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LOT 0377
Medieval Stone Column Capital with Lion and Human Face
SPAIN OR SOUTHERN FRANCE, LATE 12TH CENTURY A.D.
13 1/4 in. (30 kg, 33.5 cm).
Carved in the half-round with a frieze composed of interlaced foliage with two rows of acanthus leaves and foliage scrolls, framing a lion's head on one side and a human head on the other, remains of lion's mane to the third; drilled holes to the raised surfaces and sockets for the insertion of decorative stones. [No Reserve]
ProvenanceAcquired from Antoine Boccador-Lieveaux, 2005.
Ex central London gallery.
Accompanied by an academic report by Dr Raffaele D’Amato.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11739-202053.
Cf. D’Emilio, J., ’The Royal Convent of Las Huelgas: Dynastic Politics, Religious Reform and Artistic Change in Medieval Castile’ in Studies in Cistercian Art and Architecture 6, Kalamazoo, 2005, pp.191-282, figs.11,13,15 (window Capital of Saint Andres de Arroyo, apse and South Chapel), 34 (Noyon cathedral), 36 (Laon cathedral); Igarashi-Takeshita, M., ‘Les lions dans la sculpture romane en Poitou’ in Cahiers de civilisation médiévale, 23e année (n°89), Janvier-mars 1980, pp.37-54.
FootnotesThe iconography of this capital is probably associated with the biblical story of Daniel in the lion's den. Capitals like this were part of an extensive decorative program which characterised Spanish and the French churches especially in the late 12th century A.D., with the advent of the Cistercian style. Foliate capitals ornamented the churches of Las Claustrillas, Aguilar, Gama, and other Christian sites of Southern France and Northern Spain. Capitals decorated with similar acanthus foliage can be found in churches in Burgundy, for instance at Avallon, Vezelay, and Donzy-le-Pré. However, figurative elements of the old Romanesque art also persisted.
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LOT 0377
Medieval Stone Column Capital with Lion and Human Face
Sold for (Inc. bp): £1,950
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Published Medieval Thames Pewter The Holy Face Pilgrim's Badge
Circa 14th-15th century A.D.Sold for (Inc. bp): £845
Presenting relief design of Christ crucified, wearing long V-neck robe tied at the waist with a knotted girdle and with full sleeves, the sun and moon beneath his feet; stitching loops to the remaining arms, pellet border and raised lettering: 'S[IGNVM SANCTI] VV / LTI / [LV]CEN / SIS' (sign of the Holy Face of Lucca); Lucca, Italy. 5.75 grams, 5 cm
Found Billingsgate spoil from the Thames foreshore, London, UK.
Lucca was situated on the Via Francigena, the principal route for English pilgrims travelling to Rome. Its most treasured relic was the 'Volto Santo', (the Holy Face), a large-than-life figure of Christ crucified, the face reputedly carved by an angel. This badge is a souvenir of the Volto Santo. -
Anglo-Norman Zoomorphic Fitting
11th century A.D.Sold for (Inc. bp): £13
Wedge-shaped in plan with rectangular fitting hole and the upper portion of a stylised feline head with gaping mouth, cylindrical in section. 6 grams, 2.5 cm
Found Pembroke area, Pembrokeshire, 1980s-2000s. Property of the finder. -
Renaissance Gilt Wooden Octagonal Socle with Paintings of Saints
South Germany, probably Augsburg, circa 1500-1520 A.D.Sold for (Inc. bp): £1,950
Intended for a religious statue, with foot-shaped recesses to the top face; the left side with a painted polychrome scene comprising Saint Jerome and Saint Ambrose with Saint Michael holding a sword and scales for weighing souls; the right side painted with a scene comprising Saint Gregory the Great, Saint Augustine and Saint John the Evangelist; both scenes set with gilt architectural frame; the reverse with the Holy Spirit depicted as a dove. 1.95 kg, 16.5 cm high
Very fine condition.
Ex Julius Böhler Ltd, Munich, Germany, 2000. Ex central London gallery. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11741-202052.
The base probably housed a statue of Christ. The painting, although mannerist, reflects the style of the Germanic Renaissance. The saints surrounding the dove are easily recognisable by their attributes. St Jerome as a penitent was often represented in front of a crucifix, next to him the hourglass and the skull, symbolising fleeing time leading to death. St Ambrose is represented with his whip, defending people from the enemies of the faith. St Michael is holding the sword and balance and St Augustine is represented with the child who appeared to him on the seashore admonishing him. Many representations from the Middle Ages show Pope St Gregory the Great (of a noble family and pontiff from 590 to 604) with the Dove of the Holy Spirit perched on his shoulder. St John the Evangelist is represented here according to the golden legend of Jacopo da Varazze, with a snake and a chalice.