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Los 134
Italian school of the 18th century."St Vincent of Paul".Oil on canvas. Without stretcher frame.It presents numerous losses. It needs to be restored.Measurements: 104 x 82 cm.In this work the painter offers us a portrait of descriptive character of a religious man, with white clerical clothes, holding a crucifix in his right hand, in which an elderly man is presented, magnificently captured in his psychology by the author. This is a long bust portrait, in which the figure is set against a neutral background of ochre tones, which monumentalises the figure and invites the viewer to focus all his attention on the subject.
Los 2
Castilian school of the 16th century. Circle of PEDRO BERRUGUETE (Paredes de Nava, Palencia, ca.1445/50 - Madrid?, 1503)."Christ in the House of Martha and Mary".Oil on pine panel. Gilded background.Conservation: sealing, repainting, damage by xylophages.Measurements: 64 x 39 x 3 cm.The biblical scene illustrates a passage narrated in the Gospel of Luke, in which the arrival of Jesus to a village is described. He is received in the house of Martha and Mary. From the way in which the older woman questions him and the gesture that Christ returns, we can see that the scene depicts the moment when Martha complains that her sister left her to do the housework, and Jesus replies that she is worrying about unimportant things and exhorts her to seek eternal salvation. The panel belongs to the circle of Pedro Berruguete, one of the most outstanding painters of 15th-century Spain, the principal introducer of the Italian Renaissance into the Castilian school and thus situated in the transition between the Flemish-influenced Gothic style and the new Italianate Renaissance language. The stylised canons of each figure, the softness of their bodily and gestural grammar, the meticulous preciosity in the depiction of the trimmings and brocades, the expressiveness of the faces, the emphasis on drawing and the choice of a palette dominated by sienna and earthy tones are all attributes that can be found in numerous paintings by Berruguete.Although we know very little documentary information about his life and work, we do know that he was born in the Palencia town of Paredes de Nava around 1445, if we assume, as is generally accepted, that he was the "peras Spagnolus" mentioned in Urbino in 1477. By then he was already a full resident of the Italian city, which is why he had to leave Castile for Italy at least in 1472. Berruguete was born into a family of noble origins and various hypotheses have been put forward regarding his artistic training. It is most likely that he trained in his native Castile with a master influenced by northern models, perhaps Justo de Gante. This training in the Flemish language has led some scholars to situate his training in Flanders, although given the importance of the Nordic influence in Spain at the time, a trip to the Low Countries was not a necessary condition for knowledge of the Flemish language. His training must have been completed in 1470 before leaving for Italy, as two panels survive from this period: "Historia de la Santa Cruz" (Museo Parroquial de Santa Eulalia, Paredes de Nava) and "La prueba del fuego" (Museo del Prado). He must have started his journey to Italy with Rome in mind, although he must have arrived in Urbino early, around 1473 or 1474. There he worked for Duke Federico de Montefeltro, producing works such as The Double Portrait of Federico de Montefeltro and his Son Ghibaldo (Gallerie Nazionale delle Marche, Urbino). He must have subsequently returned to Castile and Ceán Bermúdez locates him in Toledo in 1483, as documentation indicates that he was at that date working on the paintings of the Old Tabernacle in Toledo cathedral, now lost.
Los 51
Circle of FRANCISCO RIBALTA (Solsona, Lérida, 1565-Valencia, 1628).First half of the 17th century."The Saviour".Oil on canvas.It has a small hole on the left side, not very noticeable. It presents lateral bands added.Measurements: 51 x 44,5 cm; 65 x 58 cm (frame).In the present image, we are shown a portrait of Christ as Saviour, a typical representation that embraces the Christological concept of Jesus Christ as saviour. As far as can be seen, he is dressed in the ornamental clothing, a blue tunic and a red cloak belonging to his usual representation. It is a triumphant Christ who has conquered death and saved the world; his attitude is serene and almost smiling, with no traces of suffering left.Originally Catalan, Ribalta began his training at El Escorial, within the Mannerism that dominated court painting at the time. After beginning his career in Madrid he moved to Valencia in 1599, probably encouraged by the patronage of the patriarch Archbishop Juan de Ribera. There he produced his first known works, the altarpieces for the church of Algemesí, which denote a style somewhere between the mannerism of the Escorial style and naturalism. During these early years of the 17th century he carried out several commissions for the archbishop, whose death in 1611 marked a certain stylistic shift in Ribalta's work. His language took on an intimate and profound slant, very much in keeping with the more pious mood of the Counter-Reformation, inspired by the solemn gravity of certain models by Sebastiano del Piombo that he knew in Valencia itself. Ribalta was able to combine these influences with a naturalistic, direct language for which he was particularly gifted. His chromaticism also became more restrained and sober, and his figures became less gesticulated and more expressive. From the second decade of the century his pupil Vicente Castelló and his son Juan Ribalta worked with him, forming a solid and prolific artistic team in which it is sometimes difficult to distinguish their individualities. Around 1618 Ribalta fell ill, and this was the beginning of his last and most mature period of his production. He painted fewer works, but his style became more intense and emotive, moving towards a profound naturalism of moving force, as can be seen in his great painting "Embrace of Saint Francis to the Crucified", painted for the Capuchins in Valencia around 1622. Six years later Francisco Ribalta died, and a few months later his son Juan also died, leaving behind guidelines in Valencian painting that would last for a long time, conditioning the development of the Baroque style. In fact, Ribalta was, together with Velázquez and Ribera, one of the main founders of the naturalistic language in Spain.Works by Francisco Ribalta can be seen in the Prado Museum, the National Gallery in London, the Fine Arts Museum in Valencia, the Hermitage in St. Petersburg, the Louvre, the National Art Museum of Catalonia, the Chi-Mei in Taiwan and the J. Paul Getty Museum in Los Angeles, among other leading art galleries around the world.
Los 113
DANIEL VÁQUEZ DÍAZ (Nerva, Huelva, 1882 - Madrid, 1969)."Profile Portrait, 1923.Pencil on paper.Signed and dated in the lower left corner.Size: 30.5 x 23 cm; 46 x 38 cm (frame).Daniel Vázquez Díaz began to paint in his student years, after discovering the work of Zurbarán and El Greco. In 1903 he moved to Madrid to concentrate on painting and copying the masters of the Prado, where he became friends with Juan Gris, Solana and Darío de Regoyos. Three years later he settled in Paris, where he worked with the sculptor Antoine Bourdelle and met Picasso, Braque, Modigliani and Max Jacob, among others, and assimilated a certain avant-garde spirit. Around this time he began to develop his personal style, which blends the constructive brushstrokes of Cézanne with the geometric and flat structure of Cubism. On his return to Spain in 1918, he began to teach, first in his studio and later at the San Fernando School of Fine Arts, where he was awarded the chair of mural painting in 1932. Through his classes, Vázquez Díaz disseminated a Cubism of architectural monumentality, which served as a bridge between the young artists and the trends that were developing in the rest of Europe. In addition to being an excellent landscape painter, Vázquez Díaz excelled as an illustrator and portraitist of some of the most important figures of his time. His murals for the monastery of La Rábida in Huelva between 1927 and 1930, which established him as a painter, are particularly noteworthy. In 1968, a year before his death, he was appointed a member of the San Fernando Academy. He is currently represented in the Reina Sofía National Museum, the museum that bears his name in Nerva, the Patio Herreriano in Valladolid, the Telefónica Foundation and the Fine Arts Museums of Bilbao and Seville, among others.
Los 114
European school; early 20th century."Portrait of a Young Woman, 1920.Watercolour on paper.Signed, dated and located in the lower right area.Size: 35.5 x 30 cm; 58 x 53 cm (frame).As in the rest of Europe, the portrait became in the 19th century the leading genre of painting par excellence, as a consequence of the new social structures that were established in the Western world during this century, embodying the maximum expression of the transformation of the taste and mentality of the new clientele, which emerged among the nobility and the wealthy upper middle class, who would 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, portraiture was 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.
Los 19
French school; second half of the 19th century."Male Academy".Oil on canvas.It has restorations.It conserves a period frame.Measurements: 64 x 43 cm; 73 x 51 cm (frame).Male portrait in which the image is presented standing, inscribed in a neutral and inconcrete background dominated by earth and ochre colours. The figure of the young man is almost entirely nude, his dry skin being covered by a leaf in the manner of Adam's figure. The protagonist holds a stick in his hands, towards which he directs his attentive gaze in such a way that the viewer can only see the profile of his face. The way in which the figure is composed, which follows classical models through its praxitelike posture and the study of light, indicate that it is a painting conceived as a pictorial exercise close to the postulates of the academy.The work is intended to be done in preparation for a finished piece, or as visual notes. Studies are often used to understand the problems involved in depicting subject matter and to plan the elements to be used in finished works, such as light, colour, form, perspective and composition. Studies can have more impact than more elaborately planned work because of the new insights the artist gains as he or she explores the subject. Such details help reveal the thought processes and techniques of many artists. Studies even date back to the early Italian Renaissance, from where art historians have kept some of Michelangelo's studies.
Los 27
JOSÉ ROYO (Valencia, 1945)."Woman with a pitcher".Oil on canvas.Signed in the lower right corner.Measurements: 100 x 81 cm; 129 x 110 cm (frame).A precocious painter, José Royo began his drawing studies when he was only seven years old. After studying with the best masters of his city, he entered the School of Fine Arts of San Carlos, and finally completed his studies travelling around the great museums of the world, immersing himself especially in Goya, Velázquez and the impressionist masters. These influences marked his pictorial development to the point of becoming a master of post-impressionism himself, heir to Renoir, Sorolla, Monet and Bonnard. The decisive change in his life came when the painter and his family decided to move to the countryside; in a small village near Valencia, Royo built the house that would bring light and colour to his work, which would be an exact replica of his iconography and vice versa, a house full of geraniums and orange trees where the light is precious at every moment of the day, in a different corner. However, the essence of the Mediterranean culture that this artist carries within him demanded, more and more insistently, to paint the sea. Royo then found his second paradise in Mallorca, in the Salmunia cove, where he has moved every summer to paint since the seventies. At the same time, his career became increasingly successful, first in Spain and soon throughout Europe. The Mediterranean charm modelled by Royo's virtuosity also seduced the Japanese and then the South American market, although it was above all his success in the United States that consolidated this artist as one of the key figures of our time. On the other hand, Royo's eagerness to investigate has led him to explore other fields such as sculpture and silkscreen printing, always accompanied by public recognition. He has also excelled as a portrait painter, portraying the presidents and High Magistrates of the Spanish Supreme Court, aristocratic personalities and His Majesty Don Juan Carlos I for the Spanish Embassy in Japan. Royo is currently represented in the Diocesan Museum of Barcelona, among other collections.
Los 29
MONTSERRAT GUDIOL COROMINA (Barcelona, 1933)."Couple", 1977.Mixed media on paper.Signed and dated in the lower right-hand corner.Size: 65,5 x 49,5 cm; 66,5 x 50,5 cm (frame).Montserrat Gudiol began in the world of art in the family studio for the restoration of medieval painting, and from 1950 she began to paint on panel and on paper. That same year she held her first individual exhibition at the Casino de Ripoll (Girona). In 1953 he took part in the group exhibition "Retrato actual" ("Current Portrait") at the Círculo Artístico in Barcelona, and the following year he made his debut abroad with a solo exhibition of drawings held at the Miami Museum (USA). That same year she took part in the collective exhibition "Pintura femenina" (C.I.C.F. of Barcelona), winning the First Prize of the Diputació de Barcelona and the Second Prize of the same organisation, San Jorge. In 1960 she took part in the National Exhibition of Fine Arts held in Barcelona, where she won a third medal, and also took part in the International Drawing Exhibition of the Ynglada Guillot Foundation (Barcelona), where she was awarded First Prize. In 1962 she held an important individual exhibition at the Sala Gaspar in Barcelona (a gallery where she would be present again from then on), and that same year she took part in a collective exhibition held at the Casón del Buen Retiro in Madrid. Since then he has continued to hold solo exhibitions and to take part in group shows, both in Spain and in Germany, South Africa, the Czech Republic, China, France, Japan, the United States, Russia and Canada. His personal exhibitions include those held at the Pieter Wenning Gallery in Johannesburg (1967), Tamenaga Gallery in Tokyo (1974), Au Molin de Vauboyen in Paris (1978), the Exhibition Hall of the Union of Painters of the USSR in Moscow (1979), the Dreiseitel Gallery in Cologne (1981) and the Walton-Gilbert Gallery in San Francisco (1984). In 1980 she produced an important monumental work for the Abbey of Montserrat, a representation of Saint Benedict. In 1981 she was the first woman to join the Royal Catalan Academy of Fine Arts of Sant Jordi, and in 1998 the Generalitat de Catalunya awarded her the Cross of Sant Jordi. She is currently represented at the MACBA, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes de Bilbao, the Museums of Modern Art in Johannesburg, San Diego, Miami and Flint (USA), the Joseph Cantor Foundation in Indianapolis (USA), the International Olympic Committee in Lausanne (Switzerland), the Monastery of Montserrat and the Royal Academy of Fine Arts of Sant Jordi.
Los 35
JOSÉ MARÍA RODRÍGUEZ DE LOSADA (Seville, 1826 - Jerez de la Frontera, Cádiz, 1896)."Portrait of a lady with a shawl.Oil on canvas.It preserves a period frame with important faults.Signed in the lower right corner.Measurements: 82,5 x 62,5 cm; 105 x 82 cm (frame).José María Rodríguez de Losada began his apprenticeship in Seville, but developed all his pictorial activity in Jerez de la Frontera. He was a history painter and portrait painter, although in his early years he devoted himself to genre painting, as evidenced by his work "Pareja de majos" ("Couple of Majos") of 1843. According to Valdivieso, "Rodríguez de Losada's artistic style shows a loose, scrubbed, sometimes careless and summary brushstroke. This technique, salutary in principle because of its modernity, was rejected at the time by critics, especially for being accompanied by a violent colouring with a predominance of brownish tones which, in effect, produce little visual gratitude". In fact, the artist's work is markedly influenced by Romanticism, which is reflected in his painting in an intense thematic and formal dramatism that is very different from the cheerful, gentle feeling of the paintings of many of his contemporaries. Among his most important historical works are "Columbus's Landing in America" (University of Barcelona), "The Battle of Alcolea" (Academy of History) and "Doña Juana la Loca with her Husband's Corpse" (Museum of Cadiz). Rodríguez de Losada also drew inspiration from literature and art for some of his works, such as "The Brave Mayor of Zahara", "Quevedo Reading an Epigram against the Count Duke of Olivares" and "Valdés Leal Inspired to Paint the Last Days". Of neo-Romantic inspiration were paintings such as "A Widow Finding her Husband's Corpse on the Battlefield" (1858), and as a portraitist, the portrait of Alfonso XII (Diputación de Cádiz) is particularly noteworthy. He also painted religious themes and some still lifes, such as "Dead Duck" (1884). A member of the Order of Santiago and a corresponding academician of San Fernando, Rodríguez de Losada took part in the National Fine Arts Exhibitions for several years, receiving honourable mentions in the 1858 and 1867 editions. He was also awarded the silver medal of Charles III at the Seville Exhibition of 1843, a gold medal at the exhibitions organised by the Academy of Saint Isabel of Hungary in Seville in 1854 and 1856 and a gold medal at the exhibition organised by the Friends of the Country in 1858. His work can now be seen in the Museo del Prado and the Museo Provincial de Cádiz, as well as in other public and private art collections.
Los 7
FEDERICO DE MADRAZO Y KUNTZ (Rome, 1815 - Madrid, 1894)."Portrait of a Lady with a Fan.Oil on canvas.Signed and dated in the lower right margin, next to the fan.With period frame.It presents faults and perforations.Measurements: 115 x 89 cm; 126 x 102 cm (frame).In this painting Federico de Madrazo transcends the genre of the portrait to give us a testimony of the bourgeoisie of the time, a delicate and courteous image that catches the viewer's eye. As in the rest of his oeuvre, Madrazo emphasised the personality of the sitter, carrying out a psychological study of the model in which he depicts the woman with great distinction and sobriety. He applies a short, precise brushstroke to the drawing, particularly noticeable in the partially bare shoulders of the strict black dress, the pearls around her neck and the fan she holds in her hands. Despite being a monochrome portrait with earthy, black and greenish tones, the artist emphasises the model's pearly skin and the burgundy velvet throne.The son of the neoclassical painter José de Madrazo, he studied at the school of Alberto Lista in Madrid and at the San Fernando Royal Academy of Fine Arts. A precocious painter, he was admitted as an academician of merit at San Fernando at the age of sixteen. In 1832 he went on a scholarship to Paris to study painting with Ingres, his father's friend. There he acquired a romantic style in the French manner. In 1840 he continued his training in Rome, where he came into contact with the Nazarenes and, in particular, with Overbeck, which strengthened his drawing skills, already important in his style thanks to what he had learned from his father and Ingres. Two years later he returned to Spain, having become a painter of great prestige, much sought after as a portraitist by the Madrid aristocracy. He was the court painter to Queen Isabella II and was the great official portraitist of the time. His portraits were characterised by the simplicity and naturalness of his models, and by a distant serenity, intimately linked to Romantic sentiment. He was also director of the Museo del Prado, a post he held, albeit on an interrupted basis, for thirty years until his death. He also directed the San Fernando Royal Academy of Fine Arts. He had a brilliant career as a history painter and, especially, as a portraitist, achieving great prestige in the artistic circles not only of Madrid but also of Paris and Rome. His production evolved from a painting dominated by purism of line and painstaking detail towards a more fluid and spontaneous technique, with greater expressive depth. He is represented in the Museo del Prado, the Museo Nacional del Palacio de Versalles, the Museo de Bellas Artes in Bilbao, the Fundación Lázaro Galdiano and the Museo Romántico in Madrid, among others.
Los 78
JOSEP ARMET PORTANELL (Barcelona, 1843 - 1911)."Landscape with figures".Oil on canvas.Signed in the lower left corner.Measurements: 61 x 100 cm; 84,5 x 124 cm (frame).An outstanding painter and lithographer, Armet cultivated landscape, genre, portrait and decorative painting. He began his training at the La Lonja School of Fine Arts in Barcelona, where his teacher was Ramón Martí Alsina. In the early 1960s he moved to Rome to further his studies, where he became friends with Mariano Fortuny. He submitted works to national and local exhibitions and was awarded an honourable mention at the National Exhibition of 1864 and a third medal at the 1866 edition. He also exhibited regularly at the Sala Parés in Barcelona from 1877 onwards. In 1872 he was awarded a prize at the Official Exhibition in Le Havre, France, and in 1878 he took part in the Universal Exhibition in Paris. In the field of lithography, in 1866 he produced a series entitled "La juventud pintada por sí misma" ("Youth Painted by Itself") along the lines of Eusebio Planas, the publication of which was banned. As a decorator, the paintings he produced for the Café del Liceu in Barcelona are particularly noteworthy. At first his language followed the style of the Olot School, a town to which he had moved in 1870 to escape the yellow fever, together with the painters Urgell, Caba and others, actively collaborating with his colleagues in the consolidation of the Centro Artístico Olotino (Olot Artistic Centre). For his landscapes he took sketches from life, which he then transferred to oil, sifting them with artificial light. His style during these years is part of Catalan realist landscape painting, with appreciable Roman influences in his technical preciosity. However, during his last years his style evolved along lines that were linked to the work of Ramon Casas and the first Picasso. He turned his gaze towards contemporary street themes, featuring ordinary people, and his brushstrokes acquired a greater looseness and gestural sense. Josep Armet is represented in the Museo del Prado and the Museo Provincial de Girona, among other public and private collections.
Los 206
REMBRANDT HARMENSZ VAN RYN (Leiden, 1606 - Amsterdam, 1669)."Les Eaux-Fortes authentiques de Rembrandt".Texts: André-Charles Coppier. 1929Published by Firmin-Didot.Album with 128 reproductions of etchings by Rembrandt.Text in French.With wrinkles, creases and soiling. Some tears.Size: 35 x 29 x 5 cm.Album with 128 reproductions of etchings by Rembrandt. In hardback slipcase. Rembrandt was, besides being one of the great painters of the Dutch Baroque, an exceptional engraver. He worked with both burin and drypoint, always dispensing with prior drawing, attacking the plate directly and exploiting the expressive possibilities of the etching technique to the maximum. He made many tests, removing and inserting elements and retouching, hence the great sensation of immediacy of his engravings. He produced up to ten different states, and it even took him years to finish some of his works. Although his favourite subject was the self-portrait, he also produced some landscapes full of life and expressiveness, such as these rural views.
Los 207
Map of Fort Rotterdam on Macassar and Macassar Family (Indonesia), 18th century.Engraving on paper.Draughtsman and engraver: Ottomar Elliger The Younger (Holland, 1666-1735).Some stains, soiling, damp. Lacking on the sides.Size: 33,5 x 20 cm; 36 x 28 cm (cardboard).Ottomar or Ottmar Elliger the Younger was a painter and engraver born in Hamburg. In Amsterdam he was a pupil of Michiel van Musscher, a portrait painter, and later trained with Gerard de Lairesse. Elliger painted historical subjects in the style of De Lairesse. Like his master, he paid particular attention to the correctness of the costumes and the style of the architecture. He was employed by the Elector of Mayence, for whom he painted the Death of Alexander and the Marriage of Peleus and Thetis. His principal works are in Amsterdam. Also in the Vienna Gallery is a Woman with Fruit; in the Cassel Gallery is The Banquet of Cleopatra and The Daughter of Herodias; and in the Bordeaux Museum is an Allegory.
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283284 Los(e)/Seite