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"King Melchior". Sculpture in carved and polychromed wood. Anonymous, Castilian. Circa 1725-1750.
In Millésime 23
1/10
Beschreibung
"King Melchior". Sculpture in carved and polychromed wood. Anonymous, Castilian. Circa 1725-1750.
66 x 28 x 24 cm.
This incredible carving of King Melchior would certainly have belonged to a creche or nativity group, made in Castile in the second quarter of the 18th century. This is a truly extraordinary fact since hardly any examples of these are known of, and of the few that are, almost none of them are whole, free-standing sculptures as they are mostly dressed images which only have carved heads, hands and feet. Hence the relevance of this carving which, additionally, is of very high quality.
This effigy of King Melchior is in a standing posture, with his body forming an elegant serpentine form and, at the same time, a contrapposto, giving it remarkable dynamism through bringing the right leg forward, crossing it in front of the left. He extends his right arm, holding a closed golden goblet in his hand –reminiscent of certain models of chalices of the time– the receptacle for the gold that he gave to the Christ Child when the three kings came to adore Him in Bethlehem. The meaning of the gold is recognition of the Christ Child as the King of Kings. Melchior, places the fingertips of his left hand on his chest in an act that mixes devotion and respect for the newborn. Finally, the head, full of nobility and goodness, is slightly bent as if looking at the Child. It is an elongated head with slanted eyes painted on the wood itself and with very marked eyelids, a wide nose with a straight septum and a small mouth with fleshy lips. The ears are barely noticeable due to the hairstyle and headdress. He has short grey hair, a wide moustache and a forked and symmetrical beard, which is very long and fluffy and composed of unruly and well-defined locks. The head is covered by a curious oriental headdress from which two strips of cloth fall that resemble the infulae of bishops' mitres. He wears a long green tunic, tied at the waist and reaching to his ankles. It is cinched at the waist with a golden cincture, the same colour as a border on the lower edge and also on the turtleneck. Above it, he wears an open overtunic with wide sleeves, polychromed in an imitation of ermine on the inside – indicative of his royalty, while on the outside it is red and with the lower edge bordered in gold with plant motifs. The shoulders are covered by a kind of hood, also made of ermine, decorated with a wide border identical to the one mentioned above: golden and with stylized plant motifs.
Due to the stylistic details and facial features, the presence of the pleats and the coincidence in terms of the forms of clothing and iconography with numerous Castilian representations of Saint Joaquim dating to the mid-18th century, we believe that it was carved by a good Castilian sculptor in the second quarter of the 18th century, perhaps from Valladolid or Rio Seco, but certainly Castilian.
We thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
66 x 28 x 24 cm.
This incredible carving of King Melchior would certainly have belonged to a creche or nativity group, made in Castile in the second quarter of the 18th century. This is a truly extraordinary fact since hardly any examples of these are known of, and of the few that are, almost none of them are whole, free-standing sculptures as they are mostly dressed images which only have carved heads, hands and feet. Hence the relevance of this carving which, additionally, is of very high quality.
This effigy of King Melchior is in a standing posture, with his body forming an elegant serpentine form and, at the same time, a contrapposto, giving it remarkable dynamism through bringing the right leg forward, crossing it in front of the left. He extends his right arm, holding a closed golden goblet in his hand –reminiscent of certain models of chalices of the time– the receptacle for the gold that he gave to the Christ Child when the three kings came to adore Him in Bethlehem. The meaning of the gold is recognition of the Christ Child as the King of Kings. Melchior, places the fingertips of his left hand on his chest in an act that mixes devotion and respect for the newborn. Finally, the head, full of nobility and goodness, is slightly bent as if looking at the Child. It is an elongated head with slanted eyes painted on the wood itself and with very marked eyelids, a wide nose with a straight septum and a small mouth with fleshy lips. The ears are barely noticeable due to the hairstyle and headdress. He has short grey hair, a wide moustache and a forked and symmetrical beard, which is very long and fluffy and composed of unruly and well-defined locks. The head is covered by a curious oriental headdress from which two strips of cloth fall that resemble the infulae of bishops' mitres. He wears a long green tunic, tied at the waist and reaching to his ankles. It is cinched at the waist with a golden cincture, the same colour as a border on the lower edge and also on the turtleneck. Above it, he wears an open overtunic with wide sleeves, polychromed in an imitation of ermine on the inside – indicative of his royalty, while on the outside it is red and with the lower edge bordered in gold with plant motifs. The shoulders are covered by a kind of hood, also made of ermine, decorated with a wide border identical to the one mentioned above: golden and with stylized plant motifs.
Due to the stylistic details and facial features, the presence of the pleats and the coincidence in terms of the forms of clothing and iconography with numerous Castilian representations of Saint Joaquim dating to the mid-18th century, we believe that it was carved by a good Castilian sculptor in the second quarter of the 18th century, perhaps from Valladolid or Rio Seco, but certainly Castilian.
We thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
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"King Melchior". Sculpture in carved and polychromed wood. Anonymous, Castilian. Circa 1725-1750.
66 x 28 x 24 cm.
This incredible carving of King Melchior would certainly have belonged to a creche or nativity group, made in Castile in the second quarter of the 18th century. This is a truly extraordinary fact since hardly any examples of these are known of, and of the few that are, almost none of them are whole, free-standing sculptures as they are mostly dressed images which only have carved heads, hands and feet. Hence the relevance of this carving which, additionally, is of very high quality.
This effigy of King Melchior is in a standing posture, with his body forming an elegant serpentine form and, at the same time, a contrapposto, giving it remarkable dynamism through bringing the right leg forward, crossing it in front of the left. He extends his right arm, holding a closed golden goblet in his hand –reminiscent of certain models of chalices of the time– the receptacle for the gold that he gave to the Christ Child when the three kings came to adore Him in Bethlehem. The meaning of the gold is recognition of the Christ Child as the King of Kings. Melchior, places the fingertips of his left hand on his chest in an act that mixes devotion and respect for the newborn. Finally, the head, full of nobility and goodness, is slightly bent as if looking at the Child. It is an elongated head with slanted eyes painted on the wood itself and with very marked eyelids, a wide nose with a straight septum and a small mouth with fleshy lips. The ears are barely noticeable due to the hairstyle and headdress. He has short grey hair, a wide moustache and a forked and symmetrical beard, which is very long and fluffy and composed of unruly and well-defined locks. The head is covered by a curious oriental headdress from which two strips of cloth fall that resemble the infulae of bishops' mitres. He wears a long green tunic, tied at the waist and reaching to his ankles. It is cinched at the waist with a golden cincture, the same colour as a border on the lower edge and also on the turtleneck. Above it, he wears an open overtunic with wide sleeves, polychromed in an imitation of ermine on the inside – indicative of his royalty, while on the outside it is red and with the lower edge bordered in gold with plant motifs. The shoulders are covered by a kind of hood, also made of ermine, decorated with a wide border identical to the one mentioned above: golden and with stylized plant motifs.
Due to the stylistic details and facial features, the presence of the pleats and the coincidence in terms of the forms of clothing and iconography with numerous Castilian representations of Saint Joaquim dating to the mid-18th century, we believe that it was carved by a good Castilian sculptor in the second quarter of the 18th century, perhaps from Valladolid or Rio Seco, but certainly Castilian.
We thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
66 x 28 x 24 cm.
This incredible carving of King Melchior would certainly have belonged to a creche or nativity group, made in Castile in the second quarter of the 18th century. This is a truly extraordinary fact since hardly any examples of these are known of, and of the few that are, almost none of them are whole, free-standing sculptures as they are mostly dressed images which only have carved heads, hands and feet. Hence the relevance of this carving which, additionally, is of very high quality.
This effigy of King Melchior is in a standing posture, with his body forming an elegant serpentine form and, at the same time, a contrapposto, giving it remarkable dynamism through bringing the right leg forward, crossing it in front of the left. He extends his right arm, holding a closed golden goblet in his hand –reminiscent of certain models of chalices of the time– the receptacle for the gold that he gave to the Christ Child when the three kings came to adore Him in Bethlehem. The meaning of the gold is recognition of the Christ Child as the King of Kings. Melchior, places the fingertips of his left hand on his chest in an act that mixes devotion and respect for the newborn. Finally, the head, full of nobility and goodness, is slightly bent as if looking at the Child. It is an elongated head with slanted eyes painted on the wood itself and with very marked eyelids, a wide nose with a straight septum and a small mouth with fleshy lips. The ears are barely noticeable due to the hairstyle and headdress. He has short grey hair, a wide moustache and a forked and symmetrical beard, which is very long and fluffy and composed of unruly and well-defined locks. The head is covered by a curious oriental headdress from which two strips of cloth fall that resemble the infulae of bishops' mitres. He wears a long green tunic, tied at the waist and reaching to his ankles. It is cinched at the waist with a golden cincture, the same colour as a border on the lower edge and also on the turtleneck. Above it, he wears an open overtunic with wide sleeves, polychromed in an imitation of ermine on the inside – indicative of his royalty, while on the outside it is red and with the lower edge bordered in gold with plant motifs. The shoulders are covered by a kind of hood, also made of ermine, decorated with a wide border identical to the one mentioned above: golden and with stylized plant motifs.
Due to the stylistic details and facial features, the presence of the pleats and the coincidence in terms of the forms of clothing and iconography with numerous Castilian representations of Saint Joaquim dating to the mid-18th century, we believe that it was carved by a good Castilian sculptor in the second quarter of the 18th century, perhaps from Valladolid or Rio Seco, but certainly Castilian.
We thank Dr. Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
Millésime 23
Auktionsdatum
Lose: 65
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
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Wichtige Informationen
Millésime 2023. Paintings, sculptures and works of Art from 13th to 20th Century. 61 important lots of European and Viceregal Art.
A pair of castas paintings Attributed to Ramón Torres (active in Mexico, 1770 - 1790), A Divine Shepherdess by Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768) an Imposing pair of angels from Viceroyalty of Peru. 17th - 18th century, a 14th century Calvary from Byzantine or Venetian School, or the great collection of 16th century flemish and italian oil on copper, are just few examples.
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