3 Marzo 2022

Oil on canvas.
The work has been relined.
It has slight pictorial defects and subsequent restorations.
91 x 58 cm; 130 x 97.5 cm (frame).

Oil on canvas.
Previously attributed to Mariano Salvador Maella, according to a front plaque.
57 x 39 cm; 70 x 52.5 cm (frame)

Pair of oil paintings on canvas with period frames in carved, moulded and gilded wood.
Relined.
79 x 60 cm; 104 x 70 cm (frames).

Oil on copper.
With subsequent repainting.
30 x 23.5 cm (without frame).
 

Oil on canvas.
Visible restorations on the back.
54.5 x 42 cm; 69 x 55 cm (frame).

Oil on canvas.
Based on an engraving by José Ribera made between 1624-1628 and dedicated to Prince Manuel Filiberto de Saboya.
With subsequent restorations.
56 x 71 cm (unframed).

Oil on board.
Signed or with signature.
40 x 21.8 cm; 56.5 x 39.3 cm (frame).

Oil on canvas.
Relined.
50 x 42.5 cm (without frame).

Oil on canvas.
After the original oil painting by Andrea del Sarto (c. 1514), kept in Museo del Prado, Madrid (inv. no. P000332).
62 x 48 cm; 78 x 64 cm (frame).

Oil on canvas.
Small restoration of the canvas, visible on the reverse.
Defects on the paint layer.
48 x 38 cm; 62 x 51 cm (frame).

Oil on canvas.
122 x 102 cm; 131 x 110 cm. (frame).

Oil on board.
The support has various flaws and perforations.
The reinforcing boards on the reverse are from a later period.
94.5 x 63 cm

Oil on canvas.
Slight damages to the paint layer.
93 x 60 cm; 106.5 x 72 cm (frame).

Oil on canvas.
With signature: "Gaspard Gerzely".
After original oil painting by Jean-Antoine Watteau (1716-1717), preserved in Nationalmuseum, Stockholm (inv. no. 5015), after a print.
Frame with traces of xylophages galleries on the back, apparently inactive.
Relined.
67 x 79 cm; 80.5 x 92.5 cm (frame). 
 
 

Oil on canvas.
Dated and identified, according to an inscription at the bottom.
With an Empire frame in carved, polychrome and gilded wood, c. 1830.
This is a private ex-voto commissioned by the merchant Cristòfol Lledó (1632-1692), who is depicted by the image of the Virgin and Child in costume, responding to an iconographic type in vogue at the time. The year 1687 was of decisive importance in his life, as he held the post of 'conseller en cap' of the city of Barcelona for the third time; as a result of the locust plague that devastated the city, as head of the 'Consell de Cent', and thanks to the vote cast by this institution, the coexistence of Saint Eulalia and the Virgin of Mercè as patron saints of Barcelona was established; and finally, the revolt of the Barretines broke out.
Provenance: by direct inheritance to the descendants of the patron.
Reference literature: Cristina Fontcuberta, 'El culte i la imatge de santa Eulàlia en la Barcelona moderna (segles XVI-XVIII)', in: Oriol Pascual (ed.), 'Santa Eulàlia, patrona de Barcelona', Barcelona, Ajuntament de Barcelona, 2018, pp. 93-117. We appreciate the collaboration of Cristina Fontcuberta, who is essential in the cataloguing of this piece, which she has studied on the basis of photographs. She is also currently co-director (together with Xavier Torres, from the Universitat de Girona) of the thesis "Mecenatge sacre i intercessió celestial: la representació del santoral ciutadà en la Barcelona moderna (1519-1760)" (Universitat de Barcelona, to be defended later this year) by Laura Faurías.
Relined.
119.5 x 109 cm; 140 x 131 cm (frame).

Oil on canvas.
With 19th century frame in carved, moulded, gilded and polychrome wood.
After the original oil painting by Jacopo Bassano and Francesco Bassano (c. 1577), kept in Museum of Fine Arts, Houston (inv. no. BF.1979.13).
With restorations on the paint layer and damages to the frame.
95.5 x 120 cm; 113 x 136.7 cm (frame). 

Oil on board.
With 19th century frame in carved, polychrome and gilded wood.
With restorations from different periods; reverse side with inlaid decoration.
46 x 30.5 cm; 74 x 58 cm (frame).

Oil on canvas.
After a print, after the original oil painting by Peter Paul Rubens (late 1610's-early 1620's, Hermitage, St. Petersburg) (inv. no. 480).
The work has been relined and has subsequent interventions and defects on the paint layer.
134 x 187 cm; 157 x 210 cm (frame).
 

Oil on canvas.
The works have been relined and have later restorations to the pictorial layer.
Such depictions of different birds, known as Bird Concerts, usually accompanied by a musical score, were made popular by Flemish painters of the early 17th century, especially by Frans Snyders.
62 x 81 cm; 72 x 93 cm (frame).

Oil on board.
It has some fine cracks on the support, visible on the paint layer, and restorations.
With a carved, moulded and gilded wood frame.
66 x 80 cm; 86 x 100.5 cm (frame).

Oil on canvas.
The work has been relined.
On the back, there is a label of Graells Collection.
With period frame.
127 x 102 cm; 155 x 134 cm (frame).

Oil on canvas.
Relined.
111 x 152 cm; 140 x 180 cm (frame).
 

Oil on canvas.
Relined.
133 x 99 cm; 142.5 x 110 cm (frame).

Oil or tempera on board.
The reverse has a grisaille painting depicting the iconography of Jacob's ladder, with two (?) old labels of the Spanish Ministry of National Education with a registration number.
Minor polychrome lacks and later restorations.
153 x 81 cm; 158 x 87.5 cm (framing).