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Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660).

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

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Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 1 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 2 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 3 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 4 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 5 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 6 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 7 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 8 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 9 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 10 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 1 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 2 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 3 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 4 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 5 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 6 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 7 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 8 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 9 aus 10
Diego Jimenez II (Viana, Navarra, 1617 - Cabredo, Navarra, 1660). - Bild 10 aus 10
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Diego Jiménez II (Viana, Navarre, 1617 - Cabredo, Navarre, 1660).

"The Last Supper
Relief in carved, polychrome and gilded wood.
36 x 98.5 x 2.5 cm.

This relief was part of the exhibition "The Mystery of Faith: An Eye on Spanish Sculpture 1550 - 1750" (2009), and is reproduced in the magnificent catalogue published for the occasion (pages 230-233), with texts by Andrea Gates and Patrick Matthiesen. 

Diego Jimenez II  was born and trained in an area in the north of Spain which took over from the school of Romanist sculptors who grew up around the master Juan de Anchieta  It was Anchieta who introduced the early Renaissance to Spain and is considered to be the father of one of the most important Schools following Michelangelo in Europe.  In this area of rich and enduring sculptural heritage the sculptor of this relief began to work one hundred years later. At the time, important sculpture workshops continued to supply images to the numerous local churches in the towns of Navarre, La Rioja, Alava and the surrounding area. One of these was the Navarrese workshop in Cabredo, founded by Anchieta's pupil, Pedro González de San Pedro (1560-1608), and continued by Juan Bazcardo (Navarre, 1584-1653) and Diego Jiménez II. It was in this workshop, in fact, that he produced this relief.  By way of anecdote, it should be noted that the two sculptors were brothers-in-law, as both married daughters of González de San Pedro. This family and artistic relationship, which was not uncommon at the time, gave rise to numerous joint creations such as the altarpieces of La Población de la Barca and Dallo, both in Álava. 

As we read in the Gates and Matthiesen catalogue mentioned above, "the shape of this relief suggests that it originally formed part of the predella of an altar". Jiménez's sculptural quality is evident in the way he distributes the figures around the table, giving the illusion of spaciousness through his handling of depth, despite the limited sculptural space available to him. 

On the one hand, the relief reflects the Romanesque heritage mentioned above and, on the other, it shows characteristics already typical of the Baroque, such as the naturalism of the piece, the use of individualised features for each character and the treatment of the clothing in angular folds.

What is usually a rather solemn, static and dogmatic scene is depicted here as a light-hearted dinner party, with more of a costumbrist than religious nature, as if it were a family or friends' gathering. The figures are arranged in groups, in animated chatter, with a couple talking to each other, some questioning others, one figure looking directly at the viewer, while Jesus caresses the head of his favourite disciple, who is dozing, resting his cheek on his hand. On the other side, Judas Iscariot hides a bag of coins in his hand, his payment for betraying Jesus.

 

Reference Bibliography:

 

- Gates, Andrea y Matthiesen, Patrick. (2009). "The Mystery of Faith: An Eye On Spanish Sculpture, 1550-1750". 

- Ramírez Martínez, José Manuel. (s.f.). "Diego Jiménez" https://dbe.rah.es/biografias/57000/diego-jimenez

 

Diego Jiménez II (Viana, Navarre, 1617 - Cabredo, Navarre, 1660).

"The Last Supper
Relief in carved, polychrome and gilded wood.
36 x 98.5 x 2.5 cm.

This relief was part of the exhibition "The Mystery of Faith: An Eye on Spanish Sculpture 1550 - 1750" (2009), and is reproduced in the magnificent catalogue published for the occasion (pages 230-233), with texts by Andrea Gates and Patrick Matthiesen. 

Diego Jimenez II  was born and trained in an area in the north of Spain which took over from the school of Romanist sculptors who grew up around the master Juan de Anchieta  It was Anchieta who introduced the early Renaissance to Spain and is considered to be the father of one of the most important Schools following Michelangelo in Europe.  In this area of rich and enduring sculptural heritage the sculptor of this relief began to work one hundred years later. At the time, important sculpture workshops continued to supply images to the numerous local churches in the towns of Navarre, La Rioja, Alava and the surrounding area. One of these was the Navarrese workshop in Cabredo, founded by Anchieta's pupil, Pedro González de San Pedro (1560-1608), and continued by Juan Bazcardo (Navarre, 1584-1653) and Diego Jiménez II. It was in this workshop, in fact, that he produced this relief.  By way of anecdote, it should be noted that the two sculptors were brothers-in-law, as both married daughters of González de San Pedro. This family and artistic relationship, which was not uncommon at the time, gave rise to numerous joint creations such as the altarpieces of La Población de la Barca and Dallo, both in Álava. 

As we read in the Gates and Matthiesen catalogue mentioned above, "the shape of this relief suggests that it originally formed part of the predella of an altar". Jiménez's sculptural quality is evident in the way he distributes the figures around the table, giving the illusion of spaciousness through his handling of depth, despite the limited sculptural space available to him. 

On the one hand, the relief reflects the Romanesque heritage mentioned above and, on the other, it shows characteristics already typical of the Baroque, such as the naturalism of the piece, the use of individualised features for each character and the treatment of the clothing in angular folds.

What is usually a rather solemn, static and dogmatic scene is depicted here as a light-hearted dinner party, with more of a costumbrist than religious nature, as if it were a family or friends' gathering. The figures are arranged in groups, in animated chatter, with a couple talking to each other, some questioning others, one figure looking directly at the viewer, while Jesus caresses the head of his favourite disciple, who is dozing, resting his cheek on his hand. On the other side, Judas Iscariot hides a bag of coins in his hand, his payment for betraying Jesus.

 

Reference Bibliography:

 

- Gates, Andrea y Matthiesen, Patrick. (2009). "The Mystery of Faith: An Eye On Spanish Sculpture, 1550-1750". 

- Ramírez Martínez, José Manuel. (s.f.). "Diego Jiménez" https://dbe.rah.es/biografias/57000/diego-jimenez

 

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