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"Blessing Christ Child". Anonymous from Seville. First third of the 17th century
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Beschreibung
"Blessing Christ Child". Anonymous from Seville. First third of the 17th century
Polychromed lead sculpture.
71 x 22 x 22 cm.
The Christ Child that we present is taken from the famous Christ Child made by Juan Martínez Montañés (1568-1649), who in turn seems to have been inspired by engravings by Albrecht Dürer (1471-1528) and Martín de Vos (1532-1603). Indeed, on August 30, 1606, the "God of wood" had agreed with Pedro de Cuenca, administrator of the Sacramental Brotherhood of the Tabernacle of Seville, to sculpt a triumphant Christ Child "of the size that fits a silver litter that The Brotherhood has that will be a little more or less than a yard… of cedar wood from Havana planted in a receptacle that comes out of the length of the wood and planted in a borne wood urn”. It was completed on February 2, 1607, for which the artist received 1,300 reales. The painter Gaspar de Raxis then took over the polychroming of it.
The model by Montañés, which was continued by his disciple Juan de Mesa (1583-1627), and by many other Sevillian and Andalusian sculptors (the Ribas family, Alonso Cano (1601-1667), etc.), was enormously successful, leading to mass production both in wood as well as in metal, especially in pewter, so that we can find countless copies throughout Spain and Latin America.
Professor Hernández Díaz pointed out that “the marvellous Child Jesus of the Sacramental of the Tabernacle, is one of the most joyous depictions of the theme in Spanish art, where the master attempts and manages to highlight the supernatural. In this brilliant version, Montañés was able to combine the charm of infancy with the majestic presence of God the Redeemer”, and with “this image he reached the peak of the representation of the theme, by showing the deified theological depth with singular theodicy, offering a statue of enormous tenderness and great attractiveness that magnetizes the viewer”
This marvellous specimen is one of those Christ Children which is executed in polychromed lead and is impressive both for its splendid quality and for its fantastic state of preservation. The figure stands on a cushion with golden tassels at the ends that sits on a plinth decorated with fallen leaves and scrolls made of vegetation. The Divine Infant is naked, although he could well have been dressed, showing a stylized anatomy, but with noticeable muscles and joints. The arms appear slightly separated from the torso, at 45º angles. Thus, with his right hand he prepares to bless while with his left it seems that he was holding some element – the original Child Jesus by Montañés first had a cross and later, in 1629, the artist Pablo Legot changed his hands for others made of lead to then hold a chalice in order to echo the Eucharistic allegory–. His head, which shows a face that mixes seriousness and melancholy, has expressive almond-shaped eyes, a small nose, and a closed mouth with thin lips. He has a prominent head of hair composed of countless curls that create chiaroscuro effects, highlighting the central tuft that is a typical characteristic of Montañés’ creations, and therefore of all the copies of these models.
The differences in the style, specifically from the famous example by Montañés, are absolutely clear. For example, the anatomy suggests a certain stiffness, the left hand is held low and the legs, instead of being separate, are held almost together, making a slight counterpose which is perceptible in the wrinkles that are formed at the left knee.
We must point out the extremely beautiful face, which leans to watch the worshippers which he blesses, as well as the very meticulously worked hair which is splendidly trepanned, capturing each of the infinite curls of which the hair is composed.
We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.
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"Blessing Christ Child". Anonymous from Seville. First third of the 17th century
Polychromed lead sculpture.
71 x 22 x 22 cm.
The Christ Child that we present is taken from the famous Christ Child made by Juan Martínez Montañés (1568-1649), who in turn seems to have been inspired by engravings by Albrecht Dürer (1471-1528) and Martín de Vos (1532-1603). Indeed, on August 30, 1606, the "God of wood" had agreed with Pedro de Cuenca, administrator of the Sacramental Brotherhood of the Tabernacle of Seville, to sculpt a triumphant Christ Child "of the size that fits a silver litter that The Brotherhood has that will be a little more or less than a yard… of cedar wood from Havana planted in a receptacle that comes out of the length of the wood and planted in a borne wood urn”. It was completed on February 2, 1607, for which the artist received 1,300 reales. The painter Gaspar de Raxis then took over the polychroming of it.
The model by Montañés, which was continued by his disciple Juan de Mesa (1583-1627), and by many other Sevillian and Andalusian sculptors (the Ribas family, Alonso Cano (1601-1667), etc.), was enormously successful, leading to mass production both in wood as well as in metal, especially in pewter, so that we can find countless copies throughout Spain and Latin America.
Professor Hernández Díaz pointed out that “the marvellous Child Jesus of the Sacramental of the Tabernacle, is one of the most joyous depictions of the theme in Spanish art, where the master attempts and manages to highlight the supernatural. In this brilliant version, Montañés was able to combine the charm of infancy with the majestic presence of God the Redeemer”, and with “this image he reached the peak of the representation of the theme, by showing the deified theological depth with singular theodicy, offering a statue of enormous tenderness and great attractiveness that magnetizes the viewer”
This marvellous specimen is one of those Christ Children which is executed in polychromed lead and is impressive both for its splendid quality and for its fantastic state of preservation. The figure stands on a cushion with golden tassels at the ends that sits on a plinth decorated with fallen leaves and scrolls made of vegetation. The Divine Infant is naked, although he could well have been dressed, showing a stylized anatomy, but with noticeable muscles and joints. The arms appear slightly separated from the torso, at 45º angles. Thus, with his right hand he prepares to bless while with his left it seems that he was holding some element – the original Child Jesus by Montañés first had a cross and later, in 1629, the artist Pablo Legot changed his hands for others made of lead to then hold a chalice in order to echo the Eucharistic allegory–. His head, which shows a face that mixes seriousness and melancholy, has expressive almond-shaped eyes, a small nose, and a closed mouth with thin lips. He has a prominent head of hair composed of countless curls that create chiaroscuro effects, highlighting the central tuft that is a typical characteristic of Montañés’ creations, and therefore of all the copies of these models.
The differences in the style, specifically from the famous example by Montañés, are absolutely clear. For example, the anatomy suggests a certain stiffness, the left hand is held low and the legs, instead of being separate, are held almost together, making a slight counterpose which is perceptible in the wrinkles that are formed at the left knee.
We must point out the extremely beautiful face, which leans to watch the worshippers which he blesses, as well as the very meticulously worked hair which is splendidly trepanned, capturing each of the infinite curls of which the hair is composed.
We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.
"On Prophets, Saints and Princesses"
Auktionsdatum
Lose: 170
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
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