- Museum number
The Virgin Bestowing the Rosary on Saint Dominic Guzmán; he is kneeling at right, the Virgin and Child seated on a cloud at left, a dog holding a burning torch below, an oval composition
Pen and grey ink and brown wash over black chalk
- Production date
- 1689 (c)
Height: 267 millimetres
Width: 203 millimetres (oval)
- Curator's comments
- Modified text from McDonald 2013
Traditionally attributed to Claudio Coello, this drawing has been recognised as the work of Francisco Ignacio Ruiz de la Iglesia an artist who, according to Palomino, worked in Madrid with Francisco Camilo and later Juan Carreño de Miranda (Zapata Fernández de la Hoz and Gómez Aragüete). The sheet contains elements that appear in Ruiz's paintings. Its composition is broadly similar to works of same subject signed by him and executed around 1690 in the parish church of Santa Rosa de Lima, Venta de Baños (Palencia). The figure of St Dominic Guzmán, in particular his hands and attitude of supplication, are the strongest point of similarity. The Virgin holding the Christ Child to the left of the drawing is virtually identical to their counterparts in another of his paintings, the Virgin of El Carmen bestowing a Scapular on the Knight of the Order of Santiago now in a private collection in which a similar balustrade also appears (Zapata Fernández de la Hoz and Gómez Aragüete fig.160). The elevated format of this drawing suggests it was be a study for a work to be seen from below.
That this drawing was not directly preparatory for either work is suggested by the figures and details that occur in more than one composition. This is important for what it tells us about the currency drawings had in Madrid in the late seventeenth century. Artists’ professional interaction resulted in stylistic cross-fertilisation. Motifs were recycled when drawings were passed between them and it is sometimes very difficult to differentiate hands because their styles are so similar. Palomino reports, for example, that Ruiz de la Iglesia collaborated with José Donoso on the decorations for the entry of María Louisa in January 1680 and elements of this sheet are similar to drawings securely attributed to Coello and Matias de Torres who also worked on commemorative decorations.
A.L., Mayer, 'Die Handzeichnungen spanischer Meister. 150 Skizzen und Entwürfen vom 16. bis 19. Jahrhundert', 2 vols, Leipzig 1915 (Spanish edn Dibujos originales de maestros Españoles: 150 apuntes y estudios de artistas del siglo XVI hasta el siglo XIX, 2 vols, Leipzig and New York 1920), plt 20 (as Coello); E.J. Sullivan, 'Baroque Painting in Madrid: The Contribution of Claudio Coello with a Catalogue Raisonné of his Works', Columbia 1986, D.42 (as Coello); T. Zapata Fernández de la Hoz & C. Gómez Aragüete, 'Nuevas aportaciones a la obra de Francisco Ignacio de la Iglesia (1649–1703)', Archivo Español de Arte, LXXXV, 2012, pp.17–36; M. P. McDonald, 'Renaissance to Goya: Prints and drawings from Spain', exh.cat., British Museum, London 2012, p.110; M. P. McDonald, 'El trazo español en el British Museum: Dibujos del Renacimiento a Goya', exh. cat., Museo Nacional del Prado, Madrid 2013, cat.no.20.
- Not on display
- Exhibition history
1976 BM, `Spanish Drawings`, (no cat)
2012/13 Sept-Jan, London, British Museum, ‘Renaissance to Goya: Prints and Drawings from Spain’
2013 March-June, Madrid, Museo Nacional del Prado, ‘El trazo español en el British Museum …’
2013, Aug-Nov, Sydney, AGNSW, 'Renaissance to Goya'
2013-4, Dec-Mar, Santa Fe, New Mexico Museum of Modern Art, 'Renaissance to Goya'
- Acquisition date
- Prints and Drawings
- Registration number