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Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576)

In Beauty and Devotion. Picasso between the Old a...

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Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 1 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 2 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 3 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 4 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 5 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 6 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 7 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 8 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 9 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 1 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 2 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 3 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 4 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 5 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 6 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 7 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 8 aus 9
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576) - Bild 9 aus 9
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Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576)"The Evangelists Saint Mark and Saint Matthew".Pair of reliefs in walnut wood, carved, polychromed and gilded. Second third of the 16th century.60 x 26 x 5,5 cm each one.The reliefs of the Evangelists Saint Mark and Saint Matthew that we present here are two masterpieces both for their plastic quality and for the rich upholstery based polychromy with which the anonymous painter infused them with life. In addition to the purely aesthetic value of both pieces, we must also add the fact that they are paradigmatic works, and perfect examples of the Castilian Renaissance, in which characteristic elements such as the "draperies", cut-out leathers, masks and bucklers can be seen. It is probable that originally both Evangelists formed part of a complete group together with Saint John and Saint Luke, and that they all belonged to an altarpiece, in which they would have been arranged on the bench or in the attic, thus giving greater airiness to the group as a whole.Both saints are depicted in very moving poses that make the composition more dynamic, with their feet or knees on a small podium decorated on the front with fine plant decorations with candelieri motifs. In turn, both are placed on a circular platform decorated on the lower part with bucklers with draperies in the case of Saint Matthew, and a kind of shell held up by cut-out leather in the case of Saint Mark. Each of the Evangelists is accompanied by his own symbol: the Angel for St Matthew and the Lion for St Mark.Saint Matthew is an older man with grey hair and a beard of the same colour, with a nervous appearance and winding locks. His serious gesture is reminiscent of Michelangelo's grandiose and powerful style. The saint's age is perfectly reflected by the notorious softness and morbidity of his face, with wrinkled cheeks and forehead. He wears a golden tunic that is tight around his body, insinuating his forms, and a cloak that is draped over his head and falls diagonally across his body at chest level.On the other hand, his feet are protected by simple sandals. The Angel who accompanies him is in a dynamic and acrobatic pose, with one of his legs noticeably forward and his arms raised to hold the book to the saint.on the other hand, Saint Mark is a slightly younger man, as is shown by the ochre tone of his hair and beard, which are shorter than those of his companion and made up of somewhat thicker and more compact locks. The face, with a broad forehead and sharp eyebrows, shows a gesture that denotes his inner strength, the eyes are large and painted in the wood itself, the nose is curved and the mouth is small and half-open. These and the rest of the facial features are meticulously carved and denote the hand of a highly skilled sculptor, as is also indicated by the anatomical verisimilitude with which the feet and hands have been carved and the skill with which the folds of the clothes have been conceived. Thus, he wears a tunic, an over tunic open in a "V" shape at the chest and a wide cloak that covers his back and is gathered at hip level on the left leg. At his side we find "his" Lion, with golden hair and beard, spreading his large wings as if to protect the Evangelist. On this occasion it is not his "symbol" that holds the Gospel, but the saint himself who holds it in his hands, pointing to the text with one of his fingers.From their morphological features or stylistic characteristics, both pieces can be dated to the central third of the 16th century and assigned to the workshop of Francisco Giralte, if not to the master himself, given their high quality. Thus we can see the conception of both saints with a short, somewhat squat canon and with their bodies wrapped in cloaks. Both show beautiful rhythms achieved through the arrangement of the different parts of the body and also through the curves drawn by the folds of their garments. Giralte was a man with a refined technique in which he was capable of fusing the berruguetesque movement and expressiveness characteristic of Spanish sculpture at the time, with a search for beauty and plastic values.We would like to thank Mr. Javier Baladrón, Ph.D. in Art History, for the identification and cataloguing of this relief.
Francisco Giralte workshop (Palencia?, Spain, circa 1510 - Madrid, 1576)"The Evangelists Saint Mark and Saint Matthew".Pair of reliefs in walnut wood, carved, polychromed and gilded. Second third of the 16th century.60 x 26 x 5,5 cm each one.The reliefs of the Evangelists Saint Mark and Saint Matthew that we present here are two masterpieces both for their plastic quality and for the rich upholstery based polychromy with which the anonymous painter infused them with life. In addition to the purely aesthetic value of both pieces, we must also add the fact that they are paradigmatic works, and perfect examples of the Castilian Renaissance, in which characteristic elements such as the "draperies", cut-out leathers, masks and bucklers can be seen. It is probable that originally both Evangelists formed part of a complete group together with Saint John and Saint Luke, and that they all belonged to an altarpiece, in which they would have been arranged on the bench or in the attic, thus giving greater airiness to the group as a whole.Both saints are depicted in very moving poses that make the composition more dynamic, with their feet or knees on a small podium decorated on the front with fine plant decorations with candelieri motifs. In turn, both are placed on a circular platform decorated on the lower part with bucklers with draperies in the case of Saint Matthew, and a kind of shell held up by cut-out leather in the case of Saint Mark. Each of the Evangelists is accompanied by his own symbol: the Angel for St Matthew and the Lion for St Mark.Saint Matthew is an older man with grey hair and a beard of the same colour, with a nervous appearance and winding locks. His serious gesture is reminiscent of Michelangelo's grandiose and powerful style. The saint's age is perfectly reflected by the notorious softness and morbidity of his face, with wrinkled cheeks and forehead. He wears a golden tunic that is tight around his body, insinuating his forms, and a cloak that is draped over his head and falls diagonally across his body at chest level.On the other hand, his feet are protected by simple sandals. The Angel who accompanies him is in a dynamic and acrobatic pose, with one of his legs noticeably forward and his arms raised to hold the book to the saint.on the other hand, Saint Mark is a slightly younger man, as is shown by the ochre tone of his hair and beard, which are shorter than those of his companion and made up of somewhat thicker and more compact locks. The face, with a broad forehead and sharp eyebrows, shows a gesture that denotes his inner strength, the eyes are large and painted in the wood itself, the nose is curved and the mouth is small and half-open. These and the rest of the facial features are meticulously carved and denote the hand of a highly skilled sculptor, as is also indicated by the anatomical verisimilitude with which the feet and hands have been carved and the skill with which the folds of the clothes have been conceived. Thus, he wears a tunic, an over tunic open in a "V" shape at the chest and a wide cloak that covers his back and is gathered at hip level on the left leg. At his side we find "his" Lion, with golden hair and beard, spreading his large wings as if to protect the Evangelist. On this occasion it is not his "symbol" that holds the Gospel, but the saint himself who holds it in his hands, pointing to the text with one of his fingers.From their morphological features or stylistic characteristics, both pieces can be dated to the central third of the 16th century and assigned to the workshop of Francisco Giralte, if not to the master himself, given their high quality. Thus we can see the conception of both saints with a short, somewhat squat canon and with their bodies wrapped in cloaks. Both show beautiful rhythms achieved through the arrangement of the different parts of the body and also through the curves drawn by the folds of their garments. Giralte was a man with a refined technique in which he was capable of fusing the berruguetesque movement and expressiveness characteristic of Spanish sculpture at the time, with a search for beauty and plastic values.We would like to thank Mr. Javier Baladrón, Ph.D. in Art History, for the identification and cataloguing of this relief.

Beauty and Devotion. Picasso between the Old and New World.

Auktionsdatum
Lose: 118
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain

Generelle Versandinformationen vom Auktionshaus verfügbar

The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.

Wichtige Informationen

   

AGB

CONDITIONS OF THE AUCTION:

I. REGISTRATION. To bid in the room customers must register at the beginning, filling out a form and picking a number that will identify them during the auction. Customers may be required to register in bank references or other guarantee system and if they do not prove the solvency "LST" will not accept bids and award the auction.

II. WRITTEN BIDS. "LST" will accept written bids, which will be formalized in the form provided by the room until the day before the auction. In such auctions, the room will bid in name of the client until the maximum stated in the offer and always at the lowest possible price. If there are two or more bids for the same amount, the one placed first will have the priority. Written bids received in advance, will have priority on the day of the auction.

III. TELEPHONE BIDS. "LST" will allow telephone bids, if interested people contact "LST" days before the auction providing personal data, ID card and the phone number which will be used by the staff of "LST" to call at the time of the auction. The buyer, within all the legal rights is making an offer for the asking price, when applies for telephone bid. "LST" will not take responsibility for any technical defects beyond its control, which may prevent to contact successfully the bidder during the auction.

IV. AUCTIONEER. The auction will be conducted by an auctioneer, director of the auction will be judge and arbitrator of it with full authority in its development, will award the lots to the highest bidder and is able to settle any controversy concerning lots sale, reject bids, divide lots or group them and remover objects from the room. Will be able to, if it is deemed suitable, not accept bids on the auction. His decision will be unappealable.

V. SALE OF LOTS. The lots are awarded to the highest bidder. Once the auctioneer blows the hammer, the buyer becomes responsible of the lot purchased, exempting "LST" of liability to for any damage and / or accidents that may occur. No refunds of lots.

VI. STARTING PRICE. The amount shown in the catalogue as the starting price for each lot will be, as a rule, the minimum selling price, except for exceptional cases where a reservation may be agreed upon with the seller or it set discretionary by the room.

VII. SCALE OF BIDS. The bids are set according to the following scale:

From 50.-€ to 200.-€…………………………………………..at 10.-€

From 200.-€ to 500.-€…………………………………… …25 in 25.-€

From 500.-€ to 1.000.-€………………………………..…..….50 in 50.-€

From 1.000.-€ to 2.000.-€………………………………..…100 in 100.-€

From 2.000.-€ to 5.000.-€……………………………….….250 in 250.-€

From 5.000.-€ to 10.000.-€…………………………………500 in 500.-€

From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€

From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€

From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€

From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€

From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€

From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€

VIII. RIGHT OF ADMISION. "LST" reserves the right to admission to the auction room and to reject, at its judgment, any purchase order, from clients whose solvency is not duly proved as well as not to sale auctions.

IX. SALE PRICES. The successful bidder of one or more lots must pay "LST" the final sale price achieves at auction, plus the 24,5 % plus 21% VAT on the commission, at total 29,65 % on Hammer Price.

X. CATALOG DATA. The catalogue data are obtained in order to careful research and advice, however, any responsibility is afforded about its accuracy. The lots will be auctioned in the state in which they are, not accepting any claims in restorations, breakage, damage, imperfections and, even description or numbering mistakes in the catalogue, in case of it, being the burden of the buyers to make sure before the auction that the description matches with their personal opinion about respective lot. The exhibition of the lots is intended to allow a perfect review and study of them.

XI. PAYMENT AND REMOVAL OF LOTS. Payment and removal of the lots will be held no later than five days following the auction. After this period expire without having the buyer removed the lot or lots purchases, it will accrue an expense of custody of 6 euros per day on each lot.

15 days after the auction without having the buyer paid and removes the sold lots, "LST" will inform the seller and there will begin judicial proceeding in order to obtain payment. The delay in payment by the purchaser of his/her sold lots will carry an interest increase at a rate of 1,5% per month.

XII. DELIVERY OF LOTS. The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.

XIII. RIGHT OF FIRT REFUSAL AND REPURCHASE. "LST" in order to article 38 of "Ley 16/1985 de 25 Junio del Patrimonio Histórico Español" (BOE. 155 June 29, 1985), will notify in advance to the Ministry of Culture, the content of their catalogues. Concerning the lots subject to the legislation referred to in the preceding paragraph, the Administration may exercise the rights of first refusal and repurchase according to the law. "LST" will watch over the protection of Artistic, Historical and Bibliographical Heritage of Spain. For customers out of European Community, a tax for export is required by the Administration.

XIV. VALUE ADDED TAX (I.V.A). This tax will be accrued on commissions of "LST" for buyers, using the rates prevailing on the date of the auction.

XV. DATA PROTECTION. In order to the "Ley 15/1999 de 13 de Diciembre, de Protección de Datos de Carácter Personal", the client authorize "LST", the inclusion of their data in a customer file, and for the promotion by "LST" of the objects at all times the rights of access, rectification or deletion of personal data by sending the appropriate request to the following address: LA SUITE SUBASTAS, C/ Conde Salvatierra, 8, 08006. Barcelona.

XVI. EXPRESS LEGAL JURISDICTION. These Conditions are governed by and interpreted in accordance with the rules of Spanish law. The mere act of participating in the auction as seller, buyer or bidder, implies acceptance of these Terms and Conditions.

Sales operations are understood to be held at the registered office of "LST", C/ Conde de Salvatierra, 8, 08006. Any dispute shall be taken to the competent courts of Barcelona, expressly waiving any other jurisdiction, in accordance with Article 55 of the "Ley de Enjuiciamiento Civil".

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Stichworte: Michelangelo, Skulptur, 15th-18th Century Art