Juan de Alfaro y Gámez Sold at Auction Prices

Painter, copperplate engraver

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    • JUAN DE ALFARO Y GÁMEZ, (1643 - 1680). "Portrait of Basilio Grau de Arellano". Oil on canvas. Restored. It has two patches on the back.
      Oct. 28, 2024

      JUAN DE ALFARO Y GÁMEZ, (1643 - 1680). "Portrait of Basilio Grau de Arellano". Oil on canvas. Restored. It has two patches on the back.

      Est: €10,000 - €12,000

      JUAN DE ALFARO Y GÁMEZ, (1643 - 1680). "Portrait of Basilio Grau de Arellano". Oil on canvas. Restored. It has two patches on the back. Measurements: 117 x 102 cm; 138 x 114. cm (frame). On a neutral background and a smooth surface with a family coat of arms, stands the figure of Basilio Grau de Arellano. The magnificent drawing that the work shows dominates over the color, as, on the other hand, is usual both at the time and in portraits as a general rule. The detail of the coat of arms distances the painting a little from the common type of portraits in the Spanish court environment of the Habsburgs, and is much more reminiscent of French examples, much more given to this type of luxury elements. The posture of the personage, the colors, the style, the composition, the use of a neutral background for the portrait, etc., all relate the work to Juan de Alfaro y Gámez. Juan de Alfaro y Gámez was the son of a noble apothecary, and learned painting from the Cordovan Antonio del Castillo, as well as being a protégé of Antonio Palomino, who sent him to Madrid with letters of recommendation to work in Velázquez's workshop. In the environment of the Royal Collections he met and became fond of the painting of Anton Van Dyck, whose style and novelties he introduced in his native Cordoba when he returned. He was Notary of the Holy Office, Administrator of Royal Revenues and painter of the Admiral of Castile (Juan Gaspar Enriquez de Cabrera), and known and appreciated above all for his portraits, of which he painted a considerable number both in Cordoba and in Madrid. His paintings are preserved in important private collections and institutions such as the Museum of Fine Arts of Cordoba, a Baptism of Christ for the Sanctuary of Our Lady of Linares, an "Assumption of the Virgin", painted in 1668, which is in the Museo Nacional del Prado. Restored. It has two patches on the back.

      Setdart Auction House
    • JUAN ALFARO Y GAMEZ Cordoba (1643) / Madrid (1680) "Portrait of Mr. J Ochoa Chinchetru, Marquis of Campotejar"
      Jun. 25, 2024

      JUAN ALFARO Y GAMEZ Cordoba (1643) / Madrid (1680) "Portrait of Mr. J Ochoa Chinchetru, Marquis of Campotejar"

      Est: €10,500 - €14,000

      Oil on canvas With noble shield in the upper left corner of the Marquisate of Campotejar with motto "Servire Deo Regnare Est" and inscription on the lower right: "D. juo de Granada, Ochoa de/Chinchetru, Marques de Cam/potejar, defender of the Heritage/Royal of the Kingdom of Sicily/his age 60 years Mo 16.." Measurements: 201 x 114 cm

      Ansorena
    • ALFARO Y GÓMEZ, Juan de (1643-1680). "Portrait of a gentleman. Oil on canvas.
      Dec. 21, 2021

      ALFARO Y GÓMEZ, Juan de (1643-1680). "Portrait of a gentleman. Oil on canvas.

      Est: €20,000 - €25,000

      ALFARO Y GÓMEZ, Juan de (1643-1680). "Portrait of a gentleman. Oil on canvas. Frame of the eighteenth century. Measurements: 193.5 x 107.5 cm; 207 x 119 cm (frame). On a neutral background and a surface that almost merges with it, highlighted with a red curtain, stands the figure of a gentleman. His boots, pants, coat, ribbons of military recognition, the cross of the Order of Calatrava on his chest, hairstyle, cape and hat with feathers as they correspond to the fashion of the second half of the seventeenth century, approximately, with the black color predominating in the clothes as the main detail of luxury, along with embroidery and silk. The magnificent drawing that the work shows dominates over the color, as, on the other hand, is usual both at the time and in portraits as a general rule. The detail of the drapery distances the painting a little from the common type of portraits in the Spanish court environment of the Habsburgs, and is much more reminiscent of French examples, much more given to this type of luxury elements. The posture of the personage, the colors, the style, the composition, the use of the neutral background for the portrait, etc., relate the work to Diego Rodríguez da Silva and Velázquez, or, more specifically, to a member of his workshop. It differs from the master in several details, too: note the presence of the shadow in the work, the author does not denote the mastery of Diego de Silva, nor is it the same palette of the master, nor the same lighting he chooses in his portraits (compare the work with, for example, "The Venerable Mother Jerónima de la Fuente" of 1620 and preserved in the Museo del Prado; the "Portrait of the Infante Don Carlos" from between 1626 and 1627 in the same museum; or the painting of "Aesop", from around 1640, and also in this Madrid museum; or the portrait of "Don Pedro de Barberana y Aparregui", painted around 1631-1633 and today in the Kimbell Art Museum in Forth Worth, Texas, United States). Although it is less common than its absence, Velázquez also used the resource of placing a red cloth to highlight the image (portrait of "The Infanta Margarita of Austria", painted in 1660 by Velázquez and finished by his son-in-law Juan Bautista Martínez del Mazo, now in the Museo del Prado). Its realization has been linked to a member of the same, called Juan de Gómez y Alfaro, and with his "Portrait of Don Bernabé Ochoa de Chinchetru", painted in 1661 and preserved in the Museum of Fine Arts of Cordoba, the present painting can be related: the posture of the characters is similar, with their hands "busy" and their gaze directed directly at the viewer, and both have the addition of a rich red cloth in the upper right corner; in this painting, however, the friar's armchair on whose back Bernabé rests his hand is missing, which links this work to the court portraits of the Habsburgs. Juan de Gómez y Alfaro was the son of a noble apothecary, and learned painting from the Cordovan Antonio del Castillo, as well as being a protégé of Antonio Palomino, who sent him to Madrid with letters of recommendation to work in Velázquez's workshop. In the environment of the Royal Collections he got to know and became fond of the painting of Anton Van Dyck, whose style and novelties he introduced in his native Cordoba when he returned. He was Notary of the Holy Office, Administrator of Royal Revenues and painter of the Admiral of Castile (Juan Gaspar Enriquez de Cabrera), and known and appreciated above all for his portraits, of which he painted a considerable number both in Cordoba and in Madrid. His paintings are preserved in important private collections and institutions such as the Museum of Fine Arts of Cordoba, a Baptism of Christ for the Sanctuary of Our Lady of Linares, an "Assumption of the Virgin", painted in 1668, which is in the Museo Nacional del Prado, Madrid.

      Setdart Auction House
    • JUAN DE ALFARO Y GAMEZ (CORDOUE 1643-MADRID 1680)
      Dec. 16, 2021

      JUAN DE ALFARO Y GAMEZ (CORDOUE 1643-MADRID 1680)

      Est: €15,000 - €20,000

      JUAN DE ALFARO Y GAMEZ (CORDOUE 1643-MADRID 1680) PORTRAIT DE DOÑA MARIA JOSEFA DIAZ DE MORALES Y CORDOBA Toile Inscription en bas portant le nom de la modèle : LA Sª Dª JOSEPHA DIAZ DE MORALEs I CORDOVA Marque de collection au revers Portrait of Doña Maria Josefa Diaz de Morales y Córdoba Cloth Inscription at the bottom with the model name: LA Sª Dª JOSEPHA DIAZ DE MORALEs I CORDOVA. Collector’s mark on the reverse 194 x 108,5 cm - 76,4 x 42,7 in.

      Tajan
    • Atributted to JUAN DE ALFARO Y GÁMEZ (Córdoba, 1643 - 1680). "Portrait of Don Pedro Díaz de Morales". Oil on canvas. Relined painting.
      Apr. 28, 2021

      Atributted to JUAN DE ALFARO Y GÁMEZ (Córdoba, 1643 - 1680). "Portrait of Don Pedro Díaz de Morales". Oil on canvas. Relined painting.

      Est: €10,000 - €12,000

      Atributted to JUAN DE ALFARO Y GÁMEZ (Córdoba, 1643 - 1680). "Portrait of Don Pedro Díaz de Morales". Oil on canvas. Relined painting. Measurements: 193 x 106.5 cm; 224 x 136 cm (frame). In this piece we can appreciate a portrait of Don Pedro Díaz de Morales attributed to Juan de Alfaro y Gámez, a Spanish Baroque painter trained in the studio of Diego Velázquez, whose style influenced him in a remarkable way especially in portraits, and whose relationship allowed him to have contact with the Venetian and Flemish artists represented in the royal collections around 1665. Against a neutral background, highlighted with a red drapery, stands the figure of Don Pedro Díaz de Morales. His exquisite attire, hairstyle and cape correspond to the fashion of the second half of the seventeenth century, approximately, with the color black predominating in the clothes as the main detail of luxury, along with embroidery and silk. The posture of the personage, the colors, the style, the composition, the use of the neutral background for the portrait, etc., relate the work to Diego Rodríguez da Silva y Velázquez, or, more specifically, to a member of his workshop, such as Juan de Alfaro y Gámez. The portrait in question can be linked to other examples by the same artist, such as "Portrait of Mrs. Isabel Díaz de Morales Muñiz de Godoy y Aguayo", preserved in the Museum of Bilbao, or the portrait of the Caylus Gallery, both painted by Alfaro for the family portrait gallery of the Díaz de Morales family in their palace in Cordoba. Initially trained in his hometown in the workshop of Antonio del Castillo Saavedra, Juan de Alfaro soon went to Madrid. There he entered the studio of Diego Velázquez. While still young, he painted the series of the life of St. Francis for the convent of this saint and an Assumption of the Virgin for the convent of the Discalced Carmelites, both in Cordoba. He cultivated the portrait genre, painting portraits of several bishops for the episcopal palace in Cordoba. Among his portrait production, Doña María Josefa Díaz de Morales y Córdoba (1675, private collection, Madrid) and Don Pedro de Arce (whereabouts unknown) stand out. He alternated this activity with the cultivation of miniature and religious painting, such as the Assumption of the Virgin of 1668, which, after belonging to the extinct Museo de la Trinidad, passed to the Museo del Prado. He had two patrons, Pedro de Arce and Juan Gaspar Enriquez de Cabrera, Admiral of Castile. According to Palomino, his displeasure at not being readmitted when the latter returned from exile led him to a state of prostration and melancholy that caused his death. A lover of literature, he was notary of the Holy Office of the Inquisition and also author of a biography of Velázquez, now lost, which was read and used by his disciple Palomino for the writing of his Spanish Parnassus.

      Setdart Auction House
    • JUAN DE ALFARO Y GÁMEZ
      Feb. 17, 2021

      JUAN DE ALFARO Y GÁMEZ

      Est: -

      JUAN DE ALFARO Y GÁMEZ (Córdoba, 1643-1680) "Retrato de D. Juan Francisco Díaz de Morales" Óleo sobre lienzo 194 x 108 cm

      Arte Subastas Bilbao
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