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Lot 12 - Master of Ventosilla (active in the first third of the 16th century) "Saint Andrew [...]

Estimation : 25 000 € / 35 000 €

résultat non communiqué

Master of Ventosilla (active in the first third of the 16th century)
"Saint Andrew and Saint Peter, Saint James the Great and Saint Simon"
Oil on pine wood. First third of the 16th century. From the church of Torregalindo (Burgos).

67 x 62 y 68 x 62 m.
According to the attached report by Dr. Alberto Velasco, these are two compartments that should have been part of the predella of an altarpiece dedicated to the apostolate. The saints represented can be easily identified due to the attributes they display, and they are Saint Andrew, Saint Peter, Saint James the Great and Saint Simon. The backgrounds with gold metallic foil and punched motifs forming squares with plant shapes inside are evidence of a Castilian environment of the early 16th century.

Specifically, the style allows these panels to be associated with the so-called Master of Ventosilla, the creator of an altarpiece for the church of Ventosilla (Burgos), as well as other altarpieces made for the towns of Torregalindo (Burgos), where a very similar apostolate is documented; Fuentemolinos (Burgos); Tubilla de Lago (Burgos); Alcocer (Guadalajara); Penalver (Guadalajara); Montuenga (Segovia); Radish (Valladolid); Valdearcos de la Vega (Valladolid); and Uclés (Cuenca), the latter dedicated to the Rosary and now kept in the Burgos Museum (collection belonging to the Prado Museum). The style of this painter, who was active in Tierra de Campos has been linked to both Juan de Borgoña and Juan Soreda, of whom it has been affirmed that he could have been a disciple (or viceversa).



The altarpiece compartments of the Master of Ventosilla that the art historian Post was able to describe in the Torregalindo church were almost all sold and are no longer kept there, except for the Baptism of Christ. All in all, his description is essential to be able to identify the compartments that we present as two of the four that Post was able to see there. Thus, he mentioned that Saint James and Saint Simon, who held a saw as an attribute, appeared paired on the same panel; while Saint Peter appeared next to Saint Andrew, just as in the second of our compartments. The other two showed Saint Bartholomew and Saint Thomas and Saint Paul and Saint John the Evangelist, and were printed and published by Díaz Padrón and Monereo Velasco.

Also attributed to the painter are a Presentation of Jesus in the Temple and a Calvary from the Cerralbo Museum in Madrid, two predella compartments with pairs of apostles from the Museo das Peregrinacions in Santiago de Compostela, with a very similar format and theme to those that concern us here, and some other paintings in the Museum of Valladolid.

The characteristics of the faces of the characters, with their languid gazes and peculiar noses, and the treatment of their hair and beards, allow us to link these panels to the characters of the Rábano altarpiece and, especially, to the Saint Joseph who appears in the Nativity kept in the Burgos Museum (collection belonging to the Prado Museum), which also comes from the Torregalindo altarpiece. This belonging to the same altarpiece is proven not only by the correspondence of measurements, but also because in the Nativity we find large nimbus outlined with a black line and a band of dots that, in addition, has scratching that is included in the entire interior.

A report by Dr. Alberto Velasco Gonzàlez is attached.
Origin: private collection.
Bibliography on the panels:

- Chandler R. Post, The Beginning of the Renaissance in Castile and Leon (A History of Spanish Painting, vol. IX), Cambridge (Massachussetts), Harvard University Press, 1947, p. 591.

- Matías Díaz Padrón and María Dolores Monereo Velasco, «El Maestro de Ventosilla: nuevas obras», Archivo Español de Arte, 224, 1983, p. 367.

Bibliography on the artist:

- Chandler R. Post, The Later Renaissance in Castile (A History of Spanish Painting, vol. XIV), Cambridge (Massachussetts), Harvard University Press, 1966, pp. 130-137.

- Matías Díaz Padrón and María Dolores Monereo Velasco, «Un retablo del Maestro de la Ventosilla inédito en los depósitos del Museo del Prado», Boletín del Museo del Prado, 13, 1984, pp. 57-63.

- José Luis Hernando Garrido, «Notas sobre pintura del siglo XVI en la Ribera del Duero: párvulos hallazgos y otras apostillas», Biblioteca: estudio e investigación, 18, 2003, pp. 315-355 (esp. 321-324).

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