Josefa de Aiala Paintings & Artwork for Sale | Josefa de Aiala Art Value Price Guide

Nov. 14, 2024
Attributed to JOSEFA DE OBIDOS (Seville, 1630 - Obidos, 1684) - Saint Joseph with the Child
Est: €20,000 - €30,000
Oil on canvas. Dimensions: 83 x 60 cm
Templum Fine Art Auctions
Nov. 03, 2023
JOSEFA DE ÓBIDOS E A INVENÇÃO DO BARROCO PORTUGUÊS
Est: €30 - €60
JOSEFA DE ÓBIDOS E A INVENÇÃO DO BARROCO PORTUGUÊS Catálogo de exposição, com textos de vários autores. Profusamente ilustrado a cores com obras da pintora e outras obras de arte do século XVII. Esgotado. Ínfimos sinais de uso
Corte Real, Leiloeira
Feb. 22, 2023
Virgen con el Niño Jesús y San Juanito
Est: -
Firmado en la trasera. Presenta marco en madera tallada, rizada y ebonizada.
Isbilya Subastas
Feb. 03, 2023
JOSEFA DE ÓBIDOS E O TEMPO BARROCO
Est: €30 - €60
JOSEFA DE ÓBIDOS E O TEMPO BARROCO Coordenação de Vitor Serrão, profusamente ilustrado a cores, com reproduções de obras da pintora. Sinais de uso.
Corte Real, Leiloeira
Feb. 03, 2023
JOSEFA DE ÓBIDOS E CORES, FIGURA E LUZ
Est: €20 - €40
JOSEFA DE ÓBIDOS E CORES, FIGURA E LUZ Josefa de Óbidos e a Invenção do Barroco Português e Cores, Figura e Luz- pintura portuguesa do século XVI na colecção do Museu Nacional de Soares dos Reis. Profusamente ilustrados. Sinais de uso.
Corte Real, Leiloeira
Jan. 26, 2022
Circle of JOSEFA DE ÓBIDOS (Seville, 1634 - Óbidos, Portugal, 1684). "Mary Magdalene stripping herself of her goods." Oil on canvas. Relined. It has overpaints.
Est: €4,000 - €5,000
Circle of JOSEFA DE ÓBIDOS (Seville, 1634 - Óbidos, Portugal, 1684). "Mary Magdalene divesting herself of her possessions". Oil on canvas. Re-retouched. It presents repainting. Measurements: 96,5 x 76 cm. In this image the image of Mary Magdalene is presented to us in a theatrical way. This one is slightly displaced to the left of the composition with the intention of showing the spectator the jewels that are on the table and those that have fallen to the floor. Thus showing a disinterest in the material in favour of the heavenly, to which the young woman is turning. The disregard of material things in order to choose the way of God was a common element in the lives of many saints such as St. Rosalia, St. Catherine of Alexandria, St. Elizabeth of Hungary and Mary Magdalene herself. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, which is why her main iconographic attribute is a knob of essences. Alone, Mary Magdalene is often depicted in a variable of the one presented here, doing penance in the desert, repentant for her past sins. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith. The work has aesthetic similarities with the painting by Josefa de Ayala y Cabrera, known as Josefa de Óbidos, an artist of the second half of the 17th century, who developed her career in Portugal. Her father, Baltasar Gómez Figueira, went to Seville around 1626, at a time when Portugal and Spain were unified. He began working in the workshop of Francisco Herrera the Elder, Josefa's future godfather, with whom he spent the first years of his life before returning to Óbidos, his father's hometown. Josefa decided to devote herself to painting, beginning to work alongside her father. One of the first genres they developed and thanks to which they gained fame and fortune were still lifes, as it was a subject that was not practised in Portugal and proved to be a fantastic commercial success. He had a close relationship with the ecclesiastical sphere, which facilitated the commissioning of numerous works in churches and convents. His fame continued to grow after he was commissioned to paint the famous portraits of the royal family. His painting, as can be seen in this work, shows the influence of the tenebrist naturalism that characterised his father's style, but he developed his own personality as a reflection of a particular poetic intuition, with a loose palette and free of academic impositions, focusing on the detail of the decorative elements that populate his canvases. In 2015 the Museum of Ancient Art in Lisbon held an exhibition dedicated to this great artist as the architect of the invention of the Portuguese Baroque, emphasising her importance as one of the few outstanding painters in the history of modern art.
Setdart Auction House
Jan. 26, 2022
Circle of JOSEFA DE ÓBIDOS (Seville, 1634 - Óbidos, Portugal, 1684). Virgin spinner . Oil on canvas. Relined. Presents overpaints.
Est: €1,500 - €1,800
Circle of JOSEFA DE ÓBIDOS (Seville, 1634 - Óbidos, Portugal, 1684). "Virgin spinner. Oil on canvas. Re-tinted. It presents repainting. Measurements: 65 x 45,5 cm; 79 x 59 cm (frame). In this devotional work Mary girl appears seated, spinning with a distaff and a spindle. The iconography refers on this occasion to the Protoevangelium of James, one of the apocryphal Gospels, in which it is narrated how, as a child, Mary was commissioned by the priests to make the veil of the Temple, which was torn when Jesus died. On the other hand, the Gospel of Pseudo-Matthew recounts the Virgin's mastery of woollen work in her youth. The work has aesthetic similarities with the painting by Josefa de Ayala y Cabrera known as Josefa de Óbidos, an artist from the second half of the 17th century, who developed her career in Portugal. Her father, Baltasar Gómez Figueira, went to Seville around 1626, at a time when Portugal and Spain were unified. He began working in the workshop of Francisco Herrera the Elder, Josefa's future godfather, with whom he spent the first years of his life before returning to Óbidos, his father's hometown. Josefa decided to devote herself to painting, beginning to work alongside her father. One of the first genres they developed and thanks to which they gained fame and fortune were still lifes, as it was a subject that was not practised in Portugal and proved to be a fantastic commercial success. He had a close relationship with the ecclesiastical sphere, which facilitated the commissioning of numerous works in churches and convents. His fame continued to grow after he was commissioned to paint the famous portraits of the royal family. His painting, as can be seen in this work, shows the influence of the tenebrist naturalism that characterised his father's style, but he developed his own personality as a reflection of a particular poetic intuition, with a loose palette and free of academic impositions, focusing on the detail of the decorative elements that populate his canvases. In 2015 the Museum of Ancient Art in Lisbon held an exhibition dedicated to this great artist as the architect of the invention of the Portuguese Baroque, emphasising her importance as one of the few outstanding painters in the history of modern art.
Setdart Auction House
May. 18, 2021
ATTRIBUTED TO JOSEFA DE ÓBIDOS Seville 1630 - Óbidos 1684
Est: €12,000 - €24,000
ATTRIBUTED TO JOSEFA DE ÓBIDOS Seville 1630 - Óbidos 1684 Still life with blue and white plate with raspberries, apples, hazelnuts, bird and ring Oil on panel size 24.3 x 36 cm This beautiful still life must be related to the versions of the same theme by the great Iberian Baroque painter Josefa de Óbidos. In the National Museum of Ancient Art in Lisbon there is a copy that shows the same apples that appear in the work that we are now making known. What's more, the vermilion red of raspberries, the artist's favorite color, is similar to that seen in her works. That taste for dispersing small fruits in the first place, as it happens here with hazelnuts, is another characteristic compositional resource of Josefa de Óvidos. Her preference for jewels and beads or pricked flowers in fruit bowls also belong to the creative world of the painter. Although she was born in Seville, Josefa de Ayala learned the rudiments of painting from her father Baltazar Gomes Figueira and Francisco Herrera el Viejo. After a brief stay in the convent of Santa Ana de Coimbra, she settled in Óbidos where she managed to emancipate herself, something unheard of for a woman of the time. There, together with his father's workshop, he signs juicy contracts that will provide him with huge benefits that translates into the purchase of farms, jewelry and other luxurious objects that he will use in his appreciated still lifes.
Subastas Segre
Dec. 17, 2020
Josefa de Obidos (Seville 1630-1684 Obidos) The Mystic Marriage of Saint Catherine
Est: £20,000 - £30,000
Josefa de Obidos (Seville 1630-1684 Obidos) The Mystic Marriage of Saint Catherine signed and dated 'Josepha de Ayalla 1647' (on wheel, lower right) oil on copper 27.2 x 36.2cm (10 11/16 x 14 1/4in). For further information on this lot please visit the Bonhams website
Bonhams
Jun. 26, 2018
(attributable to) JOSEFA D'ÓBIDOS (1630-1684), CHILD JESUS
Est: €20,000 - €30,000
(attributable to) JOSEFA D'ÓBIDOS (1630-1684), CHILD JESUS oil on canvas, depicting a naked Child Jesus, under a transparent tunic, on a plinth lined with a carpet. On the chest, a medallion with the "IHS" initials, a Christian cross on the left arm, a crown of thorns on the head. On the right arm,
Renascimento
Jan. 28, 2016
JOSEFA DE AYALA E CABRERA, CALLED JOSEFA DE ÓBIDOS | Holy Family with the Infant Saint John the Baptist, Saint Elizabeth and angels
Est: $200,000 - $300,000
oil on copper
Sotheby's
Oct. 21, 2015
STILL LIFE WITH MELONS
Est: -
JOSEFA DE AYALA Bodegón con melones Óleo sobre lienzo 96 x 91 cm
Isbilya Subastas
Mar. 10, 2009
Agnus Dei do séc. XVII Atribuído a Josefa
Est: €40,000 - €60,000
Agnus Dei do séc. XVII Atribuído a Josefa d'Óbidos, Josefa de Ayala e Cabrera (1630-1684) 'Agnus Dei' Óleo sobre tela Dim.: 42 x 52 cm.
Palácio do Correio Velho