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02-06-2026
Attributed to Rafael Ximeno y Planes

Valencia, 1759 - México, 1825

See author's file

Love Ordering Chaos

XVIII century. Pencil ground, Grey-brown wash, Brush on laid paper.
Not on display

This drawing depicts Love, a winged adolescent, with a dart in his left hand and flying towards a lake of fire. Behind him, amongst clouds, are Abundance (?) with the cornucopia, and Peace (?) with a helmet, staff and olive branch. This is a copy of an engraving by Dorigny from 1651. Dorigny’s engraving replicates one of the paintings by Simon Vouet that decorates the gallery of the Hotel Segnier in Paris. The Albertina in Vienna keeps the preparatory drawing for Dorigny’s engraving. The characteristically Valencian graphic style of this drawing and its accompanying pieces (D002019, D002021, D002023 and D002024) is very similar to the drawings signed by Ximeno y Planes and some of those by Vicente López in his early career. Pérez Sánchez tentatively attributes it to Ximeno.

Both this drawing and its companions are undoubtedly apprenticeship exercises, probably done at a very young age and in an academic environment. It is curious to see this preference for Vouet, who was also known and studied by Goya, as has often been observed.

Pérez Sánchez, Alfonso E., Catálogo de Dibujos. Vol. III. Dibujos Españoles Siglo XVIII. C-Z, Madrid, Ministerio de Cultura, 1977, p.110-111

Technical data

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Inventory number
D002022
Author
Attributed to Rafael Ximeno y Planes
Title
Love Ordering Chaos
Date
XVIII century
Technique
Pencil ground; Grey-brown wash; Brush
Support
Laid paper
Dimension
Height: 293 mm; Width: 200 mm
Provenance
Bequest of Pedro Fernández Durán y Bernaldo de Quirós, 1931
Entry date
1931

Bibliography +

Pérez Sánchez, Alfonso E., Catálogo de Dibujos. Vol. III. Dibujos Españoles Siglo XVIII. C-Z, Ministerio de Cultura, Madrid, 1977, pp. 110-111.

Filigree +

Motive: Escudo de Génova

Imagen de la bibliografia

Escudo de Génova
La gran fama alcanzada por este papel con filigrana del escudo de Génova viene avalada por su tradicional fabricación en molinos genoveses desde el siglo XV y por su alta calidad. Los principales centros productores estaban situados en los alrededores de la ciudad de Génova, en concreto en los molinos de las localidades de Crevari, Arenzano, Cogoleto, Varazze, Pegli y, principalmente, los de Fabbriche, Mele y Voltri. La producción se vendía masivamente por toda Europa, siendo España e Hispanoamérica importantes consumidores. Debido a su éxito, esta marca fue imitada por otros fabricantes europeos, pero es de suponer que en España esta práctica remitiese hacia mediados del siglo XVIII, quedando expresamente prohibida en 1791 por la legislación “la suplantación de marcas, tanto de fábricas nacionales como extranjeras” (Balmaceda 2005, pp. 128-45).

Existe gran variedad de filigranas del escudo de Génova con dos círculos, en los que van cambiando los motivos representados y las letras del interior.

Bibliography
Heawood, Edward, Watermarks, mainly of the 17th and 18th centuries, Paper Publications Society, Hilversum (Holland), 1950, pp. n. 724-776 [año 1665-1775].
Valls i Subirà, Oriol, La Historia del Papel en España. Siglos XVII-XIX, Empresa Nacional de Celulosas, Madrid, 1982, pp. 53, n. 24 [año 1669], y p. 55, n. 29 [año 1693], n. 32 [s. XVIII].
Churchill, William Algernon, Watermarks in paper, in Holland, England, France, etc., in the XVII and XVIII centuries and their interconnection, B. De Graaf, Nieuwkoop, 1985, pp. n. 555 [año 1676].
Balmaceda, José Carlos, La contribución genovesa al desarrollo de la manufactura papelera española, J.C. Balmaceda,, Málaga, 2005, pp. 128-145, y p. 318-347, n. 304-404 [años 1673-1761].

Other inventories +

Inv. Legado Pedro Fernández Durán, 1931. Núm. 2193.

Inscriptions +

MP Inv. de DIBUJOS no 2193 [Anagrama con las iníciales y el número de catálogo dentro]
Blue ink stamp. Passepartout

Update date: 02-06-2026 | Registry created on 18-08-2017

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