JOSE JIMENEZ ARANDA Seville (1837 / 1903) "Scene from Don Quixote"
Wash and goua…

Description

JOSE JIMENEZ ARANDA Seville (1837 / 1903) "Scene from Don Quixote" Wash and gouache on paper Signed in the lower left corner Measurements: 23 x 30 cm

112

JOSE JIMENEZ ARANDA Seville (1837 / 1903) "Scene from Don Qu

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Estim. 300 - 500 EUR

Charles DESAVARY (1837-1885) Kitchen scene, peeling vegetables 1868 Oil on canvas signed and dated upper left 65 x 54 cm Gilded stuccoed wood frame (missing)

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LUIS JIMÉNEZ ARANDA (Seville, 1845 - Pontoise, France, 1928). "Gentleman. Oil on panel. Signed in the lower right area. Measurements: 20 x 13 cm; 43 x 25 cm (frame). José Jiménez Aranda, brother of Luis and Manuel Jiménez Aranda, was a Spanish painter and illustrator who began his training with Manuel Cabral and Eduardo Cano de la Peña. His talent for drawing helped him to gain admission to the Santa Isabel de Hungría Royal Academy of Fine Arts in Seville in 1851. In 1868 he was in Madrid, where he learned in the Prado Museum from the best masters, feeling a special predilection for Goya and Velázquez. In 1867 he was in Jerez de la Frontera working as a restorer and designer of stained-glass windows and, four years later, he managed to go to Rome, where he met Mariano Fortuny. He returned four years later. Between 1881 and 1890 he lived in Paris, where he produced a series of works, most notably those set in the 18th century, which were greatly influenced by Fortuny, due to the success they brought him. When he returned to Madrid, he devoted himself to works with everyday themes but with a more costumbrist air. In 1892 he returned to Seville, where he taught at the Academy of Fine Arts until his death, in turn teaching leading figures such as Eugenio Hermoso, Manuel González Santos, etc., and frequenting the so-called "landscape circle of Alcalá de Guadaira" towards the end of the 19th century. Although his best-known works are the scenes inspired by 17th-century art, he also dealt with religious themes and landscapes. His work received numerous awards during his lifetime (Honourable Mention at the National Fine Arts Exhibitions of 1864 and 1866; First Medal at the 1890 Exhibition, Medal of Honour at the Munich International Exhibition of 1883...), and is held in important private collections and institutions such as the Museo Carmen Thyssen in Malaga, the Museo de Bellas Artes in Seville, the Museo del Prado in Madrid, etc.

Estim. 1 200 - 1 400 EUR

FRANCISCO HOHENLEITER DE CASTRO (Cadiz, 1889 - Seville, 1968). "Majos". Oil on panel (x2). Signed in the lower right area. Measurements: 31 x 20 cm (x2); 40 x 29 x 3cm (frames, x2). Francisco Hohenleiter began his training in El Puerto de Santa María, and in 1918 he moved to Seville, settling permanently in the city. An elegant, colourful painter, he soon became a leading figure in mural decoration and, above all, in posters, magazine illustration and book illustration. His works combine influences from different styles such as modernism, genre painting and romanticism. Through his posters in the 1920s he reinvented Holy Week in Seville, with works based on the use of colour and decorative lines. As a painter he focused on portraiture, landscape and the depiction of popular types, mainly majos, as well as genre scenes. He also produced nudes, church interiors and still lifes. Throughout his career he showed his work in various Spanish cities and also in Paris, with an outstanding exhibition at the Charpentier gallery in 1932. Francisco Hohenleiter's painting is rooted in that of Jiménez Aranda and García Ramos and is inspired by Goya and Alenza. He became the glosador of romantic Seville, the portraitist of the Andalusia set to music by Albéniz. His work is currently scattered all over Andalusia: murals, posters, hand programmes, etc. Today he is represented in various museums and private collections.

Estim. 5 320 - 7 250 EUR

- Letter from Gonzalo Jiménez de Quesada to King Charles V - - - - - - - Number of pieces: 1 Pages: 3 booklets, 12 folios - Handwritten letter dated February 20, 1558 and addressed to the King of Spain. of Spain. In 1538, after founding Santafé de Bogotá, Jimenez de Quesada returned to Spain. de Quesada returned to Spain with the purpose of asking the King for the of the kingdoms he had discovered and conquered. In 1550 he arrived again in Santafé with the title of Marshal of the New Kingdom of Granada. According to Raimundo Rivas, (El Gráfico, No. 609, 1922) this is one of the two known letters of Jimenez de Quesada sent to the King before 1550, the other is in the Archivo de Indias, in Seville. In his letter, Quesada suggests ideas to improve the conditions of the New Kingdom, such as the appointment of an investigating judge who would go to the Indies to punish the bad treatments made to the Indians; the prohibition of charging the natives as if they were horses and punishments for those who martyred them; he suggested a rational and equitable way to collect tributes and the prohibition to the encomenderos to divide the repartimientos of Indians. A reference to this letter appeared in the article titled "Una carta del Conquistador D. Gonzalo Jiménez de Quesada" published in the Revista México Moderno, No. 5, December 1, 1920, by Alejandro Quijano, where the possession of this letter by the Colombian intellectual Carlos Salazar del Camino is mentioned. Between February 16 and March 31, 1979 this letter was part of the commemorative exhibition for the four hundredth anniversary of the death of Jimenez de Quesada held at the National Museum of Colombia.

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