José (1635) Antolinez Paintings & Artwork for Sale | José (1635) Antolinez Art Value Price Guide

Jun. 19, 2024
Virgin and Child | Vierge à l'Enfant
Est: €20,000 - €30,000
Property from a European Distinguished Private Collection José Antolínez Madrid 1635 - 1675 Virgin and Child Oil on canvas Signed and dated lower right f. / Joseph Antolínez / 1660 85 x 96 cm ; 33½ by 37¾ in. ____________________________________________ Provenant d'une prestigieuse collection particulière européenne José Antolínez Madrid 1635 - 1675 Vierge à l'Enfant Huile sur toile Signé et daté en bas à droite f. / Joseph Antolínez / 1660 85 x 96 cm ; 33½ by 37¾ in.
Sotheby's
May. 29, 2024
Circle of JOSÉ ANTOLÍNEZ (Madrid, 1635-1675). "Immaculate Conception". Oil on canvas. Relined. Presents faults.
Est: €13,000 - €14,000
Circle of JOSÉ ANTOLÍNEZ (Madrid, 1635-1675). "Immaculate Conception". Oil on canvas. Relined. Presents faults. Measurements: 128 x 87 cm; 166 x 126 cm (frame). The Dogma of the Immaculate Conception was introduced with force in the Spain of the Counter-Reformation for what would be numerous iconographic representations of the Virgin Mary. Many were the artists who worked on this theme, some of them stood out such as Pacheco, Murillo, Velázquez, Valdés Leal and Francisco de Solís himself. Of Antonílez in particular, it has always been emphasized the large number of works he dedicated to the theme of the Immaculate Conception, of which about twenty copies have been preserved, three of them, signed, in the Prado Museum. In this way he managed to create his own iconographic type, of extreme elegance and refinement, in which the Virgin appears with a concentrated countenance, sweetly absorbed despite the busy group of angels surrounding her. The piece is close to the precepts of José Antolínez, who was one of the most interesting artists of his generation who, due to his early death, could not reach the splendid maturity that his training foreshadowed. This does not prevent him from being considered a great representative of the full Baroque current that renewed painting at the Spanish court during the third quarter of the 17th century. In his work one can perceive the exquisite sensitivity for the recreation of Titian's manners - always so present in the Spanish painting of his time -, combined with the reception of the elegant painting of the Nordic masters Rubens and Van Dyck, and the capture of the atmosphere of Velázquez. In this way, his technique is loose and vibrant, singularly seductive in the use of cold tonalities, which unfold in compositions full of vigorous movement and unstable activity. We know of his father's work as a carpenter craftsman, when the family was established in Madrid's Calle de Toledo, although with an ancestral home in the Burgos town of Espinosa de los Monteros. Palomino has conveyed to us the image of a person of a haughty and vain nature, so conscious of his worth that he was often arrogant, an attitude that would provoke abundant friction and disputes with other colleagues. He was a student of Francisco Rizi, with whom he would also become enemies, but this did not prevent his painting from being highly appreciated by his contemporaries. He cultivated all genres: religious painting, landscape -of which we do not have any example-, mythology, portraiture, as well as genre painting. Within the portrait facet are also worthy of note the two children's representations preserved in the Prado Museum. They are works that show, at the same time, the truthful closeness of the characters and the capture of the atmosphere that surrounds them, so much so that they were considered works by Velázquez, until recently when they were attributed to Antolínez by Diego Angulo. Of the canvases preserved in the Prado Museum, "The Transit of the Magdalene" and the two children's portraits come from the royal collections and two of the Immaculate Conception belonged to the Museum of the Trinity, while the third was acquired in 1931 with the funds bequeathed by Aníbal Morillo y Pérez, IV Count of Cartagena. Presents faults.
Setdart Auction House
Dec. 12, 2023
JOSÉ ANTOLÍNEZ Madrid 1635 - 1675 Jesus tempted by the devil. 1675 Oil on canvas
Est: -
JOSÉ ANTOLÍNEZ Madrid 1635 - 1675 Jesus tempted by the devil. 1675 Oil on canvas Signed and dated Measurements 103 x 82.9 cm Origin: - Private collection, Madrid. This unpublished representation of Jesus tempted in the desert, signed and dated 1675, represents an important contribution to the knowledge of the work of this Madrid artist of the full Baroque period. His training began under the mastery of the painter Julián González de Benavides, but he soon moved to the workshop of Francisco Rizi where he met two other great artists of the time: Juan Antonio Frías y Escalante and Claudio Coello. His biographer Antonio Palomino wrote that Antolínez "became one of the first of his time, as proven by his repeated public and private works, which can be seen in this Court, in which great taste and atician ink are particularly discovered." . This painting dates from the year of the painter's tragic death, which according to Palomino was due to a "black sword confrontation" that he had with his enemies due to his conflictive and haughty character. This work reveals his admiration for the Venetian masters and the atician inks that Palomino spoke of, as evidenced by the beautiful bluish sky in the background and the pink of the tunic. The elegant and luminous figure of Christ who looks at the viewer stands out against the sinister figure of the devil, here dressed as a friar. The composition of unique iconography bears a disturbing resemblance to Christ Served by Angels by Claudio Coello, signed and dated 1661 recently acquired by the State for the National Museum of the Prado. The painting allows you to appreciate its loose and light brushstrokes, and the characteristic vibrant color applied with a mystical vision.
Subastas Segre
Jul. 12, 2023
Circle of JOSÉ ANTOLÍNEZ (Madrid, 1635-1675). "Immaculate". Oil on canvas. Relined.
Est: €2,500 - €3,500
Circle of JOSÉ ANTOLÍNEZ (Madrid, 1635-1675). "Purísima". Oil on canvas. Relined. Size: 141 x 96 cm; 163 x 118 cm (frame). José Antolínez was one of the most interesting artists of his generation who, due to his early death, could not reach the splendid maturity that his training foreshadowed. This does not prevent him from being considered a great representative of the full Baroque current that renewed painting at the Spanish court during the third quarter of the 17th century. In his work we can perceive the exquisite sensitivity for the recreation of Titian's manners - always so present in the Spanish painting of his time - combined with the reception of the elegant painting of the Nordic masters Rubens and Van Dyck, and the capture of the atmosphere of Velázquez. In this way, his technique is loose and vibrant, singularly seductive in the use of cold tones, which unfold in compositions full of vigorous movement and unstable activity. We know of his father's work as an artisan carpenter, when the family was established in Madrid's Calle de Toledo, although with a manor house in the village of Espinosa de los Monteros in Burgos. Palomino has conveyed to us the image of a person of a haughty and conceited nature, so aware of his own worth that he was often arrogant, an attitude that was to cause him a great deal of friction and quarrels with other colleagues. He was a pupil of Francisco Rizi, with whom he also fell out, although this did not prevent his painting from being highly appreciated by his contemporaries. He cultivated all genres: religious painting, landscape painting - of which there are no surviving examples - mythology, portraiture and genre painting. Also worthy of note in the field of portraiture are the two children's portraits in the Museo del Prado. These are works that show both the truthful closeness of the figures and the capturing of the atmosphere that surrounds them, to such an extent that they were considered works by Velázquez until recently when they were attributed to Antolínez by Diego Angulo. Of the canvases in the Prado Museum, "The Transit of the Magdalene" and the two children's portraits come from the royal collections and two of the Immaculate Conception belonged to the Museo de la Trinidad, while the third was acquired in 1931 from the funds bequeathed by Aníbal Morillo y Pérez, 4th Count of Cartagena.
Setdart Auction House
Jun. 16, 2021
JOSÉ ANTOLÍNEZ (1635 / 1675) "Mystical affair with the Infant Jesus adored by Saint John"
Est: €12,000 - €16,000
Bibliography: Gutierrez Pastor, I., "Colección de pintura antigua española y flamenca de los siglos XVI y XVII", Fundación Cultural Forum Filatelico, 2000. Catalogued and reproduced .56 x 83 cm
Ansorena
May. 18, 2021
JOSÉ ANTOLÍNEZ - Penitent Magdalene
Est: €6,000 - €12,000
JOSÉ ANTOLÍNEZ Madrid 1635 - 1675 Penitent Magdalene Oil on canvas size 61 x 83.5 cm We are faced with a totally unpublished work that due to its dimensions it could be a model or sketch for a canvas whose whereabouts we do not know. From a stylistic point of view, the painting shows the loose and vibrant brushwork of the Venetian cut characteristic of the painter, although with a much more sober treatment of color than in finished versions. Bibliography: Angulo Iñiguez, Diego., José Antolínez, Madrid, CSIC, 1927, pp. 26-27 Paintings of four centuries. 1997-1998, José Antolínez (file on Ismael Gutiérrez Pastor), Caylus, 1997, pp. 128-131.
Subastas Segre
May. 12, 2021
JOSE ANTOLINEZ (1635 / 1675) "Lamentation on the dead Christ".
Est: €9,000 - €12,000
. Oil on canvas
Ansorena
Nov. 05, 2020
Spanish School. 17th century. Francisco Collantes Circle.
Est: €2,500 - €4,000
Spanish School. 17th century. Francisco Collantes Circle. “Saint Jerome” Oil on canvas. 56 x 136,5 cm.
La Suite Subastas
Jul. 24, 2020
17th century school of Madrid. Circle of José Antolínez
Est: -
Escuela madrileña siglo XVII. Círculo de José Antolínez (Madrid, 1635-1675). "Inmaculada Concepción", óleo sobre lienzo, 80x100 cm.
Sala de Ventas
Jul. 08, 2020
17th century school of Madrid. Circle of José Antolínez
Est: -
Escuela madrileña siglo XVII. Círculo de José Antolínez (Madrid, 1635-1675). "Inmaculada Concepción", óleo sobre lienzo, 80x100 cm.
Sala de Ventas
Oct. 24, 2018
José Antolínez, The Annunciation, Oil on canvas
Est: €4,000 - €5,000
José Antolínez Madrid 1635 - 1675 The Annunciation Oil on canvas Inscription on the back: "Antolínez - Original" 77x59.5 cm
Balclis
Dec. 07, 2017
JOSÉ ANTOLINEZ | The Baptism of Christ
Est: £20,000 - £30,000
oil on canvas
Sotheby's
Oct. 25, 2017
ATTRIBUTED TO JOSÉ ANTOLÍNEZ, The Immaculate Conception. Oil on canvas
Est: -
Inmaculada ATRIBUIDO A JOSÉ ANTOLÍNEZ (Madrid, 1635-1675)Inmaculada
Isbilya Subastas
Jan. 25, 2017
ATTRIBUTED TO JOSÉ ANTOLÍNEZ (Madrid, 1635-1675). Oil on canvas
Est: -
ATRIBUIDO A JOSÉ ANTOLÍNEZ (Madrid, 1635-1675) Inmaculada Óleo sobre lienzo 176 x 123 cm.
Isbilya Subastas
Oct. 04, 2016
Manner of Jose Antolinez [1635-1675], 18th Century
Est: £300 - £500
Manner of Jose Antolinez [1635-1675], 18th Century- The Baptism of Christ oil on copper oval, 13.5 x 11cm.
Bearnes Hampton & Littlewood
Apr. 14, 2016
17th CENTURY ANDALUSIAN SCHOOL
Est: -
17th CENTURY ANDALUSIAN SCHOOL ESCUELA ANDALUZA SIGLO XVII Círculo de José Antolínez (Madrid, 1635-1675). "Inmaculada Concepción", óleo sobre lienzo, 80x100 cm.
Sala de Ventas
Oct. 27, 2015
JOSÉ ANTOLINEZ | The Infant Saint John the Baptist kissing the feet of the Christ Child, three angels carrying a cross above
Est: £3,000 - £4,000
oil on canvas
Sotheby's
Oct. 21, 2015
THE ADORATION OF THE SHEPHERDS
Est: -
ATRIBUIDO A JOSÉ ANTOLÍNEZ (Madrid, 1635-1675) Adoración de los pastores Óleo sobre lienzo 61 x 80,5 cm
Isbilya Subastas
Jun. 03, 2015
José Antolínez (Madrid 1635-1675) The Baptism of Christ oil on
Est: $40,000 - $60,000
José Antolínez (Madrid 1635-1675) The Baptism of Christ oil on canvas 65 ½ x 43 1/8in. (166.5 x 109.5 cm.)
Christie's
Apr. 29, 2015
JOSÉ ANTOLINEZ | The Infant Saint John the Baptist kissing the feet of the Christ Child, three angels carrying a cross above
Est: £6,000 - £8,000
oil on canvas
Sotheby's
Dec. 08, 2005
JOSÉ ANTOLINEZ MADRID 1635 - 1675
Est: £20,000 - £30,000
THE DEATH OF THE MAGDALENE measurements note 50.5 by 34 cm.; 19 7/8 by 13 3/8 in. oil on canvas NOTE This appears to be a preparatory study by Antolínez for an untraced final work. The handling and composition can be compared closely to the artist's painting, signed and dated 1667, representing The Martyrdom of Saint Sebastian, today in the Museo Cerralbo, Madrid (see D. Angulo Iñiguez, José Antolínez, Madrid 1957, p. 29, reproduced plate 39). The free handling and cool colour tones are entirely characteristic of Antolínez's mature work and reflect the influence of paintings by Rubens and the Venetian colourists present in the Spanish Royal Collection in Madrid. The attribution to José Antolínez has been endorsed by Professor Alfonso Pérez Sánchez, following first hand inspection.
Sotheby's