Los

19

Hispano-Flemish or Spanish School.15th century.

In Y nos dieron las 100...

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Hispano-Flemish or Spanish School.15th century. - Bild 1 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 2 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 3 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 4 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 5 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 6 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 7 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 8 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 9 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 1 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 2 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 3 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 4 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 5 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 6 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 7 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 8 aus 9
Hispano-Flemish or Spanish School.15th century. - Bild 9 aus 9
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Hispano-Flemish School. Late Gothic. 14th century.

"Saint Anne Trinitarian"

Carved, gilded and polychromed wooden sculpture.

79 x 26 x 20 cm

This is an extremely unusual sculpture of Saint Anne, the Virgin, and the Child - also known as Saint Anne Trinitarian, or "The Three Generations" - an iconography that serves as an artistic precedent for the idea of the Immaculate Conception of Mary. It emerged during the 13th century, enjoying great popularity during the following two centuries. We say it is an unusual sculpture because it is more common to see the three generations seated, but in this case, the anonymous sculptor has chosen to portray Saint Anne as standing upright, holding Mary and Jesus in her arms. Although this is an extraordinary iconographic choice, there are some interesting examples of it, such as the one carved by Gil de Siloe (ca. 1450-1501) for the altarpiece of Saint Anne located in the Chapel of the Constables of the Cathedral of Burgos.

The sculptor has arranged the group with the three figures in an asymmetrical staggered manner, so that Saint Anne presides over the composition from a central position, but slightly turned to her left, while the Virgin and the Child, who almost form a compact group, are arranged obliquely. Although their gazes would intersect in this arrangement, they do not. Thus, each of the three figures directs their gaze to a different point, so that they do not look at each other or interact, there is no relationship of affection. We can observe a play of gazes between Saint Anne and the group of the Virgin with the Child, who, respectively, look towards the viewer and towards the lost fruit or attribute that she would have held in her missing right hand.

The three characters have been portrayed according to the norms of hierarchical perspective. Thus, the grandmother is the most important character, hence her considerably larger size. The Virgin Mary is of much smaller dimensions, and even smaller is the Christ Child, who, as we have noted, forms a compact block on the arms of Saint Anne.

The grandmother stands, with her body forming a pronounced curve, with her head and right foot as its endpoints. Despite this arching, the figure exhibits a noticeable stiffness. She is dressed according to the fashion of the time, with a tunic, mantle, and a headdress typical of elderly women and widows, all richly gilded and crossed by rather superficial wrinkled folds that provide chiaroscuro effects to the piece. These draperies remind us of some solutions used by Gothic sculptors in northern France. The Virgin, with a youthful appearance and blonde hair, wears a dress with a low neckline that covers her entire body. It is blue and decorated with gilded sgraffito. Mary holds Jesus in her arms, the grandmother also holds him with one of her hands. The Child has been depicted with a similar appearance to his mother, though even more childlike. He wears a golden tunic and has lost his right hand, in which he would have held an attribute or fruit. Perhaps it was a pear, symbolising the love of Christ incarnate for humanity. It is also possible that he would not have been holding anything and is instead giving a blessing.

The facial features of the Saint Anne and the Child are barely outlined, contrasting with those of the Virgin Mary, who displays well-defined features: arched eyebrows, almond-shaped eyes, a strong straight nose, a small mouth with closed and tight lips, and plump, rosy cheeks. We do not know the origin of this curious piece, which is difficult to date, as it seems to contain various elements of a more backward-looking nature, which could suggest that it was sculpted in the late 15th century.

We would like to thank Dr. Javier Baladrón, Doctor of Art History, for the identification and cataloguing of this artwork.

 

 

Hispano-Flemish School. Late Gothic. 14th century.

"Saint Anne Trinitarian"

Carved, gilded and polychromed wooden sculpture.

79 x 26 x 20 cm

This is an extremely unusual sculpture of Saint Anne, the Virgin, and the Child - also known as Saint Anne Trinitarian, or "The Three Generations" - an iconography that serves as an artistic precedent for the idea of the Immaculate Conception of Mary. It emerged during the 13th century, enjoying great popularity during the following two centuries. We say it is an unusual sculpture because it is more common to see the three generations seated, but in this case, the anonymous sculptor has chosen to portray Saint Anne as standing upright, holding Mary and Jesus in her arms. Although this is an extraordinary iconographic choice, there are some interesting examples of it, such as the one carved by Gil de Siloe (ca. 1450-1501) for the altarpiece of Saint Anne located in the Chapel of the Constables of the Cathedral of Burgos.

The sculptor has arranged the group with the three figures in an asymmetrical staggered manner, so that Saint Anne presides over the composition from a central position, but slightly turned to her left, while the Virgin and the Child, who almost form a compact group, are arranged obliquely. Although their gazes would intersect in this arrangement, they do not. Thus, each of the three figures directs their gaze to a different point, so that they do not look at each other or interact, there is no relationship of affection. We can observe a play of gazes between Saint Anne and the group of the Virgin with the Child, who, respectively, look towards the viewer and towards the lost fruit or attribute that she would have held in her missing right hand.

The three characters have been portrayed according to the norms of hierarchical perspective. Thus, the grandmother is the most important character, hence her considerably larger size. The Virgin Mary is of much smaller dimensions, and even smaller is the Christ Child, who, as we have noted, forms a compact block on the arms of Saint Anne.

The grandmother stands, with her body forming a pronounced curve, with her head and right foot as its endpoints. Despite this arching, the figure exhibits a noticeable stiffness. She is dressed according to the fashion of the time, with a tunic, mantle, and a headdress typical of elderly women and widows, all richly gilded and crossed by rather superficial wrinkled folds that provide chiaroscuro effects to the piece. These draperies remind us of some solutions used by Gothic sculptors in northern France. The Virgin, with a youthful appearance and blonde hair, wears a dress with a low neckline that covers her entire body. It is blue and decorated with gilded sgraffito. Mary holds Jesus in her arms, the grandmother also holds him with one of her hands. The Child has been depicted with a similar appearance to his mother, though even more childlike. He wears a golden tunic and has lost his right hand, in which he would have held an attribute or fruit. Perhaps it was a pear, symbolising the love of Christ incarnate for humanity. It is also possible that he would not have been holding anything and is instead giving a blessing.

The facial features of the Saint Anne and the Child are barely outlined, contrasting with those of the Virgin Mary, who displays well-defined features: arched eyebrows, almond-shaped eyes, a strong straight nose, a small mouth with closed and tight lips, and plump, rosy cheeks. We do not know the origin of this curious piece, which is difficult to date, as it seems to contain various elements of a more backward-looking nature, which could suggest that it was sculpted in the late 15th century.

We would like to thank Dr. Javier Baladrón, Doctor of Art History, for the identification and cataloguing of this artwork.

 

 

Y nos dieron las 100...

Auktionsdatum
Lose: 84
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

This auction brings us to number 100!
On this special occasion, we present a careful selection of European and New Spanish works, including a previously unpublished painting by Luca Giordano, a magnificent private collection of medieval Spanish sculpture and wonderful examples of painting and sculpture from Spanish America art among other.
We hope you enjoy it as much as we did preparing it.
With our thanks to all those who have made it possible for us to get this far.

AGB

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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