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Beschreibung
Master of Astorga (Active in Astorga?, Leon, c. 1510 - 1530)
"Crucifixion"
Tempera panel painting. 153 x 110 cm.
This painting bears great similarity to the Crucifixion by the Master of Astorga which is kept in the Museo del Prado and with the scene of the Calvary in the St. Michael reredos, or that of the Passion in Astorga Cathedral.
As indicated at the Museo del Prado in its index card on the artist: "This is a Spanish painter, representative of the Castilian early renaissance. As no document has been preserved or signed allowing us to confirm the identity of the artist, active in the Leon area in the first third of the 16th century, the reredos of St. Michael in Astorga Cathedral, dated in 1530, is taken as a starting point. Based on this work, other paintings that show the same stylistic characteristics have been attributed to the painter, such as the panels of the Birth of Christ with St. Dominic and St. Lawrence and the Story of St. James (Lázaro Galdiano Museum, Madrid). The Museo del Prado has five panel paintings by the Master, which would have all been part of the same reredos dedicated to the life of Christ. From these and all those that have been attributed to him, it has been confirmed that the artist must have trained as a Hispanic-Flemish painter, probably with the Master of Palanquinos - and that later he became aware of Quattrocento models, which can be seen in the interest which the Master of Astorga felt for including renascent architectural work in his paintings, both to house the figures and as background elements, which, alongside the landscape, interests him more than the depiction of the figures."
Previously located in:
- Archduke Francis Ferdinand of Austria’s collection.
- Coray Erlenbach’s collection, Switzerland.
- Private collection, Paris.
Provenance: San Lorenzo de Cisneros Parish Church(?)
We would like to thank Irune Fiz Fuertes for identifying the Master of Astorga as the painter of the panel.
Thanks, also, to Dr. Alberto Velasco Gonzàlez, for his help in locating the collections the painting previously belonged to.
This painting has been imported, and therefore does not need an export permit.
Bibliography: Sammlung, 1930, p. 142; Angulo Íñiguez, 1945, pp. 231-232; Post, 1950, p. 447; Angulo Íñiguez, 1954, pp. 106 and 109; Gaya Nuño, 1958, p. 109; Díaz Padrón, 1987, p. 13; Díaz Padrón, 1989, pp. 346-352; Fiz Fuertes, 1998, p. 433.
Bibliography. The painting has been published in: Ballesté Escorihuela, Marc: “De la pintura Hispano-flamenca al primer Renacimiento en las antiguas diócesis de León and Astorga: El Maestro de Palanquinos and el Maestro de Astorga (c. 1480-1540)”. Lleida, April 2017. Page.247. Fig. 120, (although there is an error in the mention of the dimensions.)
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Master of Astorga (Active in Astorga?, Leon, c. 1510 - 1530)
"Crucifixion"
Tempera panel painting. 153 x 110 cm.
This painting bears great similarity to the Crucifixion by the Master of Astorga which is kept in the Museo del Prado and with the scene of the Calvary in the St. Michael reredos, or that of the Passion in Astorga Cathedral.
As indicated at the Museo del Prado in its index card on the artist: "This is a Spanish painter, representative of the Castilian early renaissance. As no document has been preserved or signed allowing us to confirm the identity of the artist, active in the Leon area in the first third of the 16th century, the reredos of St. Michael in Astorga Cathedral, dated in 1530, is taken as a starting point. Based on this work, other paintings that show the same stylistic characteristics have been attributed to the painter, such as the panels of the Birth of Christ with St. Dominic and St. Lawrence and the Story of St. James (Lázaro Galdiano Museum, Madrid). The Museo del Prado has five panel paintings by the Master, which would have all been part of the same reredos dedicated to the life of Christ. From these and all those that have been attributed to him, it has been confirmed that the artist must have trained as a Hispanic-Flemish painter, probably with the Master of Palanquinos - and that later he became aware of Quattrocento models, which can be seen in the interest which the Master of Astorga felt for including renascent architectural work in his paintings, both to house the figures and as background elements, which, alongside the landscape, interests him more than the depiction of the figures."
Previously located in:
- Archduke Francis Ferdinand of Austria’s collection.
- Coray Erlenbach’s collection, Switzerland.
- Private collection, Paris.
Provenance: San Lorenzo de Cisneros Parish Church(?)
We would like to thank Irune Fiz Fuertes for identifying the Master of Astorga as the painter of the panel.
Thanks, also, to Dr. Alberto Velasco Gonzàlez, for his help in locating the collections the painting previously belonged to.
This painting has been imported, and therefore does not need an export permit.
Bibliography: Sammlung, 1930, p. 142; Angulo Íñiguez, 1945, pp. 231-232; Post, 1950, p. 447; Angulo Íñiguez, 1954, pp. 106 and 109; Gaya Nuño, 1958, p. 109; Díaz Padrón, 1987, p. 13; Díaz Padrón, 1989, pp. 346-352; Fiz Fuertes, 1998, p. 433.
Bibliography. The painting has been published in: Ballesté Escorihuela, Marc: “De la pintura Hispano-flamenca al primer Renacimiento en las antiguas diócesis de León and Astorga: El Maestro de Palanquinos and el Maestro de Astorga (c. 1480-1540)”. Lleida, April 2017. Page.247. Fig. 120, (although there is an error in the mention of the dimensions.)
From Europe to the New World II
Auktionsdatum
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
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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.
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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.
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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.
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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.
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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.
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.
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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".
