Gil de Siloe Sold at Auction Prices

b. 1467 - d. 1505

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    • GIL DE SILOÉ (ANTWERP, BELGIUM OR URLIONES, FRANCE?, CIRCA 1467 - BURGOS, 1505)
      May. 26, 2023

      GIL DE SILOÉ (ANTWERP, BELGIUM OR URLIONES, FRANCE?, CIRCA 1467 - BURGOS, 1505)

      Est: €30,000 - €50,000

      Gil de Siloé (Antwerp, Belgium or Urliones, France?, circa 1467 - Burgos, 1505) 'Saint Barbara' Carved, gilded and polychromed wooden sculpture. 110 x 28 x 30 cm. This image bears a great resemblance to the polychromed limestone sculpture of the Virgin and Child, from the facade of the arch of Santa María la Mayor, in Burgos, and which is currently on display at the Burgos Museum. The similarity to the face is remarkable, being an almond-shaped oval, with a long, thin nose and a small mouth with an expression so characteristic of the sculptor. To this can be added the treatment of the hair, made up of long, wavy locks, loose on both sides of her face. The Saint is represented in a frontal position, standing with her right leg slightly forward, creating a contrapposto effect. Dressed in rich courtly clothing, she wears a dress in reddish tones tied with a fringed chord which falls to her feet forming folds reminiscent of Gothic folds. With a pronounced bosom, her white blouse peeks out and she is covered from shoulders to feet in a luxurious gold cloak with a blue interior. Saint Barbara gathers up the cloak with her right arm to pick it up, in one of the sculptor's graceful gestures. This sculpture gives a strong indication of Gil de Siloé's origin being Flemish, evident in the headdress that covers part of the saint's head, in her extremely delicate hands and in the sweet beauty of the face. Finally, the wonderful tower held in her left hand is remarkable and symbolizes Saint Barbara's attribute. In her other hand she would have held a palm, which is not preserved, symbolizing her martyrdom. The tower, according to tradition, consists of three windows 'to remember the words of the Saint, according to whom the light had entered her through the three windows of the Father, the Son and the Holy Spirit', as indicated by Don Luis Monreal y Tejada in his Iconography of Christianity. In this tower she was locked up by her father, Dioscuros, to protect her from her suitors. Saint Barbara, who had previously baptized herself, fled from the tower and was therefore arrested, tried and sentenced to death. The miracle occurred when, before being beheaded, lightning struck, killing her tormentors. Saint Barbara, virgin and martyr, lived in Antioch in the middle of the 3rd century under the rule of Maximian. Gil de Siloé was a sculptor who was the greatest representative of Elizabethan Gothic, a style typical of the Crown of Castile which originated after the merging of Mudejar art and Flamboyant Gothic with Flemish influences. His origin remains uncertain: it seems likely that he was Flemish and the fact that he sometimes signed 'Gil de Enberres' (Amberes being the Spanish for Antwerp) attests to this, but he also sometimes signed 'Gil de Urliones' (possibly referring to Orleans) so a possible French origin remains on the table. Be that as it may, Burgos and his great artistic activity attracted him. He arrived there, as el Prado explains in its biography, with an already 'defined sculptural language that he would maintain throughout his career and that is characterized by a detailed and meticulous technique that tends to cover all surfaces with decorative elements.” Despite having been called by the rich activity of Burgos, 'he lived and worked in Burgos, in Castile, without his clients or the environment influencing him enough to make him change his art', affirms the professor of Art History from the University of Burgos, Dr. Alberto C. Ibáñez Pérez, in the article on Siloé from the Royal Academy of History. The great quality and renown of his work resulted in the creation of a sculptural focus in Burgos, which 'radiated its activity and influence throughout the Castilian territory' from the end of the 15th century. Highlights of the artist's output include the altarpiece of the Tree of Jesse, the main altarpiece of the chapel of the Conception in Burgos Cathedral, made between 1483 and 1486, which is considered his first great work and was conceived 'with the idea of uniting the three major arts in order to offer a message, in which reality presented with elegant detail served as visual support for the idea,” Ibáñez explains. Also remarkable is the tomb of the parents of Queen Isabel the Catholic, documented in 1486, and that of her brother, Prince Alfonso, both works commissioned by the Queen and sculpted in alabaster, for the Miraflores Charterhouse. The church also has a a Madonna and Child by Siloé, known as the Virgin of the Choir, practically identical to the one exhibited in the Museo del Prado (E000961). Reference bibliography: - Monreal y Tejada, Luis. (2000). “Iconografía del Cristianismo”. El Acantilado. - Ibáñez Pérez, Alberto C. (s.f.). “Gil Siloe”. Real Academia de la Historia. https://dbe.rah.es/biografias/14526/gil-siloe - Museo del Prado. (s.f.). “Siloé, Gil de”. https://www.museodelprado.es/aprende/enciclopedia/voz/siloe-gil-de/fa1e7ddb-348a-4871-8f36-18363eb8e102 Medieval.

      La Suite Subastas
    • San Sebastián
      Apr. 19, 2023

      San Sebastián

      Est: -

      Castilla, h. 1485 - 1500. La pieza que nos ocupa se trata de una obra hispano-flamenca que sigue la iconografía de los San Sebastián impuesta en Alemania y Flandes durante el último tercio del siglo XV. A su vez, aparece en una posición más clásica, con sus manos atadas a su espalda, consolidada en Italia a través de las pinturas de Mantegna o de Antonello da Messina. A pesar de la inequívoca estética centroeuropea de esta talla, hay dos factores técnicos que garantizan la procedencia de un taller hispánico. Por un lado, la madera utilizada se trata de un roble español, más denso y duro que el francés, y la preparación, o engobe para recibir la pintura, es sulfato cálcico, en vez del carbonato cálcico, con o sin albayalde, característico de las imprimaciones en las tallas de los Países Bajos. Dentro de la escuela flamenca del último cuarto del S. XIV, nuestra talla presenta interesantes similitudes con otro San Sebastián atribuido al Maestro de Koudewater y presentado por la Galleria Cesati de Milán que a su vez mantiene fuertes parecidos con un San Miguel de este escultor brabanzón, conservado en el Uden Krona Museum. En cuanto a España se refiere, dentro de este período tardogótico, sólo se han podido detectar los San Sebastianes de Alejo de Vahía y su taller: una larga serie de nueve ejemplares, de desigual calidad, en los que permanece como constante el escorzo romano del santo, con sus manos atadas detrás o delante de la cintura. Por lo tanto, por exclusión, hay que pensar en el escultor Gil de Siloé, de quien no se conoce ninguna talla del santo de Narbona. Las elegantes proporciones del cuerpo, la belleza praxiteliana del mismo y un rostro casi infantil, subordinado a las servidumbres de Flandes, dirigen el estudio al gran maestro burgalés, de cuya mano se conoce un nutrido grupo de pequeñas tallas (unos 30 cm) que ornamentan sus retablos de Santa Ana, en la catedral de Burgos, y de la Cartuja de Miraflores.

      Isbilya Subastas
    • Gil de Siloé (Antwerp, Belgium, 1450 - Burgos, 1501)
      May. 05, 2022

      Gil de Siloé (Antwerp, Belgium, 1450 - Burgos, 1501)

      Est: €40,000 - €50,000

      Gil de Siloé (Antwerp, Belgium, 1450 - Burgos, 1501) "Madonna and Child" Carved, gilded and polychromed wooden sculpture. Gothic. Late 15th century. 110 x 31 x 23 cm. Our image bears a great resemblance to the sculpture of the Madonna and Child with Saint Anne made by Gil de Siloé, from the altarpiece of Saint Anne in the Capilla de los Condestables in Burgos Cathedral. The similarities with the model used for the Virgin Mary as a Child can be seen without a doubt in the features of the eyes, the long, thin nose and the mouth, even in the gesture of the mouth and the drawing of the lips. Regarding the treatment of the hair, the headdress is in the form of a diadem, rich in gold work. In the clothing, this image is comparable to the Saint Catherine, which is also found in the aforementioned altarpiece of Saint Anne dated around 1500. A third comparative example is the Saint Barbara located on the far-right pillar of the altarpiece at the Cartuja de Miraflores in Burgos. Medieval.

      La Suite Subastas
    • Gil De Siloe, Antwerp 1440 - 1501 Burgos (and workshop), Sitting Madonna, Sedes Sapientiae
      Mar. 29, 2022

      Gil De Siloe, Antwerp 1440 - 1501 Burgos (and workshop), Sitting Madonna, Sedes Sapientiae

      Est: €12,000 - €24,000

      Gil De Soloé Antwerp 1440 - 1501 Burgos (and workshop) Sitting Madonna, Sedes Sapientiae Spain/Burgos Around 1485/95 Alabaster, remains of polychromy Height 35 cm, width 23 cm, depth 12 cm Highly museum sculpture of a seated Madonna! Made of alabaster, its style and execution can be attributed to the Flemish sculptor Gil de Siloé (1440s-1501, the leading and most important Spanish sculptor who worked in Burgos around 1500. De Siloé's origins are not entirely clear; he came from either Orléans or Antwerp, and his works have both French and Flemish characteristics. The sculptor was commissioned by Queen Isabella of Portugal to execute numerous sculptural projects in both wood and stone, including the royal tombs. He designed the sculptural decoration in Burgos Cathedral; of particular note is the double tomb in alabaster for Juan II and Isabella of Portugal in Caruja de Miraflores, completed in 1493, which is known as one of the richest tombs in Spain, and whose funerary sculptures are stylistically very related to the Madonna described here. Mary is shown seated on a throne bench with a prominent base plate, as can also be seen in the funerary sculptures. These figures are shown in a similar type, namely representative-seated and holding attributes. It is not the throne that is the focal point, but the broadly extending seated posture of the Virgin with her arms open in a semicircle, with her right hand holding the naked Child Jesus against her. The cloak falls harmoniously over her shoulders and glides over her lap, where the heavy folds fall down to the floor in crease and corner configurations in a typical V-scheme. The drapery is rendered in a play of naturalism and stylisation, characterised on the one hand by the thin undergarment, which emphasises the figure's narrow waist gathered with cord by her posture; tight-fitting, it falls over her stomach into her lap. On the other hand, the luxurious brocade-like cape emphasises the figure's volume. The enthroned Hope (Esperanza) and Maria lactans of the tomb show strong compositional similarities, also in the folded tracts hitting the ground. If we look at the details of the surface decorations, we find them on the hem of the décolleté as well as on the rich crown, which here probably simulates a metal ring set with precious stones. Mary's typically Gothic hair falls in long wavy strands across her chest, while the child's curls spread out from the calotte in a volute-like curl behind a distinguished high forehead. The elongated mannerist-thin fingers of both sculptures are also typical Gothic features. De Siloé's figures also show concisely elaborated, heavy eyelids. The less rich folding of the aforementioned comparative examples can probably be explained by the larger context of the works as well as the intended uniformity or the collaboration of different sculptors of the workshop. Particularly outstanding in this figure are the unfolded triangular hems and the folded lap fold, which in their idealized disorder testify to a naturalistically well thought-out calculation. These compositional and stylistic features also apply to the enthroned Madonna from the Cleveland Museum of Artwhich is also assigned to the workshop of De Siloé and is dated around 1480. Both the profile of the seat (without accessories) and the compositional posture are very similar to the Madonna figure presented. Nevertheless, the latter is depicted less floating and more connected to the human sphere, as the child leans back playfully and does not balance on a fragile fold of the bowl like the child of the Cleveland Madonna. In addition, the figure is more richly decorated overall, both in the more animated drapery and, for example, in the snail-shaped curls of the infant Jesus. Traces of gilding and bolus are preserved on both figures and bear witness to the originally rich decoration. The fact that these remains of mounts are present reflects the great age and authenticity of the figure. Although the naturalistically depicted facial features and gestures are close to reality, the sculptural elaboration is primarily representative-idealising in its function. It is probably a private devotional picture in its own right, probably commissioned by a noble patron. This can be reconciled particularly well with the smaller size; the sculpture was placed slightly elevated here, as Mary's gaze is lowered downwards, while the child is rapt and looks sideways upwards. This fits well with Mary's role as intercessor between her Son and the faithful, as well as with the increasingly popular veneration of Mary in late medieval Europe. Literature: Gil de Siloe and his School, Harvard University 1936 Making of “Hispano-Flemish” style in fifteenth-century Castile, Harvey Miller 2015 Cut in Alabaster, Harvey Miller 2018 Siloe, Gil de. In: Hans Vollmer (Hrsg.): Allgemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegenwart. Begründet von Ulrich Thieme und Felix Becker. Band 31: Siemering–Stephens. E. A. Seemann, Leipzig 1937, S. 27."

      Tiberius Auctions
    • Gil De Siloe, Antwerp 1440 - 1501 Burgos (and workshop), Sitting Madonna, Sedes Sapientiae
      Jun. 21, 2021

      Gil De Siloe, Antwerp 1440 - 1501 Burgos (and workshop), Sitting Madonna, Sedes Sapientiae

      Est: €60,000 - €80,000

      Gil de Siloe Antwerp 1440 - 1501 Burgos (and workshop) Sitting Madonna, Sedes Sapientiae Enthroned on Solomon's throne of wisdom Ca. 1485/90 Around 1485/Alabaster, sculpturally carved, remains of the original polychromy Museum sculpture of the most important sculptor of his time. A masterpiece of late Gothic sculpture in Spain. Height 35 cm, width 23 cm, depth 12 cm Highly museum sculpture of a seated Madonna! Carved from alabaster, its style and execution can be attributed to the Flemish sculptor Gil de Siloé (1440s-1501, the leading and most important Spanish sculptor around 1500, who worked in Burgos. De Siloé's origins are not entirely clear; he came from either Orléans or Antwerp, and his works have both French and Flemish characteristics. The sculptor was commissioned by Queen Isabella of Portugal to execute numerous sculptural projects in both wood and stone, including the royal tombs. He designed the sculptural decoration in Burgos Cathedral; of particular note is the double tomb in alabaster for Juan II and Isabella of Portugal in Caruja de Miraflores, completed in 1493, which is known as one of the richest tombs in Spain and whose funerary sculptures are stylistically very related to the Madonna described here. Mary is shown seated on a throne bench with a prominent base plate, as can be seen in the funerary sculptures. These figures are shown in a similar type, namely representative-seated and holding attributes. It is not the throne that is the focus, but rather the far-reaching seated posture of the Virgin with her arms open in a semicircle, with her right hand holding the naked infant Jesus pressed against her. The cloak falls harmoniously over her shoulders and glides across her lap, where the heavy folds in crease and corner configurations fall to the floor in a typical V pattern. The drapery is rendered in a play of naturalism and stylization, characterized on the one hand by the thin undergarment that emphasizes the figure's narrow waist gathered with cord by her posture; tightly draped, it falls over her belly into her lap. On the other hand, the luxurious brocade-like cape emphasizes the figure's volume. The enthroned Hope (Esperanza) and Maria lactans of the Tomb show strong compositional similarities, also in the folded tracts hitting the ground. If we look at the details of the surface decorations, we find them on the hem of the décolleté as well as on the rich crown, which here probably simulates a metal ring set with precious stones. Mary's typically Gothic hair falls in long wavy strands across her chest, while the child's curls spread out from the calotte in a volute-like curl behind a distinguished high forehead. The elongated mannerist-thin fingers of both sculptures are also typical Gothic features. De Siloé's figures also show concisely elaborated, heavy eyelids. The less rich folding of the aforementioned comparative examples can probably be explained by the larger context of the works as well as the intended uniformity or the collaboration of different sculptors of the workshop. Particularly outstanding in this figure are the unfolded triangular hems and the folded lap fold, which in their idealized disorder testify to a naturalistically well thought-out calculation. These compositional and stylistic characteristics also apply to the enthroned Madonna from the Cleveland Museum of Art, which is also assigned to the workshop of De Siloé and is dated around 1480. Both the profile of the seat (without accessories) and the compositional posture strongly resemble the Madonna figure presented. Nevertheless, the latter is depicted less floating away and more connected to the human sphere, as the child leans back playfully and does not balance on a fragile bowl fold in the way the child of the Cleveland Madonna does. Moreover, the figure is more richly decorated overall, both in the more animated drapery and, for example, in the snail-shaped curls of the infant Jesus. Traces of gilding and bolus survive on both figures, attesting to the original rich ornamentation. The fact that these remains of mounts are present reflects the great age and authenticity of the figure. Although the naturalistically depicted facial features and gestures are close to reality, the sculptural elaboration is primarily representative-idealizing according to its function. It is probably a private devotional painting in its own right, probably commissioned by a noble patron. This can be reconciled particularly well with the smaller size; the sculpture was placed slightly elevated here, since Mary's gaze is lowered downward, while the child is rapt and looks sideways upward. This fits well with Mary's mediating role as intercessor between her son and the faithful, as well as with the increasingly popular devotion to Mary in late medieval Europe.

      Tiberius Auctions
    • Gil de Siloé (Antwerp, Belgium, 1450 - Burgos, 1501)
      Dec. 15, 2020

      Gil de Siloé (Antwerp, Belgium, 1450 - Burgos, 1501)

      Est: €45,000 - €60,000

      Gil de Siloé (Antwerp, Belgium, 1450 - Burgos, 1501) Carved, gilded and polychromed wooden sculpture. Gothic. Late 15th century. Medieval. This could be a sculpture of Mary Magdalene. This image is very similar to the sculpture of Saint Anne Trinity by Gil de Siloé, from the Saint Anne reredos in the Chapel of the Constables in Burgos Cathedral. The similarity to the model used for the Virgin Mary as a child can be clearly seen in the features of the eyes, the long, thin nose, and the mouth, also in the expression of the mouth and the way the lips are drawn. With regard to the treatment of the hair, the headdress in the shape of a diadem with its wealth of fine metal work, and the clothing, make this image comparable to the Saint Catherine in the aforementioned Saint Anne reredos, who also appears in this way, dated around 1500. A third similar example is the Saint Barbera located on the pillar at the far right of the altarpiece of the Miraflores Charterhouse in Burgos. Height: 123 cm.

      La Suite Subastas
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