Escultura

"Scottish Hunter with two Dogs" in patinated bronze and gilt S. XIX.

With black marble base.

Measurements: 34 x 17 x 35 cm

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Sauthern, Vienna 1847

Model of a fountain in patinated bronze with a marble base. Signed "Sauthern" and dated Vinenna, 1847.

Measures 33 x 28 cm.

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Pair of cherubs carved in alabaster. Italy, S. XVIII,

One of them restored. With wooden bases.

Measures 14 x 10 x 13 cm.

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Polychrome terracotta planter, France, pps. S. XX.

Representing a woman in oriental style.

Height: 58 cm.

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"Knight in Profile". Relief in silver-plated bronze, France S. XIX.

Framed.

Measures 28.50 x 25 cm

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"Warrior in Profile" in gilded bronze, France S. XIX.

Framed.

Measurements: 28.5 x 25 cm

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"Hernán Cortés ? de Perfil" in gilt bronze, France S. XIX.

With wooden frame.

Measurements: 32 x 32 cm

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Marie de Foret, France h. 1900

"Moroccan Girl"

Polychrome terracotta bust. signed. With real metallic earrings. Wooden base.

Height: 58cm

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Desurmont, France h. ff. S. XIX pp. S. XX

"Berber Woman"

Polychrome terracotta sculpture. Signed and titled "Femme Kabiyle".

Height: 70 cm.

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Friedrich Goldscheider (Austrian 1845-1879)

"Couple of Orientalist Busts"

Made in polychrome terracotta. Signed and numbered.

Height: 53 and 55 cm

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Polychrome terracotta planter, France, pps. S. XX.

Representing a woman in oriental style.

Height: 58 cm.

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Attributed to Gaspar Becerra (Baeza 1520 - Madrid 1568)

"Saint Barbara"

Sculpture in carved, polychrome, gilded and stewed wood. The saint appears with one of her attributes: the tower. Its excavated rear part suggests that it would be part of an altarpiece to which it would be attached. faults.

A study by Dr. Rosario Coppel Areizaga in Art History is attached, who compares our carving with the figure of Mary from the relief of Jesus among the Doctors of the Cathedral of Astorga and sees similarity both in the hands and in the flattened proportions of the body . She also finds similarities in the combination of colors and in the sgraffito of vegetal and geometric motifs with the same qualities as in the Astorga altarpiece.

Despite being one of the most relevant figures on the Spanish art scene at the end of the 16th century, there are few biographical data on the author, as well as few documented works of his authorship, perhaps because many of them were destroyed by fire.

Becerra must have trained in the family workshop of his father, a second-rate artist, before going to Rome to study at the Academy of San Lucas. There he met Miguel Angel and his circle and even shared commissions with some of them, for which he got to know and handled the ornamental models of the great Roman decorations of the time and brought them to Spain, introducing them into art and initiating the Romanist aesthetic.

Height: 86cm

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Gian Federigo Bonzagna (Parma?-Rome 1589)

"Adoration of the Shepherds" mid-16th century

Walnut wood plaque carved in relief.

In front of a classical temple, a resource widely used in the Renaissance, the scene of adoration of the shepherds unfolds to the Child who lies on some straw, between Joseph and Mary.

Bonzgna known as the Parmesan continued his father's occupation of him, as a medalist, goldsmith and engraver. He worked at the Mint making medals for Pier Luigi and Ottavio Farnese until in 1554 he moved to Rome to meet his brother, who had been named life master of the mint, and help him in the large number of jobs that he would entrust to him. Pope Julius III. The Museo del Prado collection has medals made by him.

Pieces with this composition made in gilt and silver bronze can be found at The Walters Art Museum in Maryneland and the Museo Lázaro Galdiano in Madrid with inventory number 427. Another plaque was auctioned at Sotheby's London in 2009, the latter dating from 1561. The bronze plaques have an inscription "Parm Invint" on the frieze of the classical pediment, alluding to the pseudonym by which he was known, as the inventor and creator of the composition. There is no inscription on the wooden composition.

Measurements: 23 x 17.5 cm

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Attributed to Alonso Cano (Granada 1601-1667) with possible participation of Pedro de Mena (Granada 1628-1688)

"San Diego de San Nicolás" 1650s

Carved, polychrome and gilt wooden sculpture. With glass paste eyes and a half-open mouth that reveals the teeth. Polished carnations and great detail in the polychrome reflecting the incipient beard on the face and the texture of the fabric of the habit with its seams and large patches.

With a wooden base covered in golden leaves and with four volutes in the corners.

The Saint is known as San Diego de Alcalá, because it is the place of his death and his body is venerated in the cathedral of Alcalá de Henares. Episodes of ecstasy and levitation as well as various miracles are attributed to him. He appears represented in one of those moments of ecstasy with outstretched arms and looking up at the sky. He wears a Franciscan habit with a cape with a hood over his shoulders and a rope girdle with three knots.

Alonso Cano and Pedro de Mena shared a workshop and activity in the 1650s when Cano returned to Granada from Madrid to act as ration keeper in the cathedral and settled in Mena's workshop and gave it an aesthetic concept based on technical perfection. and realism.

With study by Professor José Angel Rivera de las Heras.

A San Diego de Alcala, the work of both, was made for the Convent of Santo Angel Custodio in Granada, which has a similar posture to this one that we present with the left leg advanced, which gives it movement and also presents several days of beard.

He can also be related to San Pedro de Alcántara by Pedro de Mena from the Museum of Valladolid due to the great realism of his face and clothing as well as the expression of ecstasy with both arms outstretched.

Height: 68cm

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