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Amazing "Our Lady of Sorrows" attributed to Salzillo 18th-century
$101,044.71
£75,742.51
€85,000
CA$139,691.38
A$152,069.76
CHF 81,178.61
MX$1,835,830.84
NOK 1,020,720.23
SEK 948,692.32
DKK 647,523.31
About the Item
Our Lady of Sorrows, attributed to Salzillo, polychrome wood with 18th-century silver crown and display case
An extraordinary sculpture of Our Lady of Sorrows, attributed to Francisco Salzillo (Murcia, 1707–1783), carved and polychromed in the 18th century. The image presents a face of intense, yet restrained, drama, with carved and polychromed eyes, tears, and a slightly open mouth, reflecting the sensibility of the Murcian master. She wears antique textiles with lace, accompanied by rosaries in silver and jet. She is crowned with a magnificent original 18th-century silver crown, a piece of goldsmithing that further elevates its stature. The entire piece is preserved in its original mahogany display case, constituting a work of exceptional historical, devotional, and artistic value. An outstanding example of Spanish Baroque sculpture, it is of great interest to international collectors and galleries.
60x44 + Headband 22x31 total virgin 72cm Display case - 119 high, 83 wide, 49 deep, console: 95 high, 100 wide, 52 deep
Francisco Salzillo y Alcaraz (Murcia, May 12, 1707 – Murcia, March 2, 1783) was a Spanish Baroque sculptor, considered the most representative religious image maker of the 18th century in Spain and one of the greatest of the Baroque period. Salzillo dedicated himself exclusively to religious themes and masterfully incorporated the changes that occurred during the 18th century into his style. This is reflected in a sculpture that marked a transition between Rococo and Neoclassicism, as well as in various changes that took place in the workshop he inherited from his father, the sculptor and religious image maker Nicolás Salzillo.
His life was spent entirely in Murcia. Today, the city boasts a museum dedicated to his work, the Salzillo Museum, which houses some of his most characteristic pieces, such as the Nativity scene and the eight floats that are carried in procession on Good Friday in what is known as the Salzillo Procession.
Francisco Salzillo was born in Murcia on May 12, 1707. His father, Nicolás Salzillo, was an Italian sculptor from Santa Maria Capua Vetere who had settled in Murcia a few years earlier. After beginning his studies in Literature with the Jesuits, he appears to have entered the Dominican Order as a novice. Upon his father's death in 1727, when Francisco was only twenty years old, he had to take over his sculpture workshop.
He was the second of seven children, some of whom worked in the family workshop, specifically José Antonio and Patricio, born in 1710 and 1722 respectively, and possibly Inés, who was in charge of the gilding and polychrome decoration of the sculptures made in the family workshop. [3] In 1746, he married Juana Vallejo y Taibilla, and they had two children: Nicolás, born in 1750 and who died the following year, and María Fulgencia.
Francisco Salzillo circa 1780, graphite pencil drawing by Joaquín Campos to illustrate the Historical Dictionary by Juan Agustín Ceán Bermúdez. National Library of Spain.
Francisco Salzillo spent his entire life in Murcia, where he earned a name and fame that transcended the purely artistic realm. Only one trip outside the city of Murcia is documented: his journey to Cartagena in 1755 to deliver the images of the Four Saints. He declined the Count of Floridablanca's invitation to move to Madrid, which would have allowed him to gain recognition at Court.
Over the years, his work acquired fame, and he received numerous commissions from churches and convents in Murcia and the neighboring provinces of Alicante, Albacete, and Almería. In 1755, he was appointed Official Sculptor of the City Council of Murcia and inspector of painting and sculpture.
After his wife's death in 1763, Salzillo's meetings with other artists and intellectuals from Murcia became more frequent. In 1777, they founded the Royal Economic Society of Friends of the Country of Murcia, which led to the creation of the Patriotic School of Drawing in 1779, with Salzillo as its first director. He died in Murcia on March 2, 1783. He was buried in the now-demolished Capuchin Convent of Murcia, where his sister, Francisca de Paula, had taken her vows.
The most outstanding works from his early period, when he took over his father's workshop, were the Dolorosa in the parish church of Santa Catalina, the Saint Joseph in Santa Clara, the Holy Family in San Miguel, and the Immaculate Conception in the Convent of Verónicas, all of which are located in the city of Murcia.
From 1740 onward, his personal and well-defined style began to be more clearly appreciated. It was in this year that he achieved fame with the Pietà for the Servite Confraternity of the parish of San Bartolomé in Murcia, a model he repeated for Lorca, Dolores in Alicante, and Yecla. This was his first foray into Passion iconography, of which he would become a great master. Other important works that followed were the Saint Anthony for the hermitage of San Antón (1746), the Saint Augustine for the Convent of the Augustinian Nuns of Corpus Christi, and the medallion of the Virgin of the Milk for Murcia Cathedral. Italian influence is evident in works from this period, such as the images of Saint Francis and Saint Clare for the Capuchin convent. The movement and expression of their hands make them some of the principal Baroque works in the realm of spirituality and mysticism.
From 1765 onward, with Roque López, his principal disciple, working in his workshop, his production became more industrialized. Characteristic of this period are the Virgin of Sorrows in Yecla, the Virgin of the Dawn in Aledo, the Washing of the Feet of Christ the Prince of the Apostles in the Royal Salesian Convent of Orihuela,[7] and the Holy Family in the Church of Santiago in Orihuela. Also noteworthy is the Christ of the Isabelas, or of the Good Death, or Recumbent Christ of the Poor Clares in Orihuela (1774), the only sculpture in his entire oeuvre on this theme. The Dominican saints in the Church are also significant.
- Attributed to:Francisco Salzillo (Artist)
- Dimensions:Height: 46.86 in (119 cm)Width: 32.68 in (83 cm)Depth: 19.3 in (49 cm)
- Style:Baroque (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:18th Century
- Condition:Wear consistent with age and use. Original condition.
- Seller Location:Madrid, ES
- Reference Number:1stDibs: LU5779247461952
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