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Castillian School. Renaissance. Circa 1520.
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Description
Castillian School. Renaissance. Circa 1520.
Pair of wardrobe doors from a sacristy, made of carved, gilded, and polychromed wood.
175 x 133 x 18 cm.
These doors, which would have belonged to a sacristy wardrobe, are a perfect example of the vocabulary used during the early Renaissance that was introduced in Castilian lands. We are talking about decoration through the use of pilasters, putti, a candelieri motifs, scallop shells, draperies, cartouches or medallions, shields or cut pieces of leather, and masks, among others.
This set of doors is composed of a plinth at the bottom, a frieze at the top as a finishing touch, and in between, three elegant panelled pilasters with intricate candelieri and other decorative motifs (angels, masks, cartouches, scallop shells, etc.). Between these, there are two niches, each presided over by sculptures of the Princes of the Church, Saint Peter and Saint Paul, supported by corbels decorated with putti and a seraph's winged head. Behind both saints, there seem to be thrones articulated through pairs of pilasters (Saint Peter) and columns (Saint Paul), topped by scallop shells with their hinges facing outward, and with angels holding draperies (Saint Peter) and winged seraphs' heads in the spandrels (Saint Paul).
The plinth exhibits protrusions and recesses, with the latter coinciding with the areas where the pilasters of this "mini altarpiece" rest. In this type of corbel, there is decoration of masks at the ends and a mythological relief presided over by a standing winged putto. On the soffits, that is, the recesses that fall below the niches of the saints, we find a winged seraph's head holding a piece of cut leather (under Saint Peter), and a piece of cut leather with three nails inside (under Saint Paul) alluding to the Passion of Christ as one of the Arma Christi.
Finally, the frieze that crowns the current ensemble presents symmetrical pairs of winged angels or putti holding a cloth decorated with the crown of thorns (above Saint Peter), again alluding to the Passion of Christ, and a cloth with a chalice with the host inside (above Saint Paul), a motif alluding to the Eucharist, to the bread and wine, the body and blood of Christ. In the panels that fall above the pilasters of the ensemble are floral motifs in the outer ones and in the central one, a triumphant naked Infant Jesus giving blessing with his right hand and holding a large cross with his left.
The sculptures of both saints are conceived with a short canon, which does not detract from their interestingness given the outstanding quality of both. They are depicted standing, wearing garments with draperies clinging closely to the body, a technique known as "wet drapery." Each apostle has been represented according to their most popular iconography. Saint Peter with grey, curly hair, a rounded short beard, and the keys to heaven, while Saint Paul has a pointed black beard, long hair, and a giant sword, his most usual attribute besides the instrument of his martyrdom as he was beheaded with it. Additionally, both saints, to emphasise their status as apostles, carry a book, open in the case of Saint Peter and closed in that of Saint Paul.
Given the characteristics of both sculptures and the ensemble in general, these exquisite sacristy wardrobe doors can be dated around 1520 and attributed to a Castilian master, perhaps from the Palencia or Burgos area, who was quite aware of the novelties coming from Italy.
We would like to thank Dr. Javier Baladrón, Doctor of Art History, for the identification and cataloguing of this work.
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Castillian School. Renaissance. Circa 1520.
Pair of wardrobe doors from a sacristy, made of carved, gilded, and polychromed wood.
175 x 133 x 18 cm.
These doors, which would have belonged to a sacristy wardrobe, are a perfect example of the vocabulary used during the early Renaissance that was introduced in Castilian lands. We are talking about decoration through the use of pilasters, putti, a candelieri motifs, scallop shells, draperies, cartouches or medallions, shields or cut pieces of leather, and masks, among others.
This set of doors is composed of a plinth at the bottom, a frieze at the top as a finishing touch, and in between, three elegant panelled pilasters with intricate candelieri and other decorative motifs (angels, masks, cartouches, scallop shells, etc.). Between these, there are two niches, each presided over by sculptures of the Princes of the Church, Saint Peter and Saint Paul, supported by corbels decorated with putti and a seraph's winged head. Behind both saints, there seem to be thrones articulated through pairs of pilasters (Saint Peter) and columns (Saint Paul), topped by scallop shells with their hinges facing outward, and with angels holding draperies (Saint Peter) and winged seraphs' heads in the spandrels (Saint Paul).
The plinth exhibits protrusions and recesses, with the latter coinciding with the areas where the pilasters of this "mini altarpiece" rest. In this type of corbel, there is decoration of masks at the ends and a mythological relief presided over by a standing winged putto. On the soffits, that is, the recesses that fall below the niches of the saints, we find a winged seraph's head holding a piece of cut leather (under Saint Peter), and a piece of cut leather with three nails inside (under Saint Paul) alluding to the Passion of Christ as one of the Arma Christi.
Finally, the frieze that crowns the current ensemble presents symmetrical pairs of winged angels or putti holding a cloth decorated with the crown of thorns (above Saint Peter), again alluding to the Passion of Christ, and a cloth with a chalice with the host inside (above Saint Paul), a motif alluding to the Eucharist, to the bread and wine, the body and blood of Christ. In the panels that fall above the pilasters of the ensemble are floral motifs in the outer ones and in the central one, a triumphant naked Infant Jesus giving blessing with his right hand and holding a large cross with his left.
The sculptures of both saints are conceived with a short canon, which does not detract from their interestingness given the outstanding quality of both. They are depicted standing, wearing garments with draperies clinging closely to the body, a technique known as "wet drapery." Each apostle has been represented according to their most popular iconography. Saint Peter with grey, curly hair, a rounded short beard, and the keys to heaven, while Saint Paul has a pointed black beard, long hair, and a giant sword, his most usual attribute besides the instrument of his martyrdom as he was beheaded with it. Additionally, both saints, to emphasise their status as apostles, carry a book, open in the case of Saint Peter and closed in that of Saint Paul.
Given the characteristics of both sculptures and the ensemble in general, these exquisite sacristy wardrobe doors can be dated around 1520 and attributed to a Castilian master, perhaps from the Palencia or Burgos area, who was quite aware of the novelties coming from Italy.
We would like to thank Dr. Javier Baladrón, Doctor of Art History, for the identification and cataloguing of this work.
Y nos dieron las 100...
Sale Date(s)
Lots: 84
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Barcelona
08006
Spain
General delivery information available from the auctioneer
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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