Lot

50

Attributed to Angelino Medoro (Roma, circa 1565 - Sevilla, 1632)

In The origins of an Antiquarian · Passion for sc...

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Attributed to Angelino Medoro (Roma, circa 1565 - Sevilla, 1632) - Image 1 of 8
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Barcelona
Attributed to Angelino Medoro (Roma, circa 1565 - Sevilla, 1632)“Patronage of Our Lady of Mercy”Oil on canvas. relined.113 x 95 cm.Wonderful canvas from New Spain, richly framed in fine gold, with one of the most popular representations in New Spain art, the so-called Patrocinio, which shows the Virgin (in this case) or a saint protecting under her mantle communities, religious orders, corporations and authorities, (with a clientelistic and corporate scheme typical of the Ancient Regime), main recipients of her heavenly benefits.Our Lady of Mercy and the Redemption of the Captives is the Queen and Lady of the Order of Mercy (in Latin: Ordo Beatæ Mariæ Virginis de Redemptione Captivorum), a Catholic mendicant religious order, founded in 1218 by St. Peter Nolasco (ca. 1180-1245) for the redemption of Christian captives in the hands of Muslims.  The Mercedarians committed themselves with a fourth vow, to liberate others weaker in the faith, even if their lives were in danger for it.This Virgin of Mercy, crowned “as queen” of heaven, protects under her wide mantle, raised and supported by two angels, the church and its representatives, the Pope and the King with his subjects.The Pope we see is Gregory IX, who approves this religious order in 1235 with the Bull Devotionis vestrae; and next to him St. Raymond Nonnatus, another of the “principals” of this order; the king, James I of Aragon, known as “the conqueror” and, next to him, its founder St. Peter Nolasco; it seems that St. Mary of Cervellon, founder of the female branch, is under the Virgin's mantle.All, without exception, are prostrate, surrendering to their Virgin and Lady Queen with both knees, an external gesture that expresses the greatest sign of submission.On the floor, scattered shackles, symbols of the redeemed captives.An important 19th century frame, richly stuccoed and gilded, encloses and completes the beauty and devotion of this work.Bibliographic reference:- Ojeda, Almerindo. 2005-2024. Project for the Engraved Sources of Spanish Colonial Art (PESSCA). Website located at colonialart.org. Date accessed: 21/10/2024.
Attributed to Angelino Medoro (Roma, circa 1565 - Sevilla, 1632)“Patronage of Our Lady of Mercy”Oil on canvas. relined.113 x 95 cm.Wonderful canvas from New Spain, richly framed in fine gold, with one of the most popular representations in New Spain art, the so-called Patrocinio, which shows the Virgin (in this case) or a saint protecting under her mantle communities, religious orders, corporations and authorities, (with a clientelistic and corporate scheme typical of the Ancient Regime), main recipients of her heavenly benefits.Our Lady of Mercy and the Redemption of the Captives is the Queen and Lady of the Order of Mercy (in Latin: Ordo Beatæ Mariæ Virginis de Redemptione Captivorum), a Catholic mendicant religious order, founded in 1218 by St. Peter Nolasco (ca. 1180-1245) for the redemption of Christian captives in the hands of Muslims.  The Mercedarians committed themselves with a fourth vow, to liberate others weaker in the faith, even if their lives were in danger for it.This Virgin of Mercy, crowned “as queen” of heaven, protects under her wide mantle, raised and supported by two angels, the church and its representatives, the Pope and the King with his subjects.The Pope we see is Gregory IX, who approves this religious order in 1235 with the Bull Devotionis vestrae; and next to him St. Raymond Nonnatus, another of the “principals” of this order; the king, James I of Aragon, known as “the conqueror” and, next to him, its founder St. Peter Nolasco; it seems that St. Mary of Cervellon, founder of the female branch, is under the Virgin's mantle.All, without exception, are prostrate, surrendering to their Virgin and Lady Queen with both knees, an external gesture that expresses the greatest sign of submission.On the floor, scattered shackles, symbols of the redeemed captives.An important 19th century frame, richly stuccoed and gilded, encloses and completes the beauty and devotion of this work.Bibliographic reference:- Ojeda, Almerindo. 2005-2024. Project for the Engraved Sources of Spanish Colonial Art (PESSCA). Website located at colonialart.org. Date accessed: 21/10/2024.

The origins of an Antiquarian · Passion for sculpture

Sale Date(s)
Lots: 57
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Conde de Salvatierra, 8
Barcelona
08006
Spain

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Tags: Oil on Canvas, Oil painting