Lot 2: Attributed to Luis de Morales , Badajoz (?) circa 1520 - 1586 (?) Badajoz Madonna of the Yarn Winder oil on panel

oil on panel

measurements note 19 1/8 by 13 1/2 in.; 48.6 by 34.4 cm.

With Newhouse Galleries, New York, inv. no. 15097

Luis de Morales repeated the theme of the Madonna of the Yarn Winder in many of his compositions. One autograph version, perhaps the best known, is now in the Hispanic Society, New York (see I. Bäcksbacka, Luis de Morales, Helsinki 1962, p. 153, cat. no. 12, reproduced fig. 18). The present composition, however, differs from that and other autograph and studio versions of the subject in a number of ways. For instance, in those compositions, the Madonna and Child are facing left, whereas, in the present composition, the figures are oriented to the right. Also, in the present composition, the Madonna holds an apple in her outstretched hand, whereas in the other versions her hand is empty. The design for Morales's Madonna of the Yarn Winder may have been inspired by Leonardo da Vinci's (now lost) painting of the same subject which the artist executed in 1501 for Florimond Robertet, secretary of the French King Louis XII.υ1 As in the present Madonna of the Yarn Winder, in Leonardo's composition, the figures are facing right. Leonardo's Madonna of the Yarn Winder was immediately successful, and in addition to Morales, many other artists made copies of his design. Morales's inclusion of the apple also reflects the influence of Flemish painting, as those Virgins tended to hold symbolic fruit in their hands. In this case, the apple represents the fall of man from paradise. 1. While the Madonna of the Yarn Winder commissioned by Robertet is considered lost, there are two excellent versions of this composition, which are considered to be by Leonardo with studio assistance. The most famous of these is presently in the collection of the Duke of Buccleuch, Drumlanrig Castle; the second is in a private collection, New York.