Attributed to Luis Salvador Carmona (1708 - 1767)

Don Mariano Álvarez, Spain;

Given on 7 September 1836 to his sister-in-law, Vicenta Domenech de Ventura Ramos, Spain;

Coll & Cortes Fine Arts, London, 8 July 2016;

Acquired from the above.

With the present Saint Anthony, Carmona offers a masterful demonstration of th sculptural talent for which he is celebrated.

The plump yet perfectly rendered anatomy of the Christ Child, the graceful delicacy of the saint’s slender hands, the purity of his features, and the deep folds structuring his habit all attest to the sculptor’s technical skill and refined sense of composition. The sophistication of the polychromy—most notably the subtle variations in flesh tones achieved through delicate transparencies and faint bluish hues—together with the meticulous attention to realistic details such as the thick weave of the woolen cloth or the dirt encrusted toenails of the saint, further enhance the overall subtlety of the piece.

The saint is depicted wearing the Franciscan habit of his order, with a cord tied at the waist, with three knots symbolizing the vows of poverty, chastity, and obedience. The small scale of the group indicates that the sculpture was probably intended for private devotion. The realism of the anatomical treatment—even down to the teeth barely visible behind the parted lips—imbues the figure with great humanity, inviting both emotional engagement and spiritual intimacy from the viewer.

Born Fernando Martins in Lisbon, Saint Anthony of Padua (1195–1231) was first a Canon Regular of Saint Augustine before joining the Franciscan Order. A renowned preacher and theologian, he distinguished himself through his profound knowledge of Scripture and the many miracles attributed to him. Upon his death, his cult spread throughout Europe, particularly in Padua, where he had withdrawn to dedicate himself to prayer and teaching. The Basilica of Saint Anthony in Padua (known as the Santo), which preserves his relics, remains one of the principal Christian pilgrimage sites to this day. According to hagiographic tradition, shortly before his death the saint received a mystical vision of the Christ Child, who came to rest in his arms. This moment of intense spiritual communion—a central theme in his iconography—is here rendered with infinite tenderness and serene joy.

Active in Madrid during the first half of the 18th century, Luis Salvador Carmona was among the most distinguished sculptors at the Spanish royal court. He played an active role in decorating the Royal Palace of La Granja and was a founding member of the Royal Academy of Fine Arts (see García Gaínza and Chocarro Bujanda, op. cit., pp. 297–326). Several representations of the Vision of Saint Anthony of Padua are attributed to him, each offering a distinct interpretation of the theme. In the version at the Church of San Agustín in Cádiz, the saint is shown seated, asleep, with a prayer book resting on his knees; in that of the Church of Estepa, near Seville, he stands holding the Christ Child in his left hand, turned toward the faithful. In another version at Navas del Rey, the saint retains his halo—missing in the present example—and holds the Christ Child in a similar but reversed position.

The present Saint Anthony, with his finely chiseled features, straight and slightly pointed nose, and prominent veins at the temples, is comparable in style and quality of execution to a Saint Francis of Assisi presented at the selling exhibition Contemplation of the Divine, organized by Sotheby’s London from 5 to 16 July 2014.

RELATED LITERATURE

M. C. García Gaínza, El escultor Luis Salvador Carmona, Pamplona, 1990 ;

M. C. García Gaínza and C. Chocarro Bujanda, “Inventario de bienes del escultor Luis Salvador Carmona”, in Academia 86, 1998, pp. 297-326 ;

E. Díaz Fernández, “La obra del escultor Luis Salvador Carmona en Estepa”, in Boletín de Arte 23, 2002, pp. 253-280 ;

M. Recio, “Un San Francisco de Salvador Carmona en Estepa”, in Archivo Español de Arte 187, 1974 ;

X. Bray (dir.), The Sacred made real. Spanish painting and sculpture 1600-1700, exh. cat. The National Gallery, London & Washington, 2009.