Alonso Cano Paintings & Artwork for Sale | Alonso Cano Art Value Price Guide

Dec. 17, 2024
ALONSO CANO Granada 1601 - 1667 Immaculate Conception, c. 16
Est: -
ALONSO CANO Granada 1601 - 1667 Immaculate Conception, c. 1660-1667 Oil on canvas Dimensions 192.5 x 135.5 cm Provenance: - Collection of General John Meade, Madrid, until 1842. - Bequeathed by John Meade to Ángela Laporta in a public will in Madrid on June 16, 1842. - From 1842 by descent to the current owners. This unpublished Immaculate Conception by the Granadan Alonso Cano is an important addition to the catalogue of works by one of the most outstanding painters of the Spanish Baroque. Its execution date has been placed around 1664-1667, at the height of his artistic career, when the painter, upon his return to Granada, was preparing to finish the Marian series for the main chapel of the metropolitan cathedral of Granada. The model for the Immaculate Conception, as Benito Navarrete had already pointed out, is based on a print by Rafaello Schiaminossi based on a composition by Bernardo Castello, whose model was copied in a second print attributed to Francisco de Herrera the Elder, preserved in the National Library of Madrid. This fusiform compositional model had a great impact on the Conceptionist creations made by Alonso Cano, although the young Velázquez also used this same type in the Immaculate Conception of Dean López Cepero, now in the Focus-Abengoa Foundation in Seville. One of the first works to use this rhomboidal scheme is the Immaculate Conception, which he painted between 1656 and 1660 for the Franciscan convent of San Antonio and San Diego in Granada, now in a private collection in Granada. However, the example that serves as a reference for this work is the Immaculate Conception of the Chapter Oratory of the Metropolitan Cathedral of Granada (fig. 1), painted between 1660 and 1667, which is directly derived from the small carving on the lectern. Another of the works executed by Alonso Cano around 1660-1667, the Immaculate Conception in the Magdeburg Museum (fig. 2), unfortunately destroyed during the course of the Second World War, bears great similarities to Meade's Immaculate Conception. In both works we can see an almost identical posture, with some changes that affect both the cloak and one of the Virgin's arms. There is also a parallel between the position of the head, here not so inclined, and the halo composed of light bursts and the twelve stars of the stellarium. Regarding the latter, it should be noted that Cano had already used this same resource around 1628 for the Immaculate Conception in the church of San Alberto in Seville. Unlike his first Conceptionist works with a marked tenebrist affiliation, at this time Alonso Cano worked on compositions of great lyricism, less complex but luminous, with beautiful blue tones, without renouncing a masterful drawing and admirable execution. We do not know under what circumstances Meade acquired the Immaculate Conception, although we can guess that he had the advice of some of his contacts in the Madrid art circuit. Likewise, it is very difficult to determine the first destination of this painting. We know that Alonso Cano painted several Immaculate Conceptions that are currently in an unknown whereabouts. The excellent state of preservation of the work allows us to observe Cano's work process, with the artist's agile and vibrant brushstrokes being visible, executed without hesitation or modifications that demonstrate his proven mastery in the use of the brush. Another common element with many of Cano's works is the soft but meticulous modeling with which he has treated the flesh tones, with a rich chromatic variety and characteristic shading. The painter's indisputable skill can also be seen in the Virgin's white tunic, in which the brushstrokes are applied using broken and long strokes, which are highly expressive. Bibliography: - Navarrete Prieto, Benito., La pintura andaluza del siglo XVII y sus fuente gravadas, Madrid, 1998. - Aterido Fernández, Ángel and Gila Medina, Lázaro. (coord. and ed.), Corpus Alonso Cano. Documents and texts, Madrid, Ministry of Education, 2002. - Navarrete Prieto, Benito., "Integration of Granada Baroque painting in the European cultural context" in Antiquity and Excellence, cat. exp. Museum of Fine Arts of Seville, 2007, pp. 76-83. - Pérez Sánchez, Alfonso E., Spanish Baroque painting 1600-1750, Madrid, 2010, pp. 208-214.
Subastas Segre
Dec. 07, 2024
Alonso Cano (1601 Granada - 1667 ibid.) (attrib.)
Est: -
Alonso Cano (1601 Granada - 1667 ibid.) (attrib.) Praying Boy, oil on canvas, 81 cm x 65 cm canvas dimensions, partially craquelured, in need of cleaning, retouched, partially restored. A boy kneels down to pray. He turns towards a source of light outside of the painting, which illuminates his face. Spanish court fashion has long since merged into the fashion of the Thirty Years' War, in whose ascetic black the child presents himself. Red-lined boots and a white collar covering his shoulders complete his fussy appearance. The barren landscape in the background, from which the boy turns away, is dominated by a large wooden cross. The loaf of bread that he has placed in front of him refers to the carnal physicality of Christ and to the Last Supper, at which Jesus broke bread with his disciples. The boy is turning towards a divine power that is higher than his own physical existence. The sculptural quality of the boy and the clarity of the forms are reminiscent of Francisco Pachero's influence on Alonso Cano, who valued the disegno, the influence of drawing on the painting, and favoured it over the use of colour. Cano's typical use of light emphasises the spiritual expression of the boy, whose devotion encourages the viewer to devote as well. The artistic quality of the subject and its execution emphasise the high religious significance that this painting had at the time of its creation.
Wettmann
Nov. 25, 2024
Follower of ALONSO CANO (Granada, 1601 - 1667), XIX century. "Virgin and Child". Oil on canvas. Presents restorations. Frame of the nineteenth century in gilded carved wood.
Est: €3,000 - €4,000
Follower of ALONSO CANO (Granada, 1601 - 1667), XIX century. "Virgin and Child". Oil on canvas. Presents restorations. Frame of the nineteenth century in gilded carved wood. Measurements: 92 x 80 cm; 131 x 121 X 7 cm (frame). The present work, of nineteenth-century period, is a version of the painting "The Virgin and Child" by Alonso Cano, preserved in the Prado Museum. Under the moonlight, the devotional image of the Virgin and Child Jesus in this composition is endearing for its silver lighting and for being a very young mother of peasant appearance, far from the idealizing canons of the previous tradition. The couple is placed in the foreground, which gives them volume and solidity, but at the same time the tenderness emanating from their bodies detracts from their monumentality. Mary wears a wavy mane that falls over her shoulders. The red tunic turns mauve under the lunar light. The plump body of the child is endowed with a naturalistic softness that is particularly successful. The blue mantle covers the mother's shoulders and also the lap on which the child lies. The composition is harmonious and balanced. This work summarizes some of the main characteristics of Alonso Cano's style and, especially, his ability to assimilate the most varied influences. Thus, while the composition is based on a well-known print by Dürer, the coloring shows the mark he left on the knowledge of Titian's works in the Royal Collections, and the Virgin is related to some of Raphael's madonnas. But all this interpreted with the serenity and repose characteristic of the painter.
Setdart Auction House
Oct. 28, 2024
Granada school, following models of ALONSO CANO (Granada, 1601 - 1667); c, 1700. "Chapel tabernacle". Carved wood, gilded and polychrome. It presents polychrome of later period and has faults in the carving.
Est: €1,600 - €2,000
Granada school, following models of ALONSO CANO (Granada, 1601 - 1667); c, 1700. "Chapel tabernacle". Carved wood, gilded and polychrome. It presents polychrome of later period and has faults in the carving. Measurements: 50 x 22 x 17 cm; 25 x 28 cm (base). Devotional image of Mary as Immaculate, with a closed and ascending structure, in the form of a spindle, which follows the models established by Alonso Cano. The image represents Mary in a praying position, dressed in blue and white (colors allusive to the concepts of truth and eternity, the blue, and purity, the white), on a pedestal of clouds adorned with cherub faces and with the fourth crescent moon, allusive to the iconography of the Immaculate Conception, which exceeds the sides. The piece follows the traditional iconography, in such a way that the spectator can recreate himself with the delicacy of the carving, which is displayed in the conception of the mantle, which seems to be waved by the wind, and in the fineness of the Virgin's facial features, completely idealized. Because of its formal and iconographic characteristics we can frame this Inmaculada within the circle of followers of Alonso Cano, painter, sculptor and architect who is considered today as one of the most influential artists of the Spanish Baroque. He was also the initiator of the Granada school of painting and sculpture, and his disciples included Juan de Sevilla, Pedro Atanasio Bocanegra, José Risueño, Pedro de Mena and José de Mora. Son of an important assembler of altarpieces and possibly also a draftsman, Alonso Cano was initiated in architectural drawing and imagery by his father, with whom he collaborated from a very young age. In 1614 or 1615 he moved with his family to Seville, where he soon joined the painting workshop of Francisco Pacheco, by then the most prestigious master of the city, in fact Velázquez's master, with whom Cano became a close friend. As a sculptor, it is traditionally considered that he must have trained with Juan Martínez Montañés, although there is no documentary evidence of this. In 1624 he signed his first known painting, and two years later he obtained the title of master painter. In 1638 he moved to Madrid, and was soon appointed chamber painter and drawing teacher of Prince Baltasar Carlos. There he became acquainted with the royal collections, which will lead his language to evolve from its early Caravaggism to a more colorful and elegant language, sometimes related to Van Dyck. However, in 1644 he was accused of murdering his wife, which led him to take refuge in Valencia. A year later he returned to Madrid, and in 1652 he returned definitively to Granada, where he obtained a position in the cathedral thanks to the influence of Philip IV. There he completed the decoration of the main chapel and became the main master of the cathedral. Works by Alonso Cano are currently kept in the Prado Museum, the Museum of Fine Arts in Seville, the Hermitage in St. Petersburg, the Louvre in Paris, the Metropolitan in New York, the J. Paul Getty in Los Angeles and the Art Institute of Chicago, among other important collections in Spain and abroad. It presents polychromy from a later period and has flaws in the carving.
Setdart Auction House
Oct. 20, 2024
Alonso CANO (1601-1667), d'après
Est: €2,000 - €3,000
Alonso CANO (1601-1667), d'après Le Christ lié à la colonne Grande huile sur toile XVIIIe siècle. 147 x 100 cm (Restaurations). Note. Notre tableau est une copie d'un original du Maître Espagnol conservé au Musée des Beaux Arts de Pau.
Osenat
Oct. 06, 2024
Alonso Cano (1601-1667): Holy Family with St. John the Baptist
Est: $8,000 - $12,000
Alonso Cano 1601-1667 Holy Family with St. John oil on canvas unsigned
Abell Auction
Sep. 21, 2024
Alonso Cano, Umkreis
Est: €10,000 - €15,000
Alonso Cano 1601 Granada - 1667 Granada Umkreis - Bildnispaar Maria und Joseph - Öl/Lwd. (2). Doubl. 108 x 39,5 cm bzw. 107,5 x 40,2 cm. Rahmen. Etwas rest. Der spanische Maler, Bildhauer und Architekt gilt als Begründer der Granadinischen Malerei (Escuela granadina de pintura). Aufgrund der Vielseitigkeit seines künstlerischen Talents wurde er auch als der "spanische Michelangelo" bezeichnet.
Das Kunst- und Auktionshaus Kastern GmbH & Co KG
Sep. 12, 2024
ALONSO CANO (Granada, 1601 - 1667) - THE VISION OF SAN FRANCISCO, Granada Baroque school of the 17th century
Est: €90,000 - €120,000
Oil on canvas, measurements: 199 x 158 cm, measurements with frame: 202 x 161. Published in the Spanish Art Archive, No. 210, year 1980. Provenance: important Andalusian private collection.
Templum Fine Art Auctions
Sep. 12, 2024
ALONSO CANO (Granada, 1601 - 1667), Spanish Granada Baroque School of the 17th century - NO RESERVE LOT
Est: €300,000 - €350,000
NOTICE TO BIDDERS: THIS ARTWORK HAS BEEN GRANTED EXPORT PERMIT BY THE SPANISH MINISTRY OF CULTURE AND CAN BE EXPORTED OUTSIDE THE EU. Dossier of Alain Morreau, Paris, and PHD Jose Antonio Diaz Gomez, University of Granada attached. Oil on canvas with measurements: 99.5 x 75 cm. Framed measurements: 150 x 125 cm. Of sublime technique and masterful artistic quality that are difficult to express with words, together with an important Spanish baroque pine frame from the same period in ebonized wood. Very possibly a private devotional commission made during his time in Madrid that spans from 1638 to 1650 of Our Lady of Soledad de la Victoria, a carving of immense devotion at the time both in the Peninsula and in the New World newly established colonial devotional missions, made by the sculptor and image maker Gaspar Becerra (1520-1570) for the disappeared convent of Nuestra Señora de la Victoria in Madrid, in whose church he had an important chapel and of which another version is preserved (larger format and twin of the one offered by Templum Fine Art Auctions ) in the Cathedral of Granada. Measurements: canvas only 99.5 x 75 cm. Framed measurements: 150 x 125 cm. Templum Subastas is pleased to present for the first time to the national and international art and auction market this work, of which a report by the Doctor in Art History of the University of Granada Mr. José Antonio Díaz Gomez is attached. The piece proposed here is presented in an excellent state of conservation, on an original canvas support on a wood frame, 97cm high, 74cm wide and 2cm thick, to which it is stapled after a contemporary intervention. The author of this painting has used the oil technique to recreate a true effigy of the Virgen de la Soledad, a round vestibule carving destroyed during the Spanish Civil War and originally made for the Convent of Our Lady of Victoria, of minimal friars of Madrid, by the Baeza sculptor Gaspar Becerra in 1565, in turn inspired, apparently, by a painting of French origin that Queen Isabel de Valois kept in her private oratory. Alonso Cano captures like no other artist of his time time the maternal tenderness and emotional spirituality that the self-absorbed, dry and austere countenance of the present work awakened in the faithful. Bibliography: Henares Cuéllar, Ignacio (dir.) Alonso Cano: spirituality and artistic modernity. Seville: Ministry of Culture, Junta de Andalucía, 2001; Véliz, Zahira. Alonsco Cano (1601-1667): drawings. Catalog raisonné. Santander: Marcelino Botín Foundation, 2011. Provenance: acquired from an important Spanish private institution dissolved collection.
Templum Fine Art Auctions
Jul. 25, 2024
ALONSO CANO (Granada, 1601 - 1667) - THE VISION OF SAN FRANCISCO, Granada Baroque school of the 17th century
Est: €90,000 - €120,000
Oil on canvas, measurements: 199 x 158 cm, measurements with frame: 202 x 161. Published in the Spanish Art Archive, No. 210, year 1980. Provenance: important Andalusian private collection.
Templum Fine Art Auctions
Jul. 18, 2024
Precious colonial Immaculate Virgin inspired by the models of Alonso Cano (1601-1667), colonial school of New Granada or New Spain, mid-18th century
Est: €1,500 - €2,000
Gilded, stewed, sgraffito and dotted wood carving made of tropical wood, preserving most of its original polychromy. Measurements: 54 x 23 x 15 cm
Templum Fine Art Auctions
Jun. 26, 2024
NUESTRA SENORA DE LA VICTORIA - ALONSO CANO (Granada 1601 - 1667) Spanish Grenada Baroque School of the 17th century - STAR LOT
Est: €650,000 - €750,000
NOTICE TO INTERNATIONAL BIDDERS: THIS ARTWORK HAS BEEN GRANTED THE EXPORT PERMIT BY THE SPANISH MINISTRY OF CULTURE AND CAN BE EXPORTED BOTH OUTSIDE SPAIN AND THE EU Oil on canvas with measurements: 99 5 x 75 cm Framed measurements: 150 x 125 cm Of sublime technique and masterful artistic quality that are difficult to express with words together with an important Spanish baroque pine frame from the same period in ebonized wood Very possibly a private devotional commission made during his time in Madrid that spans from 1638 to 1650 of Our Lady of Soledad de la Victoria a carving of immense devotion at the time both in the Peninsula and in the New World newly established colonial devotional missions made by the sculptor and image maker Gaspar Becerra (1520-1570) for the disappeared convent of Nuestra Señora de la Victoria in Madrid in whose church he had an important chapel and of which another version is preserved (larger format and twin of the one offered by Templum Fine Art Auctions ) in the Cathedral of Granada Measurements: canvas only 99 5 x 75 cm Framed measurements: 150 x 125 cm Templum Subastas is pleased to present for the first time to the national and international art and auction market this work of which a report by the Doctor in Art History of the University of Granada Mr José Antonio Díaz Gomez is attached The piece proposed here is presented in an excellent state of conservation on an original canvas support on a wood frame 97cm high 74cm wide and 2cm thick to which it is stapled after a contemporary intervention The author of this painting has used the oil technique to recreate a true effigy of the Virgen de la Soledad a round vestibule carving destroyed during the Spanish Civil War and originally made for the Convent of Our Lady of Victoria of minimal friars of Madrid by the Baeza sculptor Gaspar Becerra in 1565 in turn inspired apparently by a painting of French origin that Queen Isabel de Valois kept in her private oratory Alonso Cano captures like no other artist of his time time the maternal tenderness and emotional spirituality that the self-absorbed dry and austere countenance of the present work awakened in the faithful Bibliography: Henares Cuéllar Ignacio (dir ) Alonso Cano: spirituality and artistic modernity Seville: Ministry of Culture Junta de Andalucía 2001; Véliz Zahira Alonsco Cano (1601-1667): drawings Catalog raisonné Santander: Marcelino Botín Foundation 2011 Provenance: 1) Acquired from an important Spanish private institution dissolved collection Barcelona 2) Liquidation of the private collection of an antiques dealer and collector Barcelona Lot no subject to reserve price
Templum Fine Art Auctions
May. 16, 2024
Alonso Cano (1601-1667): Holy Family with St. John the Baptist
Est: $8,000 - $12,000
Alonso Cano 1601-1667 Holy Family with St. John oil on canvas unsigned
Abell Auction
Apr. 25, 2024
ALONSO CANO (GRANADA, FEBRUARY 19, 1601-GRANADA, SEPTEMBER 3, 1667) - SIGNED IN ANAGRAMA, GRANADA BAROQUE SCHOOL OF THE 17TH CENTURY
Est: €40,000 - €45,000
Oil on canvas framed measurements: 280 x 110 cm, canvas only measurements: 190 x 126 cm. Originally from La Mancha. His father, Miguel Cano, was a native of Almodóvar del Campo, and his mother, María de Almansa, was a native of Villarrobledo. In 1587 the couple settled in Granada, where they had eight children. Alonso was the seventh and was baptized on March 19, 1601 in the Church of San Ildefonso. Two of the eight children must have died in Granada, since Miguel Cano only refers to six in his will in 1642. The father was a master assembler and worked with altarpieces, choir stalls and tabernacles. In his work in Granada, he collaborated with artists such as Pablo de Rojas, Bernabé de Gaviria, Diego de Navas, Diego de Aranda, Juan García Corrales and Bautista de Alvarado. According to the historian Juan Agustín Ceán Bermúdez, the painter Juan del Castillo passed through Granada and noticed the great gifts of Alonso Cano. He then advised his father to take him to Seville, to train him in the arts. Provenance: important private collection from Seville.
Templum Fine Art Auctions
Apr. 10, 2024
Granada school of the seventeenth century. Circle of ALONSO CANO (Granada, 1601 - 1667). "Christ Crucified. Polychrome wood carving.
Est: €3,500 - €4,000
Granada school of the seventeenth century. Circle of ALONSO CANO (Granada, 1601 - 1667). "Christ Crucified. Polychrome wood carving. Measurements: 30 x 30 x 8 cm. This is a quality carving, which follows the pictorial models of Alonso Cano (see the Christ preserved in the Academy of Fine Arts of San Fernando), and transfers them to the sculpture. It is a Christ of four nails, with an elongated and robust canon, which allows to turn each of the legs separately and give the figure a subjugating presence. The outstretched arms end in precisely turned hands. The two outstretched fingers symbolize the dual nature of Jesus, human and divine. The head falls inert, showing us that the body has stopped suffering, so that the muscles relax slightly showing a harmonious whole, of great beauty. Alonso Cano and other masters from Granada were the standard bearers of the classicist line of the Baroque, as opposed to the extreme pathos that developed in other parts of Spain.
Setdart Auction House
Feb. 20, 2024
Alonso Cano (Spanish 1601 - 1667) Fruit offering, oil on canvas, 20 x 17 inches, framed 28 1/2 x 25 inches.
Est: $500 - $1,500
Alonso Cano (Spanish 1601 - 1667) Fruit offering, oil on canvas, 20 x 17 inches, framed 28 1/2 x 25 inches.
Bill Hood & Sons Arts & Antiques Auctions
Feb. 02, 2024
Perhaps the School of Alonso Cano (Granada 1601 – 1667)
Est: $5,000 - $7,000
Property from the Asbjorn Lunde Foundation Perhaps the School of Alonso Cano (Granada 1601 – 1667) Christ after the Deposition polychrome terracotta height: 9 ⅛ in.; 23.18 cm.
Sotheby's
Dec. 12, 2023
ALONSO CANO Granada 1601 - 1667 Jesus tied to the column. 1620-1624 Oil on canva
Est: -
ALONSO CANO Granada 1601 - 1667 Jesus tied to the column. 1620-1624 Oil on canvas Measurements 165 x 111 cm Origin: - Private collection. We are faced with an unpublished work by a young Alonso Cano who must have painted shortly after leaving the workshop of his teacher Francisco Pacheco in 1616. The painting also demonstrates his contact with Juan del Castillo, whom he would soon surpass and , above all, the influence of the young Velázquez, who from 1617 began to stand out in Seville over the rest of the painters. The technical studies carried out on the painting during its restoration in 2007 by Rocío Viguera and Sierra Muñoz provide significant data for its study. The canvas on which it was made is the type called "mantelillo" or "damasked" fabrics due to the drawing formed by the weft. It is a single piece of cloth that was used from the end of the 16th century and the following century, in commissions of certain relevance. Velázquez himself used it in some of his first Sevillian paintings such as the Imposition of the Chasuble to San Ildefonso. At an uncertain but very early date the painting was also re-covered with a single piece of table cloth. It also presents a very old rectangular intervention in the lower left area. The study of pigments reveals that the preparation is the usual one in 16th century Sevillian painting, known as "red earth." In one of the x-rays you can see a halo made with white lead, a resource that was very common among Sevillian painters at the beginning of the 16th century. An example is the Flagellation of Juan del Castillo from the Museum of Fine Arts in Seville - a work that until recently was attributed to Pacheco - or in early paintings by Velázquez such as the Immaculate Conception of the Focus Foundation (1617) or the Virgin Girl (1617 -1618) appeared recently in Madrid commerce. A first glance allows us to rule out Francisco Pacheco or Juan del Castillo, although he shares important connections with the latter. The figure of Christ is related to the one that appears in the Negation of Saint Peter in the Museum of Fine Arts of Seville (around 1635). This has in turn been linked to the small Christ on the column (38 x 18 cm) of the door of the tabernacle of the main altarpiece of the parish of Santa María la Blanca de La Campana (Seville), painted by Alonso Cano around 1631. Although Castillo's mastery over Cano has traditionally been assumed, Serrera has already shown that in this case it is more feasible to think just the opposite from a certain moment onwards. The chronology of both paintings also confirms this proposal, since the small panel of La Campana de Cano predates Castillo's canvas. Despite being a very early painting, the treatment of the purity cloth and the tunic on the ground tells us of an artist close to the young Velázquez, and even the way of painting them is very reminiscent of those that appear in Saint John the Evangelist in Patmos by Velázquez from the National Gallery, London (ca. 1618). Also in San Juan Bautista in the desert of the Art Institute of Chicago (around 1625), a work recently attributed to Cano. Taking all of the above into account, we believe that the painting should be attributed to Alonso Cano, being one of the first he was able to create. A clear antecedent of our work is Christ tied to the column by Pedro de Campaña, painted in 1547 for the sacramental chapel of the Sevillian church of Santa Catalina. The archaism of the composition or the proximity to the Flemish painter's model, especially in the way of representing the purity cloth, seem to demonstrate this. The way of painting the tunic folded on the ground is very close, as we have already pointed out, to Saint John the Evangelist in Patmos by Velázquez in the National Gallery in London, made around 1618. We are therefore faced with the evidence, so many times pointed out by specialists, about the influence of the young Velázquez on his friend and companion, since he had begun to work for others after passing the master's exam on March 14, 1617. Attached a complete study on the work carried out by the researcher Ángel Rodríguez Rebollo.
Subastas Segre
Nov. 29, 2023
Star Lot - ALONSO CANO (Granada, 1601 - ibidem, 1667) - Saint Teresa Receiving the Holy Spirit, 17th century
Est: €200,000 - €250,000
Exceptional discovery in outstanding condition and unpublished work to date in the Spanish auction market from an important Andalusian private collection. Measurements: 161 x 83 cm canvas only, framed measurements: 180 x 100 cm. Related works: a Santa María Magdalena de Pazzi executed by Alonso Cano during his period in Seville around 1628, of a similar period to the present work, acquired by the Junta de Andalucía at Sotheby's London, lot 17, Old Masters Evening Sale, December 8 2021. And an Apparition of Christ crucified to Saint Teresa of Jesus of similar date preserved in the Prado Museum, inventory number P008152. Reference bibliography: PÉREZ SÁNCHEZ, Alonso E. (1992), Baroque Painting in Spain, 1600-1750. Madrid: Cátedra, ISBN 9788437609941; VÉLIZ, Zahira; CERÓN, Mercedes (2011), Alonso Cano (1601-1667), drawings: catalog raisonné, Santander: Fundación Botín, ISBN 9788496655775. Provenance: important Andalusian private collection.
Templum Fine Art Auctions
Oct. 18, 2023
Spanish school of the seventeenth century. Circle of ALONSO CANO (Granada, 1601 - 1667), after a model by RENI, Guido (Calvenzano di Vergato, Bologna, 1575 - Bologna, 1642). "Santa Catalina". Oil on canvas.
Est: €5,000 - €6,000
17th-century Spanish school. Circle of ALONSO CANO (Granada, 1601 - 1667), based on a model by RENI, Guido (Calvenzano di Vergato, Bologna, 1575 - Bologna, 1642). "Saint Catherine". Oil on canvas. Size: 100 x 80 cm; 128 x 106 cm (frame). The work presents a focally illuminated background, on which stands out the figure of the portrayed, Saint Catherine of Alexandria, a lady with rich clothes and fine features who turns her gaze towards the ground. Her fine gestures are striking and her distinctive attributes, such as the palm of martyrdom and the queen's crown, stand out. The saint's clothing, the whitish complexion, the magnificent and detailed drawing of the work, the chosen colouring, the forms of the woman's face and neck, the lack of accessories that distract the viewer's attention, the size of the figure and the objects, etc. all recall works by Guido Reni, such as his "Saint Catherine", executed around 1606 and now in the Museo del Prado, which Cano's circle was able to see through engravings. Due to its formal characteristics, we can place this work in the circle of followers of Alonso Cano, a key painter, sculptor and architect of the Spanish Baroque. Cano was also the initiator of the Granada school of painting and sculpture, and his disciples included Juan de Sevilla, Pedro Atanasio Bocanegra, José Risueño, Pedro de Mena and José de Mora. The son of an important assembler of altarpieces and possibly also a draughtsman, Alonso Cano was introduced to architectural drawing and imagery by his father, with whom he collaborated from a very early age. In 1614 or 1615 he moved with his family to Seville, where he soon joined the painting workshop of Francisco Pacheco, then the city's most prestigious master and Velázquez's de facto teacher, with whom Cano became a close friend. As a sculptor, he is traditionally considered to have trained with Juan Martínez Montañés, although there is no documentary evidence of this. As early as 1624 he signed his first known painting and two years later he qualified as a master painter. In 1638 he moved to Madrid and was soon appointed court painter and drawing teacher to Prince Baltasar Carlos. There he became acquainted with the royal collections, which led his language to evolve from its early Caravaggism towards a more colourful and elegant language, sometimes related to Van Dyck. However, in 1644 he was accused of murdering his wife, which led him to take refuge in Valencia. A year later he returned to Madrid, and in 1652 he returned permanently to Granada, where he obtained a post in the cathedral thanks to the influence of Philip IV. There he completed the decoration of the main chapel and became maestro mayor of the cathedral. Works by Alonso Cano are currently held in the Prado Museum, the Museum of Fine Arts in Seville, the Hermitage in St Petersburg, the Louvre in Paris, the Metropolitan Museum in New York, the J. Paul Getty Museum in Los Angeles and the Art Institute of Chicago, among other important collections in Spain and abroad. Iconographically, the work depicts Saint Catherine of Alexandria, a Christian martyr of the 4th century. Endowed with a great intelligence, she soon stood out for her extensive studies, which placed her on the same level as the greatest poets and philosophers of the time. One night Christ appeared to her and she decided to consecrate her life to him, considering herself his fiancée from then on. She refused to marry the emperor Maximian, and victoriously held a dispute with fifty philosophers sent by him to prove to him the inanity of the Christian faith. Furious, Maximian condemned her to be torn apart by a spiked wheel. The wheel miraculously breaks, and Catherine is finally beheaded.
Setdart Auction House
Oct. 05, 2023
Alonso Cano Workshop (Granada, 1601-1667).
Est: €3,000 - €5,000
Alonso Cano Workshop (Granada, 1601-1667). "Saint Joseph with the Child" Oil on canvas. 60.5 x 46.5 cm. With an imposing carved, gilded, and polychromed 18th-century wooden frame.
La Suite Subastas
Jul. 07, 2023
ALONSO CANO (GRANADA 1601-1667) AND STUDIO The Immaculate Conception oil on
Est: £20,000 - £30,000
ALONSO CANO (GRANADA 1601-1667) AND STUDIO The Immaculate Conception oil on canvas, unlined 73 1/2 x 51 1/2 in. (186.7 x 130.8 cm.)
Christie's
May. 30, 2023
Precious colonial Immaculate Virgin inspired by the models of Alonso Cano (1601-1667), colonial school of New Granada or New Spain, mid-18th century
Est: €1,500 - €2,000
Gilded, stewed, sgraffito and dotted wood carving made of tropical wood, preserving most of its original polychromy. Measurements: 54 x 23 x 15 cm
Templum Fine Art Auctions
Apr. 26, 2023
Exceptional Saint Dominicus of Guzman, attributable to Alonso Cano or his Workshop (Granada, February 19, 1601- ibid., September 3, 1667) Granada school of the 17th century
Est: €12,000 - €15,000
It presents small faults on the fingers and right sleeve of the tunic, Santo Domingo de Guzmán measurements: 55 x 37 x 20 cm, base measurements: 20 x 30 x 23 cm. Total measurements of the set: 75 x 37 x 23 cm. Mannerism was very influential in Cano's initial training, to which came to be added the baroque style that was beginning to be appreciated in the Sevillian environment. During a good part of his Sevillian period he practiced tenebrism in his paintings.In 1640 he was in charge of restoring some paintings after the fire at the Buen Retiro palace, which led him to assimilate Italian and Flemish pictorial techniques. He was especially influenced by the Venetian painters of the 16th century and by Van Dyck's elegant forms and transparent tones. Between 1639 and 1640 he was commissioned to paint 16 imaginary portraits of medieval kings of Spain for the Golden Hall of the Alcázar in Madrid. In the fire of 1734, all but One King of Spain and Two Kings of Spain were lost. Both are in the Museo del Prado and they show the painter's interest in color and transparency. Reference bibliography: Alonso Cano. Art and iconography. Exhibition catalogue. Granada: Archbishopric of Granada. 2002. ISBN 84-607-4488-4. Origin: old family collection from a mansion in southern Spain. Art and iconography. Exhibition catalogue. Granada: Archbishopric of Granada. 2002. ISBN 84-607-4488-4. Origin: old family collection from a mansion in southern Spain. Art and iconography. Exhibition catalogue. Granada: Archbishopric of Granada. 2002. ISBN 84-607-4488-4. Origin: old family collection from a historic Hacienda in southern Spain.
Templum Fine Art Auctions
Dec. 14, 2022
Attributed to Alonso Cano (Granada 1601-1667) with possible participation of Pedro de Mena (Granada 1628-1688) "San Diego de San Nicolás" 1650s Carved, polychrome and gilt wooden sculpture.
Est: -
Attributed to Alonso Cano (Granada 1601-1667) with possible participation of Pedro de Mena (Granada 1628-1688) "San Diego de San Nicolás" 1650s Carved, polychrome and gilt wooden sculpture. With glass paste eyes and a half-open mouth that reveals the teeth. Polished carnations and great detail in the polychrome reflecting the incipient beard on the face and the texture of the fabric of the habit with its seams and large patches. With a wooden base covered in golden leaves and with four volutes in the corners. The Saint is known as San Diego de Alcalá, for being the place of his death and his body is venerated in the cathedral of Alcalá de Henares. Episodes of ecstasy and levitation as well as several miracles are attributed to him. He appears represented in one of those moments of ecstasy with outstretched arms and looking up at the sky. He wears a Franciscan habit with a hooded cape over his shoulders and a rope girdle with three knots. Alonso Cano and Pedro de Mena shared a workshop and activity in the 1650s when Cano returned to Granada from Madrid to act as ration keeper in the cathedral and settled in Mena's workshop and gave him a concept aesthetic based on technical perfection and realism. With study by Professor José Angel Rivera de las Heras. A San Diego de Alcala, the work of both, was made for the Convent of Santo Angel Custodio in Granada, which has a similar posture to this one that we present with the left leg advanced, which gives it movement and also has a beard several days. It can also be related to San Pedro de Alcántara by Pedro de Mena from the Museum of Valladolid due to the great realism of the face and clothing as well as the expression of ecstasy with both arms outstretched. Height: 68 cm
Subastas Segre
Nov. 10, 2022
Santa Teresa de Jesús
Est: -
Escultura de bulto redondo en madera tallada y policromada representando a Santa Teresa de Jesús. Aparece la Santa de pie vestida con el hábito carmelita y portando un libro en su mano izquierda haciendo alusión a su faceta de escritora y doctora de la iglesia.
Isbilya Subastas
Oct. 27, 2022
Saint John the Evangelist, 17th century Granada school, circle of Alonso Cano (Granada 1601 - September 1667)
Est: €5,000 - €6,000
Oil on canvas, 139 x 116 cm (with frame) and 122 x 104 (canvas).
Templum Fine Art Auctions
Sep. 10, 2022
ALONSO CANO (ATTR.) NINO JESÚS DORMIDO
Est: €2,800 - €5,600
ATTRIBUTED TO ALONSO CANO 19 February 1601 Granada - 3 September 1667 Ibid NINO JESÚS DORMIDO Oil on canvas (old relined). 44 x 58 cm (F. 67 x 82 cm). Part. min. old rest. Frame. A comparable work of the 'Virgin and Child' after Cano is housed in the 'Real Academia de Bellas Artes de San Fernando. The work also shows clear compositional influences of Murillo. For similar and comparable compositions by Murillo see Iniguez, Diego Angulo: Murillo, Madrid, 1981, Vol. III, Lám. 321 (catalogue 215) and Lám. 323 (catalogue 208). 323 (Katalog 208). Provenance: Southwest German private collection.Zeichen(10)ALONSO CANO (ATTR.) 19. Februar 1601 Granada - 3. September 1667 Ebenda NINO JESÚS DORMIDO Öl auf Leinwand (altdoubl.). 44 x 58 cm (R. 67 x 82 cm). Part. min. altrest. Rahmen. Eine vergleichbare Arbeit der 'Jungfrau mit dem Kind' nach Cano beherbergt die 'Real Academia de Bellas Artes de San Fernando. Das Werk zeigt gleichfalls kompositorisch deutliche Einflüsse Murillos. Zu ähnlichen und vergleichbaren Kompositionen Murillos vgl. Iniguez, Diego Angulo: Murillo, Madrid, 1981, Band III, Lám. 321 (Katalog 215) und Lám. 323 (Katalog 208). Provenienz: Südwestdeutsche Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Jul. 19, 2022
ATTRIBUTED TO ALONSO CANO (Granada, 1601-1667) "Vision of Saint Anthony of Padua"
Est: €8,250 - €11,000
Oil on canvas. Provenance: Collection of Gaspar de Haro y Guzmán, Marquis of Carpio; Collection of nobles, Madrid. On the back, an inscription on the canvas with the crowned initials "DGH" that correspond to the collection of Don Gaspar de Haro y Guzmán, Marqués del Carpio, along with its old cataloging: "Sn Antonio de Padua /Original by Alonso Cano/titled El Corregio español". Old 19th century donation label from the Caballero Saavedra family attached to the support. Alonso Cano painted the "Vision of Saint Anthony of Padua" on numerous occasions, one of the best-known episodes in the hagiography of this saint who was awarded the great privilege of having Jesus in his arms. This composition only reproduces the figure of the Franciscan with the Child, dispensing with the image of the Virgin that appears in the majority of compositions, such as the one preserved in the Alte Pinakothek in Munich and a second one that, coming from a private collection, circulated around some time ago. Spanish trade. 65 x 49 cm.
Ansorena
Jun. 23, 2022
Santa Teresa de Jesús
Est: -
Madera tallada, dorada, estofada y policromada
Isbilya Subastas
Apr. 06, 2022
Attributed to ALONSO CANO (Granada, 1601 - 1667). "San Diego de Alcala". Carved and polychrome wood. Vitreous paste eyes.
Est: €26,000 - €28,000
Attributed to ALONSO CANO (Granada, 1601 - 1667). "Saint Diego de Alcalá". Carved and polychrome wood. Vitreous paste eyes. Measurements: 62 x 23 x 18 cm. This carving follows the same aesthetic precepts as the work carried out by Alonso Cano, of the religious Saint Diego, which currently belongs to the Museum of Fine Arts of Granada. Saint Diego de Alcalá (1400-1463), a Spanish Franciscan friar canonised by Pope Sixtus V in 1588, in the only canonisation carried out by the Catholic Church during the 16th century. Born at the end of the 14th century into a modest family in the small village of San Nicolás del Puerto, north of Seville, from his earliest youth Diego consecrated himself to the Lord as a hermit. Already dressed in the Franciscan habit, as a lay brother in the Order of Friars Minor of the Observance, he made numerous journeys, something rare for his time: he lived in the Canary Islands, Rome, Castile and Andalusia, and during his pilgrimage to Rome he visited various parts of Spain, France and Italy. He finally spent his last years in the convent of Santa María de Jesús in Alcalá de Henares, where he died in 1463. He was a very popular saint, patron saint of numerous localities, such as the city of California that bears his name. As a result, great artists treated his figure, as is the case of Lope de Vega, who dedicated a sonnet and a comedy to him. In the visual arts, he is depicted as a young beardless youth, despite the fact that he reached the age of sixty, with two iconographic attributes: a set of keys, for having been the convent's porter and cook, and the most important, some flowers that he picks in his habit, with both hands. This element alludes to one of the most popular episodes of his life, in which it is narrated that Diego was so generous with those who begged at the door of the convent that his superiors found it annoying and excessive. On one occasion they saw the saint wearing something in his habit, and were about to reprimand him when miraculously the bread rolls that Diego brought to the poor turned into roses. Due to its formal characteristics, we can place this work in the circle of followers of Alonso Cano, a key painter, sculptor and architect of the Spanish Baroque. Cano was also the initiator of the Granada school of painting and sculpture, and his disciples included Juan de Sevilla, Pedro Atanasio Bocanegra, José Risueño, Pedro de Mena and José de Mora. The son of an important assembler of altarpieces and possibly also a draughtsman, Alonso Cano was introduced to architectural drawing and imagery by his father, with whom he collaborated from a very early age. In 1614 or 1615 he moved with his family to Seville, where he soon joined the painting workshop of Francisco Pacheco, then the most prestigious master in the city and Velázquez's de facto teacher, with whom Cano became a close friend. As a sculptor, he is traditionally considered to have trained with Juan Martínez Montañés, although there is no documentary evidence of this. As early as 1624 he signed his first known painting and two years later he qualified as a master painter. In 1638 he moved to Madrid and was soon appointed court painter and drawing teacher to Prince Baltasar Carlos. There he became acquainted with the royal collections, which led his language to evolve from its early Caravaggism towards a more colourful and elegant language, sometimes related to Van Dyck. However, in 1644 he was accused of murdering his wife, which led him to take refuge in Valencia. A year later he returned to Madrid, and in 1652 he returned permanently to Granada, where he obtained a post in the cathedral thanks to the influence of Philip IV. There he completed the decoration of the main chapel and became maestro mayor of the cathedral. Works by Alonso Cano are currently housed in the Prado Museum, the Museum of Fine Arts in Seville, the Hermitage in St Petersburg, the Louvre in Paris, the Metropolitan in New York, the J. Paul Getty in Los Angeles and the Art Institute of Chicago, etc.
Setdart Auction House
Jan. 26, 2022
Spanish school of the seventeenth century. Circle of ALONSO CANO (Granada, 1601 - 1667), after a model by RENI, Guido (Calvenzano di Vergato, Bologna, 1575 - Bologna, 1642). "Santa Catalina". Oil on canvas.
Est: €7,000 - €7,500
17th-century Spanish school. Circle of ALONSO CANO (Granada, 1601 - 1667), based on a model by RENI, Guido (Calvenzano di Vergato, Bologna, 1575 - Bologna, 1642).... "Saint Catherine". Oil on canvas. Size: 100 x 80 cm; 128 x 106 cm (frame). The work presents a focally illuminated background, on which stands out the figure of the portrayed, Saint Catherine of Alexandria, a lady with rich clothes and fine features who turns her gaze towards the ground. Her fine gestures are striking and her distinctive attributes, such as the palm of martyrdom and the queen's crown, stand out. The saint's clothing, the whitish complexion, the magnificent and detailed drawing of the work, the chosen colouring, the forms of the woman's face and neck, the lack of accessories that distract the viewer's attention, the size of the figure and the objects, etc. all recall works by Guido Reni, such as his "Saint Catherine", executed around 1606 and now in the Museo del Prado, which Cano's circle was able to see through engravings. Due to its formal characteristics, we can place this work in the circle of followers of Alonso Cano, a key painter, sculptor and architect of the Spanish Baroque. Cano was also the initiator of the Granada school of painting and sculpture, and his disciples included Juan de Sevilla, Pedro Atanasio Bocanegra, José Risueño, Pedro de Mena and José de Mora. The son of an important assembler of altarpieces and possibly also a draughtsman, Alonso Cano was introduced to architectural drawing and imagery by his father, with whom he collaborated from a very early age. In 1614 or 1615 he moved with his family to Seville, where he soon joined the painting workshop of Francisco Pacheco, then the city's most prestigious master and Velázquez's de facto teacher, with whom Cano became a close friend. As a sculptor, he is traditionally considered to have trained with Juan Martínez Montañés, although there is no documentary evidence of this. As early as 1624 he signed his first known painting and two years later he qualified as a master painter. In 1638 he moved to Madrid and was soon appointed court painter and drawing teacher to Prince Baltasar Carlos. There he became acquainted with the royal collections, which led his language to evolve from its early Caravaggism towards a more colourful and elegant language, sometimes related to Van Dyck. However, in 1644 he was accused of murdering his wife, which led him to take refuge in Valencia. A year later he returned to Madrid, and in 1652 he returned permanently to Granada, where he obtained a post in the cathedral thanks to the influence of Philip IV. There he completed the decoration of the main chapel and became maestro mayor of the cathedral. Works by Alonso Cano are currently held in the Prado Museum, the Museum of Fine Arts in Seville, the Hermitage in St Petersburg, the Louvre in Paris, the Metropolitan Museum in New York, the J. Paul Getty Museum in Los Angeles and the Art Institute of Chicago, among other important collections in Spain and abroad. Iconographically, the work depicts Saint Catherine of Alexandria, a Christian martyr of the 4th century. Endowed with a great intelligence, she soon stood out for her extensive studies, which placed her on the same level as the greatest poets and philosophers of the time. One night Christ appeared to her and she decided to consecrate her life to him, considering herself his fiancée from then on. She refused to marry the emperor Maximian, and victoriously held a dispute with fifty philosophers sent by him to prove to him the inanity of the Christian faith. Furious, Maximian condemned her to be torn apart by a spiked wheel. The wheel miraculously breaks, and Catherine is finally beheaded.
Setdart Auction House
Dec. 03, 2021
Cano, Alonso: zugeschrieben. Die Beweinung Christi
Est: €1,000 - €1,500
zugeschrieben. Die Beweinung Christi. Feder in Braun über Spuren von Rötel, rotbraun laviert, aufgezogen. 18,2 x 13,4 cm. Unten teils unleserlich bezeichnet "C.. V...que / Alonso Cano" sowie oben nummeriert "125.". - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Sep. 30, 2021
ALONSO CANO (1601 / 1667) "Christ and the Samaritan Woman" a. 1645-1650
Est: €37,500 - €50,000
This exquisite painting is a version of the well-known canvas by Cano which, with the same theme, has been kept in the rooms of the Museo de la Real Academia de San Fernando since the 19th century. There are a number of differences between this work and the one now in the Academy, the main ones being its format and the fact that Cano focused mainly on the study of the figures and attached less importance to the depiction of the background landscape surrounding the figures. This canvas seems to be the modellino, i.e. the sketch for a painting which, published some years ago, was in a private collection in Barcelona. It could be a prototype from which other versions were made and which may have been intended for the decoration of an altarpiece. Attached is a study of the work by José María Quesada Valera, director of the Instituto de Estudios Histórico-Artísticos. . Oil on canvas..38,5 x 32, 5 cm.
Ansorena
Jun. 08, 2021
Attributed to Alonso Cano (Granada, 1601 - 1667) or José de Mora (Baza, 1642 - Granada, 1724)
Est: €12,000 - €15,000
Attributed to Alonso Cano (Granada, 1601 - 1667) or José de Mora (Baza, 1642 - Granada, 1724) Imposing carved and polychromed wooden sculpture, with glass eyes. It may depict Saint Ignatius of Loyola. 35 x 29 x 15 cm.
La Suite Subastas
Jun. 08, 2021
Attributed to Alonso Cano (Granada, 1601-1667)
Est: €35,000 - €38,000
Attributed to Alonso Cano (Granada, 1601-1667) "Teresa of Ávila" Magnificent carved, gilded, estofado and polychromed sculpture. Total dimensions. 174 x 70 x 35 cm. Height without plinth: 155 cm. Saint Teresa, depicted in one of her two most important roles, that of writer devoted to the religious life, so she can express her revelations. She holds a delicate quill in her right hand and a book in the left. The carving is full of details which permit its attribution to master Alonso Cano, such as the delicate facial features, the expressivity it has, the hands, the multiple and heavy folds in the cloak etc. It is worth mentioning the decoration, the rosy skin tones and, of course, the marvellous estofado on fine gold and black with vegetation motifs of large flowers, combined with the fine and delicate designs of small flowers and circles. This image is comparable to the Saint Teresa by Alonso Cano at the Convent of Buen Suceso in Seville, which is also almost exactly the same height: 148 cm.
La Suite Subastas
May. 13, 2021
Alonso Cano (attr.) (1601-1667) - Saint Francis Borgia
Est: -
Alonso Cano (attr.) (1601-1667) Saint Francis Borgia oil painting on canvas 175 x 104.5 cm The painting dates back to the years following 1624, the year in which the Duke of Gandia was proclaimed Blessed. The cardinal symbols are placed on the ground, in memory of Francis' refusal to the aforementioned appointment. Framed Starting Bid: 500
DAMS Casa d'Aste
Jul. 30, 2020
ALONSO CANO (GRANADA 1601-1667) The infant Christ sleeping
Est: £15,000 - £25,000
ALONSO CANO (GRANADA 1601-1667) The infant Christ sleeping oil on canvas 297⁄8 x 36 in. (76 x 91.4 cm.) inscribed 'ECO DORMIO ECOR MEV VIC' (on the banderole, lower right) Please note this lot is the property of a private individual. Provenance King Louis Philippe I of France (1773-1850), The Spanish Gallery, Louvre, Paris, by 1838; his sale (†), Christie's, London, 6 May 1853, lot 54, 23 gns. to, J. C. W. Sawbridge-Erle-Drax; Christie's, London, 10 May 1935, lot 79, as 'Cano', where unsold.
Christie's
Mar. 05, 2020
* Cano (Alonso, 1601-1667), attributed to. Pyramus and Thisbe, pen, brown ink and brown wash
Est: £400 - £600
* Attributed to Alonso Cano ( 1601-1667). Pyramus and Thisbe, pen, brown ink and brown wash on laid paper, inscribed in a slightly later hand (possibly late 17th or early 18th century) lower right 'geraldi alonso cano', additional sketch in pencil to verso of a running female figure, several pinholes, sheet size183 x 124 mm (7.25 x 4.9 ins), edge-mounted on modern card, window-mounted (Qty: 1)
Dominic Winter Auctions
Feb. 20, 2020
Cercano a Alonso Cano (1601-1667) "Santa Catalina de Alejandría"
Est: -
Cercano a Alonso Cano (1601-1667) "Santa Catalina de Alejandría" Óleo sobre lienzo 103x80 cm
Subastas Darley
Oct. 30, 2019
Busto de San Antonio
Est: -
Busto de San Antonio Con peana 50,5 X 27,5 X 33 cm/ Sin peana 30 x 20 x 30 cm ATRIBUIDO A ALONSO CANO (Granada, 1601 – 1667)Escultura, Artes decorativasMadera tallada y policromada y tela encolada,. , ATTRIBUTED TO ALONSO CANO (Granada, 1601 – 1667) A carved polychrome bust of Saint Anthony
Isbilya Subastas
Jun. 30, 2019
painting oil on canvasrentoile - St Joseph and the Child Jesus - (chipping) signed CANO Alonso
Est: €8,000 - €12,000
Tableau HSTrentoilé -St Joseph et l'Enfant Jésus- (écaillage) signé *CANO A.* (Alonso) (1601. 1667) 96x73cm cadre bois avec étude d'analyse scientifique du Labo UCL de 2018 painting oil on canvasrentoile - St Joseph and the Child Jesus - (chipping) signed CANO Alonso
Monsantic.com
Mar. 20, 2019
Alonso Cano, Nachfolge
Est: CHF5,000 - CHF7,000
Antonius mit Christuskind
Artcurial Beurret Bailly Widmer
Dec. 06, 2017
Studio of Alonso Cano (Granada 1601-1667) Saint John the Evangelist; and S
Est: -
Studio of Alonso Cano (Granada 1601-1667) Saint John the Evangelist; and Saint John the Baptist (2)
Bonhams
Nov. 11, 2017
ATTRIBUTED TO ALONSO CANO (1601-1667); ST. ANTHONY
Est: $800 - $1,200
ATTRIBUTED TO ALONSO CANO (1601-1667); ST. ANTHONY Oil on canvas, inscribed 'by Alonso Cano from King Louis Philipp's sale' on a paper label on the stretcher. 23 x 18 in., 26 1/2 x 21 1/2 in. (frame). Provenance: Sold Sotheby's, London, October 29, 1986, Lot 6. The Collection of Paul F. Walter
STAIR
Jan. 01, 2017
Attributed to Alonso Cano (1601-1667) pen and ink wash Religious, Christ with Angels unsigned writing on original board on back:...
Est: $1,000 - $2,000
Attributed to Alonso Cano (1601-1667) pen and ink wash Religious, Christ with Angels unsigned writing on original board on back: "Original Alonso Cano died 1667" sight size 14 1/4" x 10 1/2"
Nadeau's Auction Gallery
Dec. 12, 2016
ANONIEM / ANONYME XVIII/XIX
Est: €750 - €1,000
ANONIEM / ANONYME XVIII/XIX Sleeping baby Jesus with banderole with legend 'Ego Dormio et Cor Meum Vigilat' (lied van Salomon 5:2). Canvas. A similar painting was recently sold by our colleagues (as Alonso Cano (1601-1667), canvas, 76 x 91 cm, Jordaens, Mortsel). The present composition shows similarities with a version on paper (Bernardo Consorti (1785-?), etching, 242 x 175mm, Sir Joseph Kinsey bequest; Antoon Van Dyck, child sleeping, 1787, etching, 354 x 395 mm, The British Museum, London, inv. nr. 1868,0822.1890). 70 x 90 ANONIEM / ANONYME XVIII/XIX Slapend Christuskind met banderole waarop 'Ego Dormio et Cor Meum Vigilat' (lied van Salomon 5:2). Doek. Een gelijkaardig werk werd onlangs geveild bij onze collega's (als Alonso Cano (1601-1667), doek, 76 x 91 cm, Veilingzaal Jordaens, Mortsel). Onderhavige compositie vertoont ook grote gelijkenissen met een weergave op papier (Bernardo Consorti (1785-?), ets, 242 x 175mm, Sir Joseph Kinsey bequest; Antoon Van Dyck, kind slapend op doek, 1787, gravure, 354 x 395 mm, The British Museum, Londen, inv. nr. 1868,0822.1890). 70 x 90 ANONIEM / ANONYME XVIII/XIX L'Enfant Jésus endormi et banderolle avec légende 'Ego Dormio et Cor Meum Vigilat' (Salomon 5:2). Toile. Un tableau similaire a été vendu récemment chez nos collègues (comme Alonso Cano (1601-1667), toile, 76 x 91 cm, Salle de Ventes Jordaens, Mortsel). La composition de notre tableau ressemble également à une oeuvre sur papier (Bernardo Consorti (1785-?), eau-forte, 242 x 175mm, Sir Joseph Kinsey bequest; Antoon Van Dyck, enfant endormi sur toile, 1787, gravure, 354 x 395 mm, The British Museum, Londen, nr. 1868,0822.1890). 70 x 90
Bernaerts Auctioneers
Sep. 22, 2016
Alonso Cano, 1601 Granada – 1667 Granada, zug.
Est: €8,000 - €12,000
JESUS AUF DEM GANG NACH EMMAUS Öl auf Kupfer. 28 x 36 cm. Die Darstellung bezieht sich auf den Bericht aus dem Neuen Testaments, nach dem Jesus auf dem Gang nach Emmaus, drei Tage nach der Auferstehung, zweien seiner Schüler begegnet, die ihn nicht sofort erkennen. Im Bibeltext werden die Namen der Schüler Jesu nicht genannt. Der Gestaltikonografie gemäß dürfte es sich bei der mittleren der Gestalten um Petrus handeln, bei der linken um Jakobus den Jüngeren. Das vorliegende Gemälde geht auf eine Originalfassung in den Maßen 52 x 67 cm, von Alonso Cano aus dem Zeitraum zwischen 1635 und 1650 zurück, das sich heute im Walters Art Museum in Baltimore, USA, befindet. Möglicherweise handelt es sich bei dem hier vorliegenden kleineren Format auf Kupfer um eine Künstler- bzw. Werkstattwiederholung. Diese kleinere Ausführung weist einige Unterschiede im Detail auf, so ist Jakobus der Jüngere mit Wanderstab und rotem Rock weiter links außerhalb der Mauer postitioniert. In der Kunstliteratur wurde die stilistische Nähe zu Francisco de Zurbaran (1598 - 1664) bereits festgestellt, dem das Originalgemälde vormals auch zugeschrieben war. Die Tatsache, dass hier nicht Jesus als Hauptperson des Neuen Testaments, sondern Petrus im Mittelpunkt des Gemäldes steht, lässt darauf schließen, dass der Auftrag von einer Peterskirche erteilt worden war. Ausführung in hoher Qualität. (1070763) (10) Alonso Cano, 1601 Granada – 1667, attributed JESUS ON THE ROAD TO EMMAUS Oil on copper. 28 x 36 cm. The painting recalls an original version by Alonso Cano dated between 1635 and 1650 today held at the Walters Art Museum in Baltimore, USA.
Hampel Fine Art Auctions