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Francisco Meneses Osorio (Seville, circa 1640 - 1721)

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

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Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 1 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 2 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 3 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 4 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 5 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 6 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 7 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 8 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 1 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 2 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 3 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 4 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 5 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 6 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 7 aus 8
Francisco Meneses Osorio (Seville, circa 1640 - 1721) - Bild 8 aus 8
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Francisco Meneses Osorio (Seville, circa 1640 - 1721)

"The liberation of Saint Peter"

Oil on canvas.

131 x 99 cm.

In this report, Valdivieso supports the clear attribution of our canvas to Meneses by comparing, among other things, "the face of the angel who frees Saint Peter with that of the 'Guardian Angel' from the church of the Capuchins in Cadiz, which is currently in the Museum of Fine Arts in that city. It is also useful to compare it with the face of Saint Catherine in the painting of the Betrothal of this saint with the Child Jesus, which belongs to the Museum mentioned above". The professor goes on to note that "also characteristic of Meneses Osorio [...] is the expression of astonishment shown by Saint Peter when he is freed by the angel, which is very similar to that of an apostle in the painting of the 'Virgin of the Pillar' in the parish church of Montijo in Badajoz. These and other comparisons can be seen in his book "La escuela de Murillo" (2016).

It is therefore a work "whose technical characteristics clearly coincide with the creative spirit of Francisco Meneses Osorio", he concludes. The chromatic tones that are integrated into the painting, Valdivieso continues, are very well resolved, as they "perfectly harmonise light and dark tones, such as the pinkish tones of the archangel's tunic and the brownish tones of Saint Peter's tunic".

 

Francisco Meseses Osorio, a disciple and the most faithful follower of Murillo, was one of the "most interesting figures on the Sevillian pictorial scene in the last third of the 17th century and first quarter of the 18th century", according to José Roda Peña, professor of art history at the University of Seville. His proximity to the master Murillo is evidenced, as Enrique Valdivieso states in his article for the Royal Academy of History, by "the affiliation of his artistic forms with those of this master", as well as by the commission to Meneses, after Murillo's death, to complete the main altarpiece of the former church of Santa Catalina in Cadiz, Convent of the Capuchins, as he was the artist who "could best complete the paintings in accordance with the style of the deceased master". The deposit of paintings and sculptures by Murillo and Meneses from the aforementioned church and its main altarpiece is kept in the Museum of Cádiz. 

There are also works by the Sevillian artist preserved in his native city, such as an important "San Miguel Arcángel", in the Hospital de la Santa Caridad; a high quality "San José con el Niño" (1684) and "San Cirilo en el concilio de Éfeso" (1701), both in the Museo de Bellas Artes (Museum of Fine Arts); and, among others, "La Virgen de los Desamparados de Valencia con San Vicente Ferrer y San Pascual Bailón" (1701), a work conserved in the Museum of the Hospital del Pozo Santo in Seville, unpublished until 1996 and published in 1999 by José Roda Peña in an article in the magazine "Laboratorio de Arte". Outside Seville, we would highlight "La Virgen de los Reyes" (1696), in the Museo Nacional de Escultura de Valladolid and "Cristo salvador del mundo", in the American Bob Jones University.

 

Bibliographic references:

- Valdivieso, Enrique. (n.d.). "Francisco Meneses Osorio". Real Academia de la Historia. https://dbe.rah.es/biografias/12652/francisco-meneses-osorio

- Roda Peña, José. (1999). Una pintura inédita de Francisco Meneses Osorio, in "Laboratorio de Arte" (12), 191-198. https://dx.doi.org/10.12795/LA.1999.i12.19 

Francisco Meneses Osorio (Seville, circa 1640 - 1721)

"The liberation of Saint Peter"

Oil on canvas.

131 x 99 cm.

In this report, Valdivieso supports the clear attribution of our canvas to Meneses by comparing, among other things, "the face of the angel who frees Saint Peter with that of the 'Guardian Angel' from the church of the Capuchins in Cadiz, which is currently in the Museum of Fine Arts in that city. It is also useful to compare it with the face of Saint Catherine in the painting of the Betrothal of this saint with the Child Jesus, which belongs to the Museum mentioned above". The professor goes on to note that "also characteristic of Meneses Osorio [...] is the expression of astonishment shown by Saint Peter when he is freed by the angel, which is very similar to that of an apostle in the painting of the 'Virgin of the Pillar' in the parish church of Montijo in Badajoz. These and other comparisons can be seen in his book "La escuela de Murillo" (2016).

It is therefore a work "whose technical characteristics clearly coincide with the creative spirit of Francisco Meneses Osorio", he concludes. The chromatic tones that are integrated into the painting, Valdivieso continues, are very well resolved, as they "perfectly harmonise light and dark tones, such as the pinkish tones of the archangel's tunic and the brownish tones of Saint Peter's tunic".

 

Francisco Meseses Osorio, a disciple and the most faithful follower of Murillo, was one of the "most interesting figures on the Sevillian pictorial scene in the last third of the 17th century and first quarter of the 18th century", according to José Roda Peña, professor of art history at the University of Seville. His proximity to the master Murillo is evidenced, as Enrique Valdivieso states in his article for the Royal Academy of History, by "the affiliation of his artistic forms with those of this master", as well as by the commission to Meneses, after Murillo's death, to complete the main altarpiece of the former church of Santa Catalina in Cadiz, Convent of the Capuchins, as he was the artist who "could best complete the paintings in accordance with the style of the deceased master". The deposit of paintings and sculptures by Murillo and Meneses from the aforementioned church and its main altarpiece is kept in the Museum of Cádiz. 

There are also works by the Sevillian artist preserved in his native city, such as an important "San Miguel Arcángel", in the Hospital de la Santa Caridad; a high quality "San José con el Niño" (1684) and "San Cirilo en el concilio de Éfeso" (1701), both in the Museo de Bellas Artes (Museum of Fine Arts); and, among others, "La Virgen de los Desamparados de Valencia con San Vicente Ferrer y San Pascual Bailón" (1701), a work conserved in the Museum of the Hospital del Pozo Santo in Seville, unpublished until 1996 and published in 1999 by José Roda Peña in an article in the magazine "Laboratorio de Arte". Outside Seville, we would highlight "La Virgen de los Reyes" (1696), in the Museo Nacional de Escultura de Valladolid and "Cristo salvador del mundo", in the American Bob Jones University.

 

Bibliographic references:

- Valdivieso, Enrique. (n.d.). "Francisco Meneses Osorio". Real Academia de la Historia. https://dbe.rah.es/biografias/12652/francisco-meneses-osorio

- Roda Peña, José. (1999). Una pintura inédita de Francisco Meneses Osorio, in "Laboratorio de Arte" (12), 191-198. https://dx.doi.org/10.12795/LA.1999.i12.19 

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: Bartolomé Esteban Murillo, Öl Gemälde, 15th-18th Century Art