October 27, 2016, 7:00 PM CET
Barcelona, SpainLive Auction
Lot 28: Ramon Gonsalbo (Documented in La Seu d'Urgell and Barcelona 1428 - 1475) "T(80 views)
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Ramon Gonsalbo (Documented in La Seu d'Urgell and Barcelona 1428 - 1475) "Two lateral panels from the altarpiece dedicated to Saint Vincent, Martyr of Montferrer". La Seu d'Urgell (Catalonia). From around 1456 - 58 / 1475.
Oil and tempera painting on wood. These panels represent the scenes of Saint Vincent and Saint Valerius before Dacian; The death of Saint Vincent, Saint Vincent on the bed of nails, Procession for the reception of Saint Vincent´s relics? Two panels from the same altarpiece are among the Museo del Prado collection, inventory nºs 2670 and 2671. For this reason, Professor Pitarch suggests, as there are four known panels it can be deduced that the main body of the altarpiece which they came from was made up of five sections, with the middle one being slightly wider and taller than the others as they had to reach the centre of the dome of the chapel it was painted for, in the same way as other known examples, especially those from the region of La Seu d'Urgell in the 15th century, such as the Virgin altarpiece, (Detroit, Institute of Fine Arts). This altarpiece, which has been able to be reconstructed thanks to the appearance of the contract for its painting, is that of the Saint Vincent altarpiece for the parish of Sant Vicenç in the town of Montferrer, close to La Seu d'Urgell. A summary of this comes with Professor Pitarch´s report. The carving and gilding work on the frame, as well as the two reliefs of the halos, the edging on the clothing, attributes and some furniture all point to the altarpiece being from the third quarter of the 15th century, corresponding to the area of La Seu d'Urgell. The painting of the Saint Ermengol de la Seu altarpiece is attributed to the son of the painter Jaume Gonsalbo (La Seu d'Urgell ? - 1428) Profesor Pitarch concludes that Ramon Gonsalbo could have been influenced by a type of painting which has been wrongly dubbed "naïve", which existed on the margins of official painting from the important centres of Catalonia and Aragon at the time, whereas at the same time echoing novelties in painting from the decades 1430/40 -1460. Between 1455 and 1476, at least, Ramon Gonsalbo had an important role in promoting the non-mainstream painting culture of la Seu d'Urgell. It is important to point out the documented relationship which existed between Gonsalbo and the painters Bernat Despuig and Jaume Cirera The panel comes with a certificate by Professor Antoni Josep Pitarch. In "Summa Artis" vol. XXII, page. 319. are plates of the two panels belonging to the Museo del Prado, photocopy attached. 218 x 71,5 each. Origin: Román Vicente Collection (1908); Barcelona, Birk Collection. A handwritten note on the photograph (Barcelona, Arxiu Mas) of these two panels when they were in the above-mentioned collection says: Procedencia (Origin): La Seu d'Urgell. Bibliography: E. Tormo: "La Pintura aragonesa cuatrocentista y la Retrospectiva de la Exposición de Zaragoza en general" (Aragonese Quatrocentista Boletín de la Soc. Española de Excursiones, volumn XVII, first term, 1909, p. 62.