RAFAEL JUAN CONTELL (1850-?). "GIRL WITH PIGEONS".
Oil on board.
Signed and loca…

Description

RAFAEL JUAN CONTELL (1850-?). "GIRL WITH PIGEONS". Oil on board. Signed and located in Venice. On the reverse, there is a label that reads: "Giuseppe Biasutti. Presso la regia accademia. No. 1024 Venice. Deposito oggetti per Pintura e Disegno". 40.5 x 28.5 cm; 52 x 40.5 cm (frame).

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RAFAEL JUAN CONTELL (1850-?). "GIRL WITH PIGEONS". Oil on board. Signed and located in Venice. On the reverse, there is a label that reads: "Giuseppe Biasutti. Presso la regia accademia. No. 1024 Venice. Deposito oggetti per Pintura e Disegno". 40.5 x 28.5 cm; 52 x 40.5 cm (frame).

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JULIUS PIPPI KNOWN AS JULIO ROMANO (circle of) Holy family with St. John Oil on canvas applied to panel, 103x78 cm The valuable painting is a quality replica of the so-called "Holy Family Spinola," in which Giulio Romano depicts the first meeting between Jesus and the Baptist in the presence of Joseph, Mary and Elizabeth. Some features of the late Raphaelesque style, later taken up by Romano, emerge in the work, as can be seen in the idealized female faces and closely intertwined figures. This is complemented by Romano's personal characteristics, such as the metallic palette and the muscular figures with marked features.

Estim. 250 - 300 EUR

CAMILO JOSÉ CELA (Iria Flavia, A Coruña, 1916 - Madrid, 2002) and RAFAEL ZABALETA (Quesada, Jaén, 1907-1960). "El Solitario y los Sueños de Quesada", illustrated by Rafael Zabaleta. 1963. Copy 170/299. Printer: Editorial Papeles de Son Armadans. Prince Don Juan Manuel Collection of C. J.C.'s Works. - III, Palma de Mallorca. Signed by Camilo José Cela. All leaves have watermark by R. Zabaleta. Measurements; 35.5 x 45 x 2.5 cm (book); 37 x 46 x 3 cm (box). Edition of "El solitario", by Cela, and "Los sueños de Quesada", by Zabaleta, belonging to the Príncipe Juan Manuel collection of Obras de Camilo José Cela, nº III, published in 1963 in Palma de Mallorca. Print run of 299 copies on paper specially made by L. Guarro Casas, with the artist's signature in watermark, numbered to press and signed by Cela.

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Italian school of the first half of the 19th century. After RAFAEL SANZIO (Italy, 1483 - 1520). "The Holy Family of Francis I/The Large Holy Family". Oil on canvas. Measurements: 104 x 137 cm; 122 x 150 cm (frame). This work is a faithful continuation of the one painted by Raphael Sanzio in 1518, an oil on panel transferred to canvas now in the Louvre Museum in Paris. Raphael depicted in this canvas the Holy Family accompanied by St. John the Baptist as a child and his mother, St. Elizabeth. The placement of the different figures reflects the hierarchy of the characters in this iconography. Thus, we see St. Joseph behind almost hidden in the shadows, while the two women and the two children remain in the foreground, directly illuminated. These four figures form a typically Raphaelesque pyramidal scheme, much imitated by his followers, clearly classical, which anchors the composition and balances it. In addition, this scheme serves to focus attention on the two main characters: Jesus and Mary. Regarding the subject matter, the iconography that introduces the figure of St. John the Baptist in scenes of the Holy Family or Mary with the Child is not only due to the saint's condition as a relative of Jesus, but also has a theological meaning. These images present St. John the Baptist as a prophet who announces the redemptive mission of Christ, and that is why, despite the fact that he is represented as a child, before his retreat to the desert, he appears with the skin of a lamb or camel and, generally, accompanied by the usual iconographic attributes in his images, which allude to the Passion of Christ. However, unlike what happens in other paintings, both by Raphael and other authors, here the children appear oblivious to the dramatic fate of Jesus. Only the two women show a certain pain contained in their expressions that lets us guess the sorrow with which they contemplate the children's games.

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Circle of JUAN DE ANCHIETA (Azpeitia, Guipúzcoa, c. 1540 - Pamplona, 1588). "Virgin and Child. Carved wood, gilded and polychrome. It has a silver crown. Measurements: 66 x 28 x 22 cm. The figure represents the image of a young woman with long hair, symbolizing her virgin condition, covered by the golden mantle. The clothes give it volume not without a certain movement that is generated through the folds of the fabrics. The back of the sculpture is barely worked, indicating that it is a sculpture designed to be seen only from the front and probably as part of a larger sculptural group, as was common at the time. Aesthetically, the work shows a great delicacy in the carving of the facial features, which indicates the knowledge of the artist. Due to its style, this work can be attributed to Juan de Anchieta, a baroque sculptor belonging to the Romanist School, a current of Spanish mannerism that shows a marked influence of the Italian authors who worked in Rome, especially Raphael and Michelangelo. The Romanist style is especially characterized by its monumentality and powerful anatomies, features that are clearly seen in this carving. In fact, Juan de Ancheta was probably trained in Italy, given that his style reveals influences from Italian masters, although there is no documentation to support this trip. By 1565 Ancheta was in Valladolid, but shortly thereafter he was in Briviesca, presumably collaborating with Gaspar Becerra on an altarpiece for the church of the convent of Santa Clara. In fact, Ancheta's style shows the influence of Becerra's mannerism, enriched with the classicism of contemporary Roman sculpture. It is believed that the sculptor returned to work with Becerra around 1558, on an altarpiece.

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