Ancient Spain
not including El Greco
See also : Spain III Blue diamond Jewels II Cartier 1972 Music in old painting Early still life
Chronology : 1570-1599 1610-1619 1630-1639 1650-1659 1660-1679 1800-1809
See also : Spain III Blue diamond Jewels II Cartier 1972 Music in old painting Early still life
Chronology : 1570-1599 1610-1619 1630-1639 1650-1659 1660-1679 1800-1809
1582-1972 Peregrination of a Pearl
2011 SOLD 11.8 M$ including premium
A pearl made five hundred years ago by an anonymous mollusk in the Gulf of Panama got a fabulous destiny. Used in jewelry of all kinds to meet the changes of fashion, it demonstrates that not only diamonds are forever.
It entered in 1582 into the Spanish royal collection, where it was considered as the biggest pearl in the world. Pear-shaped, it was then weighing 223 grains.
Mary I of England, wife of Philip II of Spain, used it very elegantly as a pendant to a brooch. Philip IV of Spain preferred it as a hat pin. It went to France during the Spanish war of Joseph Bonaparte, and Napoleon III sold it to the English aristocracy.
This wandering pearl has been known for two centuries under the name La Peregrina. It lost twenty grains when it was reworked to improve the security of its setting.
Richard Burton bought it in 1969 at Sotheby's auction as a gift to Elizabeth Taylor.
It was mounted as pendant in a pearl necklace that did not please its new owners. Burton and Taylor then made designed by Cartier in 1972 the magnificent necklace of pearls, rubies and diamonds, where it is again hanging as pendant.
This necklace, estimated $ 2M, is for sale on December 13 in New York by Christie's., lot 12.
POST SALE COMMENT
This is a new successful step in the fabulous history of the pearl. Sold $ 11.8 million including premium, its necklace achieved the highest result in one of the best jewelry sales in auction history: total $ 116M including premium for only 80 lots.
It entered in 1582 into the Spanish royal collection, where it was considered as the biggest pearl in the world. Pear-shaped, it was then weighing 223 grains.
Mary I of England, wife of Philip II of Spain, used it very elegantly as a pendant to a brooch. Philip IV of Spain preferred it as a hat pin. It went to France during the Spanish war of Joseph Bonaparte, and Napoleon III sold it to the English aristocracy.
This wandering pearl has been known for two centuries under the name La Peregrina. It lost twenty grains when it was reworked to improve the security of its setting.
Richard Burton bought it in 1969 at Sotheby's auction as a gift to Elizabeth Taylor.
It was mounted as pendant in a pearl necklace that did not please its new owners. Burton and Taylor then made designed by Cartier in 1972 the magnificent necklace of pearls, rubies and diamonds, where it is again hanging as pendant.
This necklace, estimated $ 2M, is for sale on December 13 in New York by Christie's., lot 12.
POST SALE COMMENT
This is a new successful step in the fabulous history of the pearl. Sold $ 11.8 million including premium, its necklace achieved the highest result in one of the best jewelry sales in auction history: total $ 116M including premium for only 80 lots.
1618 A Little Praying Girl
2017 SOLD for € 9.7M including premium
An oil on canvas 58 x 44 cm attributed to Diego Velazquez, undated and unsigned, has just surfaced in Spain. Although it has been inspected by only one expert, it is already being offered at auction. It will be sold by Abalarte in Madrid on April 25, lot 41.
It is a beautiful portrait of a little girl in half-length, her hands joined for prayer, her eyes wide open in a rather sad expression. The chiaroscuro on a black background and the realism of this child's portrait without any moving intent plead for an autograph work by Velazquez.
During the X-Ray inspection several white dots forming a halo were discovered, in conformance with a traditional iconography of Mary's childhood. This painting could have been conceived as an Inmaculada before being transformed by the artist in a modello portrait.
If this is the case it is probably prior to an Inmaculada preserved at the Fundacion Focus Abengoa in Sevilla, dated around 1618 and attributed by some experts to Velazquez and by others to Alonso Cano. Velazquez and his younger colleague Cano were both students in Sevilla to Francisco Pacheco, a painter and theoretician who had met El Greco and specialized in religious art for the local ecclesiastical clientele.
The high skill of Velazquez was precocious : barely 18 years old in 1617, he was received in the corporation of the painters of Sevilla and his first masterpiece mixing genre and still life, Vieja friendo hiejos, was painted in the following year. He was remaining at that time in the entourage of Pacheco whose daughter he married in 1618.
It is a beautiful portrait of a little girl in half-length, her hands joined for prayer, her eyes wide open in a rather sad expression. The chiaroscuro on a black background and the realism of this child's portrait without any moving intent plead for an autograph work by Velazquez.
During the X-Ray inspection several white dots forming a halo were discovered, in conformance with a traditional iconography of Mary's childhood. This painting could have been conceived as an Inmaculada before being transformed by the artist in a modello portrait.
If this is the case it is probably prior to an Inmaculada preserved at the Fundacion Focus Abengoa in Sevilla, dated around 1618 and attributed by some experts to Velazquez and by others to Alonso Cano. Velazquez and his younger colleague Cano were both students in Sevilla to Francisco Pacheco, a painter and theoretician who had met El Greco and specialized in religious art for the local ecclesiastical clientele.
The high skill of Velazquez was precocious : barely 18 years old in 1617, he was received in the corporation of the painters of Sevilla and his first masterpiece mixing genre and still life, Vieja friendo hiejos, was painted in the following year. He was remaining at that time in the entourage of Pacheco whose daughter he married in 1618.
@Abalarte presenta un #Velázquez inédito que se subastará el próximo 25 de abril □https://t.co/27rtaAvXhY vía @ArtMarketAgency pic.twitter.com/voIHKJghfg
— Canalpatrimonio (@canalpatrimonio) April 3, 2017
1629 The Art of Bodegon
2019 SOLD for $ 6.5M including premium
Juan Sanchez Cotan is a painter in Toledo at the time of El Greco. In 1603 he leaves the world to enter as a lay brother in a Carthusian monastery. The inventory made in his studio just after his departure lists 60 paintings including 12 still lifes.
Sanchez Cotan wished to reproduce with the greatest pictorial accuracy some elements of nature that he positions in a balanced composition. Vegetables, fruit and game fowls are laying or hanging in a uniformly gray window frame against a black background. He had invented the bodegon, an unprecedented style in modern painting that anticipates Chardin and Cézanne.
Several originals survive. One of them is dated 1602. Another one, oil on canvas re-sized at 73 x 62 cm after removal of the central part, was sold for £ 4M including premium by Christie's on December 8, 2004.
The growing interest in botanical gardens and cabinets of curiosity led to the still life paintings of flowers and fruit in Flanders and Milan from 1606. In the 1620s the best Spanish continuator to Sanchez Cotan, Juan van der Hamen y Leon, inserts flowers in the bodegones.
In 1626 van der Hamen finds a trick to display complex arrangements in very large formats : he replaces Sanchez Cotan's window by three stone bases of varying heights and widths.
On May 1 in New York, Christie's sells a bodegon of fruit with a large vase of flowers, oil on canvas 86 x 132 cm painted by van der Hamen in 1629, lot 109 estimated $ 6M. Painted in the same year and style by the same artist, a bodegon of fruit with an artichoke, 79 x 100 cm, was sold for € 900K including premium by Christie's on October 6, 2004.
Sanchez Cotan wished to reproduce with the greatest pictorial accuracy some elements of nature that he positions in a balanced composition. Vegetables, fruit and game fowls are laying or hanging in a uniformly gray window frame against a black background. He had invented the bodegon, an unprecedented style in modern painting that anticipates Chardin and Cézanne.
Several originals survive. One of them is dated 1602. Another one, oil on canvas re-sized at 73 x 62 cm after removal of the central part, was sold for £ 4M including premium by Christie's on December 8, 2004.
The growing interest in botanical gardens and cabinets of curiosity led to the still life paintings of flowers and fruit in Flanders and Milan from 1606. In the 1620s the best Spanish continuator to Sanchez Cotan, Juan van der Hamen y Leon, inserts flowers in the bodegones.
In 1626 van der Hamen finds a trick to display complex arrangements in very large formats : he replaces Sanchez Cotan's window by three stone bases of varying heights and widths.
On May 1 in New York, Christie's sells a bodegon of fruit with a large vase of flowers, oil on canvas 86 x 132 cm painted by van der Hamen in 1629, lot 109 estimated $ 6M. Painted in the same year and style by the same artist, a bodegon of fruit with an artichoke, 79 x 100 cm, was sold for € 900K including premium by Christie's on October 6, 2004.
Christie’s to Sell Shickman Collection Led by Spanish Still Lives https://t.co/DUYZZPBEnR pic.twitter.com/xSsE0vtely
— Art Market Monitor (@artmarket) November 21, 2018
1631 A Portrait at the Court of Philip IV
2011 SOLD 2.95 M£ including premium
PRE SALE DISCUSSION
Matthew Shepperson, an unknown English artist who died in 1874, owned soe mediocre paintings that his heirs never handled. They still had to get rid of that and entrusted this operation to the local office of Bonhams in Oxford in August 2010.
A portrait seemed earlier. The Department of Ancient painting of Bonhams alerted a specialist of Velazquez, Dr.Cherry, who confirmed that this oil on canvas, 47 x 39 cm, had all the characteristics of an authentic work of the master.
It is a gentleman in bust length with a high collar behind the neck after the fashion of the courtiers of Philip IV. The face is in bright contrast with the very dark background and the black cloth. Only Velazquez, after his 1631 trip to Italy, was able to achieve such sumptuous shades with a very thin layer of paint.
This attribution to one of the top masters is an event, especially as the works of Velazquez still in private hands are very rare.
The sale takes place on December 7 in London. The painting is estimated £ 2M.
POST SALE COMMENT
It is not easy to directly put into auction an unknown work of an outstanding master. Bonhams has led this operation to success : £ 2.6 million before fees, 2.95 million including premium.
Their attribution was convincing and was not opposed.
I invite you to play the video, well-researched and convincing, shared by Bonhams. The image is shared by Wikimedia.
Matthew Shepperson, an unknown English artist who died in 1874, owned soe mediocre paintings that his heirs never handled. They still had to get rid of that and entrusted this operation to the local office of Bonhams in Oxford in August 2010.
A portrait seemed earlier. The Department of Ancient painting of Bonhams alerted a specialist of Velazquez, Dr.Cherry, who confirmed that this oil on canvas, 47 x 39 cm, had all the characteristics of an authentic work of the master.
It is a gentleman in bust length with a high collar behind the neck after the fashion of the courtiers of Philip IV. The face is in bright contrast with the very dark background and the black cloth. Only Velazquez, after his 1631 trip to Italy, was able to achieve such sumptuous shades with a very thin layer of paint.
This attribution to one of the top masters is an event, especially as the works of Velazquez still in private hands are very rare.
The sale takes place on December 7 in London. The painting is estimated £ 2M.
POST SALE COMMENT
It is not easy to directly put into auction an unknown work of an outstanding master. Bonhams has led this operation to success : £ 2.6 million before fees, 2.95 million including premium.
Their attribution was convincing and was not opposed.
I invite you to play the video, well-researched and convincing, shared by Bonhams. The image is shared by Wikimedia.
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1637 Enjoyment of Senses by Ribera
2019 SOLD for £ 5.7M including premium
Born near Valencia, Ribera is attracted by Italy. In Rome, he is interested in the faces and attitudes of poor people, most certainly through an influence from the Caravaggesques of Utrecht. He paints a first series of the Five Senses, not without wit. Smell is a ragged beggar who peels an onion.
In 1616 Ribera, aged 25, arrives in Naples which is then a Spanish possession. He will never return to his country but wishes to state his origin by signing his works Jusepe de Ribera español. He is also nicknamed Lo Spagnoletto.
He paints other Senses in 1637 with allegories completely different from his earlier series. Hearing is a girl who plays the tambourine with an expression of deep happiness, personifying the pleasure of the senses. This oil on canvas 60 x 46 cm is estimated £ 5M for sale by Sotheby's in London on July 3, lot 24.
This figure was painted by Ribera at the end of his tenebrist phase, with a black background in the style of his friend Velazquez. In the series of popular types, she thus appears in the continuity of his picturesque bearded milking woman (Mujer barbuda) painted in 1631.
Clearly a pendant of similar size with the Tambourine girl, Taste is a hilarious drunkard. Candidates have been proposed for Smell and Touch, but Sight remains unidentified, without evidence that this series has ever been complete.
In 1616 Ribera, aged 25, arrives in Naples which is then a Spanish possession. He will never return to his country but wishes to state his origin by signing his works Jusepe de Ribera español. He is also nicknamed Lo Spagnoletto.
He paints other Senses in 1637 with allegories completely different from his earlier series. Hearing is a girl who plays the tambourine with an expression of deep happiness, personifying the pleasure of the senses. This oil on canvas 60 x 46 cm is estimated £ 5M for sale by Sotheby's in London on July 3, lot 24.
This figure was painted by Ribera at the end of his tenebrist phase, with a black background in the style of his friend Velazquez. In the series of popular types, she thus appears in the continuity of his picturesque bearded milking woman (Mujer barbuda) painted in 1631.
Clearly a pendant of similar size with the Tambourine girl, Taste is a hilarious drunkard. Candidates have been proposed for Smell and Touch, but Sight remains unidentified, without evidence that this series has ever been complete.
#AuctionUpdate On the Beat □: This charming portrait of a girl tapping a tambourine by Jusepe de Ribera makes a noise, singing to the tune of £5,743,000 – a new record for the artist. #SothebysOldMasters pic.twitter.com/R0OuYI9gJH
— Sotheby's (@Sothebys) July 3, 2019
1650 Velazquez in Rome
2018 SOLD for $ 4.1M including premium
The skills of Diego Velazquez are recognized in the court of King Felipe IV who names him ayuda de camara (valet) in 1643 and superintendente de obras (superintendent of works) in the following year. Having thus become one of the closest collaborators of the king, he requests and obtains a mission in Italy to acquire paintings and sculptures worthy of the royal collection.
His first stay in Italy in 1629-1630 had much contributed to his artistic training but he was still unknown in that country when he arrived in Rome in 1649. He immediately portrayed his assistant, the mulatto slave Juan de Pareja. The Romans were dazzled by the physical and psychological resemblance between man and painting. Velazquez is the best portraitist of his time, or even of all time.
The doors open wide for Velazquez. In August 1650 Pope Innocent X sits for him. The artist wants to do better than Titian and takes a great care in the attitude and in the colors. Admiring the masterpiece, the pope famously says : "Troppo vero".
Major prelates now desire a similar portrait of them. At that time Velazquez works slowly. If he accepts, he endangers the mission for his king while his return is awaited with an impatience soon to be officially notified. If he refuses, he loses his best protectors for the acquisition of the works of art promised to the king.
The portrait of Monsignor Cristoforo Segni reveals the clever solution found by Velazquez. This outstanding person sits in an armchair and holds a paper in his hand, on the model of the portrait of the pope. The paper has the same role of identifying the artist and the prelate. For Segni the name of another artist, Pietro Martire Neri, is also indicated near that text.
This double authentication has puzzled all art historians, especially since no collaboration between Velazquez and Neri has ever been documented. The sharpness and expression of the face could however not have been achieved by Neri whose personal known work is rather mediocre. Segni's head is an autograph painting by Velazquez. Neri completed the rest, possibly after the departure of Velazquez from Rome.
This oil on canvas 114 x 92 cm is estimated $ 3M for sale by Sotheby's in New York on February 1, lot 48. The image is shared by Wikimedia. Please watch the video shared by Sotheby's.
His first stay in Italy in 1629-1630 had much contributed to his artistic training but he was still unknown in that country when he arrived in Rome in 1649. He immediately portrayed his assistant, the mulatto slave Juan de Pareja. The Romans were dazzled by the physical and psychological resemblance between man and painting. Velazquez is the best portraitist of his time, or even of all time.
The doors open wide for Velazquez. In August 1650 Pope Innocent X sits for him. The artist wants to do better than Titian and takes a great care in the attitude and in the colors. Admiring the masterpiece, the pope famously says : "Troppo vero".
Major prelates now desire a similar portrait of them. At that time Velazquez works slowly. If he accepts, he endangers the mission for his king while his return is awaited with an impatience soon to be officially notified. If he refuses, he loses his best protectors for the acquisition of the works of art promised to the king.
The portrait of Monsignor Cristoforo Segni reveals the clever solution found by Velazquez. This outstanding person sits in an armchair and holds a paper in his hand, on the model of the portrait of the pope. The paper has the same role of identifying the artist and the prelate. For Segni the name of another artist, Pietro Martire Neri, is also indicated near that text.
This double authentication has puzzled all art historians, especially since no collaboration between Velazquez and Neri has ever been documented. The sharpness and expression of the face could however not have been achieved by Neri whose personal known work is rather mediocre. Segni's head is an autograph painting by Velazquez. Neri completed the rest, possibly after the departure of Velazquez from Rome.
This oil on canvas 114 x 92 cm is estimated $ 3M for sale by Sotheby's in New York on February 1, lot 48. The image is shared by Wikimedia. Please watch the video shared by Sotheby's.
1664 A Diamond for the Infanta
2008 SOLD 16.4 M£ including premium
It will be one of the most remarkable lots of this fall. A diamond in an extremely rare color, an exceptional size and a royal provenance dating back to more than three centuries ago.
This Indian greyish-blue diamond weighing 35.56 carat of VS2 clarity is chosen in 1664 by King Philip IV of Spain to enter the dowry of his daughter, the Infanta Margarita Teresa. The princess is well known for being in 1656 the main character of the Meninas of Velazquez. So this diamond is a contemporary of the royal glory of the Koh-I-Noor, the Regent and the Orlov. Entered in the Bavarian royal family by a marriage in 1722, it was then known as Blaue Wittelsbacher.
It is found twice at Christie's: in 1931 at the sale of the crown jewellery of Bavaria, and now in preparation for the sale of December 10 in London.
Christie's does not give a price in its release, but the Telegraph of Nov. 2 indicates that experts believe it could fetch £ 10 million.
POST SALE COMMENTS
An outstanding result for the most exciting lot of the year.
The Wittelsbach diamond was sold £ 16.4 million including buyer's premium.
Christie's announced that it is the highest recorded auction price for a jewel.
My opinion is that this changes nothing in my previous remarks on the new challenge, at the end of the year, for selling color diamonds. Those that are both unique and prestigious continue to make excellent performance.
Unlike my usual practice, I put a link to the catalog page of this historic lot.
Question raised by a WORLDAUCTION member :
I wonder how the value was assigned based on weight, size, clarity, color, etc. I am also interested if a breakdown is possible with the art and skill that went into finishing. It would seem this diamond with it's history would be valued even higher. A terrific gift to a special person.
Do you think timing in the offer so near the holidays may have driven up the price for the diamond? Or was this essentially assured without much competition?
Proposed answer :
I have no doubt that the royal history made the price. The fact that only one other diamond of same colour and size is known in the world helped much.
I do not think that the cut and clarity had a role in this result.
It is a historic piece, contemporary to the Koh-I-Noor. I am sure that the price was not affected by the auction date, excepted the fact that top jewelry auctions in London and New York come generally in December (after Geneva and Hong Kong sales).
Christie's had not published their estimate, but the market had told about 10 M£. For sure, reaching 16.4 M£ (including fees) was the result of much competition.
(later)
We have some additional information through the press today.
Christie's spokeswoman said the price nearly doubled its pre-sale estimate (Christie's had not published that estimate).
The previous top price for a diamond at auction was $16.5 million for a 100-carat diamond in 1995 in Switzerland. Converted into US currency, the price of the Wittelsbach diamond is 24.3 M$.
Christie's provided the buyer's name in a press release : Graff Diamonds.
Its image before being recut by Graff is shared by Wikimedia :
This Indian greyish-blue diamond weighing 35.56 carat of VS2 clarity is chosen in 1664 by King Philip IV of Spain to enter the dowry of his daughter, the Infanta Margarita Teresa. The princess is well known for being in 1656 the main character of the Meninas of Velazquez. So this diamond is a contemporary of the royal glory of the Koh-I-Noor, the Regent and the Orlov. Entered in the Bavarian royal family by a marriage in 1722, it was then known as Blaue Wittelsbacher.
It is found twice at Christie's: in 1931 at the sale of the crown jewellery of Bavaria, and now in preparation for the sale of December 10 in London.
Christie's does not give a price in its release, but the Telegraph of Nov. 2 indicates that experts believe it could fetch £ 10 million.
POST SALE COMMENTS
An outstanding result for the most exciting lot of the year.
The Wittelsbach diamond was sold £ 16.4 million including buyer's premium.
Christie's announced that it is the highest recorded auction price for a jewel.
My opinion is that this changes nothing in my previous remarks on the new challenge, at the end of the year, for selling color diamonds. Those that are both unique and prestigious continue to make excellent performance.
Unlike my usual practice, I put a link to the catalog page of this historic lot.
Question raised by a WORLDAUCTION member :
I wonder how the value was assigned based on weight, size, clarity, color, etc. I am also interested if a breakdown is possible with the art and skill that went into finishing. It would seem this diamond with it's history would be valued even higher. A terrific gift to a special person.
Do you think timing in the offer so near the holidays may have driven up the price for the diamond? Or was this essentially assured without much competition?
Proposed answer :
I have no doubt that the royal history made the price. The fact that only one other diamond of same colour and size is known in the world helped much.
I do not think that the cut and clarity had a role in this result.
It is a historic piece, contemporary to the Koh-I-Noor. I am sure that the price was not affected by the auction date, excepted the fact that top jewelry auctions in London and New York come generally in December (after Geneva and Hong Kong sales).
Christie's had not published their estimate, but the market had told about 10 M£. For sure, reaching 16.4 M£ (including fees) was the result of much competition.
(later)
We have some additional information through the press today.
Christie's spokeswoman said the price nearly doubled its pre-sale estimate (Christie's had not published that estimate).
The previous top price for a diamond at auction was $16.5 million for a 100-carat diamond in 1995 in Switzerland. Converted into US currency, the price of the Wittelsbach diamond is 24.3 M$.
Christie's provided the buyer's name in a press release : Graff Diamonds.
Its image before being recut by Graff is shared by Wikimedia :
1670 The Man of Sorrows
2017 SOLD for £ 2.75M including premium
In Sevilla where he spends his entire career, Bartolomé Esteban Murillo is away from the academics. Deeply original in his humanistic approach to religious themes, he promotes piety by showing that Christ and saints were human beings, thus reinforcing the simple idea that Gospels and hagiographies are examples to be imitated.
On July 5 in London, Sotheby's sells an Ecce Homo, oil on canvas 64 x 53 cm painted by Murillo around 1670 or a little earlier, lot 32 estimated £ 2M. This artwork had been sold for £ 2,47M including premium by Christie's on December 8, 2005.
Christ is seen half-length on a black background, in a composition very close to the Ecco Homo of similar dimensions painted by Titian in 1547, now at the Museo del Prado. He is alone with no narrative surrounding to face his physical and moral pains with the attributes of mockery : the rope binding his hands, the red robe that does not cover the body, the crown of thorns and the scepter of reed.
The feeling is however completely different. The head of the man of sorrows by Titian is turned almost in profile with a too thick beard. On the contrary the attitude shown by Murillo is facing. His lowered eyes and his meditating mouth reveal that this man is strong enough in his mind to overcome all sufferings and challenges.
On July 5 in London, Sotheby's sells an Ecce Homo, oil on canvas 64 x 53 cm painted by Murillo around 1670 or a little earlier, lot 32 estimated £ 2M. This artwork had been sold for £ 2,47M including premium by Christie's on December 8, 2005.
Christ is seen half-length on a black background, in a composition very close to the Ecco Homo of similar dimensions painted by Titian in 1547, now at the Museo del Prado. He is alone with no narrative surrounding to face his physical and moral pains with the attributes of mockery : the rope binding his hands, the red robe that does not cover the body, the crown of thorns and the scepter of reed.
The feeling is however completely different. The head of the man of sorrows by Titian is turned almost in profile with a too thick beard. On the contrary the attitude shown by Murillo is facing. His lowered eyes and his meditating mouth reveal that this man is strong enough in his mind to overcome all sufferings and challenges.
1794 Goya inspired by Velazquez
2009 SOLD 2.6 M£ including premium
Goya had the title of painter of the King of Spain (pintor del rey). It is therefore not surprising that he made some portraits of Charles IV ... and also of the lover of the queen.
Having come to power through the bed of the queen, Don Manuel Godoy became the strongman of the regime, with the title and functions of prime minister.
Sotheby's is selling in London on July 8 an equestrian portrait of Godoy by Goya. The design follows the portrait of Philip IV by Velazquez, with the animal slightly standing like for greeting. Details of the uniform and orders of the rider can assign a precise date on the work: 1794.
It is a small painting, 55 x 45 cm, probably preparing for a monumental work which was not performed. The rarity of the composition in Goya's work, the care taken for the painting and such a tribute to Velazquez justify the estimated £ 2.5 million.
POST SALE COMMENT
£ 2.6 million including expenses, just below the estimate. It is not so bad, finally, for this small painting a bit too serious to be a major Goya.
Having come to power through the bed of the queen, Don Manuel Godoy became the strongman of the regime, with the title and functions of prime minister.
Sotheby's is selling in London on July 8 an equestrian portrait of Godoy by Goya. The design follows the portrait of Philip IV by Velazquez, with the animal slightly standing like for greeting. Details of the uniform and orders of the rider can assign a precise date on the work: 1794.
It is a small painting, 55 x 45 cm, probably preparing for a monumental work which was not performed. The rarity of the composition in Goya's work, the care taken for the painting and such a tribute to Velazquez justify the estimated £ 2.5 million.
POST SALE COMMENT
£ 2.6 million including expenses, just below the estimate. It is not so bad, finally, for this small painting a bit too serious to be a major Goya.
1808-1812 Dead Hares by Goya
2003 SOLD for $ 5.1M including premium by Christie's
narrated in 2020
In 1808 the outbreak of the war of independence against the French invader had a major impact on the life and art of Goya. His Disasters of War are the most atrocious images in the history of art.
At 62, the artist no longer needs his art to earn a living and, in these difficult circumstances, he has fewer clients. He had a bulimia of innovations throughout his life. He is trying the theme of still life for the first time in his career.
The twelve still lifes painted by Goya surfaced after 1865. They had remained grouped together in the artist's estate and then in a mortgage which had ended in a transfer in favor of a business partner of Mariano, the grandson of the artist.
Goya had attempted in this set to completely renew the theme of still life. Dead animals are no longer decorative objects or hunting trophies, but beings whose lives have been violently taken by humans for culinary purposes. The beginning of the war is the terminus post quem. The terminus ante quem is their reference in an inventory in 1812.
Goya used the best of his pictorial technique, combining veils of color and heavy impastos, placed with brushes, knife and fingers. The animals are different on each opus. The realistic flesh ready for decomposition attests to the importance of death in the artist's creativity.
On January 24, 2003 Christie's sold at lot 136 for $ 5.1M including premium an oil on canvas 45 x 63 cm showing two dead hares lying on top of each other on a table.
At 62, the artist no longer needs his art to earn a living and, in these difficult circumstances, he has fewer clients. He had a bulimia of innovations throughout his life. He is trying the theme of still life for the first time in his career.
The twelve still lifes painted by Goya surfaced after 1865. They had remained grouped together in the artist's estate and then in a mortgage which had ended in a transfer in favor of a business partner of Mariano, the grandson of the artist.
Goya had attempted in this set to completely renew the theme of still life. Dead animals are no longer decorative objects or hunting trophies, but beings whose lives have been violently taken by humans for culinary purposes. The beginning of the war is the terminus post quem. The terminus ante quem is their reference in an inventory in 1812.
Goya used the best of his pictorial technique, combining veils of color and heavy impastos, placed with brushes, knife and fingers. The animals are different on each opus. The realistic flesh ready for decomposition attests to the importance of death in the artist's creativity.
On January 24, 2003 Christie's sold at lot 136 for $ 5.1M including premium an oil on canvas 45 x 63 cm showing two dead hares lying on top of each other on a table.
