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1912)"},"soldDate":"2025-12-10","available":false,"description":{"es":"firmado en el &aacute;ngulo inferior derecho: \"garc&iacute;a y ramos / roma\". \n \n medidas: 47 x 31,5 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: dibujo a grafito y clari&oacute;n sobre papel"},"lotNumber":"28","title":{"es":"afinando la guitarra"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38398/view","tags":["esart_drawings","esart","esart_all"],"directSalePrice":800,"soldPrice":1000,"lastUpdate":"2026-07-01T07:00:13.946Z","textCase":"lower","currency":"EUR","id":38398},{"startPrice":800,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38399/001/001.jpg"],"artist":{"es":"josé garcía ramos (sevilla, 1852 - 1912)"},"soldDate":"2025-12-10","available":false,"description":{"es":"firmado en el &aacute;ngulo inferior derecho: \"garc&iacute;a y ramos / roma\". \n \n medidas: 47,5 x 31 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: dibujo a grafito sobre papel"},"lotNumber":"29","title":{"es":"fil&oacute;sofo cl&aacute;sico"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38399/view","tags":["esart_drawings","esart","esart_all"],"directSalePrice":800,"soldPrice":850,"lastUpdate":"2026-07-01T07:00:13.947Z","textCase":"lower","currency":"EUR","id":38399},{"startPrice":45000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38400/001/001.jpg"],"artist":{"es":"maestro de robledo de chavela h. 1490"},"available":false,"description":{"es":"peque&ntilde;a tabla de devoci&oacute;n particular que combina tres iconograf&iacute;as diferentes: las tres generaciones - santa ana, la virgen y el ni&ntilde;o jes&uacute;s -, la adoraci&oacute;n de los reyes magos y la representaci&oacute;n del donante junto a su familia. la escena se desarrolla en un espacio abierto teniendo como fondo la pared de una muralla que da acceso a una ciudad a trav&eacute;s de un arco de medio punto. santa ana y la virgen mar&iacute;a est&aacute;n sentadas, como theotokos, sirviendo de trono al ni&ntilde;o jes&uacute;s que se encuentra sobre un coj&iacute;n ricamente ornamentado por un brocado dorado y borlones. los tres est&aacute;n tocados por nimbos de pan de oro punzonados y las dos mujeres visten ropajes acorde al momento en el que se realiza la obra como son el terciopelo, la seda e hilos de oro. santa ana lleva toca blanca, un libro y una rosa en sus manos y la virgen lleva al descubierto uno de sus pechos como virgen de la leche, luciendo una corona real sobre el pelo suelto que cae sobre sus hombros; al ni&ntilde;o jes&uacute;s lo envuelve un ligero pa&ntilde;o de pureza a base de celajes y veladuras. &eacute;ste bendice a los tres reyes magos que se encuentran en la parte baja izquierda de la escena a un tama&ntilde;o inferior al de los personajes principales e igualmente ataviados con ricos ropajes. en el lado contrario, el derecho, el donante y su familia est&aacute;n estructurados en primer lugar por un peque&ntilde;o infante desnudo en actitud de oraci&oacute;n, la figura del caballero viste sayo con ropa de encima semejante a una loba, calzas blancas, zapatos finos conocidos como 'blanco y de venado' pudiendo estar labrados con caireles de oro y seda, y sostiene en sus manos un bonete de terciopelo. lo acompa&ntilde;an dos mujeres, que se interpretan como su esposa y su hija, la primera con camisa de hilo, saya y manto de terciopelo, ambas con toca blanca, igualmente a acorde a la moda imperante en la corte real de dicho momento hist&oacute;rico. es la representaci&oacute;n de estas figuras la que le da el sentido a la obra de tabla devocional privada, buscando la gracia en favor del hijo peque&ntilde;o. a cada lado de santa ana, la virgen y sobre el ni&ntilde;o jes&uacute;s encontramos diferentes inscripciones en lat&iacute;n g&oacute;tico: 'ana mater: virgo virginis' / christus filius dei / 'marya virgo mater christhi'. las figuras de los reyes tambi&eacute;n est&aacute;n identificadas con sus nombres y sus ofrendas, los primeros en lat&iacute;n g&oacute;tico y las segundas en castellano tanto g&oacute;tica como r&uacute;stica: 'melchior / gaspar / baltasar'; y en las capas: 'myrra rey de arabia / encenso rey de tarssys / oro rey de saba'. esta tabla se relaciona con el retablo de la iglesia parroquial de robledo de chavela por ser probablemente de manos de uno de los artistas que participaron en dicha empresa, ya que se encuentran numerosos detalles en la factura, detalles en ropajes y gestos de los representados. 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alejandr&iacute;a"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38406/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":800,"lastUpdate":"2026-07-01T07:00:15.869Z","textCase":"lower","currency":"EUR","id":38406},{"startPrice":1400,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38407/001/001.jpg"],"artist":{"es":"escuela flamenca, s. xvii"},"available":false,"description":{"es":"presenta marco holand&eacute;s en madera tallada y rizada. \n \n medidas: 59 x 78,5 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre cobre"},"lotNumber":"37","title":{"es":"escena de 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descalzo, viste t&uacute;nica rojiza con numerosos pliegues marcados y angulosos, seg&uacute;n la tradici&oacute;n flamenca. [...] el nimbo, realizado con pan de oro, presenta decoraciones punzonadas y un contorno negro. la escena se desarrolla en un sencillo escenario exterior, del que solo se aprecia el suelo gris&aacute;ceo con escasa vegetaci&oacute;n y un peque&ntilde;o mont&iacute;culo verde, mientras que el fondo es dorado, representado entre dos arcos que conforman la reserva azulada donde se habr&iacute;a ubicado el motivo arquitect&oacute;nico decorativo de madera. el espectador no puede dejar de impresionarse por la gran cantidad de soldados, portando picos, lanzas y otras armas que les permiten martirizar al hijo de dios y obstaculizar su avance. [...] el pintor ha sido minucioso en la representaci&oacute;n de armaduras y yelmos, notable por los brillantes reflejos que dan testimonio de su habilidad y su predilecci&oacute;n por el estilo n&oacute;rdico europeo. resulta especialmente significativo que muchos de los centuriones, retratados con uniformes militares medievales, tengan el rostro total o parcialmente oculto, lo que acent&uacute;a su efecto negativo. el pintor intenta ocultar sus rostros, represent&aacute;ndolos de espaldas, present&aacute;ndolos como retratistas. dicho esto, el caso m&aacute;s claro es el de la &uacute;nica figura que no es un centuri&oacute;n. aparece a la izquierda de la composici&oacute;n de espaldas con una gorra roja, levantando la pierna derecha mientras parece rascarse la pierna o ajustarse las calzas. la vestimenta que viste realza su aspecto negativo: una t&uacute;nica con borlas decorada con rombos y tri&aacute;ngulos rojos y amarillos, dos colores que se asociaban com&uacute;nmente con los jud&iacute;os en la edad media. adem&aacute;s, el hecho de que aparezca representado completamente de espaldas podr&iacute;a ser una alusi&oacute;n a la imagen del necio, aquel que no reconoce la palabra del evangelio y niega la naturaleza divina del hijo de dios. el estilo sugiere la autor&iacute;a de juan s&aacute;nchez de san rom&aacute;n, de cuyo pincel se conservan dos tablas m&aacute;s, firmadas en este caso, que representan un calvario con santos y donante de la catedral de sevilla, y un cristo var&oacute;n de dolores conservado en el museo del prado. en la primera podemos identificar rostros comparables a algunos de los de nuestra tabla, como el de san juan evangelista, quien, por su postura y rasgos faciales, podr&iacute;a relacionarse con el soldado que se ve sosteniendo su rostro en la obra que examinamos aqu&iacute;. el rostro de mar&iacute;a magdalena, por su parte, presenta rasgos que recuerdan al soldado que sostiene el escudo. en cuanto a la tabla del prado, su peculiar formato (al tratarse de una obra devocional) impide realizar comparaciones v&aacute;lidas. s&aacute;nchez de san rom&aacute;n tambi&eacute;n se ha relacionado con una serie de tablas conservadas en la iglesia de san andr&eacute;s en baeza (ja&eacute;n), donde, adem&aacute;s de encontrar paralelismos convincentes con el rostro de cristo, observamos que hacia la parte superior de algunos compartimentos se conserva la misma reserva azul para los motivos arquitect&oacute;nicos de madera. finalmente, y debido a su estado de conservaci&oacute;n, no podemos establecer comparaciones v&aacute;lidas con la pintura mural de la anunciaci&oacute;n del monasterio de san isidoro del campo (sevilla), tambi&eacute;n firmada.&raquo; adjunta publicaci&oacute;n de alberto velasco gonz&aacute;lez en el libro: masterpieces from the gothic to the renaissance. galer&iacute;a bernat barcelona-madrid, 2020. \n \n medidas: 108,5 x 84,5 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre tabla"},"lotNumber":"39","title":{"es":"jes&uacute;s camino al calvario"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38409/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":52000,"lastUpdate":"2026-07-01T07:00:15.874Z","textCase":"lower","currency":"EUR","id":38409},{"startPrice":1800,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38410/001/001.jpg"],"artist":{"es":"escuela española s. xvii"},"available":false,"description":{"es":"medidas: 117 x 159 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre lienzo"},"lotNumber":"40","title":{"es":"presentaci&oacute;n de jes&uacute;s al pueblo"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38410/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":1800,"lastUpdate":"2026-07-01T07:00:15.875Z","textCase":"lower","currency":"EUR","id":38410},{"startPrice":4500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38411/001/001.jpg"],"artist":{"es":"escuela española s. xvii"},"available":false,"description":{"es":"medidas: 128 x 95,2 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre lienzo"},"lotNumber":"41","title":{"es":"san pedro"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38411/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":4500,"lastUpdate":"2026-07-01T07:00:12.412Z","textCase":"lower","currency":"EUR","id":38411},{"startPrice":1800,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38412/001/001.jpg"],"artist":{"es":"escuela española s. xvii"},"available":false,"description":{"es":"medidas: 62,5 x 41,5 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre tabla"},"lotNumber":"42","title":{"es":"adoraci&oacute;n de los pastores"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38412/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":1800,"lastUpdate":"2026-07-01T07:00:12.414Z","textCase":"lower","currency":"EUR","id":38412},{"startPrice":5000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38413/001/001.jpg"],"artist":{"es":"escuela española s. xvii"},"available":false,"description":{"es":"medidas: 140 x 170 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre lienzo"},"lotNumber":"43","title":{"es":"el obispo hugo toma el h&aacute;bito de cartujo"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38413/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":5000,"lastUpdate":"2026-07-01T07:00:12.415Z","textCase":"lower","currency":"EUR","id":38413},{"startPrice":3200,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38414/001/001.jpg"],"artist":{"es":"escuela española s. xvii"},"available":false,"description":{"es":"siguiendo modelos de obra original realizada hacia 1574 por jacopo bassano (h. 1515 - 1592) que se conserva en la pinacoteca de sanssouci en potsdam (alemania). \n \n medidas: 150 x 100 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre lienzo"},"lotNumber":"44","title":{"es":"el sacrificio de no&eacute; tras el diluvio"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38414/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":3200,"lastUpdate":"2026-07-01T07:00:12.416Z","textCase":"lower","currency":"EUR","id":38414},{"startPrice":18000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38415/001/001.jpg"],"artist":{"es":"fernando llanos (la rioja 1470 - murcia (?) 1525)"},"available":false,"description":{"es":"&laquo;la estancia de los pintores fernando llanos y de fernando y&aacute;&ntilde;ez -tambi&eacute;n conocidos por la historiograf&iacute;a como los \"hernandos\"- en tierras italianas supuso un punto de inflexi&oacute;n determinante en sus carreras y les vali&oacute; por la asimilaci&oacute;n y conocimientos para desempe&ntilde;ar un justo papel de protagonistas en los albores del renacimiento en espa&ntilde;a. [...] el pintor de origen manchego, fernando llanos despu&eacute;s de su etapa italiana se desplaz&oacute; a valencia junto a fernando y&aacute;&ntilde;ez para pintar las puertas del retablo mayor de la catedral. antes de acometer este proyecto, los hernando en 1506 contrataron tambi&eacute;n con el cabildo valenciano el retablo de los santos m&eacute;dicos cosme y dami&aacute;n que sirvi&oacute; seguramente como prueba pict&oacute;rica para apreciar las novedades y el aprendizaje italiano de ambos pintores. la pintura objeto de este estudio, [...] se trata de una pintura de car&aacute;cter de fernando llanos. sigue la tipolog&iacute;a mariana de la galaktrophousa de tradici&oacute;n bizantina, tambi&eacute;n conocida como virgo lactans o maria lactans en occidente. la iconograf&iacute;a de la virgen de la leche tuvo una especial relevancia en valencia desde el g&oacute;tico internacional con ejemplos se&ntilde;eros como el retablo de antonio peris del museo de bellas artes de valencia hasta el renacimiento con ejemplos tempranos como esta tabla de llanos hasta pinturas m&aacute;s avanzadas en el tiempo realizadas por joan macip -joan de joanes-. con un fondo dorado -atemporal- que remarca el car&aacute;cter devocional de esta pintura mariana, las divinas figuras se muestran en un primer&iacute;simo plano subrayando la maternidad de mar&iacute;a y su papel como intercesora. el ni&ntilde;o jes&uacute;s aparece sentado sobre un coj&iacute;n verde cruzando su pie derecho por debajo de su rodilla izquierda. este prototipo ic&oacute;nico de virgo lactans con postura y gestos estudiados que remiten con sencillez al mundo de los afectos es seguramente de raigambre flamenca y nos habla de los estrechos lazos entre flandes y valencia. [...] mayor importancia tiene el cotejo de la virgen de la leche de llanos que nos ocupa con otras dos tablas aut&oacute;grafas del pintor manchego del mismo asunto y composici&oacute;n. [...] otra virgen de la leche que dimos a conocer como obra de llanos, en colecci&oacute;n particular valenciana (los hernandos, ars hispanica 2011, p.119-120) presenta todav&iacute;a mayor relaci&oacute;n con nuestra tabla. as&iacute; podemos ver que ambas tablas ofrecen la misma cenefa dorada ornada con perlas de la t&uacute;nica, la f&iacute;bula preciosa del manto y el brocado del pu&ntilde;o de la virgen. el tratamiento de la larga cabellera de la virgen con toques individuales de pincel es muy propio del quehacer de llanos. el ejemplar que aqu&iacute; estudiamos no lleva aureolas ya que las figuras se recortan sobre el fondo de oro d&aacute;ndole un aspecto de icono bizantino que suponemos tendr&aacute; su raz&oacute;n de ser por el gusto del comitente que encargo la pintura. [...] el mismo modelo aparece en una tabla in&eacute;dita posiblemente tambi&eacute;n de fernando llanos que presenta un pa&ntilde;o de honor y un paisaje de fondo.&raquo; se adjunta certificado de jos&eacute; g&oacute;mez frechina de 2018. \n \n medidas: 97 x 82,5 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre tabla"},"lotNumber":"45","title":{"es":"virgen mar&iacute;a con el ni&ntilde;o jes&uacute;s"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38415/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":18000,"lastUpdate":"2026-07-01T07:00:12.418Z","textCase":"lower","currency":"EUR","id":38415},{"startPrice":2100,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38416/001/001.jpg"],"artist":{"es":"escuela española, fns. s. xvii"},"available":false,"description":{"es":"medidas: 146 x 132,5 cm \n \n tipo 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burgos"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38417/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":2100,"lastUpdate":"2026-07-01T07:00:12.421Z","textCase":"lower","currency":"EUR","id":38417},{"startPrice":900,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38418/001/001.jpg"],"artist":{"es":"escuela española, fns. s. xvii"},"available":false,"description":{"es":"medidas: 78 x 97,5 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre lienzo"},"lotNumber":"48","title":{"es":"virgen mar&iacute;a con el ni&ntilde;o jes&uacute;s y san juan bautista"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38418/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":900,"lastUpdate":"2026-07-01T07:00:12.422Z","textCase":"lower","currency":"EUR","id":38418},{"startPrice":1000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38419/001/001.jpg"],"artist":{"es":"escuela sevillana, s. xvii"},"available":false,"description":{"es":"medidas: 67,5 x 53 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre lienzo"},"lotNumber":"49","title":{"es":"cabeza cortada de san juan bautista"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38419/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":1000,"lastUpdate":"2026-07-01T07:00:12.423Z","textCase":"lower","currency":"EUR","id":38419},{"startPrice":3000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38420/001/001.jpg"],"artist":{"es":"escuela holandesa, s.xvii"},"available":false,"description":{"es":"importante obra muy cercana a los trabajos de nicol&aacute;s van verendael, (amberes, 1640-1691), pintor flamenco especializado en este tipo de representaciones que, debido a su &eacute;xito, fueron exportadas a toda europa. \n \n medidas: 95 x 72 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre lienzo"},"lotNumber":"50","title":{"es":"jarr&oacute;n con claveles, rosas y girasoles"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38420/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":3000,"lastUpdate":"2026-07-01T07:00:12.425Z","textCase":"lower","currency":"EUR","id":38420},{"startPrice":20000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38421/001/001.jpg"],"artist":{"es":"taller de adriaen isenbrandt (h. 1490 - ­brujas, 1551)"},"available":false,"description":{"es":"sobre el pintor adriaen isenbrandt y la amplitud de su taller tenemos mucha informaci&oacute;n en la documentaci&oacute;n que se conserva sobre la guilda de san lucas de brujas, donde trabaj&oacute; la mayor parte de su vida. sobre el nacimiento del pintor hoy en d&iacute;a no se conoce ning&uacute;n dato. el primer dato fidedigno donde es mencionado el pintor es de 1510, a&ntilde;o en que se establece en brujas y donde adquiere su condici&oacute;n de ciudadano. en la documentaci&oacute;n de la guilda publicada se indica que fue elegido al menos nueve veces decano (vinder en neerland&eacute;s) y dos veces m&aacute;s gobernador o tesorero de la guilda. forma parte de la &uacute;ltima gran generaci&oacute;n de pintores de la ciudad. durante el siglo xv, brujas hab&iacute;a sido el principal centro comercial de los pa&iacute;ses bajos, y por tanto, uno de los m&aacute;s importantes de europa. su puerto se aprovechaba del canal que llegaba hasta la ciudad procedente del mar del norte. este auge mercantil convirti&oacute; a la ciudad en un punto de destino de numerosos comerciantes y, relacionados con estos, de artesanos y artistas atra&iacute;dos por la fuerte demanda de los numerosos mercaderes, tanto de aquellos que se establec&iacute;an en la ciudad como de aquellos que viajaban a brujas. desde que en el primer tercio del siglo xv se estableciera jan van eyck, y en torno a &eacute;l, florecer&aacute; toda una nutrida colonia de pintores, aut&eacute;nticos maestros y cuyo arte se va a difundir m&aacute;s all&aacute; de las fronteras naturales de su ciudad en particular y de los pa&iacute;ses bajos en general. ejemplos de la prol&iacute;fica y extraordinaria lista de pintores de la escuela de brujas son jan van eyck (maaseik, 1390-brujas, 1441), petrus christus (baarle-hertog, 1410-brujas, 1475), hans memling (seligenstadt, 1430-brujas, 1494), gerard david (oudewater, 1460-brujas, 1523), jan provost (mons, 1465-brujas, 1529) y, ya bien entrado el siglo xvi, ambrosius benson (mil&aacute;n, 1495- flandes, 1550) o nuestro adriaen isenbrandt. adriaen isenbrandt, de alguna manera, es un verdadero colof&oacute;n a la escuela de brujas en su primer siglo de existencia, ya que, a lo largo del siglo xvi, tanto bruselas como, sobre todo, amberes toman el testigo en la primac&iacute;a y calidad de sus autores y obras. adriaen isenbrandt se inspir&oacute; en las generaciones anteriores. su pintura recibe pr&eacute;stamos de van eyck, de hugo van der goes (gante, 1440-auderghem, 1482), de hans memling, de jan provost pero, en especial, de gerard david, de quien parece que fue disc&iacute;pulo o incluso colaborador. de ah&iacute; gerard david extrae una car&aacute;cter&iacute;stica muy notable de su estilo, la introducci&oacute;n de una cierta t&eacute;cnica de \u201csfumato\u201d, al modo italiano. sus figuras no tienen un contorno lineal y bien definido, habitual en sus predecesores. por el contrario, suele utilizar una cierta y sutil gradaci&oacute;n de tonos y de claroscuro en los contornos, en especial, en las carnaciones de sus personajes, de modo que suaviza e integra a sus personajes en la atm&oacute;sfera que les rodea. esa t&eacute;cnica de difuminado en isenbrandt est&aacute; especialmente acentuada y es una forma de reconocer sus obras, tal y como se puede corroborar en la pintura del presente estudio. su &eacute;xito en la ciudad donde se estableci&oacute; fue rotundo durante la primera mitad del siglo xvi y la gran cantidad de encargos que recibi&oacute; debi&oacute; de obligarle a tener un amplio taller del que sal&iacute;an numerosas tablas, la mayor parte devocionales y cuyas composiciones remit&iacute;an a las 3 grandes obras de sus antecesores dentro de la escuela de los primitivos flamencos. as&iacute;, por ejemplo, tenemos documentado el encargo del ayuntamiento de brujas para ejecutar una serie de paneles decorativos con motivo de la entrada triunfal del emperador carlos v en 1520. su producci&oacute;n tuvo una proyecci&oacute;n y un eco extraordinario, no s&oacute;lo en los pa&iacute;ses bajos sino tambi&eacute;n en lugares como la propia espa&ntilde;a que se convirti&oacute; en uno de los destinos prioritarios de las tablas que sal&iacute;an de su taller. a juzgar por las obras que se conservan de este maestro tenemos que contar con un n&uacute;mero importante de colaboradores que reprodujeron bajo la direcci&oacute;n del maestro numerosas composiciones originales del maestro hasta la saciedad. pero no s&oacute;lo del maestro sino tambi&eacute;n reinterpretaciones de obras anteriores como es el caso de la pintura del presente estudio. la obra que nos ocupa es una reinterpretaci&oacute;n de la trinidad de robert campin, tabla que forma parte de un d&iacute;ptico, actualmente en el hermitage de san petersburgo, y que, a juzgar por las numerosas copias e interpretaciones, goz&oacute; de una notable popularidad. al igual que la tabla de robert campin, nuestro pintor ha situado a la izquierda del espectador al cuerpo muerto de cristo: cabeza ca&iacute;da hacia su hombro derecho, la mano derecha que abre la herida en el costado, producto de la lanza de longinos, y el brazo izquierdo ca&iacute;do. a su lado, y sujet&aacute;ndole, dios padre, vestido con capa pluvial y coronado. a diferencia de la tabla de campin, nuestro pintor ha situado a la paloma, s&iacute;mbolo del esp&iacute;ritu santo, en el hombro izquierdo de dios padre, mientras que campin la coloca encima del hombro izquierdo del cristo muerto. desde luego no cabe duda de cu&aacute;l fue el motivo de inspiraci&oacute;n de nuestro pintor. no fue el &uacute;nico ya que se conservan numerosas versiones tanto del propio entorno de campin como, en general, de toda la pintura flamenca de fines del siglo xv. desde el punto de vista formal hay dos caracter&iacute;sticas relacionadas con el taller de adriaen isenbrandt. el primero de ellos, sin duda, son los modelos humanos de la pintura. en este caso, uno de los dos rostros, el de jesucristo muerto, es un buen ejemplo. el rostro tiene una estructura muy clara: formalmente es un tri&aacute;ngulo casi equilatero estructurado en torno a la cabeza y la barbilla muy aguda. de resultas de esa estructura triangular se puede ver que es un tri&aacute;ngulo con base ancha y v&eacute;rtice bajo, de modo que la impresi&oacute;n de la cara es la de una cara redonda, con la barbilla muy agudizada y ancha. del mismo modo, se observa algo muy semejante en el rostro de dios padre. si observamos rostros de otros maestros flamencos anteriores o coet&aacute;neos vemos que predominan los modelos de rostros formados por un &oacute;valo, o simplemente alargados, como los de dirk bouts, hans memling, hugo van der goes y tantos otros. en este aspecto sigue la l&iacute;nea art&iacute;sitica de modelos que arranca en petrus christus y gerard david, de rostros m&aacute;s redondeados. la principal diferencia con los dos anteriores est&aacute; en esa forma redondeada, pero con una barbilla en &aacute;ngulo bastante pronunciado. en nuestro caso, se ve perfectamente el rostro triangular invertido de cristo y quiz&aacute; cubierto por su abundante barba canosa en la figura de dios padre. este mismo tipo de rostro aparece en numerosas representaciones en la producci&oacute;n de adriaen isenbrandt, sobre todo en las figuras de cristo. un buen ejemplo af&iacute;n al nuestro es el de cristo, var&oacute;n de dolores del museo nacional del prado. tambi&eacute;n, se ven rostros semejantes en otros personajes, en especial, en las figuras de ap&oacute;stoles e incluso comitentes. la segunda caracter&iacute;stica es, sin duda, el uso tan habitual en isenbrandt del \u201csfumato\u201d, del difuminado de los contornos con un claroscuro que grad&uacute;a la transici&oacute;n de una forma al espacio que la circunda. este \u201csfumato\u201d distingue a isenbrandt y lo hace reconocible. y aqu&iacute; se ve n&iacute;tidamente. el \u201csfumato\u201d se distingue a la perfecci&oacute;n en el cuerpo y cabeza del cristo, ese suave claroscuro que vemos en los hombros, o en los rostros, tambi&eacute;n el de dios padre. tambi&eacute;n, se puede ver en la imagen de la paloma, pintada con soltura y una cierta modernidad que contrasta con los pa&ntilde;os quebrados y angulosos de los pa&ntilde;os y mantos de los dos personajes principales. no conocemos obras seguras de isenbrandt que hayan sido pintadas sobre lienzo. al igual que todos los pintores de su &eacute;poca en los pa&iacute;ses bajos isenbrandt pinta sobre tabla, y, m&aacute;s concretamente, sobre madera de roble. pero, en la primera mitad del siglo xvi, ya se conoc&iacute;a y se usaba el lienzo, de tafet&aacute;n o mantelillo, y antes, la sarga. bien es cierto, que el uso del lienzo se hab&iacute;a extendido primeramente en las escuelas pict&oacute;ricas del norte de italia; y no es menos cierto que pintores flamencos como michel coxcie (malina, 1499-1592) pintaron sobre lienzo en numerosas ocasiones. el que este cuadro sea lienzo podr&iacute;a ser motivo para empezar a comprender c&oacute;mo se introdujo en las viejas escuelas del norte de europa este novedoso soporte. mientras ulteriores estudios no nos demuestren dicho uso entre los maestros de brujas en la primera mitad del siglo conviene asignar esta pintura al taller de adriaen isenbrandt, si bien es verdad, que la fecha de fallecimiento del pintor, en 1551, nos sit&uacute;a en una fecha en la que podr&iacute;a haberse extendido el uso de la tela como soporte en las diversas escuelas de los pa&iacute;ses bajos, sobre todo, gracias a las estrechas relaciones comerciales entre esta regi&oacute;n e italia. concluimos, por tanto, que el cuadro se puede asignar al taller de adriaen isenbrandt, de cuyos modelos y t&eacute;cnica deriva con claridad el cuadro, en una fecha que podr&iacute;amos situar en torno a 1550, m&aacute;s o menos en los &uacute;ltimos a&ntilde;os de la vida del artista. se adjunta certificado de d. jos&eacute; mar&iacute;a quesada valera (instituto de estudios hist&oacute;rico-art&iacute;sticos s.l.). ___bibliograf&iacute;a: \u2022 bermejo mart&iacute;nez, elisa (1975): &laquo;nuevas pinturas de adrian isenbrant&raquo;, archivo espa&ntilde;ol de arte, vol. xviii, madrid, pp. 1-25. \u2022 borchert, till-holger (1998): , &laquo;adriaan isenbrant&raquo;, bruges et la renaissance: de memling &agrave; pourbus, cat. exp., brujas, 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parte inferior y en el lado derecho, ya que la llave que cuelga en esa &aacute;rea tambi&eacute;n se ha cortado ligeramente. por el contrario, la parte superior revela un mayor desarrollo entre la frente y el marco del santo, suponiendo que la fotograf&iacute;a antigua disponible de la imagen reder muestra la pintura completa. esta representaci&oacute;n espacial diversa y detalles muy espec&iacute;ficos en la ropa (como sombras m&aacute;s angulares en la capa, detr&aacute;s del codo derecho; un pliegue m&aacute;s puntiagudo en el otro lado del codo, en el interior de la misma capa), as&iacute; como su tama&ntilde;o un poco m&aacute;s peque&ntilde;o, corrobora que estamos tratando con una nueva pintura\". informe completo de &aacute;ngel aterido a disposici&oacute;n para consulta en sala. \n \n medidas: 105,2 x 83,2 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre lienzo"},"lotNumber":"73","title":{"es":"las l&aacute;grimas de san 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muela"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38448/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":700,"soldPrice":700,"lastUpdate":"2026-07-01T07:00:15.482Z","textCase":"lower","currency":"EUR","id":38448},{"startPrice":4000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38449/001/001.jpg"],"artist":{"es":"escuela española s. xvii"},"available":false,"description":{"es":"medidas: 160,5 x 106 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre lienzo"},"lotNumber":"79","title":{"es":"san francisco de 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ana"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38453/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":2000,"lastUpdate":"2026-07-01T07:00:14.431Z","textCase":"lower","currency":"EUR","id":38453},{"startPrice":1200,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38454/001/001.jpg"],"artist":{"es":"escuela colonial, s. xviii"},"soldDate":"2025-12-10","available":false,"description":{"es":"presenta marco en madera moldurada con incrustaciones en n&aacute;car. \n \n medidas: 33,5 x 29 cm \n \n tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre tabla y madera tallada con incrustaciones en vidrio"},"lotNumber":"84","title":{"es":"ni&ntilde;o jes&uacute;s salvator 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tipo de objeto: pintura antigua y s. xix \n \n t&eacute;cnica: &oacute;leo sobre lienzo"},"lotNumber":"92","title":{"es":"santa isabel de hungr&iacute;a curando a los ti&ntilde;osos"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/38462/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":18000,"lastUpdate":"2026-07-01T07:00:15.704Z","textCase":"lower","currency":"EUR","id":38462},{"startPrice":25000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/38463/001/001.jpg"],"artist":{"es":"escuela mexicana, s. xviii"},"available":false,"description":{"es":"sobre ramas de vid, y con un fondo de pan de oro, encontramos diferentes momentos de la pasi&oacute;n de cristo. dentro de una composici&oacute;n sim&eacute;trica, como escena principal podemos considerar la representaci&oacute;n inferior identificada como \"tengo sed\", momento en el que uno de los soldados romanos bajo la atenta mirada de otro de ellos a caballo da de beber a jes&uacute;s mediante una esponja impregnada de agua y vinagre, siendo testigos la virgen mar&iacute;a arropada por san juan, y mar&iacute;a magdalena a los pies de la cruz cerrando la composici&oacute;n la calavera de ad&aacute;n. el primer medall&oacute;n circular de la parte superior izquierda tiene como escena el momento en el que el &aacute;ngel egudiel conforta al se&ntilde;or, cita que solo encontramos en el evangelio de san lucas y en la tradici&oacute;n ap&oacute;crifa. a continuaci&oacute;n se representa la flagelaci&oacute;n de cristo, momento en el que jes&uacute;s est&aacute; atado a una columna y un say&oacute;n romano le inflige los treinta y nueve latigazos impuestos por pilatos. el medall&oacute;n superior derecho contiene la coronaci&oacute;n de espinas, siendo cuando dentro del palacio de pilatos se le tranza una corona de espinas para su cabeza, se le impone un manto p&uacute;rpura y se le da una ca&ntilde;a a modo de cetro, en burla a su realeza como rey de los jud&iacute;os. volviendo a la zona izquierda el siguiente medall&oacute;n contiene la presentaci&oacute;n al pueblo, cuando pilatos ofrece su liberaci&oacute;n, el pueblo lo condena y el gobernante lava sus manos. centra la composici&oacute;n la sexta estaci&oacute;n del viacrucis, una de las tres ca&iacute;das de jes&uacute;s en el camino al calvario, cuando ver&oacute;nica enjuga el rostro del se&ntilde;or - pa&ntilde;o que aparece entre los dos medallones centrales- y el cireneo lo ayuda a llevar la cruz. en el &uacute;ltimo medall&oacute;n se realiza la elevaci&oacute;n de la cruz mientras uno de los romanos termina de clavarlo. iconogr&aacute;ficamente la obra se completa con diferentes s&iacute;mbolos, muchos de ellos en referencia a las propias escenas descritas y otros de momentos que no aparecen como el gallo, por las negaciones de pedro; la bolsa de las monedas de la traici&oacute;n de judas; los 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mod&eacute;lico, s&iacute;mbolo del padre de familia cristiano, fiel y discreto. todo esto se engrandece durante los siglos venideros y se incentiva con la imaginer&iacute;a, m&aacute;s a&uacute;n con la imaginer&iacute;a barroca de los siglos xvii y xviii. en la escuela andaluza, san jos&eacute; tendr&aacute; grandes ejemplos y los mejores imagineros llegan a realizar efigies suyas para retablos privados, iglesias y conventos. uno de estos artistas ser&aacute; el autor de la imagen de san jos&eacute; con el ni&ntilde;o jes&uacute;s, benito de hita y castillo de guzm&aacute;n, &laquo;hita del castillo&raquo; (sevilla, 1714-1783) bautizado en la iglesia de san mart&iacute;n. la historiograf&iacute;a cl&aacute;sica mueve las ense&ntilde;anzas e influencias del imaginero entre montes de oca y miguel perera; tambi&eacute;n hay historiadores del arte que sostienen que la formaci&oacute;n de hita viene de la evoluci&oacute;n de las formas de duque cornejo. lo que queda constatado es que las obras de hita del castillo, tanto esculturas como retablos se mueven dentro de los c&aacute;nones estilizados, delicados, expresivos y elegantes, suaves en sus formas y con movimientos en l&iacute;neas curvas que le otorgan un estilo propio. en la composici&oacute;n de san jos&eacute; con el ni&ntilde;o reconocemos la concepci&oacute;n piramidal habitual en el imaginero, los angelitos como base de esta, con uno de ellos refugi&aacute;ndose bajo el manto, factura recurrente en numerosas tallas de hita, que favorece el vuelo, el movimiento y la curvatura de los pa&ntilde;os, marcan una diagonal hacia la cintura del santo, quien acuna al ni&ntilde;o dulcemente sobre una toquilla blanca, y el peque&ntilde;o levanta su mano derecha hacia el rostro de su padre, incidiendo as&iacute; en el ascenso de las l&iacute;neas hacia el &aacute;ngulo de la pir&aacute;mide. san jos&eacute; de expresi&oacute;n serena con nariz fina y marcada, tez morena, ce&ntilde;o relajado, cabellera de pelo largo, barba b&iacute;fida, boca entreabierta con dientes y lengua insinuados, manos delicadas en su factura mientras acoge al ni&ntilde;o, de anatom&iacute;a rolliza, como buen beb&eacute; de meses bien alimentado y sonrosado, en actitud tranquila y gesto de acariciar el rostro paterno. el primero con unas carnaciones m&aacute;s oscuras en comparaci&oacute;n con las p&aacute;lidas del ni&ntilde;o; aunque ambos lucen mejillas sonrosadas; al igual que los angelitos. destacando el estofado de la t&uacute;nica y manto del santo con decoraci&oacute;n de motivos barrocos. no podemos dejar de referir otras obras de este artista dieciochesco como son: el san juan evangelista de la hermandad de la amargura, de la iglesia de san juan de la palma (sevilla), collaci&oacute;n a la que pertenec&iacute;a el artista y donde se encuentra su cripta; el retablo de la capilla del sagrario de la iglesia de santa catalina (sevilla), presidido por una inmaculada, y es en este retablo donde podemos encontrar un ejemplo de un &aacute;ngel que se cobija bajo un cortinaje. muchas de sus obras se encuentran distribuidas por sevilla, c&aacute;diz, huelva o las islas canarias con el cristo de la ca&iacute;da. \n \n medidas: con peana: 131 x 62 x 37 cm \n \n tipo de objeto: escultura \n \n t&eacute;cnica: madera tallada y policromada"},"lotNumber":"757","title":{"es":"san jos&eacute; con el ni&ntilde;o jes&uacute;s"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/39126/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":17500,"lastUpdate":"2026-07-01T07:01:57.170Z","textCase":"lower","currency":"EUR","id":39126},{"startPrice":200,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/39127/001/001.jpg"],"available":false,"description":{"es":"con p&eacute;ndulo. faltas en el bull y pelo en la esfera. \n \n medidas: 54 x 14,5 x 27,5 cm \n \n tipo de objeto: artes 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negro"},"lotNumber":"856","title":{"es":"maternidad"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/39225/view","tags":["esart_moderncontemporarysculpture","esart","esart_all"],"directSalePrice":80,"lastUpdate":"2026-07-01T07:02:19.145Z","textCase":"lower","currency":"EUR","id":39225},{"startPrice":180,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/39226/001/001.jpg"],"available":false,"description":{"es":"presenta firma en la base. \n \n medidas: 55 x 40 x 40 cm \n \n tipo de objeto: artes decorativas"},"lotNumber":"857","title":{"es":"l&aacute;mpara de dise&ntilde;o de sobremesa en bronce con pantalla en vidrio ahumado. s. xx"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/39226/view","tags":["esdecorativearts_lamps","esdecorativearts_all","esdecorativearts"],"directSalePrice":180,"lastUpdate":"2026-07-01T07:02:19.146Z","textCase":"lower","currency":"EUR","id":39226},{"startPrice":160,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/39227/001/001.jpg"],"available":false,"description":{"es":"medidas: 72 x 90 x 90 cm \n \n tipo de objeto: muebles"},"lotNumber":"858","title":{"es":"velador circular en madera tallada con marqueter&iacute;a de limoncillo en el sobre y pie central entorsillado. s. xix"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/39227/view","tags":["esfurniture_tables","esfurniture_all","esfurniture"],"directSalePrice":160,"lastUpdate":"2026-07-01T07:02:19.148Z","textCase":"lower","currency":"EUR","id":39227},{"startPrice":5800,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/39228/001/001.jpg"],"artist":{"es":"cristóbal ramos (sevilla, 1725 - 1799)"},"available":false,"description":{"es":"presenta r&aacute;faga y corona en plata repujada. \n \n medidas: 65 x 30 x 20 cm \n \n tipo de objeto: escultura \n \n t&eacute;cnica: madera tallada"},"lotNumber":"859","title":{"es":"inmaculada concepci&oacute;n"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/39228/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":5800,"lastUpdate":"2026-07-01T07:02:19.149Z","textCase":"lower","currency":"EUR","id":39228},{"startPrice":40000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/39229/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/39229/002/002.jpg"],"artist":{"es":"antonio de torres jurado (1817 - 1892)"},"soldDate":"2025-12-10","available":false,"description":{"es":"&laquo;contaba el violero franc&eacute;s daniel friederich, que es aspiraci&oacute;n de cada guitarrero alcanzar un sonido personal a partir de fabricaciones sencillas. que los estilos de cada uno est&aacute;n sujetos a sus conocimientos, y estos se basan en la observaci&oacute;n de los maestros del pasado y la pr&aacute;ctica, la perseverancia, la audacia... y tambi&eacute;n en los &eacute;xitos, que son necesarios(1). sin esos mimbres es imposible encontrar una expresi&oacute;n propia, y menos desarrollarla. ese milagro se produjo en el &uacute;ltimo cuarto del siglo xix, de la mano del violero almeriense antonio de torres jurado (1817-92). torres, es el constructor m&aacute;s determinante en la historia de la guitarra espa&ntilde;ola. su producci&oacute;n se caracteriza por haber obtenido una sonoridad propia -el sonido torres- que cambiar&aacute; el significado del instrumento y su papel en la m&uacute;sica moderna, pasando de mero acompa&ntilde;amiento a convertirse en solista de conciertos y protagonista de partituras. la calidad de sus piezas y la aceptaci&oacute;n posterior de sus novedades, lo ponen a la altura de los grandes luthieres de la historia de la m&uacute;sica. es por ello que la documentaci&oacute;n de alguna de sus obras provoca el inter&eacute;s del ambiente especializado. aparecen poco, pero a veces despiertan del letargo de un armario o la desmemoria familiar. a esta circunstancia obedece la pieza que presentamos, propiedad de do&ntilde;a carmen vicente romero desde la d&eacute;cada de 1950. un ejemplar fabricado en 1859 en el taller sevillano del maestro, en calle cerrajer&iacute;a. puede que la principal caracter&iacute;stica de la obra de torres sea indescifrable, al menos es dif&iacute;cil se&ntilde;alar solo una. quiz&aacute;s el anhelo por sublimar la guitarra fuese su principal leitmotiv. era conocedor del punto en que part&iacute;a (la tradici&oacute;n vihuelista que le precede), y las debilidades inherentes del instrumento. concluy&oacute; que necesitaba multiplicar sus posibilidades sonoras, y de manera emp&iacute;rica y personal -no cont&oacute; con disc&iacute;pulos o aprendices- se dispuso a obtener un modelo diferente. recogi&oacute; las caracter&iacute;sticas de cada escuela constructiva y las concentr&oacute; en una plantilla nueva, modificando la silueta del instrumento. aument&oacute; la longitud de tiro del cordaje y sobre todo el volumen de su caja arm&oacute;nica para mejorar su resonancia y multiplicar los tonos. reforz&oacute; su interior con un sistema de barras y varetas, desarrollando el esquema de estas en abanico. consolid&oacute; un nuevo puente e investig&oacute; con todo tipo de maderas a las que someti&oacute; a finos laminados y curvatura; vari&oacute; el perfil de los aros y la situaci&oacute;n de la cintura; es decir, hizo el camino completo hacia la guitarra actual. este proceso, que singularmente cristaliza muy al principio de su producci&oacute;n, estuvo enriquecido por su afici&oacute;n al toque y el asesoramiento de los principales int&eacute;rpretes del momento, que desarrollaron a trav&eacute;s de sus guitarras una forma de expresi&oacute;n mucho m&aacute;s rica que la conocida hasta esa fecha. a pesar del localismo y el car&aacute;cter artesano de su producci&oacute;n, tuvo conciencia de su &eacute;poca y del lugar al que quer&iacute;a llevar la guitarra. sus obras se convierten en catalizador de la transici&oacute;n musical del romanticismo del &uacute;ltimo cuarto del siglo xix, al nacionalismo preciosista y virtuoso, que elevar&aacute; a los teatros piezas como la ronde&ntilde;a, el bolero, la jota, hasta ese momento instaladas en la categor&iacute;a de lo vulgar. para ello necesitaba una herramienta capaz de amplificar los sonidos y matices de la guitarra conocida. el cat&aacute;logo actualmente acreditado de torres suma ochenta y ocho guitarras y una bandurria. fue editado por primera vez por jos&eacute; lu&iacute;s de romanillos en 1987, llev&aacute;ndose a cabo su &uacute;ltima actualizaci&oacute;n en 2020, dos a&ntilde;os antes de su fallecimiento (2). en ese lapso el inventario estuvo abierto, y de manera residual se fueron sumando ejemplares que document&oacute; por motivos de restauraci&oacute;n o venta. como el propio autor pensaba, tendr&iacute;a que ser un registro permeable a la suma de ejemplares futuros, aunque de momento el n&uacute;mero es exiguo, y la aparici&oacute;n de uno supone un revuelo en el ambiente cultural por su rareza y el valor que supone su autor&iacute;a (podr&iacute;an compararse a los sleepers de disciplinas como la pintura). el compendio organiza la producci&oacute;n en dos grupos divididos por la localizaci&oacute;n del taller: sevilla entre 1852-69 (first epoch), y almer&iacute;a de 1875 al 92 (second epoch). las guitarras se identifican con referencias que aluden a ambos, encabezadas por los acr&oacute;nimos fe o se seguidos de una secuencia num&eacute;rica o alfanum&eacute;rica. en las almerienses, la matr&iacute;cula sigue la notaci&oacute;n original signada por torres en sus etiquetas(3) ; sin embargo, las sevillanas carecen de esta seriaci&oacute;n (contienen la autor&iacute;a, domiciliaci&oacute;n de la tienda taller y el a&ntilde;o de hechura). en este caso, el n&uacute;mero de referencia lo asign&oacute; romanillos siguiendo un criterio cronol&oacute;gico a medida que iba compilando el inventario. de esta primera &eacute;poca conservamos treinta y nueve instrumentos(4). la guitarra de carmen vicente romero que presentamos en estas p&aacute;ginas, podr&iacute;a matricularse como fe 10b; es decir solo se conocen diez como propias de la producci&oacute;n del maestro hasta 1859. este momento es determinante en la obra de torres, por consolidar sus conocimientos y desarrollar su producci&oacute;n m&aacute;s creativa. el arrojo de su juventud y las posibilidades que pudo encontrar en sevilla: variedad de maderas, salida comercial del producto, contraste de su actividad con la de otros violeros, y sobre todo el contacto con un ambiente cultural propicio, lo colocan tempranamente como un referente profesional. entre 1865-60 hab&iacute;a construido para los grandes solistas del momento: jos&eacute; mart&iacute;nez toboso, juli&aacute;n arcas o francisco t&aacute;rrega. la trascendencia de estos instrumentos es tan grande, que servir&aacute;n a int&eacute;rpretes de generaciones posteriores, como miguel llobet o emilio pujol, aunque puede decirse que esa tendencia ha llegado a nuestros d&iacute;as. es un momento de b&uacute;squeda en el que realiza la transici&oacute;n de la guitarra rom&aacute;ntica al modelo actual. varias novedades podemos apreciar en la pieza de carmen vicente. torres trabaja con un modelo que, pese a seguir siendo reducido en longitud, ya es muy ligero (noventa y cuatro cent&iacute;metros por ochocientos setenta gramos), e incorpora soluciones irrenunciables en su fabricaci&oacute;n posterior: el tiro de cuerda de 640 mm y la nueva plantilla de caja, que adquiere una superficie de 1018 cm2. la selecci&oacute;n de los materiales tambi&eacute;n est&aacute; acorde con sus intenciones. la tapa - para el maestro la parte m&aacute;s determinante- est&aacute; compuesta en madera de abeto en l&aacute;minas desiguales curvadas muy finas, por debajo de 1.4 mm de grosor. la estructura interna presenta un par de placas a los lados de la boca y dos barras harm&oacute;nicas por encima y debajo. en este punto se disponen cinco varetas en abanico, una de las principales se&ntilde;as de identidad del constructor almeriense. los aros y fondo est&aacute;n hechos de madera de cipr&eacute;s. esta parte es interesante, por estar compuesta de cuatro fracciones unidas por tres barras horizontales. para sellar la uni&oacute;n de cada una, torres utiliz&oacute; como tapajuntas renglones de papel pautado, lo que supone otra de sus singularidades. el m&aacute;stil y cabeza es de cipr&eacute;s, con clavijero de madera compuesto de piezas de nogal y remates en bot&oacute;n de n&aacute;car. el cuerpo superior de la guitarra se remata con forma de cabeza de gato, otro rasgo del autor. el diapas&oacute;n es de palisandro y est&aacute; organizado en 18 trastes de metal. el cordaje, pensado para cuerdas de tripa, es de seis. como detalle presenta un golpeador de n&aacute;car en el lado de los agudos. la antig&uuml;edad del instrumento y su uso condicion&oacute; que fuese restaurado. tenemos constancia de una reparaci&oacute;n llevada a cabo por el constructor manuel ortega sousa en 1967. debi&oacute; centrarse en la reparaci&oacute;n de algunas grietas que son visibles en la tapa y uno de los aros. recientemente por parte de la familia le fue encolado el puente en la guitarrer&iacute;a &aacute;lvarez y bernal de sevilla. ---------------------------- (1)-daniel friederich (1932-2020). la tapa de la guitarra cl&aacute;sica y su varetado. el dilema del luthier. traducci&oacute;n castellana incluida en revista orfeo, n&ordm;2. par&iacute;s 2013. (2)-la primera revisi&oacute;n de romanillos sobre antonio de torres y su cat&aacute;logo (romanillos 1987), se public&oacute; como: antonio de torres. guitar maker. his life and work. logmead, shaftesbury, dorset: element books ltd, 1987. ser&iacute;a ampliada en 1990 y posteriormente traducida y ampliada en varios idiomas. en castellano hay tres ediciones de 2004, 2008 y 2020. todas publicadas por la secci&oacute;n de historia del instituto de estudios almerienses bajo el t&iacute;tulo: antonio de torres guitarrero, su vida y obra. el dato aportado se recoge de la tercera (romanillos 2020, 253). desde entonces el inventario podr&iacute;a haber aumentado en algunos ejemplares. (3)-cuando antonio de torres se traslada a almer&iacute;a, consciente de la originalidad c&oacute;mo podr&iacute;a afectarle esta mudanza, modifica el contenido de sus etiquetas a las que a&ntilde;ade el concepto 2&ordf; &eacute;poca y un n&uacute;mero que contabiliza su fabricaci&oacute;n. el cat&aacute;logo de romanillos recoge cincuenta ejemplares de este momento, aunque siguiendo la numeraci&oacute;n original sabemos que construy&oacute; al menos 155. fuera del cat&aacute;logo fue identificada otra como se 35, construida en 1862, que fue subastada en francia por la casa vichy ench&eacute;resm en 6-11-2021. (4)en este caso, desde la primera a la &uacute;ltima edici&oacute;n se sumaron nueve. romanillos las introdujo en el cat&aacute;logo de manera cronol&oacute;gica, a&ntilde;adiendo a la referencia una letra (por ejemplo, del a&ntilde;o 1864 datan cinco guitarras que se identifican seg&uacute;n en orden de su aparici&oacute;n desde fe 21 a fe 21d)&raquo; agradecemos al dr. gregorio mora vicente su exhaustivo estudio de la pieza. \n \n medidas: peso: 870g / altura: 940mm / l&oacute;bulo menor: 225mm / cintura: 185mm / l&oacute;bulo mayor: 300mm / longitud de caja: 445mm / tiro de cuerda: 640mm / ancho aro en tac&oacute;n: 85mm / ancho aro en culata: 94 \n \n tipo de objeto: instrumentos"},"lotNumber":"860","title":{"es":"guitarra"},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/39229/view","tags":["escollectibles_musicalinstruments","escollectibles_all","escollectibles"],"directSalePrice":40000,"soldPrice":40000,"lastUpdate":"2026-07-01T07:02:19.151Z","textCase":"lower","currency":"EUR","id":39229},{"startPrice":550,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/39230/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/39230/002/002.jpg"],"artist":{"es":"francisco de goya (fuendetodos, zaragoza, 1746 - burdeos, francia, 1828)"},"available":false,"description":{"es":"edici&oacute;n facsimilar de los caprichos de goya realizada por la editorial centro editor pda, del grupo planeta, en 2006. ejemplar en perfecto estado, embalaje original. edici&oacute;n limitada, numerada y certificada ante notario, con la reproducci&oacute;n facsimilar de las 80 estampas de la 1&ordf; edici&oacute;n de los caprichos, con el sello de la universidad de zaragoza. contenido: - reproducci&oacute;n de la colecci&oacute;n completa de los caprichos conservada en la universidad de zaragoza, con comentarios escritos a mano por el posible propietario de la colecci&oacute;n, inspirados en los escritos originales aut&oacute;grafos de goya que se conservan en el museo del prado. se reproducen los originales, a su tama&ntilde;o real, en un papel de mayor tama&ntilde;o, en el que aparecen el n&uacute;mero de la colecci&oacute;n limitada junto al sello de la universidad de zaragoza. se reproducen tambi&eacute;n los manuscritos de goya, con sus comentarios sobre cada l&aacute;mina, que se conserva en el museo del prado. impresi&oacute;n a cuatro tintas y barniz en papel de algod&oacute;n fedrigoni corolla book ivory de 200 g. - libro de estudios de 424 p&aacute;ginas, encuadernado en seda con estampaci&oacute;n en seco y en negro y l&aacute;mina en papel pegada a mano sobre la cubierta, formato 23 x 32,2 cm. una aproximaci&oacute;n al artista y a la colecci&oacute;n de estampas. presentaci&oacute;n del original con manuscritos de la universidad de zaragoza. se completa con comentarios de cada estampa y las influencias en otros artistas. junto con cada l&aacute;mina se presenta la reproducci&oacute;n de los m&aacute;s de 70 dibujos preparatorios de esta serie, conservados en el museo del prado. estuche: forrado con una reproducci&oacute;n en papel impreso y a tama&ntilde;o mayor que la encuadernaci&oacute;n que encarg&oacute; goya para los 300 ejemplares de su primera edici&oacute;n. en el lomo original existen nervios y filetes dorados, con un tejuelo rojo sobre el que aparece el t&iacute;tulo incompleto de la obra y el nombre del autor. en esta obra se ha reproducido la encuadernaci&oacute;n de la universidad de zaragoza, 34 x 48 x 5 cm. toda la obra se presenta en un gran estuche protector realizado a mano, forrado en tela de algod&oacute;n con apertura lateral en doble bisagra: 38 x 52,5 x 12,5 cm. la estampaci&oacute;n en negro sobre la tapa reproduce el capricho i, con el autorretrato del artista. el interior est&aacute; forrado en tela negra de algod&oacute;n, y tiene un nido protector que acoge el libro de estudios. edici&oacute;n numerada y limitada a 2.988 ejemplares, seg&uacute;n acta notarial que se indica en la hoja de la justificaci&oacute;n de la tirada. isbn: 9788496538610 \n \n tipo de objeto: libro"},"lotNumber":"861","title":{"es":"los caprichos de goya, edici&oacute;n facs&iacute;mil."},"url":"https://es.bidspirit.com/ui/lotPage/isbilyasubastas/source/catalog/auction/68272/lot/39230/view","tags":["escollectibles_booksmagazinespaper","escollectibles_all","escollectibles"],"directSalePrice":550,"lastUpdate":"2026-07-01T07:02:19.153Z","textCase":"lower","currency":"EUR","id":39230},{"startPrice":700,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/isbilyasubastas/cloned-images/39231/001/001.jpg"],"artist":{"es":"joaquín sorolla bastida (valencia, 1863 - madrid, 1923)"},"available":false,"description":{"es":"edici&oacute;n &uacute;nica, limitada y numerada de 2.998 ejemplares, 2014. ed. artika, en coedici&oacute;n con la fundaci&oacute;n museo sorolla, contenido: un libro de gran formato, encuadernado en tela de algod&oacute;n emulando la textura de un lienzo, contiene los 69 dibujos reproducidos que el museo sorolla ha seleccionado cuidadosamente para apreciar la progresi&oacute;n del artista y todas las t&eacute;cnicas utilizadas. junto a la obra, un libro de estudios nos adentra en el luminoso universo del pintor de la mano de grandes especialistas sobre su obra, entre los que se encuentran la directora del museo sorolla o la biznieta del artista. completa la edici&oacute;n una carpeta de arte con dos dibujos facsimilares del artista, pescadoras barcelonesas y barca en la playa. ficha t&eacute;cnica: - estuche: dos placas de metacrilato unidas con una plancha de hierro pintada y oxidada para dar la sensaci&oacute;n del mar grosor de las placas: 2,5 cm : 41 x 53 x 12,5 cm - libro de arte: impresi&oacute;n a cinco tintas con encuadernaci&oacute;n de lujo, cosido a mano con hilo de algod&oacute;n cubierta en tela de algod&oacute;n impresa a seis tintas n&uacute;mero de p&aacute;ginas: 182 69 facs&iacute;miles de dibujos troquelados y unidos al libro por tres puntos de cola, m&aacute;s cinco tr&iacute;pticos desplegables tama&ntilde;o: 35,3 x 45,8 cm - libro de estudios: impresi&oacute;n a cuatro tintas con encuadernaci&oacute;n en r&uacute;stica y cosido con doble cartulina de 350 g forro impreso en la tapa, a cuatro tintas, con plastificado protector n&uacute;mero de p&aacute;ginas: 168 tama&ntilde;o: 35,3 x 45,8 cm - carpeta de arte: 2 l&aacute;minas de arte impresas a cinco tintas con dos d&iacute;pticos protectores tama&ntilde;o: 35,3 x 45,8 cm perfecto estado de conservaci&oacute;n. mantiene caja de embalaje original. \n \n tipo de objeto: libro"},"lotNumber":"862","title":{"es":"el mar de sorolla. libro de 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