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\u20ac800","currency":"EUR","id":20065,"estimateMin":600},{"startPrice":2000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20066/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20066/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20066/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20066/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20066/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20066/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20066/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20066/008/008.jpg"],"available":false,"description":{"en":"measurements: 148x66x18. provenance: important private collection, formed between 1965 and 1990.","es":"medidas:148x66x18. procedencia: importante colección particular, formada entre 1965 y 1990."},"estimateMax":4000,"lotNumber":"101","title":{"en":"malian bambara gate","es":"puerta bambara mali"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20066/view","tags":["esinternational_african","esinternational","esinternational_all"],"directSalePrice":2000,"lastUpdate":"2026-07-01T16:42:03.909Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,000","currency":"EUR","id":20066,"estimateMin":3000},{"startPrice":750,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20067/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20067/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20067/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20067/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20067/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20067/006/006.jpg"],"available":false,"description":{"en":"height each: 46 and 47 cm approx. provenance: important private collection, formed between 1965 and 1990.","es":"altura c/u: 46 y 47 cm aprox. procedencia: importante colección particular, formada entre 1965 y 1990."},"estimateMax":1200,"lotNumber":"102","title":{"en":"pair of figures of man and woman, possibly oceania","es":"pareja de figuras de hombre y mujer, posiblemente oceanía"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20067/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":750,"lastUpdate":"2026-07-01T16:42:03.911Z","textCase":"lower","estimate":"\u20ac900 - \u20ac1,200","currency":"EUR","id":20067,"estimateMin":900},{"startPrice":700,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20068/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20068/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20068/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20068/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20068/005/005.jpg"],"available":false,"description":{"en":"profusely carved with concentric stars. measurements: 140 x 48 x 2. provenance: important private collection, formed between 1965 and 1990.","es":"profusamente tallada con estrellas concéntricas. medidas:140 x 48 x 2. procedencia: importante colección particular, formada entre 1965 y 1990."},"estimateMax":1500,"lotNumber":"103","title":{"en":"rare wooden table, pakistan, 19th century","es":"rara mesa en madera, pakistán, siglo xix"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20068/view","tags":["esfurniture_tables","esinternational_southasian","esfurniture_all","esinternational","esinternational_all","esfurniture"],"directSalePrice":700,"lastUpdate":"2026-07-01T16:42:03.913Z","textCase":"lower","estimate":"\u20ac1,000 - \u20ac1,500","currency":"EUR","id":20068,"estimateMin":1000},{"startPrice":3000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20069/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20069/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20069/003/003.jpg"],"available":false,"description":{"en":"measurements: 65 x 50 cm. luis henrique cohen-fusé (1944), renowned artist born in buenos aires, from a european family, currently residing in portugal. graduated as an architect, a fascination with the east can be seen in all of his works. at the end of his studies he goes to spain, specifically in barcelona where he studies engraving and lithography. in the 80's he fixed his residence in madrid. exhibitions: 2015- museu do oriente, \u201cnamban, retrospectiva\u201d, fundação oriente, lisbon (portugal) 2013- painting exhibition \u201co fio do tear\u201d at the tricana showroom in cascais (portugal) 2012 \u2013 \u201cinstintos oníricos\u201d painting at the fundação d. luis: cultural center of cascais. \u201cambiguities\u201d painting and sculpture at inter-atrium art gallery, porto. 2010 \u2013 mi gallery. lisbon. exhibition of painting and sculpture \u201cvanitas\u201d 2009 \u2013 pousada do freixo, porto. curated by the câmara dos azuis gallery in lisbon. 2008 \u2013 cervantes institute, in lisbon. 2006 \u2013 inter-atrium art gallery, porto. 2004 \u2013 art varia gallery, coimbra. 2003 \u2013 palácio nacional da ajuda \u201cum olhar sobre o palácio/percursos\u201d, lisbon. 2002 \u2013 art gallery and office, setúbal; ygrego gallery, lisbon. 2001 \u2013 inter-atrium art gallery, porto. 2000 \u2013 arte vária gallery, coimbra 1999 \u2013 ygrego gallery, lisbon. 1998 \u2013 ismes gallery, vilanova i la geltrú, barcelona. 1996 \u2013 marquês de pombal palace, oeiras; varia art gallery, coimbra. 1994 \u2013 caja de madrid exhibition hall, barcelona. 1993 \u2013 andare gallery, mataró (barcelona); engravings (special tiragem, poupée technique) são mamede gallery, lisbon; varia art gallery, coimbra. 1992 \u2013 estoril casino art gallery, estoril. 1987 \u2013 gallery r.75, lisbon; national library, lisbon. 1986 \u2013 jn gallery, porto. 1985 \u2013 tempo gallery, lisbon. 1984 \u2013 prainha, portimao. 1983 \u2013 gallery of the casino do luso; \u201ca grade\u201d gallery, aveiro. 1981 \u2013 marie swizard gallery, paris. 1980 \u2013 tertre gallery, mataró (barcelona); gallery of vilanova i la geltrú. 1979 \u2013 heller gallery, madrid. 1978 \u2013 tertre gallery, mataró (barcelona); gavos gallery, tarragona. 1977 \u2013 llerdenses studies center, gothic hall, lérida; vilanova i la geltrú gallery (barcelona. spain) 1976 \u2013 d'alaro gallery, sitges (barcelona); international gallery, ibiza; senny gallery. provenance: important private collection, formed between 1965 and 1990. gallery of vilanova i la geltrú. 1979 \u2013 heller gallery, madrid. 1978 \u2013 tertre gallery, mataró (barcelona); gavos gallery, tarragona. 1977 \u2013 llerdenses studies center, gothic hall, lérida; vilanova i la geltrú gallery (barcelona. spain) 1976 \u2013 d'alaro gallery, sitges (barcelona); international gallery, ibiza; senny gallery. provenance: important private collection, formed between 1965 and 1990. gallery of vilanova i la geltrú. 1979 \u2013 heller gallery, madrid. 1978 \u2013 tertre gallery, mataró (barcelona); gavos gallery, tarragona. 1977 \u2013 llerdenses studies center, gothic hall, lérida; vilanova i la geltrú gallery (barcelona. spain) 1976 \u2013 d'alaro gallery, sitges (barcelona); international gallery, ibiza; senny gallery. provenance: important private collection, formed between 1965 and 1990.","es":"medidas: 65 x 50 cm. luis henrique cohen-fusé ( 1944 ), reconocido artista nacido en buenos aires, de familia europea, actualmente residente en portugal. licenciado como arquitecto, en todas sus obras se aprecia una fascinación por oriente. al finalizar sus estudios se marcha a españa, concretamente en barcelona donde estudia el grabado y la litografía. en los años 80 fija su residencia en madrid. exposiciones: 2015- museu do oriente, \u201cnamban, retrospectiva\u201d, fundação oriente, lisboa (portugal) 2013- exposição de pintura \u201co fio do tear\u201d no showroom da tricana em cascais (portugal) 2012 \u2013 \u201cinstintos oníricos\u201d pintura na fundação d. luis: centro cultural de cascais. \u201cambiguidades\u201d pintura e escultura na galeria de arte inter- atrium, porto. 2010 \u2013 galeria mi. lisboa. exposição de pintura e escultura \u201cvanitas\u201d 2009 \u2013 pousada do freixo, porto. comissariada pela galeria câmara dos azuis de lisboa. 2008 \u2013 instituto cervantes, em lisboa. 2006 \u2013 galeria de arte inter-atrium, porto. 2004 \u2013 galeria arte vária, coimbra. 2003 \u2013 palácio nacional da ajuda \u201cum olhar sobre o palácio/percursos\u201d, lisboa. 2002 \u2013 galeria arte e oficina, setúbal; galeria ygrego, lisboa. 2001 \u2013 galeria de arte inter-atrium, porto. 2000 \u2013 galeria arte vária, coimbra 1999 \u2013 galeria ygrego, lisboa. 1998 \u2013 galeria ismes, vilanova i la geltrú, barcelona. 1996 \u2013 palácio marquês de pombal, oeiras; galeria arte vária, coimbra. 1994 \u2013 sala de exposições da caja de madrid, barcelona. 1993 \u2013 galeria andare, mataró (barcelona); gravuras (tiragem especial, técnica poupée) galeria são mamede, lisboa; galeria arte vária, coimbra. 1992 \u2013 galeria de arte do casino de estoril, estoril. 1987 \u2013 galeria r.75, lisboa; biblioteca nacional, lisboa. 1986 \u2013 galeria jn, porto. 1985 \u2013 galeria tempo, lisboa. 1984 \u2013 praínha, portimão. 1983 \u2013 galeria do casino do luso; galeria \u201ca grade\u201d, aveiro. 1981 \u2013 galeria marie swizard, paris. 1980 \u2013 galeria tertre, mataró (barcelona); galeria de vilanova i la geltrú. 1979 \u2013 galeria heller, madrid. 1978 \u2013 galeria tertre, mataró (barcelona); galeria gavos, tarragona. 1977 \u2013 centro de estúdios llerdenses, sala gótica, lérida; galeria vilanova i la geltrú (barcelona. spain) 1976 \u2013 galeria d´alaro, sitges (barcelona); galeria internacional, ibiza; galeria seny. procedencia: importante colección particular, formada entre 1965 y 1990."},"estimateMax":4500,"lotNumber":"104","title":{"en":"\"portrait of woman with child\", lluis cohen fusé (buenos aires, 1944)","es":"\"retrato de mujer con niño\", lluis cohen fusé (buenos aires, 1944)"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20069/view","tags":["esart_moderncontemporarypainting","esart","esart_all"],"directSalePrice":3000,"lastUpdate":"2026-07-01T16:42:03.915Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,500","currency":"EUR","id":20069,"estimateMin":3000},{"startPrice":7500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20070/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20070/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20070/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20070/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20070/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20070/006/006.jpg"],"available":false,"description":{"en":"measurements: 145 x 112 cm. luis henrique cohen-fusé (1944), renowned artist born in buenos aires, from a european family, currently residing in portugal. graduated as an architect, a fascination with the east can be seen in all of his works. at the end of his studies he goes to spain, specifically in barcelona where he studies engraving and lithography. in the 80's he fixed his residence in madrid. exhibitions: 2015- museu do oriente, \u201cnamban, retrospectiva\u201d, fundação oriente, lisbon (portugal) 2013- painting exhibition \u201co fio do tear\u201d at the tricana showroom in cascais (portugal) 2012 \u2013 \u201cinstintos oníricos\u201d painting at the fundação d. luis: cultural center of cascais. \u201cambiguities\u201d painting and sculpture at inter-atrium art gallery, porto. 2010 \u2013 mi gallery. lisbon. exhibition of painting and sculpture \u201cvanitas\u201d 2009 \u2013 pousada do freixo, porto. curated by the câmara dos azuis gallery in lisbon. 2008 \u2013 cervantes institute, in lisbon. 2006 \u2013 inter-atrium art gallery, porto. 2004 \u2013 art varia gallery, coimbra. 2003 \u2013 palácio nacional da ajuda \u201cum olhar sobre o palácio/percursos\u201d, lisbon. 2002 \u2013 art gallery and office, setúbal; ygrego gallery, lisbon. 2001 \u2013 inter-atrium art gallery, porto. 2000 \u2013 arte vária gallery, coimbra 1999 \u2013 ygrego gallery, lisbon. 1998 \u2013 ismes gallery, vilanova i la geltrú, barcelona. 1996 \u2013 marquês de pombal palace, oeiras; varia art gallery, coimbra. 1994 \u2013 caja de madrid exhibition hall, barcelona. 1993 \u2013 andare gallery, mataró (barcelona); engravings (special tiragem, poupée technique) são mamede gallery, lisbon; varia art gallery, coimbra. 1992 \u2013 estoril casino art gallery, estoril. 1987 \u2013 gallery r.75, lisbon; national library, lisbon. 1986 \u2013 jn gallery, porto. 1985 \u2013 tempo gallery, lisbon. 1984 \u2013 prainha, portimao. 1983 \u2013 gallery of the casino do luso; \u201ca grade\u201d gallery, aveiro. 1981 \u2013 marie swizard gallery, paris. 1980 \u2013 tertre gallery, mataró (barcelona); gallery of vilanova i la geltrú. 1979 \u2013 heller gallery, madrid. 1978 \u2013 tertre gallery, mataró (barcelona); gavos gallery, tarragona. 1977 \u2013 llerdenses studies center, gothic hall, lérida; vilanova i la geltrú gallery (barcelona. spain) 1976 \u2013 d'alaro gallery, sitges (barcelona); international gallery, ibiza; seny gallery\". provenance: important private collection, formed between 1965 and 1990. mataró (barcelona); gallery of vilanova i la geltrú. 1979 \u2013 heller gallery, madrid. 1978 \u2013 tertre gallery, mataró (barcelona); gavos gallery, tarragona. 1977 \u2013 llerdenses studies center, gothic hall, lérida; vilanova i la geltrú gallery (barcelona. spain) 1976 \u2013 d'alaro gallery, sitges (barcelona); international gallery, ibiza; seny gallery\". provenance: important private collection, formed between 1965 and 1990. mataró (barcelona); gallery of vilanova i la geltrú. 1979 \u2013 heller gallery, madrid. 1978 \u2013 tertre gallery, mataró (barcelona); gavos gallery, tarragona. 1977 \u2013 llerdenses studies center, gothic hall, lérida; vilanova i la geltrú gallery (barcelona. spain) 1976 \u2013 d'alaro gallery, sitges (barcelona); international gallery, ibiza; seny gallery\". provenance: important private collection, formed between 1965 and 1990.","es":"medidas: 145 x 112 cm. luis henrique cohen-fusé ( 1944 ), reconocido artista nacido en buenos aires, de familia europea, actualmente residente en portugal. licenciado como arquitecto, en todas sus obras se aprecia una fascinación por oriente. al finalizar sus estudios se marcha a españa, concretamente en barcelona donde estudia el grabado y la litografía. en los años 80 fija su residencia en madrid. exposiciones: 2015- museu do oriente, \u201cnamban, retrospectiva\u201d, fundação oriente, lisboa (portugal) 2013- exposição de pintura \u201co fio do tear\u201d no showroom da tricana em cascais (portugal) 2012 \u2013 \u201cinstintos oníricos\u201d pintura na fundação d. luis: centro cultural de cascais. \u201cambiguidades\u201d pintura e escultura na galeria de arte inter- atrium, porto. 2010 \u2013 galeria mi. lisboa. exposição de pintura e escultura \u201cvanitas\u201d 2009 \u2013 pousada do freixo, porto. comissariada pela galeria câmara dos azuis de lisboa. 2008 \u2013 instituto cervantes, em lisboa. 2006 \u2013 galeria de arte inter-atrium, porto. 2004 \u2013 galeria arte vária, coimbra. 2003 \u2013 palácio nacional da ajuda \u201cum olhar sobre o palácio/percursos\u201d, lisboa. 2002 \u2013 galeria arte e oficina, setúbal; galeria ygrego, lisboa. 2001 \u2013 galeria de arte inter-atrium, porto. 2000 \u2013 galeria arte vária, coimbra 1999 \u2013 galeria ygrego, lisboa. 1998 \u2013 galeria ismes, vilanova i la geltrú, barcelona. 1996 \u2013 palácio marquês de pombal, oeiras; galeria arte vária, coimbra. 1994 \u2013 sala de exposições da caja de madrid, barcelona. 1993 \u2013 galeria andare, mataró (barcelona); gravuras (tiragem especial, técnica poupée) galeria são mamede, lisboa; galeria arte vária, coimbra. 1992 \u2013 galeria de arte do casino de estoril, estoril. 1987 \u2013 galeria r.75, lisboa; biblioteca nacional, lisboa. 1986 \u2013 galeria jn, porto. 1985 \u2013 galeria tempo, lisboa. 1984 \u2013 praínha, portimão. 1983 \u2013 galeria do casino do luso; galeria \u201ca grade\u201d, aveiro. 1981 \u2013 galeria marie swizard, paris. 1980 \u2013 galeria tertre, mataró (barcelona); galeria de vilanova i la geltrú. 1979 \u2013 galeria heller, madrid. 1978 \u2013 galeria tertre, mataró (barcelona); galeria gavos, tarragona. 1977 \u2013 centro de estúdios llerdenses, sala gótica, lérida; galeria vilanova i la geltrú (barcelona. spain) 1976 \u2013 galeria d´alaro, sitges (barcelona); galeria internacional, ibiza; galeria seny\". procedencia: importante colección particular, formada entre 1965 y 1990."},"estimateMax":7500,"lotNumber":"105","title":{"en":"\"geisha\", lluis cohen fusé (buenos aires, 1944)","es":"\"geisha\", lluis cohen fusé (buenos aires, 1944)"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20070/view","tags":["esart_moderncontemporarypainting","esart","esart_all"],"directSalePrice":7500,"lastUpdate":"2026-07-01T16:42:03.917Z","textCase":"lower","estimate":"\u20ac5,500 - \u20ac7,500","currency":"EUR","id":20070,"estimateMin":5500},{"startPrice":450,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20071/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20071/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20071/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20071/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20071/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20071/006/006.jpg"],"soldDate":"2022-02-25","available":false,"description":{"en":"in copper, measures: 36 x 15 cm approx. provenance: important private collection, formed between 1965 and 1990.","es":"en cobre, medidas: 36 x 15 cm aprox. procedencia: importante colección particular, formada entre 1965 y 1990."},"estimateMax":800,"lotNumber":"106","title":{"en":"embossed copper figure of a woman, indo-portuguese school, goa, india, 19th century","es":"figura de mujer en cobre repujado, escuela indo portuguesa, goa, india, siglo xix"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20071/view","tags":["esinternational_southasian","esdecorativearts_figurines","esinternational","esinternational_all","esdecorativearts_all","esdecorativearts"],"directSalePrice":450,"soldPrice":450,"lastUpdate":"2026-07-01T16:42:03.919Z","textCase":"lower","estimate":"\u20ac600 - \u20ac800","currency":"EUR","id":20071,"estimateMin":600},{"startPrice":1000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20072/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20072/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20072/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20072/004/004.jpg"],"available":false,"description":{"en":"in wood, with lateral openings. measures approx. 1.20 x 50 x 80. provenance: important private collection, formed between 1965 and 1990.","es":"en madera, con aperturas laterales. medidas aprox. 1,20 x 50 x 80. procedencia: importante colección particular, formada entre 1965 y 1990."},"estimateMax":1500,"lotNumber":"107","title":{"en":"important cabinet, mali, possibly 19th century or earlier","es":"importante armario, malí, posiblemente siglo xix"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20072/view","tags":["esinternational_african","esfurniture_cupboardscabinets","esfurniture_all","esinternational","esinternational_all","esfurniture"],"directSalePrice":1000,"lastUpdate":"2026-07-01T16:42:03.921Z","textCase":"lower","estimate":"\u20ac1,000 - \u20ac1,500","currency":"EUR","id":20072,"estimateMin":1000},{"startPrice":1200,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20073/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20073/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20073/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20073/004/004.jpg"],"available":false,"description":{"en":"measurements: 39 x 35 cm approx. provenance: important private collection, formed between 1965 and 1990.","es":"medidas: 39 x 35 cm aprox. procedencia: 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sardana\""},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20130/view","tags":["esart_graphicworksetchinglithography","esart","esart_all"],"directSalePrice":250,"lastUpdate":"2026-07-01T16:42:04.158Z","textCase":"lower","estimate":"\u20ac400 - \u20ac600","currency":"EUR","id":20130,"estimateMin":400},{"startPrice":400,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20131/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20131/002/002.jpg"],"available":false,"description":{"en":"with dedications by maría luisa borràs and josep royo. measurements: 44 x 30 cm","es":"con sendas dedicatorias de maría luisa borràs y josep royo. medidas: 44 x 30 cm"},"estimateMax":600,"lotNumber":"166","title":{"en":"joan miró (1893 - 1983), pair of impressions from the series \"tapestry of tarragona\"","es":"joan miró (1893 - 1983) , pareja de planchas de plancha la serie \"tapiz de tarragona\""},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20131/view","tags":["esart_graphicworksetchinglithography","esart","esart_all"],"directSalePrice":400,"lastUpdate":"2026-07-01T16:42:04.160Z","textCase":"lower","estimate":"\u20ac500 - \u20ac600","currency":"EUR","id":20131,"estimateMin":500},{"startPrice":700,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20132/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20132/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20132/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20132/004/004.jpg"],"available":false,"description":{"en":"oil on canvas. carlos méndez was born in buenos aires (argentina) in 1943, although his childhood and adolescence were spent in the province of entre ríos. méndez moves through the territory known as \u201cargentine mesopotamia\u201d or megapotamia, which sits on the basins of the uruguay and paraná rivers and extends to the iguazú falls, which are places brimming with flora and fauna. a decade later, carlos méndez's paintings reach europe and at the beginning of the 70's, he exhibits in paris and rome. after studying printmaking in new york and san francisco he moved to catalonia in 1976, where he will reside to this day. in addition to the first catalan galleries where he exhibited, such as in sant cugat del vallès and barcelona,","es":"óleo sobre lienzo. carlos méndez nació en buenos aires (argentina) en 1943, aunque su infancia y adolescencia transcurrió en la provincia de entre ríos. méndez se mueve por el territorio conocido como \u201cmesopotamia argentina\u201d o megapotamia, que se asienta sobre las cuencas del río uruguay y del paraná y se extiende hasta las cataratas de iguazú, que son lugares rebosantes de flora y fauna. una década después, los cuadros de carlos méndez llegan a europa y a principios de la década de los 70, expone en parís y roma. después de estudiar grabado en nueva york y san francisco se traslada a cataluña en 1976, donde residirá hasta la actualidad. a las primeras galerías catalanas donde expone como en sant cugat del vallès y barcelona, se les añaden colombia, uruguay, israel, estados unidos, venezuela y alemania que se interesarán por el trabajo de méndez y su estilo de figuración heredada de las vanguardias de principios del siglo xx. medidas: 73 x 60"},"estimateMax":1500,"lotNumber":"167","title":{"en":"carlos méndez (buenos aires, argentina, 1943), \"untitled\"","es":"carlos méndez (buenos aires, argentina, 1943), \"sin título\""},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20132/view","tags":["esart_moderncontemporarypainting","esart","esart_all"],"directSalePrice":700,"lastUpdate":"2026-07-01T16:42:04.161Z","textCase":"lower","estimate":"\u20ac1,000 - \u20ac1,500","currency":"EUR","id":20132,"estimateMin":1000},{"startPrice":6000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20139/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20139/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20139/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20139/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20139/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20139/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20139/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20139/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20139/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20139/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20139/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20139/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20139/013/013.jpg"],"available":false,"description":{"en":"profusely decorated inside, with plateresque motifs in fruit marquetry on green velvet of the time. on the left side door, an oval possibly representing francisco pizarro, and on the right, a representation from the time of moteczuma. exceptional piece of the spanish renaissance. related works: another paper basket, of a larger format and the same technique, preserved in the museum of decorative arts, madrid, no. inventory: 52697. measurements: 31 x 54 x 30 cm","es":"profusamente decorada en el interior, con motivos platerescos en marquetería de frutal sobre terciopelo verde de la época. en la puerta lateral izquierda, un óvalo representando posiblemente a francisco pizarro, y en derecho, una representación de la época de moteczuma. excepcional pieza del renacimiento español. obras en relación: otra papelera, de mayor formato y misma técnica, conservada en el museo de artes decorativas, madrid, núm. de inventario: 52697. medidas: 31 x 54 x 30 cm"},"estimateMax":8000,"lotNumber":"174","title":{"en":"exceptional plateresque chest in fruit wood, boxwood and marquetry, spanish renaissance, mid-16th century","es":"excepcional arquilla plateresca en madera de frutal, boj y marquetería, trabajo español, mediados siglo xvi"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20139/view","tags":["esfurniture_chests","esfurniture_all","esfurniture"],"directSalePrice":6000,"lastUpdate":"2026-07-01T16:42:04.164Z","textCase":"lower","estimate":"\u20ac6,000 - \u20ac8,000","currency":"EUR","id":20139,"estimateMin":6000},{"startPrice":18000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20140/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20140/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20140/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20140/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20140/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20140/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20140/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20140/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20140/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20140/010/010.jpg"],"available":false,"description":{"en":"oil on canvas. measurements: 135 x 166 cm. provenance: important private collection, north of spain. gaspar peeter verbruggen (i) (antwerp, 1635-1681) was one of the most outstanding flemish baroque painters specializing in the painting of flower garlands and vases. baptized in antwerp on september 8, 1635, he was a disciple of cornelis mahu, in whose workshop he is recorded as early as 1644-1645, when he was only ten years old. married to catharina de zeverdonck, who died in 1674, and secondly to sara catharina raeps, at her death he left behind six living minor children, the eldest, anna, aged 23. a member of the saint luke guild since 1650, he may have collaborated on occasion with frans ykens. his floral still lifes, dated from 1654 to 1680, like those of his son and his disciple gaspar peeter verbruggen the younger (1664-1730), they represent an italianate current within antwerp flower painting, in the baroque manner of abraham brueghel. likewise, cornelis schut (antwerp, may 13, 1597 - april 29, 1655) was a flemish painter, draftsman and engraver. in 1618 he entered the painters' guild of his native town. his early works show clear influences from the style of abraham janssens, of whom he was probably a disciple. in 1624 he moved to italy where he remained until 1628. in rome he worked for the collector vincenzo giustiniani who became his protector and for whom he painted the massacre of the innocents (museum of fine arts, caen, france). later in 1628 he moved to florence, where he made different designs for tapestries for the medicea factory. during his stay in italy he painted mostly mythological and religious subjects, as well as frescoes and was influenced by the roman baroque style of guercino and pietro da cortona and the baroque classicism represented by domenichino and guido reni. upon his return to antwerp he carried out some works together with rubens, such as the ephemeral decorations for the reception of cardinal-infante ferdinand of austria (1635), although there is no evidence that he worked in his workshop. he painted religious works for important private collectors, the church and numerous monasteries, such as the assumption of the virgin (1645-1647). his work achieved great diffusion, being frequently reproduced in engravings throughout europe and the new world. reference bibliography: vlieghe, hans, flemish art and architecture, 1585-1700, madrid, cátedra, 2000, isbn 84-376-1842-8 jane turner (editor). grove dictionary of art (1996, 34 vols.). isbn 1-884446-00-0","es":"óleo sobre lienzo. medidas: 135 x 166 cm. procedencia: importante colección particular, norte de españa. gaspar peeter verbruggen (i) (amberes, 1635-1681) fue uno de los más destacados pintores barrocos flamencos especializados en la pintura de guirnaldas y jarrones de flores. bautizado en amberes el 8 de septiembre de 1635, fue discípulo de cornelis mahu, en cuyo taller aparece registrado ya en 1644-1645, con solo diez años. casado con catharina de zeverdonck, fallecida en 1674, y en segundas nupcias con sara catharina raeps, a su muerte dejaba seis hijos vivos menores de edad, la mayor, anna, de 23 años. miembro del gremio de san lucas desde 1650, podría haber colaborado en alguna ocasión con frans ykens. sus bodegones florales, datados de 1654 a 1680, como los de su hijo y discípulo gaspar peeter verbruggen el joven (1664-1730), representan una corriente italianizante dentro de la pintura de flores antuerpiense, a la manera barroca de abraham brueghel. asimismo, cornelis schut (amberes, 13 de mayo de 1597- 29 de abril de 1655) fue un pintor flamenco, dibujante y grabador."},"estimateMax":40000,"lotNumber":"175","title":{"en":"exceptional holy family with flower garland, attributed to gaspar pieter verbruggen and possibly cornelius schut, flemish school of the 17th century","es":"excepcional orla de flores con sagrada familia, atribuída a gaspar pieter verbruggen y, posiblemente cornelius schut, escuela flamenca del siglo xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20140/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":18000,"lastUpdate":"2026-07-01T16:42:04.167Z","textCase":"lower","estimate":"\u20ac30,000 - \u20ac40,000","currency":"EUR","id":20140,"estimateMin":30000},{"startPrice":7000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/013/013.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/014/014.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/015/015.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/016/016.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/017/017.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20141/018/018.jpg"],"available":false,"description":{"en":"antonio del castillo y saavedra (córdoba 1616 - 1668), in addition to standing out as a landscape painter and draftsman, a facet in which he can be counted among the most important painters of the spanish golden age. born in córdoba, he was the son of the painter agustín del castillo, about whom little is known but whom palomino calls an \"excellent painter\" and ana de guerra. initially trained in his father's workshop, he was orphaned at the age of fifteen; being the eldest of four brothers, on november 24, 1631 he appeared before a magistrate in córdoba asking for a guardian due to his minority. placed with the imagery painter ignacio aedo calderón, the contract according to the usual terms established that aedo undertook to teach him the painter's trade so that he could dedicate his life to it. castillo would serve him as much as possible in exchange for receiving the teacher's training and care as well as being fed, clothed, shoes, and providing him with a place to live while his mother took care of raising his younger siblings. according to palomino, he later went to seville in order to complete his studies with josé de sarabia, also from córdoba, \"and they succeeded at the school of the distinguished francisco de zurbarán.\" the relationship with the painter from extremadura, however, lacks documentary confirmation, although it can be sustained for reasons of stylistic affinity, just as the relationship of kinship, maintained by palomino, with the sevillian painter juan del castillo is unfounded. on his return from seville, on june 28, 1635, he married his first wife, catalina de la nava, a woman fifteen years older than him and with whom he might have married because of the need to establish himself financially and be able to help his mother and little brothers. he and his wife settled in a rented house on the street in front of the lamp hospital and with his wife's dowry they furnished his new home. most of his income in this early stage came from the works sold in the store that had belonged to his father. he changed his premises twice, settling definitively on august 31, 1641 in the premises located on calle de libreros, continuation of calle de la feria, currently known as diario córdoba. murillo's teachings would be manifested in his last works, according to palomino, singularly in a half-length saint francis that he painted for the merchant lorenzo mateo, which \"exceeds good taste, and sweetness in the head, and hands to everything that castillo did in his life, because the truth is that he lacked a certain grace, and good taste in color». he died on february 2, 1668, in the house on muñices street without issue. reference bibliography: navarrete prieto, benito. garcia de la torre, fuensanta (2008). antonio del castillo (1616-1668) drawings. santander: marcelino botín pedrueca foundation. isbn 978-84-96655-19-5; palomino, antonio (1986). lives. madrid: form alliance. isbn 84-206-7056-1; palomino, antonio (1988). the pictorial museum and optical scale iii. the laureate picturesque spanish parnassus. madrid: aguilar sa of editions. isbn 84-03-88005-7. measurements: 153 x 197 cm. attached attribution report issued by joan ramón triadó, doctor in art history. provenance: important spanish private collection.","es":"antonio del castillo y saavedra (córdoba 1616 - 1668), además de destacar como paisajista y dibujante, faceta en la que puede ser contado entre los más importantes pintores del siglo de oro español. nacido en córdoba, fue hijo del pintor agustín del castillo, de quien apenas nada se conoce pero al que palomino llama «pintor excelente» y de ana de guerra. formado inicialmente en el taller paterno, quedó huérfano a los quince años; siendo el mayor de cuatro hermanos, el 24 de noviembre de 1631 se presentó ante un magistrado en córdoba pidiendo un tutor debido a su minoría de edad. colocado con el pintor de imaginería ignacio aedo calderón, el contrato conforme a los términos acostumbrados establecía que aedo se comprometía a enseñarle el oficio de pintor de manera que pudiese dedicar su vida a ello. castillo le serviría en todo lo posible a cambio de recibir la formación y el cuidado del maestro además de ser alimentado, vestido, calzado y procurarle un lugar donde residir mientras su madre se encargaba de criar a sus hermanos menores. según afirma palomino, pasó luego a sevilla a fin de completar sus estudios con el también cordobés josé de sarabia, «y lo consiguieron en la escuela del insigne francisco de zurbarán». la relación con el pintor extremeño, no obstante, carece de confirmación documental, aunque puede sostenerse por razones de afinidad estilística, así como carece de fundamento la relación de parentesco, sostenida por palomino, con el pintor sevillano juan del castillo. a la vuelta de sevilla, el 28 de junio de 1635 contrajo matrimonio con su primera esposa, catalina de la nava, mujer quince años mayor que él y con la que quizá contrajese matrimonio por la necesidad de establecerse económicamente y poder ayudar a su madre y hermanos pequeños. con su esposa se estableció en una vivienda alquilada en la calle frente al hospital de la lámpara y con la dote de su esposa amueblaron su nuevo hogar. la mayor parte de sus ingresos en esta primera etapa provenían de las obras vendidas en la tienda que había sido de su padre. cambió su local en dos ocasiones asentándose definitivamente el 31 de agosto de 1641 en el local situado en la calle de libreros, continuación de la calle de la feria, actualmente conocida como diario córdoba. las enseñanzas de murillo se manifestaría en sus últimas obras, según palomino, singularmente en un san francisco de medio cuerpo que pintó para el mercader lorenzo mateo, que «excede en el buen gusto, y dulzura en la cabeza, y manos a todo lo que hizo en su vida castillo, porque a la verdad le faltó una cierta gracia, y buen gusto en el colorido». falleció el 2 de febrero de 1668, en la vivienda de la calle muñices sin descendencia. bibliografía de referencia: navarrete prieto, benito. garcía de la torre, fuensanta (2008). antonio del castillo (1616-1668) dibujos. santander: fundación marcelino botín pedrueca. isbn 978-84-96655-19-5; palomino, antonio (1986). vidas. madrid: alianza forma. isbn 84-206-7056-1; palomino, antonio (1988). el museo pictórico y escala óptica iii. el parnaso español pintoresco laureado. madrid : aguilar s.a. de ediciones. isbn 84-03-88005-7. medidas: 153 x 197 cm. adjunta informe de atribución emitido por joan ramón triadó, doctor en historia del arte. procedencia: importante colección particular española."},"estimateMax":40000,"lotNumber":"176","title":{"en":"\"the adoration of the shepherds\", attributed to antonio del castillo y saavedra (córdoba, spain, 1616 - 1668)","es":"\"la adoración de los pastores\", atribuído a antonio del castillo y saavedra (córdoba 1616 - 1668)"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20141/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":7000,"lastUpdate":"2026-07-01T16:42:04.168Z","textCase":"lower","estimate":"\u20ac30,000 - \u20ac40,000","currency":"EUR","id":20141,"estimateMin":30000},{"startPrice":16000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20142/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20142/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20142/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20142/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20142/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20142/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20142/007/007.jpg"],"available":false,"description":{"en":"exceptional tempera and gold on vellum, measurements: 25 x 18 cm. giovanni battista castello was born in genoa into a family of artists. older brother of the painter bernardo castello (1557-1629), he was nicknamed \u201cel genovés\u201d to distinguish him from giovanni battista castello \u201cel bergamesco\u201d (ca.1509-1569). he trained in the studio of luca cambiaso (1527-1585), considered the most prolific genoese artist of the time. giovanni battista castello distanced himself from the other apprentices. and soon rose to prominence as a freelance artist with a reputation as one of the city's leading illustrators. castello specialized in miniatures and illuminations in tempera on parchment, a field in which he fully showed his technical mastery, as is evident in this beautiful work. so great was the artist's fame that he caught the attention of philip ii of spain who hired castello in 1584 as an illuminator for the royal choir books at el escorial. documentary evidence reveals that castello had returned to his hometown in 1590 and it was there that in 1599 he was commissioned by margaret of austria, wife of philip iii, to copy an icon for the church of san bartolomeo degli armeni. the years around the turn of the century mark the most prolific period in castello's career, a time when he had already acquired enormous prestige, as is clear from raffaello soprani's description of him in his vite dei pittori, scultori et architetti genovesi (1674), praising castello's \u201ccolorita with meravigliosa exquisiteness\u201d. soprani describes him as one of the best miniaturists of his time and comparable to giulio clovio (1498-1578), who according to his biographer vasari was considered the \u201cpiccolo e nuovo michelangelo\u201d. regarding the present work, the expert elena de laurentiis has written: \u201cthis unpublished miniature is one of the earliest known works by the artist and is characterized by meticulous and exquisite attention to detail. the model derives from a free interpretation of giulio romano's painting of the same theme found in the church of santo stefano in genoa\u201d. castello's brilliant and refined use of color is evident in this work, which can be compared to the adoration of the magi, signed and dated 1588, in the städel museum in frankfurt. literature: de laurentiis, elena. il pio genovese. giovanni battista castello\u201d in alumina, page miniate, no. 37, april-june 2012, p. 26-35, rep. p. 26.","es":"excepcional iluminación en temple y oro sobre vitela, medidas: 25 x 18 cm. giovanni battista castello nació en génova en el seno de una familia de artistas. hermano mayor del pintor bernardo castello (1557-1629), fue apodado \u201cel genovés\u201d para distinguirlo de giovanni battista castello \u201cel bergamesco\u201d (ca.1509-1569). se formó en el estudio de luca cambiaso (1527-1585), considerado el artista genovés más prolífico de la época. giovanni battista castello se distanció de los demás aprendices. y pronto se destacó como artista independiente con reputación de ser uno de los principales ilustradores de la ciudad. castello se especializó en miniaturas e iluminaciones al temple sobre pergamino, campo en el que mostró plenamente su dominio técnico, como queda patente en la presente bella obra. tan grande fue la fama del artista que llamó la atención de felipe ii de españa quien contrató a castello en 1584 como iluminador de los libros de coro reales de el escorial. la evidencia documental revela que castello había regresado a su ciudad natal en 1590 y fue allí donde en 1599 recibió el encargo de margarita de austria, esposa de felipe iii, de copiar un icono para la iglesia de san bartolomeo degli armeni. los años cercanos al cambio de siglo marcan el período más prolífico de la carrera de castello, momento en el que ya había adquirido un enorme prestigio, como queda patente en la descripción que de él hace raffaello soprani en su vite dei pittori, scultori et architetti genovesi (1674), alabando la \u201ccolorita con esquisitezza meravigliosa\u201d de castello. soprani lo describe como uno de los mejores miniaturistas de su época y comparable a giulio clovio (1498-1578), quien según su biógrafo vasari era considerado el \u201cpiccolo e nuovo michelangelo\u201d. respecto a la presente obra, la experta elena de laurentiis ha escrito: \u201cesta miniatura inédita es una de las primeras obras conocidas del artista y se caracteriza por una minuciosa y exquisita atención al detalle. el modelo deriva de una interpretación libre del cuadro de giulio romano del mismo tema que se encuentra en la iglesia de santo stefano en génova\u201d. el uso brillante y refinado del color por parte de castello es evidente en esta obra, que puede compararse con la adoración de los magos, firmada y fechada en 1588, en el museo städel de frankfurt. literatura: de laurentiis, elena. \u201cil pio genovese. giovanni battista castello\u201d en alumina, pagine miniate, núm. 37, abril-junio de 2012, pp. 26-35, repr. pags. 26."},"estimateMax":60000,"lotNumber":"177","title":{"en":"giovanni battista castello, \u201cthe genovese\u201d (genoa, italy, 1549 - ca. 1639), the martyrdom of saint stephen, dated 1580","es":"giovanni battista castello, \u201cel genovés\u201d (génova, 1549 - ca. 1639), el martirio de san esteban, datado en 1580"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20142/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":16000,"lastUpdate":"2026-07-01T16:42:07.528Z","textCase":"lower","estimate":"\u20ac40,000 - \u20ac60,000","currency":"EUR","id":20142,"estimateMin":40000},{"startPrice":10000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20143/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20143/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20143/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20143/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20143/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20143/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20143/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20143/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20143/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20143/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20143/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20143/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20143/013/013.jpg"],"available":false,"description":{"en":"oil on copper, measures: 45 x 34. with an important spanish period frame.","es":"óleo sobre cobre, medidas: 45 x 34. con importante marco español de época."},"estimateMax":30000,"lotNumber":"178","title":{"en":"\"the adoration of the shepherds\", italian mannerist master of late s. xvi","es":"\"la adoración de los pastores\", escuela manierista italiana de finales del s. xvi"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20143/view","tags":["esart_ancientpainting","esart_oldmasters","esart","esart_all"],"directSalePrice":10000,"lastUpdate":"2026-07-01T16:42:07.530Z","textCase":"lower","estimate":"\u20ac20,000 - \u20ac30,000","currency":"EUR","id":20143,"estimateMin":20000},{"startPrice":800,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20144/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20144/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20144/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20144/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20144/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20144/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20144/007/007.jpg"],"available":false,"description":{"en":"with handwritten annotations of the time on the sides and leather cover. measurements: 20 x 17 cm","es":"con anotaciones a mano de la época en los laterales y tapa de cuero. medidas: 20 x 17 cm"},"estimateMax":2000,"lotNumber":"179","title":{"en":"german book of exchange rates, 16th century, leipzig, dated 1575","es":"libro alemán sobre las tasas de cambio, siglo xvi, leipzig, circa 1575"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20144/view","tags":["escollectibles_booksmagazinespaper","escollectibles_all","escollectibles"],"directSalePrice":800,"lastUpdate":"2026-07-01T16:42:07.532Z","textCase":"lower","estimate":"\u20ac1,500 - \u20ac2,000","currency":"EUR","id":20144,"estimateMin":1500},{"startPrice":1200,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20145/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20145/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20145/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20145/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20145/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20145/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20145/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20145/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20145/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20145/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20145/011/011.jpg"],"soldDate":"2022-02-25","available":false,"description":{"en":"with lateral annotations, measures: 20 x 15 cm","es":"con anotaciones laterales, medidas: 20 x 15 cm"},"estimateMax":3000,"lotNumber":"180","title":{"en":"incunabula book of the life of saint augustine dated 1488, 15th century","es":"libro incunable sobre la vida de san agustín datado en el 1488, siglo xv"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20145/view","tags":["escollectibles_booksmagazinespaper","escollectibles_all","escollectibles"],"directSalePrice":1200,"soldPrice":1400,"lastUpdate":"2026-07-01T16:42:07.534Z","textCase":"lower","estimate":"\u20ac2,000 - \u20ac3,000","currency":"EUR","id":20145,"estimateMin":2000},{"startPrice":900,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20146/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20146/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20146/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20146/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20146/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20146/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20146/007/007.jpg"],"available":false,"description":{"en":"with leather cover. decorated with 50 engravings, by j. grasset saint-sauveur, former vice-consul of france in hungary. \"historical and picturesque description of everything concerning the roman people, their civil, military and religious customs, public and private customs, from romulus to augustus.\" measurements: 24 x 19 cm","es":"con tapa de cuero. ornado con 50 grabados, por j. grasset saint-sauveur, antiguo vicecónsul de francia en hungría. \"descripción histórica y pintoresca de todo lo concerniente al pueblo romano, de sus costumbres civiles, militares y religiosas, costumbres públicas y privadas, desde rómulo hasta augusto\". medidas: 24 x 19 cm"},"estimateMax":1800,"lotNumber":"181","title":{"en":"compendium book on architecture and sculpture in ancient rome, 18th century, dated 1796, fourth year of the french republic","es":"libro compendio sobre arquitectura y escultura en la antigua roma, siglo xviii, datado en el 1796, cuatro año de la república francesa"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20146/view","tags":["escollectibles_booksmagazinespaper","escollectibles_all","escollectibles"],"directSalePrice":900,"lastUpdate":"2026-07-01T16:42:07.535Z","textCase":"lower","estimate":"\u20ac1,200 - \u20ac1,800","currency":"EUR","id":20146,"estimateMin":1200},{"startPrice":1000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20147/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20147/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20147/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20147/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20147/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20147/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20147/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20147/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20147/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20147/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20147/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20147/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20147/013/013.jpg"],"available":false,"description":{"en":"very important compendium of 140 engravings by the wieirx brothers, xvi - xvii centuries. measurements: 31 x 22 cm, with leather cover. hyeronymus wierix he began as an engraver early, reproducing prints by albrecht dürer; one of saint sebastian tied to the tree is usually dated to around 1565, when wierix was just 12 years old. later he would copy with excellent quality other engravings by dürer such as saint jerome in the cell, nemesis, melancholy and the fall of man (adam and eve). in 1570 he began to work for cristóbal plantino, taking charge of opening part of the intaglio plates that illustrate the humanae salutis monumenta by benito arias montano, with whom he also collaborated on the biblia regia and on some other minor work, despite the bad reputation of the wierix brothers, especially hieronymus, accused of leading a disorderly life, with frequent labor breaches and delivered to alcohol. in 1573 he was admitted as a teacher in the guild of san lucas in his native city. later, in 1579-1580, he spent a few months in prison for an incident in a tavern in which a woman was killed. it is possible that for this reason he broke up with plantino, at least temporarily, after the publisher was forced to pay his bail, since in a famous letter he complained bitterly that wierix worked only the time he needed to earn some money and then spend it. in the taverns, so that later you had to go looking for him, pay his bill and rescue his pawned work tools. despite this fame, he made a large number of prints, some edited by himself, estimating his work at about 650 prints of his, executed with excellent technique and love for detail, but mostly on other people's compositions. his subjects, although portraits, allegories and some rare mythological motif are not lacking, are mainly devotional. in this regard, his relationship with the jesuits was especially close and could help straighten out the artist's life. his association with them began with the series of illustrations for the work of father jerónimo nadal, adnotationes et meditationes in evangelia, an ambitious project already conceived by ignatius of loyola and postponed several times. in it they collaborated with bernardino passeri, author of a good part of the drawings, the three wierix brothers with adriaen collaert and other engravers and painters, although hieronymus was the one who corresponded the greatest number, signing 65 of the 154 prints of which the construction site, finally published in antwerp in 1593, without nadal's text and without the printer's name, under the title evangelicae historiae imagines. johan wieirix, older brother of fellow engravers hieronymus and antonius, his father anton could have been a painter, although he is occasionally recorded as a cabinetmaker. he began as an engraver early on, reproducing prints by albrecht dürer. the large horse, an inverted reproduction of the durerian model, dated 1564, bears the inscription \"ae[tas] 15\" on the top. from 1570 he began to work for the printer cristóbal plantino, sharing with abraham de bruyn and his brother hieronymus the making of the intaglio engravings that illustrate the humanae salutis monumenta by benito arias montano, with whom he also collaborated on the bible. royal. because he had abandoned the job so it would be necessary to \"compel him even by justice to either finish it or return it as it is.\" he worked at the same time as plantino for other publishers and printers. most of the engravings of the first edition of the portraits of dutch and flemish artists with epigrams by dominicus lampsonius, collected under the title pictorum aliquot germaniae inferioris effigies, a work printed by the widow of hieronymus cock in antwerp, 1572. in the same year he was admitted as a member of the guild of st. luke in his native city, where he is registered until 1594, with some interruption from 1575 to 1579 in which he resided for some time in delft alternating, perhaps, with stays in antwerp. with his brothers hieronymus and antonius, 1 it is probable that he trained as an engraver with his brother hieronymus, who signed some of antonius' prints as publisher. active from at least 1579, he was registered with the antwerp guild of saint luke in 1590-1591. his son, antonius wierix iii (1596-1624), was also an engraver, making it difficult to distinguish his works. adrian collaert (antwerp, ca. 1560-1618). son of the engraver hans collaert and anna van der heijden, and older brother of jan collaert, he was born in antwerp. in 1580 he was admitted as a teacher in the guild of san lucas. from 1581 is his first known work: the engravings of the series septem planetae / septem hominis aetatibus responders, allegories of the planets and the corresponding ages on drawings by marten de vos edited by gerard dejode. his production, of correct although somewhat dry drawing, covers religious and allegorical themes, but also animals and some landscape, both on his own drawings and on other people's drawings, among others by joos de momper and hendrick goltzius. he died in antwerp on june 29, 1618.","es":"muy importante compendio de 140 grabados de los hermanos wieirx, siglos xvi - xvii. medidas: 31 x 22 cm, con tapa de cuero. hyeronymus wierix se inició como grabador precozmente, reproduciendo estampas de alberto durero; una de san sebastián atado al árbol se suele datar hacia 1565, cuando wierix tenía apenas 12 años de edad. posteriormente copiaría con excelente calidad otros grabados de durero como san jerónimo en la celda, némesis, melancolía y la caída del hombre (adán y eva). en 1570 comenzó a trabajar para cristóbal plantino, encargándose de abrir parte de las láminas calcográficas que ilustran los humanae salutis monumenta de benito arias montano, con quien colaboró también en la biblia regia y en algún otro trabajo menor, a pesar de la mala fama de los hermanos wierix, especialmente hieronymus, acusados de llevar una vida desordenada, con frecuentes incumplimientos laborales y entregados al alcohol. en 1573 fue admitido como maestro en la guilda de san lucas de su ciudad natal. posteriormente, en 1579-1580, pasó unos meses en la cárcel a causa de un incidente en una taberna del que resultó muerta una mujer. es posible que por este motivo rompiese con plantino, al menos temporalmente, tras verse el editor obligado a pagar su fianza, pues en una célebre carta se quejaba amargamente de que wierix trabajaba únicamente el tiempo que necesitaba para ganar algo de dinero y gastárselo a continuación en las tabernas, de forma que luego había que ir a buscarlo, pagar su cuenta y rescatar sus empeñadas herramientas de trabajo. a pesar de esta fama realizó un elevado número de estampas, algunas editadas por él mismo, estimándose su obra en unos 650 sus grabados, ejecutados con excelente técnica y amor por el detalle detalle, pero en su mayoría sobre composiciones ajenas. sus asuntos, aunque no falten los retratos, las alegorías y algún raro motivo mitológico, son principalmente los devocionales. en este orden, la relación con los jesuitas fue especialmente estrecha y pudo ayudar a enderezar la vida del artista. su asociación con ellos comenzó con la serie de las ilustraciones para la obra del padre jerónimo nadal, adnotationes et meditationes in evangelia, ambicioso proyecto concebido ya por ignacio de loyola y varias veces aplazado. en él colaboraron con bernardino passeri, autor de buena parte de los dibujos, los tres hermanos wierix con adriaen collaert y otros grabadores y pintores, aunque fue a hieronymus al que correspondió el mayor número, firmando 65 de las 154 estampas de las que consta la obra, publicada finalmente en amberes en 1593, sin el texto de nadal y sin nombre de impresor, con el título evangelicae historiae imagines. johan wieirix, hermano mayor de los también grabadores hieronymus y antonius, su padre anton podría haber sido pintor, aunque en alguna ocasión aparece registrado como ebanista. se inició como grabador precozmente, reproduciendo estampas de alberto durero. el caballo grande, reproducción invertida del modelo dureriano, fechado en 1564, lleva en la parte superior la inscripción \"ae[tas] 15\". a partir de 1570 comenzó a trabajar para el impresor cristóbal plantino, repartiéndose con abraham de bruyn y su hermano hieronymus la confección de los grabados calcográficos que ilustran los humanae salutis monumenta de benito arias montano, con quien también colaboró en la biblia regia."},"estimateMax":1800,"lotNumber":"182","title":{"en":"important complete collection of engravings of the life of jesus christ by the brothers johan, antonius and hieronymus wierix, and adrian collaert. 16th - 17th centuries","es":"importante colección completa de grabados de la vida de jesucristo de los hermanos johan, antonius y hieronymus wierix, y adrian collaert. siglos xvi - xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20147/view","tags":["escollectibles_booksmagazinespaper","esart_graphicworksetchinglithography","esart","escollectibles_all","esart_all","escollectibles"],"directSalePrice":1000,"lastUpdate":"2026-07-01T16:42:07.537Z","textCase":"lower","estimate":"\u20ac1,200 - 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the trip around the world of admiral george anson (staffordshire, united kingdom, april 23, 1697- hertfordshire, united kingdom, june 1 or 6, 1762), which took place during the years 1740 to 1744. with cartographic maps and a multitude of fold-out illustrations inside. measurements: 25 x 20 cm, with leather cover.","es":"sobre el viaje alrededor del mundo del almirante george anson (staffordshire, reino unido, 23 de abril de 1697- hertfordshire, reino unido, 1 o 6 de junio de 1762), transcurrido durante los años 1740 al 1744. con mapas cartográficos y multitud de ilustraciones desplegables en su interior. medidas: 25 x 20 cm, con tapa de cuero."},"estimateMax":1500,"lotNumber":"183","title":{"en":"lord anson's voyage around the world, translated from english, edited 1749","es":"viaje alrededor del mundo de lord anson, traducido del inglés, editado en 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iluminaciones ilustradas a mano con proezas de las dos familias, expedida por gerónimo de la mata, secretrario del rey felipe iv y escribano mayor del ayuntamiento de madrid, firmada en el año 1636"},"estimateMax":3500,"lotNumber":"185","title":{"en":"certification of arms and coats of arms of the surnames arias and sanmartín, house of arias of león, and sanmartín of burgos, year 1636","es":"certificación de armas y blasones de los apellidos arias y sanmartín, casa solar arias de león, y sanmartín de burgos, año 1636"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20150/view","tags":["escollectibles_booksmagazinespaper","escollectibles_all","escollectibles"],"directSalePrice":2000,"lastUpdate":"2026-07-01T16:42:07.544Z","textCase":"lower","estimate":"\u20ac2,500 - 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concentró en el estilo art nouveau. literatura relacionada: carlos gonzález lópez, montserrat martí ayxelá: spanish painters in roma (1850-1900), sammer galleries, madrid, 1988. va galán: pintores del romanticismo andaluz. universidad de granada, grenada, 1994. medidas: 45 x 55 cm."},"estimateMax":8000,"lotNumber":"186","title":{"en":"\"galant scene in a garden\" antoni fabrés (1854 - 1938)","es":"\"escena galante en un jardín\" antoni fabrés (1854 - 1938)"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20151/view","tags":["esart_moderncontemporarypainting","esart","esart_all"],"directSalePrice":1500,"lastUpdate":"2026-07-01T16:42:07.545Z","textCase":"lower","estimate":"\u20ac6,000 - 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because he was sinking but here comes the moment where that today he was meditating, \u201cimmediately jesus, stretching out his hand, seized him, and said to him: man of little faith! why did you hesitate? and when they got into the boat, the wind died down\". table measurements: 90 x 65 cm","es":"óleo sobre tabla, a partir del pasaje bíblico del evangelio de san mateo 14:31,32 en que jesús de nazaret rescata a pedro del naufragio, los discípulos vieron a jesús andando sobre las aguas y creyeron que era un fantasma, pedro en medio de su duda le dijo a jesús que ordenara que pudiera caminar hacia él y jesús lo hizo, luego la parte que más conocemos, pedro dudó y comenzó a hundirse, gritando pidiendo ayuda para que jesús lo salvara porque se hundía, pero aquí viene el momento en que hoy estaba meditando, \u201cal momento jesús, extendiendo la mano, asió de él, y le dijo: !hombre de poca fe! ¿por qué dudaste? y cuando ellos subieron en la barca, se calmó el viento\". medidas tabla: 90 x 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xx"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20237/view","tags":["esart_ancientsculpture","esart","esart_all"],"directSalePrice":400,"lastUpdate":"2026-07-01T16:42:24.375Z","textCase":"lower","estimate":"\u20ac600 - 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september 15, his godfather was captain juan de santiago. he was the third of the children of the marriage of agustín francisco isidoro de escalera tamariz, a native of the city of écija in spain, and manuela domínguez, a native of havana. his paternal grandparents were alonso joseph de escalera tamariz and francisca salvadora de ostos méndez, his maternal grandparents were pedro joseph domínguez and inés de los diez. he had two sisters called: josefa teresa and inés maría de escalera tamariz. according to his own will, with his work he came to have slaves and properties that he left to his sisters at his death: he died ill, a month after making his will and still single, on july 3, 1804 he was 69 years old. the artist was buried, the next day, shrouded in the habit of our father santo domingo de guzmán in a property of his maternal ancestors, in front of the altar of san juan nepomuceno in the church of the former convent of the dominican fathers in havana, san lateran john. escalera never signed any of his works or documents with his second surname, signing «jph. nicolas de escalera\" or simply escalera, but in the different orders of sale, liquidation and even in the will of his father and his maternal aunt, they name him \"joseph nicolas de escalera tamariz\" which are their real surnames, like those of his father and grandfather; his sisters are named likewise. we know little about the artistic preparation of escalera, although he drank from the currents that came from the sevillian baroque of murillo, who lived a century earlier in seville, «... about escalera, all proportions respected, what has been said about the master can be said sevillian: \u201chis saints are professionals. he surely expresses the suspicious devotion of a strolling city, religious holidays, idols dressed and covered with false jewels. he is insinuating, sanctimonious, sweetish \u201d». at this time, the baroque, late and in open decline in europe, developed in cuba, fundamentally taking over the religious architecture and the decoration of its interiors, manifesting itself in the opulence and exuberance of the facades and altarpieces, where painting is an indispensable part. many independent pieces that we know today are nothing more than parts of old altarpieces. an example of this is the santísima trinidad de escalera, today in the national museum of fine arts and which belonged to an altarpiece in the church of the convent of san francisco de asís in old havana. we cannot determine if escalera arrived at santa maría del rosario as a protégé of the count of casa bayona, or if he was introduced to him by the dominican fathers of the convent of san juan de letrán, the truth is that he was closely linked to both the count and the friars. it can also be affirmed, due to the roots and great range of dominican saints in his painting, that the artist was very influenced by his great religiosity, zeal towards this order and its patron saint, the blessed virgin of the rosary, it is very likely that he even learned painting and sculpture techniques from one of them, later putting his own personal stamp on it. it should be noted that escalera was buried shrouded in the habit of santo domingo de guzmán in the convent of san juan de letrán. it is considered, without a doubt, that the consecration of his work is constituted by the works carried out for the parish church of the city of santa maría del rosario in the city of the same name, current municipality of cotorro in havana, cuba. commonly called pendentives, mural paintings made using the marouflage technique. in addition, he worked on the decoration and painting of the 9 altarpieces that are still preserved in said parish today, some of them signed by him. reference literature: libby, gary r. and juan martínez: \"joseph nicholas of the staircase\". cuba: a history in art. museum of arts and sciences, miami, [nd], pp. 50-51. lópez núñez, olga: «a painter from havana». lay space. year 2, no. 4, havana, archdiocesan council of laity, 2006. rigol, jorge: notes on painting and engraving in cuba. editorial cuban letters, havana, 1982.","es":"óleo sobre lienzo pegado a tabla. medidas: 42 x 31 cm. procedencia: antigua colección particular catalana, llegado a españa a través de francisco antonio pablo sieni, primer obispo auxiliar de la habana (1787-1793), colección particular, vilanova i la geltrú, españa. josé nicolás de escalera tamariz (la habana, cuba, 8 de septiembre de 1734 - ibídem, 3 de julio de 1804) nace el 8 de septiembre de 1734 en la habana, siendo bautizado en la antigua parroquial mayor de san cristóbal de la habana el miércoles 15 de septiembre siguiente, fue su padrino el capitán juan de santiago. tercero de los hijos del matrimonio de agustín francisco isidoro de escalera tamariz, natural de la ciudad de écija en españa, y manuela domínguez, natural de la habana. fueron sus abuelos paternos alonso joseph de escalera tamariz y francisca salvadora de ostos méndez, los maternos lo fueron pedro joseph domínguez y inés de los diez. tuvo dos hermanas llamadas: josefa teresa e inés maría de escalera tamariz. según su propio testamento, llegó con su trabajo a tener esclavos y propiedades que dejó a su muerte a sus hermanas: muere enfermo, un mes después de testar y aún soltero, el 3 de julio de 1804 contaba con 69 años. el artista fue enterrado, al día siguiente, amortajado con el hábito de nuestro padre santo domingo de guzmán en una propiedad de sus ascendientes maternos, frente al altar de san juan nepomuceno en la iglesia del antiguo convento de los padres dominicos en la habana, san juan de letrán. escalera nunca firmó ninguna de sus obras o documento con su segundo apellido, firmando «jph. nicolas de escalera» o simplemente escalera, pero en los distintos autos de compraventa, liquidación e incluso en la testamentaria de su padre y de su tía materna, estos le nombran «joseph nicolas de escalera tamariz» que son sus verdaderos apellidos, como los de su padre y su abuelo; así mismo se nombran sus hermanas. poco sabemos de la preparación artística de escalera, si bien bebió de las corrientes llegadas del barroco sevillano de murillo, que vivió un siglo antes en sevilla, «...de escalera, todas proporciones respetadas, puede decirse lo que se ha dicho del maestro sevillano: \u201csus santos son profesionales. expresa seguramente la devoción sospechosa de una ciudad que pasea, los días de fiesta religiosa, ídolos vestidos y cubiertos con joyas falsas. es insinuante, santurrón, dulzón\u201d». en esta época se desarrolla en cuba el barroco, tardío y en abierta decadencia en europa, adueñándose fundamentalmente de la arquitectura religiosa y la decoración de sus interiores, manifestándose en la opulencia y exuberancia de las fachadas y retablos, donde la pintura forma parte indispensable. muchas piezas que hoy conocemos independientes no son más que partes de viejos retablos. ejemplo de ello es la santísima trinidad de escalera, hoy en el museo nacional de bellas artes y que perteneció a un retablo de la iglesia del convento de san francisco de asís en la habana vieja. no podemos determinar si escalera llegó a santa maría del rosario como protegido del conde de casa bayona, o si fue presentado a éste por los padres dominicos del convento de san juan de letrán, lo cierto es que estuvo muy ligado tanto al conde como a los frailes. también puede afirmarse, por el arraigo y gran diapasón de santos dominicanos en su pintura, que el artista estuvo muy influenciado por su gran religiosidad, celo hacia esta orden y su patrona la santísima virgen del rosario, es muy probable que hasta aprendiera con alguno de ellos las técnicas sobre pintura y escultura, llegando luego a ponerle su propio sello personal. cabe acotar que escalera fue enterrado amortajado con el hábito de santo domingo de guzmán en el convento de san juan de letrán. se considera, sin duda alguna, que la consagración de su obra lo constituyen los trabajos realizados para la iglesia parroquial de la ciudad de santa maría del rosario en la ciudad del mismo nombre, actual término municipal del cotorro en la habana, cuba. las llamadas comúnmente pechinas, pinturas murales realizadas utilizando la técnica del marouflage. además, trabajó en la decoración y pintura de los 9 retablos que aún hoy se conservan en dicha parroquia, alguno de estos firmados por él. literatura de referencia: libby, gary r. y juan martínez: «josé nicholas de la escalera». cuba: a history in art. museo de artes y ciencias, miami, [s.f.], pp. 50-51. lópez núñez, olga: «un pintor habanero». espacio laical. año 2, no. 4, la habana, consejo arquidiocesano de laicos, 2006. rigol, jorge: apuntes sobre la pintura y el grabado en cuba. editorial letras cubanas, la habana, 1982."},"estimateMax":25000,"lotNumber":"274","title":{"en":"josé nicolás de escalera tamariz (havana, cuba, september 8, 1734 - july 3, 1804) \"saint joseph with the child\"","es":"josé nicolás de escalera 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went to france, where according to guicciardini he was called by francis i to work as a court portraitist. between 1528 and 1535 joos van cleve does not appear in the records of the guild of san lucas, a period that could have effectively passed in france, from where he may have traveled to england to portray henry viii, attributing numerous portraits to him at this time, always of a sober nature. . in spain he is represented in the thyssen-bornemisza museum in madrid, which houses two of his works: a self-portrait painted around 1519, and a child of the passion on the globe of the world, from around 1530. in the prado museum a portrait of old man from the royal collection, which was attributed to hans holbein the younger, whose work cleve was able to see in england, and a savior of the world of dubious attribution, which repeats a model from the louvre museum. in gran canaria, specifically in the hermitage of our lady of the snows, the triptych of the snows is attributed to him. reference bibliography: pita andrade, josé manuel and borobia guerrero, maría del mar, old masters of the thyssen-bornemisza museum, madrid, 1992, pp. 246-247, isbn 84-88474-02-4 in his image. art, culture and religion, exhibition catalogue, madrid, 2014-2015,","es":"óleo sobre tabla, medidas: 37 x 29. joos van cleve (¿cléveris?, c. 1485-amberes, 1540 o 1541), miembro de una familia de artistas, pues el apellido cleef se repite entre los pintores de amberes, es poco lo que se conoce de su vida y de su carrera artística. podría haber nacido en cléveris (cleve en alemán, kleef en neerlandés), actualmente ciudad alemana pero en el siglo xvi en el ducado de cleves, el cual forma parte de los países bajos. dedicó su carrera al retrato y la pintura religiosa, en ocasiones repitiendo sus composiciones de figuras abigarradas, fondos de arquitecturas renacentistas y venta fácil. la muerte de la virgen del wallraf-richartz museum de colonia, fechada en su marco en 1515 y firmada con monograma, 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(1899), por (1901), valor (1907); también escribió su autobiografía: el murciélago. memorias de una patum (1913). bibliografía de referencia: urgell, modest.29 obres de modest urgell. editorial galeria d'art de manuel mayoral. barcelona, abril 1991. urgell, modest. modest urgell : 1839-1919 : 8 de mayo - 5 de julio de 1992, sala de exposiciones de la fundación la caixa, madrid. editorial fundació la caixa. barcelona, 1992. isbn 8476643616. codes luna, m.a. i altresː modest urgell, més enllà de l'horitzó [catàleg d'exposició] gironaː museu d'art, 2019 isbn 978-84-393-9996-4"},"estimateMax":8000,"lotNumber":"293","title":{"en":"\"landscape\", modest urgell (barcelona,","es":"\"paisaje\", modest urgell (barcelona,13 de junio de 1839 - 3 de abril de 1919)"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20258/view","tags":["esart_moderncontemporarypainting","esart","esart_all"],"directSalePrice":3000,"lastUpdate":"2026-07-01T16:42:25.010Z","textCase":"lower","estimate":"\u20ac6,000 - 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20th century","es":"puerta de estilo plateresco en pino melis, españa, siglo xix - xx"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20284/view","tags":["esart_decorative","esart","esart_all"],"directSalePrice":3000,"lastUpdate":"2026-07-22T23:45:32.892Z","textCase":"lower","estimate":"\u20ac4,000 - \u20ac6,000","currency":"EUR","id":20284,"estimateMin":4000},{"startPrice":3200,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20285/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20285/002/002.jpg"],"available":false,"description":{"en":"measurements: 284 x 144 x 7 cm","es":"medidas: 284 x 144 x 7 cm"},"estimateMax":6000,"lotNumber":"320","title":{"en":"mudejar style door in marquetry, spain, 19th century","es":"puerta de estilo mudéjar en marquetería, españa, siglo xix"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20285/view","tags":["esart_decorative","esart","esart_all"],"directSalePrice":3200,"lastUpdate":"2026-07-22T23:45:32.894Z","textCase":"lower","estimate":"\u20ac4,000 - 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\u20ac15,000","currency":"EUR","id":20286,"estimateMin":10000},{"startPrice":5500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20287/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20287/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20287/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20287/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20287/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20287/006/006.jpg"],"available":false,"description":{"en":"oil on canvas, measurements: 94 x73 and 106 x 85 (framed). provenance: important private collection.","es":"óleo sobre lienzo, medidas: 94 x73 y 106 x 85 (enmarcado). procedencia: importante colección particular."},"estimateMax":12000,"lotNumber":"322","title":{"en":"prayer in the garden, bassano workshop, 17th century italian school","es":"la oración en el huerto, taller de los bassano, escuela italiana del siglo xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20287/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":5500,"lastUpdate":"2026-07-01T16:42:35.457Z","textCase":"lower","estimate":"\u20ac8,000 - \u20ac12,000","currency":"EUR","id":20287,"estimateMin":8000},{"startPrice":7000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20288/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20288/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20288/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20288/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20288/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20288/006/006.jpg"],"available":false,"description":{"en":"oil on canvas. (rome, ca. 1575-1616). italian painter and engraver. his training takes place fundamentally in rome, where he is interested both in the examples of classical antiquity and in the naturalism of caravaggio. in 1598 he is already in spain, and in 1601 he is in pamplona. in june 1603 he appears as one of the signatories of the petition for the establishment of an artistic academy in madrid. probably three of the works in the prado correspond to this first spanish stage: christ crucified, saint francis receiving the stigmata and saint christopher. between 1603 and 1604 he is again in italy, but in 1605 he returns to spain, where he remains until 1607, the year of his definitive return to rome, where he will remain until his death. his stays in spain provided him with a clientele that continues to demand commissions from him even after his return to italy; this is how the works for the valladolid monastery of porta coeli are understood. in them, borgianni carried out some canvases of clear caravaggio ancestry, an influence that was felt in the roman painter especially from 1604, and despite the personal differences between the two artists. in 1610 he is appointed a member of the academy of virtuosi of the pantheon. there are four canvases by borgianni in the inventories of the museo del prado. christ crucified comes from the museum of the trinity, while saint francis receiving the stigmata and saint christopher are modern acquisitions, from 1984 and 1988, respectively. reference bibliography: wethey, harold edwin, \u201corazio borgianni in italy and spain\u201d, the burlington magazine, london, 1964, pp. 147-159. longhi, roberto, \u201corazio borgianni\u201d [1919], edition of the complete works, florence, sansoni, 1961, t. i, pp. 111-128. francischi osti, o., \"the testament of orazio borgianni\", quaderni di emblema, miscellanea / 2, bergamo, 1973, pp. 97-102. bottari, stefano, \"an early work of orazio borgianni\", art critic, florence, 1936, pp. 141-142. pérez sánchez, alfonso e., italian painting of the 17th century in spain, madrid, fundación valdecilla, 1965, pp. 240-24. total measurements (without frame): 133 x 98 cm quaderni di emblema, miscellanea / 2, bergamo, 1973, pp. 97-102. bottari, stefano, \"an early work of orazio borgianni\", art critic, florence, 1936, pp. 141-142. pérez sánchez, alfonso e., italian painting of the 17th century in spain, madrid, fundación valdecilla, 1965, pp. 240-24. total measurements (without frame): 133 x 98 cm quaderni di emblema, miscellanea / 2, bergamo, 1973, pp. 97-102. bottari, stefano, \"an early work of orazio borgianni\", art critic, florence, 1936, pp. 141-142. pérez sánchez, alfonso e., italian painting of the 17th century in spain, madrid, fundación valdecilla, 1965, pp. 240-24. total measurements (without frame): 131 x 94","es":"óleo sobre lienzo. (roma, h. 1575-1616). pintor y grabador italiano. su formación se desarrolla fundamentalmente en roma, donde se interesa tanto por los ejemplos de la antigüedad clásica como por el naturalismo de caravaggio. en 1598 ya se encuentra en españa, y en 1601 está en pamplona. en junio de 1603 aparece como uno de los firmantes de la petición para el establecimiento de una academia artística en madrid. probablemente a esta primera etapa española corresponden tres de las obras del prado: cristo crucificado, san francisco recibiendo los estigmas y san cristóbal. entre 1603 y 1604 se encuentra de nuevo en italia, pero en 1605 vuelve a españa, donde permanece hasta 1607, año de su definitivo regreso a roma, donde ya se quedará hasta su muerte. sus estancias en españa le proporcionaron una clientela que le sigue demandando encargos incluso tras su regreso a italia; de este modo se entienden las obras para el monasterio vallisoletano de porta coeli. en ellas, borgianni lleva a cabo unos lienzos de clara ascendencia caravaggiesca, una influencia que se dejó sentir en el pintor romano especialmente a partir de 1604, y a pesar de las diferencias personales entre los dos artistas. en 1610 es nombrado miembro de la academia de los virtuosos del panteón. hay cuatro lienzos de borgianni en los inventarios del museo del prado. cristo crucificado proviene del museo de la trinidad, mientras que san francisco recibiendo los estigmas y san cristóbal son adquisiciones modernas, de 1984 y 1988, respectivamente. bibliografía de referencia: wethey, harold edwin, \u201corazio borgianni en italia y españa\u201d, the burlington magazine, londres, 1964, págs. 147-159. longhi, roberto, \u201corazio borgianni\u201d [1919], edición de las obras completas, florencia, sansoni, 1961, t. yo, págs. 111-128. francischi osti, o., \u201cel testamento de orazio borgianni\u201d, quaderni di emblema, miscellanea / 2, bergamo, 1973, págs. 97-102. bottari, stefano, \u201cuna obra primitiva de orazio borgianni\u201d, crítico de arte, florencia, 1936, pp. 141-142. pérez sánchez, alfonso e., pintura italiana del siglo xvii en españa, madrid, fundación valdecilla, 1965, pp. 240-24. medidas totales (sin marco): 133 x 98 cm quaderni di emblema, miscellanea / 2, bergamo, 1973, pp. 97-102. bottari, stefano, \u201cuna obra primitiva de orazio borgianni\u201d, crítico de arte, florencia, 1936, pp. 141-142. pérez sánchez, alfonso e., pintura italiana del siglo xvii en españa, madrid, fundación valdecilla, 1965, pp. 240-24. medidas totales (sin marco): 133 x 98 cm quaderni di emblema, miscellanea / 2, bergamo, 1973, pp. 97-102. bottari, stefano, \u201cuna obra primitiva de orazio borgianni\u201d, crítico de arte, florencia, 1936, pp. 141-142. pérez sánchez, alfonso e., pintura italiana del siglo xvii en españa, madrid, fundación valdecilla, 1965, pp. 240-24. medidas totales (sin marco): 131 x 94"},"estimateMax":12000,"lotNumber":"323","title":{"en":"landscape with waterfall, attributed to orazio borgianni","es":"paisaje con cascada, atrubuído a orazio borgianni"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/20700/lot/20288/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":7000,"lastUpdate":"2026-07-01T16:42:35.471Z","textCase":"lower","estimate":"\u20ac9,000 - 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madrigalejo, cáceres, 1516). hijo de juan ii de navarra y aragón y de juana enríquez. rey de navarra, de la corona de aragón y v de castilla. su padre, juan ii se hallaba en guerra con su propio hijo, carlos de viana, fruto de su matrimonio con la reina blanca de navarra; al morir ésta en 1441, juan ii, rey hasta entonces de aragón y sólo como consorte de navarra, había ocupado este trono, que sin embargo le disputó su hijo carlos, en especial desde 1450. casado juan ii en 1447 en segundas nupcias con juana enríquez, hija de fadrique enríquez, almirante de castilla, parece que el alumbramiento de fernando, en sos, en 1452, cerca de la frontera de navarra y aragón, obedeció al afán de que el nuevo vástago naciese en navarra y viera así reforzados sus hipotéticos derechos al trono (a este acaso se atribuye uno de los sentidos del exabrupto \u201cm. en sos\u201d, que aún es frecuente en el lenguaje popular). en 1547 juan ii designaría heredera de navarra a su hija leonor. la recuperación de navarra para sí mismo, ya en 1512, fue una de las obras modélicas de su talento diplomático y estratégico. primero, en 1484, pretendió casar a su primogénito juan con la reina catalina de navarra y, al fracasar este proyecto, contribuyó a reavivar las luchas entre beaumonteses y agramonteses, tomó partido a favor de los primeros y llegó a tener como rehén a la infanta magdalena, hija de catalina. la muerte de catalina en tal circunstancia, en medina del campo (1504), azuzó todavía más la guerra civil en este reino, donde algunas facciones beaumontesas -en especial el conde de lerín- ya apoyaban abiertamente la entronización de fernando el católico. por fin, la negociación del casamiento del príncipe de viana, enrique, con una hija de luis xii de francia permitió la intervención militar de fernando por medio del duque de alba y su arrogación del título de rey de navarra (guerra de navarra) en 1512. la justificó en la excomunión de luis xii por el papa julio ii, a raíz de la reunión, convocada por el rey francés, del concilio de pisa de 1511 y de la deposición nominal del pontífice en él (bulas pontificias). la excomunión dejaba al rey francés en entredicho, convertido en monarca ilegítimo. en 1513, las cortes de navarra, reunidas en pamplona, proclamaron rey a fernando el católico, quien a su vez juró respetar los fueros y privilegios de los navarros, conforme a los principios del pactismo. en rigor, la conquista de navarra no fue sino una pieza en el tablero enorme de la estrategia fernandina, empeñada en debilitar la monarquía francesa y en reforzar la presencia española en italia. en 1515, ante las cortes castellanas reunidas en burgos, fernando dio el reino a su hija juana y a su nieto carlos, uniéndolo a castilla. fuente: enciclopedia de navarra"},"estimateMax":6000,"lotNumber":"336","title":{"en":"interesting relief of ferdinand the catholic, possibly the navarran school of the 14th - 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(valencia, 1772-madrid, 1850). spanish painter. born in valencia on september 19, 1772, he began his artistic training as a disciple of the franciscan antonio de villanueva at the academy of san carlos in valencia, an institution where he won the first class prize in 1789 with the canvas king hezekiah making ostentation of his riches (museum of fine arts of valencia san pío v), endowed with 40 pesos and a pension to study in madrid. already at court, the following year he won first place in the san fernando academy contest with the painting the catholic monarchs receiving an embassy from the king of fez (san fernando academy, madrid), and there he assimilates with extraordinary fidelity the academic teachings inherited from mengs fundamentally through mariano salvador maella, from whom vicente lópez picks up the baroque and colorful sense of his compositions and the taste for drawing, precise and analytical, as a method of prior study of his paintings, being equally dazzled by the baroque lavishness of the frescoes by luca giordano and corrado giaquinto, which he contemplates in royal places, and which will decisively influence the aesthetic language of his compositions. returning to his hometown in 1792 as a prestigious painter, he carried out numerous commissions in those years, especially religious paintings and murals for valencian churches, as well as portraits, monument projects and a large number of drawings to engrave, remaining in valencia during the war of independence, a time when, in addition to making the full-length portrait of ferdinand vii in the habit of the order of carlos iii (valencia city council and játiva municipal museum, valencia), he will portray in marshal soult and other french soldiers on several occasions. the portrait style of vicente lópez, respectful and objective with his characters, captured with a personal sense of realism -inherited from the valencian naturalist tradition, through the canvases of ribalta and ribera-, together with his extraordinary mastery in reproducing the qualities of the fabrics and the sumptuousness of the jewels and tinsel, made fernando vii claim the valencian artist at court on july 26, 1814, naming him his first court painter on march 1 of the following year. since then he will become the most requested painter of the wealthy aristocracy and bourgeoisie of madrid, alternating his work at the palace with his teaching activity, official positions and his private commissions. in 1818 he painted the spectacular allegory of the donation of the casino to queen isabel of braganza by the madrid city council (prado), contributing decisively in those years to the project of the royal museum of paintings, appointed by the crown to select and restore the paintings that they had to constitute it, and whose artistic direction he would assume from 1823. three years later he made his superb portrait the painter francisco de goya y lucientes (prado), without a doubt, his best-known work and the most emblematic effigy of the aragonese painter, bound for the gallery of contemporary artists of the museum. director of the decorative program of the royal palace of madrid, in 1828 he painted the allegory of the institution of the order of carlos iii for one of its ceilings, multiplying his portrait activity in those years. in 1831 he finished the portrait of ferdinand vii with the habit of the order of the golden fleece for the embassy of spain to the holy see, perhaps the most imposing and overwhelming effigy of this monarch, while his very personal style gradually accommodated to the formal language , not to the spirit, of the thriving romanticism of the elizabethan era. faithful to his aesthetics and training, and as the first chamber painter of the young isabel ii, he began in those years by royal commission a monumental painting of classical history with the theme of cyrus the great before the corpses of abradato and pantea, an ambitious work and singular, today disappeared, which he left unfinished. until his old age, he kept his exceptional technical skills unchanged, which allowed him to continue his tireless activity as a painter and draftsman until a few days before his death, when he concluded the portrait of general narváez (museo de bellas artes de valencia san pío v), and he died in madrid on july 22, 1850. reference bibliography: díez garcía, josé luis, vicente lópez (1772-1850). life and work, madrid, hispanic art foundation, 1999.","es":"pareja de lienzos de autor preparatorios para la obra original conservada en el museo de bellas artes de xàtiva. medidas: 55 x 86 cm. 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