Luis de Morales

The supports consists of three vertical panels. A restored split, runs vertically through the panel furtherest left. The reverse of the panel has been shaved down and an elementary cradling has been applied to the reverse. The paint surface of this signed and dated picture is secure with a fine craquelure throughout. The aforementioned panel joins and split can be made out to the recto. Small retouchings can be made out along the panel joins and along the details of the cord. To the background, areas of retouchings can be made out to the right of Christ's head and along the left edge of his head and shoulder. Inspection under UV light confirms these retouchings and reveals further localised and more concentrated areas of retouching, for example, in the red cloak below the hands lower right, where a section of approx. 15 by 8 cm. has been repainted, and other retouchings in the red cloak lower left and centre. Large passages remain in good original condition, for example, the majority of Christ's face, bar some very minor retouchings, large parts of his torso, and the aforementioned panel join. Offered in a later painted and inscribed wooden frame in fair condition.
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One of only a handful of signed and dated works by the artist, this recently discovered panel is an important addition to the oeuvre of Luis de Morales. The presence of the date of 1556 is of great importance in establishing a chronology for the artist's works which until now has proved impossible and has been based purely on conjecture and subjective opinion. It is thus a relatively early work, manifesting a rawness and confidence both in its execution and the use of strong chiaroscuro that results in an image of significant emotional impact.

Due to its signature and date and higher level of finish, Prof. Isabel Mateo believes this to be the prototype from which the three other versions of this composition cited by Bäcksbacka derive, one in the ownership of the Spanish state and on display at the Museo de Bellas Artes in Malaga, and two others in Barcelona private collections.¹

Mateo, a copy of whose expertise accompanies this lot, proposes that the painting may be the pendant to the Mater Dolorosa in the Hermitage, St. Petersburg; with this latter it shares very similar measurements (83 by 58 cm), a black background and comparable execution. Carmelo Solís plausibly proposed a similar pairing for the Ecce Homo cited above in Malaga, with a Mater Dolorosa in the same museum.

1. I. Bäcksbacka, Luis de Morales, Helsinki 1962, pp. 172, 189, cat. nos. 54, A19 and A20 respectively, all reproduced, pp. 325, 360-1, figs. 99, 154, 155.