Pedro Cano Pedro Cano
(1944)
Eduardo's friends 1978 Lithograph 70x40 cm Signatur…

Description

Pedro Cano

Pedro Cano (1944) Eduardo's friends 1978 Lithograph 70x40 cm Signature and numbering "Pedro Cano 44/100". Embossed stamp and label by the Il Torchio Romano printer.

208

Pedro Cano

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Starting price 4850 EUR

Mitoraj Igor (1944-2014) / Artcurial: Sculpture "Les Mains", year 1978, patinated bronze on a travertine base, signed lower right, numbered 188 /250, with Artcurial certificate dated February 15, 1980, signed in the artist's hand, H: 59, H with base: 68 cm, (resale rights + 4%)

Estim. 6 000 - 8 000 EUR

Immaculate Virgin in Oval, attributed to Pedro Anastasio Bocanegra (Granada, 1638-1689), 17th century Spanish school Oil on canvas, with vintage cornucopia-type frame, framed measurements: 100 x 84, canvas measurements: 82 x 62 cm. Pedro Anastasio Bocanegra would become the most active artist in the city of Granada at the end of the 1660s. After a brief stay in Seville, in 1686 he went to the Madrid court under the protection of Don Pedro de Toledo, Marquis of Mancera, who helped him obtain the title of painter to the king ad honorem for his painting Allegory of Justice (Royal Academy of Fine Arts of San Fernando, Madrid). Other important works to highlight are the adoration of the Eucharist (convent of Las Góngoras, Madrid), some portraits of members of the Trinitarian order (Palace of Carlos V, Granada), as well as several paintings that represent the Virgin with the Child and different saints, and The Triumph of David, in the Prado Museum. Bibliography: Wethey, Harold Edwin, «Cano’s Granada Disciples», Spanish Art Archive, no. cv, Madrid, 1954, pp. 25-34.

Estim. 45 000 - 65 000 EUR

Magnificent Pair of Still Lifes with Summer Fruits and Birds, ATTRIBUTED TO BLAS DE LEDESMA, Spanish Renaissance school, 16TH CENTURY Pair of oil paintings on canvas. Measurements: 145 x 92 cm (framed) and 149 x 123 cm (canvases). Origin: important private collection, Spain. We are in front of an exceptional representation on canvas from the 17th century, representing the allegory of summer following the typical style of still lifes popularized by Blas de Ledesma. Blas de Ledesma, a Spanish painter first documented in Granada between 1602 and 1614, is considered one of the first artists to cultivate still life painting in Spain and one of its greatest exponents. With only one signed work, a halo of mystery was woven over him that places him for the first time in Granada in 1602, he is documented that together with Pedro de Raxis the possible authorship of the dome that crowns the imperial staircase of the Monastery of Santa Cruz la Real in Granada. In 1606 he is documented in Andújar (Jaén), working on the painting of one of the vaults of the church of Santa María. It is this condition of mural painter that Francisco Pacheco refers to, who praises him in the Art of Painting, dealing with the technique of gilding, together with Pedro de Raxis and Antonio Mohedano. In 1614, back in Granada, he drew a plaster vault for the Mocárabes room in the Alhambra and is quoted in the cathedral, with unspecified work, together with Miguel Cano, father of Alonso Cano. His death is documented at the end of 1615 or beginning of 1616, since the Brotherhood of Corpus Christi, to which he belonged, celebrates a mass for the responsibility of his soul soul on January 5, 1616. His only signed and documented work is Still Life at the High Museum of Art in Atlanta (Georgia). In it, a wicker basket full of cherries stands centered and with some flowers symmetrically arranged on the sides. Also the cherries that have fallen on the tablecloth seem carefully arranged and everything is ...

Estim. 4 000 - 4 500 EUR

Granada school; second half of the 17th century. Carved and polychromed wood. It presents repainting and restoration on the nose of the Virgin. Measurements: 39 x 34 x 26.5 cm: 47 x 33 x 30 cm (base). The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first surviving example being found in the city of Coburg, a piece from around 1320. Over time the iconography spread throughout Europe, and by the 17th century, after the Counter-Reformation, it had become one of the most important themes in devotional painting. It is a polychrome carving in rounded wood that represents the theme of the Pietà: the Virgin seated with the dead Christ on her lap, a theme of profound drama not only because of the subject itself, but also because its composition evokes images of the Virgin with the Child Jesus on her lap. Iconographically, the Pietà is a theme that has been repeated many times in the history of art, especially from the Renaissance onwards. It is an image taken from the Passion, featuring a sorrowful Virgin Mary holding the dead body of her son. In fact, it is a plastic representation of Mary's pain in the face of the truth of her dead son, and in fact it is from this theme that the representations of the Dolorosa, in which only the Virgin appears, would derive. Stylistically, it is clear that the present work is strongly influenced by 17th-century Baroque models from the Granada school, and not only in the iconography, but also in the model chosen as an influence for it, in the decoration of the clothing, in the colouring, in the features of the face, etc. The Granada school, which was strongly influenced by the Renaissance period, included great figures such as Pablo de Rojas, Juan Martínez Montañés (who trained in the city with the former), Alonso de Mena, Alonso Cano, Pedro de Mena, Bernardo de Mora, Pedro Roldán, Torcuato Ruiz del Peral, etc. In general, the school does not neglect the beauty of the images and also follows naturalism, as was usual at the time, but it would always emphasise the intimacy and seclusion in delicate images which would be somewhat similar to the rest of the Andalusian schools in another series of details but which do not usually have the monumentality of the Sevillian ones. The work can be inscribed, specifically, in the stylistic circle of the Mora workshop (José and Diego). This was one of the most important workshops in Granada in the 17th century. The artistic legacy of this family of image-makers, which spanned from the last third of the 17th century to the second half of the 18th century, was a milestone in the Granada school. Influenced by the work of both Alonso Cano and Pedro de Mena, his influence led him to create a very personal and characteristic style.

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