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MASTERS OF UNIVERSAL ART

Templum Fine art Auction - +34935643445 - Email

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Lot 115 - TRIPTYCH OF THE "VIRGIN OF THE PEAR" - Fray Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627) - Grenada Mannerist School of the late 16th century Templum is pleased to present for the first time to the national and international art auctions market this true gem in the form of a miniature portable triptych exquisitely painted in oil on copper and richly decorated on its exterior in linear bone and ebony inlay; which in itself represents a true artistic milestone given its outstanding quality and small size, where the artistic canons of late Mannerism and the transition to the Granada Baroque merge and intertwine perfectly. Painted in oil on copper, with three leaves, in the center, an exquisite Virgin of La Pera with a maternal and loving gesture holding the Child Jesus in her lap, for which the words written here fall short, very short at the time. to describe the sublime, delicate and refined line used by Master Fray Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627). On the left page the viewer can see a magnificent Christ the Man of Sorrows tied to the column, and, finally, on the right page, a more than outstanding Magdalena Penitente, also a work by the same author, bathed in tears, who observes sadly. to a smiling and smiling Child God, with a happy look, being wrapped up by his Heavenly Mother, without yet knowing his final destination of the Cross as Redeemer of Humanity. Reference bibliography: Orozco Díaz, Emilio (1993). The painter friar Juan Sánchez Cotán. University of Granada. ISBN 9788433817600. Open measurements: 33 x 21 cm, closed measurements: 21 x 16.5 cm. Provenance: important private collection from Barcelona, ​​unpublished piece in the art market and national auctions to date.

Estim. 45 000 - 65 000 EUR

Lot 119 - Manner of Hendrick van Balen, 17th century Antwerp Flemish school - Christ Preaching to the Apostles Oil on canvas measures: 110 x 83 cm and framed measures 135 x 105 cm. (Antwerp, c. 1574/1575-1632). Flemish painter. Trained with Adam van Noort and Martin de Vos. In 1592-1593 he entered as a teacher in the Guild of Saint Luke in the city of Antwerp, and shortly afterward he traveled to Italy, where he remained until 1600-1602, visiting Rome and Venice. No works are known from his Italian period, although his early paintings show great relation to the compositions of Annibale Carracci and Palma the Younger. The Venetian influence can be seen in the clearly Mannerist positions of his figures, as well as in the female nudes. Despite creating, at the beginning of his career, altar paintings where the powerful Romanization inherited from Noort can be observed, Van Balen would evolve towards a greater colorful decorativeism closer to the influence of Anton van Dyck, who is suspected to have passed through his studio around 1609. Initially he collaborated with painters such as Abel Grimmer, for whose View of Antwerp (Koninklijk Museum voor Schone Kunste, Antwerp) he painted the figures. However, it is in cabinet painting that he achieved greatest success, with a decided emphasis on themes such as the four elements, the banquet of the gods and similar representations that allowed beautiful nudes to be placed in paradisiacal natural environments. A frequent collaborator of Jan Brueghel the Elder, there are numerous works carried out jointly by both artists, in which Brueghel provided the flower garlands and Van Balen the figures; one of the best examples of this pictorial association is Ceres with the Four Elements (Pinacoteca Ambrosiana, Milan). Also artists such as Joost de Momper collaborated with Van Balen painting landscape backgrounds and works with Lucas van Uden, Jan Wildens and Frans Snyders are known. Other inspirational models for Van Balen were the Roman ...

Estim. 15 000 - 18 000 EUR

Lot 123 - JEAN BAPTISTE GREUZE (1725, Tournus – 1805, Paris) - Young Semi-Nude Lady, 18th century French School Oil on panel, with an important period frame. Table measurements: 46 x 40 cm, canvas measurements: 70 x 58 cm. Exceptional artistic discovery and unpublished to date in the European art and auction market, provenance: 1) Former Monsieur Jules Vidal collection, Paris; 2) Former collection of the Count of Chinchón, Farnesio de Borbón family 3) By descent to the current owners. Jean-Baptiste Greuze (1725, Tournus – 1805, Paris) studied painting in Grandon's workshop in Lyon. Greuze moved to Paris in 1750 and entered, as a student of Natoire, the Royal Academy of Painting and Sculpture. His popularity was confirmed with other melodramatic paintings, depicting young provincial peasant scenes. One of his greatest artistic supporters was Diderot; art critic gave glowing praise to his painting for the moralism of his images. Among his greatest successes can be mentioned The Village Wedding or Acordée de village presented at the salon of 1761, where he once again shows a bourgeois rural interior. Among his notable works were “Father of a Family Explaining the Bible to His Children”, made in 1755, as well as “The Death of the Paralytic” from 1763, a painting that represents an elderly father on his deathbed surrounded by of his family. This painting is related to Jean Jacques Rousseau's novel, “La nouvelle Héloïse”, published that same year. After achieving great success with the public and critics, he began to produce history painting, the highest-ranking genre within official painting. His first work in this order is the so-called Seventh-Severe. Contrary to what he was looking for, this piece was a source of conflict with the Academy, since not only was it not accepted into the competition, but it earned him the enmity and devastating criticism of Denis Diderot. Greuze painted numerous portraits and received much criticism for his libertine paintings. The French ...

Estim. 180 000 - 250 000 EUR

Lot 127 - Important View of Seville with the Torre del Oro in the background from the 19th century - Attributed to Manuel Barrón y Carrillo (Seville, 1814 – Seville, 1884) Sevillian costumbrista school of the 19th century. Oil on canvas measurements: 85 x 60 cm, framed measurements: 95 x 70 cm. Manuel Barrón y Carrillo (Seville, 1814 – Seville, 1884) Spanish painter who studied with Antonio Cabral Bejarano at the School of Fine Arts of Seville, of which he would become professor and director. He was one of the founders of the Artistic Lyceum of Seville, created in 1838, a member of the Economic Society of Friends of the Country of his hometown and a corresponding academic of the Academy of Saint Elizabeth of Hungary. He was the greatest representative of Andalusian romantic landscaping, with scenes of manners in the style of his teacher and David Roberts, with whom he spent a season in Seville in 1833. Although in 1838 he presented some landscapes to the exhibitions of the Liceo and the Sevillian Economic Society , his first known work is not dated until 1852. He dedicated himself primarily to landscape, but he also cultivated other genres, such as portraiture, still life and painting of customs, especially of Sevillian daily life. He attended the National Exhibitions of Fine Arts, and in 1862 Queen Isabel II acquired General View of Seville, which is located in the Riofrío Palace, in Segovia. (Fernández Martínez, D., MNP Encyclopedia, 2006, Volume II, page 452).

Estim. 8 000 - 12 000 EUR

Lot 130 - Gutiérrez de la Vega y Bocanegra, José (Seville, 1781-Madrid, 1865) Spanish school of the 18th century Oil on canvas measurements: 130 X 95 cm, framed measurements: 150 X 119 cm (Seville, 1781-Madrid, 1865). Spanish painter specialized in portraits and religious themes. He was an honorary chamber painter, professor and deputy director of the Academy of Fine Arts of Santa Isabel de Hungary in Seville and member of the Board of Directors of the Liceo Artístico y Literario de Madrid. He began his training at the Sevillian Academy of Fine Arts, alternating his studies with his work in his father's engraver and carver workshop, in addition to dedicating himself to making copies of the great Baroque masters, especially Murillo. . In 1828 he moved to Cádiz, where he met the English consul, Mr. W. Brackenbury, whom he portrayed with his wife and daughters in 1830. A year later he entered the competition organized by La Gaceta to further his studies in Madrid, obtaining first prize; As a result of this event, he moved to Madrid in the company of Antonio Esquivel, working as a professor of elementary studies at the Royal Academy of San Fernando. He regularly participated in competitions and exhibitions, at the Royal Academy of Fine Arts of San Fernando in Madrid in 1832 and 1835, as well as at the Madrid Lyceum in 1837, among others. His works are characterized by the use of a romantic language, with a predominance of drawing over stain and a vaporousness of tones and fleshiness of Murillo influence. Starting in the 1830s, he dedicated himself to creating portraits for the aristocracy, the political and intellectual classes, and royalty. Reference bibliography: Valverde Madrid, José, «On the centenary of the painter José Gutiérrez de la Vega», Spanish Art, vol. XXV, 2nd fasc., Madrid, 1963-1967, p. 119.

Estim. 5 000 - 6 000 EUR