ESPAGNE, Philippe III (1598-1621) SPAIN
Philip III (1598-1621)

Cob Escudo, 3.31…

Description

ESPAGNE, Philippe III (1598-1621)

SPAIN Philip III (1598-1621) Cob Escudo, 3.31g, n.d., Seville (Fr.196). Scratches on edge at 9 o'clock, fine.

235

ESPAGNE, Philippe III (1598-1621)

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Estim. 400 - 600 EUR

King Philip II Letter Signed

Starting price 500 EUR

ANNE D'AUTRICHE Queen of France then Regent. (1601-1666), Infanted of Spain and Portugal, Archduchess of Austria, Princess of Burgundy and Princess of the Netherlands, daughter of King Philip III, King of Spain, and Archduchess Margaret of Austria-Styria, married LOUIS XIII on November 21, 1615 and became Queen of France and Navarre, then Regent of these two kingdoms during the minority of her son LOUISXIV (from 1643 to 1651). Anne of Austria was also the mother of Philippe, Duc d'Orléans - Brevet signé, "ANNE" en tant que Régente, mère du Roi (LOUIS XIV), sur vélin écrite le 16 janvier 1651, à Paris. Brevet pour Le Sieur DU BOIS de la MUSSE BLANCHARD, Premier président de la Chambre des Comptes de NANTES, pour le rachat et sous-rachat du sieur de LESSONGÈRES (Jean Blanchard LESSONGÈRE, Seigneur de la MUSSE, his father), des terres qu'il possédait en Bretagne. Anne D'Autriche donates to him what may be due for the redemption, in consideration of the services rendered daily to the King and to her. (27.5 x 26.5 cm). A little creased. Attached is a small lithograph of Anne d'Autriche, by Delpech.

Estim. 10 000 - 12 000 EUR

Attributed to DOMINGO MARTÍNEZ (Seville, 1688 - 1749), . "Immaculate Conception". Oil on canvas. Relined. Measurements: 106 x 77 cm; 125,5 x 101 cm (frame). We see in this work a representation of the Immaculate perfectly framed within the Spanish seventeenth century, marked at stylistic and iconographic level follows the models established in the Baroque, especially those established by the artist Juan Carreño Miranda in his work of the Immaculate Conception, located in the convent of the Barefoot. We see Mary dressed in white and blue (symbols of purity and the concepts of truth and eternity, respectively), surrounded by standing child angels. Some angels carry symbols of the litanies, such as the lilies or the palm. The definitive icnographic image of the Immaculate Conception took shape in the 16th century, apparently in Spain. Following a Valencian tradition, the Jesuit Father Alberro had a vision and described it to the painter Juan de Juanes so that he could capture it as faithfully as possible. It is an evolved iconographic concept, which is sometimes associated with the theme of the Coronation of the Virgin. Due to its artistic and aesthetic characteristics, it can be said that this canvas was made by a follower of the Spanish painter Domingo Martinez. This artist was trained in his hometown, being Lucas Valdés one of his teachers. The sources indicate that he was appreciated in his time, given that we find important commissions such as those received from the archbishop of Seville, for whom he made several paintings destined for the cathedral of the Andalusian capital and the church of Nuestra Señora de la Consolación in Umbrete. Likewise, during the stay of Philip V's court in Seville (1729-33) he maintained a relationship with French painters in the service of the king, such as Jean Ranc and Louis-Michel van Loo, whose influence will be evident in his work, combined with the direct inheritance of Murillo. On the other hand, it was precisely Ranc who proposed Martínez as court painter, an offer that the painter, however, rejected, since he did not wish to move to Madrid with the king. He had several disciples, and we know that his workshop trained Andrés de Rubira, Pedro Tortolero and Juan de Espinal, the latter painter who would eventually become his son-in-law and heir to the family workshop. His first important work was the decorative set of the church of the Colegio de San Telmo, with paintings on the life of Christ and his relationship with the sea, made in 1724. Six years later he painted two large paintings for the Convent of Santa Paula in Seville. In this same decade of 1730 he also produced individual works and sets for churches in Seville and its province, always with religious themes, as well as the portrait of Archbishop Luis de Salcedo y Azcona for the Archbishop's Palace of Seville (1739). He was equally prolific in the last decade of his life, when he created tempera decorations for the churches of Santa Ana and San Luis de los Franceses in Seville, as well as several canvases. His last work, produced around 1748, was a set of eight canvases representing the great masquerade held in Seville in June of the previous year on the occasion of the accession to the throne of Fernando VI. Works by Martínez are currently preserved in the Museum of Fine Arts in Seville.

Estim. 1 900 - 2 200 EUR

Barca, Pietro Antonio. Avvertimenti, e regole circa l'architettura civile, scultura, pittura, prospettiva, et architettura militare. Milan, Pandolfo Malatesta, 1620. In 4° oblong (208 x 270 mm); 46 papers. Coat of arms of Philip III of Spain on title page, 33 figures, some of which are full-page (defects and restorations, stain to title page and corner of last few papers). Modern half hardback binding. Very rare first edition edited by Milanese architect Barca, who also participated in the competition and controversy over the facade of the Duomo. Particularly interesting are papers 25-30 devoted to a study of Raphael's "The Marriage of the Virgin," illustrated with 6 figures.

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