GRAND SPRING AUCTION OF PRIVATE COLLECTIONS, LATIN AMERICAN ART AND FINE WATCHES
Lot 285:
Oil on board measurements 90 x 70 cm. Framed measurements: 85 x 105 cm. It owes its name to an altarpiece that was in the church of San Agustín de Alcira, damaged and dismembered in the Spanish civil war, with which they are stylistically related and around which other works were grouped such as the panel of the Allegory of the human passions of the Museum of Fine Arts of Budapest, the only one of profane subject matter, or the Improperios – Crowning of Thorns – of the Diocesan Museum of Valencia. The corpus of works thus formed and the origin of the painter as well as his training and possible influences have never been It has been unanimously accepted. Diego Angulo Íñiguez put him in relation to the formerly called Master of Sijena and it has been said that he probably would have trained with Fernando Yáñez de la Almedina and Fernando Llanos, through whom he would have received Italian influences. and Venetian. The existence of an inscription that reads ioa[ni]s ispanvs p[ictor] on the front of the tomb of a Crying over the Dead Christ from a private collection, a work related to the Master of Alcira, led Albi Fita to identify it with a Johannes Hispanus, who would have been a disciple in Valencia of the Master of Cabanyes and went to Italy around 1520. Painter who has been documented working in 1510 in the cathedral of Valencia, but the authorship of that altarpiece has later been documented in the name of Gaspar Goths. The altarpiece of Santiago el Mayor, of which three panels are preserved in the National Gallery of Ireland and one in a private collection, originally in a chapel of the convent of San Francisco in Valencia, according to the documentation provided by Mercedes López-Ferrer, On February 23, 1538, Gaspar Godos hired Yolant Serra y de Centelles, niece of Jaume Serra, cardinal of Oristano, for his mortuary chapel.9 The relationship of Gaspar Godos with the so-called master of Alcira, on the other hand, was already He had proposed, therefore, in the case of an itinerant painter, a native of Castro in Huesca but trained in Valencia with Pere Cabanes, with whom he signed an apprenticeship contract. Works of note: the ablas of the altarpiece of the Joys of the Virgin in the church of San Agustín de Alcira (1527), dismembered and partially preserved in the chapel of the Pious Schools of Gandía. Provenance: private collection, Barcelona, Spain.
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