German Flemish relief late 14th - 15th century Gothic period. Measurements: 87 x 72 cm.
Virgin Spanish School Oil on panel. Framed measurements: 132 x 111 cm, board measurements: 106 x 89 cm
Oil on table. Framed measures: 175 x 122 cm, canvas measures: 152 x 97 cm. Born in Almendralejo between 1502 and 1506, he trained with his father, the painter Juan de Vargas; He moved to Italy at a very young age, where, apparently, he spent most of his life and where he completed his training working in the circle of Rafael's immediate followers, among whom Perino del Vaga stands out. There he must have painted his youthful work, which has not yet been recognized, and wrote his diary in the Tuscan language, to which biographers refer and which unfortunately has not been preserved. Back in Seville, when he is close to turning 50, he works in the city and achieves great fame in its artistic circles; He died in that city in 1567, after having contributed to the renewal of Andalusian painting, by consolidating in the Sevillian school the Romanist forms introduced by the flamenco Pedro de Campaña. Francisco Pacheco, to whom his best portrayal is due, included in the Book of Portraits, conveyed a series of compliments on his person that are not limited to the field of painting but also pertain to the human realm, highlighting, with accomplished examples, his modesty and religiousness. Reference bibliography: “DE LA BANDA Y VARGAS, Antonio: Luis de Vargas”
Oil on table. Framed measurements: 160 x 130 cm, canvas measurements: 124 x 94 cm. (Viterbo, c. 1588-Rome, 1625). Italian painter. He arrived in Rome when he was still a child. It is assumed that in a first stage he trained in the workshop of the painter Pomarancio, to later become a protégé of the noble family of the Crescenzi. In 1617 he arrived in Spain, accompanying Giovanni Battista Crescenzi, who would become the true definer of artistic taste at the Madrid court. After a Spanish stay of almost two years, the painter returned to Rome in 1619. Within the Roman pictorial environment, he concentrated on learning Caravaggian forms, so in vogue during his training. Only one work by Cavarozzi is kept in the Prado Museum: La Sagrada Familia and Santa Catalina, which has been dated between 1617 and 1619, within the painter's Spanish period. Several copies of this composition are preserved, which must have been repeated a lot. The first specific reference to it can be found in the Isabel de Farnesio collection, in which it was listed in 1746 as the work of Guido Reni. It was Longhi who first attributed the work to Cavarozzi, and it has remained so. Reference bibliography: Pérez Sánchez, Alfonso E., Borgianni, Cavarozzi and Nardi in Spain, Madrid, Diego Velázquez Institute, csic, 1964, p. 22. Provenance: important private Spanish collection
