Vicente Juan Masip Sold at Auction Prices

MACIP'S WORKSHOP (Valencia, 16th century) VICENTE MACIP (ca. 1475-1550) and JOAN DE JOANES (ca. 1507-1579) "Virgin of the Milk, with angel and San Juanito". Oil on panel. Cradled

MACIP'S WORKSHOP (Valencia, 16th century) VICENTE MACIP (ca. 1475-1550) and JOAN DE JOANES (ca. 1507-1579) "Virgin of the Milk, with angel and San Juanito". Oil on panel. Cradled. A version of this painting is preserved in the Museum of Fine Arts in Valencia. With frame of the seventeenth century, carved and gilded wood. Measurements: 70 x 58 cm; 91 x 78 cm (frame). This devotional painting, made in the workshop of the Masip family (Vicent Macip and his son Joan de Joanes), is a representative example of the Valencian school of the 16th century, characterized by the technical delicacy, the softness of the faces and the refined Renaissance spirituality impregnated with a subtle mysticism inherited from both the Flemish tradition and the Italian Raphaelesque painting. The Masip family made several versions of this work, and one of them is preserved in the Museum of Fine Arts of Valencia. The scene shows the Virgin Mary in the act of breastfeeding the Infant Jesus, an iconographic motif known as the Virgin of the Milk or Virgin Lactans. Mary, with a serene and sweet countenance, directs her gaze towards her son while carefully holding him. The Child appears naked, reinforcing the idea of humanity and vulnerability, while he clings tenderly to his mother's breast. Around him, an archangel holds a cross, and St. John the Baptist, a child (in his camel skin), interacts with Jesus, underlining the prefiguration of the redemptive sacrifice. The mountainous background and the sober architecture suggest an idealized space, where the earthly becomes the stage for the sacred. The golden nimbuses, richly decorated with punching, refer to the Gothic heritage still latent in Hispanic devotional painting, while the pyramidal composition and the classical serenity reveal the assimilation of Italian Renaissance models. The proportions are volumetric and the faces delicately modeled, with soft flesh tones and looks full of affection. The folds of the Virgin's blue mantle and the orange-red of her tunic denote the taste for intense color and the chromatic richness typical of the Valencian school. Vicent Macip (c. 1475-1550) and his son Joan de Joanes (c. 1507-1579) are key figures in Valencian Renaissance painting. Vicent was trained in the Hispano-Flemish tradition and Joan de Joanes masterfully introduced the language of the Italian High Renaissance, inspired by Raphael, into the local context. Works like this one combine the intimate devotion of medieval painting with the ideal of Renaissance beauty. The Masip workshop cultivated this type of images for private and parochial devotion, pieces that served both to instruct and to spiritually move the faithful. Joan de Joanes was trained in his father's workshop, which has made it difficult to attribute early works before 1550, the year of his father's death. Although there is speculation as to whether he studied in Italy due to the influence of painters such as Sebastiano del Piombo on his work, most historians believe that he never left Spain, absorbing these influences through foreign works that reached the Kingdom of Valencia. He was the most important painter in the Valencia of his time, in contact with humanist circles. He devoted himself almost exclusively to religious iconography. In works such as "La Virgen con el Niño y San Juanito" or the "Sagrada Familia" by Joan de Joanes, the affectionate interaction between the Virgin and the children, the presence of attributes of the Passion and the atmosphere of pious recollection are repeated. Overall, this painting is a paradigmatic example of Valencian devotional art of the Cinquecento, which fuses tradition and renewal, austerity and gentleness, in a deeply humanized and pious iconography.

Atelier de Joan de Joanes (Fuente la Higuera 1503-1579 Bocairente) Vierge à l'Enfant, saint Jean Baptiste, l'Archange Gabriel et saint Joseph

Atelier de Joan de Joanes (Fuente la Higuera 1503-1579 Bocairente) Vierge à l'Enfant, saint Jean Baptiste, l'Archange Gabriel et saint Joseph tempera et huile sur panneau tempera and oil on panel 56.7 x 51.6cm (22 5/16 x 20 5/16in).

Atelier de Joan de Joanes (Fuente la Higuera 1503-1579 Bocairente) Vierge à l'Enfant, saint Jean Baptiste, l'Archange Gabriel et saint Joseph

Atelier de Joan de Joanes (Fuente la Higuera 1503-1579 Bocairente) Vierge à l'Enfant, saint Jean Baptiste, l'Archange Gabriel et saint Joseph tempera et huile sur panneau tempera and oil on panel 56.7 x 51.6cm (22 5/16 x 20 5/16in).

Juan de Juanes. Virgin with Child and S. John

Oil on table. A certificate from Isabel Mateo is attached that places the work in the artist's early period.

JUAN VICENTE MASIP Y OBRADOR - Altarpiece of the Dormition of the Mother of God. H. 1506

JUAN VICENTE MASIP Y OBRADOR Valencia h. 1475 - 1550 Altarpiece of the Dormition of the Mother of God. H. 1506 Oil on panel Measurements 143 x 98 cm Origin: - Charles Lemaire Collection, Paris. - Sotheby's Madrid, November 20, 1994. - Private collection. This work was published by the American Chandler R. Post who attributed it to the Master of Gabarda. The same researcher indicated that the scene of the Resurrection, specifically on the sepulcher, could be read, not without difficulty, the date of execution, 1505 or 1506. In addition, on the tile that Saint Paul steps on, he identified the presence of a monogram -PN- difficult to interpret as artist signature. Currently both the date and the monogram have not been located. The stylistic similarities that it presents with the altarpiece of San Miguel from the Diocesan Museum of Valencia from Villar del Arquebisbe confirm the aforementioned authorship to the Master of Gabarda indicated by Post. According to Benito Doménech, the Maestro de Gabarda can be linked to Vicente Macip's workshop in its earliest phase, since it shows an iconic tradition in the Reixac way. If the date noted by Post were true, it would mean one of the earliest known works by the Macip workshop, who has been documented as an altarpiece painter since at least 1501. This primitivism is evident in many details, such as the drastic change in scale of the figures in the same scene. Work exhibited at: - Vicente Macip (c. 1475 - 1550), Museum of Fine Arts of Valencia, 1997, nº 2. Bibliography: - Post, Chandler Rathfon, A History of Spanish Painting, Cambridge, 1938, vol. II (2a), p. 901-904. - Benito Doménech, José, Vicente Macip (cat. exp.), Museum of Fine Arts of Valencia, 1997, pp. 40-41.

JOAN DE JOANES - The Flagellation of Christ

JOAN DE JOANES Fuente de la Higuera or Valencia c. 1507 - Bocairente 1579 The Flagellation of Christ. c. 1575 Oil on panel Measurements 62.5 x 41.6 cm The Christ in this unpublished, high-quality work by Joan de Joanes is closely related, due to its great formal resemblance, to Christ to the column of the Museum of Terrassa. The two works show the entire body of Christ with a bent torso, the double scourge marks on his fair skin, the purity cloth with marked folds with a hanging point and exactly the same position of the right leg and foot. Its faded appearance with its looser brushstrokes, the incorporation of more determined shadows and the pious tone of the face connects with the Eucharistic Savior of the Cathedral of Valencia, situating the panel in the final stage of Joan de Joanes.

Evangelist Mark, Evangelist Matthew, Archangel Gabriel | Vicente Macip Comes "Evangelist Markus, Evangelist Matthäus und der Erzengel Gabriel"

Vicente Macip Comes / Vicente Joanes (around 1500 - 1579) Oil on panel 135 cm x 42,5 cm, framed The three plates are part of a collection of 26 paintings. Vicente Juan Macip was commissioned in 6.7.1578 with the making of these plates. The contract provided that only he could work on the paintings and finish them within three years. However, the artist died in December 1579, so his son Vicente Macip Comes continued and finished the work of his father. Evangelist Markus, Evangelist Matthew, Archangel Gabriel. All three plates appear in clear color and form, especially the drapery and the proportion of the figure reveal the skill of the painter, which was influenced by the Italian art of his time. The both evangelists and the archangel are equipped with or accompanied by their typical attribute. | Vicente Macip Comes / Vicente Joanes (um 1500 - 1579) Bei den drei Werken handelt es sich um Objekte einer Sammlung von insgesamt 26 Tafeln. Der Werkvertrag vom 6. 7. 1578 sah vor, dass Vicente Juan Macip die Arbeiten persönlich und ohne fremde Hilfe innerhalb der nächsten drei Jahre auszuführen hatte und dafür einen Lohn von 1500 libras erhalten sollte. Der Künstler starb jedoch im Dezember 1579, so vollendete sein Sohn, Vicente Macip Comes, das begonnene Werk. Evangelist Markus, Evangelist Matthäus und der Erzengel Gabriel. Alle drei Werke sind in klaren Farben und Formen gehalten, besonders der Faltenwurf der Gewänder und die Proportionen der Figuren sind herausragend gearbeitet. Sowohl die zwei Heiligen als auch der Erzengel sind mit den für sie typischen Attributen versehen. Öl auf Holz 135cm x 42,5cm gerahmt

Evangelist Mark, Evangelist Matthew, Archangel Gabriel | Vicente Macip Comes "Evangelist Markus, Evangelist Matthäus und der Erzengel Gabriel"

Vicente Macip Comes / Vicente Joanes (around 1500 - 1579) Oil on panel 135 cm x 42,5 cm, framed The three plates are part of a collection of 26 paintings. Vicente Juan Macip was commissioned in 6.7.1578 with the making of these plates. The contract provided that only he could work on the paintings and finish them within three years. However, the artist died in December 1579, so his son Vicente Macip Comes continued and finished the work of his father. Evangelist Markus, Evangelist Matthew, Archangel Gabriel. All three plates appear in clear color and form, especially the drapery and the proportion of the figure reveal the skill of the painter, which was influenced by the Italian art of his time. The both evangelists and the archangel are equipped with or accompanied by their typical attribute. | Vicente Macip Comes / Vicente Joanes (um 1500 - 1579) Bei den drei Werken handelt es sich um Objekte einer Sammlung von insgesamt 26 Tafeln. Der Werkvertrag vom 6. 7. 1578 sah vor, dass Vicente Juan Macip die Arbeiten persönlich und ohne fremde Hilfe innerhalb der nächsten drei Jahre auszuführen hatte und dafür einen Lohn von 1500 libras erhalten sollte. Der Künstler starb jedoch im Dezember 1579, so vollendete sein Sohn, Vicente Macip Comes, das begonnene Werk. Evangelist Markus, Evangelist Matthäus und der Erzengel Gabriel. Alle drei Werke sind in klaren Farben und Formen gehalten, besonders der Faltenwurf der Gewänder und die Proportionen der Figuren sind herausragend gearbeitet. Sowohl die zwei Heiligen als auch der Erzengel sind mit den für sie typischen Attributen versehen. Öl auf Holz 135cm x 42,5cm gerahmt RefFin4220

Vicente Macip Comes / Vicente Joanes

"Evangelist Mark, Evangelist Matthew, Archangel Gabriel" (around 1500 - 1579) Oil on panel 135 cm x 42,5 cm, framed The three plates are part of a collection of 26 paintings. Vicente Juan Macip was commissioned on July 6, 1578, with the making of these plates. The contract requested that only he should work on the paintings and finish them within three years. However, the artist died in December 1579, so his son Vicente Macip Comes continued and finished the work of his father. Evangelist Mark, Evangelist Matthew, and Archangel Gabriel. All three plates appear in clear color and form, especially the drapery and the proportion of the figures reveal the skill of the painter, which was influenced by the Italian art of his time. Both evangelists and the archangel are equipped with or accompanied by their typical attribute.

Evangelist Mark, Evangelist Matthew, Archangel Gabriel

Vicente Macip Comes / Vicente Joanes (around 1500 - 1579) Oil on panel 135 cm x 42,5 cm, framed The three plates are part of a collection of 26 paintings. Vicente Juan Macip was commissioned on July 6, 1578, with the making of these plates. The contract requested that only he should work on the paintings and finish them within three years. However, the artist died in December 1579, so his son Vicente Macip Comes continued and finished the work of his father. Evangelist Mark, Evangelist Matthew, and Archangel Gabriel. All three plates appear in clear color and form, especially the drapery and the proportion of the figures reveal the skill of the painter, which was influenced by the Italian art of his time. Both evangelists and the archangel are equipped with or accompanied by their typical attribute. | Vicente Macip Comes / Vicente Joanes (um 1500 - 1579) Bei den drei Werken handelt es sich um Objekte einer Sammlung von insgesamt 26 Tafeln. Der Werkvertrag vom 6. 7. 1578 sah vor, dass Vicente Juan Macip die Arbeiten persönlich und ohne fremde Hilfe innerhalb der nächsten drei Jahre auszuführen hatte und dafür einen Lohn von 1500 libras erhalten sollte. Der Künstler starb jedoch im Dezember 1579, so vollendete sein Sohn, Vicente Macip Comes, das begonnene Werk. Evangelist Markus, Evangelist Matthäus und der Erzengel Gabriel. Alle drei Werke sind in klaren Farben und Formen gehalten, besonders der Faltenwurf der Gewänder und die Proportionen der Figuren sind herausragend gearbeitet. Sowohl die zwei Heiligen als auch der Erzengel sind mit den für sie typischen Attributen versehen. Öl auf Holz 135cm x 42,5cm gerahmt

Vicente Juan Masip, called Juan de Juanes - Saint Blaise

Vicente Juan Masip, called Juan de Juanes Saint Blaise oil on panel, the top with the remains of a gilded engaged frame 38 ¼ x 23 5/8 in. (96.8 x 60 cm.)

SPANISH SCHOOL, 16TH CENTURY

ESCUELA ESPAÑOLA, S. XVI Virgen con el Niño y San Juanito Óleo sobre tabla Los modelos del Niño Jesús y de San Juanito responden claramente al estilo de Juan de Juanes (c.1507-1579) y al de sus seguidores, empezando por su propio hijo Vicente Masip Comes, llamado Vicente Juanes (c. 1555-1623). De hecho, la composición de esta tabla sigue los modelos habituales del artista Valenciano, a su vez inspirados en modelos italianos de Madonnas propias del Cinquecento, de Leonardo, Rafael y otros artistas. Es muy posible que estemos ante una versión de algún imitador o seguidor de Juan de Juanes, de un original no localizado o perdido, que delata la belleza y la dulzura de los modelos habituales de este maestro Valenciano del Renacimiento. 22 x 16 cm

Valencian School, after 1579 Follower of Joan de Joanes Saint Jerome

Valencian School, after 1579 Follower of Joan de Joanes Saint Jerome Oil on panel Con marco en madera tallada y dorada de estilo barroco. La amable colaboración de Mariano González Baldoví ha sido imprescindible en la catalogación de esta obra 79x61,7 cm Escuela valenciana, después de 1579. Seguidor de Joan de Joanes San Jerónimo Óleo sobre tabla Con marco en madera tallada y dorada de estilo barroco. La amable colaboración de Mariano González Baldoví ha sido imprescindible en la catalogación de esta obra 79x61,7 cm

JOAN MACIP, CALLED JOAN DE JOANES

JOAN MACIP, CALLED JOAN DE JOANES VALENCIA 1510 - 1579 THE VIRGIN MARY WITH THE CHRIST CHILD AND THE INFANT SAINT JOHN THE BAPTIST oil on panel 19 7/8 by 12 in.; 50.5 by 30.5 cm.

f,s - Joan Macip, called Joan de Joanes Valencia 1510 - 1579 , The Virgin Mary with the Christ child and the infant Saint John the Baptist oil on panel

JOAN MACIP, CALLED JOAN DE JOANES VALENCIA 1510 - 1579

oil on panel

JOAN MACIP, CALLED JOAN DE JOANES VALENCIA 1510 - 1579

oil on panel