national parks, oil fields etc... Verso / elephant on left, wooden statue on right, savannah with giraffe & gazelles in center. NEW

Tue 23 Jul

German school of the first half of the 20th century. "Man with turban". Carved and polychrome wood sculpture. Signed and dated "Zimmer" on the lower right. It presents wear, faults and lack of polychrome. Measurements: 30 x 10 x 7 cm. This sculpture of synthesized features represents a man with a turban. His considerably detailed face contrasts with the body simplified to the cylindrical form.

Tue 23 Jul

MAX MEDER (France, 1937). "Clown". Sculpture carved in wood. Signed on the right side. Measurements: 39 x 6 x 18 cm. Observing carefully this sculpture we can conclude that it presents the form of a clown. The abstract and synthesized forms give the sculpture a surrealist and avant-garde aspect.

Tue 23 Jul

JORGE LUIS ZARRAN PAZ (Havana, 1957). "Head". Sculpture in acana wood. Signed, dated and dedicated on the back. Measurements: 18 x 5 x 4 cm (sculpture); 3,5 x 5 x 4 cm (base). Jorge Luis Zarrán Paz is a Cuban sculptor, member of the Cuban Association of Artisan Artists (ACAA) and the Union of Writers and Artists of Cuba (UNEAC). Works of the artist located in Cuba: 1981 Sculpture, iron, Parque de las Esculturas, Las Tunas; 1987 Toys, Palacio de los Pioneros, Havana; Emplacement, sculptural mural, Baracoa Beach Airport; Havana, disassembled concrete, concrete, metallic profiles and graphic plates. Among the awards received, we mention the Mention of the National Salon of Small Format Sculpture, Center for the Development of Visual Arts, Havana.

Tue 23 Jul

ANTONIO MEDINA CORREA (Granada, 1956). Untitled, 1987. Original sculpture carved in wood. Signed on the back and on the front with initials. Measurements: 17 x 8 x 8 cm. The sculptor Antonio Medina moved to Barcelona when he was three years old, city where he studied at the Massana school. He works with roots of felled trees. His style is abstract, using the technique of roughing, sanding and waxing. He is in favor of taking art to the street, understanding that this can awaken new sensibilities in the passerby. For this he has prepared a van as a mobile art gallery to bring his art to the most remote corners.

Wed 24 Jul

Ceiling ornament of Chinese construction. Qing Dynasty, 19th century. Wood carving gilded with fine gold. It presents marks of use, wear and some slight lack. Measurements: 28 x 73 x 5 cm. Fine gold gilded wood carving representing a dragon with a scaled body and expressive head with open jaws. Its imposing aspect is accentuated by the fact that it is accompanied by proportionally tiny figures compared to the undulating body of the mythological reptile. Possibly, it was part of the eaves of a Chinese construction.

Thu 25 Jul

crowned virgin in prayer. Wood sculpture. Height :

Thu 25 Jul

Spanish school; end of XVIII century. "Don Quixote". Wood and polychrome tinplate. It presents damages caused by xylophagous. Measurements: 38 x 16 x 9 cm. Sculpture made in wood and tinplate representing Don Quixote perorating, characterized with naturlism and success in his noble and naive temperament. The face is bony and stylized, with a trimmed beard that lengthens his oval. The theme of Don Quixote was very much approached in the 18th century, already from a clearly contemporary point of view, far from the comic vision popularized by the French in the previous century. The works fall within the framework of the rise of regionalism during the second half of the 18th century and the first third of the 19th century. This period saw the development of an art of romantic heritage, costumbrista and of realistic and meticulous workmanship, which focused on the representation of subjects, themes and characters that reflect a new sense of folklore. In this context, the painters sought to reflect the types and customs of their own land, which made it different and unique, thus vindicating their own roots and, above all, the traditions and ways of dressing and behaving that were threatened by the notable growth of urban areas and the imposition of new fashions brought from outside. Art, fundamentally in its pictorial aspect, thus becomes in a certain way a vehicle of expression capable of making regional peculiarities known to the rest of the nation. It presents damages caused by xylophagous.

Thu 25 Jul

Central European school of the XVII-XVIII century. "Saint". Polychrome carved wood. Measurements: 80 x 54 x 23 cm. Sculpture in carved wood, Central European Baroque school. It represents a saint, of difficult identification due to the lack of attributes or emblems. Carved full body and round bulk (although prioritizing a frontal work) wearing a draped tunic and cloak. Its curly hair has been worked strand by strand. The expressiveness of her features stands out, wiry and with her mouth half-open, even showing her teeth. A full verism is thus sought.

Thu 25 Jul

German school of the XVII-XVIII century. "Pietà". Sculpture in polychrome carved wood. Presents lack of polychrome. Measurements: 47 x 43 x 20 cm. Germanic carving belonging to the Baroque. It presents a frontal work, hollowed out on the back for use as a niche. It responds to the iconography of the Pietà, that is, the seated Virgin welcomes on her lap the dead Christ, once He has descended from the cross. In a theme of deep dramatism, intensity that in this piece is reflected in the pathos printed on the faces and in the anatomy of the lifeless body. The Marian mantle appears draped with dexterity. The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first example being found in the city of Coburg, a piece from around 1320. With the passage of time the iconography will spread throughout Europe, and already in the seventeenth century, after the Counter-Reformation, it became one of the most important themes of devotional painting.

Thu 25 Jul

Neapolitan School or Circle of FRANCISCO SALZILLO (Murcia, 1707 - 1783), XVIII century. "Saint Joachim" or "Neapolitan Manger Character". Polychrome wood carving. Measurements: 55 x 40 x 33 cm. The character represented here, with long beard and Renaissance attire, stands out for the virtuous naturalism printed in the clothing and in the pious expression of the countenance. The histrionics or theatrical gesticulation is another element to highlight. Both attributes (naturalism and gestural dramatization) were characteristic of the work of Francisco Salzillo, one of the most outstanding figures of the Murcian school of the 18th century. Likewise, a possible Neapolitan origin of this piece should not be underestimated, since extreme naturalism was also more than frequent. Given that the Neapolitan school is part of the tradition of nativity scenes, the carvings of the Baroque and late Baroque period have a strong scenographic and dramatic component. We can appreciate in this carving the quality of the stew, the chromatic and textured plasticity of the drapery of the cape and the blouse knotted with a cloth at the waist, the naturalistic folds around the knees and calves.... The character, with her mouth ajar, seems to be addressing God in gratitude for something. In the case of a Neapolitan nativity scene figure, it could be part of the retinue of the Magi. It could also identify Saint Joachim, father of the Virgin. It is worth remembering that Salzillo was influenced by the Italian influence, being the son of the Italian sculptor Nicolás Salzillo. The Murcian school of sculpture was born in the eighteenth century, driven by the economic growth of the region, around the figure of Francisco Salzillo, collecting Mediterranean influences and especially Italian through the art of the Nativity Scene, which is introduced and developed in Spain in this century. Through the Murcian school, the novelties of the European Rococo were introduced in Spain, which were incorporated by Murcian masters such as Salzillo to the popular feeling typical of Spanish imagery.

Thu 25 Jul

Granada school; second half of the 17th century. Carved and polychromed wood. It presents repainting and restoration on the nose of the Virgin. Measurements: 39 x 34 x 26.5 cm: 47 x 33 x 30 cm (base). The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first surviving example being found in the city of Coburg, a piece from around 1320. Over time the iconography spread throughout Europe, and by the 17th century, after the Counter-Reformation, it had become one of the most important themes in devotional painting. It is a polychrome carving in rounded wood that represents the theme of the Pietà: the Virgin seated with the dead Christ on her lap, a theme of profound drama not only because of the subject itself, but also because its composition evokes images of the Virgin with the Child Jesus on her lap. Iconographically, the Pietà is a theme that has been repeated many times in the history of art, especially from the Renaissance onwards. It is an image taken from the Passion, featuring a sorrowful Virgin Mary holding the dead body of her son. In fact, it is a plastic representation of Mary's pain in the face of the truth of her dead son, and in fact it is from this theme that the representations of the Dolorosa, in which only the Virgin appears, would derive. Stylistically, it is clear that the present work is strongly influenced by 17th-century Baroque models from the Granada school, and not only in the iconography, but also in the model chosen as an influence for it, in the decoration of the clothing, in the colouring, in the features of the face, etc. The Granada school, which was strongly influenced by the Renaissance period, included great figures such as Pablo de Rojas, Juan Martínez Montañés (who trained in the city with the former), Alonso de Mena, Alonso Cano, Pedro de Mena, Bernardo de Mora, Pedro Roldán, Torcuato Ruiz del Peral, etc. In general, the school does not neglect the beauty of the images and also follows naturalism, as was usual at the time, but it would always emphasise the intimacy and seclusion in delicate images which would be somewhat similar to the rest of the Andalusian schools in another series of details but which do not usually have the monumentality of the Sevillian ones. The work can be inscribed, specifically, in the stylistic circle of the Mora workshop (José and Diego). This was one of the most important workshops in Granada in the 17th century. The artistic legacy of this family of image-makers, which spanned from the last third of the 17th century to the second half of the 18th century, was a milestone in the Granada school. Influenced by the work of both Alonso Cano and Pedro de Mena, his influence led him to create a very personal and characteristic style.

Thu 25 Jul

Spanish school of ca. 1600. "Saint Joseph". Sculpture in carved, gilded and polychrome wood. Consolidated 18th century silver rod. With important losses in the polychromy. Measurements: 83 x 40 x 26 cm. The image of Saint Joseph is placed on a polygonal base. Bearded, holding a cloak that waves in the wind and raising his other hand to a medium height, he looks towards the front, slightly inclining his head. In his left hand he holds the silver flowered staff. Until the Counter-Reformation, the figure of St Joseph was usually kept in the background, as no theological importance was attached to him. However, from Trent onwards, his leading role as the protector of Jesus during his childhood and as a guide during his youth was recovered, and he is depicted here as such. The naturalism of the drapery of the tunic combines with a soft, Asian physiognomy.