“Ressurrection”, Polychromed Wood, Spanish School, 16th Century

Paper holder bronze, 16th century. Portapaz made of bronze with an "asymmetric" handle on the back, which presents a decoration in light relief framed in an architectural compositio...

Altarpiece. Wood carved and gilded. Baroque, towards the second half of the 17th century. The Solomonic column was an element already known in the Renaissance (and before) that was popularized in art, in large part, thanks to the Baldachin of St. Peter's Basilica of the Vatican by Gian Lorenzo Bernini (1624-1633), where he presented branches. In Spain, this type can already be seen in the Silver Tabernacle of the Cathedral of Seville (Juan de Alfaro, 15931596), used in altarpieces from the 1620s; nevertheless, the apogee of the Solomonic column will come from the hand of José Benito de Churriguera, whose altarpieces have an extraordinary importance since the second half of the 17th century and already at the beginning of the 18th century (note similarities and differences between the present altarpiece and that of the Convent of San Esteban...

Portapaz. Silver in its color and gilded. Century XVI. Portapaz made of silver that has a handle (decorated with delicate plant motifs similar to those of the pilasters) and a female and a male bust at the bottom, as well as other architectural elements on the back, and, on the front, an architectural composition classicist basement (with busts flanking a flower and a cross), two pilasters (vegetal decoration and capital recalling the composite order) with entablature (flowers flanking an angel's head; moldings), and a semicircular arch finish with elements veined in relief under cross and flanked by two architectural motifs in the upper part. This composition frames and enhances a gilt silver relief where you can see the Lament or Cry over the Body of Christ, with the Virgin holding the head of Jesus, Saint John at her side, the Magdalene and other characters, a cross following the group and a landscape background with houses and plant elements. This architectural structure mentioned is similar to the one present in other 16th century portapaces, such as that of the Magdalena de Dos Hermanas parish (Hernando de Ballesteros el Mozo, around 1575); or that of the Galaroza parish (same author and date); or that of the portapaz of San Miguel de Jerez de los Caballeros (in some details); etc. As for the relief, it is possible to clearly see a strong Italian influence, and the similarity between it and important pieces such as the Portapaz known as “de Cisneros by Juan de Burgos (1493-1497; MuseoCatedralicio de Alcalá de Henares), as well as in paintings and reliefs. Also noteworthy are both the male and female busts in the lower area and the Maltese cross (or Saint John's) that appears in this area. This symbol was used since the 12th century as an insignia by the Knights Hospitallers of the Order of Saint John of Jerusalem, also known as the Order of Malta...

Christ of Burgos. Wood, metal. Spanish school, 19th century. A rectangular base serves as the base for a Latin cross with finials at the three upper ends. This has the usual “INRI” ...

This exceptional 18th-century Spanish Baroque carving, titled "The Resurrection of Jesus," is a profound representation of religious artistry f...

This is a heavy large carved wood plaque depicting an embossed scene of the Resurrection of Jesus Christ. He is standing victorious and elevated over a U shaped cluster of clouds wit...

Christ
 Umbria, Orvieto?
 Second half of the 15th century
 77 x 16.5 cm

Carta pesta policroma raffigurante la Deposizione di Cristo con cornice in legno decorata coeva. Manifattura toscana del XVII secolo. L'opera mostra il corpo di Cristo morto sorrett...