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Title

Christ with the Crown of Thorns

painter

Maestro de Osma [attributed to] (Active in the late 15th and early 16th centuries)

Generic classification
Painting
Object
Painting
Date
ca. 1500
Century
Late 15th c. / Early 16th c.
Cultural context / style
Hispano-Flemish Gothic
Dimensions
29 x 24 1/2 in
Material
Panel
Technique
Oil Painting
Iconography / Theme
Ecce Homo
Provenance
Possible origin from Castile and Leon (Castilla y León, Possible origin from Castile and Leon, Spain)
Current location
Los Angeles County Museum (Los Ángeles, United States)
Inventory Number in Current Collection
53.52
Object history

This panel is attributed to the Master of Osma, an artist active in the late 15th and early 16th centuries. We do not know where it was located, but its creator carried out works for Burgo de Osma (Soria), Corrales de Duero, Curiel de Duero, Langayo (Valladolid), and Palencia. Silva Maroto (2007) notes that it was likely a work created for private devotion. This painter produced numerous devotional works, such as the Virgin of the Milk with the Child.

We have no surviving documents that allow us to know for whom it was made or where it was located; however, given that the Master of Osma carried out work in the provinces of Palencia, Soria, and Valladolid, we believe it must have been in the Castilian region. The panel was acquired in the second quarter of the 20th century by Herbert Thomas Kalmus, president of Technicolor Motion Picture Corporation. Between 1952 and 1962, Kalmus donated his art collection to various American institutions and foundations. In 1953, he donated *Christ with the Crown of Thorns* to the Los Angeles County Museum, where it remains today.

Description

Christ is depicted with marks all over his body, evidence of the blows he received during the flagellation. A rope is tied around his neck, which also binds his hands, and he wears a crown of thorns on his head. He wears only a red cloak draped over his shoulders, indicating that the Master of Osma based his depiction on the image of Christ when Pilate presented him before the Jewish people (Silva Maroto, 2007). The background is dark, and the following inscription is visible: Ecce Homo.

* The relative location of dealers, antique shops, art galleries, and collectors leads us to the places where they were based or had one of their main headquarters. However, this does not always indicate that every artwork that passed through their hands was physically located there. In the case of antique dealers and art merchants, their business often extended across multiple territories; sometimes they would purchase items at their origin and send them directly to clients. Similarly, some collectors owned multiple residences, sometimes in different countries, where they housed their collections. It is often difficult to determine exactly where a specific piece was kept during its time in their possession. Consequently, the main location of the dealer or collector is indicated. These factors should be considered when interpreting the map. Refer to the object's history in each case.
Bibliography
  • BORCHERT, Till-Holger (2002): Le Siecle de Van Eyck: Le Monde Mediterraneen et les Primit, Ludion, Ámsterdam, p. 268.
  • SILVA MAROTO, Pilar (2007): "Obras para la devoción privada en Castilla a fines del siglo XV: El Maestro de Osma", en In sapientia libertas: escritos en homenaje al profesor Alfonso E. Pérez Sánchez, Museo Nacional del Prado, Madrid.
Citation:

Isabel Escalera Fernández, "Christ with the Crown of Thorns" in Nostra et Mundi. Cultural Heritage from Castile and Leon around the world, Fundación Castilla y León, 2025. https://inventario.nostraetmundi.com/en/work/562

DOI