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Auction Description for La Suite Subastas: Medieval Art Auction
Viewing Notes:
15th to 27th October 10am - 2pm., & 4.30pm to 8pm. Monday to Saturday.

Medieval Art Auction (117 Lots)

by La Suite Subastas


117 lots with images

27 October 2016

Live Auction

Barcelona, Spain

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Pair of large candlesticks made of gilded wrought iron.  Gothic.  15th cent

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Description: Pair of large candlesticks made of gilded wrought iron. Gothic. 15th century. Tripod feet and spiral shaft. Height: 33 cm. and 32 cm.

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A brass alm dish.  German. Nuremberg.  Circa 1500. The centre is decor

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Description: A brass alm dish. German. Nuremberg. Circa 1500. The centre is decorated with the figures of Adam and Eve, the border with a frieze inscribed with Gothic characters. Delicate engraving. Diameter: 35,5 cm.

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A brass alm dish.  German. Nuremberg.  Circa 1550. Centre decorated wi

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Description: A brass alm dish. German. Nuremberg. Circa 1550. Centre decorated with symbols representing the promised land. Diameter: 38,5 cm.

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A brass alm dish.  German. Nuremberg.  Circa 1550. The centre is decor

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Description: A brass alm dish. German. Nuremberg. Circa 1550. The centre is decorated with the image of Archangel Saint Michael with scales for weighing souls, the border has a frieze of inscribed Gothic characters. Diameter: 35 cm.

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Pair of carved wooden shoes.  Gothic.  Late 15th century.   Carved with Got

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Description: Pair of carved wooden shoes. Gothic. Late 15th century. Carved with Gothic crenelations style decoration, the fastener is a band of embossed leather, decorated with a metallic central brooch set with precious stones. Measurements of the wooden structure: 5 x 20,5 x 7,5 cm.

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Pair of carved wooden shoes, decorated with mother of pearl and brass incru

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Description: Pair of carved wooden shoes, decorated with mother of pearl and brass incrustations with flower and leaf motifs. Venice. 16th century. Leather band fastener decorated with braided material. Slightly flawed. Wooden structure measurements: 9,5 x 25 x 9 cm.

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Gilded bronze cross.  Catholic Monarchs.  Spain.  Circa 1500. Cast bro

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Description: Gilded bronze cross. Catholic Monarchs. Spain. Circa 1500. Cast bronze, decorated with engraved and embossed details. The structure is topped with a crest of leaves, a constant element of the Gothic period. With regard to the typology of the cross, it follows the occidental Mediterranean style, with arms ended with fleurs de lys, a separate free-standing quadrant, topped with rosettes (acorns in this case), which form a cross. This model also has a Christ which has three rather than four nails. Flawed. 56,5 x 42,5 cm.

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Embossed silver box for holy Oil.  17th century. One foot is missing.

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Description: Embossed silver box for holy Oil. 17th century. One foot is missing. The crucifix is a later addition from the 18th century, hallmarked Biosca, Toledo 1791 and trademarked García. 18,5 x 10 x 10 cm.

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“Alicer”. Lustred tin-glazed earthenware. Persia.  14th century.  11,8 x 24

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Description: “Alicer”. Lustred tin-glazed earthenware. Persia. 14th century. 11,8 x 24 x 10,4 cm.

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“Alicer”. Lustred tin-glazed earthenware. Persia.  14th century.  12 x 24 x

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Description: “Alicer”. Lustred tin-glazed earthenware. Persia. 14th century. 12 x 24 x 10 cm.

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“Alicer”. Lustred tin-glazed earthenware. Persia.  14th century. 12,3 x 22,

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Description: “Alicer”. Lustred tin-glazed earthenware. Persia. 14th century. 12,3 x 22,7 x 10 cm.

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“Alicer”. Lustred tin-glazed earthenware. Persia.  14th century.   12 x 24

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Description: “Alicer”. Lustred tin-glazed earthenware. Persia. 14th century. 12 x 24 x 9 cm.

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“Alicer”.  Lustred tin-glazed earthenware. Persia.  14th century.   12,3 x

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Description: “Alicer”. Lustred tin-glazed earthenware. Persia. 14th century. 12,3 x 24 x 10,4 cm.

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“Alicer”. Lustred tin-glazed earthenware. Persia.  14th century. 11,8 x 23,

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Description: “Alicer”. Lustred tin-glazed earthenware. Persia. 14th century. 11,8 x 23,5 x 10 cm.

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Two “Alicer”. Lustred tin-glazed earthenware. Persia.  14th century.  10,3

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Description: Two “Alicer”. Lustred tin-glazed earthenware. Persia. 14th century. 10,3 x 15 x 10 cm. y 12 x 23,4 x 10 cm.

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Two “Alicer”. Lustred tin-glazed earthenware. Persia.  14th century. 10 x 2

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Description: Two “Alicer”. Lustred tin-glazed earthenware. Persia. 14th century. 10 x 24 cm. y 10 x 24,5 cm.

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Two “Alicer”. Lustred tin-glazed earthenware. Persia.  14th century.  10 x

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Description: Two “Alicer”. Lustred tin-glazed earthenware. Persia. 14th century. 10 x 24,3 cm. y 10,3 x 24 cm.

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Three “Alicer”. Lustred tin-glazed earthenware. Persia.  14th century. 8,8

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Description: Three “Alicer”. Lustred tin-glazed earthenware. Persia. 14th century. 8,8 x 22 cm., 10,3 x 24,4 cm. y 10 x 23 cm.

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Four “Alicer”. Lustred tin-glazed earthenware. Persia.  14th century. 11,8

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Description: Four “Alicer”. Lustred tin-glazed earthenware. Persia. 14th century. 11,8 x 15,5 cm., 10 x 13,5 cm., 10 x 13 cm. y 12 x 12 cm.

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Five “Alicer”. Lustred tin-glazed earthenware. Persia.  14th century.  9,8

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Description: Five “Alicer”. Lustred tin-glazed earthenware. Persia. 14th century. 9,8 x 13 cm., 11,5 x 9,5 cm., 11 x 10 cm., 9,8 c 10,8 cm. Y 10 x 9,4 cm.

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Large earthenware jar in a reddish colour, with very interesting decoration

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Description: Important Judaica jar. Large earthenware jar in a reddish colour, with very interesting decoration stamped into it, with star of David motifs on one side and pentagrams - five-pointed stars - on the other. Toledo. 14th century. According to the different typology from Toledo jar studied by José Aguado Villalba, this jar can be classified as group III due to the following characteristics: Globular profile, tapering slightly, neck and handles, the base is very narrow. The decoration is carved, incised and some is stamped. Dating from the 13th/14th century. Very few examples of this type remain. The oldest document about pottery from Toledo was written in the year 1066, the date of the death of its author, Abu-Chafar Ahmed ben Mohamed Ben Mogeits from Toledo. This curious document can be found in the Academy of History Library. It is an form of "Inventory of the Ceramic Store" and decorated jars are mentioned in it for the first time. These decorated jars from Toledo have been proved to exist since the 11th century, but as the models are so similar, and as so few of them have survived until now, often only the dimensions of the jar can help with dating them, the smaller sizes being older. This jar is unique because of its state of preservation and its decoration. Museums such as the Victoria & Albert in London, or the Hispanic Society in New York and the Archaeological Museums of Madrid and Toledo have similar medieval jars. The lot includes a report on a thermoluminescence dating test carried out in April 2016 by the CIRAM laboratory (Technopole Bordeaux Montesquieu). Bibliography: "Medieval Spanish, Islamic and Mudejar jars " by José Aguado Villalba. Published by CSIC. Toledo Council. 1991. 44 x 44 cm.

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Glazed terracotta well curb.  Mudejar Art.  14th century. Pineapple an

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Description: Glazed terracotta well curb. Mudejar Art. 14th century. Pineapple and shell decoration under the edge of the opening, and sgraffitto with garland motifs and borders around the entire edge. It is important to signalize, that this is a glazed piece, though not keep the enamel in its entirety. Two other comparable well curb are found in the Archaeological Museum of Cordoba, and in Toledo It presents a restoration. 66 x 66 cm.

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Carved wooden crucified Christ with slight stucco and polychrome residue.

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Description: Carved wooden crucified Christ with slight stucco and polychrome residue. Romanesque. 13th century. Possibly from the Erill-la-Vall workshop. Very interesting sculpture due to its magnificent state of preservation. A depiction of the suffering of Christ. The head is inclined towards his chest to show his abandonment to suffering. His face appears tense and transmits pain. Covered by a short loin cloth, knotted at one side. Incrusted on the back is a very small piece of what is probably tin, with an anagram engraved on it. Height: 37 cm.

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Saint John the Evangelist.  Carved polychrome wooden sculpture.  Romanesque

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Description: Saint John the Evangelist. Carved polychrome wooden sculpture. Romanesque. 13th century. The saint is standing in a forward facing position, depicted as he usually is in occidental art as young and beardless. He is probably being portrayed as an apostle as he wears a tunic and is holding the Holy Scriptures in one hand, not as the evangelist with his eagle attribute. Height: 47 cm.

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Virgin and Child.  Carved wooden gilt and polychrome sculpture.  Circa 1275

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Description: Virgin and Child. Carved wooden gilt and polychrome sculpture. Circa 1275 - 1300. Majestic image of the Virgin Mary with the Christ Child. Mary is standing and holding the Child with her left hand, which is not in a frontal position. but facing sideways and in physical contact with the mother. He holds out His hand lovingly towards His mother´s chin to caress it. Mary responds to the gesture with a sweet smile, while she pulls him towards her with her left hand. The Gothic naturalism is imposed. Mary wears rich and courtly clothing. She is wearing a tunic cinched in with a belt and underneath a blouse which is closed with a large brooch. She is covered with an elaborate cloak, with a collar and pleats carved at the shoulder, a painted choker adorns her neck. She wears a rich crown and a short veil which forms complex and elegant folds. Through the characteristic oval face of the Virgin, almond-shaped eyes and very arched eyebrows, we can tell that this sculpture comes from the Álava region. Comparable sculptures could include, for example, the sculpture of Our Lady of Pilar from the church of Saint John, or the “Virgin with Child” from the doorway of Santa Mª de los Reyes, both in Laguardia, Álava, although this one is, in our opinion, earlier. In this type of sculpture, Mary is not yet a Romanesque throne to the majesty of Christ, although the composition of this group still reminds us of the image of the "Sedes Sapientae", if we look at the upper part of the sculpture we appear to be looking at a seated Mary. The first examples of sculptures with the Virgin standing and the Child in her arms appeared in France at the end of the 12th century, almost always made for the mullions of Gothic cathedrals. This would be the most widely disseminated motif found in religious imagery throughout most of the Middle Ages, especially with the growth in devotion and the Mary cult in the 12th and 13th centuries. 122 x 40 x 35 cm.

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Virgin with Child (Sedes Sapientiae).  Carved wooden sculpture with light p

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Description: Virgin with Child (Sedes Sapientiae). Carved wooden sculpture with light polychrome residue. Because of its size, we believe that this is an image which was used for a portable altar or for domestic use. In accordance with the Romanesque canon, Mary is seated on her throne of glory wearing a crown and veil on her head. The Child sits symmetrically in the centre. The right hands of the Child, which must have been giving blessing, and the Virgin are missing. The statue sits on a small painted and carved wooden altar, in the Romanesque style. Possibly from 18th – 19th century. Altar measurements: 50 x 61 cm. Height of the Virgin: 40,7 cm.

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Carved wooden polychrome figure of crucified christ. castilian school. tran

Description: Carved wooden polychrome figure of crucified christ. castilian school. transition between romanesque and gothic periods, circa 1300. Impressive sculpture on which most of the original polychrome is preserved. Christ is depicted as dead, with his head at an angle and a lock of hair falling on his side. The treatment of the body and the expression on the face is outstanding. One foot is missing, and part of the other foot. Height of the figure: 100 cm. Cross measurements: 131 x 120 cm.

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Ramon Gonsalbo (Documented in La Seu d'Urgell and Barcelona 1428 - 1475)

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Description: Ramon Gonsalbo (Documented in La Seu d'Urgell and Barcelona 1428 - 1475) "Two lateral panels from the altarpiece dedicated to Saint Vincent, Martyr of Montferrer". La Seu d'Urgell (Catalonia). From around 1456 - 58 / 1475. Oil and tempera painting on wood. These panels represent the scenes of Saint Vincent and Saint Valerius before Dacian; The death of Saint Vincent, Saint Vincent on the bed of nails, Procession for the reception of Saint Vincent´s relics? Two panels from the same altarpiece are among the Museo del Prado collection, inventory nºs 2670 and 2671. For this reason, Professor Pitarch suggests, as there are four known panels it can be deduced that the main body of the altarpiece which they came from was made up of five sections, with the middle one being slightly wider and taller than the others as they had to reach the centre of the dome of the chapel it was painted for, in the same way as other known examples, especially those from the region of La Seu d'Urgell in the 15th century, such as the Virgin altarpiece, (Detroit, Institute of Fine Arts). This altarpiece, which has been able to be reconstructed thanks to the appearance of the contract for its painting, is that of the Saint Vincent altarpiece for the parish of Sant Vicenç in the town of Montferrer, close to La Seu d'Urgell. A summary of this comes with Professor Pitarch´s report. The carving and gilding work on the frame, as well as the two reliefs of the halos, the edging on the clothing, attributes and some furniture all point to the altarpiece being from the third quarter of the 15th century, corresponding to the area of La Seu d'Urgell. The painting of the Saint Ermengol de la Seu altarpiece is attributed to the son of the painter Jaume Gonsalbo (La Seu d'Urgell ? - 1428) Profesor Pitarch concludes that Ramon Gonsalbo could have been influenced by a type of painting which has been wrongly dubbed "naïve", which existed on the margins of official painting from the important centres of Catalonia and Aragon at the time, whereas at the same time echoing novelties in painting from the decades 1430/40 -1460. Between 1455 and 1476, at least, Ramon Gonsalbo had an important role in promoting the non-mainstream painting culture of la Seu d'Urgell. It is important to point out the documented relationship which existed between Gonsalbo and the painters Bernat Despuig and Jaume Cirera The panel comes with a certificate by Professor Antoni Josep Pitarch. In "Summa Artis" vol. XXII, page. 319. are plates of the two panels belonging to the Museo del Prado, photocopy attached. 218 x 71,5 each. Origin: Román Vicente Collection (1908); Barcelona, Birk Collection. A handwritten note on the photograph (Barcelona, Arxiu Mas) of these two panels when they were in the above-mentioned collection says: Procedencia (Origin): La Seu d'Urgell. Bibliography: E. Tormo: "La Pintura aragonesa cuatrocentista y la Retrospectiva de la Exposición de Zaragoza en general" (Aragonese Quatrocentista Boletín de la Soc. Española de Excursiones, volumn XVII, first term, 1909, p. 62.

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Joan Reixach (Active in Valencia 1431 - 1482 / 1495)

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Description: Joan Reixach (Active in Valencia 1431 - 1482 / 1495) "Prayer in the olive grove" Tempera, Oil and pricked gold on board. Originally from an altarpiece. The painting depicts the episode from the Passion of Christ according to the Gospel of Saint Luke, the prayer in the olive grove which occurred after the last supper, and before His arrest in Gethsemane. In the centre of the scene Christ is kneeling in prayer. On his left are eight apostles in a cave and in the foreground on a diagonal are Peter, John and James. While the disciples sleep, Jesus prays, and an angel appears to comfort him carrying a chalice, symbol of the Passion. At the back, in perspective, a group of soldiers appears, headed by Judas coming from Jerusalem to seize Him. The panel is framed in its original crenellations. There are other versions of the Prayer in the Olive Grove by Joan Reixach in existence, they can be found in a predella with five scenes of the Passion of Christ, which comes from the seizure of the Carthusian Monastery of Portacoeli, Serra, Valencia, which happened around 1460 and in an eight scene predella which comes from an altarpiece at the Sogorb Eucarist Institution. Some of these are now in the Valencia Museum of Fine Art (Museo de Bellas Artes de Valencia), there is another in the Chicago Art Institute and the last one is in the Pardo Collection in Paris. An important Valencian Gothic painter, Reixach trained with Jacomart. He painted numerous altarpieces, including the Saint Ursula and the hundred thousand virgins which is kept in the MNAC in Barcelona, the Saint Martin altarpiece for Segorbe Cathedral and that of Saint Catherine the Martyr in the Parish Church of Our Lady in Villahermosa del Río among other work. Work of his is also kept in the Museo del Prado, the Musée Goya de Castres in France, the Segorbe Cathedral Museum, The Colegiata in Xàtiva, the Norton Simon Foundation in Pasadena, the Museo Nacional de Bellas Artes inChile etc. Bibliography: “La clave flamenca en los primitivos valencianos”. Museo de Bellas Artes de Valencia, 2001. Page 242. 93 x 80,5 cm.

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Mestre d'All (Activo en La Seu d'Urgell, 1428 and 1474)

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Description: Mestre d'All (Activo en La Seu d'Urgell, 1428 and 1474) "Our Lady of Sorrows and Saint Peter" Tempera panel painting. Two compartments of a predella. As Albert Velasco describes, "...the authorship can be recognised by the style of the characters which is typical in this master´s work, as well as the general structuring of the compartments. Saint Peter is absolutely similar to the one that appears in the predella of the d'Espui altarpiece which can currently be found at the Detroit Institute of Art (Michigan). He is also very similar to those that appear in the two panels dedicated to Saint Peter which are kept and the Maricel Museum in Sitges. Mary is also a perfect replica of those in the altarpieces of d'All and d'Espui. The structure is also the same, with a lower level of monochrome surface, and an architectural windowsill which allows one to locate the figures in the space, and finally, a gilded frieze in the upper part…..." This painter worked mainly in the Pyrenees in the mid-15th century. He follows the International Gothic style, although in some paintings one can appreciate the influence of Flemish realism. He painted the missing altarpiece of the "Mother of God, Saint Mary of d'All" in Isovòl, Cerdanya. He also painted the panels of the main altarpiece of Santa María d'Artíes. “Virgin with Child, musician and singer angels” is kept in the MNAC, originally coming from Santa Eulàlia d'Encamp, Andorra. The Maricel Museum in Sitges and the Detroit Institute of Art also keep some of his work. There is a plate of this painting in "Devocions pintades. Retaules de les Valls d'Àneu (Segles XV i XVI)" by Alberto Velasco. Page. 54, fig. 16. 59 x 68 cm.

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Master of Belorado. Burgos. 15th century.

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Description: Master of Belorado. Burgos. 15th century. "The incredulity of Thomas the Apostle" Tempera and flecked gold on board. As Josep Judiol writes: “it was Post, who gave the name of Master of Belorado to the painter of two beautiful compositions, “Nativity of Jesus” and “Wedding at Cana”, which come from the town of Belorado in Burgos. According to Post, the Master of Belorado retained some of the glorious heritage of van der weyden, and he was also influenced by the art of the great master of the Catholic Kings, Diego de la Cruz. He created a vigorous human typology with a tendency to create compositions with an original layout. This can be observed in the painting we are studying, a picture of great interest. As in the majority of paintings on board by this painter from Burgos, the names of the disciples are inscribed on their golden halo. Central to the scene, Saint Thomas´ clothing is of a rich brocade, which reappears in the majority of the paintings by the master. Post attributes various altarpieces that are divided between archbishopric of Burgos and the bishopric of Santo Domingo de la Calzada to this painter, who was active throughout the last quarter of the 15th century. Some of the most impressive of these are those at the Cathedral of Santo Domingo de la Calzada, another in Castil de Peones, in the Espino monastery, in Sotillo de Rioja and in Herrera Valdecañas. We joint a document by D. Josep Gudiol, dated 1978, who attributed the work to the Master of Belorado. We thank Mrs. Isabel Mateo Gómez his help in cataloging this lot. 47 x 40 cm.

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Sculpted stone font.  Possibly Italian.  15th century.   26 x 52 x 40 cm.

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Description: Sculpted stone font. Possibly Italian. 15th century. 26 x 52 x 40 cm.

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Stone mortar.  17th century.   12,5 x 16 x 16 cm.

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Description: Stone mortar. 17th century. 12,5 x 16 x 16 cm.

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Sculpted Stone head.  Romanesque.  13th century. Possibly part of a su

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Description: Sculpted Stone head. Romanesque. 13th century. Possibly part of a support for a beam. 18 x 13 x 22 cm.

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Saint.  Large Stone sculpture, with polychrome residue.  Gothic.  14th cent

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Description: Saint. Large Stone sculpture, with polychrome residue. Gothic. 14th century. Possibly Saint Eulalia. It could come from a Gothic façade. The saint is wearing a tunic which falls forming folds, and is decorated with brocades at the neck and cuffs. Her face has fine features, showing off the sculptor´s mastery. Height of the figure: 47,5 cm. Total measurements: 92 x 15 x 25 cm.

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Virgin with Child.  Limestone sculpture with polychrome residue.  Bourgogne

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Description: Virgin with Child. Limestone sculpture with polychrome residue. Bourgogne, France. Gothic. 15th century. The Virgin is facing forwards and wearing a Crown and a veil which allows her long hair to be seen. Her shoulders are covered with a cloak made of deep Gothic folds. She holds the Child with her left arm and offers him a bunch of grapes with her right hand. Height: 80 cm.

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Stone boundary cross. A copy was made in 1929, as well as that which i

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Description: Stone boundary cross. A copy was made in 1929, as well as that which is kept in Poble Espanyol in Barcelona for the boundary cross of the chapel of Lorito, Ulldecona. 176 x 101 x 40 cm.

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Sculpted marble Head of a Queen.  Light polychrome and gilt residue.  Gothi

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Description: Sculpted marble Head of a Queen. Light polychrome and gilt residue. Gothic. Circa 1500. Showing the head of a queen with a severe expression. Wearing a crown and headdress. This could be Juana de Evreux, Queen of France and Navarra, because of the family tradition and the similarity with the reclining sculpture which is kept in the Louvre.

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Hispanic Flemish School.  Attributable to Alejo de Vahía ((¿? - 1515) or hi

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Description: Hispanic Flemish School. Attributable to Alejo de Vahía ((¿? - 1515) or his circle. "Evangelist". Carved and gilded wooden sculpture with polychrome residue. From around 1500. This sculptor was documented between 1490 and 1505. He probably had Northern European origins and established himself in Becerril de Campos, from where he promoted his work during the Hispanic-Flemish period in Palencia and Valladolid. This figure could well be a Saint Peter, although he is missing his attribute, the key. There are great similarities between this and other sculptures of the saint made by Alejo de Vahía, such as the characteristic curls. Height: 65 cm.

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Magnificent carved, polychrome and gilt oak relief.  Flemish School.  Meche

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Description: Magnificent carved, polychrome and gilt oak relief. Flemish School. Mechelen workshop. Gothic. 15th century. "The Crucifixion of Christ" Possibly one of the reliefs that made up an altarpiece of the Passion of Christ. In the scene a total of thirteen people, six horses and a dog give this relief great movement, realism and narrative thanks to their different postures, from one side to the other, to their gestures and various attitudes. Finished with minute attention to detail in the rich brocade of the clothing, the headgear and the decoration on the horses. In the scene, in which the figure of Christ is missing, Mary Magdalene, on her knees, hugs the cross in pain, and at the other side we observe the soldier with the lance in his hand with which he pierced Jesus´ side. 50 x 49 x 9 cm.

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Virgin with Child.  Carved gilt and polychrome wooden sculpture.  Gothic.

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Description: Virgin with Child. Carved gilt and polychrome wooden sculpture. Gothic. 15th century. Delicate composition of Mary imagery, depicted as a mother holding the Christ Child in her arms. The Virgin is standing in a lightly balanced posture typical of the Gothic period, wearing a tunic of fine fabric which is fitted to her body and is cinched in at the waist. Through the mastery of the sculpting the textile appears to be lightweight and moving, forming soft waves. The Virgin is wearing a crown and a long veil which reaches to her feet. The Child wears a gilded tunic and holds the Holy Scriptures in His left hand whilst giving blessing with the right. The virtuosity of the sculptor in the long hands and delicate fingers as well as with the face is outstanding. Flaws on the fingers of Mary´s right hand. Height: 90 cm

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Deacon. Carved wood sculpture, polychromed and gilded. Gothic.Late of 14th

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Description: Deacon. Carved wood sculpture, polychromed and gilded. Gothic.Late of 14th century. The gilt is from the 16th century. With some faults. Height: 78 cm.

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Virgin Mary seated with Christ Child. Carved, polychrome and gilt oak wood

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Description: Virgin Mary seated with Christ Child. Carved, polychrome and gilt oak wood sculpture. Italian school. Early 15th century. Marvellous example of late gothic Italian imagery. The Virgin Mary is seated on a throne, contemplating the Christ Child with a sweet demeanour. The Child is on Mary’s lap playing with a dove, which is holding His left thumb in its beak. Jesus is holding up the other arm in a gesture of surprise. Faults and repaints. Origin: Formerly from a collection belonging to Antoni Batlló "El Conventet", Barcelona. Bibliography: appears in the catalogue for the "Christmas in Sedunión" exhibition which took place in Barcelona in December 1978. 131 x 54 x 33 cm.

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Adam and Eve.  Carved polychrome wooden sculpted group.   Hispanic Flemish.

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Description: Adam and Eve. Carved polychrome wooden sculpted group. Hispanic Flemish. From around 1600. Sculptural depiction of the first man and woman, according to the biblical account in Genesis. The sculpture shows the tree of knowledge, the serpent, and Adam and Eve after they have sinned. Covering themselves they are now punished with shame, death, pain and work. 108 x 83 x 29 cm.

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Saint Sebastian.  Carved polychrome wooden sculpture.  Duchy of Brabant.  L

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Description: Saint Sebastian. Carved polychrome wooden sculpture. Duchy of Brabant. Late 15th century. The saint is represented in the customary way, tied to the column where he has been shot with arrows. Young, muscular and with beautiful features. The mastery in the treatment of the body and folds in the clothing is outstanding. Height without the base: 110 cm.

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Fragment of an altarpiece representing two characters. Carved wooden gilt a

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Description: Fragment of an altarpiece representing two characters. Carved wooden gilt and polychrome sculpture. Hispanic Flemish. Gothic. 15th century. 36 x 23 cm.

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Apostle. Carved wooden sculpture with remains of gilt and polychrome. Germa

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Description: Apostle. Carved wooden sculpture with remains of gilt and polychrome. Germany, Gothic. 15th century. The saint is wearing a tunic and cloak which is cinched at the neck with a silver brooch and falls, forming gothic folds. Flaws and woodworm holes. Height: 50 cm.

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Evangelist or Doctor of the church. Carved wooden sculpture. Gothic. Hispan

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Description: Evangelist or Doctor of the church. Carved wooden sculpture. Gothic. Hispanic Flemish. 15th century. On a bench, the figure is seated at an angle and writing. He is wearing a cloak cinched with a carved fastener and a cap covers his head. Flaws. 45 x 27 x 13 cm.

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Virgin and Child in Majesty (Sede Sapientiae). Carved polychrome and gilt w

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Description: Virgin and Child in Majesty (Sede Sapientiae). Carved polychrome and gilt wooden sculpture. Circle of the Master of the Buena Mañana. Burgos. 15th century. Mary, seated on a throne, which in this case looks like an X-chair, has the Christ Child on her lap whilst helping him to hold open the book of the Holy Scriptures. She is wearing rich clothing and covered with a blue cloak embroidered with stars which falls to her feet to form dozens of gothic pleats and is closed at the chest with two precious metal brooches. Her face is beautiful and serene, framed by two long, curling locks of hair. The virtuosity of the sculptor is outstanding. The delicate handling of the hands, faces and the elaborate work on the clothes are outstanding. This is undoubtedly a magnificent example of imagery from Burgos. With regard to the Master of the Buena Mañana, recently art historians, particularly Dña. Mª Jesús Gómez Bárcena, have suggested that a gifted sculptor crafted certain works of art which were initially attributed to Gil de Siloé, such as the altarpiece for the Virgin of the Buena Mañana Chapel at Saint Gil Church in Burgos. He could have been, as Professor Gómez Bárcena states "...one of the best collaborators or assistants attached to the workshop… an able and remarkable sculptor, who undoubtedly knew and was trained by the great Master Gil de Siloé". The artist is thus named the Master of the Buena Mañana, as it was he who created the previously mentioned altarpiece. This Virgin certainly has a great deal of similarity to the sculptures from these Burgos workshops, which is why we attribute the sculpture to this Master or his circle. 99 x 36 x 30 cm.

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Hispanic Flemish School.  16th century.

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Description: Hispanic Flemish School. 16th century. "Adoration" Oil on board. Lateral fragment of an altarpiece. 54,5 x 31,5 cm.

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