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Title Capture of Seville by Ferdinand III, King of Castile and Leon (1198-1252)
Alternative Title The Surrender of Seville to Ferdinand III
Collection Bowes Museum, Barnard Castle
Artist Pacheco, Francisco (Spanish painter and author, 1564-1644) and studio
Previously attributed to Toledo, Juan Bautista de (Spanish painter, 1611-1665)
Date Earliest possibly about 1600
Date Latest possibly about 1650
Description In this work attributed to Francisco Pacheco the Virgin Mary presides over the handing of the keys of Seville to King Ferdinand III by its previous Moorish rulers in 1249. The image of the Virgin replicates the sculpture of Our Lady of the Kings, which is kept in the Cathedral of Seville. A view of the city, with the Giralda and the Torre del Oro as its most distinctive monuments, can be seen on the left. This painting may be a votive picture made in thanksgiving to the Virgin and Saint Ferdinand, who was canonised in 1671.
Current Accession Number B.M.69
Subject history (Capture of Seville by Ferdinand III); religion (Virgin Mary); townscape; place (Seville)
Measurements 63.5 x 136.5 cm (estimate)
Material oil on canvas
Acquisition Details Bequeathed by the founders John and Joséphine Bowes 1885.
Provenance Purchased by John and Joséphine Bowes, through Benjamin Gogué, Paris, from the collection of the late Conde de Quinto, 1862, cat. no. 74.
Principal Exhibitions Four Centuries of Spanish Painting, Bowes Museum, Barnard Castle, 1967, cat. no. 62; El oro y la plata de las Indias en la época de los Austrias, 1999, cat. no. 421.
Publications Gaya Nuño, J. A., La pintura española fuera de España, Madrid, 1958, cat. no. 2719, as by Juan Bautista de Toledo; Young, E., Catalogue of Spanish Paintings, Middlesbrough, 1988, pp. 120-123.
Notes

An attribution to Francisco Pacheco's circle was considered possible by Enriqueta Harris Frankfort (correspondence, 1981), who referred to a version of this subject painted by Pacheco in 1633 (Pacheco, F., in F. Sánchez Cantón (ed.)Arte de la Pintura, vol. I, p. xlv), possibly the 'painting on copper of 1634' in Seville Cathedral, listed by Priscilla Muller (Muller, P., 'Francisco Pacheco as a Painter', Marsyas, vol. 10, 1960-61, pp. 42-44). In 1955, M. Soria proposed a date of about 1630. The same author attributed this painting to Zurbarán 'in his earliest period, i.e. 1616-25, probably close to 1616' and noticed the influence of Roelas. He suggested that the figures might correspond to Zurbarán, while the scene on the left could be by a different hand (museum records).

A. E. Pérez Sánchez and Diego Angulo catalogued as 'circle of Pacheco' a drawing representing the same subject in a private collection in London (Angulo, D. and Pérez Sánchez, A. E., Corpus of Spanish Drawings, London, 1977, vol. 3, cat. no. 209, pp. 54-55, pl. lxi). The right side of the Bowes painting corresponds closely to this design.

Eric Young stated that the painting was produced no later than 1620 and he rejected the previous attribution to Juan Bautista de Toledo on the ground of chronology. The same author thought that this might be a version or a copy of The Surrender of Seville attributed to Francisco Pacheco (collection of Manuel López Cepero).

Rights Owner The Bowes Museum, Barnard Castle, Co. Durham
Author Dr Mercedes Cerón

 

 

 

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