Title

Saint Bartholomew Vanquishing a Demon

painter

Zamora, Fray Alonso de [attributed to] [workshop of] (Active in Burgos around 1480–1510)

Generic classification

Object

Date

Century

Cultural context / style

Dimensions

Material

Technique

Iconography / Theme

Provenance

Current location

Inventory Number in Current Collection

Object history

When this painting went on sale in 1999 at Sotheby’s New York, it was believed to have been created by the Burgos school; however, in 2015, the auction house put it up for auction again, this time attributing it to Fray Alonso de Zamora. This artist has also been referred to as the Master of Oña or the Master of Ameyugo (Silva Maroto, 1990). The characteristics that led to this attribution were as follows: Saint Bartholomew’s pointed beard, his closely set eyebrows, the modeling of the figure, and the use of reddish and green tones (Post, 1933).

While certain elements are evident that refer to other compositions attributed to Fray Alonso de Zamora and demonstrate remarkable technical skill—such as the face—other aspects of the saint’s figure, particularly the hands and the gilded background, exhibit characteristics that suggest the involvement of other artists. This circumstance could be explained by the existence of a workshop centered around the master, as well as by the widespread dissemination of his models and compositional formulas—a phenomenon evident in works such as *Lamentation over the Dead Christ* and *Resurrection*. Therefore, it is reasonable to consider the possibility that the creation of this panel involved both the direct involvement of Fray Alonso de Zamora and the participation of other members of his workshop or artists associated with his circle.

The artist carried out commissions for Oña, Espinosa de los Monteros, and Puente Arenas, municipalities located in the province of Burgos (Silva Maroto, 1974). Although the provenance of the panel is unknown, it seems plausible to assume that at some point it was in this province, likely as part of an altarpiece. The next record we have of it places it in New York in 1999, when it was sold by Sotheby’s on May 28 as lot 30. An anonymous collector purchased the panel, and in 2015 it was auctioned again as lot 216. The Davis Museum (Wellesley, Massachusetts) acquired the painting that year thanks to funds provided by the Wellesley College Friends of Art, and it is currently housed at that institution.

Description

Although depictions of Saint Bartholomew typically show him at the moment of his martyrdom, in this case the artist has chosen to portray him holding a knife in his left hand—an attribute alluding to his martyrdom—and grasping a chain that binds a demon. According to some apocryphal texts, after the day of Pentecost, Saint Bartholomew went to the temple of Astaroth—a demon who was deceiving his followers—to bind him with chains of fire (Ibáñez, 2022).  Regarding the condition of the panel, the surface of the painting is in good condition. There are scratches on the upper edge and two horizontal cracks on the right side that extend to Saint Bartholomew’s shoulder. Under ultraviolet light, small retouches have been detected in the drapery of the cloak.  

Locations

• Early XVI^th c.

  province

  Possible origin in the province of Burgos, Burgos (Spain)

• ca. 1999 - 1999

  auction house

  Sotheby's, Nueva York / Londres

• ca. 1999 - ca. 2015

  private collection

  Private collection, New York, New York (United States) *

• ca. 2015 - 2015

  auction house

  Sotheby's, Nueva York / Londres

• 2015 - present

  museum

  Davis Museum, Wellesley (United States)