Title
Altarpiece of the Virgin and Child
Generic classification
TextilesObject
AltarpieceDate
1460 - 1470Century
Second half of the 15th c.Technique
EmbroideryProvenance
El Burgo de Osma Cathedral (Burgo de Osma, Soria, Spain)Current location
The Art Institute of Chicago (Chicago, United States)Inventory Number in Current Collection
1927.1779a-bInscriptions / Marks
"RESURREXIT DOMINUS"
"O HOMO RECORDARE QUIA PRO TE JHS HEC TORMENTA PASUS EST"
Object history
Originally, the altarpiece was located in the chapel of San Pedro in the cathedral of Burgo de Osma. Its origin dates back to the third quarter of the fifteenth century, coinciding with the bishopric of Pedro García de Montoya 1454 between 1475 (Davison, 1968). It was not commissioned by the bishop, but was bought once it was finished. This is justified by the way in which the artist left unfilled the holes left to place the coats of arms and the areas for the inscriptions. In this way, the future buyer could personalize it. According to the technique and materials, the origin of the altarpiece is estimated to be the Fábrica de Ornamentos de Calatañazor, to which the bishopric used to resort to acquire new ornaments for its religious centers (Cabré y Aguilo, 1929).
It constituted an ornament of the bishop to the cathedral a year before his death in 1475. At the end of the 19th century the altarpiece was found stored in poor condition behind the chapel of Nuestra Señora del Espino. It was then repaired with tapestries of similar quality also stored in the chapel.
The work was restored again in the early 20th century. In 1916 it was sold to Lionel Harris, a London antiquarian, founder of The Spanish Art Gallery, who sold the work to French and Company in New York. Years later it was acquired by Charles Deering and moved to Florida. In 1927 after Deering's death, the work was donated to the Art Institute of Chicago (Davison, 1968).
Description
The altarpiece/parament is embroidered in gold, silver and silk thread (Cabré and Aguilo, 1929). From the architecture contained in it, it can be deduced that it has a strong influence of the French Northern Gothic, which in turn receives a great influence from the Flemish primitives. This last influence, can also be perceived by the constitution of the altarpiece; triptych, so common in the Flemish arts (Davison, 1968).
The work is divided into a high body and a low body. The high body is starring a representation of the Virgin enthroned with the Child Jesus in her arms. These are flanked by cherubs. Around them are located other scenes related to the life of Christ; the Nativity, the Epiphany and Calvary. Around all this set, an interspersed series of angels' faces and the coat of arms of Bishop Montoya embraces the upper body.
In the lower body, the central scene represents the Resurrection. On both sides, six of the apostles are displayed; St. Bartholomew, St. James, St. Peter, St. Paul, St. John and St. Andrew. Next to them, the inscription "RESURREXIT DOMINUS", and as general inscription of the low altarpiece "O HOMO RECORDARE QUIA PRO TE JHS HEC TORMENTA PASUS EST" (Cabré and Aguilo, 1929).
Locations
ca. 1965 - 1916
1916
dealer/antiquarian
The Spanish Art Gallery, London, London (United Kingdom) *
1916 - ca. 1916
dealer/antiquarian
French & Company, New York (United States) *
ca. 1916
private collection
Palau de Maricel, Sitges (Spain) *
ca. 1916 - 1927
private collection
Charles Deering, Miami (United States) *
1927 - present
Bibliography
- CABRÉ Y AGUILÓ, Juan (1929): "El retablo bordado, de Don Pedro de Montoya, Obispo de Osma", vol. 5, Archivo español de arte y arqueología, pp. 1-20.
- DAVISON, Mildred (1968): "An Altarpiece from Burgo de Osma", nº 3, Art Institute of Chicago Museum Studies, pp. 108-124.
Record manager
Cristina Borreguero BeltránCitation:
Cristina Borreguero Beltrán, "Altarpiece of the Virgin and Child" in Nostra et Mundi. Cultural Heritage from Castile and Leon around the world, Fundación Castilla y León, 2025. https://inventario.nostraetmundi.com/en/work/122
Altarpiece of the Virgin and Child
