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Circle of Alonso Cano Almansa (Granada, 1601-1667), second third of the seventeenth century. St. Francis in prayer. Oil on canvas. Attached certificate made in 1996 and issued by Joan-Ramón Triadó, Doctor in History of Art. 46 x 38 cm. Re-drawn.

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Circle of Alonso Cano Almansa (Granada, 1601-1667), second third of the seventeenth century. St. Francis in prayer. Oil on canvas. Attached certificate made in 1996 and issued by Joan-Ramón Triadó, Doctor in History of Art. 46 x 38 cm. Re-drawn.

Estimate 6 000 - 7 000 EUR

Starting price 3 000 EUR

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For sale on Wednesday 17 Jul : 16:30 (CEST)

barcelona, Spain

Lamas Bolano Subastas
+34934151766

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Precious colonial Immaculate Virgin inspired by the models of Alonso Cano (1601-1667), colonial school of New Granada or New Spain, mid-18th century Gilded, stewed, sgraffito and dotted wood carving made of tropical wood, preserving most of its original polychromy. Measurements: 54 x 23 x 15 cm

Lot 448

Estim. 8 000 - 8 500 EUR

Important Christ Salvator Mundi, Anonymous Novohispano of the 18th century, Mexican colonial school of the 17th century, environment of Alonso López Herrera Oil on canvas, canvas measures: 126 x 105, framed measures: 144 x 122 cm. Origin: old private collection, Granada.

Lot 744

Estim. 18 000 - 22 500 EUR

Massive Baroque Madonna in Glory - ATTRIBUTED TO JOSÉ DE RISUEÑO (Granada, 1665-1732), 17TH CENTURY BAROQUE GRANADINE SCHOOL Oil on canvas measurements: 100 x 78 cm, framed measurements: 120 x 100 cm. One of the most prominent Spanish painters and sculptors of the Granada Baroque. Trained in the workshop of his father Manuel Risueño with the sculptors Diego and José de Mora and with the painter Juan de Sevilla, all of them disciples of Alonso Cano. With abundant artistic production of a religious nature, in his work we can see the influence of Cano's models, his taste for naturalism and the use of Van Dyck's Flemish prints. Among his paintings, the religious scenes stand out with examples such as The Coronation of Saint Rosalía and The Mystical Betrothal of Saint Catherine (Granada Cathedral), The Virgin of the Rosary (private collection, Almería) and Saint Thomas of Aquinas (acquired in 1911 by the Prado Museum). He collaborated with Palomino in the execution of The Triumph of the Eucharist and Saint Bruno from the dome of the Tabernacle of the Granada Charterhouse (in situ). He also made portraits, highlighting among them that of his protector, Archbishop Dr. Martín Azcargorta (archiepiscopal palace, Granada). In his sculptural works he cultivated the same themes as in painting, using diverse materials: clay, wood and stone, to make altarpieces, doorways and church facades, most of them in his hometown. Provenance: private collection, Barcelona. Reference literature: Orozco Díaz, Emilio, «Some unknown works by Risueño and de Mora (data and comments for the study of a forgotten theme of Granada imagery)», Spanish Art Archive, xliv, no. 175, Madrid, 1971, pp. 233-257; Sánchez-Mesa Martín, Domingo, José Risueño, sculptor and painter from Granada (1665-1732), Granada, University, 1972.

Lot 84

Estim. 4 000 - 4 500 EUR

Granada school; second half of the 17th century. Carved and polychromed wood. It presents repainting and restoration on the nose of the Virgin. Measurements: 39 x 34 x 26.5 cm: 47 x 33 x 30 cm (base). The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first surviving example being found in the city of Coburg, a piece from around 1320. Over time the iconography spread throughout Europe, and by the 17th century, after the Counter-Reformation, it had become one of the most important themes in devotional painting. It is a polychrome carving in rounded wood that represents the theme of the Pietà: the Virgin seated with the dead Christ on her lap, a theme of profound drama not only because of the subject itself, but also because its composition evokes images of the Virgin with the Child Jesus on her lap. Iconographically, the Pietà is a theme that has been repeated many times in the history of art, especially from the Renaissance onwards. It is an image taken from the Passion, featuring a sorrowful Virgin Mary holding the dead body of her son. In fact, it is a plastic representation of Mary's pain in the face of the truth of her dead son, and in fact it is from this theme that the representations of the Dolorosa, in which only the Virgin appears, would derive. Stylistically, it is clear that the present work is strongly influenced by 17th-century Baroque models from the Granada school, and not only in the iconography, but also in the model chosen as an influence for it, in the decoration of the clothing, in the colouring, in the features of the face, etc. The Granada school, which was strongly influenced by the Renaissance period, included great figures such as Pablo de Rojas, Juan Martínez Montañés (who trained in the city with the former), Alonso de Mena, Alonso Cano, Pedro de Mena, Bernardo de Mora, Pedro Roldán, Torcuato Ruiz del Peral, etc. In general, the school does not neglect the beauty of the images and also follows naturalism, as was usual at the time, but it would always emphasise the intimacy and seclusion in delicate images which would be somewhat similar to the rest of the Andalusian schools in another series of details but which do not usually have the monumentality of the Sevillian ones. The work can be inscribed, specifically, in the stylistic circle of the Mora workshop (José and Diego). This was one of the most important workshops in Granada in the 17th century. The artistic legacy of this family of image-makers, which spanned from the last third of the 17th century to the second half of the 18th century, was a milestone in the Granada school. Influenced by the work of both Alonso Cano and Pedro de Mena, his influence led him to create a very personal and characteristic style.