Martín Gómez the Elder

The support consists of two uncradled vertical panels. The surface is flat. The paint surface is secure, stable and clean. Traces of impasto are present in the white highlights. Retouching to upper third of the panel join can be seen running from the upper edge through to Christ's torso. A repaired and retouched split measuring approximately 20 cm is visible running through Christ's head. A second repaired and retouched split of approximately 10 cm is visible running through Christ's left hand. At lower left, a wider vertical band of retouching measuring approximately 8 cm runs from the lower edge through the foot of the Magdalene. This possibly corresponds to a split or to an area of paint loss. Small scattered retouchings are visible along parts of the edges and at upper right, corresponding to areas of frame abrasion. Inspection under ultraviolet light reveals an even varnish and small localised retouching in the Christ's right leg. Overall, the work is largely free of retouching and is in good condition. The work is offered unframed.
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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."

Martín Gómez was a close follower of Fernando Yañez de Almedina. His production is documented in Cuenca where he worked on numerous commissions to decorate the interior of the cathedral from around 1552 to 1574. For further information on the artist see C.R. Post, A History of Spanish Painting, The Valencian School in the Early Renaissance, Cambridge (Mass.) 1953, vol. XI, pp. 337–52.

The attribution was proposed by Isabel Mateo Goméz, a copy of whose written opinion accompanies this lot.