10
Possibly Burgos School. Early 16th century.
In Millésime 24
1/7
Description
Possibly Burgos School. Early 16th century.
"Virgin with Child"
Carved, gilded, and polychromed wood sculpture.
55 x 30 x 19 cm.
A piece brimming with classicism and elegance, this solemn and majestic early Renaissance enthroned Virgin with Child exudes a Roman-style matronly presence. Despite minor volumetric losses on the throne and the left arm of the Christ Child, the sculpture is in fairly good condition. Although it is in the round, it is not carved or polychromed on the back, indicating that it was probably part of an altarpiece, and possibly presided over it, given its theme and great quality.
Despite the Virgin being seated on the throne, with the composition designed for a predominantly frontal view, the group lacks any hint of stateliness or rigidity. On the contrary, Mother and Son are depicted in highly dynamic positions, with Mary's legs at different heights and pointing in different directions. The dynamic and widely open folds of the garments contribute movement to the group, with any edges being smooth and rounded. The placement of the Christ Child at one side, playfully seeming to want to walk between the mother's legs, also adds dynamism. Both figures are remarkable in their refined elegance and idealised classicism, with very life-like physiology. In general, the composition of the group resembles that of the Virgin with Child that presides over the Epiphany scene in the altarpiece of the Adoration of the Magi at the church of San Gil in the city of Burgos, which was created in the early 16th century by the renowned Burgundian master Felipe Bigarny (ca. 1470-1542).
Mary is seated on a low throne with an uncarved back, and only the side panels, decorated with exquisite stylised vegetation motifs in golden tones, are visible. The Virgin holds her son with both hands: with her right hand, she seems to protect him from falling backward, as he appears unsteady, while with her left hand, she seems to caress his hand. Mary wears black shoes, with only the tip barely perceptible. She is clad in a fine golden tunic that adheres to her body, revealing its contours—such as the bust, legs, and knees. The tunic covers her up to the neck, and the upper part of it is polychromed with a white background on which blue and red geometric motifs and delicate vegetation elements can be seen. It drapes down to her feet, featuring a red border with golden geometric motifs along the lower edge. She also wears a wide mantle covering her back and a significant part of her body, also in gold, except for the edges lined with a blue border with golden vegetation motifs. Mary has a serious and contemplative face, with an oval head and a hairstyle of wet-looking locks held by a ribbon arranged over the forehead. The facial features are very distinctive, with large almond-shaped eyes, straight eyebrows, an extremely long and narrow nose with a flattened bridge, and a tiny closed mouth.
The child's carefree attitude contrasts with Mary's contemplative demeanor. Jesus, depicted naked, displays a truly childish and tender character, adopting a playful and affectionate stance, attempting to grasp his mother's hand with his left hand, unfortunately having lost the other. He stands on her lap, seemingly wanting to walk from her right knee to the left. His small head is very expressive, suggesting a slight smile. His eyes are very small, emphasising the prominent cheeks that widen his face. His mouth is closed, and the hair has little relief, being almost like a cap made of curved locks.
Through the detail in the expression of the anatomy and clothing, the anonymous sculptor has created a sculptural group based on soft forms. There is an interest in rhythm, a sense of measure, and technical and anatomical correctness. The sculptural quality of the piece is significantly enhanced by the sumptuous gilding of the garments. Despite being unable to identify a specific artist as its possible creator, it appears clear, based on its stylistic features and the parallel it holds with the aforementioned work located in the church of San Gil in Burgos, that it could well have been carved by a master from the northern region of Castile, perhaps from Burgos. The piece shows a synthesis of the artistic styles of Bigarny and Siloe, although not quite reaching their extremely high degree of mastery.
We would like to thank Dr. Javier Baladrón, art historian, for the identification and cataloguing of this work.
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Possibly Burgos School. Early 16th century.
"Virgin with Child"
Carved, gilded, and polychromed wood sculpture.
55 x 30 x 19 cm.
A piece brimming with classicism and elegance, this solemn and majestic early Renaissance enthroned Virgin with Child exudes a Roman-style matronly presence. Despite minor volumetric losses on the throne and the left arm of the Christ Child, the sculpture is in fairly good condition. Although it is in the round, it is not carved or polychromed on the back, indicating that it was probably part of an altarpiece, and possibly presided over it, given its theme and great quality.
Despite the Virgin being seated on the throne, with the composition designed for a predominantly frontal view, the group lacks any hint of stateliness or rigidity. On the contrary, Mother and Son are depicted in highly dynamic positions, with Mary's legs at different heights and pointing in different directions. The dynamic and widely open folds of the garments contribute movement to the group, with any edges being smooth and rounded. The placement of the Christ Child at one side, playfully seeming to want to walk between the mother's legs, also adds dynamism. Both figures are remarkable in their refined elegance and idealised classicism, with very life-like physiology. In general, the composition of the group resembles that of the Virgin with Child that presides over the Epiphany scene in the altarpiece of the Adoration of the Magi at the church of San Gil in the city of Burgos, which was created in the early 16th century by the renowned Burgundian master Felipe Bigarny (ca. 1470-1542).
Mary is seated on a low throne with an uncarved back, and only the side panels, decorated with exquisite stylised vegetation motifs in golden tones, are visible. The Virgin holds her son with both hands: with her right hand, she seems to protect him from falling backward, as he appears unsteady, while with her left hand, she seems to caress his hand. Mary wears black shoes, with only the tip barely perceptible. She is clad in a fine golden tunic that adheres to her body, revealing its contours—such as the bust, legs, and knees. The tunic covers her up to the neck, and the upper part of it is polychromed with a white background on which blue and red geometric motifs and delicate vegetation elements can be seen. It drapes down to her feet, featuring a red border with golden geometric motifs along the lower edge. She also wears a wide mantle covering her back and a significant part of her body, also in gold, except for the edges lined with a blue border with golden vegetation motifs. Mary has a serious and contemplative face, with an oval head and a hairstyle of wet-looking locks held by a ribbon arranged over the forehead. The facial features are very distinctive, with large almond-shaped eyes, straight eyebrows, an extremely long and narrow nose with a flattened bridge, and a tiny closed mouth.
The child's carefree attitude contrasts with Mary's contemplative demeanor. Jesus, depicted naked, displays a truly childish and tender character, adopting a playful and affectionate stance, attempting to grasp his mother's hand with his left hand, unfortunately having lost the other. He stands on her lap, seemingly wanting to walk from her right knee to the left. His small head is very expressive, suggesting a slight smile. His eyes are very small, emphasising the prominent cheeks that widen his face. His mouth is closed, and the hair has little relief, being almost like a cap made of curved locks.
Through the detail in the expression of the anatomy and clothing, the anonymous sculptor has created a sculptural group based on soft forms. There is an interest in rhythm, a sense of measure, and technical and anatomical correctness. The sculptural quality of the piece is significantly enhanced by the sumptuous gilding of the garments. Despite being unable to identify a specific artist as its possible creator, it appears clear, based on its stylistic features and the parallel it holds with the aforementioned work located in the church of San Gil in Burgos, that it could well have been carved by a master from the northern region of Castile, perhaps from Burgos. The piece shows a synthesis of the artistic styles of Bigarny and Siloe, although not quite reaching their extremely high degree of mastery.
We would like to thank Dr. Javier Baladrón, art historian, for the identification and cataloguing of this work.
Millésime 24
Sale Date(s)
Lots: 73
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
Once again, we start the year with a special auction, called Millésime.
A catalog of 73 lots of European, Novo-Hispanic and Vicerregal art, so spanish americas art, where you will find paintings, furniture, decorative arts etc.
We hope you enjoy it!!
Terms & Conditions
CONDITIONS OF THE AUCTION:
I. REGISTRATION. To bid in the room customers must register at the beginning, filling out a form and picking a number that will identify them during the auction. Customers may be required to register in bank references or other guarantee system and if they do not prove the solvency "LST" will not accept bids and award the auction.
II. WRITTEN BIDS. "LST" will accept written bids, which will be formalized in the form provided by the room until the day before the auction. In such auctions, the room will bid in name of the client until the maximum stated in the offer and always at the lowest possible price. If there are two or more bids for the same amount, the one placed first will have the priority. Written bids received in advance, will have priority on the day of the auction.
III. TELEPHONE BIDS. "LST" will allow telephone bids, if interested people contact "LST" days before the auction providing personal data, ID card and the phone number which will be used by the staff of "LST" to call at the time of the auction. The buyer, within all the legal rights is making an offer for the asking price, when applies for telephone bid. "LST" will not take responsibility for any technical defects beyond its control, which may prevent to contact successfully the bidder during the auction.
IV. AUCTIONEER. The auction will be conducted by an auctioneer, director of the auction will be judge and arbitrator of it with full authority in its development, will award the lots to the highest bidder and is able to settle any controversy concerning lots sale, reject bids, divide lots or group them and remover objects from the room. Will be able to, if it is deemed suitable, not accept bids on the auction. His decision will be unappealable.
V. SALE OF LOTS. The lots are awarded to the highest bidder. Once the auctioneer blows the hammer, the buyer becomes responsible of the lot purchased, exempting "LST" of liability to for any damage and / or accidents that may occur. No refunds of lots.
VI. STARTING PRICE. The amount shown in the catalogue as the starting price for each lot will be, as a rule, the minimum selling price, except for exceptional cases where a reservation may be agreed upon with the seller or it set discretionary by the room.
VII. SCALE OF BIDS. The bids are set according to the following scale:
From 50.-€ to 200.-€…………………………………………..at 10.-€
From 200.-€ to 500.-€…………………………………… …25 in 25.-€
From 500.-€ to 1.000.-€………………………………..…..….50 in 50.-€
From 1.000.-€ to 2.000.-€………………………………..…100 in 100.-€
From 2.000.-€ to 5.000.-€……………………………….….250 in 250.-€
From 5.000.-€ to 10.000.-€…………………………………500 in 500.-€
From 10.000.-€ to 20.000.-€……………………………1.000 in 1.000.-€
From 20.000.-€ to 50.000.-€……………………………2.500 in 2.500.-€
From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€
From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
From 200.000.-€ to 200.000.-€………………………25.000 in 25.000.-€
From 500.000.-€ to 500.000.-€………………………50.000 in 50.000.-€
VIII. RIGHT OF ADMISION. "LST" reserves the right to admission to the auction room and to reject, at its judgment, any purchase order, from clients whose solvency is not duly proved as well as not to sale auctions.
IX. SALE PRICES. The successful bidder of one or more lots must pay "LST" the final sale price achieves at auction, plus the 24,5 % plus 21% VAT on the commission.
X. CATALOG DATA. The catalogue data are obtained in order to careful research and advice, however, any responsibility is afforded about its accuracy. The lots will be auctioned in the state in which they are, not accepting any claims in restorations, breakage, damage, imperfections and, even description or numbering mistakes in the catalogue, in case of it, being the burden of the buyers to make sure before the auction that the description matches with their personal opinion about respective lot. The exhibition of the lots is intended to allow a perfect review and study of them.
XI. PAYMENT AND REMOVAL OF LOTS. Payment and removal of the lots will be held no later than five days following the auction. After this period expire without having the buyer removed the lot or lots purchases, it will accrue an expense of custody of 6 euros per day on each lot.
15 days after the auction without having the buyer paid and removes the sold lots, "LST" will inform the seller and there will begin judicial proceeding in order to obtain payment. The delay in payment by the purchaser of his/her sold lots will carry an interest increase at a rate of 1,5% per month.
XII. DELIVERY OF LOTS. 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.
XIII. RIGHT OF FIRT REFUSAL AND REPURCHASE. "LST" in order to article 38 of "Ley 16/1985 de 25 Junio del Patrimonio Histórico Español" (BOE. 155 June 29, 1985), will notify in advance to the Ministry of Culture, the content of their catalogues. Concerning the lots subject to the legislation referred to in the preceding paragraph, the Administration may exercise the rights of first refusal and repurchase according to the law. "LST" will watch over the protection of Artistic, Historical and Bibliographical Heritage of Spain. For customers out of European Community, a tax for export is required by the Administration.
XIV. VALUE ADDED TAX (I.V.A). This tax will be accrued on commissions of "LST" for buyers, using the rates prevailing on the date of the auction.
XV. DATA PROTECTION. In order to the "Ley 15/1999 de 13 de Diciembre, de Protección de Datos de Carácter Personal", the client authorize "LST", the inclusion of their data in a customer file, and for the promotion by "LST" of the objects at all times the rights of access, rectification or deletion of personal data by sending the appropriate request to the following address: LA SUITE SUBASTAS, C/ Conde Salvatierra, 8, 08006. Barcelona.
XVI. EXPRESS LEGAL JURISDICTION. These Conditions are governed by and interpreted in accordance with the rules of Spanish law. The mere act of participating in the auction as seller, buyer or bidder, implies acceptance of these Terms and Conditions.
Sales operations are understood to be held at the registered office of "LST", C/ Conde de Salvatierra, 8, 08006. Any dispute shall be taken to the competent courts of Barcelona, expressly waiving any other jurisdiction, in accordance with Article 55 of the "Ley de Enjuiciamiento Civil".
