Alonso del Arco Paintings & Artwork for Sale | Alonso del Arco Art Value Price Guide

Oct. 28, 2024
ALONSO DEL ARCO (Madrid, 1635 - 1704). "The flight to Egypt". Oil on canvas. Relined. It has frame of the nineteenth century.
Est: €7,000 - €8,000
ALONSO DEL ARCO (Madrid, 1635 - 1704). "The flight to Egypt". Oil on canvas. Relined. It has frame of the nineteenth century. Measurements: 105 x 163 cm; 119 x 180 cm (frame). This scene is developed in an idealized landscape in half-light, where the monumental figures of the protagonists stand out; Joseph, who guides the mule on which the Virgin is seated, who holds her son in her arms. The Family is followed by two angels who seem to escort their way and by three cherubs, located in a heavenly area, carrying grapes and the palm of martyrdom, thus anticipating the destiny of the little Jesus. A composition very similar to that seen in a painting by Alonso del Arco that belongs to the Carmen Thyssen-Bornemisza Collection. It is the darkness that bathes the scene that emphasizes the sense of flight as a theme and confronts the viewer with a scene in which he becomes an accomplice. The flight to Egypt is an episode from the Gospel of Matthew, often used in art to identify the Holy Family with those disadvantaged by emigration and political repression. The New Testament story, very brief and typical of the Gospel of Matthew, tells how an angel appears in a dream to St. Joseph and tells him that he must flee to Egypt with Mary and the Child, because King Herod was looking for him to kill him. Joseph obeys, and after a while he is ordered to return, in a similar manner. The evangelist himself sees in the episode the fulfillment of an Old Testament prophecy: "out of Egypt I called my son" (Hosea 11:1). In the apocryphal Gospels and in the later Christian tradition, this episode will be expanded with a multitude of anecdotes and miracles that occurred during the journey, among which we find the rest during the flight to Egypt, an obligatory pause for the Virgin to breastfeed the Child. Alonso del Arco was a painter from Madrid in the late seventeenth century, a disciple of Antonio de Pereda and deaf from birth, so he was known as "el sordillo de Pereda". Although he began painting in a style very close to that of his master, he soon distanced himself, evolving towards more advanced Baroque forms. Palomino highlighted his gifts as a portraitist, mentioning the series of generals of the Orders of San Juan de Dios and the Merced Calzada, although few portraits by his hand have been preserved to this day. Nevertheless, in his religious works one can appreciate this facility for portraiture, as we can see in the busts of saints in ovals that occupy the intrados of the altar arch of San Felipe Neri in the Trinitarias Descalzas in Madrid, one of his most important works. Likewise, in 1679 he collaborated with Claudio Coello, José Jiménez Donoso and Matías de Torres, among others, in the ephemeral decorations for the entrance into Madrid of María Luisa de Orleans, despite all this, his main theme was religious, which he cultivated for temples in Madrid, Toledo and Valladolid. He used Flemish engravings as a base for many of his compositions, something that was criticized by Palomino himself, but which helped Alonso del Arco to work faster and at a lower cost.works by his hand are currently preserved in the Prado Museum, the Santa Cruz Museum in Toledo, the Lázaro Galdiano Museum in Madrid, the Fine Arts Museum of Asturias and other public and private collections.
Setdart Auction House
Oct. 09, 2024
Monumental Immaculate Conception in Glory, attributed to Alonso del Arco (Madrid, 1635-1704), framed dimensions: 154 x 121 cm
Est: €6,000 - €7,000
The work depicts the Immaculate Conception in all its heavenly splendor, with the Virgin Mary floating in the clouds, dressed in a white tunic and a blue mantle, surrounded by luminous glory. With a posture of prayer, her gaze is raised to the sky while her slender and serene figure dominates the composition. The background, filled with clouds and angels, reinforces the heavenly atmosphere. Attributed to Alonso del Arco, this 17th-century Spanish Baroque painting stands out for its dynamism, drama, and masterful use of light and shadow. The work, which shows influences from Murillo and Ribera, is an outstanding example of the Spanish Baroque and a valuable contribution to the study of the painter from Madrid.
Templum Fine Art Auctions
Oct. 01, 2024
ALONSO DEL ARCO (Madrid, ca. 1635-1704). "Saint Bartholomew the Apostle. Oil on canvas. Relined. Presents restorations on the pictorial surface. It has an important frame with slight damage.
Est: €9,000 - €10,000
ALONSO DEL ARCO (Madrid, ca. 1635-1704). "Saint Bartholomew the Apostle. Oil on canvas. Relined. Presents restorations on the pictorial surface. It has an important frame with slight damage. Measurements: 83,5 x 62 cm; 108 x 87, 5 cm (frame). The presence of the knife on the table reveals that it is a representation of Saint Bartholomew the Apostle. It is likely that this work was originally conceived as part of a larger cycle formed by the twelve apostles, something that was very common in the decoration of religious spaces. In this canvas St. Bartholomew is represented half-length and in the foreground, on a dark and neutral background that enhances his corporeality while helping to focus attention on the figure. Saint Bartholomew is shown in a pious attitude, directing his gaze towards the sky, showing the faithful the rotundity of the form and the devotional expressiveness. The image of Saint Bartholomew has undergone few modifications throughout the history of art, being common the representation of the saint at the moment of martyrdom. Thus, he is usually represented being flayed, either on a colt or tied to a tree. He has also been depicted working miracles: resurrecting the children of King Polymius and freeing his daughter possessed by the devil. On rare occasions he appears being scourged. Sometimes he is represented with a large knife alluding to his martyrdom, according to which he was flayed alive, which is why he is the patron saint of tanners. Also in relation to his martyrdom he is sometimes depicted skinned, showing his skin held in his arm as if it were a piece of clothing. Alonso del Arco was a Spanish Baroque painter, deaf and dumb from birth. There is little biographical information about him, although it is known that he was a disciple of Antonio de Pereda. Of his work we know the altarpieces made between 1675 and 1685, that of San Juan Bautista in the church of San Juan del Mercado (Guadalajara) and that of San Felipe Neri in the church of the Trinitarians in Madrid; The Infant Jesus Sleeping on the Cross (1681) preserved in the Royal Academy of Fine Arts of San Fernando, the Apparition of the Virgin of La Merced to St. Peter Nolasco (1682) preserved in the Prado Museum, as well as numerous versions of the Immaculate Conception, distributed between the Prado and some churches of Valladolid; The Magdalene stripping off her jewels in the Museum of Fine Arts of Asturias and the Annunciation, preserved in the Lazaro Galdiano Museum, among others. In addition, he also painted landscape scenes and portraits, such as Marianna of Austria (1696) preserved in the Museum of Santa Cruz in Toledo, Cardinal Juan Everardo Nithard (1674) and the portraits of the Generals of the Order of St. John of God. He also worked on the fresco technique for the decoration of the dressing room of the chapel of the Virgen de la Oliva de Almonacid, with scenes from the life of the Virgin Mary in 1689. It presents restorations on the pictorial surface. It has a slightly damaged frame.
Setdart Auction House
Mar. 04, 2024
ALONSO DEL ARCO Madrid (1635 / 1704) "The flight into Egypt"
Est: €7,500 - €10,000
Oil on canvas. Measurements: 100 x 160 cm.
Ansorena
Jan. 25, 2024
ALONSO DEL ARCO, 17th century (Madrid, 1635 – 1704). “Immaculate with Child and saint John”. Oil on canvas. Relined. It has a 19th century frame.
Est: €4,000 - €5,000
ALONSO DEL ARCO, 17th century (Madrid, 1635 - 1704). "Purísima with Child and Saint John". Oil on canvas. Re-framed. It has a 19th century frame. Measurements: 74 x 54,5 cm; 89 x 68 cm (frame). Representation of Mary as Immaculate with the figure in full body, standing on a pedestal of baroque aesthetics. It is worth noting that the image dispenses with the usual litanies, with the body or image of the Virgin taking centre stage in the work. The artist depicts the Immaculate Conception in a grandiloquent and theatrical manner, although there are hardly any details that distort Mary's presence, only the addition of the Child held in her right arm and the little Saint John, who is on the pedestal. The artist plays with a delicate chromatic range in which gold is the most prominent, thus adding warmth to the scene. However, the Virgin's blue and reddish mantle breaks with the unity of the neutral background, so that the figure of the Virgin acquires greater emphasis in the scene. Alonso del Arco was a painter from Madrid at the end of the 17th century, a disciple of Antonio de Pereda and deaf from birth, for which reason he was known as "Pereda's little deaf man". Although he began painting in a style very close to that of his master, he soon distanced himself from it, evolving towards more advanced Baroque forms. Palomino noted his talent as a portraitist, mentioning the series of generals of the Orders of San Juan de Dios and the Merced Calzada, although few portraits by his hand have survived to the present day. Nonetheless, his facility for portraiture is evident in his religious works, as can be seen in the busts of saints in ovals that occupy the intrados of the altar arch of San Felipe Neri in the Trinitarias Descalzas in Madrid, one of his most important works. In 1679 he also collaborated with Claudio Coello, José Jiménez Donoso and Matías de Torres, among others, on the ephemeral decorations for the entry into Madrid of María Luisa de Orleans, although his main subject matter was religious, which he produced for churches in Madrid, Toledo and Valladolid. He used Flemish engravings as a basis for many of his compositions, something that Palomino himself criticised, but which helped Alonso del Arco to work more quickly and at a lower cost.works by his hand are now in the Prado Museum, the Santa Cruz Museum in Toledo, the Lázaro Galdiano Museum in Madrid, the Asturias Fine Arts Museum and other public and private collections.
Setdart Auction House
Dec. 12, 2023
ALONSO DEL ARCO Madrid 1635 - 1704 Flight into Egypt Oil on canvas Measurem
Est: -
ALONSO DEL ARCO Madrid 1635 - 1704 Flight into Egypt Oil on canvas Measurements 104.5 x 162.5 cm
Subastas Segre
Sep. 20, 2023
Virgen con Niño Jesús
Est: -
.
Isbilya Subastas
Jun. 22, 2023
ALONSO DEL ARCO, 17th century (Madrid, 1635 – 1704). “Immaculate with Child and saint John”. Oil on canvas. Relined. It has a 19th century frame.
Est: €4,000 - €5,000
ALONSO DEL ARCO, 17th century (Madrid, 1635 - 1704). "Purísima with Child and Saint John". Oil on canvas. Re-framed. It has a 19th century frame. Measurements: 74 x 54,5 cm; 89 x 68 cm (frame). Representation of Mary as Immaculate with the figure in full body, standing on a pedestal of baroque aesthetics. It is worth noting that the image dispenses with the usual litanies, with the body or image of the Virgin taking centre stage in the work. The artist depicts the Immaculate Conception in a grandiloquent and theatrical manner, although there are hardly any details that distort Mary's presence, only the addition of the Child held in her right arm and the little Saint John, who is on the pedestal. The artist plays with a delicate chromatic range in which gold is the most prominent, thus adding warmth to the scene. However, the Virgin's blue and reddish mantle breaks with the unity of the neutral background, so that the figure of the Virgin acquires greater emphasis in the scene. Alonso del Arco was a painter from Madrid at the end of the 17th century, a disciple of Antonio de Pereda and deaf from birth, for which reason he was known as "Pereda's little deaf man". Although he began painting in a style very close to that of his master, he soon distanced himself from it, evolving towards more advanced Baroque forms. Palomino noted his talent as a portraitist, mentioning the series of generals of the Orders of San Juan de Dios and the Merced Calzada, although few portraits by his hand have survived to the present day. Nonetheless, his facility for portraiture is evident in his religious works, as can be seen in the busts of saints in ovals that occupy the intrados of the altar arch of San Felipe Neri in the Trinitarias Descalzas in Madrid, one of his most important works. In 1679 he also collaborated with Claudio Coello, José Jiménez Donoso and Matías de Torres, among others, on the ephemeral decorations for the entry into Madrid of María Luisa de Orleans, although his main subject matter was religious, which he produced for churches in Madrid, Toledo and Valladolid. He used Flemish engravings as a basis for many of his compositions, something that Palomino himself criticised, but which helped Alonso del Arco to work more quickly and at a lower cost.works by his hand are now in the Prado Museum, the Santa Cruz Museum in Toledo, the Lázaro Galdiano Museum in Madrid, the Asturias Fine Arts Museum and other public and private collections.
Setdart Auction House
Dec. 13, 2022
ALONSO DEL ARCO - Saint Rita of Cascia
Est: -
ALONSO DEL ARCO Madrid 1635 - 1704 Santa Rita de Cascia Oil on canvas Size 47.5 x 35 cm
Subastas Segre
Jun. 15, 2022
ALONSO DEL ARCO Madrid (1635 / 1704) "Immaculate Conception", 1692
Est: €9,000 - €12,000
Oil on canvas Signed and dated in the lower right corner Provenance: -Collection of José Lázaro Galdiano. On the back a label of the Caja General de Reparaciones and handwritten in ink: "Serrano 114 Lázaro Galdeano 6 May 38". -Private collection Madrid . 102 x 83 cm
Ansorena
Jun. 01, 2021
Circle of ALONSO DEL ARCO, XVII century (Madrid, 1635 - 1704). "Virgin of Solitude with Antonio Abad", 1612. Oil on copper. Dated on the back.
Est: €4,500 - €5,000
Circle of ALONSO DEL ARCO, XVII century (Madrid, 1635 - 1704). "Virgin of Solitude with Antonio Abad", 1612. Oil on copper. Dated on the back. Measures: 23 x 15 cm; 26 x 18 cm (frame). Baroque painting of Madrid school, very close to the work of Alonso del Arco, of whom are preserved Virgins of the Solitude that follow this same compositional model: the praying Virgin, standing, in silver niche embossed with cherubs and mandorla type border. In this case she is accompanied by Saint Anthony Abbot, the founder of the eremitic movement, holding in his hands a cartouche with the legend "charity". Stylistically, the emphasis on drawing is balanced by a precise tonal work that highlights the variety of textures and qualities, of clothing, flesh tones and liturgical objects. Our Lady of Solitude is a variant of the advocation of the Virgin Mary of the title of Our Lady of Sorrows. The model, instituted by Gaspar Becerra in his Virgen de la Soledad del convento de la Victoria, gave rise to a characteristic and uniquely Spanish iconography of this advocation that spread throughout the Christian world. However, it has its roots in the diffusion throughout Europe of the cult of Our Lady of Sorrows, since the Solitude of Mary is the last of the Seven Sorrows of the Virgin Mary. Alonso del Arco was a painter from Madrid in the late seventeenth century, a disciple of Antonio de Pereda and deaf from birth, so he was known as "el sordillo de Pereda". Although he began painting in a style very close to that of his master, he soon distanced himself, evolving towards more advanced Baroque forms. Palomino highlighted his gifts as a portraitist, mentioning the series of generals of the Orders of San Juan de Dios and the Merced Calzada, although few portraits by his hand have been preserved to this day. Nevertheless, in his religious works one can appreciate this facility for portraiture, as we can see in the busts of saints in ovals that occupy the intrados of the altar arch of San Felipe Neri in the Trinitarias Descalzas in Madrid, one of his most important works. Likewise, in 1679 he collaborated with Claudio Coello, José Jiménez Donoso and Matías de Torres, among others, in the ephemeral decorations for the entrance into Madrid of María Luisa de Orleans, despite all this, his main theme was religious, which he cultivated for temples in Madrid, Toledo and Valladolid. He used Flemish engravings as a base for many of his compositions, something that was criticized by Palomino himself, but which helped Alonso del Arco to work faster and at a lower cost.works by his hand are currently preserved in the Prado Museum, the Santa Cruz Museum in Toledo, the Lázaro Galdiano Museum in Madrid, the Fine Arts Museum of Asturias and other public and private collections.
Setdart Auction House
Jun. 28, 2017
ALONSO DEL ARCO, Sagrada Familia con San Juanito. Oil on canvas
Est: -
Sagrada Familia con San Juanito Versión de un seguidor del bodegón de Juan de Zurbarán que se conserva en el museo de la Real Academia de Bellas Artes de San Fernando.
Isbilya Subastas