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Description

Spanish or Novo-Hispanic school; second half of the 17th century. "Virgin of the tabernacle of Toledo". Oil on canvas. Re-drawn. It presents damages caused by xylophagous. It has a 17th century frame. Measurements: 220 x 163 cm; 258 x 202 cm (frame). The work shows, on an undetermined background, the image of the Virgin Mary with the Child in her arms. Her gaze to the front, the gesture of her hands, and the position in which Jesus is with respect to his mother suggest that it is an image inspired by a carving prior to the period in which the image was painted. It was very common in the 17th century to dress the most venerated images in this way in order to respect and update them at the same time, as well as to highlight them and add the richness that their "rank" as sacred figures required. The elements carried by both Mary and the Child, and the gestures of both, directly allude to the representation of the image of the so-called Virgen del Sagrario in Toledo Cathedral. It is usually dated to around 1200, made of wood and completely covered in silver (except for the head and hands) and, already famous in the time of Alfonso X the Wise, it was enthroned around 1226, with Isabella the Catholic being even more prominent. During the first half of the 17th century a chapel was built for her, begun by Don Gaspar de Quiroga and finished by D. Bernardo de Sandoval, and whose inauguration was presided over by Philip III (it took place in 1616). As already mentioned, the position of Mary's hands in this work is very similar to that of the Toledo carving, as are the faces of the two figures, although the "updating" of the style and the modelling of the volumes is clear. Although it is true that the work adopts an archaic style related to the medieval. That is to say, using aesthetics (composition, style, drawing, palette...) It is known from texts that the Virgin of the Tabernacle in Toledo mentioned was dressed in the 17th century in a rich mantle of pearls and jewels. Furthermore, the crown shown in the oil painting would be the older of the two important ones in "his treasure" today (it seems to be a 15th-century base and the rest of the work of Alonso de Montoya in 1568 or between 1574 and 1586), and it is truly particular in its shape and the bands and hollows it creates at the front. The rostrillo with pearls of Mary would also be a common element when "decorating" or dressing the medieval carvings that were very popular in the Baroque period and later, with a series of jewels and elements that may have been donated by prominent personalities of the time.

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Spanish or Novo-Hispanic school; second half of the 17th century. "Virgin of the tabernacle of Toledo". Oil on canvas. Re-drawn. It presents damages caused by xylophagous. It has a 17th century frame. Measurements: 220 x 163 cm; 258 x 202 cm (frame). The work shows, on an undetermined background, the image of the Virgin Mary with the Child in her arms. Her gaze to the front, the gesture of her hands, and the position in which Jesus is with respect to his mother suggest that it is an image inspired by a carving prior to the period in which the image was painted. It was very common in the 17th century to dress the most venerated images in this way in order to respect and update them at the same time, as well as to highlight them and add the richness that their "rank" as sacred figures required. The elements carried by both Mary and the Child, and the gestures of both, directly allude to the representation of the image of the so-called Virgen del Sagrario in Toledo Cathedral. It is usually dated to around 1200, made of wood and completely covered in silver (except for the head and hands) and, already famous in the time of Alfonso X the Wise, it was enthroned around 1226, with Isabella the Catholic being even more prominent. During the first half of the 17th century a chapel was built for her, begun by Don Gaspar de Quiroga and finished by D. Bernardo de Sandoval, and whose inauguration was presided over by Philip III (it took place in 1616). As already mentioned, the position of Mary's hands in this work is very similar to that of the Toledo carving, as are the faces of the two figures, although the "updating" of the style and the modelling of the volumes is clear. Although it is true that the work adopts an archaic style related to the medieval. That is to say, using aesthetics (composition, style, drawing, palette...) It is known from texts that the Virgin of the Tabernacle in Toledo mentioned was dressed in the 17th century in a rich mantle of pearls and jewels. Furthermore, the crown shown in the oil painting would be the older of the two important ones in "his treasure" today (it seems to be a 15th-century base and the rest of the work of Alonso de Montoya in 1568 or between 1574 and 1586), and it is truly particular in its shape and the bands and hollows it creates at the front. The rostrillo with pearls of Mary would also be a common element when "decorating" or dressing the medieval carvings that were very popular in the Baroque period and later, with a series of jewels and elements that may have been donated by prominent personalities of the time.

Estimate 7 500 - 8 000 EUR
Starting price 4 000 EUR

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Spanish or Novo-Hispanic school; second half of the 18th century. "Saint Anthony of Padua and Saint Christopher". Oil on canvas. Relined. It has a frame of the nineteenth century, c. 1860. Measurements: 66 x 59 cm; 83 x 73 cm (frame). During the baroque and in a more consolidated way in later times, scenes were popularized where several saints starred in images together with a didactic purpose, since they represented analogous concepts. In this particular case it is the representation of St. Anthony of Padua holding Jesus in his hands and next to him we recognize the legend of St. Christopher, that giant who carried on his shoulders a child he did not know, only out of kindness, to help him cross a river. That child turned out to be Christ, which made him the patron saint of travelers. The two monumental and placed figures cover the entire scene that develops in an open landscape, in whose distance another religious figure can be appreciated, located in the right zone of the composition. It is worth mentioning that, during the Spanish colonial domination, a mainly religious painting was developed, aimed at Christianizing the indigenous peoples. The local painters were modeled on Spanish works, which they followed literally in terms of types and iconography. The most frequent models were the harquebusier angels and the triangular virgins, however, it was not until the first years of the 19th century, already in times of independence and political opening of some of the colonies, that several artists began to represent a new model of painting with its own identity.