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Lot 253 - RENAISSANCE SCHOOL OF EL ESCORIAL FROM THE 16TH CENTURY - Manera by Juan de Arfe (León, 1535- Madrid, April 3, 1603), ATTRIBUTED TO THE LEONI WORKSHOP (LEONE AND POMPEO) Exquisite gilded and chiseled bronze plaque representing the "Vision of Saint Ignatius of Loyola", in mercury gilded bronze, measurements: 26 x 19 cm. Juan de Arfe y Villafañe, considered the most prolific silversmith of the Renaissance (León, 1535- Madrid, April 3, 1603) goldsmith and silversmith of Leonese origin. He came from a family of goldsmiths of German origin. His best-known works are the monstrance seats of the cathedrals of Seville, Valladolid and Ávila. He carried out notable commissions for Philip II and the Duke of Lerma, collaborating extensively with the Leoni. In 1560 he is credited with authoring the Cross of the Cathedral of Valladolid, which is today in Barcelona. He began working at the Court in 1596, although he had tried to work for Philip II before. His first job was to review some sculptural groups from the El Escorial monastery made by Pompeo Leoni. Between 1596 and 1599 he carried out various works in the royal tombs of the El Escorial monastery. Between 1597 and 1599 he participated in the making of 74 reliquaries with copper busts for this monastery. Of these 74, only 37 are preserved, of which only bear Juan's signature. In 1599 he made an ewer with its corresponding fountain for Philip II, although they are not preserved. Between 1600 and 1601 he made the decoration of a copper altar frontal, which was Philip II, which would be placed in the monastery of El Escorial, Today, whereabouts unknown. Provenance: important private Spanish collection, Madrid.

Estim. 14 000 - 18 000 EUR

Lot 254 - EXPIRANT CHRIST - Attributed to the VENETIAN FOUNDRY OF PIETRO TACCA (Carrara, 1577-Florence, 1640), Large Corpus Christi in patinated bronze Expiring Christ of large dimensions and spectacular patina consistent with its dating entirely made of patinated bronze. Measurements: 50 cm from head to toe, and 44 cm from hand to hand. (Carrara, 1577-Florence, 1640). Italian sculptor. He trains with Giambologna of whom he is an assistant. Upon the master's death he finished the works that he had left unfinished, among them the equestrian statue of Philip III in the Plaza Mayor in Madrid, and succeeded him as sculptor of the Medici court. He is the most eminent follower of his master and the best of the Florentine sculptors of the first half of the 17th century. His most famous figures are the four bronze slaves at the base of the monument to Ferdinand i de' Medici in Livorno, dated between 1615 and 1624 and characterized by a fresh realism. In 1627 he created the fountains in the Annunciation Square in Florence, originally built for Livorno. In them he perceives the emphasis on detail, virtuosity and decoration characteristic of late mannerism. Between 1627 and 1634 he made the gilded bronze statues of Ferdinand I and Cosimo II de' Medici for the princes' chapel in San Lorenzo in Florence. His last great work is the monumental equestrian statue of Philip IV located in front of the Royal Palace of Madrid, made between 1634 and 1640, transferred to Spain and retouched by that of his son Ferdinando. This equestrian portrait is related to those of Giambologna and lacks the baroque impetus of Alessandro Farnese, by Francesco Mochi, and Constantino, by Bernini. He continues the late Mannerist tradition and works bronze better than other materials, which is why the marble statues are usually made by his assistants following his instructions. He builds a sophisticated Giambolognesque mannerist style by introducing some naturalistic element into his works. In the Prado work, ...

Estim. 15 000 - 25 000 EUR

Lot 276 - Manner of Rose of Tivoli (Frankfurt del Main, 1657-Rome, 1706), Italian school of the 18th century Oil on canvas. Measurements: 75 x 60, framed measurements: 90 x 80 cm. (Frankfurt am Main, 1657-Rome, 1706). German painter. Belonging to a family of painters and engravers, specialized in painting animals and landscapes, he went to Italy in 1677, thanks to aid granted by the Landgrave of Hesse, studying in Rome with Giacinto Brandi. In 1684 he moved to Tivoli, a place to which he owes his Italian nickname "Rose of Tivoli." Permanently settled in Rome in 1691, he was part of the group of genre painters from the Netherlands who joined the group led by Pieter Laer, known as schildersbent. Roos' work is numerous; However, some of his paintings may be from another hand, since Roos was copied by his son Jakob and by Domenico Brandi. Several of the compositions kept by the Prado Museum come from the collection of Isabel de Farnesio and present in an exemplary way the characteristic subject and style of the family tradition, specifically that of Philipp Peter, the best-known representative of the Roos who, As usual, it focuses on the presentation of domestic animals, grazing slowly or returning home. They appear with their shepherds in the Roman countryside, characterized by ruins, rocks and trees, which flank the composition and are silhouetted against the horizon. Cows, goats, sheep and a goat whose head stands out from the herd, are the typical elements of his compositions. The animals, strongly illuminated, appear against a dark background and fill the canvas with their dimensions, which reserves little space for the landscape. Provenance: important Spanish private collection.

Estim. 9 000 - 9 500 EUR

Lot 281 - Important Interior of a Flemish Tavern from the 17th Century - Manner of David Teniers the Younger (Antwerp, c. 1610-Brussels, 1690) Measurements: 35 x 30 cm, exterior measurements with frame: 50 x 45 cm, good condition. (Antwerp, c. 1610-Brussels, 1690). Flemish painter. Son of David Teniers I, he was baptized on December 15, 1610 in the church of Saint James in Antwerp. In his youth he followed the style of his father and that of Adam Elsheimer, but he soon specialized in genre painting, in line with the tradition of the Netherlands where the taste for this type of work was greater than in any other country. European. In 1638 he entered the Guild of Saint Luke, of which he would become dean, and was soon protected by Antonio Tries, bishop of Ghent, and later by Archduke Leopold William, appointed by Philip IV governor of the States of Flanders. Teniers collaborated in the archduke's acquisitions and contributed greatly to the formation of his fabulous art collection, acting as its curator. Thanks to this, the painter had the opportunity to know and study works by different masters, centuries, schools and genres. The cabinet paintings that Teniers made are a valuable instrument for locating the works that the archduke collected, as well as a delight for the senses due to their quality and fidelity to the originals. In them the painter appears alongside his protector and his friends, something unusual, and which constitutes a vindication of the dignity of painting similar to what would later appear in Las Meninas. In 1651 his appointment as court painter caused him to move to Brussels. The previous year he had begun work on the Theatrum Pictoricum, illustrated with two hundred and forty-four etchings of Italian paintings by the most prestigious masters of the 15th, 16th and 17th centuries, a precursor project to the current illustrated catalogues. When Leopold William left Flanders to occupy the imperial throne in 1656, this project was interrupted, as were ...

Estim. 8 000 - 12 000 EUR

Lot 282 - Exquisite Granada Virgin with Child in Glory - ATTRIBUTED TO JOSÉ DE RISUEÑO (Granada, 1665-1732), 17TH CENTURY BAROQUE GRANADINE SCHOOL Oil on canvas measurements: 100 x 78 cm, framed measurements: 120 x 100 cm. One of the most prominent Spanish painters and sculptors of the Granada Baroque. Trained in the workshop of his father Manuel Risueño with the sculptors Diego and José de Mora and with the painter Juan de Sevilla, all of them disciples of Alonso Cano. With abundant artistic production of a religious nature, in his work we can see the influence of Cano's models, his taste for naturalism and the use of Van Dyck's Flemish prints. Among his paintings, the religious scenes stand out with examples such as The Coronation of Saint Rosalía and The Mystical Betrothal of Saint Catherine (Granada Cathedral), The Virgin of the Rosary (private collection, Almería) and Saint Thomas of Aquinas (acquired in 1911 by the Prado Museum). He collaborated with Palomino in the execution of The Triumph of the Eucharist and Saint Bruno from the dome of the Tabernacle of the Granada Charterhouse (in situ). He also made portraits, highlighting among them that of his protector, Archbishop Dr. Martín Azcargorta (archiepiscopal palace, Granada). In his sculptural works he cultivated the same themes as in painting, using diverse materials: clay, wood and stone, to make altarpieces, doorways and church facades, most of them in his hometown. Provenance: private collection, Barcelona. Reference literature: Orozco Díaz, Emilio, «Some unknown works by Risueño and de Mora (data and comments for the study of a forgotten theme of Granada imagery)», Spanish Art Archive, xliv, no. 175, Madrid, 1971, pp. 233-257; Sánchez-Mesa Martín, Domingo, José Risueño, sculptor and painter from Granada (1665-1732), Granada, University, 1972.

Estim. 22 500 - 35 000 EUR

Lot 289 - Pedro Núñez de Villavicencio (attributed) (Seville, 1644-Madrid, 1695) Sevillian Baroque School of the 17th century Holy Family with San Juanito. Oil on canvas measurements: 105 x 75 cm. Measurements with frame: 116 x 90 cm. Born in Seville, he was a member of a prominent Andalusian noble family, and entered in 1660 as a knight of the Sovereign Order of Saint John of Jerusalem. For this reason he had to move to the island of Malta, seat of the Order and its Grand Master, to take the tests as a knight, carrying out the mandatory tasks of stewardship and also of a war type (especially against the Turks). In his brief returns to his hometown he took the opportunity, for example, to photograph the recently appointed Seville archbishop Ambrosio Ignacio de Spínola (1670), demonstrating how much he knew the Murrillesque style when he was not under the chiaroscuro influence of Preti, and that it is true what the classics of art historiography point out: his great ability as a portraitist. On another occasion he would take the opportunity to join the prestigious and elitist Brotherhood of Charity. In August 1695, Núñez de Villavicencio returned to Madrid from Seville, where he would have traveled on personal matters or to rest. He was surely going to rejoin his position when he died at the inn where he was staying. This is recorded in the account books of the Madrid reception of the Order of Saint John, which contain the accounts due to his death and even a brief inventory of his possessions at his last moment, as well as other details. of his will. Provenance: important private collection, Madrid. Lot not subject to reserve price. Liquidation of important private family collection.

Estim. 6 000 - 6 500 EUR