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FELICIANO HERNÁNDEZ SÁNCHEZ (Ávila, 1936 - Navalcarnero, 2018). "Peacocks. Tinplate and glass. Measurements: 57 x 30 x 27 cm (x2). Feliciano Hernández began his training studying at the School of Fine Arts of San Fernando in Madrid. In 1968 he exhibited his work at the Venice Biennale. His style is reminiscent of the works of artists such as Gargallo, Julio González and José Caballero. Currently his work is in numerous collections of great artistic relevance among which stand out; the Museum of Art Reina Sofia (Madrid), the Museum of Fine Arts (Bilbao), the Museum of Ostend (Belgium), the Museum of the University of Alabama (USA), the collection of the I International Exhibition of Sculpture in the Street of Santa Cruz de Tenerife, or the Museum of Contemporary Art of Villafamés (Castellón), among others.

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FELICIANO HERNÁNDEZ SÁNCHEZ (Ávila, 1936 - Navalcarnero, 2018). "Peacocks. Tinplate and glass. Measurements: 57 x 30 x 27 cm (x2). Feliciano Hernández began his training studying at the School of Fine Arts of San Fernando in Madrid. In 1968 he exhibited his work at the Venice Biennale. His style is reminiscent of the works of artists such as Gargallo, Julio González and José Caballero. Currently his work is in numerous collections of great artistic relevance among which stand out; the Museum of Art Reina Sofia (Madrid), the Museum of Fine Arts (Bilbao), the Museum of Ostend (Belgium), the Museum of the University of Alabama (USA), the collection of the I International Exhibition of Sculpture in the Street of Santa Cruz de Tenerife, or the Museum of Contemporary Art of Villafamés (Castellón), among others.

Estimate 700 - 900 EUR
Starting price 400 EUR

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Attributable to Juan Sánchez Cotán, Holy Family, Granada school, 17th century Oil on canvas, canvas measures: 82 x 105 cm, framed measures: 97 x 118 cm. Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627) was a Spanish painter, a disciple of Blas de Prado and influenced by some artists who worked in El Escorial, such as Luca Cambiaso or Juan Fernández Navarrete. Sánchez Cotán worked in Toledo, where he had an important clientele, until in 1603 he decided to enter the Cartuja as a lay brother, one of the most strictly observed religious orders, settling in Granada until his death on September 8, 1627, a festival of the Nativity of the Virgin, the same day that, according to Antonio Palomino, he had professed as a Carthusian in 1604. Antonio Palomino affirms that he was a disciple of Blas de Prado in Toledo, with whom he "excelled in painting fruit". Although it has not been possible to confirm documents, this learning relationship is plausible. Prado, who made frequent trips to El Escorial assimilating the Mannerist tendencies that were practiced there, would have been, according to literary sources, the creator of the Spanish still life, although none of his hands have been preserved. On the other hand, their friendly relationship and professional with Sánchez Cotán is accredited until the same year of his death in 1599. The testament that Sánchez Cotán drew up in 1603, when he was preparing to take the Carthusian habit, together with the inventory of his assets carried out by his executors, are the best source of information available for the knowledge of his human and professional trajectory up to that year. Reference bibliography: Ripollés, Carmen (2018). «The still lifes of Juan Sánchez Cotán and artistic ingenuity in early modern Toledo». Bulletin of the Museo del Prado XXXVI (54): 34-47.