{"lots":[{"startPrice":600,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20365/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20365/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20365/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20365/004/004.jpg"],"available":false,"description":{"en":"oil on canvas. measurements: 68 x 63 total, 63 x 50 cm (framed).","es":"óleo sobre lienzo. medidas: 68 x 63 total, 63 x 50 cm (enmarcado)."},"estimateMax":1200,"lotNumber":"1","title":{"en":"flower garland, central european school from the end of the 19th century","es":"orla de flores, escuela escuela centroeuropea de finales del siglo xix"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20365/view","tags":["esart_moderncontemporarypainting","esart","esart_all"],"directSalePrice":600,"lastUpdate":"2026-07-01T16:43:06.486Z","textCase":"lower","estimate":"\u20ac1,000 - \u20ac1,200","currency":"EUR","id":20365,"estimateMin":1000},{"startPrice":1500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20366/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20366/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20366/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20366/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20366/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20366/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20366/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20366/008/008.jpg"],"available":false,"description":{"en":"oil on canvas. measurements: 64 x 76 and 52 x 64 cm (with frame)","es":"óleo sobre lienzo. medidas: 64 x 76 y 52 x 64 cm (con marco)"},"estimateMax":2500,"lotNumber":"2","title":{"en":"holy family, roman school from the 17th - 18th century","es":"sagrada familia, escuela romana del siglo xvii - xviii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20366/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":1500,"lastUpdate":"2026-07-01T16:43:06.487Z","textCase":"lower","estimate":"\u20ac2,000 - \u20ac2,500","currency":"EUR","id":20366,"estimateMin":2000},{"startPrice":15000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/013/013.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/014/014.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/015/015.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/016/016.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/017/017.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20367/018/018.jpg"],"artist":{"en":"juan luna y novicio","es":"juan luna y novicio"},"soldDate":"2022-03-10","available":false,"description":{"en":"oil on canvas, certificate by josé maría quesada valera available. juan luna y novicio (badoc, philippines, october 23, 1857 - hong-kong, december 7, 1899). canvas size: 75 x 138. framed size: 117 x 183 cm. provenance: formerly in a noble collection, palma de mallorca, spain. exceptional discovery, possibly the original version dated 1881 of the famous work \"spoliarium\" made by juan luna novicio (badoc, philippines, october 23, 1857 - hong-kong, december 7, 1899) in 1884. \"spoliarium\" is a painting, considered a national treasure and currently kept at the national museum of the philippines measuring 400 × 700 cm. it was first exhibited in the 1884 national fine arts exposition, winning the first class medal. in 1886, it was sold to the diputación provincial de barcelona for 20,000 pesetas. taking advantage of the fact that the painting had been sent to madrid to be restored, general francisco franco donated it to the government of the philippines. it is currently on display at the national museum of the philippines. only one sketch of spoliarium is known, of later date, sold at auction in the philippines in 2018 (salcedo auctions, september 22, 2018, lot 152). the work before us, dated 1881, can be considered the first version of \"spoliarium\", and may be the original work exhibited in the philippine room of the historical-natural and ethnographic exhibition of madrid in 1893. juan luna de san pedro, of malaysian ethnicity, was the son of joaquín luna de san pedro and laureana novicio y ancheta. with jesuit training, he studied at the ateneo municipal, although from a young age he did not sympathize much with the religious environment and used his free time as much as possible to learn about painting. while studying, he trained as a pilot at the naval school in manila, working as a sailor and making several trips. during his travels he visited singapore, jakarta and hong kong, among other cities. although he never abandoned his pictorial training during his free time, he began to collaborate with the studio of the spanish painter agustín sáez glanadell, who was active in manila. upon his arrival in spain he enrolled in the school of fine arts of san fernando in madrid. there he met eduardo rosales. after eduardo's death he made contact with alejo vera, and went to rome, where he painted his most famous painting, \"spoliarium\", preserved in the national museum of the philippines. in rome, he dedicated his time to deepen his knowledge of the renaissance masters and also painted \"the death of cleopatra\", acquired by the spanish government for 5000 pesetas, a very high amount of money at that time. his success was fulgurant in spain and the philippines. references: \"breve noticia de la exposición histórico-natural y etnográfica de madrid: planta entresuelo (1893). madrid: est. tipográfico sucesores de rivadeneyra\" ; \"ossorio y bernard, manuel, galería biográfica de artistas españoles del siglo xix [1883-1884], madrid, giner, 1975, p. 395\" ; \"covelo lópez, juan manuel, el pintor juan de luna y novicio, el lejano oriente español: filipinas (s. xix), actas de las vii jornadas nacionales de historia militar, sevilla, 1997, pgs. 865 - 872\".","es":"óleo sobre lienzo, certificado por don josé maría quesada valera. juan luna y novicio (badoc, filipinas, 23 de octubre de 1857 - hong-kong, 7 de diciembre de 1899). medidas lienzo: 75 x 138. medidas enmarcado: 117 x 183 cm. procedencia: antigua colección nobiliaria, palma de mallorca, españa. excepcional descubrimiento, posiblemente la primera versión datada en 1881 de la famosa obra \u201cspoliarium\u201d realizada por juan luna novicio (badoc, filipinas, 23 de octubre de 1857 \u2013 hong-kong, 7 de diciembre de 1899) en el año 1884. \u201cspoliarium\u201d es una pintura, considerada tesoro nacional y actualmente conservada en el museo nacional de filipinas de 400 × 700 cm. fue expuesta por primera vez en la exposición nacional de bellas artes de 1884, siendo ganadora de la medalla de primera clase. en 1886, fue vendida a la diputación provincial de barcelona por un importe de 20.000 pesetas. aprovechando que se había enviado el cuadro a madrid para ser restaurado, el general francisco franco lo donó al gobierno de filipinas. actualmente se expone en el museo nacional de las filipinas. se conoce sólo un boceto de spoliarium, de posterior fecha, vendido en subasta en filipinas en el año 2018 (salcedo auctions, 22 de septiempre de 2018, lote 152). la obra ante la que nos encontramos, datada en 1881, puede ser considerada la primera versión de \u201cspoliarium\u201d, pudiendo tratarse de la obra original expuesta en la sala filipina de la exposición histórico-natural y etnográfica de madrid de 1893. juan luna de san pedro, de etnia malasia, fue hijo de joaquín luna de san pedro y laureana novicio y ancheta. de formación jesuítica, cursó estudios en el ateneo municipal, si bien desde joven no simpatizaba mucho por el ambiente religioso y aprovechaba todo lo posible su tiempo libre para aprender de pintura. a la vez que estudiaba, se formó como piloto en la escuela naval de manila, llegando a trabajar como marinero y realizando varios viajes. durante sus viajes conoció singapur, yakarta, o hong kong, entre otras ciudades. aunque nunca abandonó la formación pictórica durante sus horas libres, lo que le llevó a empezar a colaborar el estudio del pintor español agustín sáez glanadell, activo en manila. a su llegada a españa se inscribió en la escuela de bellas artes de san fernando de madrid. conociendo allí a eduardo rosales. tras la muerte de eduardo entabló contacto con alejo vera, y se marchó a roma, donde pintó su más famoso cuadro , \u201cspoliarium\u201d, conservado en el museo nacional de filipinas. en roma dedicó su tiempo a profundizar su conocimiento en los maestros del renacimiento y también pintó \u201cla muerte de cleopatra\u201d, adquirido por el gobierno español por 5000 pesetas, una cantidad de dinero muy elevada en aquella época. su éxito fue fulgurante en españa y en filipinas. bibliografía de referencia: \u201cbreve noticia de la exposición histórico-natural y etnográfica de madrid: planta entresuelo (1893). madrid: est. tipográfico sucesores de rivadeneyra\u201d ; \u201cossorio y bernard, manuel, galería biográfica de artistas españoles del siglo xix [1883-1884], madrid, giner, 1975, p. 395\u201d ; \"covelo lópez, juan manuel, el pintor juan de luna y novicio, el lejano oriente español: filipinas (s. xix), actas de las vii jornadas nacionales de historia militar, sevilla, 1997, pgs. 865 - 872\"."},"estimateMax":350000,"lotNumber":"3","title":{"en":"juan luna y novicio (1857-1899), boceto for \"spoliarium\", signed and dated 1881","es":"juan luna y novicio (1857 - 1899), boceto para \"spoliarium\", firmado y fechado en 1881"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20367/view","tags":["esart_moderncontemporarypainting","esart","esart_all"],"directSalePrice":15000,"soldPrice":275000,"lastUpdate":"2026-07-01T16:43:06.489Z","textCase":"lower","estimate":"\u20ac250,000 - \u20ac350,000","currency":"EUR","id":20367,"estimateMin":250000},{"startPrice":900,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20368/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20368/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20368/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20368/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20368/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20368/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20368/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20368/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20368/009/009.jpg"],"available":false,"description":{"en":"oil on canvas. measurements: 80 x 61 and 99 x 80 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óleo sobre tabla, escuela española del siglo xvi"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20370/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":4250,"lastUpdate":"2026-07-01T16:43:06.495Z","textCase":"lower","estimate":"\u20ac8,000 - 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measurements with frame: 121 x 99","es":"óleo sobre lienzo. medidas sin marco: 104 x 84. medidas con marco: 121 x 99"},"estimateMax":12000,"lotNumber":"7","title":{"en":"portrait of an old woman, bolognese school of the 17th century","es":"retrato de anciana, escuela boloñesa del siglo xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20371/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":4250,"lastUpdate":"2026-07-01T16:43:06.497Z","textCase":"lower","estimate":"\u20ac8,000 - 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on canvas, measures: 147 x 96 cm","es":"óleo sobre lienzo, medidas: 147 x 96 cm"},"estimateMax":8000,"lotNumber":"12","title":{"en":"jesus appearing to saint teresa and saint dominic, 17th century spanish school","es":"jesús apareciéndose a santa teresa y santo domingo, escuela española del siglo xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20376/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":3500,"lastUpdate":"2026-07-01T16:43:02.465Z","textCase":"lower","estimate":"\u20ac6,000 - 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measurements with frame: 97 x 76. representing an old man with a child in an allegory of the fleetingness of time","es":"óleo sobre lienzo. medidas sin marco: 86 x 65. medidas con marco: 97 x 76. representando a un anciano junto a un niño en una alegoría de la fugacidad del tiempo"},"estimateMax":6500,"lotNumber":"14","title":{"en":"vanitas, italo - flemish school of the 17th century","es":"vanitas, escuela ítalo flamenca del siglo xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20378/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":2750,"lastUpdate":"2026-07-01T16:43:02.469Z","textCase":"lower","estimate":"\u20ac5,500 - 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xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20382/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":2500,"lastUpdate":"2026-10-30T12:39:05.882Z","textCase":"lower","estimate":"\u20ac3,500 - 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lienzo, medidas: 147 x 96 cm"},"estimateMax":12000,"lotNumber":"19","title":{"en":"sainte eupheme, circle of guido reni (1575 - 1642), 17th century italian school","es":"santa eufemia, círculo de guido reni (1575 - 1642), escuela italiana del siglo xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20383/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":6500,"lastUpdate":"2026-07-01T16:43:02.478Z","textCase":"lower","estimate":"\u20ac10,000 - 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soledad remained in the convent of nuestra señora de la victoria de los mínimos. with the suppression of the religious orders decreed by josé bonaparte on august 18, 1809, the minimos were expelled from their convent and the image of our lady of solitude passed to the royal collegiate church of san isidro. this first stay of the image in san isidro was brief, since with the return of fernando vii and the restoration of the convents, enacted in the royal decrees of february 18, 1813 and august 26, 1813, the mínimos returned to the convent. de la victoria and with them the virgen de la soledad. there, it remained in its original location until the confiscation of mendizábal (1836) in which the convent of la victoria was definitively abolished for later demolition. the image of the virgen de la soledad returned to the royal collegiate church of san isidro. this new and definitive stay of the image carved by gaspar becerra in the collegiate church lasted one hundred years, since on the night of july 19 to 20, 1936, after learning of the coup d'état against the second spanish republic, more than fifty churches were burned and convents of the capital, among them the royal collegiate church of san isidro and with it, the soledad de la victoria. measurements: 146 x 104. provenance: private collection, south of spain. this new and definitive stay of the image carved by gaspar becerra in the collegiate church lasted one hundred years, since on the night of july 19 to 20, 1936, after learning of the coup d'état against the second spanish republic, more than fifty churches were burned and convents of the capital, among them the royal collegiate church of san isidro and with it, the soledad de la victoria. measurements: 146 x 104. provenance: private collection, south of spain. this new and definitive stay of the image carved by gaspar becerra in the collegiate church lasted one hundred years, since on the night of july 19 to 20, 1936, after learning of the coup d'état against the second spanish republic, more than fifty churches were burned and convents of the capital, among them the royal collegiate church of san isidro and with it, the soledad de la victoria. measurements: 146 x 104. provenance: private collection, south of spain.","es":"óleo sobre lienzo. la virgen de la soledad gozó de gran advocación tanto en españa como en el nuevo mundo. desde 1565 a 1809 permaneció la virgen de la soledad en el convento de nuestra señora de la victoria de los mínimos. con la supresión de las órdenes religiosas decretada por josé bonaparte el 18 de agosto de 1809, los mínimos fueron expulsados de su convento y la imagen de nuestra señora de la soledad pasó a la real colegiata de san isidro. esta primera estancia de la imagen en san isidro fue breve, ya que con el regreso de fernando vii y la restauración de los conventos, promulgada en los reales decretos de 18 de febrero de 1813 y 26 de agosto de 1813, los mínimos volvieron al convento de la victoria y con ellos la virgen de la soledad. allí, en su ubicación original permaneció hasta la desamortización de mendizábal (1836) en la que se suprimió definitivamente el convento de la victoria para su posterior demolición. la imagen de la virgen de la soledad retornó a la real colegiata de san isidro. cien años duró esta nueva y definitiva estancia de la imagen labrada por gaspar becerra en la colegiata, ya que la noche del 19 al 20 de julio de 1936, tras conocerse el golpe de estado contra la segunda república española, se quemaron más de cincuenta iglesias y conventos de la capital, entre ellas la real colegiata de san isidro y con ella, la soledad de la victoria. medidas: 146 x 104. procedencia: colección particular, sur de españa."},"estimateMax":18000,"lotNumber":"20","title":{"en":"virgen de la soledad, spanish or colonial school of the 17th century","es":"virgen de la soledad, escuela española o colonial del siglo 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on canvas, possibly the work of two different flemish masters, where we find, firstly, the border, close to models by jan brueghel the younger (1601 - 1678) and characters close to a follower of the circle of juan van der hamen and leo (1596-1631). measurements: 143 x 109 cm","es":"óleo sobre lienzo, posiblemente obra de dos maestros flamencos distintos, donde encntramos, en primer lugar, la orla, cercana a modelos de jan brueghel el joven (1601 - 1678) y, personajes cercanos a un seguidor del círculo de juan van der hamen y león (1596-1631). medidas: 143 x 109 cm"},"estimateMax":30000,"lotNumber":"22","title":{"en":"large flower garland, with a lady and a beggar, flemish school of the 17th century","es":"gran orla de flores, con dama y mendigo, escuela flamenca del siglo xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20386/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":15000,"lastUpdate":"2026-07-01T16:43:06.710Z","textCase":"lower","estimate":"\u20ac20,000 - 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lienzo. medidas lienzo: 68 x 52 cm"},"estimateMax":1200,"lotNumber":"77","title":{"en":"enfant jesus of the thorn, sevillian school of the 17th century","es":"niño jesús de la espina, escuela sevillana del siglo xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20441/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":600,"soldPrice":600,"lastUpdate":"2026-07-01T16:43:12.252Z","textCase":"lower","estimate":"\u20ac800 - \u20ac1,200","currency":"EUR","id":20441,"estimateMin":800},{"startPrice":4000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20442/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20442/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20442/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20442/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20442/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20442/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20442/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20442/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20442/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20442/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20442/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20442/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20442/013/013.jpg"],"available":false,"description":{"en":"oil on canvas. where we observe, in the central plane, santa ana and the virgin mary hand in hand, with san josé and san joaquín to the right and left respectively. at the top, crowning the composition, the holy spirit. framed measurements: 188 x 133. canvas measurements: 173 x 117.","es":"óleo sobre lienzo. donde observamos, en el plano central, a santa ana y a la virgen maría de la mano, con san josé y san joaquín a la derecha e izquierda respectivamente. en la parte superior, coronando la composición, al espíritu santo. medidas enmarcado: 188 x 133. medidas lienzo: 173 x 117."},"estimateMax":8000,"lotNumber":"78","title":{"en":"holy family with sainte anne and saint joachim, novohispanic colonial school from the 18th century","es":"sagrada familia con santa ana y san joaquín, escuela colonial novohispana del siglo xviii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20442/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":4000,"lastUpdate":"2026-07-01T16:43:12.254Z","textCase":"lower","estimate":"\u20ac6,000 - \u20ac8,000","currency":"EUR","id":20442,"estimateMin":6000},{"startPrice":5000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20443/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20443/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20443/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20443/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20443/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20443/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20443/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20443/008/008.jpg"],"available":false,"description":{"en":"oil on canvas, canvas measurements: 151 x 111. full-length portrait of king carlos ii \"the bewitched\", several versions of this composition are known, among which a similar full-length portrait, preserved in the prado and from from the royal collection (inventory number p000642). juan carreño de miranda (avilés, march 25, 1614-madrid, october 3, 1685), called by miguel de unamuno as the painter of the \"austrian decadence of spain\", from 1671 he was court painter to carlos ii. between 1658 and 1671, in close collaboration with francisco rizi, he painted large altar cloths in oil and, in fresco or tempera, the ceilings of some halls of the old alcázar of madrid, those of the dressing room of the virgen del sagrario of the cathedral of toledo and those of several madrid churches, of which only survive, partially, the works carried out in the toledo cathedral and the paintings of the elliptical dome of the church of san antonio de los alemanes. as a court portraitist, he continued the type of velazquez portrait, with the same sobriety and lack of artifice but using a looser and more pasty brushstroke technique than that used by the sevillian master, without missing, especially in male portraits, the influences of anton van dyck, as befits a later date. to this final stage of his career belong the portraits of charles ii and his mother, the widowed queen mariana of austria, of the russian ambassador, piotr ivanovich potemkin, of eugenia martínez vallejo, dressed and nude, and of the buffoon francisco de bazán (museum del prado),","es":"óleo sobre lienzo, medidas lienzo: 151 x 111. retrato de cuerpo entero del rey carlos ii \"el embrujado\", varias versiones se conocen de esta composición, entre los que destacan un retrato similar, de cuerpo entero, conservado en el prado y procedente de la colección real (número de inventario p000642). juan carreño de miranda (avilés, 25 de marzo de 1614-madrid, 3 de octubre de 1685), llamado por miguel de unamuno como el pintor de la «austriaca decadencia de españa», \u200b a partir de 1671 fue pintor de cámara de carlos ii. pintó entre 1658 y 1671, en estrecha colaboración con francisco rizi, grandes telas de altar al óleo y, al fresco o al temple, los techos de algunos salones del viejo alcázar de madrid, los del camarín de la virgen del sagrario de la catedral de toledo y los de varias iglesias madrileñas, de los que únicamente subsisten, parcialmente, los trabajos realizados en la catedral toledana y las pinturas de la cúpula elíptica de la iglesia de san antonio de los alemanes. como retratista de la corte fue continuador del tipo de retrato velazqueño, con su misma sobriedad y carencia de artificio pero empleando una técnica de pincelada más suelta y pastosa que la utilizada por el maestro sevillano, sin que falten, en especial en los retratos masculinos, las influencias de anton van dyck, como corresponde a una fecha más avanzada. a esta etapa final de su carrera pertenecen los retratos de carlos ii y de su madre la reina viuda mariana de austria, del embajador de rusia, piotr ivanovich potemkin, de eugenia martínez vallejo, vestida y desnuda, y del bufón francisco de bazán (museo del prado), retratos estos últimos de enanos y bufones de la corte retratados a la manera de velázquez."},"estimateMax":8000,"lotNumber":"79","title":{"en":"portrait of king carlos ii \"the bewitched\", school of juan carreño de miranda (1614 - 1685), spanish school of the 18th century","es":"retrato del rey carlos ii \"el embrujado\", escuela de juan carreño de miranda (1614 - 1685), escuela española del siglo xviii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20443/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":5000,"lastUpdate":"2026-07-01T16:43:12.256Z","textCase":"lower","estimate":"\u20ac6,000 - \u20ac8,000","currency":"EUR","id":20443,"estimateMin":6000},{"startPrice":1800,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20444/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20444/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20444/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20444/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20444/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20444/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20444/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20444/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20444/009/009.jpg"],"available":false,"description":{"en":"oil on canvas. canvas measures: 163 x 104 cm. relining","es":"óleo sobre lienzo. medidas lienzo: 163 x 104 cm. reentelado"},"estimateMax":4000,"lotNumber":"80","title":{"en":"virgin of the milk, follower of bartolomé esteban murillo, spanish school of the xvii - xviii centuries","es":"virgen de la leche, seguidor de bartolomé esteban murillo, escuela española de los siglos xvii - xviii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20444/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":1800,"lastUpdate":"2026-07-01T16:43:12.257Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,000","currency":"EUR","id":20444,"estimateMin":3000},{"startPrice":2000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20445/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20445/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20445/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20445/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20445/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20445/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20445/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20445/008/008.jpg"],"available":false,"description":{"en":"oil on canvas. canvas measures: 154 x 108 cm. relining","es":"óleo sobre lienzo. medidas lienzo: 154 x 108 cm. reentelado"},"estimateMax":4000,"lotNumber":"81","title":{"en":"immaculate virgin, cuzco school, 17th - 18th centuries","es":"virgen inmaculada, escuela de cuzco, siglos xvii - xviii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20445/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":2000,"lastUpdate":"2026-07-01T16:43:16.513Z","textCase":"lower","estimate":"\u20ac3,000 - \u20ac4,000","currency":"EUR","id":20445,"estimateMin":3000},{"startPrice":10000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20446/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20446/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20446/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20446/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20446/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20446/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20446/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20446/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20446/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20446/010/010.jpg"],"soldDate":"2022-03-10","available":false,"description":{"en":"large oil on canvas, measurements: 188 x 111. composition in the form of a large sketch on canvas in a marked novohispano baroque style, where we observe, in the central plane, the virgin with the child in her arms, under her robes, san antonio de padua with the child in her arms. on the left side, we see saint joseph with the child in his arms, on the right plane, a beautiful image of saint teresa, and, finishing off the set, in the upper corner, the risen christ. all framed in a baroque altar with solomonic columns and four temples, one for each image, finally, we observe the altar of the church decorated with floral offerings in the lower plane. miguel mateo maldonado y cabrera (san miguel tlalixtac, oaxaca, february 27, 1695-mexico city, may 16, 1768) was a new spain painter, characterized for being one of the greatest exponents of baroque painting of the viceroyalty of new spain. born in antequera de oaxaca in the year 1695 of unknown parents, he was the godson of a mulatto couple. he initiates his artistic activity until the year 1740, his main work is the ascension of the virgin, currently owned by the collection of the morales de altamirano family, counts of morales de los ríos, jaén, spain. the mariana dedication, and more specifically the virgin of guadalupe, are an essential part of his work; on this subject he wrote american wonder and ensemble of rare wonders observed with the direction of the rules of the art of painting (1756). a detail, he made paintings for the chapels of the cathedral of mexico city, among them, the sacristy, which houses, on one of its walls, the woman of the apocalypse. he was a chamber painter for archbishop manuel josé rubio y salinas and founder in 1753 of the first painting academy in mexico. miguel cabrera is present in numerous spanish public and private collections, such as the splendid series of castas in the museo de américa in madrid, perhaps one of his masterpieces. in december 2008, this museum enriched its heritage with the acquisition of another three works by the painter. appreciation and price in the art market for the works of miguel cabrera has grown vertiginously during the last quarter of the 20th century. in 2004, in madrid, 150,000 euros were paid at a public auction for one of his works. however, markedly higher prices have recently been reported for some caste paintings painted on copper. reference bibliography: cruz aguillón, raúl. 1993. master don miguel cabrera. mexico city: museum of pre-hispanic art of mexico \"rufino tamayo.\"","es":"&oacute;leo sobre lienzo de grandes dimensiones, medidas: 188 x 111. \n composici&oacute;n en forma de gran boceto sobre lienzo de marcado estilo barroco novohispano, donde observamos, en el plano central a la virgen con el ni&ntilde;o en brazos, bajo su manto, san antonio de padua con el ni&ntilde;o en brazos. en el lateral izquierdo, observamos a san jos&eacute; con el ni&ntilde;o en brazos, en el plano derecho, una bella imagen de santa teresa, y, rematando el conjunto, en el &aacute;ngulo superior, a cristo resucitado. todo enmarcado en un altar barroco con columnas salom&oacute;nicas y cuatro templetes, uno por cada imagen, finalmente, observamos el altar de la iglesia ornado de ofrendas florales en el plano inferior. \n miguel mateo maldonado y cabrera (san miguel tlalixtac, oaxaca, 27 de febrero de 1695-ciudad de m&eacute;xico, 16 de mayo de 1768) fue un pintor novohispano, caracterizado por ser uno de los m&aacute;ximos exponentes de la pintura barroca del virreinato de nueva espa&ntilde;a. nacido en antequera de oaxaca en el a&ntilde;o 1695 de padres desconocidos fue ahijado de una pareja de mulatos. inicia su actividad art&iacute;stica hasta el a&ntilde;o de 1740, su principal obra es la ascensi&oacute;n de la virgen, actualmente propiedad de la colecci&oacute;n de la familia morales de altamirano, condes de morales de los r&iacute;os, ja&eacute;n, espa&ntilde;a. \n la advocaci&oacute;n mariana, y m&aacute;s concretamente la virgen de guadalupe, son parte esencial de su obra; sobre esta materia escribi&oacute; maravilla americana y conjunto de raras maravillas observadas con la direcci&oacute;n de las reglas del arte de la pintura (1756). un detalle, hizo pinturas para las capillas de la catedral de la ciudad de m&eacute;xico, entre ellas, la sacrist&iacute;a, que alberga, en uno de sus muros la mujer del apocalipsis. fue pintor de c&aacute;mara del arzobispo manuel jos&eacute; rubio y salinas y fundador en 1753 de la primera academia de pintura de m&eacute;xico. \n miguel cabrera est&aacute; presente en numerosas colecciones p&uacute;blicas y privadas espa&ntilde;olas como la espl&eacute;ndida serie de castas del museo de am&eacute;rica de madrid, quiz&aacute;s una de sus obras maestras. en diciembre de 2008, este museo enriqueci&oacute; su patrimonio con la adquisici&oacute;n de otras tres obras del pintor. el aprecio y la cotizaci&oacute;n en el mercado del arte por las obras de miguel cabrera ha crecido de forma vertiginosa durante el &uacute;ltimo cuarto del siglo xx. en 2004, en madrid, se lleg&oacute; a pagar en subasta p&uacute;blica 150.000 euros por una obra suya. sin embargo, &uacute;ltimamente se han comunicado precios notablemente superiores por algunos cuadros de castas pintados sobre cobre. \n bibliograf&iacute;a de referencia: cruz aguill&oacute;n, ra&uacute;l. 1993. el maestro don miguel cabrera. mexico city: museo de arte prehisp&aacute;nico de m&eacute;xico \"rufino tamayo.\""},"estimateMax":60000,"lotNumber":"82","title":{"en":"miguel de cabrera (oaxaca, 1695 - mexico city, 1768), sketch for altar, novohispanic colonial school of the 18th century","es":"miguel de cabrera (oaxaca, 1695 - ciudad de méxico, 1768), boceto para altar, escuela colonial novohispana del siglo xviii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20446/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":10000,"soldPrice":10000,"lastUpdate":"2026-07-01T16:43:16.514Z","textCase":"lower","estimate":"\u20ac40,000 - \u20ac60,000","currency":"EUR","id":20446,"estimateMin":40000},{"startPrice":4000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20447/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20447/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20447/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20447/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20447/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20447/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20447/007/007.jpg"],"available":false,"description":{"en":"oil on canvas. where we find, on the left plane, a gentleman with a spyglass, while on the right plane a lady holds a map. canvas measures: 73 x 59 cm. relining","es":"óleo sobre lienzo. donde encontramos, en el plano izquierdo, a un caballero con un catalejo, mientras, el el plano derecho una dama sostiene un mapa. medidas lienzo: 73 x 59 cm. reentelado"},"estimateMax":6000,"lotNumber":"83","title":{"en":"allegory of science, flemish school of the xvii - xviii centuries","es":"alegoría de la ciencia, escuela flamenca de los siglos xvii - xviii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20447/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":4000,"lastUpdate":"2026-07-01T16:43:16.517Z","textCase":"lower","estimate":"\u20ac5,000 - 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on canvas, framed measurements: 95 x 82 cm. frameless measurements: 77 x 74. (antwerp, 1590-1661). flemish painter. the son of an important silk merchant, he soon emigrated with his family to the northern netherlands, where he converted to calvinism. he studied painting from 1605 and in 1611, back in antwerp, he entered the guild of saint luke, after a period of apprenticeship with jan brueghel the elder. in 1614 he re-embraced the catholic faith as he entered the jesuits of mechelen as a layman, taking vows in 1625. thereafter he signed \"daniel seghers societatis iesu\". from 1625 to 1627 he lived in rome, and on his return to antwerp he would remain in his monastery, as a flower painter, until the day of his death. it is difficult to establish an evolution of his style, although a development from the simpler to the more complicated garlands is evident. the use of flowers and plants from the netherlands grown in gardens relate him to painters such as jan brueghel, although unlike him he pays less attention to contours and more to transparencies and the combination of light and shadow. his flower arrangements always denote prior preparation, while his garlands show a brilliant use of symmetry as a clarifying element of the composition. garlands surrounding devotional images made from the work of rubens are common in his production. the prado houses several examples of these garlands with figures made by other painters who collaborated with him, including artists such as thomas willeboirts bosschaert, cornelis schut, gonzález coques or domenichino. sometimes the religious image is replaced by mythological figures or scenes such as garland with flora (museum boijmans van beuningen, rotterdam). there are even garlands with private portraits, such as that of leopoldo guillermo (galleria degli uffizi, florence). the detailed representation of the flowers must be related to the jesuit counter-reformation iconography. the devotional character of the image was emphasized by the meticulous observation of flowers and plants, which was interpreted by the theologians of the company as a stimulus for religious contemplation. the intellectual nature of his flower garlands made him maintain relationships with writers, especially with poets like joost van de vondel, who would praise his work on several occasions. similarly, numerous european princes received gifts from the jesuits or carried out their own commissions, which guaranteed the success of seghers's work. among these collectors were some as influential as federico enrique de orange nassau, cristina of sweden or carlos i of england. reference bibliography: burke-gaffney, michael walter, daniel seghers (1590-1661). a trecentenary commemoration, new york, vantage press, 1961; kieckens, f., daniel seghers, antwerp, 1886; díaz padrón, matías, the age of rubens in the prado museum. catalog raisonné of flemish painting of the 17th century, barcelona, \u200b\u200beditorial prensa ibérica, and madrid, museo del prado, 1995, p. 1179. among these collectors were some as influential as federico enrique de orange nassau, cristina of sweden or carlos i of england. reference bibliography: burke-gaffney, michael walter, daniel seghers (1590-1661). a trecentenary commemoration, new york, vantage press, 1961; kieckens, f., daniel seghers, antwerp, 1886; díaz padrón, matías, the age of rubens in the prado museum. catalog raisonné of flemish painting of the 17th century, barcelona, \u200b\u200beditorial prensa ibérica, and madrid, museo del prado, 1995, p. 1179. among these collectors were some as influential as federico enrique de orange nassau, cristina of sweden or carlos i of england. reference bibliography: burke-gaffney, michael walter, daniel seghers (1590-1661). a trecentenary commemoration, new york, vantage press, 1961; kieckens, f., daniel seghers, antwerp, 1886; díaz padrón, matías, the age of rubens in the prado museum. catalog raisonné of flemish painting of the 17th century, barcelona, \u200b\u200beditorial prensa ibérica, and madrid, museo del prado, 1995, p. 1179. 1886; díaz padrón, matías, the age of rubens in the prado museum. catalog raisonné of flemish painting of the 17th century, barcelona, \u200b\u200beditorial prensa ibérica, and madrid, museo del prado, 1995, p. 1179. 1886; díaz padrón, matías, the age of rubens in the prado museum. catalog raisonné of flemish painting of the 17th century, barcelona, \u200b\u200beditorial prensa ibérica, and madrid, museo del prado, 1995, p. 1179.","es":"óleo sobre lienzo, medidas con marco: 95 x 82 cm. medidas sin marco: 77 x 74. (amberes, 1590-1661). pintor flamenco. hijo de un importante mercader de sedas, emigró pronto con su familia a los países bajos del norte, donde se convirtió al calvinismo. estudió pintura a partir de 1605 y en 1611, de regreso a amberes, ingresó en el gremio de san lucas, tras un periodo de aprendizaje con jan brueghel el viejo. en 1614 volvió a abrazar la fe católica a la vez que entró en los jesuitas de malinas como lego, tomando votos en 1625. a partir de entonces firmará como «daniel seghers societatis iesu». del 1625 hasta 1627 vivió en roma, y a su vuelta a amberes permanecerá en su monasterio, como pintor de flores, hasta el día de su muerte. es difícil establecer una evolución de su estilo, aunque es evidente un desarrollo desde las guirnaldas más simples a las más complicadas. la utilización de flores y plantas propias de los países bajos cultivadas en jardín lo relacionan con pintores como jan brueghel, aunque a diferencia de éste presta menos atención a los contornos y más a las transparencias y a la combinación de luz y sombra. sus arreglos florales siempre denotan una preparación previa, a la vez que sus guirnaldas muestran una brillante utilización de la simetría como elemento clarificador de la composición. son comunes en su producción las guirnaldas que rodean imágenes devocionales realizadas a partir de la obra de rubens. el prado alberga varios ejemplos de estas guirnaldas con figuras realizadas por otros pintores que colaboraron con él, entre los que se encuentran artistas como thomas willeboirts bosschaert, cornelis schut, gonzález coques o domenichino. en ocasiones la imagen religiosa es sustituida por figuras o escenas mitológicas como guirnalda con flora (museum boijmans van beuningen, róterdam). incluso hay guirnaldas con retratos particulares, como el de leopoldo guillermo (galleria degli uffizi, florencia). la detallada representación de las flores debe relacionarse con la iconografía contrarreformista jesuita. el carácter devocional de la imagen quedaba enfatizado por la meticulosa observación de las flores y plantas, que era interpretado por los teólogos de la com­pañía como un estímulo para la contemplación religiosa. el carácter intelectual de sus guirnaldas de flores le hizo mantener relaciones con literatos, especialmente con poetas como joost van de vondel, quien alabaría en varias ocasiones sus trabajos. del mismo modo numerosos príncipes europeos recibían regalos de los jesuitas o realizaban sus propios encargos, lo que garan­tizó el éxito de la obra de seghers. entre estos coleccionistas se encontraban algunos tan influyentes como federico enrique de orange ­nassau, cristina de suecia o carlos i de inglaterra. bibliografía de referencia: burke-gaffney, michael walter, daniel seghers (1590-1661). a trecentenary commemoration, nueva york, vantage press, 1961; kieckens, f., daniel seghers, amberes, 1886; díaz padrón, matías, el siglo de rubens en el museo del prado. catálogo razonado de pintura flamenca del siglo xvii, barcelona, editorial prensa ibérica, y madrid, museo del prado, 1995, p. 1179."},"estimateMax":15000,"lotNumber":"84","title":{"en":"flower garland with virgin with child. circle of daniel seghers (antwerp, 1590 - 1661), 17th century flemish school","es":"guirnalda de flores con virgen con niño. círculo de daniel seghers (amberes, 1590 - 1661), escuela flamenca del siglo xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20448/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":7000,"lastUpdate":"2026-07-01T16:43:16.519Z","textCase":"lower","estimate":"\u20ac10,000 - 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38"},"estimateMax":3500,"lotNumber":"88","title":{"en":"saint thomas distributing charity, italian school of the 16th century","es":"santo tomás repartiendo limosna, escuela italiana del siglo xvi"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20452/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":1500,"lastUpdate":"2026-07-01T16:43:16.531Z","textCase":"lower","estimate":"\u20ac2,500 - 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of oil paintings on canvas, framed measurements: 69 x 64, canvas measurements: 62 x 58.","es":"pareja de óleos sobre lienzo, medidas enmarcados: 69 x 64, medidas lienzos: 62 x 58."},"estimateMax":6500,"lotNumber":"89","title":{"en":"pair of hunting scenes, spanish school of the 18th century","es":"pareja de escenas de cacería, escuela española del siglo xviii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20453/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":3600,"lastUpdate":"2026-07-01T16:43:16.535Z","textCase":"lower","estimate":"\u20ac4,500 - 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on canvas. measurements with frame: 81 x 60. canvas measurements: 66 x 46","es":"óleo sobre lienzo. medidas con marco: 81 x 60. medidas lienzo: 66 x 46"},"estimateMax":1200,"lotNumber":"90","title":{"en":"saint catherine of alexandria, 17th century italian school","es":"santa catalina de alejandría, escuela italiana del siglo xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20454/view","tags":["esart_oldmasters","esart_ancientpainting","esart","esart_all"],"directSalePrice":800,"lastUpdate":"2026-07-01T16:43:16.538Z","textCase":"lower","estimate":"\u20ac900 - \u20ac1,200","currency":"EUR","id":20454,"estimateMin":900},{"startPrice":3500,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20455/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20455/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20455/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20455/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20455/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20455/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20455/007/007.jpg"],"soldDate":"2022-03-11","available":false,"description":{"en":"oil on canvas, relined, measurements with frame: 102 x 81, canvas measurements: 107 x 87. exceptional scene where we observe, in the central plane, the sleeping child jesus, to his left saint john the baptist and in the upper plane, to the virgin mary crowned with saint joseph. composition very close to the preserved models of the neapolitan painter angelino medoro (naples, 1567 - seville, 1631). italian painter who landed in seville attracted by the artistic atmosphere of the city or following the tendency of numerous italian painters to emigrate. he embarked for the viceroyalty of peru, staying before for some years in the new kingdom of granada and the kingdom of quito. the first dated american work is the virgen de la antigua (1587-88) in the hernández de roa chapel of the santo domingo church in bogotá. his stay in new granada was divided between tunja and santa fe de bogotá. according to art historian ricardo estabridis, medoro arrived in peru around 1600, the date on which he signed a contract with the mercedarian order to paint his patron virgin. most of his work is in lima, having received commissions from the most important convents in that city. reference bibliography: de mesa, josé; gisbert, teresa history of cuzqueña painting lima, 1982.","es":"&oacute;leo sobre lienzo, reentelado, medidas con marco: 102 x 81, medidas lienzo: 107 x 87. excepcional escena donde observamos, en el plano central, al ni&ntilde;o jes&uacute;s durmiente, a su izquierda san juan bautista y en el plano superior, a la virgen mar&iacute;a coronada junto a san jos&eacute;. composici&oacute;n muy cercana a los modelos conservados del pintor napolitano angelino medoro (n&aacute;poles, 1567 - sevilla, 1631). pintor italiano que desembarc&oacute; en sevilla atra&iacute;do por el ambiente art&iacute;stico de la ciudad o siguiendo la tendencia de emigrar de numerosos pintores italianos. se embarc&oacute; hacia el virreinato del per&uacute; permaneciendo antes por algunos a&ntilde;os en el nuevo reino de granada y el reino de quito. \n la primera obra americana fechada es la virgen de la antigua (1587-88) en la capilla hern&aacute;ndez de roa de la iglesia de santo domingo de bogot&aacute;. su estancia en la nueva granada se reparti&oacute; entre tunja y santa fe de bogot&aacute;. \n seg&uacute;n el historiador de arte ricardo estabridis, medoro lleg&oacute; al per&uacute; hacia 1600, fecha en la que firm&oacute; un contrato con la orden mercedaria para pintar a su virgen patrona. la mayor parte de su obra se encuentra en lima habiendo recibido encargos de los m&aacute;s importantes conventos de esa ciudad. bibliograf&iacute;a de referencia: de mesa, jos&eacute;; gisbert, teresa historia de la pintura cuzque&ntilde;a lima, 1982."},"estimateMax":6500,"lotNumber":"91","title":{"en":"holy family with the child jesus and saint john, 17th-century sevillian school, circle of angelino medoro (naples, 1567 - seville, 1631)","es":"sagrada familia con el niño jesús y san juanito, escuela sevillana del siglo xvii, círculo de angelino medoro (nápoles , 1567 - sevilla , 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on canvas. with a certificate issued by don ramón triadó as a \"possible preparatory version\" of the work \"la campana de huesca\" currently preserved in the huesca town hall. canvas measures: 300 x 200 cm. josé maría casado del alisal (villada, palencia, march 24, 1832 \u2013 madrid, october 8, 1886) was a spanish painter. he was the brother of the spanish-argentine businessman carlos casado del alisal. he was trained at the municipal drawing school of palencia, created in 1838, like dióscoro teófilo puebla tolín, serafín martínez del rincón y trives, eugenio oliva rodrigo, juan maría de velasco and asterio mañanós martínez, among others, and at the royal academy of fine arts of san fernando, where he studied under the direction of federico madrazo. in 1855 he gets, for his painting resurrection of lazarus, a scholarship to go to rome, where he met antonio gisbert and dioscoro puebla, with whom he maintained a lifelong friendship. he resided in naples, milan and venice. extended his pension, he continued his training in paris from 1861, where he painted the canvas el juramento de las cortes de cádiz, a work that he presented at the 1862 exhibition and which is hung in the hemicycle of the congress of the deputies of spain. he obtained a first-class medal at the national exhibition of 1860, with his painting last moments of fernando iv el emplazado, sent from italy in 1856, and repeated a medal of the same class at the national exhibition of 1864 with his canvas the surrender of bailén, a commemorative painting of the capitulation of the french army on july 22, 1808, before the spanish troops. he was the first director of the royal academy of spain in rome, officially opened in january 1881, and a member of the royal academy of fine arts of san fernando. at the national exhibition of 1881 he presented the painting the huesca bell or the legend of the monk king, inspired by the homonymous legend. he did not get any medal, and receiving only honorable mention, he tendered his resignation as director of the spanish academy of fine arts in rome. in may 1882, he is named a member of the jury to award the landscape pension for rome on behalf of the ministry of state, and in october 1883, he is again a member of the jury for the painting pension in rome. he especially cultivated historicist themes. thus, numerous portraits of the high society of the time are owed to him, such as baldomero espartero, isabel ii of spain, alfonso xii of spain and emilio castelar y ripoll. but, above all, he is a representative painter of a pictorial tendency that dominates the second half of the 19th century: the painting of great events in relation to the history of each country. it is \"history painting\" or \"retrospective realism\" to the extent that he tries to realistically recreate events that occurred in the historical past. in addition, he made some genre paintings, which are preserved in the prado museum, such as portrait of a french lady, woman with a white mantilla and lady with a fan, among others. his style follows the romantic ideals of the xix. reference bibliography: ferrandis poblaciones, josé antonio (2011). «the bell of huesca, reality or legend?». aragonese: journal of the aragonese center of valencia (valencia: aragonese center of valencia) (60): 19-21. issn 2174-9078. archived from the original on december 17, 2013.","es":"óleo sobre lienzo. con certificado emitido por don ramón triadó como \"posible versión preparatoria\" de la obra \"la campana de huesca\" actualmente conservada en el ayuntamiento de huesca. medidas lienzo: 300 x 200 cm. josé maría casado del alisal (villada, palencia, 24 de marzo de 1832 \u2013 madrid, 8 de octubre de 1886) fue un pintor español. era hermano del empresario hispanoargentino carlos casado del alisal. se formó en la escuela municipal de dibujo de palencia, creada en 1838, al igual que dióscoro teófilo puebla tolín, serafín martínez del rincón y trives, eugenio oliva rodrigo, juan maría de velasco y asterio mañanós martínez, entre otros, y en la real academia de bellas artes de san fernando, donde estudió bajo la dirección de federico madrazo. en 1855 consigue, por su cuadro resurrección de lázaro, una beca para ir a roma, en donde se encontró con antonio gisbert y dióscoro puebla, con quien mantuvo una amistad que cultivó toda la vida. residió en nápoles, milán y venecia. prorrogada su pensión, continuó su formación en parís a partir de 1861, donde pintó el lienzo el juramento de las cortes de cádiz, obra que presentó en la exposición de 1862 y que se encuentra colgado en el hemiciclo del congreso de los diputados de españa. obtiene medalla de primera clase en la exposición nacional de 1860, con su cuadro últimos momentos de fernando iv el emplazado, enviado desde italia en 1856, y repite medalla de igual clase en la nacional de 1864 con su lienzo la rendición de bailén, pintura recordatoria de la capitulación del ejército francés el 22 de julio de 1808, ante las tropas españolas. fue el primer director de la real academia de españa en roma, inaugurada oficialmente en enero de 1881, y miembro de la real academia de bellas artes de san fernando. en la exposición nacional de 1881 presentó el cuadro la campana de huesca o la leyenda del rey monje, inspirado en la leyenda homónima. no obtuvo medalla alguna, y al recibir solo mención honorífica, presentó su dimisión como director de la academia española de bellas artes de roma. en mayo de 1882, es nombrado miembro del jurado para adjudicar la pensión de paisaje para roma en representación del ministerio de estado, y en octubre de 1883, vuelve a ser miembro del jurado para la pensión de pintura en roma. cultivó especialmente los temas historicistas. así, se le deben numerosos retratos de la alta sociedad de la época, como baldomero espartero, isabel ii de españa, alfonso xii de españa y emilio castelar y ripoll. pero, sobre todo, es pintor representativo de una tendencia pictórica que domina la segunda mitad del siglo xix: la pintura de grandes acontecimientos en relación con la historia de cada país. se trata de «pintura de historia» o «realismo retrospectivo» en la medida en que trata de recrear con realismo hechos ocurridos en el pasado histórico. además, realizó algunos cuadros de género, que se conservan en el museo del prado, como retrato de una dama francesa, mujer con mantilla blanca y dama con abanico, entre otros. su estilo sigue los ideales románticos del xix. bibliografía de referencia: ferrandis poblaciones, josé antonio (2011). «la campana de huesca, ¿realidad o leyenda?». aragonesa: revista del centro aragonés de valencia (valencia: centro aragonés de valencia) (60): 19-21. issn 2174-9078. archivado desde el original el 17 de diciembre de 2013. consultado el 14 de diciembre de 2013."},"estimateMax":25000,"lotNumber":"113","title":{"en":"\"the bell of huesca\", josé maría casado del alisal (1832 - 1886)","es":"\"la campana de huesca\", josé maría casado del alisal (1832 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x 57"},"estimateMax":10000,"lotNumber":"132","title":{"en":"still life of flowers, 17th century flemish school","es":"bodegón de flores, escuela flamenca del siglo xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20496/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":4500,"lastUpdate":"2026-07-01T16:43:22.361Z","textCase":"lower","estimate":"\u20ac8,000 - 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and was the only surviving son of the 1st duke, as his brother pedro, born in zafra in 1565, died at three months of age. when his father died, he was only twelve years old and had not yet been adequately instructed in a courtly career, something that was taken care of by his mother, jane dormer, who also instilled in him her deep catholicism, and his uncle the bishop of follow. he garnered a reputation for being gallant and quarrelsome, to the point that he was arrested twice on the orders of the king. he served felipe ii and felipe iii as extraordinary ambassador in rome (1591-1592) in the time of pope clement viii from whom he obtained relics and indulgences, extraordinary ambassador in france (1593-1595), viceroy and captain general of catalonia (1596-1602). ), viceroy of sicily (1603-1607). he was a patron of poets and humanists, especially the poet enrique cook and the humanist pedro de valencia. coat of arms of the 2nd duke of feria according to the \"terno de las águilas\" he first married (1577) isabel de cárdenas, daughter of the marquises of elche, who died shortly after marrying. secondly, he married (1581) beatriz álvarez de toledo, daughter of the duke of alba and thirdly (1586) with isabel de mendoza, daughter of the duke of infantado, who gave him the heir (1587) and made him definitively establish the head, which allowed him to dedicate himself henceforth to his important political tasks, but without reaching the height and brilliance that his father achieved. he died in 1607, after 17 years of widowhood, at the residence of the viceroy of naples. he is buried in the funerary or ducal chapel of the monastery of santa maría del valle de zafra, chapel that he himself ordered to be built in the first part of the 17th century. reference bibliography: salazar and acha, jaime de (2012). the greats of spain (15th-16th centuries). hidalguía editions. p. 154. isbn 978-84 939313-9-1.","es":"nacido en malinas (países bajos) y fue el único hijo que sobrevivió del i duque, pues su hermano pedro nacido en zafra en 1565 murió a los tres meses de vida. cuando murió su padre, tenía solo doce años y aún no había sido adecuadamente instruido en la carrera de cortesano, cosa de la que se ocupó su madre, jane dormer, que le inculcó además su profundo catolicismo, y su tío el obispo de sigüenza. cosechó fama de galante y pendenciero, hasta el punto que fue arrestado dos veces por órdenes del rey. sirvió a felipe ii y felipe iii como embajador extraordinario en roma (1591-1592) en tiempos del papa clemente viii del que consiguió reliquias e indulgencias, embajador extraordinario en francia (1593-1595), virrey y capitán general de cataluña (1596-1602), virrey de sicilia (1603-1607). fue mecenas de poetas y humanistas, en especial del poeta enrique cook y del humanista pedro de valencia. escudo de armas del ii duque de feria según el \"terno de las águilas\" casó en primeras nupcias (1577) con isabel de cárdenas, hija de los marqueses de elche, que 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fresco artists of the second half 17th century. he collaborated in the preparation of the vaults of el escorial and those of the old oratory of the madrid city council. between 1697 and 1701 he worked in valencia, painting the vaults of the church of santos juanes and the basilica of nuestra señora de los desamparados. in 1705, he traveled to salamanca where he executed the triunfo de la iglesia for the choir of the church of san esteban (in situ). between 1712 and 1713, he painted eight canvases with scenes and saints related to the history of the city of córdoba for the chapel of cardinal salazar and for the main altar of the cathedral, both in that city. between 1723 and 1725, he worked on his last work before his death, the decoration of the sacrarium of the carthusian monastery of el paular in granada. ordained a priest when he became a widower in 1725, he is known more for his facet as a writer and theoretician than for that of a painter, due to the publication of three volumes 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madrileña, en 1678 viajó a madrid. allí fue introducido en el círculo de juan carreño de miranda y claudio coello, quienes le facilitaron el contacto con las colecciones reales y le dieron la oportunidad de colaborar en algunas obras, como la decoración del cuarto de la reina maría luisa de orleans, primera esposa de carlos ii, y la galería del cierzo, ambas del real alcázar. estos trabajos le permitieron obtener el título de pintor del rey en 1688. la llegada de luca giordano a madrid en 1692 le hizo interesarse en el aprendizaje de la técnica del fresco, llegando a convertirse en uno de los más importantes fresquistas españoles de la segunda mitad del siglo xvii. colaboró en la preparación de las bóvedas de el escorial y las del antiguo oratorio del ayuntamiento de madrid. entre 1697 y 1701 trabajó en valencia, pintando las bóvedas de la iglesia de los santos juanes y de la basílica de nuestra señora de los desamparados. en 1705, viajó a salamanca donde ejecutó el triunfo de la iglesia para el coro de la iglesia de san esteban (in situ). entre 1712 y 1713, pintó ocho lienzos con escenas y santos relacionados con la historia de la ciudad de cór­doba para la capilla del cardenal ­salazar y para el altar mayor de la ­catedral, ambos en dicha ciudad. entre 1723 y 1725, trabajó en su última obra antes de su muerte, la decoración del sacrarium de la cartuja de el paular de granada. ordenado sacerdote al quedar viudo en 1725, se le conoce más por su faceta de escritor y teórico que por la de pintor, debido a la publicación de tres volúmenes que, agrupados bajo el título de el museo pictórico y escala óptica, tratan sobre la teórica de la pintura (1715), la práctica de la pintura (1724) y el parnaso español pintoresco laureado (1724). este último consta de doscientas veintiséis biografías de pintores y escultores que trabajaron en españa y constituye una fuente literaria fundamental para el estudio de la historia del arte español de ese periodo. bibliografía de 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xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20518/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":7000,"lastUpdate":"2026-08-25T11:29:10.135Z","textCase":"lower","estimate":"\u20ac10,000 - 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of oils on panel. measurements: 61 x 53 cm (framed) and 35 x 27 cm (boards). provenance: important private collection, spain.","es":"pareja de óleos sobre tabla. medidas: 61 x 53 cm (enmarcados) y 35 x 27 cm (tablas). procedencia: importante colección particular, españa."},"estimateMax":4500,"lotNumber":"158","title":{"en":"pair of gallant scenes, vienna school, 19th century","es":"pareja de escenas galantes, escuela de viena, siglo xix"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20522/view","tags":["esart_ancientpainting","esart","esart_all"],"directSalePrice":2500,"lastUpdate":"2026-08-25T11:29:06.288Z","textCase":"lower","estimate":"\u20ac3,500 - \u20ac4,500","currency":"EUR","id":20522,"estimateMin":3500},{"startPrice":35000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/013/013.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/014/014.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/015/015.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/016/016.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/017/017.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/018/018.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20523/019/019.jpg"],"available":false,"description":{"en":"pair of large oil paintings on copper. measurements: 150 x 136 cm (framed) and 131 x 116 cm (coppers). provenance: important private collection, spain. son of david teniers i, in his youth he was a faithful follower of his father's style and that of adam elsheimer, but he soon specialized in genre painting, in line with the tradition of the netherlands, where the taste for this type of works was greater than in any other european country. in 1638 he entered the guild of saint luke, of which he would become dean, and was soon protected by antonio tries, bishop of ghent, and later by archduke leopold wilhelm, appointed by philip iv governor of the states of flanders. teniers assisted in the archduke's acquisitions and contributed greatly to the formation of his fabulous art collection, acting as its curator. thanks to this, the painter had the opportunity to meet and study works by different masters, centuries, schools and genres. the cabinet paintings made by teniers are a valuable tool for locating the works collected by the archduke, as well as a delight for the senses due to their quality and fidelity to the originals. in them the painter appears together with his protector and his friends, something unusual, and which constitutes a vindication of the dignity of painting similar to the one that would later appear in las meninas. in 1651 his appointment as court painter caused him to move to brussels. the previous year he had begun work on the theatrum pictoricum, illustrated with two hundred and forty-four etchings of italian paintings by the most prestigious masters of the fifteenth, sixteenth, and seventeenth centuries, a precursor project of the current illustrated catalogues. when leopoldo guillermo left flanders to occupy the imperial throne, in 1656, this project was interrupted, as well as the functions of the painter at court. however, the arrival of leopoldo's successor, don juan josé de austria -also fond of painting-, led teniers to commissions similar to the previous ones. like rubens and van dyck, he was free to work on projects for patrons from other countries and had the admiration of christina of sweden, the duke of york, william ii of orange and louis ii of condé, without forgetting philip iv, who owned his works from an early date and supported his project to create the antwerp academy, which was finally inaugurated in 1669. his influence reached the 18th century, and it contributed to the rococo taste for the amiable subjects and themes of life and nature, the charm of small things and the grace of things and people. his paintings enriched the collections of the first bourbons in spain: fundamentally, that of isabel de farnesio. his compositions were copied in tapestries, which adorned the royal sites of madrid. he put his brushes at the service of a world opposed to the heroic one of rubens and the masters of history painting. daily life was the fundamental objective of his indulgence, themes and environments previously considered unworthy of high-ranking artists and which would later be very much to the liking of 19th-century society. this hierarchical distinction is found in spanish preceptists such as pacheco and carducho, who treat with disdain those who consecrate their brushes to such vulgarity. but the citizens of flanders were not of the same opinion, who liked to see the acts and lives of humble people immortalized with the same richness of color, emotion and poetry as other subjects considered more respectable. teniers, unlike adriaen brouwer, gave a friendly image of the taverns, of the very poor people, of the drunks and smokers that his teacher conveys to us with deeper and more sincere drama. teniers compensates for these limitations with the freshness of a technique of surprising virtuosity, drinking from the tradition of the beginning of the century, in coexistence with jan brueghel the elder, frans francken ii and joost de momper, to whom he owes the liveliness of the country parties in the open air. free, the kermesses, cabinet paintings and panoramic landscape views. it is appropriate to remember that he married anna, daughter of jan brueghel the elder and goddaughter of rubens, which gave him an enviable social level. in his painting cabinets he added a series of innovations, renouncing the allegorical pretexts of jan brueghel the elder and rubens, to establish an environmental reality and an unquestionable documentary content. reference bibliography: david teniers, jan brueghel and the cabinets of paintings, cat. exp., madrid, museo del prado, 1992. peyre, roger, david teniers, paris, henri laurens, 1910. renouncing the allegorical pretexts of jan brueghel the elder and rubens, to fix an environmental reality and an unquestionable documentary content. reference bibliography: david teniers, jan brueghel and the cabinets of paintings, cat. exp., madrid, museo del prado, 1992. peyre, roger, david teniers, paris, henri laurens, 1910. renouncing the allegorical pretexts of jan brueghel the elder and rubens, to fix an environmental reality and an unquestionable documentary content. reference bibliography: david teniers, jan brueghel and the cabinets of paintings, cat. exp., madrid, museo del prado, 1992. peyre, roger, david teniers, paris, henri laurens, 1910.","es":"pareja de grandes óleos sobre cobre. medidas: 150 x 136 cm (enmarcados) y 131 x 116 cm (cobres). procedencia: importante colección particular, españa. hijo de david teniers i, fue en su juventud fiel seguidor del estilo de su padre y el de adam elsheimer, pero pronto se especializó en la pintura de género, en línea con la tradición de los países bajos en donde el gusto por ese tipo de obras era mayor que en ningún otro país europeo. en 1638 ingresó en el gremio de san lucas, del que llegaría a ser decano, y pronto fue protegido por antonio tries, obispo de gante, y más tarde por el archiduque leopoldo guillermo, nombrado por felipe iv gobernador de los estados de flandes. teniers colaboró en las adquisiciones del archiduque y contribuyó en gran medida a la formación de su fabulosa colección de arte, actuando como conservador de la misma. gracias a ello el pintor tuvo la oportunidad de conocer y estudiar obras de diferentes maestros, siglos, escuelas y géneros. las pinturas de gabinetes que realizó teniers son un valioso instrumento para la localización de las obras que reunió el archiduque, además de un deleite para los sentidos por su calidad y fidelidad a los originales. en ellas el pintor aparece junto a su protector y los amigos de éste, algo poco frecuente, y que constituye una reivindicación de la dignidad de la pintura similar a la que posteriormente aparecerá en las meninas. en 1651 su nombramiento como pintor de la corte hizo que se trasladara a bruselas. el año anterior había comenzado a trabajar en el theatrum pictoricum, ilustrado con doscientos cuarenta y cuatro aguafuertes de pinturas italia­nas de los más prestigiosos maestros de los siglos xv, xvi y xvii, un proyecto ­precursor de los actuales catálogos ilustrados. al dejar flandes leopoldo guillermo para ocupar el trono imperial, en 1656, este proyecto se interrumpe, así como las funciones del pintor en la corte. sin embargo, la llegada del sucesor de leopoldo, don juan josé de austria -también aficionado a la pintura-, le propició a teniers encargos análogos a los anteriores. igual que rubens y van dyck, tuvo libertad para trabajar en proyectos para mecenas de otros ­países y contó con la admiración de cristina de suecia, el duque de york, guillermo ii de orange y luis ii de condé, sin olvidar a felipe iv, quien poseyó obras suyas desde fecha temprana y apoyó su proyecto de crear la academia de amberes, que finalmente se inauguró en 1669. su influencia llegó al siglo xviii, y contribuyó al gusto rococó por los asuntos y temas amables de la vida y la naturaleza, el encanto por lo menudo y la gracia de las cosas y las gentes. sus pinturas enriquecieron las colecciones de los primeros borbones de españa: fundamentalmente, la de isabel de farnesio. sus composiciones se copiaron en tapices, que adornaron los reales sitios de madrid. puso sus pinceles al servicio de un mundo opuesto al heroico de rubens y los maestros de la pintura de historia. la vida cotidiana fue objetivo fundamental de su complacencia, temas y ambientes considerados anteriormente indignos de los artistas de rango y que posteriormente serían muy del gusto de la sociedad del siglo xix. esta distinción jerárquica se encuentra en los preceptistas españoles como pacheco y carducho, que tratan con desdén a aquellos que consagran sus pinceles a tal vulgaridad. pero no eran de la misma opinión los ciudadanos de flandes, que gustaban de ver inmortalizados los actos y vidas de las gentes humildes con igual riqueza de color, emoción y poesía que otros temas considerados más respetables. teniers, a diferencia de adriaen brouwer, dio una imagen amable de las tabernas, de las gentes paupérrimas, de los borrachos y fumadores que su maestro nos transmite con más profundo y sincero dramatismo. teniers compensa estas limitaciones con el frescor de una técnica de sorprendente virtuosismo, bebiendo de la tradición de principios del siglo, en convivencia con jan brueghel el viejo, frans francken ii y joost de momper, a quienes debe la viveza de las ­fiestas campestres al aire libre, las kermesses, las pinturas de gabinetes y las vistas de paisajes panorámicos. es oportuno recordar que casó con anna, hija de jan brueghel el viejo y ahijada de rubens, lo que le proporcionó un envidiable nivel social. en sus gabinetes de pinturas añadió una serie de novedades, renunciando a los pretextos alegóricos de jan brueghel el viejo y rubens, para fijar una realidad ambiental y un contenido documental incuestionable. bibliografía de referencia: david teniers, jan brueghel y los gabinetes de pinturas, cat. exp., madrid, museo del prado, 1992. peyre, roger, david teniers, parís, henri ­laurens, 1910."},"estimateMax":60000,"lotNumber":"159","title":{"en":"\"annunciation of mary\" and \"saint raphael the archangel\", pair of important coppers, school of david teniers ii (antwerp, c. 1610-brussels, 1690), flemish school of the 17th century","es":"\"anunciaión de maría\" y \"san rafael arcángel\", pareja de importantes cobres, escuela de david teniers ii (amberes, h. 1610-bruselas, 1690), escuela flamenca del siglo xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20523/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":35000,"lastUpdate":"2026-08-25T11:29:05.096Z","textCase":"lower","estimate":"\u20ac40,000 - \u20ac60,000","currency":"EUR","id":20523,"estimateMin":40000},{"startPrice":10000,"sold":true,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20524/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20524/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20524/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20524/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20524/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20524/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20524/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20524/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20524/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20524/010/010.jpg"],"soldDate":"2022-03-10","available":false,"description":{"en":"oil on canvas. measurements: 92 x 79 cm (framed) and 77 x 64 cm (canvas). provenance: important private collection, spain. after the death of the great painter ribalta (1628), he became the absolute ruler of the valencian art scene from a young age, where he preferably worked for numerous convents and religious orders. the large number of commissions that he received has served as a documentary source for the knowledge of his biography. the only period from which we lack news of him is between 1640 and 1647, which has given rise to various speculations about trips to madrid and seville. his passage through the andalusian capital, above all, has become a helpful argument to explain his stylistic concomitance with zurbarán. his training was developed together with his progenitor, a humble painter from valladolid established halfway between cocentaina and valencia, although the success of ribalta's achievements would leave a permanent mark on our artist. the family's move to valencia must have taken place during jerónimo jacinto's childhood, probably around 1612. the first known work by him is dated that same year, which shows his precocity. in 1616 he appears registered in the college of painters of the mediterranean city, declaring that he had been working with his father for a year. in valencia he developed the rest of his existence -if we exclude the possible trips mentioned-, painting for the local environment and, as far as we know, leading a comfortable and quiet life. his extensive production reflects the scant evolution of his art. his painting, like his characters, appears out of time, arrested in solemn and symmetrical compositions. his monastic series are the ones that are closest to zurbarán's work and, as in this one, the monumental verticality of the religious dominates, the meticulous reflection of the fabrics and the intensity and naturalism of the faces, as if illuminated. when painters throughout spain adhered to the most fully baroque formulas, espinosa still appears static in the strictest tenebrism, using a strong directed light that illuminates the scene with powerful contrasts. all this speaks to us of a style that is out of date, isolated, self-absorbed, but that responds to the demand for pious art requested by the local clientele. his fervent naturalism also enabled him to make a handful of vivid and analytical portraits. there are nine canvases by espinosa present in the prado museum. among them, it is worth highlighting la magdalena penitente, as it is a reflection, not only of espinosa's painting, but also of the path that her works have traveled in the prado. his work in the local valencian environment meant that none of them reached the royal collections until the time of ferdinand vii, his presence in the museum being due to modern purchases. thus, la magdalena penitente was acquired in 1992 after passing through various collectors. previously, in 1838, it had been part of the collection of luis felipe de orleans. it is an eloquent testimony to the aesthetics of the painter, with the saint in full ecstasy, illuminated by a harsh overhead light that leads to the stiffness of fabrics and flesh, and is a sign of a piety as simple as it is devout, very much from the 17th century.","es":"óleo sobre lienzo. medidas: 92 x 79 cm (enmarcado) y 77 x 64 cm (lienzo). procedencia: importante colección particular, españa. tras la muerte del gran pintor ribalta (1628) se convirtió desde joven en el dominador absoluto de la escena artística valenciana, donde preferentemente trabajó para numerosos conventos y órdenes religiosas. el gran número de encargos que recibió ha servido de fuente documental para el conocimiento de su biografía. el único periodo del que nos faltan noticias suyas es el comprendido entre 1640 y 1647, lo que ha dado pie a diversas especulaciones sobre viajes a madrid y sevilla. el paso por la capital andaluza, ­sobre todo, se ha convertido en socorrido argumento para explicar las concomitancias estilísticas con zurbarán. su formación se desarrolló junto a su progenitor, un humilde pintor vallisoletano establecido a caballo entre cocentaina y valencia, aunque el éxito de las realizaciones de ribalta dejaría permanente impronta en nuestro artista. el traslado de la familia a valencia debió de realizarse durante la infancia de jerónimo jacinto, seguramente hacia 1612. en ese mismo año se fecha su primera obra conocida, lo que da muestra de su precocidad. en 1616 aparece inscrito en el colegio de pintores de la ciudad mediterránea, declarando que trabajaba con su padre desde hacía un año. en valencia desarrolló el resto de su existencia -si exceptuamos los posibles viajes citados-, pintando para el medio local y, por lo que sabemos, llevando una vida confortable y tranquila. su extensa producción refleja la escasa evolución de su arte. su pintura, como sus personajes, aparece como fuera del tiempo, detenida en composiciones solemnes y simétricas. sus series monásticas son las que más se acercan a la obra de zurbarán y, como en ésta, domina la verticalidad monumental de los religiosos, el minucioso reflejo de las telas y la intensidad y naturalismo de los rostros, como de iluminados. cuando en toda españa los pintores se adherían a las fórmulas más plenamente barrocas, espinosa aparece todavía estático en el más estricto tenebrismo, utilizando una fuerte luz dirigida que alumbra la escena con poderosos contrastes. todo ello nos habla de un estilo que está fuera de época, aislado, ensimismado, pero que responde a la demanda de arte piadoso solicitada por la clientela local. su ferviente naturalismo le capa­citó, asimismo, para la realización de un puñado de vivos y analíticos retratos. son nueve los lienzos de espinosa presentes en el museo del prado. de entre ellos cabe destacar la magdalena penitente, pues es reflejo, no solo de la pintura de espinosa, sino también del camino que han recorrido sus obras en el prado. su trabajo en el medio local valenciano hizo que ninguna llegara a las colecciones reales hasta los tiempos de fernando vii, debiéndose su presencia en el museo a compras modernas. así, la magdalena penitente fue adquirida en 1992 tras pasar por diversos coleccionistas. anteriormente, en 1838, había formado parte de la colección de luis felipe de orleans. es testimonio elocuente de la estética del pintor, con la santa en pleno éxtasis, alumbrada por una dura luz cenital que lleva al acartonamiento de las telas y las carnes, y es muestra de una piedad tan sencilla como devota, muy del xvii, en la que lo trascendente se presenta en lo coti­diano, y que refleja el gusto de la demanda del consumo local al que abasteció espinosa durante toda su vida."},"estimateMax":25000,"lotNumber":"160","title":{"en":"portrait of saint john the baptist, in the manner of jerónimo jacinto espinosa (alicante, 1600 - valencia, 1667), spanish school of the 17th century","es":"retrato de san juan bautista, a la manera de jerónimo jacinto espinosa (alicante, 1600 - valencia, 1667), escuela española del siglo xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20524/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":10000,"soldPrice":11000,"lastUpdate":"2026-07-01T16:43:25.073Z","textCase":"lower","estimate":"\u20ac18,000 - \u20ac25,000","currency":"EUR","id":20524,"estimateMin":18000},{"startPrice":7000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/013/013.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/014/014.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/015/015.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/016/016.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/017/017.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/018/018.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/019/019.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20525/020/020.jpg"],"available":false,"description":{"en":"pair 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cedar wood, with ebony and stained bone inlays, measurements: 13 x 27.5 x 15 cm. provenance: private collection, paris, export permit attached. the piece that we present stands out for it's quality and the use of inlay marquetry, an andalusian technique characteristic of the spanish late middle ages as an ornamental procedure for furniture and household items. the term inlay, whose origin is found in the arabic word tarsi (inlay), traditionally applied to the ornamentation of pieces of furniture with fine fragments of different colors and textures, as well as with other materials such as bone and ivory. we find the origin of this industry in córdoba, during the omeya al-andalus, it will not be until the time of the nasrid sultanate, when its use becomes popular in noble and courtly environments as a procedure to ennoble objects of the wealthiest classes. after the capture of granada, even before the conquest, we find pieces produced with the same moorish influence. as a synonym, the spanish word \u201cmarquetry\u201d is usually used. already in the caliphate period, an excellent cabinet-making workshop located in the umayyad córdoba was active in al-andalus. a technique that consists of gluing small prismatic portions (triangular and/or trapezoidal) of ivory or bone \u2013 in natural color or dyed, together with small polygonal pieces of selected woods, often of exotic origin (aloe, ebony, sandalwood, boxwood). , lemon tree\u2026), to which fragments of tortoiseshell or mother-of-pearl and even small metallic silver or bronze points were added. to achieve the green color of the inlays, the most used technique was to obtain it based on copper compounds impregnated in the bone. even after the capture of granada, moorish artisans ran inlay workshops located in places like seville, aragon or catalonia. these converted masters would be in charge of keeping this production alive throughout the modern age, even exporting it to the new continent. also noteworthy is the use of inlay since the 14th century in workshops in northern italy, applied to pieces of ivory or bone. far from disappearing, in the 18th and 19th centuries the marquetry of the moorish tradition acquired a great diffusion in the peninsula, deeply rooted in the artisan practice of southern spain, in such a way that even today it is possible to acquire in granada both modern souvenirs executed in this technique and interpretations and reproductions of furniture in marquetry emulating the mastery of mudejar artisans. works in comparison: nazarí casket in marquetry, instituto valencia de don juan, madrid, inv. nº 4862 reference bibliography: \u201cgalán, medieval ivories of islam, p. 483\u201d ; \u201cyes. calvo capilla, \u201ctwo inlaid chests\u201d, in ig bango torviso (coord.), wonders of medieval spain. sacred treasure and monarchy, valladolid, 2001, vol. i, p. 120, no. 36; art and cultures of al-andalus, cat. no. 156\u201d. in such a way that even today it is possible to acquire in granada both modern souvenirs executed in this technique and interpretations and reproductions of furniture in marquetry emulating the mastery of mudejar craftsmen. works in comparison: nazarí casket in marquetry, instituto valencia de don juan, madrid, inv. nº 4862 reference bibliography: \u201cgalán, medieval ivories of islam, p. 483\u201d ; \u201cyes. calvo capilla, \u201ctwo inlaid chests\u201d, in ig bango torviso (coord.), wonders of medieval spain. sacred treasure and monarchy, valladolid, 2001, vol. i, p. 120, no. 36; art and cultures of al-andalus, cat. no. 156\u201d. in such a way that even today it is possible to acquire in granada both modern souvenirs executed in this technique and interpretations and reproductions of furniture in marquetry emulating the mastery of mudejar craftsmen. works in comparison: nazarí casket in marquetry, instituto valencia de don juan, madrid, inv. nº 4862 reference bibliography: \u201cgalán, medieval ivories of islam, p. 483\u201d ; \u201cyes. calvo capilla, \u201ctwo inlaid chests\u201d, in ig bango torviso (coord.), wonders of medieval spain. sacred treasure and monarchy, valladolid, 2001, vol. i, p. 120, no. 36; art and cultures of al-andalus, cat. no. 156\u201d. nº 4862 reference bibliography: \u201cgalán, medieval ivories of islam, p. 483\u201d ; \u201cyes. calvo capilla, \u201ctwo inlaid chests\u201d, in ig bango torviso (coord.), wonders of medieval spain. sacred treasure and monarchy, valladolid, 2001, vol. i, p. 120, no. 36; art and cultures of al-andalus, cat. no. 156\u201d. nº 4862 reference bibliography: \u201cgalán, medieval ivories of islam, p. 483\u201d ; \u201cyes. calvo capilla, \u201ctwo inlaid chests\u201d, in ig bango torviso (coord.), wonders of medieval spain. sacred treasure and monarchy, valladolid, 2001, vol. i, p. 120, no. 36; art and cultures of al-andalus, cat. no. 156\u201d.","es":"en madera de cedro, con incrustaciones de &eacute;bano y hueso tintado, medidas: 13 x 27,5 x 15 cm. procedencia: colecci&oacute;n particular, par&iacute;s, se adjunta permiso de exportaci&oacute;n. \n la pieza que presentamos destaca por el empleo de la taracea, una t&eacute;cnica andalus&iacute; caracter&iacute;stica de la baja edad media espa&ntilde;ola como procedimiento ornamental para el mobiliario y los enseres dom&eacute;sticos. el t&eacute;rmino taracea, cuyo origen se encuentra en la palabra &aacute;rabe tarsi (incrustaci&oacute;n), tradicionalmente aplicada a la ornamentaci&oacute;n de piezas de mobiliario con finos fragmentos de diferentes colores y texturas, as&iacute; como con otros materiales como el hueso y el marfil. \n encontramos el origen de esta industria en c&oacute;rdoba, durante el al-andalus omeya, no ser&aacute; hasta la &eacute;poca del sultanato nazar&iacute;, cuando su uso se popularice en ambientes nobles y cortesanos como procedimiento para ennoblecer objetos de las clases m&aacute;s pudientes. \n despu&eacute;s de la toma de granada, incluso con anterioridad a la conquista, encontramos piezas producidas con la misma influencia morisca. como sin&oacute;nimo suele emplearse la palabra castellana \u201cmarqueter&iacute;a\u201d. ya en &eacute;poca califal se encontraba activo en al-andalus un excelente taller de ebanister&iacute;a ubicado en la c&oacute;rdoba omeya. \n una t&eacute;cnica que consiste en el encolado de peque&ntilde;as porciones prism&aacute;ticas (triangulares y/o trapezoidales) de marfil o hueso \u2013en color natural o te&ntilde;idas, junto a pedacitos poligonales de maderas selectas, muchas veces de procedencia ex&oacute;tica (aloe, &eacute;bano, s&aacute;ndalo, boj, limonero\u2026), a las que se agregaban en algunas ocasiones fragmentos de carey o n&aacute;car e incluso peque&ntilde;as puntas met&aacute;licas de plata o bronce. para conseguir el color verde de las incrustaciones la t&eacute;cnica m&aacute;s utilizada fue el conseguirlo a base de compuestos de cobre impregnados en el hueso. \n incluso desp&eacute;s de la toma de granada, artesanos moriscos regentaban talleres de taracea ubicados en lugares como sevilla, arag&oacute;n o catalu&ntilde;a. estos maestros conversos se encargar&iacute;an de mantener viva esta producci&oacute;n a lo largo de toda la edad moderna, export&aacute;ndola incluso al nuevo continente. destaca tambi&eacute;n el uso de la taracea desde el siglo xiv en talleres del norte de italia, aplicada sobre piezas de marfil o hueso. lejos de desaparecer, en los siglos xviii y xix la marqueter&iacute;a de tradici&oacute;n morisca adquiri&oacute; una gran difusi&oacute;n en la pen&iacute;nsula, arraigando profundamente en la pr&aacute;ctica artesanal del sur de espa&ntilde;a, de tal manera que a&uacute;n hoy es posible adquirir en granada tanto souvenirs modernos ejecutados en esta t&eacute;cnica como interpretaciones y reproducciones de mobiliario en marqueter&iacute;a emulando la maestr&iacute;a de los artesanos mud&eacute;jares. \n obras en comparaci&oacute;n: arqueta nazar&iacute; en taracea, instituto valencia de don juan, madrid, inv. n&ordm; 4862. \n bibliograf&iacute;a de referencia: \u201cgal&aacute;n, marfiles medievales del islam, p. 483\u201d ; \u201cs. calvo capilla, \u201cdos arquetas de taracea\u201d, en i. g. bango torviso (coord.), maravillas de la espa&ntilde;a medieval. tesoro sagrado y monarqu&iacute;a, valladolid, 2001, vol. i, p. 120, n&ordm; 36; arte y culturas de al-andalus, cat. n&ordm; 156\u201d."},"estimateMax":80000,"lotNumber":"172","title":{"en":"nasrid box in marquetry inlay, hispano moresque work, granada 14th - 15th centuries","es":"cofre nazarí en taracea, trabajo hispanoárabe, granada siglos xiv - xv"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20536/view","tags":["esart_decorative","esart","esart_all"],"directSalePrice":25000,"soldPrice":35000,"lastUpdate":"2026-07-01T16:43:37.078Z","textCase":"lower","estimate":"\u20ac40,000 - \u20ac80,000","currency":"EUR","id":20536,"estimateMin":40000},{"startPrice":12000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20537/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20537/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20537/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20537/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20537/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20537/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20537/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20537/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20537/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20537/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20537/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20537/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20537/013/013.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20537/014/014.jpg"],"available":false,"description":{"en":"oil on board, 154 x 113 cm (with frame) and 142 x 99 cm (canvas).","es":"óleo sobre tabla, 154 x 113 cm (con marco) y 142 x 99 cm (lienzo)."},"estimateMax":25000,"lotNumber":"173","title":{"en":"adoration of shepherds, hispano-flemish school of the xvi - xvii century","es":"la adoración de pastores, escuela hispanoflamenca del siglo xvi - xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20537/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":12000,"lastUpdate":"2026-07-01T16:43:37.082Z","textCase":"lower","estimate":"\u20ac18,000 - \u20ac25,000","currency":"EUR","id":20537,"estimateMin":18000},{"startPrice":9000,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/013/013.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/014/014.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/015/015.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20538/016/016.jpg"],"available":false,"description":{"en":"pair of oils on panel, 117 x 74 cm (each)","es":"pareja de óleos sobre tabla, 117 x 74 cm (cada uno)"},"estimateMax":18000,"lotNumber":"174","title":{"en":"pair of panels representing saint anne teaching the virgin and saint louis to read, spanish school from the 17th and 18th centuries","es":"pareja de tablas representando a santa ana enseñando a leer a la virgen y san luis, escuela española de los siglos xvii xviii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20538/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":9000,"lastUpdate":"2026-07-01T16:43:37.084Z","textCase":"lower","estimate":"\u20ac14,000 - \u20ac18,000","currency":"EUR","id":20538,"estimateMin":14000},{"startPrice":4250,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/010/010.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/011/011.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/012/012.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/013/013.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/014/014.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/015/015.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/016/016.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20539/017/017.jpg"],"available":false,"description":{"en":"oil on canvas, 125 x 116 cm (with frame) and 110 x 100 cm (canvas).","es":"óleo sobre lienzo, 125 x 116 cm (con marco) y 110 x 100 cm (lienzo)."},"estimateMax":8500,"lotNumber":"175","title":{"en":"pair of landscapes, 19th century spanish school, signed morera","es":"pareja de paisajes, escuela española delsiglo xix, firmados morera"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20539/view","tags":["esart_moderncontemporarypainting","esart","esart_all"],"directSalePrice":4250,"lastUpdate":"2026-07-01T16:43:37.086Z","textCase":"lower","estimate":"\u20ac6,500 - \u20ac8,500","currency":"EUR","id":20539,"estimateMin":6500},{"startPrice":4500,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20540/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20540/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20540/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20540/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20540/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20540/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20540/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20540/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20540/009/009.jpg"],"available":false,"description":{"en":"oil on canvas, 94 x 96 cm (canvas)","es":"óleo sobre lienzo, 94 x 96 cm (lienzo)"},"estimateMax":8000,"lotNumber":"176","title":{"en":"virgin with child and little saint john, flemish school from the 17th - 18th centuries, follower of peter paul rubens","es":"virgen con niño y san juanito, escuela flamenca de los siglos xvii - xviii, seguidor de peter paul rubens"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20540/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":4500,"lastUpdate":"2026-07-01T16:43:37.088Z","textCase":"lower","estimate":"\u20ac6,000 - \u20ac8,000","currency":"EUR","id":20540,"estimateMin":6000},{"startPrice":3750,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20541/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20541/002/002.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20541/003/003.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20541/004/004.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20541/005/005.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20541/006/006.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20541/007/007.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20541/008/008.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20541/009/009.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20541/010/010.jpg"],"available":false,"description":{"en":"oil on canvas, 111 x 92 cm (with frame) and 102 x 83 cm (canvas).","es":"óleo sobre lienzo, 111 x 92 cm (con marco) y 102 x 83 cm (lienzo)."},"estimateMax":6000,"lotNumber":"177","title":{"en":"martyrdom of saint lawrence, 17th century italian school","es":"martirio de san lorenzo, escuela italiana del siglo xvii"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20541/view","tags":["esart_oldmasters","esart","esart_all"],"directSalePrice":3750,"lastUpdate":"2026-07-01T16:43:37.094Z","textCase":"lower","estimate":"\u20ac5,000 - 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española de los siglos xix - xx"},"url":"https://es.bidspirit.com/ui/lotPage/templum/source/catalog/auction/21117/lot/20653/view","tags":["esart_moderncontemporarypainting","esart","esart_all"],"directSalePrice":600,"lastUpdate":"2026-07-01T16:43:55.846Z","textCase":"lower","estimate":"\u20ac900 - \u20ac1,200","currency":"EUR","id":20653,"estimateMin":900},{"startPrice":800,"sold":false,"images":["https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20654/001/001.jpg","https://bidspirit-images.global.ssl.fastly.net/templum/cloned-images/20654/002/002.jpg"],"available":false,"description":{"en":"in glazed and polychrome ceramic. measurements: 23 x 22 x 5 cm. provenance: former private collection of an important collector, barcelona. italian painter, draftsman, animator and set designer born in genoa. luzatti was born on june 3, 1921, into a genoese family of jewish origin. due to the racial laws of the time, the family is forced to leave the city in 1940, and the young emanuele sees his studies interrupted. the luzzatis move to switzerland, more precisely to lausanne, a city where emanuele begins to attend the school of fine arts (école des beaux-arts), finally obtaining his diploma. once the war ended emanuel and his family returned to italy. as a set designer he did work for the london festival ballet, the chicago opera house, or the vienna staatsoper. he also collaborated as an illustrator for works by italo calvino and the brothers grimm, and was nominated for an oscar in 1966 and 1974 for the animated shorts \"la gazza ladra\" and \"pulcinella\" respectively, as animator and screenwriter. in 2001 he was awarded the order of merit of the italian republic, at the initiative of the head of state. he passed away in his hometown on january 26, 2007, at the age of 85.","es":"en cerámica vidriada y policromada. medidas: 23 x 22 x 5 cm. procedencia: antigua colección particular de un importante coleccionista, barcelona. pintor, dibujante, animador y escenógrafo italiano nacido en génova. luzatti nace un el 3 de junio de 1921, en el seno de una familia genovesa de origen judío. debido a las leyes raciales de la época la familia se ve obligada a abandonar la ciudad en 1940, y el joven emanuele ve interrumpidos sus estudios. los luzzati se mudan a suiza, más precisamente a lausana, ciudad donde emanuele comienza a asistir a la escuela de bellas artes (école des beaux-arts), obteniendo finalmente su diploma. una vez que la guerra concluyó emanuel y su familia retornaron a italia. como escenógrafo realizó trabajos para el london festival ballet, la chicago opera house, o la vienna staatsoper. colaboró asimismo como ilustrador de obras de italo calvino y los hermanos grimm, y fue nominado al óscar en 1966 y 1974 por los cortos de animación \"la gazza ladra\" y \"pulcinella\" respectivamente, en calidad de animador y guionista. en el año 2001 fue condecorado con la orden al mérito de la república italiana, por iniciativa del jefe de 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(bologna, july 31, 1595 - rome, june 10, 1654). measurements: 13 x 10 x 6 cm. provenance: former private collection, spain.","es":"en bronce macizo patinado, finamente cincelado a mano. posiblemente un modelo de presentación para una fontana en un palazzo o un jardín, maestro italiano o francés de siglos xvii - xvii. cercano a modelos de jerôme duquesnoy (ii) el joven (bautizado el 8 de mayo de 1602-28 de septiembre de 1654) y alessandro algardi alessandro algardi (bolonia, 31 de julio de 1595 - roma, 10 de junio de 1654). medidas: 13 x 10 x 6 cm. procedencia: antigua colección particular, españa."},"estimateMax":3500,"lotNumber":"291","title":{"en":"rare model of a triton in bronze for a fountain, french or italian master of the 17th - 18th centuries","es":"raro modelo de tritón para fuente en bronce patinado, maestro francés o italiano de los siglos xvii - 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