Property from a New York Estate
Mexico City active 1693 - 1711
THE CONVERSION OF SAINT PAUL
signed lower right: Arellano f.
inscribed upper center: SAVIO SAVIO OVIT MEPER SFOVRIS
oil on canvas, mounted on a modern support
canvas: 21½ by 85⅞ in.; 54.6 by 218.1 cm.
The canvas is wax-lined and mounted on an aluminum support, which was fairly commonly used within the wax lining community. An elaborate scene reads well, although some parts appear slightly pressed as a result of its support. Inspection under UV reveals scattered retouches throughout, though nothing major given the size of the work. Offered unframed.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
The emergence of a sizeable body of works signed "Arellano" in the 1990s allowed for a more focused attention on what we now know to have been one of the most important ateliers active in Mexico City from about 1690-1730. The atelier was led by two artists, Manuel de Arellano (active 1690-1721) and Antonio de Arellano (active 1693-1711), and as the works arising from this studio were signed "Arellano," it sometimes becomes difficult to decipher between the two artists.