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Tragedy
Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael
Tragedy
Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael

This drawing depicts Tragedy seated on a column in front of a curtain, holding a mask in her right hand and a dagger in her left. On the right of the composition are three figures who appear to be performing a theatrical scene, and on the left is a naked child in front of books and musical instruments.

Niobe Protecting her Children
Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael
Niobe Protecting her Children
Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael

This drawing is a fragmentary copy of Dorigny’s print from 1651 that reproduces one of the panels that decorates the gallery of the Hotel Segnier in Paris. The landscape background has been modified.The Museo del Prado has several drawings and copies of this print, including Love Ordering Chaos (D2022).

Olympus
Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael
Olympus
Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael

This is a fragmentary copy of Dorigny’s print from 1651 that reproduces one of the paintings that decorates the gallery of the Hotel Segnier in Paris. The painting, by Simon Vouet, depicts The Marriage of Thetis and Peleus. The drawing copies the groups on the left of Dorigny’s print and partial details of other characters.

Battle Scene
Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael
Battle Scene
Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael

This drawing depicts mounted cuirassiers spearing a fallen warrior. Due to its technique and style, it can be attributed tentatively to Ximeno y Planes. It may be a study for a book illustration, a genre in which he worked assiduously.

Amphitrite in his Chariot and Mercury
Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael
Amphitrite in his Chariot and Mercury
Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael

This drawing is a fragmentary copy of the right side of Dorigny’s print from 1651 that reproduces one of the paintings by Simon Vouet that decorate the gallery of the Hotel Segnier in Paris, The Marriage of Thetis and Peleus. The Museo del Prado keeps another related drawing; a copy of Dorigny’s print, Olympus (D002021).

Love Ordering Chaos
Brush, Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael (Attributed To)
Love Ordering Chaos
Brush, Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael (Attributed To)

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

Neptune and Amphitrite
Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael
Neptune and Amphitrite
Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael

This drawing is a copy of Dorigny’s engraving from 1644 that reproduces one of the panels in the vestibule of the gallery of Diana in the Palace of Fontainebleau painted by Simon Vouet, The Four Elements. This one depicts Water. The Museo del Prado keeps a series of drawings that are copies of this print, including Love Ordering Chaos (D002022).

Cain Killing Abel
Black chalk, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael
Cain Killing Abel
Black chalk, Grey-brown wash on yellow laid paper. XVIII century
Ximeno y Planes, Rafael

This drawing depicts Cain with his right knee on Abel’s chest. Abel is lying on his back while Cain holds his arm with his left hand and strikes him with a donkey’s jawbone in his right. The background features barely visible trees.

Charles III, King of Spain
Taille douce: etching and engraving on ivory laid paper. 1788
Ximeno y Planes, Rafael; Selma, Fernando
Charles III, King of Spain
Taille douce: etching and engraving on ivory laid paper. 1788
Ximeno y Planes, Rafael; Selma, Fernando

This portrait is closely based on Charles III in hunting Dress by Francisco de Goya. The monarch, wearing a dress coat, has the same pose as in the painting, leaning forward slightly and with sloping shoulders. The modelling of the face is also the same. The print was published in 1788 in the revised edition of the Bibliotheca hispana vetus (1672) by Nicolás Antonio.

The dead Christ supported by an Angel
Taille douce: etching and engraving on wove paper. 1795
Ballester y Ballester, Joaquín; Ximeno y Planes, Rafael
The dead Christ supported by an Angel
Taille douce: etching and engraving on wove paper. 1795
Ballester y Ballester, Joaquín; Ximeno y Planes, Rafael

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints

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