Null SEGÚN CARLO DOLCI
Mater dolorosa or Virgin of the finger . Antique Painting…

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SEGÚN CARLO DOLCI Mater dolorosa or Virgin of the finger . Antique Painting . Oil on copper. Measures: 28 x 22 cm

1073

SEGÚN CARLO DOLCI Mater dolorosa or Virgin of the finger . Antique Painting . Oil on copper. Measures: 28 x 22 cm

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Valorac. 3 500 - 4 000 EUR

FRANCISCO ANTONIO VALLEJO (1722-1785). "Dolorosa", 1783. Oil on copper. Signed and dated. Measurements: 56,5 x 46 cm. The Virgin of Sorrows or the Dolorosa was a theme very much to the taste of the popular devotion, which will enjoy a great diffusion especially in the works destined to chapels and private altars. The theme is usually represented as we see here, with the Virgin alone in the foreground, in a dark and undefined environment, with an undoubtedly dramatic character. Although it is a compositional formula that we will see very developed in the naturalistic baroque, here it still responds to a purely iconographic sense, and in fact derives from Flemish models, of great weight in the Spanish school even in the 16th century. On the other hand, the way of composing the image presents a large, monumental figure. The devotion to the sorrows of the Virgin has its roots in medieval times, and was especially spread by the Servite order, founded in 1233. There are many and varied iconographic representations that have as central theme the Virgin Mary in her Sorrowful aspect, being the first of them in which she appears next to the Child Jesus, who sleeps oblivious to the future of suffering that awaits him. In these works is usually present the cross, the main symbol of the Passion, embraced even by the Child, while Mary observes him with a pathetic expression. Another aspect is the one that is part of the Pietà, similar to the previous one, although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, the body of Christ appears disproportionately small, as a symbol of the memory that the mother has of her Son's childhood, when she contemplated him asleep on her lap.

Valorac. 4 000 - 4 500 EUR

Granada school; second half of the 17th century. Carved and polychromed wood. It presents repainting and restoration on the nose of the Virgin. Measurements: 39 x 34 x 26.5 cm: 47 x 33 x 30 cm (base). The iconography of the Pietà arises from a gradual evolution of five centuries and, according to Panofsky, derives from the theme of the Byzantine Threnos, the lamentation of the Virgin over the dead body of Jesus, as well as from the Virgin of Humility. The first artists to see the possibilities of this theme were German sculptors, the first surviving example being found in the city of Coburg, a piece from around 1320. Over time the iconography spread throughout Europe, and by the 17th century, after the Counter-Reformation, it had become one of the most important themes in devotional painting. It is a polychrome carving in rounded wood that represents the theme of the Pietà: the Virgin seated with the dead Christ on her lap, a theme of profound drama not only because of the subject itself, but also because its composition evokes images of the Virgin with the Child Jesus on her lap. Iconographically, the Pietà is a theme that has been repeated many times in the history of art, especially from the Renaissance onwards. It is an image taken from the Passion, featuring a sorrowful Virgin Mary holding the dead body of her son. In fact, it is a plastic representation of Mary's pain in the face of the truth of her dead son, and in fact it is from this theme that the representations of the Dolorosa, in which only the Virgin appears, would derive. Stylistically, it is clear that the present work is strongly influenced by 17th-century Baroque models from the Granada school, and not only in the iconography, but also in the model chosen as an influence for it, in the decoration of the clothing, in the colouring, in the features of the face, etc. The Granada school, which was strongly influenced by the Renaissance period, included great figures such as Pablo de Rojas, Juan Martínez Montañés (who trained in the city with the former), Alonso de Mena, Alonso Cano, Pedro de Mena, Bernardo de Mora, Pedro Roldán, Torcuato Ruiz del Peral, etc. In general, the school does not neglect the beauty of the images and also follows naturalism, as was usual at the time, but it would always emphasise the intimacy and seclusion in delicate images which would be somewhat similar to the rest of the Andalusian schools in another series of details but which do not usually have the monumentality of the Sevillian ones. The work can be inscribed, specifically, in the stylistic circle of the Mora workshop (José and Diego). This was one of the most important workshops in Granada in the 17th century. The artistic legacy of this family of image-makers, which spanned from the last third of the 17th century to the second half of the 18th century, was a milestone in the Granada school. Influenced by the work of both Alonso Cano and Pedro de Mena, his influence led him to create a very personal and characteristic style.

Valorac. 600 EUR

Savoy Charles Felix (1821-1831) 20 Lire 1830 T dot after REX - Nomisma 554 AU R - qBB/BB

Valorac. 300 - 600 EUR

Mater Dolorosa - Netherlands, 17th century - Mary as the Mother of Sorrows with a sword in her breast, immersed in prayer and surrounded by the instruments of Christ's Passion. Oil/wood. 36.5 x 28 cm. - Frame slightly bumped.

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