25th July - Old Masters

Lot 1 - Circle of PEDRO MACHUCA (Toledo, ca. 1490-Granada, 1550); 16th century. "The Assumption of the Virgin. Oil on panel. The original frame is preserved. It shows faults and losses on the pictorial surface. It shows damage caused by xylophages. Measurements: 187 x 104 cm; 204 x 119 cm (frame). It is a composition full of movement and dynamism, where each one of the characters is studied individually and as a whole, showing different postures and planes. This mastery in the profusion of figures and the mastery of a complex composition. This majestic panel depicts the Assumption of the Virgin, carried body and soul into Heaven, in a triumphal and scenographic manner. Behind her is the Glory, represented by a faint divine light, an elaborate break in the margins of which we see angels in different positions, some looking towards the earth and others towards the Virgin. On the earthly plane, clearly differentiated from the heavenly plane by the line of clouds, the figures gather around the Virgin's open tomb. They are the apostles who, having witnessed Mary's death, marvel at her Assumption. Some of them are depicted with their backs to the tomb, closing a circular composition defined around the tomb, classical and orderly despite the apparent crowding of the figures in favour of the theatricality and, above all, the dynamism of the scene. Most of the figures are shown looking up towards the sky, with their hands raised in surprise as well as veneration, a skilful aspect of the narrative. We see how Mary does not ascend to heaven by her own means, like Christ, but is raised to Paradise by the angels. As is customary in Western art, the artist depicts her bodily Assumption outside the tomb where the apostles had buried her. Formally the work falls within the circle of Pedro Machuca, who is chiefly remembered as the Spanish architect responsible for the design of the Palace of Charles V (begun in 1528) adjacent to the Alcazar in Granada. The details of his life are little known. Born in Toledo, he is said to have been a pupil or friend of Michelangelo and Pontormo. His presence is documented in Italy as early as 1517, when he signed The Virgin and the Souls in Purgatory (Prado), whose style has led him to be associated with the workshop of Raphael. On his return to Spain in 1520, he worked as a painter in the Royal Chapel of Granada, as well as in Jaén, Toledo and Uclés.

Estim. 6 000 - 7 000 EUR

Lot 2 - Circle of JUAN SARIÑERA, (Spain, c. 1545 - 1619). "The venerable Domingo Anadón delivering the guilds of the statutes of the Pila de San Vicente Ferrer". Oil on canvas. Relined. Measurements: 110 x 135 cm, 125 x 147 cm (frame). This canvas is a copy of the painting made by Juan Sariñena and is in the Notarial College of Valencia. This work is referenced in the catalog "Juan Sariñena. Painter of the Counter-Reformation in Valencia", published by the Generalitat Valenciana in 2008. Juan Sariñena was a Spanish painter, probably of Aragonese origin, active in Valencia in the late sixteenth and early seventeenth centuries. He was key in the acceptance of the new naturalistic language, replacing the mannerist and idealizing formulas of Juan de Juanes. In 1570 he was in Rome, influenced by painters of the late counter-mannerism and by the Academy of San Lucas. From 1580 he lived in Valencia, excelling in portraiture with Venetian technique. His first documented work is a portrait of King James I in 1580, followed by a portrait of St. Louis Beltran. In 1584, Sariñena began receiving commissions from Archbishop Juan de Ribera, including portraits of saints and a series of naturalistic portraits. In 1591, he directed the decoration of the Sala Nova of the Palacio de la Generalidad Valenciana, for which he was named Pintor de la Ciudad in 1595. He continued to work for Ribera and other important clients, including the remodeling of the cell of San Vicente Ferrer and several religious paintings. In his later years, he collaborated with Francisco Ribalta and adopted a more vivid color palette. In 1607, he was a member of the board of directors of the Colegio de Pintores and, although his output declined, he still undertook important commissions until his death in 1619 in Valencia. He was succeeded by his disciple Agustín Ridaura as painter of the city.

Estim. 4 600 - 4 800 EUR

Lot 3 - JOSÉ DE CÁRDENAS (Seville, late 17th century -1730). "Shepherds". Polychrome clay. They present faults and losses. One of them has a signature. Measurements: 18 x 22 x 13 cm; 15 x 24 x 11 cm. Set of sculptures made of terracotta representing two men lying down. In both cases the faces reflect an enormous naturalism of baroque heritage, and their expressions relate some characters with others, suggesting that originally they were part of a larger set, probably a manger. One of the most consolidated Christmas traditions, which has remained unchanged for centuries. The seventeenth century was the period in which these sculptures were made, becoming the Golden Age of the nativity scene. The figures multiplied, increasing the narrative of the representation and adding all kinds of profane elements, with representations of noble characters in addition to shepherds, innkeepers, shopkeepers, etc. An example of them are these two sculptures in which we can see how one of them holds an instrument, while the other adopts a posture of great expressiveness and originality. The quality of the figures added to the artist's seal found on one of the sculptures indicates that they are works made by José de Cárdenas, who had experience in the creation of nativity scenes or nativity scenes. An example of this is the set attributed to La Roldana in the Sculpture Museum of Valladolid, where it is known that Cárdenas participated in modeling the horse in 1727. José Cárdenas was a disciple of Pedro Roldán in Seville, whom he tried to imitate in small format and using clay as the main material. He was recognized as already mentioned for his figures for nativity scenes, of which some are preserved in Seville. Following the words of the historian Cean Bérmudez. "He died very poor there in the years of 1730, with the mania of being a knight, which he made everyone aware of with the executions that he always brought with him". Pedro Roldán, who had trained with Alonso de Mena, settled in Seville around 1640, achieving great success and fame there. The cultural richness of Seville led to a greater demand for commissions. This led to the creation of a workshop where a large number of artists, including Cardenas, worked and trained. Roldán's sculpture shows an interest in realistic carving and his influential style was characterized by the search for a new artistic language, moving away from the aesthetics of the masters of the first half of the century such as Montañés, Cano, Mesa and Ribas. They show fouls and losses.

Estim. 5 000 - 6 000 EUR

Lot 4 - Follower of REMBRANDT HARMENSZOON VAN RIJN (Leiden,1606- Amsterdam, 1669), ca. 1800. "Portrait of lady, possibly Maria Trip". Oil on canvas. Relined. Presents faults in the frame. Measurements: 107 x 80 cm; 120 x 95 x 7 cm (frame). We are in front of a copy of quality dated around 1800 of the "Portrait of Maria Trip", oil on panel that Rembrandt painted around 1639 and is preserved in the Rijksmuseum. A standing, half-length young woman occupies a classicist niche with stone carving at the back and a fragment of balustrade in front. She holds a closed fan in her right hand. Her auburn hair falls in silky ringlets and, although gathered with a tiara, falls in small curls over her forehead. She wears a silk dress with pleats at the waist and is adorned with a white collar embroidered with fine lace. Large flowers recamadas in silver thread complete the sumptuousness of the costume. She wears a necklace and bracelets of shiny pearls. From a black ribbon hangs a small jeweled medallion. Behind her and the arched doorway is a dark curtain and the light hits the young woman, highlighting her fair skin and hair. She probably represents Maria Trip (1619-1683), from 1641 wife of Balthasar Coymans (1589-1657), thirty years older and with whom she had six children.

Estim. 10 000 - 12 000 EUR

Lot 5 - German school of the XVII century. "The shepherd". Oil on canvas. Relined. Presents some lack in the frame. It needs restoration. Measurements: 193 x 140 cm; 204 x 152 cm (frame). Under a sky that announces storm, a shepherd leaning on a tree stump points to his left to indicate to the herd of goats that it is hour to return to the stable. We see his right hand, in which he holds a flute, furrowed with fine veins. The naturalism and quality of the painting is expressed in this type of detail and, above all, in the good-natured countenance of the character. His eyes are small, bright and deep. His reddened and weather-beaten skin gleams under the silver light of the heavy sky. He wears bloomers and a tanned leather jacket tied with a drawstring through the buttonholes. The woolly fur of the animals is also resolved with accurate verism. We feel the agitation of the dark leaves of the trees, as if they foreshadowed the rain. The rise of pastoral painting during the 17th century in Germany may have been motivated by the need to escape from the social and political debacle of the time. It was a period of conflict and sudden change, with the Thirty Years' War (1618-1648) deeply affecting Germans. Pastoral painting offered an idealized and escapist view of life, in contrast to the reality of war and devastation. However, in this magnificent scene with shepherd, the worried face and the day electrified by the incipient storm does not convey a peaceful image but, on the contrary, it seems to us a sort of transcript of the difficult historical moment. On the other hand, in the Germanic landscape painting of the period, the influence of the Dutch landscape painters can be appreciated.

Estim. 10 000 - 12 000 EUR

Lot 6 - Flemish school, second half of the 17th century. "Orla de flores con Sagrada Familia". Oil on canvas. Relined. Presents restorations. Measurements: 135 x 166 cm; 143 x 176 cm (frame). In this magnificent canvas of baroque period and Flemish school, the typology of the border or floral garland framing a religious scene is taken to the highest pictorial summits. It responds to a genuine compositional type of the Netherlands, from which it was exported to Spain and other countries. The garland of flowers receives the same or even greater attention than the Holy Family housed inside. The still life receives an exquisite treatment, working petal by petal, tulip by tulip, each of the fragrant roses, lilies, carnations, etc.. They form a sensual tapestry that takes on volume thanks to the delicate chromatic handling. The vegetal frame reaches great sumptuousness, competing in prominence with the scene of the Virgin and Child accompanied by St. Joseph. It was common in the most important workshops of Flanders that paintings like this one were carried out under the direction of two masters: one specialized in the floral theme, the other in the religious theme. In the juicy manner of resolving the varied bouquets a dense brushstroke of brilliant pigment has been used. The painter has frozen the moment of maximum maturity of the flower, prior to its decay. The dark background highlights the thickness of the garland and the masterful work of the angelic foreshortenings that support it. The Holy Family represented in the center has a wooden frame that, in turn, is inscribed in the floral border. The double frame is also a genuine solution of the Baroque period, especially in Flanders, in accordance with the development of trompe l'oeil and visual games. In fact, the three biblical characters are endowed with volume, their garments are draped with naturalism, and there seems to be air between Joseph and the Child, so that the inner frame seems to be transformed into a window thanks to the tremendous plastic mastery. Given its quality, this canvas can be compared to the "Madonna with a garland of flowers" by Peter Paul Rubens, preserved in the Haute Pinakothek in Munich.

Estim. 18 000 - 20 000 EUR

Lot 7 - JOOST CORNELISZ DROOCHSLOOT (Holland, 1586-1666). "Kermesse". Oil on oak panel. Cradled. Signed in the central area. Measurements: 48,5 x 64 cm. This is a work attributed to the Dutch painter Joost Cornelisz, whose productive corpus echoed the achievements of genre painting during the Dutch Golden Age. It is a theme frequently treated by the artist (a lively village view), achieving here to integrate with masterful naturalness the lively human groups in different levels of depth, through a skillful handling of lights and chromatic sieves, proportions and perspective. The houses, some of them stately, are lined up on both sides of the street to escape towards a cloudy horizon. With descriptive eagerness, peasants and bourgeois are typified, thus distinguishing their different social backgrounds. Liveliness animates gestures and gestures. Joost Cornelisz was a painter of the Dutch Golden Age. It is believed that he was born in Utrecht. It is possible that he spent some years in The Hague. The documentation starts in 1616 when he was enrolled as a master in the guild of St. Luke in Utrecht, of which in 1623, 1641 and 1642 he was elected dean. A respected member of his community, in 1638 he was elected regent of the Sint Jobs hospital, deacon of the Reformed Church in 1642 and officer of the schutterij or urban militia in 1650 and 1651. In addition, from 1665 to 1666 he was a painter at the University of Utrecht. Prolific painter, the first known works, such as the Good Samaritan of the Centraal Museum of Utrecht, signed and dated 1617, in which it is clear the knowledge of the work of Jan van Scorel of the same subject, or The Seven Works of Mercy of the same museum, dated 1618, are great historical compositions of religious subject, a genre that he would never abandon (parables of the useless servant and the guest at the wedding, 1635, Centraal Museum; new version of the Seven Laws of Mercy, 1644, The Hague, Museum Bredius), but what is most repeated in his production are the urban landscapes or those located in small villages, with a wide avenue arranged diagonally and directed towards the depth, serving as a framework for the development of festive and market scenes or, more occasionally, with motifs of current events and battles. In this order, influences of the Flemish masters, both Pieter Brueghel the Elder and Pieter Brueghel the Younger, and his compatriot David Vinckboons, have been pointed out, although the finish of the works of this type of painting is not always the same as that of the Flemish masters.

Estim. 7 000 - 8 000 EUR

Lot 8 - Spanish school; ca. 1600. "Holy Family with Saint Juanito". Oil on canvas. Re-coloured. It presents repainting. Measurements: 97 x 80 cm; 117 x 99 cm (frame). Scene of devotional character in which we can appreciate the presence of Saint Joseph sleeping placed in the left zone of the composition, the Virgin and the Child in the centre, Saint Juanito in the right part, besides a small angel that completes the scene. It should be noted that the Child is depicted in the foreground, next to the Virgin Mary, while the rest of the figures are in the background. They are all set in a dark-toned interior, illuminated by the flesh tones of the figures. The scene is intimate in character, as despite the hieratic nature of the figures, the Virgin and Child share an attitude of playfulness and complicity between them. In the most common sense of the expression, the Holy Family includes the closest relatives of the Child Jesus, i.e. mother and grandmother or mother and nurturing father. In both cases, whether it is Saint Anne or Saint Joseph who appears, it is a group of three figures. From an artistic point of view, the arrangement of this terrestrial Trinity poses the same problems and suggests the same solutions as the heavenly Trinity. However, the difficulties are fewer. It is no longer a question of a single God in three persons, whose essential unity must be expressed at the same time as his diversity. The three personages are united by a blood link, certainly, but they do not constitute an indivisible block. Moreover, all three are represented in human form, while the dove of the Holy Spirit introduces a zoomorphic element into the divine Trinity that is difficult to combine with two anthropomorphic figures. On the other hand, this iconography was traditionally, until the Counter-Reformation, a representation of the Virgin and Child with the figure of Saint Joseph in the foreground. It was not until the reforms of Trent that Saint Joseph began to take centre stage as the protector and guide of the Infant Jesus. Spanish Baroque painting is one of the most authentic and personal examples of our art, because its conception and form of expression arose from the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who encouraged its development, with the works sometimes being financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the main subject matter of Spanish painting of this period, which in the early decades of the century focused on capturing the natural world and gradually intensified throughout the century on expressive values, which it achieved through movement and a variety of gestures, the use of light and the depiction of moods and feelings.

Estim. 4 000 - 5 000 EUR

Lot 9 - Follower of MATTHIAS STOMER (c. 1600 - after 1652); Italian school; 17th century. "Evening Evening". Oil on canvas. Re-coloured. Measurements: 121 x 147 cm. Scene of costumbrist character in which the artist gathers in the composition a group of men with a woman. All of them are arranged around a table which can hardly be seen. However, a plate of pasta, a knife and a candle are the only points of light in the scene. The men are eating, smoking a pipe and drinking, all of them showing relaxed attitudes that can be seen not only in the act they are performing but also in the poses in which the artist has depicted them, with the figure on the left of the composition standing out to a great extent. All of them are dressed in clearly detailed 17th-century clothing, as are the faces of the characters, created in the tradition of Baroque naturalism, bringing realism and narrative to the scene. Due to its subject matter, the work can be classified as a type of tavern painting, which in the 17th century was a vindication of the popular. However, it is worth noting the presence of the only woman in the scene. She gazes at one of the figures and holds her shoulders in her hand, hinting at some kind of close relationship, which in the darkness of the scene suggests a courtesan rather than a waitress. Matthias Stom or Matthias Stomer was a Dutch, or possibly Flemish, painter who is only known for the works he produced during his residence in Italy. His painting was greatly influenced by the work of non-Italian followers of Caravaggio in Italy, in particular his Dutch followers often referred to as the Utrecht Caravaggists, as well as by Jusepe de Ribera and Peter Paul Rubens, and he worked in various locations in Italy where he enjoyed the patronage of religious institutions as well as prominent members of the nobility.

Estim. 6 000 - 7 000 EUR

Lot 10 - School of GIOVANNI BILIVERTI (Florence, 1585-Florence, 1644); Italy, 17th century. "Joseph and Potiphar's wife", Oil on canvas. Relined. Presents restorations and repaints. Antique Frame. Measures: 120 x 171 cm; 135 x 182 cm (frame).

Estim. 9 000 - 12 000 EUR

Lot 11 - Spanish school of the 16th century. Circle of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "The Adoration of the Shepherds. Oil on canvas. With repainting. Frame of the 19th century. Measurements: 160 x 118 cm; 183 x 142 cm (frame). This work shows us the scene of the adoration of the shepherds through a costumbrist approach, according to the naturalistic taste of the baroque, something that, together with the warm, well toned chromatism, the veristic treatment of characters and animals and the tenebrist and scenographic illumination, allows us to place the painter in the orbit of Pedro Orrente (Murcia, 1580 Valencia, 145), the so-called "Spanish Bassano". It is a scene that lends itself to being interpreted as a large composition with numerous characters, worked in a costumbrista style, and was therefore very much to the taste of Baroque painters, who sought above all a natural and intimate art that would move the spirit of the faithful and make them feel close to what was depicted on the canvas, to the sacred story. Thus, the divine elements are reduced to a minimum, only a Glory breaking in the upper part, with a child angel attending the event and watching over the image. During his stay in Italy, Pedro de Orrente visited Venice, where he spent some time in the workshop of Leandro Bassano himself. In 1607 he returned to Spain and settled in Murcia, although he also visited Toledo, Madrid and Valencia. During his stay in Venice he must not only have learnt the Bassano family's pictorial manner but also took on board their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes, as we can see here, would be fundamental in this respect. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such an extensive output, the painter must have had a very well-established workshop which repeated the models established by the master. Having had first-hand knowledge of the creations of the great Venetian masters, Orrente was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism at its height, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.

Estim. 3 500 - 4 500 EUR

Lot 12 - Spanish school of the 16th century. Circle of FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "Virgin and Child Salvator Mundi". Oil on canvas. Re-drawn at the end of the 18th century. Size: 111 x 85 cm; 120 x 93 cm (frame). The wake of the Marian painting of Zurbarán is manifested in this work of Christ as "Salvator Mundi", an iconography that represents the Christological concept of Jesus Christ as universal saviour, in relation to his role as judge in the Final Judgement and to his character of Redeemer. The monumental canon of the Virgin and child, their sculptural presence, has been achieved through subtle light modelling. The melancholic tenderness of the faces and the way in which the figures emerge emphatically from a misty background reveal the influence of Zurbarán. Francisco de Zurbarán trained in Seville, where he was a pupil of Pedro Díaz de Villanueva between 1614 and 1617. During this period he had the opportunity to meet Pachecho and Herrera and to establish contacts with his contemporaries Velázquez and Cano, apprentices like himself in Seville at the time. After several years of diverse apprenticeship, Zurbarán returned to Badajoz without undergoing the Sevillian guild examination. He settled in Llerena between 1617 and 1628, where he received commissions both from the municipality and from various convents and churches in Extremadura. In 1629, at the unusual suggestion of the Municipal Council, Zurbarán settled permanently in Seville, marking the beginning of the most prestigious decade of his career. He received commissions from all the religious orders present in Andalusia and Extremadura, and was finally invited to the court in 1934, perhaps at Velázquez's suggestion, to take part in the decoration of the great hall of the Buen Retiro. On returning to Seville, Zurbarán continued to work for the court and for various monastic orders. In 1958, probably prompted by the difficulties of the Sevillian market, he moved to Madrid. During this last period of his output he produced small-format private devotional canvases of refined execution. Zurbarán was a painter of simple realism, excluding grandiloquence and theatricality from his work, and we can even find some clumsiness when solving the technical problems of geometric perspective, despite the perfection of his drawing of anatomies, faces and objects. His severe, rigorously ordered compositions reach an exceptional level of pious emotion. With regard to tenebrism, the painter practised it above all in his early Sevillian period. No one surpasses him in his way of expressing the tenderness and candour of children, young virgins and adolescent saints. His exceptional technique also enabled him to depict the tactile values of canvases and objects, making him an exceptional still life painter.

Estim. 2 000 - 2 500 EUR

Lot 13 - Novo-Hispanic school; second half of the 18th century. "Jesus and the Canaanite woman". Oil on copper. It presents slight faults. Measurements: 30 x 42 cm; 37 x 49 cm (frame). This work represents one of the miracles of Jesus and is narrated in the Gospel of Mark in chapter 7 (Mark 7:24-30) and in the Gospel of Matthew in chapter 15 (Matthew 15:21-28). In Matthew, the story is told as the healing of the daughter of a Canaanite woman. According to both accounts, Jesus exorcised the woman's daughter while traveling in the region of Tyre and Sidon, because of the faith shown by the woman. The relevant passage in Matthew 15:22-28 reads: A Canaanite woman from that region came to Jesus crying out, "Lord, Son of David, have mercy on me! My daughter is demon-possessed and is suffering terribly!".Jesus did not answer a word. Then his disciples came to him and urged him, "Send her away, for she keeps crying out after us. "He replied, "I have been sent only to the lost sheep of Israel." The woman came and knelt before him. "Lord, help me," she said. He answered her, "It is not right to take the children's bread and throw it to the dogs." "Yes, Lord," she said. "But even the dogs eat the crumbs that fall from their master's table." Then Jesus said to her, "Woman, you have great faith! Your daughter is healed." And her daughter was healed from that very hour. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening of some of the colonies, that several artists began to represent a new model of painting with its own identity. It presents minor faults.

Estim. 4 000 - 5 000 EUR

Lot 14 - Andalusian or novo-Hispanic school; second half of the XVII century. "Saint Raphael Archangel". Oil on canvas. It presents faults and restorations in the pictorial surface and the frame. Measurements: 178 x 101 cm; 187 x 110 cm (frame). Devotional image that presents us the archangel San Rafael with big wings extended, richly dressed with clothes to the fashion of the time, reflection of his high position in the celestial court. Particularly noteworthy is the meticulous treatment of the clothing, details such as the embroidery on the shirt or the trimmings on the boots, reflecting the survival of the 16th century Spanish ways in the colonial school of the Baroque. The angel appears in a simple and clear composition, perfectly didactic, probably taken from an engraving brought from Europe. He appears frontally, full-length and in the foreground, standing on a rocky ledge covered with poppies, before a landscape located at a lower level, developed in depth, again following models brought from Mannerist Spain. The fish hanging from one of his hands, and the partsana in another, indicates that it may be a representation of the Archangel Saint Raphael. This Archangel is one of the seven archangels that is in front of the throne of God. He is known as the healing Archangel, for his divine intervention with the character Tobias, whom he healed of a blindness. He is usually represented with a fishing rod, next to a fish or with the rod of the pilgrims, an attribute that identifies him as the patron of travelers because, with his help, he guides in spiritual journeys in search of truth and knowledge. The work is largely reminiscent of the aesthetic patterns that became popular at the time, which represented harquebusier angels, or torchbearers. Being indispensable in the representation of sculptural groups of religious character, starring the figure of saints, Jesus, or the Virgin. It presents faults and restorations in the pictorial surface and the frame.

Estim. 5 000 - 6 000 EUR

Lot 15 - FRANCISCO ANTONIO VALLEJO (1722-1785). "Dolorosa", 1783. Oil on copper. Signed and dated. Measurements: 56,5 x 46 cm. The Virgin of Sorrows or the Dolorosa was a theme very much to the taste of the popular devotion, which will enjoy a great diffusion especially in the works destined to chapels and private altars. The theme is usually represented as we see here, with the Virgin alone in the foreground, in a dark and undefined environment, with an undoubtedly dramatic character. Although it is a compositional formula that we will see very developed in the naturalistic baroque, here it still responds to a purely iconographic sense, and in fact derives from Flemish models, of great weight in the Spanish school even in the 16th century. On the other hand, the way of composing the image presents a large, monumental figure. The devotion to the sorrows of the Virgin has its roots in medieval times, and was especially spread by the Servite order, founded in 1233. There are many and varied iconographic representations that have as central theme the Virgin Mary in her Sorrowful aspect, being the first of them in which she appears next to the Child Jesus, who sleeps oblivious to the future of suffering that awaits him. In these works is usually present the cross, the main symbol of the Passion, embraced even by the Child, while Mary observes him with a pathetic expression. Another aspect is the one that is part of the Pietà, similar to the previous one, although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, the body of Christ appears disproportionately small, as a symbol of the memory that the mother has of her Son's childhood, when she contemplated him asleep on her lap.

Estim. 3 500 - 4 000 EUR

Lot 16 - Circle of NICOLÁS DE LARGILLIÈRE; early 18th century. "Portrait of a lady. Oil on canvas. Re-drawn. It has faults. It has a frame with faults from the 19th century. Measurements: 82 x 61 cm; 113 x 94 cm (frame). Portrait on indeterminate background of an elegant lady of high class, as it is possible to suppose so much for the dress, of low neckline, decorated with fine lace, and for her powdered wig. The lady's gaze is firmly fixed on the viewer, which adds character to the work and conveys to the viewer a feature about the psychological aspect of the lady that goes beyond the merely pictorial. The quality of the master responsible for the painting is also clear: first, in the economy of means, which keeps the viewer's attention focused on the lady (something to which the neutral background of the painting and the tonal interplay between the dress and the lady's pale skin also contribute); second, in the quality of the drawing used, especially on the face (drawing that predominates over colour and brushstrokes, as was usual in 19th-century art derived from the Neoclassicism of the Academies of Fine Arts). These works must have been executed by a painter belonging to the circle of the master Nicolas de Largilliere, one of the most important French portraitists of the time. In both works we can recognise various stylistic traits similar to those of the artist and his circle, such as the careful detail of the hairstyle and its beadwork, as well as in the drawings of the fabrics, the hair and the lace of the clothing. Largillière painted mainly portraits, although he also produced occasional historical, religious, landscapes and still lifes, subjects he worked on with the same technical mastery as his portraits. One of the greatest painters of the Regency and the reign of Louis XV, Largillière is represented in the Louvre, the National Gallery and the National Portrait Gallery in London, the Hermitage Museum in St Petersburg, the Rijksmuseum in Amsterdam and the Art Institute of Chicago, among other leading art galleries around the world.

Estim. 1 400 - 1 800 EUR

Lot 17 - Circle by BARTOLOMEO PEDON (Venice, 1665-1732), ca. 1700. "Port Scene". Oil on canvas. Re-coloured. It presents very slight repainting. Measurements: 98,5 x 72 cm; 113 x 88 cm (frame). We are in front of a maritime landscape of great evocative power. The sun hides among the clouds, timidly tinting a port landscape with golden lights and silhouetting the figures portrayed in the scene. The artist combines an attentive gaze on nature with an imagination that overflows reality, thus overlapping parallel worlds, as Vernet did. In this lakeside composition of the Venetian school, the proximity of Bartolomeo Pedon and his "caprices" is evident: the poetic port landscape is animated by figures who attend to different professions: porters, fishermen, etc. The masts of the boats, the boats' masts, the boats' masts, the boats' masts, the boats' masts. The masts of the boats against the sky break the horizontality of the composition and give it dynamism. The meticulous reproductions of anecdotal episodes coexist in the same painting with the general impression of a majestic landscape. The pre-Romantic sensibility that flourished in Venice around Pedon is evident. Bartolomeo Pedon was an Italian painter of the late Baroque period. He painted mainly landscapes, often nocturnal or whimsical architectural whimsy in a wild landscape. In this he seems to have been influenced by Marco Ricci and Antonio Marini, but also by Magnasco and Salvatore Rosa. Many of his works are in private hands. In terms of public institutions, he is in the Walters Art Museum collection in Baltimore, among others. According to other sources, he was born in 1655 in Padua and worked in the monastery of San Benedetto.

Estim. 3 000 - 4 000 EUR

Lot 18 - Circle by BARTOLOMEO PEDON (Venice, 1665-1732), ca. 1700. "Coastal View". Circa 1700 Oil on canvas. Re-coloured. It presents repainting and very slight losses in the left margin. Measurements: 72 x 99 cm; 88 x 114,5 cm. In this lacustrine composition of Venetian school, the proximity of Bartolomeo Pedon and his bewitching "caprices" is evident: the real geography is transfigured by a sensualist imagination typical of the rococo period. Several scenes take place in a wide panorama bordered in the background by imposing rocks blurred by mist. In the foreground, gondoliers ply the calm waters and fishermen converse on a promontory. In the middle ground, Renaissance architecture alternates between turrets and domes, which the light makes silver sparkles. The pre-Romantic sensibility that flourished in Venice around Pedon is evident. Bartolomeo Pedon was an Italian painter of the late Baroque period. He painted mainly landscapes, often nocturnal or whimsical architectural whimsy in a wild landscape. In this he seems to have been influenced by Marco Ricci and Antonio Marini, but also by Magnasco and Salvatore Rosa. Many of his works are in private hands. In terms of public institutions, he is in the Walters Art Museum collection in Baltimore, among others. According to other sources, he was born in 1655 in Padua and worked in the monastery of San Benedetto.

Estim. 3 000 - 4 000 EUR

Lot 19 - Attributed to ANTONIO MARIA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Academic study". Oil on canvas. Relined. Provenance: Private collection in Belgium. With export permit. Size: 103 x 82 cm; 126 x 104 cm (frame). The portrait shows a physiognomy of the gentleman characterised with verism and detailed brushstrokes, with a miniaturist's pulse. A fig leaf covers his private parts. The moving posture breathes life into the body, which is aided by the pronounced musculature and the concentrated face, as each element is resolved with extreme precision. Esquivel was the most representative and prolific painter of Sevillian Romanticism and one of the most outstanding of his time in Spain. His life was a true Romantic plea; he lost his fortune after his father's death, was orphaned and left poor, and at the age of seventeen he enlisted against the absolutist cause of the Duke of Angoulême, and did not live comfortably until he moved to Madrid in 1831. However, in 1838 he returned to Seville, where he lost his sight shortly afterwards. Cured in 1840 he returned to Madrid, where he worked until his death. Trained at the Seville Academy of Fine Arts, he was appointed chamber painter in 1843 and a member of the San Fernando Royal Academy in 1847, contributed to the publications "El siglo XIX" and "El Panorama" and was a member of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid, which led him to publish the monographs of José Elbo y Herrera el Viejo (1847) and his "Tratado de anatomía práctica" (1848). He was also an art critic and wrote on history painting and the German Nazarenes. As a painter he fully identified with Romanticism, which he expressed through the sentiment and aesthetic correctness of his work. His style, which is partly eclectic, is characterised by a great technical mastery that manages to harmoniously balance the correctness of the drawing and the quality of the colours. Although he dealt with a wide range of subjects, portraiture is an essential part of his career. In addition to his artistic merit, his portraits illustrate the society of his time with historical rigour, without neglecting affective values. He received many commissions for portraits in various formats, and also produced several self-portraits, one of which is in the Museo del Prado. He also executed group portraits, which reflect his fascination with the Dutch Baroque and his corporate portraits. With regard to religious themes, he was a follower of Murillo, in connection with his own status as a Sevillian. His history paintings had a very personal, literary and theatrical character, the result of the Romantic atmosphere in which he lived. His official awards include the plaque of the Siege of Cadiz and the Cross of Commander of the Order of Isabella the Catholic. In 2006, in commemoration of his second centenary, the Seville Academy of Fine Arts, in collaboration with the El Monte Foundation, held a retrospective exhibition dedicated to his work. He is represented in the Prado Museum, the Huesca Town Hall, the Lázaro Galdiano Museum, the Fine Arts Museum in Seville, the Romantic and Naval Museums in Madrid, the National Library and the Santa Cruz Museum in Toledo, among many others.

Estim. 4 000 - 5 000 EUR

Lot 20 - 17th century Italian school. "The Rape of Europa". Oil on canvas. Relined. The frame presents faults in the stucco and in the polychromy. Measurements: 97 x 135 cm; 129 x 166 cm (frame). The one of the abduction of Europa is one of the most known legends within the love affairs of Zeus. Europa was a Phoenician woman from Tyre, who was picking flowers on the beach accompanied by her ladies when she was spotted by the god. The god, smitten by her, transformed himself into a beautiful white bull and mingled with her father's cattle. She saw him and, seduced by his gentleness and beauty, rode on him, at which point the disguised god ran into the sea and swam to the island of Crete, carrying Europa on his back. Once there, Zeus revealed his true identity, and after joining her, made her the first queen of the island. In addition, the god gave Europa a necklace made by Hephaestus, a bronze automaton, a dog that never let go of its prey and a javelin that never missed. The artist of our composition focuses on the moment of full confidence of the lady, who appears mounted on Zeus, before he sets off on the run, while she is surrounded by the ladies of his retinue. The composition is peaceful, despite the dense silver and golden sky that heralds the abduction. This allows him to give priority to the description of the velvety smoothness of the clothes, the jewels reflecting the cold light that bathes the atmosphere, the ivory flesh tones... The volumetric work of the bodies, modelled by light and colour, and the sensual plasticity of qualities and atmospheres stand out. Other important artists have depicted this theme: Rubens (following Titian) was interested in the convulsion of the female body, held to the bull only by the horn. Rembrandt, for his part, depicted the abduction itself, the escape by sea.

Estim. 8 000 - 8 500 EUR

Lot 21 - Spanish school; 17th century. "Saint Ignatius of Loyola". Oil on canvas. Re-retouched. It presents faults and restorations. Measurements: 60 x 42 cm. Saint Ignatius of Loyola (1491-1556) was a Spanish religious, founder of the Society of Jesus, military and poet. He grew up as a pupil of Juan Velázquez de Cuéllar, Accountant Major of Castile, and therefore in direct contact with the court. He was thus educated in the mastery of arms, and was able to develop his love of reading. Wounded in combat in 1521, during his convalescence his religious reading made an impression on him, and Ignatius reconsidered his life, deciding to abandon military life for religious life. This desire was strengthened by a vision of the Virgin with the Infant Jesus, which led to the soldier's definitive conversion to a religious life. From there he left with the conviction to travel to Jerusalem with the task of converting the non-Christians in the Holy Land. He subsequently studied in Alcalá de Henares, Salamanca and Paris, and finally founded the Society of Jesus in 1534. He died of illness in 1556 in his cell at the Jesuit headquarters in Rome.

Estim. 700 - 800 EUR

Lot 22 - Spanish school; 17th century. "Immaculate Conception". Oil on canvas. It presents faults. Measurements: 182 x 118 cm; 203 x 137 cm (frame). Inscribed in a golden break of Glory, the figure of the Virgin is arranged as the Immaculate Conception. Placed on a pedestal created by clouds to which three small angels cling, the figure of the Virgin stands upright, monumental. She is facing the viewer, but her face is raised and slightly shifted to the left, looking out at something outside the pictorial composition. Despite this, her serene face and pious attitude with one hand on her chest indicate that she is addressing God, establishing direct contact with him and not with the viewer. A viewer to whom she is presented in a regal manner, thanks to her dominant position in the composition, her bearing and the monumentality of her forms, situated under the representation of the Holy Spirit, as queen of heaven and of Christianity. Aesthetically, the work is very close to the stylistic patterns created by Murillo. The 17th century saw the arrival of the Baroque in the Sevillian school, with the triumph of naturalism over Mannerist idealism, a loose style and many other aesthetic liberties. At this time the school reached its greatest splendour, both in terms of the quality of its works and the primordial status of Sevillian Baroque painting. Thus, during the transition to the Baroque period, we find Juan del Castillo, Antonio Mohedano and Francisco Herrera el Viejo, whose works already display the rapid brushstrokes and crude realism of the style, and Juan de Roelas, who introduced Venetian colourism. The middle of the century saw the fullness of the period, with figures such as Zurbarán, a young Alonso Cano and Velázquez. Finally, in the last third of the century we find Murillo and Valdés Leal, founders in 1660 of an Academy where many of the painters active during the first quarter of the 18th century were trained, such as Meneses Osorio, Sebastián Gómez, Lucas Valdés and others.

Estim. 2 000 - 2 500 EUR

Lot 23 - Spanish school; second half of the 17th century. "Jesuit Saint". Oil on canvas. Re-framed. Size: 60 x 42 cm; 66 x 48 cm (frame). Spanish Baroque painting is one of the most authentic and personal examples of our art, because its conception and its form of expression arose from the people and the deepest feelings that nestled in them. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who encouraged its development, with the works sometimes being financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the main subject matter of Spanish sculpture during this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values.

Estim. 600 - 700 EUR

Lot 24 - Flemish school; first half of the 17th century. "Gipsy.". Oil on oak panel. It has an opening in the central area of the panel and needs to be consolidated. It has some slight leaps in the painting, repainting and restorations. Measurements: 31 x 26,5 cm. In the flemish 17th century, portraiture was one of the pictorial genres most in demand among the gentry. Here we are before a characteristic example of the technical refinement that the painters used in the individual portraits: skill in the handling of the drawing, detail inherited from the art of the miniatures, excellent glazes, the delicate blond hair and a fine gauze headdress. The folds of the neckline of the dress are perfectly geometrical, but this does not detract from the naturalness of the portrait. The same goes for the jewellery which the sitter wears in the form of a rhythmic fretwork. In this way, no element is left to chance, and everything is integrated into an underlying order of lines and colours. The facial oval, thus framed, is modelled by a filtered light which brings out the right tones of the slightly rosy flesh tones. The black eyes look out of the corner of his eye, revealing insight. It was undoubtedly in the painting of the Dutch school that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.

Estim. 1 400 - 1 600 EUR

Lot 25 - French school; 18th century. "Bust of a gentleman. Oil on canvas. Re-coloured. It has repainting and restorations. It has a frame with a break in the upper corner. Measurements: 60,5 x 50 cm; 79,5 x 70,5 cm (frame). In the present canvas we are in front of the representation of a young man of low social status, whose expressive face becomes the absolute centre of the image, a portrait of great psychological depth worked by means of an exceptional technique of naturalistic inheritance. The overall intonation, very restrained and warm, also reveals great sobriety; it revolves around earthy and ochre tones, punctuated by touches of very nuanced white. The lighting, on the other hand, is not as contrasting as in Caravaggist naturalism and, although it is of great formal importance, excessive contrasts are avoided. Nevertheless, it is a key element in the modelling of the face and its details, Portraiture became the leading genre par excellence in French painting as a result of the new social structures that were established in the Western world during this century, embodying the ultimate expression of the transformation in the taste and mentality of the new clientele that emerged among the nobility and the wealthy gentry, who were to take the reins of history in this period. While official circles gave precedence to other artistic genres, such as history painting, and the incipient collectors encouraged the profusion of genre paintings, portraits were in great demand for paintings intended for the more private sphere, as a reflection of the value of the individual in the new society. This genre embodies the permanent presence of the image of its protagonists, to be enjoyed in the privacy of a studio, in the everyday warmth of a family cabinet or presiding over the main rooms of the house.

Estim. 1 300 - 1 500 EUR

Lot 26 - Attributed to FRANCESCO VANNI (Siena, 1563 - 1610). "St. Francis in ecstasy". Oil on copper. Original frame of the period. It presents to the back an illegible inscription in Italian. Measurements: 25 x 19 cm; 36 x 30,5 cm (frame). This painting belongs to the Tuscan mannerist school and is attributed to the painter Francesco Vanni. An etching of this painter with the same subject and compositional treatment, one of whose copies is preserved in the British Museum, may have served as a preliminary study for the oil painting shown here. The high quality of this painting, in accordance with the mastery of the Sienese master, shows St. Francis of Assisi leaning on a rock, with closed eyelids and half-open lips while listening to the celestial music of the violin played by an angel next to his ear. One of the saint's hands begins to bleed, his wound mimicking the stigmata of Christ's Passion. Each of these narrative details faithfully follows the passages described by St. Bonaventure, biographer of the founder of the Franciscan Order: being gravely ill, St. Francis began to hear music so beautiful that he thought he had already crossed the threshold to the eternal kingdom. Subtle gradations of halftones model the angel's infantile body. The seraphic face contrasts with the wiry, angular features of the ecstatic saint. An amber light emerges from the celestial background and outlines the infant's body against the light, giving it a great beauty, in which we identify Vanni's style. The work clearly belongs to the artistic circle of Francesco Vanni, an Italian painter, draughtsman, engraver, publisher and printer active in Rome and in his hometown of Siena. Vanni was part of a family of painters. When he was 16, Vanni moved to Bologna and then to Rome. He was apprenticed to Giovanni de 'Vecchi during 1579-1580, although he was also greatly influenced artistically by other Tuscan painters of his time. In Rome, he worked with Salimbeni, Bartolomeo Passerotti and Andrea Lilio. Pope Clement VIII commissioned him to paint an altarpiece for St. Peter's, later transferred to mosaic, Simon the Magician rebuked by St. Peter. He painted several other pictures for Roman churches; including St. Michael defeats the rebellious angels for the sacristy of S. Gregorio; a Pieta of St. Mary in Vallicella; and the Assumption of St. Lawrence in Miranda. In Siena, he painted a S. Raimondo walking on the Sea for the church of the Dominicans. Vanni painted a Baptism of Constantine (1586-1587) for the church of San Agostino in Siena. He was active as an engraver and engraved three devotional engravings after his own designs. In addition, he was the publisher of a large 4-plate map of Siena that he himself had designed and had engraved by the Flemish engraver Pieter the Elder. He asked Lorenzo Usimbardi in 1595 for help in obtaining financial support for the publication of the map.

Estim. 5 000 - 6 000 EUR

Lot 27 - Flemish school of the 17th century. "Interior of a tavern". Oil on panel. Measurements: 27 x 34 cm; 57 x 67 cm (frame). This work is part of the genre of tavern painting, created in early Baroque Flanders by the masters Adriaen Brouwer (1605 - 1638) and David Teniers (1610 - 1690), which soon came to Holland. As its name suggests, these are scenes set in taverns, called costumbrista works for showing the common customs of the common people of the time, with a variety of styles important, but always maintaining both the theme and a clear preference for an earthy palette. Influenced by the two masters mentioned above, the painter who makes this type of work, usually works an interior space with a very refined chromatic range, based on earthy and ochre tones, typical of the naturalism of the first baroque. In terms of style, these painters would normally be close to Teniers (more detailed works; precise, loose but short brushstrokes, defining the shapes and qualities of figures and objects, without downplaying the importance of drawing), or Brower (more caricatured style, and brushstrokes and shapes different from those of Teniers).

Estim. 3 400 - 3 600 EUR

Lot 28 - FRANÇOIS D'ORBAY (France, 18th century). "Interior scene", 1752. Oil on canvas. Relined. Signed and dated in the lower right corner. Measurements: 72 x 90 cm; 84 x 103 cm (frame). Costumbrist scene signed by François D'Orbay. The painter follows Flemish models of the Flemish period, especially those in which the subject of the usury was treated, in the line of Marinus van Reymerswale. A family gathers in the tone of an accountant or money changer. Each of the faces, gestures and gestures denote expectation, revolving around the money being counted on the table. A little apart from the main group, a male character tries to sell a gold cross to a young woman. The psychological capture, the naturalism printed on the faces, the attentive description of coifs and lace, respond to a juicy descriptive desire. Painter active in the middle of the eighteenth century, the date of birth and death of Francisco de Orbay is unknown. A painting of the author is preserved in the Musée des Beaux-Arts de Dôle (Le Roi boit, 1749), and a drawing in the Kunstbibliothek Bremen (200 Französische Meister-Zeichnungen 1530-1830 aus der Kunstbibliothek Berlin, 1973). Bibliography: Catalogue of Catherine Scheck of the Museum of Fine Arts Dole "XVII ° and XVIII ° centuries, French paintings" pages.93, 94, N ° 50

Estim. 3 000 - 3 500 EUR

Lot 29 - Flemish school of the 17th century. "Adoration of the Kings". Oil on copper. Measurements: 72 x 55 cm; 92 x 75 cm (frame). This work is part of the Flemish school of the seventeenth century, representing the religious scene of the Adoration of the Kings. This work represents the moment in which the three kings, accompanied by their entourage, present their gifts to the child Jesus, who, in his mother's arms, seems to play with the incense presented to him by Gaspar, kneeling before him. The scene is located outside, with a reference to the manger on the right side, transformed into a classical architecture, defined by a semicircular arch and a column. The clothes of the kings, with embroidered capes of rich color and great richness, like the adornments of precious stones and jewels of Balthazar, show the luxury of this procession. The scene takes place almost in semi-darkness, as we can see the opening to the landscape in the last shot. However, the luminosity is clear and the focus emerges from the figure of the child Jesus, who radiates the light that falls on the rest of the characters. The magnificence of the work can be seen in the multitude of characters. It is a composition full of movement and dynamism, where each of the characters is studied individually and as a whole, showing different postures and planes.

Estim. 2 200 - 2 500 EUR

Lot 30 - Flemish school; second third of the seventeenth century. "St. Francis receiving the stigmata". Oil on copper. It presents faults on the pictorial surface. Measurements: 58 x 77 cm; 71 x 90 cm (frame). Baroque painting realized on copper that shows Saint Francis of Assisi standing, receiving the stigmata of Christ crucified on his hands and feet. He appears accompanied by another Franciscan saint, who huddles on the ground with his rosary, frightened by the divine apparition. Faithful to the biblical narrative, a winged Christ bursts into the sky (in this case not winged but on the cross, inscribed in a typically baroque break of glory). Legend has it that the saint's stigmation took place on Mount Albernia, a place where he had retired and where the vision of Christ with six wings, nailed to a cross, took place. In a reflex way, the wounds of Jesus were reproduced on his body. The forest clearing has been reproduced with abundant foliage, and in the distance, a mountainous background can be seen. The rich earthy and sienna tones of the meadow turn to bluish tones on the horizon. St. Francis receiving the stigmata was a popular chapter in the life of this saint born in Assisi in 1182. The son of a merchant, he abandoned the comforts of his family heritage to found one of the mendicant orders with the largest number of followers. St. Francis was canonized two years after his death, in 1228, and his biographer was Thomas of Celano. St. Francis died in the convent of the Portiuncula, a place near Assisi, where he met with his disciples. The stigmatization took place in 1224, on Mount Albernia, where the vision detailed by Thomas of Celano took place. It presents faults on the pictorial surface.

Estim. 2 500 - 3 000 EUR

Lot 31 - Spanish school; end of XVIII century. "Don Quixote". Wood and polychrome tinplate. It presents damages caused by xylophagous. Measurements: 38 x 16 x 9 cm. Sculpture made in wood and tinplate representing Don Quixote perorating, characterized with naturlism and success in his noble and naive temperament. The face is bony and stylized, with a trimmed beard that lengthens his oval. The theme of Don Quixote was very much approached in the 18th century, already from a clearly contemporary point of view, far from the comic vision popularized by the French in the previous century. The works fall within the framework of the rise of regionalism during the second half of the 18th century and the first third of the 19th century. This period saw the development of an art of romantic heritage, costumbrista and of realistic and meticulous workmanship, which focused on the representation of subjects, themes and characters that reflect a new sense of folklore. In this context, the painters sought to reflect the types and customs of their own land, which made it different and unique, thus vindicating their own roots and, above all, the traditions and ways of dressing and behaving that were threatened by the notable growth of urban areas and the imposition of new fashions brought from outside. Art, fundamentally in its pictorial aspect, thus becomes in a certain way a vehicle of expression capable of making regional peculiarities known to the rest of the nation. It presents damages caused by xylophagous.

Estim. 2 000 - 2 500 EUR

Lot 32 - Spanish or Novo-Hispanic school; second half of the 17th century. "Virgin of the tabernacle of Toledo". Oil on canvas. Re-drawn. It presents damages caused by xylophagous. It has a 17th century frame. Measurements: 220 x 163 cm; 258 x 202 cm (frame). The work shows, on an undetermined background, the image of the Virgin Mary with the Child in her arms. Her gaze to the front, the gesture of her hands, and the position in which Jesus is with respect to his mother suggest that it is an image inspired by a carving prior to the period in which the image was painted. It was very common in the 17th century to dress the most venerated images in this way in order to respect and update them at the same time, as well as to highlight them and add the richness that their "rank" as sacred figures required. The elements carried by both Mary and the Child, and the gestures of both, directly allude to the representation of the image of the so-called Virgen del Sagrario in Toledo Cathedral. It is usually dated to around 1200, made of wood and completely covered in silver (except for the head and hands) and, already famous in the time of Alfonso X the Wise, it was enthroned around 1226, with Isabella the Catholic being even more prominent. During the first half of the 17th century a chapel was built for her, begun by Don Gaspar de Quiroga and finished by D. Bernardo de Sandoval, and whose inauguration was presided over by Philip III (it took place in 1616). As already mentioned, the position of Mary's hands in this work is very similar to that of the Toledo carving, as are the faces of the two figures, although the "updating" of the style and the modelling of the volumes is clear. Although it is true that the work adopts an archaic style related to the medieval. That is to say, using aesthetics (composition, style, drawing, palette...) It is known from texts that the Virgin of the Tabernacle in Toledo mentioned was dressed in the 17th century in a rich mantle of pearls and jewels. Furthermore, the crown shown in the oil painting would be the older of the two important ones in "his treasure" today (it seems to be a 15th-century base and the rest of the work of Alonso de Montoya in 1568 or between 1574 and 1586), and it is truly particular in its shape and the bands and hollows it creates at the front. The rostrillo with pearls of Mary would also be a common element when "decorating" or dressing the medieval carvings that were very popular in the Baroque period and later, with a series of jewels and elements that may have been donated by prominent personalities of the time.

Estim. 7 500 - 8 000 EUR

Lot 33 - Spanish-Filipino school; late 18th century. "Crucifixion". Carved ivory and ebony and tortoiseshell cross. Attached Cites and certificate of the Association of Antique Dealers. Measurements: 17 x 15 x 4 cm; 73 x 24 x 14 x 14 cm (cross). The realization of the figure of Christ in ivory has a long tradition in the history of art. On the one hand, it is a noble material, of beautiful appearance, with a light tone very appropriate for imitating flesh tones. On the other hand, its color and texture make it similar to marble, a material that, due to its weight and properties, cannot be used for the figure of the crucified, which must be nailed to a cross. This piece was made entirely from a single piece of ivory, with the exception of the arms, which, due to the limitations of the shape of the elephant's tusk, were worked separately and then assembled. Through the maritime commercial routes, the appreciated oriental products arrived in Spain, which satisfied the great demand for luxurious and exotic objects. Ivory, a material of luxury and high esteem, meant prestige, economic and social power for its owner, and religious imagery made of this material was especially appreciated, designed for private devotion and often donated by the powerful to religious centers as a token of faith. This Hispano-Filipino Christ reveals a set of artistic influences that fills it with content. It is a work of art made under the Spanish influence, filtered through America, and carved in the Philippines by both local and Chinese artists settled in the archipelago. The Sangleyes or Chinese of the Philippines, urged by the demand for Christian religious works, attended the Spanish orders having as models sculptures, prints or engravings sent from the metropolis, but without forgetting the features of the oriental anatomy. For this reason, the eyes are slanted, with bulging eyelids made with a double flange, configuring a face with protruding cheekbones that departs from the classical ideal of contemporary Europe. The anatomy, on the other hand, shows a clear classical base combined with the baroque naturalism typical of this type of pieces since the 17th century, but nevertheless denotes an introspective and hieratic sense that we do not find in European pieces. In fact, all these different characteristics, typical of its oriental origin, were highly appreciated in the metropolis. Attached Cites and certificate of the Antique Dealers Association.

Estim. 3 000 - 4 000 EUR

Lot 34 - Valencian school; ca. 1500. "Virgin with child and singing angels". Tempera and gilding on panel. With period sgraffito and stephenwork. Presents old restorations. Presents deterioration. It needs restoration. Measurements: 122 x 89 cm; 150 x 118 cm (frame). Scene of religious character in which appears the virgin with the child in a central plane. She is dressed with a blue mantle and red tunic and still preserves the image of virgin-throne of the most classicist renaissance, being a whole block with hieratic character. The scene stands out for its sobriety, with four singing angels arranged on the sides of the figure on a background of reddish tones. The Spanish school is different from the rest of contemporary European artistic centers, thanks to the fact that during most of the 15th and 16th centuries there was an important settlement of Italian and Flemish painters. Thus, throughout the history of art, these centuries, meant an important focus within Spanish art, with schools such as Andalusian, Madrid and Valencia. In Spain, the change from the seventeenth to the eighteenth century was not a break with the previous tradition, but a continuation of it. On the other hand, economic recovery resulted in a thriving industrial and commercial bourgeoisie, which sought to distinguish itself socially through artistic patronage. At the same time, the Church was losing its monopoly as the only client of artists. All this will determine a definitive change in taste, and also in the genres treated: religious painting will now coexist with bourgeois portraiture, still life, landscape, historical and mythological themes and genre painting. It presents old restorations. Deterioration. In need of restoration.

Estim. 1 400 - 1 600 EUR

Lot 35 - Spanish or Novo-Hispanic school; c. 1757. "Virgin of Antigua". Oil on canvas. Presents inscription. Measurements: 68 x 51 cm. In the cartouche of the inferior margin it can be read: 'V.º R.º DE LA MILAG.A YMAG.N DE N.RA S.A DE LANTIGVA PATRONA DE LA CIVDAD HORDVÑA EN EL SEÑORIO DE VIZCAYA. YEAR 1757. ('True Portrait of the miraculous image of Our Lady of Antiquity, Patroness of the town of Horduña in the Lordship of Biscay. Year 1757') The image of the Virgin in the sanctuary of Orduña is a Gothic carving from the 14th century. The church of Santa María La Antigua in Orduña has a history linked to the legend of the discovery of an image of the Virgin entangled in the branches of a tree by a shepherd. There is ancient historical evidence of the existence of a monastery dedicated to Santa María in the 10th century, and in the 13th century the church was known as "La Vieja" or "La Antigua". The legend of the Virgen de la Antigua comes from medieval times and the origins of the Virgen de la Antigua are diverse, being related to the Romans or the Visigoths. At first, the representation of the Virgin standing with the Child in her arms was placed in the mullions, forming part of the architecture, like most of the Gothic sculpture. However, it must have enjoyed great success among the faithful, so that, from the late twelfth and early thirteenth centuries, they began to be made in small format, free-standing and in different materials, such as stone. It will be then when they begin to be not Odigitrian Virgins, but more maternal representations. At first they were made mainly in France, and from there they were exported to the rest of Europe; the models would become classics, repeated over and over again. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening of some of the colonies, that several artists began to represent a new model of painting with its own identity. Presents inscription.

Estim. 1 400 - 1 800 EUR

Lot 36 - Spanish or Novo-Hispanic school; second half of the 18th century. "Saint Anthony of Padua and Saint Christopher". Oil on canvas. Relined. It has a frame of the nineteenth century, c. 1860. Measurements: 66 x 59 cm; 83 x 73 cm (frame). During the baroque and in a more consolidated way in later times, scenes were popularized where several saints starred in images together with a didactic purpose, since they represented analogous concepts. In this particular case it is the representation of St. Anthony of Padua holding Jesus in his hands and next to him we recognize the legend of St. Christopher, that giant who carried on his shoulders a child he did not know, only out of kindness, to help him cross a river. That child turned out to be Christ, which made him the patron saint of travelers. The two monumental and placed figures cover the entire scene that develops in an open landscape, in whose distance another religious figure can be appreciated, located in the right zone of the composition. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening of some of the colonies, that several artists began to represent a new model of painting with its own identity.

Estim. 1 400 - 1 600 EUR

Lot 37 - Novo-Hispanic school; late eighteenth century. "Virgin of the homeless". Oil on canvas. It presents restorations and faults on the pictorial surface. Measurements: 86 x 121 cm; 104 x 141 cm (frame). Devotional scene in which the figure of the Virgin of the homeless with the Child held with one of his hands and with the other a flowery branch. The Child, crowned like his mother, holds between his hand the obre while with the other he blesses. Both are inscribed in a border with a blue background that represents the idea of the celestial, although at the base a throne can be seen, representing the earthly. Next to them, to the sides, several cartouches let glimpse different figurative scenes that represent in the superior zone the archangel San Rafael and in the right zone the guardian angel. The intermediate zone is reserved for St. Francis and for the evangelist St. Mark and finally, in the lower zone, scenes of daily life of costumbrista character can be appreciated with a bullfight and a jump on horseback, both crowned by the presence of the Virgin of the homeless whose representation is repeated in these scenes. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening of some of the colonies, that several artists began to represent a new model of painting with its own identity. It presents restorations and faults on the pictorial surface.

Estim. 1 600 - 2 000 EUR

Lot 38 - Baroque pedestal; Spanish school of the seventeenth century. Carved and gilded wood. Measurements: 48 x 99 x 51 cm. This type of pedestal has been used since antiquity to house figures, mainly religious and with vestments, which fell on the pedestal in a graceful way. These arcitectonic pieces were common in the Spanish Baroque period. From this moment on, and with numerous decorative variations, it became a characteristic element of architecture and other Baroque arts, appearing in painting, sculpture, etc. The most common was to decorate them with bunches of grapes and branches and vine leaves, in clear allusion to the Body and Blood of Christ, key elements in the Salvation of Humanity, although, already more towards the 18th century, there will be other examples that add leaves and roses or flowers, responding, surely, to a greater relationship with elements of Rococo or to an association with a feminine environment.

Estim. 700 - 800 EUR

Lot 39 - Baroque altarpiece column; late seventeenth century. Carved and gilded wood. Measurements: 137 x 18 x 24 cm. Column with capital with acanthus leaves, architectures and angels. It presents a warped shaft identifying itself as a Solomonic column with a carved decoration, highlighted in gilding. This type of columns were common in Spanish Baroque altarpieces from around the last third of the 17th century and, although their design was already known both in the Middle Ages and in the Renaissance, they only became common elements in the Baroque from the realization of the bronze baldachin of the Basilica of St. Peter in the Vatican in Rome by Gian Lorenzo Bernini, between 1623 and 1634. From this moment on, and with numerous decorative variations, the Solomonic column became a characteristic element of architecture and other Baroque arts, appearing in paintings, sculpture, etc. The most common was to decorate them with bunches of grapes and vine leaves, in clear allusion to the Body and Blood of Christ, key elements in the Salvation of Humanity, although, already more towards the 18th century, there will be other examples that add leaves and roses or flowers, responding, surely, to a greater relationship with elements of Rococo or to an association with a feminine environment.

Estim. 700 - 800 EUR

Lot 40 - Bracket; Spanish school of the eighteenth century. Carved wood, polychrome and gilded. It presents small faults due to the passage of time. In good state of preservation. Measurements: 55 x 60 x 50 cm. This type of corbels were common in the Spanish Baroque school from towards the last third of the XVII century and, although its design was already known in the Middle Ages as well as in the Renaissance, they were only common elements in the Baroque from the realization of the bronze Baldachin of the Basilica of San Pedro of the Vatican in Rome by Gian Lorenzo Bernini, between 1623 and 1634. From this moment on, and with numerous decorative variations, they became a characteristic element of architecture and other Baroque arts, appearing in painting, sculpture, etc. The most common was to decorate them with bunches of grapes and vine leaves, in clear allusion to the Body and Blood of Christ, key elements in the Salvation of Humanity, although, already more towards the 18th century, there will be other examples that add leaves and roses or flowers, responding, surely, to a greater relationship with elements of the Rococo or to an association with a feminine environment. The present motif gives a special character where a polychrome angel stands out among the gilding. It presents small faults due to the passage of time. In good state of preservation.

Estim. 700 - 800 EUR

Lot 41 - Circle of Jacques Linard (Troyes, 1597-Paris, 1645) "Basket of flowers". Colored pencils on laid paper. Period frame. Measurements: 17 x 22 cm; 24,5 x 30,5 cm (frame). Bouquet of late-baroque school and French invoice, ascribed to the circle of Jacques Linard, specialized in floral themes. His taste for simple forms, his skill in extracting the right qualities, the precision of the stroke, naturalism and sensuality are attributes shared by Linard's painting and this painting.

Estim. 1 000 - 1 200 EUR

Lot 42 - Spanish school; XVII century. "San Felipe Neri". Oil on canvas. Relined. It presents faults in the pictorial surface. Measurements: 137 x 103 cm. Devotional painting of St. Philip Neri. It belongs to a period after the beatification and canonization of the Saint, which occurred in the first third of the seventeenth century, so that during the next century was a recurring theme in the Baroque devotional iconography. The dark background enhances the figure of the protagonist. The scene has been conceived from a completely theatrical point of view with the bust of the saint framed in a portico with Solomonic columns on each side. Above it, located in the tympanum, there is a large border with the figure of the Virgin inside, probably in allusion to the miracle of the apparition of Mary to St. Philip. Under this border is the Holy Spirit. St. Philip Neri (Florence, 1515- 1595) known as the "Second Apostle of Rome" after St. Peter, was an Italian Catholic priest noted for founding the Congregation of the Oratory. He was carefully educated and received his first teachings from the friars of St. Mark's, the famous Dominican monastery in Florence. He used to attribute most of his progress to the teachings of two of them, Zenobio de Medici and Servanzio Mini. At the age of 18, in 1533, Philip was sent to the home of his uncle Romolo, a wealthy merchant from San Germano (present-day Cassino), a Neapolitan town near the base of Monte Cassino, to help him in his business dealings and in the hope that he would inherit Romolo's fortune[1]. Philip gained Romolo's trust and affection, but during his stay he also experienced a religious conversion. A

Estim. 900 - 1 200 EUR

Lot 43 - Central European school of the XVII-XVIII century. "Saint". Polychrome carved wood. Measurements: 80 x 54 x 23 cm. Sculpture in carved wood, Central European Baroque school. It represents a saint, of difficult identification due to the lack of attributes or emblems. Carved full body and round bulk (although prioritizing a frontal work) wearing a draped tunic and cloak. Its curly hair has been worked strand by strand. The expressiveness of her features stands out, wiry and with her mouth half-open, even showing her teeth. A full verism is thus sought.

Estim. 800 - 900 EUR

Lot 44 - German school of the XVII-XVIII century. "Pietà". Sculpture in polychrome carved wood. Presents lack of polychrome. Measurements: 47 x 43 x 20 cm. Germanic carving belonging to the Baroque. It presents a frontal work, hollowed out on the back for use as a niche. It responds to the iconography of the Pietà, that is, the seated Virgin welcomes on her lap the dead Christ, once He has descended from the cross. In a theme of deep dramatism, intensity that in this piece is reflected in the pathos printed on the faces and in the anatomy of the lifeless body. The Marian mantle appears draped with dexterity. The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first example being found in the city of Coburg, a piece from around 1320. With the passage of time the iconography will spread throughout Europe, and already in the seventeenth century, after the Counter-Reformation, it became one of the most important themes of devotional painting.

Estim. 500 - 700 EUR

Lot 45 - Cantoral de monasterio; Spanish School; c. 1593. Gouache on vellum. Presents faults. Measurements: 64 x 39 cm. The choir books, also called cantorales, chorales or choral books, are large format musical manuscripts that contain various parts of the mass and the divine office, specific to each liturgical celebration. They were used in Europe during the late Middle Ages and the Renaissance, and their large format allowed the entire choir to read the musical notation from a distance. Although their use began to decline with the invention of the printing press, manuscript cantorales continued to be produced until the 19th century. Especially important was its development in the 15th century; from the beginning of the century a current of enrichment and renovation began in the liturgical celebrations, which led to the fact that in cathedrals, collegiate churches, abbeys and monasteries the old manual books for lecterns were progressively substituted by other larger ones for the lecterns. In this way the temples and religious centers will be endowed with new liturgical books, in the case of the richest centers illuminated books with beautiful miniatures framed within the international Gothic style, first, and already in the XVI century reflecting the new Renaissance taste. For the elaboration of the cantorales the parchment was always used, generally obtained from the skin of the sheep although in occasions, for folios of great size, the one of the deer was used. In fact, in the 16th century the parchment handicraft industry reached a great development in centers such as Granada; the parchment maker sold the folios already prepared, that is to say, polished and cut into sheets of the required size. Writers and miniaturists were involved in the composition of these choir books, and the latter would show in the 16th century the influence of the new quattrocentista style by adopting new decorative forms in the borders, in the exterior elements of the capitular letters and in the architectural backgrounds, conserving however the Flemish influence, key to the development of Spanish painting in the 15th century, in the folding of the clothing, the types and the movement of the figures. Presents faults.

Estim. 3 000 - 3 500 EUR

Lot 46 - Novo-Hispanic school; XVIII century. "Virgin with Child St. John the Evangelist and the Baptist". Oil on copper. Presents faults. Measurements: 17.5 cm; 20 cm (frame). The nun's pectorals belong to the tradition of the European miniatures, taken to America by the Spanish colonizers and adopted in the conventual circles of the New Spain. The pectorals were painted in oil, as in the present case, on round or oval plates, with a frame bordering the main image, in which images of flowers or other ornamental motifs were placed. In this particular case we can appreciate the representation of the Virgin with the Child in her arms and next to her St. John the Evangelist and St. John the Baptist. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, in the early years of the 19th century, already in times of independence and political opening of some of the colonies, several artists began to represent a new model of painting with its own identity.

Estim. 1 800 - 2 500 EUR

Lot 47 - Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, XVII century. "Vase". Oil on canvas. Measurements: 87.5 x 74 cm: 98 x 83.5 cm (frame). This painting follows a compositional scheme that knew great boom during the Spanish Baroque: The still lifes of flowers. In the way of resolving the varied bouquets of cheerful colors, in which a dense brushstroke of bright pigment has been used, the hand of Gabriel de la Corte is recognizable. The chromatic juiciness of the floral piece advances rococo solutions, which break symmetry and tend to horror vacui. The painter has frozen the moment of maximum maturity of the flower, prior to its decay. The dark background highlights the light of the still life, extracting a wide range of shades. The freedom of execution and vigorous brushstroke are reminiscent of the work of the master from Madrid. Specializing in the execution of vases, Gabriel de la Corte was the son of another painter from Madrid, Lucas de la Corte, although his paternity has been the subject of debate among important scholars such as Antonio Palomino and Cean Bermúdez. During his lifetime, De la Corte's success was scarce, which led him to eke out a meager living by painting at low prices and even completing the works of other artists by inserting flowers in his works. He was known for the use of an overloaded composition in which the freedom of the workmanship and the spontaneous and vigorous touch of the brush loaded with matter prevail. De la Corte's style is influenced by those of Arellano and anticipates the flower still lifes that, later on, would be crowded with complicated compositions on tremendously elaborated cartouches. Some important works by De la Corte are preserved in the Prado Museum, among other important institutions.

Estim. 4 000 - 5 000 EUR

Lot 48 - JUAN ANTONIO FRÍAS Y ESCALANTE Córdoba, 1633 - Madrid, 1669). "St. Michael the Archangel subduing the devil". Oil on canvas. Relined. We thank Dr. Alvaro Pascual Chenel, for his help confirming the authorship of the master. Frame of the early twentieth century. Measurements: 82 x 56 cm; 95 x 69 cm (frame). Álvaro Pascual Chenel has a PhD in Art History from the University of Bologna, and in History from the University of Alcalá de Henares. His main line of research focuses on the image of power in Spanish art of the Modern Age. He has published numerous studies, such as the article on Juan Antonio Frías y Escalante. In this canvas we see the representation of St. Michael subduing the devil, standing on his body, holding up a sword, in a little undefined scenario, but that is guessed earthly by the clouds that are glimpsed and the orography of the lower area. The composition is dynamic and scenographic, and follows a very frequent model in the Baroque, with the saint with Roman soldier's attire, full body, occupying most of the pictorial surface. According to tradition, St. Michael is the head of the heavenly militia and defender of the Church. Precisely for this reason he fights against the rebellious angels and the dragon of the Apocalypse. He is also psychopomp, that is to say, he leads the dead and weighs the souls on the day of the Last Judgment. Scholars have linked his cult to that of several gods of antiquity: Anubis in Egyptian mythology, Hermes and Mercury in classical mythology, and Wotan in Norse mythology. In the West, the cult of St. Michael began to develop from the 5th and 6th centuries, first in Italy and France, and then spreading to Germany and the rest of Christendom. The churches and chapels dedicated to him are innumerable around the year 1000, in connection with the belief that on that date the Apocalypse would arrive. His temples are often located on high places, since he is a celestial saint. The kings of France gave him a particular veneration from the 14th century, and the Counter-Reformation made him the head of the church against the Protestant heresy, giving a new impulse to his cult. St. Michael the Archangel is a military saint, and therefore patron saint of knights and of all trades related to weapons, as well as to the scales, for his role as apocalyptic judge. His iconography is of considerable richness, but relatively stable. As a general rule, he appears in the attire of a soldier or knight, holding a spear or sword and a shield, generally decorated with a cross, although here he bears the legend "QVDOS". When he fights the dragon, he fights on foot or in the air, which distinguishes him from St. George, who is almost always on horseback. However, the great difference between the two saints is St. Michael's wings. A member of what is known as the "truncated generation", Antonio Frías y Escalante was a disciple of Francisco Rizzi, with whom he worked from a very young age. The brevity of his life prevented him from developing an artistic maturity that augured great achievements, as his contemporaries expected, but from the beginning his works show his admiration for Venice, especially for Tintoretto and Veronese. Thus, his followers would take from him his characteristic and personal chromatic range, centered on cold colors, a very refined palette of pinks, blues, grays and mauves, which we see in part in this canvas, especially in the cloths and flowers that surround the composition, although here the cold tones are offset by the warmth of the golds and carmines. Also typical of Escalante will be the light, delicate, almost transparent brushstroke, in which the example of Titian is manifested.

Estim. 5 500 - 6 000 EUR

Lot 49 - Novo-Hispanic school; XVII century. "Heads of St. John and St. Anastasius". Oil on canvas. Relined. It presents faults on the pictorial surface and in the frame caused by xylophages. Measurements: 30 x 41 cm; 39 x 50 cm (frame). During the baroque and in a more consolidated way in later epochs scenes where several saints starred images in a joint way were popularized with a didactic purpose, since they represented analogous concepts. In this case it is the representation of San Anastasio and San Juan Bautista, both decapitated. The legends next to them help to identify the protagonists of the scenes, thus enhancing the didactic interest of the artist who, through the pathos of the subject matter, tries to transmit to the faithful the exemplary life of the saints. As a soldier in the army of Cosroes II, Anastasius was struck by the fact that the cross of Christ (which the Sassanid king took as a trophy to Persia in 614) was venerated by Christians as an instrument of torture and death. He was also interested in the cross as an instrument that worked miracles. His curiosity led him to learn about the Christian religion and later to his conversion. He left the army and moved to Jerusalem where he was baptized, changing his name from Magundat to Anastasius and becoming a monk. Years later he went to preach the Christian doctrine in Palestine where he was imprisoned and tortured. Finally he was beheaded in 627. It presents faults on the pictorial surface and on the frame caused by xylophages.

Estim. 1 500 - 2 000 EUR

Lot 50 - Spanish school; XV century. "Angels". Marble. Presents faults and restorations. Measurements: 35 x 97 x 10 cm. Gothic carving made in marble representing a procession of angels, all of them arranged as a frieze. Both the material and the dimensions indicate that originally this piece was part of a larger ornamentation, probably an architectural site dedicated to devotion, so iconographically it was probably part of a sculptural cycle. The piece that stands out for its quality presents us with five angels, two of them, located on each side, in profile before the spectator while the others have been carved with a strict frontality. The piece stands out for its symmetry and hieratism, typical of the aesthetics of the period. In any case, the naturalistic and expressive style of the carving allows us to attribute it to the Castilian school of the 15th century, a time when the influences of the last international Gothic and the new Flemish realism penetrated with force in the Hispanic territory, leading art towards a new aesthetic where expression and naturalism, the imitation of physical reality, are increasingly important values. During the 15th century, the realistic style of the Netherlands had a great influence abroad, especially in Spain, but in the 16th century the panorama was reversed. The Italian Renaissance spread throughout Europe, and Antwerp became the center of the Flemish school, displacing Bruges and functioning as a center of penetration of Italian influences. In this way, Mannerist influences arrived in the Netherlands and Spain, superimposed on the style of the 15th century. It presents faults and restorations.

Estim. 5 000 - 6 000 EUR

Lot 51 - Neapolitan School or Circle of FRANCISCO SALZILLO (Murcia, 1707 - 1783), XVIII century. "Saint Joachim" or "Neapolitan Manger Character". Polychrome wood carving. Measurements: 55 x 40 x 33 cm. The character represented here, with long beard and Renaissance attire, stands out for the virtuous naturalism printed in the clothing and in the pious expression of the countenance. The histrionics or theatrical gesticulation is another element to highlight. Both attributes (naturalism and gestural dramatization) were characteristic of the work of Francisco Salzillo, one of the most outstanding figures of the Murcian school of the 18th century. Likewise, a possible Neapolitan origin of this piece should not be underestimated, since extreme naturalism was also more than frequent. Given that the Neapolitan school is part of the tradition of nativity scenes, the carvings of the Baroque and late Baroque period have a strong scenographic and dramatic component. We can appreciate in this carving the quality of the stew, the chromatic and textured plasticity of the drapery of the cape and the blouse knotted with a cloth at the waist, the naturalistic folds around the knees and calves.... The character, with her mouth ajar, seems to be addressing God in gratitude for something. In the case of a Neapolitan nativity scene figure, it could be part of the retinue of the Magi. It could also identify Saint Joachim, father of the Virgin. It is worth remembering that Salzillo was influenced by the Italian influence, being the son of the Italian sculptor Nicolás Salzillo. The Murcian school of sculpture was born in the eighteenth century, driven by the economic growth of the region, around the figure of Francisco Salzillo, collecting Mediterranean influences and especially Italian through the art of the Nativity Scene, which is introduced and developed in Spain in this century. Through the Murcian school, the novelties of the European Rococo were introduced in Spain, which were incorporated by Murcian masters such as Salzillo to the popular feeling typical of Spanish imagery.

Estim. 5 000 - 6 000 EUR

Lot 52 - Dutch school of the XVIII century. "Spanish galleons arriving in the Netherlands". Oil on canvas. Relined. It presents Repainting. Measurements: 63 x 102 cm; 81 x 131,5 cm (frame). An imposing naval squadron formed by three galleys furrows a foamy sea, approaching the Dutch coast under a clear sky, except for thin passing clouds. On the galleys fly the Spanish flag and the flag of the Cross of Burgundy. The latter was carried by the ships of the Netherlands occupied by Spain. In fact, it was the naval ensign of the Spanish monarchy until the seventeenth century. In the foreground, peasants and sailors await the arrival of the warships. They carry loads of armed men. In the background, on the right hand side, the profile of a fortress city with defensive towers is drawn. The mist tinges these distant houses with blue, enveloping them in a dreamy aura. The author develops an atmospheric painting characteristic of the Dutch school of the Baroque period, and in particular, picks up the tradition of the Utrecht marine painting. The painting shows an imaginary landscape that, through the introduction of the galleys and the citadel, the viewer of the time could understand as a Flanders coast. Somewhere where the Spanish monarchy had commercial or colonial interests. Although the struggle between Spain and the rebellious United Provinces had practically ceased in the Netherlands in 1609, they remained in a state of war until the signing of the Treaty of Münster in 1648. L

Estim. 2 000 - 2 500 EUR

Lot 53 - Majorcan school of the eighteenth century. "Galleon by the coast". Oil on canvas. Relined. It presents Repainting. Measurements: 63 x 102 cm; 81 x 131,5 cm (frame). A great ship with the hull of wood carved with masks and volutes seems anchored next to a coast with old houses of walls upholstered of green in its flanks. They are perched on rough rocks. Inside the ship we see the silhouettes of some sailors. Other boats (small sailboats) ply the sea. The sails and flags flutter in such a way that we feel the force of the wind. Also the skillful way of resolving the swaying of the waves, with white strokes that striate the marine orography, give us an idea of a strong breeze. The sky is limpid, in spite of the clouds, which are white and thin, with the appearance of being fleeting and passing swiftly through the wide sky. The red flags (usually associated with war) contrast with the bucolic atmosphere that dominates the whole. In the period on which this painting is focused (17th or 18th centuries), the red color of the flags hoisted on the ships indicated that they were ready for battle. Stylistically, the author follows Dutch models of the seventeenth century, linked to the Utrecht school, such as Adam Willaerts.

Estim. 2 000 - 2 500 EUR

Lot 54 - Spanish school; XVI century. "The nuptials of the Virgin". Oil on canvas. Relined. Measurements: 94 x 77 cm. The present work represents the theme of the wedding between Mary and Joseph following a traditional composition in the history of art since the Renaissance: a symmetrical structure with the priest in the center, but in the background, and on both sides Mary and Joseph. Mary and Joseph are led by the priest to hold hands. Because the image is inspired by tradition, the author has decided not to dispense with several iconographic elements that are recurrent in the representation of this scene, such as, for example, the dove representing the Holy Spirit and the flowering rod characteristic of the iconography of St. Joseph. Although the movement of certain cloths, the chromaticism, the hallmarks of light, etc. give a certain baroque air to the composition, it should be noted that there is a certain harmony that owes more to the Renaissance. The abundance of secondary characters can also be related to this influence, although it must be taken into account that the Italian school was also known for this interest in the anecdotal. Relined.

Estim. 600 - 700 EUR

Lot 55 - Italian school, XVII-XVIII century. Following models of ORAZIO GENTILESCHI (Pisa; 1563-London; 1639). "Virgin of the milk". Fragment of the "Rest in the Flight into Egypt" (Louvre Museum). Oil on canvas. Presents some lack in the frame. It needs restoration. Measurements: 117 x 102 cm; 131 x 116 cm (frame). This painting of classicist school retakes the motive of the maternity extracted from the painting of the mannerist painter Orazio Gentileschi dedicated to the theme of the flight to Egypt (oil painting conserved in the Louvre), where the Holy Family appears making a rest in its way, after leaving Bethlehem to escape to the persecution of Herod. The painter in question is inspired by that image of the Virgin breastfeeding the Child Jesus, respecting the volumetric and monumental proportions of the bodies. He also follows the model of the Virgin of the Milk. Jesus suckles the breast while looking at us out of the corner of his eye, adopting a natural gesture, without any artifice. The mother has classical features that remind us of the timeless. Her hair is gathered in a silky, light brown bun. The painter has chosen a range of more contrasting and earthy tones than the original, so that the flesh tones are slightly atheistic and the light models bodies and features with ingenuity. The whole shows a sacred and leisurely image without the need to introduce symbolic elements. Orazio Lomi Gentileschi was an Italian painter born in Tuscany. He began his career in Rome, painting in a mannerist style. Much of his early work in Rome was collaborative in nature. He painted the figures in Agostino Tassi's landscapes in the Rospigliosi palace, and possibly in the great hall of the Quirinal palace. After 1600, he was influenced by the more naturalistic style of Caravaggio and began to have commissions in Fabriano and Genoa before moving to Paris, to the court of Maria de' Medici. He remained there for two years, but only one painting from his stay has been identified, an allegorical figure of Public Happiness, painted for the Luxembourg Palace, and now in the Louvre collection. In 1626, Gentileschi, accompanied by his three sons left France for England, where he joined the household of the king's prime minister, George Villiers, 1st Duke of Buckingham. He was a favorite artist of Queen Henrietta Maria, for whom he painted the ceiling of the Queen's House at Greenwich. The paintings of his English period are more elegant, artificial and sober than his earlier works. They include two versions of The Finding of Moses (1633), one of which was sent to Philip IV of Spain; it was previously supposed to have been a gift from Charles I, but is now known to have been sent on Gentileschi's own initiative.

Estim. 3 000 - 4 000 EUR

Lot 56 - English school; circa 1700. "Portrait of a Knight of the Order of the Garter". Oil on canvas. Relined. Presents faults in the frame. Measurements: 63 x 48 cm; 79 x 64 cm (frame). Portrait of a gentleman that presents the bust of a young man wearing a wig. The man, as it is habitual in the portrait painting of the time, is inscribed on a neutral background of ocher tonality on which stands out the iridescent blue lead of the clothes and the snowy face with rosy cheeks of the protagonist. It is these touches of white that turn the face into the main focus of the piece's illumination. A resource through which the author enhances the corporeality of the figure, which is monumentalized with the darkness and the volume of the wig itself. The position of the body, erect and with a straight back, combines a regal with an air of distinguished authority. The composition shows great skill in the drawing, which gains prominence over color. An example of this is the use of a measured palette, without great stridency, in which the author has sought a balance between the different tonalities. Another common feature, typical of the portraits of this period, and which is reflected in this work in particular, is the interest in capturing reality, reflecting truthfully the features of the protagonist, but without leaving aside the idealization, so we see an effigy with soft, rounded, and friendly forms. The young man is fashionably dressed and the qualities of the fabrics are faithfully portrayed by the artist. The delicacy of the drawing, the composition and the style bring the work closer to the aesthetics of the English school. Specifically to the painting of the artist Mary Beale (1633-1699). A professional painter from the mid-1650s, Mary Beale painted numerous portraits, mostly of her family and friends, including prominent churchmen. Her father's acquaintance with the artist Sir Peter Lely, who took over from Van Dyck as court painter, fostered a friendship between the royal painter and Mary, who copied many of his paintings as an indispensable part of her training, which was largely self-taught. It was this exercise that led to her being praised by Peter Lely himself. Many details of her busy professional life are recorded in the notebooks of her husband, who was her studio assistant. It presents faults in the frame.

Estim. 4 000 - 5 000 EUR

Lot 57 - Novo-Hispanic school; XVIII century. "The mystical winepress". Oil on copper. It presents restorations on the pictorial surface. Measurements: 64 x 48 cm. The saints are Saint Francisco de Paula and Saint Domingo de Guzmán. In this image the artist divides the space in three differentiated zones, the inferior one dedicated to the body of the recumbent Christ, is completed with the presence of the papal attributes and by the representation of a sinful soul burning among flames located in the right zone of the composition. On this level an earthly space can be appreciated where St. Francis of Paola and St. Dominic of Guzman are located each one of them on one side of a great fountain whose reddish content reveals to be the blood of Christ. This strip ends with the presence of an Archangel who directs his gaze to the sky. The upper part is characterized by the presence of Christ dressed in red tunic in allusion to the Passion, holding the cross with one of his hands and next to him groups of cherubs hold the Veronica, the nails and the palm of martyrdom. The procession ends with the presence of the Virgin, a saint and several angels. From the hands of Christ and from his side flows the blood that supplies the central fountain of the scene, which serves as food for Christianity. This image is based on the iconographic representation of Christ in the winepress or the mystical winepress, a motif of Christian iconography that shows Christ standing in a winepress, where Christ himself becomes grapes in the winepress. It derives from Augustine's and other early theologians' interpretation of a group of Bible passages. The key biblical passage was Isaiah 63: 3, taken as spoken by Christ, says "I have trodden the winepress alone". The image in art underwent a series of changes in emphasis, while remaining fairly consistent in its basic visual content, and was one of the relatively few medieval metaphorical or allegorical devotional images that retained a foothold in Protestant iconography after the Reformation. The image was first used in 1108 as a typological foreshadowing of the crucifixion of Jesus. During the Spanish colonial domination, a mainly religious painting was developed in New Spain, aimed at Christianizing the indigenous peoples. The local painters had as a model the Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, in the first years of the 19th century, already in times of independence and political opening of some of the colonies, several artists began to represent a new model of painting with its own identity. It presents restorations on the pictorial surface.

Estim. 8 000 - 9 000 EUR

Lot 58 - AMBROSIUS BENSON and Workshop; ca. 1600 (Lombardy, active in Bruges from 1518 - Bruges, 1550). "Madonna and Child. Oil on oak panel. Engatillada. The painting shows some paint splashes, repainting and restorations. It has an ebony frame following 17th century models. Measurements: 94 x 73 cm; 135 x 115 cm (frame). This work follows the models of the painting attributed to Ambrosius Benson which belongs to the collection of the Museum of Fine Arts in Seville. The Virgin is seated, three-quarter length, with the Child, who embraces her, standing on her lap. Mary's silky hair falls in waves of golden tones over the red mantle, which stands out against the dark background. The work shows a strong stylistic influence of Roger van der Weyden and is repeated with minor variations on numerous occasions in the 16th-century Bruges school. It also bears similarities to a painting in the collection of the Museum of Saragossa from the Monastery of Veruela. Ambroisus Benson was one of the so-called masters of the tradition, a successor of Van der Goes, and was influenced by Van Eyck, Van der Weyden and the Flemish Primitives in general. However, his work reveals 16th-century features from Italy, such as the triangular composition that can be seen in the present work. In fact, he was originally from Lombardy, so his painting sometimes has more Italian features. Particularly important was his personal use of colour, with a predominance of maroon tones in contrast to the whites and light tones of the flesh tones, which are thus very much emphasised in the composition. Also typical of his work is the velvety quality of the cloaks. Benson was a painter of religious subjects and portraits and trained with Gerard David in Bruges from 1518, the year in which he became a citizen. However, he had problems with his master that led to legal proceedings and by 1519 he was registered with the Painters' Guild as an independent master. From the following year onwards there was a clear increase in his activity and between 1522 and 1530 he rented between one and three stalls at the annual market to sell his paintings. Benson held high positions in the painters' guild, his works fetched very high prices and he had several apprentices, including two of his sons, Willem and Jan. Although only two signed works by Benson ("Triptych of Saint Anthony of Padua" in the Musées Royaux des Beaux-Arts in Belgium and "The Holy Family" in a private collection) and seven dated works are known, more than 150 paintings have been attributed to him on the basis of stylistic criteria. Benson's workshop produced a significant output and, like that of Adriaen Isenbrandt, his works were generally intended for the Iberian market. His painting was highly appreciated in Spain, although Benson never visited the country. With regard to his language, despite his adherence to tradition he formed, together with Isenbrandt and Jan Provost, the last generation of Bruges painters characterised by a break with the Gothic tradition and the introduction into their style of the innovations of the Italian Renaissance. This influence can be seen in their artistic style and in effects such as monumentality, as their themes and compositions are generally in the Flemish tradition. On the other hand, the variety of themes and formats that characterises his production may be due to the fact that he worked in a workshop with numerous collaborators. In all his works, whether religious themes, portraits or secular works, Benson is an excellent example of the crossover between north and south, between tradition and innovation. His works are now held in the world's leading art galleries, including the Museo del Prado, the Metropolitan Museum in New York, the National Gallery in London, the Kunsthistorisches Museum in Vienna, the Thyssen-Bornemisza, the Ashmolean Museum in Oxford and the Bilbao Fine Arts Museum.During the 15th century, the Dutch realist style had a strong influence abroad, especially in Italy, but in the 16th century the situation was reversed. The Italian Renaissance spread throughout Europe, and Antwerp became the centre of the Flemish school, supplanting Bruges and acting as a centre for the penetration of Italian influences. Thus, Mannerist influences arrive in the Netherlands, superimposed on the 15th-century style.

Estim. 80 000 - 90 000 EUR

Lot 59 - "SPADINO"; GIOVANNI PAOLO CASTELLI (Rome, 1659 - 1730). "Still life with birds and fruit". Oil on canvas. Bibliography: Europ. Art, II. n.6. June 1991, pg. 57, image pg. 59. Size: 92 x 130 cm; 125 x 164 cm (frame). The combination of juicy fruits and exotic birds was repeatedly explored by Spadino, a painter in whose still lifes the most sensualist and exuberant side of the Baroque. The ripeness of the fruits has reached the highest degree of succulence (some are even beginning to open, announcing the ephemeral nature of their splendour). The flowers are also at the peak of their fragrance, ready to wither. The carefully chosen, distinctly baroque scenography is enhanced by the careful study of light, based on a rhythmic play of alternating plant shadows and glows that draw the eye to the porcelain bowl, the figs and the grapes, resolved with accomplished glazes. Known as "Spadino", Giovanni Paolo Castelli was an Italian painter of the Baroque period, mainly active in Rome and specialising in painting still lifes, principally flowers and fruit. He came from a family of artists whose patron was Jan Herinans, a Flemish painter linked to the Pamphili family and specialising in floral compositions. Castelli therefore grew up in direct contact with the artistic circles of Rome at the time and began his training with his older brother, Bartolomeo Castelli (1641-1686), by then a well-known still-life painter. From 1674 he worked as an independent master and after Bartolomeo's death in 1686 he took over the family workshop. Giovanni Paolo Castelli's language also reveals the influence of the Flemish artist Abraham Brueghel, who was active in Italy. In fact, it seems that between 1671 and 1674 Castelli furthered his training in Brueghel's workshop. Castelli painted mainly rich cups and vases with flowers and fruit, with a personal style marked by a brilliant palette that emphasises the contours of the objects, rendered with meticulous detail and attention to quality. His language reveals the Flemish forms that he may have learned from his godfather Herinans, and later also from Brueghel, during the latter's stay in Rome before his final departure for Naples. His language was continued by his son, Bartolomeo Spadino (1696-1738). The origin of the nickname inherited by his son, "Spadino", is uncertain; it literally means "the man with the sword", and was already held by his father, just as he would pass it on to his son. Scholars raise the question of why he inherited the nickname and not his older brother, suggesting that the answer is the shape of his signature, which is very angular, like the blade of a knife. Other historians suggest that it may be due to the fact that the artist used a long, narrow palette, the shape of which is reminiscent of a sword. However, it is documented that Giovanni Paolo was imprisoned between 1680 and 1683 for murder, which may indicate that he earned his nickname by killing his enemy in a duel. Now considered one of the most important still-life painters of the Roman school of the late 17th and early 18th century, Giovanni Paolo Castelli is currently represented in the Pinacoteca Civica Fortunato Duranti in Montefortino, the Museum of Fine Arts in Boston, the Fesch in Ajaccio and the Pinacoteca in Rieti, among other collections.

Estim. 20 000 - 24 000 EUR

Lot 60 - "SPADINO"; GIOVANNI PAOLO CASTELLI (Rome, 1659 - 1730). "Still life with birds and fruit". Oil on canvas. Bibliography: Europ. Art, II. n.6. June 1991, pg. 57, image pg. 59. Size: 92 x 130 cm; 125 x 164 cm (frame). The combination of juicy fruits and exotic birds was repeatedly explored by Spadino, a painter in whose still lifes the most sensualist and exuberant side of the Baroque. The ripeness of the fruits has reached the highest degree of succulence (some are even beginning to open, announcing the ephemeral nature of their splendour). The flowers are also at the peak of their fragrance, ready to wither. In the background, Roman aqueducts form the perfect backdrop for the scenographic composition of nature. This carefully chosen, distinctly baroque scenography is enhanced by the careful study of light, based on a rhythmic interplay of alternating plant shadows and gleams that draw the eye to figs and grapes. The Flemish heritage can be seen in the accomplished pearly qualities of the fruit skins and the fleshy hearts of the split melons. Known as "Spadino", Giovanni Paolo Castelli was an Italian painter of the Baroque period, mainly active in Rome and specialising in still-life painting, mainly flowers and fruit. He came from a family of artists whose patron was Jan Herinans, a Flemish painter linked to the Pamphili family and specialising in floral compositions. Castelli therefore grew up in direct contact with the artistic circles of Rome at the time and began his training with his older brother, Bartolomeo Castelli (1641-1686), by then a well-known still-life painter. From 1674 he worked as an independent master and after Bartolomeo's death in 1686 he took over the family workshop. Giovanni Paolo Castelli's language also reveals the influence of the Flemish artist Abraham Brueghel, who was active in Italy. In fact, it seems that between 1671 and 1674 Castelli furthered his training in Brueghel's workshop. Castelli painted mainly rich cups and vases with flowers and fruit, with a personal style marked by a brilliant palette that emphasises the contours of the objects, rendered with meticulous detail and attention to quality. His language reveals the Flemish forms that he may have learned from his godfather Herinans, and later also from Brueghel, during the latter's stay in Rome before his final departure for Naples. His language was continued by his son, Bartolomeo Spadino (1696-1738). The origin of the nickname inherited by his son, "Spadino", is uncertain; it literally means "the man with the sword", and was already held by his father, just as he would pass it on to his son. Scholars raise the question of why he inherited the nickname and not his older brother, suggesting that the answer is the shape of his signature, which is very angular, like the blade of a knife. Other historians suggest that it may be due to the fact that the artist used a long, narrow palette, the shape of which is reminiscent of a sword. However, it is documented that Giovanni Paolo was imprisoned between 1680 and 1683 for murder, which may indicate that he earned his nickname by killing his enemy in a duel. Now considered one of the most important still-life painters of the Roman school of the late 17th and early 18th century, Giovanni Paolo Castelli is currently represented in the Pinacoteca Civica Fortunato Duranti in Montefortino, the Museum of Fine Arts in Boston, the Fesch in Ajaccio and the Pinacoteca in Rieti, among other collections.

Estim. 20 000 - 24 000 EUR

Lot 61 - Spanish school of the last third of the eighteenth century. "Our Lady of the Annunciation". Oil on canvas. Presents restoration. The frame is damaged. Measurements: 35.5 x 29 cm; 43.5 x 37 cm (frame). At formal and compositional level this work follows the trail of the great painter Antonio Rafael Mengs, whose artistic style influenced many painters of the time and later. In this painting we see a Virgin of the Annunciation leaning before a table on which rests an open book, with her head lowered as a sign of humility and her hands crossed on her chest, indicating her submissive acceptance of the divine message. The figure is placed in the foreground, before a neutral and dark background, somewhat more illuminated behind the head, following a composition that is at the same time typical of contemporary portraiture and devotional painting, which brings the image even closer to the viewer, seeking to move the soul of the faithful who prays before the image.

Estim. 14 000 - 15 000 EUR

Lot 62 - Italian school; first half of the seventeenth century. "Expiring Christ". Silver plated bronze. Measurements: 29 x 28 x 5 cm; 38 cm (base). The Crucifix, of great executive quality, is part of the group of bronzes of this type of the Giambolo-Gnesco circle, datable between the late sixteenth and early seventeenth century. The work proposed here presents similarities with well-known examples such as: two crucifixes in the Convent of the Santissima Annunziata, Florence; the one in the Smith College Museum of Art, Northampton; another in a private collection, Siena (reproduced in P. Torriti, fig. 77); another in a private collection, Siena (reproduced in P. Torriti, fig. 77); and another in the Smith College Museum of Art, Northampton. Torriti, fig. 77); three other examples in private collections (Exhibition catalog: "Giambologna 1529-1608", 1978, nos. 99, 100, 101); also the hybrid variant of the "semi-living Christ" in the Municipal Museum of Douai. Because of the linearity of the folds of the loincloth, it is revealed as a work of the generation after Giambologna, who preferred flat fabric surfaces. It is distinguished from the examples cited above by its vigorous anatomical articulation and the refined and detailed execution of the features of the beautiful face and hair. While in the examples we have mentioned Christ turns his head upwards and to the right, the Christ we are examining is the only example in which the head is reclined to the left. head is reclined to the left, in accordance with the graphic archetype from which the living Christ of Giambologna's sculpture derives, that is, the Crucifix designed by Michelangelo for Vittoria Colonna around 1540 (London, British Museum, inv. 1895-9-15-504r). Cf. Giambologna 1529- 1608. Sculptor to the Medici, exhibition catalog Edinburgh, London, Vienna, edited by C. Avery, A. Radcliffe, London 1978, nos. 98-104, pp.140-142. (K.J. Watson); P. Torriti, Pietro Tacca da Carrara, Genoa, 1984; M. Tommasi, Pietro Tacca, Pisa, 1995; E. D. Schmidt, Scultura sacra nella Toscana del Cinquecento, in Storia delle arti in Toscana: il Cinquecento, edited by R. P. Ciardi, Florence, 2000, pp. 231-254, in particular p.248 with note 83. Crucifixions and crucifixes have appeared in the history of art and popular culture since before the era of the pagan Roman Empire. The crucifixion of Jesus has been depicted in religious art since the fourth century. It is one of the most recurring themes in Christian art and the one with the most obvious iconography. Although Christ is sometimes depicted clothed, it is usual to represent his naked body, albeit with the genitals covered with a purity cloth (perizonium); full nudes are very rare, but prominent (Brunelleschi, Michelangelo, Cellini). The conventions of representation of the different attitudes of the crucified Christ are designated by the Latin expressions Christus triumphans ("triumphant" -not to be confused with the Maiestas Domini or the Pantocrator-), Christus patiens ("resigned" -not to be confused with the Christ of patience-) and Christus dolens ("suffering" -not to be confused with the Vir dolorum-). The triumphans is represented alive, with open eyes and erect body; the patiens is represented dead, with the will totally emptied (kenosis), the head bowed, the face with serene expression, the eyes closed and the body arched, showing the five wounds; the dolens is represented in a similar way to the patiens, but with a gesture of pain, particularly in the mouth.

Estim. 15 000 - 18 000 EUR

Lot 63 - Spanish school, first half of the seventeenth century. "Ecce Homo. Oil on pine board. Presents faults and restorations. Measurements: 52 x 29,5 x 3 cm. In this painting, the episode of the Ecce Homo has been represented using a simple but emotionally intense composition. Jesus, handcuffed and with drops pearling his forehead, the henchmen of Pontius Pilate have just placed the crown of thorns on him and wrapped his naked body with a scarlet robe to laugh at him (as king of the Jews). Soldiers brandish clubs to beat him. Pontius Pilate wears a sumptuous costume of silk and ermine. A servant girl whispers something in his ear. Visually dominates the light treatment, contrasted and effective, based on a spotlight from the window in the background. Incising fully on the figure of Christ, he creates expressive games of chiaroscuro to enhance the faces and fabrics, on a dark and neutral background that further enhances the physical presence of the characters. Also the chromatism is embedded in the baroque models of the time and therefore is based on a restricted and warm palette, nuanced, of ochre, earthy and carmine tones. The theme of Ecce Homo belongs to the cycle of the Passion, and precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple tunic and placing a reed in his hand, kneeling and exclaiming "Hail, King of the Jews!". The words "Ecce Homo" are those pronounced by Pilate, who is represented in this scene next to Christ, dressed in elegant clothes, when presenting Christ before the crowd; its translation is "behold the man", a phrase by which he mocks Jesus and implies that the power of Christ was not such compared to that of the leaders who were judging him there. The Savior crowned with thorns or Man of Sorrows. For this scene, the evangelist Matthew is taken (Mt 27, 28-29:) and undressing him, they covered him with a scarlet cloak, and placed on his head a crown woven with thorns, and a reed in his right hand.

Estim. 2 000 - 2 500 EUR

Lot 64 - Spanish school, first half of the seventeenth century. "Ecce Homo. Oil on pine board. Presents faults and restorations. Measurements: 52 x 29,5 x 3 cm. In this painting of baroque school, the biblical episode of the Ecce Homo is developed with great descriptive eagerness and compositional dynamism. The figure of Christ with the crown of thorns, handcuffed and resigned to his fate, is flanked by Pilate (whom we see embarrassed and ashamed of his own cowardice) and two Roman soldiers. At street level, a group of apostles clamor for his release and the guards stifle their advance. Attention should be drawn to the contrast between the noble features of the followers of Jesus and the henchmen of the law. The painter expresses the drama of the event through the gesticulations and the characterization of the faces. Likewise, he extracts the just brilliance of the helmets and the silky qualities of the garments. The chiaroscuro models the anatomy and the garments, enhancing their colors. This panel dates from the Golden Age of Spanish painting.

Estim. 2 000 - 2 500 EUR

Lot 65 - It follows models of JOSE VERGARA (Valencia, 1726- 1799), XVIII century. "Immaculate Conception". Oil on canvas. Measurements: 105 x 75 cm. Ascensional representation of the Immaculate Conception surrounded by angels. In composition and style it follows closely the homonymous painting of José Vergara conserved in the Museum of Fine Arts of Valencia. The blue mantle and the white tunic (symbols of purity) that dresses the full-length figure, together with the attributes that symbolize the Immaculate Conception (among which the crescent moon stands out as an emblem of power over evil) make up a typically baroque dynamic devotional painting. The foreshortenings of each child stand out, with the plump bodies modeled one by one with a successful play of light. In the center of the break of glory shines the Holy Spirit in the form of a dove. José Vergara Gimeno was the most outstanding Valencian painter of the second half of the 18th century. With an enormous pictorial work, both in fresco and on easel, he evolved from the late Baroque to Neoclassicism. He is the founder of the Royal Academy of Fine Arts of San Carlos in 1768.

Estim. 2 400 - 2 800 EUR

Lot 66 - Spanish school; late 19th century. "Drinker". Oil on canvas. Presents inscription on the back and apocryphal signature. Measurements: 60 x 46 cm; 77 x 63.5 cm (frame). It is a work perfectly framed within the naturalistic baroque, heir of José de Ribera, starring a totally earthly man, with a face far from any idealization, furrowed by deep wrinkles ... . As usual within the naturalistic baroque, the composition is simple and clear, with the character in the foreground against a neutral and dark background that enhances his physical presence. Apart from the human model and this composition, the lighting is also clearly naturalistic, a tenebrism derived directly from Ribera that is based on an artificial, directed spotlight. The chromatism is also typical of this school, very limited around ochre, earthy and crimson, reflecting a warm and naturalistic atmosphere. This oil on canvas presents a satirical scene in which the figure looks at the spectator with a buffoonish attitude. It is a character closer to naturalism, which is also present in the attention to the qualities of the objects, such as the pitcher or the white blouse. The genre painting in general, enclosed a moral lesson sometimes barely hidden. Picturesque and satirical scenes, with rough peasants indulging in pleasures, as well as scenes of citizens conversing or dancing, have long been recognized as negative moral examples that also appear as metaphors in the popular moralizing literature of the time. In this type of painting the characters will be the absolute protagonists, and more especially their faces and expressions. They are also works derived from naturalism, worked in reduced chromatisms, around earthy colors, ochers, carmines, etc.

Estim. 1 000 - 1 500 EUR

Lot 67 - Andalusian School; XVIII century. "Immaculate Conception". Oil on canvas. Presents restorations. It has an informative label on the back of the "Caja General de Restauraciones". Provenance: Duques de la Conquista. Measurements: 120,5 x 85,5 cm; 129 x 95 cm (frame). We see in this work a representation of the Immaculate following the aesthetic models of the Spanish baroque with Mary dressed in white and blue (symbols of purity and the concepts of truth and eternity, respectively), surrounded by child angels, standing on the crescent and above her the representation of the Holy Spirit. Some angels carry symbols of the litanies, such as the lilies or the palm. In spite of following the mentioned models, the piece abandons the theatrical splendor of the baroque in favor of a much more sober, measured and balanced scenography that can be appreciated in the tones of color used by the artist and in the composition itself. The dogma of the Immaculate defends that the Virgin was conceived without Original Sin, and was defined and accepted by the Vatican in the Bull Ineffabilis Deus, December 8, 1854. However, Spain and all the kingdoms under its political dominion defended this belief before. Iconographically, the representation takes texts both from the Apocalypse (12: "A great sign appeared in heaven, a woman wrapped in the sun, with the moon under her feet, and on her head a crown of twelve stars") and from the Lauretan Litany prayed after the rosary and containing epithets of Mary taken from the Song of Songs of King David. Joining both texts and after an evolution that already begins at the end of the Gothic period, we arrive at a very simple and recognizable typology that presents the Virgin on the lunar quarter, with the stars on her head and dressed in light (with a halo on the head only or on the whole body), normally dressed in white and blue in allusion to purity and eternity (although she can also appear in red and blue, in relation then with the Passion), her hands on her chest almost always and represented young as a general rule. It has an informative label on the back of the "Caja General de Restauraciones".

Estim. 2 500 - 3 000 EUR

Lot 68 - Spanish school; XVII century and later. "Immaculate Conception". Carved and polychrome wood. Presents restoration in the face of the Virgin of the twentieth century. It has an adapted base. Measurements: 31 x 14 x 10 cm (sculpture); 25 x 18 x 16 cm (base). Sculpture carved in round bulk, full body, representing the Virgin Mary in her invocation as the Immaculate Conception. Although devoid, in this case, of the pedestal with crescent moon and dragon subdued that characterize its iconography, it is probable that in origin it was accompanied by it. The Virgin appears dressed in tunic and mantle, both folded with volumetric draperies that provide a contained aspect to the figure. It is an image anchored in baroque aesthetics. The face tends to idealization, the thin lips and almond-shaped eyes are softly inscribed in an oval of rounded features. The long hair falls over the shoulders. Given the importance given to religious images in the Hispanic world, during the 17th century ambitious pictorial series and extensive iconographic programs were created for churches and convents, as well as printed prints, medals and reliquaries for private devotion. As a whole, regardless of their size or support, these images fulfilled the objective of sacralizing daily life beyond the altars. It presents restoration in the face of the Virgin of the XX century.

Estim. 700 - 800 EUR

Lot 69 - French school; first third of the eighteenth century. "Portrait of a lady". Oil on canvas. Relined. It presents faults and losses in the pictorial surface and in the frame. Needs consolidation. Measurements: 116 x 95.5 cm; 134 x 113 cm (frame). Female portrait in which the author portrays a middle-aged lady, who wears a sumptuous dress with a wide neckline adorned with white lace in the upper part of the corset. The smooth qualities of the skin and the slight flush of the cheeks harmonize with the rest, leaving no room for detail with precise pictorial touches. The dark background enhances the figure and the elegance of her attire, the large drapery usual in this type of compositions adds sumptuousness to the scene while adding depth and three-dimensionality to the space in which the protagonist stands. The lady looks directly at the viewer with a faint smile, but without losing a regal and haughty attitude, even though she is smiling slightly. In an apparently spontaneous gesture, she flirtatiously holds one of the gold ornaments of her dress. This attitude shows the artist's interest in capturing the personality of the sitter. The portrait genre was especially popular during the Rococo period. French painters such as Fragonard, Vigée Lebrun, Boucher, Watteau? gave the genre refined cadences with their iridescent touches of color. This female portrait is ascribed to the rococo taste for extracting the right qualities from the garments and endowing the flesh tones with an ivory delicacy. The lady rests her right arm on a velvet cushion. The painter skillfully captures the materials and the garments: the navy blue velvet of the dress, the pink of the satin, the lace and trimmings, the powdered headdress in the aristocratic fashion of the time and the pearl and gold appliqués hanging from her dress. It presents faults and losses in the pictorial surface and in the frame. Needs consolidation.

Estim. 3 500 - 4 000 EUR

Lot 70 - Spanish or Italian school; XVII century. "Ecce homo". Polychrome alabaster. It presents faults and restorations. Measurements: 15 x 11 x 8 cm. Sculpture carved in alabaster representing the Ecce Homo, who waits for the imminent crucifixion on the top of Golgotha, while he is mocked by the Roman soldiers. He is depicted wearing a crown of thorns and stripped of his garments, with his hands in a bound position and perfectly crossed, alluding to his fate on the Cross. Blood drips from his forehead and Christ expresses a state of deep sorrow, which is echoed by the expression of contained sadness on his face. The words "Ecce Homo" are those pronounced by Pilate when presenting Christ before the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such as that of the leaders who were judging him there. It presents faults and restorations.

Estim. 700 - 800 EUR

Lot 71 - Spanish school; XVIII century. "Saint Teresa and Saint John of the Cross". Carved and polychrome wood. Vitreous paste eyes. They present faults, losses and damages caused by xylophages. Measurements: 69 x 83 x 43 cm. Sculpture of round bulk in which the mystics Saint Teresa and Saint John are represented. The two protagonists are seated on a base that follows the baroque models, although it is a sculpture of later period. The piece presents us with the two saints, oblivious to the viewer's gaze, with their gaze downward in a reflective attitude. It is worth noting the carving of St. Teresa with her hand on her chest and her mantle backwards, generating a great volume. St. John of the Cross (1542-1591) was a mystic and religious poet, whose experiences are inscribed in the close circle of St. Teresa of the Cross. Together with the saint, he founded the order of the Discalced Carmelites. In his early days he worked as a teacher at the novitiate college of Mancera, and later founded the college of Alcalá de Henares, a prominent place due to the university founded by Cisneros, where theology studies were taught. He later became the confessor of the monastery of Santa Teresa. In 1577 he was imprisoned because of his confrontation with the order of the Carmelitas Calzadas, however, he managed to escape from prison and move to Andalusia where he lived the rest of his days. They present faults, losses and damages caused by xylophagous.

Estim. 1 500 - 2 000 EUR

Lot 72 - French school; c. 1800. "The Guardian Angel". Oil on canvas. It presents faults on the pictorial surface. Measurements: 63 x 87 cm; 81 x 105 cm (frame). Devotional scene in which it is possible to appreciate a small infant that is being appealed by an angel that points out with his hand the good way. In Christianity, the guardian angel or guardian would be the one that God has appointed to each person to protect him. Hence, he is usually represented as a guide for life understood as a path, as is the case here. The fact that the artist has represented the faithful with the figure of a child emphasizes even more this protective role that the guardian angel fulfills with respect to the defenseless Christian soul. It presents faults on the pictorial surface.

Estim. 800 - 900 EUR

Lot 73 - Andalusian School; early nineteenth century. "Still life with peacocks". Oil on canvas. It has a period frame. Measurements: 95 x 128 cm; 104 x 138 cm (frame). In this scene the artist combines landscape painting, floral still lifes and animal painting. Aesthetically the work is inspired by stylistic models of Baroque painting. This type of painting starring animals became popular during the nineteenth century due to the change in collecting, which requested a less regal painting that reflected themes of lighter tone. In this particular case a rooster, a dove and a peacock share the stage and demonstrate the great skill of the author in relation to the capture of animals, which are treated aesthetically from a truthful and realistic perspective.

Estim. 900 - 1 200 EUR

Lot 74 - Dutch school; 18th century. "Landscapes". Oil on boards (x2). Presents faults in the frame. Measurements: 25,5 x 36,5 cm (x2); 43 x 55 cm (frames, x2). Of all the contributions made by northern European countries to the history of art, none has achieved the enduring importance and popularity of seventeenth-century Dutch landscape painting. Evoking the outlines, terrains and atmospheres of the Netherlands more vividly than any other place, large or small, has ever been depicted. Within this tradition, the most revolutionary and enduring Dutch landscape contribution has surely been its naturalism. Seventeenth-century Dutch painters were the first to create a perceptually real and seemingly comprehensive image of their land and people. Although landscape as an independent genre appeared in Flanders in the 16th century, there is no doubt that this type of painting only reached its full development among Dutch artists. It can be said that it was practically they who invented the naturalistic landscape, which they affirmed as an exclusively central feature of their artistic heritage. There is no doubt that the Dutch painter, filled with pride for his land, knew how to show through his paintings the beauty of its vast plains and overcast skies, the regular layout of its canals and meandering rivers, its polders and dikes, its beaches and, of course, its spectacular stormy seas. Despite their naturalism or the inventorial record of fact, Dutch landscapes were at least as much a product of imagination as of observation. The Dutch vision of reality, almost as literal as photography, does not so much trace the os or examine the topography of its surroundings as it naturally selects and reshapes nature to present it in an exemplary way. It presents faults in the frame.

Estim. 1 500 - 2 000 EUR

Lot 75 - Sevillian school; c. 1700. "The coronation of thorns". Oil on canvas. It has a period frame. Measurements: 104.5 x 84 cm; 112 x 90.5 cm (frame). The theme of the mockery of Christ by several Roman soldiers and executioners, narrated in the New Testament (in the gospels of Matthew and Mark), had great diffusion in the arts. In the present work, two executioners place the crown of thorns on Christ's head, while a third offers him a reed as a scepter. The restrained aggressiveness in the gestures of the three characters who look at the Redeemer with anger stands out. The palette and qualities denote the influence of the Italian caravaggista school of the 17th century. The skillful use of chiaroscuro lends drama to the scene while naturally defining the space. The emphasis on the ugly expressiveness of the wicked is also a caravaggista resource. Typically baroque solutions.

Estim. 1 500 - 2 000 EUR

Lot 76 - LAMBERT DE HONDT (c. 1620 - 1665). "Kermesse". Oil on canvas. Preserves original canvas. Signed in the lower central area. Measurements: 59 x 82 cm; 71 x 94 cm (frame). The canvas shows a rural scene in which some peasants celebrate a party with food, wine and different games in front of a house. Thus recreating a stylistic pattern typical of the genre scenes that took place in northern Europe. Some of the characters such as the dancers and children, are pictorial resources that popularized David Teniers the young who managed to revitalize the genre of the representation of these popular festivals, characterized by the festive abandonment that is manifested in the traditions of the local peasants, also known as Kermesse whose greatest representative was Pierte Bruegel the Elder. Lambert de Hondt the Elder was a Flemish painter and draughtsman known mainly for his equestrian and battle scenes, as well as for his genre and landscape paintings. Only a few facts about de Hondt's life are preserved. It is known that he worked in Mechelen. He is sometimes confused with another artist who signed his paintings with L. de Hondt. This other artist, who also specialized in battle scenes and made designs for tapestries around 1700, is called Lambert de Hondt the Younger. It is not known if the two artists were related. De Hondt must have enjoyed high-level patronage, as one of his paintings (is marked with a white fleur-de-lis, and originally had a coat of arms on the reverse. This indicates that the painting belonged to the collection of Elisabeth Farnese.He was probably the author of compositions depicting military camps, cavalry and military convoys and battles signed L.D. HONDT. These paintings are reminiscent of the manner of painting of David Teniers the Younger. In his military scenes he usually uses a sketchy technique. His paintings mostly depict horses and cavalry. He also painted village scenes, hunting scenes and landscapes.

Estim. 3 500 - 4 000 EUR

Lot 77 - French school; 1800s. "Hercules." Oil on canvas. Preserves original canvas. Measurements: 59 x 73 cm; 78.5 x 93 cm (frame). Formally this scene is part of the academicism, and therefore follows classical standards of which the first is the high technical quality. Thus, the drawing is rigorous and firm, although one can appreciate in the conception a taste for the sumptuous, typical of the French school and its rococo heritage. The academicism is a direct inheritance of classicism, and hence the predilection for themes such as the one presented here, taken from mythology, although captured from a sensual and decorative point of view far from the solemnity of ancient classical art or the rigorousness of the sources. Hence also the way of approaching the subject, recreating the mythological figures in a totally new way. Nevertheless, we can appreciate an ideal of beauty that is not based on reality, although the painter's study of nature is undeniable, but rather an idealism based on reality through his sum of experience, that is to say, an aesthetic sublimation that reflects a beauty that transcends reality. The work presents the protagonist in the center of the scene. He is dressed in the skin of a lion and with one of his hands he holds a nail in the ground, indicating that he is the representation of the mythological hero Hercules. Next to him a group of women and children direct their attention to the demigod, emphasizing in this group the presence of a bearded old man who plays the harp and that by his gesture seems to claim something to the protagonist. In the same shot, but at the other end of the composition, a young woman with a bow directs her gaze towards a dog while pointing at Hercules. The presence of the bow and the dates indicate that it is probably the representation of the goddess Diana. Behind them, in a sketchy way, a scene is developed with three characters, a very common narrative resource in mythological paintings. Hercules or Heracles is the most famous hero of Greek mythology and perhaps also of classical antiquity. His name derives from the goddess Hera and the Greek word "kleos" (glory), that is to say "glory of Hera".

Estim. 2 500 - 3 000 EUR

Lot 78 - Circle of AGOSTINO CARRACCI (Bologna, 1557-Parma, 1602). "St. Jerome." Oil on copper. It has frame following models of the seventeenth century. Measurements: 22 x 16,5 cm; 36 x 29 cm (frame). In this devotional copper the author offers us an unusual image in the representation of St. Jerome, with the protagonist in the foreground. Only accompanied by a crucifix, his bearded face and red mantle indicate that he is one of the most popular saints in artistic representations. Saint Jerome appears as a saint with a bushy gray beard who concentrates his reflective gaze on the cross of Christ, assuming the prototypical gesture of devotional representations. Behind him, a space can be seen that is open to a blue sky on the right side, in such a way that his eremitical retreat can be sensed. At the beginning of the 17th century, at the same time that Caravaggio was breaking away from Mannerist and even Renaissance conventions, a new way of understanding painting, usually called "eclecticism", was emerging in Bologna under the guidance of Carracci. It sought to integrate the best of each master, especially Michelangelo, Raphael, Titian, Veronese and Correggio. However, Annibale Carracci's personality led him to evolve towards a very personal classicism, which did not disdain certain Caravaggiesque achievements.

Estim. 2 000 - 3 000 EUR

Lot 79 - Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682). "Saint Francisco de Paula". Oil on canvas. It preserves the original canvas. It has slight flaws and losses in the pictorial surface. Measurements: 118 x 88 cm; 146 x 116 cm (frame). The characterization of the protagonist of this work represented as an old man with a gray beard wearing a habit, leaning on a staff, indicates that it is the representation of St. Francis of Paola. Both the model of the saint and the background in which it is inscribed indicate that the author of this work is based on the model created by Murillo (P000991), currently in the collection of the Prado Museum in Madrid. Saint Francis of Paola (1416-1507) was an Italian hermit, founder of the Order of the Minims. At a very young age he began his life as a hermit on the outskirts of his native town, Paula. Little by little he acquired fame for his prodigies, and around 1450 there was already a group of followers around his figure. His community grew, and in 1470 the Congregation of Hermits (the future Order of Minims) received diocesan approval from the Archbishop of Consenza. Four years later, Pope Sixtus IV granted them pontifical approval. In 1483 Francis of Paola went to France by order of the pope and at the request of King Louis XI. There he developed some diplomatic work in favor of the Holy See, at the same time that he tried to obtain the approval of a Rule for his congregation, which he finally obtained in 1493. Until his death, Francis of Paola would count on the support and protection of the French monarchs, and a few years after his death, processes for his canonization would begin in Calabria, Tourse and Amiens, in which numerous witnesses of his life and miracles testified. He was finally beatified in 1513 and canonized in 1519. It presents slight flaws and losses in the pictorial surface.

Estim. 2 000 - 2 500 EUR

Lot 80 - Spanish or Italian school; XVIII century. "San Antonio". Oil on canvas. Relined from the 19th century. It has a XIX century frame with faults. Measurements: 150 x 107 cm; 158 x 114 cm (frame). The present canvas represents St. Anthony of Padua as a young beardless man with wide monastic tonsure, dressed in a long Franciscan habit, kneeling in front of Jesus. The presence of the infant, which alludes to the vision he had in his cell, became the most popular attribute of this Franciscan saint from the sixteenth century, being especially popular in the Baroque art of the Counter-Reformation. St. Anthony of Padua is, after St. Francis of Assisi, the most popular of the Franciscan saints. He was born in Lisbon in 1195 and only spent the last two years of his life in Padua. After studying at the convent of Santa Cruz in Coimbra, in 1220 he entered the Order of Friars Minor, where he changed his first name, Fernando, to Antonio. After teaching theology in Bologna, he traveled through southern and central France, preaching in Arles, Montpellier, Puy, Limoges and Bourges. In 1227 he participated in the general chapter of Assisi. In 1230 he was in charge of the transfer of the remains of St. Francis. He preached in Padua and died there at the age of 36 in 1231. He was canonized only a year after his death, in 1232. Until the end of the 15th century, the cult of St. Anthony remained located in Padua. From the following century he became, at first, the national saint of the Portuguese, who placed under his patronage the churches they built abroad, and then a universal saint. He was invoked for the rescue of shipwrecked sailors and the liberation of prisoners. The Portuguese sailors invoked him to have good wind in the sails, fixing his image on the mast of the ship. Nowadays, he is invoked mainly to recover lost objects. However, there is no trace of this last patronage before the 17th century. It seems to be due to a play on words with his name: he was called Antonio de Pade or de Pave, an abbreviation of Padua (Padova). From there, it was attributed to him the gift of recovering the epaves, that is to say, the lost goods. He is represented as a beardless young man with a large monastic tonsure, dressed in a habit, and usually appears with the Child Jesus, holding him in his arms, in allusion to an apparition he had in his cell. It became the most popular attribute of this saint from the 16th century onwards, being especially popular in the Baroque art of the Counter-Reformation.

Estim. 1 600 - 2 000 EUR

Lot 81 - ISIDORO TAPIA (Valencia, ca. 1712 - ca. 1771/77). ‘Virgin and Child. Oil on canvas. Size: 84 x 62 x 2 cm. The format of this piece indicates that it was probably originally a processional banner. This is largely due to the composition, which is based on a compartmentalised scheme, with lower cartouches depicting various saints and an upper area containing the representation of the Virgin and Child, which is crowned by various angels. The piece is notable for its great scenography, typical of Baroque aesthetic schemes. This theatricality is defined firstly by the division between an earthly space, dedicated to the saints, and an area reserved exclusively for the divine plane, where the monumental figure of the Virgin dominates the space. The figure, which has been conceived in a pyramidal form, seated on a cloud with cherubic heads and the crescent of the fourth crescent, common in his iconography as the Immaculate Conception, stands as the central axis of the scene, exercising a strict centrality that is only interrupted in the upper area by the representation of the Eucharist and the dove of the Holy Spirit. A Spanish Rococo painter, the Valencian Isidoro de Tapia trained with Evaristo Muñoz, according to Ceán Bermúdez. In Valencia he executed several works commissioned by the public, and in 1743 he moved to Madrid. He joined the San Fernando Royal Academy of Fine Arts, where he was appointed a meritorious academician in 1755. It is thought that he also spent some time working in Portugal. He taught drawing at the Academy until his death, and also worked for the Royal Stables of the Royal Palace. Although few signed works by his hand are known, Ismael Gutiérrez Pastor compiled a small catalogue of twenty-eight works that provide an insight into the personality of this painter, and also reconstructed his life from known and unpublished documents. Works by Isidoro de Tapia are currently held in the San Fernando Academy and other collections.

Estim. 2 500 - 3 000 EUR

Lot 82 - Italian school; mid-17th century. "Venus and Mars". Oil on canvas. Re-coloured. It has repainting and restorations. It presents the reentelado detached in the exterior perimeter. Measurements: 98 x 110 cm. The voluptuousness of the forms of the protagonist, and the sensuality of them indicate that it is the representation of the goddess Venus. Situated in the centre of the composition, she is surrounded by a whole retinue of little lovers who surround her and entertain her. The goddess, who is looking at one of the little lovers holding an arrow, points with her hand towards an area of the composition where part of the body of a male figure can be seen, and in the lower area the glittering glints of a suit of armour can be seen. This feature indicates that the man may be Mars. Although Venus was married to the god Hephaestus, she began a relationship with the god Mars, who had fallen in love when he saw her. Thus beginning a courtship. Every night while Hephaestus worked, the two lovers would meet. This story is told by the aedo Demodocus in Homer's "Odyssey", who recounts that it was the sun god, Helios, who discovered the lovers one night when they lingered too long. The god then alerted Hephaistos, who was enraged and arranged over the bed a subtle invisible metal net, which only he himself could operate, and which had the power to immobilise even the gods. Thus he trapped the lovers on the next occasion, and then called the rest of the gods to witness the adultery, planning to humiliate them. Some commented on Aphrodite's beauty, others that they would have gladly exchanged themselves for Ares, but all mocked them. When the couple was released, Ares fled to his native Thrace and Aphrodite went to Cyprus. Formally, this work is dominated by the influence of the Roman-Bolognese classicism of the Carracci and their followers, one of the two great currents of the Italian Baroque, together with Caravaggio's naturalism. Thus, the figures are monumental, with idealised faces and serene, balanced gestures, in an idealised representation based on classical canons. The rhetoric of the gestures, theatrical and eloquent, clearly baroque, is also typical of 17th-century Italian classicism. The importance of the chromatic aspect should also be noted, which is very well thought out, toned and balanced, centred on basic shades of red, ochre and blue. Also typical of this school of Baroque classicism is the way the scene is composed, with a circular, closed rhythm on one side while opening up to the landscape on the other. However, despite the dominance of the classical, there is a certain influence of naturalism, especially in the lighting. Thus, although the light is natural, it is directed, focusing on the main scene and leaving the rest in semi-darkness, thus differentiating the different planes of space and focusing the viewer's attention on the scene.

Estim. 3 500 - 4 500 EUR

Lot 83 - Italian or Spanish school of the XVII century. "Virgin and Child with bird". Oil on paper glued to board. Measurements: 22,5 x 14 cm. This devotional painting probably belongs to the Italian Cinquecento, although it could also be of Spanish school. In any case, it adopts the dominant compositional patterns in the Florentine Renaissance, appreciable in the resource of the window to the bottom and in the tenderness that shows a young Virgin in her way of tilting her face and approaching it to the Child Jesus. This one holds a small bird, that in spite of not being a dove probably symbolizes the Holy Spirit, and with it the triple nature of God. The use of the bird as an element of play for the Christ Child instead of being shown as a supernatural element began to become popular in this period. See the painting of Boccaccio Boccaccino of the same period. A resource that in the seventeenth century Murillo will adapt in a domestic and sacred scene at the same time. The painting in question is also characterized by the softness of the physiognomic features of Mary and the child, as well as by the careful finish of the fabrics.

Estim. 1 600 - 1 900 EUR

Lot 84 - Granada school; second half of the 17th century. Carved and polychromed wood. It presents repainting and restoration on the nose of the Virgin. Measurements: 39 x 34 x 26.5 cm: 47 x 33 x 30 cm (base). The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first surviving example being found in the city of Coburg, a piece from around 1320. Over time the iconography spread throughout Europe, and by the 17th century, after the Counter-Reformation, it had become one of the most important themes in devotional painting. It is a polychrome carving in rounded wood that represents the theme of the Pietà: the Virgin seated with the dead Christ on her lap, a theme of profound drama not only because of the subject itself, but also because its composition evokes images of the Virgin with the Child Jesus on her lap. Iconographically, the Pietà is a theme that has been repeated many times in the history of art, especially from the Renaissance onwards. It is an image taken from the Passion, featuring a sorrowful Virgin Mary holding the dead body of her son. In fact, it is a plastic representation of Mary's pain in the face of the truth of her dead son, and in fact it is from this theme that the representations of the Dolorosa, in which only the Virgin appears, would derive. Stylistically, it is clear that the present work is strongly influenced by 17th-century Baroque models from the Granada school, and not only in the iconography, but also in the model chosen as an influence for it, in the decoration of the clothing, in the colouring, in the features of the face, etc. The Granada school, which was strongly influenced by the Renaissance period, included great figures such as Pablo de Rojas, Juan Martínez Montañés (who trained in the city with the former), Alonso de Mena, Alonso Cano, Pedro de Mena, Bernardo de Mora, Pedro Roldán, Torcuato Ruiz del Peral, etc. In general, the school does not neglect the beauty of the images and also follows naturalism, as was usual at the time, but it would always emphasise the intimacy and seclusion in delicate images which would be somewhat similar to the rest of the Andalusian schools in another series of details but which do not usually have the monumentality of the Sevillian ones. The work can be inscribed, specifically, in the stylistic circle of the Mora workshop (José and Diego). This was one of the most important workshops in Granada in the 17th century. The artistic legacy of this family of image-makers, which spanned from the last third of the 17th century to the second half of the 18th century, was a milestone in the Granada school. Influenced by the work of both Alonso Cano and Pedro de Mena, his influence led him to create a very personal and characteristic style.

Estim. 4 000 - 4 500 EUR

Lot 85 - Circle of JOSÉ ANTOLÍNEZ (Madrid, 1635-1675). "Purísima". Oil on canvas. Relined. Size: 141 x 96 cm; 163 x 118 cm (frame). José Antolínez was one of the most interesting artists of his generation who, due to his early death, could not reach the splendid maturity that his training foreshadowed. This does not prevent him from being considered a great representative of the full Baroque current that renewed painting at the Spanish court during the third quarter of the 17th century. In his work we can perceive the exquisite sensitivity for the recreation of Titian's manners - always so present in the Spanish painting of his time - combined with the reception of the elegant painting of the Nordic masters Rubens and Van Dyck, and the capture of the atmosphere of Velázquez. In this way, his technique is loose and vibrant, singularly seductive in the use of cold tones, which unfold in compositions full of vigorous movement and unstable activity. We know of his father's work as an artisan carpenter, when the family was established in Madrid's Calle de Toledo, although with a manor house in the village of Espinosa de los Monteros in Burgos. Palomino has conveyed to us the image of a person of a haughty and conceited nature, so aware of his own worth that he was often arrogant, an attitude that was to cause him a great deal of friction and quarrels with other colleagues. He was a pupil of Francisco Rizi, with whom he also fell out, although this did not prevent his painting from being highly appreciated by his contemporaries. He cultivated all genres: religious painting, landscape painting - of which there are no surviving examples - mythology, portraiture and genre painting. Also worthy of note in the field of portraiture are the two children's portraits in the Museo del Prado. These are works that show both the truthful closeness of the figures and the capturing of the atmosphere that surrounds them, to such an extent that they were considered works by Velázquez until recently when they were attributed to Antolínez by Diego Angulo. Of the canvases in the Prado Museum, "The Transit of the Magdalene" and the two children's portraits come from the royal collections and two of the Immaculate Conception belonged to the Museo de la Trinidad, while the third was acquired in 1931 from the funds bequeathed by Aníbal Morillo y Pérez, 4th Count of Cartagena.

Estim. 2 000 - 2 500 EUR

Lot 86 - Northern Italian School, mid-18th century. "Portrait of a gentleman. Oil on canvas. Relined. Frame of the 20th century. Following models of the XVIIIth century. Measurements: 111 x 58,5 cm; 130 x 105 cm (frame). Oval portrait of an eighteenth-century aristocrat painted by a painter contemporary to the personage, being a painting of the Italian Settecento. The figure, wearing a powdered wig as was fashionable among the noble classes and royalty of the time, poses before the viewer with a frontal, haughty gaze, in keeping with his rank, as does his sumptuous costume. She wears a fitted dress, adorned with trimmings around the white buttons and fine lace on the pleated sleeves. Each fabric has been reproduced with great sensitivity and attention to the right qualities and textures: transparent gauze, fine cotton, the shimmering velvet of the draped cloth that envelops the figure.... The gentleman holds a flower in his right hand while his left forearm rests on a moulded piece of furniture.

Estim. 1 800 - 2 000 EUR

Lot 87 - FRANCISCO DE PAULA ESCRIBANO LIÑÁN, (Seville, 1820 - 1900). "Saint Ignatius", 1847. Oil on canvas. It retains its period frame. Signed and dated in the lower right area. Measurements: 97,5 x 72 cm; 114 x 87 cm (frame). Francisco Escribano was a Spanish painter active in the second half of the 19th century, specialising in religious themes in the style of the 17th century. He was also a notable painter of historical subjects. Although few signed works by this artist are known, we know that he frequently made copies of Spanish Baroque masters, mainly Murillo. Francisco Escribano is currently represented in the Museo Carmen Thyssen in Malaga and the Museo de Bellas Artes in Seville, as well as in various important private collections, including the Cajasol Collection.

Estim. 1 200 - 1 600 EUR

Lot 88 - Novo-Hispanic school; mid-18th century. "Portrait of a Girl". Oil on canvas. Eighteenth-century re-decorated. It conserves a Mexican period frame in carved and gilded wood. Measurements: 66 x 56 cm; 80 x 70 cm (frame). Child portrait in which the author captures the warm image of a girl surrounded by nature. The softness and delicacy of the girl's clothes, together with the luminosity of her skin, manage to capture the viewer's attention, leaving the landscape in the background. The work is completed by the presence of a still life next to the girl, consisting of a peach and a bunch of grapes, and the young girl holding a string in one of her hands tied to a small bird, a symbol of childlike innocence and the fleetingness of life, with which it was customary to portray children, even in religious painting, where the image of the Infant Jesus holding a bird in his hands became popular. It is worth mentioning the frame of the work due to its importance. It is a period piece made of carved and gilded wood, defined by a classical ornamentation divided into three registers, the inner one being the largest. It is worth mentioning that, during Spanish colonial rule, a mainly religious painting was developed, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins; however, in the early years of the 19th century, at the time of independence and political openness in some of the colonies, several artists began to depict a new model of painting with its own identity.

Estim. 1 000 - 1 200 EUR

Lot 89 - Italian school; 17th century. "Sibyl". Oil on canvas. Relined. Measurements: 61 x 47 cm; 79 x 65 cm (frame). Within the Italian school it was common, from the Renaissance, the representation of Sibyls in compositions similar to those of the contemporary portrait, as ladies richly dressed in the fashion of the time. In fact, there are known examples of works in which important aristocrats are depicted as sibyls, both in Italy and in other countries. In this Baroque-era painting, particular attention should be paid to the depiction of the sumptuous attire with gold and pearl brooches. The almond-shaped eyes convey melancholy. The flush of the cheeks harmonises with the carmine of the beautifully shaped lips. In ancient Greek mythology, the Sibyl was a prophetess, sometimes inspired by Apollo, whose powers were of divine origin. However, the number of these women soon increased from three to twelve, in all cases without knowing their names, but knowing them only by the name of the place where they lived. It was the Renaissance that revived this figure, considering them to be heralds of Christ in the pagan tradition in order to give value to it and "Christianise" it. Of all the works in which they appear, the best known is probably Michelangelo's Sistine Chapel Vault, which shows the five most representative of the time (Eritrea, Persica, Libyan, Cumaean and Delphic).

Estim. 1 400 - 1 800 EUR

Lot 90 - Follower of MATEO CEREZO (Burgos, 1637-Madrid, 1666); 18th-early 19th centuries. Penitent Magdalena. Oil on canvas. Presents patches on the back and restorations. Measures: 107 x 85.5 cm; 119 x 96.5 cm (frame).

Estim. 2 000 - 2 500 EUR

Lot 91 - Circle by CHARLES LE BRUN (Paris, 1619-1690); circa 1700. "The Family of Darius before Alexander". Oil on canvas. Re-retouched. It presents repainting and old restorations. Measurements: 65 x 98 cm; 85 x 118 cm (frame). This work follows the model established by the artist Charles Le Brun in 1660, when he made a painting of the same subject, which is nowadays kept in the Palace of Versailles. Le Brun's work has the same composition; however, in this particular case, the landscape format allows a larger number of figures to be depicted. In the central area is the same composition as the one mentioned above, with the Mother of Darius kneeling on the ground in front of the upright figures of Alexander and Hephaestius. Several figures, forming a large procession, are sheltered under the canvas of a tent, as in Le Brun's painting. In this particular case, however, the artist has allowed himself a little licence by depicting a group of soldiers on the right-hand side of the painting. The scene depicts the moment when, after the battle of Issus, Alexander and his friend Hephaestius decided to visit the family of Darius, who had been defeated. Because of Alexander's youth, Darius' mother was confused and knelt down before Hephaestius. Charles Le Brun was a French painter and an important art theorist. He trained in the studio of Simon Vouet as a child, receiving commissions from Cardinal Richeliu at the age of fifteen. Between 1642 and 1646 he was in Rome, where he came into contact with works by Raphael, Guido Reni, the Bolognese school, etc., and where he was also a pupil of Poussin. He returned to Paris and continued with an important body of work, reaching his stylistic maturity towards the middle of the century (classicist and elegant painting). He was ennobled by Louis XIV, who appointed him Premier Peintre du Roi in 1664. His work can be found in the Louvre in Paris, Versailles, the Los Angeles County Museum of Art, the J. Paul Getty Museum (Los Angeles, USA), the Metropolitan Museum in New York, the Musée des Beaux-Arts in Lyon (France), the Hermitage in Saint Petersburg (Russia), the National Gallery of Art in Washington D.C. (USA), the Rijksmuseum in Amsterdam, etc.

Estim. 4 500 - 5 500 EUR

Lot 92 - Italian school, early 18th century. "Lesson of the Virgin to the Child Jesus". Oil on canvas. Re-tinted. It presents slight restorations. Measurements: 71,5 x 53 cm. Image of devotional character in which two recurrent actions in the religious representations are introduced. The lessons of the Virgin to the Child Jesus, as an example of an instructive mother, following the role of Saint Anne and also the representation of the Holy Family. Which we deduce from the appearance of St. Joseph and St. Johnny. In the most common sense of the expression, the Holy Family includes the closest relatives of the Child Jesus, i.e. mother and grandmother or mother and nurturing father. In both cases, whether it is Saint Anne or Saint Joseph who appears, it is a group of three figures. From an artistic point of view, the arrangement of this terrestrial Trinity poses the same problems and suggests the same solutions as the heavenly Trinity. However, the difficulties are fewer. It is no longer a question of a single God in three persons, whose essential unity must be expressed at the same time as his diversity. The three personages are united by a blood link, certainly, but they do not constitute an indivisible block. Moreover, all three are represented in human form, while the dove of the Holy Spirit introduces into the divine Trinity a zoomorphic element that is difficult to amalgamate with two anthropomorphic figures. Formally, this work is dominated by the influence of the Roman-Bolognese classicism of the Carracci and their followers, one of the two great currents of the Italian Baroque, together with Caravaggio's naturalism. Thus, the figures are monumental, with idealised faces and serene, balanced gestures, in an idealised representation based on classical canons. The rhetoric of the gestures, theatrical and eloquent, clearly baroque, is also typical of 17th-century Italian classicism. The importance of the chromatic aspect should also be noted, which is very well thought out, toned and balanced, centred on basic shades of red, ochre and blue. Also typical of this school of Baroque classicism is the way the scene is composed, with a circular rhythm and closed on one side while opening up to the landscape on the other. However, despite the dominance of the classical, there is a certain influence of naturalism, especially in the lighting. Thus, although the light is natural, it is directed, focusing on the main scene and leaving the rest in semi-darkness, thus differentiating the different planes of space and focusing the viewer's attention on the scene.

Estim. 2 500 - 3 500 EUR

Lot 93 - Spanish school; 17th century. ‘Christ’. Carved and polychrome wood. It presents faults. Measurements: 40 x 11 x 9 cm. The crucifixion of Christ is the central theme of Christian and especially Catholic iconography. Christ was subjected to the suffering that befell slaves who were fugitives or in rebellion, a condemnation that was essentially Roman but of Persian origin. This episode in the life of Christ is the most strictly proven historical fact and is also the main argument for the redemption of Christian doctrine: the blood of God incarnate as man is shed for the redemption of all sins. The representation of the crucifixion has undergone an evolution parallel to the liturgical and theological variations of Catholic doctrine in which we would like to point out three milestones: at first early Christian art omitted the representation of the human figure of Christ and the crucifixion was represented by means of the ‘Agnus Dei’, the mystical lamb carrying the cross of martyrdom. Until the 11th century Christ was represented crucified but alive and triumphant, with his eyes open, in accordance with the Byzantine rite, which did not consider the possibility of the existence of Christ's corpse. Later, under the theological consideration that the death of the Saviour is not due to an organic process but to an act of divine will, Christ is represented, as in our work, already dead with his eyes closed and his head fallen on his right shoulder, showing the sufferings of the Passion, provoking commiseration, as Psalm 22 refers to when it prays: ‘My God, my God, why hast thou forsaken me? (...) a mob of wicked men is near me: they have pierced my hands and my feet (...) they have divided my garments and cast lots for my tunic’.

Estim. 400 - 500 EUR

Lot 94 - French school; 19th century. "Rubens and Van Dyck". Oil on cardboard. They present faults in the pictorial surface. Size: 22 x 16 cm (x2); 60 x 42 cm (frames, x2). In these portraits, the author shows special skills in the characterisation of the characters, giving us clues of the temperament of each one. The depth of the expressions and the intensity of the gazes in the parchment-like faces are resolved with naturalistic language. The facial features indicate that this is a representation of Rubens and Van Dyck, both portrayed bust-face turned towards the viewer, although in Van Dyck's case the twisting is more evident. Despite their 19th-century date, the works have a Baroque aesthetic with a tenebrist lighting based on an unrealistic spotlight directed on the face, which further enhances the brightness of the flesh tones. These works were probably conceived as a tribute by the artist to these two great masters who transformed the painting of their time. Rubens was Van Dyck's teacher, but this did not prevent the young man from shining and achieving the prominence that his painting skills deserved.

Estim. 1 400 - 1 800 EUR

Lot 95 - 17th century French school "Still life". Oil on canvas. Re-drawn. It presents restorations. Measurements: 67 x 57 cm; 79 x 69 cm (frame). The disposition on a horizontal plane of the elements that form part of the composition, the own abundance of these elements, which creates a variegated set, as well as the presence of the fabrics and the curtain, have their roots in the still life or Central European still life, from the XVIIth and XVIIIth century, from the Baroque period. The still life was at the bottom of the hierarchy of genres in the history of art, but it became increasingly popular with buyers. In addition to the independent subject of the still life, it addressed other types of painting by using prominent, usually symbolic elements and images that drew on a multitude of elements from nature in an apparent attempt to reproduce a part of life. It should be noted that, within the still life, the depiction of flowers, or vases, established itself as a highly prized sub-genre among collectors, who saw in these paintings the perfect element for the decoration of their extensive estates.

Estim. 2 500 - 3 000 EUR

Lot 96 - Neapolitan school; ca. 1700. "Still life". Oil on canvas. Re-coloured. It presents repainting and restorations. Measurements: 91 x 166 cm; 110 x 185 cm (frame). Neapolitan still life by flowers and fruits magnificently worked, with detail and attention to the qualities. In spite of the profusion of the elements that make up the composition, the still life takes place in an interior, which is intuited due to the furniture that forms part of the scene, and that in the last plane a small opening can be appreciated, which allows to see an exterior landscape. The elements that make up the still life are placed in the foreground, in a typically classical composition that is at the same time dynamic despite the relatively simple structure of the space. The dynamism is enhanced by the use of bright, metallic colours, such as the orange of the fabric or the upholstery of the chair and the pink of the flowers. These colours in turn create a strong contrast with the rest of the tenebrist tonality of the canvas, which is typical of the Neapolitan still life. Given its technical characteristics, it is likely that the work belongs to the circle of the artist Andrea Belvedere (Italy, 1652-1732), who was called to the Spanish court by Luca Giordano. Belvedere settled in Madrid in 1694 until 1700, leaving several examples of his work as a still-life painter in the capital, which are now in the collection of the Museo del Prado. Highly appreciated within the antiquarian market, as well as among collectors and art historians, the Neapolitan still-life school of the Baroque enjoyed a spectacular development, leaving behind the splendour of the 16th century and progressing within a fully Baroque and clearly identifiable style. Artists such as Tommaso Realfonso, Nicola Casissa, Gaspare Lopez, Giacomo Nani and Baldassare de Caro continued the local tradition by specialising in the painting of flowers, fruit, fish and game, thus satisfying the demands of a vast clientele characterised by a new 17th-century taste. In addition to these artists, there are also the minor figures who are slowly emerging from an unjust oblivion, and some artists who worked between the 17th and 18th centuries, such as Francesco della Questa, Aniello Ascione, Nicola Malinconico, Gaetano Cusati, Onofrio Loth, Elena and Nicola Maria Recco, Giuseppe Ruoppolo and Andrea Belvedere. These Neapolitan still-life painters, who worked during the 17th and early 18th centuries, are known as "i generisti" and were important not only in their own environment but also, and especially, in Spain, where the development of the genre was clearly marked by Italian influence, particularly the contribution of the Neapolitan school. Today this school is considered one of the most outstanding within the Baroque still life genre. The distinguishing feature of Neapolitan Baroque painters was always their strong naturalistic character and their warm chromaticism, with a dominance of reddish and earthy tones.

Estim. 13 000 - 14 000 EUR

Lot 97 - School of ANNIBALE CARRACCI (Bologna, 1560 - Rome, 1609) "Young people laughing". Oil on canvas. It presents faults and restorations. Measurements: 44 x 50 cm; 58 x 63 cm (frame). It is remarkable the presence of a double portrait in this work, since it was not a common representation at the time. In the painting, the artist arranges the two knights in a square format with a neutral and dark background, which gives great prominence to the figure of the protagonists, thus avoiding any anecdotal element that is not part of the main figures. Each of the characters is arranged in the lateral areas of the composition, to a certain extent taking the center of the scene, since there is not a great distance between them. One of the young men looks directly at the viewer, while the other looks at his companion, also smiling. These mischievous attitudes, added to the clothes that can be seen, indicate that these are boys who belong to a lower class, thus being a portrait with a certain costumbrista air, very fashionable at the time. In fact, it is interesting to relate this work to the painting called The Butcher's Shop, painted by Annibale Carraci, between 1580-1590, which today belongs to the collection of the Colonna Gallery in Rome. Carraci's connection with Vicenzo Campi and the painter Passaroti resulted in the artist's great influence and interest in capturing this type of genre subject matter. A subject matter in which the artist employed a rougher style in relation to his more classicist works. Harmonizing thus between aesthetics and the theme to which it was dedicated. At the beginning of the 17th century, at the same time that Caravaggio was breaking away from Mannerist and even Renaissance conventions, a new way of understanding painting, usually called "eclecticism", was emerging in Bologna under the guidance of Carracci. It sought to integrate the best of each master, especially Michelangelo, Raphael, Titian, Veronese and Correggio. However, Annibale Carracci's personality led him to evolve towards a very personal classicism, which did not disdain certain Caravaggiesque achievements. It presents faults and restorations.

Estim. 700 - 800 EUR

Lot 98 - Frame; Spain, Charles II period, last third of the 17th century. Carved wood and fine gold. Measurements: 119 x 95 cm; 65 x 50,5 cm (light). Frame in carved and gilded wood, worked with a predominantly quadrangular line evoking in its aura natural elements such as acanthus leaves, volutes or a scallop on the crest that finishes off the composition. This way of working the frames is similar to examples of Rococo frames, the common features of which can be seen in the gilt frame with a rectangular light to frame and protect the interior. In addition to the decoration of the outline from which criss-crossed vegetal elements extend along the entire profile and are crowned by an upper moulding with a large curled acanthus leaf and the characteristic shell.

Estim. 2 000 - 3 000 EUR

Lot 99 - Spanish or Italian school, XVII century. "Virgin of the Populo". Oil on copper. Presents faults. Measurements. 33 x 27 cm. The Virgin of the Populus, that means Virgin of the People, is a Marian invocation that has its origin in Italy as a result of the Salus Populi Romani venerated in the Basilica of Santa Maria Maggiore in Rome and that probably dates from the VI century. Both in Spain and in Italy it was a profusely represented model, and although it presents variants, it also has common elements that make it recognizable. Here, in this oil on copper, the half-length Virgin, dressed in a dark tunic and mantle with a gold embroidered border, holds the Child Jesus in her arms, wrapped in a red tunic and holding the Gospels closed under her left arm. Mary's right hand makes the gesture of indicating with the index and middle finger the dual nature of Christ. Traditionally, the icon model of the Madonna del Popolo was hieratic and of stylized forms, although in our image the features and gestures tend to be softened. Presents faults.

Estim. 500 - 600 EUR

Lot 100 - European school; 19th century. "Hawk over barnyard". Oil on canvas. It presents faults in the frame. Measurements: 66 x 107 cm; 94 x 123 cm (frame). This type of painting starring animals became popular during the 19th century, due to the change in the collectors who requested a less regal painting that reflected themes of a lighter tone. In this particular case, a hawk stands over a flock of birds and rabbits, reflecting the artist's great skill in capturing the animals, which are treated aesthetically from a truthful and realistic perspective. Francisco Hohenleiter (Cadiz, 1889 - Seville, 1968) began his training in Puerto de Santa Maria, and in 1918 he moved to Seville, settling permanently in the city. An elegant, colourful painter, he soon became a leading figure in mural decoration and, above all, in posters, magazine illustration and book illustration. His works combine influences from different styles such as modernism, genre painting and romanticism. Through his posters in the 1920s he reinvented Holy Week in Seville, with works based on the use of colour and decorative lines. As a painter he focused on portraiture, landscape and the depiction of popular types, mainly majos, as well as genre scenes. He also produced nudes, church interiors and still lifes. Throughout his career he showed his work in various Spanish cities and also in Paris, with an outstanding exhibition at the Charpentier gallery in 1932. Francisco Hohenleiter's painting is rooted in that of Jiménez Aranda and García Ramos and is inspired by Goya and Alenza. He became the glosador of romantic Seville, the portraitist of the Andalusia set to music by Albéniz. His work is currently scattered all over Andalusia: murals, posters, hand programmes, etc. Today he is represented in various museums and private collections.

Estim. 3 000 - 3 500 EUR

25th July - Old Masters

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Lot 10 - School of GIOVANNI BILIVERTI (Florence, 1585-Florence, 1644); Italy, 17th century. "Joseph and Potiphar's wife", Oil on canvas. Relined. Presents restorations and repaints. Antique Frame. Measures: 120 x 171 cm; 135 x 182 cm (frame).