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Lot Essay
These hitherto unpublished paintings are an important addition to the works of Francisco Antolínez. Until recently, only one other signed painting by the artist was known: The Adoration of the Shepherds in Seville Cathedral -- dated 1678 and of similarly large dimensions -- which was the basis for all modern attributions to the artist (see, for example, E. Valdivieso, Historia de la pintura sevillana, 1992, p. 229, fig. 185). In 1997, a much smaller pair of paintings, The Birth of the Virgin and The Flight into Egypt, which were also unknown until that time, appeared on the Madrid art market. The former is signed and dated 1691 on the reverse, and as such is the latest of the three signed works (see Caylus Gallery, Madrid, exhibition catalogue, Pinturas de cuatro siglos, 1997, pp. 104-7). The fact that all three of Antolínez's signatures are written out in Latin and incorporate the social distinction 'Don', supports Palomino's observation that the artist preferred to think of himself primarily as a gentleman and a scholar, rather than just a painter - he was in fact a trained lawyer who held the post of Chief Justice in several towns.
The present pair of paintings is distinguished by their unusually large dimensions. With the exception of the Seville picture, almost all other known works by Antolínez are small-scale paintings. Although these smaller pictures are now invariably found singly or in pairs, Palomino describes them as being executed in sets of six, eight or twelve, painted to be sold anonymously on behalf of the artist outside the Royal Palace and at other public venues (see El Parnaso espanol pintoresco laureado, 1988, pp. 484-6). The social stigma that Antolínez seems to have attached to his second career as painter might explain the rarity of signed works. The size of the present pair, and the signature on one of them, would suggest that they were of importance to the artist, and possibly a commission of social relevance, which helped him overcome his reluctance to identify himself when selling his works.
The present pair reveal the artist's interest in the works of Murillo. The landscape and sheep in David and Goliath is closely related to Murillo's Jacob setting the peeled rods before the Flocks of Laban in the Meadows Museum, Dallas, while the David anointed by Samuel, can be compared to Murillo's Isaac blessing Jacob in the Hermitage, St. Petersburg, in that both works are similarly dissected by a wall separating the interior from the landscape beyond.
In 1975, Diego Angulo Iñiguez published documents which refer to several series of paintings by Antolínez, including works illustrating scenes from the lives of Abraham, Jacob, the Virgin and Christ. Among these there is also a series from the life of David, possibly related to the present works (see D. Angulo Iñiguez, Murillo y su escuela, Seville, 1975, p. 32).
The present pair of paintings is distinguished by their unusually large dimensions. With the exception of the Seville picture, almost all other known works by Antolínez are small-scale paintings. Although these smaller pictures are now invariably found singly or in pairs, Palomino describes them as being executed in sets of six, eight or twelve, painted to be sold anonymously on behalf of the artist outside the Royal Palace and at other public venues (see El Parnaso espanol pintoresco laureado, 1988, pp. 484-6). The social stigma that Antolínez seems to have attached to his second career as painter might explain the rarity of signed works. The size of the present pair, and the signature on one of them, would suggest that they were of importance to the artist, and possibly a commission of social relevance, which helped him overcome his reluctance to identify himself when selling his works.
The present pair reveal the artist's interest in the works of Murillo. The landscape and sheep in David and Goliath is closely related to Murillo's Jacob setting the peeled rods before the Flocks of Laban in the Meadows Museum, Dallas, while the David anointed by Samuel, can be compared to Murillo's Isaac blessing Jacob in the Hermitage, St. Petersburg, in that both works are similarly dissected by a wall separating the interior from the landscape beyond.
In 1975, Diego Angulo Iñiguez published documents which refer to several series of paintings by Antolínez, including works illustrating scenes from the lives of Abraham, Jacob, the Virgin and Christ. Among these there is also a series from the life of David, possibly related to the present works (see D. Angulo Iñiguez, Murillo y su escuela, Seville, 1975, p. 32).