Morton Subastas announces Auction of Old Masters Paintings from Mannerism to Romanticism

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Morton Subastas announces Auction of Old Masters Paintings from Mannerism to Romanticism
A magnificent portrait of Charles II by Juan Carreño de Miranda.



MEXICO CITY.- The Asturian painter Juan Carreño de Miranda, according to the trend of the time, painted a late version with slight modifications of the outstanding portrait of Charles II, exhibited in The Prado Museum as one of the most celebrated artworks inspired in the Velazquez technique and manners of representation; without any doubt this painting portrays the humanity of this tragic monarch.

This painting of the last of the Habsburg monarchs in Spain has become one of the most iconical of the period ever produced by the artist; not only because it reflects the nefarious consequences of marriages between familiy members mostly uncles with nieces but because it also emphasizes certain tenderness toward the main character. This magnificent portrait comes to Mexico as part of an exceptional collection of sixteen European paintings, carefully selected according to their quality and uniqueness in this pioneering experience, set to auction thanks to the initiative of Wealth Advisory Services along with the prestigious Colnaghi Gallery at Old Bond Street in London and Morton Subastas in Mexico City, one of the largest auction houses in Latin America.

"For me explains Carmen Reviriego, President of Wealth Advisory Services¬ it is important to bring these Old Masters Paintings to Mexico City, because there has never been such a collection tailored to a specific country and culture. The European Baroque and New Spain´s ways of representation can not be understood without their complementarity”.

The auction will take place on May 26th, 2016 at 7:00 PM as part of the Great Antiques Auction. Quite an opportunity to acquire important artworks, and several objects of remarkable beauty, high manufacturing and value. Outstanding masterpieces that have endured across the time.










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