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Colonial School. Mexico. 18th century.
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Description
Colonial School. Mexico. 18th century.Six-section screen. Oil on canvas. Section measurements: 206.5 x 61.5 cm. Total measurements: 206.5 x 369 cm.Screens arrived in the New World via the route that linked the Far East and Spain through Mexico, with the ships known as the Nao de China or Manila Galleon. It is not known exactly what was the first contact of the New Spanish society with this and other products of Asian origin, but it is known that they were already part of the cargoes in 1585, when a Japanese ambassador passed through Mexico City on his trip to visit Philip II and Pope Gregory XIII. Katzew (2014) also reminds us that in 1614 the screens were the main feature of a gift from the Japanese shogun Tokugawa Ieyasu (Okazaki, 1543 - Shizuoka, 1616) to the viceroy Luis de Velasco (1607 - 1611).This growing exchange between Asian civilization and Colonial Latin America is not accidental, it is framed in a context of empowerment of the Creoles in which "sentiments against Spain" increased and, according to Professor Gauvin A. Bailey (2007), " Asian art provided Hispanic Americans with a means to express their pride in the indigenous antiquity of their land."Returning to the screens, these enjoyed great popularity in New Spanish houses, becoming an essential piece of furniture in practically all homes of the time, regardless of economic conditions; in fact, Sofía Sanabrais (2007) tells us about the existence of "ordinary screens" with cheap and unpainted fabrics in humble homes. However, this did not cause such furniture to lose its appeal among the wealthiest families; rather the contrary, it was widely disseminated among the elite, and its multifunctionality suggests the possible reason for it.On the one hand, New Spain screens, in their most practical aspect, were used to define spaces or hide furniture, as was the case with "bed screens" (Sanabrais, 2007). On the other, their decorative use also had many followers, either "as backdrops or [as] centerpieces for social gatherings, where they served as a topic of conversation" (Katzew, 2014); conversations that we imagine would be especially fruitful when referring to screens painted by the best artists of the time: Cabrera, Correa or Morlete himself. Although most of the screens that have survived the passage of time are anonymous, since they did not usually bear the signature of the author (Codding, 2007), we do have evidence of a screen signed by Juan Correa in the Franz Mayer Museum in Mexico : "The four elements and the liberal arts" (c. 1670); and the "Screen with country day and musicians" (c. 1760) can be attributed to Miguel Cabrera.Finally, with regard to the artistic value of the "protection against the wind" (if we refer to them using the literal translation of the Japanese term 'byôbu', from which 'screen' comes), we should highlight the suitability of their format which, with mostly ten sections around two meters high, favoured the depiction of narrative compositions. It is not surprising, therefore, that it was the ideal medium for mythological and allegorical themes, which we can see in Correa's previously mentioned screen; for views of cities, as in one of the first screens illustrating the Mexican capital (1690 - 1692), in the Franz Mayer Museum; for fêtes galantes, as in the one attributed to Cabrera; or for historical themes, good examples being "The Conquest of Mexico" attributed to Miguel González (Mexico, active 1662 - 1698) or the screen we present here, that we attribute to Morlete.Reference bibliography:- Bailey, G. A. (2007). Asia en las artes de la América Latina colonial. J. J. Rishel and S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 57-71). Fondo de Cultura Económica.- Brown, J. (2014). De la pintura española a la pintura novohispana, 1550-1700. L. E. Alcalá and J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 103-148). Ediciones El Viso.- Codding, M. A. (2007). Las artes decorativas en América Latina, 1492 - 1820. J. J. Rishel and S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 98-145). Fondo de Cultura Económica.- Kagan, R. L. (Ed.). (1998). Imágenes urbanas del mundo hispánico. 1493 - 1780. Ediciones El Viso e Iberdrola.- Katzew, I. (2007). Estrellas en el Mar de la Iglesia: los indios en la pintura novohispana del siglo XVIII. J. J. Rishel and S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 337-481). Fondo de Cultura Económica.- Katzew, I. (2014). Pinceles valientes. La pintura novohispana, 1700-1785. L. E. Alcalá y J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 149-204). Ediciones El Viso.- López Guzmán, R. (Ed.). (2021). Tornaviaje. Arte iberoamericano en España. Museo Nacional del Prado.- Museo Nacional de San Carlos (30 de marzo de 2015). Juan Patricio Morlete Ruiz, México,1713-1772 Entrada triunfal de Alejandro el Grande, s.f. Óleo sobre tela, 83 x 127 [Tweet] [Imagen adjunta]. Twitter. Https://twitter.com/museo_sancarlos/status/58260813646220492
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Colonial School. Mexico. 18th century.Six-section screen. Oil on canvas. Section measurements: 206.5 x 61.5 cm. Total measurements: 206.5 x 369 cm.Screens arrived in the New World via the route that linked the Far East and Spain through Mexico, with the ships known as the Nao de China or Manila Galleon. It is not known exactly what was the first contact of the New Spanish society with this and other products of Asian origin, but it is known that they were already part of the cargoes in 1585, when a Japanese ambassador passed through Mexico City on his trip to visit Philip II and Pope Gregory XIII. Katzew (2014) also reminds us that in 1614 the screens were the main feature of a gift from the Japanese shogun Tokugawa Ieyasu (Okazaki, 1543 - Shizuoka, 1616) to the viceroy Luis de Velasco (1607 - 1611).This growing exchange between Asian civilization and Colonial Latin America is not accidental, it is framed in a context of empowerment of the Creoles in which "sentiments against Spain" increased and, according to Professor Gauvin A. Bailey (2007), " Asian art provided Hispanic Americans with a means to express their pride in the indigenous antiquity of their land."Returning to the screens, these enjoyed great popularity in New Spanish houses, becoming an essential piece of furniture in practically all homes of the time, regardless of economic conditions; in fact, Sofía Sanabrais (2007) tells us about the existence of "ordinary screens" with cheap and unpainted fabrics in humble homes. However, this did not cause such furniture to lose its appeal among the wealthiest families; rather the contrary, it was widely disseminated among the elite, and its multifunctionality suggests the possible reason for it.On the one hand, New Spain screens, in their most practical aspect, were used to define spaces or hide furniture, as was the case with "bed screens" (Sanabrais, 2007). On the other, their decorative use also had many followers, either "as backdrops or [as] centerpieces for social gatherings, where they served as a topic of conversation" (Katzew, 2014); conversations that we imagine would be especially fruitful when referring to screens painted by the best artists of the time: Cabrera, Correa or Morlete himself. Although most of the screens that have survived the passage of time are anonymous, since they did not usually bear the signature of the author (Codding, 2007), we do have evidence of a screen signed by Juan Correa in the Franz Mayer Museum in Mexico : "The four elements and the liberal arts" (c. 1670); and the "Screen with country day and musicians" (c. 1760) can be attributed to Miguel Cabrera.Finally, with regard to the artistic value of the "protection against the wind" (if we refer to them using the literal translation of the Japanese term 'byôbu', from which 'screen' comes), we should highlight the suitability of their format which, with mostly ten sections around two meters high, favoured the depiction of narrative compositions. It is not surprising, therefore, that it was the ideal medium for mythological and allegorical themes, which we can see in Correa's previously mentioned screen; for views of cities, as in one of the first screens illustrating the Mexican capital (1690 - 1692), in the Franz Mayer Museum; for fêtes galantes, as in the one attributed to Cabrera; or for historical themes, good examples being "The Conquest of Mexico" attributed to Miguel González (Mexico, active 1662 - 1698) or the screen we present here, that we attribute to Morlete.Reference bibliography:- Bailey, G. A. (2007). Asia en las artes de la América Latina colonial. J. J. Rishel and S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 57-71). Fondo de Cultura Económica.- Brown, J. (2014). De la pintura española a la pintura novohispana, 1550-1700. L. E. Alcalá and J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 103-148). Ediciones El Viso.- Codding, M. A. (2007). Las artes decorativas en América Latina, 1492 - 1820. J. J. Rishel and S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 98-145). Fondo de Cultura Económica.- Kagan, R. L. (Ed.). (1998). Imágenes urbanas del mundo hispánico. 1493 - 1780. Ediciones El Viso e Iberdrola.- Katzew, I. (2007). Estrellas en el Mar de la Iglesia: los indios en la pintura novohispana del siglo XVIII. J. J. Rishel and S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 337-481). Fondo de Cultura Económica.- Katzew, I. (2014). Pinceles valientes. La pintura novohispana, 1700-1785. L. E. Alcalá y J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 149-204). Ediciones El Viso.- López Guzmán, R. (Ed.). (2021). Tornaviaje. Arte iberoamericano en España. Museo Nacional del Prado.- Museo Nacional de San Carlos (30 de marzo de 2015). Juan Patricio Morlete Ruiz, México,1713-1772 Entrada triunfal de Alejandro el Grande, s.f. Óleo sobre tela, 83 x 127 [Tweet] [Imagen adjunta]. Twitter. Https://twitter.com/museo_sancarlos/status/58260813646220492
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From 50.-€ to 200.-€…………………………………………..at 10.-€
From 200.-€ to 500.-€…………………………………… …25 in 25.-€
From 500.-€ to 1.000.-€………………………………..…..….50 in 50.-€
From 1.000.-€ to 2.000.-€………………………………..…100 in 100.-€
From 2.000.-€ to 5.000.-€……………………………….….250 in 250.-€
From 5.000.-€ to 10.000.-€…………………………………500 in 500.-€
From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€
From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€
From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€
From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€
From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€
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15 days after the auction without having the buyer paid and removes the sold lots, "LST" will inform the seller and there will begin judicial proceeding in order to obtain payment. The delay in payment by the purchaser of his/her sold lots will carry an interest increase at a rate of 1,5% per month.
XII. DELIVERY OF LOTS. The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
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