{"lots":[{"startPrice":6000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19327/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19327/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19327/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19327/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19327/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19327/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19327/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19327/008/008.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"6 x 19 x 10 cm. \n decorated with scrolls of foliage ornamented in enamel with blue, lapis lazuli, turquoise, red, yellow and green tones. \n the lid is in the shape of a vesica piscis and folds into two parts with a central hinge. only one side opens, and it is decorated with foliage designs and two fretworked cabochons in the shape of a curled-up dragon. this decoration of vegetation with fantastical creatures is topped by two curved handles which end in the shape of a reptile\u2019s head. in this respect the index card by professor josé luis hernando garrido describing an incense burner that can be found in the mnac barcelona (inv.12903) for the catalogue of the exhibition \"de limoges a silos\" is very interesting as it is very similar to our example: \"it is on this cover that the decoration in a compartment on an enamelled background is concentrated, based on vegetation motifs formed by carving which includes canes winding around themselves. there is a copper button sticking out of each of the leaves, which is fretworked and chased, on which a curled-up dragon is depicted, biting its back, a motif and design which can be found in other very similar incense burners such as one also kept in the mnac museum (inv. 4545) or the two in the barcelona frederic marès museum (inv. 833 and 827), but also in other pieces, such as the cover of the bible of souvigny, which dates from circa 1180.\" \n this type of receptacle, which had a liturgical use and was an indispensable compliment of the censer as it contained the incense that was burned in these, appeared in france in the early 13th century. \n its name \"navire\" in french comes from the shape it has of a small ship, also its diminutive \"navette\", from the original latin term \"navicula\". \n the foot is missing. \n \n similar examples: \n two identical incense burners can be found in the musée des beaux-arts in dijon (inv.1264) http://mba-collections.dijon.fr/ow4/mba/voir.xsp?id=00101-13314&qid=sdx_q0&n=2& ;e= \n and at the fondation gandur pour l\u2019art, in geneva (inv. n° fga-ad-obj-0085) https://www.fg-art.org/fr/loeuvre-du-mois-archives/une-navette-a-encens-en-email-de-limoges \n as indicated by dr. fabienne fravalo, from the \"fundación gandur\", in the index card of their incense burner, very few examples of this type of liturgical objects have arrived to our time, as they were used frequently. another feature of these enamelled incense burners is that they formed part of church treasuries from the 13th century in the limoges area and then spreading to the rest of france and europe. they had the same level of importance as doves of the eucharist, pyxes or enamelled candlesticks. another very similar incense burner, but with cabochons, is kept at the mnac in barcelona (inv.12903) \n the lid of a very similar incense burner to this one is kept by the leicester arts and museums service, since having been found in leicester abbey, which is currently in ruins. https://www.bbc.co.uk/ahistoryoftheworld/objects/gnwytkf0tuew23ftmwn2kg \n a similar piece, but with angel decoration, can be found at the musée de cluny in paris (inv. n° 11157) \n finally, there is a similar incense burner in the museo lázaro galdiano in madrid (inv. 2719) \n \n bibliographic references: \n - de limoges a silos\". catalogue of the exhibition in madrid - brussels - santo domingo de silos, from november 2001- abril 2002. pages. 158-160. fig. 37 and 38. \n - l\u2019oeuvre de limoges. émaux limousins du moyen âge, catalogue d\u2019exposition [paris, musée du louvre, 23.10.1995-22.01.1996 ; new york, the metropolitan museum of art, 4.03-16.06.1996], paris, éd. de la réunion des musées nationaux, 1995. \n - gauthier, marie-madeleine (dir.), émaux méridionaux : catalogue international de l\u2019oeuvre de limoges. tome 2 : l\u2019apogée 1190-1215, paris, éditions du cths, 2011.","es":"6 x 19 x 10 cm. \n con decoración de volutas de follaje ornadas de esmalte en tonalidades azul lapislázuli y turquesa, rojo, amarillo y verde. \n la tapa, en forma de mandorla, se articula en dos partes con una bisagra central, abriendo únicamente una de ellas y está ornada con decoración foliácea y dos cabujones calados en forma de dragón enroscado. esta decoración vegetal y a la vez fantástica remata con dos asas curvas que acaban en forma de cabeza de reptil. a este respecto es muy interesante, por su gran semejanza ornamental con nuestra naveta, la ficha que realiza el profesor josé luis hernando garrido para el catálogo de la exposición \"de limoges a silos\", de una naveta que se encuentra en el museu nacional d\u2019art de catalunya (inv.12903): \"es en esta cubierta donde se concentra la decoración en reserva sobre un fondo esmaltado, a base de motivos vegetales formados por tallos que encierran palmetas al enroscarse sobre sí mismos. en cada una de las hojas sobresale un botón de cobre, calado y cincelado, donde se representa a un dragón enroscado sobre sí mismo, mordiéndose el lomo, recurso y motivo que hallamos en otras navetas muy similares, como la también conservada en el mismo museu nacional d\u2019art de catalunya (inv. 4545) o las dos del museo frederic marès de barcelona (inv. 833 y 827), pero también en otras piezas, como ha señalado oportunamente guardia en relación a la cubierta de la biblia de souvigny, que se fecha hacia 1180.\" \n este tipo de receptáculo, de uso litúrgico, complemento indispensable del incensario, ya que contenían el incienso que se quemaba en ellos, surge en francia a principios del siglo xiii. \n su nombre viene dado por la forma que tiene de pequeño navío, \"navire\" en francés y por tanto de su diminutivo \"navette\", del término original en latín \"navicula\". \n el pie no se conserva. \n \n modelos similares: \n dos navetas idénticas se encuentran en el musée des beaux-arts de dijon (inv.1264) http://mba-collections.dijon.fr/ow4/mba/voir.xsp?id=00101-13314&qid=sdx_q0&n=2& ;e= \n y en la fondation gandur pour l\u2019art, de ginebra (inv. n° fga-ad-obj-0085) https://www.fg-art.org/fr/loeuvre-du-mois-archives/une-navette-a-encens-en-email-de-limoges) \n como indican la dr. fabienne fravalo, de la fundación gandur, en la ficha de su naveta, pocos son los ejemplos de este tipo de objeto litúrgico que, sometidos a un uso frecuente, hayan llegado a nuestros días. también destacan que estas navetas esmaltadas formaban parte de los tesoros de las iglesias desde el siglo xiii, en la zona de limoges, y por extensión en francia y europa, al mismo nivel de importancia que las palomas eucarísticas, las píxides o los candeleros esmaltados. \n otra naveta muy similar, pero con cabujones, se conserva en el museu nacional d\u2019art de catalunya (inv.12903) \n la tapa de una naveta muy similar a la nuestra se conserva en el leicester arts and museums service, después de haber sido hallada en la abadía de leicester, actualmente en ruinas. https://www.bbc.co.uk/ahistoryoftheworld/objects/gnwytkf0tuew23ftmwn2kg \n una pieza similar, pero con decoración de ángeles, se encuentra en el musée de cluny en parís (inv. n° 11157) \n por último, otra naveta similar, se conserva en el museo lázaro galdiano de madrid (inv. 2719) \n \n bibliografía de referencia: \n - de limoges a silos\". catálogo de la exposición madrid - bruselas - santo domingo de silos, en noviembre 2001- abril 2002. pág. 158-160. fig. 37 y 38. \n - l\u2019oeuvre de limoges. émaux limousins du moyen âge, catalogue d\u2019exposition [paris, musée du louvre, 23.10.1995-22.01.1996 ; new york, the metropolitan museum of art, 4.03-16.06.1996], paris, éd. de la réunion des musées nationaux, 1995. \n - gauthier, marie-madeleine (dir.), émaux méridionaux : catalogue international de l\u2019oeuvre de limoges. tome 2 : l\u2019apogée 1190-1215, paris, éditions du cths, 2011."},"estimateMax":9000,"lotNumber":"1","title":{"en":"engraved, chased and partially gilded copper incense burner with champlevé enamel. limoges. france. romanesque. 13th century.","es":"naveta para incienso, en cobre grabado, cincelado y parcialmente dorado con esmalte champlevé. limoges. francia. románico. siglo xiii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19327/view","tags":["esdecorativearts_cloisonnechampleve","esdecorativearts_all","esdecorativearts"],"directSalePrice":6000,"soldPrice":6500,"lastUpdate":"2026-07-01T16:37:17.809Z","textCase":"lower","estimate":"\u20ac6,000 - \u20ac9,000","currency":"EUR","id":19327,"estimateMin":6000},{"startPrice":5000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19328/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19328/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19328/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19328/004/004.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"\"our lady of the annunciation\". \n tempera on panel. fragment of a gothic painting. circa 1400. \n the subject is a virgin mary from a scene of the annunciation. stylistically it is halfway between pere serra\u2019s last works and lluis borrassà\u2019s earliest. \n 19 x 14,5 cm.","es":"\"virgen de la anunciación\" \n témpera sobra tabla. fragmento de una pintura gótica. circa 1400. \n se trata de una virgen procedente de una anunciación. estilísticamente, a medio camino entre la etapa final de pere serra y el primer lluis borrassà. \n 19 x 14,5 cm."},"estimateMax":6000,"lotNumber":"2","title":{"en":"catalan school. gothic. early 15th century.","es":"escuela catalana. gótico. principios del siglo xv."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19328/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":5000,"soldPrice":7000,"lastUpdate":"2026-07-01T16:37:17.812Z","textCase":"lower","estimate":"\u20ac5,000 - \u20ac6,000","currency":"EUR","id":19328,"estimateMin":5000},{"startPrice":60000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19329/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19329/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19329/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19329/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19329/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19329/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19329/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19329/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19329/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19329/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19329/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19329/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19329/013/013.jpg"],"available":false,"description":{"en":"61 x 17 x 15 cm. \n the latin term sedes sapientiae means seat of wisdom or throne of wisdom. it is one of the most widespread images of the virgin mary, mother of jesus christ, in visual art. \n this designation was used for the first time in the 11th and 12th centuries by peter damiani and guibert de nogent, to compare the virgin mary with the throne of soloman. mary becomes the seat for the embodiment of the christ child. \n 'seat of wisdom' is one of the descriptions of the virgin mary in the litany of loreto. \n the origin of these images is byzantine, and they became popular in the occidental church from the 11th century. the cistercian order was constituted from the 12th century and was a great promoter of the worship of mary. \n the 'sedes sapientiae' were produced in the early middle ages and can be situated geographically from auvergne to catalonia and from italy to scandinavia. \n our image is an example of exceptional sculptural quality, as almost the entirety of its original polychrome has been preserved. the child is not preserved, which does not affect the importance of the sculpture in any way. \n the sculptor knew how to endow the image with spirituality by transmitting mary´s idealised and celestial nature. \n mary is in a forward-facing position, seated on her throne of wisdom, and crowned as the queen of heaven. she wears a red-toned tunic and a blue cloak with gold trimming. the lightness of the materials can be appreciated as they cling to the body, forming small parallel folds. \n a fine veil falls from under the crown, which frames the face but leaves it clear, coming to rest on mary´s slim shoulders. \n her face is beautiful and oval-shaped, with long eyebrows over slanting eyes, a long slim nose and fine lips. \n stylistically, in our opinion, our majesty suggests a catalan romanesque origin, with similarities to, among others: \n the madonna and child, dated circa 1200, which is kept in the mnac barcelona (inv. 003923-000): \n https://www.museunacional.cat/ca/colleccio/mare-de-deu/anonim/003923-000 \n our lady of matamala, 12th century, kept in the episcopal museum of vic, in catalonia, spain (in.1404) https://www.museuartmedieval.cat/es/colleccions/romanico/virgen-de-santa-maria-de-matamala-mev-1404. \n some french romanesque majesties from the pyrenees - massis central area, have elements in common with our seat of wisdom, as we can see in the marvellous sedes which is kept in the walters art museum in baltimore, which has a french origin and is dated circa 1175-1225, in which we can observe elements in common with ours (inv. nº 27.255) https://art.thewalters.org/detail/3972/virgin-and-child-8/ and the magnificent \"vierge à l\u2019enfant de nolay\", dated between the 11th and 12th century, which is kept in the musée de beaune in france.","es":"61 x 17 x 15 cm. \n el término en latín sedes sapientiae significa asiento de la sabiduría o trono de la sabiduría. es una de las representaciones más extendidas de la virgen maría, madre de jesucristo, en las artes visuales. \n esta designación fue utilizada por primera vez en los siglos xi y xii por peter damiani y guibert de nogent, para comparar a la virgen maría con el trono de salomón. maría se torna en portadora de la encarnación del santo niño. \n 'asiento de la sabiduría' es una de las descripciones de la virgen maría en las letanías de loreto. \n el origen de estas representaciones es bizantino, popularizándose en la iglesia de occidente a partir del siglo xi. la orden del císter se constituyó a partir del siglo xii en gran impulsora de la recuperación del culto mariano. \n las 'sedes sapientiae' se produjeron en la alta edad media, y geográficamente se pueden situar desde auvernia hasta cataluña, y desde italia hasta escandinavia. \n nuestra imagen es un ejemplo de excepcional calidad escultórica, que conserva prácticamente la totalidad de su policromía original. no se conserva el niño, lo que no desmerece en absoluto la importancia de la escultura. \n el escultor supo dotar de espiritualidad a la imagen para transmitir su naturaleza idealizada y celestial. \n maría, en posición frontal, sentada en su trono de sabiduría, y coronada como reina de los cielos, viste túnica en tonos rojos y manto azul con ribete dorado. se aprecia la levedad de los tejidos, adheridos al cuerpo, formando pequeños pliegues paralelos. \n por debajo de la corona, cae un fino velo, que mantiene su rostro enmarcado pero despejado, y reposa sobre sus delgados hombros. \n su rostro es bello, de forma oval, cejas alargadas sobre unos ojos almendrados, nariz larga delgada y labios finos. \n estilísticamente, nuestra majestad se engloba, en nuestra opinión, en las de origen románico catalán, con semejanzas, entre otras con: \n la virgen con niño, datada hacia 1200, que se conserva en el mnac (inv. 003923-000), o \n la virgen de santa maría de matamala, del siglo xii, conservada en el museu episcopal de vic (inv.1404). \n algunas imágenes de majestades románicas francesas, de la zona pirenaica - macizo central, tiene elementos comunes con la nuestra, como observamos en la maravillosa sedes que se conserva en el walters art museum de baltimore, con origen francés y datada circa 1175-1225 (inv. nº 27.255), o en la magnífica \"vierge à l\u2019enfant de nolay \", datada entre el siglo xi - xii, conservada en el musée de beaune en francia."},"estimateMax":70000,"lotNumber":"3","title":{"en":"\"seat of wisdom (sedes sapientiae)\". carved and polychromed wooden sculpture. romanesque. 12th century.","es":"\"virgen en majestad (sedes sapientiae)\". escultura en madera tallada y policromada. románico. siglo xii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19329/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":60000,"lastUpdate":"2026-07-01T16:37:17.815Z","textCase":"lower","estimate":"\u20ac60,000 - \u20ac70,000","currency":"EUR","id":19329,"estimateMin":60000},{"startPrice":2500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/013/013.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/014/014.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/015/015.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19330/016/016.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"8,5 x 25 x 14,5 cm. \n oak wood box decorated with plaques of cast and gilded pewter on a pink silk base. \n the edge has a delicate border of four-lobed motifs, with ivy leaves and berries inside, with a central rose, and in the corners are ribbed leaves. the lid is decorated with two large geometric roses with fleurons and ivy leaves in a frame with medallions which surround griffins, dragons, eagles and other fantastical animals. the handle, which is mobile, is made of gilded bronze and ends in a dragon\u2019s head at each side, with a rhomboidal knot in the centre and two ivory beads, which also adorn the corners of the chest. the lock is made of wrought iron and the lid and base are fringed with silk tassels. \n it rests on four gilded bronze, spherical feet.","es":"8,5 x 25 x 14,5 cm. \n caja con alma de roble decorada con placas de peltre dorado y calado, sobre un fondo de seda rosa. \n el perímetro presenta una delicada cenefa de motivos cuadrilobulados, conteniendo en su interior hojas y frutos de hiedra, con una rosa central y en las esquinas hojas nervadas; la tapa está decorada con dos grandes rosas de forma geométrica, con florones y hojas de hiedra en un marco con medallones que rodean a grifos, dragones, águilas y animales fabulosos. el asa, móvil, realizada en bronce dorado, remata en los extremos en forma de cabeza de dragón, nudo romboidal central y dos cuentas de marfil, que también rematan las esquinas. cerradura en hierro forjado y tapa y base rematadas en flecos de seda. \n apoya en cuatro patas, en forma de pequeñas esferas en bronce dorado."},"estimateMax":4000,"lotNumber":"4","title":{"en":"italian wooden chest covered in silk and decorated with gilded cast metal plaques. possibly venetian. first half of the 14th century.","es":"arqueta italiana ornada con placas caladas en metal dorado, sobre fondo de seda y alma de madera. posiblemente venecia. primera mitad del siglo xiv."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19330/view","tags":["esart_decorative","esart","esart_all"],"directSalePrice":2500,"soldPrice":2500,"lastUpdate":"2026-07-01T16:37:17.820Z","textCase":"lower","estimate":"\u20ac2,500 - \u20ac4,000","currency":"EUR","id":19330,"estimateMin":2500},{"startPrice":18000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19331/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19331/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19331/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19331/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19331/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19331/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19331/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19331/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19331/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19331/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19331/011/011.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"5,5 x 25 x 23 cm. \n this image could have its geographical origins in catalonia if we compare it, for example, with the virgin of santa maria de lluçà which is kept in the episcopal museum of vic (inv.1958). both have the characteristic chubby cheeks, and the central treatment of mary\u2019s tunic follows the same models. the child has not been preserved on the virgin of santa maria de llucà, but would have been placed in the same position as this one, and the clothing would undoubtedly have followed the same symmetrical model. \n even so, the provenance is difficult to pin down as the typology of these images had quite a few elements in common. there are similarities with the xhoris madonna and child at grand curtius museum in liege, and which recent studies have dated circa 1000 to 1100. \n from the 11th century, with a movement that culminated in the gregorian reform (1073), the image of the virgin in majesty and its symbolism was developed. \n the sedes sapientiae, or seat of wisdom, became the image of mary par excellence. in this way mary is both the means of the incarnation of the lord and his main support. \n this important sculpture is a faithful example of the characteristic romanesque stylistics of the virgin in majesty. mary is seated on her throne of glory, and is also a throne for her son who, following the romanesque canons, is seated at the center of his mother\u2019s lap. both are in a forward-facing position, in total symmetry and independent from one another. there is no interaction between mother and child. \n the apparent simplicity of the clothing is made up for by the quantity of soft and fluid folds which once again are perfectly symmetrical and identical in both mary and the child\u2019s clothing. \n the frontal attitude, the throne and the severe and inscrutable look accentuate their majesty and invite devotion and respect from the faithful. \n some examples which have similarities to this image are, for example the vierge de viévy, dated in the late 11th century, which is kept at the dijon musée d\u2019art sacrée, (inv. d980.15.1) and catalogued as a historic monument of france. https://art-sacre.dijon.fr/representations-de-vierge-xie-xvie-siecle \n provenance: \n - private collection brussels, mid-20th century. \n - bought in 1964 by the current owner of the antiquarian alfredo noirjean in barcelona. \n accompanied by an original photograph of the sculpture while it formed part of the belgian collection, by the photographer robert kayaert from brussels, on the back of which the antiquarian noirjean wrote out a certificate of authenticity.","es":"65,5 x 25 x 23 cm. \n nuestra imagen podría proceder geográficamente de tierras catalanas si la comparamos por ejemplo con la virgen de santa maria de lluçà que se conserva en el museu episcopal de vic (inv.1958). ambas presentan unos característicos mofletes abultados, y el tratamiento central de la túnica de la virgen sigue los mismos modelos. además, aunque la virgen de santa maria de lluçà no conserva el niño, este iba colocado en la misma posición que el nuestro, y con toda seguridad sus ropajes seguirían el mismo modelo simétrico. \n sin embargo, la procedencia es difícil de precisar, ya que la tipología de estas imágenes tuvo bastantes elementos comunes. encontramos por ejemplo similitudes con la xhoris madonna and child, que se conserva en el grand curtius museum en lieja, y que recientes estudios han datado ca. 1000 o 1100. \n desde el siglo xi, con un movimiento que culmina con la reforma gregoriana (1073), se desarrolla la imagen de la virgen en majestad y su simbolismo, convirtiéndose la sedes sapientiae, o trono de sabiduría en la representación mariana por excelencia. maría es así la herramienta de encarnación del señor, y su principal soporte. \n nuestra importante imagen es fiel ejemplo de las características estilísticas románicas de la virgen en majestad. maría, sentada en su trono de gloria, es a su vez trono de su hijo, quien, siguiendo los cánones románicos, está sentado en el centro de su madre. ambos están en posición frontal, en total simetría e independientes entre sí. no hay interacción entre madre e hijo. \n esta actitud y la mirada severa e inescrutable de ambos acentuaban su majestuosidad, e invitaban a la devoción y respeto de los fieles. \n la aparente simplicidad de los ropajes queda suplida por la cantidad de pliegues suaves y fluidos que una vez más son perfectamente simétricos, e idénticos en los ropajes de maría y del niño. \n nos gustaría destacar, para terminar, la semejanza que guarda con nuestra imagen la vierge de viévy, datada de finales del siglo xi, que se conserva en el musée d\u2019art sacrée de dijon, (inv. d980.15.1) y que está catalogada como monumento histórico de francia (https://art-sacre.dijon.fr/representations-de-vierge-xie-xvie-siecle) \n \n procedencia: \n - colección particular bruselas, mediados del siglo xx. \n - adquirido en 1964 por el actual propietario al anticuario alfredo noirjean en barcelona. \n se adjunta fotografía original de la virgen mientras formaba parte de la colección belga, del fotógrafo robert kayaert de bruselas, al dorso de la que el anticuario noirjean extendió un certificado de autenticidad."},"estimateMax":22000,"lotNumber":"5","title":{"en":"\"seat of wisdom (sedes sapientiae)\". carved wooden sculpture. romanesque. 12th century.","es":"\"virgen en majestad (sedes sapientiae)\". escultura en madera tallada. románico. siglo xii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19331/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":18000,"soldPrice":18000,"lastUpdate":"2026-07-01T16:37:17.824Z","textCase":"lower","estimate":"\u20ac18,000 - \u20ac22,000","currency":"EUR","id":19331,"estimateMin":18000},{"startPrice":55000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19332/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19332/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19332/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19332/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19332/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19332/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19332/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19332/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19332/009/009.jpg"],"available":false,"description":{"en":"\"saint apollonia\" \n panel painting in tempera. aragón. circa 1430-1440. 157 x 95 cm. \n according to dr. alberto velasco gonzàlez\u2019s report dedicated to this painting, this is a previously unknown work by beck, an artistic character created by chandler rathfon post in his day in order to group certain paintings which pivoted around blasco de grañén, the great international gothic painter of aragon. the last studies dedicated to the latter painter included a series of paintings among his work and that of his workshop which was stylistically slightly apart from the altarpieces documented as being by the master, which gave rise to talk of the existence of a collaborator with a strong artistic personality who, perhaps, was working at the time of blasco de grañén\u2019s final period. the faces have more rounded and less harsh features than those of the latter artist, with well-defined cheeks, very powerful shading and mouths with fleshy lips. the ears are also very peculiar as they stick out quite far and are rounded. \n among the paintings that correspond to these characteristics we find a series of panels from a reredos dedicated to saint michael and saint thomas. a highlight from among these is a saint michael kept in barcelona in the mnac national art museum of catalonia. the rest of the panels are in various private collections. there are six compartments dedicated to the virgin mary and saint michael in the same barcelona museum, a madonna and child and angels which was in the former martin beck collection (new york), which is now in the museum of fine arts of valencia. there is a saint john the baptist in the museum of reus, spain, which belonged to the same reredos as the previous painting. there is a mary magdalene which was in the former mateu collection (barcelona), and which was also possibly part of the same reredos. guadaira macías considered that these paintings should be attributed to a painter she called \"pseudo blasco de grañén\", and she did this when writing about a panel of the madonna and child accompanied by angels and saints which is kept in the delgado collection. all in all, this painting of saint apollonia does not appear to be by the same painter, which is why we consider it more opportune not to use that denomination and instead recuperate that which post coined in his day to refer to the anonymous painter in blasco de grañén\u2019s orbit, the master of beck. \n in the still unpublished study of the saint john the baptist kept in the museum of reus which dr. velasco has undertaken, he proposes that two possible candidates for the identity of the master of beck could be the brothers juan and jaime arnaldín i, who were active in calatayud and zaragoza and who have been documented on different occasions alongside blasco de grañén. \n we thank dr. alberto velasco for the identification and cataloging of this work. \n the painting is accompanied by dr. alberto velasco gonzàlez\u2019s report. \n \n bibliography on the painting: \n - alberto velasco gonzàlez, mestre de beck. sant joan baptista, (master of beck, saint john the baptist) unpublished report commissioned by the museum of reus, 2021 (it mentions the saint apollonia). \n \n bibliographic reference on the painter: \n - chandler rathfon post, the hispano-flemish style in north-western spain (a history of spanish painting, vol. iv), cambridge (massachusetts), harvard university press, 1933, pp. 642-644. \n - josé gómez frechina, \"obrador de blasco de grañén. mare de déu amb el xiquet entronitzada i àngels\", in la col·lecció orts-bosch al museu de belles arts de valència, valencia, generalitat valenciana, 2006, vol. i, pp. 34-35. \n - alberto velasco gonzàlez, \"novetats del mercat d\u2019art en relació amb la pintura gòtica aragonesa: blasco de grañén (doc. 1422-1459)\", in viatges a la bellesa. miscel·lània homenatge a maria rosa manote i clivilles, barcelona, retrotabulum maior, 2015, pp. 166-169. \n - guadaira macías, \"pseudo blasco de grañén\", in david gimilio and josé gómez frechina (eds.), la colección delgado, valencia, museu de belles arts de valència, 2017, pp. 28-30.","es":"\"santa apolonia\" \n pintura al temple sobre tabla. aragón. circa 1430-1440. 157 x 95 cm. \n según el informe que el dr. alberto velasco gonzàlez ha dedicado a esta obra, nos hallamos ante un trabajo inédito del maestro de beck, una personalidad artística creada en su momento por chandler rathfon post para agrupar ciertas pinturas que pivotaban alrededor de blasco de grañén, el gran pintor del gótico internacional en tierras aragonesas. los últimos estudios dedicados a este último incluían entre sus obras y las de su taller una serie de trabajos que, estilísticamente, se apartaban ligeramente de los retablos documentados del maestro, lo que dio pie a hablar de la existencia de un colaborador de fuerte personalidad artística que trabajó, tal vez, coincidiendo con el último período de actividad de blasco de grañén. sus rostros presentan rasgos más redondeados y menos ásperos que los de este último, con mejillas bien definidas, sombreados muy potentes y bocas de labios carnosos. las orejas también son muy peculiares, bastante protuberantes y redondeadas. \n entre las obras que responden a estas características encontramos una serie de tablas de un retablo dedicado a los santos miguel y tomás, entre las que destaca un san miguel conservado en el museo nacional de arte de cataluña, con el resto de tablas en diversas colecciones particulares; seis compartimentos dedicados a la virgen maría y san miguel del mismo museo barcelonés; una virgen con el niño y ángeles de la antigua colección de martin beck (nueva york), hoy en el museo de bellas artes de valencia; un san juan bautista del museu de reus, que perteneció al mismo retablo que la anterior; y una magdalena de la antigua colección mateu (barcelona), posiblemente parte también del mismo retablo. guadaira macías consideró que las obras citadas debían atribuirse a un pintor que denominó \"pseudo blasco de grañén\", y lo hizo a partir de una tabla con la virgen y el niño acompañados de ángeles y santos conservada en la colección delgado. con todo, esta obra no parece del pintor que nos ocupa, por lo que consideramos más oportuno no hacer uso de dicha denominación y recuperar la que acuñó en su día post para referirse a este pintor anónimo del entorno de blasco de grañén, el maestro de beck. \n en el estudio, aún inédito, que el dr. velasco ha efectuado del san juan bautista conservado en el museu de reus propone que dos posibles candidatos para la identificación del maestro de beck podrían ser los hermanos juan y jaime arnaldín i, activos en calatayud y zaragoza, a quienes se documenta en diferentes ocasiones junto a blasco de grañén. \n agradecemos al dr. alberto velasco la identificación y catalogación de esta obra. \n se adjunta informe del dr. alberto velasco gonzàlez. \n \n bibliografía sobre la obra: \n - alberto velasco gonzàlez, mestre de beck. sant joan baptista, informe inédito encargado por el museu de reus, 2021 (con mención a la santa apolonia). \n \n bibliografía de referencia sobre el pintor: \n - chandler rathfon post, the hispano-flemish style in north-western spain (a history of spanish painting, vol. iv), cambridge (massachusets), harvard university press, 1933, pp. 642-644. \n - josé gómez frechina, \"obrador de blasco de grañén. mare de déu amb el xiquet entronitzada i àngels\", en la col·lecció orts-bosch al museu de belles arts de valència, valencia, generalitat valenciana, 2006, vol. i, pp. 34-35. \n - alberto velasco gonzàlez, \"novetats del mercat d\u2019art en relació amb la pintura gòtica aragonesa: blasco de grañén (doc. 1422-1459)\", en viatges a la bellesa. miscel·lània homenatge a maria rosa manote i clivilles, barcelona, retrotabulum maior, 2015, pp. 166-169. \n - guadaira macías, \"pseudo blasco de grañén\", en david gimilio i josé gómez frechina (eds.), la colección delgado, valencia, museu de belles arts de valència, 2017, pp. 28-30."},"estimateMax":70000,"lotNumber":"6","title":{"en":"master of beck (¿juan arnaldín or jaime arnaldín i?)","es":"maestro de beck (¿juan arnaldín o jaime arnaldín i?)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19332/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":55000,"lastUpdate":"2026-07-01T16:37:17.827Z","textCase":"lower","estimate":"\u20ac55,000 - \u20ac70,000","currency":"EUR","id":19332,"estimateMin":55000},{"startPrice":35000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19333/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19333/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19333/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19333/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19333/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19333/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19333/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19333/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19333/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19333/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19333/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19333/012/012.jpg"],"available":false,"description":{"en":"110 x 54 x 40 cm. \n the sculptural group of saint anne, the virgin mary and the christ child, also known as saint anne trinitarian or saint anne triple or triplex or \u201cthe three generations\u201d, is a polychromed, early renaissance image created by an anonymous castilian artist, maybe from palencia or burgos. the iconography of the saint anne trinitarian, which is a theme which anticipates the idea of the immaculate conception, as well as the tree of jesse, the holy kinship \u2013is a simplification of the tree of jesse, or the embrace at the golden gate, and it began to spread in the late 13th century, reaching its zenith in the late 15th century, and remained prominent until its dissolution after the council of trent, after which a different type of spirituality was chosen. \n the sculptor has organised the three figures in tiers, which means that saint anne presides over the composition in a central position, the virgin mary appears to one side and the child is placed diagonally from mary. although the figures do not look at one another, they are united in a play with their looks, which begins with saint anne, who looks at the virgin who continues by looking at the christ child, finishing up with the observer, on whom the child\u2019s gaze is directed. in this way the three characters have been depicted according to a hierarchical perspective. the grandmother is the most important character, which is also why she is larger, and in this way substitutes her daughter as the one who intercedes, as she is also the one who offers fruit to her grandson. in this case the fruit is a pear which symbolises the love of the christ incarnate for humanity. \n the imposing figure of saint anne is seated on the seat of honour, which corresponds to her rank in the matriarchal line of jesus\u2019 family, considerably higher than that of the virgin mary, who is seated on her left knee. saint anne is dressed in the fashion of the day, with a tunic, cloak and a headdress of the type worn by older women. all of the clothing is richly gilded and scored with wrinkled folds which bring chiaroscuro effects to the piece. the virgin who is depicted with a youthful look and blonde hair hanging loose by the sides of her face, is crowned, confirming her as queen of heaven. she wears a low-cut silk dress, all of which is also gilded. she holds her divine child, who is sitting cross-legged in her lap, in both hands, the child is about to touch his mother with one hand while with the other he makes a gesture of blessing at the pear that his grandmother is offering him. \n the group has obvious similarities to others kept in palencia, burgos and valladolid, such as the one attributed to alejo de vahía (ca.1500) in the palencia cathedral museum or the example which is possibly from burgos (ca.1501-1525) which is exhibited museo nacional de escultura in vallodolid (inventory number ce0733). \n we would like to thank javier baladrón, doctor in history of art, for identifying and cataloguing this piece.","es":"110 x 54 x 40 cm. \n el grupo escultórico de santa ana, la virgen y el niño. también denominada santa ana triple o tríplex, o \"las tres generaciones\", es una imagen en madera policromada del primer renacimiento ejecutada por un anónimo maestro castellano, quizás palentino o burgalés. la iconografía de santa ana triple, que es un tema que anticipa la idea de la inmaculada concepción, al igual que el árbol de jesé, la sagrada parentela \u2013viene a ser una simplificación del árbol de jesé\u2013, o el abrazo ante la puerta dorada, comenzó a extenderse a finales del siglo xiii, alcanzó el cénit de su difusión a finales del siglo xv, y se mantuvo vigente hasta su disolución tras el concilio de trento, momento en el que se optó por otro tipo de espiritualidad. \n el escultor ha organizado las tres figuras de manera escalonada, de suerte que santa ana preside la composición desde una posición central, la virgen aparece ladeada y el niño en diagonal con respecto a su madre. a pesar de que las figuras no se miren entre sí se interrelacionan por un juego de miradas que nace en santa ana, deriva en la virgen, continúa en el niño jesús, y finaliza en el espectador, el cual se ve involucrado por el pequeño. asimismo, los tres personajes han sido representados según la perspectiva jerárquica. así, la abuela es el personaje más importante, de ahí su mayor tamaño, sustituyendo así a su hija en el papel de intercesora y en el hecho de que es ella la que ofrece un fruto a su nieto. en este caso se trata de una pera que simboliza el amor de cristo encarnado por la humanidad. \n la imponente figura de santa ana se encuentra sentada en un sitial, como corresponde a su rango en la línea matriarcal de la familia de jesús, considerablemente mayor que la de la virgen que aparece sentada sobre su rodilla izquierda. santa ana viste de acuerdo a la moda de la época, con una túnica, un manto y un tocado propio de las mujeres de avanzada edad, prendas todas ellas ricamente doradas y surcadas por rugosos pliegues que proporcionan juegos de claroscuros a la pieza. la virgen, que presenta un aspecto juvenil, cabellos rubios sueltos a los lados del rostro, y una cabeza tocada por una corona que la acredita como la reina de los cielos, viste un brial con escote, todo él también dorado. sujeta con ambas manos a su divino hijo, que está sentado con las piernas cruzadas sobre el regazo materno. el pequeño se apresta a tocar con una mano a su madre mientras que con la otra realiza un gesto de bendición a la pera que le está acercando su abuela. \n el grupo presenta notorias similitudes con otros conservados en palencia, burgos o valladolid, como por ejemplo el atribuido a alejo de vahía (ca.1500) en el museo catedralicio de palencia o el ejemplar de posible origen burgalés (ca.1501-1525) expuesto en el museo nacional de escultura (número de inventario ce0733). \n agradecemos a d. javier baladrón, doctor en historia del arte, por la identificación y catalogación de esta obra."},"estimateMax":45000,"lotNumber":"7","title":{"en":"\"saint anne, the virgin mary and the christ child\". carved, polychromed and gilded wooden sculpture. castilian school. first third of the 16th century.","es":"\"santa ana, la virgen y el niño o santa ana tríplex\". escultura en madera tallada, policromada y dorada. escuela castellana. primer tercio del siglo xvi."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19333/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":35000,"lastUpdate":"2026-07-01T16:37:17.833Z","textCase":"lower","estimate":"\u20ac35,000 - \u20ac45,000","currency":"EUR","id":19333,"estimateMin":35000},{"startPrice":90000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/013/013.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/014/014.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/015/015.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19334/016/016.jpg"],"available":false,"description":{"en":"\"adoration of the magi\" \n triptych. tempera on panel. open measurements: 115,5 x 171 cm. closed measurements: 115,5 x 87 cm. \n the artist was a flemish painter from antwerp who was active in bruges around 1520. he was discovered for the first time, according to the städel museum, by the belgian art historian georges hulin de loo (ghent, 1862 - brussels, 1945). the name we know the artist by, master of the holy blood, was given to him because of his most famous painting, the \"triptych of the crucifixion\" which is kept in the basilica of the holy blood in bruges, the place for which it was conceived. \n as the prado museum explains, in spite of forming part of the circle of ambrosius benson, adriaen isenbrandt and albert cornelis, he was influenced by numerous other belgian artists. in fact, the städel museum notes that his stay in bruges could have been preceded by an education in antwerp, the possible birthplace of the artist, where he would have been given classes by the most important flemish painter from the first half of the 16th century, quinten massys (leuven, 1466 - antwerp, 1530). the master of frankfurt also exercised an influence, with his expressive masculine figures, as did joachim patinir with his landscapes, and even leonardo da vinci, who could have influenced him with his caricature drawings. \n it is possible that the prolific painter, who worked both for the free market as well as for the church and private patrons, painted part of his work for exportation, a fact which can explain why important museums in different countries keep some of his works. highlights among these are the \"ecce homo\" and \"the annunciation, saint jerome and saint john the baptist\" triptychs in the museo nacional del prado; \"the descent from the cross\", in the met museum; the panel of \"saint anne, the virgin mary and the child\" in the städel museum; and the panel of \"saint luke painting the virgin and child\", kept in the fogg museum and which had previously been attributed to the belgian massys, who had been his master. \n we can also enjoy his legacy in the royal chapel of granada cathedral, with another \"descent from the cross\"; or in the royal museums of fine art of belgium, the country of his birth, with \"the death of lucretia\"; as well as in the ­sint-jakobskerk church in bruges, where the \"madonna and child surrounded by anne, joachim and sybils\" can be seen. \n \n bibliographic references: \n - museo nacional del prado. (s.f.). maestro de la santa sangre. https://www.museodelprado.es/aprende/enciclopedia/voz/santa-sangre-maestro-de-la/e5fec03d-f380-4f88-ad1a-800e19e1d38f \n - städelsches kunstinstitut und städtische galerie. (s.f.). master of the holy blood. https://sammlung.staedelmuseum.de/en/person/master-of-the-holy-blood \n - harvard art museums. (s.f.). master of the holy blood. https://hvrd.art/o/232000 \n - metropolitan museum of art. (s.f.). the descent from the cross. https://www.metmuseum.org/art/collection/search/437008 \n - rijksbureau voor kunsthistorische documentatie [rdk]. (s.f.). meester van het heilig bloed. https://rkd.nl/nl/explore/images/32968 \n \n we would like to thank ana diéguez of the moll institute for her study of this work. although the painting is not accompanied by a written certificate, information can be obtained by telephoning doctor diéguez.","es":"\"adoración de los reyes\" \n tríptico. temple sobre tabla. medidas abierto: 115,5 x 171 cm. medidas cerrado: 115,5 x 87 cm. \n el autor de nuestra obra fue un pintor flamenco de origen antuerpiense con actividad en brujas hacia 1520. fue descubierto por primera vez, según informaciones del städel museum, por el historiador del arte belga georges hulin de loo (gante, 1862 - bruselas, 1945). el nombre por el que le conocemos, maestro de la santa sangre, le fue otorgado porque su obra más célebre, el \"tríptico de la lamentación\", se conserva en la capilla de la santa sangre de brujas, lugar para el que fue concebida. \n pese a formar parte, como nos cuenta el museo del prado, del círculo de ambrosius benson, adriaen isenbrandt y albert cornelis, tuvo numerosas influencias de otros artistas belgas. de hecho, apunta el museo städel que su estancia en brujas podría haber venido precedida de una educación en amberes, posiblemente su lugar de nacimiento, donde habría recibido clases del más importante pintor flamenco de la primera mitad del siglo xvi, quinten massys (lovaina, 1466-amberes, 1530). también ejercieron su influencia el maestro de fráncfort, con sus expresivas figuras masculinas; joachim patinir con sus paisajes; o incluso leonardo da vinci, que le pudo haber influido con sus dibujos caricaturescos. \n es posible que el pintor, que trabajó tanto para el mercado libre como para la iglesia o particulares, destinara parte de su obra a la exportación, hecho que podría explicar que importantes museos de diferentes países conserven algunas piezas de su amplia producción. entre ellas, se distinguen los trípticos \"ecce homo\" y \"la anunciación, san jerónimo y san juan bautista\", en el museo nacional del prado; \"el descendimiento\", en el met museum; la tabla \"santa ana, la virgen y el niño\", en el städel museum; o la tabla \"san lucas pintando a la virgen\", conservada en el fogg museum y que había sido atribuida previamente al que fuera su maestro, el belga massys. \n también podemos disfrutar de su legado en la capilla real de la catedral de granada, con otro \"descendimiento\"; o en los museos reales de bellas artes de su bélgica natal con \"la muerte de lucrecia\"; así como en la iglesia de santiago (sint-jakobskerk en neerlandés) de la ciudad brujense, donde se puede visitar la tabla \"la virgen y el niño con san joaquín y santa ana, acompañados de profetas y sibilas\". \n \n bibliografía de referencia: \n - museo nacional del prado. (s.f.). maestro de la santa sangre. https://www.museodelprado.es/aprende/enciclopedia/voz/santa-sangre-maestro-de-la/e5fec03d-f380-4f88-ad1a-800e19e1d38f \n - städelsches kunstinstitut und städtische galerie. (s.f.). master of the holy blood. https://sammlung.staedelmuseum.de/en/person/master-of-the-holy-blood \n - harvard art museums. (s.f.). master of the holy blood. https://hvrd.art/o/232000 \n - metropolitan museum of art. (s.f.). the descent from the cross. https://www.metmuseum.org/art/collection/search/437008 \n - rijksbureau voor kunsthistorische documentatie [rdk]. (s.f.). meester van het heilig bloed. https://rkd.nl/nl/explore/images/32968 \n \n se agradece la confirmación de la autoría a doña ana diéguez del instituto moll. pese a no adjuntarse certificado escrito, la comprobación de tal información puede realizarse telefónicamente con la doctora diéguez."},"estimateMax":100000,"lotNumber":"8","title":{"en":"master of the holy blood (bruges, active in 1520)","es":"maestro de la santa sangre (brujas, activo en 1520)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19334/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":90000,"lastUpdate":"2026-07-01T16:37:17.836Z","textCase":"lower","estimate":"\u20ac90,000 - \u20ac100,000","currency":"EUR","id":19334,"estimateMin":90000},{"startPrice":35000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19335/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19335/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19335/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19335/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19335/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19335/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19335/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19335/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19335/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19335/010/010.jpg"],"available":false,"description":{"en":"102 x 45 x 39 cm. \n important example of spanish gothic imagery on which the original polychrome is preserved and which, due to its large dimensions, probably formed part of an important altar. \n we are presented with saint anne in one of the most frequent depictions of medieval imagery, known as saint anne trinitarian or triplex, which form part of the compositions known as the kinship or genealogy of christ. \n this sculpture portrays saint anne seated on a throne and in a forward-facing position, as the centre of the composition. the virgin mary is in her lap, and the baby jesus is in mary\u2019s lap in turn. \n saint anne\u2019s face appears to look especially young despite her advanced age and is framed with the headdress of a married woman, and a short veil. she wears a tunic and cloak, which fall to her feet forming bulges and beautiful folds. her feet rest on a cushion that pads the throne\u2019s footstool. \n the virgin mary is depicted as young, crowned and with the sweet expression of virginal youth. she holds the child lovingly in her right hand and in turn he rests on her with an affectionate gesture as he faces forward. they are dressed in a simple tunic, which is to incite devotion to humility, in this way expressing their human nature. \n worship of saint anne developed rather late in the west. it was in the 13th century onwards, with its root being its inclusion in the \u201cgolden legend\u201d by jacobus de varagine, that images of saint anne became more habitual, spreading around europe and inspiring great fervour from the 15th century onwards. it was then that confraternities were formed and altars were raised in her honour. \n the right hands of saint anne and of the christ child are missing.","es":"102 x 45 x 39 cm. \n importante ejemplo de la imaginería gótica española, que conserva su policromía original, y que, por su gran dimensión, probablemente formó parte de un importante altar. \n encontramos a santa ana en una de las representaciones más frecuentes de la imaginería medieval, conocida como santa ana triple, y que forma parte de las composiciones de la parentela o genealogía de cristo. \n nuestra escultura nos presenta a santa ana, sentada en un trono y en posición frontal, como centro de la composición. tiene en su regazo a maría y esta a su vez al niño jesús. \n el rostro de santa ana, especialmente joven a pesar de su edad avanzada, está enmarcado por una toca, por su condición de casada, y por un corto velo. viste túnica y manto, que caen formando abultados y preciosos pliegues hasta sus pies. estos descansan en un cojín que acolcha el escabel del trono. \n la virgen maría, representada joven, coronada y con la dulce expresión de su juventud virginal, sostiene amorosa al niño con su mano derecha, quien a su vez se apoya en ella en un simpático gesto, mientras mira al frente, y se nos presenta vestido con una sencilla túnica, para incitar al devoto a la humildad, mostrando así su naturaleza humana. \n el culto a santa ana tuvo un desarrollo algo tardío en occidente. fue a partir del siglo xiii, a raíz de incluir su historia en la \u201cleyenda dorada\u201d de jacopo de la voragine, cuando empezaron a ser más habituales las representaciones de santa ana, extendiéndose por europa y alcanzando un gran fervor a partir del siglo xv. fue entonces cuando surgieron cofradías y se levantaron altares en su honor. \n no se conservan las manos derechas de santa ana ni del niño jesús."},"estimateMax":45000,"lotNumber":"9","title":{"en":"\"saint anne trinitarian\". carved, gilded and polychromed wooden sculpture. gothic. 14th century.","es":"\"santa ana triple\". escultura en madera tallada, dorada y policromada. gótico. siglo xiv."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19335/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":35000,"lastUpdate":"2026-07-01T16:37:17.839Z","textCase":"lower","estimate":"\u20ac35,000 - \u20ac45,000","currency":"EUR","id":19335,"estimateMin":35000},{"startPrice":11000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19336/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19336/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19336/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19336/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19336/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19336/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19336/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19336/008/008.jpg"],"available":false,"description":{"en":"magnificent sculpture on which the original polychroming is preserved. \n the virgin mary, queen and future mother, is presented to us in a frontal position. she gives blessing with her right hand while holding the holy scriptures in her left. \n she wears luxurious clothing consisting of a light-toned, fitted tunic which is cinched at the waist with designs of black crosses and red dots on the collar which look like embroidery. \n she wears a white cloak on top which is decorated with red and blue flowers and a red and black border, it is held in place by her crown and falls to her feet. \n the interior of the cloak can be seen, as mary gathers it up in her left hand, so we can see the different decoration inside, with trimming made up of blue triangles edged in red. \n there are long locks of hair at both sides of her face, which is given the effect of being wavy by the polychroming rather than the carving. \n 76 x 27 x 26 cm.","es":"magnífica escultura que conserva su policromía original. \n maría, reina y futura madre, se nos presenta de pie en posición frontal. con la mano derecha bendice mientras en la izquierda sostiene las sagradas escrituras. \n viste lujosos ropajes consistentes en una túnica ajustada que se ciñe en la cintura, en tono claro con diseños de cruces negras y puntos rojos en el cuello a modo de bordado. \n por encima, un manto blanco con decoración de flores rojas y azules, y cenefa roja y negra, cae, sujeto por la corona, hasta los pies. \n en la parte interior del manto se aprecia, gracias al gesto de maría que lo recoge con su mano izquierda, la diferente decoración basada en cenefas de triángulos azules perfilados en rojo. \n a ambos lados de su rostro, largos mechones de cabello, que se nos muestra ondulado gracias a la policromía, no a la talla. \n 76 x 27 x 26 cm."},"estimateMax":14000,"lotNumber":"10","title":{"en":"\"our lady of the annunciation\". carved and polychromed wooden sculpture. castilian school. transition between the romanesque and the gothic. late 13th century.","es":"\"virgen de la anunciación\". escultura en madera tallada y policromada. escuela castellana. transición entre el románico y el gótico. finales del siglo xiii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19336/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":11000,"lastUpdate":"2026-07-01T16:37:17.849Z","textCase":"lower","estimate":"\u20ac11,000 - \u20ac14,000","currency":"EUR","id":19336,"estimateMin":11000},{"startPrice":18000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19337/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19337/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19337/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19337/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19337/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19337/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19337/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19337/008/008.jpg"],"available":false,"description":{"en":"93 x 30 x 26,5 cm. \n this extremely interesting carved and polychromed sculpture depicting saint john the baptist must have been carved by someone originally from northern europe. the saint is pointing to the agnes dei, which is one of the most habitual iconographies related to him. the saint stands, pointing the index finger of his right hand towards the lamb of god which rests on the book he holds in his left hand. contrary to what normally tends to occur in the baroque, which is to depict the saint as dressed only in the camel-skin tunic, to which a cloak falling from his shoulder can be added, in this case the anonymous gothic sculptor presents us with the baptist dressed in luxurious clothing, richly polychromed and gilded, and also the aforementioned tunic is made from an exotic animal skin, the head of which can be seen by the saint\u2019s feet, an anecdotal detail which adds to the intrinsic interest of the piece. \n the anonymous northern european sculptor who worked this piece has a style which is close to alejo de vahía\u2019s (ca.1450-ca.1515), possibly the most prominent spanish gothic master in tierra de campos -a county which covers territory from the provinces of palencia, valladolid, zamora and leon-, while many of its stylistic features are common to other sculptors from the north of europe. we refer to, for example, the significant stiffness of the body or the conventionalism in the expression on his face, which feigns a grimace. \n the elements that bring it closest to vahía, whose style presents a series of features present in the workshops of limburg, the lower rhine and westfalia, are the outlined anatomy, the long and bony fingers, the oval-shaped head, the way of arranging the hair and beard through large, wavy and symmetrical interwoven ringlets and locks, the eyes falling towards the sides, the sharp nose and the straight mouth with thin lips. there are also certain similarities in the way of sculpting the folds of the clothing, through trapezoidal pleats and soft folds, which give the piece a certain hardness and geometrical aspect. it is to alejo de vahía precisely that five images with certain similarities to this one are attributed. they include those kept in the frederic marès museum in barcelona -which possibly could be that documented for the main altar of palencia cathedral-, in the gómez moreno collection in granada, in the church of santa maría de castromocho (palencia), at the premises of the penitential confraternity of the santo sepulcro in palencia, and at the diocesan and cathedral museum of valladolid -which came from the church of saint mary in bolaños de campos, valladolid. \n this is most certainly a piece of high-quality carving which could have been sculpted by a maestro from within alejo de vahía\u2019s most immediate circle. \n we would like to thank javier baladrón, doctor in history of art, for identifying and cataloguing this piece.","es":"93 x 30 x 26,5 cm. \n de tierras nórdicas debe proceder esta interesantísima escultura en madera policromada que representa a san juan bautista según una de sus iconografías más habituales, esto es, señalando al agnus dei. el santo figura de pie, dirigiendo el dedo índice de su mano derecha hacia el cordero de dios que reposa sobre el libro que porta en su mano izquierda. contra lo que suele acaecer en el barroco, que es representarle únicamente vestido con el sayo de piel de camello -o a lo sumo, además, con un manto cayendo sobre el hombro-, el anónimo escultor gótico nos presenta al bautista vestido con unos lujosos ropajes, ricamente policromados y dorados, y también con el referido sayo realizado con la piel del exótico animal, cuya cabeza puede verse junto a los pies del santo, detalle anecdótico que incrementa el interés intrínseco de la pieza. \n el anónimo escultor de procedencia nórdica que labró esta pieza presenta un estilo cercano al de alejo de vahía (ca.1450-ca.1515), quizás el maestro castellano gotizante más importante de la tierra de campos -comarca que abarca territorios de las provincias de palencia, valladolid, zamora y león-, si bien muchos de sus rasgos estilísticos son comunes a otros escultores procedentes del norte de europa. estamos hablando, por ejemplo, del notable envaramiento que presenta su cuerpo o del convencionalismo en la expresión de su rostro que llega a simular una mueca. \n lo que más le acerca a vahía, cuyo estilo presenta una serie de rasgos estilísticos presentes en los talleres de limburgo, bajo rhin y westfalia, son la anatomía esquematizada, los largos y huesudos dedos, la cabeza ovalada, la forma de disponer el cabello y la barba a través de grandes bucles y mechones simétricos ondulados y entrelazados, los ojos caídos hacia los lados, la nariz afilada o la boca recta con labios finos. también existen ciertas concomitancias en la forma de tratar los pliegues de los vestidos, a base de plegados trapezoidales y suaves dobleces que otorgan a la pieza cierta dureza y aspecto geométrico. precisamente, a alejo de vahía se le atribuyen cinco imágenes con ciertas similitudes con respecto a la que presentamos. se trata de las conservadas en el museu frederic marès de barcelona -quizás se traté del documentado que ejecutó para el retablo mayor de la catedral de palencia-, en la colección gómez moreno de granada, en la iglesia de santa maría de castromocho (palencia), en la sede de la cofradía penitencial del santo sepulcro de palencia, y en el museo diocesano y catedralicio de valladolid -procedente de la iglesia de santa maría de la localidad vallisoletana de bolaños de campos-. \n en definitiva, se trata de una pieza de gran calidad de talla que bien pudo ser ejecutada por algún maestro del entorno más inmediato de alejo de vahía. \n agradecemos a d. javier baladrón, doctor en historia del arte, por la identificación y catalogación de esta obra."},"estimateMax":25000,"lotNumber":"11","title":{"en":"\"saint john the baptist\". carved, polychromed and gilded wooden sculpture. anonymous. northern european master from the alejo de vahía circle. circa 1500.","es":"\"san juan bautista\". escultura en madera tallada, dorada y policromada. anónimo nórdico. maestro del entorno de alejo de vahía. circa 1500."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19337/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":18000,"lastUpdate":"2026-07-01T16:37:13.765Z","textCase":"lower","estimate":"\u20ac18,000 - \u20ac25,000","currency":"EUR","id":19337,"estimateMin":18000},{"startPrice":18000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19338/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19338/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19338/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19338/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19338/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19338/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19338/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19338/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19338/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19338/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19338/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19338/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19338/013/013.jpg"],"available":false,"description":{"en":"\"ecce-homo\" \n magnificent sculpted and gilded alabaster relief, with great italian influence. \n the relief has great sculptural and depicts christ, who transmits humanity and expressivity. \n its original carved and gilded wooden frame is preserved, which has the inscription \"tristis anima mia mortem autem crucis\" written on it. \n 27 x 22,5 x 6 cm. frame measurements: 40 x 32 x 6 cm.","es":"\"ecce-homo\" \n magnífico relieve en alabastro esculpido y dorado, de gran influencia italiana. \n de gran calidad escultórica, nos presenta a cristo, que transmite humanidad y expresividad. \n conserva su marco original en madera tallada y dorada, que porta la leyenda \"tristis anima mia mortem autem crucis\" \n 27 x 22,5 x 6 cm. medidas marco: 40 x 32 x 6 cm."},"estimateMax":21000,"lotNumber":"12","title":{"en":"sculpted and gilded alabaster relief. spanish school. renaissance. early 16th century.","es":"relieve en alabastro esculpido y dorado. escuela española. renacimiento. principios del siglo xvi."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19338/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":18000,"lastUpdate":"2026-07-01T16:37:13.770Z","textCase":"lower","estimate":"\u20ac18,000 - \u20ac21,000","currency":"EUR","id":19338,"estimateMin":18000},{"startPrice":9500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19339/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19339/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19339/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19339/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19339/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19339/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19339/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19339/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19339/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19339/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19339/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19339/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19339/013/013.jpg"],"available":false,"description":{"en":"figure measurements: 94 x 41 x 29 cm. total measurements: 122 x 65 x 39 cm. \n this curious and exquisite sculpture of saint george defeating the dragon was undoubtedly made for a reredos, as the back has not only not been worked, but also it has not been polychromed or gilded either, which tells us that this part of it would not have been on display to worshipers. \n saint george was a roman soldier whose legend, and, more specifically, that relevant to his battle with the dragon, was partly recognised by jacobus de voragine in his famous golden legend. the depictions of the saint have a certain stylised canon. he has been portrayed as a warrior at the point of finishing off his enemy. thus, he stands in a rather static position on the dragon\u2019s thorax, which he is at the point of killing with the lance he is holding in both hands. his right leg is slightly bent to bring a little movement to the composition, which the uneven arrangement of the hands contributes to, as they make a diagonal which ends in the dragon\u2019s mouth. \n the saint wears gilded armour which has been richly decorated with estofado, under which a short tunic with long sleeves can be seen and a cape with curved folds which are fastened with a brooch placed on the left shoulder. his torso is covered with a type of breastplate which is fitted to his body and defines his anatomy; a series of bracelets or coiled bangles, all in golden tones with a border of painted, stylised vegetation elements. the folds in the armour and tunic are treated with some naturalism. behind the left arm a large sword can be seen with a gilded hilt, which adds to his soldier or warrior character. the saint\u2019s face, which betrays a certain softness in the cheeks and the chin, is meticulously modelled, meaning that each of the features has been portrayed with great detail, as has the lush hair which falls in ringlets over his forehead. the heavy-lidded eyes are noticeable as they appear to show tiredness in his countenance. \n the dragon, which is fighting back, opens its mouth full of serrated teeth with a forked tongue. its body is a mix of different beings: it has a dragon\u2019s head, bat\u2019s wings and a scaly, snake-like tail with a life of its own which is rising up to bite the saint. \n the set, and especially the face, show a series of characteristics which allow us to date it to the first third of the 17th century. the classical style plinth, decorated with two scrolls on each of its sides, also suggests the same chronology. there is the remote possibility that this is not actually a depiction of saint george, which is doubtful as the enemy he is facing is a dragon with an entire body, which normally denotes saint george. when the beast has at least one human part in its body it denotes a portrayal of saint michael. this question deepens when considering the fact that on the upper part of the back there is an orifice, present in numerous baroque effigies of saint michael, in which wings that were made independently from the body could be inserted. \n the portrayal of saint george was at its zenith from the late classical era until the beginnings of the early modern period, and he is also the patron saint of certain lands, meaning that depictions of him continued to be made, for example, in the lands of the crown of aragon, where the origins of his patronage come from the legend in which sancho ramírez\u2019s troops defeated the enemy in the battle of alcoraz (1096) due to the saint\u2019s miraculous intervention. this miracle has a parallel in the miraculous intervention of saint james the moor-slayer in the battle of clavijo (844) in the lands of the crown of castile. this suggests that the sculpture could have come from a workshop situated in a town in the former territory of the crown of aragon. however, we cannot rule out the idea that it might have been made by a castilian master. \n we would like to thank javier baladrón, doctor in history of art, for identifying and cataloguing this piece.","es":"medidas figura: 94 x 41 x 29 cm. medidas totales: 122 x 65 x 39 cm. \n esta curiosa y exquisita escultura de san jorge venciendo al dragón fue sin duda una imagen labrada para ser dispuesta en un retablo dado que la parte trasera no solamente no se haya trabajada, sino que además no se ha procedido ni a policromarla ni a dorarla, hecho que nos indica que esta parte no iba a estar a la vista de los fieles. \n san jorge fue un soldado romano cuya leyenda, y más concretamente la relativa a su batalla con el dragón, fue recogida en parte por jacopo della voragine en su famosa leyenda dorada. el santo, que posee un canon ciertamente estilizado, ha sido retratado como un guerrero que se encuentra a punto de rematar a su enemigo. así, se sitúa de pie en una posición ciertamente estática sobre el tórax del dragón, al cual está a punto de matar una vez le clave la lanza que sujeta con ambas manos. mantiene la pierna derecha ligeramente flexionada para aportar un poco de movimiento a la composición, a lo cual también contribuye la dispar disposición de las manos, que ejecutan una diagonal que finaliza en la boca del dragón. \n el santo viste una armadura dorada ricamente estofada, por debajo de la cual se percibe una túnica corta de mangas largas y una capa de pliegues curvados que se sujeta con un broche dispuesto en el hombro izquierdo. el torso va cubierto por una especie thoracata que se ajusta al cuerpo y marca perfectamente su anatomía; de la parte baja penden una serie de pulseras o \u201ctorquex\u201d, todo ello en tonos dorados y con una franja de elementos vegetales estilizados pintados a punta de pincel. los pliegues de la armadura y la túnica están tratados con cierto naturalismo. detrás del brazo izquierdo se percibe una gran espada con la empuñadura dorada que redunda en su carácter de soldado o guerrero. el rostro del santo, que acusa cierta blandura en las mejillas y en el mentón, se encuentra modelado pormenorizadamente, de suerte que ha captado con detalle cada uno de sus rasgos faciales, así como la frondosa cabellera que rematan en bucles sobre la frente. llaman la atención los ojos de párpados caídos que parecen dibujar cierto cansancio en su semblante. \n el dragón, que se resiste a ser vencido, abre la boca que se encuentra completamente repleta de dientes aserrados y con una lengua bífida. su cuerpo es una mezcla de diferentes seres: a la cabeza de dragón se suman las alas de un murciélago y la cola serpentiforme con escamas que más bien parece una serpiente con vida propia que se eleva para morder al santo. \n el conjunto, y especialmente el rostro, presenta una serie de características que nos permiten fecharle en el primer tercio del siglo xvii. a esta misma cronología nos remite la peana de porte clasicista decorada con dos volutas en cada uno de los lados. cabría la remota posibilidad de que no se tratara de san jorge, cosa que dudamos puesto que cuando el enemigo a batir es un dragón de cuerpo entero se suele tratar siempre de san jorge, otra cosa es cuando esta bestia adquiere al menos una parte humana en su cuerpo, es entonces cuando se trata del arcángel san miguel. en esta duda podría abundar el hecho de que en la parte superior de la espalda se encuentra un orificio, presente en numerosas efigies barrocas de san miguel, en el cual bien pudieron insertarse unas alas labradas de forma independiente del cuerpo. \n la representación de san jorge tuvo su momento de auge desde la tardo antigüedad hasta los comienzos de la edad moderna, si bien hay territorios en los que debido a su patronazgo la representación del santo fue continua, se trata, por ejemplo, del caso de los territorios que conforman la corona de aragón, cuyo patronazgo procede de la leyenda según la cual en la batalla de alcoraz (1096), las tropas de sancho ramírez vencieron al enemigo gracias a la milagrosa intervención del santo. este milagro tiene su paralelo en la corona de castilla con la intervención milagrosa de santiago matamoros en la batalla de clavijo (844). debido a ello bien pudiera tratarse de una obra salida de algún taller enclavado en una población situada en los antiguos territorios de la corona de aragón pero tampoco podría descartarse que lo ejecutara un maestro castellano. \n agradecemos a d. javier baladrón, doctor en historia del arte, por la identificación y catalogación de esta obra."},"estimateMax":11000,"lotNumber":"13","title":{"en":"\"saint george\". carved and polychromed sculpture with \"estofado\" technique. spanish school. first third of the 17th century.","es":"\"san jorge\". escultura en madera tallada, policromada y estofada. escuela española. primer tercio del siglo xvii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19339/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":9500,"lastUpdate":"2026-07-01T16:37:13.773Z","textCase":"lower","estimate":"\u20ac9,500 - \u20ac11,000","currency":"EUR","id":19339,"estimateMin":9500},{"startPrice":8000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19340/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19340/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19340/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19340/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19340/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19340/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19340/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19340/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19340/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19340/010/010.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"\"portrait of a man\" \n oil on panel. 52,5 x 35,5 cm. \n provenance: a distinguished private family.","es":"\"retrato de hombre\" \n óleo sobre tabla. 52,5 x 35,5 cm. \n procedencia: colección privada de una distinguida familia."},"estimateMax":12000,"lotNumber":"14","title":{"en":"flemish school. 16th - 17th century. in the italian renaissance taste.","es":"escuela flamenca. siglo xvi - xvii. siguiendo el gusto del renacimiento italiano."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19340/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":8000,"soldPrice":288000,"lastUpdate":"2026-07-01T16:37:13.777Z","textCase":"lower","estimate":"\u20ac8,000 - \u20ac12,000","currency":"EUR","id":19340,"estimateMin":8000},{"startPrice":25000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19341/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19341/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19341/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19341/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19341/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19341/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19341/007/007.jpg"],"available":false,"description":{"en":"\"angel\" \n sculpted ivory figure. 43 x 36 x 20 cm. \n francesco mochi was a tuscan sculptor and medalist who, according to \"enciclopèdia catalana\", can be considered the initiator of italian baroque sculpture. his most famous works can be found in italian squares, monuments and churches, such as \"saint veronica\" (1629 - 1640), probably his most ambitious project, in the crossing of saint peter\u2019s basilica; the equestrian monuments of \"ranuccio farnese\" and \"alessandro farnese\", both in piazza cavalli in piacenza; or the \"saints peter and paul\" in porta del popolo, rome. \n part of his legacy is also preserved in museums, such as his first major work, the \"annunciation\" (1603), now at the museo dell'opera in orvieto; or the marble bust of \"cardinal antonio barberini, the younger\" (c. 1629), at the toledo museum of art, in ohio.","es":"\"ángel\" \n figura en mármol esculpido. 43 x 36 x 20 cm. \n francesco mochi fue un escultor y medallista toscano que, según la enciclopèdia catalana, puede ser considerado el iniciador de la escultura barroca italiana. sus obras más célebres se pueden encontrar en plazas, monumentos e iglesias italianas, como el que fuera probablemente su proyecto más ambicioso, \"santa verónica\" (1629 - 1640), en el crucero de la basílica de san pedro; los monumentos ecuestres de \"ranuccio farnese\" y \"alessandro farnese\", ambos en la piazza cavalli de piacenza; o \"san pedro\" y \"san pablo\", en la porta del popolo de roma. \n también hay obra suya en museos. entre otras, destacan su primer encargo importante, la \"anunciación\" (1603), que se conserva en el museo dell\u2019opera de orvieto; y el busto de mármol del \"cardenal antonio barberini, el joven\" (c. 1629), en el toledo museum of art de ohio."},"estimateMax":35000,"lotNumber":"15","title":{"en":"attributed to francesco mochi (montevarchi, tuscany, 1580 - rome, 1654)","es":"atribuido a francesco mochi (montevarchi, toscana, 1580 - roma, 1654)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19341/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":25000,"lastUpdate":"2026-07-01T16:37:13.779Z","textCase":"lower","estimate":"\u20ac25,000 - \u20ac35,000","currency":"EUR","id":19341,"estimateMin":25000},{"startPrice":8000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19342/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19342/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19342/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19342/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19342/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19342/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19342/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19342/008/008.jpg"],"available":false,"description":{"en":"20,5 x 20,5 x 2,5 cm.","es":"20,5 x 20,5 x 2,5 cm."},"estimateMax":10000,"lotNumber":"16","title":{"en":"\"christ falls on the way to calvary\". marble relief. spanish or italian school. renaissance. 16th century.","es":"\"caída de jesús en el calvario\". relieve en mármol. escuela española o italiana. renacimiento. siglo xvi."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19342/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":8000,"lastUpdate":"2026-07-01T16:37:13.782Z","textCase":"lower","estimate":"\u20ac8,000 - \u20ac10,000","currency":"EUR","id":19342,"estimateMin":8000},{"startPrice":5200,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19343/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19343/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19343/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19343/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19343/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19343/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19343/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19343/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19343/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19343/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19343/011/011.jpg"],"available":false,"description":{"en":"total measurements: 105 x 48,5 x 43 cm. \n this sculpture is doubly interesting due to its exquisite quality, which is further emphasised by the gilding which inundates the clothing and also the fact that on its back is a niche closed by a small door with period ironwork, which would have stored and protected some extremely valuable element, perhaps a reliquary which would have contained a relic of the patron saint of santiago de compostela. \n the saint is depicted as standing, with his face lost in thought, a forked beard of enormous ringlets, a wide moustache and a mane of long hair that falls in various locks both on his shoulders and his back. he has been portrayed with the typical attributes of the pilgrim. thus, we can observe the scallop or pilgrim\u2019s shell on the front of the pilgrim\u2019s hat on his head, which is the icon of the \"camino de santiago\" or way of st. james. the left hand grips the pilgrim\u2019s staff, on which the gourd is fastened for keeping water for hydration whilst walking on the paths. the right hand holds a book which confirms his condition as apostle. he also wears the typical pilgrim\u2019s attire, known as the sanrocchino: a long tunic that reaches the feet, cinched at the waist with a chord and a cloak fastened at the chest which covers his back. both garments are gilded and, moreover, on the lower part of the tunic the polychromer has painted a border with vegetation motifs in various colours. the hands have been carved independently of the body and are joined to it with rods. it gives the impression that these hands are not original -in fact the way in which they are worked suggests this- but were substituted at a later moment, perhaps when it was decided to make the niche in the back and hide it with the vertical, rectangular door. this interior space appears to have a type of plinth inside the lower part, a large niche, and in the lower part of this is a hollow which is even deeper, which suggests to us that the element that was kept inside would have had large dimensions and that the drilling had been finished in a way meant that the unknown object would have fitted perfectly inside the saint\u2019s interior. \n as we have mentioned, the sculpture has been restored. one restoration is the hands, but the staff and the hands also seem to be posterior, as well as, perhaps, the hollow in the saint\u2019s back. while the image could be dated to the late 16th century, as the wide roman-style moustache suggests, as well as the ample vertical folds in the tunic, the restoration work could have been done in the late 17th century or even in the following century. \n we would like to thank javier baladrón, doctor in history of art, for identifying and cataloguing this piece.","es":"medidas totales: 105 x 48,5 x 43 cm. \n estamos ante una pieza que presenta un doble interés debido a su exquisita calidad, remarcada aún más por el dorado que inunda sus vestimentas, y también al hecho de que en su espalda se halla excavada una hornacina cerrada por una portezuela con herraje de época, de suerte que nos indica que en su interior se ha custodiado algún elemento del máximo valor, quizás un relicario que contuviera una reliquia del santo patrón de santiago de compostela. \n el santo, retratado de pie, con un rostro ensimismado, barba bífida de enormes mechones enroscados, anchos bigotes y melena que le cae en diversas guedejas tanto sobre los hombros como por la espalda, ha sido efigiado con los atributos propios de su condición de peregrino. así, en el frente del sombrero de peregrino que le cubre la cabeza podemos observar la vieira o concha del peregrino, el icono del camino de santiago. por su parte, en la mano izquierda empuña el bordón de peregrino, en cuya parte superior se encuentra sujeta la calabaza que sirve para guardar el agua con la que hidratarse durante el transitar por los caminos. en la mano derecha porta un libro que acredita su condición de apóstol. por su parte, viste el típico atuendo de peregrino, conocido como sarrocchino: túnica larga hasta los pies ceñida a la cintura por un cinto y un manto abrochado en el pecho que le cubre la espalda. ambas prendas están doradas, y, a mayores, en la parte baja de la túnica el policromador ha pintado una cenefa con motivos vegetales en diversos colores. las manos están labradas independientemente del cuerpo, y unidas a él mediante vástagos. da la impresión de que estas manos no son las originales -pues así nos lo indica la forma en que están labradas- sino que fueron sustituidas en un momento posterior, quizás cuando se decidió horadar la espalda del santo y ocultar este espacio por medio de una portezuela rectangular vertical. este espacio interior parece presentar una especie de peana en la parte inferior, una gran hornacina y en la parte baja de ésta un hueco aún más profundo, todo lo cual nos indica que el elemento introducido en su interior sería de grandes dimensiones y que las horadaciones se apuraron al máximo con la idea de que cupiera a la perfección el desconocido objeto que contuvo el santo en sus entrañas. \n como hemos dicho, la escultura presenta ciertas reformas, una de ellas las manos, pero también parecen pertenecer a este momento posterior el bordón y el sombrero, y, quizás, la apertura de la hornacina en la espalda del santo. mientras que la imagen podría fecharse a finales del siglo xvi, como así parecen indicarlo los anchos bigotes de origen romanista y los ampulosos plegados verticales de la túnica, las reformas pudieron ser a finales del siglo xvii o bien ya en la siguiente centuria. \n agradecemos a d. javier baladrón, doctor en historia del arte, por la identificación y catalogación de esta obra."},"estimateMax":6500,"lotNumber":"17","title":{"en":"\"saint james the pilgrim\". carved, polychromed and gilded wooden sculpture. castilian school. late 16th century.","es":"\"santiago peregrino\". escultura en madera tallada policromada y dorada. escuela castellana. finales del siglo xvi."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19343/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":5200,"lastUpdate":"2026-07-01T16:37:13.785Z","textCase":"lower","estimate":"\u20ac5,200 - \u20ac6,500","currency":"EUR","id":19343,"estimateMin":5200},{"startPrice":22000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19344/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19344/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19344/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19344/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19344/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19344/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19344/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19344/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19344/009/009.jpg"],"available":false,"description":{"en":"\"siege in barcelona\". \n oil on canvas. 110 x 171 cm. \n on the right side is a cartouche with the inscription: \"el virrei velasco es rendex als ali-ats comandats per lord peterborough barcelona 1705\" (the viceroy velasco surrenders to the allies commanded by lord peterborough, barcelona 1705). \n as we can read in its inscription, the painting depicts the siege of barcelona (1705), one of the most important episodes of the spanish war of succession; also being the third siege of the five that took place in barcelona between 1697 and 1714. more specifically, it depicts the moment of surrender of francisco de velasco, the viceroy of catalonia\u2019s troops to the hapsburg allies, led by the earl of peterborough, commander in chief of the british army during this particular part of the war. \n this historical event is highly relevant not only because of the change in the political paradigm that it entailed, as it was triggered by philip v\u2019s loss of the crown of aragon, but also the diversity of opinions which exist regarding the precise causes of philip v\u2019s defeat. in this regard, it must be taken into account that velasco\u2019s troops, despite lacking in some means to defend themselves, did have certain advantages over peterborough\u2019s, having superior cavalry throughout the entire siege, and more infantry and artillery during the battle of montjuic, among other factors. (vozmediano, 2014). \n it is common to point to an internal conspiracy in catalonia in favour of the austrian pretender, archduke charles, as one of the principal motives for the capitulation of barcelona. in fact, it is undeniable that there was certain disaffection for velasco\u2019s viceroyalty, which had been bestowed recently and rather controversially due to its authoritarian origin. it is also true that there was a social base among the upper echelons of catalan society which envisioned the possible implantation of a more suitable environment for freely developing their economic activities in a kingdom formed by the archduke charles. these activities had for some decades been more linked to lisbon, london and amsterdam than france, which was their main rival in the textiles market (garcía fuertes, 2004). in this context, the pact of genoa (crow et al., 1705) was signed between the english and the catalans, in which loyalty was promised to charles iii in exchange for \"securing the privileges and laws of the principality\". \n in any case, as the researcher arroyo vozmediano explains in his study, (2014, p. 92) \"one cannot talk of generalised or even majority support among the catalans for the insurrection in favour of the pretender\" and, in fact, the two \"vigatans\" representatives of the catalan faction in the aforementioned treaty lacked the necessary political and judicial authority, a fact which cannot but be surprising given the reach and transcendence which the pact had (garcía fuertes, 2004). vozmediano still points to velasco himself as the fundamental cause of the defeat depicted on this canvas, blaming his passivity towards his enemies and, additionally, a lack of judgment which gave reign to his prejudices and mistrust towards the people he governed. \n whatever the case, the surrender of 1705 and the consequent change in dynasty certainly did not mean the end of the conflict, which still claimed nine long years of sieges, treaties, bombardments, decrees, sackings, assemblies and civil victims\u2026, concluding with the final tragic assault on the city on the 11th september 1714. \n \n bibliographic references: \n - arroyo vozmediano, j. l. (2014). francisco de velasco y los catalanes. sitio y capitulación de barcelona, 1705. hispania, 74 (246), 69-94. https://doi.org/10.3989/hispania.2014.003 \n - crow, m. - peguera y americh, a. and perera, d. (1705). pacto de génova. version published on wikisource (10th january 2007). https://bit.ly/3gy4hnc \n - garcía fuertes, g. (2004). de la conspiración austracista a la integración a la nueva planta: la familia durán, máximo exponente de la burguesía mercantil en el siglo xviii. espacio tiempo y forma. serie iv, historia moderna, (17). https://doi.org/10.5944/etfiv.17.2004.3445 \n - segura garcía, g. (9th september 2016). el sitio de barcelona. el fin de la guerra de sucesión. national geographic. historia. recuperated 23 january 2022 in https://bit.ly/3qrlqt8","es":"\"sitio de barcelona\". \n óleo sobre tela. 110 x 171 cm. \n en el lateral derecho, se lee: \"el virrei velasco es rendex als ali-ats comandats per lord peterborough barcelona 1705\". \n nuestra pieza escenifica, como podemos leer en su leyenda, el sitio de barcelona de 1705, uno de los episodios de mayor importancia de la guerra de sucesión española; siendo además el tercer asedio de los cinco que tuvieron lugar en barcelona entre 1697 y 1714. más concretamente, representa el momento de rendición de las tropas del virrey de cataluña francisco de velasco ante los aliados, capitaneados por el conde de peterborough, comandante en jefe del ejército británico durante este capítulo de la guerra que tratamos. \n la relevancia histórica de dicho suceso no se debe exclusivamente al cambio de paradigma político que supuso, pues desencadenó en la pérdida por parte de felipe v de la corona de aragón; sino también a la diversidad de opiniones existente por lo que a la concreción de causas de la derrota felipista se refiere. en este sentido, hay que tener en cuenta que las tropas de velasco, pese a carecer de medios de defensa, gozaban de cierta ventaja ante las de peterborough, entre otras cuestiones por su superioridad en caballería durante todo el asedio, y en infantería y artillería durante la toma de montjuic (vozmediano, 2014). \n es común señalar una conspiración interna en cataluña en favor del pretendiente austracista como uno de los motivos principales de la capitulación de barcelona. de hecho, es indiscutible una cierta desafección con el virreinato de velasco, que había sido nombrado recientemente con algo de polémica por su deriva autoritaria. también lo es la existencia de una base social en la burguesía catalana, que veía en un posible reinado del archiduque carlos la implantación de un escenario más apto para desarrollar con mayor libertad sus actividades económicas, que se encontraban desde hacía ya unas décadas más ligadas a lisboa, londres y ámsterdam que no a francia, principal competidor en el mercado textil (garcía fuertes, 2004). en este contexto, se firma el pacto de génova (crow et al., 1705) entre ingleses y catalanes, en el que se promete fidelidad a carlos iii a cambio de \"asegurar los privilegios y leyes del principado\". \n de todas formas, como nos cuenta el investigador arroyo vozmediano (2014, p. 92) en su estudio, \"no puede hablarse de una insurrección generalizada, ni aun mayoritaria, de los catalanes en favor del pretendiente\" y, de hecho, los dos \"vigatans\" representantes de la facción catalana en el tratado mencionado carecían de la autoridad política y judicial necesaria, hecho que no deja de sorprender dado el alcance y trascendencia que tuvo el pacto (garcía fuertes, 2004). todavía vozmediano señala al mismo velasco como causante fundamental de la derrota representada en nuestra tela, debido a la pasividad ante sus enemigos e, incluso, a una falta de criterio o la anteposición de sus prejuicios y recelos personales para con el pueblo que gobernaba. \n en cualquier caso, la rendición de 1705 y el consiguiente giro dinástico no significaron ni mucho menos la consumación del conflicto, al que todavía le quedarían nueve largos años de asedios, tratados, bombardeos, decretos, saqueos, asambleas, víctimas civiles\u2026, que concluyeron en el trágico asalto final de la ciudad condal el 11 de septiembre de 1714. \n \n bibliografía de referencia: \n - arroyo vozmediano, j. l. (2014). francisco de velasco y los catalanes. sitio y capitulación de barcelona, 1705. hispania, 74(246), 69-94. https://doi.org/10.3989/hispania.2014.003 \n - crow, m. - peguera y americh, a. y perera, d. (1705). pacto de génova. versión publicada en wikisource (10 de enero de 2007). https://bit.ly/3gy4hnc \n - garcía fuertes, g. (2004). de la conspiración austracista a la integración a la nueva planta: la familia durán, máximo exponente de la burguesía mercantil en el siglo xviii. espacio tiempo y forma. serie iv, historia moderna, (17). https://doi.org/10.5944/etfiv.17.2004.3445 \n - segura garcía, g. (9 de septiembre de 2016). el sitio de barcelona. el fin de la guerra de sucesión. national geographic. historia. recuperado 23 de enero de 2022 de https://bit.ly/3qrlqt"},"estimateMax":30000,"lotNumber":"18","title":{"en":"catalan school. 18th century.","es":"escuela catalana. siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19344/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":22000,"lastUpdate":"2026-07-01T16:37:13.788Z","textCase":"lower","estimate":"\u20ac22,000 - \u20ac30,000","currency":"EUR","id":19344,"estimateMin":22000},{"startPrice":5000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19345/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19345/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19345/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19345/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19345/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19345/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19345/007/007.jpg"],"available":false,"description":{"en":"\"christ aux outrages\" \n painted glass. 74 x 54,5 cm. preserved in its imposing original carved and gilded frame. \n we would like to thank professor wolfgang steiner for his help in identifying this work of art. \n in our opinion this is a very interesting and important painting. with regard to its attribution, it is worth mentioning the connections between spain and the kingdom of naples during the period, where an important school existed around the figure of luca giordano, with artists that executed numerous paintings on glass. we therefore attribute this painting to the luca giordano circle, and it would have been destined for the spanish market.","es":"\"cristo de los ultrajes\" \n vidrio pintado. 74 x 54,5 cm. conserva su importante marco original en madera tallada y dorada. \n agradecemos al profesor wolfgang steiner, por su ayuda en la identificación de esta obra. \n en su opinión, estaríamos ante una muy interesante e importante pintura. en cuanto a la atribución, menciona las conexiones de la época entre españa y el reino de nápoles, donde existía una importante escuela en torno a la figura de luca giordano, con artistas que realizaron numerosos vidrios pintados, por lo que nuestra obra estaría en el círculo de luca giordano con destino al mercado español."},"estimateMax":6500,"lotNumber":"19","title":{"en":"italian or spanish school. late 17th century - early 18th century.","es":"escuela italiana o española. finales del siglo xvii - principios del siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19345/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":5000,"lastUpdate":"2026-07-01T16:37:13.790Z","textCase":"lower","estimate":"\u20ac5,000 - \u20ac6,500","currency":"EUR","id":19345,"estimateMin":5000},{"startPrice":5000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19346/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19346/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19346/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19346/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19346/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19346/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19346/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19346/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19346/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19346/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19346/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19346/012/012.jpg"],"available":false,"description":{"en":"66 x 40 x 22,5 cm. \n this polychromed wooden sculpture of saint john the baptist is remarkable for its beautiful physique and serene elegance. its origin could be a castilian workshop from around the year 1700 as the sweetly curved folds of his cloak suggest this period. \n the baptist is portrayed in a way that was popularised by the most important sculptor of the baroque vallodolid school, gregorio fernández (1576-1636). among his images of the baptist, which were copied until the late 18th century, we can identify those present in the main altarpieces of the church of santos juanes in nava del rey (1612) and the monastery of the huelgas reales in valladolid (1613). however, our sculpture has certain details that differentiate it from fernández\u2019s model. the composition brings other images of the baptist to mind due to the chiselling, such as luis salvador carmona from vallodolid (1708-1767) or the asturian juan alonso villabrille y ron (ca.1663-1732), among others. \n the sculpture looks very dynamic as the artist has placed the arms and legs in different directions and planes, and also because the left leg is placed a little forward, forming a gentle counterpose. the saint is standing. in his left hand he would have gripped a rod with the badge of the cross, but it has not been preserved, while with the right hand he points to the lamb of god which plays at his feet. it is not at all common for the agnus dei to appear standing on its hind legs while its front legs play affectionately with the precursor. it is more typical to see the lamb on a book held in the baptist\u2019s hand or lying on a rock or a tree stump. \n he is wearing the typical camel skin smock knotted to the right side leaving a small part of his torso, arms and legs on view, which allows the sculptor to do an interesting anatomical study in which even the veins of the hands, arms, neck, legs and feet stand out. a red cloak hangs from his left shoulder, edged with a narrow strip of stylised vegetation motif decoration which is brush-gilded and skirts his back, covering his right leg, to be fastened at the waist where it also cinches his smock. \n the head displays great quality as it has been worked meticulously which can also be appreciated in details such as the individualisation of the locks of the beard or the wet and asymmetrical locks that make up his head of hair. the polychromer has painted a series of small bunches in the hair and beard to augment these even more. \n the noble face is clear and natural looking. also, the eyes and the half-open mouth, which exposes the teeth, have been delineated with great care. the piece is outstanding for its remarkable realism and is in an excellent state of preservation. \n we would like to thank javier baladrón, doctor in history of art, for identifying and cataloguing this piece.","es":"66 x 40 x 22,5 cm. \n notable es esta escultura en madera policromada de san juan bautista, que presenta una bella apariencia física y una serena elegancia, y cuyo origen podría encontrarse en un taller castellano de hacia el año 1700 pues a esta época nos remiten los pliegues dulcemente curvados que surcan su manto. \n el bautista aparece efigiado según un modelo popularizado por el escultor más importante de la escuela vallisoletana barroca, gregorio fernández (1576-1636) \u2013entre sus representaciones del bautista, que se copiaron hasta finales del siglo xviii, podemos reseñar los presentes en los retablos mayores de la iglesia de los santos juanes de nava del rey (1612) y del monasterio de las huelgas reales de valladolid (1613)\u2013, si bien presenta ciertos detalles que lo diferencian del modelo ideado por aquel. asimismo, la composición trae a la memoria otras efigies de bautista debidas a las gubias de, entre otros, el vallisoletano luis salvador carmona (1708-1767) o el asturiano juan alonso villabrille y ron (ca.1663-1732). \n la escultura resulta muy dinámica gracias a que el imaginero ha dispuesto los brazos y las piernas en diferentes direcciones y planos, y también a que la pierna izquierda la mantiene adelantada formando un suave contrapposto. el santo figura de pie. en la mano izquierda debió de empuñar una vara crucífera, hoy perdida, mientras que con la derecha señala al agnus dei que juguetea a sus pies. no es nada habitual que el agnus dei aparezca apoyado sobre sus patas traseras mientras que con las delanteras juguetea cariñosamente con el precursor. lo más habitual es ver al cordero sobre un libro que porte el bautista en la mano o bien recostado sobre una roca o sobre un tronco de árbol cortado. \n viste el típico sayo de piel de camello anudado por el lado derecho dejando al descubierto una pequeña parte del torso, brazos y piernas, lo que permite al escultor realizar un interesante estudio anatómico en el que incluso se ha permitido resaltar las venas de las manos, brazos, cuello, piernas y pies. del hombro izquierdo le cuelga un manto rojo, decorado en su borde por una estrecha franja de motivos vegetales estilizados dorados a punta de pincel, que bordea su espalda, le cubre la pierna derecha y se sujeta en el cinto que a su vez le ciñe el sayo. \n la cabeza presenta una notable calidad pues ha sido labrada de forma minuciosa como así puede apreciarse en detalles como la individualización de los mechones de la barba o en las guedejas mojadas asimétricas que conforman su cabello. el policromador ha pintado una serie de pequeños pelillos en el cabello y la barba aumentando así, aún más, \n el naturalismo patente en este noble rostro. asimismo, ha delineado con sumo cuidado los ojos y la boca entreabierta en cuyo interior se observan los dientes. la pieza, que destaca por su notable realismo y calidad, presenta un estado de conservación excelente. \n agradecemos a d. javier baladrón, doctor en historia del arte, por la identificación y catalogación de esta obra."},"estimateMax":6500,"lotNumber":"20","title":{"en":"\"saint john the baptist\". carved, gilded and polychromed wooden sculpture. castilian school. circa 1700.","es":"\"san juan bautista\". escultura en madera tallada, dorada y policromada. escuela castellana. circa 1700."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19346/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":5000,"lastUpdate":"2026-07-01T16:37:13.792Z","textCase":"lower","estimate":"\u20ac5,000 - \u20ac6,500","currency":"EUR","id":19346,"estimateMin":5000},{"startPrice":4000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19347/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19347/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19347/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19347/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19347/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19347/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19347/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19347/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19347/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19347/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19347/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19347/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19347/013/013.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"chest in black-lacquered pine, (urushi) with gold and silver powder decoration (maki-e) and mother of pearl incrustations depicting birds and floral motifs. \n 27 x 41,5 x 30 cm. \n with regard to the technique used on this piece, it is very interesting to read the explanations by professor yayoi kawamura, especially his index cards for the different namban objects kept in the museo de artes decorativas in madrid: \u201cthis is a piece of furniture in which very small-sized decoration of a horror vacui character based on vegetation and floral motifs is developed on a base of black lacquer (urushi). the decoration is made with the technique of drawing with gold and silver powders (maki-e) and mother of pearl incrustations (raden). \n the furniture belongs to what is known as namban style, which encompasses a series of furniture made from 1580-1630 in japan with japanese urushi lacquer destined to be exported to the european world, mainly spain and portugal\u201d. \n the japanese made this type of furniture exclusively for exportation, to the taste of spanish and portuguese merchants who arrived there and traded through the routes of the galleons that travelled mostly between japan and manila and from there to new mexico, before arriving in europe. \n between 1545 and 1649 lacquer-worked chests arrived in the west and began to form part of the collections of royalty and the nobility, although on occasions they were donated to convents and churches, where they were used as reliquaries or eucharist chests for maundy thursday. \n in spain, apart from the namban pieces kept in the museo de artes decorativas in madrid and others, such as the marvellous lectern which is kept in salamanca, in the dominican museum of the convent of san esteban, navarra is the province that has the greatest number of pieces of namban art, possibly thanks to the relationship between saint francis xavier and the jesuits with japan. \n there are some flaws, particularly the lack of a frontal bar which has resulted in the door being slightly moved. the restoration was probably done in the 18th century. \n \n bibliographic reference: \n - kawamura, yayoi. \"la laca japonesa de exportación en españa. del estilo namban al pictórico.\" archivo español de arte lxxxii, 325 (209): 87-93. \n - kawamura, yayoi (dir) aa.vv, \"lacas namban. huellas de japón en españa: iv centenario de la embajada keicho\", ministerio de educación y cultura, madrid, 2013, pages.378-381, number. 19 and pages. 388-389, number. 21.","es":"cofre en madera de pino lacada en negro, (urushi) con decoración de polvo de oro y plata (makie) y de incrustaciones en nácar (raden), representando pájaros y motivos florales. \n 27 x 41,5 x 30 cm. \n respecto a la técnica, es muy interesante leer a la profesora yayoi kawamura, entre otros múltiples escritos, sus fichas para las diferentes piezas namban conservadas en el museo de artes decorativas de madrid: \u201cse trata de un mueble en el que sobre el fondo de laca negra (urushi), se desarrolla una decoración de carácter horror vacui a base de motivos vegetales y florales de tamaños muy menudos. las decoraciones se realizan con la técnica de dibujo con polvos de oro y plata (makie) e incrustación de nácar (raden). \n el mueble pertenece al denominado estilo namban, que engloba una serie de muebles elaborados entre 1580-1630 en japón con la laca japonesa urushi con destino a la exportación al mundo europeo, principalmente a españa y portugal\u201d. \n los japoneses realizaron este tipo de piezas, exclusivamente para la exportación, al gusto de los españoles y portugueses que accedían al archipiélago, y que se comercializaron a través de las rutas de los galeones que viajaban principalmente desde japón a manila y de allí a nueva méxico, antes de arribar a europa. \n entre 1545 y 1649 las lacas alcanzaron occidente y entraron a formar parte de las colecciones de la realeza y nobleza, aunque en ocasiones fueron donadas a conventos e iglesias, en las que se les dio un uso de relicario o arca eucarística del jueves santo. \n en españa, además de las piezas namban conservadas en el museo de artes decorativas de madrid y otras, como el maravilloso atril que se conserva en salamanca, en el museo de los dominicos del convento de san esteban, es navarra, la comunidad autónoma que conserva el mayor número de piezas de arte namban, posiblemente gracias a la relación de san francisco javier y los jesuitas con japón. \n presenta algunas faltas, especialmente la falta de un listón frontal, que motivó una ligera recolocación de la puerta, restauración posiblemente realizada en el siglo xviii. \n \n bibliografía de referencia: \n - kawamura, yayoi. \u201cla laca japonesa de exportación en españa. del estilo namban al pictórico.\u201d archivo español de arte lxxxii, 325 (209): 87-93. \n - kawamura, yayoi (dir) aa.vv, \"lacas namban. huellas de japón en españa: iv centenario de la embajada keicho\", ministerio de educación y cultura, madrid, 2013, págs.378-381, núm. 19 y págs. 388-389, núm. 21"},"estimateMax":6000,"lotNumber":"21","title":{"en":"japanese \"namban\" chest. momoyama period (1573 - 1615)","es":"cofre japonés \"namban\". periodo momoyama. (1573 - 1615)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19347/view","tags":["esinternational_japanese","esfurniture_chests","esfurniture_all","esinternational","esinternational_all","esfurniture"],"directSalePrice":4000,"soldPrice":5500,"lastUpdate":"2026-07-01T16:37:17.512Z","textCase":"lower","estimate":"\u20ac4,000 - \u20ac6,000","currency":"EUR","id":19347,"estimateMin":4000},{"startPrice":2500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19348/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19348/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19348/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19348/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19348/005/005.jpg"],"available":false,"description":{"en":"\"saint maximus\" \n carved, gilded and polychromed wooden reliquary bust. circa 1600. 57 x 48,5 x 26 cm. \n there is a central locket containing the relics of 96 saints, among them are: saint aloysius gonzaga, saint ignatius, saint theresa, saint john the baptist, saint catherine, saint francis of la salle, saint peter, saint matthew, saint thomas, saint paul etc. \n there is a wax seal on the back. \n simon fries was a prolific sculptor in the circle of the swiss meinrad guggenbichler (einsielden, switzerland, 1649 - mondsee, upper austria, 1723). he worked in the court of salzburg and decorated numerous churches in his city and the surrounding area. \n some of his most outstanding work includes the \u201csaint george\u201d and the \u201cgod the father\u201d, both at the high altar in the church of the franciscans in salzburg.","es":"\"san máximo\" \n busto relicario en madera tallada, dorada y policromada. circa 1600. 57 x 48,5 x 26 cm. \n porta un medallón central conteniendo las reliquias de 96 santos, entre ellos: san luis de gonzaga, san ignacio, santa teresa, san juan bautista, santa catalina, san francisco de la salle, santa catalina, san pedro, san mateo, santo tomás, san pablo, etc. \n al dorso sello en cera. \n simon fries fue un prolífico escultor del círculo del suizo meinrad guggenbichler (einsielden, suiza, 1649 - mondsee, alta austria, 1723). trabajó en la corte de salzburgo y decoró numerosas iglesias de su ciudad y alrededores. cabe destacar, de entre sus obras, el \"san jorge\" y \"dios padre\", ambos del altar mayor de la iglesia de los franciscanos de salzburgo."},"estimateMax":3500,"lotNumber":"22","title":{"en":"attributed to simon fries (salzburg, austria, active 1686 - 1719)","es":"atribuido a simon fries (salzburgo, austria, activo 1686 - 1719)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19348/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":2500,"lastUpdate":"2026-07-01T16:37:17.517Z","textCase":"lower","estimate":"\u20ac2,500 - \u20ac3,500","currency":"EUR","id":19348,"estimateMin":2500},{"startPrice":2500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19349/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19349/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19349/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19349/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19349/005/005.jpg"],"available":false,"description":{"en":"\"saint john of nepomuk\" \n oil on canvas. 57 x 49 cm.","es":"\"san juan de nepomuceno\" \n óleo sobre tela. 57 x 49 cm."},"estimateMax":4000,"lotNumber":"23","title":{"en":"european school. bohemia or switzerland. 17th century.","es":"escuela europea. bohemia o suiza. siglo xvii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19349/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":2500,"lastUpdate":"2026-07-01T16:37:17.526Z","textCase":"lower","estimate":"\u20ac2,500 - \u20ac4,000","currency":"EUR","id":19349,"estimateMin":2500},{"startPrice":14000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19350/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19350/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19350/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19350/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19350/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19350/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19350/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19350/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19350/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19350/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19350/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19350/012/012.jpg"],"available":false,"description":{"en":"\"madonna and child and the jesuit saints\" \n oil on copper. 45,5 x 34,5 cm.","es":"\"virgen con el niño y santos jesuitas\" \n óleo sobre cobre. 45,5 x 34,5 cm."},"estimateMax":16000,"lotNumber":"24","title":{"en":"attributed to josé de páez (mexico city, 1720 - c. 1790)","es":"atribuido a josé de páez (ciudad de méxico, 1720 - c. 1790)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19350/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":14000,"lastUpdate":"2026-07-01T16:37:17.529Z","textCase":"lower","estimate":"\u20ac14,000 - \u20ac16,000","currency":"EUR","id":19350,"estimateMin":14000},{"startPrice":6000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19351/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19351/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19351/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19351/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19351/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19351/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19351/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19351/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19351/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19351/010/010.jpg"],"available":false,"description":{"en":"marvellous image of our lady of carmen, which rises majestically from a cloud surrounded by angels that rests on its original plinth. \n the crowns of the madonna and child, as well as the scapulars, are made of gold, showing the importance that this image had in its place of origin. \n both are dressed in white and adorned with gilded details which allude to divine glory and represent absolute purity. \n 52 x 18 x 10 cm.","es":"maravillosa imagen de la virgen del carmen, que se alza majestuosa sobre una nube rodeada de ángeles que apoya en su peana original. \n las coronas de la virgen y del niño, así como los escapularios, están labrados en oro, denotando la importancia que en origen tuvo esta imagen. \n ambos vestidos de blanco y adornados con detalles dorados que aluden a la gloria divina y representan la pureza absoluta. \n 52 x 18 x 10 cm."},"estimateMax":8000,"lotNumber":"25","title":{"en":"\"our lady of carmen with child\". sculpted, gilded and polychromed alabaster figure with gold applications. colonial workshop. peru or brazil. 17th - 18th century.","es":"\"virgen del carmen con el niño\". figura en alabastro esculpido, dorado y policromado, con aplicaciones en oro. taller colonial. perú o brasil. siglo xvii - xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19351/view","tags":["esart_ancientsculpture","esinternational_southamerican","esart","esinternational","esinternational_all","esart_all"],"directSalePrice":6000,"lastUpdate":"2026-07-01T16:37:17.534Z","textCase":"lower","estimate":"\u20ac6,000 - \u20ac8,000","currency":"EUR","id":19351,"estimateMin":6000},{"startPrice":20000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19352/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19352/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19352/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19352/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19352/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19352/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19352/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19352/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19352/009/009.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"this piece of furniture is decorated with inlaid shells - a technique known as \"enconchado.\" the interior is made of red cedar covered with marquetry made from contrasting woods, tortoiseshell, stained bone and mother of pearl. \n total measurements: 114 x 110,5 x 33 cm. lower body: 70 x 110,5 x 33 cm. upper body: 55\u20195 x 78,8 x 25 cm. \n important example of peruvian \"enconchado\" furniture. on each of its faces, as well as on the doors of the central body, there is a tortoiseshell and mother of pearl coat of arms of the order of our lady of mercy in an octagonal compartment in relief. \n both bodies of the desk have three sides each and are topped with various pinnacles which give them a marked architectural character. the lower one has two doors at the sides and a double central door, which hides four drawers behind it. the central section has another drawer. \n the upper body follows the same scheme as the lower, but the sides do not open out with doors. \n among old inventories we find a definition for this type of furniture, which was very probably sold accompanied by a gaming table. as the curator jorge rivas describes (2007), \"the highest strata of colonial society in latin america had an excessive taste for luxury. enormous sums of money were invested in sumptuous items which came from all around the world. the merchandise from europe and the far east were in competition with local products, which were often even more luxurious than those which were imported.\" rivas adds that this type of luxurious furniture was considered to be indispensable in showing a family\u2019s social status. with regard to the technique used, \"inlay was one of the most employed decorative techniques for decorating desks and writing cabinets. generally, they were inlaid with precious materials such as bone, ivory, mother of pearl, ebony and tortoiseshell.\" \n jorge rivas, who we quote, is currently the curator of the frederick and jan mayer center in the denver art museum, and head of the latin american art department. he has correctly identified this furniture set as being originally from peru, and, as we can read in professor gustavo curiel\u2019s interesting article: \"it has been repeated, without any kind of basis, that this type of furniture was made in mexico city, the philippines, the indo-portuguese coast and continental asia. recently, jorge ribas has confirmed, after meticulous study and many comparisons, that these pieces were made in the viceroyalty of peru\". \n there are some comparable examples to this piece of furniture in the dallas meadows museum, the museo pedro de osma in lima, the museo soumaya in mexico and in the buenamuerte church and convent in lima. \n finally, there is an example with two body sections which is practically identical to ours which was sold at auction in sotheby's in new york on the 5th november 1998 for $1690. \n \n bibliographic reference: \n - campos carlés de peña, m. (2013). un legado que pervive en hispanoamérica. el mobiliario del virreinato del peru de los siglos xvii y xviii. (pp. 241-287). ediciones el viso. \n - curiel, g. (2009). mostrador limeño. imágenes, del instituto de investigaciones estéticas de mexico. http://www.esteticas.unam.mx/revista_imagenes/imago/ima_curiel05.html \n - rivas, j. f. (2007). observaciones sobre el origen, desarrollo y manufactura del mobiliario en américa latina. in j. j. rishel y s. stratton-pruitt (comps.), revelaciones. las artes en américa latina, 1492 - 1820. (pp. 498-499). fondo de cultura económica.","es":"mueble \"enconchado\". interior en cedro rojo y exterior recubierto de taracea en maderas contrastadas, carey, hueso tintado y nácar. \n medidas totales: 114 x 110,5 x 33 cm. cuerpo inferior: 70 x 110,5 x 33 cm. cuerpo superior: 55,5 x 78,8 x 25 cm. \n importante ejemplo del mobiliario enconchado peruano. porta en cada una de sus caras, así como en ambas puertas del cuerpo central, el escudo de la orden de la merced, realizado en carey y nácar en una reserva en relieve de formato octogonal. \n los dos cuerpos del escritorio, de tres caras cada uno y rematados por varios pináculos, poseen un evidente carácter arquitectónico. el inferior consta de dos puertas laterales y una doble central, que esconde en su interior cuatro cajones. el faldón central presenta otro cajón. \n el cuerpo superior sigue el mismo esquema, pero los laterales no abren en puerta. \n encontramos en los inventarios antiguos esta definición para este tipo de muebles, que muy probablemente vendrían acompañados de la mesa a juego. \n como describe el curador jorge rivas (2007), \"los estratos más altos de la sociedad colonial en américa latina poseían un desmedido gusto por el lujo. se invertían enormes sumas de dinero en bienes suntuarios venidos de todo el mundo. las mercancías procedentes de europa y el oriente competían con los productos locales, muchas veces incluso más lujosos que los importados\". añade rivas que este tipo de lujosos muebles se consideraban indispensables para demostrar el nivel social de la familia. respecto de la técnica usada, \"la taracea fue una de las técnicas decorativas más utilizadas para decorar los escritorios y papeleras. generalmente se trataban de embutidos hechos en materiales preciosos como hueso, marfil, nácar, ébano o carey\". \n jorge rivas, a quien citamos, es actualmente el curador del frederick and jan mayer center en el denver art museum, y jefe del departamento de latin american art. a él le debemos la correcta identificación de estos muebles como originarios de perú, y es que, como se puede leer en el interesante artículo del profesor gustavo curiel, \"se ha repetido, sin fundamento alguno, que esta clase de obras fueron hechas en la ciudad de méxico, en las islas filipinas, en la costa indo portuguesa o en asia continental. recientemente, jorge ribas ha confirmado, después de minuciosos estudios y muchas comparaciones, que tales obras se hicieron en el virreinato del perú\". \n encontramos algunos ejemplares comparables al mueble que presentamos en el meadows museum de dallas, en el museo pedro de osma de lima, en el museo soumaya de la ciudad de méxico y en el convento de la buenamuerte de lima. \n por último, un ejemplar de dos cuerpos prácticamente idéntico al nuestro se vendió en la subasta de sotheby's de nueva york el 5 de noviembre de 1998 en 1690 $. \n \n bibliografía de referencia: \n - campos carlés de peña, m. (2013). un legado que pervive en hispanoamérica. el mobiliario del virreinato del perú de los siglos xvii y xviii. (pp. 241-287). ediciones el viso. \n - curiel, g. (2009). mostrador limeño. imágenes, del instituto de investigaciones estéticas de méxico. http://www.esteticas.unam.mx/revista_imagenes/imago/ima_curiel05.html \n - rivas, j. f. (2007). observaciones sobre el origen, desarrollo y manufactura del mobiliario en américa latina. en j. j. rishel y s. stratton-pruitt (comps.), revelaciones. las artes en américa latina, 1492 - 1820. (pp. 498-499). fondo de cultura económica"},"estimateMax":30000,"lotNumber":"26","title":{"en":"imposing writing cabinet set with its \u201ccontador\u201d. lima. viceroyalty of peru. 18th century.","es":"importante conjunto de papelera con su contador encima. lima. virreinato de perú. siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19352/view","tags":["esinternational_southamerican","esfurniture_cupboardscabinets","esfurniture_all","esinternational","esinternational_all","esfurniture"],"directSalePrice":20000,"soldPrice":22500,"lastUpdate":"2026-07-01T16:37:17.538Z","textCase":"lower","estimate":"\u20ac20,000 - \u20ac30,000","currency":"EUR","id":19352,"estimateMin":20000},{"startPrice":8000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19353/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19353/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19353/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19353/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19353/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19353/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19353/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19353/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19353/009/009.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"\"divine shepherdess\" \n oil on canvas glued to cardboard. 56 x 40,5 cm. \n campeche was one of the most recognised puerto-rican artists. the only disciple of luis paret y alcázar (1746-1799), who arrived at the island after being exiled by king charles iii, between 1775 and 1778. \n the puerto rico art museum keeps some of his works of art in their collection. his biographical index card there explains: \"he mainly developed religious themes and portraits in his painting. his work is considered to be rococo because of its interest in detail and ornamentation. bluish greys and pinks dominate his palette, 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 which included paintings by campeche, francisco oller and miguel pou. campeche has great mastery in portraits and miniatures, characteristics which lead him to being one of the most exalted and outstanding hispanic-american painters of the late 18th century.\"","es":"\"divina pastora\" \n óleo sobre tela encolada a cartón. 56 x 40,5 cm. \n campeche fue uno de los artistas portorriqueños más reconocidos. el único discípulo de luis paret y alcázar (1746-1799), quien llegó a la isla desterrado por el rey carlos iii, entre 1775 a 1778. \n como indica en su ficha bibliográfica el museo de arte de puerto rico, que conserva obra suya en su colección: \"desarrolló principalmente pinturas de tema religioso y retratos. en su obra, considerada rococó por el interés en el detalle y la ornamentación, domina la paleta de grises azulados y rosados que asimiló de paret. en 2006 el museo de arte de ponce organizó una exhibición que viajó al prestigioso worcester art museum de massachusetts y que incluyó obras suyas, de francisco oller y de miguel pou. la gran maestría de campeche reside en su dominio del retrato y la miniatura, característica que lo exalta como uno de los pintores más destacados de hispanoamérica a finales de siglo xviii.\""},"estimateMax":15000,"lotNumber":"27","title":{"en":"attributed to josé campeche y jordán (san juan, puerto rico, 1751 - 1809)","es":"atribuido a josé campeche y jordán (san juan, puerto rico, 1751 - 1809)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19353/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":8000,"soldPrice":8000,"lastUpdate":"2026-07-01T16:37:17.542Z","textCase":"lower","estimate":"\u20ac8,000 - \u20ac15,000","currency":"EUR","id":19353,"estimateMin":8000},{"startPrice":3600,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19354/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19354/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19354/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19354/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19354/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19354/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19354/007/007.jpg"],"available":false,"description":{"en":"in a carved and gilded wooden frame. \n relief measurements: 23 x 16,5 cm. frame measurements: 45 x 38,5 cm. \n huamanga stone is a type of white alabaster with delicate transparent parts. the name of it comes from the place where it is quarried, huamanga, which is now in the region of ayacucho and which became a production centre for impressive sculptures and reliefs, usually dedicated to the virgin mary, christ and saints.","es":"con marco en madera tallada y dorada. \n medidas relieve: 23 x 16,5 cm. medidas marco: 45 x 38,5 cm. \n se trata de un tipo de alabastro blanco de delicadas transparencias cuyas obras toman el nombre de su lugar de origen, huamanga, actualmente en la región de ayacucho, lugar en el que nació una interesante producción de esculturas y relieves habitualmente dedicados a la virgen, cristo y los santos."},"estimateMax":5000,"lotNumber":"28","title":{"en":"\"apparition of the madonna and child to rose of lima\". polychromed huamanga stone relief. colonial school. peru. 18th century.","es":"\"aparición de la virgen y el niño a santa rosa de lima\". relieve en piedra huamanga policromada. escuela colonial. perú. siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19354/view","tags":["esart_ancientsculpture","esinternational_southamerican","esart","esinternational","esinternational_all","esart_all"],"directSalePrice":3600,"lastUpdate":"2026-07-01T16:37:17.548Z","textCase":"lower","estimate":"\u20ac3,600 - \u20ac5,000","currency":"EUR","id":19354,"estimateMin":3600},{"startPrice":18000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/013/013.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/014/014.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/015/015.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/016/016.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/017/017.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19355/018/018.jpg"],"available":false,"description":{"en":"\"virgin of the antigua and the seven sorrows from the convent of saint paul in seville\" and \"calvary with the holy virgin of the sorrows, saint john the evangelist and mary magdalene\" (possibly for a religious procession in seville). \n pair of oil paintings on canvas. 71 x 53 cm y 71,5 x 54,5 cm. \n we would like to thank carlos rodríguez morales (@vretratos) for his information on the correct identification of the painting of mary. as he explains, \" it is the virgin of the antigua and the seven sorrows from the convent of saint paul in seville, which is now the royal parish church of la magdalena, where it is still kept. \n apart from the sculpture\u2019s quality, it also had many worshippers. this way of painting a portrait of a statue while it is being paraded in a procession, with the seven sorrows depicted in medallions and the seven large swords, coincides with other paintings. there is one in the royal monastery of saint jerome in granada and another in the convent of saint isabel in seville.\"","es":"\"virgen de la antigua y siete dolores del convento de san pablo de sevilla, \" y \"calvario con la dolorosa, san juan evangelista y la magdalena (¿paso procesional sevillano?)\" \n pareja de óleos sobre tela. 71 x 53 cm y 71,5 x 54,5 cm. \n agradecemos a carlos rodríguez morales (@vretratos) por su información para la correcta identificación de la pintura mariana, que como nos indica: \"es la virgen de la antigua y siete dolores del convento de san pablo de sevilla, hoy real parroquia de la magdalena, donde se conserva. al margen de la calidad de la propia escultura, su devoción fue muy importante. esta forma de retratarla, en su paso procesional, con los siete dolores representados en medallones y las siete grandes espadas, coincide con otras pinturas, una en san jerónimo de granada y otra en el convento de santa isabel de sevilla.\""},"estimateMax":22000,"lotNumber":"29","title":{"en":"colonial school. 18th century.","es":"escuela colonial. siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19355/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":18000,"lastUpdate":"2026-07-01T16:37:17.552Z","textCase":"lower","estimate":"\u20ac18,000 - \u20ac22,000","currency":"EUR","id":19355,"estimateMin":18000},{"startPrice":18000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19356/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19356/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19356/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19356/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19356/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19356/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19356/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19356/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19356/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19356/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19356/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19356/012/012.jpg"],"available":false,"description":{"en":"\"nativity\" \n oil on panel. dated 1587. with the remains of a signature which is now illegible. 106 x 84 cm. measurements with frame: 129 x 106 cm.","es":"\"nacimiento\" \n óleo sobre tabla. fechado en 1587. conserva restos de una firma que son ilegibles. 106 x 84 cm. medidas marco: 129 x 106 cm."},"estimateMax":25000,"lotNumber":"30","title":{"en":"colonial school. possibly peru. 16th century.","es":"escuela colonial. posiblemente perú. siglo xvi."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19356/view","tags":["esart_oldmasters","esinternational_southamerican","esart","esinternational","esinternational_all","esart_all"],"directSalePrice":18000,"lastUpdate":"2026-07-01T16:37:17.554Z","textCase":"lower","estimate":"\u20ac18,000 - \u20ac25,000","currency":"EUR","id":19356,"estimateMin":18000},{"startPrice":12000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19357/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19357/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19357/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19357/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19357/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19357/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19357/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19357/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19357/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19357/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19357/011/011.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"100 x 52 x 23 cm.","es":"100 x 52 x 23 cm."},"estimateMax":16000,"lotNumber":"31","title":{"en":"\"character\". carved, gilded and polychromed wooden sculpture. colonial school. 17th - 18th century.","es":"\"personaje\". escultura en madera tallada, dorada y policromada. escuela colonial. siglo xvii-xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19357/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":12000,"soldPrice":12200,"lastUpdate":"2026-07-01T16:37:15.444Z","textCase":"lower","estimate":"\u20ac12,000 - \u20ac16,000","currency":"EUR","id":19357,"estimateMin":12000},{"startPrice":12000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19358/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19358/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19358/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19358/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19358/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19358/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19358/007/007.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"\"adoration of the magi\" \n oil on canvas. relined. 64 x 44 cm.","es":"\"adoración de los reyes\" \n óleo sobre tela. reentelado. 64 x 44 cm."},"estimateMax":15000,"lotNumber":"32","title":{"en":"colonial school. cuzco. peru. 18th century.","es":"escuela colonial. cuzco. perú. siglo xvii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19358/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":12000,"soldPrice":12000,"lastUpdate":"2026-07-01T16:37:15.449Z","textCase":"lower","estimate":"\u20ac12,000 - \u20ac15,000","currency":"EUR","id":19358,"estimateMin":12000},{"startPrice":9000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19359/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19359/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19359/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19359/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19359/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19359/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19359/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19359/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19359/009/009.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"\"the holy trinity crowning the virgin mary\" \n oil on canvas. 100,5 x 75 cm.","es":"\"la santísima trinidad coronando a la virgen\" \n óleo sobre tela. 100,5 x 75 cm."},"estimateMax":12000,"lotNumber":"33","title":{"en":"colonial school. cuzco. peru. 17th century.","es":"escuela colonial. cuzco. perú. siglo xvii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19359/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":9000,"soldPrice":9600,"lastUpdate":"2026-07-01T16:37:15.452Z","textCase":"lower","estimate":"\u20ac9,000 - \u20ac12,000","currency":"EUR","id":19359,"estimateMin":9000},{"startPrice":24000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19360/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19360/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19360/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19360/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19360/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19360/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19360/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19360/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19360/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19360/010/010.jpg"],"available":false,"description":{"en":"\"our lady of guadalupe with the apparitions and juan diego cuāuhtlahtoātzin\" \n oil on canvas. relined. carved, polychromed and gilded period wooden frame. 98 x 76 cm. frame measurements: 120 x 95 cm. \n imposing depiction of our lady of guadalupe, which includes the apparitions and the chichimec juan diego, which rises up from an eagle. \n there is a handwritten inscription in latin \"non fecit taliter omni nationi\" on the painting: (god has done nothing like it for any other nation) in reference to the words pronounced by pope benedict xiv when he was presented with the image of our lady of guadalupe and, admiring its beauty, approved of the works of art depicting the patron of guadalupe in mexico. \n \"a d bocion de dn juan seacaboeste lien...\" is handwritten in the lower margin. the inscription is incomplete. it would have continued beneath but the canvas has been cut. it is logical to conclude that it would have been dated and could have been signed.","es":"\"virgen de guadalupe con apariciones y el indio juan diego\" \n óleo sobre tela. reentelado. marco en madera tallada, policromada y dorada de la época. 98 x 76 cm. medidas marco: 120 x 95 cm. \n importante representación de la virgen de guadalupe, que incluye las apariciones y al indio juan diego, y se alza sobre un águila. \n porta manuscrita la leyenda en latín: \"non fecit taliter omni nationi\" (no hizo nada igual con ninguna otra nación) en referencia a las palabras pronunciadas por benedicto xiv cuando se le presentó la imagen de la virgen de guadalupe y admirando su belleza aprobó las obras del patronato de guadalupe en méxico. \n en el margen inferior manuscrito \"a d bocion de dn juan seacaboeste lien...\" leyenda incompleta, más abajo continúa, pero se encuentra cortada la tela. es lógico pensar que estuviera datada, y pudiera haber estado firmada."},"estimateMax":28000,"lotNumber":"34","title":{"en":"colonial school. mexico. 18th century.","es":"escuela colonial. méxico. siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19360/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":24000,"lastUpdate":"2026-07-01T16:37:15.459Z","textCase":"lower","estimate":"\u20ac24,000 - \u20ac28,000","currency":"EUR","id":19360,"estimateMin":24000},{"startPrice":80000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19361/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19361/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19361/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19361/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19361/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19361/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19361/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19361/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19361/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19361/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19361/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19361/012/012.jpg"],"available":false,"description":{"en":"\"pietà\" \n carved, polychromed, gilded and estofado-decorated wooden sculpture with rubies affixed to it. \n 56 x 55 x 30 cm. measurements with plinth: 67 x 65 x 38 cm. \n this sculpture can be compared with that of the sculptural group \"the holy shroud\" which is kept in the cathedral of quito. \n manuel chili, known by his artistic name, \"caspicara\", was one of the most important indigenous sculptors of what is known as the quito school of the 18th century. \n caspicara began making images at a very young age, according to the historian jaime aguilar de paredes, until reaching a mastery that placed him at a level with european artists. \n his teachers were diego de robles and bernardo de legarda, in whose workshops he collaborated when he was young. \n specialising in religious motifs made of wood and marble, his work was made for the most important altars in churches and convents in the region, although his work arrived in europe also, to form part of the collections of the nobility and the monarchy. \n \n bibliographic references: \n - aguilar paredes, jaime \"grandes personalidades de la partria ecuatoriana\". ed. fray judoco ricke, p. 104.","es":"\"piedad\" \n escultura en madera tallada, policromada, dorada y estofada, con aplicaciones de rubíes. \n 56 x 55 x 30 cm. medidas con peana: 67 x 65 x 38 cm. \n nuestra escultura se puede comparar con el grupo escultórico \"la sábana santa\", que se conserva en la catedral metropolitana de quito. \n manuel chili, conocido por su nombre artístico, \"caspicara\", fue uno de los más importantes escultores indígenas de la denominada escuela quiteña del siglo xviii. \n caspicara se inició en la imaginería a una edad muy temprana , según indica el historiador jaime aguilar de paredes, hasta llegar a alcanzar la maestría que lo colocó al nivel de los autores europeos. \n fueron sus maestros diego de robles y bernardo de legarda, con los que colaboró de joven en sus talleres. \n especializado en los motivos religiosos en madera y mármol, su obra se realizó para los altares más importantes de iglesias y conventos de la región, aunque de la misma manera llegó a europa para formar parte de la colecciones de la nobleza y monarquía. \n \n bibliografía de referencia: \n - aguilar paredes, jaime \"grandes personalidades de la partria ecuatoriana\". ed. fray judoco ricke, p. 104."},"estimateMax":100000,"lotNumber":"35","title":{"en":"manuel de chili \"caspicara\" (quito, ecuador, 1723 - 1796)","es":"manuel de chili \"caspicara\" (quito, ecuador, 1723 - 1796)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19361/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":80000,"lastUpdate":"2026-07-01T16:37:15.464Z","textCase":"lower","estimate":"\u20ac80,000 - \u20ac100,000","currency":"EUR","id":19361,"estimateMin":80000},{"startPrice":12000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19362/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19362/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19362/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19362/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19362/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19362/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19362/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19362/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19362/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19362/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19362/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19362/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19362/013/013.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"magnificent writing chest. it has an upper lid which, when open, reveals compartments, and another that folds forward to show five drawers. there is profuse decoration all over the interior and on the exterior of the back, with flowers, birds, wild boar, etc. \n a comparable example is kept in the collection at \"the hispanic society of america\". \n \n bibliographic reference: \n - \"entre el viejo y el nuevo mundo: el escritorio de barníz de pasto\" (between the old and new world: the pasto varnish desk) by dña. rosa mª creixell. \"res mobilis\". vol. 3, nº. 3, 2014.","es":"magnífica caja escritorio, en madera tallada decorada con barniz de pasto. presenta una tapa superior, que abierta, deja al descubierto dos compartimentos y otra que se abate al frente mostrando cuatro cajones. profusa decoración en todo el interior y en la parte exterior, con motivos representando flores, aves, palmeras, jabalíes, conejos y cenefas de motivos vegetales, etc. \n un ejemplar comparable se conserva en la colección de \"the hispanic society of america\". \n 21 x 35 x 28 cm. \n \n bibliografía de referencia: \n \"entre el viejo y el nuevo mundo: el escritorio de barníz de pasto\". dña. rosa mª creixell. \"res mobilis\". vol. 3, nº. 3, 2014."},"estimateMax":14000,"lotNumber":"36","title":{"en":"portable desk made using pasto varnish. colombia. 18th century.","es":"escritorio portátil realizado con la técnica de barniz de pasto. colombia. siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19362/view","tags":["esfurniture_desks","esfurniture_all","esfurniture"],"directSalePrice":12000,"soldPrice":14000,"lastUpdate":"2026-07-01T16:37:15.474Z","textCase":"lower","estimate":"\u20ac12,000 - \u20ac14,000","currency":"EUR","id":19362,"estimateMin":12000},{"startPrice":5000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19363/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19363/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19363/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19363/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19363/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19363/006/006.jpg"],"available":false,"description":{"en":"oil on copper. 28,5 x 21 cm.","es":"óleo sobre cobre. 28,5 x 21 cm."},"estimateMax":6000,"lotNumber":"37","title":{"en":"attributed to miguel cabrera (antequera de oaxaca, méxico, 1715 / 1720 - méxico, 1768)","es":"atribuido a miguel cabrera (antequera de oaxaca, méxico, 1715 / 1720 - méxico, 1768)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19363/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":5000,"lastUpdate":"2026-07-01T16:37:15.478Z","textCase":"lower","estimate":"\u20ac5,000 - \u20ac6,000","currency":"EUR","id":19363,"estimateMin":5000},{"startPrice":6000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19364/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19364/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19364/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19364/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19364/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19364/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19364/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19364/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19364/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19364/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19364/011/011.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"saint measurements: 94 x 40 x 32 cm. total measurements: 94 x 44 x 42 cm.","es":"medidas santo: 94 x 40 x 32 cm. medidas totales: 94 x 44 x 42 cm."},"estimateMax":8000,"lotNumber":"38","title":{"en":"\"archangel saint michael\". carved, gilded and polychromed wooden sculpture. colonial school. mexico or peru. 18th century.","es":"\"san miguel arcangel\". escultura en madera tallada, dorada y policromada. escuela colonial. méxico o perú. siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19364/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":6000,"soldPrice":8000,"lastUpdate":"2026-07-01T16:37:15.483Z","textCase":"lower","estimate":"\u20ac6,000 - \u20ac8,000","currency":"EUR","id":19364,"estimateMin":6000},{"startPrice":80000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19365/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19365/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19365/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19365/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19365/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19365/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19365/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19365/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19365/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19365/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19365/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19365/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19365/013/013.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"\"triumphal entrance of alexander in babylon\" \n six-panel folding screen. oil on canvas. 192 x 312 cm. the first panel is missing. \n an oil painting on canvas (n.d.) by juan patricio morlete was exhibited in 2015 at the museo nacional de san carlos in mexico, as part of the permanent exhibition \"neoclasicismo\" with the same theme and great compositional similarities to this painting. there is another canvas also by morlete which is very similar to the former, which forms part of the artistic patrimony of the fomento cultural banamex. it is one of the paintings of the set of battles of alexander the great which the artist painted in 1767, inspired, as ilona katzew explains (2014), by a monumental series of engravings by charles le brun (paris, 1619 - 1690) of \"the triumphs of alexander\", which were commissioned by louis xiv and sent to european governors as propaganda. one of the engravings by jean audran (lyon, 1667 - paris, 1756), can be found in the barcelona museu nacional d\u2019art de catalunya (mnac). \n we find it curious that the scene in our painting is in reverse, compared with the two canvases we mentioned, the engravings and the original picture by le brun (1665), which is exhibited in the louvre museum. this may be due to the fact that, as this is a screen and not a fixed painting, the final location of the piece of furniture would have influenced whether the painter would decide to develop the scene in this direction, considering that this would have been a commission, which is most likely. moreover, the artist moved the scene to an environment with more vegetation and no architectural structures, he varied the treatment of the colour by adding more reddish tones, incorporating some native elements (feathers, cloaks, etc.) and he even draws some faces which, in our opinion, have more indigenous features. it is known that morlete made variations on the original engraving on occasions, for fun or because the commission he received required it. he would augment the margins or add characters and vegetation, which could explain these modifications. \n in any case, as well as the obvious similarity in the theme, composition and main elements of the painting, we would like to go deeper with this comparison and point out the treatment that the artist gave to the horses, giving them special expressivity, as if he was painting their portraits or wished to humanise them or give them a certain personality, with some features that are recognisable in the three paintings we are concerned with. \n with regard to the support of our painting, folding screens arrived in the new world through the route that united the far east and spain via mexico, on vessels known as the china ship or manila galleon. it is not exactly known when the first contact with new-hispanic society with this and other products of an asian origin happened, but it is known that they formed part of the embarkations in 1585, when a japanese ambassador came to mexico city as part of her voyage to visit philip ii and pope gregory xiii. katzew (2014) also reminds us that screens were also the central items in 1614 in a gift from the japanese shogun tokugawa ieyasu (okazaki, 1543 - shizuoka, 1616) to the viceroy luis de velasco (1607 - 1611). \n this growing exchange between asian and colonial latin american civilisation was not an accident, it happened in the context of the empowerment of the creoles in which, according to gauvin a. bailey (2007) \"feelings contrary to spain\" began to grow, and \"asian art gave hispanic-americans a way of expressing their pride in the indigenous antiquity of their land.\" \n with regard to folding screens, these were extremely popular in new-spanish houses, becoming an essential piece of furniture in practically all the homes of the period, almost regardless of the household\u2019s economy. in fact, sofía sanabrais (2007) tells of the existence of \"biombos ordinarios\" (ordinary screens) with cheap textiles and no paintings in humble homes. however, this did not mean that screens became unattractive to richer families; it was quite the opposite, they were widespread among the houses of the élite, and their multifunctionality may be a possible reason for this. \n on the one hand, new-hispanic screens were used to delimit spaces or hide furniture, in their most practical aspect, as occurred with the \"biombos de cama\" or bed screens (sanabrais, 2007). on the other, their decorative use also had many devotees, whether as \"backdrops or as central pieces for social meetings, in which they would serve as a subject of conversation, \" (katzew, 2014); we imagine that these conversations would be especially lively when they were referring to screens painted by the best artists of the period: cabrera, correa or morlete himself. in fact, we know of a screen in the franz mayer museum in mexico that is signed by juan correa: \"the four elements and the liberal arts\" (c. 1670); and \"folding screen with fête galante and musicians\" (c. 1760) can be attributed to miguel cabrera. although, the majority of screens that have survived to the present day are anonymous as they were not normally signed by the artist (codding, 2007). \n finally, focussing on the artistic value of the \"protection against the wind\" (if we refer to folding screens using the literal translation of the japanese term \u2018byôbu\u2019, which the spanish \u2018biombo\u2019 comes from), the suitability of their format with, usually, ten screens around two metres high, for depicting narrative compositions must be highlighted. it is not surprising, therefore, that they made the ideal support for mythological and allegorical subjects which we see in the screen by correa that was previously mentioned. they are also ideal for views of cities, as we see in one of the first screens that illustrates the mexican capital (1690 - 1692), in the franz mayer museum, as well as scenes of high-class parties, such as the screen attributed to cabrera; or for historical themes, good examples of this being \"the conquest of mexico\" attributed to miguel gonzález (mexico, active 1662 - 1698) or the folding screen we have here, which we attribute to morlete. \n \n bibliographic references: \n - bailey, g. a. (2007). asia en las artes de la américa latina colonial. en j. j. rishel y s. stratton-pruitt (comps.), revelaciones. las artes en américa latina, 1492 - 1820. (pp. 57-71). fondo de cultura económica. \n - brown, j. (2014). de la pintura española a la pintura novohispana, 1550-1700. en l. e. alcalá y j. brown (eds.), pintura en hispanoamérica, 1550 - 1820. (pp. 103-148). ediciones el viso. \n - codding, m. a. (2007). las artes decorativas en américa latina, 1492 - 1820. en j. j. rishel y s. stratton-pruitt (comps.), revelaciones. las artes en américa latina, 1492 - 1820. (pp. 98-145). fondo de cultura económica. \n - kagan, r. l. (ed.). (1998). imágenes urbanas del mundo hispánico. 1493 - 1780. ediciones el viso e iberdrola. \n - katzew, i. (2007). estrellas en el mar de la iglesia: los indios en la pintura novohispana del siglo xviii. en j. j. rishel y s. stratton-pruitt (comps.), revelaciones. las artes en américa latina, 1492 - 1820. (pp. 337-481). fondo de cultura económica. \n - katzew, i. (2014). pinceles valientes. la pintura novohispana, 1700-1785. en l. e. alcalá y j. brown (eds.), pintura en hispanoamérica, 1550 - 1820. (pp. 149-204). ediciones el viso. \n - lópez guzmán, r. (ed.). (2021). tornaviaje. arte iberoamericano en españa. museo nacional del prado. \n - museo nacional de san carlos (30 de marzo de 2015). juan patricio morlete ruiz, mexico, 1713-1772 entrada triunfal de alejandro el grande, s.f. óleo sobre tela, 83 x 127 [tweet] [imagen adjunta]. twitter. https://twitter.com/museo_sancarlos/status/582608136462204928","es":"\"entrada triunfal de alejandro en babilonia\" \n biombo de seis hojas. óleo sobre tela. 192 x 312 cm. falta la primera hoja. \n en el museo nacional de san carlos de méxico, estuvo expuesto el año 2015, como parte de la exposición permanente \"neoclasicismo\", un óleo sobre tela (s.f.) de juan patricio morlete con la misma temática e importantes semejanzas compositivas con nuestra pieza. también de morlete es una tela, de gran parecido con la anterior, que forma parte del patrimonio artístico de fomento cultural banamex. es una de las pinturas del conjunto sobre las batallas de alejandro magno que realizó nuestro autor en 1767, inspiradas, como nos indica ilona katzew (2014), en grabados de una serie monumental de charles le brun (parís, 1619 - 1690) de \"los triunfos de alejandro magno\", que habían sido encargados por luis xiv y enviados a gobernantes europeos por el carácter propagandístico de los cuadros. uno de los grabados, de jean audran (lyon, 1667 - parís, 1756), se encuentra en el museu nacional d\u2019art de catalunya. \n nos resulta curioso que nuestra obra esté representada a la inversa con respecto a las dos telas que mencionamos, a los grabados y al cuadro original de le brun (1665), que se encuentra expuesto en el museo del louvre. esto puede ser debido a que, tratándose de un biombo y no de una pintura fija, la ubicación final del mueble influyera en que el autor decidiera desarrollar la escena en esa dirección, dando por supuesto que se tratara de un encargo, que es lo más probable. además, el autor traslada la escena a un ambiente con mayor vegetación y sin estructuras arquitectónicas, varía el tratamiento del color añadiendo más tonalidades rojizas, incorpora algunos elementos autóctonos (plumas, mantos, etc.) e incluso traza, a nuestro juicio, unos rostros con rasgos más indígenas. es sabido que morlete hacía en ocasiones, a modo de divertimento o porque el encargo así lo requería, variaciones del grabado original, aumentando los márgenes o añadiendo personajes y vegetación, lo que podría explicar estas modificaciones. \n de todas formas, además del parecido evidente en la temática, la composición y los elementos principales de la obra, nos gustaría destacar, ahondando en esta comparativa, el tratamiento que hace el autor de los caballos, dándoles una expresividad especial, como si se tratara de un retrato o como si quisiera humanizarlos o atribuirles una cierta personalidad, con unos rasgos muy característicos que son reconocibles en las tres obras que nos ocupan. \n en cuanto al soporte de nuestra pieza, los biombos llegaron al nuevo mundo por medio de la ruta que unía el lejano oriente y españa a través de méxico, con la embarcación conocida como la nao de china o galeón de manila. no se conoce con exactitud cuál fue el primer contacto de la sociedad novohispana con este y otros productos de orígenes asiáticos, pero se sabe que ya formaban parte de las embarcaciones en 1585, cuando una embajada japonesa pasó por la ciudad de méxico en su viaje para visitar a felipe ii y al papa gregorio xiii. nos recuerda katzew (2014), además, que los biombos también fueron protagonistas en 1614 en un obsequio del sogún japonés tokugawa ieyasu (okazaki, 1543 - shizuoka, 1616) al virrey luis de velasco (1607 - 1611). \n este intercambio creciente entre la civilización asiática y la américa colonial no es casual, se enmarca en un contexto de empoderamiento de los criollos en el que aumentaban \"los sentimientos contrarios a españa\" y, según el profesor gauvin a. bailey (2007), \"el arte asiático proporcionó a los hispanoamericanos un medio para expresar su orgullo por la antigüedad indígena de su tierra\". \n volviendo a los biombos, estos gozaron de una gran popularidad en las casas novohispanas, llegando a ser un mobiliario imprescindible en prácticamente todos los hogares de la época, sin importar demasiado las condiciones económicas; de hecho, nos habla sofía sanabrais (2007) de la existencia de \"biombos ordinarios\" con telas baratas y sin pintar en viviendas humildes. no obstante, esto no provocó que tales muebles perdieran su atractivo entre las familias más acaudaladas; más bien al contrario, tuvo una amplia difusión entre la élite, y su multifuncionalidad nos sugiere una posible razón al respecto. \n por una parte, los biombos novohispanos, en su vertiente más práctica, eran utilizados para delimitar espacios u ocultar muebles, como ocurría con los \"biombos de cama\" (sanabrais, 2007). por otra, su uso decorativo tenía también muchos adeptos, ya fuera \"como telones de fondo o [como] piezas centrales para las reuniones sociales, en las que servían como tema de conversación\" (katzew, 2014); conversaciones que imaginamos que serían especialmente fructíferas cuando se estuvieran refiriendo a biombos pintados por los mejores artistas de la época: cabrera, correa o el mismo morlete. y es que, aunque la mayoría de los biombos que han sobrevivido al paso del tiempo son anónimos, pues no solían llevar la firma del autor (codding, 2007), tenemos constancia de un biombo firmado por juan correa en el museo franz mayer de méxico: \"los cuatro elementos y las artes liberales\" (c. 1670); y se puede atribuir el \"biombo con jornada campestre y músicos\" (c. 1760) a miguel cabrera. \n centrándonos, para terminar, en el valor artístico de la \"protección contra el viento\" (si nos referimos a ellos usando la traducción literal del término japonés \u2018byôbu\u2019, de donde proviene \u2018biombo\u2019), hay que destacar la idoneidad de su formato que, con mayoritariamente diez hojas de alrededor de dos metros de altura, favorecía la representación de composiciones narrativas. no sorprende, por lo tanto, que fuera el soporte ideal para temas mitológicos y alegóricos, lo vemos en el biombo previamente mencionado de correa; para vistas de ciudades, como en uno de los primeros biombos que ilustran la capital mexicana (1690 - 1692), en el museo franz mayer; para fêtes galantes, como en el atribuido a cabrera; o para temáticas históricas, siendo buenos ejemplos \"la conquista de méxico\" atribuida a miguel gonzález (méxico, activo 1662 - 1698) o el presente biombo que atribuimos a morlete. \n \n bibliografía de referencia: \n - bailey, g. a. (2007). asia en las artes de la américa latina colonial. en j. j. rishel y s. stratton-pruitt (comps.), revelaciones. las artes en américa latina, 1492 - 1820. (pp. 57-71). fondo de cultura económica. \n - brown, j. (2014). de la pintura española a la pintura novohispana, 1550-1700. en l. e. alcalá y j. brown (eds.), pintura en hispanoamérica, 1550 - 1820. (pp. 103-148). ediciones el viso. \n - codding, m. a. (2007). las artes decorativas en américa latina, 1492 - 1820. en j. j. rishel y s. stratton-pruitt (comps.), revelaciones. las artes en américa latina, 1492 - 1820. (pp. 98-145). fondo de cultura económica. \n - kagan, r. l. (ed.). (1998). imágenes urbanas del mundo hispánico. 1493 - 1780. ediciones el viso e iberdrola. \n - katzew, i. (2007). estrellas en el mar de la iglesia: los indios en la pintura novohispana del siglo xviii. en j. j. rishel y s. stratton-pruitt (comps.), revelaciones. las artes en américa latina, 1492 - 1820. (pp. 337-481). fondo de cultura económica. \n - katzew, i. (2014). pinceles valientes. la pintura novohispana, 1700-1785. en l. e. alcalá y j. brown (eds.), pintura en hispanoamérica, 1550 - 1820. (pp. 149-204). ediciones el viso. \n - lópez guzmán, r. (ed.). (2021). tornaviaje. arte iberoamericano en españa. museo nacional del prado. \n - museo nacional de san carlos (30 de marzo de 2015). juan patricio morlete ruiz, méxico, 1713-1772 entrada triunfal de alejandro el grande, s.f. óleo sobre tela, 83 x 127 [tweet] [imagen adjunta]. twitter. https://twitter.com/museo_sancarlos/status/58260813646220492"},"estimateMax":120000,"lotNumber":"39","title":{"en":"attributed to juan patricio morlete (san miguel el grande, guanajuato, mexico, 1713/1715 - mexico, 1772)","es":"atribuido a juan patricio morlete (san miguel el grande, guanajuato, méxico, 1713/1715 - méxico, 1772)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19365/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":80000,"soldPrice":82000,"lastUpdate":"2026-07-01T16:37:15.491Z","textCase":"lower","estimate":"\u20ac80,000 - \u20ac120,000","currency":"EUR","id":19365,"estimateMin":80000},{"startPrice":11500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19366/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19366/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19366/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19366/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19366/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19366/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19366/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19366/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19366/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19366/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19366/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19366/012/012.jpg"],"available":false,"description":{"en":"28 x 57,5 x 35 cm.","es":"28 x 57,5 x 35 cm."},"estimateMax":13500,"lotNumber":"40","title":{"en":"carved wooden box with iron fittings. colonial school. peru. 17th century.","es":"arqueta en madera tallada con herrajes. escuela colonial. perú. siglo xvii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19366/view","tags":["esfurniture_chests","esfurniture_all","esfurniture"],"directSalePrice":11500,"lastUpdate":"2026-07-01T16:37:15.505Z","textCase":"lower","estimate":"\u20ac11,500 - \u20ac13,500","currency":"EUR","id":19366,"estimateMin":11500},{"startPrice":18000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19367/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19367/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19367/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19367/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19367/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19367/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19367/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19367/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19367/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19367/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19367/011/011.jpg"],"available":false,"description":{"en":"\"our lady of guadalupe\" \n oil on canvas. carved and gilded period wooden frame. \n 110 x 87,5 cm. frame measurements: 139 x 118 cm.","es":"\"virgen de guadalupe\" \n óleo sobre tela. marco en madera tallada y dorada de la época. \n 110 x 87,5 cm. medidas marco: 139 x 118 cm."},"estimateMax":25000,"lotNumber":"41","title":{"en":"colonial school. mexico. 18th century.","es":"escuela colonial. méxico. siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19367/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":18000,"lastUpdate":"2026-07-01T16:37:15.061Z","textCase":"lower","estimate":"\u20ac18,000 - \u20ac25,000","currency":"EUR","id":19367,"estimateMin":18000},{"startPrice":3000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19368/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19368/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19368/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19368/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19368/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19368/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19368/007/007.jpg"],"available":false,"description":{"en":"32,5 x 50 x 50 cm. \n decorated with a type of rooster on the back of the body, surrounded by interwoven oak leaves and below is a basket with stippled graticule. it is decorated on the back with interwoven oak leaves. on the upper edge is a border formed by squares alternating with briars. on the base is a border of pointed lines which look like small leaves in two segments. \n there is a crack in the lower right part and a hole in the base, as well as a small restoration.","es":"32,5 x 50 x 50 cm. \n magnífica decoración a pincel por todo el contorno de la vasija y asas, representando ramas de hojas de roble entrelazadas. además, destaca la figura de un gallo y un cesto con retícula punteada. \n en el borde superior se desarrolla una cenefa formada por cuadrados alternos con matojos. \n en la base presenta una cenefa de líneas de puntos a modo de pequeñas hojas en dos tramos. \n presenta una rotura en la parte inferior derecha y un orificio en la base, así como una pequeña restauración."},"estimateMax":4000,"lotNumber":"42","title":{"en":"large enamelled and painted pottery vessel. colonial school. la puebla de los ángeles. mexico. 18th century.","es":"gran vasija en cerámica esmaltada y pintada. escuela colonial. la puebla de los ángeles. méxico. siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19368/view","tags":["esdecorativearts_porcelainceramicsglass","esdecorativearts_all","esdecorativearts"],"directSalePrice":3000,"lastUpdate":"2026-07-01T16:37:15.069Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,000","currency":"EUR","id":19368,"estimateMin":3000},{"startPrice":2500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19369/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19369/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19369/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19369/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19369/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19369/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19369/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19369/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19369/009/009.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"total measurements: 64 x 31 x 20 cm.","es":"medidas totales: 64 x 31 x 20 cm."},"estimateMax":4000,"lotNumber":"43","title":{"en":"\"angel\". carved and polychromed wooden sculpture. guarani school. paraguay. 18th century.","es":"\"ángel\". escultura en madera tallada y policromada. escuela guaraní. paraguay. siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19369/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":2500,"soldPrice":2500,"lastUpdate":"2026-07-01T16:37:15.071Z","textCase":"lower","estimate":"\u20ac2,500 - \u20ac4,000","currency":"EUR","id":19369,"estimateMin":2500},{"startPrice":6000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19370/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19370/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19370/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19370/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19370/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19370/006/006.jpg"],"available":false,"description":{"en":"parchment illumination. 28,5 x 23,7 cm. \n lagarto was an important painter and illuminator in the late 16th and early 17th century, consided to be, according to the mexican museo nacional de arte \"one of the best representatives of mannerism of new spain.\" his artistic development, despite having been born in seville, took place mainly in new spain, where he arrived around 1585, year in which, according to the blaisten museum, he was appointed \"maestro de primeras letras\" (literacy teacher) in the colegio de san juan de letran in mexico. \n in 1600 he was commissioned by the canonry of puebla to illuminate choir books in puebla cathedra, which was one of his biggest projects. it is the central theme of the exhibition \"al canto de las quimeras. luis lagarto y la fábrica de la librería de coro de la catedral de puebla\" that was held at the museo amparo from december 2016 to march 2017. \n his watercolours on paper of \"the annunciation\" (c. 1610) and \"our lady of the rosary with saint catherine of alexandria and saint catherine\" (1611) are also outstanding. both of these are in the mexican museo nacional de arte; there is the miniature \"immaculate conception\" (1619), which can be found in madrid in the museo de américa; also \"the burial of christ\" (1612), in the blaisten collection. \n we must also mention the contribution made by the historian guillermo tovar de teresa (mexico, 1956 - 2013) with his monographic on the family of illuminators with the surname lagarto, called \"un rescate de la fantasía: el arte de los lagarto, iluminadores novohispanos de los siglos xvi y xvii\" (the art of the lagarto, new spanish illuminators of the 16th and 17th centuries) published in 1998. \n \n bibliographic reference: \n - amador, marrero, p. f. (2016 - 2017). al canto de las quimeras. luis lagarto y la fábrica de la librería de coro de la catedral de puebla. https://museoamparo.com/exposiciones/piezas/77/al-canto-de-las-quimeras-luis-lagarto-y-la-fabrica -de-la-librería-de-coro-de-la-catedral-de-p uebla \n - león mariscal, b. b. (s.f.). la anunciación. http://munal.emuseum.com/objects/1777/la-anunciacion?ctx=4e04c7e3-cc80-4bc5-b850-6d1d959 4227e&idx=0 \n - museo blaisten (s.f.). luís lagarto, 1556-1624. https://museoblaisten.com/artista.php?id=253&url=luis-lagarto \n - museo amparo (s.f.). luis lagarto. https://museoamparo.com/artistas/perfil/330/luis-lagarto","es":"iluminación en pergamino. 28,5 x 23,7 cm. \n nuestro autor fue un importante pintor e iluminador de finales del siglo xvi y principios del xvii, considerado, según el museo nacional de arte de méxico, \"uno de los mejores representantes del manierismo en la nueva españa\". su desarrollo artístico, pese a nacer en sevilla, tuvo lugar principalmente en nueva españa, donde llegó hacia el 1585, año en que, según nos informa el museo blaisten, fue nombrado maestro de primeras letras en el colegio de san juan de letrán de méxico. \n en 1600 firma con el cabildo de puebla lo que supuso uno de sus más importantes proyectos: la iluminación de la librería de coro de la catedral poblana, tema central de la exposición del museo amparo \"al canto de las quimeras. luis lagarto y la fábrica de la librería de coro de la catedral de puebla\" (diciembre 2016 - marzo 2017). \n además, destacamos de entre sus obras las acuarelas sobre papel \"la anunciación\" (c. 1610) y \"la virgen del rosario con santa catalina de alejandria y santa catalina\" (1611), ambas en el museo nacional de arte de méxico; la miniatura \"inmaculada concepción\" (1619), en el museo de américa de madrid; o \"el entierro de cristo\" (1612), en la colección blaisten. \n no podemos terminar sin mencionar las aportaciones que realizó el historiador guillermo tovar de teresa (méxico, 1956 - 2013) con su monográfico sobre la familia de iluminadores apellidados lagarto, llamado \"un rescate de la fantasía: el arte de los lagarto, iluminadores novohispanos de los siglos xvi y xvii\" (1998). \n \n bibliografía de referencia: \n - amador, marrero, p. f. (2016 - 2017). al canto de las quimeras. luis lagarto y la fábrica de la librería de coro de la catedral de puebla. https://museoamparo.com/exposiciones/piezas/77/al-canto-de-las-quimeras-luis-lagarto-y-la-fabrica -de-la-librería-de-coro-de-la-catedral-de-p uebla \n - león mariscal, b. b. (s.f.). la anunciación. http://munal.emuseum.com/objects/1777/la-anunciacion?ctx=4e04c7e3-cc80-4bc5-b850-6d1d959 4227e&idx=0 \n - museo blaisten (s.f.). luís lagarto, 1556-1624. https://museoblaisten.com/artista.php?id=253&url=luis-lagarto \n - museo amparo (s.f.). luis lagarto. https://museoamparo.com/artistas/perfil/330/luis-lagarto"},"estimateMax":9000,"lotNumber":"44","title":{"en":"attributed to luis lagarto (seville, 1556 - puebla, 1624)","es":"atribuido a luis lagarto (sevilla, 1556 - puebla, 1624)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19370/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":6000,"lastUpdate":"2026-07-01T16:37:15.077Z","textCase":"lower","estimate":"\u20ac6,000 - \u20ac9,000","currency":"EUR","id":19370,"estimateMin":6000},{"startPrice":6000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19371/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19371/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19371/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19371/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19371/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19371/006/006.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"parchment illumination. 26 x 23 cm. \n lagarto was an important painter and illuminator in the late 16th and early 17th century, consided to be, according to the mexican museo nacional de arte \"one of the best representatives of mannerism of new spain.\" his artistic development, despite having been born in seville, took place mainly in new spain, where he arrived around 1585, year in which, according to the blaisten museum, he was appointed \"maestro de primeras letras\" (literacy teacher) in the colegio de san juan de letran in mexico. \n in 1600 he was commissioned by the canonry of puebla to illuminate choir books in puebla cathedra, which was one of his biggest projects. it is the central theme of the exhibition \"al canto de las quimeras. luis lagarto y la fábrica de la librería de coro de la catedral de puebla\" that was held at the museo amparo from december 2016 to march 2017. \n his watercolours on paper of \"the annunciation\" (c. 1610) and \"our lady of the rosary with saint catherine of alexandria and saint catherine\" (1611) are also outstanding. both of these are in the mexican museo nacional de arte; there is the miniature \"immaculate conception\" (1619), which can be found in madrid in the museo de américa; also \"the burial of christ\" (1612), in the blaisten collection. \n we must also mention the contribution made by the historian guillermo tovar de teresa (mexico, 1956 - 2013) with his monographic on the family of illuminators with the surname lagarto, called \"un rescate de la fantasía: el arte de los lagarto, iluminadores novohispanos de los siglos xvi y xvii\" (the art of the lagarto, new spanish illuminators of the 16th and 17th centuries) published in 1998. \n \n bibliographic reference: \n - amador, marrero, p. f. (2016 - 2017). al canto de las quimeras. luis lagarto y la fábrica de la librería de coro de la catedral de puebla. https://museoamparo.com/exposiciones/piezas/77/al-canto-de-las-quimeras-luis-lagarto-y-la-fabrica -de-la-librería-de-coro-de-la-catedral-de-p uebla \n - león mariscal, b. b. (s.f.). la anunciación. http://munal.emuseum.com/objects/1777/la-anunciacion?ctx=4e04c7e3-cc80-4bc5-b850-6d1d959 4227e&idx=0 \n - museo blaisten (s.f.). luís lagarto, 1556-1624. https://museoblaisten.com/artista.php?id=253&url=luis-lagarto \n - museo amparo (s.f.). luis lagarto. https://museoamparo.com/artistas/perfil/330/luis-lagarto","es":"iluminación en pergamino. 26 x 23 cm. \n nuestro autor fue un importante pintor e iluminador de finales del siglo xvi y principios del xvii, considerado, según el museo nacional de arte de méxico, \"uno de los mejores representantes del manierismo en la nueva españa\". su desarrollo artístico, pese a nacer en sevilla, tuvo lugar principalmente en nueva españa, donde llegó hacia el 1585, año en que, según nos informa el museo blaisten, fue nombrado maestro de primeras letras en el colegio de san juan de letrán de méxico. \n en 1600 firma con el cabildo de puebla lo que supuso uno de sus más importantes proyectos: la iluminación de la librería de coro de la catedral poblana, tema central de la exposición del museo amparo \"al canto de las quimeras. luis lagarto y la fábrica de la librería de coro de la catedral de puebla\" (diciembre 2016 - marzo 2017). \n además, destacamos de entre sus obras las acuarelas sobre papel \"la anunciación\" (c. 1610) y \"la virgen del rosario con santa catalina de alejandria y santa catalina\" (1611), ambas en el museo nacional de arte de méxico; la miniatura \"inmaculada concepción\" (1619), en el museo de américa de madrid; o \"el entierro de cristo\" (1612), en la colección blaisten. \n no podemos terminar sin mencionar las aportaciones que realizó el historiador guillermo tovar de teresa (méxico, 1956 - 2013) con su monográfico sobre la familia de iluminadores apellidados lagarto, llamado \"un rescate de la fantasía: el arte de los lagarto, iluminadores novohispanos de los siglos xvi y xvii\" (1998). \n \n bibliografía de referencia: \n - amador, marrero, p. f. (2016 - 2017). al canto de las quimeras. luis lagarto y la fábrica de la librería de coro de la catedral de puebla. https://museoamparo.com/exposiciones/piezas/77/al-canto-de-las-quimeras-luis-lagarto-y-la-fabrica -de-la-librería-de-coro-de-la-catedral-de-p uebla \n - león mariscal, b. b. (s.f.). la anunciación. http://munal.emuseum.com/objects/1777/la-anunciacion?ctx=4e04c7e3-cc80-4bc5-b850-6d1d959 4227e&idx=0 \n - museo blaisten (s.f.). luís lagarto, 1556-1624. https://museoblaisten.com/artista.php?id=253&url=luis-lagarto \n - museo amparo (s.f.). luis lagarto. https://museoamparo.com/artistas/perfil/330/luis-lagarto"},"estimateMax":9000,"lotNumber":"45","title":{"en":"attributed to luis lagarto (seville, 1556 - puebla, 1624)","es":"atribuido a luis lagarto (sevilla, 1556 - puebla, 1624)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19371/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":6000,"soldPrice":6000,"lastUpdate":"2026-07-01T16:37:15.084Z","textCase":"lower","estimate":"\u20ac6,000 - \u20ac9,000","currency":"EUR","id":19371,"estimateMin":6000},{"startPrice":6000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19372/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19372/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19372/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19372/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19372/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19372/006/006.jpg"],"available":false,"description":{"en":"parchment illumination. 26 x 23,5 cm. \n lagarto was an important painter and illuminator in the late 16th and early 17th century, consided to be, according to the mexican museo nacional de arte \"one of the best representatives of mannerism of new spain.\" his artistic development, despite having been born in seville, took place mainly in new spain, where he arrived around 1585, year in which, according to the blaisten museum, he was appointed \"maestro de primeras letras\" (literacy teacher) in the colegio de san juan de letran in mexico. \n in 1600 he was commissioned by the canonry of puebla to illuminate choir books in puebla cathedra, which was one of his biggest projects. it is the central theme of the exhibition \"al canto de las quimeras. luis lagarto y la fábrica de la librería de coro de la catedral de puebla\" that was held at the museo amparo from december 2016 to march 2017. \n his watercolours on paper of \"the annunciation\" (c. 1610) and \"our lady of the rosary with saint catherine of alexandria and saint catherine\" (1611) are also outstanding. both of these are in the mexican museo nacional de arte; there is the miniature \"immaculate conception\" (1619), which can be found in madrid in the museo de américa; also \"the burial of christ\" (1612), in the blaisten collection. \n we must also mention the contribution made by the historian guillermo tovar de teresa (mexico, 1956 - 2013) with his monographic on the family of illuminators with the surname lagarto, called \"un rescate de la fantasía: el arte de los lagarto, iluminadores novohispanos de los siglos xvi y xvii\" (the art of the lagarto, new spanish illuminators of the 16th and 17th centuries) published in 1998. \n \n bibliographic reference: \n - amador, marrero, p. f. (2016 - 2017). al canto de las quimeras. luis lagarto y la fábrica de la librería de coro de la catedral de puebla. https://museoamparo.com/exposiciones/piezas/77/al-canto-de-las-quimeras-luis-lagarto-y-la-fabrica -de-la-librería-de-coro-de-la-catedral-de-p uebla \n - león mariscal, b. b. (s.f.). la anunciación. http://munal.emuseum.com/objects/1777/la-anunciacion?ctx=4e04c7e3-cc80-4bc5-b850-6d1d959 4227e&idx=0 \n - museo blaisten (s.f.). luís lagarto, 1556-1624. https://museoblaisten.com/artista.php?id=253&url=luis-lagarto \n - museo amparo (s.f.). luis lagarto. https://museoamparo.com/artistas/perfil/330/luis-lagarto","es":"iluminación en pergamino. 26 x 23,5 cm. \n nuestro autor fue un importante pintor e iluminador de finales del siglo xvi y principios del xvii, considerado, según el museo nacional de arte de méxico, \"uno de los mejores representantes del manierismo en la nueva españa\". su desarrollo artístico, pese a nacer en sevilla, tuvo lugar principalmente en nueva españa, donde llegó hacia el 1585, año en que, según nos informa el museo blaisten, fue nombrado maestro de primeras letras en el colegio de san juan de letrán de méxico. \n en 1600 firma con el cabildo de puebla lo que supuso uno de sus más importantes proyectos: la iluminación de la librería de coro de la catedral poblana, tema central de la exposición del museo amparo \"al canto de las quimeras. luis lagarto y la fábrica de la librería de coro de la catedral de puebla\" (diciembre 2016 - marzo 2017). \n además, destacamos de entre sus obras las acuarelas sobre papel \"la anunciación\" (c. 1610) y \"la virgen del rosario con santa catalina de alejandria y santa catalina\" (1611), ambas en el museo nacional de arte de méxico; la miniatura \"inmaculada concepción\" (1619), en el museo de américa de madrid; o \"el entierro de cristo\" (1612), en la colección blaisten. \n no podemos terminar sin mencionar las aportaciones que realizó el historiador guillermo tovar de teresa (méxico, 1956 - 2013) con su monográfico sobre la familia de iluminadores apellidados lagarto, llamado \"un rescate de la fantasía: el arte de los lagarto, iluminadores novohispanos de los siglos xvi y xvii\" (1998). \n \n bibliografía de referencia: \n - amador, marrero, p. f. (2016 - 2017). al canto de las quimeras. luis lagarto y la fábrica de la librería de coro de la catedral de puebla. https://museoamparo.com/exposiciones/piezas/77/al-canto-de-las-quimeras-luis-lagarto-y-la-fabrica -de-la-librería-de-coro-de-la-catedral-de-p uebla \n - león mariscal, b. b. (s.f.). la anunciación. http://munal.emuseum.com/objects/1777/la-anunciacion?ctx=4e04c7e3-cc80-4bc5-b850-6d1d959 4227e&idx=0 \n - museo blaisten (s.f.). luís lagarto, 1556-1624. https://museoblaisten.com/artista.php?id=253&url=luis-lagarto \n - museo amparo (s.f.). luis lagarto. https://museoamparo.com/artistas/perfil/330/luis-lagarto"},"estimateMax":9000,"lotNumber":"46","title":{"en":"attributed to luis lagarto (seville, 1556 - puebla, 1624)","es":"atribuido a luis lagarto (sevilla, 1556 - puebla, 1624)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19372/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":6000,"lastUpdate":"2026-07-01T16:37:15.091Z","textCase":"lower","estimate":"\u20ac6,000 - \u20ac9,000","currency":"EUR","id":19372,"estimateMin":6000},{"startPrice":1500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19373/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19373/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19373/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19373/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19373/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19373/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19373/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19373/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19373/009/009.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"14 x 20 x 15 cm. \n these examples, as is typical with this type of piece, depict a four-legged animal lying on a tray. the head is made of cast silver and the body is made of silver filigree, with threads that form floral compositions based on radial petals. on the back there is a hinged lid which hides a small pan in its interior, which is used for burning the fragrant substances which are dispersed through the perforation on the body, as the incense burner was a domestic item that was used to perfume rooms. \n as cristina esteras martín notes in \"platería del perú virreinal 1535 - 1825\" (viceroyalty peruvian silversmithing 1535 - 1825) \"these incense burners \"are very significant because, although they were not exclusive to this viceroyalty, this classification of structure and shape is. they were made of cast silver and filigree and they took very varied forms, from spherical recipients to pomegranates, pumpkins, pineapples, lions, roosters, deer, turkeys, doves and llamas. in most cases the recipient rests on a tray or plate known as a mancerina which the ash from the embers drops onto.\" \n incense burners that are comparable to this one are, for example, the one which is currently exhibited in \"tornaviaje arte iberoamericano en españa\", in the prado in madrid, those which are kept in the museo de américa in madrid, in the isaac fernández blanco museum of hispano-american art in buenos aires, the one in the collection at the museo pedro de osma in lima, and the one that is in the shape of a llama rather than a deer which is in the isaac fernández blanco museum of hispano-american art in buenos aires. \n \n bibliographic references: \n - \"tornaviaje arte iberoamericano en españa\". museo nacional del prado, 2021 - 2022. page 249 \n - \"platería del perú virreinal 1535 - 1825\". cristina esteras martín. catalogue of the exhibition in the museo nacional of lima, 1997. pages 290 - 295.","es":"14 x 20 x 15 cm. \n nuestros ejemplares, como es habitual en estas piezas, representan al animal sobre sus cuatro patas, descansando sobre una salvilla. tienen la cabeza en plata fundida y el cuerpo en filigrana de plata, con hilos que van formando composiciones florales a base de pétalos radiales. sobre el lomo, presentan una tapa articulada con bisagra que esconde en su interior una cazoleta en la que quemar las sustancias olorosas que se esparcirán a través de las perforaciones de su cuerpo, ya que el sahumador era una pieza del ajuar doméstico que se utilizaba para perfumar el ambiente de las habitaciones. \n como indica en \"platería del perú virreinal 1535 - 1825\" cristina esteras martín: \"son muy significativos los sahumadores (perfumadores o braserillos de mesa), que si bien no fueron exclusivos de este virreinato si lo son en cuanto a la tipificación de sus estructuras formales. se labraron lo mismo en plata fundida que en filigrana y tomaron formas muy variadas al reproducir desde recipientes esferoides, a granadas, calabazas, piñas, leones, gallos, ciervos, pavos, palomas o llamas. en la mayor parte de los casos el recipiente descansa sobre una bandeja-plato (\"mancerina\") para recibir las cenizas que se desprenden de las brasas.\" \n sahumadores comparables a los que presentamos son, por ejemplo, el que se expone actualmente en \"tornaviaje arte iberoamericano en españa\", en el museo nacional del prado, los que se conservan en el museo de américa de madrid, en el museo de arte hispanoamericano isaac fernández blanco de buenos aires, el que forma parte de la colección del museo pedro de osma de lima, o el que, en forma de llama en lugar de ciervo, se conserva en el museo de arte hispanoamericano isaac fernández blanco de buenos aires. \n \n bibliografía de referencia: \n - \"tornaviaje arte iberoamericano en españa\". museo nacional del prado, 2021 - 2022. pág. 249 \n - \"platería del perú virreinal 1535 - 1825\". cristina esteras martín. catálogo de la exposición en el museo nacional de lima, 1997. pág. 290 - 295."},"estimateMax":3000,"lotNumber":"47","title":{"en":"\"sahumador\". deer-shaped, silver filigree incense burner in chased and embossed cast silver. colonial school. peru. late 18th century.","es":"sahumador en forma de ciervo en filigrana de plata, plata fundida, calada y cincelada. escuela colonial. perú. finales del siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19373/view","tags":["esdecorativearts_silver","esdecorativearts_all","esdecorativearts"],"directSalePrice":1500,"soldPrice":2200,"lastUpdate":"2026-07-01T16:37:15.095Z","textCase":"lower","estimate":"\u20ac1,500 - \u20ac3,000","currency":"EUR","id":19373,"estimateMin":1500},{"startPrice":1500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19374/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19374/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19374/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19374/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19374/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19374/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19374/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19374/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19374/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19374/010/010.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"20,5 x 18 x 15 cm. \n these examples, as is typical with this type of piece, depict a four-legged animal lying on a tray. the head is made of cast silver and the body is made of silver filigree, with threads that form floral compositions based on radial petals. on the back there is a hinged lid which hides a small pan in its interior, which is used for burning the fragrant substances which are dispersed through the perforation on the body, as the incense burner was a domestic item that was used to perfume rooms. \n as cristina esteras martín notes in \"platería del perú virreinal 1535 - 1825\" (viceroyalty peruvian silversmithing 1535 - 1825) \"these incense burners \"are very significant because, although they were not exclusive to this viceroyalty, this classification of structure and shape is. they were made of cast silver and filigree and they took very varied forms, from spherical recipients to pomegranates, pumpkins, pineapples, lions, roosters, deer, turkeys, doves and llamas. in most cases the recipient rests on a tray or plate known as a mancerina which the ash from the embers drops onto.\" \n incense burners that are comparable to this one are, for example, the one which is currently exhibited in \"tornaviaje arte iberoamericano en españa\", in the prado in madrid, those which are kept in the museo de américa in madrid, in the isaac fernández blanco museum of hispano-american art in buenos aires, the one in the collection at the museo pedro de osma in lima, and the one that is in the shape of a llama rather than a deer which is in the isaac fernández blanco museum of hispano-american art in buenos aires. \n \n bibliographic references: \n - \"tornaviaje arte iberoamericano en españa\". museo nacional del prado, 2021 - 2022. page 249 \n - \"platería del perú virreinal 1535 - 1825\". cristina esteras martín. catalogue of the exhibition in the museo nacional of lima, 1997. pages 290 - 295.","es":"20,5 x 18 x 15 cm. \n nuestros ejemplares, como es habitual en estas piezas, representan al animal sobre sus cuatro patas, descansando sobre una salvilla. tienen la cabeza en plata fundida y el cuerpo en filigrana de plata, con hilos que van formando composiciones florales a base de pétalos radiales. sobre el lomo, presentan una tapa articulada con bisagra que esconde en su interior una cazoleta en la que quemar las sustancias olorosas que se esparcirán a través de las perforaciones de su cuerpo, ya que el sahumador era una pieza del ajuar doméstico que se utilizaba para perfumar el ambiente de las habitaciones. \n como indica en \"platería del perú virreinal 1535 - 1825\" cristina esteras martín: \"son muy significativos los sahumadores (perfumadores o braserillos de mesa), que si bien no fueron exclusivos de este virreinato si lo son en cuanto a la tipificación de sus estructuras formales. se labraron lo mismo en plata fundida que en filigrana y tomaron formas muy variadas al reproducir desde recipientes esferoides, a granadas, calabazas, piñas, leones, gallos, ciervos, pavos, palomas o llamas. en la mayor parte de los casos el recipiente descansa sobre una bandeja-plato (\"mancerina\") para recibir las cenizas que se desprenden de las brasas.\" \n sahumadores comparables a los que presentamos son, por ejemplo, el que se expone actualmente en \"tornaviaje arte iberoamericano en españa\", en el museo nacional del prado, los que se conservan en el museo de américa de madrid, en el museo de arte hispanoamericano isaac fernández blanco de buenos aires, el que forma parte de la colección del museo pedro de osma de lima, o el que, en forma de llama en lugar de ciervo, se conserva en el museo de arte hispanoamericano isaac fernández blanco de buenos aires. \n \n bibliografía de referencia: \n - \"tornaviaje arte iberoamericano en españa\". museo nacional del prado, 2021 - 2022. pág. 249 \n - \"platería del perú virreinal 1535 - 1825\". cristina esteras martín. catálogo de la exposición en el museo nacional de lima, 1997. pág. 290 - 295."},"estimateMax":3500,"lotNumber":"48","title":{"en":"\"sahumador\". deer-shaped, silver filigree incense burner in chased and embossed cast silver. colonial school. peru. late 18th century.","es":"sahumador en forma de ciervo en filigrana de plata, plata fundida, calada y cincelada. escuela colonial. perú. finales del siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19374/view","tags":["esdecorativearts_silver","esdecorativearts_all","esdecorativearts"],"directSalePrice":1500,"soldPrice":2800,"lastUpdate":"2026-07-01T16:37:15.098Z","textCase":"lower","estimate":"\u20ac1,500 - \u20ac3,500","currency":"EUR","id":19374,"estimateMin":1500},{"startPrice":9000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19375/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19375/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19375/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19375/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19375/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19375/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19375/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19375/008/008.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"\"madonna of the book with saint francis of assisi and saint jerome\" \n oil on copper. 25 x 20 cm. \n italian painter who settled in the viceroyalty of peru, via spain. his art was particularly influential in peru, fundamentally in the painting of cusco.","es":"\"virgen del libro con san francisco de asís y san jerónimo\" \n óleo sobre cobre. 25 x 20 cm. \n pintor italiano que se instaló en el virreinato de perú, vía españa. su arte fue especialmente influyente en ese territorio, fundamentalmente en la pintura cuzqueña."},"estimateMax":12000,"lotNumber":"49","title":{"en":"attributed to angelino medoro (naples, 1567 - seville, 1631)","es":"atribuido a angelino medoro (nápoles, 1567 - sevilla, 1631)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19375/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":9000,"soldPrice":9000,"lastUpdate":"2026-07-01T16:37:15.099Z","textCase":"lower","estimate":"\u20ac9,000 - \u20ac12,000","currency":"EUR","id":19375,"estimateMin":9000},{"startPrice":5500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19376/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19376/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19376/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19376/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19376/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19376/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19376/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19376/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19376/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19376/010/010.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"31 x 33 x 27,5 cm. \n made from sheets of embossed silver which totally cover the wooden structure. the piece is outstanding due to the precision of its ornamentation, as despite its profusion, each motif stands out by itself, and the end result is elegant, balanced and finely executed. \n the back is four-sided and divided into four spaces, in each one of which we find an angel\u2019s head on a background of fallen leaves and scrolls, and a central button which displays the anagram of the virgin mary. the platform is straight and on an inclined plane. on the lower part it is decorated with a frieze ornamented with spirals and two angels holding an elliptical cartouche in which the name of the virgin of guadalupe is engraved. \n it rests on four claw and ball feet. \n it is worth pointing out that this lectern is dedicated to a virgin mary, in this case, our lady of guadalupe. as well as the aforementioned anagram of the virgin mary, it also depicts two of the symbols of the litany of the blessed virgin mary, the mirror and the fountain, which two angels hold in their hands at either side of the lectern. \n the decoration on the back continues with the four angels motif, and with a central medallion which, in this case, and as a final reference to the virgin mary, displays a beautiful embossed scene depicting saint luke the evangelist as a painter. according to the tradition of the devout, he painted mary\u2019s portrait, which is present in this composition as we can see the easel in the background with a sketch of our lady of guadalupe on it.","es":"31 x 33 x 27,5 cm. \n realizado en láminas de plata repujadas, que recubren en su totalidad la estructura de madera. la pieza destaca por la limpieza de su ornamentación, ya que a pesar de lo profusa que es, cada motivo resalta con elegancia por sí mismo, y resulta equilibrada y de fina ejecución. \n el respaldo, cuadrangular, está dividido en cuatro espacios, en cada uno de ellos, encontramos una cabeza de ángel, sobre un fondo de hojarasca y volutas, y un botón central albergando el anagrama de la virgen maría. la grada, rectilínea y en plano inclinado, presenta en su parte inferior un friso ornado de roleos y dos ángeles sosteniendo una cartela elíptica en el que aparece grabado el nombre de la virgen de guadalupe. \n asienta sobre cuatro patas en forma de garra sobre bola. \n es interesante destacar que se trata de un atril dedicado a la virgen, en este caso, a la virgen de guadalupe. además del ya indicado anagrama de la virgen, se completa esta devoción, con dos de los símbolos de las letanías lauretanas marianas, el espejo y la fuente, que portan en sus manos dos ángeles, labrados a ambos lados del atril. \n la decoración de la parte posterior, sigue el motivo de cuatro ángeles con un medallón central, que, en este caso, y como última referencia mariana, presenta una preciosa escena repujada, representando a san lucas evangelista, al que se asigna el oficio de pintor y que, según la tradición piadosa, retrató a la virgen maría, presente en nuestra composición como contemplamos en el caballete al fondo con un esbozo de la virgen de guadalupe."},"estimateMax":6500,"lotNumber":"50","title":{"en":"embossed silver covered wooden lectern. colonial school. mexico. 18th century.","es":"atril en plata repujada con alma de madera. escuela colonial. méxico. siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19376/view","tags":["esdecorativearts_silver","esdecorativearts_all","esdecorativearts"],"directSalePrice":5500,"soldPrice":5500,"lastUpdate":"2026-07-01T16:37:15.101Z","textCase":"lower","estimate":"\u20ac5,500 - \u20ac6,500","currency":"EUR","id":19376,"estimateMin":5500},{"startPrice":4500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19377/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19377/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19377/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19377/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19377/005/005.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"\"jesus gathering up his clothing\" \n oil on canvas. carved and gilded 18th century frame. \n 24,5 x 28,5 cm. frame measurements: 41,5 x 46 cm.","es":"\"jesús recogiendo sus vestiduras\" \n óleo sobre tela. con marco en madera tallada y dorada del siglo xviii. \n 24,5 x 28,5 cm. medidas marco: 41,5 x 46 cm."},"estimateMax":5500,"lotNumber":"51","title":{"en":"colonial school. anonymous. new spain. mexico. 17th century.","es":"escuela colonial. anónimo novohispano. méxico. siglo xvii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19377/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":4500,"soldPrice":4800,"lastUpdate":"2026-07-01T16:37:15.213Z","textCase":"lower","estimate":"\u20ac4,500 - \u20ac5,500","currency":"EUR","id":19377,"estimateMin":4500},{"startPrice":7500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19378/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19378/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19378/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19378/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19378/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19378/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19378/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19378/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19378/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19378/010/010.jpg"],"available":false,"description":{"en":"\"holy family with saint joaquim and saint anne and two dominican nuns\" \n oil on canvas. relined. 125,5 x 98,5 cm. frame measurements: 139 x 113 cm.","es":"\"sagrada familia con san joaquín y santa ana y dos monjas dominicas\" \n óleo sobre tela. reentelado. 125,5 x 98,5 cm. medidas marco: 139 x 113 cm."},"estimateMax":9500,"lotNumber":"52","title":{"en":"colonial school. peru. 18th century.","es":"escuela colonial. perú. siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19378/view","tags":["esart_ancientpainting","esinternational_southamerican","esart","esinternational","esinternational_all","esart_all"],"directSalePrice":7500,"lastUpdate":"2026-07-01T16:37:15.216Z","textCase":"lower","estimate":"\u20ac7,500 - \u20ac9,500","currency":"EUR","id":19378,"estimateMin":7500},{"startPrice":4500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19379/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19379/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19379/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19379/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19379/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19379/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19379/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19379/008/008.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"\"saint john in patmos\" \n oil on copper. 31 x 22,5 cm. \n bitti, who was a jesuit priest, was the first mannerist painter to arrive in the viceroyalty of peru, in 1575, and he worked in the jesuit churches in lima, cuzco and upper peru, bringing the art and sculpture of europe to indigenous artists and assisting in the training in the first painting and sculpture workshops.","es":"\"san juan en patmos\" \n óleo sobre cobre. 31 x 22,5 cm. \n bitti, sacerdote jesuita, fue el primer pintor manierista en llegar al virreinato de perú, en 1575, y trabajó en los templos jesuitas de lima, cuzco y el alto perú, llevando el arte de la pintura y la escultura europea a las manos de los artistas indígenas y favoreciendo la formación de los primeros talleres de pintura y escultura."},"estimateMax":5500,"lotNumber":"53","title":{"en":"attributed to bernardo bitti (camerino, italy, 1548 - lima, 1610)","es":"atribuido a bernardo bitti (camerino, italia, 1548 - lima, 1610)"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19379/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":4500,"soldPrice":5000,"lastUpdate":"2026-07-01T16:37:15.227Z","textCase":"lower","estimate":"\u20ac4,500 - \u20ac5,500","currency":"EUR","id":19379,"estimateMin":4500},{"startPrice":1500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19380/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19380/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19380/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19380/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19380/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19380/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19380/007/007.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"miniature. oil on copper. 10 x 7,5 cm.","es":"miniatura. óleo sobre cobre. 10 x 7,5 cm."},"estimateMax":2000,"lotNumber":"54","title":{"en":"colonial school. mexico or peru. 18th century.","es":"escuela colonial. méxico o perú. siglo xviii"},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19380/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":1500,"soldPrice":1600,"lastUpdate":"2026-07-01T16:37:15.240Z","textCase":"lower","estimate":"\u20ac1,500 - \u20ac2,000","currency":"EUR","id":19380,"estimateMin":1500},{"startPrice":2500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19381/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19381/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19381/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19381/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19381/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19381/006/006.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"\"countryman\" \n pair of oil painting on marble. \n sculpted in the shape of painters\u2019 palettes. \n 31,5 x 39 cm and 30 x 36 cm.","es":"\"campesinos\" \n pareja de óleos realizados sobre mármol. \n esculpido representando paletas de pintor. \n 31,5 x 39 cm y 30 x 36 cm."},"estimateMax":3000,"lotNumber":"55","title":{"en":"colonial school. mexico. 19th century.","es":"escuela colonial. méxico. siglo xix."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19381/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":2500,"soldPrice":2500,"lastUpdate":"2026-07-01T16:37:15.254Z","textCase":"lower","estimate":"\u20ac2,500 - \u20ac3,000","currency":"EUR","id":19381,"estimateMin":2500},{"startPrice":3000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19382/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19382/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19382/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19382/004/004.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"\"church and city hall of manila\" \n water colour and pencil on paper. dated in 1871. \n handwritten inscription in the lower margin, situating and dating the drawing. \n 32 x 44 cm.","es":"\"iglesia y casa consistorial de manila\" \n acuarela y lápiz sobre papel. fechado en 1871. \n inscripción manuscrita en el margen inferior, situando y datando el dibujo. \n 32 x 44 cm."},"estimateMax":4000,"lotNumber":"56","title":{"en":"philippine school. 19th century.","es":"escuela filipina. siglo xix."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19382/view","tags":["esart_moderncontemporarypainting","esinternational_southeastasian","esart","esinternational","esinternational_all","esart_all"],"directSalePrice":3000,"soldPrice":3000,"lastUpdate":"2026-07-01T16:37:15.264Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,000","currency":"EUR","id":19382,"estimateMin":3000},{"startPrice":72000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/013/013.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/014/014.jpg","https://bidspirit-images.global.ssl.fastly.net/suitesubastas/cloned-images/19383/015/015.jpg"],"soldDate":"2022-03-03","available":false,"description":{"en":"folding screen. oil on canvas. open measurements: 260 x 570 cm. measurements of each section: 260 x 57 cm. \n the screen is composed of ten sections, decorated on both sides with descriptive scenes which draw on different influences. on one of the two faces, an urban scene is depicted in which, in the centre of the composition, there is a large and monumental fountain placed in a wide street with gardens in which people dressed in clothes of a spanish taste are walking. for example, one of the ladies in the scene wears a hairnet whilst one of the masculine figures is almost entirely covered by a spanish cape. both sides of the street have architecture of varying types, some of which shows the defining characteristics of hispanic constructions. the building that appears at the left of the composition is rather significant. it has the design of a convent, with a wide, masonry facade with a window protected with bars in a totally spanish taste. \n the entire scene is framed by a wide border made of scrolls and vegetation motifs which is very similar to the decoration found in pictorial work with a hispanic origin from latin america in colonial times. \n the folding screen was originally an entirely oriental piece of furniture which arrived in europe via latin america, where it was adopted, resulting in the creation of workshops that produced them especially in new spain, where they became essential decorative pieces in the large new hispanic houses. they are largely characterised by their great size and their painted decoration which covers historical, topographical and costumbrist themes. these characteristics are clearly appreciable on this screen, thus making it much closer to the screens of hispanic origin than those produced in europe at that time. \n the other side is decorated with a large open landscape with architectural elements in which different scenes take place. the many characters which appear in the scenes, some dressed in courtly wear and others as artisans, undertake different activities. some hunt while others go for a walk; some are resting and others are fishing. there are washerwomen and bathers in a river which closes the composition at the left, etc. all these scenes are imbued with a clear french influence, undoubtedly coming from the engravings which came from europe, in this case by artists such as vernet, la croix de marseille and pillement. the motley scenes have been executed with certain ingenuousness and elements exist both in the architecture and the characters\u2019 dress which are clearly identifiable as spanish. the perimeter of the scene is edged with a moulded border painted in imitation of marble, making a frame. \n within the mixed crowd that decorates the scene are two highly interesting characters. on one side there is a chinese high official who rides on the back of a horse with a singular cap and braid from the area and slanting eyes, which could be a hint as to the origin of our anonymous artist. on the other side, a feminine figure dressed typically in a peruvian cap and cloak, while playing the flute. this can maybe give us another clue about our artist, and help us to work out the origin of this screen. \n historians have often highlighted the importance that the manila galleon had on new spanish art and culture. it is well-known that japanese and chinese artisans arrived in the viceroyalties and produced and transmitted oriental forms and techniques. teresa castelló was certain that among the japanese and chinese people that settled in latin america after those embassies had been installed, there would have been artisans who began to make folding screens, firstly on wood and then on canvas. beatriz sánchez navarro, moreover, reminds us that agustín de vetancourt gives an account in chapter one of his \u201cteatro mexicano\u201d of the existence of a guild of chinese artisans born in manila that taught the native population their skills, such as ivory carving. it is possible that the screen was created by a chinese artist who had been christianised or hispanicised in the viceroyalty, or a new spanish artist of a culturally mixed background. \n traditionally, the folding screens produced in the viceroyalty of new spain have been studied and documented. with regard to the other great latin american viceroyalty, it is relevant to point out that there are few studies of the furniture of peru during this period, and in those that do exist there is hardly any mention of the existence of folding screens in the principal houses. however, based on the abundance of these types of screens detected in the studies about the notarial inventories of the city of lima during the 18th century, we consider it of the greatest importance to recover their presence among domestic furnishings, as this considerably widens the geographical area that has been studied until now. in the case of peru, due to the exclusivity that acapulco had in its treaty with the philippines, the majority of asian goods that arrived in callao did so through trade with new spain, and not directly from the philipines. it is not until the 18th century that we once again find shipments arriving directly from asia. in the first two decades of the century, the disruption caused by the spanish war of succession resulted in the fleets of galleons being substituted by french ships, which took advantage of the circumstances to head towards canton and inundate callao with chinese goods. moreover, the royal company of the philippines had permanent offices in lima and various of their ships arrived to south american shores loaded with asian products. it is likely that, as with the spanish and portuguese ships that sailed the pacific, they would have taken some luxury furniture in their holds. for this reason, some of the chinese screens documented in lima in the 18th century could also have used this way in. during that century, as well as establishing the production of folding screens in new spain and exporting them to the rest of the americas and europe, local manufacturers must have appeared in other parts of latin america, such as peru, guatemala and colombia, which adapted themselves perfectly to local tastes and the materials commonly used in furniture-making in the area. the assimilation and reinterpretation of screens within latin american material culture resulted in some original artistic dynamics which can be associated with creole taste and identity. \n whatever the origin of this screen, the result is spectacular and full of special charm, qualities which give it tremendous decorative strength. \n with regard to the use of certain pigments that illuminate the piece, the viceroyalty option once again takes first place. it is the case that a similar red colour to that normally used in the viceroyalty school of painting is used on the screen and can be used to help identify it. \n this type of screen with descriptive scenes depicting everyday life was produced assiduously in latin america. another of the characteristics that makes them recognisable can often be their large size, which is ideal for their use in the palaces of new spain and peru, in contrast with those made in europe which have smaller dimensions. \n it currently forms part of a collection in madrid. its original state has been preserved as it has never been restored, although there is some slight damage which does not in any way alter the distinction of the piece. \n \n bibliographic references: \n 1. castelló yturbide, teresa and martínez, maría josefa (1970): biombos mexicanos, méxico: instituto nacional de antropología e historia. \n 2. sánchez navarro, beatriz (1985). marfiles cristianos del oriente en méxico, méxico, fomento cultural banamex, a.c.: 120. \n 3. crespo, maría dolores: arquitectura domestica de la ciudad de los reyes (1535- 1750), sevilla, universidad de sevilla, 2006. \n 4. germaná, gabriela. «el mueble en el perú́ en el siglo xviii: estilos, gustos y costumbres de la elite colonial», anales del museo de américa, 16, madrid, 2008, 189-206. \n 5. baena zapatero, alberto. un ejemplo de mundialización: \n el movimiento de biombos desde el pacífico hasta el atlántico (s. xvii-xviii), anuario de estudios americanos, 69, 1, enero-junio, 31-62, sevilla (españa), 2012. \n 6. baena zapatero, alberto. apuntes sobre la elaboración de biombos en la nueva españa. archivo español de arte, lxxxviii, 350 april - june 2015, pp. 173-188. \n \n provenance: \n - a palatial home in extremadura. \n - private collection, madrid.","es":"biombo. óleo sobre tela. medidas abierto: 260 x 570 cm. medidas de cada hoja: 260 x 57 cm. \n biombo compuesto por diez hojas, decorado en sus dos caras con escenas descriptivas que recogen distintas influencias. en una de sus caras, se representa una escena urbana en la que, ocupando el centro compositivo, aparece una gran fuente monumental ubicada en una amplia calle ajardinada por la que pasean personajes con indumentaria al gusto español. por ejemplo, una de las damas representadas lleva redecilla en el pelo mientras que una de las figuras masculinas está casi embozada en una capa española. \n en ambos lados la calle presenta arquitecturas de variado tenor algunas de las cuales muestran características definitorias de las construcciones hispánicas. es bastante significativo el edificio que aparece a la izquierda de la composición. tiene trazas conventuales, con amplia portada de sillería y una ventana en la fachada protegida con una reja de gusto totalmente español. \n toda la escena se halla enmarcada por una amplia orla formada por volutas y motivos vegetales que resulta muy cercana a las que decoran trabajos pictóricos con origen hispánico procedentes de la américa española. \n el biombo es un mueble totalmente oriental que llega a europa a través de américa donde se le adopta creándose, sobre todo en nueva españa, talleres que los producían convirtiéndose en piezas esenciales en la decoración de las grandes casas novohispanas. se caracterizan, en buena parte, por su gran tamaño y porque su decoración pintada trata temas históricos, topográficos y costumbristas. estas características son claramente apreciables en esta pieza que presentamos encontrándose, por tanto, mucho más cercana a un origen hispánico que a las producciones europeas de aquel momento. \n la otra cara está decorada con un gran paisaje abierto con arquitecturas en la que se desarrollan distintas escenas. los numerosos personajes que la ocupan, unos vestidos a la manera cortesana y otros menestrales, realizan diversas actividades. unos cazan mientras otros pasean; descansan algunos y otros pescan. hay lavanderas y bañistas en un río que cierra la composición por la izquierda, etc. todo ello imbuido de una clara influencia francesa procedente, sin duda, de grabados realizados en europa, por artistas como vernet, la croix de marseille o pillement. la abigarrada escena está tratada con cierta ingenuidad existiendo elementos tanto en las arquitecturas como en la vestimenta de los personajes claramente identificables como españoles. la obra remata perimetralmente en una cenefa moldurada pintada a imitación de mármol que la enmarca. \n dentro del sincretismo que decora la escena, destacan dos interesantísimos personajes. por un lado, la presencia de un mandatario chino, que cabalga a lomos de un caballo, con un singular gorro y trenza de aquellas latitudes, con sus ojos rasgados, y que quizás sea un guiño a los orígenes de nuestro anónimo artista. por otro lado, una figura femenina ataviada típicamente con gorro y manto peruanos, mientras toca la flauta. esta nos permite quizás, como un nuevo guiño de nuestro artista, adivinar el origen de nuestro biombo. \n a menudo la historiografía ha destacado la importancia que tuvo el galeón de manila sobre la cultura y el arte novohispanos. es sobradamente conocida la llegada de artesanos japoneses y chinos a los virreinatos que producirían y transmitirían las formas y técnicas orientales. teresa castelló aseguró que entre los japoneses y chinos que permanecerían en américa a la vuelta de las embajadas habría artesanos que comenzarían a realizar biombos, inicialmente sobre madera y después sobre lienzo. beatriz sánchez navarro, por su parte, recuerda que agustín de vetancourt da cuenta en el capítulo uno de su \u201cteatro mexicano\u201d de la existencia de una cofradía de artesanos chinos, procedentes de manila, que enseñaron a los nativos sus habilidades, como la talla del marfil. es posible que nos encontremos ante un artista chino cristianizado o hispanizado en el virreinato, o ante un artista novohispano culturalmente mestizo. \n tradicionalmente se han venido documentando y estudiando los biombos de producción en el virreinato de nueva españa. en cuanto al otro gran virreinato americano, es importante señalar que hay pocos trabajos que traten del mobiliario en perú durante este periodo y, en aquellos con los que contamos, apenas se encuentra alguna referencia a la existencia de biombos en las casas principales. no obstante, a tenor de la abundancia de estas piezas detectada en el estudio de los inventarios notariales de la ciudad de lima durante el siglo xviii, consideramos de la mayor importancia recuperar su presencia en los ajuares domésticos, ya que amplían considerablemente el marco geográfico que hasta ahora se ha manejado. en el caso de perú, merced a la exclusividad de la que gozaba acapulco en el trato con filipinas, la mayoría de las mercancías asiáticas que arribaron al callao lo hicieron a través del comercio con nueva españa, y no directamente desde filipinas. tendremos que esperar hasta el siglo xviii para volver a encontrar cargamentos venidos directamente desde asia. en las dos primeras décadas de este siglo, los trastornos ocasionados por la guerra de sucesión española provocaron que las flotas de galeones fueran sustituidas por barcos franceses, quienes aprovecharon la coyuntura para encaminarse directamente a cantón e inundar el callao con mercancías chinas. además, la compañía de filipinas gozó de una oficina permanente en lima y varios de sus barcos llegaron a sus costas cargados con productos de asia. es probable que, como sucedía con los buques españoles y portugueses que navegaban en el pacífico, en sus bodegas se incluyese algún mueble de lujo. por lo tanto, alguno de los biombos chinos documentados en lima en el siglo xviii también pudo haber utilizado esta vía de acceso. durante esta centuria, además de establecerse la producción de biombos novohispana y su exportación al resto de américa y europa, debieron surgir manufacturas locales en otras partes de américa como perú, guatemala o colombia que se adaptaron perfectamente al gusto local y a los materiales utilizados comúnmente en los muebles de la tierra. la asimilación y reinterpretación de los biombos dentro de la cultura material americana dio como resultado unas dinámicas artísticas originales que se pueden asociar al gusto e identidad criollos. \n sea como fuere, nuestro conjunto resulta espectacular y lleno de especial encanto, cualidades que le confieren una tremenda fuerza decorativa. \n en lo que se refiere a la utilización de ciertos pigmentos que iluminan la obra, la referencia virreinal vuelve de nuevo a ocupar la primera opción. es el caso del color rojo similar al normalmente utilizado en aquella escuela de pintura y que resulta identificativo de la misma. \n este tipo de biombos descriptivos de la vida cotidiana fueron realizados asiduamente en américa. otra de las características que les hace reconocibles suele ser su gran tamaño idóneo para su colocación en los palacios de la nueva españa y perú en contraposición con los elaborados en europa más recogidos en sus dimensiones. \n hoy forma parte de una colección madrileña en la que se mantiene en su estado original pues nunca ha sido sometido a proceso de restauración alguno, presentando algunos daños de poca importancia que en ningún caso alteran la prestancia de la obra. \n \n bibliografía de referencia: \n 1. castelló yturbide, teresa y martínez, maría josefa (1970): biombos mexicanos, méxico: instituto nacional de antropología e historia. \n 2. sánchez navarro, beatriz (1985). marfiles cristianos del oriente en méxico, méxico, fomento cultural banamex, a.c.: 120. \n 3. crespo, maría dolores: arquitectura doméstica de la ciudad de los reyes (1535- 1750), sevilla, universidad de sevilla, 2006. \n 4. germaná, gabriela. «el mueble en el perú en el siglo xviii: estilos, gustos y costumbres de la élite colonial», anales del museo de américa, 16, madrid, 2008, 189-206. \n 5. baena zapatero, alberto. un ejemplo de mundialización: \n el movimiento de biombos desde el pacífico hasta el atlántico (s. xvii-xviii), anuario de estudios americanos, 69, 1, enero-junio, 31-62, sevilla (españa), 2012. \n 6. baena zapatero, alberto. apuntes sobre la elaboración de biombos en la nueva españa. archivo español de arte, lxxxviii, 350 abril - junio 2015, pp. 173-188. \n \n procedencia: \n - casa palaciega de extremadura. \n - colección particular de madrid."},"estimateMax":85000,"lotNumber":"57","title":{"en":"colonial school. probably from the viceroyalty of peru. last quarter of the 18th century.","es":"escuela colonial. probablemente virreinato del perú. último cuarto del siglo xviii."},"url":"https://es.bidspirit.com/ui/lotPage/suitesubastas/source/catalog/auction/20859/lot/19383/view","tags":["esart_decorative","esinternational_southamerican","esart","esinternational","esinternational_all","esart_all"],"directSalePrice":72000,"soldPrice":72000,"lastUpdate":"2026-07-01T16:37:15.266Z","textCase":"lower","estimate":"\u20ac72,000 - 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