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拍品專文
From an art historical point of view the portable altarpiece offered here represents a harmonious synthesis of the three fine arts: architecture, painting and sculpture.
The imposing architectural arrangement of the central scene has its origins in the early Italian renaissance but in the context for which it was created, it reflects the architectural splendour seen throughout Spain in the mid 16th century. This classical framework, set before a naturalistically painted landscape also incorporates sculptural elements in the pediment, central field, niches and predella and juxtaposes them with the finely painted, colourful wings.
While not unusual, the tradition of blending painting and sculpture in one composition was particularly prevalent in the Netherlands from where many native artists made their way to Spain. One particular group were the Beaugrant brothers: Guiot, John and Matthew who arrived in Spain in 1533. A number of stylistic elements of the present altarpiece suggest that it might be possible to connect it to their circle or workshop in the mid 16th century. Parallels can be drawn with the upper register of the Passion of Christ retable attributed to the Beaugrant brothers and their workshop in the Masaveu Corporation, Bilbao. In the Masaveu altarpiece, the triangular pediment sits above a closely comparable figure of God the Father, beneath whom is a scene of the Crucifixion. As on the present altarpiece, the central scene in the Passion retable depicts further scenes from the Passion. Minor decorative elements on the lot offered here can also be seen in a number of the Beaugrant workshop altarpieces such as the differently facing winged putti heads on the Retablo Mayor in the Parish of the Conception, Ochánduri, La Rioja. (J. A. Barrio Loza, Los Beaugrant, Bilbao, 1984, p. 128, no. 31).
While the central figure of Christ is broadly carved in the style of Guiot de Beaugrant, the multiple drill holes on the cross supporting him seem to suggest that another figure of Christ originally adorned the cross thereby making a firm attribution to him more difficult. Notwithstanding this point, the compositional and stylistic features of the present lot point to the creativity of the Beaugrant brothers and their circle.
The imposing architectural arrangement of the central scene has its origins in the early Italian renaissance but in the context for which it was created, it reflects the architectural splendour seen throughout Spain in the mid 16th century. This classical framework, set before a naturalistically painted landscape also incorporates sculptural elements in the pediment, central field, niches and predella and juxtaposes them with the finely painted, colourful wings.
While not unusual, the tradition of blending painting and sculpture in one composition was particularly prevalent in the Netherlands from where many native artists made their way to Spain. One particular group were the Beaugrant brothers: Guiot, John and Matthew who arrived in Spain in 1533. A number of stylistic elements of the present altarpiece suggest that it might be possible to connect it to their circle or workshop in the mid 16th century. Parallels can be drawn with the upper register of the Passion of Christ retable attributed to the Beaugrant brothers and their workshop in the Masaveu Corporation, Bilbao. In the Masaveu altarpiece, the triangular pediment sits above a closely comparable figure of God the Father, beneath whom is a scene of the Crucifixion. As on the present altarpiece, the central scene in the Passion retable depicts further scenes from the Passion. Minor decorative elements on the lot offered here can also be seen in a number of the Beaugrant workshop altarpieces such as the differently facing winged putti heads on the Retablo Mayor in the Parish of the Conception, Ochánduri, La Rioja. (J. A. Barrio Loza, Los Beaugrant, Bilbao, 1984, p. 128, no. 31).
While the central figure of Christ is broadly carved in the style of Guiot de Beaugrant, the multiple drill holes on the cross supporting him seem to suggest that another figure of Christ originally adorned the cross thereby making a firm attribution to him more difficult. Notwithstanding this point, the compositional and stylistic features of the present lot point to the creativity of the Beaugrant brothers and their circle.