7 - Spanish-Flemish School, ca. 1530–1540.

Spanish-Flemish School, ca. 1530–1540. Triptych of the Assumption of the Virgin, with Saint Roch and Saint Sebastian. Annunciation on the exterior. Painting on panel. Folding doors painted on both sides. Molded wooden frame with gilded profiles. Needs cleaning. It has slight wear and isolated losses of polychrome. Measurements: 122 x 87 x 8 cm (closed); 122 x 174 cm (open). The triptych now up for auction is an interesting example of devotional painting from the first half of the 16th century, stylistically linked to the Hispano-Flemish tradition. Developed on the Iberian Peninsula following the adoption of models from the Low Countries during the 15th century, this artistic movement maintained a notable presence in numerous workshops during the early decades of the 16th century. Its artistic language combined Flemish-rooted naturalism and attention to detail with Hispanic religious sensibility and the persistence of Gothic elements. Overall, this heritage is evident in the precise drawing, the angular folds, the golden halos, and the intensity of the reds, blues, and greens, as well as in the depiction of fabrics, objects, and landscapes. Its appeal lies especially in the richness of its iconographic program and in the dual interpretation it offers through the opening and closing of its doors. In the central panel, the Virgin appears elevated above the landscape, with her hands joined in prayer and surrounded by angels, two of whom hold a crown above her head. God the Father presides over the composition from above, while in the lower register ecclesiastical dignitaries—including a pontiff wearing a tiara—and figures kneeling in devout posture are gathered. The arrangement establishes a clear hierarchy between the heavenly and earthly realms, connected by the gazes and gestures of those present. The side panels depict Saint Roch and Saint Sebastian. The former is identified by his pilgrim’s staff, the wound on his thigh, and the dog at his feet, accompanied by an angel tending to his wound. Saint Sebastian appears tied to a tree and pierced by arrows, while an angel approaches from above. The joint presence of both saints lends the composition a protective dimension against disease and epidemics. When the triptych is closed, the panels form an Annunciation set in a domestic interior. The archangel Gabriel holds a phylactery bearing the angelic salutation, while Mary pauses her reading upon the messenger’s arrival. The geometric floor pattern, the furniture, the books, and the vase of flowers enrich the scene with everyday details, in keeping with the descriptive style of the Flemish tradition. The articulation of space and the succession of planes reveal a quest for depth that coexists with solutions still rooted in the Gothic style. This coexistence of artistic elements allows us to associate the work with a transitional period, in which the Spanish-Flemish tradition retained its roots while gradually incorporating Renaissance approaches to spatial composition. The restrained expressiveness of the figures and the careful rendering of religious attributes reinforce the contemplative nature of the composition, designed to foster a devotional experience that is intimate and attentive to the details of the sacred image.