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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

* Not including buyer’s premium.
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For sale on Wednesday 17 Jul : 16:30 (CEST)

barcelona, Spain

Lamas Bolano Subastas
+34934151766

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OFFERING PLAT in stamped brass decorated with a central motif of pomegranates around a circle. Engraved wings. (Minor restorations). Ep.XVIIè-XVIIIè. Diam.39.

Lot 419

Estim. 1 500 - 2 000 EUR

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 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 849

Estim. 45 000 - 65 000 EUR

Magnificent Pair of Still Lifes with Summer Fruits and Birds, ATTRIBUTED TO BLAS DE LEDESMA, Spanish Renaissance school, 16TH CENTURY Pair of oil paintings on canvas. Measurements: 145 x 92 cm (framed) and 149 x 123 cm (canvases). Origin: important private collection, Spain. We are in front of an exceptional representation on canvas from the 17th century, representing the allegory of summer following the typical style of still lifes popularized by Blas de Ledesma. Blas de Ledesma, a Spanish painter first documented in Granada between 1602 and 1614, is considered one of the first artists to cultivate still life painting in Spain and one of its greatest exponents. With only one signed work, a halo of mystery was woven over him that places him for the first time in Granada in 1602, he is documented that together with Pedro de Raxis the possible authorship of the dome that crowns the imperial staircase of the Monastery of Santa Cruz la Real in Granada. In 1606 he is documented in Andújar (Jaén), working on the painting of one of the vaults of the church of Santa María. It is this condition of mural painter that Francisco Pacheco refers to, who praises him in the Art of Painting, dealing with the technique of gilding, together with Pedro de Raxis and Antonio Mohedano. In 1614, back in Granada, he drew a plaster vault for the Mocárabes room in the Alhambra and is quoted in the cathedral, with unspecified work, together with Miguel Cano, father of Alonso Cano. His death is documented at the end of 1615 or beginning of 1616, since the Brotherhood of Corpus Christi, to which he belonged, celebrates a mass for the responsibility of his soul soul on January 5, 1616. His only signed and documented work is Still Life at the High Museum of Art in Atlanta (Georgia). In it, a wicker basket full of cherries stands centered and with some flowers symmetrically arranged on the sides. Also the cherries that have fallen on the tablecloth seem carefully arranged and everything is ...