School of Castile, Zamora around 1515 Four... - Lot 18 - Audap & Associés

Lot 18
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8000 - 12000 EUR
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Result : 10 448EUR
School of Castile, Zamora around 1515 Four... - Lot 18 - Audap & Associés
School of Castile, Zamora around 1515 Four saints: Bartholomew, Jerome, Sebastian, Catherine Two pairs of pine panels Saint Catherine (n° 180) - 72,5 x 51,8 cm Saint Jerome (n° 178) - 69,5 x 51,2 cm Saint Bartholomew (n° 177) - 69,5 x 52 cm Saint Sebastian (n° 179) - 72,5 x 52 cm (Old restorations, lacks and lifts.) Frame with openwork festoons engraved with inscriptions (small accidents, some modified in their dimensions) Provenance : - Pellisson Collection (handwritten label and bookplate on edge of frame). Bearing labels with the numbers " 177 ", " 178 ", " 179 ", " 180 ". These rectangular panels have, within a few centimeters, the same dimensions and are all framed by a similar 6.5 cm wide molding (some parts of which have been restored) made of gilded wood and wood and bearing inscriptions in classical letters traced a sgraffito on the golden background; it is difficult to read them it is difficult to read them, the text being partial. The upper part of each panel is decorated with an ornamental arcade carved in gilded wood and embellished with knotwork above the image of each saint. saint. The green paint on the reverse is currently missing everywhere. All panels have a pictorial surface with visible wear, lifting and missing parts. On a label glued to the frame of the panels, handwritten inscription in blue ink: Monsieur George Pelisson. Each panel has a number that may correspond to the sales catalog of this collection that we have not been able to find. collection that we have not been able to find. These works all belonged to the same large altarpiece of which they were probably the elements of the predella. Each saint is standing in front of a low wall decorated with a portico portico opening onto a lake or mountainous landscape and can be recognized by his or her physical type or attributes attributes, described according to the Golden Legend of Jacques de Voragine: the knife and the chained devil for and the devil in chains for Saint Bartholomew, the cardinal's habit and the lion for Saint Jerome, the martyr's arrows for Saint Sebastian, the the wheel and the sword of the martyrdom of Saint Catherine. Unpublished, these panels have no critical reference. Their author must be sought in the stylistic atmosphere of Castile, especially in the region of Leon or Zamora; the presentation of the saints in truncated the presentation of the saints in truncated architectures opening onto landscapes, the high stature and the saturated coloring are all elements that allow these comparisons. We can relate these four saints to the artistic production of the Master of Astorga, an eminent figure in the region of Leon, who figure of the region of Leon, at the beginning of the sixteenth century, still anonymous, author of the altarpiece of the cathedral of Astorga Cathedral. He was trained in the works of Pedro Berruguete, Juan de Borgoña and Juan de Flandes, and was sensitive to the Umbrian was sensitive to the Umbrian works of Perugino. Post and Diego Angulo were his main students. More than the personal production of the Master of Astorga, whose panel of the Nativity with St. Dominic and St. Lawrence (Madrid, Museo de Arte) is the only one of its kind. with St. Dominic and St. Lawrence (Madrid, Museo Lazzaro Galdiano) is a valid point of comparison, it is possible to valid point of comparison, it is possible to compare the execution of our four saints with that of the Master's entourage of Astorga and especially the Master of Zamora, whose more expressive characters (here Saints Jerome and Bartholomew), the powerful chiaroscuro and the formal elegance (Saint Sebastian) differ from the art of the from the art of the Master of Astorga. There seems to be an eloquent connection with the Nativity, an element of the triptych from Torre de Luzea (Zarauz, Guipuzcoa, Banco Hispano Americano) given to the Master of Zamora the first third of the 16th century, where we find the same setting, the same situation of the landscape, the same oblong and well-characterized faces of the characters, a similar treatment of the similar treatment of the draperies. 1 Cf. Post, A History of Spanish Painting, Cambridge (Mass) 1947, Vol. IX,2, pp. 550 sq, and D. Angulo Iñiguez, in Ars Hispaniae, Madrid 1954, Vol. XII, p. 106-109 2 Cf. Post, op.cit, fig. 217 and El Arte en Cataluña y los reinos en tiempo de Carlos I, exhibition Barcelona, Museo de Historia de la Ciudad, 19 December 2000-4 March 2001, no. 44, p. 274, repr. 3 The Master of Zamora, author of the Christ Pantocrator in the cathedral of Zamora and of a Deposition once in the same cathedral, now in a private collection, has been confused by some historians with some historians with Juan Rodriguez de Solis. The latter painter, who signed the panels of a triptych with Veronica and the Virgin of Mercy, currently in the Madrid Foundation Tatiana Perez de Guzman el Bueno, has nothing to do with the Castilian works. Rather, it would be related either to Andalusia or to Flanders according to Letitia Ruiz Gomez. Post (op. cit. fig. 204), however, attributed to him the two Saints James the minor and Philip (New York, Hispanic Society) which, in our opinion, present a
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