Items Similar to 16th Century Spanish portrait of Saint Fermin of Pamplona
Want more images or videos?
Request additional images or videos from the seller
1 of 11
Unknown16th Century Spanish portrait of Saint Fermin of Pamplona
About the Item
Spanish School (16th century)
Saint Fermin of Pamplona
oil on canvas
40.1/8 x 32.½ in. (102 x 82.5 cm.)
Condition: oil on canvas re-lined. Extensive surface dirt and varnish discolouration, craquelure throughout, possible stretcher bar marks. Probable retouches in a 17th century wood frame with painted decoration to corners and central spans. The frame has abrasions and knocks but suits the painting well. There is some shrinkage to some of the paint on the frame.
Following some detailed research, we are confident this is a portrait of San Fermin, the Patron Saint of Paloma, the capital of Navarre, Spain and the annual festival of bull running.
San Fermin, a martyred saint, was born in Pamplona. He was baptised by Saturnis, the first bishop of Toulouse. Saturinus himself was martyred in 257 AD by being tied to a bull and dragged by his feet. Due to the connection to Fermin through his baptism, this martyrdom has been adopted by Fermin. Pamplona anointed him the Patron Saint of the city, and associated him with the bull. According to legend, Fermin was ordained a Priest in Toulouse before moving to Pamplona. He was later then named Bishop of Amiens, where he was eventually beheaded and martyred on the 25 September AD 303. The relics of St Fermin were moved from Amiens back to Pamplona in 1196. The city marked this occasion with an annual festival. The running of the bulls appears to have started during this festival in the 14th century.
The halo is a clear indication of his divinity, whilst the palm leaf he holds is a conventional symbol in western Christian art of Martyred Saints. In other depictions of martyred saints from the 16th
century, such as St Sebastian and St Agatha both saints are holding a palm leaf, to represent the victory of spirit over flesh. The red flag with the bull alludes to his patronage. It is evident that this is most likely a Spanish portrait. The sitter’s helmet, known as a morion is remarkably similar to 16th century Spanish armour. It is likely that his Romanesque armour is intended to relate to his status as a Roman senator. This is most likely a devotional portrait of San Fermin from the 16th century, to celebrate the annual festival of the saint and of the Pamplona bull running festival.
- Dimensions:Height: 40.13 in (101.94 cm)Width: 32.5 in (82.55 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:oil on canvas re-lined. Extensive surface dirt and varnish discolouration, craquelure throughout, possible stretcher bar marks. Probable retouches in a 17th century wood frame with painted decoration to corners and central spans.
- Gallery Location:Petworth, GB
- Reference Number:1stDibs: LU540310463232
About the Seller
4.9
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 2010
1stDibs seller since 2017
231 sales on 1stDibs
Typical response time: 5 hours
- ShippingRetrieving quote...Ships From: Petworth, United Kingdom
- Return PolicyA return for this item may be initiated within 10 days of delivery.
More From This SellerView All
- Old Master portrait of a lady musician by the master or portraitureLocated in Petworth, West SussexAttributed to Pierre Paul Prud’hon (French, 1758-1823) 'La belle musicienne' Oil on canvas, oval Signed ‘P. P. Prudon’ (lower left) 28.3/4 x 23.1/2 in. (73 x 59.5 cm.) Pierre Paul Prud'hon is considered a prime example of early French Romanticism. He was born as the seventh and last child of a master tailor. At the age of 16 he was a pupil of the painter and sculptor Francois Devosge. After finishing his studies he moved to Paris, where he first worked for an engraver and became friends with the Baron of Joursanvault, who became his patron. He also made a friendship with the "incorruptible", the politician and revolutionary Maximilien de Robespierre. Despite important friendships and the care of some cardinals, Prud'hon plunges into loneliness and melancholy. He has a good reputation and produces allegorical paintings, but his attachment to Robespierre forces him to leave the French capital. He now lives in the Free County of Burgundy, where he makes portraits and illustrations for Pierre Didot, the owner of the printing house. After a few years he moved back to Paris and his career received a new impetus. In the Louvre, Prud'hon is provided with a studio in which he paints "La sagesse et la vérité descendant sur la terre" (Wisdom and Truth descend to earth) for one year, as well as some ceilings of the Louvre. The government assigns him a studio in the Sorbonne, where his wife Jeanne, whom he married at the age of 19, comes looking for him. To escape her, he asks the museum director for protection. In 1808 he wrote "La justice et la vengeance divine poursuivant le crime" (Justice and divine revenge pursue the crime). In the same year he is also named Knight of the Legion of Honour and is able to break with his grumpy wife once and for all. He soon reconnects with his student and painter of neoclassicism Constance Mayer. Pierre is commissioned to paint a portrait of the Empress and wife of Napoleon, Joséphine de Beauharnais, which can still be seen today in the Louvre. He also paints the small "Roi de Rome" (King of Rome). In 1816 the Academy of Fine Arts elected him a member, where he took over the armchair in the painting section of François-André Vincent. A few years later his depressed wife commits suicide, and full of pain Prud'hon finishes her last work "Une famille malheureuse" (Engl. An Unhappy Family) and exhibits it. He himself dies soon afterwards and is buried in Paris. Many renowned artists admire Prud'hon for his "clair-obscur", the chiaroscuro painting...Category
18th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
- French School, 17th Century, 'Portrait of the Marquise de Grugieres', oil canvasLocated in Petworth, West SussexFrench school, 17th Century Portrait of the Marquise de Grugieres Oil on canvas 26.1/4 x 21.5/8 in. (66.7 x 54.8 cm.) In a gilded composite frame, later production (possible early 1...Category
17th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
- Rare and fascinating 17th Century German Classical British royalty Old MasterBy (Circle of) Godfrey KnellerLocated in Petworth, West SussexCircle of Godfrey Kneller (German, 1646 – 1723) Amelie Sophia von Wendt as Aphrodite in the judgement of Paris, later as King George II’s Courtesan, bestowed the title of the Countess of Yarmouth. oil on canvas 34.1/4 x 41 in. (87 x 104 cm.) Provenance: Historically at Bruggen Castle...Category
17th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
- 20th Century British portrait of a society lady thought to be Dame Anna NeagleLocated in Petworth, West SussexA large and very elegant portrait of a British lady thought to be Dame Anna Neagle, the British actress and singer. English School, 20th Century Portrait of a society lady thought t...Category
20th Century Academic Portrait Paintings
MaterialsCanvas, Oil
- Mid-century, Modern British portrait of a lady in pale pink hat by Ewart JohnsLocated in Petworth, West SussexAn elegant and intimate portrait of a young lady in a pale pink hat gazes out beyond the frame. She wears a simple white summer dress and a beaded necklace around her neck. Rich stri...Category
20th Century Modern Portrait Paintings
MaterialsCanvas, Oil
- British early 20th Century expressionist portrait of a lady by Frank BramleyLocated in Petworth, West SussexFrank Bramley RA (British, 1857 – 1915) Portrait of an elegant lady Signed and dated ‘FRANK BRAMLEY / 11’ Oil on canvas 21 x 15.1/2 in. (53.4 x 37.2 cm.)Category
Early 20th Century Expressionist Portrait Paintings
MaterialsOil, Canvas
You May Also Like
- Portrait of Lady Caroline PriceBy George RomneyLocated in Miami, FLDESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would be ...Category
1970s Old Masters Portrait Paintings
MaterialsCanvas, Oil
- SIMON PETER TILEMANN, Family Portrait, 1658, Old Master. Baroque Rococo PaintingBy Simon Peter TilemannLocated in Berlin, DEExtremely decorative and large oil painting from the 17th century. Restored in places. Signed and dated Simon Peter Tileman 1658 fecit 'lower right Dimensions without frame. From Wikipedia, the free encyclopedia: Simon Peter Tilemann (1601, Lemgo – 1668, Vienna), was a German Baroque painter who was active Bremen, Kassel and Italy. According to Houbraken he first learned to paint flowers and he had a daughter who could paint flowers in watercolors. He was a good landscape painter who spent many years in Italy, but later switched to portrait painting and who painted the portrait of Ferdinand...Category
1650s Old Masters Portrait Paintings
MaterialsCanvas, Oil
- Portrait of a Lady, 17th Century Flemish Oil Old MastersBy Jacob HuysmansLocated in London, GBJacob Huysmans Flemish 1633 - 1696 Portrait of a Lady Oil on canvas Image size: 49 x 40 ¼ inches Gilt frame Huysmans was born in Antwerp and came to England during the reign of Charles II where he became one of the fashionable painters of the court.. The diarist Samual Pepys noted the artist as capable of a more exact likeness than Lely. Certainly the diarist records that by August 1664 in the circle of Queen Catherine...Category
17th Century Old Masters Portrait Paintings
MaterialsCanvas, Oil, Acrylic
- English 17th century portrait of James Thynne as a young boy by a fountainBy Johann KerseboomLocated in Bath, SomersetPortrait of the Hon. James Thynne (c. 1680-1704), full-length, in the gardens of Longleat House, seated beside a fountain, holding a shell beneath water spouting from a horn blown by a cherub on a dolphin. A glimpse of part of Longleat House can be seen upper left. Oil on canvas in a period giltwood frame, decorated with leaves and acorns. C. 1682. Dimensions: 145 x 123cm (57 x 48in) in frame Provenance: Ex Longleat House, Wiltshire Private collection, Bath James Thynne was the youngest son of Thomas Thynne, 1st Viscount Weymouth and Frances Finch of Longleat House, Wiltshire. He died in his youth and his Aunt, Anne Kingsmill Finch, Countess of Winchilsea (1661-1720), wrote a moving poem on his death. He was buried in the family vault at Longbridge Deverill, Wiltshire. A mezzotint of this painting by William Faithorne the Younger is held in the Royal Collection. Johann Kerseboom (d.1708) was the nephew of Frederick Kerseboom and first worked in Germany before coming to England in the 1680's where his sitters included the 'Electress Sophia Dorothea' (known from a mezzotint by William Faithorne). His early works were influenced by William Wissing...Category
17th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
- Attributed to John Riley, 17th century English portrait of a girl on a terraceBy John RileyLocated in Bath, SomersetPortrait of a young girl, full-length, wearing a blue silk gown, standing on a terrace beside a classical urn holding a branch with blossom. Attributed to John Riley...Category
17th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
- Large 1700's Italian Oil Painting on Canvas Portrait of a Clerical GentlemanLocated in Cirencester, GloucestershirePortrait of a Clerical Gentleman Italian artist, mid 18th century Circle of Giovanni Battista Carboni (1725-1790) oil on canvas, unframed canvas: 26 x 22 inches provenance: private c...Category
Mid-18th Century Old Masters Portrait Paintings
MaterialsOil, Canvas
Recently Viewed
View AllMore Ways To Browse
Oil Portrait Spanish
Oil Painting Portrait Spanish
Spanish Saints
Spain Old Masters
Old Spanish Master
Antique 16th Century Paintings
Antique Spanish Canvas
Spain Old Master Paintings
Spanish Old Master Paintings
Spanish 16th
16th Spanish
Old Master 16th Century
16th Century Spain
16th Century Spanish
Patron Saint
Old Flag
16th Saint
8 Feet Paintings