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Castilian School. Second quarter of the 16th century.
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Beschreibung
Castilian School. Second quarter of the 16th century.“The Vocation of the first Apostles”Oil on panel. 125 x 71cm.This is an interesting Renaissance panel that represents an episode that took place while the first Apostles (Saint Peter, Saint Andrew, Saint James and John) were still working at their jobs, which has an allegorical meaning since they were humble fishermen who, after meeting Christ, served as "fishers of people". Saint Matthew narrates said passage in his Gospel: "As Jesus was walking beside the Sea of Galilee, he saw two brothers, Simon called Peter and his brother Andrew. They were casting a net into the lake, for they were fishermen. “Come, follow me,” Jesus said, “and I will send you out to fish for people.” At once they left their nets and followed him." (Matthew 4, 18-20). At first glance, two things are clear: that the panel is incomplete or that it was paired with another that completed the episode, and that of the four apostles in this panel only three have been portrayed: Saint Peter in the boat, Saint John beardless and a third bearded saint who must be Saint Andrew or Saint James.The panel is made up of two planes: a foreground where the monumental figures of the Apostles are found and a more distant background that gradually forms a landscape that is lost in depth in a fortified city with a wall from which two cubes can be seen. There, numerous houses and palaces are barely sketched and a mountain with trees closes the view. The section between the foreground and the city is an arid landscape, the banks of the river, only enlivened by unevenness and a large rock or mountain in which a cave seems to open.As we pointed out, in the foreground, you can see the monumental figures of Saint John and the bearded apostle who walk along the shore of the sea/lake, in which the anonymous painter included anecdotal elements such as pebbles or the water that crashes against the earth, where they suddenly turn around in surprise and direct their gaze and their gestures – including the index finger of the bearded apostle's left hand – towards an extraordinary incident that we cannot see but that would have been the miracle that Christ worked from a boat in the lake. Both wear short tunics and cloaks, arranged differently to avoid monotony. From behind, Saint Peter appears aboard a boat and on the far right half a fish can be seen, which again poses the question whether the panel was larger or was paired with another that completed the episode. Saint Peter is characterized as usual as an old man with a prominent bald head and grey hair, beard and moustache. His gesture is severe, as if he were making an effort in the action he is carrying out: moving the oar, and he has therefore been portrayed in a dynamic posture, with one of his legs raised and both arms raised to start rowing.The three characters are drawn with precision, with a clear predominance of drawing over colour, which is applied in almost flat tones, barely modulated by similar tones to try to create the sensation of volume from chiaroscuro and shadows. The facial features are small and angular, with very small eyes, wide and narrow noses, powerful chins, and individualized hair, while the countenances are pensive and the anatomies are correctly treated, although a slightly stylized canon can be perceived.Although the panel can already be considered to be Renaissance, it is worth mentioning that it is early Renaissance, in which we still find some late Gothic elements such as the presence of golden haloes in which the punch-marking technique has been used, the same that we see on Saint Peter's tunic, decorated with plant motifs silhouetted with reddish touches, and also on some borders on the clothing of the other two apostles. Dateable from the first third of the 16th century, due to the different styles, colouring and drawing, it is probably the work of a Castilian master, although we cannot be specific about which one.We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
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Castilian School. Second quarter of the 16th century.“The Vocation of the first Apostles”Oil on panel. 125 x 71cm.This is an interesting Renaissance panel that represents an episode that took place while the first Apostles (Saint Peter, Saint Andrew, Saint James and John) were still working at their jobs, which has an allegorical meaning since they were humble fishermen who, after meeting Christ, served as "fishers of people". Saint Matthew narrates said passage in his Gospel: "As Jesus was walking beside the Sea of Galilee, he saw two brothers, Simon called Peter and his brother Andrew. They were casting a net into the lake, for they were fishermen. “Come, follow me,” Jesus said, “and I will send you out to fish for people.” At once they left their nets and followed him." (Matthew 4, 18-20). At first glance, two things are clear: that the panel is incomplete or that it was paired with another that completed the episode, and that of the four apostles in this panel only three have been portrayed: Saint Peter in the boat, Saint John beardless and a third bearded saint who must be Saint Andrew or Saint James.The panel is made up of two planes: a foreground where the monumental figures of the Apostles are found and a more distant background that gradually forms a landscape that is lost in depth in a fortified city with a wall from which two cubes can be seen. There, numerous houses and palaces are barely sketched and a mountain with trees closes the view. The section between the foreground and the city is an arid landscape, the banks of the river, only enlivened by unevenness and a large rock or mountain in which a cave seems to open.As we pointed out, in the foreground, you can see the monumental figures of Saint John and the bearded apostle who walk along the shore of the sea/lake, in which the anonymous painter included anecdotal elements such as pebbles or the water that crashes against the earth, where they suddenly turn around in surprise and direct their gaze and their gestures – including the index finger of the bearded apostle's left hand – towards an extraordinary incident that we cannot see but that would have been the miracle that Christ worked from a boat in the lake. Both wear short tunics and cloaks, arranged differently to avoid monotony. From behind, Saint Peter appears aboard a boat and on the far right half a fish can be seen, which again poses the question whether the panel was larger or was paired with another that completed the episode. Saint Peter is characterized as usual as an old man with a prominent bald head and grey hair, beard and moustache. His gesture is severe, as if he were making an effort in the action he is carrying out: moving the oar, and he has therefore been portrayed in a dynamic posture, with one of his legs raised and both arms raised to start rowing.The three characters are drawn with precision, with a clear predominance of drawing over colour, which is applied in almost flat tones, barely modulated by similar tones to try to create the sensation of volume from chiaroscuro and shadows. The facial features are small and angular, with very small eyes, wide and narrow noses, powerful chins, and individualized hair, while the countenances are pensive and the anatomies are correctly treated, although a slightly stylized canon can be perceived.Although the panel can already be considered to be Renaissance, it is worth mentioning that it is early Renaissance, in which we still find some late Gothic elements such as the presence of golden haloes in which the punch-marking technique has been used, the same that we see on Saint Peter's tunic, decorated with plant motifs silhouetted with reddish touches, and also on some borders on the clothing of the other two apostles. Dateable from the first third of the 16th century, due to the different styles, colouring and drawing, it is probably the work of a Castilian master, although we cannot be specific about which one.We would like to thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
Legends, Myths and Symbols
Auktionsdatum
Lose: 162
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
Generelle Versandinformationen vom Auktionshaus verfügbar
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.
Wichtige Informationen
Aufgeld / Premium: 22 %
Live: 3 %
USt auf beides / VAT on both: 21 %
AGB
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From 50.-€ to 200.-€…………………………………………..at 10.-€
From 200.-€ to 500.-€…………………………………… …25 in 25.-€
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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.-€
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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.
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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".
