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It has always been pointed out that the school of sculpture of Valladolid suffered a period of marked decline during the 18th century, a qualifiable statement that is undoubtedly due to the scant knowledge and lack of research about this period, given that the school had such outstanding masters as Pedro de Ávila (1678-1755), Pedro de Sierra (1702-1761) and Felipe de Espinabete (1719-1799). Today we present a very interesting sculptor, almost unknown, who for his artistic merits deserves to occupy a place of honor in the school of Baroque sculpture of Valladolid. We are talking about José Fernández (1713-1783). [ABSTRACT FROM AUTHOR]

After the closure of the monastery of Holy Cross of the 'comendadoras de Santiago' in Valladolid at the beginning of the 1980s, its heritage was dispersed in numerous religious and museum institutions; however, the track of one of the sculptures of the main altarpiece was lost, specifically that of King St Ferdinand. Recently in an auction house in Barcelona has appeared a work of the aforementioned Castilian monarch that, with a different head, we have identified as the one that disappeared from the female monastery of the Order of Santiago in Valladolid. [ABSTRACT FROM AUTHOR]

The biography of the sculptor Pedro de Ávila (1678-1755), the great figure of the Valladolid sculpture of the first third of the 18th century, was incomplete, as the exact date of his death had not been found. In this article, this void will be filled by providing the artist's death certificate. In addition, a series of new works attributable to him are brought to light, which increases his vast catalogue. [ABSTRACT FROM AUTHOR]

At the end of the 14th century, a convent of Franciscan friars of the Third Order was founded in the outskirts of the episcopal city of Mondoñedo. For centuries, they carried out an important pastoral work in the city and its valley. But gradually the medieval monastery became ruined, and consequently they were forced to abandon it punctually, and to build a new one between 1687 and 1725. In this paper we will analyse the priestly work of these mendicants, their attempts to establish themselves in the urban nucleus, and we will make known the architects, master builders and sculptors who built and embellished the modern convent. [ABSTRACT FROM AUTHOR]

El presente artículo desea plantear la atribución a favor del escultor genovés Agostino Storace, discípulo de Anton Maria Maragliano, del excelente grupo escultórico de la Aparición del Niño Jesús a San Antonio de Padua que se conserva en la iglesia de San Andrés de Valladolid, el cual desde hace unas décadas se viene atribuyendo a uno de los maestros cortesanos más importantes de la segunda mitad del siglo XVIII, Juan Pascual de Mena.

Francisco Marcos de Velasco, member of a secondary branch of the Velasco family, made his military career together with the Constable of Castile, Íñigo Melchor Fernández de Velasco. He ended up being Governor of the Antwerp fortress and Marquis of Pico de Velasco. He was in contact with David Teniers III and he owned numerous works of art from Flanders. His testators built one of the most sumptuous chapels of that period. It was decorated with an altar and a funerary monument made by Pieter Scheemaeckers. His tomb is preserved in a chapel of St James church in Antwerp. In addition, we study his library and his paintings and tapestries. [ABSTRACT FROM AUTHOR]

El objetivo de este trabajo es dar a conocer la libranza que documenta la Virgen con el Niño que preside el altar mayor de la catedral de Huelva como obra del escultor Juan Martínez Montañés (1568-1649), pues hasta ahora se trataba de una obra atribuida. Asimismo, se aporta la cronología exacta de dicha escultura, que se revela como un nuevo ejemplo del fecundo patrocinio artístico ejercido por el VIII duque de Medina Sidonia, don Manuel de Guzmán y Silva.

This article aims to propose an attribution to the Genoese sculptor Agostino Storace, disciple of Anton Maria Maragliano. Agostino Storace would be the author of the superb sculptural group of the Apparition of the Child Jesus to St Anthony of Padua preserved in the church of San Andrés in Valladolid. Such attribution has nothing to do with what was considered for decades, when the sculptural group was thought to have been made by Juan Pascual de Mena, one of the most important sculptors working at the court in the second half of the 18th century. [ABSTRACT FROM AUTHOR]

This article aims to contribute to clarify and expand the knowledge of several sculptors who worked in Valladolid during the 18th century, mainly in its second half, the lesser-known period in the sculpture of Valladolid. In some instances, only the name of an artist has been recorded. In others some work has been documented. Very exceptionally it has been possible collecting some biographical notes. [ABSTRACT FROM AUTHOR]

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