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Lot 50 - NICOLÁS SOLANA Active in Aragon between 1401 - 1441 Angel with phylactery Tempera on panel and gold background Measurements 58 x 37.5 cm Work referenced in : - Frankfurter, Alfred M., "The Paintings in the William Rockhill Nelson Gallery of Art", The Ars News, Vol. XXXII (no. 10), December 1933, p. 29 and 36 (reproduced). - Post, Ch. R. A History of Spanish Painting, Harvard University Press, Cambridge Mass, 1934, vol. V, p. 310, fig. 97. - Post, Ch. R. A History of Spanish Painting, Harvard University Press, Cambridge Mass, 1935, vol. VI, part. II, pp. 600 and 601. - Post, Ch. R. A History of Spanish Painting, Harvard University Press, Cambridge Mass, 1941, vol. VIII, part. II, pp. 663. - Ars Hispaniae", Ed. Plus Ultra, Madrid, 1955, vol. IX, p. 163. - Gudiol, José, Medieval painting in Aragón, Instituto Fernando el Católico, Zaragoza, 1971, p. 41, cat. 93. - Handbook of the Nelson Gallery of Art, Atkins Museum, Kansas City, vol. I, 1973, p. 262. Work exhibited at: - "Official Art Exhibition of the San Diego Exposition", Palace of Fine Arts, San Diego, California, USA, May-November 1935, no. 567, p. 30. Provenance: - The Collection of William Rockhill Nelson Gallery of Art, Atkins Museum of Fine Arts, Kansas City, Missouri, USA (label on back). - Christie's New York, April 6, 1989, lot 198. - Xavier Vila Antiquari, Barcelona, 1989. - Private collection, Madrid. The enigmatic personality of the Aragonese painter Nicolás Solana has been linked to the artist Juan de Levi. The only signed work that we know of is the central panel with two apostles that comes from the altarpiece dedicated to the Holy Apostles in the Junyer collection in Barcelona. Curiously, a document is preserved that attests that Nicolás had a brother who was also a painter, named Juan, to whom the panels in the Junyer collection and an Epiphany from the Valencia Institute of Don Juan in Madrid are attributed. The present work that belonged to the Nelson-Atkins Museum of Art in Kansas City has been related to the altarpiece of San Pedro from the Daroca Collegiate Museum, which comes from the church of San Pedro, in addition to the panels with the Noli me tangere and the Ascension of the Museum of Fine Arts of Bilbao.

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Lot 89 - SEBASTIÁN MARTÍNEZ DOMEDEL Jaén c. 1615 - Madrid 1667 Contemplative man Oil on canvas On the back inscribed: "De Pereda / ... / 900" Measurements 44.4 x 29.3 cm Bibliography: - Mantas Fernández, Rafael. Sebastián Martínez Domedel. Life and work, Instituto de Estudios Gienneses / Diputación de Jaén, 2020, cat, nº 44, 57. Sebastián Martínez Domedel is one of the most enigmatic figures in Spanish baroque painting. His apprenticeship probably ended in Córdoba with Cristóbal Vela Cobo with whom he collaborated in the pictorial decoration of the church of San Agustín where he must have known first-hand the works of Antonio del Castillo. In 1661 he visited the royal collections of El Escorial on behalf of the cathedral chapter of Jaén to copy some paintings for the Rosario altarpiece. The writer Palomino writes that Philip IV named him his painter, an unconfirmed news. Endowed with an extraordinary genius for composing novel iconographic subjects to which he imprints an unusual expressiveness of gestures, Sebastián Martínez can be considered one of the most prominent Spanish painters belonging to the naturalist movement of the second half of the 17th century. The self-absorbed countenance of the sitter, with his eyes and mouth half-open, with a gesture of rapt mysticism, can be related to the types of other works by the artist such as the "Saint Augustine of Hippo" in a private collection. Likewise, its format seems to evoke tronies, a genre of Dutch and Flemish baroque painting that represents a head or bust based on studies from life. Finally, the dimensions of this work are almost identical to the "Santiago el Mayor" (oil on canvas, 40.5 x 29.5 cm) from a private collection that was auctioned in this same room in December 2009. br> We thank Rafael Mantas Fernández for his help in cataloging this work.

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Lot 91 - CUZQUEÑA SCHOOL 18th century Our Lord of the Tremors or Taytacha Tremors Oil on canvas Measurements 126.5 x 84 cm In this painting Our Lord of the Tremors or Taytacha Tremors. The nickname derives from the union of two words in Quechua: tayta which means father or lord and cha which is a diminutive. This is a very popular iconographic theme in Cusco painting, in which we find the true effigy of the sculpture of Christ crucified that is housed in the Cathedral of Cusco. Legend tells that the beginning of the cult dates back to 1650. On May 31, an earthquake hit the old capital of the Inca empire and to stop the aftershocks that were devastating the city, they decided to take out the sculpture of Christ in procession, which According to tradition, it was sent by Charles V himself. According to testimonies, the earthquake stopped and the veneration of the Cuzco people to this image began, continuing to the present day. In this painting we find a Crucifixion with three nails reproduced. It is a Christ with the wounds of the Passion, with a dark complexion, a muscular and thin body and long hair that falls over his right shoulder. As usual, he appears dressed in a short skirt with vertical pleats, tight at the waist and made of linen, chiffon, silk and lace. The cross is finished off with silver lobed corners and a short upper beam. The composition is completed by the vases, bows, feather dusters, vases, candelabras and flowers that decorate the scene. Among all of them, the ñucchu stands out, a red flower that was used by the Incas as an offering to the gods and that since the 17th century has been associated with the Taytacha. Bibliography: - Querejazu Leyton, Pedro, "The Lord of the Tremors of the Cusco Cathedral and its representation in painting," in Earthquakes: Miraculous Christs in South Andean viceregal art. Joaquín Gandarillas Infante Collection. American Colonial Art. Pontificia Universidad Católica de Chile, 2019. - Héctor H. Schenone, Iconography Of Colonial Art, Jesus Christ. Argentina: Fundación Tarea, 1998. - Lámbarri Bracesco, Jesús, "Images of greatest veneration in the city of Cuzco: sculpture in El Perú," in El Culto Popular. Treasures of the Cathedral of Cusco, ed. Archbishopric of Cusco: Decentralized Directorate of Culture of Cusco. Lima, Editorial Fábrica de Ideas, 2013.

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Lot 92 - CUZQUEÑA SCHOOL 18th century Virgin of the Candelaria of Copacabana with donor Oil on canvas Measurements 95 x 76.5 cm The Virgin of the Candelaria of Copacabana or Virgin Copacabana is a Marian dedication originating from Lake Titicaca and popularized through prints and paintings by the Peruvian viceroyalty during the 17th century. Tradition indicates that Francisco Tito Yupanqui is the first to capture it in sculpture and to do so he took the Virgin of Candelaria as a model. This work reproduces a very popular theme from the Cuzco school, the Virgin of triangular typology, named for the shape of her cloak. In Peruvian viceregal painting it is very common to find these "trompe l'oeils of the divine", where no attempt is made to paint the Virgin and Child in a humanized way. The objective is to pictorially reproduce the sculptures of local Virgins such as Copacabana, Cocharcas or Pomata, usually accompanied by a donor or saint. In it we find the Virgin on an altar full of colorful flowers, crowned, wearing a mantle richly decorated with triple chains of pearls, precious stones, flowers, bows and lace, carrying with her right hand a candle in the shape of " Z" (very common in Cusco representations), which alludes to the Purification passage, the presentation in the temple and especially to the concept of Jesus as the light of the world. Likewise, with his left arm he holds the Child Jesus who holds the globe of the world with his left hand, while he blesses with his right hand. The composition is completed with two typically baroque red curtains and the figure of a bishop venerating the image. Bibliography: - Pedro Querejazu Leyton, "Local Marian iconographies and the painting of images during the 18th century in the Audiencia of Charcas," in Proceedings III International Congress of American Baroque: territory, art, space and society, Almansa Moreno, José Manuel (eds.), Pablo de Olavide University, 2001. - Isabel Cruz de Amenábar, Vírgenes Sur Andinas: María, territory and protection. Viceregal painting 17th-19th centuries. Joaquín Gandarillas Infante Collection, Pontifical Catholic University of Chile, 2014. - Pérez Sánchez, Alfonso. "Trompe l'oeil "to the divine"", Readings in Art History, nº3. Vitoria, Spain: Municipal Institute of Iconographic Studies Ephialte of the Vitoria-Gasteiz City Council, 1992.

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