Null (1502). TORQUEMADA (Juan de). EXPOSITIO IN PSALTERIUM REVERENDISSIMI. D. IO…

Description

(1502). TORQUEMADA (Juan de). EXPOSITIO IN PSALTERIUM REVERENDISSIMI. D. IOANNIS YSPANI DE TURRE CREMATA. Venice, Lazzaro Soardi, January 26, 1502. In-8 of 132 leaves, blond calf, cold-stamped boards (period binding). The Expositio psalterio by Dominican cardinal Juan de Torquemada (1388-1468) was first published in Rome in 1470. The present edition, printed in small Gothic type on 2 columns, was most probably the first to be printed in Venice; it is adorned on the title with a large woodcut showing the author writing in his study. Stamp on title with handwritten bookplate. Label of the Nourry bookshop. Spine rebound, ex. with large margins. (USTC 859692, 15 copies).

34

(1502). TORQUEMADA (Juan de). EXPOSITIO IN PSALTERIUM REVERENDISSIMI. D. IOANNIS YSPANI DE TURRE CREMATA. Venice, Lazzaro Soardi, January 26, 1502. In-8 of 132 leaves, blond calf, cold-stamped boards (period binding). The Expositio psalterio by Dominican cardinal Juan de Torquemada (1388-1468) was first published in Rome in 1470. The present edition, printed in small Gothic type on 2 columns, was most probably the first to be printed in Venice; it is adorned on the title with a large woodcut showing the author writing in his study. Stamp on title with handwritten bookplate. Label of the Nourry bookshop. Spine rebound, ex. with large margins. (USTC 859692, 15 copies).

Auction is over for this lot. See the results

You may also like

Estim. 55 000 - 65 000 EUR

Maître de "Los Santos Juanes" (Actif en Castille entre 1525- 1550) École gothique médiévale espagnole du XVe siècle. Monumental oil on panel measuring 145 x 95 cm in outstanding state of conservation and polychrome of origin, the scene with which this work delights us represents the painting depicts Pope St. Gregory the Great, when in the year 590 an epidemic of plague was declared in Rome, which caused numerous deaths. For this reason the Pontiff organized a great procession. Arriving at the Bridge of Helium (today the Bridge of Sant'Angelo), in front of the Castellum Crescentii (ancient mausoleum of Emperor Hadrian), the miracle took place. Pope Gregory looked towards the top of the castle, and there he observed the great figure of the archangel St. Michael, sheathing his sword, who welcomes them, very possibly being a commemorative commission from the Archbishopric to the master from Palencia to decorate a newly built church or cathedral. Bibliography: MATEO GÓMEZ, Isabel "Maestro de los Santos Juanes". Painting of four centuries. Madrid: Caylus, 1997, pp. 36- 39. FIZ, Irene. "A propósito del Maestro de los Santos Juanes." Spanish Archive of Art, Volume 74, No. 295, 2001, p. 259. The technical study, Icono I&R, will include these four works in a future publication dedicated to the Master of the Santos Juanes.

Estim. 2 000 - 3 000 EUR

Exquisite and decorative portrait of a Valencian Lady, 18th century Spanish school, style of José Camarón y Bonarat (Segorbe 1731 – Valencia 1803) Oil on canvas measures: 82 x 62 cm, good condition, requires cleaning. Son of a family of artists, his father, Nicolás, worked as a sculptor for the Segorbe cathedral and for the Jesuit church in the same city. His mother, Damiana, was the sister of the miniaturist Eliseo Bonanat. Married in 1758 to Juliana Meliá, he had five children, who also dedicated themselves to the arts: José Ventura (Segorbe, 1759), José Juan (Segorbe, 1760 – Madrid, 1819), Manuel (Valencia, 1763 – Segorbe, 1806), Rafael (Valencia, 1772) and Eliseo (Valencia, 1780). José Camarón received his first humanist training from the Jesuits of Segorbe and his artistic training in the workshop of his father and his uncle, Mosén Eliseo Bonanat. F. Benito Domènech, Drawings by José Camarón Boronat on the life of Saint Joseph, Madrid, Instituto Diego Velázquez, 1987; R. Rodríguez Culebras, “Notes on some paintings from the Chapel of the University of Valencia”, in VV. AA., The Chapel of the University of Valencia, Valencia, 1990, pp. 125-136; AJ Gasco Sidro, Painters of Castellón: the Academy and the Camarón, Castellón, 1996; R. Rodríguez Culebras, “José Camarón. Drawings and engravings”, in VV. AA., Shrimp. Drawings and engravings, exhibition catalogue, Valencia, Bancaja Foundation, 1999; M. Hurtado Urrutia, "Our artists of yesterday, (A little explored territory)", in E. Cortijo (ed.), The mysteries of Cáceres, Cáceres, Chamber of Commerce and Industry of Cáceres, 1998, pp. 175-177.

Estim. 18 000 - 22 500 EUR

Massive Baroque Madonna in Glory - ATTRIBUTED TO JOSÉ DE RISUEÑO (Granada, 1665-1732), 17TH CENTURY BAROQUE GRANADINE SCHOOL Oil on canvas measurements: 100 x 78 cm, framed measurements: 120 x 100 cm. One of the most prominent Spanish painters and sculptors of the Granada Baroque. Trained in the workshop of his father Manuel Risueño with the sculptors Diego and José de Mora and with the painter Juan de Sevilla, all of them disciples of Alonso Cano. With abundant artistic production of a religious nature, in his work we can see the influence of Cano's models, his taste for naturalism and the use of Van Dyck's Flemish prints. Among his paintings, the religious scenes stand out with examples such as The Coronation of Saint Rosalía and The Mystical Betrothal of Saint Catherine (Granada Cathedral), The Virgin of the Rosary (private collection, Almería) and Saint Thomas of Aquinas (acquired in 1911 by the Prado Museum). He collaborated with Palomino in the execution of The Triumph of the Eucharist and Saint Bruno from the dome of the Tabernacle of the Granada Charterhouse (in situ). He also made portraits, highlighting among them that of his protector, Archbishop Dr. Martín Azcargorta (archiepiscopal palace, Granada). In his sculptural works he cultivated the same themes as in painting, using diverse materials: clay, wood and stone, to make altarpieces, doorways and church facades, most of them in his hometown. Provenance: private collection, Barcelona. Reference literature: Orozco Díaz, Emilio, «Some unknown works by Risueño and de Mora (data and comments for the study of a forgotten theme of Granada imagery)», Spanish Art Archive, xliv, no. 175, Madrid, 1971, pp. 233-257; Sánchez-Mesa Martín, Domingo, José Risueño, sculptor and painter from Granada (1665-1732), Granada, University, 1972.

Estim. 12 000 - 15 000 EUR

Immaculate Virgin, in the manner of Acisclo Palomino y Velasco (Córdoba, 1655 - Madrid, 1726), Cordoba school of the 17th century Oil on canvas. Measurements: 228 x 164 (framed), 205 x 145 (canvas). Provenance: important private collection, Spain. Acisclo Palomino y Velasco (Bujalance, Córdoba, 1655-Madrid), 1726 Cordovan painter and initially trained in Córdoba under the direction of Juan de Valdés Leal while studying humanities. With the help of Juan de Alfaro, a disciple of Velázquez, who was working at the Madrid court, in 1678 he traveled to Madrid. There he was introduced to the circle of Juan Carreño de Miranda and Claudio Coello, who facilitated contact with the royal collections and gave him the opportunity to collaborate on some works, such as the decoration of the room of Queen María Luisa de Orleans, first wife of Carlos II, and the gallery of the cierzo, both of the Real Alcázar. These works allowed him to obtain the title of painter to the king in 1688. The arrival of Luca Giordano in Madrid in 1692 made him interested in learning the technique of fresco, becoming one of the most important Spanish fresco artists of the second half 17th century. He collaborated in the preparation of the vaults of El Escorial and those of the old oratory of the Madrid City Council. Between 1697 and 1701 he worked in Valencia, painting the vaults of the church of Santos Juanes and the basilica of Nuestra Señora de los Desamparados. In 1705, he traveled to Salamanca where he executed the Triunfo de la Iglesia for the choir of the church of San Esteban (in situ). Between 1712 and 1713, He painted eight canvases with scenes and saints related to the history of the city of Córdoba for the chapel of Cardinal Salazar and for the main altar of the cathedral, both in that city. Between 1723 and 1725, he worked on his last work before his death, the decoration of the sacrarium of the Carthusian monastery of El Paular in Granada. Ordained a priest when he became a widower ...

Online payments are secured by Ingenico and encrypted transactions.

Each lot has been authenticated and appraised by an Auction House.

Consult our FAQ or contact us

Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.

More about Drouot

Drouot certified auction houses

Contacts

HÔTEL DROUOT

9, rue Drouot 75009 Paris, France

+33 (0)1 48 00 20 00

[email protected]

DROUOT.com

[email protected]