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pair of carved wooden plaques depicting a man and a womanpainting of a man with a pipe in his hand on a wallan image of a statue of a man with a long bearda painting of a man with a beard holding a sticka statue of a man with a long beard and a long beardan old wooden sculpture of a man with a beard on a wallan image of a wooden sculpture of a man and a womana statue of a man with a long beard and a bearda statue of a man with a beard on a wallan image of a statue of a man with a hat and scarftwo pieces of wood with a sticker on them sitting on a white surface
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40 - Castillian School. Circa 1600.

Estimate €10,000 - €15,000
Sale commission
Description
Castillian School. Circa 1600. 'Saint Peter and Saint Paul' Pair of carved, polychromed, gilded and estofado wooden reliefs. 48 x 23 x 6 cm and 47 x 23 x 6 cm. We present two outstanding reliefs depicting Saint Peter and Saint Paul, the Princes of the Apostles, probably conceived as part of the predella of a Classicist altarpiece executed in the late sixteenth or early seventeenth century, around 1600. It is possible that the two figures were positioned on either side of the tabernacle, following a common arrangement in altarpiece ensembles of the period. Their formal and stylistic characteristics place them within the Romanist movement, the final phase of Renaissance sculpture in Spain, which developed during the last third of the sixteenth century and persisted in certain regions of the Iberian Peninsula until the middle of the following century. Romanism was a Mannerist tendency profoundly influenced by the models of Michelangelo Buonarroti (1475 to 1564) and by the masters associated with his Roman circle. Its introduction into Spain was closely linked to the multifaceted sculptor and painter Gaspar Becerra (1520 to 1568), who was responsible for the high altarpiece of Astorga Cathedral (1558 to 1562), a seminal work in the dissemination of this artistic language. Romanist sculpture is characterised by the monumentality of its figures, the solidity of their anatomy, the solemnity of their poses, and the grandiloquence of their gestures, features that lend the images a timeless and transcendent appearance. These characteristics are clearly evident in both reliefs, whose monumental figures are perfectly adapted to the architectural frames that contain them. Saint Peter is depicted as a middle aged man with a short beard and abundant dark hair, arranged in curls and meticulously rendered in fine locks. The detailed treatment of the curls, possibly achieved with the aid of a drill, enhances their volume and plasticity. He wears a bluish tunic fastened at the waist, over which a generously proportioned and richly ornamented mantle is draped. Gathered in his right hand, it falls in abundant folds that cover much of his body. His slightly turned face and raised right hand, whose fingers appear intended to hold his characteristic attributes, the two keys, constitute the only elements of dynamism within a composition otherwise dominated by solemnity. Saint Paul, by contrast, is represented as an elderly man with a long, curly grey beard of a soft, almost cotton like appearance. His prominent bald head emphasises his advanced age, as do his gently modelled features, which convey a certain softness. He holds a closed book in his left hand, while his right hand grasps the hilt of a sword, the apostle's traditional attribute, which has not survived. He is likewise dressed in a tunic and mantle, whose broad surfaces are articulated through deep, heavy folds characteristic of the Romanist style. His dignified bearing and upward gaze reinforce his solemn presence. Both faces display noble features and restrained expressions, far removed from any intense emotional display. Almond shaped eyes with clearly defined eyelids are combined with prominent, narrow noses, full lips, and pronounced cheeks. The ears, partially concealed by the hair, complete facial features that give each figure a distinctive character. The differing treatment of the mouths, open in Saint Paul and closed in Saint Peter, introduces a note of variety into the two representations. Particular attention should be drawn to the rich ornamental polychromy, especially evident in the garments, where the colours are combined with extensive gilding and meticulous decoration featuring vegetal and geometric motifs in a varied palette. The backgrounds, executed entirely in paint, appear to depict a landscape in the lower section and a bluish sky in the upper section. Shades of blue and ochre contrast with the colours of the figures and enhance their visual presence. The combination of sculptural monumentality and decorative sumptuousness is characteristic of numerous Castilian ensembles from this period. In view of these features and their stylistic characteristics, both reliefs may, with due caution, be attributed to a skilled Castilian sculptor active around 1600. We would like to thank Dr Javier Baladrón, PhD in Art History, for identifying and cataloguing this work.
About the sale ABBATIALIS. Res Sacra.
Auction location
Auction time 11/05/2026 at 7:00 PM
Pictures credits: Contact the Auction House
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