Flandes, Portugal y Toledo en la obra de Luis de Morales. Las Vírgenes gitanas o del sombrero

The painted panel depicting the heads of Christ and the Virgin Mary in the Johnson Collection of the Philadelphia Museum of Art (fig. i) is a very unusual work within the oeuvre of Robert Campin and his workshop.1 Almost a pseudo-diptych, its iconic imagery of the two heads isolated against a golden ground is quite distinctive and apart from the mainstream of early fifteenth-century Netherlandish painting. As well known as the Christ and the Virgin is today, its early history and provenance have remained enigmatic. It was only a few years ago that Albert Châtelet identified the wax seal on the reverse side of the panel as being that of Willem 1 1 Frederick George Lodewijk, King of the Netherlands (1792 -1849). 2 Willem iťs collection was dispersed immediately after his death, but it has not been possible to trace the Campin painting in the upheaval and sales that followed.3 The subsequent wanderings of the Philadelphia panel, until now ignored in the literature, can be partially charted due to Lome Campbell's discovery of notes on the back of Max J. Friedlander's photograph of the painting, now in the files of the Rijksbureau voor Kunsthistorische Documentatie.4 According to Friedlander, the painting had once belonged to the important, late nineteenth-century Cologne firm of the Bourgeois brothers, art dealers whose company was disbanded in the opening years of this century.5 The painting then was owned by the English art historian and dealer, R. Langton Douglas (18641951).6 Douglas was accustomed to consulting Friedlander on his purchases of Northern art. Friedlander, in turn, introduced Douglas and the Philadelphia lawyer and collector John G. Johnson while the latter was in London in 1907. Johnson bought his first painting from Douglas in New York later that same year, and this purchase was followed by a great many others. According to Friedlander, Johnson bought the painting in 1910. The purchase may have been made when Johnson visited Douglas in the British capital in the summer of that year, and this would help explain why there is no correspondence between the two men about its sale.7 In this light, the previous obscurity of the painting throughout most of the nineteenth century and its sudden emergence at the beginning of this century make sense. Equally important, if not more so, is the early provenance of this painting. Until now Campin's panel has not been linked with any documents of commission, nor has its original venue been identified. A chance discovery has revealed that in the late eighteenth century this work was in Paris, in the incredibly rich art collection formed by Paignon Dijonval (1708-1792). Dijonval is primarily remembered for his enormous and important holdings of drawings and engravings, but he also had a choice collection of paintings.8 These were from the Flemish, Dutch, and French schools, but none were by Italian masters. Most were from the sixteenth and seventeenth centuries, a few were more contemporary but, most surprisingly,

This paper examines new works and documents related to Pedro de Villegas Marmolejo (c. 1519-1596), one of the key fi gures in sevillian painting in the second half of the XVIth Century: the contracts for the sculpture and painting for the Virgen de los Remedios altarpiece in the sevillian parish church of San Vicente, signed by Jeronimo Hernandez and Villegas; a new altarpiece by Villegas in the parish church of Lucena del Puerto (Huelva); and fi nally, two panel paintings, the fi rst one recently auctioned as a work of Luis de Vargas, and the last one preserved in the neapolitan church of San Giacomo degli Spagnoli.

El siguiente artículo tiene como objeto explicar el proceso de restauración llevado a cabo en el año 2021 de la pintura de tabla Cristo atado a la columna, obra inédita de Luis de Morales. Tras su hallazgo en la villa de Alba de Tormes (Salamanca, España), procedente probablemente de la iglesia de San Juan Bautista de la referida villa, esta obra ahora forma parte de la exposición permanente Misterio Admirable del Museo Diocesano de Arte Sacro de Salamanca, inaugurada en marzo de 2023, en el Palacio Episcopal de Salamanca. La intervención realizada de la pieza se destaca por la aplicación del método científico para su atribución, y durante todo el proceso de restauración, aunada con el sentido teológico que aporta al marco del siglo XVII y al significado iconológico. __________ The following article aims to explain the restoration process carried out during 2021 of the panel painting Christ Tied to the Column, an unprecedented work by Luis de Morales. After its discovery in the town of Alba de Tormes (Salamanca, Spain), probably coming from the church of San Juan Bautista in the aforementioned town, this work is now part of the permanent exhibition Misterio Admirable (Admirable Mystery) at the Museo Diocesano de Arte Sacro de Salamanca (Diocesan Museum of Sacred Art of Salamanca), inaugurated in March 2023, in the Episcopal Palace of Salamanca. The intervention carried out on the piece stands out for the application of the scientific method for its attribution, and that the whole restoration process is combined with the theological sense that contributes to the 17th century setting and the iconological meaning.