Null Gasparo Bombaci
Bologna - Bombaci, Gasparo - Memorable histories of the cit…

Description

Gasparo Bombaci Bologna - Bombaci, Gasparo - Memorable histories of the city of Bologna. Bologna, for Gio. Battista Ferroni, 1666. In 4° small. Coeval binding in flinty vellum, with small faults on spine and plates due to woodworm work. Woodcut headpieces and endpapers. Scattered reddening and some browning.

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Gasparo Bombaci Bologna - Bombaci, Gasparo - Memorable histories of the city of Bologna. Bologna, for Gio. Battista Ferroni, 1666. In 4° small. Coeval binding in flinty vellum, with small faults on spine and plates due to woodworm work. Woodcut headpieces and endpapers. Scattered reddening and some browning.

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Starting price 95 EUR

Luciano Gaspari / Salviati / Murano: Vase soliflore sommerso circa 1960, mouth-blown glass, green tinted, H: 59, diam: 6.2 cm (2)

Estim. 2 200 - 2 500 EUR

Flemish school of the 17th century. In the manner of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640). "Adoration of the Kings". Oil on copper. It presents repainting. Measurements: 72 x 55 cm; 92 x 75 cm (frame). The present work is part of the Flemish school of the seventeenth century and is inspired by the Baroque models of Peter Paul Rubens, showing the religious scene of the Adoration of the Kings with a host of characters. This work represents the moment in which the three kings, accompanied by their entourage, present their gifts to the child Jesus, who, in his mother's arms, seems to play with the incense presented to him by Gaspar, kneeling before him. The scene is located outside, with a reference to the manger on the right side, transformed into a classical architecture, defined by a semicircular arch and a column. The clothes of the kings, with embroidered capes of rich color and great richness, like the adornments of precious stones and jewels of Balthazar, show the luxury of this procession. The scene takes place almost in semi-darkness, as we can see the opening to the landscape in the last shot. However, the luminosity is clear and the focus emerges from the figure of the child Jesus, who radiates the light that falls on the rest of the characters. The magnificence of the work can be seen in the multitude of characters. It is a composition full of movement and dynamism, where each of the characters is studied individually and as a whole, showing different postures and planes.

Estim. 7 500 - 8 000 EUR

Spanish or Novo-Hispanic school; second half of the 17th century. "Virgin of the tabernacle of Toledo". Oil on canvas. Re-drawn. It presents damages caused by xylophagous. It has a 17th century frame. Measurements: 220 x 163 cm; 258 x 202 cm (frame). The work shows, on an undetermined background, the image of the Virgin Mary with the Child in her arms. Her gaze to the front, the gesture of her hands, and the position in which Jesus is with respect to his mother suggest that it is an image inspired by a carving prior to the period in which the image was painted. It was very common in the 17th century to dress the most venerated images in this way in order to respect and update them at the same time, as well as to highlight them and add the richness that their "rank" as sacred figures required. The elements carried by both Mary and the Child, and the gestures of both, directly allude to the representation of the image of the so-called Virgen del Sagrario in Toledo Cathedral. It is usually dated to around 1200, made of wood and completely covered in silver (except for the head and hands) and, already famous in the time of Alfonso X the Wise, it was enthroned around 1226, with Isabella the Catholic being even more prominent. During the first half of the 17th century a chapel was built for her, begun by Don Gaspar de Quiroga and finished by D. Bernardo de Sandoval, and whose inauguration was presided over by Philip III (it took place in 1616). As already mentioned, the position of Mary's hands in this work is very similar to that of the Toledo carving, as are the faces of the two figures, although the "updating" of the style and the modelling of the volumes is clear. Although it is true that the work adopts an archaic style related to the medieval. That is to say, using aesthetics (composition, style, drawing, palette...) It is known from texts that the Virgin of the Tabernacle in Toledo mentioned was dressed in the 17th century in a rich mantle of pearls and jewels. Furthermore, the crown shown in the oil painting would be the older of the two important ones in "his treasure" today (it seems to be a 15th-century base and the rest of the work of Alonso de Montoya in 1568 or between 1574 and 1586), and it is truly particular in its shape and the bands and hollows it creates at the front. The rostrillo with pearls of Mary would also be a common element when "decorating" or dressing the medieval carvings that were very popular in the Baroque period and later, with a series of jewels and elements that may have been donated by prominent personalities of the time.

Estim. 13 000 - 14 000 EUR

Neapolitan school; ca. 1700. "Still life". Oil on canvas. Re-coloured. It presents repainting and restorations. Measurements: 91 x 166 cm; 110 x 185 cm (frame). Neapolitan still life by flowers and fruits magnificently worked, with detail and attention to the qualities. In spite of the profusion of the elements that make up the composition, the still life takes place in an interior, which is intuited due to the furniture that forms part of the scene, and that in the last plane a small opening can be appreciated, which allows to see an exterior landscape. The elements that make up the still life are placed in the foreground, in a typically classical composition that is at the same time dynamic despite the relatively simple structure of the space. The dynamism is enhanced by the use of bright, metallic colours, such as the orange of the fabric or the upholstery of the chair and the pink of the flowers. These colours in turn create a strong contrast with the rest of the tenebrist tonality of the canvas, which is typical of the Neapolitan still life. Given its technical characteristics, it is likely that the work belongs to the circle of the artist Andrea Belvedere (Italy, 1652-1732), who was called to the Spanish court by Luca Giordano. Belvedere settled in Madrid in 1694 until 1700, leaving several examples of his work as a still-life painter in the capital, which are now in the collection of the Museo del Prado. Highly appreciated within the antiquarian market, as well as among collectors and art historians, the Neapolitan still-life school of the Baroque enjoyed a spectacular development, leaving behind the splendour of the 16th century and progressing within a fully Baroque and clearly identifiable style. Artists such as Tommaso Realfonso, Nicola Casissa, Gaspare Lopez, Giacomo Nani and Baldassare de Caro continued the local tradition by specialising in the painting of flowers, fruit, fish and game, thus satisfying the demands of a vast clientele characterised by a new 17th-century taste. In addition to these artists, there are also the minor figures who are slowly emerging from an unjust oblivion, and some artists who worked between the 17th and 18th centuries, such as Francesco della Questa, Aniello Ascione, Nicola Malinconico, Gaetano Cusati, Onofrio Loth, Elena and Nicola Maria Recco, Giuseppe Ruoppolo and Andrea Belvedere. These Neapolitan still-life painters, who worked during the 17th and early 18th centuries, are known as "i generisti" and were important not only in their own environment but also, and especially, in Spain, where the development of the genre was clearly marked by Italian influence, particularly the contribution of the Neapolitan school. Today this school is considered one of the most outstanding within the Baroque still life genre. The distinguishing feature of Neapolitan Baroque painters was always their strong naturalistic character and their warm chromaticism, with a dominance of reddish and earthy tones.

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