Antonio del Castillo

Probably the Convento de la Encarnación, Cordoba;
Collection of the Condesa del Montijo;
By whom given to her daughter, Eugenia María de Montijo de Guzman, Condesa de Teba (1826-1920), in 1853;
Sale ('Empress Eugénie Collection'), London, Christie's, 1 July 1927, lot 25, to Carroll, for 140 gns. (as Alonso Cano);
With the Carroll Gallery, London;
Anonymous sale, London, Christie's, 26 April 1929, lot 40, for 52 guineas to Walker (as Antonio del Castillo);
Anonymous sale, London, Christie's, 8 May 1931, lot 148 (as Antonio del Castillo);
Acquired at the above sale by Tomas Harris;
Private collection, Bohemia.

Ramirez de Arellano & R. Diaz de Morales, Inventario-Catalogo Historico Artistico de Cordoba, Cordoba 1983, pp. 299-30;
Burlington Magazine, July 1928, vol. XXIII, p. XXIV (advertisement);
Pantheon, 1931, p. 300 (advertisement);
F.J. Sánchez Cantón, 'Dos cuadros fechados de Antonio del Castillo', in Archivo Español de Arte, 13, 1937, p. 159;
J.A. Gaya Nuño, La pintura española fuera de España, Madrid 1958, nos. 565-566;
J. Valverde, 'El pintor Antonio del Castillo', in Boletín de la Real Academia de Cordoba, 82, 1961, nos. 12-13, and 1976, nos. 8 and 11;
P. Muller, The Drawings of Antonio del Castillo y Saavedra, Ph.D. dissertation, Michigan 1963, pp. 43-44;
F. Zueras Torrens, Antonio del Castillo: un gran pintor del Barrocco, Cordoba 1982, no. 139;
A.E. Pérez Sánchez, Pintura Barroca en España, Madrid 1992, p. 272;
M. Nancarrow and B. Navarrete, Antonio del Castillo, Madrid 2004, pp. 290-292, cat. nos. 80-81, both reproduced.

Both canvases are unlined, the paint surfaces are stable and the varnishes are even and only very slightly discoloured. Saint Acisclus: Inspection under ultraviolet light reveals scattered patches of old restoration throughout the dark tones and the background, the largest concentration of which are around the floral crown, upper centre. There are also a few retouchings throughout his clothing, face and hair. There are scattered retouchings in the body of the putto, as well as two restored vertical scratches running through his raised arm, measuring 1 inch. Saint Victoria: Visible to the naked eye are two small losses, upper left, as a result of flaking. Inspection under ultraviolet light reveals some localised areas of retouching, namely in the edge of her cloak around and below her left arm. There are also some patches of restoration along an old stretcher line on the left margin. There are only few retouchings in the saint's flesh tones and hair, and in the flesh tones of the putto. Both canvases are in fair overall condition and offered in gilt and painted Spanish frames in good condition.
"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."

Antonio del Castillo is recorded as having been a pupil of Francisco di Zurbarán and Juan del Castillo and as being much the most important artist in his native Córdoba. He became known as a great draughtsman, specialising in religious paintings with a lively handling of paint and a use of vivid colour. These almost sculptural depictions of the patron saints of Córdoba are described by Mindy Nancarrow and Benito Navarrete as being of particularly high quality and refined execution, and as sharing the same finesse of the style of Zurbarán (see literature).