Details
Description
An intimate oil-on-canvas portrait of Saint Teresa of Ávila, attributed to the Spanish Colonial School, though a Spanish School origin …
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An intimate oil-on-canvas portrait of Saint Teresa of Ávila, attributed to the Spanish Colonial School, though a Spanish School origin is also possible. The painting dates to the late 18th or early 19th century.
Teresa wears a Carmelite habit and white mantle, with a faint halo around her head. She holds a book and writing instrument, references to her spiritual writings, while rays of light enter from the upper left. A small vase of flowers rests on the red-covered table beside her.
The painting is mounted on an old fixed wooden strainer with crossbars and shaped corner joints. A hole near the top center is consistent with earlier hanging from a nail or pin, before the painting was placed in its later decorative gold frame. A fragmentary handwritten paper label remains on one side, though its text is not legible.
Condition: Antique condition with visible craquelure and surface wear. A substantial canvas repair patch and a dark resinous coating, believed to be pine pitch, are present on the reverse. Some areas may have undergone past retouching or overpainting; the painting has not been examined under ultraviolet light. The earlier hanging hole is visible at the top when unframed. Please review all photographs, including the unframed views.
Painting: 9½" H × 6¾" W
Framed: 12½" H × 9½" W
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- Dimensions
- 9.5ʺW × 1.5ʺD × 12.5ʺH
- Styles
- Spanish Colonial
- Frame Type
- Framed
- Period
- Late 18th Century
- Country of Origin
- Spain
- Item Type
- Vintage, Antique or Pre-owned
- Materials
- Canvas
- Condition
- Good Condition, Original Condition Unaltered, Some Imperfections
- Color
- Brown
- Condition Notes
- Antique condition with visible craquelure and surface wear. A substantial canvas repair patch and a dark resinous coating, believed to … moreAntique condition with visible craquelure and surface wear. A substantial canvas repair patch and a dark resinous coating, believed to be pine pitch, are present on the reverse. Some areas may have undergone past retouching or overpainting; the painting has not been examined under ultraviolet light. The earlier hanging hole is visible at the top when unframed. Please review all photographs, including the unframed vie less
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