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Hispano-Flemish or Spanish School.15th century.
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Description
Hispano-Flemish School. Late Gothic. 14th century.
"Saint Anne Trinitarian"
Carved, gilded and polychromed wooden sculpture.
79 x 26 x 20 cm
This is an extremely unusual sculpture of Saint Anne, the Virgin, and the Child - also known as Saint Anne Trinitarian, or "The Three Generations" - an iconography that serves as an artistic precedent for the idea of the Immaculate Conception of Mary. It emerged during the 13th century, enjoying great popularity during the following two centuries. We say it is an unusual sculpture because it is more common to see the three generations seated, but in this case, the anonymous sculptor has chosen to portray Saint Anne as standing upright, holding Mary and Jesus in her arms. Although this is an extraordinary iconographic choice, there are some interesting examples of it, such as the one carved by Gil de Siloe (ca. 1450-1501) for the altarpiece of Saint Anne located in the Chapel of the Constables of the Cathedral of Burgos.
The sculptor has arranged the group with the three figures in an asymmetrical staggered manner, so that Saint Anne presides over the composition from a central position, but slightly turned to her left, while the Virgin and the Child, who almost form a compact group, are arranged obliquely. Although their gazes would intersect in this arrangement, they do not. Thus, each of the three figures directs their gaze to a different point, so that they do not look at each other or interact, there is no relationship of affection. We can observe a play of gazes between Saint Anne and the group of the Virgin with the Child, who, respectively, look towards the viewer and towards the lost fruit or attribute that she would have held in her missing right hand.
The three characters have been portrayed according to the norms of hierarchical perspective. Thus, the grandmother is the most important character, hence her considerably larger size. The Virgin Mary is of much smaller dimensions, and even smaller is the Christ Child, who, as we have noted, forms a compact block on the arms of Saint Anne.
The grandmother stands, with her body forming a pronounced curve, with her head and right foot as its endpoints. Despite this arching, the figure exhibits a noticeable stiffness. She is dressed according to the fashion of the time, with a tunic, mantle, and a headdress typical of elderly women and widows, all richly gilded and crossed by rather superficial wrinkled folds that provide chiaroscuro effects to the piece. These draperies remind us of some solutions used by Gothic sculptors in northern France. The Virgin, with a youthful appearance and blonde hair, wears a dress with a low neckline that covers her entire body. It is blue and decorated with gilded sgraffito. Mary holds Jesus in her arms, the grandmother also holds him with one of her hands. The Child has been depicted with a similar appearance to his mother, though even more childlike. He wears a golden tunic and has lost his right hand, in which he would have held an attribute or fruit. Perhaps it was a pear, symbolising the love of Christ incarnate for humanity. It is also possible that he would not have been holding anything and is instead giving a blessing.
The facial features of the Saint Anne and the Child are barely outlined, contrasting with those of the Virgin Mary, who displays well-defined features: arched eyebrows, almond-shaped eyes, a strong straight nose, a small mouth with closed and tight lips, and plump, rosy cheeks. We do not know the origin of this curious piece, which is difficult to date, as it seems to contain various elements of a more backward-looking nature, which could suggest that it was sculpted in the late 15th century.
We would like to thank Dr. Javier Baladrón, Doctor of Art History, for the identification and cataloguing of this artwork.
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Hispano-Flemish School. Late Gothic. 14th century.
"Saint Anne Trinitarian"
Carved, gilded and polychromed wooden sculpture.
79 x 26 x 20 cm
This is an extremely unusual sculpture of Saint Anne, the Virgin, and the Child - also known as Saint Anne Trinitarian, or "The Three Generations" - an iconography that serves as an artistic precedent for the idea of the Immaculate Conception of Mary. It emerged during the 13th century, enjoying great popularity during the following two centuries. We say it is an unusual sculpture because it is more common to see the three generations seated, but in this case, the anonymous sculptor has chosen to portray Saint Anne as standing upright, holding Mary and Jesus in her arms. Although this is an extraordinary iconographic choice, there are some interesting examples of it, such as the one carved by Gil de Siloe (ca. 1450-1501) for the altarpiece of Saint Anne located in the Chapel of the Constables of the Cathedral of Burgos.
The sculptor has arranged the group with the three figures in an asymmetrical staggered manner, so that Saint Anne presides over the composition from a central position, but slightly turned to her left, while the Virgin and the Child, who almost form a compact group, are arranged obliquely. Although their gazes would intersect in this arrangement, they do not. Thus, each of the three figures directs their gaze to a different point, so that they do not look at each other or interact, there is no relationship of affection. We can observe a play of gazes between Saint Anne and the group of the Virgin with the Child, who, respectively, look towards the viewer and towards the lost fruit or attribute that she would have held in her missing right hand.
The three characters have been portrayed according to the norms of hierarchical perspective. Thus, the grandmother is the most important character, hence her considerably larger size. The Virgin Mary is of much smaller dimensions, and even smaller is the Christ Child, who, as we have noted, forms a compact block on the arms of Saint Anne.
The grandmother stands, with her body forming a pronounced curve, with her head and right foot as its endpoints. Despite this arching, the figure exhibits a noticeable stiffness. She is dressed according to the fashion of the time, with a tunic, mantle, and a headdress typical of elderly women and widows, all richly gilded and crossed by rather superficial wrinkled folds that provide chiaroscuro effects to the piece. These draperies remind us of some solutions used by Gothic sculptors in northern France. The Virgin, with a youthful appearance and blonde hair, wears a dress with a low neckline that covers her entire body. It is blue and decorated with gilded sgraffito. Mary holds Jesus in her arms, the grandmother also holds him with one of her hands. The Child has been depicted with a similar appearance to his mother, though even more childlike. He wears a golden tunic and has lost his right hand, in which he would have held an attribute or fruit. Perhaps it was a pear, symbolising the love of Christ incarnate for humanity. It is also possible that he would not have been holding anything and is instead giving a blessing.
The facial features of the Saint Anne and the Child are barely outlined, contrasting with those of the Virgin Mary, who displays well-defined features: arched eyebrows, almond-shaped eyes, a strong straight nose, a small mouth with closed and tight lips, and plump, rosy cheeks. We do not know the origin of this curious piece, which is difficult to date, as it seems to contain various elements of a more backward-looking nature, which could suggest that it was sculpted in the late 15th century.
We would like to thank Dr. Javier Baladrón, Doctor of Art History, for the identification and cataloguing of this artwork.
Y nos dieron las 100...
Sale Date(s)
Lots: 84
Venue Address
Conde de Salvatierra, 8
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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