Oil on grisaille on wood adhered to conglomerate covered with red velvet. It is known that in 1544 Comontes painted four prophets in grisaille for the doors of the organ of the archbishop's choir in the sacristy of Toledo cathedral. In 1997, two panels similar to these ones came onto the art market, which led Isabel Mateo and Amelia López to attribute them to Comontes. As a result, a total of six paintings are now known today, rather than four, with the same stylistic features. Losses on the paint layer and restorations. Reference literature: Mateo Gómez, Isabel and López-Yarto, Amelia, "Pintura toledana de la segunda mitad del siglo XVI", Madrid, CSIC, 2003, pp. 147, 153 and 154. 70 x 42.5 cm; 87.5 x 57.5 cm (conglomerate, unframed).
Oil on grisaille on wood adhered to conglomerate covered with red velvet. It is known that in 1544 Comontes painted four prophets in grisaille for the doors of the organ of the archbishop's choir in the sacristy of Toledo cathedral. In 1997, two panels similar to these ones came onto the art market, which led Isabel Mateo and Amelia López to attribute them to Comontes. As a result, a total of six paintings are now known today, rather than four, with the same stylistic features. Losses on the paint layer and restorations. Reference literature: Mateo Gómez, Isabel and López-Yarto, Amelia, "Pintura toledana de la segunda mitad del siglo XVI", Madrid, CSIC, 2003, pp. 147, 153 and 154. 70 x 42.5 cm; 87.5 x 57.5 cm (conglomerate, unframed).
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.jpg "Source: Christie's")
