Juan Carreño de Miranda Paintings & Artwork for Sale | Juan Carreño de Miranda Art Value Price Guide

Jun. 26, 2024
According to models by Juan Carreño de Miranda (Avilés March 25 1614 - Madrid October 3 1685) Madrid school of the 18th - 19th century
Est: €5,000 - €6,000
Exquisite Saint Joseph with Child in Arms Oil on canvas measures: 100 x 75 cm measures with frame: 122 x 73 cm
Templum Fine Art Auctions
Feb. 21, 2024
JUAN CARREÑO DE MIRANDA (Avilés, Asturias, 1614 – Madrid, 1685). "The lactation of San Bernardo". Oil on canvas. Relined. It has a frame from the 18th century.
Est: €30,000 - €40,000
JUAN CARREÑO DE MIRANDA (Avilés, Asturias, 1614 - Madrid, 1685). "The Lactation of Saint Bernard". Oil on canvas. Re-framed. It has an 18th century frame. Measures: 165 x 109 cm; 172.5 x 116 cm (frame). This work follows the models of the picture painted by Carreño de Miranda which is currently in the Museum of the parish church of the Collegiate Church of Pastrana. In this oil painting, fully Baroque in style and execution, a scene from the life of Saint Bernard (12th century) is narrated: the mystical apparition of the Virgin while the saint is praying in his ecclesiastical chambers. The figure, rendered with a monumental sense of form and a richly nuanced treatment of colour, is dressed in cardinal's robes, holding a golden crosier and with the mitre resting at his side. In a typically Baroque break of luminous glory, the Virgin (following the iconographic pattern of the Virgin of the Milk) uncovers her breast, from which, according to legend, she poured her milk, which nourished the saint. The plump, tender faces of the cherubs are typically Miranda, as is the supernatural depiction of the event. The Child Jesus holds the Orb and looks tenderly at the saint, who in turn looks at the Virgin, establishing a mystical triangle. Compositionally, the painting is enriched by an architectural note and two friars in the distance whose greyish appearance contrasts with the amber lights of the atmosphere surrounding the Virgin, whose sweet, idealised face also contrasts with the greater naturalism of the Cardinal's characterisation. Juan Carreño de Miranda is one of the leading figures in the Spanish court painting scene of the second half of the 17th century, to which he contributed a style that combines structural solidity with a notable taste for colour and which draws on the works of previous generations of local artists, including Velázquez, as well as those of some of the foreign painters who most influenced the development of the Madrid Baroque, including Titian, Rubens and Van Dyck. The nephew and son-in-law of painters, he trained in the workshops of Pedro de las Cuevas and Bartolomé Román in Madrid, and his first dated work dates from 1646. From then on he was very active in the Madrid milieu, where he occupied a privileged position and held important official posts. In fact, he was appointed painter to the king in 1669, and from then until his death he devoted himself chiefly to portraying the royal family and various members of the court. However, throughout his career he painted a notable variety of subjects in a variety of techniques. He was a notable draughtsman, painted in fresco and produced a prolific output of paintings on canvas, particularly as a religious painter as well as a portraitist. In this genre he had important clients such as Toledo cathedral and prominent religious orders. Today Carreño de Miranda is widely represented in the Prado Museum, as well as in the San Telmo Municipal Museum in San Sebastián, the Hermitage in St Petersburg, the J. Paul Getty Museum in Los Angeles, the J. Paul Getty Museum in Los Angeles, the Hermitage in St Petersburg and the Museo del Prado in Madrid. Paul Getty in Los Angeles, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York, the Museum of Fine Arts in Boston, the Rijksmuseum in Amsterdam, the Museum of Fine Arts in Bilbao, the Courtauld Institute in London, the Museo Lázaro Galdiano, the Hispanic Society in New York, the Víctor Balaguer Library-Museum in Vilanova i la Geltrú and the El Greco House-Museum in Toledo, among many others.
Setdart Auction House
Dec. 18, 2023
JUAN CARREÑO DE MIRANDA Aviles (1614) / Madrid (1685) "Martyrdom of Saint Sebastian"
Est: €48,000 - €64,000
Oil on canvas Work attributed to Juan Carreño de Miranda by Jose Gomez Frechina. Report signed in 2019 is attached. Measurements: 121 x 84 cm
Ansorena
Dec. 13, 2022
JUAN CARREÑO DE MIRANDA - Ecce Homo with Caiaphas
Est: -
JUAN CARREÑO DE MIRANDA Avilés 1614 - Madrid 1685 Ecce Homo with Caifás Oil on canvas Measurements 112 x 83.5 cm Until now only known the Ecce Homo with Caifás by Juan Carreño de Miranda that was released in 1972 by Jesús Fernández Barretini. The one we present now derives compositionally from this same model, although it is also indebted to the Ecce Homo (oil on canvas, signed, 84.5 x 61.5 cm) auctioned in this same house in February 2019. This work was fits perfectly into the painter's second stage, in his heyday as a Chamber painter at the court of Carlos II. His dense and long brushstrokes with which he recreates any texture or object, are combined with other more sparkling ones that allow him to express the drama of a scene conceived to move the devoted spectator. In these paintings, neo-mannerism and great theatricality in gestures are characteristic, without forgetting the Rubenian opulence and the neo-Venetian color as a memory of the painting of Tintoretto and Veronese. We can end by stating that this Ecce Homo with Caifás is a happy addition to Carreño's catalogue. Bibliography: - Jesús Barretini Fernández, Juan Carreño, chamber painter of Carlos II, 1972. p. 144. - Alfonso E. Pérez Sánchez, Juan Carreño de Miranda (1614-1685), Avilés City Council, 1985, plate. 107. - Ángel Mario Carreño Rodríguez and Pilar López Vizcaíno, Juan Carreño Miranda. Life and work, Cajastur, 2008, pp. 218-219.
Subastas Segre
Jul. 20, 2022
PORTRAIT OF KING CARLOS II "THE BEWITCHED", SCHOOL OF JUAN CARREÑO DE MIRANDA (1614 - 1685), SPANISH SCHOOL OF THE 18TH CENTURY
Est: €6,000 - €8,000
Oil on canvas, canvas measurements: 151 x 111. Full-length portrait of King Carlos II "The Bewitched", several versions of this composition are known, among which a similar full-length portrait, preserved in the Prado and from from the Royal Collection (inventory number P000642). Juan Carreño de Miranda (Avilés, March 25, 1614-Madrid, October 3, 1685), called by Miguel de Unamuno as the painter of the "Austrian decadence of Spain", from 1671 he was court painter to Carlos II. Between 1658 and 1671, in close collaboration with Francisco Rizi, he painted large altar cloths in oil and, in fresco or tempera, the ceilings of some halls of the old Alcázar of Madrid, those of the dressing room of the Virgen del Sagrario of the cathedral of Toledo and those of several Madrid churches, of which only survive, partially, the works carried out in the Toledo cathedral and the paintings of the elliptical dome of the church of San Antonio de los Alemanes. As a court portraitist, he continued the type of Velazquez portrait, with the same sobriety and lack of artifice but using a looser and more pasty brushstroke technique than that used by the Sevillian master, without missing, especially in male portraits, the influences of Anton van Dyck, as befits a later date. To this final stage of his career belong the portraits of Charles II and his mother, the widowed queen Mariana of Austria, of the Russian ambassador, Piotr Ivanovich Potemkin, of Eugenia Martínez Vallejo, dressed and nude, and of the buffoon Francisco de Bazán (Museum del Prado),
Templum Fine Art Auctions
Apr. 06, 2022
CÍRCULO DE JUAN CARREÑO MIRANDA (Avilés, Asturias, 1614 - Madrid, 1685)
Est: -
CÍRCULO DE JUAN CARREÑO MIRANDA (Avilés, Asturias, 1614 - Madrid, 1685) Título: Inmaculada Concepción Óleo sobre lienzo 125x190 cm
Arte Subastas Bilbao
Apr. 06, 2022
JUAN CARREÑO DE MIRANDA (Avilés, Asturias, 1614 – Madrid, 1685). "Portrait of Carlos II". Oil on canvas. Relined. Attached report issued by Don José María Quesada. Presents restorations.
Est: €18,000 - €20,000
JUAN CARREÑO DE MIRANDA (Avilés, Asturias, 1614 - Madrid, 1685). "Portrait of Charles II. Oil on canvas. Re-drawn. Attached report issued by Don José María Quesada. It presents restorations. Measurements: 82 x 62 cm; 103 x 83 cm (frame). This work reproduces the effigy of the Monarch Carlos II, nicknamed the bewitched one. The composition of the work is aesthetically similar to the work carried out by Juan Carreño de Miranda, around 1680 and which is currently kept in the collection of the Prado Museum in Madrid. In this work the monarch is portrayed half-length, dressed in dark clothes, with the brightness of the toisón hanging from his neck standing out. The Museo del Prado points out that "more than twenty copies of this model, which originated with Velázquez, are known. Although the portraits generally associated with Charles II are full-length and are more developed in terms of scenography, the tradition of the last portraits of his father was occasionally revived". Juan Carreño de Miranda is one of the leading figures in the Spanish court painting scene of the second half of the 17th century, to which he contributed a style that combines structural solidity with a notable taste for colour, and which has as its sources both the works of the preceding generations of local artists, including Velázquez, and those of some of the foreign painters who most influenced the development of the Madrid Baroque, among them Titian, Rubens and Van Dyck. The nephew and son-in-law of painters, he trained in the workshops of Pedro de las Cuevas and Bartolomé Román in Madrid, and his first dated work dates from 1646. From then on he was very active in the Madrid milieu, where he occupied a privileged position and held important official posts. In fact, he was appointed painter to the king in 1669, and from then until his death he devoted himself chiefly to portraying the royal family and various members of the court. However, throughout his career he painted a notable variety of subjects in a variety of techniques. He was a notable draughtsman, painted frescoes and produced a prolific output of paintings on canvas, particularly as a religious painter as well as a portraitist. In this genre he had important clients such as Toledo cathedral and prominent religious orders. Today Carreño de Miranda is widely represented in the Prado Museum, as well as in the San Telmo Municipal Museum in San Sebastián, the Hermitage in St. Petersburg, the J. Paul Getty Museum in Los Angeles, the J. Paul Getty Museum in Los Angeles and the Museo del Prado in Madrid. Paul Getty in Los Angeles, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York, the Museum of Fine Arts in Boston, the Rijksmuseum in Amsterdam, the Museum of Fine Arts in Bilbao, the Courtauld Institute in London, the Lázaro Galdiano Museum, the Hispanic Society in New York, the Víctor Balaguer Library-Museum in Vilanova i la Geltrú and the El Greco House-Museum in Toledo, among many others.
Setdart Auction House
Apr. 05, 2022
JUAN CARREÑO DE MIRANDA. Avilés (1614) / Madrid (1685). "Study of three cherub heads", c. 1660. 23.3 x 16.5 cm.
Est: €22,500 - €30,000
Inscriptions and marks "22" [crossed out] in brown fountain pen in the upper central part of the drawing. Bibliography: - Rodríguez Rebollo, Ángel, "Nulla Dies Sine Linea", Tefaf Maastrich Works on Papier/Salon Du Dessin Paris, Artur Ramon Art, 2017, pp. 60-63. This beautiful drawing is closely related to the homonymous copies in the Museo Nacional del Prado (D-97) and the Biblioteca Nacional (DIB/13/2/85). With the latter it shares the same dimensions and technique in a harmonious combination of the three pencils. They may share the same origin with the Museo del Prado, due to the use of the same type of numbering, their size and the type of paper, so they must have belonged to the same notebook which contained drawings by the painter. Black pencil, sanguine and chalk highlights on laid paper adhered to a secondary support. 23.3 x 16.5 cm
Ansorena
Mar. 10, 2022
SAINT JEROME LISTENING TO THE TRUMPET OF THE LAST JUDGMENT, SCHOOL OF JUAN CARREÑO DE MIRANDA (AVILÉS, 1614 - MADRID, 1685), SPANISH SCHOOL OF THE 18TH CENTURY
Est: €8,000 - €9,000
Oil on canvas. Framed measurements: 178 x 119. Canvas measurements: 160 x 107 cm
Templum Fine Art Auctions
Feb. 24, 2022
MAGDALENA PENITENTE, MADRID SCHOOL OF THE 17TH - 18TH CENTURIES. CIRCLE OF JUAN CARREÑO DE MIRANDA (AVILÉS, 1614 - MADRID, 1685)
Est: €4,000 - €6,000
Oil on canvas, canvas measures: 104 x 83
Templum Fine Art Auctions
Nov. 04, 2021
JUAN CARREÑO DE MIRANDA (1614 / 1685) Portrait of Charles II, ca.1679-80
Est: €33,000 - €44,000
Attached is a study by José María Quesada (IEHA) attributing the work to the painter. According to Quesada, the present portrait belongs to the group of bust portraits of the monarch painted with a view to updating the portraits of the king that were to preside over all kinds of institutions. It must be about 23 or 24 years old and follows the examples in the Peralada Castle and the Seville Town Hall, perhaps a preliminary portrait for the full-length portraits. . Oil on canvas. 82,5 x 62 cm
Ansorena
Jun. 01, 2021
Spanish school of the late seventeenth century. Circle of JUAN CARREÑO DE MIRANDA (Avilés, Asturias, 1614 - Madrid, 1685). "Portrait of Carlos II". Oil on canvas on its original canvas. Relined. Visible restorations on the back.
Est: €5,000 - €5,500
Spanish school of the late seventeenth century. Circle of JUAN CARREÑO DE MIRANDA (Avilés, Asturias, 1614 - Madrid, 1685). "Portrait of Carlos II". Oil on canvas on its original canvas. Relined. Visible restorations on the back. The canvas is torn. Measurements: 152 x 110 cm. This portrait follows the model of the one painted around 1685 by Juan Carreño de Miranda, now in the Kunsthistorisches Museum in Vienna. Thus, we see the king full-length, dressed in rigorous black, wearing the golden fleece on his chest, leaning on a table with lion-shaped legs (an element that seeks to give solemnity to the figure of Charles II, called "The Bewitched" because of his weak musculature and infertility) and placed before a palatial background. Thus, our portrait follows faithfully, almost literally, the model established by Juan Carreño de Miranda, one of the main figures of the Spanish courtly pictorial panorama of the second half of the 17th century. Carreño defined a style that blends structural solidity with a remarkable taste for color, and which has as its sources both the works of preceding generations of local artists, including Velázquez, and those of some of the foreign painters who most influenced the development of the Madrid Baroque, among them Titian, Rubens and Van Dyck. Nephew and son-in-law of painters, he was trained in the workshops of Pedro de las Cuevas and Bartolomé Román, in Madrid, and his first dated work dates from 1646. From then on he was very active in the Madrid milieu, where he occupied a privileged position, holding important official positions. In fact, he was appointed painter to the king in 1669, and from then until his death he devoted himself mainly to portraying the royal family and various members of the court. However, throughout his career he tackled a remarkable variety of pictorial subjects, in different techniques. He was a notable draughtsman, cultivated the fresco and was the author of a prolific production of paintings on canvas, standing out as a religious painter as well as a portraitist. In this genre he had important clients such as the Cathedral of Toledo and important religious orders. Currently Carreño de Miranda is widely represented in the Prado Museum, as well as in the San Telmo Municipal Museum in San Sebastian, the Hermitage in St. Petersburg, the J. Paul Getty Museum in Los Angeles, the J. Paul Getty Museum in Los Angeles, the Hermitage in St. Petersburg, and the Museo del Prado in Madrid. Paul Getty in Los Angeles, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York, the Museum of Fine Arts in Boston, the Rijksmuseum in Amsterdam, the Museum of Fine Arts in Bilbao, the Courtauld Institute in London, the Lázaro Galdiano Museum, the Hispanic Society in New York, the Víctor Balaguer Library-Museum in Vilanova i la Geltrú and the El Greco House-Museum in Toledo, among many others.
Setdart Auction House
Feb. 16, 2021
JUAN CARREÑO DE MIRANDA - Self-portrait
Est: €22,000 - €44,000
JUAN CARREÑO DE MIRANDA Avilés 1614 - Madrid 1685 Self-portrait. H. 1680-1684 Oil on canvas Sizes 62.5 x 46 cm Origin: - Possibly in the collection of the painter Miguel Jacinto Meléndez, Madrid, h. 1685; Melchor Gaspar de Jovellanos collection, Madrid, h. 1802; donated by the latter to Juan Agustín Ceán Bermúdez, Madrid, h. 1802; collection of Beatríz Ceán Bermúdez, Madrid; sold by the latter to the Marquis of Salamanca; art market, Paris; art market, London. Currently, we know of two Self-portraits by Juan Carreño de Miranda, both in private Spanish collections. This one comes from the London art market and could well be the portrait that belonged to Ceán Bermúdez, since the Salamanca collection was auctioned in Paris. Both are almost identical and the analytical tests carried out confirm that it is completely compatible with Carreño's usual work. His brush is full of impasto, with a dense and long brushstroke with which he recreates any texture or object, as revealed in the Self-Portrait of the present study. Its flesh is also magnificent, painted with subtlety and precision, sometimes with a more sparkling brushstroke that allows us to express the different variations that human flesh has when it is illuminated to different degrees, an aspect that is also present to a high degree in our Self-Portrait. Like Velázquez, Carreño left us very few examples of his face. Specifically, two Self-Portraits, both from his maturity stage. We can end by stating that this Self-Portrait is a happy addition to Carreño's catalog. (Extract of the complete study carried out by Mr. José María Quesada available on the Segre Subastas website)
Subastas Segre
Mar. 05, 2020
JUAN DE MIRANDA CARRENO (cerchia di)
Est: €500 - €800
(Avilés, 1614 - Madrid, 1685) Ritratto di Carlo II di Spagna Olio su tela, cm 75X58 Questo ritratto di Carlo II di Spagna risale al 1680 circa, quando il re aveva diciannove anni, sembra essere basato sul dipinto di Juan De Miranda Carreno. Accanto ai pittori di corte Francisco Rizi, Francisco de Herrera II, Claudio Coello, Juan Carreño de Miranda fu uno dei principali esponenti del tardo barocco spagnolo. Distinti da quelli della precedente generazione di artisti spagnoli, questi pittori assorbirono l'influenza del Rinascimento veneziano, così come l'arte contemporanea italiana e fiamminga, esempi dei quali erano abbondanti a Madrid nelle collezioni reali e aristocratiche, per creare uno stile caratterizzato da composizioni. Sebbene Coello sia meglio ricordato come pittore di scene religiose a olio e ad affresco, produsse anche un piccolo numero di scene secolari, principalmente ritratti, di cui quelli di Carlo II e sua madre, Marianna d'Austria (Alte Pinakothek, Monaco) di maggior successo.
Wannenes Art Auctions
Dec. 18, 2019
JUAN CARREÑO DE MIRANDA (Avilés, Asturias, 1614-Madrid, 1685) The Immaculate Conception. Oil on canvas.
Est: -
JUAN CARREÑO DE MIRANDA (Avilés, Asturias, 1614-Madrid, 1685) Inmaculada Oleo sobre lienzo de 54 x 40 cm. A comparar con la obra de la Inmaculada que se conserva en el Seminario Conciliar de Segovia. En marco de época. English Translation JUAN CARREÑO DE MIRANDA (Avilés, Asturias, 1614-Madrid, 1685) The Immaculate Conception. Oil on canvas.
Sala Retiro Subastas
Nov. 20, 2019
17th Century Royal Portrait of Carlos II of Spain Oil Painting after Juan Carreno de Miranda (Spanish, 1614-1685)
Est: $3,000 - $6,000
Juan Carreno de Miranda, after (Spanish, 1614-1685) Spanish School Portrait of Carlos II of Spain 17th Century or later Oil on Canvas Canvas: 30 1/2 in. x 24 5/8 in.; Frame 40 in. x 33 1/4 in. Condition: Good to fair condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Purchased from Galerie Fischer Luzern on 12/19/1966; formerly in the collection of Dr. Khorassani, Munich; John and Johanna Bass Collection; Bass Museum of Art after 1979. Literature: The John and Johanna Bass Collection, Miami Beach, FL 1973, no. 181. Museum Inventory No. 1979.181 Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic & International buyers. Purchaser pick up available upon request.
Hill Auction Gallery
Apr. 10, 2019
ATTRIBUTED TO JUAN CARREÑO DE MIRANDA (Avilés, Asturias, 1614-Madrid, 1685). The Immaculate Conception. Circa 1660. Oil on canvas
Est: -
ATTRIBUTED TO JUAN CARREÑO DE MIRANDA (Avilés, Asturias, 1614-Madrid, 1685). The Immaculate Conception. Circa 1660. Oil on canvas ATRIBUIDO A JUAN CARREÑO DE MIRANDA ((Avilés, Asturias, 1614-Madrid, 1685). Inmaculada. Hacia 1660 Oleo sobre lienzo de 155 x 100 cm. En informe de Daniel Jose Carrasco de Jaime, se menciona que este lienzo podría tratarse del encargado a Carreño por el Duque del Parque, Don Gonzalo de Trelles. &
Sala Retiro Subastas
Apr. 03, 2019
Follower of Juan Carreno de Miranda (Spanish, 1614-1685) Portrait of a young lady, quarter length,
Est: £500 - £700
Follower of Juan Carreno de Miranda (Spanish, 1614-1685) Portrait of a young lady, quarter length, in a dark green dress with lace trim and collar, wearing a pearl necklace, with shoulder length brown ringletted hair dressed with a red ribbon and flowers, within an oval painted vignette oil on canvas, inscribed to label verso, 'No. 9 Juan Carreno de Miranda', in a 19th century gilt and gesso laurel and crossed ribbon frame 23 1/2 x 19 1/2in. (59.75 x 49.5cm.) *Condition: The canvas is well stretched. Even but clearly visible craquelure across the entire canvas. Old relining. Repainting visible to top margin and corners with some visual evidence that the canvas had curled here in the past prior to the old restoration taking place. 1in vertical raised line in paint just to left and below red ribbon in hair to left side of canvas - possible old repair - plus another small possible repair just below top left of green bow on front of dress. Feint horizontal line is visible across the centre of canvas, at base of her neck. Frame has losses to crossed ribbons in a number of places, minor other gesso losses and a crack to left hand side of the slip. Examined under UV - very little is visible as a blocking varnish appears to have been used. The small repair to the left side of the head is visible but otherwise the examination was not particularly helpful.
Martel Maides
Nov. 15, 2018
Follower of Juan Carreno de Miranda (Spanish, 1614-1685) Portrait of a young lady, quarter length,
Est: £500 - £700
Follower of Juan Carreno de Miranda (Spanish, 1614-1685) Portrait of a young lady, quarter length, in a dark green dress with lace trim and collar, wearing a pearl necklace, with shoulder length brown ringletted hair dressed with a red ribbon and flowers, within an oval painted vignette oil on canvas, inscribed to label verso, 'No. 9 Juan Carreno de Miranda', in a 19th century gilt and gesso laurel and crossed ribbon frame 23 1/2 x 19 1/2in. (59.75 x 49.5cm.) * Condition: The canvas is well stretched. Even but clearly visible craquelure across the entire canvas. Old relining. Repainting visible to top margin and corners with some visual evidence that the canvas had curled here in the past prior to the old restoration taking place. 1in vertical raised line in paint just to left and below red ribbon in hair to left side of canvas - possible old repair - plus another small possible repair just below top left of green bow on front of dress. Feint horizontal line is visible across the centre of canvas, at base of her neck. Frame has losses to crossed ribbons in a number of places, minor other gesso losses and a crack to left hand side of the slip. Examined under UV - very little is visible as a blocking varnish appears to have been used. The small repair to the left side of the head is visible but otherwise the examination was not particularly helpful.
Martel Maides
Jan. 25, 2017
JUAN CARREÑO DE MIRANDA, Immaculate. Oil on canvas
Est: -
JUAN CARREÑO DE MIRANDA 1614 Avilés 1685 Inmaculada Óleo sobre lienzo Esta Inmaculada está representada de frente, en una composición movida, como corresponde a la época barroca en la que se realizó, con las características propias del modelo popularizado por el artista Juan Carreño de Miranda, uno de los más importantes representantes de la escuela madrileña. Con la cabeza ligeramente ladeada y rodeada del nimbo de estrellas, muestra el pelo largo, y con contenida serenidad recoge una mano abierta sobre el pecho mientras que en el otro brazo, extendido, apoya el manto azul que porta sobre una túnica blanca, doblados ambos en abundantes pliegues, como es común en las Inmaculadas de este pintor. En la parte inferior se observa la esfera lunar apenas sugerida sobre la que se erige María, en torno a la cual revolotean ángeles portando atributos de la Inmaculada: el espejo, rosas, la vara de azucenas, la palma. En la parte superior cabezas de querubines surgen de entre los resplandores y fulgores amarillos y rojizos del fondo de la escena. Juan Carreño de Miranda crea este tipo que evidentemente tuvo éxito, repitiéndolo él mismo en múltiples ocasiones con variaciones más o menos significativas, y que fue ampliamente copiado por los artistas de su círculo más inmediato hasta bien entrado el siglo XVIII. Se adjunta carta con atribución de D. Alfonso Pérez Sanchez. 164 x 122 cm
Isbilya Subastas
Aug. 21, 2016
EARLY LIFE-SIZE PAINTING JUAN CARRENO DE MIRANDA
Est: $5,000 - $10,000
EARLY LIFE-SIZE PAINTING (JUAN CARRENO DE MIRANDA?): Nearly Full Length Portrait of Middle Age Nobleman, Oil/Canvas, 59" x 44", framed, 69.5" x 55", Christie's label affixed verso. Gentleman is probably in his 40's or early 50s, wearing a sword on his hip with a family crest painted in the upper left hand corner.
Burchard Galleries Inc
Apr. 06, 2016
San Pascual Bailón
Est: -
ATRIBUIDO A SEBASTIÁN DE LLANOS VALDÉS (h. 1605-1677), San Pascual Bailón CARREÑO DE MIRANDA 1614 Avilés 1685 Madrid 114 x 61 cm
Isbilya Subastas
Apr. 05, 2016
Santa Teresa de Jesús
Est: -
JUAN CARREÑO DE MIRANDA (1614 - 1685), Santa Teresa de Jesús CARREÑO DE MIRANDA 1614 Avilés 1685 Madrid Esta nueva Santa Teresa de Jesús se incorpora al corpus de obras de Juan Carreño de Miranda, y se integra entre las pinturas en las que representó a los santos carmelitas como en el cuadro de la Virgen del Carmen amparando a la Orden del Carmelo (Iglesia parroquial de Almeida de Sayago, Zamora, mencionado como original de Carreño por el propio Palomino). La fecha de realización de esta Santa Teresa se podría situar muy cerca del cuadro de Zamora, es decir, hacia 1653, todavía en un periodo de la actividad artística de Carreño relativamente temprano y, por tanto, muy cercano también estilísticamente a los cuadros del Hospital de la Venerable Orden Tercera ( Anunciación, Desposorios místicos de Santa Catalina de Alejandría). Es un periodo en que Carreño trabaja principalmente para las iglesias y los conventos de Madrid y para un nutrido grupo de comitentes que llegaban a la Corte con la intención de adquirir cuadros devocionales. En nuestro cuadro se percibe claramente la huella de la pintura flamenca, el conocimiento que Carreño ha adquirido del estilo de Rubens y Van Dyck a través de las colecciones reales; asimismo, se puede rastrear perfectamente la huella de la pintura clasicista boloñesa, en especial, de Guido Reni, a quien incluso llegó a copiar como lo atestigua su Judith (Madrid, Museo del Prado) , copia literal del cuadro de Reni del mismo asunto. Del italiano escoge la caracterización y el intenso y conmovedor gesto de arrebato de la Santa, que alza la mirada al cielo. Desde el punto de vista formal, el tratamiento del rostro de la Santa y sobre todo las manos son determinantes para concluir que es obra de Juan Carreño de Miranda. El rostro de la Santa es muy semejante al que podemos ver en uno de las santas carmelitas recogidas bajo su manto por la Virgen del Carmen en el cuadro de Zamora; en concreto, la que se encuentra en el extremo derecho de la composición: rostro sonrosado, nariz perfilada y algo puntiaguda, boca menuda y carnosa. En cuanto a las manos, son muy características y habituales en figuras de este maestro: la que se apoya en el pecho aparece en otros personajes, empezando por las Inmaculadas de este artista, como la de la Catedral de Vitoria, la del Convento de la Encarnación de Madrid, la del Convento de Serradilla en Cáceres o la de la Capilla del Instituto San Isidro de Madrid. Es un modelo muy habitual con los dedos puntiagudos y con la colocación de los dedos en idéntica postura. La mano izquierda extendida es semejante pero en posición invertida a la de San Francisco de Asís del Museo de Bellas Artes de Asturias, la del Dios Padre del Bautismo de Cristo de la Iglesia de Santiago de Madrid, o la de la Virgen de la Anunciación del Hospital de la Venerable Orden Tercera. Agradecemos a José María Quesada Valera la catalogación de esta obra. BIBLIOGRAFÍA DE REFERENCIA: LÓPEZ VIZCAÍNO, Pilar; CARREÑO, Ángel Mario (2007): Juan Carreño de Miranda: Vida y obra. Asturias, Edición de Ángel Mario Carreño. PÉREZ SÁNCHEZ, Alfonso E. (1985): Juan Carreño de Miranda (1614-1685). Avilés, Ayuntamiento. PÉREZ SÁNCHEZ, Alfonso E.(1985): Catálogo de la exposición Carreño, Rizi, Herrera y la pintura madrileña de su tiempo (1650-1700). Madrid, Museo Nacional del Prado. 84 x 62 cm
Isbilya Subastas
Apr. 05, 2016
Autorretrato
Est: -
JUAN CARREÑO DE MIRANDA (1614 - 1685), Autoportrait CARREÑO DE MIRANDA 1614 Avilés 1685 Madrid Este interesante e inédito retrato supone una incorporación extraordinaria al catálogo de originales, no sólo de Juan Carreño de Miranda, sino al conjunto de la pintura barroca coetánea de la Escuela de Madrid. Se conocía la existencia de este original perdido a través de un grabado que se conserva en la Biblioteca Nacional de Madrid que, a su vez, según Juan Agustín Ceán Bermúdez, reproducía el grabado que se atribuye a Juan Bernabé Palomino o a su hermano y basado en el autorretrato que, según información de la ficha de la biblioteca Nacional de Madrid, en el siglo XIX era propiedad del Marqués de Salamanca. El pintor se autorretrata de busto en torno a 1680, con unos sesenta y cinco años de edad. Mira al espectador en posición de tres cuartos, vestido con austeridad, un traje negro muy adecuado a la moda de la corte española de mediados del siglo XVII, amenizado con dos toques de color: la cadena dorada que atraviesa su pecho y la golilla de color blanco. El rostro envejecido queda enmarcado por una melena canosa que se funde con el fondo oscuro, una frente ancha, ojos grandes de mirada profunda, que se fijan en el espectador, nariz alargada, algo mofletudo, papada ligera y labios caídos. Carreño ha escogido como modelo para su autorretrato el de uno de sus antecesores: Velázquez (actualmente conservado en el Museo de Bellas Artes San Pío V de Valencia). No aparece con los instrumentos propios de su oficio, ni delante de un caballete. Se muestra desnudo de cualquier elemento que nos informe de su condición de artista porque, posiblemente, busca ennoblecer su oficio y su condición liberal, en línea con el espíritu que inundaban los autorretratos conocidos de Velázquez. Carreño, con una cadena de oro como único elemento, se prestigia retratándose de este modo y se aleja de una tradición artística que no reconocía al pintor como un artista noble sino como un mero artesano. Su condición de Pintor de Cámara de Su Majestad Carlos II sin duda condiciona el modo de representación que escogiese nuestro pintor. Procedencia: S. XIX: Colección Marqués de Salamanca. Bibliografía de referencia: PALOMINO y VELASCO, Antonio Acisclo (1724): Museo Pictórico y Escala Óptica: El Parnaso Español Pintoresco Laureado. Madrid, 1724. Edición moderna a cargo de NINA AYALA MALLORY, Madrid: Alianza, 1986. LÓPEZ VIZCAÍNO, Pilar; CARREÑO, Ángel Mario (2007): Juan Carreño Miranda: vida y obra. Asturias: Cajastur. PÉREZ SÁNCHEZ, Alfonso E. (Comisario) (1985): Catálogo de la exposición Carreño, Rizi, Herrera y la pintura de su tiempo. Madrid: Museo Nacional del Prado. PÉREZ SÁNCHEZ, Alfonso E. (1985): Carreño. Avilés, Ayuntamiento. NAVARRETE PRIETO, Benito (2015): Carreño de Miranda en el Museo de Bellas Artes de Asturias. Oviedo: Museo de Bellas Artes de Asturias. 63 x 48 cm
Isbilya Subastas
Jul. 08, 2015
Circle of Juan Carreño De Miranda (1614-1685) - Saint Sebastian, with putti removing arrows
Est: £6,000 - £8,000
Oil on canvas 163 x 103.5 cm (64 1/8 x 40 3/4)
Dreweatts 1759
Apr. 29, 2015
JUAN CARREÑO DE MIRANDA | The Virgin Lactans with Saint Bernard
Est: £20,000 - £30,000
oil on canvas
Sotheby's
Mar. 27, 2014
ESCUELA ESPAÑOLA DEL SIGLO XVII
Est: -
ESCUELA ESPAÑOLA DEL SIGLO XVII atribuido a Juan Carreño de Miranda (1614-1685). Óleo sobre lienzo. Med.: 39x27 cm. "San Pascual".
Subarna Subastas
Nov. 14, 2013
ATRIBUIDO A JUAN CARREÑO DE MIRANDA (1614-1685)
Est: -
ATRIBUIDO A JUAN CARREÑO DE MIRANDA (1614-1685) ESCUELA ESPAÑOLA DEL SIGLO XVII . Óleo sobre lienzo. Med.: 39x27 cm. "San Pascual".
Subarna Subastas
Dec. 09, 2009
JUAN CARREÑO DE MIRANDA
Est: £50,000 - £70,000
PORTRAIT OF CHARLES II, KING OF SPAIN (1661-1700)
Sotheby's
Dec. 09, 2004
f - JUAN CARREÑO DE MIRANDA AVILÉS, NEAR OVIEDO 1614 - 1685 MADRID
Est: £40,000 - £60,000
inscribed and dated in gold lower centre: PHILIPPO. IV. / DEI GRATIA / HISPANORUM. GENTIUM. / REGE. / CULTO. ET. AMOREI / CHRISTI CRUCIFIXI / EFIGIEN / A. JOANNE CARREÑO / DEPICTAM / EJUSDEM. AUCTOR / ANO MDCLVIII / L. D. oil on panel
Sotheby's