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Our Lady in a landscape praying before the Crucified Christ
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Beschreibung
Our Lady in a landscape praying before the Crucified Christ, oil on oak wood, probably Antwerp School, Flemish school, 16th C. (1st third), restored by Fernando Mardel - 1942-1949. Notes:It was part of the Ricardo do Espírito Santo Silva collection, being referenced and reproduced in "Ricardo do Espírito Santo Silva - Coleccionador e Mecenas". Lisbon: Ricardo de Espírito Santo Silva Foundation, 2003, pp. 76-79, with entry text authored by Professor Doctor Victor Serrão, where he states [...] This is, according to Dagoberto Markl's proposal, the picture before which Damião de Gois used to pray [1502-1574] and which is described in a poem by humanist Cornelius Grapheus [1482-1558], in 1532, as representing 'Virginem Mariam sub filii cruce orantem» ("Our Lady praying under the Cross of His Son'). That picture would then have moved on to the Collection of Rui Fernandes de Almada [16th century], an esteemed person in the Portuguese Flanders Factory, sensitive collector and personal friend of Albrecht Dürer [1471-1528] (who portrayed him, as is well known), and knowing the degree of the relationship between that factor and the humanist Damião de Gois , when he wrote the 'Opúsculos Históricos'. Thus, according to Markl's proposal, this beautiful picture will have belonged to the oratory of the Immerseele palace, the headquarters of the Portuguese representation in Antwerp, where de Gois worked in 1523, and then passed into the possession of Rui Fernandes de Almada [he was also a person responsible for the Portuguese Factory of Antwerp], thus explains not only the commission to an Antwerpian master as its ulterior entry into the Portuguese market.” It was part of the EUROPALIA-92 exhibit and is reproduced in the respective catalogue.; Dim. - 66,5 x 54,5 cm
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Our Lady in a landscape praying before the Crucified Christ, oil on oak wood, probably Antwerp School, Flemish school, 16th C. (1st third), restored by Fernando Mardel - 1942-1949. Notes:It was part of the Ricardo do Espírito Santo Silva collection, being referenced and reproduced in "Ricardo do Espírito Santo Silva - Coleccionador e Mecenas". Lisbon: Ricardo de Espírito Santo Silva Foundation, 2003, pp. 76-79, with entry text authored by Professor Doctor Victor Serrão, where he states [...] This is, according to Dagoberto Markl's proposal, the picture before which Damião de Gois used to pray [1502-1574] and which is described in a poem by humanist Cornelius Grapheus [1482-1558], in 1532, as representing 'Virginem Mariam sub filii cruce orantem» ("Our Lady praying under the Cross of His Son'). That picture would then have moved on to the Collection of Rui Fernandes de Almada [16th century], an esteemed person in the Portuguese Flanders Factory, sensitive collector and personal friend of Albrecht Dürer [1471-1528] (who portrayed him, as is well known), and knowing the degree of the relationship between that factor and the humanist Damião de Gois , when he wrote the 'Opúsculos Históricos'. Thus, according to Markl's proposal, this beautiful picture will have belonged to the oratory of the Immerseele palace, the headquarters of the Portuguese representation in Antwerp, where de Gois worked in 1523, and then passed into the possession of Rui Fernandes de Almada [he was also a person responsible for the Portuguese Factory of Antwerp], thus explains not only the commission to an Antwerpian master as its ulterior entry into the Portuguese market.” It was part of the EUROPALIA-92 exhibit and is reproduced in the respective catalogue.; Dim. - 66,5 x 54,5 cm
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