Description

VICENTE CASTELLO Y AMAT Valencia (1787 / 1860) "Portrait of Don Antonio Quiles, lawyer" Oil on canvas. Signed on the lower right: "Vte. Castello Fecit" Vicente Castello is among the most outstanding disciples of Vicente Lopez in Valencia. An especially prolific artist, he practiced different genres such as religious painting, still life and portraiture. It is in this last field in which fewer testimonies have been preserved and what makes this painting that we present here become something unique within his abundant production. Ossorio remembers that “he painted countless portraits of the most distinguished people,” but today only that of the sculptor Jose Cloosterman is located, in the Museum of Fine Arts of Valencia, and a couple of Self-portraits, from the collections of the Count of Alto Barciles and Lazaro Galdiano. Lawyer Antonio Quiles is represented in full body and seated at his desk in a domestic setting. In his composition, coloring and formal repertoires the influence of his teacher, the painter Vicente Lopez, is evident. Measurements: 160 x 98 cm.

197 
Aller au lot
<
>

VICENTE CASTELLO Y AMAT Valencia (1787 / 1860) "Portrait of Don Antonio Quiles, lawyer" Oil on canvas. Signed on the lower right: "Vte. Castello Fecit" Vicente Castello is among the most outstanding disciples of Vicente Lopez in Valencia. An especially prolific artist, he practiced different genres such as religious painting, still life and portraiture. It is in this last field in which fewer testimonies have been preserved and what makes this painting that we present here become something unique within his abundant production. Ossorio remembers that “he painted countless portraits of the most distinguished people,” but today only that of the sculptor Jose Cloosterman is located, in the Museum of Fine Arts of Valencia, and a couple of Self-portraits, from the collections of the Count of Alto Barciles and Lazaro Galdiano. Lawyer Antonio Quiles is represented in full body and seated at his desk in a domestic setting. In his composition, coloring and formal repertoires the influence of his teacher, the painter Vicente Lopez, is evident. Measurements: 160 x 98 cm.

Estimation 600 - 800 EUR
Mise à prix 400 EUR

* Hors frais de vente.
Reportez vous aux conditions de vente pour calculer le montant des frais.

Frais de vente : 27 %
Déposer un ordre
S'inscrire à la vente

En vente le Monday 22 Jul : 17:00 (CEST)
madrid, Espagne
Ansorena
+34915328515
Voir le catalogue Consulter les CGV Infos vente

Livraison à
Modifier votre adresse de livraison
La livraison est optionnelle.
Vous pouvez recourir au transporteur de votre choix.
Le prix indiqué n’inclut ni le prix du lot, ni les frais de la maison de vente.

Vous aimerez peut-être

Circle of JUAN SARIÑERA, (Spain, c. 1545 - 1619). "The venerable Domingo Anadón delivering the guilds of the statutes of the Pila de San Vicente Ferrer". Oil on canvas. Relined. Measurements: 110 x 135 cm, 125 x 147 cm (frame). This canvas is a copy of the painting made by Juan Sariñena and is in the Notarial College of Valencia. This work is referenced in the catalog "Juan Sariñena. Painter of the Counter-Reformation in Valencia", published by the Generalitat Valenciana in 2008. Juan Sariñena was a Spanish painter, probably of Aragonese origin, active in Valencia in the late sixteenth and early seventeenth centuries. He was key in the acceptance of the new naturalistic language, replacing the mannerist and idealizing formulas of Juan de Juanes. In 1570 he was in Rome, influenced by painters of the late counter-mannerism and by the Academy of San Lucas. From 1580 he lived in Valencia, excelling in portraiture with Venetian technique. His first documented work is a portrait of King James I in 1580, followed by a portrait of St. Louis Beltran. In 1584, Sariñena began receiving commissions from Archbishop Juan de Ribera, including portraits of saints and a series of naturalistic portraits. In 1591, he directed the decoration of the Sala Nova of the Palacio de la Generalidad Valenciana, for which he was named Pintor de la Ciudad in 1595. He continued to work for Ribera and other important clients, including the remodeling of the cell of San Vicente Ferrer and several religious paintings. In his later years, he collaborated with Francisco Ribalta and adopted a more vivid color palette. In 1607, he was a member of the board of directors of the Colegio de Pintores and, although his output declined, he still undertook important commissions until his death in 1619 in Valencia. He was succeeded by his disciple Agustín Ridaura as painter of the city.