View full screen - View 1 of Lot 48. Christ in the Garden of Gethsemane; Christ Before Pilate; Christ Carrying the Cross; Lamentation of Christ.
48

Rodrigo de Osona the Elder

Christ in the Garden of Gethsemane; Christ Before Pilate; Christ Carrying the Cross; Lamentation of Christ

Rodrigo de Osona the Elder

Rodrigo de Osona the Elder

Christ in the Garden of Gethsemane; Christ Before Pilate; Christ Carrying the Cross; Lamentation of Christ

Christ in the Garden of Gethsemane; Christ Before Pilate; Christ Carrying the Cross; Lamentation of Christ

Rodrigo de Osona the Elder

Valencia, active 1463-1518

Christ in the Garden of Gethsemane;

Christ Before Pilate;

Christ Carrying the Cross; 

Lamentation of Christ


a set of four, each oil on panel

each panel: 27 ½ by 19 in.; 69.9 by 48.3 cm.

each, framed: 29 by 20 ¾ in.; 73.7 by 52.7 cm.

4

The panels are all flat and cradled and are slightly loose in their frames. The images read well on each panel, with a horizontal pattern of craquelure visible in all four which is stable and not distracting. A few minor superficial scratches are visible in some compositions, and a one-inch crack at the center top edge is visible on the first panel. Under UV inspection, scattered retouching is visible throughout all four panels. In the first panel, retouching is concentrated near the aforementioned crack, and in 2 spots of repair at the bottom right and left center. In the second panel, retouching is concentrated on the left edge and in 2 spots at center. In the third panel, retouching is minimal in the main composition and concentrated at the upper right corner. In the final panel, retouching is concentrated on the bottom right edge of the figural group, at the top left corner, and along a crack running from the top center. Each panel has smaller spots of retouching in several areas of the figures and background as well. Given their age and the technique, this level of retouching is to be expected and the paintings can hang in their current state. Offered in matching simple wooden frames.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Private collection, USA; 
Private collection, Mexico;
Private collection, Madrid.
E. Mira y An Delva (ed.), A la Búsqueda del Toisón de oro : la Europa de los Príncipes : la Europa de las Ciudades, exhibition catalogue, Valencia 2007, pp. 372-9, cat. nos. 170-73.
Almudín, Museo de la Ciudad, A la Búsqueda del Toisón de Oro : la Europa de los Príncipes: la Europa de las Ciudades, 23 March-20 June 2007, nos. 170-73.

These four Passion scenes once formed the predella of a large altarpiece, the central panel of which has not been identified. First attributed to Rodrigo de Osona the Elder by Chandler Post, the paintings remained unpublished until the 2007 exhibition. Osona's one securely dated work, the Calvary altarpiece from the Church of San Nicolás in Valencia from 1476, provides a basis for attributing his other works. The artist is known for introducing both Italian and Flemish influences into the Spanish Renaissance, and he worked closely with his sons in his workshop in Valencia.


Osona's diverse artistic sources can be detected in these four compositions, such as the landscape setting and positions of the apostles in the first panel, which echo the work of Italian painter Paolo de San Leocadio, who was active in Spain. The second panel's interior setting repeats motifs employed in other altarpieces by Osona, such as the Oriental carpet and traditional Valencian flooring that creates one-point perspective. In the second and third panel, the strong folds of the garments reflect Osona's knowledge of sculptor Bartolome Bermejo, and the arrangement of the parading figures in the third panel is inspired by Valencian contemporaries Joan Reixach and the Master of Perea. Finally, the Lamentation panel points to the strong influence of Flemish painting on the Valencian tradition. The complex arrangements and range of textures in these four panels illustrate the eclectic nature of late fifteenth-century Valencian painting, which Osona helped define.