Alejo Fernández and workshop

Traditionally believed to originate in Alcalá La Real, Jaén;
With Manuel González, Madrid, from whom acquired by the present owners about twenty years ago.

Madrid, Centro Cultural Conde Duque, La Navidad en el Arte, 14 December 1989 – 14 January 1990, no. 1.

C. Juan Lovera, 'La Pintura del Siglo XVI en Alcalá la real', in Boletín de Estudios Giennenses, 1978, XXIV, pp. 63-64, reproduced fig. 11;
C. Juan Lovera, 'Un trabajo sobre pintura antigua', in Diario de Jaén, 7 October 1987;
J. Gallego, 'La Navidad en el Arte', in Diario ABC de las Artes, 21 December 1989.

The panel has been supported with a wooden backing. There are two repaired cracks: the first just left of centre, the second 11 cm from the right hand edge, running vertically up the panel. There are areas of uneven paint surface throughout, and some small areas of repainting which have discoloured. UV light shows repair to large areas along the upper edge of the composition and to lesser extent along the left edge. There are also repairs to Joseph's red cloak, to the faces and hands of the angels, to the Virgin's hands, and to the lower part of the angel's gown. The paving stones beneath have also been restrengthened. Delicate details like Joseph's hair, the Virgin's face, the clothing and features of the angel on the far right are well- preserved and pentiments can be seen in the folds of the angels' robes.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The well-balanced colouring, the mastering of drapery, and the Virgin’s elongated facial features demonstrate the absorption of Flemish elements into 15th-century Spanish painting. The figures in the background remind Juan Lovera (see Literature) of Juan Ramírez, but the links to Fernández are more evident.¹ The angels, with their fine ringlets and delicately-rendered draperies, leaning over to peer at the Child with hands held to their breasts in adoration, are the same as those in the Virgin of the Rose Altarpiece painted for the Church of Santa Ana de Triana in Seville, and signed by Fernández.² The tight arrangement of figures around the Child and the series of pillars receding at an angle are comparable to another nativity by Fernández, formerly in the church of Santa Ana, Villasa de Mena.³

1. See Lovera under Literature, 1978, pp. 63- 64.
2. See C. F. Post, A History of Spanish Painting: The Early Renaissance in Andalusia, vol. X, New York 1970, p. 43, reproduced fig. 6.
3. Ibid., p. 68, fig. 15 (ii.).