Bidspirit auction | Portrait of Captain General, Hispano

Portrait of Captain General, Hispano Flemish school, 17th century, circle of Cornelis Schut III, the Younger (Antwerp, 1629 - Seville, 1685) - Oil on canvas, framed measures: 120 x 105 cm. Canvas measures: 106 x 81 cm. The son of a Flemish military engineer established in Seville, in 1653 he married a sister-in-law of the sculptor José de Arce, who acted as his guarantor in the painter's examination letter approved on January 8, 1654 by Sebastián de Llanos y Valdés and Francisco Terrón . Only a year later he received the first of a long list of apprentices who, to a large extent, were going to be directed towards the gilding and polychrome painting of Baroque altarpieces, a task that he himself must have carried out in the service of his brother-in-law. Already in the year In 1660 he was counted among the founders of the Academy established by the Sevillian painters in the Lonja house, performing the position of prosecutor. In 1666 he was elected consul of the institution and in 1670 president, re-elected four years later, According to Ceán Bermúdez, he is one of those who contributed most generously to his support, often paying the model's salary out of pocket and offering prizes to the apprentices. On September 18, 1685, after a long illness, he dictated his will, declaring himself solemnly poor. Cornelis Shut III tackled various genres, including still life, and which had private clients and in some cases merchants as main recipients, which explains the dispersion of his work, with copies preserved in Elorrio (Vizcaya) and Álava (Immaculate of the church parish of Antoñana). This would also explain why, according to Ceán Bermúdez, in his time there were many works preserved in Seville in the possession of private individuals, while only one public was known, which was an Immaculate Conception, already cited by Palomino, placed in an altarpiece in the Puerta de Carmona. Like so many other Spanish painters, Schut must have addressed this matter on numerous occasions, attributing to him, among others, the copies of the church of San Isidoro in Seville and of Jesús Nazareno in Chiclana de la Frontera, as well as a version in the Museum of Fine Arts in Seville. with a strong Zurbaran accent. Reference bibliography: Alonso de la Sierra, Lorenzo y Quiles, Fernando, «New works by Cornelio Schut the young», Norba-Arte, XVIII-XIX (1998-199), pp. 83-105; Valdivieso, E. and Serrera, JM, The time of Murillo. Antecedents and consequences of his painting, exhibition catalogue, Palacio de Aranjuez, 1982, Legal Deposit SE 225-1982. Attributing to him, among others, the copies of the church of San Isidoro in Seville and of Jesús Nazareno in Chiclana de la Frontera, as well as a version in the Museum of Fine Arts in Seville with a strong Zurbaranesque accent. Reference bibliography: Alonso de la Sierra, Lorenzo y Quiles, Fernando, «New works by Cornelio Schut the young», Norba-Arte, XVIII-XIX (1998-199), pp. 83-105; Valdivieso, E. and Serrera, JM, The time of Murillo. Antecedents and consequences of his painting, exhibition catalogue, Palacio de Aranjuez, 1982, Legal Deposit SE 225-1982. Attributing to him, among others, the copies of the church of San Isidoro in Seville and of Jesús Nazareno in Chiclana de la Frontera, as well as a version in the Museum of Fine Arts in Seville with a strong Zurbaranesque accent. Reference bibliography: Alonso de la Sierra, Lorenzo y Quiles, Fernando, «New works by Cornelio Schut the young», Norba-Arte, XVIII-XIX (1998-199), pp. 83-105; Valdivieso, E. and Serrera, JM, The time of Murillo. Antecedents and consequences of his painting, exhibition catalogue, Palacio de Aranjuez, 1982, Legal Deposit SE 225-1982. ”New works by Cornelius Schut the Younger”, Norba-Arte, XVIII-XIX (1998-199), pp. 83-105; Valdivieso, E. and Serrera, JM, The time of Murillo. Antecedents and consequences of his painting, exhibition catalogue, Palacio de Aranjuez, 1982, Legal Deposit SE 225-1982. ”New works by Cornelius Schut the Younger”, Norba-Arte, XVIII-XIX (1998-199), pp. 83-105; Valdivieso, E. and Serrera, JM, The time of Murillo. Antecedents and consequences of his painting, exhibition catalogue, Palacio de Aranjuez, 1982, Legal Deposit SE 225-1982.