Maîtres de la vice-royauté, allégories, légendes et sain…

Lot 1 - Italian school. 16th century. - Italian school. 16th century. "Seated Lion" Sculpture in carved wood. 23,5 x 29,5 x 10 cm.

Estim. 2 500 - 3 500 EUR

Lot 2 - Master Alejo (Master of the Causeway) (active in Palencia, first decades of the 16th century) - Master Alejo(Master de la Calzada) (active in Palencia, first decades of the 16th century) 'Saint Francis of Assisi' Oil on panel. 55 x 32,5 cm. Magnífica pintura al óleo sobre tabla con un santo franciscano sobre un fondo picado al lustre con florestas y sobredorado, como si de su propio halo de santidad se tratase. San Francisco de Asís mira al cielo, de donde nunca sacó su mirada, en continua oración de la que no salía, con el reflejo visible de ese Amor correspondido de Dios en sus llagas y estigmas. Recibe “los signos de ese Amor” en manos, pies y costado. Esta tabla del Maestro Alejo es una obra primordial del primer cuarto del siglo XVI, que destaca por su estilo artístico, composición sencilla y magistral, y uso del color sobre el dorado. Se aprecia, claramente, elegancia, refinamiento de trazos, líneas suaves y fluidas que crean contornos delicados sobre el fondo oro, y detalles de fineza de miniatura. Una figura humana llena de naturalidad y belleza, un rostro lleno de serenidad y devoción. Presenta unos tonos cálidos y terrosos sobre el oro, creando una atmósfera mística exquisita, que transmiten una sensación de calma y espiritualidad, y reflejan la influencia de la pintura gótica italiana de la época. Talento y espiritualidad del Maestro de la Calzada plasmado en esta tabla. With thecertificate from Ms. Isabel Mateo dated January 2016.

Estim. 5 000 - 8 000 EUR

Lot 3 - Master Alejo (‘Maestro de la Calzada’) (active in Palencia, first decades of the 16th century) - Master Alejo (‘Maestro de la Calzada’) (active in Palencia, first decades of the 16th century) "Saint Anthony of Padua" Oil on panel. 55 x 32,5 cm. With acertificate from Ms. Isabel Mateo dated January 2016. Magnificent oil painting on panel featuring a Franciscan saint against a lustrous, gilded background with floral motifs, resembling his own halo of sanctity. Saint Anthony looks ahead, with an ardent Christ Child on his chest. The Christ Child, whom he "preached to" with proverbial knowledge, appeared on his book and in his cell while he prayed. Due to his knowledge, he was known as the "Ark of the Testament." This panel by Master Alejo, also known as the Maestro de la Calzada, is a seminal work from the first quarter of the 16th century, notable for its artistic style, simple yet masterful composition, and use of colour ongold ground. Elegance is clearly appreciated, with refined strokes, smooth and fluid lines creating delicate contours on the golden background, and miniature-like finesse in the details. The human figure is portrayed with natural beauty, and the face exudes serenity and devotion. Warm, earthy tones over the gold create an exquisite mystical atmosphere, conveying a sense of calm and spirituality. This reflects the influence of Italian Gothic painting of the time. The talent and spirituality of Master Alejo, Maestro de la Calzada, are beautifully captured in this panel.

Estim. 3 000 - 5 000 EUR

Lot 4 - Maestro degli Sportelli dell'Accademia (Florencia, primera mitad del siglo XV) - Maestro degli Sportelli dell'Accademia (Florence, first half of the 15th century) 'Madonna and Child and Saint Francis' Tempera and gold leaf on panel. The painter, a Florentine master active in the first half of the 15th century, can be identified through the two wings of the reredos kept at the Galleria dell'Accademia in Florence. The reredos is known as 'anconetta' and due to its size, must have been used for domestic worship. Panel measurements: 79 x 58 cm.

Estim. 35 000 - 45 000 EUR

Lot 5 - Four medallions in openwork gold and enamel. Possibly Byzantium. 10th - 15th centuries. - Four medallions in openwork gold and enamel. Possibly Byzantium. 10th-15th centuries. A marvellous piece of goldsmith's work depicting four different birds amidst branches of flowers. The four birds are surrounded by the same border of repeated vegetation motifs, in which the remains of blue enamel can be seen. Diameter: 6.2 cm each. Total weight: 109 g.

Estim. 15 000 - 25 000 EUR

Lot 6 - Flemish or Mexican School. 18th Century. - Flemish or Mexican School. 18th Century. Micro carving boxwood travel triptych with gold leaf in the interior. Exterior lacquered in black and gold. Closed measurements: 15 x 8 x 2 cm. Open measurements: 15 x 16 x 2 cm. Exquisite, and curiousdevotional travel altar depicting scenes from the Passion of Christ. For private use, it transposes the characteristic format of large altar triptychs, both carved and painted, into a small and compact, meticulously detailed format. Its lobed Gothic arches enclose the Mystery of the Death of Jesus Christ in 7 windows that inspire deep devotion. The central window is presided over by Christ on Golgotha at the moment of his death, crucified between the thieves Dismas and Gestas, the good and the bad. In the scene, the worshipper standing before it can feel in their heart those words: 'Jesus, remember me when you come into your kingdom.' And Jesus (will) say to them, 'Truly I tell you, today you will be with me in paradise.' Below him, Mary Magdalene is in the heart of the massif and grotto of Sainte Baume (a typical Provençal village with a Romanesque church from the 11th century with a natural cave dedicated to the Saint). Six scenes of the Passion on each door contain the central mystery of the Crucified Christ: on the left, Jesus praying in Gethsemane, the Arrest, and the Flagellation, and on the right, the Presentation of Jesus before the Sanhedrin and Caiaphas, the Via Dolorosa or Way of Calvary, and the moment of Crucifixion. The exterior is lacquered in black and gold, the colours of mourning, with a jug of lilies, as symbols of the Virgin Mary, representing her deepest femininity, her purity when she conceived her Son, withinthis devotional and mysterious altarpiece. Other triptychs for domestic use and of small dimensions can be found in the collection of the Victoria & Albert Museum in London (inv. 3264-1856), also of Flemish origin and from the same century; several examples of Flemish or Dutch origin were in the magnificent exhibition 'Small Wonders: Late Gothic Boxwood Micro-carvings from the Low Countries,' jointly held by the Rijksmuseum, the Metropolitan Museum of Art in New York, and the Art Gallery of Ontario.

Estim. 3 000 - 6 000 EUR

Lot 7 - Carved, polychromed and gilded wooden icon with gold background. Wallachia. 15th century.alaquia. - Carved, gilded, and polychromed wooden icon with gold background. Wallachia. 15th Century. 51 x 35 x 5 cm This is the central panel of a travel triptych, which no longer retains its doors. The lower section features a carved eagle with wings spread in front of a cross, representing the coat of arms of Wallachia. This means that it is one of the earliest representations of the Wallachian coat of arms, documented on coins and rulers' seals from the 1300s to the 1500s. After 1500, the cross appears smaller and is situated in front, in the eagle's beak. This piece is unique and exceptional, a museum-quality artifact, as very few medieval objects bearing this 15th-century coat of arms are preserved in Romania today. The antiquity of this icon has been confirmed by the prestigious laboratory at the Faculty of Fine Arts in Vienna, directed by Professor Manfred Schreuner, in a report dated February 2022. Additionally, a detailed heraldic study of the coat of arms was conducted, tracing its evolution over time. It concludes that the eagle in front of the cross appears on Wallachian coins from the year 1300 to 1500, corresponding exactly with the depiction on our coat of arms. Wallachia was the country ruled by Vlad the Impaler, the historical figure who inspired Bram Stoker’s character, Count Dracula. The antiquity of this icon, established both scientifically and through historical facts, situates it in the period when Vlad the Impaler, known as Dracula, was the ruler of Wallachia, during three brief reigns culminating in his death in 1476. On either side of the coat of arms, we find Saint Constantine and Saint Helena, the spiritual patrons of Wallachia. It is worth noting that the lilies depicted on this icon and the figures of Saints Constantine and Helena also appear on Vlad the Impaler’s great seal. Another piece of information linking the panel to Vlad the Impaler is found in the book "Documents Relating to the Relations of Wallachia with Brașov and Hungary," printed in 1905 in Bucharest. Besides information on the evolution of the coats of arms of rulers and nobles, it also discusses the Wallachian coat of arms. It states that the rulers were the only people who used the Wallachian coat of arms and the only ones with the financial means to commission such a valuable work of art. Based on these historical and heraldic arguments, iconographic specialists concluded that this triptych could only have been owned by a ruler. The hypothesis that it belonged to the ruler whose seal coincides in many aspects with the emblem on our panel, that is, Vlad the Impaler, is highly plausible due to the following coincidences: Coat of arms: an eagle with open wings suggesting flight, a large cross representing Orthodox faith. Saints Constantine and Helena. Lilies, carved on our coat of arms on either side of the eagle. To properly appreciate the significance of the panel with this ancient coat of arms, it is worth mentioning that only three objects that bear the Wallachian coat of arms from the 1500-1600 periodare known of. In these cases, the Wallachian coat of arms is represented by an eagle with outstretched wings, holding a large cross in its beak. The first example is the oldest printed book from Wallachia, dated 1508, "Macarius Epikh" (Octoihul lui Macarie), a liturgical book which features a coat of arms almost identical to the one carved on this triptych, the only difference being that the cross is in front of the eagle. The second example is a coat of arms carved in stone on a monastery wall from 1499, which consists of an eagle with outstretched wings and a large cross in front of it, joined to its beak. The third instance of the Wallachian coat of arms is found on the cannon segment of ruler Petru Cercel (1583-1585) and is identical to the previous two representations. After this period, the Wallachian coat of arms begins to adopt a classic pattern that does not change further. From the 17th century onward, few objects bear the Wallachian coat of arms, and it is found only on tombstones or rulers’ seals. This item has been imported and therefore has guaranteed export permission from the Ministry of Culture of Spain.

Estim. 300 000 - 600 000 EUR

Lot 8 - Important bronze mortar. Gothic. 15th Century. - Imposing bronze mortar. Gothic. 15th Century. 10,7 x 19 x 14 cm. It has a crack.Nevertheless, due to its dimensions and quality, it is a very interesting piece.

Estim. 1 200 - 2 500 EUR

Lot 9 - Hispano-Flemish school. Circa 1500. - Hispano-Flemish school. Circa 1500. "Soldier, possibly St. George." Sculpture in carved and polychromed wood. 123,5 x 25 x 66 cm. This sculpture is a masterpiece by a great master. The armour is made with great detail and precision, faithfully reflecting even the smallest details of such complicated clothing, even carving the coat of chain mail that can be seen around the armpits, which could have been ignored because it is not even visible at first. There is equal delicacy in the carving ofall the rivets, pieces of armour, footwear etc. without forgetting the magnificent face of the character, which as we suggest in our title could be St. George.

Estim. 23 000 - 30 000 EUR

Lot 10 - Spanish School. Early 16th century. - Spanish School. Early 16th century. "Saint Jerome the Bishop" Carved and polychromed wood sculpture Height: 64 cm.

Estim. 4 000 - 6 000 EUR

Lot 11 - Italian school. 18th century - Italian school. 18th century "Our Lady of Holy Hope" Oil on copper. 35 x 25 cm. Size with frame103 x 71 cm. Accompanied by an imposing cornucopia period frame, in carved wood, gilded and inlaid with mirrors. Exquisite and refined portrait of Our Lady of Holy Hope. The historical information about theorigin of this image dates back to 1750, when a pious Christian had a painting of Mary with Child painted, which he donated to Fr. Tommaso del Costato di Gesù (later Monsignor Struzzieri, Bishop of Todi and first Bishop of the Passionist congregation), who always carried it with him in his SS. Missions. This image had from the beginning the title of "Mater Sanctae Spei". The entire composition, including its carved and gilded cornucopia frame, recalls the works of the Flemish baroque in which the Virgin Mary always appears surrounded by a garland of flowers. Here, in parallel, the garland is represented by the carving of the frame with acanthus leaves and flowers and a small canopy in the manner of Bernini. We contemplate the simple, serene and detailed perfection of the internal painting, framed by this "garland frame" as a tribute, veneration and prayer to this Madonna. The image has been perfectedwith miniscule brushstrokes. Based on the engraving byHyeronimus Wierix, Flemish engraver of the 16th century, "Mater Sanctae Spei", the painting represents the Blessed Virgin Mary with the Child Jesus in her arms. She holds Him with her right arm and with her left arm she points to Him as the source of divine graces (iconography called Hodegetria: "she who shows the way", the Hodegetria Virgin Mary points to the Child as the way of salvation. And that Child, holding a cross with his left hand, with his right hand raised, is in the attitude of a king giving permission to approach Him. With a smile Mary and Jesus tell you that they are there to help you to have hope in them.The original image of "Our Lady of Holy Hope" is a canvas painted by Agustin Marqui in 1750, on the occasion of a Passionist mission preached by Father Tomas Stuzzieri, which he offered to St. Paul of the Cross suggesting that "every clergyman should have it in his cell". This image had devotees that included St. Vincent Maria Strambi and the second superior general of the Passionists (from 1755 to 1790), Father John Baptist of St. Vincent Ferrer. In fact, it cured Father John Baptist, who was dying, of an incurable illness, and it was he himself who decreed that the image be greeted three times a day. Devotion to the Blessed Virgin, under this invocation, developed in the Passionist Congregation from its origins. Its main promoter was the great missionary Fr. Thomas Struzzieri, who was later made bishop. In the holy missions he always carried an image of the invocation with him. Later, that image was reproduced in series and began to be placed in the rooms of the Passionist clergyso that they could direct their gaze to her, invoking her in their spiritual needs. The Virgin Mary, Mother of Holy Hope, thus became a singular model and a firm support for our own hope. The hope that Our Lady presents and to which she calls is the Cross that the Child Jesus holds in his hand, as a sign of his love without measure, manifested to us even unto death and a death on a cross.

Estim. 15 000 - 18 000 EUR

Lot 12 - Juan de Mesa (Cordoba, 1583 - Seville, 1627) - Juan de Mesa (Cordoba, 1583 - Seville, 1627) "Saint John the Evangelist" Carved, gilded and polychromed wooden sculpture. 92,5 x 44 x 41 cm. Until the rediscovery of Juan de Mesa in the late 19th century by the Seville-basedhistorian José Bermejo y Carballo, who attributed a work of art to him, the name Mesa had not been mentioned for more than two and a half centuries, and his works were mistakenly attributed to his master Montañés, because of the outstanding quality of his work. Furthermore, in the 20th century, documents came to light that helped shed light on Mesa's life and work. Even so, information about Mesa's childhood and youth is scarce, but it is known that he was baptised in Cordoba in 1583 and did not join the workshop of his eventual master until 1606, formalising his apprenticeship contract in 1607.

Estim. 20 000 - 30 000 EUR

Lot 13 - Ignacio de Ríes (Seville, 1616 - ?, 1670). - Ignacio de Ríes (Seville, 1616 - ?, 1670). ‘Vera Cruz’ (True Cross) Oil on canvas. 157,5 x 232 cm. Christ, with the cross on his shoulders, meets Veronica. Ignacio de Ríes, son of the Flemish painter Mateo de Ríes, was already an official in Zurbarán's workshop from 1635 onwards and was one of his most outstanding disciples. De Ríes, a painter of extreme importance and value, present in the Museo del Prado and the Metropolitan Museum of Art in New York, presents us with a chiaroscuro scene of the meditation of this station of the "Via Dolorosa". He pays great attention to the high quality details of objects (Veronica's cloth and the pearl on her breast, the horse's head, the soldier's helmet), of clothing (the golden suit of the soldier kicking the fallen Jesus) and of fabrics and textures, such as the cloak enveloping Jesus, among other aspects. It also conveys great quality and expressiveness in faces and hands that also speak of Zurbarán's technique reflected in his works, as one of his best disciples. This painting took part in the exhibition "Teresa de Jesús: Woman, Saint and Doctor", held in Alba de Tormes between 28 March and 22 October 2022, to commemorate the fourth centenary of the canonisation of Saint Teresa de Jesús. It was organised by the Teresian Centenary Commission, the Discalced Carmelite Order and the Town Council of the municipality.

Estim. 12 000 - 16 000 EUR

Lot 14 - Adriaen van Utrecht (Antwerp, 1599 - 1652) - Adriaen van Utrecht (Antwerp, 1599 - 1652) "Still life" Oil on canvas. 102 x 169 cm. Adriaen van Utrecht was a leading Flemish still-life painterwho surpassed his master Herman de Ryt and became one of the inventors of the ‘pronkstillevens’ genre. His paintings are characterised by an abundance of objects, flowers, fruit, living or dead animals and people, as well as a detailed and decorative approach. During his travels in France, Italy and Germany, he acquired Baroque influences that are reflected in his paintings. Utrecht depicted market and kitchen scenes, still life arrangements, fruit and garlands of fruit, as well as poultry, parrots, monkeys and wild animals. His paintings play with the concept of life and death by incorporating human figures and living or dead animals. After his father's death he returned to Antwerp, where he produced large paintings and collaborated with important artists such as David Teniers the Younger, Jacob Jordaens and Rubens. His skill in composition and pictorial technique earned him international commissions and the recognition of important figures such as the Emperor of Germany, King Philip IV of Spain and the Prince of Orange. During his sister Catharina and the painter Simon de Vos' wedding, he met his wife Constance, who also became a painter and is thought to have made copies of her husband's works in her own style. Although he maintained an unblemished reputation during his lifetime, it is suspected that he lost much of his fortune due to health problems.Adriaen van Utrecht died at the age of 53 in 1652 in his native city. His artistic legacy shows his ability to paint a wide variety of subjects with excellent taste and rigorous technique.

Estim. 45 000 - 55 000 EUR

Lot 15 - European school. Possibly France. 19th century. - European school. Possibly France. 19th century. "The personification of the four continents". Four oils on canvas. 38 x 49 cm each. These four paintings show the allegories of the four formerly known continents (Europe, Asia, Africa and America) represented in female personifications that are, in reality, nymphs ("fertile sources" of the four great rivers of those same 4 continents (the Danube, the Ganges, the Nile and the Rio de la Plata). The four nymphs appear naked, lush, fertile and full of life: Europe, a brunette, reclines on a golden canapé French Empire style, in lingerie and contemplating and playing with a miniature; Asia, blonde, turbaned, on cushions, smokes opium or an Indian pipe, and "seduces" her beloved who peeks through the window like a Maraja of India; Africa, with black skin and totally bejewelled, surrounds herself with abundance represented by a beautiful and luscious still life of fruits, and plays with the sensuality of a scarf in the wind; and America, in the middle of the Amazon jungle, leaves her bow and arrows and undresses to take a bath in the river. These four small canvases are of magnificent workmanship, showing very neoclassical lines, very rich in detail and colour, creatively adapted to the theme referred to as women or nymphs (instead of the known classical personifications) brimming with life, sensuality, freshness, freedom,..., all qualities of the 4 continents previously known. Four continents that "seduce and invite", that whisper "come and discover us". Four small pictures that become the best advertising for that "visit us and try us".

Estim. 40 000 - 50 000 EUR

Lot 16 - Spanish School. Circa 1700. - Spanish School. Circa 1700. Pair of magnificent baroque sculptures in carved, gilded and polychromed wood, representing two large shields emblazoned with dragons. They are topped by two heads of angels, and at the bottom by two grotesque faces sticking out their tongues. 136,5 x 63 x 10 cm each.

Estim. 9 000 - 12 000 EUR

Lot 17 - Attributed to Matías de Arteaga (Villanueva de los Infantes, 1633 - Seville, 1703) - Attributed to Matías de Arteaga (Villanueva de los Infantes, 1633 - Seville, 1703) "The Adoration of the Magi" Oil on canvas. 62 x 83 cm. Painter and engraver, son of the engraver Bartolomé Arteaga, he developed his artistic activity in Seville, especially linked, between 1660 and 1673, to the academy founded by Murillo, where he not only attended but also contributed economically and of which he was secretary in 1666 and consul three years later. As we read in the Royal Academy of History article, "In his art he showed a singular interest in perspective and broad settings. He probably had a very active workshop, since there are many artworks that, in regard to his style, have very different qualities. Among his paintings are important cycles such as the canvases of the Life of Saint Laurianfrom circa 1670 in the chapel of the saint in the cathedral of Seville, and the Eucharistic Series of the Sacramental Brotherhood from 1690. He also painted a series on the Life of the Virgin Mary, keptin the Museum of Seville, and another on the Life of Jesus Christ, some of the canvases of which are mentioned in private collections in Madrid. As an engraver he made covers and illustrations for books, the most outstanding among them being those of the book of Fernando de la Torre Farfán entitled "Fiestas de la S. Iglesia metropolitana y patriarcal de Sevilla al nuevo culto del señor Rey San Fernando" from1671. He was also an engraver ofreproductionsofcanvases of the great masters of Seville, such as Murillo, Herrera, el Mozo, Alonso Cano and Valdés Leal, among others".

Estim. 8 000 - 12 000 EUR

Lot 18 - Attributed to Luca Giordano (Naples, 1634 - 1705) - Attributed to Luca Giordano (Naples, 1634 - 1705) 'The adoration of the Magi' Oil on canvas. Relined. 38 x 51,5 cm.

Estim. 4 000 - 7 000 EUR

Lot 19 - Spanish School. Early 19th century. - Spanish School. Early 19th century. "Portrait of Maria Isabel of Braganza" Oil on canvas. 120 x 106 cm. Maria Isabel de Bragança, daughter of John VI of Portugal and the Infanta Carlota Joaquina de Borbón, was born in Palácio de Queluz, Portugal, on 19 May 1797. In 1816 she married King Ferdinand VII of Spain with the aim of strengthening relations between the two Iberian countries. The Infanta was noted for her high level of culture and her love of art, which prompted her initiative to bring together works of art belonging to Spanish monarchs to create what was to become the Prado Museum, being its true architect. In fact, the Prado states that "Pedro de Madrazo, in the catalogue of the Royal Museum's paintings of 1854, goes so far as to say that it was the queen who "... designed the museum". There is a posthumous portrait of her exhibited in the Prado's Portrait Gallery, dated 1829, by Bernardo LópezPiquer (inv. P000863). This portrait, which was in turn inspired by an oval bust portrait painted in the year of the Queen's wedding by the painter's father, Vicente López, depicts Maria Isabel de Braganza as the founder of the Royal Museum of Painting and Sculpture. This canvas, as the critic and historian Gabriele Finaldi states in the catalogue of the exhibition "Spanish Portraiture in the Prado. From Goya to Sorolla", represents an "emblematic image for the history of the Prado Museum". Unfortunately, our sitter did not have the pleasure of attending the inauguration of the Museo del Prado, as she died a few months earlier, in December 1818, without any possibility of visiting the museum during her lifetime, which she nevertheless left us as a legacy. Bibliographic reference: - Museo del Prado (n.d.). "María Isabel de Braganzacomo fundadora delMuseo del Prado".https://www.museodelprado.es/coleccion/obra-de-arte/maria-isabel-de-braganza-como-fundadora-del-museo/a7a1a933-6dc5-4636-b963-224d42e77110

Estim. 6 000 - 8 000 EUR

Lot 20 - Spanish School. Granada. 18th. Century. - Spanish School. Granada. 18th. Century. “Saint Francis and the wolf”. Monumental carved and polychromed wooden sculpture. Height: 228 cm. This sculpture was in the exhibition “Teresa of Jesus: Woman, Saint and Doctor”, held in Alba de Tormes between March 28 and October 22, 2022, to commemorate the anniversary of the fourth centenary of the canonisation of St. Teresa of Jesus. It was organised by the Teresian Centenary Commission, the Discalced Carmelite Order and the City Council of the municipality. With a study by Dr. José Carlos Pérez Morales, PhD in Art History.

Estim. 25 000 - 35 000 EUR

Lot 21 - Italian School. Naples. 17th century. - Italian School. Naples. 17th century. 'Mary Magdalene' Oil on canvas 118,5 x 97 cm.

Estim. 9 500 - 15 000 EUR

Lot 22 - Walnut wood ches with inlaid bone and iron fittings. Aragonese workshop. 16th century. - Walnut wood ches with inlaid bone and iron fittings. Aragonese workshop. 16th century. 37,5 x 60 x 30 cm.

Estim. 4 000 - 6 000 EUR

Lot 23 - An Spanish carved cedar and pine wooden cupboard with bronze fittings. 18th century. - An Spanish carved cedar and pine wooden cupboard with bronze fittings. 18th century. 82 x 51 x 27,5 cm. The most renowned cabinetmakers of yesteryear had a series of small pieces of furniture at the disposal of their clients as models of what they could manufacture in large dimensions, according to the buyer's needs. So they showed, on the one hand, examples of the furniture they offered and, on the other hand, they exhibited their skills and the quality of their work.

Estim. 2 500 - 4 500 EUR

Lot 24 - Italian School. Rome. 17th century. - Italian School. Rome. 17th century. 'Saint Francis in Ecstasy' Oil on canvas. 255 x 193 cm.

Estim. 30 000 - 45 000 EUR

Lot 25 - Jose de Paez (Mexico City, 1727 - circa 1790) - Jose de Paez (Mexico City, 1727 - circa 1790) "Immaculate Conception" Oil on canvas. 124 x 94 cm. José de Páez was a painter who was active mainly between 1750 and 1780. According to Madrid's Museum of the Americas, "he created models of great sweetness, idealisedbeauty, oval faces, [and] was an excellent portraitist." He developedmainly religious themes with an interest in caste painting as well. He was the preferred painter of religious orders such as the Franciscans, the Bethlehemites, and the Oratorians and carried out numerous commissions for them. Given his very extensive production of universal themes, it is understood that he developed some lines of his work without commissionsbut in the knowledge that he hada solid market of buyers for his artworks. Amongst his preserved works, highlights include the paintings on copper"Divine Shepherd" and "Our Lady ofLoreto" atthe Museum of the Americas in Madrid; the "Medallion of a friar with the Nativity" and "Saint John of Nepomek" at theLACMA; the "Our Lady of Mercy" in the Blaisten Museum; and the ten paintings from the "Cycle of the Life of the Virgin Mary" from 1772 that were restored between 2015 and 2016 and are located in the sanctuary of Guadalupe in Chihuahua, Mexico. As a result of this restoration project, a very interesting analysis of José de Páez's technical procedure was carried out. According to Yana Arantxa Ramírez's detailed report, the painter enjoyed great success in his lifetime, which was later diminished by widespread disdain for 18th-century painting. Now, "in recent decades there has been an effort to vindicate 18th-century painting." Thus, Magdalena Castañeda, who was in charge of the restoration of Páez's works, proposed a new approach to his artistic personality in her master's thesis and concluded that the Mexican was "a restless artist, with a discursive effectiveness that allowed him to sell works inside and even outside of New Spain." In thepainting we have here, the artist followed the image that prevailed in both Spain and New Spain during the second half of the 17th century: the Immaculate Virgin Mary dressed in a white tunic and blue mantle, standing on the moon, with the sun rising behind her, illuminating the woman whom God chose from all time to be the Mother of God. She is suspended in the centre of the scene within a burst of glory. We can observe several Marian attributes, such as roses and lilies, alluding to the purity of the Virgin, reminiscent of the ornate representation of the Tota Pulchra. This beautiful woman is praying, with a calm and inspired expression, directing her gaze towards the solid ground. She is crowned with a halo of holiness, and twelve stars encircle her head, along with a group of cherubs peeking through the clouds, emphasising the celestial coronation. On this occasion, Páez chose to follow the models of Miguel Cabrera, in which the blue cloths that cover the Immaculate have greater flow and looseness, although the hand of master Páez is easily recognisable in this gentle painting. The painting can be compared to the Saint Joseph with the Child Jesus in the Blaisten Museum and to other Immaculate Conceptions in various institutions, such as the Immaculate Conception with Jesuit Saints in the Regional Museum of Zacatecas and the Immaculate Conception in the Museum of America in Madrid.

Estim. 60 000 - 80 000 EUR

Lot 26 - Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768) - Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768) "Saint John of Nepomuk" Oil on canvas. Signed. 167,5 x 104 cm. Cabrera is considered to be the greatest exponent of 18th century Viceroyalty painting, with production that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented". Miguel Mateo Maldonado y Cabrera was born on February 27, 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will in 1768. He was the son of unknown parents and godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training, passing through the workshop of Juan Correa in the capital of the Viceroyalty. Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, Mexico State, in the church of Santa Prisca in Taxco, Guerrero and in the cathedrals of Mexico City and Puebla. Cabrera was not only a painter, but he also participated in the attempt to found an academy of Arts in 1753 and in 1756 he became consolidated as an intellectual, not only as an artist, since he published a narrative about the image of the Virgin of Guadalupe in 1756 entitled "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura", a narration about the image of the Virgin Guadalupe in the printing press of the Jesuit college of San Ildefonso. In addition to easel painting, his production includes the design of altarpieces, large format works, as well as small paintings on copper and nun's shields. Cabrera's religious painting shows figures of remarkable beauty, a beauty understood under the ideological assumptions of the devotion of the time. It is a refined art that possesses a well-arranged chromatic richness, is sustained by great work in the composition and, no less important, subtle and expressive drawing. Of all the painters of that time, Cabrera was the one with the greatest personality; the conventional treatment of his figures was undoubtedly the basis of his painting style, because he placed models that were not ideal in his paintings, but corresponded to people that the artist knew and interacted with, such as when he incorporated portraits of donors or the so-called "prelates" in some paintings, because he had the need to observe directly and copy from nature. He was appointed chamber painter of Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe. The image was sent to Pope Benedict XIV, from whom he obtained the highest recognition as a painter of Guadalupe. Highlights amongst the portraits he painted are the one of Sor Juana Inés de la Cruz, kept in the National Museum of History, and the one of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico. He was also a painter for the Society of Jesus, for whose churches he produced numerous works. In 1753 he was named president for life of the Academy of San Carlos. His work is preserved in many churches and convents in Mexico. It is also present in numerous public and private collections. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, made in 1756, for the temple of San Francisco Javier, is preserved in the National Museum of the Viceroyalty. The Museum of Art of Dallas, has a Santa Gertrudis La Magna by Miguel Cabrera and another representation of the Saint, also by Cabrera and dated in 1768, is part of the collection of the José Luis Bello y Zetina Museum of Puebla, Mexico. Likewise, we highlight an important series of Caste paintings from1763 that is kept in the collection of the Museum of America in Madrid. They depict families, father, mother and child of the various castes and social strata, in everyday life situations. Finally, mention should also be made of the Pinacoteca de La Profesa or the Andrés Blaisten Collection in Mexico, as depositories of Cabrera's work. The Museum of America in Madrid is currently exhibiting a very important retrospective of the painter. The painting we have here shows very interesting iconography: that of St. John of Nepomuk entering into glory. The saint was a Bohemian priest and vicar general of the diocese of Prague. He was martyred in 1393, for his fidelity to the secret of confession, when King Wenceslas IV wanted to know the sins of the Queen that he kept silent. The monarch, very angry, ordered his tongue to be cut out. Not achieving his goal, and full of rage, he had the priest thrown into the river from the Charles Bridge in Prague. For this reason, he is today considered the patron saint of confessors, who have to keep their vow of silence. The scene also depicts the saint ascending to glory. He wears five stars in his halo, which legend says were seen around his head when his corpse was rescued from the river. In the background, the scene of his death unfolds, in which we find the bridge, and the sol

Estim. 80 000 - 100 000 EUR

Lot 27 - Bernardo Rodríguez (active in Quito, Ecuador, circa 1770) - Bernardo Rodríguez (active in Quito, Ecuador, circa 1770) "Marriage of Mary and Joseph" Oil on canvas. Relined. 99 x 120 cm. Beautiful and delicate canvas by the Ecuadorian painter and muralist Bernardo Rodríguez, a prominent figure amongst those who depicted religious motifs in colonial Quito. In this painting, he illustrates the real and mystical union of God and humans, of Mary and Him, as divine flesh, and the whole of humanity, symbolised by the putative father, Joseph. The Child holds a shackle with His mother and it seems that, symbolically, He is going to place it on her (pinching her wrist): "what God has joined together…", thus uniting the Divine (Mary and God) with the human (Joseph). The entire scene takes place under the protection of the Holy Trinity, the celestial witness, blessing the moment with a choir of angels who “grace the wedding” with songs, violins, drums, flutes, trumpets, triangle, and tambourine, all joyful, as befits the occasion. Watching the moment with devotion and humility are the maternal grandparents, Saint Joachim and Saint Anne, and Saint Elizabeth and Zechariah, Mary’s cousins and the parents of Saint John the Baptist, Jesus’ cousin, who is also present. Thus, we see tenderness and delicacy very well reflected by this painter, who enjoyed unparalleled ecclesiastical support, with many privileges such as creating canvases for the Cathedral of Quito or those in the Museum of Colonial Art, as well as those we can currently admire in the Casa de Cultura Ecuatoriana. Rodríguez is, in fact, along with Manuel de Samaniego y Jaramillo, the most important painter of the late colonial period in Quito. Regardless of his continued and esteemed interest in the Virgin Mary as asubject—a theme that earned him great reputation for the quality of his achievements—Rodríguez's work is related to the technique and stylistic treatment common in artists like Manuel Samaniego. The commissions he received from various religious institutions constitute the majority of his production, characterised by an interesting use of chiaroscuro. As we read in the fascinating article by Juan Pablo Cruz Medina (2014) “The Painting of the Holy Family: A Manual of Family Relations in the World of 17th Century Santafé”, the family, configured as the nucleus of the social body within the structure devised by Spain for the New World, early on became a concern for both the Church and the bureaucracy established in Latin America. From this, the Church developed a series of discursive structures aimed at establishing models of family life that would serve as examples of ideal behaviour throughout the 17th century. This ensured not only the maintenance of an "ecclesial" order in society but also the submission of society to the civil power established by the Spanish monarch in the new lands. Medina highlights the artistic production developed by the Church in relation to the family. “One of the most significant pictorial sets within the visual corpus of the 17th century is that of the Holy Family,” which would continue to be represented ceaselessly thereafter. This ecclesiastical need also responds to the “emergence of the nuclear family model in Europe, which changed the conception of the extended family typical of the Middle Ages,” while in colonial Latin America it was of interest to “establish examples that would help shape a society governed by religious norms.” As we continue reading in Cruz Medina's article, “the idea of the Church was, then, to create nuclear families based on the models of the Holy Family contained in the images, which would serve as the cellsforming society. The image thus became an instrument of social and individual configuration. The discourse of the Holy Family, like that of other iconographic representations of the colonial period, then implied 'a new arrangement of individual and social bodies', directed under a pattern of submission of subjects.” Reference bibliography: -Cruz Medina, Juan Pablo. «La pintura de la Sagrada Familia. Un manual de relaciones familiares en el mundo de la Santafé del siglo XVII».Memoria y sociedad18, n.° 36 (2014): 100-117.http://dx.doi.org/10.11144/Javeriana.MYS18-36.psfm

Estim. 45 000 - 65 000 EUR

Lot 28 - Novo-Hispanic School. 18th century. Signed by Francisco de Albala and dated 1768. - Novo-Hispanic School. 18th century. Signed by Francisco de Albala and dated 1768. "Saint Francis Xavier baptising Indians and infidels" Oil on canvas. 152 x 195 cm. In a clearly Italianate scenography, with lintels, columns, and perspectives, and a profusion of details and colour, the New Spanish author draws inspiration from an Italian or European painting, Flemish engraving, or print of the era to create his painting. Saint Francis Xavier, full of kindness and luminous mysticism, dressed in a tunic, surplice, and stole, under the blessing and light of the sky (an IHS hovers above him), baptises Indians and infidels. The vivid colours and light, very typical of Italian art of the time, stand out, as does the quality in the details of jewels, jugs, carpets, embroidered fabrics and brocades, and headdresses with feathers and ribbons, turbans, and brooches. In the lower left corner, a donor's cartouche is prominent (“MARIA SACHEN LISARDA LIT ADORADIÓ HESTE CUADRO LE DIO A. 1768”). This could refer to María Sánchez Lisarda.

Estim. 30 000 - 50 000 EUR

Lot 28.A - Attributed to Cristóbal de Villalpando (Mexico City?, 1649 - Mexico, 1714) - Attributed to Cristóbal de Villalpando (Mexico City?, 1649 - Mexico, 1714) "Educationof theVirgin" Oil on canvas. 249 x 180 cm. Cristóbal de Villalpando, along with Juan Correa, was the most important artist in New Spain in the last quarter of the 17th century. He undertook two of the most significant artistic ensembles: the large allegorical canvases in the Metropolitan Cathedral of Mexico City and in the Cathedral of Puebla, where he even painted the dome. His style is very distinctive, combining an acidic and iridescent colour palette with almost metallic tones, with highly agitated folds in garments and flesh tones with bluish highlights, all imbued with a Mannerist spirit that coincidentally recalls artists from Northern Europe. His compositions are inspired by eclectic sources in line with his iconographic intention, such as prints by Rubens and Baroque models from the Iberian Peninsula, such as Carreño de Miranda and Francisco Rizzi, from whom he even created a version of a famous Immaculate Conception, adopting the rich and vibrant colour palette.

Estim. 18 000 - 30 000 EUR

Lot 29 - Novohispanic School. Mexico. 18th century. - Novohispanic School. Mexico. 18th century. "Saint John of Nepomuk" Oil on canvas. Relined. 92 x 67,5 cm. The painting shows us some very interesting iconography depictedin this scene of St. John of Nepomuk entering into glory. Saint John of Nepomuk, Bohemian priest, vicar general of the diocese of Prague. He was martyred in the year 1393, for the secret of confession, being thrown into the river from the Charles Bridge by King Wenceslas IV who tried to seize the goods of the Church. He was killed, also having his tongue cut out, for not revealing the sins of the Queen to the King, who wanted to hear them, being killed for his silence. Patron saint of confessors, who must keep silent. The scene presents St. John of Nepomuk ascending to glory wearing five stars in his halo, as legend has it that they were seen around his head when his corpse was rescued from the river. In the background, the scene of his death can be seen, in which we find the bridge, and the soldiers who threw him from it into the river, and the saint in the waters.

Estim. 12 000 - 18 000 EUR

Lot 30 - Andrés López (Mexico, active from 1763 to 1811) - AndrésLópez(Mexico, active from 1763 to 1811) “Holy trinity” Oil on canvas. 45 x 34 cm. A very similar version dated 1780 is kept in the Blaisten Museum in Mexico, measuring 175x103 cm. It is easy to think that this painting could be a preparatory sketch for the previous lot. As we read in the biographical entry of the aforementioned Museum 'Andrés López 'Son of the painter Carlos Clemente López, the painter was associated with the academy of the brothersNicolásand Juan Rodríguez Juárez. The artistwas rather prolific and who enjoyed, along with his brotherCristóbal, certain well-deserved prestige. His work ranges in date from 1763 to 1812, as that is the year of the painting depicting Saint Ignatius wounded on the Battlements ofPamplona. His most famous work is the large Via Crucis, originally consisting of 14 paintings dated in Mexico from 1798 to 1800. It is thought that some of his works might portray views of thecity of Aguascalientes, such as 'Scenes from the Life of Saint JohnNepomucene', dated 1797, and an 'Our Lady of Carmen', signed in 1799, which can be found in the city of Sombrerete in Zacatecas. There is also an 'Our Ladyof Guadalupe' from 1798 in Aguascalientes and a 'Calvary' in Guadalajara. Although his paintings remained in the provinces, many of them were executed in Mexico. In the Treasury of the Mexico City Metropolitan Cathedral are the following paintings byAndrésLópez: the 'Heart of Jesus', the 'Conception' of 1796, and a print of 'Saint Joseph' from 1797, which is considered the best artwork produced by this prolific artist'.

Estim. 7 500 - 10 000 EUR

Lot 31 - Attributed to José de Paéz (Mexico City, 1721- c. 1780) - Attributed to José de Paéz (Mexico City, 1721- c. 1780) "Holy Trinity" Oil on copper. 19 x 24,5 cm. Exquisite painting on copper, in a false oval. A mystery as unfathomable and unreachable, as Saint Augustine would say, Páez makes it feel close to us, everyday, tender, and sweet, giving his subjects rosy cheeks and pure white skin; with perfect, almost divine strokes. On the left, Jesus, openingto the side and wounded, wears the "Mystic Lamb" on his chest ("the Lamb who was slain..." Revelation 5:12-14); the Father, with the sceptreof command in the centre, identified with the Sun ("For the Lord God is our sun and our shield; He gives us grace and glory" Psalm 84:11), and the Holy Spirit, working in perfect union with the Heavenly Father and Jesus Christ, on the right. ("He bears witness of the Father and the Son..." 2 Nephi 31:18). In summary, perfection in the seamless brushstrokes that seem to be painted by angels rather than by human hand.

Estim. 5 500 - 7 500 EUR

Lot 32 - Viceregal School. Mexico. 18th Century. - Viceregal School. Mexico. 18th Century. "Our Lady of Guadalupe" Drawing on paper. 51,2 x 38,1 cm. This drawing was undoubtedly made by a master due to the great artistic quality it reflects. It would not be unreasonable to suppose that it could have come from the hand of Miguel Cabrera, since it is known that he published an account of the image of Our Lady of Guadalupe in 1756 entitled "American marvel and set of rare wonders observed and directed by the rules of the art of painting", which could well have motivated the Master at the time to make a drawing on paper. It is a rarity, since we do not find similar examples of a work of this size and quality on paper. There is a fold and a very small fault.

Estim. 15 000 - 25 000 EUR

Lot 33 - Attributed to Josepha Sánchez (second quarter of the 17th century). - Attributed to Josepha Sánchez (second quarter of the 17th century). “Carved and painted wooden cell cross”. 90 x 53 cm. Until now, not much is known about Josepha Sanchez. She was active as a painter in the second quarter of the 17th century, inspired by the ascetic-naturalistic crucifixes of Luis Tristán. A copy almost identical to this one is kept in the collection of the National Museum of Decorative Arts in Madrid. Bibliography:https://opusincertumhispanicus.blogspot.com/2013/10/josepha-sanchez.html

Estim. 4 500 - 6 000 EUR

Lot 34 - Jose de Paez (Mexico City, 1727 - circa 1790) - Jose de Paez (Mexico City, 1727 - circa 1790) "Saint John of Nepomuk" Oil on copper. Signed: "Joseph de Paez Fecit". With an imposing,17th century frame. 27 x 21 cm. Frame measurements: 88 x 58,5 cm. Saint John of Nepomukwas a bohemian priest, Vicar General of the Diocese of Prague. Martyred in the year 1393 for the secrecy of confession - he was thrown into the river from the Charles Bridge, in that city, by King Wenceslas IV who was trying to seize the assets of the Church. His tongue was cut out, for not revealing the queen's sins to the King, who wanted to hear them, and so killed him for his silence. Patron saint of confessors, who must keep the sacramental seal. The scene presents Saint John of Nepomuk with a crucifix, the martyr's palm and with five stars in his halo, as legend tells that they were seen around his head when his body was rescued from the river. To his right we see a small angel making the sign of "silence" and on the lower cartouche the legend " Pro sigillo Confessionis”, referring to the secrecy of confession. José de Páez was a painter who was active mainly between 1750 and 1780. According to Madrid's Museum of the Americas, "he created models of great sweetness, idealisedbeauty, oval faces, [and] was an excellent portraitist." He developedmainly religious themes with an interest in caste painting as well. He was the preferred painter of religious orders such as the Franciscans, the Bethlehemites, and the Oratorians and carried out numerous commissions for them. Given his very extensive production of universal themes, it is understood that he developed some lines of his work without commissionsbut in the knowledge that he hada solid market of buyers for his artworks. Amongst his preserved works, we highlight the paintings on copper"Divine Shepherd" and "Our Lady ofLoreto" from the Museo de América in Madrid; the "Medallion of a friar with the Nativity" and "Saint John of Nepomuk" from LACMA; the "Virgen de la Merced" from the Blaisten Museum; and the ten paintings from the "Cycle of the Life of the Virgin" from 1772 that were restored between 2015 and 2016 and are located in the sanctuary of Guadalupe in Chihuahua, Mexico. As a result of this restoration project, a very interesting analysis of José de Páez's technical procedure was carried out. According to Yana Arantxa Ramírez's detailed report, the painter enjoyed great success in his lifetime, which was later diminished by widespread disdain for 18th-century painting. Now, "in recent decades there has been an effort to vindicate 18th-century painting." Thus, Magdalena Castañeda, who was in charge of the restoration of Páez's works, proposed a new approach to his artistic personality in her master's thesis and concluded that the Mexican was "a restless artist, with a discursive effectiveness that allowed him to sell works inside and even outside of New Spain."

Estim. 13 000 - 20 000 EUR

Lot 35 - Viceregal School. Lima. Peru. 16th century. - Viceregal School. Lima. Peru. 16th century. 'SaintJohn on Patmos' Oil on canvas. Relined. 272 x 190 cm. Very early large-format painting, significant for understanding the evolution from Mannerist art to early naturalism, highlighting the schematic, Byzantine-influenced folds of Saint John's clothing, or the Florentine Renaissance-influenced angels' wings. There is a cartouche showing Juan Martín de Escobar as the donor, Procuratorof the Convent of Our Lady of Mercy in Lima. We can read 'Dio este liencoel ermano JvanMartin Descovarpor sv devocion' (Brother Juan Martín de Escobar donated this canvas for his worship). The existence of Juan Martín de Escobar is attested to by his commercial activities, which are recorded in notebook 210 of file VII, in Volume I - Delivery I of the 'Revista del Archivo Nacional del Perú' (Magazine of the National Archive of Peru), published in Lima in 1920. According to this notebook, the deed of sale was granted on 14 September 1629. 'A great sign appeared in heaven,' recounts Saint John in the book of Revelation in the Bible. It is the image of a 'woman clothed bythe sun, with the moon under her feet, and on her head a crown of twelve stars.' The figure of the Apocalyptic Virgin is the symbol of the Church, inheritor of all the glory of Israel, and conceived as the mother of the Son of God. She appears to the evangelist and seer clothed in the sun, with the moon at her feet and a crown of twelve stars encircling her head, an image that would later be adopted to depict the Immaculate Conception of Mary by Saint Joachim and Saint Anne. A dragon - symbolising the devil - battles against the woman - symbolising the Church - whom God guards and defends by giving her the wings of a great eagle to fly to the desert and preserve her from the devil. Hence, the figure of the eagle is often present alongside Saint John the Evangelist. An anachronistic vision of the saint is often seen in art depicting the Vision on Patmos, as it portrays him as a young man who appears to have only aged a decade since his adolescence during the Passion of Jesus. In reality, Saint John would already have been very old, as his death is estimated to have occurred around the year 104, at an advanced age.

Estim. 25 000 - 40 000 EUR

Lot 36 - Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768) - Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768) "The Virgin of Guadalupe surrounded by the apparitions to the Indian Diego" Oil on canvas. Signed and dated 1762. 87 x 70 cm. Important representation of the Virgin of Guadalupe, which includes the apparitions and the Indian Juan Diego. It has handwritten legend in Latin: "Non fecit taliter omni nationi" (He did nothing the same with any other nation) in reference to the words pronounced by Benedict XIV when he was presented with the image of the Virgin of Guadalupe and admiring its beauty, he approved the works of the Guadalupe patronage in Mexico. Cabrera is considered the greatest exponent of 18th century Viceroyalty painting, with a production that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented". Miguel Mateo Maldonado y Cabrera was born on February 27, 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will in 1768. He was the son of unknown parents and godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training, passing through the workshop of Juan Correa in the capital of the Viceroyalty. Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, State of Mexico, in the church of Santa Prisca in Taxco, Guerrero and in the cathedrals of Mexico City and Puebla. Cabrera was not only a painter, but he also participated in the attempt to found an academy of Arts in 1753 and in 1756 he was consecrated as an intellectual, not only as an artist, since he published a narration about the image of the Virgin of Guadalupe in 1756 entitled "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura", a narration about the image of the Virgin Guadalupe in the printing press of the Jesuit college of San Ildefonso. In addition to easel painting, his production includes the design of altarpieces, large format works, as well as small copper works and nun's shields. Cabrera's religious painting produces figures of remarkable beauty, a beauty understood under the ideological assumptions of the devotion of the time. It is a refined art that possesses a well-arranged chromatic richness, is sustained by a great work of composition and, no less important, a subtle and expressive drawing. Of all the painters of that time, Cabrera was the one with the greatest personality; the conventional treatment in his figures was undoubtedly the basis of his way of painting, because he placed in his paintings models that were not ideal, but corresponded to people that the artist knew and treated, as when he incorporated in some paintings, portraits of donors or the so-called "prelates" because he had the need to observe directly and copy from nature. He was appointed chamber painter of Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, reproducing the ayate. The image was sent to Pope Benedict XIV, from whom he obtained the highest recognition as a painter of Guadalupe. Among the portraits he painted, the one of Sor Juana Inés de la Cruz, kept in the National Museum of History, and the one of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán, Mexico. He was also a painter for the Society of Jesus, for whose churches he produced numerous works. In 1753 he was named president for life of the Academy of San Carlos.His work is preserved in many churches and convents in Mexico.It is also present in numerous public and private collections.Two of his images of the Virgin of Guadalupe are in the Vatican Museum.Another, made in 1756, for the temple of San Francisco Javier, is preserved in the National Museum of the Viceroyalty.The Museum of Art of Dallas, conserves a Santa Gertrudis La Magna by Miguel Cabrera and another representation of the Saint, also by Cabrera and dated in 1768, is part of the collection of the Museum José Luis Bello y Zetina of Puebla, Mexico. Likewise, we highlight an important series of the Caste paintings of 1763 that is conserved in the collection of the Museum of America in Madrid. They depict families, father, mother and child of the various castes and social strata, in everyday life situations. Finally, mention should also be made of the Pinacoteca de La Profesa or the Andrés Blaisten Collection in Mexico, as depositories of Cabrera's work. The Museum of America in Madrid is currently exhibiting a very important retrospective of the painter.

Estim. 48 000 - 60 000 EUR

Lot 37 - Novohispanic School. Mexico. 18th century. - Novohispanic School. Mexico. 17th century - Early 18th century. 'La Inmaculada, la Santa Casa de Loreto y la familia franciscana' Oil on canvas. 57,5 x 41 cm. Delicado y onírico cuadro de La Virgen Inmaculada, patrona de la orden franciscana, posada sobre la Basílica y Casa de Loreto y algunos santos de la familia franciscana a modo de medallones genealógicos. Realizado, posiblemente, por encargo de la Orden para alguna casa, noviciado o capilla de la misma. La Santa Casa de Loreto es la misma casa de Nazaret que visitó el Arcángel Gabriel en la Visitación de la Virgen María, así como enla que pasó Jesús 30 años de sus 33 junto a la Virgen y San José. Actualmente la Santa Casa está situada dentro de la Basílica que para ella se construyó en Loreto, Italia. Con respecto al misterio de su localización en Italia, hay varias tradiciones. Una de ellas es que la casa la transportaron los ángeles por los aires para evitar su destrucción por los turcos, pero hay documentos que testifican que el responsable del traslado fue un comerciante llamado Nicéforo Angelo, del siglo XIII. Quizás su apellido inspiró la idea del traslado por medio de los “ángeles”. También aparece representada simbólicamente la familia franciscanapor algunos de sus santos y santas, a los que está consagrado el cuidado de dicha Casa: Santa Gertrudis (que no la Magna, que es cisterciense), San Francisco de Asís con las llegas del éxtasis, Santa María de Ágreda, confidente y consejera de Felipe IV, San Diego de Alcalá, San Antonio y Santa Clara. En la “compositio loci” destaca al fondo la ciudad amurallada de Jerusalén, a la izquierda, desde la que “voló” la Santa Casa a la ciudad de Loreto en Italia, a la derecha de la tela, donde se encuentra hoy. Por los santos que aparecen, puede ser fechado claramente en pleno siglo XVII, y en tránsito a inicios del XVIII.

Estim. 3 600 - 6 000 EUR

Lot 38 - Attributed to Juan Patricio Morlete (San Miguel el Grande, Guanajuato, Mexico, 1713/1715 - Mexico, 1772) - Attributed to Juan Patricio Morlete (San Miguel el Grande, Guanajuato, Mexico, 1713/1715 - Mexico, 1772) 'Fruit still life' Oil on copper. 31,5 x 42,5 cm. Juan Patricio Morlete Ruiz was one of the greatest painters in Mexico during the second half of the 18th century. Although his biography was little known until the 20th century, his work began to be more widely disseminated through various collections, which made it possible to learn more about him. Morlete, with an extensive oeuvre in Mexico, is particularly known for his series of caste paintings. The Museo de América has a still life by his hand (inv. 2021/04/01). Manuel López-Pintado y Almonacid (Toledo, 1677 - Seville, 1745) was an Admiral of the Spanish treasure fleet. He founded the Academy of Painting in 1753, together with his teacher José de Ibarra, Miguel de Cabrera, José de Alcíbar and other illustrious figures. Two years earlier, in 1751, he had been part of the group of artists who inspected the image of the Virgin of Guadalupe. These two events reflect the artistic and cultural importance, as well as the social and professional recognition of our painter.

Estim. 60 000 - 80 000 EUR

Lot 39 - Ignacio Chacón (active in Cuzco, Peru, 1745 - 1775) - Ignacio Chacón (active in Cuzco, Peru, 1745 - 1775) "Nursing Madonna" Oil on canvas. Relined. 51 x 40,5 cm. Ignacio Chacon was one of the most important disciples of the master Marcos Zapata of the Cuzco school of the 18th century. A powerful generation of indigenous painters emerged in Cuzco in the mid-17th century, protected by Bishop Manuel de Mollinedo y Angulo, who came to Peru in 1671, took charge of the Diocese of Cuzco in 1673, and died in that city in 1699. He contributed his support to the progress of the later famed Cuzco School. He supported the growing activity of indigenous and mestizo painters, making this painting recognised as native, without being distanced from European influence, but produced by the natives. Bishop Mollinedo, a patron of the arts, is portrayed among a group of figures in a painting depicting the death of Saint Peter Nolasco, from a series on the life of the saint that he painted for the main cloister of La Merced in Cuzco, some dated 1763. In the Convent of Ocopa (1707) there are also pictures painted by Chacón representing the life of Saint Francis and in one of them we can read "...these 4 canvases were painted in the city of Cuzco in the year 1763 and were done with the usual skill of the brush of the master Ignacio Chacón...". In 1775, together with Cipriano Gutiérrez, he made a Corpus Christi Arch in which he was assisted by Pedro Nolasco Araujo, Andrés Rodríguez, Jacinto Zegarra and Inga Hermenegildo Xara. His 1765 work, The Madonna and Child with Bird, which is part of Engracia and Frank Barrow Freyer'sprivate collection of colonial Peruvian art in the Denver Art Museum, USA, was transported by the US Postal Service for the Christmas holidays in 2006. As comparative references we can name two canvases; the Holy Family from the convent of Santa Clara and the Virgin and Child in the Museo Historico Regional in Cuzco.

Estim. 30 000 - 40 000 EUR

Lot 40 - Miguel de Berrio (Potosí, Bolivia, 1706 – circa 1762) - Miguel de Berrio (Potosí, Bolivia, 1706 – circa 1762) "Lutgardis of Aywières" Oil on canvas. 90 x 64 cm. Gaspar Miguel de Berrío was a painter, son of Diego Berrío and Juana Bravo de Laguna, active between 1735 and 1762. He was mostly raised in the town of Puna,Potosí in what is now Bolivia. The majority of his artworks can be traced as he tended to sign and datethem. He is considered to be one of the most important artists of the Potosí School, followingMelchor Pérez de Holguín, who was his master and who had a striking and significant influence on him, especially in his early paintings. Later, he decided to move away from his old master's style to adopt that typical of indigenous painters, which valued gilding and usually had highly idealised figures in its compositions, as mentioned by the Royal Academy of History. Bibliography:https://dbe.rah.es/biografias/49029/gaspar-miguel-de-berrio

Estim. 35 000 - 45 000 EUR

Lot 41 - Diego Quispe Tito (Cuzco, Peru, 1611 - 1681) - Diego Quispe Tito (Cuzco, Peru, 1611 - 1681) 'Saint Anthony with the Child' Oil on canvas. 57,5 x 44,5 cm. As we read in the Real Academia de la Historia Quispe Tito 'Member of a family of the Inca aristocracy, is considered among the main initiators of the Cuzco school for painting. He apparently came from the indigenous village of San Sebastián, which houses a significant part of his production. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church. These groups of canvasses summarise Quispe Tito's original maturity, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours. His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus among the Doctors of the Temple and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda of that city. In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of The Last Things or the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas for depicting the Last Judgement, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme, in the form of successive horizontal layers, common among medieval painters. The Holy Family Returning from Egypt (National Museum of History), dated 1680, displays the virtuosity characteristic of his later works. Here the painter based himself on a widespread composition by Rubens, but Quispe Tito considerably reduced the proportion of the figures in relation to the background in order to place the scene of the sacred story within a vast idealised and fantastic landscape, thus heralding the emergence of one of the favourite genres of painting in Cuzco in the following century. At the same time he executed the well-known series of the zodiac, hung on the walls of the side naves of the Cathedral of Cuzco. Today only nine of the twelve signs exist, either because three of them were destroyed or because the artist died before completing the commission. It is a Christianised cycle, in which each of the zodiacal signs is identified with a parable of Christ or a Gospel story. In this case Quispe literally follows his Flemish graphic sources, while at the same time displaying a European-inspired pictorial craft, the high technical level of which is unsurpassed in the Cuzco context. In this way the artist, in the last stage of his life, seemed to adapt his work to the aesthetic preferences of a cultured, urban clientele, which may have attracted the attention of Bishop Mollinedo and his cathedral chapter.

Estim. 7 500 - 12 000 EUR

Lot 42 - Melchor Pérez Holguín (Cochabamba, Bolivia, 1660 - Potosí, 1732) - Melchor Pérez Holguín (Cochabamba, Bolivia, 1660 - Potosí, 1732) 'Saint Thomas' Oil on canvas. 100 x 78,5 cm. Holguín was one of the most important painters of the colonial mestizo baroque, of what was called the Potosí School, which developed in the years 1700 - 1790. Tenebrism and the influence of Zurbarán were characteristic. Holguin’s work is dominated by the many commissions carried out for the Franciscans and the Dominicans. Born in Cochabamba, Bolivia he died in Potosí. As Suzanne L. Stratton-Pruitt indicates, despite the fact that Holguín of course knew the Cuzcan art that was widespread and stylistically of great influence in Upper Peru, his work was very personal, and is somewhat removed from that style, although it adopts some common elements as the painting of Cuzco, such as the floral borders. There are other elements that are unique to Holguín’s work, such as the addition of gold brocade in the halos and the lace trim on the Virgin Mary’s cloaks and necklines. Likewise, the serenity reflected in the faces of his characters is characteristic of Holguín.

Estim. 65 000 - 80 000 EUR

Lot 43 - Viceregal School. Cuzco. Peru. 18th century. - Viceregal School. Cuzco. Peru. 18th century. ‘Virgin and Child’. Oil on canvas. 60 x 54 cm. Wonderful and sweet representation of this cuzqueña maternity. The scene surrounded by a border of flowers and the Virgin and the child adorned by rosary in red coral.

Estim. 8 000 - 12 000 EUR

Lot 44 - Novohispanic School. Mexico. 18th century. - Novohispanic School. Mexico. 18th century. "Allegory of Africa and South America" Pair of oil paintings on canvas. Relined. 136,5 x 88,5 cm. each. Profusion and meticulous detail, excellence in drawing, joyful colors, and great elegance overflow in these two allegories of two of the four known continents between the 16th and 17th centuries. Africa is depicted by an anonymous Mexican palette, painting her as a Renaissance Sibyl: dominating the scene over a black slave offering her the finest jewels as if she were a queen, beside a lion symbolizing her "strength," and with a basket "abundant" with wheat and food (an allegory of Fortune), representing wealth. America, with ships in the background "discovering" new enclaves, is portrayed as a Princess with a cloak made of the rarest and richest tropical bird feathers from the Amazon paradise, with cacao at her feet, offered to Europe as pure "gold." Jewels and brooches adorn their headdresses and garments, breastplates, almost appearing embroidered to perfection, belts laden with precious stones, and fabrics never seen before. Notably, the characterization of the garments, with curiously Latin American geometric decorations, is observed in the female representation of Africa. This pair of two beautiful women, richly dressed and adorned, full of luxurious details, reflects the projection of two known continents and possibly formed part of a grand design for a majestic decoration, fit for kings and prominent people.

Estim. 24 000 - 35 000 EUR

Lot 45 - Novohispanic School. Mexico or Peru. Late 17th century. - Novohispanic School. Mexico or Peru. Late 17th century. "Saint James" Oil on canvas. 122 x 84 cm.

Estim. 12 000 - 18 000 EUR

Lot 46 - Antonio Arellano, (circa 1640, Ciudad de México - circa 1700) - Antonio Arellano, (circa 1640, Mexico City- circa 1700) "The Slaughter of the Innocents" Oil on panel. Signed. 63 x 44,5 cm. A very famous and well-known painter in Mexico City, whose paintings can be found in the vast collection of Viceroyalty paintings in the Museum of the Basilica of Guadalupe. In this case, "the slaughter of the innocents" is an episode recounted in the Gospel of Matthew (Mt 2:16-18), which consists of the supposed order of Herod, king of Judea, to kill all the children under two years of age in Bethlehem after learning of the birth of Jesus and the visit of the three wise men from the East, the Magi. In this painting by Arellano, the foreground and background scenes are fully differentiated by the treatment they receive. Italianate architecture in the background in the manner of Piranesi, and a human scenography in the foreground, predominating the composition, with the solidity and rotundity of the human figures represented. Sketchy brushstrokes reminiscent of Francken's faces and noses, but without leaving the defined details aside. A composition loaded with the bent forms of the bodies, the folds and falls of their clothes, which give a lot of dynamism to the painting. Children "from two years old and under" from Bethlehem and its region were sacrificed, according to the prophecy in Jer. 31, 15. Arellano held the highest positions in the guild of painters and gilders in Mexico City, alternating with personalities such as Cristóbal Villalpando and Juan Correa.

Estim. 40 000 - 60 000 EUR

Lot 47 - Juan Pedro López (Caracas, Venezuela, 1724 - 1787) - Juan Pedro López (Caracas, Venezuela, 1724 - 1787) "Inmaculate Conception with angels" Oil on canvas. 90,5 x 56 cm. Although he enjoyed great recognition during his lifetime, Juan Pedro López fell into oblivion after his death as a result of the heavy political turbulence the country went through during the 19th century. His work was even considered anonymous, as he was known simply as "el Caraqueño" or "the painter of big-headed children". From the 1960s onwards, thanks to the work of critics of the stature of Alfredo Boulton and Carlos Federico Duarte, López was rescued and revalued as a central figure in the development of Venezuelan colonial art, and he is considered one of the most important artists of Venezuela's colonial period. As a painter, sculptor and gilder he illuminated the sombre art of his time with the light and grace of Hispano-American Rococo, the style to which the master is related. Much of Juan Pedro López's work was of a religious nature, in keeping with the tastes and fashions of the time. His iconography was far removed from the dramatic and tragic aspects customary at the time, and he focused on the production of humorous and cheerful images that were more appealing to the parishioners. One of the first important paintings with which this master ventured into pictorial art was the commission in 1752 for sixteen paintings grouped under the title "History of the Life of the Virgin" at the request of the confraternity of Nuestra Señora de Guía in the church of San Mauricio, to be displayed on the main altar. The importance of this group of paintings is due to the fact that they bring together "all the formulas, scenes and typology of the characters to be found throughout his oeuvre" (Duarte Carlos). In addition to paintings, Juan Pedro López also produced sculptural pieces, and at the same time as both practices, he received requests for the restoration of paintings and sculptures, retouching, modifications, additions, among others. As a curious fact, another activity carried out by López was the painting of candles that were used in ecclesiastical rituals, which was very common at that time. Master Juan Pedro López was one of the few artists in all of Latin America who made his own frames. We can compare this canvas with the series of Archangels in the Cathedral of Caracas, with Our Lady of Carmen from the Cisneros collection and with the Virgin of the Rosary from the Roberto García de la Concha collection.

Estim. 25 000 - 40 000 EUR

Lot 48 - Viceregal School. Peru. 18th century. - Viceregal School. Peru. 18th century. 'The Holy Trinity crowning the Virgin Mary' Oil on canvas. 159 x 122 cm. This work reflects a sequence within the cycle of the Virgin Mary's life found in the Book of Revelation. Three identical figures, the Holy Trinity, three in one with the papal mitre, crown the Virgin Mary. In this way, Mary can be interpreted as a Trinitarian figure: like the Son, as a virgin, by receiving and allowing herself to be loved by the Father; like the Father, as the source of life-giving love, in her role as mother; like the Holy Spirit, as a spouse, as the bond of love between Father and Son and the opening to the mystery of God on earth. The Virgin as the Immaculate Mary is receivedinto the heavens, in a sea of clouds, and is contemplated by Saint Didacus of Alcala, a Franciscan, depicted with the miracle of the roses, and Saint Nicholas of Tolentino, an Augustinian, with his attributes - the stars on his habit and partridges on a small plate.

Estim. 18 000 - 30 000 EUR

Lot 49 - Baltasar de Figueroa the Elder (Seville, circa 1550 - Bogota, Colombia, early 17th century) - Baltasar de Figueroa the Elder (Seville, circa 1550 - Bogota, Colombia, early 17th century) ‘Our Lady of the Rosary with Philip the Second and Charles, Prince of Asturias as donors’. Oil on canvas on tablex With important carved and gilded period wooden frame. 113 x 71,5 cm. As noted by art historian Manuel Salvador Sánchez Aparicio in his historiographical review of this artist, it is surprising that Baltasar de Figueroa the Elder, known as such to differentiate him from his grandson, remains "one of the great enigmas in the historiography of Colombian painting, despite the craftsman’s significance, as he, indeed, began a dynasty of painters that flourished well into the 18th century." When we study the artworks of the Figueroa Dynasty, we can appreciate a very particular and unique style among them, and almost by default or instinct, we find ourselves compelled to relate the works to each other to finally understand that this family developed a style that many have since followed. It is clear that within this family, theyinfluenced and collaborated with each other. The significant generational presence of the Figueroas persisted throughout the 16th, 17th, and 18th centuries, positioning them at the pinnacle of painting in New Granada. The painting we study here depicts Our Lady of the Rosary and the Christ Child, with the notable feature of having King Philip II and Prince Carlos of Austria at their feet as donors. Both are dressed in the typically austere and puritanical, dark fashion promoted by King Philip II himself, due to the discovery of logwood in America for dyeing garments, a dye that would be commercialised by the Crown. This work is the only pictorial record produced in Latin America that depicts the King and the Prince together. It is also the only known image of Prince Carlos of Austria produced in America to date. Undoubtedly, the elongated face, pronounced features, marked eyebrows, beard, and moustache of our donor are exactly the same as in the portrait of Philip II found in the National Historical Museum of Chile, making the connection between these works evident. We could even consider that they had access to a print. The portrait of the King of Spain is also comparable to other versions by Sánchez Coello and Pantoja de la Cruz, where he is depicted at an older age with his white hair. In Pantoja de la Cruz’s engraving “Death of Carlos of Austria,” the prince is depicted similarly to this painting,as a young man of 21, a very similar age to that of Carlos when he was portrayed here, suggesting that Baltasar de Figueroa is likely to have painted it in the late 1560s. We highlight the importance of this piece not only because it was painted by one of the greatest artists of the Viceroyalty, who had the talent, initiative, and perseverance to create a school that endured over time, but also because it is an invaluable historical and pictorial record of the influence of Philip II and his fashion. This work makes us direct participants in a history of synergies and syncretisms that resulted not only in the creation of Latin American artworks influenced by European techniques and themes but also in the Americanisation of the old world, of which our work is a material witness. Reference bibliography: - Sánchez Aparicio, Manuel Salvador. (2012). "Baltasar de Figueroa «el viejo» Revisión historiográfica, aportaciones y rectificaciones relevantes en torno a su biografía y procedencia sevillana."Ensayos. Historia y teoría del arte, Bogotá, D. C., Universidad Nacional de Colombia,num. 22, pp. 70-86.

Estim. 70 000 - 80 000 EUR

Lot 50 - Novohispanic School. Mexico. 17th century. Circle of Cristóbal de Villalpando (Mexico City?, 1649 - Mexico, 1714) - Novohispanic School. Mexico. 17th century. Circle of Cristóbal de Villalpando (Mexico City?, 1649 - Mexico, 1714) Oil on canvas.In its original cedar wood chassis. 158,5 x 223,5 cm. Impressive oil painting that narrates the scene described in John 18:2 and Luke 22:39, the scene of Gethsemane, that garden on the Mount of Olives where Jesus often withdrew to pray. In Aramaic 'Gethsemane' means 'olive press' or 'oil press', with that specific nuance that when the olives are first pressed in the press, the oil that comes out is red, like blood. According to Luke's account, 'Jesus went away from them about a stone's throw, and kneeling down he prayed, saying, 'Father, if you are willing, take this cup from me, but let not my will be done, except yours be done. .... and full of anguish, he was sweating like thick drops of blood...'. On the right we see Peter (of the three who were present; James and John the other two), who fell asleep while Jesus was praying. And in the background the city of Jerusalem, located in the place that is central to the life of Jesus, his death, crucifixion and resurrection. Cristóbal de Villalpando is, together with Juan Correa, the most important artist in New Spain in the last quarter of the 17th century. He undertook two of the most important artistic works: the large allegorical canvases of the Metropolitan Cathedral of Mexico City and the Cathedral of Puebla, where he even painted the dome. His style is very personal; he combines an acid and iridescent coloring with almost metallic tones with very nervous folds in clothes and flesh tones with bluish reflections, all in a mannerist spirit that may remind us of Northern European artists. His compositions are inspired by very eclectic sources in accordance with his iconographic intentionality, prints by Rubens and peninsular baroque models such as Carreño de Miranda and Francisco Rizzi, from whom he even versioned a famous Immaculate Conception and from whom he also takes the juicy and vibrant coloring. It presents some patches on the back due to small restorations, but it is in its original canvas

Estim. 24 000 - 35 000 EUR

Lot 51 - Nicolás Enríquez (Mexico, 1704 - 1790) - Nicolás Enríquez (Mexico, 1704 - 1790) "Pietá" Oil on copper. Signed: "Enriq. Fac." 42 x 32,5 cm. Nicolás Enríquez was a member of the first Academy of painters established in Mexico circa 1722 by the brothers Nicolás and Juan Rodríguez Juárez, and he is considered one of the best artists painting on copper of the time. The Metropolitan Museum of New York acquired a series of five oil paintings on copper by the Mexican painter Nicolás Enríquez in 2014, to enrich its collection of New Spanish art. This series was commissioned fromEnríquez in 1773 by the Basque merchant Juan Bautista Echeverría.

Estim. 6 000 - 9 000 EUR

Lot 52 - Novohispanic School. Guatemala. 18th century. - Novohispanic School. Guatemala. 18th century. "Saint Joseph with Child" Imporsing sculpture in carved and polychromed wood with silver complements such as the rod carried by Saint Joseph and the haloes of both figures. It rests on its original carved and gilded wooden base. It is a clothed figure, so the faces, including the neck, and the extremities of Saint Joseph and the Child are polychromed. In this particular case, the quality of the polychromy of the flesh tones of the porcelain-like faces is particularly outstanding. 80 x 32 x 20 cm.

Estim. 7 000 - 9 000 EUR

Lot 53 - Attributed to Bernardo Legarda (Quito circa 1700 - 1773) - Attributed to Bernardo Legarda (Quito, circa 1700 - 1773) "Saint Joseph and the Virgin Mary" Pair of carved and polychromed wooden sculptures with vitreous eyes.They would have belonged to a nativity scene. 28 x 16 x 10 cm. and 30 x 16 x 12 cm. Wonderful example of the baroque sculpture from Quito. The sculptor presents us with the Virgin Mary and Saint Joseph,humanised and with serene expressions full of spirituality. Bernardo Legada, a sculptor and painter of enormous talent, stood out as one of the most important artists of the Viceroyalty of Ecuador. Like other indigenous art image-makers, he dedicated himself solely to sacred art. His most important works include the main altarpiece of the Church of La Merced in Quito, as well as the altarpiece of the Temple of the Jesuits. Wonderful treatment of the flesh tones, with characteristic polychrome on the faces that looks like porcelain. The decoration of the habit is a delightful brush composition of polychrome flowers and fine gold latticework. Some of Legarda's other important artworks are, for example, the Calvary found in the Convent of Santo Domingo in Quito, the Virgin of Quito which is in the main altar of the church of San Francisco and is the only artwork that has the signature of the author, Our Lady of the Assumption of Popayán, kept in the Cathedral of Popayán, Colombia, a Saint John of Godat the Convent of Santo Domingo in Quito, and the Calvary of the Chapel of Cantuña, in Quito. He is also the architect of the main altarpieces of the church of theCarmen Bajomonastery and the church of LaMerced, both in Quito, also of the altarpiece in the presbytery of the Church of the Society of Jesus. Reference bibliography: - "Escuela quiteña: principales exponentes y su legado en el arte ecuatoriano. Plan de difusión cultural”. Estupiñán Ordóñez Doris Amelia. P. 187, nº 48.

Estim. 6 000 - 8 000 EUR

Lot 54 - Wonderful silver and tortoiseshell chest. Mexico. 17th - 18th century. - Wonderful silver and tortoiseshell chest. Mexico. 17th - 18th century. 11,5 x 17,5 x 9 cm. It retains its original key, which cannot be turned.

Estim. 5 500 - 7 000 EUR

Lot 55 - Viceregal School. Cuzco. Peru. 18th century. - Viceregal School. Cuzco. Peru. 18th century. Magnificent and very rare set of six reliefs in gilded and embossed silver, depictingthe figures of six harquebusier archangels, to the smallest detail. Mounted on an imposing ebony veneered wooden frame. Total measurements: 75 x 85 cm.

Estim. 9 000 - 12 000 EUR

Lot 56 - Molded, cast and engraved silver box. Viceroyalty of Peru, Sierra or Altiplano. 17th century. Circa 1600-1625. - Moulded, cast and engraved silver box. Viceroyalty of Peru, Sierra or Altiplano. 17th century. Circa 1600-1625. 22 x 58 x 24,5 cm. 3,600 gr. Very interesting box, because its use is civil and not religious, silver for religious purposes being more common to find. In her report, Dr. Esteras wonders about its use, but ends by indicating that it is an exceptional piece "what could be deposited in it? Because of its dimensions and weight, it is unthinkable that it was a travel box intended to transport belongings (among other things because it lacks side handles to facilitate its transport), but rather we think that it was conceived as a chest to store something very valuable that was neither jewellery nor documents, but perhaps intended as a container for some silk garment (highly prized at the time) or as a hat box? It will be necessary to wait for future and new data to be able to determine if this was really its true destiny or simply the box did not have a special function, giving its owner freedom of use. There is no doubt that this box is an exceptional piece, unique in its genre and for the structural and decorative characteristics mentioned above, but above all it stands out for its good state of preservation, considering that there are few examples of silver objects for secularuse with this age and of Peruvian origin. In short, a luxury object in accordance with the taste of the trousseaux of the viceregal aristocracy.

Estim. 20 000 - 24 000 EUR

Lot 57 - Bernardo de Legarda (Quito, Ecuador, circa 1770 - 1773) - Bernardo de Legarda (Quito, Ecuador, circa 1770 - 1773) ‘Martyrdom of Saint Barbara’. Carved, polychromed and gilded wooden relief. 35,5 x 27 x 3,5 cm. Wonderful relief, in which Legarda magnificently narrates the dramatic moment in which the saint is about to be beheaded, while a lightning bolt is about to fall on her executioner, killing him. Next to her is the tower in which her father, Dioscorus, had her locked up to protect her from being harassed by suitors. Before entering the tower the saint baptised herself in a pool. She escaped, but was arrested and brought before the judge Martinianus, who condemned her to death. In this relief, the tower, according to tradition, has three windows to recall the words of the saint, who stated that the light had entered her through the three windows of the Father, the Son and the Holy Spirit. The relief is an example of absolute mastery as well as virtuosityinpolychromy. The characters are dressed in rich and elaborate robes in vivid colours, with polychrome brushwork of flowers enriched with motifs painted in gold. It is ornamenteddown to the smallest detail. It is presented in its original carved, wooden, niche type frame, which even has its inner edge decorated with a border of flowers. Bernardo Legada, an enormously talented sculptor and painter, stands out as one of the most important artists of the Viceroyalty of Ecuador. The magnitude, variety and aesthetic quality of his work is unparalleled in the entire viceregal period. Legarda, while consolidating the validity of the Quito Schoolas a differentiated style, is a pioneer in the vision of the artist as an individual. When we speak of this Master we usually think only of his free-standing sculptures, but Legarda is perhaps one of the few artists of the South American region who inherited the multidisciplinary versatility of the first artists who arrived or developed in Latin America, as was the master Bernardo Bitti, one of the three pillars of viceregal art in South America at the end of the XVI century. He was an outstanding and fine sculptor, prolific image maker, skilled painter, painstaking gilder, silversmith and mirror maker.His workshop, large and prosperous, located near San Francisco, was a centreof greatactivity. There is a large number of artworks by the master Bernardo de Legarda in the different churches in the capital of Ecuador that attest to his genius. Amongst his most important artworks is the main altarpiece of the Church of La Merced in Quito, as well as the altarpiece of the Temple of the Jesuits. This relief is especially remarkable because there are very few artworks by Legarda on the market today, and even fewer with this type of relief carving. Its small size and quality, together with its magnificent polychromy, make this relief a coveted jewel that could certainly be a museum piece. The sweet expressions of the characters, who seem oblivious to the scene depicted where Saint Barbara is about to have her throat slit, are classic Legarda. This type of expression and idealised faces reminiscent of porcelain dolls are repeated over and over again in his sculpture. It is sufficient to see just some of his works to notice that this was undoubtedly the great Master of kind, serene and sweet faces. We take two artworks by the author as typological references of his relief carving. On the one hand, a relief sculptural ensemble conceived within its own niche, representing the Apocalyptic Immaculate Virgin with a choir of angels, in the BEAEP Cultural Center Museum. And on the other hand, an exquisite relief sculpture of a larger size representing the Assumption of Mary, in the Church of San Francisco, in Quito, Ecuador. Furthermore, whenanalysing the carving, we compared its clothing, polychromy and sweet features with those of the Archangel Saint Gabriel in the same church in Quito; and also with the Archangel Saint Michael of the Primate Cathedral of Quito, whose sweet face is especially reminiscent of that of the Saint Barbara we have here.

Estim. 35 000 - 60 000 EUR

Lot 58 - Large, curved lidded wooden chest with inlay and sgraffito decoration using the zulaque technique and wrought iron fittings. Novo-Hispanic work. Villa Alta de Oaxaca, Mexico. 17th century. - Large, curved lidded wooden chest with inlay and sgraffito decoration usingthe zulaque technique and wrought iron fittings. Novo-Hispanic work. Villa Alta de Oaxaca, Mexico. 17th century. 50 x 85 x 43 cm. This chestis unique because its entire decoration is centred around ancestral cultures predating the arrival of the Spaniards, harking back to the Aztecs. Elements of fauna and characters unrelated to those extracted from engravings from Europe can be found. This peculiarity indicates, in our opinion, a rather decided intention to showcase theseorigins and culture with pride, by eschewing the usual European-inspired decoration. From this, we deduce that it might have been commissioned by an important personality in Oaxacan society. On the curved lid, in the centre, there is a rosette-like motif formed by feathers and leaves. Above and below the rosette, there is a head with a feathered crown, which could well represent Moctezuma, in our opinion; closing the circle, the same motif of a face with a curious headdress is repeated. On both sides of this central scene, there is an elaborate composition of flowers and rosettes. The upper edge of the lid is edged with a border identical to the one found on one of the two Oaxacan chests kept in Zaragozaat the Alma Mater Museum. The front is magnificently decorated, again with a decidedly indigenous character: displaying what is probably a double-headed quetzal on a pedestal on both sides. As Paz Aguiló indicates when referring to a similar chest from Zaragoza, which is decorated with a pair of bird-like creatures similar to eagles on its lid: 'it could be a pair of quetzals arranged in heraldic style,in imitation of the eagles in European decorations. This transformation of animal and plant elements taken from European engravings into something native to their environment is what truly turns thefurniture from Oaxaca into the genuine expression of Novo-Hispanic style.' In the central part of the front are the figures of two indigenous peoplewith a spear atthe back of an animal that looks like a horse with a feline head, as well as two human figures catching a coiled snake. Finally, in the centre, under the magnificent iron fitting, there is a lady with a flower that could symbolise spring. Both sides show the same motif of a warrior with shield and sword defending himself against two lions by killing them. We see similarities between the decoration on this chest and objects of local gold and silver craftsmanship found in ancient tombs, such as theMixtec gold and silver pectoral pieces or somemore closely related to the decoration of this chest: Mesoamerican jewelleryrescued from Tomb 7 at Monte Albán, located in Oaxaca itself. This type of furniture was a clear example of the social prestige of its owners, as Gustavo Curiel indicates, as examples of Oaxacan pieces of furniture were found in the inventories of noble families. Unlike this chest, it was more common for this type of furniture to be for export and, therefore, decorated in the taste of European clientele, who preferred allegorical, mythological, courtly, palatial, or landscape scenes, drawn from European books and engravings. As we mentioned, this influence is not reflected in the spirit that inspired the creation of this large chest in the auction. Pieces of the same importance as this one, although without the particularity of traditional Aztec decoration, can be found in various museums. A similar oneis kept in the collection at the Franz Mayer Museum in Mexico; likewise, a magnificent desk is part of the collection atthe National Archaeological Museum of Madrid; the magnificent chest from Villa Alta of the Marquises of Mancera from the Gerstenmaier collection; also, the two chests, as mentioned, kept in the Alma Mater Museum in Zaragoza. The specific and unique Oaxacan decoration technique is well explained by Mr. Andrés Gutiérrez Usillos, in “El baúl de taracea de Villa Alta (Oaxaca, Nueva España) de los marqueses de Mancera en la colección Gerstenmaier. Una obra invitada en “contexto” en el Museo de América” (The Inlaid Chest from Villa Alta (Oaxaca, New Spain) belonging to the Marquises of Mancera in the Gerstenmaier Collection. A guest piece in 'context' at the Museum of the Americas): 'One of the most interesting aspects that characterise and individualise this production from Villa Alta compared to other similar carpentry is the use of sgraffito or excavation of the contours, folds, features, and shadows of the designs and figures, and their filling with a black paste called zulaque or zumaque, which would give a very similar appearance to woodcut prints [...] the technique of wood inlay and incisions or sgraffito filled with black paste, characteristics that define the Viceroyalty production of the town of Villa Alta, in Oaxaca, Mexico.' It is also interesting to read Aguiló, who explains that the technique in question is an 'embossed zulaque - a bituminous paste of

Estim. 35 000 - 45 000 EUR

Lot 59 - Possibly Laca de los Galgos workshop (Patzcuaro, Mexico, 18th century) - Possibly Laca de los Galgos workshop (Patzcuaro, Mexico, 18th century) Four-leaf screen. Open dimensions: 215 x 212 cm. Closed dimensions: 215 x 53 cm. The screens of New Spain are a mixture of intentions and different places. They are reminiscent in their form of the oriental furniture they evoke, if we think that they were part of the lavish aiuares of the palaces and lords of the Orient, and by their form and use they would have been destined to reserve certain spaces, both those dedicated to the service of audiences and courts and the rooms arranged for privacy and daily rest. Throughout their long existence, the surfaces of the screens were painted with all kinds of figurative subjects: from stories and legends to naturalistic landscapes with horses, birds and flowers, although there were also those destined to exhibit exquisite calligraphic strokes. For this, the screens used all kinds of materials: some covered their surfaces with different precious metals, tortoiseshell, jewels, fine silk fabrics or a variety of papers, all according to the splendor that each lord and palace wanted to display. This magnificent screen, composed of four leaves, is closely linked to the artistic production of lacquered elements in the Novo-Hispanic world, specifically in this case to a workshop possibly established in Patzcuaro and known as the Taller de los Galgos. The lacquering technique throughout the Americas in general was developed by combining pre-Hispanic lacquer techniques with the techniques and decorative motifs often produced in the Orient, resulting in marvelous creations such as the one we present here. It is evident to the untrained eye the decorative visual load with oriental influences of our screen, which is also present in the five examples of bateas known to date from this workshop. In them the exaggerated load of vegetal decorative elements of flowers and fruits such as the pomegranate that are repeated over and over again as in our folding screen. It would not be the first time that a workshop specialized in one type of articles began to produce others using the same technique. Such is the case in particular of the Cerda workshop, specialized in trays, of which we have evidence that there is a fantastic lacquered chest of drawers in the Metropolitan Museum and a painting of a Virgin signed by him.

Estim. 45 000 - 60 000 EUR

Lot 60 - Novohispanic School. Mexico. 18th Century. - Novohispanic School. Mexico. 18th Century. "Lion-shaped standard bearer" Pair of carved and parcially gilded wooden sculptures. 150 x 74 x 55 cm and 145,5 x 74 x 54 cm. Very rare and imposing carved andpartially gilded wooden pair of sculptures. These figures were intended to be placed on both sides of the throne of kings or viceroys in receptions for dignitaries from other countries, and on each lion the flag of each country was placed.

Estim. 25 000 - 30 000 EUR

Lot 61 - Viceregal School. Cuzco. Peru. 18th century. - Viceregal School. Cuzco. Peru. 18th century. "Madonna and Child" Oil on canvas. 36 x 26 cm. Frame measurements: 79 x 50 cm.

Estim. 5 500 - 6 500 EUR

Lot 62 - Circle of Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Circle of Angelino Medoro (Rome, circa 1565 - Seville, 1632) 'Saint Michael the Archangel' Oil on canvas. 120 x 101 cm.

Estim. 18 000 - 35 000 EUR

Lot 63 - Novohispanic School. Mexico. 17th Century. - Novohispanic School. Mexico. 17th Century. 'Saint Michael the Archangel' Oil on canvas. 144 x 89,5 cm. Accompanied by a carved, gilded and polychromed period wooden frame.

Estim. 7 500 - 15 000 EUR

Lot 64 - Juan Rodríguez Juárez (Mexico City, 1675 - 1728) - Juan Rodríguez Juárez (Mexico City, 1675 - 1728) "Pietà" Oil on copper. Circa 1702. 26,5 x 19,8 cm. Juan Rodríguez Juárez developed his art as a portraitist, andthe precision of his drawing, the solidity of his figures and the treatment of his canvases are outstanding. The son of Antonio Rodríguez and grandson of José Juárez, a great exponent of the New Spanish Baroque, Juan Rodríguez Juárez began painting at a very young age and was a contemporary of Cristóbal de Villalpando. He studied with José de Padilla, with whom he worked in his studio. Together with his brother Nicolás, he was a precursor of the great change in themes, models and visual language that would serve as a bridge between the 17th and 18th centuries, and which would give rise to the first art academies in New Spain. In addition to being a great portraitist, he created numerous religious paintings. The National Museum of Art houses important artworks by him, including his Self-Portrait and The Virgin of Mount Carmel with Saint Teresa and Saint John of the Cross. In the latter work, an oil on canvas dating from 1708, Rodríguez Juárez exalts the two holy reformers of the Carmelite order: Saint Teresa of Avila, theologian of the Church and founder of the Discalced Carmelites, and Saint John of the Cross, theorist and poet, author of the famous Spiritual Canticle. The artwork he didfor the Altar of the Kings in the Metropolitan Cathedral with the themes of The Assumption of the Virgin and The Adoration of the Kings are also remarkable. Focusing on the copper painting we have here, itis of extraordinary quality, both in the drawing and in the colouring of the chromatic palette selected, being in this respect very similar and comparable to the copper painting of the Burial of Christ currently on display in the Metropolitan Museum of Art, New York. Both compositions, which are derived from Flemish engravings, display the brilliant colour and vigorous modelling characteristic of the first phase of his career. They are undoubtedly by the same hand and, in fact, could be part of the same series as they share the same measurements. It is not only the artist's typical colour palette that they share, but also, the brushstrokes, the use of gold in brocades and haloes, the flesh tones and the anatomy used to define the human body are virtually identical in both works.

Estim. 45 000 - 70 000 EUR

Lot 65 - Workshop of Cipriano de Toledo and Gutiérrez (active in Cuzco, Peru, 1761 - 1775) - Workshop of Cipriano de Toledo and Gutiérrez (active in Cuzco, Peru, 1761 - 1775) "The exaltation of Our Lady of Mount Carmel and the souls in purgatory, among angels, archangels and saints" Oil on canvas. Relined. 98 x 72 cm. The work we present here reflects the iconographic and devotional link between the Virgin of Carmel and purgatory in Peruvian colonial art. In this society there is a permanent concern for saving the soul. The importance of the scapular, a simplified Carmelite habit, which was deeply rooted in the collective imagery due to the Marian promises it contains, and how this allowed the transcendence of the devotion to the Virgin of Mount Carmel is also relevant. At the centre of the canvas, the Virgin Mary is crowned by two angels. Gabriel, Michael, Raphael and Uriel are depicted close by, four of the seven archangels. Saint Joseph is on the left and Saint John the Baptist on the right of Mary, as intercessors to open the gates of heaven. To the left, and in a false oval, is a cartouche with writing which is almost illegible now, but which gives meaning to the painting. We read in the cartouche: “A su Ilustrísima[...] María Santísima, Año de 1784 (?), año de la consagración de la Virgen del Carmen con el milagro que me libró de la enfermedad del demonio al que mató de [...] en la localidad de Sulco, Distrito de [...] catqa. ~ Cuzco 1784 ~". (To Her Most Illustrious [...] Most Holy Mary, Year of 1784 (?), year of the consecration of the Virgin of Carmen with the miracle that freed me from the illness of the demon that killed [...] in the town of Sulco, District of [...] catqa. ~ Cuzco 1784 ~). To the right of the Virgin, at her feet, are the blessed souls of purgatory. In short, this painting depicts the protection of souls and gratitude for a miracle, an ex-voto that clearly reflects this iconographic and devotional connectiontothe Peruvian viceroyalty society of that time. Little information has come down to us about the painter Cipriano de Toledo y Gutiérrez. We know that he developed his career around the Peruvian city of Cuzco, with a style prone to compositions that were, in many cases, iconographically complex, with the use of very marked drawing, reflected in the contours of the figures. He was active at least between 1761 and 1775, which we know through the dating of some of his documented works, and he was the closest disciple of Marcos Zapata, replacinghim to finish the work in San Blas. We can closely relate the canvas with the Our Lady of Mercy of Quito in the Carl and Marilynn Thoma Collection and the Our Lady ofCharacato at the Blanton Museum. The anatomy of the figures and their clothing, the colour palette, the compositional style and the use of gold brocade in the two paintings and our work in question are very characteristic of the artist and his workshop.

Estim. 35 000 - 45 000 EUR

Lot 66 - Circle of Diego Quispe Tito (Cuzco, Peru, 1611 - 1681) - Circle of Diego Quispe Tito (Cuzco, Peru, 1611 - 1681) "The Baptism of Christ" Oil on canvas. 80,5 x 64 cm. The dating and geographical location of this painting is based on a study of the materials used, the period, and the Cuzco style which was begun by Master Quispe Tito, such as the palette of colours, the Flemish influence in the landscape and the representation of local birds such as parrots and macaws that can be seen flying over the main scene. These elements used in the painting we have here, which dates from such an early stage of the Cuzco style, bring us closer to the master, so the painter of this canvas must have been someone very close to Quispe Tito. In later decades, the work and proliferation of the master's workshop reached levels never before seen in Cuzco painting. This early painting from the middle of the 17th century is inspired by one of Luis de Riaño's murals from the first third of the 17th century in the Church of AndahuayIillas and the artwork depicting the same iconography in the Church of Urcos by the indigenous muralist painter Diego Cusihuaman. Baptism is considered by the Christian Churches to be a fundamental moment in the life of the believer. The celebration of this sacrament is full of rites of rich spiritual and theological significance that show the high consideration that the communities of faith have had for baptism throughout the history of Christianity. Baptism along with the Eucharist are held by the Catholic Church to be the two most important sacraments, the only ones recognised by the Reformed Churches as having been instituted by Christ himself. In the Christian reading of the Old Testament, Baptism and the Eucharist are prefigured as an image or type, i.e. as a shadow of the new realities brought about by Christ. Together with the other five sacraments they form the canon of the seven sacraments, defined by the Church at the Council of Florence and ratified at the Council of Trent.

Estim. 16 000 - 25 000 EUR

Lot 67 - Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772) - Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772) ‘Virgin of Guadalupe’. Oil on canvas. 66 x 55,5 cm. Juan Patricio Morlete Ruiz was one of the greatest painters in Mexico during the second half of the 18th century. Although his biography was little known until the 20th century, his work began to be more widely disseminated through various collections, which made it possible to learn more about him. Morlete, with an extensive oeuvre in Mexico, is particularly known for his series of caste paintings. The Museo de América has a still life by his hand (inv. 2021/04/01). Manuel López-Pintado y Almonacid (Toledo, 1677 - Seville, 1745) was an Admiral of the Spanish treasure fleet. He founded the Academy of Painting in 1753, together with his teacher José de Ibarra, Miguel de Cabrera, José de Alcíbar and other illustrious figures. Two years earlier, in 1751, he had been part of the group of artists who inspected the image of the Virgin of Guadalupe. These two events reflect the artistic and cultural importance, as well as the social and professional recognition of our painter.

Estim. 28 000 - 35 000 EUR

Lot 68 - Novohispanic School. Mexico. 18th century. - Novohispanic School. Mexico. 18th century. "Saint Joseph with Child" Oil on canvas. 63 x 57 cm. The cult of St. Joseph enjoyed great devotion from the sixteenth century, becoming one of the most artistically represented, as patron saint of workers and patriarch of the church. As in this case, the painters of the 18th century show us a young St. Joseph, not an old man as one would expect, with a gentle expression and showing his paternal love. Particularly in New Spain, great fervour was shown to him, and he was considered a protector, especially after 1732, when he was named patron saint of Mexico City.

Estim. 4 500 - 6 500 EUR

Lot 69 - Attributed to Nicolás Correa Juárez (Mexico, final quarter of the 17th century) - Attributed to Nicolás Correa Juárez (Mexico, final quarter of the 17th century) 'Apostolate' Set of twelve oils on copper depicting the twelve apostles. 31 x 24 cm each.

Estim. 25 000 - 35 000 EUR

Lot 70 - Attributed to Mateo Perez de Alesio, also known as Matteo de Lecce (Lecce, Italy, 1547 - Lima, 1628). - Attributed to Mateo Perez de Alesio, also known as Matteo de Lecce (Lecce, Italy, 1547 - Lima, 1628). 'Adoration of the Shepherds' Oil on panel. 201 x 137 cm. Pérez de Alesio was a significant painter and sculptor, from the age of sixteen he was a distinguished apprentice in the workshop of Michelangelo Buonarroti, even working on the painting in the Sistine Chapel. The majority of his paintings are of a religious nature. In 1575, he settled in Spain, working at the Cathedral of Seville, and in 1588, he arrived in Lima, becoming the most important painter there for many years and an influence onlocal painters even after his death. He was the founder of one of the first art schools in Lima, according to research by the historian and Jesuit priest Rubén Vargas Ugarte. In 1590, he painted the portrait of the VIII Viceroy Don García Hurtado de Mendoza, IV Marquis of Cañete, who governed between 1589 and 1596.

Estim. 25 000 - 35 000 EUR

Lot 71 - Attributed to Padre Jesuíno of Monte Carmelo (Santos, São Paulo, 1764 - Itu, São Paulo, 1819) - Attributed to Padre Jesuíno of Monte Carmelo (Santos, São Paulo, 1764 - Itu, São Paulo, 1819) ‘The Virgin Mary reading with the Carmelite coat of arms’. Oil on canvas. 143 x 111 cm. Exquisite representation of the Virgin of Carmel, crowned as a Queen, and on a stage where the air is still, she emerges between curtains, like a lighted candle of faith. Full of the virtues that Pius XII declared she had on February 11, 1950: "humility, chastity, mortification, prayer, and, above all, a sign and reminder of our consecration to Jesus Christ and to her, an effective sign of holiness and a pledge of eternal salvation". The author paints this image inavery Flemish style: with extreme detail on the hair, brocade, cloak and shields that are jewels, also on the crown and the habit. There are bright colours in the middle of this cold range of browns. Mary readswith an exaggerated and almost rigid gesture, the highly ornamentedfabrics she wears also look rigid. She hasa very stylised figure...and looks downwards, knowingly ...., it almost seems more like a painting from Bruges. She is depicted as a "Saint Rose of Lima" (see lot 72 of this catalogue) in position, placement of hands, reading of the book of hours, rigidity and mantle...substituting the Creole headdress fora Queen's crown, looking downwards, with the idea ofimbuingthe mother of God with humanity, "as one more". Finally, we move on to the stage, which is very convent-like, with sober,gathered curtains, also in Carmelite tones and semitones. It could well bethat a Carmelite convent was the place this painting was first destined for . The first Carmelite foundation in Latin America took place in 1580 in Olinda (Pernambuco), when it was a Province of Portugal. Other foundations were made all over Brazil, so that a century later, in 1685, the large Vicariate of Brazil was divided into the commissariats of Rio de Janeiro and Bahia-Pernambuco. Both became Provinces in 1720. Some houses of the Province of Bahia-Pernambuco embraced the Strict Observance and were constituted as a Province with the title of ‘Pernambuco’ in 1744. The Virgin's face with slanted eyes and swollen eyelids, the geometric decoration of the habit, the crown used in other paintings (such as those published by the modernist artist Mario de Andrade) and the clear link to CarmoConvent, lead us to this attribution.

Estim. 7 500 - 12 000 EUR

Lot 72 - Viceregal School. Peru. 18th century. - Viceregal School. Peru. 18th century. 'Saint Rose of Lima' Oil on canvas. 58 x 45,5 cm. Wonderful, Peruvian viceroyalty canvas that depicts the patron saint of Lima, very similar in composition and form to the one that is currently exhibited in the Museum of America in Madrid. This Peruvian saint, named Isabel Flores de Oliva, was born in 1586 and took the tertiary habit of Saint Dominic with the name of Rosa de Santa Maria. Beatified in 1668 and canonised 3 years later, she became the first Latin American saint. This Dominican nun, dressed in a Creole headdress, and meditating and praying the hours, after her death in 1617, soon became the patron saint of the Viceroyalty of Peru, and later of all Latin America. The painter has taken artistic licenceto present her as dressed more like a princess than a nun in Dominican habit: with pearly cloak and brocade, and with the halo of sanctity, with long hair and without the veilof a virgin and bride of Christ. Thus, she appears as a Creole woman who ascends to the altars, rather than a nun with a Dominican headdress and veil, because, perhaps, as a nun she would be more distant from the worship of uneducated people.

Estim. 1 800 - 3 500 EUR

Lot 73 - Viceregal School. Cuzco. Peru. 18th century. - Viceregal School. Cuzco. Peru. 18th century. "Coronation of the Virgin Mary with Child" Oil on canvas. 125,5 x 87,5 cm. Composition of the coronation of Mary by two angels who illuminatethe moment with two candles. This painting reflects a sequence within the cycle of the Virgin's life found in the Book of Revelation. According to the apocryphal texts, Mary's life ended in Jerusalem, after fulfilling her mission in life, and she was receivedinto heaven, body and soul, and crowned. The Virgin Mary, seated here, is presented as Mother of God, whom she holds, Mother of Humanity, which she holds in her right hand as the orb, and Queen and Gate of heaven, a heaven as clean and pure as she is, reflected in the lily. Dressed as a queen or lady of high rank, somewhat distant and rigid in gaze and posture, she is humanised by the presence of two male saints who look at her and pray at her feet (the silent catechesis of what to do when approaching her). St. Didacus of Alcalá, a Franciscan, with the cross on his shoulders and the miracle of the roses, and St. Augustine of Hippo as a bishop, holding his Confessions or The Life of Union with Mary, alluding to the painting. The rich detail in the clothes, lace, goldsmith work and flowers is outstanding, in spite of the forward-facing posesand little perspective, very typical of the Peruvian novo-Hispanic painting of that century. The coronation of the Virgin Mary was a very recurrent theme throughout this century and a clear symbol of the power of the Church against heresy and the interdict arising from the Protestant Reformation.

Estim. 15 000 - 25 000 EUR

Lot 74 - Attributed to José Campeche (San Juan, Puerto Rico, 1751 - 1809) - Attributed to José Campeche (San Juan, Puerto Rico, 1751 - 1809) "The Risen Christ with the Church Fathers" Oil on canvas. 98,5 x 77 cm. Magnificent canvas of extreme quality that shows the triumph of Jesus ascending to heaven in a strictly theological framework: that of the four Holy Fathers of the Church who contemplate the scene of which they wrote so much, and who elaborated what is known as "Patristic", which is the Christian thought of the first centuries. To the left of Christ, we find St. Ambrose of Milan and St. Gregory of Milan in front; and to his right, St. Augustine of Hippo and, behind him, St. Jerome of Stridon. A low phylactery reads "IN NOMINE EIUS GENTES SPERABUNT" ("In His name, the nations will wait"), a clear allusion to the central motif of the canvas: returning to life after death. Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778. The Puerto Rico Art Museum has some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to be one of the most exalted and outstanding Hispanic-American painters of the late 18th century." Frequent in the style developed by our painter, elongated figures and cherubic angels with round faces can be perceived. Such is the case with the little angel holding the papal tiara in the painting, which, when compared to the Infant Saint Jon signed by Campeche and recently sold at Suite Subastas, it is almost undeniable that they are executed by the same hand. Similarly comparable to our painting are the Saint Joseph with the Child and the Saint John the Baptistat the Museum of America in Madrid; both present great similarities in style and colour palette

Estim. 25 000 - 40 000 EUR

Lot 75 - Novohispanic School. Mexico. 18th century. - Novohispanic School. Mexico. 18th century. ‘Divine shepherdess’. Oil on copper. 26,5 x 41 cm.

Estim. 5 500 - 7 500 EUR

Lot 76 - Miguel Güelles (active in Seville, 1607 - 1637) - Miguel Güelles (active in Seville, 1607 - 1637) ‘Immaculate Virgin’. Oil on canvas. 162 x 108 cm. This extraordinary Immaculate Conception, with its vivid colours very much in the taste of New Spanish America, perfectly exemplifies the constant exchange that took place on both sides of the Atlantic. Miguel Güelles was a Baroque artist active in Seville who worked almost continuously for the viceroyalties of Peru and New Spain. In 1608 he contracted with the provincial of the Order of Saint Dominic in Peru to execute a series of forty-one canvases dedicated to the life of Saint Dominic of Guzmán. Thirty-six of these are kept in the convent of Nuestra Señora del Rosario or Santo Domingo in Lima. In 1619 he also granted power of attorney to collect in Mexico a crate of thirty canvases containing paintings of hermits, possibly landscapes, which he had given in Seville to ‘Fray Baltasar Maldonado of the Order of Saint Francis to take to the province of New Spain’, although on this occasion he probably acted on his own initiative, without commission. We are grateful to Enrique Valdivieso for his help in cataloguing this work.

Estim. 24 000 - 30 000 EUR

Lot 77 - Novohispanic School. Mexico. 17th century. - Novohispanic School. Mexico. 17th century. "Our Lady of Bethlehem in a faux altarpiece" Oil on canvas. 48,5 x 40 cm. Unusual and pious painting of a set of private devotionsenclosed in a "faux altarpiece" with three sections: in the central one is Our Ladyof Bethlehem, the iconic religious image of Mary with the Child in her arms; crowned, in an upper cartouche, by the Eternal Father and the Holy Spirit, who are in a straight line with the Son, forming the Holy Trinity. The left section depicts St. John the Evangelist, Mary's beloved disciple and writer, and St. Francis of Assisi. The one on the right has St. Mary Magdalene and St. Anthony of Padua, also a Franciscan. The faux altarpiece is painted in ochreand golden tones, which transport us to the Cathedral or church that we frequently visit, througha "ready-made" altar forpraying, celebrating, meditating, being silent, contemplating...

Estim. 2 500 - 4 500 EUR

Lot 78 - Novohispanic School. Mexico. 18th Century. - Novohispanic School. Mexico. 18th Century. “Our Lady of Altagracia” Oil on copper. 27 x 21 cm. The revered and pious image of Our Lady of Altagracia isa Catholic Marian devotion considered to be the 'spiritual and protective mother of the Dominican people.' Her feast day is celebrated on January 21st in the Dominican Republic, at the Basilica of Higüey.

Estim. 7 500 - 10 000 EUR

Lot 79 - Francisco Eduardo Tresguerras (Celaya, Mexico 1759 - 1833) - Francisco Eduardo Tresguerras (Celaya, Mexico 1759 - 1833) "Holy Pilgrim" Oil on copper. Signed with an anagram and dated 1812. 41 x 30,5 cm. Architect, painter and engraver. As Luis Javier Cuesta Hernández notes in the Real academia de la Historia Tresguerras "He was one of the most important artists of the transition between the 18th and 19th centuries, and formulator of a peculiar language halfway between a classicist baroque and a neoclassical avant la lettre... In the city of Celaya he practised various artistic activities (including at least painting, music and engraving). Despite this, his main activity was always architectural, and we know that as early as 1794 he had already requested a licence from the San Carlos Academy to carry out this activity... His pictorial work (paintings, drawings and engravings) is less well known than his architectural work. And today, despite careful studies, many of his attributions remain uncertain. Despite this, some artworks (the drawing of the Fountain of Neptune in Querétaro, for example) are of extraordinary quality." Reference bibliography: - https://dbe.rah.es/biografias/48876/francisco-eduardo-tresguerras - F. de la Maza, "Dibujos y proyectos de Tresguerras", in Anales del Instituto de Investigaciones Estéticas, Universidad Autónoma de México (UNAM), no. 18 (1950), pp. 27-33;

Estim. 2 500 - 4 500 EUR

Lot 80 - Novohispanic School. Mexico. 18th century. - Novohispanic School. Mexico. 18th century. 'Saint Ignatius of Loyola' Oil on canvas. Relined. In an imposing carved, gilded, and sgraffitoperiod wooden frame. 190 x 131 cm. Saint Ignatius of Loyola, in a mystical triumph of good over evil, stands triumphantly, crushing evil and dark forces in the form ofthe devil and his world of temptations, beneath his feet. He lookstowards the heavens, from where light and power emanate (IHS). To his right, at his feet, are his knight's livery, his earthly weapons, his pride, his nobility — those things he cast aside to 'embark and deepen' in God and in his service to the Church. He now wears the livery of Christ, the black Jesuit habit. The figure of Loyola, founder of the Society of Jesus, is framed in a landscape with sea, on which a boat is sailing. It clearly symbolises the world 'beyond the seas,' which the Jesuits reached with their evangelisation,the world beyond the grasp of our human eyes and imagination. In his left hand, he carries the book of rules or Constitutions, where the motto of the Society, 'Ad maiorem Dei Gloriam,' is written. This ishis purpose: whatever we do, he said, we will always do it 'for the greater glory of God.'

Estim. 4 000 - 7 000 EUR

Lot 81 - Novohispanic School. Mexico. 17th century. - Novohispanic School. Mexico. 17th century. 'Portrait of Hernán Cortés' Oil on canvas. Relined. 64 x 48 cm. Portrait of Hernán Cortés based on the one sent by the conquistador to the Italian Renaissance humanist, physician, historian, biographer and prelate, Paulo Giovio, which served as a model for his portraits from the 16th century onwards. This would be the third portrait painted during Cortés' lifetime, which formed part of the gallery assembled by Paolo Giovio, bishop of Nocera (1483-1552), whose iconographic type was carefully described in 1864 by Valentín Carderera. According to what Giovio himself stated in his writings, it was sent to him by Cortés a few months before his death, which would help to date it to 1547, when he was 62 years old. The portrait was included in the gallery of illustrious men that Giovio had installed in the palace of Borgovico on the shores of Lake Como. Although the singular expressive power of this effigy and the intensity of his gaze have long been praised, it is in fact only an adaptation, painted from Weiditz's drawing, although the composition is inverted and reduced to a bust, so that Cortés turns his head to his right. His appearance was aged by greying his hair, beard and moustache and by lowering his eyes into their sockets to capture the wrinkles and bags under his eyelids. Giovio's portrait retained the Germanic cap and was used to make the engraving by Tobias Stummer (1539-1584) that illustrated the biography of Cortés in the Elogia virorum bellica virtute illustrium printed in 1575. The supposed original sent by Cortés to Giovio has been lost, but it is the source of many prints that reinterpret the one by Stummer and many of the bust portraits that were painted throughout the 17th and 18th centuries for iconographic series. Also based on this original portrait is the Portrait of Hernán Cortés in the Real Academia de Bellas Artes museum inSan Fernando (inv. 0031). In asection of the file on the painting, it briefly summarises the biography of Cortés, who is considered, to quote the historian Lafuente Ferrari, 'to be 'the most famous of the conquerors of the New World after Christopher Columbus'. From a noble family, he was born in Medellín (Badajoz) in 1485. In 1521 he conquered Mexico and the following year he was appointed governor and captain general of the kingdom of New Spain'.

Estim. 18 000 - 22 000 EUR

Lot 82 - Colonial School. Peru. 18th century. - Novohispanic School. Peru. 18th century. 'Portrait of Atahualpa, last Inca emperor' Oil on panel. 50 x 40,5 cm. There is an engraving of Inca Atahualpa in the Austrian National Library that can be linked to our work.

Estim. 9 000 - 14 000 EUR

Lot 83 - Juan Patricio Morlete (San Miguel el Grande, Guanajuato, Mexico, 1713/1715 - Mexico, 1772) - Juan Patricio Morlete (San Miguel el Grande, Guanajuato, Mexico, 1713/1715 - Mexico, 1772) "Portrait ofManuel López-Pintado y Almonacid" Oil on canvas. 111,5 x 97 cm. Juan Patricio Morlete Ruiz was one of the greatest painters in Mexico during the second half of the 18th century. Although his biography was little known until the 20th century, his work began to be more widely disseminated through various collections, which made it possible to learn more about him. Morlete, withextensive oeuvre in Mexico, is particularly known for his series of caste paintings. The Museo de Américain Madrid has a still life by his hand (inv. 2021/04/01). He founded the Academy of Painting in 1753, together with his teacher José de Ibarra, Miguel de Cabrera, José de Alcíbar and other illustrious figures. Two years earlier, in 1751, he had been part of the group of artists who inspected the image of the Virgin of Guadalupe. These two events reflect the artistic and cultural importance, as well as the social and professional recognition of the painter. The iconographic themes of his artistic production are varied. Urban views, devotional and allegorical motifs, sacred history and several portraits known to date, including those of several viceroys and a portrait of King Charles III dated 1760. Focusing on the painting we present here - and delving deeper into the identity of the sitter - the clothing and important coat worn by the sitter in our work behove us to mention two paintings on canvas that we can compare stylistically and help us to date and geographically locate the painting to the first half of the 18th century in New Spain. We are talking about the portrait attributed to the painter Juan Rodríguez Juárez of Viceroy Juan Vázquez de Acuña y Bejerano (1658-1734), Viceroy of New Spain between 1722 and 1734; and the portrait of Viceroy Pedro Cebrián y Agustín (1687-1752), Viceroy of New Spain between 1741 and 1746. The attire and accessories of the sitter in our painting are comparable in quality, materials and design to those worn in the portraits of the Viceroys of the 18th century. From this we can deduce that the sitter enjoys a very high social status, possibly among the nobility or great merchants of globalisation. It should also be noted that our noble and illustrious personage holds a magnifying glass in his left hand. This element and the book of cartography resting on the table next to the silver inkwell with its quills relate the sitter to maritime activity. In this sense, moreover, the design of the decorative patterns of the garments reminds us of the waves of the sea and the symbols on the sleeves are related to the four cardinal points. The proposal suggested to satisfy the mystery of the identity of the man portrayed is that of Manuel López-Pintado y Almonacid, Admiral of the Fleet of the Indies, who was born in Toledo in 1677 and died in Seville in 1745. A portrait of Manuel López-Pintado, dated 21 December 1730, is kept in the Naval Museum in Madrid. As the Royal Academy of History informs us, "The great wealth of López-Pintado, a mixture of sailor, soldier and businessman, originated from the title of silver-master granted to him by Sebastián de Talledo in Madrid in 1704. [...] He was a deputy of the royal fleets until he obtained the title of admiral of the Fleet of the Indies in 1715-1716, and in that post he acquired a large fortune that enabled him to invest in land, buying and improving various estates and mills in different towns in the province of Seville. [...] In 1737, Philip V granted him the title of Marquis of Torre Blanca del Aljarafe, with the previous viscountcy of Cabrejas". Reference bibliography: -Caño Ortigosa,José Luis. (n.d.). "Manuel López-Pintado y Almonacid". Real Academia de la Historia. https://dbe.rah.es/biografias/51501/manuel-lopez-pintado-y-almonacid

Estim. 45 000 - 70 000 EUR

Lot 84 - José Campeche (San Juan, Puerto Rico, 1751 - 1809) - José Campeche (San Juan, Puerto Rico, 1751 - 1809) "Possible Portrait of Mrs. Catalina de Urrutia" Oil on canvas.102 x 77 cm. Campeche portrayed María de Urrutia on various occasions and at different ages. Our hypothesis is that this portrait would be the one in which she appears at the oldest age. As the website of the Hispanic Society of New York indicates, "María Catalina de Urrutia belonged to a prominent Creole family of landowners in Cuba, where she was born (in 1749); her father, Bernardo de Urrutia y Matos, was mayor of Havana. In 1766 María Catalina married Colonel Juan Andrés Dabán y Busterino (1724-1793), a Spanish military officer of Aragonese descent who would become governor and captain general of Puerto Rico from 1783 to 1789. He had been military inspector of Cuba in the mid-1760s, and it was apparently there that they became engaged. In Puerto Rico he led hurricane reconstruction campaigns, established a postal system, began paving streets and pavements with blue volcanic ballast from the Canary Islands, and founded a cigar factory that exported to the Netherlands. He was promoted to field marshal, and back in Spain he was governor of Badajoz from 1792. The date on which Don Juan and Doña María moved to Spain is uncertain. Campeche was one of the most recognised Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island after being exiled by King Charles III, between 1775 and 1778. The Puerto Rico Art Museum keeps some of his works of art in their collection. His biographical index card there explains: "He mainly developed religious themes and portraits in his painting. His work is considered to be rococo because of its interest in detail and ornamentation. Bluish greys and pinks dominate his palette, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and which included paintings by Campeche, Francisco Oller and Miguel Pou. Campeche has great mastery in portraits and miniatures, characteristics which lead him to being one of the most exalted and outstanding Hispanic-American painters of the late 18th century."

Estim. 60 000 - 75 000 EUR

Lot 85 - Novo-Hispanic school. 18th. century. - Novo-Hispanic school. 18th. century. 'Portrait of a gentleman'. Oil on canvas. 109 x 84 cm. With its frame in carved and gilded wood of the period.

Estim. 6 000 - 12 000 EUR

Lot 86 - Venezuelan School. Early 19th century. - Venezuelan School. Early 19th century. "Portrait of Simón Bolívar" Oil on canvas. Relined. 66,5 x 49,5 cm.

Estim. 6 000 - 9 000 EUR

Lot 87 - Novohispanic School. Colombia. 19th century. - Novohispanic School. Colombia. 19th century. 'River landscape' Feather art work. With 19th century frame in wood with marquetry. 26 x 19,5 cm.

Estim. 4 000 - 6 000 EUR

Lot 88 - Viceregal School. Cuzco. Peru. 18th century. - Viceregal School. Cuzco. Peru. 18th century. "The Holy Trinity crowning the Virgin Mary" Oil on canvas. 38 x 26,5 cm. The painting depicts a sequence within the cycle of the Virgin Mary's life found in the Book of Revelation. Three identical figures, representing the Holy Trinity, three in one with a papal mitre, crown the Virgin Mary. In this way, Mary can be interpreted as a Trinitarian figure: of the Son, as a virgin, in receiving and allowing herself to be loved by the Father; of the Father, the source of life-giving love, in her role as a mother; of the Holy Spirit, as a spouse, symbolising the bond of love between Father and Son and the opening to God's mystery on earth. The Virgin Mary, as the Immaculate Mary received into heaven, and in a sea of clouds, is observed by Saint Michael the Archangel, and either Saint Gertrude the Great or Saint Clare.

Estim. 5 000 - 7 000 EUR

Lot 89 - Viceregal School. Cuzco. Peru. 17th century. - Viceregal School. Cuzco. Peru. 17th century. "Saint Ursula of Jesus Polychromed and carved wooden, sculpture with silver gildingand vitreous eyes. 50 x 32 x 16 cm.

Estim. 3 500 - 4 000 EUR

Lot 90 - Marcel Jambon (Barbezieux, France, 1848 - 1908) - Marcel Jambon (Barbezieux, France, 1848 - 1908) 'Rajasthan' Gouache on cardboard. Signed and located on the back . 56 x 45 cm.

Estim. 300 - 500 EUR

Lot 91 - Félix Resurrección Hidalgo (Manila, The Philippines, 1855 - Barcelona, 1913) - Félix Resurrección Hidalgo (Manila, The Philippines, 1855 - Barcelona, 1913) "Jolo Island" Pencil and chalk drawing on paper. Signed in pencil and dated 1878. 21,5 x 28,5 cm. There is a small tear in the lower margin. Félix Resurrección Hidalgo was a prominent Spanish-Filipino painter of the 19th century. Born in Manila into a wealthy family, he trained at the University of Santo Tomás and the Academy of Drawing and Painting in Manila. Initially he painted landscapes and genre scenes. In 1880, he received a scholarship to study in Madrid, where he presented his most important artwork, ‘’Young Christian Women Exposed to the Populace‘’, which received a Medal for Second place at the National Exhibition in Madrid in 1884. He then settled in Paris, where he created his most famous painting, ‘The Boat of Acheron’, inspired by Dante's Divine Comedy. This work won him a Gold Medal at the General Exhibition of the Philippines in 1887. Hidalgo was also successful in other international exhibitions. As market opportunities grew, his style shifted towards decorative symbolist landscapes, although he continued to produce allegorical-political compositions with an emphasis on the historical identity of the Philippines. His artistic legacy helped to reinforce the cultural identity of the Philippines prior to its independence. In conclusion, Felix Hidalgo was one of the great masters of Philippine painting and left an important legacy in the history of Philippine art.

Estim. 1 500 - 3 000 EUR

Lot 92 - Théodore Auguste Fisquet (France, 1813 - 1890) - Théodore Auguste Fisquet (France, 1813 - 1890) 'Bains de la Périchula à Lima'. Watercolour on paper. Signed, dated 1840, located in Lima and titled at the lower right edge. 19,2 x 27,5 cm.

Estim. 7 500 - 9 500 EUR

Lot 93 - Salvador del Huerto (Mexico, 1760 - 1824) - Salvador del Huerto (Mexico, 1760 - 1824) ‘Crucifixion’ Oil on canvas. Signed. 104 x 78,5 cm.

Estim. 3 500 - 4 500 EUR

Lot 94 - Vicente López Portaña (Valencia, 1772 - Madrid, 1850) - Vicente López Portaña (Valencia, 1772 - Madrid, 1850) "Resurrection of Christ" Ink drawing on paper. 10,5 x 11 cm. Preparatory sketch for the engraved print by Vicente Capilla, catalogued under number E-82 in the catalogue raisonné by José Luis Díez, Vicente López: vida y obra, Madrid, 1999; p. 643 (plate 131). There are some stains caused by damp. Vicente López Portaña, born on 19 September 1772, began his artistic training as a pupil of the Franciscan Antonio de Villanueva at the San Carlos Academy in Valencia. During this first stage of his career he was awarded first prize in 1789 for his canvas "King Hezekiah Flaunting his Riches", with allowed him to reach the capital. The following year he won first place in the competition at the San Fernando Academy with the painting The Catholic Monarchs. From that moment onwards he began to absorb the academic teachings inherited from Mengs, mainly through Mariano Salvador Maella, from whom he picked up the baroque, the colourful sense of his compositions and his taste for drawing. After his youthful period in Madrid, where his experience enabled him to become a prestigious artist, in 1792 he decided to return to his native city, Valencia. For many years he received various commissions, especially religious paintings and murals for churches in Valencia, as well as portraits, monuments and drawings for engraving. During the War of Independence, he was in Valencia and painted the portrait of Ferdinand VII in the habit of the Order of Charles III. Vicente López's portrait style, respectful and objective, led Ferdinand VII to appoint him as his first chamber painter, and he was forced to return to Madrid. Due to the prestigious appointment he obtained, he was the most sought-after painter among the aristocracy and upper-class bourgeoisie. In 1826 he painted his masterpiece, the portrait of the painter Francisco de Goya y Lucientes, the most important and iconic work of his long career. Vicente López Portaña retained his artistic talent throughout his old age, producing portraits until the day of his death in Madrid on 22 July 1850.

Estim. 500 - 700 EUR

Lot 95 - Vicente López Portaña (Valencia, 1772 - Madrid, 1850) - Vicente López Portaña (Valencia, 1772 - Madrid, 1850) ‘Saint Thomas Aquinas’. Ink drawing on paper. 10.5 x 7.5 cm. Preparatory for the print engraved by Francisco Jordán, catalogued under number E-213 in the catalogue raisonné of José Luis Díez, Vicente López: vida y obra, Madrid, 1999; p. 594 (plate 82). Although Díez assumes that the drawing he catalogues as D-279 (p. 594, plate 82) is preparatory to the print, it is our unpublished drawing that fulfilled this role.

Estim. 500 - 700 EUR

Lot 96 - Vicente López Portaña (Valencia, 1772 - Madrid, 1850) - Vicente López Portaña (Valencia, 1772 - Madrid, 1850) ‘Santa María de Cervelló’ (Saint Mary of Cervelló) Ink drawing on paper. Preparatory for the engraved print by Vicente Capilla, catalogued under number E-188 in the catalogue raisonné of José Luis Díez, Vicente López: vida y obra, Madrid, 1999; p. 603 (plate 91). 10.5 x 7 cm. In both this and the previous three, it should be noted that López is committed to giving a close and dynamic image of the saints portrayed. It is revealing that Saint Mary of Cervelló, also known as Saint Mary of Succour, is not depicted holding a model of a ship (as would be traditional), but protecting a real ship in full sail. The same can be said of Saint Joseph Calasanz, who attends to a real child; of Saint Augustine, captured at the very moment of receiving divine inspiration; or of the risen Christ, gracefully emerging from his tomb under an intense beam of light. Even Saint Augustine, the most static of them all, cannot help but look straight ahead. In this way, the artist achieves authentic images of life that easily connect with the viewer, the ultimate goal of this type of work.

Estim. 500 - 700 EUR

Lot 97 - Vicente López Portaña (Valencia, 1772 - Madrid, 1850) - Vicente López Portaña (Valencia, 1772 - Madrid, 1850) ‘Saint Bishop Doctor of the Church (Saint Augustine?)’. Drawing in ink on paper. 9,8 x 7,5 cm. Probably preparatory for an unknown engraved print. Saint Augustine holding a model of a small church. This and the next four drawings by the Valencian artist Vicente López are an excellent example of the part of his activity with which he achieved the greatest dissemination of his art: the design of devotional prints, much of them engraved by Vicente Capilla and Francisco Jordán. These are unpublished works and in fact they should be catalogued through the engravings included in the catalogue raisonné of Vicente López's work by José Luis Díez (Vicente López: Vida y Obra 1772-1850, Fundación de Apoyo a la Historia del Arte Hispánico, Madrid, 1999).

Estim. 500 - 700 EUR

Lot 98 - Vicente López Portaña (Valencia, 1772 - Madrid, 1850) - Vicente López Portaña (Valencia, 1772 - Madrid, 1850) ‘Saint Joseph of Calasanz Ink drawing on paper. 10.5 x 7.5 cm. Preparatory for the engraved print by Francisco Jordán, catalogued under no. E-167 in the catalogue raisonné of José Luis Díez, Vicente López: vida y obra, Madrid, 1999; p. 606 (plate 94). Díez catalogues a drawing that is practically identical (cat. no. D-238, p. 606, plate 94) although its dimensions are much larger (80 x 60 cm)

Estim. 500 - 700 EUR

Lot 99 - China. 18th century. - Chinese school. 18th century. 'Landscape'. Oil on canvas. 42 x 66,5 cm.

Estim. 3 500 - 4 500 EUR

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Lot 1 - Italian school. 16th century. - Italian school. 16th century. "Seated Lion" Sculpture in carved wood. 23,5 x 29,5 x 10 cm.

Lot 8 - Important bronze mortar. Gothic. 15th Century. - Imposing bronze mortar. Gothic. 15th Century. 10,7 x 19 x 14 cm. It has a crack.Nevertheless, due to its dimensions and quality, it is a very interesting piece.

Lot 10 - Spanish School. Early 16th century. - Spanish School. Early 16th century. "Saint Jerome the Bishop" Carved and polychromed wood sculpture Height: 64 cm.

Lot 18 - Attributed to Luca Giordano (Naples, 1634 - 1705) - Attributed to Luca Giordano (Naples, 1634 - 1705) 'The adoration of the Magi' Oil on canvas. Relined. 38 x 51,5 cm.

Lot 21 - Italian School. Naples. 17th century. - Italian School. Naples. 17th century. 'Mary Magdalene' Oil on canvas 118,5 x 97 cm.

Lot 22 - Walnut wood ches with inlaid bone and iron fittings. Aragonese workshop. 16th century. - Walnut wood ches with inlaid bone and iron fittings. Aragonese workshop. 16th century. 37,5 x 60 x 30 cm.

Lot 24 - Italian School. Rome. 17th century. - Italian School. Rome. 17th century. 'Saint Francis in Ecstasy' Oil on canvas. 255 x 193 cm.

Lot 45 - Novohispanic School. Mexico or Peru. Late 17th century. - Novohispanic School. Mexico or Peru. Late 17th century. "Saint James" Oil on canvas. 122 x 84 cm.

Lot 54 - Wonderful silver and tortoiseshell chest. Mexico. 17th - 18th century. - Wonderful silver and tortoiseshell chest. Mexico. 17th - 18th century. 11,5 x 17,5 x 9 cm. It retains its original key, which cannot be turned.

Lot 61 - Viceregal School. Cuzco. Peru. 18th century. - Viceregal School. Cuzco. Peru. 18th century. "Madonna and Child" Oil on canvas. 36 x 26 cm. Frame measurements: 79 x 50 cm.

Lot 62 - Circle of Angelino Medoro (Rome, circa 1565 - Seville, 1632) - Circle of Angelino Medoro (Rome, circa 1565 - Seville, 1632) 'Saint Michael the Archangel' Oil on canvas. 120 x 101 cm.

Lot 63 - Novohispanic School. Mexico. 17th Century. - Novohispanic School. Mexico. 17th Century. 'Saint Michael the Archangel' Oil on canvas. 144 x 89,5 cm. Accompanied by a carved, gilded and polychromed period wooden frame.

Lot 69 - Attributed to Nicolás Correa Juárez (Mexico, final quarter of the 17th century) - Attributed to Nicolás Correa Juárez (Mexico, final quarter of the 17th century) 'Apostolate' Set of twelve oils on copper depicting the twelve apostles. 31 x 24 cm each.

Lot 75 - Novohispanic School. Mexico. 18th century. - Novohispanic School. Mexico. 18th century. ‘Divine shepherdess’. Oil on copper. 26,5 x 41 cm.

Lot 82 - Colonial School. Peru. 18th century. - Novohispanic School. Peru. 18th century. 'Portrait of Atahualpa, last Inca emperor' Oil on panel. 50 x 40,5 cm. There is an engraving of Inca Atahualpa in the Austrian National Library that can be linked to our work.

Lot 85 - Novo-Hispanic school. 18th. century. - Novo-Hispanic school. 18th. century. 'Portrait of a gentleman'. Oil on canvas. 109 x 84 cm. With its frame in carved and gilded wood of the period.

Lot 86 - Venezuelan School. Early 19th century. - Venezuelan School. Early 19th century. "Portrait of Simón Bolívar" Oil on canvas. Relined. 66,5 x 49,5 cm.

Lot 87 - Novohispanic School. Colombia. 19th century. - Novohispanic School. Colombia. 19th century. 'River landscape' Feather art work. With 19th century frame in wood with marquetry. 26 x 19,5 cm.

Lot 89 - Viceregal School. Cuzco. Peru. 17th century. - Viceregal School. Cuzco. Peru. 17th century. "Saint Ursula of Jesus Polychromed and carved wooden, sculpture with silver gildingand vitreous eyes. 50 x 32 x 16 cm.

Lot 90 - Marcel Jambon (Barbezieux, France, 1848 - 1908) - Marcel Jambon (Barbezieux, France, 1848 - 1908) 'Rajasthan' Gouache on cardboard. Signed and located on the back . 56 x 45 cm.

Lot 92 - Théodore Auguste Fisquet (France, 1813 - 1890) - Théodore Auguste Fisquet (France, 1813 - 1890) 'Bains de la Périchula à Lima'. Watercolour on paper. Signed, dated 1840, located in Lima and titled at the lower right edge. 19,2 x 27,5 cm.

Lot 93 - Salvador del Huerto (Mexico, 1760 - 1824) - Salvador del Huerto (Mexico, 1760 - 1824) ‘Crucifixion’ Oil on canvas. Signed. 104 x 78,5 cm.

Lot 99 - China. 18th century. - Chinese school. 18th century. 'Landscape'. Oil on canvas. 42 x 66,5 cm.