Antique Painting

NICOLAS SANSON D'ABBEVILLE

France 1600 - 1667

Britanniae Insulae in quibus Albium sive Britannia Maior Ivernia sive Britannia Minor tum et Orcades, Ebudes, Cassiterides... Paris, 1641

colored copper engraving

Signed, titled and dated

Measures 425 x 568 mm plate

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NICOLAS SANSON D'ABBEVILLE

France 1600 - 1667

Provinces unies des Pays Bas. . 1648

copper engraving

Signed, titled and dated

Measures 410 x 515 mm plate

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MARTIN ENGELBRECHT exc.

Augsburg 1684-1756

PAUL DECKER of the. et inv.

Nuremberg 1677 - ?

hispanic

copper engraving

signed and titled

Measures 370 x 420 mm plate

Framed

They come from the work entitled "Laconicum Europae Speculum: Augsburg Martin Engelbrecht".

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NICOLAS SANSON D'ABBEVILLE

France 1600 - 1667

Orleans government map. 1651

copper engraving

Measurements 426 x 578 mm

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DAVID TENIERS I

Antwerp 1582 - 1649

First and second flamenco parties for Madame Pompadour

Pair of engravings

signed and titled

Measures 550 x 750 mm each

Framed

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CHARLES V. MONIN

France 1830 - 1880

Comparative table of the mountains and rivers of the Continents. 1837

steel engraving

signed and titled

Measures 530 x 647 mm plate

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GABRIEL BODENEHR

Augsburg 1664 - 1758

Die Statt Neuburg an der Donau. 1644

copper engraving

signed and titled

Dimensions 315 x 360 mm plate

Framed

It comes from the work, "Kupferstich in der Topographia Germaniae des Matthaeus Merian".k

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JEAN-FRANÇOIS CASSAS

Azay-le-Ferron, France 1756 - Versailles 1827

General view of the Poda amphitheater

Pair of copper engravings (two)

signed and titled

Measures 285 x 430 mm plate

280 x 385 mm plate

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ITALIAN SCHOOL S. XVIII

The Massacre of the Innocents by Rafael de Urbino

Ink and watercolor drawing on paper

Illegible signature

Measurements 281 x 458 mm

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SPANISH SCHOOL S. XVIII

classic study. 1753

Charcoal drawing on paper

Dated and signed with the initials "L. M"

Measures 395 x 295 mm

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NICOLAS DE FER

Paris 1646 – 1720

Le Chili et les provinces qui compose celle de Rio de la Plata avec les terres Magellanique. 1705

colored copper engraving

signed and titled

Measures 230 x 430 mm plate

It comes from the work "Cartes et descriptions generales et particulieres pour l'intelligence des affaires du temps, au sujet de la Suc [c]ession de la Couronne d'Espagne : en Europe, en Asie, Afrique et Amerique".

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CASTILIAN SCHOOL S. XVI

adoration of the shepherds

oil on board

Measures 112.5 x 103 cm

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CIRCLE OF BERNARD VAN ORLEY S. XVI

Weapon Redemptoris Christi Iesu. c. 1520

Oil on oak wood

Measures 53 x 37 cm

Origin:

- Private collection, Madrid.

On the back is the old label of the Board for the Seizure and Protection of Artistic Heritage (L. Galdeano collection).

This painting can be attributed to the circle of Bernard van Orley (1487/1491-1541), a Flemish painter belonging to a generation of artists influenced by the Romanist forms of the time. These forms emanated from the Raphaelesque school, which had set up a large workshop in Rome. When he held the position of court painter of the Habsburgs, he used to delegate the execution of works to his workshop, only reserving the design or sketch for himself, which could have happened in this case.

Like a true coat of arms in a Christological key, Christ the Savior and the Virgin are presented flanking a banner divided into two parts: the Arma Christi inscribed in a heraldic emblem, and a curtained helmet on which the crown of thorns is placed. From this originates an arm of Christ haloed in an attitude of blessing that in turn holds a flag with the shroud of Veronica.

The instruments of the Passion or Arma Christi symbolize the suffering of Christ and include: the column and the flagellum, the post-mortem ointments (after the Passion), the tongs, the dice with which the garments of Christ were raffled, the the rooster of Denial, Malco's lantern, the nails of the cross, the tomb on which the Cross emerges, the spear, the ladder, Veronica's veil and the crown of thorns. Along with this, five characters appear as an effigy, which could be identified as: Saint Peter, the maid, Barabbas, a High Priest, and Simon of Arimathea. Stylistically, against a profound background influenced by Romanism and moving away from fully Flemish formulas, Christ appears wounded and with cruciform powers. The Virgin is presented holding the folds of her tunic.

It is undoubtedly an allegory to the triumph of Christ's life over death. Usually this iconography is presented in an abstract way, far from other Christological scenes such as the Good Shepherd, which contain a narrative sense. In this case, the Arma Christi function as weapons that invite the faithful to prayer. Although it is an infrequent iconography, this artist was able to count on small antecedents such as; The Weapons of the Passion and Resurrection, h. 1480-1485, Book of Hours, British Library and The Arma Christi, Second half of the 15th century, Herzog Anton Ulrich Museum. All this symbolic apparatus has sometimes been called the Shield of Redemption.

Regarding its origin, on the back it shows an old label of the Confiscation Board (1936-1939) that reads "L.Galdiano", so it could be a work confiscated by the Spanish state at the beginning of the Civil War. (1936-1939) to the collector Lázaro Galdiano.

Work published in:

- Cat. Exp. National Gallery of London in “The Image of Christ” in "Seeing Salvation", Susanna Avery-Quash and Xavier Bray, February 26-May 7, 2000, p.135.

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FLEMISH SCHOOL S. XVII

Betrothal of the Virgin

oil on copper

Measures 71 x 55 cm

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