Spanish Sculptures

Le cheval à la montre molle A Superb Bronze by and inscribed by 'Dalí' (on the back right leg), stamped with foundry mark and numbered 314/350 (underneath the saddle) and stamped wit...

Design by Salvador Dalí­­, 1903 manufactured by BD Barcelona Solid Iroko wooden structure with polyamide wheels. Optional upholstered cushion with water repellent foam and mater...

Lladro and Nao, Spain. Five porcelain figurines of children, 1980s-1990s. Largest measures: 25.5 x 15 cm. In very good condition. Stamped.

1980s Spanish hand painted Botijo of glazed dog ceramic.

1980s Spanish hand painted Botijo of Glazed Dog ceramic.

1950 French fruitwood abstract figurative sculpture of an Arab woman with niqab.

Pair of glazed ceramic foo dog sculptures for birks resting on painted on wooden base Marked: "Made in Spain for Birks" and bearing sticker marked Birks with inventory number.

Set of six Spanish painted iron cactus statues. Dimensions largest: 200 x 30 x 30cm Dimensions smallest: 102 x 30 x 30cm.

Set of six Spanish painted iron cactus statues. Dimensions largest: 202 x 40 x 40cm Dimensions smallest: 65 x 40 x 40cm.  

Rare sculptural wood hand carved eagle bookends by Sarreid Spain 1970s. Beautiful wood with a rustic cerused white wash. Books are not included. Versatile design that w...

18th century Spanish Andalusian giltwood painted St. Joseph with Baby Jesus figure sculpture.

Glass mobile with numerous pivot points allowing the mobile to move. Textured antique glass in 3 colours with a metal structure. This version shows the...

Terracotta monkey holding a glazed fig, the symbol of fertility, Majorca, circa 1950.

A group of four silver, sea shell and coral Animal sculptures 1950s. Dimensions: Frog – H 5” x W 2.5” x D 5” x base height 2” Bird – H 6” x W 5” x D 3.5” x base height 2” Dog – H 4” x W 2.33” x D 3.5” x base height 0.75” Turtle – H 2.75” x W 3.75” x D: 4.75” x base height 0.75” Aurelio Teno Teno a/k/a Aurelio Teno (Spanish, 1927 - 2013) was a Spanish sculptor and painter. He stood out for his interpretations of Don Quixote, as the one who imagines him - mounted on the horse named Clavileño - as the first cosmonaut in history. Between 1936 and 1943, he lived in Córdoba where he trained artistically. First, as an apprentice in the workshop of the sculptor Amadeo Ruiz Olmos; later in a silverware workshop; and since 1939, in the School of Arts and Crafts of Cordoba, where he studied painting and drawing. In 1950, he moved to Madrid to work as a goldsmith; and later to Paris, where he lived for ten years. There, he extended his studies of fine arts, and is strongly influenced by Giacometti and expressionism in whole. This period in Teno’s artistic life is celebrated by several exhibitions of his paintings in the Salón del Art Libre, Palais des Beaux Arts galleries and others. At the same time, he continued to dedicate a lot of time to the creation of his famous sculptures-jewels. In 1965, he returned to Madrid although he installed his studio in the Molino del Cubo (Ávila), where he researched new plastic procedures and also exhibits his controversial polemical paintings at the Ateneo de Madrid. Begining that year, he starts a series of international exhibitions in Copenhagen, Paris, New York, Rabat and San Luis (Missouri, USA). In 1976 he consolidated his international prestige as a monumental sculptor by winning the contest for Don Quixote sculpture...

"Girl with flowers on a basket". Sculpture in white marble and bronze, on base, Spain, 19th century. The pedestal, in the shape of a column with a smooth shaft, elevates the sculpture and highlights it with its elegance of lines and lack of exaggerated decorative elements (aside from some moldings in what would be the capital and the marbled marble change in the upper piece, on which the sculpture is located). The figure of the girl, carved in a white marble of great quality, is sitting, looking towards the distance, and with a bouquet of flowers in her arms and a medal hanging from a cord around her neck. When sitting on a basket with flowers the figure is softened, in addition to enhancing it with the chromatic contrast existing between the flowers and the basket (patinated bronze) and the figure. The hair of the girl, with a pictorial waves without a powerful chiaroscuro, contrasts with the detail of the dress, perfect both in the ruffles of the neck and in the embroidery of the fabric and with which, in addition, an "informal" touch has been added to show fallen a strait and the skirt wrinkled. This lack of formality fits perfectly with the theme, and is slightly accentuated by presenting the figure with socks (or stockings, dropped) and without shoes. The realism of the face (attenuated with a slight idealization) suggests that it is a child portrait. The pictorial treatment of the figure and the roses relate it to artistic approaches that emerged during the 19th century and with a certain aesthetic and skill level. Stylistically, it is possible to relate it to the environment and the influence of two key figures of 19th-century Spanish art for their invoice, traits, technical mastery and originality: Agustín Querol...