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Libro OK-V2 FINAL.Pdf López de Aragón 20 years in Maastricht Editado LÓPEZ ARAGÓN Fotografía ------------------------- Diseño y Maquetación RICARDO GRANJA Imprime JOMAGAR Depósito Legal: X-XXXXXXX ISBN: XXXXXXXXXXXXXX Sculptures Contents 72 Dionysus 104 Gil de Siloe and workshop 74 Apollo 106 Arnao de Bruselas López de Aragón / 20 years in Maastricht 76 Compound Capital 108 Gil de Siloe and workshop 78 Fountain 110 Fra Giovanni Angelo Montorsoli 80 Enthroned Virgin with Child 112 Della Porta Studio 82 Holy Bishop 114 Giambologna 84 Rimini Master 118 Girolamo Campagna 86 Benedetto da Maiano and workshop 122 Nicolas Cordier 90 Manner of Tilman Riemenschneider 124 Giacomo Antonio Ponsonelli 92 Lorenzo Ghilberti worshop 126 Pierre Simon Jaillot Paintings 94 Catholic King coat of arms 130 Giovanni Baratta 96 Felipe Bigarny 132 Giuseppe Torricelli 14 Martín Bernat 42 Giovanni Battista Salvi 102 Felipe Bigarny and workshop 134 Victor Ochoa 16 Palanquinos Master 44 Acisclo Antonio Palomino 18 Girard or Cervera Master 46 Francisco de Goya y Lucientes Works of Art 20 Vrancke van der Stockt 50 Francisco de Goya y Lucientes 26 Gerard David and workshop 52 Raimundo Madrazo 140 Islamic Jar 154 Juan Carranza Alvear 28 Haeredes of Paolo Veronese 54 Vicente López Portaña 142 Alcaraz Carpet 156 Virreinato Chalice 30 Jacob de Backer 56 José María López Mezquita 144 Burgos Doors 158 Catalan Calaixera 32 Johann König 60 José María López Mezquita 146 “Escurialense” Candlesticks 160 Lady´s Cabinet Thomas Sheraton 34 Peter Paul Rubens and workshop 64 José María López Mezquita 148 Crown of Aragon Bargueño 164 Stucco Table 38 Francisco de Zurbarán 68 Salvador Dalí 150 Processional Mostrance 166 Reliquary 40 Francisco de Zurbarán 152 Processional Mostrance 168 Claude Galle Introduction López de Aragón / 20 years in Maastricht The first fair organised by The European Fine Art Fairs. Since 2014, this important office has been held Foundation (TEFAF) we attended was the one held in by Willem van Roijen, whose experience on the board Basel in 1995, and since then we have had the honour of TEFAF, of which he has been a member since 1997, of being invited to the Maastricht Fair, with which to is an assurance of continuity and success. date we have kept our annual appointment. In this commemorative book “20 years with TEFAF” we The consummate professionalism of the participating offer a selection of some of the artworks that have dealers, the expertise of the Vetting Committees, been displayed on our stands over the years. We have and the knowledge of collectors and visitors alike simply chosen a representative sample, each one have provided an incentive for our professional with its reference data and a summary of the studies advancement, which has been favourably reflected presented at the time. It is divided into three chapters: in our business approach; for example, by being Painting, Sculpture and the Decorative Arts, from more critical and demanding in our acquisitions, and different periods and schools, and involving a variety focusing them mainly on our stand at Maastricht. of materials, all with the same common denominators of Authenticity, Quality and Conservation. We first came into contact with TEFAF through our colleague and close friend Jan Dirven, to whom we We have also sought to provide an overview of will be forever indebted for giving us the opportunity to our commercial range, from a Gothic panel to a exhibit at what is deemed to be “the world’s best and monumental painting by Dali, or from a Roman bust most important art fair”. Since then, we have always to a portrait sculpture of HM the King of Spain by felt welcome in this huge family, whose kindness Víctor Ochoa, although our commercial focus almost and affection are worthy of mention. This success always falls between the medieval period and the is obviously due to a number of different factors, baroque. The scope of our subject matter and periods but the key one is the efficiency and magnificent is indeed a broad one, although our priority is on the professionalism of the members of the TEFAF team, quality and significance of each piece rather than on headed by Paul Hustinx, who over these years have our own personal taste and financial gain. also raised their own expectations, as we have already said, as they now organise this outstanding event from The firm’s current management now involves the third one year to the next. generation of the López de Aragón family dedicated to the world of art, and we trust it will not be the last. We should, of course, salute the Fair’s past Chairman’s, Our heartfelt thanks go to Mrs. López de Aragón, from the exceptional work of Dave Aronson (†), who our public relations affectionately referred to as “la held this office for a long time with considerable Mamma”. Félix López de Aragón vision and diplomacy, through to our great friend Ben Diego López de Aragón Janssen, who had the foresight to drive the event’s Our remit, namely, to be or aspire to be good Maastricht Fair 2005 expansion, attracting new emerging markets and professionals in the antiques market, is and will always consolidating it as the world’s foremost referent in Art be our guiding light. 12 13 Pintura López de Aragón / 20 years in Maastricht López de Aragón / 20 years in Maastricht Pintura Paintings López de Aragón / 20 years in Maastricht 14 Paintings López de Aragón / 20 years in Maastricht Martín Bernat (1450 -1505) Provenance: Saint Blas Duquesa de Parcent Collection, Spain Spain, Aragón S. XV, circa 1480 Literature: Oil on Panel • A.L.Mayer, Historia de la Pintura Española, pag.125, 192 x 93 cm Fig.10 4. • Post, “History of Spanish Paintings”,Tomo VIII, pag.155, Fig.65. Exhibitions: • ‘Jan van Eyck, the Flemish Primitives and the South’, Groeningemuseum Bruge, 2002. Martín Bernat a Spanish Gothic style painter, active Along with Miguel Ximénez, Bernat was hired in in Zaragoza, where he had a long collaboration 1485 to execute the high altar of the parish church with Bartolomé Bermejo. His dates of birth and death of Blesa in the Province of Teruel, dedicated to are not known. the Legend of the Holy Cross, now in the Museum of Zaragoza. The fact that most of the payments This collaboration between Bernat and Bermejo left were intended to Ximénez, who in 1487 charged a deep imprint on Bernat and, generally speaking, in and alone, suggests that participation was a the Aragonese painting of the late fifteenth century, minor Bernat contribution. He and his workshop in where enshrined saint typology created by Bermejo in this altarpiece attributed the stronger character Santo Domingo de Daroca is repeated often, especially tables “primitive” and greater proximity to Bermejo, in works attributed to Bernat or his circle, such as the which are located in the attic, with the representation St. Victorian between San Gaudioso and Saint Nazaire of a number of prophets, and the right side of Cathedral or the San Blas Barbastro between San the street, destined to the Passion of Christ, with Vicente and San Lorenzo of the parish of St. Mary scenes of Jesus before Caiaphas, Jesus with the Magdalene of Lécera. Cross and Descent. 16 Paintings López de Aragón / 20 years in Maastricht Palanquinos Master Saint John and Saint Andrew Provenance: Oil and tempera over panel Private Collection, Madrid Spain, Circa 1485 Literature: 145 x 30 cm Each • Pilar Nieto Soto, Archivo Español del Arte, Consejo Superior de Investigaciones Científicas. Departamento de Historia del Arte “Diego Velázquez”, Centro de Estudios Históricos. Nº 267, Págs. 305 – 308, Madrid 1994 • Post, Ch. R.: A History of Spanish painting, Harvard 1933, IV, págs. 155- 169 Palanquinos Master shows its stylistic traits clearly Though these panels are combined together, we presented in these two gothic panels. A strong influence believe they must have been doors of a triptic, and from Fernando Gállego is present as well. He performed hence two separate panels. several duties from Salamanca covering most of the spanish country. Other great works of art from Palanquinos can be found at the Cathedral of Leon and different national However, we believe Palanquinos shows a certain museums and private collections. ressemblance with Gállego due to the fact he was a contemporary artist, rather than being directly influenced by him. Palanquinos clearly demonstrates his very own personality. 18 19 Paintings López de Aragón / 20 years in Maastricht López de Aragón / 20 years in Maastricht Pintura Girard or Cervera Master (active 1461-1494) Bibliography: Delivery of the Keys to Saint Peter Chandler R. Post, a History of Spanish Painting, Vol. Spain, Cataluña, 15th Century VII- part I, the Catalan School in the Late Middle Oil on panel Ages, pag. 582, fig 218, Harvard University Press, 114,5 x 90 cm 1938, Kraus reprint New York, 1970. Provenance: Reference Literature: Private collection France • Enrique Lafuente Ferrari, Breve Historia de la Pintura Private Collection, Netherlands Española II, Interferencia de las escuelas en la Coleccion Capelastegui, Bilbao, España pintura de Levante, Akal, Madrid 1987. • Josep Gudiol y Santiago Alcolea i Blanch, Corpus de la Pintura Gótica Catalana, Ed. Poligrafia, Barcelona 1986. The name is based on the Valencian painter Pedro important and known painting of the painter” comes. Girard that we know was working in the Catalan They refer to a fragment of a altarpiece dedicated to region during the last quarter of the 15th Century. The Saint Michael that today can be found at the Archivo chronological limits of his activity are the contract of Histórico Municipal de Cervera. the “Carniceros” altarpiece in Valencia in 1461, and the date of a donation in November 1494 for the Another 17 works by the Master of Girard have been execution of the Verdu altarpiece.
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