Null The image of the Protection of the Most Holy Theotokos. Midthird quarter of…

Description

The image of the Protection of the Most Holy Theotokos. Midthird quarter of the 19th century. Possibly Vetka. The image, especially revered in Rus`, is a centric, Novgorod composition, in which the memory of getting rid of the Slavic raid on Constantinople in the 7th century is recorded. Then the weekly veneration of the protection of the Mother of God, which grew into a religious procession, saved the city. This solemnly fixes the upper case of the icon. In the lower one, the sweet singer Roman before the emperor and the queen sings hosanna to the Mother of God and Her intercession. In the right stamp, behind the pillar - the scene of the prophetic visitation of Roman by the Mother of God. Clean and precise writing on gold depicts the outline of a temple with five domes, with a bell tower and an annex at the top. The catchy pictorial coloring, including the upcoming ones (St. Nicholas, Evdokia, Agripina and the Archangel Radeniya) is similar to the manner of the Vetka masters of the middle third quarter of the 19th century. Icon dimensions: 44x37 cm. Width: 37cm, Height: 44cm, Depth: 3.5cm, Weight: 5kg, Condition: Good, Material: Wood, gesso, gilding, tempera, ID: ID-ANTQ-7884

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The image of the Protection of the Most Holy Theotokos. Midthird quarter of the 19th century. Possibly Vetka. The image, especially revered in Rus`, is a centric, Novgorod composition, in which the memory of getting rid of the Slavic raid on Constantinople in the 7th century is recorded. Then the weekly veneration of the protection of the Mother of God, which grew into a religious procession, saved the city. This solemnly fixes the upper case of the icon. In the lower one, the sweet singer Roman before the emperor and the queen sings hosanna to the Mother of God and Her intercession. In the right stamp, behind the pillar - the scene of the prophetic visitation of Roman by the Mother of God. Clean and precise writing on gold depicts the outline of a temple with five domes, with a bell tower and an annex at the top. The catchy pictorial coloring, including the upcoming ones (St. Nicholas, Evdokia, Agripina and the Archangel Radeniya) is similar to the manner of the Vetka masters of the middle third quarter of the 19th century. Icon dimensions: 44x37 cm. Width: 37cm, Height: 44cm, Depth: 3.5cm, Weight: 5kg, Condition: Good, Material: Wood, gesso, gilding, tempera, ID: ID-ANTQ-7884

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Estim. 8 500 - 9 000 EUR

Italian school; late sixteenth century. "Madonna and Child". Oil on canvas. Relined. Measurements: 121 x 94 cm; 123 x 105 cm (frame). In this canvas the author represents a scene very repeated in the History of Art especially since the Renaissance: the Virgin with the Child Jesus in her arms. It was a theme widely treated during the Renaissance and Baroque periods, since it emphasized the human aspect of Christ, in the innocence and happiness of his childhood, in dramatic contrast with his destiny of sacrifice. Thus, the Savior appears represented as a child of delicate beauty and soft anatomy, protected by the maternal figure of Mary, whose face shows, in its seriousness, the knowledge of the bitter destiny of her son. Since the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between the two, this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterizes much of the artistic production. The theme of the Virgin represented with the Child Jesus, and more specifically with him on her lap, seated or standing, has its origin in the Eastern religions of Antiquity, in images such as that of Isis with her son Horus, but the most direct reference is that of the Virgin as "Sedes Sapientiae", or throne of God, in medieval Christian art. Gradually, with the advance of naturalism, the Virgin will pass from being a simple "throne" of the Child to reveal a relationship of affection, beginning in the Gothic period. From then on, the figures will acquire movement, approaching each other, and finally the concept of the throne will disappear and with it the secondary role of the Virgin. In this way, the image will become an example of the love between Mary and her Son, an image of tenderness, close, designed to move the spirit of the faithful.

Estim. 2 000 - 2 500 EUR

Italian school; late seventeenth century. "Madonna and Child". Oil on canvas. Measurements: 27 x 23 cm. In this canvas the author represents a scene very repeated in the History of Art, especially since the Renaissance: the Virgin with the Child Jesus in her arms. It was a theme widely treated during the Renaissance and the Baroque, since it emphasized the human aspect of Christ, in the innocence and happiness of his childhood, in dramatic contrast with his destiny of sacrifice. Thus, the Savior appears represented as a child of delicate beauty and soft anatomy, protected by the maternal figure of Mary, whose face shows, in its seriousness, the knowledge of the bitter destiny of her son. Since the end of the Middle Ages, artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between the two, this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterizes much of the artistic production. The theme of the Virgin represented with the Child Jesus, and more specifically with him on her lap, seated or standing, has its origin in the Eastern religions of Antiquity, in images such as that of Isis with her son Horus, but the most direct reference is that of the Virgin as "Sedes Sapientiae", or throne of God, in medieval Christian art. Gradually, with the advance of naturalism, the Virgin will pass from being a simple "throne" of the Child to reveal a relationship of affection, beginning in the Gothic period. From then on, the figures will acquire movement, approaching each other, and finally the concept of the throne will disappear and with it the secondary role of the Virgin. In this way, the image will become an example of the love between Mary and her Son, an image of tenderness, close, designed to move the spirit of the faithful.

Estim. 4 500 - 5 000 EUR

Novo-Hispanic school; XVII century. "Virgin with Child". Oil on panel. Presents period frame. Measurements: 66 x 48 cm; 83 x 55 cm (frame). In this canvas the author represents a scene very repeated in the History of Art, especially since the Renaissance: the Virgin with the Child Jesus in her arms. It was a theme widely treated during the Renaissance and Baroque periods, since it emphasized the human aspect of Christ, in the innocence and happiness of his childhood, in dramatic contrast with his destiny of sacrifice. Thus, the Savior appears represented as a child of delicate beauty and soft anatomy, protected by the maternal figure of Mary, whose face shows, in its seriousness, the knowledge of the bitter destiny of her son.Since the end of the Middle Ages artists insisted on representing, in an increasingly intense way, the bond of affection that united Christ with his Mother and the close relationship between them, this was encouraged in the Renaissance and, naturally, in the Baroque period, when the exacerbation of emotions characterizes much of the artistic production. The theme of the Virgin represented with the Child Jesus, and more specifically with him on her lap, seated or standing, has its origin in the Eastern religions of Antiquity, in images such as that of Isis with her son Horus, but the most direct reference is that of the Virgin as "Sedes Sapientiae", or throne of God, in medieval Christian art. Gradually, with the advance of naturalism, the Virgin will pass from being a simple "throne" of the Child to reveal a relationship of affection, beginning in the Gothic period. From then on, the figures will acquire movement, approaching each other, and finally the concept of the throne will disappear and with it the secondary role of the Virgin. In this way, the image will become an example of the love between Mary and her Son, an image of tenderness, close, designed to move the spirit of the faithful. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening of some of the colonies, that several artists began to represent a new model of painting with its own identity.

Estim. 500 - 700 EUR

Vicente López Portaña (Valencia, 1772 - Madrid, 1850)

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