79
Attributed to Baltasar de Echave Orio (Zumaya, circa 1548 - Mexico, 1624)
1/10
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Beschreibung
Attributed to Baltasar de Echave Orio (Zumaya, circa 1548 - Mexico, 1624)
"Saint Mark" and "Saint Matthew"
Pair of oils on copper.
On the back, handwritten inscription with the identification of the saints and what could be the artist's signature: ‘Scotto’.
22,8 x 17,3 cm each.
Magnífica pareja de óleos sobre cobre, de una perfección y fineza en la pincelada manierista que los confirman, y que representan a dos de los 4 evangelistas (posiblemente fueron 4 piezas, dos de los cuales no han llegado a nosotros, por pérdida o mal reparto en una testamentaría).
Movimiento y rapto, perspectiva celeste aún cuando están sentados, escorzo …., son alguna de sus primeras características compositivas. Colores muy vibrantes, dominio en la técnica del dorado y el puntillismo, aportando perfección a las figuras. Cierto “exceso” en esa perfección de las mismas que las convierten en auténticas piezas de museo.
Dos evangelistas con sus simbólicos atributos iconográficos: en Mateo es el ángel, un hombre con alas que resalta la humanidad del hijo de Dios; y en Marcos es el león, símbolo de fuerza, coraje y realeza.
En el de San Marcos se lee, en la espalda del cobre, Scotto, en tinta negra. Sin fecha.
Dos composiciones que por el uso de esos colores cálidos y brillantes, y la gracia y escorzo de las figuras, habla de un magnífico artista italiano de escuela y de perfección inusitada.
Baltasar de Echave Orio was a painter was born in Zumaya and later trained in Seville, where he came into contact with the paintings by Hernando de Esturmio and Luis de Vargas. The fact of living close to where paintings were being produced to send to New Spain seems to have been a motivating factor in his career, and he decided to travel, settling in Mexico, where he married the daughter of the painter Francisco Ibía. There he trained as an artist and developed his virtuosity in detail, in tenderness and the precise perfection of his drawing and brushstrokes. Known as “el de los azules” (he of the blues), as he always used the colour of the sky to his paintings for greater mysticism.
Many artistic influences arrived in New Spain, one of them was that of the Flemish painters Martín de Vos, Simón Pereyns and Andrés de Concha, which undoubtedly most marked Baltasar Echave Orio’s style.
This Flemish influence is clearly visible in this copper, evident in the delicate features used on the faces of the characters and in their hands.
The artist’s first dated work was painted with his father-in-law, Francisco Ibía, in 1590 for the old cathedral of Puebla.
His individual paintings date from 1606, with a Virgin of Guadalupe.
Various artists trained in his workshop, including his own son, Baltasar Echave Ibía, and it seems that Luis Juárez may also have been one of his disciples. Viceroyalty painting of the first half of the 17th century was strongly influenced by the style of the Echave family workshop.
His most outstanding paintings are Portiuncula and The Visitation, dated 1608 - 1610 made for the main altarpiece of the Church of the Franciscans at Tlatelolco, which currently form part of the collection at the Mexican Museo Nacional de Arte. The Annunciation and the Adoration of the Magi also formed part of the same reredos.
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Attributed to Baltasar de Echave Orio (Zumaya, circa 1548 - Mexico, 1624)
"Saint Mark" and "Saint Matthew"
Pair of oils on copper.
On the back, handwritten inscription with the identification of the saints and what could be the artist's signature: ‘Scotto’.
22,8 x 17,3 cm each.
Magnífica pareja de óleos sobre cobre, de una perfección y fineza en la pincelada manierista que los confirman, y que representan a dos de los 4 evangelistas (posiblemente fueron 4 piezas, dos de los cuales no han llegado a nosotros, por pérdida o mal reparto en una testamentaría).
Movimiento y rapto, perspectiva celeste aún cuando están sentados, escorzo …., son alguna de sus primeras características compositivas. Colores muy vibrantes, dominio en la técnica del dorado y el puntillismo, aportando perfección a las figuras. Cierto “exceso” en esa perfección de las mismas que las convierten en auténticas piezas de museo.
Dos evangelistas con sus simbólicos atributos iconográficos: en Mateo es el ángel, un hombre con alas que resalta la humanidad del hijo de Dios; y en Marcos es el león, símbolo de fuerza, coraje y realeza.
En el de San Marcos se lee, en la espalda del cobre, Scotto, en tinta negra. Sin fecha.
Dos composiciones que por el uso de esos colores cálidos y brillantes, y la gracia y escorzo de las figuras, habla de un magnífico artista italiano de escuela y de perfección inusitada.
Baltasar de Echave Orio was a painter was born in Zumaya and later trained in Seville, where he came into contact with the paintings by Hernando de Esturmio and Luis de Vargas. The fact of living close to where paintings were being produced to send to New Spain seems to have been a motivating factor in his career, and he decided to travel, settling in Mexico, where he married the daughter of the painter Francisco Ibía. There he trained as an artist and developed his virtuosity in detail, in tenderness and the precise perfection of his drawing and brushstrokes. Known as “el de los azules” (he of the blues), as he always used the colour of the sky to his paintings for greater mysticism.
Many artistic influences arrived in New Spain, one of them was that of the Flemish painters Martín de Vos, Simón Pereyns and Andrés de Concha, which undoubtedly most marked Baltasar Echave Orio’s style.
This Flemish influence is clearly visible in this copper, evident in the delicate features used on the faces of the characters and in their hands.
The artist’s first dated work was painted with his father-in-law, Francisco Ibía, in 1590 for the old cathedral of Puebla.
His individual paintings date from 1606, with a Virgin of Guadalupe.
Various artists trained in his workshop, including his own son, Baltasar Echave Ibía, and it seems that Luis Juárez may also have been one of his disciples. Viceroyalty painting of the first half of the 17th century was strongly influenced by the style of the Echave family workshop.
His most outstanding paintings are Portiuncula and The Visitation, dated 1608 - 1610 made for the main altarpiece of the Church of the Franciscans at Tlatelolco, which currently form part of the collection at the Mexican Museo Nacional de Arte. The Annunciation and the Adoration of the Magi also formed part of the same reredos.
Allegories, Legends and Holinesses
Auktionsdatum
Lose: 170
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.
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AGB
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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.
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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.
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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".
