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Title

The Crucifixion

painter

The Astorga Master [attributed to]

Maestro de la Horta [attributed to]

Generic classification
Painting
Object
Painting
Date
ca. 1510-1530
Century
First quarter of the 16th c.
Cultural context / style
Renaissance
Dimensions
34 1/2 in. x 20 5/8 in
Material
Panel
Technique
Oil Painting
Iconography / Theme
Calvario
Provenance
Possible origin from Castile and Leon (Castilla y León, Possible origin from Castile and Leon, Spain)
Current location
Currier Museum of Art (New Hampshire, United States)
Inventory Number in Current Collection
1968.1
Object history

The attribution of this painting remains a subject of debate. On one hand, both Post (1952) and the Currier Museum of Art (Manchester) assert that its author is the Master of Astorga. However, Fiz Fuertes (2023) leans towards attributing it to the Master of Horta. If attributed to the former, its origin would be from León, while if attributed to the latter, it would be from Zamora. Regardless, in the 1920s the painting was part of the collection of Adriano Martín Lanuza, director of the Banco de Crédito (Fiz Fuertes, 2023). It was later owned by the Dreys, a German merchant couple residing in London. It subsequently passed to their grandson, Paul Drey, who moved to New York and opened a gallery on Fifth Avenue in 1936. In 1968, it was acquired by the Currier Museum of Art in Manchester, where it is currently housed.

Description
 

The painting depicts the moment when Christ is crucified on Mount Golgotha. He is accompanied by the Virgin and Saint John the Evangelist. According to Fiz Fuertes (2023), both the human figures and the vegetation closely resemble those in the altarpiece works of the Master of Horta.

Locations
* The relative location of dealers, antique shops, art galleries, and collectors leads us to the places where they were based or had one of their main headquarters. However, this does not always indicate that every artwork that passed through their hands was physically located there. In the case of antique dealers and art merchants, their business often extended across multiple territories; sometimes they would purchase items at their origin and send them directly to clients. Similarly, some collectors owned multiple residences, sometimes in different countries, where they housed their collections. It is often difficult to determine exactly where a specific piece was kept during its time in their possession. Consequently, the main location of the dealer or collector is indicated. These factors should be considered when interpreting the map. Refer to the object's history in each case.
Bibliography
  • FIZ FUERTES, Irune (2023): Pintura y pintores en Zamora (1525-1580). Un estudio del caso sobre la asimilación del Renacimiento en el noroeste castellano-leonés y su irradiación, Universidad de Valladolid, Valladolid, pp. 71-72.
  • POST, Chandler Rathfon (1952): "Unpublished Early Spanish Paintings in American and English Collections", nº 34, The Art Bulletin, pp. 279-283.
Citation:

Isabel Escalera Fernández, "The Crucifixion" in Nostra et Mundi. Cultural Heritage from Castile and Leon around the world, Fundación Castilla y León, 2025. https://inventario.nostraetmundi.com/en/work/60

Currier Museum of Art, New Hampshire

Currier Museum of Art, New Hampshire

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