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Auction Description for La Suite Subastas: Medieval Art and colonial Art. Private Collections
Viewing Notes:
Viewing available from 11th - 23rd February
Monday to Friday 10am - 2pm., & 4.30pm - 8pm.
Saturday 10am - 2pm., & 5pm - 8pm.

Medieval Art and colonial Art. Private Collections (110 Lots)

by La Suite Subastas


110 lots with images

February 23, 2017, 7:00 PM CET

Live Auction

Barcelona, Spain

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Anonymous, possibly from Lombardy from the 14th or 15th century.

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Description: Anonymous, possibly from Lombardy from the 14th or 15th century. "Battle" Fresco with touches of tempera, stripped off and transferred to canvas. Large mural painting, depicting a battle scene on the outskirts of a walled city. From the 14th century on there was a boom in fresco painting in the centre and south of Europe. In Italy, especially in Lombardy and Veneto, there are numerous examples of marvellous frescos. The most important Masters were Cosimo Tura and Francesco del Cossa. Exhibitions: "Ferdinandus Rex Hispaniarum, Prince of the Renaissance, " Aljafería Palace, Zaragoza 2006 - 2007. This fresco was among the exhibits and appears on pages 441-442 of the catalogue. This and the other three frescos in the auction were authenticated orally by Professor José Milicua. 140 x 194 cm. Origin: Private collection Italy. Private collection Barcelona.

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Anonymous.  Lombardy 14th – 15th century.

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Description: Anonymous. Lombardy 14th – 15th century. "Saint Gregory the Great" Fresco with touches of tempera, stripped off and transferred to canvas. The saint is depicted with the customary papal attributes. 124 x 74 cm.

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Italian School 14th-15th century.

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Description: Italian School 14th-15th century. "Saint Sebastian" Fresco with touches of tempera, stripped off and transferred to canvas. 139 x 81 cm.

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Italian school 15th-16th century.

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Description: Italian school 15th-16th century. "Warriors on horseback before a Tuscan edifice" Fresco with touches of tempera, stripped off and transferred to canvas. 121 x 162,5 cm.

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Apostle.  Imposing carved, polychrome stone sculpture.  Castilian School.  Possibly from Leon. 14th – 15th century.

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Description: Apostle. Imposing carved, polychrome stone sculpture. Castilian School. Possibly from Leon. 14th – 15th century. 73 x 31 cm.

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Entry into Jerusalem.  Sculpted stone relief.  Castilian School.  Possibly from Leon.  14th – 15th century.  Sculpture

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Description: Entry into Jerusalem. Sculpted stone relief. Castilian School. Possibly from Leon. 14th – 15th century. Sculpture 63 x 57 x 20 cm.

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The Adoration of the Shepherds.  Sculpted stone relief.  Castilian School.  Possibly from Leon.  14th – 15th century.  Sculpture

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Description: The Adoration of the Shepherds. Sculpted stone relief. Castilian School. Possibly from Leon. 14th – 15th century. Sculpture 68 x 46 x 18,5 cm.

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Piety.  Sculpted stone relief.  Castilian School.  Possibly from Leon.  14th – 15th century.  Sculpture

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Description: Piety. Sculpted stone relief. Castilian School. Possibly from Leon. 14th – 15th century. Sculpture 45 x 54 x 17 cm.

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Angels. Pair of sculpted stone reliefs.  Castilian School.  Possibly from Leon.  14th – 15th century.  Sculpture

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Description: Angels. Pair of sculpted stone reliefs. Castilian School. Possibly from Leon. 14th – 15th century. Sculpture 36,5 x 31 x 18 cm. y 36 x 37 x 21 cm.

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Seat of Wisdom (Sedes Sapientiae).  Carved polychrome wood sculpture.  Castile.  13th century.

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Description: Seat of Wisdom (Sedes Sapientiae). Carved polychrome wood sculpture. Castile. 13th century. The virgin is depicted seated on the throne of glory in a frontal position, holding the Christ Child on her knees. On her head she wears a crown, decorated with precious stones and a short veil which rests on her shoulders forming an unusual zigzag which frames her face. Her expression is serious, yet suggests a light smile. She wears red and green toned dress, decorated with diamond shapes, above which falls a cloak which covers her knees. The Christ Child is also crowned and smiling. He holds the Holy Scriptures in his left hand. The virgin and Child´s faces are finely sculpted. Mary and the Child´s right hands are missing. Height: 60 cm.

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Attributed to Alejo de Vahía (? - Circa 1515)

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Description: Attributed to Alejo de Vahía (? - Circa 1515) "Clergyman praying" Magnificent carved polychrome and gilt wooden sculpture. Circa 1500. Various elements of Alejo de Vahía´s style can be found in the sculpture, such as the bulging and slightly droopy eyes and eyelids in a half-moon shape, the sharp nose and the fine-lipped mouth, the wide face and the abundant, rigid folds. The sculptor very probably came from the north of Europe originally, but was established in Spain from 1475 to 1515, specifically in Becerril de Campos, a town in Palencia, where he opened a sculpture workshop. One of the most important gothic sculptors, he has an unmistakeable style and many recognised works. Among his outstanding work, he contributed to the altarpieces of Palencia Cathedral, Monzón de Campo, Becerril, Paredes de Navas, sometimes collaborating with other sculptors such as Berruguete. From 1491 – 1497, he worked alongside other sculptors on the choir stalls at Oviedo Cathedral. He also made the tombs of Luis de la Serna at the Church of Santiago in Valladolid, and Francisco Núñez, Abbot of Husillos, at Palencia Cathedral, among others. 63 x 21 cm.

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Bishop.  Carved polychrome wood sculpture.  Castilian School 14th century.

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Description: Bishop. Carved polychrome wood sculpture. Castilian School 14th century. Height 90 cm.

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The Four Evangelists.  Group of four carved polychrome and gilt wooden reliefs.  Late 16th century European School.  Sculpture

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Description: The Four Evangelists. Group of four carved polychrome and gilt wooden reliefs. Late 16th century European School. Sculpture Interesting sculptural set which depicts Saint Matthew, Saint John, Saint Luke and Saint Peter writing their gospels. Each saint is accompanied by his personal attributes, within a rich and carefully wrought architectural scene, which allows for a better setting of the moment. Great wealth of ornamental details and polychrome. 43 x 37 cm. Each.

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Saint Michael Carved wooden sculpture with polychrome residue.  Flemish made.  Circa 1600.

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Description: Saint Michael Carved wooden sculpture with polychrome residue. Flemish made. Circa 1600. Delicate and elegant depiction of the archangel Saint Michael, prince of the Heavenly host, attacking the devil, who he beats, with a lance. Dressed in a soldier´s breastplate with caligae on his feet. The mastery of the sculptor is outstanding, as can be seen in the fine carving of the face and the curls in ringlets. The overall result is harmonious and has movement. 79 x 32 x 18 cm.

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Aragonese workshop linked to Damiá Forment. Aragon.  Circa 1530

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Description: Aragonese workshop linked to Damiá Forment. Aragon. Circa 1530 "The penitent Saint Jerome" Marble coloured alabaster sculpture with ochre toned veining. Circa 1530. Damian Forment (Valencia, c. 1480 – Santo Domingo de la Calzada, 1540) This sculptor is considered to be the instigator of the Renaissance in Spain. He established a workshop in Zaragoza, although he was later able to open another in Huesca and, temporarily, a third in Tarragona, while the altarpiece in Poblet Monastery was being made. In 1509 he got his first important commission, the altarpiece for the high altar at the Cathedral Basilica of Our Lady of the Pillar in Zaragoza, after which he received many more commissions, resulting in more than twenty-five altarpieces coming out of his workshop. As Professor Pitarch points out in his study, “The typological characteristics of this relief lead one to believe that, originally, it formed part of the predella of an alabaster altarpiece… or it may also be a devotional relief.” The study continues “The structure of the alabaster itself and its marble colour with ochre toned veining as well as the typological references and execution persuade me that they originate in Aragon and are linked to Damian Forment´s sculpture workshop in Zaragoza or in Huesca. The sculptor´s treatment of the models which appear in the altarpiece at Our Lady of the Pillar in Zaragoza is placid and free of tension (in the scene of the Presentation of Jesus at the Temple and the main scene of the Assumption of Mary) where the character behind Mary in the first scene and the apostle behind Saint Peter form the base of the model of Saint Jerome´s face, as do some of the masculine heads in the main altarpiece at Saint Mary of Poblet (1527-1529) … These are of greater quality than other work related to Damian Forment, such as the main altarpiece at the church at Bolea (Huesca)… this particular relief of Saint Jerome can be included among the group of work which is accountable to Damian Forment in Aragon.” Professor Antoni José i Pitarch´s study is included. 46 x 38 cm.

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Giovanni Battista Foggini (Florence, 1652 - 1725)

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Description: Giovanni Battista Foggini (Florence, 1652 - 1725) "Allegorical portrait of Medici as Neptune" Grey marble sculpture. From the ducal quarry. Foggini was an Italian architect and sculptor. He first trained as a painter, although he soon abandoned this technique in favour of sculpture. In 1673 Cosimo III de´ Médici sent him to Rome to study at the Florentine Academy, where he studied under Ercole Ferrata for three years. His great virtuosity soon became apparent, as his first sculptures show, including "The death of the children of Niobe” a terracotta which is currently kept in Florence, and “Adoration of the Shepherds”, a marble sculpture kept at the Hermitage, among others. He was named premier sculptor in 1687 on his return to Florence, after the death of Ferdinando Tacca, and later, in 1695, premier architect. He was also superintendent of the ducal foundry and of the Medicis´ carving and stone workshops. Throughout his career he worked on many monuments and also did portraits, such as the one kept at the Prado, “Charles II on horseback”, which he forged in gilded bronze in 1698, or the one of Cardinal Giancarlo de´ Medici (Victoria and Albert Museum, London) His art and style prevailed, thanks to his disciples, until the arrival of neoclassicism. Bibliography: MONTAGU, "Il primo relievo in marmo del Foggini", in: Arte Illustrata, 1973, vol. VI, pp. 331-338. MONACI, "Inediti foggini", in: Paragone, 1974, vol. XXV, nº 289, pp. 48-67. MONACI, Disegni di Giovanni Battista Foggini (cat. Exhibition.), Florence, 1977. VISONÀ, Carlo Marcellini. Accademico "Spiantato" nella cultura fiorentina tardo-barroca, Ospedaletto, 1990, pp. 147-184. 51 x 44 x 21 cm.

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Pierre Puget, (Marseille, 1620 - 1694)

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Description: Pierre Puget, (Marseille, 1620 - 1694) Marble Sculpture. Famous French baroque sculptor, painter and architect. Recognised as the best representative of classical French spirit in sculpture, as Nicolas Poussin was for painting. He trained first as a painter. He travelled to Italy where he worked in Pietro da Cortona´s workshop, returning to Marseille in 1643. From 1655 onwards he dedicated himself exclusively to marble sculpture. Some examples from among his most renowned sculptures include “Milo of Croton” bought by King Louis XIV, and placed at that time in the park at Versailles, also, his “Perseus and Andromeda”, the “Atlases” at the sides of the door of Toulon Town Hall etc. His work can be found in a plethora of museums, including the Louvre, the Rouen Fine Arts Museum and the Cleveland Museum of Art. Height: 44 cm.

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Annunciation.  Marble sculpture.  17th-18th century Italian School.

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Description: Annunciation. Marble sculpture. 17th-18th century Italian School. 49 x 42 x 18 cm.

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Bacchus.  Marble sculpture.  18th century Italian School.

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Description: Bacchus. Marble sculpture. 18th century Italian School. Height: 102 cm.

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Gilded copper pyx with champlevé enamel. Limoges. Francia. Siglo XIII.

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Description: Gilded copper pyx with champlevé enamel. Limoges. Francia. Siglo XIII. The hinge is a later addition. Some light restoration work. 13 x 7,4 cm.

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Christ.  Copper appliqué figure with light gilt residue.  Limoges. 13th century.

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Description: Christ. Copper appliqué figure with light gilt residue. Limoges. 13th century. 15 x 14,2 cm.

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A gilded copper appliqué figure originally from a cross.  Champlevé enamel residue.  Limoges. France.  13th century.

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Description: A gilded copper appliqué figure originally from a cross. Champlevé enamel residue. Limoges. France. 13th century. Flaws. 6 x 6 cm.

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Lost-wax cast bronze mortar.  Gothic.  15th century.

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Description: Lost-wax cast bronze mortar. Gothic. 15th century. With triangular ribbed decoration, alternating position. One of the handles is incomplete. 9,2 x 15 cm.

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Lost-wax cast bronze mortar.  Gothic.  15th century.

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Description: Lost-wax cast bronze mortar. Gothic. 15th century. Ribbed decoration 7,8 x 13,7 cm.

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Lost-wax cast bronze mortar.  Gothic.  15th century.

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Description: Lost-wax cast bronze mortar. Gothic. 15th century. One ring is missing. 8 x 17 cm.

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Bronze mortar.  16th-17th century.

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Description: Bronze mortar. 16th-17th century. 10,3 x 14,8 cm.

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Leather chest with ironwork.  France.  15th century.

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Description: Leather chest with ironwork. France. 15th century. Flaws in the leather and the lock. 19 x 32 x 15,3 cm.

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Beam end.  Carved stone sculpture.  Romanesque.  13th century.

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Description: Beam end. Carved stone sculpture. Romanesque. 13th century. A beam ending with a fantastical character with a human face and animal ears. 40 x 16 x 17 cm.

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Incomplete carved stone sculpture with polychrome residue, representing the Virgin and Child.  15th-16th century.

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Description: Incomplete carved stone sculpture with polychrome residue, representing the Virgin and Child. 15th-16th century. Height: 47 cm.

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Carved stone sculpture in the shape of an animal.  16th century.

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Description: Carved stone sculpture in the shape of an animal. 16th century. 35 x 62 x 24 cm.

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Majesty. Magnificent carved wood sculpture with polychrome residue. Castile-Leon. Romanesque. Circa 1150

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Description: Majesty. Magnificent carved wood sculpture with polychrome residue. Castile-Leon. Romanesque. Circa 1150 This Majesty can be fitted into the category of Christ Triumphant sculptures, figures which represent Christ on the cross, still alive, crowned and triumphant in the face of death. In this example the head is held erect, although leaning very slightly to one side. The face is serene, impassive in the face of the inevitable, showing His glory in accepting death. His body is slim with protruding ribs and a much bulkier abdomen. The loin cloth is attached with a knotted band or belt in the centre, over which a fold falls on the right side and another at the centre. This image has a series of characteristics which we have found in other 12th century Majesties from Castile-Leon. These are: head crowned with a specific type of crown, elongated face, long and thin nose, curly beard, large, open, and rather almond-shaped eyes and large ears. Specifically, two examples appear to us to be very close to this Majesty, although with some differences in the treatment of the loincloth. These are the crucifix from the church at Santa Clara Convent in Palencia, which can currently be found at the Cloisters in New York, catalogued as coming from Castile-Leon and dated 1150 – 1200, and the Romanesque Christ from Vallejo, in the Leon Cathedral Museum. The Majesty that we have here is exceptional due to its sculptural quality and the difficulty in finding this type of figure. Its origin in 12th century Castile has also been confirmed by Mossen Antoni Pladevall. Origin: Private collection, Catalonia. Height: 121 cm.

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Saint Bartholomew.  Carved polychrome wood sculpture.  Romanesque.  13th century.

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Description: Saint Bartholomew. Carved polychrome wood sculpture. Romanesque. 13th century. Saint Bartholomew is standing next to the devil in chains, from whom he rescued the daughter of Polymius, King of Armenia. In his left hand he holds the book and in the right, which is lost, he would have held a knife, symbol of his martyrdom. The period polychrome is exceptional, with bright colours and an unusual naive pattern on the tunic and cloak. The flecked decoration on the shoes is also outstanding. According to the medieval theologian Rabano Mauro, the best Romanesque artisans had to be “capable of instructing with simplicity and provoking emotion with the vigorous expression of their art,” which reveals the evangelical intention of imagery, and the requirement for it to teach dogma to the faithful, who were illiterate on the whole, in a Theocentric society. As may be observed in this beautiful sculpture, Romanesque imagery favours dropping all the extraneous to transmit its message through the reduction of form to its purest essence. The lines are simplified. The compositions are based on an axis of symmetry. The classical canons have given way to hieratic solemnity, to images that are destined to fill the person gazing at them with awe. 69 x 27 x 11 cm. Estimate: Consult the auction house

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Saint.  Imposing stone sculpture with polychrome residue.  Gothic.  14th century.

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Description: Saint. Imposing stone sculpture with polychrome residue. Gothic. 14th century. Upright from an architectural altarpiece. It could represent Saint Eulalia. The saint wears a tunic which falls in folds and is decorated with brocade at the neck and cuffs. Her face has fine features, showing the mastery of the sculptor. Height figure: 47,5 cm. Total measurements: 92 x 15 x 25 cm.

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Pere García de Benavarre, (1445-1485)

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Description: Pere García de Benavarre, (1445-1485) "Virgin with Child surrounded by angels" Circa 1482-1485 Tempera and oil with gilded stucco on pine panel. Fragment of an altarpiece, central panel, originally from Barbastro, possibly from Saint Francisco Monastery. Mary is enthroned with the Christ Child on her knees, surrounded by angels. One of these offers Mary a plate of fruit, Jesus is holding a piece of fruit from another plate and offering it to His mother. At their feet a quarter waxing moon evokes the astral attributes that often accompany the Virgin. As Albert Velasco points out: “The throne has a complex structure with base and uprights topped with a bed-canopy shaped structure… Four angels dressed as deacons are placed around the throne , two are standing holding the trays of fruits, and two more at the back are playing musical instruments.” Two panels from the same altarpiece, “Saint Gregory the Great” and “Saint Michael Archangel” can currently be found in the Diocesan Museum of Barbastro-Monzón. As Albert Velasco explains in his 1986 thesis, Gudiol and Alcolea, published a Benavarri cataglogue in which they classified a set of three panels: firstly the Virgin and Child with angels (which we have in our catalogue), Saint Pelagius and Saint Michael, from the former Capmany collection in Barcelona; and also a set of fragments of altarpieces which the same Capmany family kept at Santa Florentina Castle in Canet de Mar. Velasco´s hypothsis is that all of these came from the same altarpiece, as well as the fragment of a canopy which is kept at Barbastro Town Hall. Origin: Former Capmany collection before 1938. Private collection in Barcelona. Folch 1929. 30; Post: Vol. VII, pp. 302 – 306, fig. 102; Gudiol-Alcolea 1986, p 193, cat. 605 Velasco, Albert: “Pintura tardogòtica a l’Àragó i Catalunya: Pere Garcia de Benavarri”, vol. II, p. 188. 179 x 88 cm.

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Saint Steven.  Catalan School.  Gothic.  Circa 1380.

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Description: Saint Steven. Catalan School. Gothic. Circa 1380. Tempera and oil on panel with gold background. The saint is standing in a frontal position and has a halo. He is wearing an alb and dalmatic and in his left hand he holds stones on the gospel, symbol of his martyrdom by stoning. In his right hand he holds the martyr´s palm leaf. 161 x 86 cm.

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Saint John the Evangelist.  Carved polychrome wood sculpture. 13th century.

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Description: Saint John the Evangelist. Carved polychrome wood sculpture. 13th century. The saint is standing in a frontal position and is young and beardless, as he is typically depicted in occidental art. He is dressed in a tunic and holding the book of the Holy Scriptures, so is represented as an apostle and not as an evangelist. With his attribute, the eagle. Height: 47 cm.

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Bishop.  Carved polychrome wood sculpture.  Romanesque.  13th century.

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Description: Bishop. Carved polychrome wood sculpture. Romanesque. 13th century. Carrying a mitre decorated with precious stones, his vestments are decorated in red, blue, green and white tones, with gilded diamond shapes, giving the sculpture a very elegant chromatic palette. Posterior polychrome. Height: 106 cm.

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Set of three locks for chests made of wrought iron damask.  Germany.  Circa 1550 - 1600

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Description: Set of three locks for chests made of wrought iron damask. Germany. Circa 1550 - 1600 Measurements: 28,5 x 11 x 3,5; 25,5 x 10,5 x 3,5 y 24 x 9 x 3 cm.

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Set of three wrought iron door-knockers.  Castile. Circa 1600

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Description: Set of three wrought iron door-knockers. Castile. Circa 1600 One of these is snake-shaped with engraved decoration on the body, another is shaped like the Shell of Santiago with a turned body and the third is scroll-shaped with damask decoration. 23 x 8,8, 18,5 x 7,5 x 6 y 22,5 x 2,5 cm.

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Christ.  Gilded copper sculpture.  16th century.

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Description: Christ. Gilded copper sculpture. 16th century. 22,5 x 21 cm.

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Pair of gilded bronze candlesticks.  Circa 1600.

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Description: Pair of gilded bronze candlesticks. Circa 1600. Upright shaft resting on three balls, and with three faces, each of these has a scene inside a cartouche depicting two people facing each other, in the middle of which there seems to be a fountain or some other kind of ornamentation. Delicately engraved decoration on the entire surface, shaft and platform on all faces. As the decoration is so delicate and because of their size, they could have been a private commission. One of the ball supports has been repaired. Height: 17,5 cm.

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Engraved and embossed silver processional cross.  Late 16th century / early 17th century.

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Description: Engraved and embossed silver processional cross. Late 16th century / early 17th century. Latin cross, decorated with the figure of Mary on one side and crucified Christ on the other. Small dents on the knot. One has the potential to be welded. 88 x 48 cm.

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Pitcher in wrought and engraved silver. 18th century.  Mallorca Hallmark.

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Description: Pitcher in wrought and engraved silver. 18th century. Mallorca Hallmark. Jug with a cylindrical body. In its upper part it is adorned by a moulding, to the sides of which appears a chiselled decoration of spirals and scrolls, topped in the centre by an oval mirror. The spout is attached and decorated with a mask. It has a “C” shaped handle. 19,5 x 21 x 12,4 cm.

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Imposing engraved and embossed silver sugar bowl.  18th century.  With hallmarks from Amsterdam 1700.

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Description: Imposing engraved and embossed silver sugar bowl. 18th century. With hallmarks from Amsterdam 1700. Solid silver marks. Amsterdam 1700. Height: 26 cm.

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Virgin and Child. Ivory sculpture. Circa 1800.

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Description: Virgin and Child. Ivory sculpture. Circa 1800. Following Gothic models. Height: 11,5 cm.

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Walnut Mudejar box with bone marquetry.  Aragón.  Circa 1600.

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Description: Walnut Mudejar box with bone marquetry. Aragón. Circa 1600. Edging decoration on the front and sides with tent shapes and small pinyonet marquetry triangles which surround a frieze of stars and suns. The lid has geometric fleur de lys decoration also using pinyonet technique. The inside of the lid depicts a large vase of flowers. 15 x 39 x 24 cm.

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An important walnut chest, with marquetry and ironwork.  Friuli Venecia Julia. Italy. Circa 1500.

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Description: An important walnut chest, with marquetry and ironwork. Friuli Venecia Julia. Italy. Circa 1500. The structure is put together with very fine dovetail joints. The interior is divided into three sections, two having multiple drawers with ivory handles, y one with false drawers, hiding a secret compartment, like the base, which is also hollow. Profuse inlay decoration on various wood, with geometric designs, as well as magnificent ironwork over felted wool with very small, fine, cast decoration. It has an intricate security system. The lock is very special, with an extractible piece which, once it has been pulled out, blocks the lock completely. This is undoubtedly a piece of furniture made for a noble family by great cabinet makers and artisans. The studies of Maurizio d'Arcano Grattoni on the friulana domestic life of century XV, suggest that chest like these could be the "capsae cum sera" (box with lock), which is often found in old inventories, and contained money and precious objects and documents. The exterior was later dyed black. There is an identical chest kept at the Victoria & Albert Museum, registered 252-1864, the only difference being that the exterior is natural coloured wood, with no tint. 48,5 x 94 x 57 cm.

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Giampietrino Circle Giovanni Pietro Rizzoli (Milan, doc. 1495 - 1549)

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Description: Giampietrino Circle Giovanni Pietro Rizzoli (Milan, doc. 1495 - 1549) "Penitent Magdalene" Oil on panel. Can be compared with the "Penitent Magdalene" at the Hermitage Museum in Saint Petersburg. 65 x 57,5 cm.

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Georges de La Tour Circle. French School. First half of the 17th century.

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Description: Georges de La Tour Circle. French School. First half of the 17th century. "Saint Jerome" Oil on panel. This painting is of indisputable quality. It bears similarities to two other paintings, the “Penitent Saint Jerome” in the Grenoble Museum and the one at the Stockholm National Museum. 60,5 x 52 cm.

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16th century Hispanic Flemish School

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Description: 16th century Hispanic Flemish School "Burial of Jesus" Oil on panel. The dead body of Christ is in the foreground, central to the composition. He is in a twisted position and looks very realistic, held by his mother Mary and Saint John. At the extreme right, kneeling, Mary Magdalene also holds the shroud and in the centre are two mourners. In the background Joseph of Arimathea and Nicodemus can be seen in front of a mountainous landscape which gives the scene depth. Each character´s face is very expressive, showing their suffering at the death of Christ. 78,5 x 82,3 cm.

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