Null SERBIA Milan Obrenovich IV
1868-1889
Order of St. Sava.
Knight's insignia w…

Description

SERBIA Milan Obrenovich IV 1868-1889 Order of St. Sava. Knight's insignia with white and blue ribbon, gilt with white and blue enamels. Maltese cross enameled white and bordered with blue; in the four corners, crowned two-headed eagles; in the center, round co

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SERBIA Milan Obrenovich IV 1868-1889 Order of St. Sava. Knight's insignia with white and blue ribbon, gilt with white and blue enamels. Maltese cross enameled white and bordered with blue; in the four corners, crowned two-headed eagles; in the center, round co

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Estim. 4 000 - 5 000 EUR

Attributed to ANTONIO MARIA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Academic study". Oil on canvas. Relined. Provenance: Private collection in Belgium. With export permit. Size: 103 x 82 cm; 126 x 104 cm (frame). The portrait shows a physiognomy of the gentleman characterised with verism and detailed brushstrokes, with a miniaturist's pulse. A fig leaf covers his private parts. The moving posture breathes life into the body, which is aided by the pronounced musculature and the concentrated face, as each element is resolved with extreme precision. Esquivel was the most representative and prolific painter of Sevillian Romanticism and one of the most outstanding of his time in Spain. His life was a true Romantic plea; he lost his fortune after his father's death, was orphaned and left poor, and at the age of seventeen he enlisted against the absolutist cause of the Duke of Angoulême, and did not live comfortably until he moved to Madrid in 1831. However, in 1838 he returned to Seville, where he lost his sight shortly afterwards. Cured in 1840 he returned to Madrid, where he worked until his death. Trained at the Seville Academy of Fine Arts, he was appointed chamber painter in 1843 and a member of the San Fernando Royal Academy in 1847, contributed to the publications "El siglo XIX" and "El Panorama" and was a member of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid, which led him to publish the monographs of José Elbo y Herrera el Viejo (1847) and his "Tratado de anatomía práctica" (1848). He was also an art critic and wrote on history painting and the German Nazarenes. As a painter he fully identified with Romanticism, which he expressed through the sentiment and aesthetic correctness of his work. His style, which is partly eclectic, is characterised by a great technical mastery that manages to harmoniously balance the correctness of the drawing and the quality of the colours. Although he dealt with a wide range of subjects, portraiture is an essential part of his career. In addition to his artistic merit, his portraits illustrate the society of his time with historical rigour, without neglecting affective values. He received many commissions for portraits in various formats, and also produced several self-portraits, one of which is in the Museo del Prado. He also executed group portraits, which reflect his fascination with the Dutch Baroque and his corporate portraits. With regard to religious themes, he was a follower of Murillo, in connection with his own status as a Sevillian. His history paintings had a very personal, literary and theatrical character, the result of the Romantic atmosphere in which he lived. His official awards include the plaque of the Siege of Cadiz and the Cross of Commander of the Order of Isabella the Catholic. In 2006, in commemoration of his second centenary, the Seville Academy of Fine Arts, in collaboration with the El Monte Foundation, held a retrospective exhibition dedicated to his work. He is represented in the Prado Museum, the Huesca Town Hall, the Lázaro Galdiano Museum, the Fine Arts Museum in Seville, the Romantic and Naval Museums in Madrid, the National Library and the Santa Cruz Museum in Toledo, among many others.

Estim. 2 000 - 2 500 EUR

Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682). "Saint Francisco de Paula". Oil on canvas. It preserves the original canvas. It has slight flaws and losses in the pictorial surface. Measurements: 118 x 88 cm; 146 x 116 cm (frame). The characterization of the protagonist of this work represented as an old man with a gray beard wearing a habit, leaning on a staff, indicates that it is the representation of St. Francis of Paola. Both the model of the saint and the background in which it is inscribed indicate that the author of this work is based on the model created by Murillo (P000991), currently in the collection of the Prado Museum in Madrid. Saint Francis of Paola (1416-1507) was an Italian hermit, founder of the Order of the Minims. At a very young age he began his life as a hermit on the outskirts of his native town, Paula. Little by little he acquired fame for his prodigies, and around 1450 there was already a group of followers around his figure. His community grew, and in 1470 the Congregation of Hermits (the future Order of Minims) received diocesan approval from the Archbishop of Consenza. Four years later, Pope Sixtus IV granted them pontifical approval. In 1483 Francis of Paola went to France by order of the pope and at the request of King Louis XI. There he developed some diplomatic work in favor of the Holy See, at the same time that he tried to obtain the approval of a Rule for his congregation, which he finally obtained in 1493. Until his death, Francis of Paola would count on the support and protection of the French monarchs, and a few years after his death, processes for his canonization would begin in Calabria, Tourse and Amiens, in which numerous witnesses of his life and miracles testified. He was finally beatified in 1513 and canonized in 1519. It presents slight flaws and losses in the pictorial surface.

Estim. 1 100 - 1 300 EUR

Spanish or Italian school; 17th century. "Saint Francis of Paula". Oil on canvas. Size: 29 x 23 cm; 37 x 31 cm (frame). Saint Francis of Paula (1416-1507) was an Italian hermit, founder of the Order of the Minims. At a very young age he began his life as a hermit on the outskirts of his native town of Paula. He gradually gained fame for his miracles, and by around 1450 there was already a group of followers around him. His community grew, and in 1470 the Congregation of Hermits (the future Order of Minims) received diocesan approval from the archbishop of Consenza. Four years later, Pope Sixtus IV granted them pontifical approval. In 1483, Francis of Paola went to France by order of the Pope and at the request of King Louis XI. There he carried out some diplomatic work on behalf of the Holy See, while at the same time trying to obtain its approval for a Rule for his congregation, which he finally achieved in 1493. Until his death, Francis of Paola enjoyed the support and protection of the French monarchs, and a few years after his death, processes for his canonisation were initiated in Calabria, Tourse and Amiens, in which numerous witnesses to his life and miracles testified. He was finally beatified in 1513 and canonised in 1519. The iconography of this saint is abundant. The best known effigy, which has inspired many painters, is the one by Jean Bourdichon, a French painter who was a contemporary of Francis of Paola. In it, the saint is depicted in the habit, an old man with a grave face and a bushy grey beard, leaning on a simple staff.

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