Null Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico Cit…

Description

Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772) ‘Virgin of Guadalupe’. Oil on canvas. 66 x 55,5 cm. Juan Patricio Morlete Ruiz was one of the greatest painters in Mexico during the second half of the 18th century. Although his biography was little known until the 20th century, his work began to be more widely disseminated through various collections, which made it possible to learn more about him. Morlete, with an extensive oeuvre in Mexico, is particularly known for his series of caste paintings. The Museo de América has a still life by his hand (inv. 2021/04/01). Manuel López-Pintado y Almonacid (Toledo, 1677 - Seville, 1745) was an Admiral of the Spanish treasure fleet. He founded the Academy of Painting in 1753, together with his teacher José de Ibarra, Miguel de Cabrera, José de Alcíbar and other illustrious figures. Two years earlier, in 1751, he had been part of the group of artists who inspected the image of the Virgin of Guadalupe. These two events reflect the artistic and cultural importance, as well as the social and professional recognition of our painter.

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Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772) ‘Virgin of Guadalupe’. Oil on canvas. 66 x 55,5 cm. Juan Patricio Morlete Ruiz was one of the greatest painters in Mexico during the second half of the 18th century. Although his biography was little known until the 20th century, his work began to be more widely disseminated through various collections, which made it possible to learn more about him. Morlete, with an extensive oeuvre in Mexico, is particularly known for his series of caste paintings. The Museo de América has a still life by his hand (inv. 2021/04/01). Manuel López-Pintado y Almonacid (Toledo, 1677 - Seville, 1745) was an Admiral of the Spanish treasure fleet. He founded the Academy of Painting in 1753, together with his teacher José de Ibarra, Miguel de Cabrera, José de Alcíbar and other illustrious figures. Two years earlier, in 1751, he had been part of the group of artists who inspected the image of the Virgin of Guadalupe. These two events reflect the artistic and cultural importance, as well as the social and professional recognition of our painter.

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Estim. 4 600 - 4 800 EUR

Circle of JUAN SARIÑERA, (Spain, c. 1545 - 1619). "The venerable Domingo Anadón delivering the guilds of the statutes of the Pila de San Vicente Ferrer". Oil on canvas. Relined. Measurements: 110 x 135 cm, 125 x 147 cm (frame). This canvas is a copy of the painting made by Juan Sariñena and is in the Notarial College of Valencia. This work is referenced in the catalog "Juan Sariñena. Painter of the Counter-Reformation in Valencia", published by the Generalitat Valenciana in 2008. Juan Sariñena was a Spanish painter, probably of Aragonese origin, active in Valencia in the late sixteenth and early seventeenth centuries. He was key in the acceptance of the new naturalistic language, replacing the mannerist and idealizing formulas of Juan de Juanes. In 1570 he was in Rome, influenced by painters of the late counter-mannerism and by the Academy of San Lucas. From 1580 he lived in Valencia, excelling in portraiture with Venetian technique. His first documented work is a portrait of King James I in 1580, followed by a portrait of St. Louis Beltran. In 1584, Sariñena began receiving commissions from Archbishop Juan de Ribera, including portraits of saints and a series of naturalistic portraits. In 1591, he directed the decoration of the Sala Nova of the Palacio de la Generalidad Valenciana, for which he was named Pintor de la Ciudad in 1595. He continued to work for Ribera and other important clients, including the remodeling of the cell of San Vicente Ferrer and several religious paintings. In his later years, he collaborated with Francisco Ribalta and adopted a more vivid color palette. In 1607, he was a member of the board of directors of the Colegio de Pintores and, although his output declined, he still undertook important commissions until his death in 1619 in Valencia. He was succeeded by his disciple Agustín Ridaura as painter of the city.

Estim. 300 - 400 EUR

KENNETH DUDLEY SMITH (United States, 1886 - 1965) "Fort San Juan." Photograph. Artist's stamp on the back. Measurements: 26 x 34 cm. This photograph presents the fort of San Juan in Cuba, a historical space since it was crucial during the war of Cuba. The presence of people next to the construction indicates its relevance as a historical monument and tourist interest. This presence invites the viewer to reflect on the value of the buildings.

Estim. 55 000 - 60 000 EUR

Attributed to the Italo-Valencian school of PAOLO DE SAN LEOCADIO (Reggio Emilia, 1447-Valencia, 1519) - Saint John the Baptist and Mary Magdalene on panel Pair of oil paintings on panel representing Saint John the Baptist and Mary Magdalene. Oil on panel. Measurements of each table: 145 x 60 cm, good general state of conservation in polychrome. Provenance: private collection, Madrid. Pilar Silva Maroto (Reggio Emilia, 1447-Valencia, 1519). Italian painter who developed much of his activity in Valencia, and helped introduce the Renaissance to the city. Of Ferrari-Paduan training, judging by the style of the first works attributed to him, he must also have known the Venetian painting of the Bellini. Thanks to the protection of Cardinal Rodrigo de Borja - the future Pope Alexander VI - Paolo de San Leocadio arrived in Valencia in 1472 together with the Neapolitan painter Francesco Pagano. The Virgin of the Knight of Montesa (c. 1475, Prado), which is attributed to his hand, the Sacra Conversatione (signed, National Gallery, London) or the San Miguel (c. 1500, Diocesan Museum of Sacred Art of Orihuela, which comes from the chapel of the Ducal Palace of Gandía), demonstrate how he maintained his quality, without being necessary that supposed trip to Italy that Ximo Company places between 1484 and 1488, since the Italian sources of his art remain the same as when he arrived in Valencia in 1472. The best testimony of the reputation he obtained with his painting is, without a doubt, the document dated in Castellón in 1490 on the occasion of the execution of the main altarpiece of the cathedral -unfortunately disappeared-, in which Paolo is described of San Leocadio as the most solemn painter in Spain. Married three times, he had two painter sons, Felipe Pablo de San Leocadio, from his second wife, and Miquel Joan, from his third, who collaborated with him in his final stage. Thanks to the patronage of the Duchess of Gandía, María Enríquez, widow of Juan de Borja, ...

Estim. 400 - 600 EUR

Chinese Slave Freedom Charter (1777) Early manuscript DS in Spanish, signed "Juan Antonio Blanco Guerrerro" and "D'a Maria Vaez," one page, 8.25 x 6, October 8, 1777. Extraordinary, early freedom charter for an Asian slave in America, in full (translated): "Sir Secretary, Don Francisco Lopez de Zuniga, Please grant a freedom letter to Luisa Baez, Chinese, born in my house. I have received 450 pesos, so we consider ourselves as paid and free from all rights, and thus, we declare that the mentioned servant was given to us as part of a dowry with other servants." In fine condition. Though it is well known that the enslavement of Asian peoples grew in the Americas during the 1840s, scant records of the practice exist prior to that. One famous story is that of Catarina de San Juan, known as the China Poblana, an Asian slave brought to Mexico through the Spanish East Indies during the 17th century, who was venerated as a popular saint in Puebla de los Ángeles until the Holy Inquisition prohibited open devotion to her. This particular document, likely originating from Cuba, documents the freedom of a Chinese slave in 1777—an exceptionally early example of such a document. Research finds no records of the sales of any similar document granting freedom to a Chinese slave at such an early date.

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