Four reliefs of the four Evangelists, Hispano-Flemish school, 17th century. In oak. With later inscriptions on the base of each relief. Each measures 77 x 40 x 2 cm.
Dutch Pantry, oil on panel, 17th-century Dutch school. Signed in the lower center corner, oil on oak panel. Dimensions: 79 x 60 cm, framed dimensions: 125 x 106 cm. Possibly by Pieter Symonsz Potter (Netherlands, 1597–1652). “In the Stable.” Oil on panel. With the inscription “Eschayen” in the lower left corner. Dimensions: 60 x 78 cm; 106 x 124.5 cm (framed). This panel depicts an everyday scene of the period, featuring a maidservant busy with her work inside a large stable with wooden walls and ceiling. Beside her, almost as if it were a still life, we see all kinds of objects and foodstuffs: meats, vegetables, dead birds, and all sorts of containers, combined with the presence of live animals (a cat and two poultry). The scene is completed by the presence of a cow on the right, behind the figure of the woman bending over to pour milk into a large tub. This combination of genre painting, with its inconsequential and everyday subject matter, and the prominent presence of food and other objects typical of still-life painting, was common within the Dutch Baroque school, in the context of the formation and independence of new pictorial genres. A painter of the Flemish Golden Age, Potter was the town clerk of his native city of Enkhuizen, according to Arnold Houbraken (1660-1719), a Flemish painter and writer who continued the biographies of painters begun by Karen van Mander in the 16th century. He married Aechtje Bartsius, sister of the painter Willem Bartsius (c. 1612-1639), and was the father of the painter Pieter Potter II. He began his training as a glass painter, though in 1628 he abandoned this career and moved to Leiden to learn oil painting techniques. He remained in Leiden for three years, until 1631, when he moved to Amsterdam, where he lived and worked for the rest of his life, except for a two-year stay in The Hague between 1647 and 1649. Primarily known for his genre scenes and rural landscapes, Potter joined the Guild of Saint Luke in 1646 and the Confrerie Picturia of The Hague in 1647. The latter was a less academic association than the Guild of Saint Luke, and in some ways reactionary to it. Besides his more familiar subjects, this painter also produced portraits, scenes from the Old and New Testaments, classical mythology, and literary subjects, some of which were conceived as models for engravings. Still lifes also constitute a significant part of his output. Within his genre paintings, we can distinguish several themes: cheerful groups of ordinary people, scenes of peasant life and folk subjects, as well as military motifs (army encampments, skirmishes, and interior scenes featuring soldiers—the latter a true novelty for the time). Currently, Pieter Symonsz Potter is represented in the Louvre Museum, the Metropolitan Museum of Art in New York, the National Museum in Warsaw, the Museum of Fine Arts in Budapest, the Rijksmuseum in Amsterdam, the Mauritshuis in The Hague, the Royal Museums of Fine Arts in Copenhagen, Wawel Castle in Krakow, the Museum of Fine Arts in Poitiers, the National Gallery of Norway, and the Royal Museums of Fine Arts in Brussels, among other important public and private collections.
Pair of oil paintings on canvas. Dimensions: 145 x 92 cm (framed) and 149 x 123 cm (canvases). Provenance: important private collection, Spain. This is an exceptional 17th-century canvas depicting the allegory of summer, following the typical style of still lifes popularized by Blas de Ledesma. Blas de Ledesma, the first Spanish painter documented in Granada between 1602 and 1614, is considered one of the first artists in Spain to cultivate still life painting and one of its greatest exponents. With only one signed work, a veil of mystery surrounds him, placing him, along with Pedro de Raxis, as the possible author of the dome crowning the imperial staircase of the Monastery of Santa Cruz la Real in Granada. In 1606, he is documented in Andújar (Jaén), working on the painting of one of the vaults in the Church of Santa María. It is this status as a mural painter to which Francisco Pacheco refers, mentioning him favorably in his work, *Arte de la Pintura*, when discussing the technique of gilding, alongside Pedro de Raxis and Antonio Mohedano. In 1614, back in Granada, he drew a plaster vault for the Hall of the Muqarnas in the Alhambra and is mentioned in the cathedral, with unspecified work, alongside Miguel Cano, father of Alonso Cano. His death is documented in late 1615 or early 1616, since the Brotherhood of Corpus Christi, to which he belonged, celebrated a requiem mass for his soul on January 5, 1616. His only signed and documented work is the Still Life in the High Museum of Art in Atlanta, Georgia. In it, a wicker basket filled with cherries stands in the center, with a few flowers symmetrically arranged on either side. Even the cherries that have fallen onto the tablecloth appear carefully arranged, and everything is painted with meticulous and precise technique. Ledesma may have been inspired by the work of Juan Sánchez Cotán, who lived in Granada from 1604. Reference bibliography: Pérez Sánchez, Alfonso E. (1983). Spanish Still Life Paintings and Flower Vases from 1600 to Goya. Madrid, Ministry of Culture, exhibition catalog. Pp. 70-71. ISBN 84-500-9335-X. Attributed to LEDESMA, Blas de (documented in Granada between 1602 and 1614). “Still Lifes with Fruit, Birds and Flower Vases”. Pair of oil paintings on canvas. CERTIFIED BY THE AMAYER INSTITUTE. Dimensions: 145 x 92 cm; 169.5 x 116 cm (frame). Still lifes very similar to those presented here can be seen in the book “Blas de Ledesma and the Spanish Still Life,” by Ramón Torres Martín (self-published, 1978). In this pair of still lifes, a similar composition is evident, with a flat, neutral-toned surface running parallel to the lower edge of the painting, a black background against which the objects stand out, vividly illuminated by a tenebrist light, and a draped red cloth on one side, closing the composition. On the table are various fruits of different sizes, arranged in apparent disorder but following a carefully considered scheme, determined by horizontal lines softened by the vertical lines of the bronze vases and some diagonals, which introduce a slight movement into the composition. Next to the fruits, we see the aforementioned ornamental vases, in the late Mannerist style, decorated with grotesque heads in relief and crowned with circular bouquets of flowers. Other objects also appear: a typically Baroque ornamental tray in the first painting, and in the second, a glass flask and an unadorned metal platter. Both paintings also feature birds at rest: a dove and an exotic bird, similar to a parrot, possibly copied from an engraving brought from overseas. First and foremost, the importance of the lighting, typical of the naturalistic Baroque, is noteworthy: a focused, directed light source, its origin outside the frame, entering the image from the upper left corner and illuminating the main objects, leaving the rest in shadow. The color palette is also directly related to the naturalistic Baroque: it revolves around warm colors, primarily earthy tones, ochre
SPECTACULAR STILL LIFE WITH FOUNTAIN, CHILDREN, SCHOOL MAJORQUINA WITH ITALIAN INFLUENCE, 17TH CENTURY. Important piece of Renaissance inspiration, in it we contemplate a spectacular exterior where the presence of a large fountain made up of architectural and sculptural elements dominates. In the foreground, a group made up of three children who only cover themselves with fine cloth, are in various childish attitudes while thick vegetation surrounds them. Oil on canvas. Framed measures: 177 x 129 cm, canvas measures: 157 x 110 cm
Attributed to Juan Van der Hamen y León (Madrid, 1596-1631) The Education of the Virgin. Oil on canvas. Version of Rubens' work preserved in the Museum of Fine Arts in Antwerp. Relining. 115 x 80 cm. . "SAINT ANA, SAINT JOAQUIN AND THE VIRGIN GIRL." 141X117CM S/M 133X79CM. Magnificent scene in which we see the influence of the painting of the master Rubens, in that it is a work with bright colors (Venetian influence), where figures full of movement and voluptuous contours stand out where the mastery in representation draws attention of the fabrics. The scene tells the previous moment in which the Virgin will be led to the Temple for her presentation by the hand of her parents, Saint Anne and Saint Joachim, while a group of angels places a crown of flowers on her. Oil on canvas, measurements: 115 x 80 cm, framed measurements: 140 x 107 cm
Virgin with child XVII CENTURY Re-entwined. Framed measurements: 101 x 80 cm. Unframed measurements: 60 x 82 cm.
Italian school, 17th century. Follower of Anthony Van Dyck. Ecce Homo. Oil on canvas. It represents the decisive hours before the crucifixion of Christ, a scene in which, after being arrested and flogged, he will suffer mockery and beatings from his executioners. Painting made from Lucas Vorsterman's engraving after Anthony Van Dyck that is preserved in the Princeton University Art Museum. The inverted composition with respect to Van Dyck's original painting indicates that the artist used the engraving as a reference, although in this case only an executioner is represented before the figure of Christ. Relined. 126 x 92cm.
Allegory of Avarice, Flemish school, 17th century, signed with monogram. Oil on canvas. Framed dimensions: 93 x 81 cm, canvas dimensions: 69 x 57 cm
Large Hunting Still Life with a Cat, Flemish school from the 17th century Oil on canvas of large dimensions, canvas measures: 121 x 73 cm. Framed measurements: 142 x 91 cm
Oil on canvas, canvas measures: 83 x 63, framed measures: 100 x80 cm. Antonio del Castillo y Saavedra, in addition to standing out as a landscape painter and draftsman, a facet in which he can be counted among the most important painters of the Spanish Golden Age. Born in Córdoba, he was the son of the painter Agustín del Castillo, about whom hardly anything is known but whom Palomino calls an "excellent painter" and Ana de Guerra. Initially trained in his father's workshop, he was orphaned at the age of fifteen; Being the eldest of four brothers, on November 24, 1631, he appeared before a magistrate in Córdoba asking for a tutor due to his minority. Murillo's teachings would be manifested in his last works, according to Palomino, singularly in a half-length San Francisco that he painted for the merchant Lorenzo Mateo, who "exceeds in good taste, and sweetness in the head, and hands to everything that Castillo did in his life, because the truth lacked a certain grace, and good taste in colouring». He died on February 2, 1668, in the house on Muñeses street without issue. Reference bibliography: Navarrete Prieto, Benito. Garcia de la Torre, Fuensanta (2008). Antonio del Castillo (1616-1668) Drawings. Santander: Marcelino Botín Pedrueca Foundation. ISBN 978-84-96655-19-5; Palomino, Antonio (1986). Lives. Madrid: Form Alliance. ISBN 84-206-7056-1; Palomino, Antonio (1988).
The Healing of the Paralytic of Capernaum, Flemish school of the 17th century, in the manner of Hendrick van Balen (Antwerp, ca. 1573-1632) Oil on canvas, measurements: 120 x 80 cm, framed measurements: 130 x 90 cm
Dutch genre scene, 17th-century Dutch school. Oil on panel, dimensions: 72 x 57 cm, framed dimensions: 194 x 78 cm. Dancers in a Dutch village, Dutch school of the circle of Jan Brueghel the Younger
Large rectangular still life of Fruits, Architectures and Trophies, Antonio Tibaldi (1635-1675), Italian school of the 17th century Large oil on canvas, canvas measurements: 166 x 54. Framed measurements: 192 x 80 cm
Large Portuguese Baroque Corbel in carved and gilded wood, 17th century Measurements: 61 x 27 x 33 cm
Large Portuguese Baroque Corbel in carved and gilded wood, 17th century Measurements: 60 x 27 x 33 cm
Majestic Great Holy Family Scene with Saint Joseph the carpenter and Mary next to the Child Jesus surrounded by angels, Flemish school of Antwerp from the last third of the 17th century Oil on canvas, measurements: 156 x 100 cm, measurements with frame: 166 x 107 cm
Magnificent pair of Spanish still lifes, in the style of Juan de Espinosa (1628, Doc. 1659). Spanish School of the 17th-18th centuries. Pair of oil paintings on canvas, each canvas measuring 80 x 60 cm, with frames 90 x 70 cm. This painter is documented in Madrid during the first half of the 17th century, and his name appears in connection with other Madrid painters in documents dated 1628 and 1659. Other surviving information seems to increase the uncertainty surrounding his presence, as there were at least two painters with the same name working at Court; one of them had already died in 1614, and the second was a resident of the capital in 1651 and continued to be so in subsequent years. The paintings display great pictorial virtuosity, with elements that are almost like the master's signature, as well as seashells, birds, and ceramic pieces brought from America. His artistic approach demonstrates a thorough understanding of the chiaroscuro techniques of the first third of the century, aiming to achieve contrasts that accentuate the volume of the forms he employs in each of his works. He must have been an artist of some renown, as he is frequently mentioned in inventories of private properties from that period. Currently, works by this artist are held in private and public collections in Madrid, Paris, and London, and in them, Espinosa demonstrates his commitment to a tenebrism that does not forgo the luminous effects stylistically linked to Juan Fernández "el Labrador" (Luna, JJ: El bodegón español en el Prado. De Van der Hamen a Goya, Museo Nacional del Prado, 2008, p. 160).
Pair of Scenes of Cherubs and Cupids on Panel, 17th Century. Pair of oil paintings on panel, dimensions: 25 x 25 cm, dimensions with frames 35 x 35 cm
Italian-Flemish Calvary, late 17th century. Oil on canvas. Dimensions: 83 cm x 66 cm and 95 cm x 79 cm
Saint John the Baptist, Juan Simón Gutiérrez, Andalusian Baroque School (Medina Sidonia, 1634-Seville, 1718). Oil on canvas. Dimensions: 74 cm x 52 cm and 86 cm x 65 cm
Our Lady of the Corner. Viceregal School. 17th Century. Oil on canvas. Devotional image of Our Lady of the Corner, a Marian invocation depicted in portrait format, frontally, with the Child Jesus enthroned on her lap. Both figures are adorned with imperial crowns, embroidered mantles, and sumptuous elements that reinforce their sacred character. The Virgin appears framed by open curtains, as if it were an altarpiece, highlighting the contrast between the dark background and the richness of the ornamental details in her clothing. The Child, dressed in a crimson tunic and crowned, raises his hand in a gesture of blessing. At the bottom, the inscription reads: “True portrait of Our Lady of the Corner,” identifying the work as a testament to a venerated image with local tradition. The painterly treatment, sober yet effective, falls within the aesthetic of 17th-century viceregal painting, especially in the Andean or New Spanish regions, where this type of composition became widespread as objects of domestic or convent worship. Dimensions: 60 x 39 cm (canvas); 61 x 41 cm (frame).
Madame du Barry, mistress of Louis XV as the goddess Ceres - French School, 17th century. Oil on canvas. Dimensions: 91 cm x 70 cm. The female figure is depicted half-length, with a direct gaze, flushed cheeks, and an updo, in a suggestive pose as she holds an ear of wheat aloft. Dressed in a blue silk gown and pink shawl, her refined gestures and alluring smile reveal a gallant treatment. The dark background highlights the modeling of the face and the richness of the fabric. The controlled brushwork and soft colors evoke the French Rococo style and a refined aristocratic sensibility.
Descendimiento. Escuela colonial, Nueva Granada. Barroco Novohispano. Siglo XVII. Óleo sobre lienzo retelado. En una composición de profunda carga emotiva, se presenta una escena religiosa con Cristo muerto sostenido por la Virgen María y San Juan, mientras varios ángeles contemplan con expresiones de duelo desde el plano superior entre nubes. La disposición piramidal de las figuras, centrada en el cuerpo inerte de Cristo, crea un eje compositivo que acentúa la tensión espiritual. La gestualidad delicada de las manos, los rostros afligidos y la luminosidad que emana de los cuerpos destacan el dramatismo del momento. La pincelada minuciosa en los pliegues de los mantos y la riqueza cromática en los rojos, verdes y blancos revelan una ejecución cuidada, propia del arte devocional barroco. El claroscuro modela los volúmenes con suavidad y refuerza la atmósfera íntima y sacra. Esta obra se inscribe en la estética contrarreformista del Siglo XVII, orientada a conmover al espectador y fomentar la piedad a través del pathos visual. Medidas: 80 × 60 cm.
