Los

11

Castilian school. 14th century.

In Routes of Art

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Castilian school. 14th century. - Bild 1 aus 6
Castilian school. 14th century. - Bild 2 aus 6
Castilian school. 14th century. - Bild 3 aus 6
Castilian school. 14th century. - Bild 4 aus 6
Castilian school. 14th century. - Bild 5 aus 6
Castilian school. 14th century. - Bild 6 aus 6
Castilian school. 14th century. - Bild 1 aus 6
Castilian school. 14th century. - Bild 2 aus 6
Castilian school. 14th century. - Bild 3 aus 6
Castilian school. 14th century. - Bild 4 aus 6
Castilian school. 14th century. - Bild 5 aus 6
Castilian school. 14th century. - Bild 6 aus 6
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Castilian school. 14th century.
"Seat of Wisdom - Sedes Sapientiae"
Carved, gilded, and polychromed wooden sculpture.
65 x 24.5 x 22 cm.
This is a fantastic Gothic example of the enthroned Madonna and Child, which is in good condition despite some minor dents in the crown and wear in the polychrome. The original polychrome, which has a sumptuous quality as we will see later, remains intact. The sculpture is only carved on the front, while the back is left flat and unpainted, unlike other cases where a large hollow cavity is created to reduce its weight.
The Virgin, as usual in these Gothic images, is portrayed in a forward-facing position, denoting a certain rigidity and hieratism. She is seated on a low throne with an uncarved backrest, of which only the sides are visible. The sides are simple, consisting of two slats interrupted only by two flat rectangular mouldings and two rectangular mouldings with a curved edge, all polychromed in dark ochre tones. Mary places her left hand on her Son's shoulder, a detail that leads Professor Clara Fernández-Ladreda to refer to this typology as "Supporting Virgins," showing a close and affectionate relationship between Mother and Child. Her right hand is raised with extended fingers in the gesture of presenting a piece of fruit. This gesture is the most common in these types of representations and represents the apple, the fruit of Salvation, symbolising the Virgin as the new Eve, signifying her victory over sin.
Mary's attire consists of pointed shoes, of which only the front parts are visible; a fine golden tunic that adheres to her body, adorned with simplified geometric and vegetation motifs, with a curved neckline decorated with small detached beads. The same beads are used by the anonymous sculptor to adorn the edges of the mantle, which is richly decorated with them. She wears a blue mantle over the tunic, with golden stripes at the edge, covering her back, left shoulder, abdomen, and legs, serving as a separation between Mother and Child. Finally, she wears a veil that frames her head and falls over her shoulders, completely covering her hair. On her head rests a simple golden crown with no other decoration than the small beads mentioned earlier. Mary is depicted with a short canon, an oval-shaped head, a pronounced chin, and an expressionless face. She has almond-shaped eyes, straight eyebrows painted on the wood, a narrow nose with a flattened bridge, and a tiny mouth barely suggested by the polychrome, which gives her rosy cheeks.
The Christ Child, who rests on her lap, is seated on her left knee, representing one of the most widespread iconographic types that, according to Georg Weise, originated from the Virgin of Slavery in the Cathedral of Vitoria, dating back to the late 13th century. He is depicted in a dynamic position in contrast to the rigidity of his mother, with his legs crossed and his arms engaged in various actions: his right hand blesses the faithful while his left hand, like the Mother's, holds a fruit. He wears a wide tunic that covers his entire body except for the extremities, and it has a curved neckline decorated with a golden stripe, the same stripe seen at the bottom of the garment and on the sleeves. The small head is somewhat expressionless, although his eyes are directed to the right side, as if observing the mother's apple. His hair is short and flattened, resembling a cap.
In conclusion, this is a fine Gothic sculptural group from the 14th century, possibly from the beginning of the century, which
displays remarkable tenderness. It is likely to have been carved by a Castilian sculptor who followed the common models of the time for depicting the Virgin with Child.
We would like to thank Dr. Javier Baladrón, doctor of Art History, for the identification and cataloguing of this artwork.

Castilian school. 14th century.
"Seat of Wisdom - Sedes Sapientiae"
Carved, gilded, and polychromed wooden sculpture.
65 x 24.5 x 22 cm.
This is a fantastic Gothic example of the enthroned Madonna and Child, which is in good condition despite some minor dents in the crown and wear in the polychrome. The original polychrome, which has a sumptuous quality as we will see later, remains intact. The sculpture is only carved on the front, while the back is left flat and unpainted, unlike other cases where a large hollow cavity is created to reduce its weight.
The Virgin, as usual in these Gothic images, is portrayed in a forward-facing position, denoting a certain rigidity and hieratism. She is seated on a low throne with an uncarved backrest, of which only the sides are visible. The sides are simple, consisting of two slats interrupted only by two flat rectangular mouldings and two rectangular mouldings with a curved edge, all polychromed in dark ochre tones. Mary places her left hand on her Son's shoulder, a detail that leads Professor Clara Fernández-Ladreda to refer to this typology as "Supporting Virgins," showing a close and affectionate relationship between Mother and Child. Her right hand is raised with extended fingers in the gesture of presenting a piece of fruit. This gesture is the most common in these types of representations and represents the apple, the fruit of Salvation, symbolising the Virgin as the new Eve, signifying her victory over sin.
Mary's attire consists of pointed shoes, of which only the front parts are visible; a fine golden tunic that adheres to her body, adorned with simplified geometric and vegetation motifs, with a curved neckline decorated with small detached beads. The same beads are used by the anonymous sculptor to adorn the edges of the mantle, which is richly decorated with them. She wears a blue mantle over the tunic, with golden stripes at the edge, covering her back, left shoulder, abdomen, and legs, serving as a separation between Mother and Child. Finally, she wears a veil that frames her head and falls over her shoulders, completely covering her hair. On her head rests a simple golden crown with no other decoration than the small beads mentioned earlier. Mary is depicted with a short canon, an oval-shaped head, a pronounced chin, and an expressionless face. She has almond-shaped eyes, straight eyebrows painted on the wood, a narrow nose with a flattened bridge, and a tiny mouth barely suggested by the polychrome, which gives her rosy cheeks.
The Christ Child, who rests on her lap, is seated on her left knee, representing one of the most widespread iconographic types that, according to Georg Weise, originated from the Virgin of Slavery in the Cathedral of Vitoria, dating back to the late 13th century. He is depicted in a dynamic position in contrast to the rigidity of his mother, with his legs crossed and his arms engaged in various actions: his right hand blesses the faithful while his left hand, like the Mother's, holds a fruit. He wears a wide tunic that covers his entire body except for the extremities, and it has a curved neckline decorated with a golden stripe, the same stripe seen at the bottom of the garment and on the sleeves. The small head is somewhat expressionless, although his eyes are directed to the right side, as if observing the mother's apple. His hair is short and flattened, resembling a cap.
In conclusion, this is a fine Gothic sculptural group from the 14th century, possibly from the beginning of the century, which
displays remarkable tenderness. It is likely to have been carved by a Castilian sculptor who followed the common models of the time for depicting the Virgin with Child.
We would like to thank Dr. Javier Baladrón, doctor of Art History, for the identification and cataloguing of this artwork.

Routes of Art

Auktionsdatum
Lose: 100
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain

Generelle Versandinformationen vom Auktionshaus verfügbar

The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.

Wichtige Informationen

For buyer’s premium and VAT please check particular lot.
Zu Aufgeld und Mehrwertsteuer prüfen Sie bitte das jeweilige Los.

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CONDITIONS OF THE AUCTION:

I. REGISTRATION. To bid in the room customers must register at the beginning, filling out a form and picking a number that will identify them during the auction. Customers may be required to register in bank references or other guarantee system and if they do not prove the solvency "LST" will not accept bids and award the auction.

II. WRITTEN BIDS. "LST" will accept written bids, which will be formalized in the form provided by the room until the day before the auction. In such auctions, the room will bid in name of the client until the maximum stated in the offer and always at the lowest possible price. If there are two or more bids for the same amount, the one placed first will have the priority. Written bids received in advance, will have priority on the day of the auction.

III. TELEPHONE BIDS. "LST" will allow telephone bids, if interested people contact "LST" days before the auction providing personal data, ID card and the phone number which will be used by the staff of "LST" to call at the time of the auction. The buyer, within all the legal rights is making an offer for the asking price, when applies for telephone bid. "LST" will not take responsibility for any technical defects beyond its control, which may prevent to contact successfully the bidder during the auction.

IV. AUCTIONEER. The auction will be conducted by an auctioneer, director of the auction will be judge and arbitrator of it with full authority in its development, will award the lots to the highest bidder and is able to settle any controversy concerning lots sale, reject bids, divide lots or group them and remover objects from the room. Will be able to, if it is deemed suitable, not accept bids on the auction. His decision will be unappealable.

V. SALE OF LOTS. The lots are awarded to the highest bidder. Once the auctioneer blows the hammer, the buyer becomes responsible of the lot purchased, exempting "LST" of liability to for any damage and / or accidents that may occur. No refunds of lots.

VI. STARTING PRICE. The amount shown in the catalogue as the starting price for each lot will be, as a rule, the minimum selling price, except for exceptional cases where a reservation may be agreed upon with the seller or it set discretionary by the room.

VII. SCALE OF BIDS. The bids are set according to the following scale:

From 50.-€ to 200.-€…………………………………………..at 10.-€

From 200.-€ to 500.-€…………………………………… …25 in 25.-€

From 500.-€ to 1.000.-€………………………………..…..….50 in 50.-€

From 1.000.-€ to 2.000.-€………………………………..…100 in 100.-€

From 2.000.-€ to 5.000.-€……………………………….….250 in 250.-€

From 5.000.-€ to 10.000.-€…………………………………500 in 500.-€

From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€

From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€

From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€

From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€

From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€

From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€

VIII. RIGHT OF ADMISION. "LST" reserves the right to admission to the auction room and to reject, at its judgment, any purchase order, from clients whose solvency is not duly proved as well as not to sale auctions.

IX. SALE PRICES. The successful bidder of one or more lots must pay "LST" the final sale price achieves at auction, plus the 22 % plus 21% VAT on the commission, at total 26,62 % on Hammer Price.

X. CATALOG DATA. The catalogue data are obtained in order to careful research and advice, however, any responsibility is afforded about its accuracy. The lots will be auctioned in the state in which they are, not accepting any claims in restorations, breakage, damage, imperfections and, even description or numbering mistakes in the catalogue, in case of it, being the burden of the buyers to make sure before the auction that the description matches with their personal opinion about respective lot. The exhibition of the lots is intended to allow a perfect review and study of them.

XI. PAYMENT AND REMOVAL OF LOTS. Payment and removal of the lots will be held no later than five days following the auction. After this period expire without having the buyer removed the lot or lots purchases, it will accrue an expense of custody of 6 euros per day on each lot.

15 days after the auction without having the buyer paid and removes the sold lots, "LST" will inform the seller and there will begin judicial proceeding in order to obtain payment. The delay in payment by the purchaser of his/her sold lots will carry an interest increase at a rate of 1,5% per month.

XII. DELIVERY OF LOTS. The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.

XIII. RIGHT OF FIRT REFUSAL AND REPURCHASE. "LST" in order to article 38 of "Ley 16/1985 de 25 Junio del Patrimonio Histórico Español" (BOE. 155 June 29, 1985), will notify in advance to the Ministry of Culture, the content of their catalogues. Concerning the lots subject to the legislation referred to in the preceding paragraph, the Administration may exercise the rights of first refusal and repurchase according to the law. "LST" will watch over the protection of Artistic, Historical and Bibliographical Heritage of Spain. For customers out of European Community, a tax for export is required by the Administration.

XIV. VALUE ADDED TAX (I.V.A). This tax will be accrued on commissions of "LST" for buyers, using the rates prevailing on the date of the auction.

XV. DATA PROTECTION. In order to the "Ley 15/1999 de 13 de Diciembre, de Protección de Datos de Carácter Personal", the client authorize "LST", the inclusion of their data in a customer file, and for the promotion by "LST" of the objects at all times the rights of access, rectification or deletion of personal data by sending the appropriate request to the following address: LA SUITE SUBASTAS, C/ Conde Salvatierra, 8, 08006. Barcelona.

XVI. EXPRESS LEGAL JURISDICTION. These Conditions are governed by and interpreted in accordance with the rules of Spanish law. The mere act of participating in the auction as seller, buyer or bidder, implies acceptance of these Terms and Conditions.

Sales operations are understood to be held at the registered office of "LST", C/ Conde de Salvatierra, 8, 08006. Any dispute shall be taken to the competent courts of Barcelona, expressly waiving any other jurisdiction, in accordance with Article 55 of the "Ley de Enjuiciamiento Civil".

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