Ecce Homo

PROVENANCE:
Joaquin Palacios Cardenas, Seville, by 1923;
Guillermo Bernstein, Madrid;
Sala Pares, Barcelona, 1966.

LITERATURE:
J. Gestoso, 'Biografia del pintor sevillano: Juan de Valdes Leal', 1916, p. 195;
G. Kubler and M.S. Soria, 'Art and Architecture in Spain and Portugal and their American Dominions: 1500-1800', Baltimore, 1959, p. 294;
D.T. Kinkead, Valdes Leal, New York, 1978, p. 127, no. 67, fig. 63;
E. Valdivieso, 'Juan de Valdes Leal', Seville, 1988, p. 239, no. 58.

EXHIBITING:
Seville, 'Exposicion de Valdes Leal de arte retrospectivo', 1922, no. 27;
Seville, 'Exposicion Ibero-Americana, Seccion de de Arte Antiguo', 12th October 1928 -4th March 1929, no 892;
Barcelona, Sala Pares, 'Pinturas Espanolas siglos XVI-XVII', 1966.

NOTE:
This expressive and powerful treatment of 'Ecce Homo' was painted along with a pendant of 'La Virgen Dolorosa'. The latter, although published by Valdivieso and Kinkead as its whereabouts unknown, has recently resurfaced in a private collection, Madrid. Second versions of both works, although clearly of lesser quality, exist and are listed by Valdivieso and Kinkead as in the collection of Vicente Tortajada (op. cit., p. 129, nos. 59 and 61, figs. 66 and 67).

The last two digits of the date are indistinct, but it seems likely that the painting was executed towards the end of the 1650s, at around the same time as 'The Sacrifice of Isaac' (sold at Sotheby's, London, 9th December 2004, lot 339). Valdivieso dates both paintings to circa 1657-9, soon after the artist's return to Seville from Madrid where he was strongly influenced by the work of Titian, Tintoretto and Rubens. Indeed, the work echoes Titian's famous treatments of the subject, two of which were in the Spanish Royal Collection at the time.