Galeones, el encuentro entre el viejo y el nuevo mundo by SuiteSubastas

2 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 1 Description

Maruxa Fondevila (Pontevedra, 1978). Recreation of the garments that appear in the painting "The Chess Game", painted in 1555 by Sofonisba Anguissola (Cremona, c. 1535 - Palermo,1625) which is kept at the Muzeum Narodowe Poznaniu (National Museum, Poznan, Poland).Reproduction of three outfits in linen, cotton, velvet and hemp.Details of each garment: Younger sister Europa’s outfit: Linen chemise with embroidered and hand-finished collar and cuﬀs, cotton corset and cotton brocade dress with detachable sleeves in the style of the period. Minerva’s dress, black and gold: inen chemise, cotton corset, bustle pad, cotton and cotton velvet skirt, sheer cotton batiste partlet with smocking on the collar, hand embroidered with gold thread, black cotton velvet coat with golden cotton velvet sleeves and hand sewn golden trimming. With a bustle pad. Lucia’s dress, red and blue: Linen chemise, cotton corset, bustle pad, sheer batiste partlet with smocking on the collar, hand embroidered with silver thread, cotton brocade dress with cuﬀs hand embroidered in silver thread and with a corset type closing with a chord at the back. The coat is made of cotton brocade with hand sewn golden trimming. Estimate: 2.000 euros - 3.000 euros.

3 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 2 Description

Two gilded and chased copper plaques with champlevé enamel. Limoges. France. Romanesque. Circa 1225 - 1250. Two gilded and chased copper plaques with champlevé enamel. Limoges. France. Romanesque. Circa 1225 - 1250. Each plaque is richly and magnificently decorated with dark blue, sky blue, lapis lazuli blue, turquoise, green, white, red and yellow toned enamels. In the upper part are two medallions with an angel inside, resting on a cloud, surrounded by scroll decoration of foliage and flowers. The quality of the chasing is outstanding, as well as the great chromatic variety of the enamel. In a magnificent state of preservation. 21 x 10 cm. each. Provenance: - George Hoentschel, J. Pierpont Morgan, Metropolitan Museum of Art, New York. - Acquired at Sotheby's Londn on 6/7/1989, lot nº 17. Published in: Collections Georges Hoentschel (1855-1915). Émaux du XII eme au Xvème siecles. Introduction et Notices. (Volume 1) Perate, Andre and Georges Hoentschel. Librairie Centrale des Beaux-Arts, Paris, 1911.

Estimación / Estimate: 14.000 euros - 16.000 euros.

4 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 3 Description

Gilded copper Christ with champlevé enamel. Limoges. France. Romanesque. 13th century. RGilded copper Christ with champlevé enamel. Limoges. France. Romanesque. 13th century.Christ is crucified, alive, covered by a long lapis lazuli blue loincloth and an unusual belt, which rather than being enamelled, which would be more typical, is decorated with hammering on the gilded copper and falls to the feet. Crowned and with glass eyes. There are slight flaws in the enamel and gilding, the right hand is incomplete and there is a small break in the lower edge. Provenance: acquired in Christie's London on 2/7/1996. Comparative literature: F. Stohlman ."Gli Smalti del Museo Sacro Vaticano". Vatican City, 1939, p. 39, nº 538, pl XVIII; Paul Thoby "Les Croix Limousines de la fin du XIIème au debut du XIVème". Paris, Picard, 1953.16 x 13,5 cm.hand embroidered with silver thread, cotton brocade dress with cuﬀs hand embroidered in silver thread and with a corset type closing with a chord at the back. The coat is made of cotton brocade with hand sewn golden trimming. Estimate: 4.500 euros - 5.000 euros.

5 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 4 Description

Gilded copper ornamental plaque, decorated with champlevé enamel in lapis lazuli, blue, green, white and red tones. Limoges. France. Romanesque. 13th century. Gilded copper ornamental plaque, decorated with champlevé enamel in lapis lazuli, blue, green, white and red tones. Limoges. France. Romanesque. 13th century. 10 x 7,8 x 2 cm. Estimate: 700 euros - 1.500 euros.

6 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 5 Description

Large ornamental copper plaque decorated with champlevé enamel. Limoges. France. Romanesque. 13th century. Large ornamental copper plaque decorated with champlevé enamel in dark blue, sky blue, lapis lazuli, green, red, yellow and white tones. Limoges. France. Romanesque. 13th century. The plaque probably comes from an altarpiece. As it has a rounded format in the upper part, we can rule out its being the lateral fragment of a chest, as these always end in a triangle to fit with the upper part, which links each side in the shape of a roof. This makes our piece more interesting, as this type of plaques are rarer. In the central part, the appliqué figure is missing, which would certainly have been a saint, as the upper central ornamentation, which coincides with the place where the figure would have been, is in the shape of a halo. The initials A and B are engraved on both sides of this. Around the silhouette, we find diﬀerent decorative elements of great chromatic richness, such as concentric circles, rosettes, four-lobed flowers and crosses.

7 Similar examples to this one, although with the figure still aﬃxed, and all originally part of altarpieces are, for example: The plaque of Santiago el Mayor dated circa 1231, which was donated by J. Pierpont Morgan in 1917 and is kept at the Metropolitan Museum in New York, with inventory number: 17.190.123. (https://www.metmuseum.org/art/collection/search/464004). The plaque of Saint Thomas, dated circa 1220 – 1230, which is kept at the Petit Palais, Musée des Beaux-Arts de la Ville de Paris. Inventory nº: ODUT1239(2) (https:// www.parismuseescollections.paris.fr/es/node/221368#infos-principales). Finally, there is the one Marie-Madeleine Gauthier’s publication, with a probable provenance from the main altar of the church of Grandmont (Haute-Vienne and dated circa 1225 – 1230, which is currently kept in the Bargello Museum in Florence. Bibliography: “Émaux du moyen âge “. Marie-Madeleine Gauthier. Oﬃce du livre, 1972. Page 185, fig. 129. Measurements: 25,5 x 1255 cm.

Estimate: 5.000 euros - 6.000 euros.

8 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 6 Description

Embossed and hammered gilded copper processional cross, with an appliqué figure of Christ. La Rochelle. France. Romanesque. 12th century. Embossed and hammered gilded copper processional cross, with an appliqué figure of Christ. La Rochelle. France. Romanesque. 12th century. Cross measurements: 33 x 23 cm. Height of the Christ figure: 7,5 cm.

Estimate: 3.000 euros - 4.000 euros.

9 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 7 Description

A large chased, engraved and gilded copper cross with champlevé enamel. Limoges. France. Romanesque. 13th century. Circa 1230. A large chased, engraved and gilded copper cross with champlevé enamel. Limoges. France. Romanesque. 13th century. Circa 1230. Imposing, large plaque on which some blue, green, yellow, red and white toned enamel is preserved. In the centre is a hollow with the outline of the silhouette of the crucified Christ, on which the appliqué figure, which is not preserved, would have been. The Christogram IHS is in the upper part of the cross. The unusual dimensions of this cross are also an interesting feature. Due to its similarity, this piece can be related to the cross in the former "Keir Collection," which appeared published in: "Medieval enamels: masterpieces from the Keir Collection” by MarieMadeleine Gauthier and G. François. London. British Museum. Publications, 1981, nº 2. The Episcopal Museum of Vic, Spain, has a similar, though smaller cross in its collection, measuring, 21,6 x 11,6 cm, which formed the central part of a gospel book. Reference MEV 181.

10 Also, the Museu Marés in Barcelona has three similar plaques among its collections, dating from the 13th century, although they are of a smaller size. Two of them, with inventory number MFM 690 and MFM 691, like the this one, are missing the appliqué figure of Christ. A final example with the same structure but with the appliqué Christ preserved, can be found in the Church of Saint Stephen Altarpiece Museum in Burgos, it originally came from the Church of Terrazas de la Sierra (Burgos). 33,5 x 21,2 cm.

Estimate: 7.500 euros - 8.500 euros.

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Lote 8 Description

“Saint Peter”. Fragment of a relief sculpted in marble. Romanesque. 13th century. “Saint Peter”. Fragment of a relief sculpted in marble. Romanesque. 13th century. Magnificent sculpture, even though it is not wholly preserved. The characteristics of the curly locks of hair, typical of the period, are outstanding. The relief could be a fragment from a portico. Estimate: 12.000 euros - 14.000 euros.

12 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 9 Description

Gilded copper censer with champlevé enamels. Limoges. France. Gilded copper censer with champlevé enamels. Limoges. France. 14 x 11 cm. Estimate: 1.000 euros - 2.000 euros.

13 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 10 Description

Wooden chest covered in embossed and engraved leather, with iron fittings. Gothic. 15th century. Wooden chest covered in embossed and engraved leather, with iron fittings. Gothic. 15th century. Totally covered in leather. There is a double coat of arms embossed on both sides. The interior of the lock has been dismantled, but the lock is preserved. 18 x 21 x 13 cm. Estimate: 2.500 euros - 3.500 euros.

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Lote 11 Description

"Christ". Patinated bronze figure. Romanesque. 13th century. A similar example can be found in the Musée Boucher de Perthes collection, in Abbeville, France. 16,5 x 14,8 cm.

Estimate: 300 euros - 500 euros.

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Lote 12 Description

"Seat of Wisdom (Sedes Sapientiae)". Carved wooden sculpture. Italy. Romanesque. 13th century. This is what in recent histography has been called a "Dossal altar" or "Dossal altarpiece", a type of liturgical furniture similar to a tabernacle shrine but without folding wings. These elements were composed of a sculpture arranged above a pedestal, with a canopy at the back and with no baldachin in the upper part. Many examples of these have survived in Sweden,especially in the Island of Gotland, and the earliest are from the 13th century. They are also documented in Norway and outside Scandinavia there are some examples from Italy, such as the one kept in the Castle of Rochelambert. In the case of the Dossal altar in the auction, this is a mid-13th century example that has a Virgin Mary with similarities to the tabernacle shrine in Alatri Cathedral, which points to the Italian origin of the altarpiece. To read more about this type of altarpiece, see: Justin Kroesen and Peter Tangeberg’s: Helgonskap. Medieval Tabernacle Shrines in Sweden and Europe, Pertersberg, Michael Imhof Verlag, 2021, pp. 248-253.

Estimate: 12.000 euros - 15.000 euros.

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Lote 13 Description

“Saint Augustine". Carved, gilded and polychromed sculpture. Romanesque. Late 12th century / early 13th century. Height: 73 cm. The saint is presented in a forward-facing position, as a bishop wearing episcopal vestments and a mitre on his head, and in an attitude of giving blessing. The magnificent quality of the polychroming of the skin tones and very richly chromatic vestments is outstanding. It is also worth mentioning the undoubtable mastery of the sculptor, which is very obvious in the treatment of the folds and the complicated sides of the clothing, and especially in the magnificent face of the saint with its fine features and curly beard. The saint’s face conveys a severe expression. The sculptor manages to transmit great spirituality in this way. This is most certainly a masterpiece of medieval imagery.

Estimate: 16.000 euros - 18.000 euros.

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Lote 15 Description

Large wooden chest covered in chased and embossed leather. Flanders or France. Gothic. 14th–15th century. Magnificent chest, with embossed decoration of courtly scenes on all its sides, in which we can see a knight on his steed, a lady and a tower with two more characters leaning on a balcony. There is also decoration. 17 x 31 x 25 cm. The chests can be compared with those kept in important museums such as the Musée de Cluny, Paris (CL 17506), the British Museum, London (n° 1977,0502.1) and the Metropolitan Museum, New York (Inv. N° 41.100.194) Estimate: 8.000 euros - 8.500 euros.

18 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 16 Description

Large silver, rock crystal and polychromed ivory medallion with gilt residue. 16th century. In the interior, on both sides, “Mary Magdalene” and “Saint Jerome the Penitent” are finely sculpted in ivory. The structure is made of silver and has an octagonal shape. The bevelled rock crystal has the same octagonal format. 7 x 5,5 x 1,4 cm.

Estimate: 2.000 euros - 2.500 euros.

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Lote 17 Description

Exceptional pair of carved, polychromed and gilded poplar wood torch bearing angels. Tuscany, Sienna. Italy. Circa 1370-1400. Exceptional pair of carved, polychromed and gilded poplar wood torch bearing angels. Tuscany, Sienna. Italy. Circa 1370-1400. With a stylised silhouette, each angel holds a candle in its hand, one in the right and the other in the left hand. With beautiful, oval faces and a youthful expression, almond-shaped eyes and fleshy lips. Their hair is pulled back with a diadem, from which locks escape which form a crown at their temples.

20 They wear a long dress with a rounded neckline and a high, cinched waist, from which it falls, forming light and elegant drapery of great fluidity, to the floor, leaving the points of the shoes visible. The decoration of the dresses is very rich, sprinkled with a pattern of flowery angles enriched with punched decoration. They have large, extended wings fixed to their backs. Total Heights: 118 cm and 110 cm.

Provenance: Former Guinigi family and Petrucci family collection, Sienna, Italy. These are marvellous examples of the birth of the renaissance in the Sienna School. These two angels were part of a procession which surrounded a chapel in a private Tuscan palace. The hieraticism, the sweetness of the faces, as well as the fleurons on the dresses, are all similar to the Annunciation at the church of Saint Mary of the Assumption, not far from Lucca, the only sculpture that is known for certain to be made by Piero d'Angelo, father of Jacopo della Quercia.

This sculptural group is part of the Neo-Pisan current which prevailed in the art in Sienna in the late 14th century. Later, the great masters such as his son Jacopo (1374-circa 1438), Francesco di Valdambrino (circa 1375-1435) or even Domenico di Niccolò dei Cori (circa 1363-1450 / 53) accentuated the elegance of the sihouette and great fluidity of the drapery even more than in this particularly elegant imagery.

The marvellous polychroming of the faces is outstanding, full of soft nuances, also the gilded reflections which are preserved in the hair, the decoration of the dresses and their trimmings.

Bibliography: Scultura Lignea a Lucca 1200-1425, National Museum of Villa Guinigui, Museo Nazionale di Palazzo Mansi, cat. C. Baracchini, 1995, Florence, pp.138-142; Exhibition Paris 2014, Le printemps de la Renaissance - La sculpture et les arts à Florence 1400-1460, musée du Louvre, cat. M. Bormand and B. Paolozzi Strozzi.

Estimate: 40.000 euros - 45.000 euros.

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Lote 18 Description

Master Alejo (circa 1490-1530). Birth of the Virgin Mary.Palencia, circa 1515-1525.Oil on panel 65 x 48 cm. Exceptional pair of carved, polychromed and gilded poplar wood torch bearing angels. Tuscany, Sienna. Italy. Circa 1370-1400. With a stylised silhouette, each angel holds a candle in its hand, one in the right and the other in the left hand. With beautiful, oval faces and a youthful expression, almond-shaped eyes and fleshy lips. Their hair is pulled back with a diadem, from which locks escape which form a crown at their temples. They wear a long dress with a rounded neckline and a high, cinched waist, from which it falls, forming light and elegant drapery of great fluidity, to the floor, leaving the points of the shoes visible. The decoration of the dresses is very rich, sprinkled with a pattern of flowery angles enriched with punched decoration. They have large, extended wings fixed to their backs. Total Heights: 118 cm and 110 cm.

22 Provenance: Former Guinigi family and Petrucci family collection, Sienna, Italy. These are marvellous examples of the birth of the renaissance in the Sienna School. These two angels were part of a procession which surrounded a chapel in a private Tuscan palace. The hieraticism, the sweetness of the faces, as well as the fleurons on the dresses, are all similar to the Annunciation at the church of Saint Mary of the Assumption, not far from Lucca, the only sculpture that is known for certain to be made by Piero d'Angelo, father of Jacopo della Quercia.

The marvellous polychroming of the faces is outstanding, full of soft nuances, also the gilded reflections which are preserved in the hair, the decoration of the dresses and their trimmings.

Estimate: 20.000 euros - 30.000 euros.

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Lote 19 Description

Bartolomé de Castro (Artist working in Palencia at first half of 16th century) Saint Blaise resuscitates a dead man. Palencia, circa 1500-1525. Oil on panel.74 x 56 cm. This is a previously unknown painting by the artist Bartolomé de Castro, a painter who was active in the Palencia area in Spain in the first quarter of the 16th century. The painting depicts a miracle from the life of Saint Blaise, in a style which leads us directly to the master, who we know from diﬀerent signed paintings which have survived until the current time, such as a Saint Dominic in the Lázaro Galdiano Museum (Madrid), a Saint Onufrius in the Masaveu collection, and a Madonna and Child crowned by angels from Villoldo (Palencia), which is now in a private collection. The panel formed part of an altarpiece from which at least one other compartment is known, Anne and Joaquim’s embrace at the Golden Gate, which confirms that the original set combined hagiographical scenes with others dedicated to the Virgin Mary. Additionally, other panels are known that have the Virgin Mary and Christ as their themes, which are also in private

24 collections and which could have formed part of the same reredos. The geographical provenance of the paintings by Bartolomé de Castro (Villoldo, Requena de Campos, Paredes de Nava, Lantadilla and Becerril de Campos) confirms that he must have trained and developed his career in Palencia, being directly influenced by Pedro Berruguete, whose paintings he appears to know first-hand. Provenance: Private collection, Switzerland. Reference Bibliography: PILAR SILVA MAROTO, “En torno a Bartolomé del Castro”, en Homenaje al profesor Hernández Perera, Madrid, Universidad Complutense de Madrid, 1992, pp. 437-452. ISABEL MATEO GÓMEZ, “Bartolomé de Castro: formación y estilo”, Boletín del Seminario de Estudios de Arte y Arquitectura, 68, 2002, pp. 199-224. With the repport of Dr. Alberto Velasco, to whom we thank the cataloging of this work. Estimate: 15.000 euros - 20.000 euros.

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Lote 20 Description

Master of Santiago. Artist from the circle of the Master of Palanquinos. (León and Astorga, circa 1500). "The Martyrdom of Saint Sebastian”. Tempera and gold on panel. This lot and the following one were part of the same altarpiece. Panel measurements: 89 x 62 cm. Thanks to the research of Dr. Albert Velasco, it has been possible to ascribe this table and the subsequent one (lot 6) as from the Master of Santiago. In his thesis “De la pintura Hispano-flamenca al primer Renacimiento en las antiguas diócesis de León y Astorga: El Maestro de Palanquinos y el Maestro de Astorga (c. 1480-1540)” (On HispanicFlemish painting of the early Renaissance in the former dioceses of Leon and Astorga: The Master of Palanquinos and the Master of Astorga (c. 1480-1540)), Marc Ballesté, in chapter 2.5, Collaborators and the Maestro de Palanquinos Circle, identifies a series of artists whose paintings were attributed to the Master of Palanquinos until that moment. One of these is the painter known as the Master of Santiago, because of the number of scenes he dedicated to the pilgrim saint. These panels, lots 5 and 6 in our catalogue, unknown until now, have thus been identified by Dr.

26 Albert Velasco as being by the Master of Santiago, and they could in fact have belonged to the same reredos of the life of the saint as those mentioned by Marc Ballesté: “Finally, it is worth mentioning some panels which are all work of the same painter. On describing four of these, kept in Raimundo Ruiz’s collection in Madrid, Post does not only ascribe them to the Master of Palanquinos but also defines them as some of the artist’s greatest achievements. They represent scenes from the life of James the Great (Santiago), specifically the Drowning of the Persecutors of the Saint’s Disciples, the Sermon, the Decapitation, and the Removal of the body of Saint James. A sign of its relation to these is the human form of the only figure in a frontal position in both panels, which is identical in its features. According to the photo library, the painting The Removal of the body of Saint James, can be found in E. García’s collection in Madrid. According to what can be seen in both images, we are disposed to refute the attribution put forward by Post. As in the paintings studied recently, the Master has something of the style of Palanquinos but does not share various elements with him. He shows, for example, a lack of control over proportions both of human and architectural forms, and introduces flat landscapes without gilded skies, and with scattered trees, definitively more naturalist and closer to the renaissance, which was yet to arrive. The way that he paints the characters’ eyes, with their certain, rounded shape framed by rather arched eyebrows deserves attention. Just like the Master of Valencia de Don Juan, the originality of the gold decoration of the haloes is also outstanding. There are two more panels, one in Dr. Esteve’s collection in Barcelona and the other in the museum at Astorga Cathedral, which are likely to have been painted by the same artist, which according to the number of scenes he dedicated to the pilgrim saint, we can call the Master of Santiago.” We thank Dr. Alberto Velasco Gonzàlez, for his help in identifying and cataloguing this work. Bibliography: Ballesté Escorihuela, Marc: “De la pintura Hispano-flamenca al primer Renacimiento en las antiguas diócesis de León y Astorga: El Maestro de Palanquinos y el Maestro de Astorga (c. 1480-1540)”. Lleida, abril de 2017. Estimate: 17.500 euros - 20.000 euros.

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Lote 21 Description

“Virgin in Majesty (Sede Sapientiae)". Gilt and polychrome carved wooden sculpture. Gothic. 14th century.The virgin is seated on her throne of glory and holding the Christ Child on her lap, while in her right hand she holds the world. She is wearing a tunic and a cloak which falls over her knees. A veil over her head frames her face sweetly. The Christ Child is giving blessing with his right hand whilst he holds the globe of the world in his left. 40 x 19 x 12 cm. Estimate: 5.000 euros - 7.000 euros.

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Lote 22 Description

Maestro degli Sportelli dell'Accademia (Florence, first half of the 15th century)."Madonna and Child and Saint Francis”. Tempera and gold leaf on panel. The painter, a Florentine master active in the first half of the 15th century, can be identified through the two wings of the reredos kept at the Galleria dell'Accademia in Florence.The reredos is known as "anconetta" and due to its size, must have been used for domestic worship.Panel measurements: 62 x 42 cm. Total measurements: 82 x 52 cm. Estimate: 45.000 euros - 50.000 euros.

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Lote 23 Description

Carved wooden sculptures with polychrome residue. Italy or Flanders. Gothic. 15th century.Carved wooden sculptures with polychrome residue. Italy or Flanders. Gothic. 15th century. The human figure may be a Saint George or a Saint Michael, but as the attributes are missing it is impossible to determine. Another option is that they formed part of a sculptural group, and that it was a knight on his steed. Of great sculptural quality, clearly shown in the elaborate armour which has delicate details, the treatment that the artist has given the horse, the curls of the mane and the muscular body. There is polychrome residue in reddish and ochre tones. 76 x 88 x 40 cm. Estimate: 30.000 euros - 32.000 euros.

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Lote 24 Description

"Saint James". Carved wooden sculpture. Netherlands. Late 15th century. Magnificent sculpture of Saint James the Pilgrim, without doubt the work of a master. The treatment of the saint’s face is remarkable, showing great expressivity and naturalism. Also outstanding are the gothic folds in the tunic which fall to his feet, the delicacy of the hands and the detail on the fastener on the book, made of carved wood simulating iron fittings. In our opinion, this sculpture must have come from the same workshops as the magnificent relief depicting the death of the Virgin Mary, which forms part of the collection at the Metropolitan Museum in New York, was donated by J. Pierpont Morgan in 1916, and has the inventory number 16.32.210. The faces of the characters that surround the Virgin Mary and the sculptural treatment are very similar. Stylistically, the sculpture fits into the monochrome imagery, influenced by the German Tilman Riemenschneider and the Dutch Jan Borreman. There are some characters in the magnificent Saint George altarpiece by the latter artist that remind us of this figure.

Estimate: 7.000 euros - 8.500 euros.

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Lote 25 Description

Attributed to Felipe de Bigarny (Langres, France, 1475 - Toledo, 1543). "Our Lady of the Milk”. Sculpted and gilded alabaster relief. 21 x 16 cm. Marvellous high-relief, which depicts the most intimate and tender moment between a mother and baby, Mary and Jesus. This representation of Mary spread widely in the Middle Ages and even more once the Renaissance arrived. From the late 14th century artists began to imbue their religious subjects with more feeling, either to show the suﬀering of Jesus, or to show us the Virgin Mary as a mother with her child. The intention was to reach the faithful through feeling and not through the fear that the severe images of previous periods transmit. Our relief can be attributed to Bigarny, in our opinion, specifically, it has similarities to the Madonna and Child which is part of the tomb of Bishop Diego de Avellaneda. Estimate: 15.000 euros - 18.000 euros.

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Lote 26 Description

Juan de Montejo workshop or circle. Zamora. Last quarter of the 16th century. "Saint Roch and Bishop Saint". Pair of carved, polychromed and gilded wooden sculptures. Juan de Montejo (Salamanca, mid-16th century – 1601?), as Dr. Javier Baladrón notes, is one of the best Castilian sculptors of this period. Born in Salamanca, almost all of his working life was spent in Zamora.

Antonio Sánchez del Barrio, director of the Museo de las Ferias Foundation, notes on the catalogue card of a “Saint Joseph with the Child” by Juan de Montejo: “Juan de Montejo, a master originally from Salamanca who is currently considered to be one of the precursors of the well-known artistic renewal which took place in the city of Toro from the last decades of the 16th century. The most outstanding exponents of this period are the sculptors Sebastián Ducete and Esteban de Rueda”

33 The figures of Saint Barbara and Saint Agatha at the Church of San Juan de Sahagún in Salamanca remind us of these sculptures. In both of the figures there are great similarities in the treatment of the cloth, the posture, the magnificent morphology of the hands, which is very characteristic, also the magnificent polychroming of the skin tones. Regarding Saints Barbara and Agatha, Alba Rebollar notes: “The cloth of their clothing, which covers their anatomy completely, is soft, with undulating movement, giving the figures a feeling of solemnity, heaviness and rotundity which is very characteristic of Montejo’s work.”

There are also similarities to the Bishop Saint in the main altarpiece at the Parish church of Morales del Vino in Zamora. Regarding this, Santiago Saivianego Hidalgo writes in “El retablo zamorano a finales del siglo XVI: Montejo y Falcote” (Zamora altarpieces of the late 16th century altarpiece: Montejo and Falcote) we find a “Juan de Montejo very much influenced by Italian mannerism.” There are also similarities to the Moses in the altarpiece by Cristóbal González de Fermoselle.

Other important work by Montejo includes the Saint John the Baptist at the church of San Juan de Alba in Tormes, the Saint Joseph and Child belonging to the Simón Ruiz Foundation, kept in the Museo de las Ferias at Medina del Campo in Spain, and the small altarpieces at the church of San Juan de Puerta Nueva, in Zamora, We would like to thank Dr. Javier Baladrón for his help in identifying the author of these sculptures Estimate: 16.000 euros - 18.000 euros.

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Lote 27 Description

"Saint Anne with Virgin and Child". Carved, polychromed, gilded and silvered sculpture. Hispanic Flemish School, Gothic, 15th century. 82 x 30 x 29 cm. Saint Anne is most frequently depicted with the Virgin and Child in medieval imagery. Worship of Saint Anne developed rather late in the west, and it was from the 15th century that it extended throughout Europe with great fervour. This sculpture, enriched with marvellous polychroming, places Saint Anne in the centre of the composition, dressed in rich dresses and a gilded and silvered tunic. Her face shows the signs of her advanced age and is framed with a veil. The Virgin Mary stands to her right, and is depicted with long, wavy hair worn loose, as an expression of her youthful virginity, she wears rich clothing. A bunch of grapes hangs from her right hand, which she proﬀers to her son, the Christ Child, while in the left hand she holds other fruits. Estimate: 25.000 euros - 27.000 euros.

35 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 28 Description

Attributed to Alonso Berruguete (Paredes de Nava, 1490 - Valladolid, 1561)."Saint Sebastian". Carved, gilded and polychromed wooden sculpture. Height: 86 cm. Estimate: 11.000 euros - 12.000 euros.

36 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 29 Description

Juan de Juanes (Fuente la Higuera, Valencia, 1503/05 - Bocairente, Valencia, 1577)."Our Lady of the Milk, Christ Child carrying the cross with the help of a young angel and the child Saint John”. Oil on panel. 95,5 x 68 cm. Circa 1524 -25. As Professor Isabel Mateo notes in her study, the model is derived from a lost original by Leonardo, which arrived in Valencia through the versions by Yañez de la Almedina, and which, years later, was the inspiration for the theme of Luis de Morales’ Virgin and Child with the infant St. John the Baptist

Isabel Mateo outlines that, in the composition of our painting, the angel and the Virgin Mary have gilded double haloes, a characteristic of Juanes, whilst the Child’s head is decorated with the three powers, mixed with his golden curls. The infant Saint John does not have a halo, and embraces the lower part of the cross.

37 Mateo highlights the magnificent quality of the hand. The wide sleeves bare the left arm and the exquisite hand rests against the breast to help feed the Child. However, Mary’s right hand and the angel’s left are more clumsy, due to a repaint, which explains the diﬀerence in quality.

In Juanes’ painting the faces of the Virgin Mary, Saint Joseph and the Infant Saint John are always a constant - in the panel we describe here as well as in in the Mystical Wedding of the Venerable Agnesio panel in the Valencia Museum of Fine Arts and in the Holy Family with the Infant Saint John at Valencia City Hall. Also, the model for the singing angel in the panel of the Adoration of the Shepherds in the Museum of Valladolid is repeated in this painting.

This panel was first attributed to Juanes’ father, Macip, but was later added to Juanes’ catalogue, from his early period of 1520-1525, during which he worked alongside his father. It is very interesting to see that in this youthful period in which the painting was executed Juanes was already discovering Italian art, and its influence is visible in his work of this period.

As Isabel Mateo notes, there is no doubt that Macip and Juanes formed a team in Valencian painting that united the Leonardo tradition with that of Raphael. Although Macip created the style, Juanes made it popular, adding more advanced Renaissance elements. The painting comes with a certificate by Professor Isabel Mateo. Estimate: 20.000 euros - 24.000 euros.

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Lote 30 Description

Blas de Prado (Camarena, Toledo, 1545 - Madrid, 1599). "The return of the Holy Family from Egypt with the Baptist”. Oil on panel. 54 x 39 cm. As Professor Isabel Mateo explains, the scene takes place in a clear cloudscape in which the Holy Family appears, resting, while the adolescent John the Baptist oﬀers the Christ Child a bowl of milk soup with pieces of bread. The figure of the Virgin Mary with the Child in her arms is at the centre of the composition.

Blas de Prado was one of the most important Spanish painters of his time. Although the paintings by him that are preserved are few, the praise of his contemporaries and the prestige referred to in texts bear witness to this being the case.

Through the paintings known to be by him, we can see a knowledge of contemporary Italian art in his training, especially the Roman School which can be seen in the models and composition as

39 well as a certain interest in Venetian colour, akin to that of the painters at El Escorial. He was also a pioneer in genre painting, being Sánchez Cotán’s master.

Blas de Prado’s Virgin of Villegas, which is kept in the Prado, and the Miracle of Saint Leocadia in the Church of Santa María in Talavera de la Reina, Spain, are comparable to our painting. In a carved and gilded period wooden frame.

On the back is a label from the Junta de Incautación, Protección y Salvamento del Tesoro Artístico (Board of Seizure, Protection and Salvage of Artistic Treasure) which notes the provenance of the painting as: Agrupación S. M. The painting comes with a certificate by Professor Isabel Mateo. Estimate: 10.000 euros - 12.000 euros.

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Lote 31 Description

Maestro de Becerril. Juan González de Becerril (Palencia, Primer cuarto del siglo XVI). "Scene of the life of Saint Peter: betrothal of the Catholic Monarchs”. Oil on panel. 119 x 88,5 cm. In the scene, a royal couple, wearing crowns on their heads, kneel before Saint Peter accompanied by Saint John the Evangelist. The scene takes place in a paved, palatial space, a doorway opening on to the room in which a crowned Saint Peter, or Pope, is giving blessing to the couple.

We believe the subject is the betrothal of Queen Isabella I of Castile and King Ferdinand II of Aragon, who were given papal dispensation by Pope Borgia and are being blessed by Saint Peter. The scene is a recreation of the private betrothal of the Catholic Monarchs in the palace of the Viscount of Altamira in Valladolid.

41 With regard to the painter, there is no doubt that this it is derived from the art of Pedro Berruguete, because of the taste for making the viewer see the scene through the window, among other reasons. Influenced by Juan de Flandes and Pedro Berruguete, who were settled in Palencia, two painters appeared: the Maestro de Becerril and the Maestro de los Santos Juanes.

Specifically, the Master (or Maestro) of Becerril can be identified, as Mateo notes, as, Juan González de Becerril, Pedro Berruguete’s son-in-law, who worked in Castile, and was influenced by his father-in-law and Juan de Flandes, and then in Toledo, being influenced by Juan de Borgonya, and especially by Correa de Vivar The painting comes with a certificate by Professor Isabel Mateo.

Estimate: 10.000 euros - 12.000 euros.

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Lote 32 Description

Alonso Gallego (Medina del Campo, Valladolid, c. 1475 - Nájera, La Rioja, c. 1548) "The Annunciation”. Oil on panel. 113 x 92 cm. The style of this previously unknown panel coincides perfectly with that of the painter Alonso Gallego, active in La Rioja in the first half of the 16th century. The composition follows the same model that we see in one of the compartments of the reredos at Cañas monastery (La Rioja), and one of the panels of the main altarpiece in Zorraquín (La Rioja). In the latter case, even the way in which the curtains of the "Thalamus virginis", (Mary’s bed) are tied back is the same. The dimensions, style and iconography of the panel are strongly reminiscent of the two compartments kept at El Conventet, Barcelona of the Epiphany (108 x 91 cm) and the Asuncion of Mary (121 x 88 cm), from the former Francisco Godia collection. The relationship between all these suggests a common provenance, meaning that they could all have been part of the same reredos. Moreover, these two panels appear to be from Támara (Palencia,

43 Spain), an origin which would also fit with the panel in our auction. In the aforementioned collection in Barcelona there are two more compartments from the same set, a Saint John the Evangelist and a Saint Thomas (96 x 60 cm each), which were part of the predella of the reredos. A Saint Andrew (102 x 65 cm), a Saint Paul (101 x 64 cm) and a James the Great (90 x 63 cm) also belonged to the same set and were sold at auction some years ago. The first two were sold at Christie's (London) in 1991, and the third at Fernando Durán (Madrid) in 1993. Finally, there were some compartments sold at auction in 1981 in Barcelona depicting the Victory of Saint Michael and the angels over the demons (120 x 98 cm), and the Miracle of Mount Gargano (121 x 100). Today these are kept at the Francisco Godia Foundation in Barcelona and, once again, their style and dimensions point to a common provenance to all the previous panels, even though these last ones are dedicated to the hagiographical legend of Saint Michael. This shared origin could be justified by the provenance of the last two, which were said to come from the church of Sant Miguel de Támara, in other words, the same locality as the first group of panels mentioned.

The painter trained initially in Castile, probably in the town of Medina itself, and settled in Nájera around 1495. His style is clearly influenced by Juan de Borgoña,

Among other artists, Gallego is connected to Vigarny and León Picardo. Between 1529 and 1534 he was commissioned alongside Andrés de Melgar to do the painting and polychroming of the altarpieces of the retrochoir in the Cathedral of Santo Domingo de la Calzada, by León Picardo, this is the key to discerning and studying his work.

As Moya Valgañón notes in his biographical index card at the Real Academia de la Historia: “His style can be established as German mannerist, the canon of his characters is slim figures but with bulky shoulders, flattened faces with very prominent chins and bulging foreheads, with a serene expression in contrast to the convulsion of their movements. The style corresponds to the trend that sought to be distinctive, but in scenes where there are always references to Roman architecture. The very defined forms mean that it has been possible to attribute numerous other paintings to him without fear due to his unmistakable style. In his day, he was known as Maestro de Támara don Diego Angulo.”

To find out more about these panels, consult the following publication on the painters of Logroño “José Gabriel Moya Valgañón, Alonso Gallego y Andrés de Melgar, pintores, Logroño”, published by the Gobierno de La Rioja, Instituto de Estudios Riojanos, 2013, pp. 85-95.

We would like to thank Dr. Alberto Velasco for the identification and cataloguing of this painting.  The buyer can request a report on the painting if desired.

Estimate: 16.000 euros - 18.000 euros.

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Lote 33 Description

Joan de Burgunya (? - ?, 1525)."The Martyrdom of Saint Lawrence”. Oil on panel. Circa 1510 1520. 118 x 65,5 cm. The panel comes with a study by Antoni José Pitarch.. Estimate: 8.000 euros - 10.000 euros.

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Lote 34 Description

"The laying of the chasuble on Saint Ildefonsus". Carved, polychromed and gilded wooden relief. 15th century. The sculpture portrays the most typical scene in the life of Saint Ildefonsus, the laying on of the chasuble, in which the saint, dressed in an alb and stole, is visited by the Virgin Mary, who has come to lay the chasuble on his body. The relief is laid out in a way that shows all the main characters in profile. The Virgin Mary is seated on her throne of glory, dressed in a tunic and cloak that falls in uneven, gothic folds, and wears a silver crown. Opposite her the saint kneels, with his hands at his chest in prayer. To the left of the composition an angel helps the Virgin Mary with her work. In our opinion, the polychroming is from a posterior period: the 17th century. 94 x 72 x 15 cm. Estimate: 25.000 euros - 27.000 euros.

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Lote 35 Description

Master from Felipe de Bigarny’s circle or workshop (Langres, France, 1475 - Toledo, 1543). T Set of four imposing carved, gilded and polychromed wooden reliefs. Renaissance. First third of the 16th century. They were part of the same large altarpiece and depict the Annunciation, the Visitation, the Nativity and the Adoration of the Magi. 77 x 66 x 8 cm. 77 x 66 x 6 cm. 77 x 66 x 7 cm. and 76,5 x 63,5 x 6 cm. We would like to thank Professor Javier Baladrón for his help in identifying this lot.

Estimate: 50.000 euros - 54.000 euros.

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Lote 36 Description

The Four Evangelists". Carved, gilded and polychromed wooden sculptures. Castilian School. 16th century. Height: 52 cm., 53 cm. (2) and 55 cm. Estimate: 24.000 euros - 25.000 euros.

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Lote 37 Description

Alonso Sánchez Coello Circle. (Benifairó del Valls, Valencia, 1531/32 - Madrid, 1588). "Portrait of a Lady." Oil on canvas. 74 x 56 cm. Estimate: 8.500 euros - 10.000 euros.

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Lote 38 Description

Spanish School. 17th century. "Portrait of Infanta Leonor”. Oil on canvas. 66 x 49,5 cm. Estimate: 12.000 euros - 15.000 euros.

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Lote 39 Description

Spanish School. Late 16th century. Circa 1585-90. "“Prince of Asturias in armour – Portrait of Philip III”. Oil on canvas. 65 x 45 cm. As Dr. Ramos Rubio indicates in his report: “The prince appears depicted in three quarter and half profile, standing, and highlighted against a dark background. He wears damascene half armour of the type worn by Charles I and Philip II in Titian’s portraits, but this is richer in the profusion of symbolic details which are singular to Italian armourers’ style.

Despite the format of the image and the composition, this version has a much more intimate and private character. In this way and at first view, our attention focuses almost exclusively on highlighting the kind face which is clean-shaven, oval and with short hair, and which softly appears above the platform which a frilled ruﬀ provides, typical of late 16th century fashion, and which underlines his idealised features and models them by casting strong illumination. And to

51 follow, our gaze is directed towards the prince’s imposing and majestic armour, from which he emerges from the dimly lit background. The prince directs his serene gaze towards the viewer, prepared to take on the mission for which he was born.

The type of armour chosen shows Philip III’s predilection since his childhood for rich Milanese all'antica armour, which was so popular at that time due to its sumptuous damascene decoration of a triumphal character, based on numerous vertical bands. There is profuse allegorical decoration with the following meanings: Virtue, with medallions with masks and trophies inside, Minerva, Jupiter, Mars and the virtues that should govern the life of the future king: Strength, Prudence, Justice and Temperance. On the struts, Victory is placed on the right, and Fame on the left. There are garlands of fruit on the perpendicular bands. In this way the rectitude that the prince should have tends towards abundance and glory. Finally, the Golden Fleece hangs from the prince’s chest, which he was awarded in 1583.” Accompanied by Dr. José Antonio Ramos Rubio’s report. Estimate: 13.000 euros - 16.000 euros.

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Lote 40 Description

Attributed to Alonso Cano (Granada, 1601-1667). "Teresa of Ávila"Magnificent carved, gilded, estofado and polychromed sculpture. Total dimensions. 174 x 70 x 35 cm. Height without plinth: 155 cm. Saint Teresa, depicted in one of her two most important roles, that of writer devoted to the religious life, so she can express her revelations. She holds a delicate quill in her right hand and a book in the left. The carving is full of details which permit its attribution to master Alonso Cano, such as the delicate facial features, the expressivity it has, the hands, the multiple and heavy folds in the cloak etc.

It is worth mentioning the decoration, the rosy skin tones and, of course, the marvellous estofado on fine gold and black with vegetation motifs of large flowers, combined with the fine and delicate designs of small flowers and circles. This image is comparable to the Saint Teresa by Alonso Cano at the Convent of Buen Suceso in Seville, which is also almost exactly the same height: 148 cm. Estimate: 35.000 euros - 38.000 euros.

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Lote 41 Description

Florentine School. Italy. Second half of 17th century. "Couple with lute". Oil on canvas. 88 x 74 cm. Estimate: 8.000 euros - 12.000 euros.

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Lote 42 Description

"Madonna and Child". Carved, gilded and polychromed wooden sculpture. century. The sculpture rests on its original carved and gilded wooden plinth. measurements: 60 x 38 x 25 cm. Total measurements: 77 x 40 x 33 cm. Estimate: 23.000 euros - 25.000 euros.

Italy. 17th Madonna

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Lote 43 Description

Luisa Roldán workshop, La Roldana (Seville, 1656 - Madrid, 1704). Mary Magdalene. Polychromed terracotta sculpture. Andalusian School. 17th century. Luisa Roldán workshop, La Roldana (Seville, 1656 - Madrid, 1704) 30 x 33 x 33 cm. Mary Magdalene is depicted as a penitent, making reference to the period of 30 years that she spent in the cave at Sainte-Baume in France, after the Ascension of Christ.

She is depicted in the typical way, half naked, covered with a blue serge cloth in an attitude of prayer, kneeling on some rocks and leaning in a penitent attitude. Large locks of her hair partially cover her body. Marvellous sculptural work, as can be especially appreciated in the saint’s face. Estimate: 6.000 euros - 8.000 euros.

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Lote 44 Description

Attributed to Sebastián López Arteaga (Seville, 1610 - Mexico, 1656). Large and magnificent nun’s breast plate. Oil on copper. Diameter: 24 cm. This devotional art genre spread significantly in the 17th and 18th centuries in Spain and the Novo Hispanic world. They were often small painted or embroidered squares with religious scenes, which the nuns wore on their chest when they were taking their vows. In the classic portraits of nuns wearing crowns, as well as flowers, veils and other ornaments, we can also appreciate the relevance of these shields. On occasions, even artists of the stature of José de Páez, Miguel Cabrera and Luís Juárez, among others, painted some of these breast plates. Estimate: 20.000 euros - 22.000 euros.

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Lote 45 Description

Nun’s breastplate. Colonial School. Mexico. 18th century. "Holy Trinity”. Oil on copper. 18,5 x 15 cm. In a tortoiseshell frame. This was a genre of devotional art which spread widely in the 17th and 18th centuries in Spain and the New Hispanic world. The breast plates were often small painted or embroidered pictures of religious scenes, which nuns wore on their chest when they took their vows. In the classical portraits of crowned nuns, as well as flowers, veils and other ornaments, one can also appreciate the relevance that these breastplates had. Occasionally, even artists of the calibre of José de Páez, Miguel Cabrera and Luís Juárez, among others, painted some of these breastplates. Estimate: 10.000 euros - 11.000 euros.

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Lote 46 Description

Colonial School. 17th - 18th century. "Saint John Nepomuk”. Oil on copper. The painting may have been a nun’s breastplate. 13,5 x 11,5 cm. Bohemian priest, Vicar general of the diocese of Prague. Martyr of the seal of confession, he was thrown into the river from the city’s Charles Bridge by king Wenceslaus IV.

Depicted with his symbols, the bridge and an angel with a reference to the silence of the seal of confession: "Pro sigilo confesionem”. Estimate: 2.400 euros - 3.000 euros.

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Lote 47 Description

Miguel Castillo (18th century. Active in Puebla and San Andrés Cholula). "Holy Trinity”. Oil and gold on canvas. Signed. Signed on the back. 42 x 56 cm. There is a handwritten motto in the lower margin: "Creo en la Ssma. Trinidad, fpero en la Ssma. Trinidad, amo a la Ssma. Trinidad, deﬀeo ver a la Ssma. Trinidad, me pefa hªver ofendido a la Ssma. Trinidad".

The Museo de América in Madrid has a painting by Miguel Castillo in its collection.

Estimate: 5.500 euros - 6.500 euros.

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Lote 48 Description

Diego Quispe Tito (Cuzco, Peru, 1611 - 1681). "Holy Family and Saint Catherine" Oil on canvas. Signed. 64 x 50,5 cm. Estimate: 15.000 euros - 17.000 euros.

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Lote 49 Description

Diego Quispe Tito (Cuzco, Peru, 1611 - 1681). "Jesus imprisoned”. Oil on canvas. Relined. 105 x 72 cm. We would like to thank Carlos Rodríguez Morales (@VRetratos) for his information leading to the correct identification of the passage of the life of Jesus depicted in this painting. As he states: "The curtains hardly suggest that this is a “verdadero retrato” (direct copy of a statue). It is not an Ecce Homo, as it shows Christ in a previous landscape: after the first mocking, but before being crowned with thorns. After being taken to the house of Caiaphas, Jesus was blindfolded and beaten. He has various wounds on His forehead, ear, cheek (with a bruise) and mouth which are bleeding. The rope with which He was bound in Gethsemane leads him before the high priest.” Carlos Rodríguez Morales suggests that the painting depicts an earlier moment: Jesus before Herod or before Pilate, perhaps the time when the public had to choose between Him and Barabbas.

Estimate: 15.000 euros - 18.000 euros.

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Lote 50 Description

Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)."The Divine Shepherdess”. Oil on canvas. Signed. 104 x 81 cm. This divine shepherdess is comparable to the one painted on copper by Miguel Cabrera, which is kept in Los Angeles County Museum of Art, Los Angeles, USA. Cabrera was one of the most renowned painters in the New-Hispanic art world. Little is known of his youth. The first news about him is from 1739, the year of his marriage to Ana María Solano. We also know of his move to Juan Correa’s workshop in the capital of the Viceroyalty. Archbishop Rubio was Cabrera’s patron and named him his painter of the chamber. He was also painter to the Society of Jesus, painting many artworks for their churches. In 1753 he was named life-president of the Academia de San Carlos. His work can be seen in many churches and convents in Mexico. Two of his images of Our Lady of Guadalupe can be found in the Vatican Museum. Another, created in 1756, for the temple Saint Francis Xavier, is kept at the Museo Nacional del Virreinato, Mexico. Estimate: 45.000 euros - 50.000 euros.

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Lote 51 Description

Colonial School. Mexico. 17th century. Follower of Juan Carreño de Miranda. "Portrait of a Lady”. Oil on canvas. 57 x 46 cm. This painting could be the portrait of the daughter of a viceroy, and in our opinion it belongs among the courtly portraits of ladies influenced by those painted by Carreño de Miranda, such as the one kept in the Boston Museum of Fine Arts. Estimate: 4.500 euros - 5.500 euros.

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Lote 52 Description

Colonial School. México o Perú. 18th Century. "Portrait of a gentleman”.Oil on canvas. 116 x 89 cm.

Estimate: 3.000 euros - 4.000 euros.

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Lote 53 Description

Joseph Mariano Farfán de los Godos y Miranda (Active in Mexico in the 18th century).”Saint Joseph with the Child" Oil on copper. Signed and dated in 1779.

A marvellous nun’s breast plate by Mariano Farfán de los Cobos, dated circa 1770, is kept in the LACMA (Los Angeles County Museum of Art), on temporary loan from the Patricia Phelps de Cisneros collection. 20 x 26 cm. Estimate: 9.500 euros - 12.000 euros.

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Lote 54 Description

José de Alzíbar (?, 1725 - Mexico, 1803).”Saint Catherine of Siena in embrace of Christ Crucified, to alleviate his pain”. Oil on copper. 1796. 41 x 34 cm. Estimate: 5.000 euros - 5.500 euros.

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Lote 55 Description

José de Páez (Ciudad de México, c. 1727 - c. 1780) "Saint Peter”. Oil on canvas. Signed. 62 x 50 cm. Estimate: 4.000 euros - 4.400 euros.

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Lote 56 Description

Cordobesa School. 17th century. Alejo Fernández y Pedro Villegas Marmolejo circle. Circa 1540.“Coronación de la Virgen en su Asunción al cielo”. Oil on panel. With supporting struts. 124 x 139 cm. With a certificate by Professor Isabel Mateo.

Estimate: 35.000 euros - 45.000 euros.

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Lote 57

Description

Baltasar Echave Orio (Zumaya, C. 1548 - Mexico, 1624). "Saint Joseph’s dream”. Oil on panel. 77 x 90 cm. The painter was born in Zumaya and later trained in Seville, where he came into contact with the paintings by Hernando de Esturmio and Luis de Vargas. The fact of living close to where paintings were being produced to send to New Spain seems to have been a motivating factor in his career, and he decided to travel, settling in Mexico, where he married the daughter of the painter Francisco Ibía.

Many artistic influences arrived in New Spain, one of them was that of the Flemish painters Martín de Vos, Simón Pereyns and Andrés de Concha, which undoubtedly most marked Baltasar Echave Orio’s style. This Flemish influence is clearly visible in this copper, evident in the delicate features used in the faces of the characters and in their hands. The artist’s first dated work was painted with his father-in-law, Francisco Ibía, in 1590 for the old cathedral of Puebla.His individual paintings date from 1606, with a Virgin of Guadalupe.Various artists trained in his workshop, including his own son, Baltasar Echave Ibía, and it seems that Luis Juárez may also have been one of his disciples. Viceroyalty painting of the first half of the 17th century was strongly influenced by the style of the Echave family workshop.His most outstanding paintings are Portiuncula and The Visitation, dated 1608 - 1610 made for the main altarpiece of the Church of the Franciscans at Tlatelolco, which currently form part of the collection at the Mexican Museo Nacional de Arte. The Annunciation and the Adoration of the Magi also formed part of the same reredos.

Estimate: 40.000 euros - 50.000 euros.

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Lote 58 Description

Colonial School. Peru. 18th century. Attributed to Diego Quispe Tito (Cuzco, Peru, 1611 1681).”Immaculate conception”. Oil on canvas. 169,5 x 109,5 cm. There are some patches on the back.

Some of the Marian invocations which appear in the Litany, the Psalms and in poetic texts of praise are depicted at each side of the Virgin Mary. In this case they are: the rose the spotless mirror, the sealed fountain, the lily and the well. Estimate: 35.000 euros - 38.000 euros.

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Lote 59 Description

Colonial School. Cuzco. Early 18th century. "Arquebusier Archangel Ariel”. Oil on canvas. 164 x 96 cm. The Pedro de Osma Museum in Lima has a hall exclusively dedicated to this series of angels and archangels. Among them is one like this, denominated Archangel Ariel, dated circa 1700 – 1730.

This artistic theme originated in the late 17th century and became highly sought after and widespread.

Estimate: 12.000 euros - 14.000 euros.

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Lote 60 Description

Colonial School. Peru. 18th century. "Christ Child, Redeemer of the World”. Magnificent polychromed and gilded huamanga stone relief. Relief measurements: 46,5 x 28 cm. Devotional image of Jesus, triumphant, depicted in the figure of the Christ Child, the earth’s redeemer, surrounded by the symbols of the Passion.

The relief is reproduced in: “Arte y tesoros del Perú”. Published by Banco de crédito del Perú en la Cultura. Lima, 1980. Page 50. Estimate: 18.000 euros - 20.000 euros.

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Lote 61 Description

Colonial School. Peru. 18th century. "Dormition of the Mother of God". Magnificent polychromed and gilded huamanga stone relief. 65 x 46 cm. Estimate: 15.000 euros - 18.000 euros.

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Lote 62 Description

Colonial School. Mexico. 18th century. "De lobo y de indiana produce lobo que es torna atrás”. Oil on canvas. 84 x 106 cm. Painting belonging to a series of casta paintings. This theme was developed in New Spain in the 18th century, with the aim of showing people the diversity originating from mixing races.

The Museo de América in Madrid has a magnificent collection, including a series of casta paintings by Miguel Cabrera. The Spanish Ministry of Culture has banned the exportation of this particular lot. Estimate: 35.000 euros - 40.000 euros.

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Lote 63 Description

Colonial School. Mexico. 18th century."Mexican Indians”. Oil on canvas. 84 x 106 cm. Painting belonging to a series of casta paintings. This theme was developed in New Spain in the 18th century, with the aim of showing people the diversity originating from mixing races.

The Museo de América in Madrid has a magnificent collection, including a series of casta paintings by Miguel Cabrera.The Spanish Ministry of Culture has banned the exportation of this particular lot. Estimate: 35.000 euros - 40.000 euros.

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Lote 64 Description

Colonial School. Early 18th century."Our Lady of Valvanera”. Oil on canvas. 62 x 46,5 cm.The iconography comes from the anonymous engraving dedicated to the Captain General of Sea and Land Iñigo de la Cruz Manrique de Lara Ramírez de Arellano (1673-1733). In it one can observe the Virgin Mary’s clothing, the position of the tree, the chest in the foreground and the eagle of the throne, among other details. Before a large tree trunk, the Virgin of Valvanera rests on her throne – the patron of La Rioja— she is richly dressed, with the Child on her knees and a fruit and a flower in her left hand. According to legend, a sinner who repented and became a hermit found the image of the Madonna and Child inside the trunk of an oak, alongside a honeycomb and a spring. He built a hermitage in the place which became a monastery after a time. This painting must be related to the similar painting of Our Lady of Valvanera which presides over the main altarpiece at Saint Maron Cathedral, currently a Syriac Maronite church, but which was the Parish Church of Our Lady of Valvanera until 1922, and previously was the ‘Combento de Balvanera’ (Valvanera Convent). Carved, polychromed and gilded period wooden frame. Estimate: 12.000 euros - 14.000 euros.

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Lote 65 Description

Colonial School. New Spain. 17th century. ”Our Lady of Guadalupe with the Apparitions to the Aztec Indian Juan Diego”. Oil on canvas. Lined. 122 x 88 cm. Estimate: 18.000 euros - 20.000 euros.

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Lote 66 Description

Attributed to Sebastián López Arteaga (Sevilla, 1610 - Mexico, 1656). "Saint Joseph with the Child" Oil on canvas. 168 x 112 cm.

Estimate: 27.000 euros - 30.000 euros.

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Lote 67 Description

Colonial School. Mexico. 17 - 18th century. "Saint Raphael”. Oil on copper. It has an imposing carved, gilded and polychromed wooden frame. Copper measurements: 47 x 36 cm. Frame measurements: 78 x 64 cm. Estimate: 24.000 euros - 27.000 euros.

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Lote 68 Description

Attributed to Bernardo Bitti (Camerino, Italy, 1548 - Lima, 1610). "Madonna and Child”. Oil on panel. 43 x 31,5 cm. With a carved and gilded period wooden frame. Estimate: 4.500 euros - 5.500 euros.

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Lote 69 Description

Attributed to Bernardo Bitti (Camerino, Italy, 1548 - Lima, 1610). "Our Lady of the Apocalypse". Circa. 1734. Carved and polychromed wooden sculpture, with wrought silver wings and crown and glass eyes. Total size: 46 x 47 x 14 cm.The sculpture stands on a curious and beautiful original plinth made of carved wood covered with mirrors. The figure is unusual in that she holds the arrow or ray in her right hand. Marvellous example of baroque sculpture from Quito. The sculptor presents us with the Immaculate Virgin Mary, humanised with a serene expression and full of spirituality. Bernardo Legada was an enormously talented sculptor and painter. He stood out as one of the most important artists of Viceroyalty Ecuador. As with other indigenous artists, he dedicated himself entirely to sacred imagery. The main altarpiece at the Basilica de Nuestra Señora de la Merced in Quito and the altarpiece of the Iglesia of The Jesuits are some of the most important examples of his work. Estimate: 18.000 euros - 20.000 euros.

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Lote 70 Description

"Archangel". Carved, polychromed and gilded wooden sculpture. Colonial School. Possibly Peru. 17th century.. "Archangel". Carved, polychromed and gilded wooden sculpture. Colonial School. Possibly Peru. 17th century. 48 x 27 x 28 cm. Estimate: 7.000 euros - 7.500 euros.

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Lote 71 Description

Colonial School. 18th century. "Our Lady of the Seven Sorrows from the Convent of Saint Thomas in Madrid”.Oil on copper. 47 x 34 cm. We would like to thank Carlos Rodríguez Morales (@Vretratos) for his help in identifying the image correctly. Also, his association was linked to the guild of painters and gilders and they have passed us the following documents: 1-Jerónimo de Quintana: A la antigua, noble y coronada villa de Madrid: historia de su antigüedad, nobleza y grandeza. Madrid: Imprenta del Reino, 1629, f. 424 r, (On the old, noble and crowned town of Madrid: history of its antiquity, nobility and greatness), in which the origin of the image is explained: "Around the year 1590, in imitation of that founded in Flanders by his Majesty the King Philip I, an image devoted to Our Lady of the seven swords, with the points meeting at her chest, in memory of her seven sorrows, was erected at an individual altar at the Collegiate church of the Brotherhood: she was brought there in an extremely solemn procession by the Monastery of Las Descalzas Reales, she is venerated very frequently by the people as they are highly devoted to her, adorning her altar with oﬀerings of candles, shrouds and silver lamps” (the original is in Old Spanish.) 2- La Virgen de los siete dolores, del convento dominico de Santo Tomás" (Our Lady of the seven sorrows of the Dominican convent of Saint Thomas). By Professor Cipriano García Hidalgo: h#ps://cipripedia.com/

2019/04/12/la-cofradia-de-la-virgen-de-los-siete-dolores-de-madrid-y-los-pintores/ Estimate: 3.000 euros - 4.000 euros.

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Lote 72 Description

"The Adoration of the Shepherds". Carved, gilded and polychromed wood and ivory relief. Colonial School. Probably Mexico. 17th - 18th century. ""The Adoration of the Shepherds". Carved, gilded and polychromed wood and ivory relief. Colonial School. Probably Mexico. 17th 18th century. 56 x 40 cm. Estimate: 40.000 euros - 44.000 euros.

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Lote 73 Description

Attributed to Gregorio Gamarra. Colonial School. 17th century. "Immaculate Conception”. Oil on copper. 22 x 17 cm. With a carved and gilded period wooden frame.

Some of the Marian invocations which appear in the Litany, the Psalms and in poetic texts of praise are depicted at each side of the Virgin Mary, in this case these are: the spotless mirror, the sealed fountain, Jacob’s ladder, the rose, the lily, the cypress, the palm, the morning star, the sun, the moon, the tower, the well, the door, the walled garden and the temple.

Estimate: 8.000 euros - 9.000 euros.

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Lote 74 Description

Colonial School. 18th century. Colonial School. 18th century."Holy family”. Oil gold illuminations on copper. 24 x 19,5 cm.

Estimate: 4.000 euros - 5.000 euros.

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Lote 75 Description

González brothers atelier. Colonial School. Mexico. 17th century. "Immaculate conception”. Oil and "enconchado" on panel. 57 x 43 cm. Some of the Marian invocations which appear in the Litany, the Psalms and in poetic texts of praise are depicted at each side of the Virgin Mary. In this case these are: the spotless mirror, the sealed fountain, Jacob’s ladder, the rose, the lily, the cypress, the morning star, the tower and the temple.

As Dr. Joaquín Bérchez notes in his magnificent biographical file for the Museo del Prado on the González brothers: they were two painters who were active in New Spain in the mid 17th century, specialising in the painting of “enconchado” - pictures “stuﬀed with mother of pearl and helped

88 with colours, as Antonio Ponz defined it in the 18th century-, Miguel and Juan González took a lead role in one of the most singular chapters of New Spanish art in the Modern Period.

They were exact contemporaries of Cristóbal de Villalpando, Juan Correa and the Arellanos. The shell inlay technique, which came originally from the Far East, became known early on in the Viceroyalty of New Spain due to the presence of artisans and objects from China and Japan, growing into artistic maturity in the New Hispanic environment in the last decades of the 17th century and the first of the 18th.… As had occurred with the feathered pictures, Mexican lacquers, maize cane sculptures and room dividing screens, the “enconchados” became prized objets d’art, sought and collected by a wide public and clientele, both in New Spain and in the Iberian Peninsula. Miguel and Juan González, together or separately, are linked to more than a hundred works of art, of which the twenty-five panels depicting scenes of the conquest of Mexico, kept in the Museo de América in Madrid, dated 1698 and signed ¬[Miguel Gonzes fesi a 1698 (panel 9) (Juan) Gonz. Fecci 1698 (panel 24)], have come to be one of their most representative samples."

Estimate: 25.000 euros - 30.000 euros.

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Lote 76 Description

Colonial School. Mexico. 17th century. Colonial School. Mexico. 17th century."Portrait of a noblewoman”. Oil on copper. 8 x 7 cm.

Estimate: 4.000 euros - 5.000 euros.

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Lote 77 Description

Colonial School. Possibly Mexico or Peru. 18th century."Portrait of a lady" Oil on copper. 7,2 x 6,4 cm. III 10 is inscribed on the back as well as the collection number 48147.

Estimate: 3.000 euros - 3.200 euros.

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Lote 78 Description

Colonial School. Possibly Mexico or Peru. 17th century. “Character”. Oil on copper. Copper measurements: 9,2 x 7 cm. In a period, wooden frame, covered with ebony and tortoiseshell. Frame measurements: 14,5 x 12 cm. A former collection number, 48132, is inscribed on it.

Estimate: 3.000 euros - 3.200 euros.

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Lote 79 Description

Colonial School. Potosi. Bolivia. 18th century. "The Holy Family in the workshop in Nazareth" . Oil on canvas. Dated 1701. 121 x 90 cm. In this painting we see the clear influence of Zurbarán, especially in the figure of the Virgin Mary, also in the pinkish tone of her clothes.

Estimate: 9.000 euros - 12.000 euros.

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Lote 80 Description

Colonial School. Cuzco. Peru. 17th century. Colonial School. Cuzco. Peru. 17th century. "Our Lady of the Rosary”. Oil on canvas. 126 x 95 cm.

Estimate: 7.500 euros - 9.000 euros.

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Lote 81 Description

Colonial School. Mexico. 18th century . Colonial School. Mexico. 18th century.”Christ of Txmiquilpan or Lord of Santa Tereza”. Oil on canvas. Lined. 98 x 77 cm.

Estimate: 12.000 euros - 15.000 euros.

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Lote 82 Description

Colonial School. Cuzco. Peru. 17th century. Colonial School. Cuzco. Peru. 17th century. "The Head of Christ”. Oil on canvas. 69 x 53 cm.

Estimate: 7.500 euros - 9.000 euros.

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Lote 83 Description

Colonial School. Cuzco. Peru. 17th century. "True eﬃgy of Señor de Huantamanga”. Oil on canvas. 93 x 80 cm. It has two small tears. There is a handwritten inscription which notes that the Bishop of Lima granted indulgences to anyone who prayed to the image.

Estimate: 4.500 euros - 5.500 euros

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Lote 84 Description

Attributed to Antônio Francisco Lisboa, "Aleijadinho". (Brazil, 1730 / 1738 - 1814). "Adam and Eve”. Pair of carved and polychromed wooden sculptures. 84 x 50 x 45 cm. and 87 x 47 x 32 cm.

Scene from the iconographic cycle of the story of Adam and Eve, told in chapters 2 and 3 of Genesis in the Old Testament. Eve stands, resting against the tree, holding the apple of original sin in her right hand and bringing her left hand to her chest as she slightly leans her head in a gesture of heaviness because she repents for the sin she has just committed. Adam begs for forgiveness with his look, as he raises his left hand. The scene depicts the shame of Adam and Eve, who cover themselves with leaves to hide themselves from God’s eyes.

Estimate: 30.000 euros - 34.000 euros

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Lote 85 Description

Atribuido a José Campeche (San Juan, Puerto Rico, 1752 - 1809). "Divine Shepherdess”. Oil on canvas. Lined. 83 x 65 cm. With an imposing carved and gilded period wooden frame. Measurements with frame: 165 x 130 cm. Campeche was one of the most renowned Puerto-Rican artists. The only disciple of Luis Paret y Alcázar (1746-1799), who arrived at the island having been banished by King Charles III of Spain, between 1775 and 1778. As Campeche´s biographical report indicates in the Puerto Rico Museum of Art, which has his paintings among its collection: "He mainly developed religious-themed paintings and portraits. In his work, which is considered to be rococco due to the interest in detail and ornamentation, the palette of bluish and pinkish greys prevails, which he assimilated from Paret. In 2006 the Ponce Museum of Art organised an exhibition which travelled to the prestigious Worcester Art Museum in Massachusetts and included his paintings, along with others by Francisco Oller and by Miguel Pou. Campeche´s great skill resides in his mastery of portrait and miniature, characteristics which made him one of the most outstanding Hispanic painters of the late 18th century.85 x 64 cm. Bibliography: The painting is reproduced in the catalogue of "Visiones de América. Arte desde el confín del mundo". Organised by Caja Burgos Foundations at La Casa del Cordón in Burgos, May - September 2018.

Estimate: 50.000 euros - 60.000 euros

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Lote 86 Description

Attributed to José Campeche y Jordán (San Juan, Puerto Rico, 1751- 1809). "Portrait of José Dufresne”. Oil on canvas. Lined. 72 x 60 cm.Lord José Dufresne was of Catalan origin, born in Mataró, and was governor of the Island of Puerto Rico between 1776 and 1883. He was also an engineer and a captain of the regiment of Vitoria, easily identifiable by his uniform which can be seen in a picture by José Campeche that is kept with that of his wife at the University Museum of Puerto Rico.

In relation to this painting, it is very interesting to remember that in our auction 25th June 2020, as lot 121, we had a painting of Our Lady of Mercy of the Puerto Rico School of the last quarter of the 18th century, which was almost certainly by José de Campeche. With a reserve price of 10,000 €, it finally went under the hammer for 110.000 €. In that picture Don José Dufresne appeared as a donor at the feet of Our Lady of Mercy. This information corroborates, in the painting that we are presenting in this auction, both the identity of the subject of the portrait, Lord José Dufresne, as well as the attribution to José de Campeche, who also painted the aforementioned portrait in the University of Puerto Rico.

Estimate: 8.000 euros - 12.000 euros

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Lote 86 A Description

Pair of carved, gilded, estofado and polychromed sculptures. Colonial School. Possibly Guatemala. 17th century. 90 x 35 x 22 cm.and 89 x 43 x 23 cm..

Estimate: 15.000 euros - 18.000 euros

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Lote 87 Description

Lower part of an "enconchado" cupboard. Colonial School. Mexico or Peru. 18th century. Lower part of an "enconchado" cupboard. The interior is made of red cedarwood and the exterior is covered in tortoiseshell, mother of pearl and ebony. Colonial School. Mexico or Peru. 18th century 133 x 117 x 65 cm.

Important example of Peruvian “enconchado” furniture. As is habitual, it is completely covered in mother of pearl and tortoiseshell decoration, forming a type of flower and some geometric motifs which have been skillfully made very similar to each other. There are examples that can be used as a reference for the cataloguing of this piece in: The Convent of Buena Muerte in Lima, where a complete cupboard is kept, in the Pedro de Osma

102 Museum in Lima, where there is a magnificent example, and in the Soumaya Museum in Mexico City, where there is a magnificent desk with cabinet. With regard to the origin of this type of furniture, which has the same origin and decoration as this one, it is very interesting to read the article by Professor Gustavo Curiel, published in the Mexican Institute of aesthetic research magazine "Imágenes", (h#p://www.esteAcas.unam.mx/ revista_imagenes/imago/ima_curiel05.html) about the analysis of a magnificent dresser which is kept at the Meadows Museum in Dallas : “With regard to the place where this furniture originated (characterised by rich tortoiseshell inlay, mother of pearl and silver thread) it has been repeated, without any kind of foundation, that this type of furniture was made in Mexico City, in the Philippines, on the Indo-Portuguese coast and in continental Asia. Recently, Jorge Ribas has confirmed, after meticulous study and many comparisons, that this type of furniture was made in the Viceroyalty of Peru. This very singular style of production of alt-luxury furniture continued until the 19th century. On the other hand, the evident Asian influence on the decoration of the dresser should be highlighted. There are Korean flowers and other elements derived from the repertoire of Asiatic ornamentation.” The quoted article by Professor Curiel continues: “In the decoration we can make out shapes that are reminiscent of Korean flowers, that Jorge F. Ribas has related to lacquered Korean pieces of the Joseon Dynasty. These same floral motifs are present on inlaid boxes and are, one can aﬃrm, the “signature” of one particular workshop’s creations, which indicates that there was heavy activity in the workshop which managed to make these distinctive decorative forms which have endured over time.” Jorge Rivas, who Professor Curiel alludes to in his text, is currently the curator at the Frederick and Jan Mayer Center at the Denver Art Museum, and head of the Latin American Art department.

Estimate:18.000 euros - 22.000 euros

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Lote 88 Description

Portable devotional image. Colonial School. Mexico. 18th century. Large, wooden doublefaced image, edged in tortoiseshell and silver and with a marked silver handle. Richly decorated on both faces. On one side there is an oil on copper painting depicting two saints, the archangel Saint Michael and the resurrected Christ.

On the other side is a carved, gilded and polychromed sculptural set depicting the resurrection of the Virgin Mary. There is a small flaw in the tortoiseshell. 34,5 x 25 x 9 cm.

Estimate: 8.000 euros - 9.000 euros

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Lote 89 Description

Chest with a curved Oaxaca inlay lid and iron fittings. Colonial work. Oaxaca. Mexico. 18th century.. The specific and unique decoration technique from Oaxaca is very well explained by Andrés Gutiérrez Usillos, in “El baúl de taracea de Villa Alta (Oaxaca, Nueva España) de los marqueses de Mancera en la colección Gerstenmaier. Una obra invitada en “contexto” en el Museo de América” – an explanation about the inlaid chest from Villa Alta made for the Marquess of Mancera which is in the Gerstenmaier collection: “One of the most interesting aspects, and which characterises and individualises the Villa Alta production from that of other similar carpentry workshops, is the use of sgraﬃti or excavation of the edges, folds, features and shadows of the designs and figures, and their being filled by a black paste called sumac, which gave it a similar appearance to xylographic prints.. The technique of wood inlay and incisions or sgraﬃti filled with black paste are characteristics which define the Viceroyalty production of the town of Villa Alta, in Oaxaca, Mexico”. 13,5 x 23 x 14 cm.

Estimate: 5.000 euros - 5.500 euros

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Lote 90 Description

Wooden box covered in tortoiseshell. Colonial work. Mexico. 18th century. Wooden box covered in tortoiseshell. Colonial work. Mexico. 18th century. 15 x 20,5 x 11,5 cm.

Estimate: 3.500 euros - 3.800 euros

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Lote 91 Description

Small wooden box covered in tortoiseshell, ivory and silver. Colonial work. Mexico. 18th century. 9 x 13,5 x 9 cm.

Estimate: 1.500 euros - 1.700 euros

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Lote 92 Description

Wooden chest covered in embossed leather. Colonial School. Peru. 18th century. Flaws. 45 x 80 x 45 cm.

Estimate: 1.200 euros - 1.700 euros

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Lote 93 Description

Embossed leather case. Peru. 18th century. 12 x 35 x 26 cm.

Estimate: 1.500 euros - 2.000 euros

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Lote 94 Description

"Lions". Pair of sculpted alabaster figures. Colonial School. Late 18th century. 6,5 x 7 cm.

Estimate: 450 euros - 500 euros

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Lote 95 Description

Marvellous polychromed ivory and wood dressed virgin, with garments. Hispanic-Philippine. 17th century. Total height: 58 cm. Height of the Virgin Mary: 44 cm.

Estimate: 5.000 euros - 6.000 euros

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Lote 96 Description

"Saint’s head". Sculpted and polychromed alabaster figure. Colonial. Possibly Philippines. 18th century. Head measurements: 11,5 x 8 x 8 cm.

Estimate: 700 euros - 900 euros

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Lote 97 Description

"Christ". Sculpted ivory figure. Indo-Portuguese. 18th century. Height: 40 cm.

Estimate: 3.000 euros - 3.500 euros

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Lote 98 Description

Set of six embossed, chased and pricked silver rosettes. century. Possibly from a reredos. 26 x 30,5 cm. each.

Estimate: 4.500 euros - 5.500 euros

Viceroyalty work.

Peru. 18th

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Lote 99 Description

Embossed silver home stoup. Colonial work. Mexico or Peru. 18th century. 26 x 17 x 5 cm.

Estimate: 1.800 euros - 1.200 euros

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Lote 100 Description

Embossed and chased silver thurible in the shape of peacocks. New-Hispanic work. Peru. 18th century. Measurements with the wings open: 21 x 18 x 18 cm.

Estimate: 2.800 euros - 2.900 euros

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Lote 101 Description

Embossed silver casket with mount. Colonial School. New Spain (Mexico). 18th century. 12 x 11 x 7 cm. Coconut chocolate box made of polished coconut palm with sgraﬃtto, with cast, wrought and chased silver and flecks of lustre.

Estimate: 1.800 euros - 2.200 euros

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Lote 102 Description

"Saint Anne bidding farewell to the pregnant Virgin Mary". Monumental carved, gilded and polychromed wooden relief. Colonial School. Probably Mexico. Late 17th century. 140 x 206 x 12 cm.

Estimate: 50.000 euros - 60.000 euros

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Lote 103 Description

"Our Lady of Carmen with Souls in Purgatory". Carved and polychromed wooden relief. Colonial School. Possibly Viceroyalty of Peru. 17th – 18th century. 102 x 60 x 14 cm.

Estimate: 18.000 euros - 22.000 euros

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Lote 104 Description

Pedro de Vargas (Montilla, Córdoba 1553 - activo hasta 1596). "Immaculate Conception, Mary crowned by angels”. Oil on canvas 152 x 123 cm. Picture painted at the time that he was living in Cuzco, Peru. A painter from Cordoba, who, like many other painters from the South of Spain, although most of these came from Seville, went to live in Peru, where he gave training in painting to indigenous artists. The painting comes with a certificate by Professor Alba Choque Porras, dated in Lima on 5th April 2021. The extensive study notes, among other points, that: “This painting depicts the theme of the Coronation of the Virgin Mary, but under the title of the Immaculate Conception. Pedro de Vargas was undoubtedly inspired by a 1574 print by Cornelis Cort which depicts the Coronation of the

120 Virgin Mary, following a painting by Federico Zuccari… But additionally,, in this painting the Virgin Mary wears the characteristic garments associated with the Immaculate Conception, a white tunic and a blue cloak. The cloak in the painting maintains the parameters of the engraving meticulously by including the embroidery at the edges of the fabric, which the artist has gilded. This iconographic theme is what is most remarkable. The style of the painting is mannerist, with the lengthening of the figures, the twisting and positions of the hands, necks and mannerist gestures and postures. Mannerism was still active even after the first decades of the 17th century in Latin America.” Professor Alba Choque Porras continues in her description of the painting presented here: “In this study we attribute the painting to the artist from Cordoba, Pedro de Vargas, due to its technique, characteristics, and the treatment of the figures of the characters, comparing them with other paintings which have been proven to be by the artist. Pedro de Vargas was considered to be a master artist for the Jesuit order, and Bernardo Bitti’s most important collaborator in Peru. He arrived in Lima in 1575 where he joined the Society of Jesus at the age of 21, when he was already a professional painter. He worked with Bitti in Lima and Cusco, and with him he moved to Juli (Puno) on Lake Titicaca. He also spent time in Potosi and Quito. He had a restless and dissatisfied spirit, which is why he returned to Spain in 1596 and left the Society. His artistic contribution fits within the mannerist style, his figures are slim and very beautiful. His paintings are often cited in the “Historia de la Pintura Cusqueña” (History of Cusco painting) by José de Mesa and Teresa Gisbert (1982), where he is mentioned in the 1576 Catalogue of the Jesuit Order as: “a novice of the age of 22, Diocese of Cordoba, he is a painter and gilder.” From 1577 for a period of eight years, he worked alongside Bitti, not only on paintings but also making the altarpieces, reliefs and sculptures for the churches of the order. Gisbert also notes: “It is possible that [Pedro de] Vargas left some paintings in the Cuzco area that have not yet been identified.” From that period, a painting of Saint Barbara kept in the church of Martín de Tours de Huarocondo, in Anta, Cusco is attributed to Pedro de Vargas. In 1587, after finishing the mannerist altarpiece for the Society of Jesus (now located in the collection of the Cusco Regional Museum) he returned to Lima and then, under the orders of the Superior General Atienza, he left for Quito, forming part of the second expedition of the Jesuits to this city, which at that time belonged to the Viceroyalty of Peru. There is information about what he was doing circa 1591 due to the art he left in the city. There is later evidence of Vargas’ activity in Potosi (Bolivia) circa 1592. After his time in Potosi, he must have gone to La Paz, where he left an important triptych reredos of the “Madonna and Child surrounded by venerable Jesuit saints” which we include in the analysis to reveal the similarities with the painting in this lot. Vargas returned to Lima and in 1593 he turned forty, having spent nineteen years as a Jesuit. In 1596 he left the Society of Jesus and went to work in Trujillo (Peru) and in Quito, before returning to Spain. Finally, the study compares this painting to others by Vargas: “We mention the “Madonna and Child surrounded by venerable Jesuits” from his time in the city of La Paz, Bolivia (which at that time also belonged to the Viceroyalty of Peru). The central detail of the reredos depicts Mary with very similar features to those in the Pedro de Vargas painting we are analysing, both in the hair and the poses as well as the viewpoint from below. Moreover, the gesture of the hands which can also be appreciated in the accompanying saints’ and the child’s hands in the Potosi reredos, are characteristic of Vargas. Also, Vargas’ style is also recognisable by relating it to the Saint Barbara (dated approximately between 1577 and 1587) which he produced while he was in Cusco, in which the gestures of the hands and the saint’s facial features are clear to see.”

Estimate: 15.000 euros - 18.000 euros

121 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 104 A Description

Escuela colonial. México. Siglo XVII."Virgin of Guadalupe and double-headed eagle." Oil on canvas, 104 x 75 cm. Cm. Iconographic representation of the Virgin of Guadalupe, based on the one published by Miguel Sánchez in 1648. Miguel Sánchez, was a very important theologian who identified the Virgin of Guadalupe with the woman of Revelation 12.

Estimate: 24.000 euros - 27.000 euros

122 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 104 B Description

Escuela colonial. Cuzco. Perú. Siglo XVIII. "Virgin with Child and Santiago." Oil with gold highlights on panel. 32 x 26 cm.

Estimate: 700 euros - 900 euros

123 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 104 C Description

Escuela colonial. México o Perú. Siglo XVII - XVIII. "Saint Joseph and the Child". Oil on canvas. With frame of the time in carved, gilded and sgraﬃto wood. 104 x 80.5 cm.

Estimate: 1.700 euros - 2.000 euros

124 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 104 D Description

Andrés López (México, activo entre 1763 y 1811). "San Cristobal". Oil on canvas. Signed and with the inscription of reference to San Cristóbal: "S. Xptoval". 63.5 x 80 cm.

Estimate: 12.000 euros - 20.000 euros

125 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 104 E Description

Ximenez. Escuela colonial. México. Siglo XVIII. "Saint John the Baptist and indigenous donor". Oil and gold highlights on canvas. Signed. 68 x 53 cm.

Estimate: 6.000 euros - 7.500 euros

126 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 104 F Description

Colonial School. Mexico. 18th century. "The Virgin of Mercy, Saint Raymond Nonnatus and Saint Peter Nolasco”. Oil on canvas. 81 x 369 cm.

Estimate: 1.500 euros - 1.800 euros

127 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 104 G Description

Colonial School. Cuzco. Peru. 18th century. "Saint Martin”. Oil on canvas. 117 x 86 cm.

Estimate: 1.000 euros - 1.400 euros

128 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 105 Description

Spanish or Colonial School. 17th - 18th century. "Our Lady of the Tabernacle of Toledo”. Oil on canvas. Lined. 106 x 82 cm.

Estimate: 8.000 euros - 9.500 euros

129 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 106 Description

Colonial School. Possibly from Bogota or Puerto Rico. 18th century. "Our Lady Guadalupe of Extremadura”. Oil on canvas. Lined. 135 x 100 cm.

Estimate: 10.000 euros - 11.000 euros

130 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 107 Description

Colonial School. New Spain. Mexico. 18th century. "Our Lady of consolation”. Oil on canvas. 63 x 47 cm. With a carved, polychromed and gilded period wooden frame. It has been let out and patched at edges of the canvas.

Estimate: 7.500 euros - 8.500 euros

131 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 108 Description

Colonial School. Mexico. 17th - 18th century. "Saint Francis”. Oil on canvas. Lined. 64,5 x 83 cm.

Estimate: 4.500 euros - 6.000 euros

132 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 109 Description

Attributed to Angelino Medoro (Naples, 1567 - Seville, 1631). Viceroyalty of Peru. Late 16th century. Oil on canvas. 118 x 97 cm. Estimate: 5.000 euros - 7.000 euros

133 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 110 Description

Attributed to Bernardo Bitti (Camerino, Italy, 1548 - Lima, 1610). ”Saint Dominic de Guzmán”. Oil on canvas. 66 x 85 cm. Estimate: 6.000 euros - 7.000 euros

134 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 111 Description

"Archangel Saint Raphael". Large carved and polychromed wooden sculpture. Colonial School. 17th century. Height: 160 cm. Estimate: 24.000 euros - 26.000 euros

135 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 112 Description

"Madonna and Child". Carved, gilded and polychromed wooden sculpture. Possibly Colonial School. Peru. 16th - 17th century. 131 x 57 x 42 cm. Estimate: 16.000 euros - 16.500 euros

136 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 113 Description

Colonial School. Mexico. Late 17th century. “Archangel”. Oil on canvas. Lined. 123 x 103 cm. With a carved and gilded period wooden frame. Estimate: 18.000 euros - 21.000 euros

137 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 114 Description

Colonial School. Mexico. 17th century. “Joshua”. Oil on canvas. Lined. 186 x 104 cm. Following models by Zurbaran.

Estimate: 24.000 euros - 28.000 euros

138 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 115 Description

Colonial School. Mexico or Peru. 18th century. "Holy family with Saint Joaquim and Saint Anne”. Oil on canvas. 115 x 80 cm.

Estimate: 12.000 euros - 13.500 euros

139 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 116 Description

Colonial School. 18th century. "Archangel Saint Raphael, Saint Joseph with the Child and Saint Joaquim”. Oil on canvas. With an imposing carved and gilded period wooden cornucopia frame. Canvas measurements: 84 x 72 cm. Cornucopia measurements: 169 x 106 cm.

Estimate: 18.000 euros - 21.000 euros

140 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 117 Description

Colonial School. 18th century.”Christ the King”. Oil on canvas. 93 x 72,5 cm. Magnificent recreation of the precious stones and metals of the crown and the collar.

Estimate: 7.000 euros - 8.000 euros

141 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 118 Description

Colonial School. Mexico. 18th century. "Dismas and Gestas”. Oil on canvas stuck to a cedarwood panel. 102 x 72 cm.

Estimate: 24.000 euros - 28.000 euros

142 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 119 Description

"Saint Francis Xavier". Carved, polychromed and gilded wooden sculpture. Colonial. Possibly Philippine School. 17th century. Image height: 67 cm. Total height: 80 cm. Marvellous polychromed and gilded decoration of floral motifs on the chasuble. On the front are bunches of flowers and on the back is a large red flower surrounded by other smaller ones. The boat which is at his feet, a symbol of the miracle that took place on one of his journeys to the Maluku Islands when Saint Francis Xavier threw his crucifix to calm the seas during a storm. The next day a crab came out of the sea carrying the saint’s crucifix in its pincers. The figure rests on its original carved, polychromed, gilded and silvered plinth.

Estimate: 15.000 euros - 17.000 euros

143 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 120 Description

Colonial School. Cuzco. Peru. 17th century. “Archangel”. Oil on canvas. Lined. Total measurements: 150 x 94 cm. It has some flaws and an upper and lower fragment that belonged to another picture have been added. Despite the flaws in the pictorial layer, it is worth pointing out that it is of great pictorial quality, which can be observed in the archangel’s delicate and beautiful face and in the decoration on his cloak. Estimate: 1.500 euros - 2.000 euros

144 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 121 Description

Possibly Colonial School. 17th century. "Madonna and Child with donor" Oil on canvas. Lined. 126 x 101 cm. Estimate: 18.000 euros - 21.000 euros

145 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 122 Description

Colonial School. Mexico. 18th century. "Archangel Saint Michael”. Oil on canvas. 100 x 78 cm. This is most certainly a delicate and elegant example of New-Hispanic art, with great chromatic richness. The painting depicts one of the three archangels, Saint Michael, conqueror of the devil and prince of the angelic host. He is depicted according to the most typical iconography, with a breastplate and armed with a sword and a shield. Bands of canvas have been added to the sides to adapt it to the stretcher. Estimate: 7.500 euros - 9.000 euros

146 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 123 Description

Colonial School. Mexico. 17th century. “Franciscan”. Oil on canvas. 104 x 82,5 cm.

Estimate: 7.000 euros - 8.500 euros

147 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 124 Description

Colonial School. Mexico. 18th century. "Our Lady of Bethlehem”. Oil on canvas. Canvas measurements: 74 x 54 cm. In a carved and gilded period wooden frame. Frame measurements: 110 x 72 cm. The margins have been added to. Estimate: 7.000 euros - 8.500 euros

148 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 125 Description

Colonial School. Mexico. 18th century. "The exaltation of the eucharist with the Our Lady Immaculate and the Fathers of the Church”. Oil on canvas. 84 x 63 cm. Estimate: 7.000 euros - 8.000 euros

149 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 126 Description

Colonial School. Mexico. 17th century."Saint Francis Xavier baptising an indigenous woman”. Oil on canvas. 63 x 44 cm. Accompanied by an imposing carved and gilded 18th century wooden frame. Estimate: 8.000 euros - 9.000 euros

150 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 127 Description

"Saint". Carved, gilded and polychromed exotic wood sculpture. Colonial School. Mexico. 17th century. Height: 85 cm.The saint, dressed as a Jesuit priest, wears the heart inflamed with love, a clear symbol of his iconography. Estimate: 8.000 euros - 8.500 euros

151 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 128 Description

Attributed to Antonio Acero de la Cruz (Santa Fé de Bogota, c. 1600 -1667). Colonial School. Viceroyalty of New Granada."Saint Martin taking oﬀ his vestments”. Oil on canvas. 127 x 110 cm.Behind the main scene in which the saint takes oﬀ his cloak to help a beggar, there is an architectural landscape and sea shore, on which there is a caravel. There is an unreal feeling about the landscape, which is one of the characteristics of this painter. Another characteristic feature is the robust figures, still influenced by the Renaissance. Estimate: 20.000 euros - 24.000 euros

152 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 129 Description

Colonial School. Viceroyalty of New Granada. Peru. 17th - 18th century. "Christ Child triumphant”. Oil on canvas. Margins have been added to adapt the canvas to the stretcher. Canvas measurements: 104 x 71 cm. Polychromed wood period frame. Frame measurements: 113 x 85 cm. Estimate: 7.000 euros - 8.000 euros

153 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 130 Description

Colonial School. Viceroyalty of Peru. Cuzco. 18th century. "Saint Joseph and the Child”. Oil on canvas. 86 x 68 cm. Estimate: 9.000 euros - 10.000 euros

154 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 131 Description

Colonial School. Cuzco. Peru. 18th century. "James in the Battle of Clavijo”. Oil on canvas. 71,5 x 92,5 cm. On the back is a label from the Saldías Gallery, Lima. One of the iconographical depictions of the saint. There are various similar versions in the New Orleans Museum of Art and in the Lima Art. Estimate: 8.500 euros - 10.000 euros

155 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 132 Description

Attributed to Baltasar Vargas de Figueroa (Santafé de Bogota, Colombia, 1629 - 1667). Possibly Colonial School. Viceroyalty of New Granada. "The Martyrdom of Saint Barbara”. Oil on canvas. 184 x 125 cm. Estimate: 18.000 euros - 21.000 euros

156 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 133 Description

Colonial School. Viceroyalty of New Granada. Cuzco. Peru. 18th century. "Exaltation of the Sacred Heart”. Oil on canvas. 178 x 138 cm. Estimate: 18.000 euros - 20.000 euros

157 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 134 Description

Colonial School. Mexico or Colombia. 18th century. "Saint Didacus of Alcalá”. Oil on canvas. 124 x 97 cm.

Estimate: 5.000 euros - 5.500 euros

158 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 135 Description

Magnificent cut glass mirror. Venice. Italy. It was made to be exported to the Mexican market. 18th – 19th century. There is a reproduction of a comparable example in the book on Mexican furniture "El mueble Mexicano. Historia, evolución e influencias" published by Fomento Cultural Banamex, 1985. Page. 17.

Estimate: 8.000 euros - 10.000 euros

159 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 136 Description

Colonial School. Mexico. 18th century. "Saint Teresa and Saint John of the Cross “. Pair of oil paintings on copper. 15 x 11 cm. each.

Estimate: 1.800 euros - 2.200 euros

160 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 137 Description

Colonial School. Diego Quispe Tito’s circle. Cuzco. Peru. 18th century. "The Flight to Egypt" and "Arrival in Egypt”. Pair of oil paintings with gold highlights on canvas. Lined. 40 x 30 cm. each.

Estimate: 12.000 euros - 15.000 euros

161 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 138 Description

Possibly Colonial School. 18th century. "Portrait of a Lady”. Oil on canvas. It has a coat of arms. 75 x 61 cm.

Estimate: 6.000 euros - 7.000 euros

162 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 139 Description

Colonial School. Possibly Guatemala. 18th century. "Portrait of a soldier”. Oil on canvas. With extensions added to the margins. 104 x 77 cm.

Estimate: 6.000 euros - 8.000 euros

163 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 140 Description

Colonial School. New-Hispanic. 17th century. "Triple alliance, diﬃcult to break " (Funiculus Triplex Diﬃcile Rumpitur). The Christ Child Saviour of the World, Christ Crucified and the Eucharist. Oil on copper. 22,5 x 17 cm.

Estimate: 4.000 euros - 5.000 euros

164 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 141 Description

Colonial School. Attributed to Baltazar Echave Ibía (Mexico City, New Spain, 1583-84? 1644). ”Mary of Egypt”. Oil on copper. 22 x 16,5 cm.

Estimate: 2.500 euros - 2.800 euros

165 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 142 Description

Spanish School. 16th century. "Saint Veronica with the Sudarium”. Embossed and painted cordovan leather. 41,5 x 33 cm.

Estimate: 3.000 euros - 3.200 euros

166 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 143 Description

Attributed to Luís Lagarto (Seville, 1556 - Puebla, 1624). ”Mary Magdalene”. Oil and gold on vellum. 20 x 15 cm. Important painter and illuminator of the late 16th century and early 17th century.

Estimate: 5.000 euros - 6.500 euros

167 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 144 Description

Attributed to José Antonio Landaeta (Caracas, Siglo XVIII) Colonial School."Our Lady of Mercy with Saint Peter Nolasco and Saint Mary of Cervelló”. Oil on copper. With and ebonised wood period frame. 23 x 16,5 cm. Frame measurements: 31 x 25 cm.

Estimate: 6.000 euros - 6.500 euros

168 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 145 Description

Attributed to Baltazar Echave Orio (Zumaya, C. 1548 - Mexico, 1624). ”Holy Family”. Oil on copper. 34 x 27 cm.

Estimate: 6.000 euros - 6.500 euros

169 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 146 Description

Colonial School. Mexico or Peru. 18th century. "Holy Family”. Oil on copper. Copper measurements: 21,5 x 16,5 cm. With a carved and gilded period wooden frame. Frame measurements: 26 x 21 cm.

Estimate: 3.000 euros - 3.200 euros

170 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 147 Description

Colonial School. Mexico. 18th century. "Pietà with Saint John and an angel" . Oil on copper. 30 x 21,5 cm. Estimate: 3.500 euros - 3.800 euros

171 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 148 Description

"The Virgin Mary and Saint Joseph". Pair of carved and polychromed wooden sculptures. Colonial School. Quito. 18th century. Height: 23 cm. y 22 cm. They belonged to a creche. Magnificent example of imagery from Quito, with great colouring and fineness, as can be observed in the delicate features of the figures and their hands as well as the beautiful polychrome decoration and the skin tones. Mary and Joseph are accompanied by a period carved and polychromed Baby Jesus, but in our opinion, it is not from Quito like the adult figures.

Estimate: 3.800 euros - 4.800 euros

172 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 149 Description

"Christ Child". Carved, polychromed and gilded wooden sculpture. Colonial School. Quito. 18th century. 17 x 24 x 10 cm. It carries the three powers in wrought tin and has glass eyes. The polychroming of the skin tones is magnificent, as well as the modelling of the body.

Estimate: 1.300 euros - 2.000 euros

173 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 150 Description

Attributed to Manuel de Chili "Caspicara" (Quito, 1723 - 1796). ”Christ Child”. Carved and polychromed wooden sculpture with glass eyes. 9 x 30 x 10 cm. One of greats of the Quito School, considered to be the successor to Bernardo de Legara in the field of religious imagery. He made magnificent sculptures, especially in wood and marble. His best-known work can be found in Quito Cathedral and in the Church of Saint Francis in the same city. An exhibition of the treasures of the Hispanic Society of America “Tesoros de la Hispanic Society of America. Visiones del mundo hispánico" took place in Madrid in the Museo del Prado in 2017. Among the pieces chosen were "The dying moments of man" a sculptural group attributed to Manuel de Chili.

Estimate: 9.000 euros - 12.000 euros

174 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 151 Description

"Saint". Carved and polychromed wooden sculpture with glass eyes. Colonial School. Quito. 18th century. Bernardo de Legarda’s circle. Magnificent example of baroque imagery from Quito, with the characteristic polychroming of the faces that looks like porcelain. Slight flaws. Height: 44 cm.

Estimate: 1.200 euros - 1.500 euros

175 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 152 Description

Possibly Colonial School. Mexico. 17th - 18th century. "True portrait Our Lady of Solitude, of Victory, from Madrid”. Oil on canvas. 109 x 84 cm. With a 19th century carved and gilded wooden frame. This is a “Vero Retrato” (a painting directly copied from a revered statue) which depicts the sculpture which was worshipped at the Convent of Our Lady of Victory by the friars of the Order of the Minims of Saint Francis of Paola in Madrid, which was made by Gaspar Becerra in 1563, commissioned by Isabelle de Valois. Its fame reached New Spain, and both the Cathedral of Mexico and that of Puebla have a chapel dedicated to the image, as well as a church in Oaxaca.

Estimate: 9.000 euros - 10.000 euros

176 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 153 Description

Attributed to José de Páez (Mexico City, 1727 - 1780). ”Saint Francis of Paola”. Oil on canvas. 75 x 58 cm.

Estimate: 4.500 euros - 5.500 euros

177 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 154 Description

Colonial School. Puebla. Mexico. 17th century. "Ascension of the Virgin Mary”. Oil on canvas. With an imposing carved wooden frame. Canvas measurements: 144 x 110 cm. Frame measurements: 198 x 166 cm.

Estimate: 12.000 euros - 14.000 euros

178 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 155 Description

"Abraham". Large carved, gilded and polychromed wooden relief. Colonial School. Peru. 17th century. 135 x 68 x 18 cm.

Estimate: 22.000 euros - 24.000 euros

179 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 156 Description

Attributed to Baltazar Echave Ibía (Mexico City, New Spain, c. 1583 - 1644). ”Christ judged by the people”. Oil on canvas. Lined. 60 x 85 cm.

Estimate: 18.000 euros - 19.000 euros

180 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 157 Description

Attributed to Simón Pereyns (Antwerp, c. 1530 - Mexico, c. 1600). Colonial School. Mexico. 16th century. "The Adoration of the Magi”. Oil on panel. 120 x 77 cm.

Estimate: 18.000 euros - 21.000 euros

181 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 158 Description

Possibly Colonial School. Mexico. 18th century. Following models by Rubens. "The Adoration of the Magi”. Oil on canvas. Lined. 163 x 109 cm.

Estimate: 18.000 euros - 20.000 euros

182 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 159 Description

Colonial School. 18th century. "Praying saint”. Oil on canvas. 75,5 x 60,5 cm. With a carved and gilded period frame.

Estimate: 10.000 euros - 12.000 euros

183 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 160 Description

Colonial School. Mexico. 18th century. "Virgen of Bethlehem”. Oil and gold on canvas. 74 x 62,5 cm. Four of the symbols of the Marian invocations that appear in the Litany, the Psalms and in poetic texts of praise appear in the painting: the rose, the book, the palace and the cypress.

Estimate: 3.600 euros - 4.000 euros

184 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 161 Description

Imposing carved and gilded reliquary. Colonial School. Mexico. 18th century. With 12 small shrines in which diﬀerent scenes are depicted sculpturally in ivory, wood etc, such as the calvary, Saint Anthony with the Child, the Christ Child sleeping and diﬀerent images of Our Lady Immaculate. 56 x 35 x 11 cm.

Estimate: 11.000 euros - 12.000 euros

185 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 162 Description

Colonial School. Possibly Viceroyalty of Peru. 17th century. "Our Lady of Sorrows”. Oil on canvas. 46,5 x 37 cm. In our opinion, this painting bears similarities to the one by Melchor Pérez de Holguín (Cochabamba, Viceroyalty of Peru, 1660 - Potosí, 1732).

Estimate: 6.000 euros - 8.000 euros

186 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 163 Description

Colonial School. 17th century. "Our Lady of Guadalupe of Extremadura”. Oil on canvas. 142 x 94 cm.

Estimate: 6.000 euros - 6.500 euros

187 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 164 Description

"Saint Anthony". Monumental carved and polychromed wooden sculpture. Colonial School. Sino-Portuguese or Philippine. 18th century. There are some flaws. 173 x 83 x 67 cm.

Estimate: 15.000 euros - 17.000 euros

188 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 165 Description

Colonial School. Mexico. 17th - 18th century. Set of ten paintings depicting nine of the apostles and Jesus. Oil on canvas. Some of them are lined. 79 x 68 cm. each.

Estimate: 12.000 euros - 15.000 euros

189 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 166 Description

Colonial School. 17th - 18th century. “Christ”. Oil on copper. With a period, ebonised wood frame.

Estimate: 3.750 euros - 4.200 euros

190 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 167 Description

Colonial School. 17th - 18th century. "Madonna and Child”. Oil on canvas. In a carved and gilded period wooden frame.

Estimate: 2.400 euros - 2.600 euros

191 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 168 Description

Colonial School. 18th century. "True portrait Our Lady of Solitude, of Victory, from Madrid and Saint Francis of Paola”. Oil on copper. 15 x 11 cm. This is a “Vero Retrato’ or a painting of the sculpture that is worshipped at the Convent of Our Lady of Victory by the friars of the Order of the Minims of Saint Francis of Paola in Madrid, which was made by Gaspar Becerra in 1563, commissioned by Isabelle de Valois. Its fame reached New Spain, and both the Cathedral of Mexico and that of Puebla have a chapel dedicated to the image, as well as a church in Oaxaca. Provenance: Private Collection, San Juan, Puerto Rico.

Estimate: 1.800 euros - 2.000 euros

192 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 169 Description

Colonial School. Mexico. 18th century. "Our Lady of the Caves”. Polychromed stucco and wooden relief. Carved, gilded and polychromed period wooden frame. 25 x 18 cm.

Estimate: 7.500 euros - 8.000 euros

193 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 170 Description

Colonial School. Mexico. 17th century. ”The Adoration of the Shepherds”. Oil on panel. Relined. 60 x 44 cm. Provenance: Private collection, Paris.

Estimate: 4.500 euros - 6.000 euros

194 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 171 Description

Attributed to Alonso Vázquez (Ronda, Malaga, 1564 - Mexico, 1608). ”Our Lady of Popolo”. Oil on copper. 8 x 6 cm. Alonso Vázquez moved to Mexico with the III Marquess of Montesclaros. He was a very important painter of the Mexican School.

Estimate: 3.000 euros - 3.200 euros

195 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 172 Description

Colonial School. Peru. 17th century. "Archangel Saint Raphael”. Oil on canvas. Lined. 77 x 58 cm. Estimate: 4.500 euros - 5.500 euros

196 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 173 Description

Colonial School. 18th century. "Calvary with recumbent Christ, the sky and purgatory”. Oil on canvas. Lined. 79 x 61 cm. There is a compartment with the handwritten motto: "El Yllmo. Sr. Dr. Dn. Francisco Polanco Carrera Zeballos, Buriyo, obispo de las chiapas concede 90 dias de indulgencia a todas las personas que rezaren un credo delante de este Sr. Crucificado pidiendo por la exaltacion de .. Santa Fee año .." (the Bishop of Las Chiapas Francisco Polanco Carrera Zeballos, Buriyo concedes 90 days of indulgence to anybody who prayed the Creed before this crucified Lord, asking for the exaltation of ….Santa Fe year…. Estimate: 1.800 euros - 2.500 euros

197 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 174 Description

Juan de Zepeda (Michoacan, 18th century). ”Apparition of Christ on his way to the Calvary”. Oil on canvas. Signed. 81 x 61 cm. There are some flaws and tears. Estimate: 2.500 euros - 3.000 euros

198 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 175 Description

Andres Flores. Colonial School. Valle de Mexico. 18th century. "Martyrdom of Philip of Jesus and scene of the baptism of Jesus”. Oil on canvas with gold highlights. Signed and dated 1752. 89 x 87 cm. Philip of Jesus, (whose secular name was Felipe de las Casas y Martín) (Mexico City, New Spain, 1572 - Nagasaki, 1597) was a Franciscan friar of New-Hispanic origin who was martyred in Japan. He was the first native of Mexico to be canonised and the first Mexican martyr. With the inscription: "A devosion de Dn Jua Felipe Año d 1752. Andres Flores Fesi". Painted in the form of a diptych. Apparently, connecting two apparently unrelated scenes in one artwork is typical of this area. Estimate: 2.500 euros - 3.000 euros

199 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 176 Description

Colonial School. Mexico. 18th century. "Saint Joseph and the Child”. Oil on canvas. 70 x 50 cm. Estimate: 1.200 euros - 1.500 euros

200 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 177 Description

Colonial School. Cuzco. Peru. 18th century. "Saint Joseph”. Oil on canvas. Lined. 98 x 77 cm.

Estimate: 6.000 euros - 7.000 euros

201 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 178 Description

Colonial School. 18th century. "Saint Charles Borromeo”. Oil on canvas. 91 x 114 cm.

Estimate: 4.000 euros - 4.400 euros

202 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 179 Description

Possibly Colonial School. Mexico. 18th century. "Saint Thomas”. Oil on canvas. 140 x 103 cm. Saint Thomas with a phylactery inscribed “carnis ressurrectionem”, one of the fundaments of the Catholic creed.

Estimate: 9.000 euros - 10.000 euros

203 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 180 Description

Colonial School. Viceroyalty of New Granada. Peru. 17th - 18th century. “Pietà”. Oil on canvas. 130 x 86 cm. Has been patched and the margins have been extended.

Estimate: 4.500 euros - 5.500 euros

204 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 181 Description

Colonial School. Peru. 18th century. "Our Lady of Pópolo”. Oil on canvas. 47 x 35 cm.

Estimate: 3.000 euros - 3.200 euros

205 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 182 Description

Colonial School. Viceroyalty of Peru. Peru or Colombia. 18th century. "Judith with the head of Holofernes”. Oil on canvas. Lined. 126 x 84 cm.

Estimate: 9.000 euros - 10.500 euros

206 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 183 Description

Colonial School. Mexico. 18th century. "Our Lady of Carmen with Child and souls in purgatory”. Oil on copper. 59 x 48,5 cm.

Estimate: 6.000 euros - 7.000 euros

207 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 184 Description

Colonial School. Viceroyalty of New Granada. Cuzco. Peru. 18th century. "The Ascension of the Virgin Mary”. Oil on canvas. 107 x 74 cm. Estimate: 9.000 euros - 10.000 euros

208 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 185 Description

Colonial School. 17th - 18th century. "The Ascension of Christ”. Oil on copper. 62 x 37,5 cm. Estimate: 3.000 euros - 4.000 euros

209 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 186 Description

Colonial School. 17th - 18th century. "The forge”. Oil on canvas. Lined. 116 x 162,5 cm. Estimate: 7.000 euros - 8.500 euros

210 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 187 Description

José Garzón Melgarejo (Colombia, 18th century). ”Saint John of Nepomuk”. Oil on copper. Signed. 82 x 47 cm. As a comparative reference, and even though it has a diﬀerent subject matter, we can compare this painting with the Divine Shepherdess by Garzón Melgarejo, which can be found in the Colonial Museum of Bogota catalogued as number 16722. In that painting, as in this one, the face of the Virgin Mary is sweet and delicate with some characteristic features: the hands and fingers are long and fine, the lace edging on the garments, which in this case are, if possible, even more delicate and detailed. Saint John of Nepomuk, patron of the confessors. He was a Bohemian priest, vicar-general of Saint Giles Cathedral in Prague. He was martyred for defending the laws and autonomy of the church, being tortured and thrown into the river from Charles Bridge by King Wenceslaus IV. Behind the saint the symbol of the bridge appears and a small image of him falling from it, and in this case with his tongue in his hand, sign of his sacramental seal, “it is absolutely forbidden for a confessor to betray in any way a penitent” Estimate: 4.200 euros - 5.500 euros

211 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 188 Description

"Ecce Homo". Corn-stem paste sculpture. Colonial School. 18th century. The eyes are made of glass paste. 66 x 37 x 29 cm. Estimate: 8.000 euros - 9.000 euros

212 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 189 Description

Colonial School. 18th century. Oil on canvas. 54 x 66 cm. Estimate: 800 euros - 1.000 euros

213 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 190 Description

Colonial School. Mexico. 18th century. "Our Lady of Bethlehem”. Oil and highlights on copper. 18 x 15 cm. Estimate: 1.800 euros - 2.000 euros

214 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 191 Description

"Saint Martin". Carved, gilded and polychromed wooden sculpture. Probably Colonial School. Mexico or Peru. 17th century. 44 x 25 x 19 cm. Estimate: 12.000 euros - 13.000 euros

215 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 192 Description

"Archangel Saint Michael". Carved, gilded and polychromed wooden sculpture. Colonial School. Peru. 18th century. 44 x 25 x 19 cm. Estimate: 5.000 euros - 5.500 euros

216 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 193 Description

"Saint Joseph and the Child". Carved and polychromed wooden sculpture. Colonial School. 18th century. Height: 30 cm. Estimate: 3.000 euros - 3.200 euros

217 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 194 Description

"Saint". Carved, gilded and polychromed wooden sculpture. Colonial School. Mexico or Peru. 17th century. Height: 76 cm. Estimate: 6.000 euros - 7.000 euros

218 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 194 A Description

"Saint Michael Archangel". Carved, polychromed and gilded wooden sculpture. Spanish School. 17th century. 42 x 16 x 13 cm. Estimate: 2.000 euros - 2.200 euros

219 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 195 Description

"Christ". Head modelled in wax. Late 18th century. Height of the head without plinth: 20 x 16 x 10 cm. Estimate: 700 euros - 800 euros

220 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 196 Description

Colonial School. Viceroyalty of Peru. 18th century. "Madonna and Child”. Oil on canvas. 90 x 66 cm. Estimate: 3.500 euros - 3.800 euros

221 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 197 Description

"Saint". Ebony and ivory sculpture. Hispanic-Philippine. 18th century. Total height: 21,5 cm. Estimate: 1.200 euros - 1.400 euros

222 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 198 Description

"Calvary". Sculpted ivory group. Indo-Portuguese. 18th century. Height: 18 cm. (1) and 10,2 cm. (3)

Estimate: 2.500 euros - 2.800 euros

223 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 199 Description

"Flight to Egypt". Sculpted ivory group. Hispanic-Philippine. 18th century. 13,5 x 8,5 x 4,5 cm.

Estimate: 2.400 euros - 2.600 euros

224 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 200 Description

"Christ Child". Sculpted huamanga stone figure with gilt residue. Colonial School. 18th century. Flaws on the toes. Height: 12 cm.

Estimate: 700 euros - 800 euros

225 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 201 Description

Jícara. Colonial work. 18th - 19th century. Squash with incised and dyed decoration of birds and fruits.

Estimate: 1.800 euros - 2.500 euros

226 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 202 Description

Colonial School. Possibly Peru. 18th century. "Our Lady of Silence”. Oil on canvas. 64 x 50 cm.

Estimate: 1.800 euros - 2.200 euros

227 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 203 Description

Colonial School. Peru. Bernardo de Legarda’s circle. 18th century. "Our Lady Immaculate”. Carved, polychromed and estofado technique sculpture. Height: 60 cm.

Estimate: 18.000 euros - 20.000 euros

228 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 204 Description

Colonial School. Viceroyalty of Peru. 18th century. "The conversion of Saint Paul”. Oil on canvas. 69 x 53 cm.

Estimate: 2.500 euros - 2.800 euros

229 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 205 Description

Fernando Xumatra. Cuba. 19th century. "Guajiro and Guajira”. Pair of oil paintings on cardboard. The title is on the back as well as the location - Cuba. 23,5 x 14 cm. each.

Estimate: 2.400 euros - 3.500 euros

230 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 206 Description

Luis Díaz Gijón. ”Soldiers. Scenes of the Cuban war”. Pair of panel paintings in oil. Signed and dated 1894. 70 x 32 cm. each.

Estimate: 5.000 euros - 6.000 euros

231 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 207 Description

Ricardo Marín (Barcelona, 1874 - Havana, 1942). ”View of Cuba”. Oil on panel. Signed. 23 x 38 cm.

Estimate: 3.000 euros - 3.500 euros

232 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 208 Description

Colonial School. 19th century. “Romeria”. Oil on canvas. 55 x 73 cm.

Estimate: 15.000 euros - 16.000 euros

233 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 209 Description

Pancho Fierro (Ciudad de los Reyes, Viceroyalty of Peru, 1807 - Lima, 1879). ”Characters”. Six watercolour engravings on paper. 15 x 11,5 cm. each.

Estimate: 3.000 euros - 3.200 euros

234 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 210 Description

Juan Luna y Novicio (Badoc, Philippines, 1857 - Hong Kong, 1899). ”Character from the classical world”. Oil on canvas. Signed. 43 x 33 cm.

Estimate: 6.000 euros - 8.000 euros

235 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 211 Description

"Processional Virgin Mary". Imposing polychromed wooden carving. 16th century. Parts of the original period garments are preserved. The magnificent state of preservation of the polychroming is outstanding. 117 x 40 x 40 cm.

Estimate: 8.000 euros - 10.000 euros

236 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 212 Description

European School. Possibly the Netherlands. 17th century. Set of four monumental, carved, wooden architectural elements. They are of great sculptural quality. The faces of the characters appear to be somewhere between human and fantastical. Composed of a lower part in the shape of pilasters and an upper part in the shape of a satyr or grotesque character. The shape of the top suggests to us that these were decorative elements that had the function of supporting a beam. 275 x 80 x 34 cm.

Estimate: 40.000 euros - 42.000 euros

237 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 213 Description

Flemish School. 16th century. Oil on copper. 41,5 x 55 cm.

Estimate: 3.500 euros - 3.800 euros

238 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 214 Description

Hispanic-Flemish School. 16th century. "The Resurrection of Christ with saints and donors”. Oil on panel. 112 x 90 cm.

Estimate: 5.000 euros - 6.500 euros

239 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 215 Description

Italian School. Early17th century. "Libyan Sibyl”. Oil on canvas. 60 x 47,5 cm. It bears the inscription: "tenebiturin remio, virginis".

Estimate: 3.600 euros - 4.000 euros

240 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 216 Description

European School. Possibly France. 18th century. "Portrait of a clergyman”. Oil on copper. With a silvered metal 19th century frame. Possibly a portait of Abbot Tournus. Copper measurements: 15 x 11,5 cm. Frame measurements: 28 x 15,5 cm.

Estimate: 1.800 euros - 2.200 euros

241 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 217 Description

Flemish School . Late 16th century. Oil on copper. 19,8 x 16,7 cm.

Estimate: 1.800 euros - 2.000 euros

242 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 218 Description

"Saint Bartholomew". Spanish School. Renaissance. 16th century. 93 x 32 x 25 cm. Saint Bartholomew the apostle, depicted as standing with the habitual cloak and tunic alongside a devil in chains, from which he had freed the daughter King Polemius of India. In his left hand he holds the book, and in his right hand the knife, instrument of his martyrdom, of which only the handle remains. His physical type is inspired by the description in the Golden Legend: "..black hair, white face, large eyes, straight nose, beard."

Estimate: 6.000 euros - 7.000 euros

243 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 219 Description

Flemish School. Follower of Rubens. Circa 1600. "The Adoration of the Shepherds”. Oil on copper. 40 x 54 cm.

Estimate: 4.000 euros - 4.500 euros

244 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 220 Description

Flemish School. 16th century. "Christ and characters”. Oil on panel. 75 x 106 cm.

Estimate: 5.000 euros - 5.500 euros

245 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 221 Description

José Robledo (Painter of the Antequera and Seville School, second half of the 17th century). ”Project for an altarpiece”. Oil on canvas. Signed and dated 1690. 64,5 x 54,5 cm. In a very interesting report: "El lienzo de la historia de Job de la Colegiata de san Sebastián de Antequera. Noticias sobre su autoría" (The canvas of the story of Job in the Collegiate church of Saint Sebastian in Antequera. News about its creator) by Professor José Fernández López, who analyses the painting of the life of Job, noting that it had previously been attributed to Juan Valdés Leal and his son Lucas Valdés, until, in a cleaning process, the signature and date of 1682 were discovered. Professor Fernández López notes that: "He was a painter of the Antequera School, artistically very active from the beginning of the 17th century, and linked to Seville. There is little information on his activity, although there is suﬃcient work that is known to be by him to be able to place him in a relevant place within his local sphere. There is also the painting, which José Robledo signed

246 and dated in 1684, a canvas which depicts Tomyris and Cyrus, a copy of a print of the famous painting by Rubens, kept at the Poor Clares' Convent of Bethlehem in Antequera. An Education of the Virgin Mary at the same convent has also been attributed to him. Until now, Robledo had essentially been considered to be a painter who used Flemish prints as inspiration for his work.” One hypothesis which this painting invites, observing its style, is that Robledo had travelled to New Spain. The presence of numerous flowers spread over the altarpiece, as well as the red bows that decorate the Madonna and Child suggest this to be the case. This painting implies the addition of a new, previously unknown work to the artist’s pictorial set, and after the analysis of the History of Job, Professor Fernández notes: "This is, definitively, a painting of artistic interest, especially if we take into account that the discovery of the identity of its painter can contribute to a greater knowledge of the Antequera School of the second half of the 17th century and, in the future, allow us to attribute more paintings to the artist.”

Estimate: 15.000 euros - 16.500 euros

247 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 222 Description

Hispanic-Flemish School. 16th - 17th century."Madonna and Child”. Oil on panel. With a carved and polychromed frame. Panel measurements: 60 x 40 cm. Frame measurements: 68,5 x 50 cm.

Estimate: 2.500 euros - 2.800 euros

248 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 223 Description

"Ecce Homo". Carved, polychromed and gilded wooden sculpture. Burgos. Renaissance. 16th century. On its original carved and gilded period plinth. Total measurements: 50 x 34 x 25 cm. Measurements Ecce Homo: 31 x 26 x 14 cm.

Estimate: 5.000 euros - 6.000 euros

249 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 224 Description

"Madonna and Child". Carved, gilded and polychromed wooden sculpture. Flemish School. Circa 1500. Height: 25 cm.

Estimate: 2.500 euros - 2.700 euros

250 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 225 Description

Large carved, silvered and gilded wooden processional cross. Sicily. Italy. 18th century. 98 x 76 cm.

Estimate: 3.000 euros - 3.500 euros

251 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 226 Description

Pair of gilded bronze plaques. Italy or Nuremberg. Renaissance. Circa 1500. "Jesus on his way to the cross" and "Our Lady of Sorrows" With a silver frame. Plaque measurements: 20,5 x 16 cm. Frame measurements: 35 x 22 cm.

Estimate: 5.000 euros - 5.500 euros

252 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 227 Description

Magnificent tessera mosaic made of hard stones, inspired by Pompeii, following the models of rhombic mosaic found in the House of the Faun in Pompey. 18th - 19th century. Mounted to the taste of the period, to fit a carved wooden table. The great archaeological adventure of the discovery of Pompeii in 1748 caused a real revolution in culture, art and life. Artists, and in general all European imagery, felt a strong attraction towards the ruins of Pompeii. Total measurements: 60 x 90 x 59 cm.

Estimate: 5.000 euros - 7.000 euros

253 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 228 Description

"Christ". Chased silver figure and ebony cross. Italy. 16th century. Height of Christ: 18 cm. Cross measurements: 42 x 23,5 cm.

Estimate: 5.000 euros - 5.500 euros

254 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 229 Description

Embossed silver mirror. Spain. 18th century. With hallmarks. 55 x 37 cm.

Estimate: 1.500 euros - 2.000 euros

255 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 230 Description

Embossed and chased silver votive lamp. 17th - 18th century. 72 x 29 cm.

Estimate: 1.800 euros - 2.000 euros

256 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 231 Description

Embossed and chased silver votive lamp. 17th - 18th century. Maximum diameter: 45,5 cm.

Estimate: 2.200 euros - 2.500 euros

257 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 232 Description

"Saint Joseph”. Carved, gilded and polychromed wooden sculpture. 17th century. 112 x 50 x 36 cm.

Estimate: 9.000 euros - 10.000 euros

258 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 233 Description

"Saint Joseph and the Child". Carved and polychromed wooden sculpture. Portugal. 18th century. Height: 68 cm.

Estimate: 2.000 euros - 2.500 euros

259 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 234 Description

"Saint Pascual Baylón". Sculpted and polychromed alabaster figure. Mid 18th century. The saint is depicted alongside the Church of San Pascual Bailón in Torrehermosa, Calatayud, Spain, also known as the Church Nuestra Señora La Blanca, built in 1734. On its original polychromed and gilded alabaster plinth. Saint measurements: 40 x 28 x 12 cm. Total measurements: 54 x 28 x 15 cm. Depicted in the habitual way, with a Mercedarian habit. It has the constant attribute, which is the pyx with the holy sacrament. At his feet is a Cardinal’s mitre. We thank Professor José Luis Cortés Perruca for his help in cataloging this batch.

Estimate: 3.000 euros - 4.000 euros

260 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 235 Description

Attributed to Alonso Cano (Granada, 1601 - 1667) or José de Mora (Baza, 1642 - Granada, 1724). Imposing carved and polychromed wooden sculpture, with glass eyes. It may depict Saint Ignatius of Loyola. 35 x 29 x 15 cm. Estimate: 12.000 euros - 15.000 euros

261 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 236 Description

"Pedro de Arbúes". Carved and polychromed wooden sculpture. Andalusian School. 17th century. Pedro de Mena’s circle. Probably painted by Jerónimo Gómez de Hermosilla. 88 x 40 x 35 cm. Estimate: 6.000 euros - 7.000 euros

262 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 236 A Description

Garcia Brothers (Granada, 16th - 17th century). ”Ecce Homo”. Polychromed terracotta sculpture. 25 x 23 x 10 cm. As indicated in the interesting study on these artist brothers, "Un retrato biográfico de dos escultores en la sombra: los hermanos Miguel Jerónimo y Jerónimo Francisco García (1576-1639/1644)” (A biographical portrait of two obscure sculptors), by Professor Manuel García Luque, published in the Archivo Español de Arte, October - December 2017, pp.365-382: “The brothers Jerónimo Francisco and Miguel Jerónimo were born in the autumn of 1576, and were baptised on the 28th October in the Parish of Sagrario in Granada (fig. 1). Therefore, they belong to the same generation as Gregorio Fernández, they are a little younger than Martínez Montañés (1568), and rather older than Juan de Mesa (1583) and Alonso de Mena (1587)…. No document has been kept, or for the time being no document has been found that refers to them as sculptors, not even in the donations to the Christ Crucified in the cathedral, and there is no contract formalised by a notary that names them.

263 In fact, given that the format and character of their work was mostly for the domestic market, it could be that many of their sculptures were handed around as gifts among their circle of friends, and that any commissions were simply agreed on verbally. This insistent silence would be logical to a certain degree in the case of an amateur artist, but the high quality of the Garcia brothers’ work goes far beyond the standard of a hobbyist. López-Guadalupe has pointed out that it could be that the lack of documentation on the artists is a result of social reticence, an argument that is plausible when one bears in mind that Miguel Jerónimo was a clergyman and the pair were from a rich family that was starting to become powerful in the city, with members on the town council and contact with the cultural elite.

For this reason, practising an artisan trade such as sculpture could have been an impediment for a family aspiring to enter the nobility. Fortunately, although the Garcías did not identify themselves as sculptors, their contemporaries did. Pedraza praised them as the “best statue makers of wax bodies in Europe,” adding that “there is no foreigner of any nation that does not recognise their superiority, because the skill and liveliness with which they make them seems to exceed human capacity.” The sculpture of this lot is very similar, in our opinion, to the marvellous sculpture “Ecce homo” by the García brothers, circa 1620-39, which is kept in Granada in the Charterhouse monastery, having originally come from the Convent of Nuestra Señora de la Cabeza.

Estimate: 5.000 euros - 6.000 euros

264 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 237 Description

Italian School. Milan. 16th century. "Portrait of Giovanni Pietro Mangrella”. Oil on canvas. Lined. 176,5 x 100 cm. It shows an open book with the inscription: "NOSCERE SE DOMINARI SIBI HOCOPUS HIC I ABOR" Inscription handwritten in the lower margin: "V.I.Dh. IO: PETs MANGRELLA FILIs Ds BARTH” Estimate: 7.500 euros - 8.500 euros

265 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 238 Description

"Saint Anthony". Carved, gilded and polychromed wooden sculpture. Andalusian School. 17th century. 75 x 31 x 31 cm. Estimate: 13.500 euros - 14.500 euros

266 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 239 Description

"Miscreants". Pair of carved and polychromed wooden sculptures. century. Height: 38 cm. y 34 cm. Estimate: 6.000 euros - 7.000 euros

Italy. Naples. 17th

267 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 240 Description

"Christ Child sleeping". Carved, gilded and polychromed wooden sculpture. 18th century. Length of the Child: 28 cm. Total measurements: 21 x 32 x 23 cm. Estimate: 2.200 euros - 2.500 euros

268 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 241 Description

Flemish School. 17th century. "Country scene”. Oil on panel. Estimate: 1.500 euros - 2.500 euros

269 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 242 Description

Imposing wooden cabinet covered with ivory and painted ivory with gilded bronze applications. Augsburg, Germany. Circa 1650. Possibly from Melchior Baumgartner’s workshop (1621-1686). 27 x 24 x 18 cm. Magnificent cabinet, probably for keeping jewellery in. The central body has two doors which show us two Biblical scenes from the story of Adam and Eve when opened. The interior has a central body with a shrine surrounded by small drawers. All of this is decorated with magnificent miniature scenes from the Old testament, such as the Great Flood, the Tower of Babel and Isaac’s Sacrifice, all following models of engravings by Albrecht Dürer. The upper part has a top with a folding lid and the lower part has a draw that rests on a base with small claws. There is a similar chest kept in the Victoria & Albert Museum in London, with the inventory number W.60-1923. As we can read in the description on the museum’s index card: “By about 1600, Augsburg, in Germany, was already the centre of the production of cabinets, mostly in ebony and, more rarely, in ivory, mounted with silver or gilt brass, enamel and semi-precious stones. Because these cabinets were made from precious materials and assembled with such skill, they were regarded as fit for princes and noblemen and served as diplomatic gifts.

h#ps://collecAons.vam.ac.uk/item/O61320/table-cabinet-baumgartner-melchior/ Estimate: 21.000 euros - 23.000 euros

270 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 243 Description

Carved wood and hard stone vargueno cabinet. Florence. Italy. 17th – 18th century. On the back are the remains of a handwritten label on which one can make out: "Sig. G. B.. Zunini? .. Luigi. Albissola per Sassello. Chest measurements: 84 x 141 x 48 cm. Table measurements: 85 x 152 x 44 cm. Estimate: 15.000 euros - 17.000 euros

271 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 244 Description

Carved wooden cabinet with card stones and rock crystal. Florence. Italy. Second half of the 17th century. Cabinet measurements: 50 x 56 x 31 cm. Table measurements: 76 x 73 x 34 cm. Estimate: 8.000 euros - 9.000 euros

272 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 245 Description

Gilded and embossed cordovan leather. 17th - 18th century. 176 x 100 cm. Estimate: 6.000 euros - 6.500 euros

273 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 246 Description

Attributed to Jacopo Ligozzi (Verona, Italy, 1547 - Florence, 1627). ”Holy Family”. Oil on obsidian or slate. 20,5 x 15,5 cm. Estimate: 7.500 euros - 9.000 euros

274 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 247 Description

Italian School. Possibly Florence. 16th century. "The arrest of Christ”. Oil on hard stone, possibly agate. 32 x 32 cm. It has been restored. Estimate: 7.000 euros - 8.500 euros

275 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 248 Description

Antonio Basoli (Castelguelfo, 1774 - Bologna, 1848). ”Architectural caprice “. Oil on canvas. Signed. 105 x 72 cm. Provenance: Auction at Christie's New York. Paramount Pictures collection. Reference bibliography: European Furniture, Paintings and Objects of Art From The Collection of Paramount Pictures, Auction Catalogue, Christie’s New York, December 16, 1989, page 12, lot 1. Estimate: 2.500 euros - 3.000 euros

276 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 249 Description

Carved and gilded wooden frame. 17th – 18th century. Frame measurements: 47 x 42 cm. Interior measurements: 41 x 35 cm. Estimate: 1.200 euros - 1.400 euros

277 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 250 Description

Carved and gilded wooden frame. 17th - 18th century. Frame measurements: 86 x 71 cm. Interior measurements: 72,8 x 58,5 cm. Estimate: 1.200 euros - 1.400 euros

278 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 251 Description

Carved, gilded and polychromed wooden frame. 17th century. Frame measurements: 144 x 116 cm. Interior measurements: 123 x 95 cm. Estimate: 2.200 euros - 2.400 euros

279 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 252 Description

Spanish School. 18th century. "Our Lady of Carmen with the Child presenting Saint Simon Stock with the scapular”. Oil on copper. 31 x 25 cm. Through family tradition, this painting is attributed to the painter Salvador Maella (Valencia, 1739 - Madrid, 1819) Estimate: 4.500 euros - 5.500 euros

280 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 253 Description

Spanish School. 18th century. Oil on canvas. 75 x 88 cm. Estimate: 4.500 euros - 4.800 euros

281 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 254 Description

Spanish School. 18th century. “Crucifixion”. Oil on canvas. 73,5 x 44 cm. Estimate: 6.000 euros - 7.000 euros

282 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 255 Description

Dutch School. 17th century. Attributed to Leonaert Bramer (Delft, 1596 - 1674). Oil, possibly on slate. 13,5 x 17 cm. It has been repaired due to a small tear. Estimate: 3.500 euros - 4.000 euros

283 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 256 Description

Colonial School. 18th century. “Archangel”. Oil on canvas. Estimate: 3.500 euros - 4.000 euros

284 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 257 Description

Colonial School. 18th century. "Virgin Mary”. Oil on canvas. Lined. 81,5 x 59 cm. On the back, the handwritten note that appeared on the back of the original canvas has been reproduced: DE Dn. Zbon(as) Año de 1738. Estimate: 2.500 euros - 2.800 euros

285 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 258 Description

Colonial School. Possibly Viceroyalty of Peru. 17th - 18th century. "Crucifixion with Souls in Purgatory”. Oil on canvas. Lined. 147 x 97 cm.

Estimate: 4.500 euros - 5.000 euros

286 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 259 Description

Pablo de Céspedes (Cordoba, 1540 - 1608). ”Saint Sebastian”. Oil on canvas. Signed on the back and dated 16??. 94,5 x 74,5 cm. Renaissance painter, sculptor, architect, writer of treatises on art and a poet. He was one of the most interesting characters of the Andalusian humanism movement of the 16th century. He trained in Humanities at the University of Alcalá de Henares, later travelling to Rome, where he trained as a painter alongside Volterra, Zuccaro and Arbasia. He was a great admirer of Corregio. In 1577, he took possession of a canonry at Cordoba Cathedral, which led him to settle in the city and introduce a taste for Michaelangelo. In 1583 he returned to Rome for two years, to later return to Cordoba in 1585.

287 In his city of birth, he continued with his artistic and humanist life, frequenting social gatherings and socialising with prominent personalities within the field of the arts of the period. Among other important work, he painted the altarpiece of the Last Supper which is kept at the Cordoba Mosque, the altarpiece of the chapel of Saint Anne, the full-sized figures of Saint Paul and Saint Thomas for the Convent of Santa María de Gracia, as well as diﬀerent paintings which are kept in Seville Cathedral. Highlights of his work outside Spain, among many other works, include the frescoes in the Chapel of the Annunciation at the church of Trinità dei Monti in Rome. “The martyrdom of Saint Stephen” at the Louvre, and the two paintings kept in the Hermitage Museum in Saint Petersburg.

Estimate: 6.000 euros - 7.000 euros

288 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 260 Description

Spanish School or Colonial. 18th century. "Coronation of the Virgin Mary”. Oil on canvas. Diameter: 99 cm.

Estimate: 2.500 euros - 2.800 euros

289 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 261 Description

Colonial School. 18th century. "Saint Andrew”. Oil on canvas.

Estimate: 1.200 euros - 1.400 euros

290 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 262 Description

Colonial School. Peru. 18th - 19th century. "Saint Efigenia”. Oil on canvas. 47,5 x 38 cm.

Estimate: 1.800 euros - 2.200 euros

291 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 263 Description

Colonial School. Mexico. 17th century. "Saint Mariana of Jesus”. Oil on canvas. 120 x 95 cm.

Estimate: 2.500 euros - 2.800 euros

292 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 264 Description

Spanish or Colonial School. 17th - 18th century. “Saint Augustine”. Oil on canvas. 150 x 112 cm. Depicted with the miracle of the meeting with the Christ Child in the background. The Child tries to put all the water of the sea in a small hole, using a shell, and Saint Augustine tells him “That is impossible!” Jesus responds “but I will sooner draw all the water from the sea and empty it into this hole than you will succeed in penetrating the mystery of the Holy Trinity with your limited understanding.”

Estimate: 1.500 euros - 1.700 euros

293 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 265 Description

Colonial School. Cuzco. Peru. 18th century. "The Virgin Mary as a Child spinning”. Oil on canvas. 65 x 46 cm.

Estimate: 900 euros - 1.100 euros

294 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 266 Description

Spanish School. 17th century. "Our Lady of Sorrows”. Oil on canvas. 94 x 110 cm.

Estimate: 1.500 euros - 1.800 euros

295 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 267 Description

Large carved, gilded and polychromed wooden reliquary. 16th - 17th century. 26 relics are preserved inside. The upper carved and gilded wooden crest is posterior. 142 x 56 x 10 cm. Estimate: 2.500 euros - 2.800 euros

296 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 268 Description

Neapolitan School. Italy. 18th century. "Still life and architecture" Monumental oil on canvas. With a carved and gilded wooden period frame. Canvas measurements: 148 x 194 cm. Frame measurements: 215 x 265 cm. Estimate: 18.000 euros - 19.000 euros

297 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 269 Description

Colonial School. Viceroyalty of Peru. 17th - 18th century. "Madonna and Child”. Oil on canvas. 65 x 45 cm. Estimate: 1.500 euros - 1.700 euros

298 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 270 Description

Colonial School. Mexico or Peru. 18th century. "Saint Andrew”. Oil on canvas. There are the remains of an illegible signature in the lower margin. 31 x 26 cm. Estimate: 800 euros - 900 euros

299 SUBASTA: GALEONES EL ENCUENTRO ENTRE EL VIEJO Y EL NUEVO MUNDO

Lote 271 Description

Colonial School of 18th century. “Arcangel”. Oil on canvas.101 x 77,5 cm. Estimate: 2.500 euros - 3.000 euros