Gregorio Fernández (Sarria, Lugo, 1576-Valladolid, 1636). Star Lot.

Descriptio Report from Don Ángel Rivera de las Heras is attached. Doctor in Art History. Measurements: 152 x 90 x 52 without base, measurements with base: 215 x 90 x 60 cm. The figure is exactly the same model created by the Galician sculptor Gregorio Fernández that he made in 1617 for the Valladolid convent of San Francisco, and which was reproduced repeatedly, even during the master’s lifetime, by disciples and imitators. The Virgin is standing, in a frontal and static position, almost hieratic, with her left foot forward. She has a youthful face, with a cylindrical neck and rounded head. Small locks of hair are arranged on her forehead, as in other omaculated autographs. Her long, wavy hair is divided into two levels, maintaining her symmetry: her front hair falls to her shoulders, the rest of it flows down her shoulders and down her back to below her head. waist. She keeps hers, hands joined, in a prayerful gesture. She wears a white tunic, tight with a headband, decorated with botanical motifs using the stew technique, and highlighted with borders in the cut-out, cuffs and fimbria. She covers herself with a blue mantle, bordered with a fretwork formed by vegetal scrolls applied with a brush tip, studded with seven-pointed golden stars. Her tunic and cloak show wide, ridged and broken folds, marking cavities, especially in the lower third; those on the back of the cloak are gathered, as usual, in a puff that seems to be attached to an invisible pin. The figure sits on the quarter moon and a cluster of clouds with a group formed by three heads of winged angels, who, like the Virgin, have glassy eyes, which seems to be a later addition. And she is surrounded by a halo with golden, straight and flamed rays, in which the following inscription is displayed: “TOTA PVLCHRA ES AMICA MEA / ET MACVLA NON EST IN TE” (Cf. Song of Songs 4, 7). The cubic base is from the 17th century, and is decorated with the anagram of Mary, as well as gilded moldings on its base and cornice, and vegetal plaques on the fronts. Conservation: the organoleptic examination allows us to affirm that its state of conservation is very good, although small scratches and minor chips are observed. It is a sculptural work of extraordinary artistic and plastic quality. It is not documented, but it can be attributed to Gregorio Fernández (Sarria, Lugo, 1576-Valladolid, 1636), from whose workshop it came out in the artist’s last period, between 1620 and 1636. This is evidenced by its compositional design, its formal characteristics and some specific details of its execution. BIBLIOGRAPHY: Juan José Martin González, The sculptor Gregorio Fernández, Madrid, 1980; Jesús Urrea, Cat. of the exp. Gregorio Fernández, 1576 – 1636, Madrid, 1999. Provenance: important Spanish private collection.

Stima:300.000€

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