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a painting of a man in a black coat with a cross on his chesta painting of a man with a mustache wearing a black coatan old painting of a man with a coat of arms on his heada painting of a man in a black coat with his hands folded uppainting of a cross on a black background with a gold designa window in the wall that has been torn open
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34 - Novo hispanic School. Mid-17th century–early 18th century.

Estimate €1,500 - €2,000
Sale commission
Description
Novo hispanic School. Mid-17th century–early 18th century. “A votive portrait of a nobleman of the Third Order of St. Dominic (a lay Dominican) or a knight of a military order bearing the Dominican emblem as a symbol of deep devotion or a historical alliance.” Oil on canvas. 73 x 53 cm. Donor portraits accompanied by coats of arms and depicted in prayer are known in art history as “votive portraits.” These were representations of the patrons or commissioners who financed a work of art, incorporated into religious paintings or sculptures, either as independent figures placed on either side of an altarpiece or located within the lateral spaces of a chapel in a church or cathedral, where they would often later be buried. Their purpose was threefold: to secure divine favour, perpetuate their memory, and preserve the prestige of their lineage. This work depicts a half-length portrait (the sitter is presumably shown kneeling) in an attitude of prayer, with hands joined, set against a dark chiaroscuro background. Beside him appears his heraldic coat of arms, asserting his social status, noble lineage, and role as patron. Adorned with jeweled ornaments at the collar and chest, he is portrayed with an intense, psychologically charged gaze. A distinctive lock of hair falling across his forehead lends the figure individuality, character, and aristocratic distinction. A key element defining the sitter’s identity is the emblem of the Dominican Order displayed on his garment: the fleur-de-lis cross in black and white, visually representing the traditional white habit and black cloak worn by Dominican friars. In the upper right appears a quartered or impaled coat of arms combining several classic elements of Hispanic heraldry, suggesting that the sitter was of Spanish origin, or perhaps the descendant of Spanish parents. These motifs include wolves, saltires (Crosses of Saint Andrew), a tower, and fleurs-de-lis. Within the tradition of Spanish heraldry, wolves—or sometimes dogs—typically symbolize the valiant, resourceful, and courageous warrior. The red saltires (gules) signify strength and victory and, when repeated, often commemorate military achievements. The tower represents fortitude, impregnability, and descent from noble defenders or lords of castles. The fleur-de-lis, meanwhile, has long been universally associated with nobility, honour, and loyalty. Outstanding examples of this type of donor portrait may be found in the Chapel of Chancellor Villaespesa and his wife Doña Isabel de Ujué in Tudela Cathedral; in the attic section of the high altarpiece of Ablitas (Navarre), where the nobleman Gaspar Enríquez de Lacarra and his wife are depicted kneeling in devotion; and in the numerous donor portraits preserved in the collections of the Museo del Prado, particularly among the works of the Early Flemish and Spanish masters.
About the sale Dialogues with the Past: Vestigia
Auction location
Auction time 07/02/2026 at 7:00 PM
Pictures credits: Contact the Auction House
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