51A
Colonial School. Neogranadine Workshop. Circle of Gonzalo de Carvallo. 17th century.
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Description
Colonial School. Neogranadine Workshop. Circle of Gonzalo de Carvallo. 17th century."Saint Nicholas of Tolentino"Magnificent sculpture of the friar, in carved, gilded, estofado, and polychromed wood. It is lavishly decorated with marvellous estofado technique with star and vegetation motifs.168 x 62 x 57 cm.We would situate the carving in the important group of sculptors that has been generically termed as "Neogranadine," or from New Granada, which, as we read in the book by Adrián Contreras-Guerrero, serves to "refer to the art produced anywhere in the Royal Audience of Santafé (regarding the 16th and 17th centuries) or in the Viceroyalty of New Granada (if it is from 1717 onwards). The historian proposes replacing both denominations with the adjective "Cundiboyacense" since "it is in this geographical context that the majority of artworks were made. The Altiplano Cundiboyacense (a high plateau in the Colombian Andes), with its two capitals, Bogotá and Tunja, was the area with the highest population density, and therefore, the greatest artistic activity."This school is clearly of Spanish character and contrasts with the mestizo style and more indigenous influences of the sculptural schools of Mexico or Peru.In our opinion, the sculpture is a clear example of the great influence of the Mannerist School of Seville that permeated Neogranadine art. As Contreras-Guerrero again notes, "One of these peninsular artists active in Santafé at the dawn of the 17th century is Gonzalo de Carvallo, who is referred to in several documents as a painter and sculptor simultaneously. The first one dates from 1587 and places him in Tunja where, as a painter, he was receiving the apprentice Juan Recuero for a period of three years. Later, in 1600, he was in Bogotá acting as a guarantor for Juan de la Cerda for a loan of 500 ducats. The only sculpture known to be by him, although he undoubtedly made more, is in the Church of Saint Augustine and depicts Saint Nicholas of Tolentino." Precisely the same saint we have here.Another sculpture that bears similarities to this one is the Saint Anthony from the Neogranadine workshop of the 17th century, kept in the Archdiocesan Museum of Religious Art in Pamplona, Colombia. Nicholas of Tolentino was a 13th century friar, an Italian Catholic priest, mystic, and the first saint of the Order of Saint Augustine to be canonised. He is considered to be a protector of the souls in Purgatory and an intercessor for justice, motherhood, childhood, and health.Dressed in black, typical of the Order of Augustinian Hermits, with a star in the centre of his chest, or a sun, due to one of the events in the saint's life: it is said that a bright star continually followed him in his movements and illuminated his figure.In his left hand, partially broken, he carries a plate on which a partridge rests, reminiscent of one of his many miracles. "When they brought him a plate with cooked partridges, he raised his hand and after making the sign of the cross on the dish, the birds took their form, their feathers grew, and they were revived and stood up." Bibliography consulted: Adrián Contreras-Guerrero. “Escultura en Colombia. Focos productores y circulación de obras (Siglos XVI-XVII)” (Sculpture in Colombia. Production focuses and circulation of works (16th-17th centuries)) Granada, 2019.
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Colonial School. Neogranadine Workshop. Circle of Gonzalo de Carvallo. 17th century."Saint Nicholas of Tolentino"Magnificent sculpture of the friar, in carved, gilded, estofado, and polychromed wood. It is lavishly decorated with marvellous estofado technique with star and vegetation motifs.168 x 62 x 57 cm.We would situate the carving in the important group of sculptors that has been generically termed as "Neogranadine," or from New Granada, which, as we read in the book by Adrián Contreras-Guerrero, serves to "refer to the art produced anywhere in the Royal Audience of Santafé (regarding the 16th and 17th centuries) or in the Viceroyalty of New Granada (if it is from 1717 onwards). The historian proposes replacing both denominations with the adjective "Cundiboyacense" since "it is in this geographical context that the majority of artworks were made. The Altiplano Cundiboyacense (a high plateau in the Colombian Andes), with its two capitals, Bogotá and Tunja, was the area with the highest population density, and therefore, the greatest artistic activity."This school is clearly of Spanish character and contrasts with the mestizo style and more indigenous influences of the sculptural schools of Mexico or Peru.In our opinion, the sculpture is a clear example of the great influence of the Mannerist School of Seville that permeated Neogranadine art. As Contreras-Guerrero again notes, "One of these peninsular artists active in Santafé at the dawn of the 17th century is Gonzalo de Carvallo, who is referred to in several documents as a painter and sculptor simultaneously. The first one dates from 1587 and places him in Tunja where, as a painter, he was receiving the apprentice Juan Recuero for a period of three years. Later, in 1600, he was in Bogotá acting as a guarantor for Juan de la Cerda for a loan of 500 ducats. The only sculpture known to be by him, although he undoubtedly made more, is in the Church of Saint Augustine and depicts Saint Nicholas of Tolentino." Precisely the same saint we have here.Another sculpture that bears similarities to this one is the Saint Anthony from the Neogranadine workshop of the 17th century, kept in the Archdiocesan Museum of Religious Art in Pamplona, Colombia. Nicholas of Tolentino was a 13th century friar, an Italian Catholic priest, mystic, and the first saint of the Order of Saint Augustine to be canonised. He is considered to be a protector of the souls in Purgatory and an intercessor for justice, motherhood, childhood, and health.Dressed in black, typical of the Order of Augustinian Hermits, with a star in the centre of his chest, or a sun, due to one of the events in the saint's life: it is said that a bright star continually followed him in his movements and illuminated his figure.In his left hand, partially broken, he carries a plate on which a partridge rests, reminiscent of one of his many miracles. "When they brought him a plate with cooked partridges, he raised his hand and after making the sign of the cross on the dish, the birds took their form, their feathers grew, and they were revived and stood up." Bibliography consulted: Adrián Contreras-Guerrero. “Escultura en Colombia. Focos productores y circulación de obras (Siglos XVI-XVII)” (Sculpture in Colombia. Production focuses and circulation of works (16th-17th centuries)) Granada, 2019.
Y nos dieron las 100...
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The purchase price includes the delivery of the lots in the venue of the auction. Transporting to other destinations is at the own risk of the client. The customer must contact "LST", to give the corresponding instructions for such transporting. "LST" is not responsible for the packaging or any accident incurred during transportation.
Important Information
This auction brings us to number 100!
On this special occasion, we present a careful selection of European and New Spanish works, including a previously unpublished painting by Luca Giordano, a magnificent private collection of medieval Spanish sculpture and wonderful examples of painting and sculpture from Spanish America art among other.
We hope you enjoy it as much as we did preparing it.
With our thanks to all those who have made it possible for us to get this far.
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