Spanish or Flemish School. Circa 1600. Possibly by a
Spanish or Flemish School. Circa 1600. Possibly by a follower of Antonio Moro (Utrecht, Netherlands, c. 1519 – Antwerp, Belgium, c. 1576-78)
"Saint John the Baptist, Saint John the Evangelist, Jesuits and King Philip II"
Pair of panel paintings in oil, originally from a triptych, although the central panel is missing. Painted on both sides.
The central panel would probably have depicted a Deesis or Christ on the cross, as these are usually accompanied by John the Baptist, who foretold the coming of Christ and the John the Evangelist, who is thought to have been present at the crucifixion.
On the exterior, the left panel depicts two Jesuits, both wearing birettas, and a series of initials which identifies them: B.A, Borja y Aragón (also known as Saint Francis of Borja) and Ignatius of Loyola, identified with the inscription “Ignco”. King Philip II is also present, kneeling in front of them, as a donor. It is very significant that the painter of this panel insists in writing Borja y ARAGÓN, highlighting that Borja has more importance than Ignatius, founder of the Society of Jesus, hidden behind the King. The “protector” who was a direct and distant relative of King Philip II rests his hand on the King.
The right panel depicts two other Jesuits. One is P.B, Pascacio Broët, who was one of the ten companions, known as the Paris group, who went to Rome to obtain papal approval for the Society of Jesus. He was very much involved in the Ad Extra (to the outside, The World) wing of the Order, in Ethiopia, …., etc. The other, designated as PATo, is Diego de Pantoja (or Didaco Pantoia), considered to be the pioneer of cultural exchange between China and Spain, alongside Mateo Ricci. Pantoja´s great knowledge of science and humanities led him to make contact with the court of Emperor Wanli, of the Ming Dynasty.
For these reasons, the message of these panels is that Europe/ Occident, on the left, was “driving and supporting the King in his dedication to spreading the name of the IHS (centre of Jesuit theology) throughout his empire, on which “the sun never set”. The focus of the Frenchman and the Spaniard on the right panel is towards the world, Asia/ Orient and Universal projection.
The name of the painter could be hidden in the anagram P^ Q^. When opening the panels, the letters beneath the King appear to be revering him. The painter is paying homage to the King, who would have commissioned the painting.
58,5 x 21 cm. each. Dimensions:
Sale price
Estimate
Time, Location
Auction House
Spanish or Flemish School. Circa 1600. Possibly by a follower of Antonio Moro (Utrecht, Netherlands, c. 1519 – Antwerp, Belgium, c. 1576-78)
"Saint John the Baptist, Saint John the Evangelist, Jesuits and King Philip II"
Pair of panel paintings in oil, originally from a triptych, although the central panel is missing. Painted on both sides.
The central panel would probably have depicted a Deesis or Christ on the cross, as these are usually accompanied by John the Baptist, who foretold the coming of Christ and the John the Evangelist, who is thought to have been present at the crucifixion.
On the exterior, the left panel depicts two Jesuits, both wearing birettas, and a series of initials which identifies them: B.A, Borja y Aragón (also known as Saint Francis of Borja) and Ignatius of Loyola, identified with the inscription “Ignco”. King Philip II is also present, kneeling in front of them, as a donor. It is very significant that the painter of this panel insists in writing Borja y ARAGÓN, highlighting that Borja has more importance than Ignatius, founder of the Society of Jesus, hidden behind the King. The “protector” who was a direct and distant relative of King Philip II rests his hand on the King.
The right panel depicts two other Jesuits. One is P.B, Pascacio Broët, who was one of the ten companions, known as the Paris group, who went to Rome to obtain papal approval for the Society of Jesus. He was very much involved in the Ad Extra (to the outside, The World) wing of the Order, in Ethiopia, …., etc. The other, designated as PATo, is Diego de Pantoja (or Didaco Pantoia), considered to be the pioneer of cultural exchange between China and Spain, alongside Mateo Ricci. Pantoja´s great knowledge of science and humanities led him to make contact with the court of Emperor Wanli, of the Ming Dynasty.
For these reasons, the message of these panels is that Europe/ Occident, on the left, was “driving and supporting the King in his dedication to spreading the name of the IHS (centre of Jesuit theology) throughout his empire, on which “the sun never set”. The focus of the Frenchman and the Spaniard on the right panel is towards the world, Asia/ Orient and Universal projection.
The name of the painter could be hidden in the anagram P^ Q^. When opening the panels, the letters beneath the King appear to be revering him. The painter is paying homage to the King, who would have commissioned the painting.
58,5 x 21 cm. each. Dimensions:
Sale price
Estimate
Time, Location
Auction House
