Wood sculptures

André LHOTE (1885-1962) Carved wooden frame decorated with leaves and flowers Circa 1900 Signed A. Lhote 80 x 110 cm In 1897, André Lhote began an apprenticeship in a cabinetmaking workshop (Atelier Courbaterre), where he learned ornamental wood carving. It was probably during this period that he produced this frame, which is entirely in the Art Nouveau spirit. We would like to thank Mme Dominique Bermann-Martin for confirming the authenticity of this frame.

Jean and Joël MARTEL (1896-1966). Sparrow. Exotic wood sculpture signed on the terrace, dedicated to "Denyse" and dated 7-9-30. Edition SAS Paris. Height Height : 11.5 cm Note: Twin brothers, French sculptors and decorators, Jean and Joël Martel took part in numerous Paris Salons. They made a name for themselves at the 1925 Exposition des Arts Décoratifs, presenting cubist trees in reinforced cement in collaboration with Robert Mallet-Stevens. We owe them many monum

Joseph BONVOISIN. - "Les embraseuses" Painted wood bas-relief, 33.5 x 32.5. Signed and titled on the back.

Hugo Demarco (1932-1995) Déplacement continuel, 1967 Kinetic sculpture Lacquered wood, metal and rotating electric system Edited by Denise René, Paris Signed, dated, titled and numbered '43/50' on a label on the back 30 × 30 × 11 cm

Castilian school. End of the 13th century - Beginning of the 14th century. - Castilian school. End of the 13th century - Beginning of the 14th century. Crucified Christ'. Carved wood sculpture with remains of polychrome. 156 x 126 cm. The Crucified Christ that we present is an excellent Gothic piece probably from a Castilian workshop. Christ is attached to a sacred tree-shaped wood by means of three nails-this arrangement, which over the centuries became the most common, was attributed by Lucas de Tuy to the Albigensian heretics, who points out that they conceived it this way with a certain sense of mockery and scorn-, a modality that began to become widespread in the second half of the thirteenth century. Christ presents a face with a serenity typical of the Crucified ones of the 13th century and a general appearance of tranquility, not perceiving any suffering nor excessive bloody traces. The head is ostensibly tilted to the right, showing a narrow and elongated face with closed eyes and mouth, trying to print some pain, but with a concept of serenity usual in this type of crucifixes. It is a sweet death. It shows a wide forehead, with curved eyebrows and a nose of large proportions. The hair is treated in a compact manner and animated through wide wavy locks arranged on the sides of the head over the shoulders, leaving the ears hidden. The beard is small and symmetrical. No diadem or royal crown is preserved. The body, far from showing any kind of rigidity or hieratism, exhibits a slight lateral movement thanks to the displacement of the hip towards the right side. Likewise, the bending of the right knee allows a slight lateral movement that produces a general forward projection. The anatomy shows a soft treatment of the forms, abandoning the schematic appearance with the marked ribs of Romanesque root that is still present in some images of this period. The thorax, waist and abdomen tend to be slender and perfectly defined, with a marked separation between them. The abdomen is slightly bulging. Blood flows from the wound on the side, very marked, as well as from the wound on the feet, but not in excessive quantity. The arms are fully extended almost forming two diagonals. She wears only a perizonium, or purity cloth, carved in the piece itself and adjusted in such a way that it insinuates the anatomy of the hips. It is a long white cloth decorated with golden geometric motifs from which a kind of red rays seem to emerge. It is knotted at the right hip by a scarcely bulging bow. It covers the left knee, leaving the other one uncovered. From the knot come out large folds of great plasticity in the shape of a 'U'. As is characteristic of this type of Crucifixion, it keeps the feet arranged in a slightly pronounced external rotation. The Christ presents some small lack of polychromy, but its general condition is good, with the positive circumstance that it still preserves most of the fingers, something uncommon in this type of pieces. In short, the work was probably made at an imprecise date between the end of the 13th century and the beginning of the 14th century by a sculptor of the Castilian milieu. We thank Mr. Javier Baladrón, doctor in History of Art, for the identification and cataloguing of this work.

Joseph BONVOISIN. - "Christ en croix" Bas relief in wood, 33 x 26. Signed lower right. On the back: Oil on panel, 28 x 34. Signed lower right. Nails and perforations of the bas-relief visible.

Statue de Sainte-Barbe - polychrome wooden sculpture from 18th century. The left hand is missing a finger. Weight: 4.52 kg Shipping unavailable Sizes: H 640MM X L 230MM Condition: At first glance: normal wear / patina of use

Anonymous Castilian. Last quarter of the XVII century. - Anonymous Castilian. Last quarter of the XVII century. Saint Mary Magdalene'. Sculpture in carved and polychrome wood. 64,5 x 22 x 22 cm. The iconography of the penitent Magdalene, prototype of the repentant woman, was one of the favourites ones of the Baroque. Among all the representations that were made of the saint during this period, the model created and popularized by the Granada sculptor Pedro de Mena (1628-1688) stands out above all, and whose most outstanding example is the Penitent Magdalene (171 cm) that he sculpted in 1664 for the disappeared Casa Profesa in Madrid and which is currently on loan from the Prado Museum to the National Museum of Sculpture in Valladolid. The success of this sculpture, which is the quintessence of his refined and melancholic style, was due, in the words of Professor Lázaro Gila Medina, to the fact that 'it fully complied with the wishes of the Society that its works should be sufficiently useful and effective for its evangelising and catechetical work, and in this case the Magdalene was an exceptional model, given that after an easy youth, after her encounter with Christ and sincere repentance, she would become his most faithful disciple, following him even after his Crucifixion'. From the very moment of its execution, the Magdalene of the Madrid Jesuits caused such astonishment and admiration that requests for copies and reproductions followed one after another, some of which were made by Mena himself. Due to this fact, the iconographic type spread rapidly throughout much of Spain.The fame it achieved in Castilian lands, in general, and in Valladolid, in particular, was mainly due to the copy of the Magdalena (162 cm) owned by the Jesuit college of San Ignacio de Valladolid, and which was donated by Doña Magdalena de Pimentel, Marquise of Viana, in her will of 1702.Mena's model spread to exhaustion throughout the territories of the current communities of Madrid and Castile and Leon, and there are also numerous examples in the north of the peninsula (Galicia, Asturias, Cantabria and Navarra). Returning to the sculpture that concerns us, we do not know its origin, although it is most likely from a church or convent of Castile and Leon.Mary Magdalene is effigied in a moment of intense rapture and meditation before a missing Crucifix that she would hold in her left hand. On the other hand, the right hand rests delicately on her chest, as if holding her breath at the contemplation of the Crucified One.She stands upright, with her left leg forward, as if in the gesture of walking. In origin it is probable that she was located on a rocky place that evoked her hermit life, in which it is frequent that rocks, trees, streams, small hollows or caves, and diverse small animals like doves, snakes, frogs, etc.... In addition, on occasions some of her attributes can appear on the rocky ground, case of the skull or even the bottle of perfumes. He wears a palm mat that completely covers his body from the lower part of the bust to the ankles, leaving only the torso, arms and feet naked. The head, oval in shape, has facial features carved with great technical skill, highlighting the half-open mouth with thin lips, almond-shaped eyes or the nose with a straight septum and perforated nostrils to give greater credibility.The hair falls symmetrically on both sides of the face and down to below the waist in long, wavy, compact locks that evoke both her eremitic life and her femininity.Large locks cover part of her shoulders and back. From the morphological features, essentially those present in his face, it is possible to assign this work to a Castilian sculptor -probably from Valladolid- who worked at the end of the last quarter of the 17th century. We thank Mr. Javier Baladrón, doctor in Art History, for the identification and cataloguing of this work.

Raoul LAMOURDEDIEU (1877-1953). Female nude reclining and leaning. Direct-cut wood sculpture signed on the terrace (cracks). Height : 49 cm - Length : 75 cm - Depth : 25 cm Note: A student at the Beaux-Arts in Paris, he alternated between the workshops of Alexandre Falguière (1831-1900) and Alexandre Charpentier (1856-1909), the latter passing on to him his taste for creating medals. His medals include those of Santos-Dumont and President Raymond Poincaré. At the same time, he took up woodcarving, which he later theorized in a treatise published in 1941. Raoul Lamourdedieu remains an artist of international renown, to be found throughout Europe and especially in France, thanks to public commissions for war memorials and cultural monuments in Paris (Grand Palais, Musée d'art moderne).

China - Wooden sculpture representing Shou Lao and a child, circa 1900. Weight: 275 g Shipping available Area: Chine Sizes: H 180 MM X L 105 MM Condition: At first glance: good condition

[SCULPTURE]. Philippe AÏNI. - "Le bras long. 1993" Painted papier-mâché on wooden base, 65 x 55 x 11. Signed and dated on the back.

Central France, late 15th century Virgin and Child Wood carving, traces of polychromy Height: 60 cm (accident and missing parts)

Le coup de vent: jeune femme au parapluie, sculpture in natural wood on a slate base - H 20.5 cm

Walter MORODER, né en 1963 - MATERNITY Large sculpture in carved and painted wood, signed 57 × 34 × 20 cm

ESCUELA ARAGONESA, S.XVIII - Saint Joseph . Sculpture in carved wood, polychrome and gilded. Total height: 64 cm

Circle of Juan de Valmaseda (Valmaseda, Vizcaya, circa 1487-1488 - Palencia, circa 1576). Circa 1520 - 1540. - Circle of Juan de Valmaseda (Valmaseda, Vizcaya, circa 1487-1488 - Palencia, circa 1576). Circa 1520 - 1540. Saint John the Evangelist. Figure from a Calvary. Carved, gilded, and polychromed wooden sculpture. 62 x 27 x 16 cm. Small and delicate sculpture depicting the Beloved Disciple. Small and delicate yet dramatic since, due to its composition and gestures, it seems clear that it was carved for the Calvary of an altarpiece, and these were generally placed in the central compartment at the top - the attic. There is no doubt about its belonging to an altarpiece since the back is unpainted and has barely even been smoothed down, tasks that were left undone when the piece was going to be placed where its back would not be seen by the congregation. Saint John appears in contrapposto, standing on a small mound with his feet at an oblique angle. He moves his left leg forward, giving dynamism to the composition, so that the position of the knee can be guessed at under the tunic. He turns his head to direct his pleading and sorrowful gaze towards the empty cross, deep sorrow underlined by the gesture of placing his right hand on his chest, while the left is kept down, making a declamatory gesture. Thisbeardless young man has an oval-shaped head with a powerful ,straightnose, almond-shaped eyes with very marked eyelids, arched eyebrows, a slightly open mouth with thick lips, and a prominent chin. He has a blonde mane composed of bulky, barely individualised locks arranged asymmetrically, falling down his back and right shoulder, leaving the left ear visible. He wears a golden tunic that falls almost to the ankles and a mantle of the same color, knotted at one of the shoulders, covering his torso and falling below the right arm. It is traversed by sweet, soft folds with a rounded profile, and decorated with sgraffito vegetation and geometric motifs. Both garments stick to the body, so that its formcan be perceived underneath, in the same way as with the knee we mentioned earlier. The waythe tunic fallsalso looks very natural, as it forms vertical folds. Although the carving cannot be conceived as a sculpture by Juan de Valmasedahimself (ca.1487/1488-ca.1576), it is undoubtedly carved by someone within what we can call his circle of followers, as it presents some stylistic features characteristic of the sculptor, such as the composition organized in a slight curve or the expressiveness of the dramatic face. There are numerous Calvaries that have been related to the work of Juan de Valmaseda, one of the most relevant Renaissance sculptors in the Palencian region, an areawhere, of course, some of the most illustrious disciples of the great Alonso Berruguete (ca.1486-1561) worked, such as Manuel Álvarez (ca.1517-1587/1589) and Francisco Giralte (ca.1500-1576). Highlights from among these calvaries would include the dramatic and colossal sculpture that tops the main altarpiece of the Cathedral of Palencia, probably the best of all the specimens, that of the altarpiece of the chapel of San Ildefonso also in the Palencian cathedral, the one kept in one of the chapels in the ambulatory of the Cathedral of León, or those that can be seen in two altarpieces in the rural area of Palencia in the churches of the Assumption of Lantadilla and Santa Columba of Villamediana. We would like to thank Dr. Javier Baladrón, art historian, for the identification and cataloguing of this work.

SILVER, silver-plated metal and wood Scottish Honor Guard, the silver-plated metal sculpture resting on a wooden base adorned with a silver plate. English work. H. 29 cm,

ANONYMOUS Tenderness Natural wood sculpture of an embracing couple H.55 cm

Chinese Taoist Immortal Gilded wood sculpture of a standing Chinese Taoist immortal, resting on a blood-red patinated rectangular base. Early work Dimensions: H: 60; W: 23; D: 22 cm

Prophet . Sculpture in carved wood, gilded and polychrome, S. XVI. Height: 42,5 cm

Viceregal School. Peru. 18th Century. - Viceregal School. Peru. 18th Century. Mary Magdalene'. Monumental and magnificent sculpture in carved and polychrome wood. 115 x 58 x 50 cm.

Pair of sculptures in carved and polychrome wood. Art Nouveau. Circa 1900. - Pair of sculptures in carved and polychrome wood. Art Nouveau. Circa 1900. Provenance: 'Iris Park' Zaragoza. 134 x 49 x 40 cm and 145 x 85 x 25 cm. The Iris Theater, inaugurated in 1931 as a leisure complex in Zaragoza, experienced deterioration over time and was affected by the urban reforms of the city, which caused its surface to be reduced. In 1952, the Parra company, owner of the complex, commissioned the architect José de Yarza García to remodel the theater. Three years later, in 1955, the renovated Teatro Iris was inaugurated and renamed Gran Teatro Fleta de Zaragoza in honor of the Aragonese tenor Miguel Fleta. From the 1960s onwards, the theater was dedicated exclusively to the projection of films.

ESCUELA ESPAÑOLA S. XIX-XX - Sculpture made of carved, stewed and polychrome wood. 44.5cm high

Sculpture "CRUCIFIXION WITH SAINT JOHN THE EVANGELIST AND MARY MAGDALENE" - Carved wood and silver sculpture depicting "CROCIFISSION WITH SAINT JOHN EVANGELIST AND MARY MADDALENA." 18th century. Defects. 90x45x13 cm approx.

Winged angel 18th century cm 38x30x20 wooden sculpture in polychromy and gilding

Josette BOISSIERE (1942-) - Wood sculpture depicting a view of Egliseneuve-près-Billom (unsigned - 36x55x15cm)

ESCUELA ESPAÑOLA FFS. S. XVI-PPS. S. XVII - Polychrome and gilded wood carving. Repainting and regilding from a later period. On wooden base upholstered in black and studded. It is reminiscent of some works by Juan Martinez Montañés. 108cm high. 65 x 40 x 44 cm the base.

Chinese Qing Dynasty Wood Sculpture - 18th/19th Century Chinese Wood Sculpture Of A Emperor or General. Retains Some Polychrome Decoration And Horsehair Beard, Male Figure Seated On A Dais And Wearing Robes. Measuring H 45 W 17 D 12 in Condition: Weathered Surface With Losses And Shrinkages Appropriate For Age.

Otto Flath (1906 Staritzke near Kiev/Ukraine - 1987 Bad Segeberg) Charity Lime wood, carved with visible traces of processing. Signed; Fully sculptural, block-like stylized expressionist group following the shape of the bent trunk, in which a standing young woman gives a thirsty youth (her son?) a drink. The two figures are inextricably linked. This work, like much of his oeuvre, reflects the formative influence of Ernst Barlach on Flath, whom he himself had known. H. 84 cm. Carved limewood sculpture. Signed.