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"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1

In Millésime 22 · Medieval & Colonial Art

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"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 1 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 2 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 3 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 4 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 5 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 6 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 7 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 8 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 9 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 10 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 11 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 12 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 1 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 2 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 3 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 4 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 5 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 6 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 7 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 8 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 9 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 10 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 11 aus 12
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1 - Bild 12 aus 12
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"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1700.66 x 40 x 22,5 cm. This polychromed wooden sculpture of Saint John the Baptist is remarkable for its beautiful physique and serene elegance. Its origin could be a Castilian workshop from around the year 1700 as the sweetly curved folds of his cloak suggest this period. The Baptist is portrayed in a way that was popularised by the most important sculptor of the baroque Vallodolid School, Gregorio Fernández (1576-1636). Among his images of the Baptist, which were copied until the late 18th century, we can identify those present in the main altarpieces of the church of Santos Juanes in Nava del Rey (1612) and the Monastery of the Huelgas Reales in Valladolid (1613). However, our sculpture has certain details that differentiate it from Fernández’s model. The composition brings other images of the Baptist to mind due to the chiselling, such as Luis Salvador Carmona from Vallodolid (1708-1767) or the Asturian Juan Alonso Villabrille y Ron (ca.1663-1732), among others. The sculpture looks very dynamic as the artist has placed the arms and legs in different directions and planes, and also because the left leg is placed a little forward, forming a gentle counterpose. The saint is standing. In his left hand he would have gripped a rod with the badge of the cross, but it has not been preserved, while with the right hand he points to the Lamb of God which plays at his feet. It is not at all common for the Agnus Dei to appear standing on its hind legs while its front legs play affectionately with the Precursor. It is more typical to see the Lamb on a book held in the Baptist’s hand or lying on a rock or a tree stump. He is wearing the typical camel skin smock knotted to the right side leaving a small part of his torso, arms and legs on view, which allows the sculptor to do an interesting anatomical study in which even the veins of the hands, arms, neck, legs and feet stand out. A red cloak hangs from his left shoulder, edged with a narrow strip of stylised vegetation motif decoration which is brush-gilded and skirts his back, covering his right leg, to be fastened at the waist where it also cinches his smock. The head displays great quality as it has been worked meticulously which can also be appreciated in details such as the individualisation of the locks of the beard or the wet and asymmetrical locks that make up his head of hair. The polychromer has painted a series of small bunches in the hair and beard to augment these even more. The noble face is clear and natural looking. Also, the eyes and the half-open mouth, which exposes the teeth, have been delineated with great care. The piece is outstanding for its remarkable realism and is in an excellent state of preservation. We would like to thank Javier Baladrón, doctor in History of Art, for identifying and cataloguing this piece.
"Saint John the Baptist". Carved, gilded and polychromed wooden sculpture. Castilian School. Circa 1700.66 x 40 x 22,5 cm. This polychromed wooden sculpture of Saint John the Baptist is remarkable for its beautiful physique and serene elegance. Its origin could be a Castilian workshop from around the year 1700 as the sweetly curved folds of his cloak suggest this period. The Baptist is portrayed in a way that was popularised by the most important sculptor of the baroque Vallodolid School, Gregorio Fernández (1576-1636). Among his images of the Baptist, which were copied until the late 18th century, we can identify those present in the main altarpieces of the church of Santos Juanes in Nava del Rey (1612) and the Monastery of the Huelgas Reales in Valladolid (1613). However, our sculpture has certain details that differentiate it from Fernández’s model. The composition brings other images of the Baptist to mind due to the chiselling, such as Luis Salvador Carmona from Vallodolid (1708-1767) or the Asturian Juan Alonso Villabrille y Ron (ca.1663-1732), among others. The sculpture looks very dynamic as the artist has placed the arms and legs in different directions and planes, and also because the left leg is placed a little forward, forming a gentle counterpose. The saint is standing. In his left hand he would have gripped a rod with the badge of the cross, but it has not been preserved, while with the right hand he points to the Lamb of God which plays at his feet. It is not at all common for the Agnus Dei to appear standing on its hind legs while its front legs play affectionately with the Precursor. It is more typical to see the Lamb on a book held in the Baptist’s hand or lying on a rock or a tree stump. He is wearing the typical camel skin smock knotted to the right side leaving a small part of his torso, arms and legs on view, which allows the sculptor to do an interesting anatomical study in which even the veins of the hands, arms, neck, legs and feet stand out. A red cloak hangs from his left shoulder, edged with a narrow strip of stylised vegetation motif decoration which is brush-gilded and skirts his back, covering his right leg, to be fastened at the waist where it also cinches his smock. The head displays great quality as it has been worked meticulously which can also be appreciated in details such as the individualisation of the locks of the beard or the wet and asymmetrical locks that make up his head of hair. The polychromer has painted a series of small bunches in the hair and beard to augment these even more. The noble face is clear and natural looking. Also, the eyes and the half-open mouth, which exposes the teeth, have been delineated with great care. The piece is outstanding for its remarkable realism and is in an excellent state of preservation. We would like to thank Javier Baladrón, doctor in History of Art, for identifying and cataloguing this piece.

Millésime 22 · Medieval & Colonial Art

Auktionsdatum
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

Millésime, (a French numeral which expresses the number "a thousand" for small and carefully made creations) is our desire to remember and celebrate once again, and at last, the roaring twenties of last century, with the return to a printed and meticulously prepared catalogue.  It comprises a selection of works of art that have been chosen with care for their rarity, beauty, quality and also simply because we would like to make a gesture of thanks to everyone who has trusted us and our work over the last thirty years, and to those who make it possible for La Suite, our dream, to carry on. 

With Millésime 22 we begin a series which we hope will repeat at the beginning of every year, at least throughout our beloved twenties. 

Art, in all its facets, feeds the spirit and makes us better.  Long live literature, music and art!  

Dedicated to our marvellous daughter Lúa who gives sense to everything.  

Beatriz du Breuil and Rafael Adrio 

La Suite Subastas

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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