Jerónimo Jacinto Espinosa Paintings & Artwork for Sale | Jerónimo Jacinto Espinosa Art Value Price Guide

May. 29, 2024
Jerónimo Jacinto Espinosa (Cocentaina, Alicante, 1600 - Valencia, 1667). “Christ preaching.” Oil on canvas. Presents expertization by Joan-Ramón Triadó in Barcelona in 1999. Presents technical restoration report.
Est: €8,000 - €9,000
Jerónimo Jacinto Espinosa (Cocentaina, Alicante, 1600 - Valencia, 1667)."Christ preaching".Oil on canvas.Presents expert appraisal by Joan-Ramón Triadó in Barcelona in 1999. Presents a technical restoration report.Measurements: 108 x 86 cm; 142 X 121 cm (frame).Here the monumental figure of the Saviour is the protagonist of the composition, raising his right hand to give the blessing. In his left hand he holds part of his garment which he gathers with his hand on his chest in an attitude of compassion and forgiveness, a motif which alludes to the universal authority of Christian doctrine. Also worthy of note is the importance of the lighting, with a naturalistic influence, as well as the sober chromaticism, with expressive contrasts of light and shade and a directed, dramatic light.Jerónimo Jacinto Espinosa was one of the most important representatives of the early Valencian Baroque. Born in Cocentaina and settled in Valencia, after the death of Francisco Ribalta in 1628 he became the city's most prestigious painter. He trained with his father, the Mannerist painter Jerónimo Rodríguez de Espinosa, and showed precocious talent. His language is also influenced by Francisco Ribalta, as well as by Juan Ribalta and Pedro Orrente. He was a prolific painter, focusing mainly on hagiographic themes and scenes from the New Testament. However, he also produced portraits in the naturalistic style of his training. In fact, Tenebrist naturalism, with its warm, Caravaggesque intonation in the manner of the Ribaltas, remained constant in his work throughout his career, without showing any influence from the new decorative Baroque trends that triumphed in Madrid and Seville.Espinosa signed his first important work, The Miracle of the Christ of the Rescue, in 1622-23. In this canvas he already showed a fully mature style, which soon earned him new commissions from various Valencian convents. His masterly portrait of the Dominican Jerónimo Mos (1628) also dates from this period. Espinosa also worked for the local nobility, although many of the works he executed before 1640 have been lost. In the following years, and especially in the last decade of his life, he produced his most notable works, and worked for the cathedral, the university and the city of Valencia itself. It should also be noted that we have preserved some drawings by his hand, which give us a better understanding of his system of working. These are studies from life, which are essential to achieve the realism of his painting. His work on canvas was fast, with Venetian-style brushstrokes, glazes and fluid paste. As a result, he achieved a brilliance of colour praised by his contemporaries. Espinosa's works are currently held in the Prado Museum, the Fine Arts Museum of Valencia, the University of Valencia, the National Art Museum of Catalonia, the Museum of the City of Valencia and other collections, both public and private, as well as in various religious centres in the Valencian Community.
Setdart Auction House
Feb. 29, 2024
Jerónimo Jacinto Espinosa (Cocentaina, Alicante, 1600 - Valencia, 1667). “Christ preaching.” Oil on canvas. Presents expertization by Joan-Ramón Triadó in Barcelona in 1999. Presents technical restoration report.
Est: €8,000 - €9,000
Jerónimo Jacinto Espinosa (Cocentaina, Alicante, 1600 - Valencia, 1667)."Christ preaching".Oil on canvas.Presents expert appraisal by Joan-Ramón Triadó in Barcelona in 1999. Presents a technical restoration report.Measurements: 108 x 86 cm; 142 X 121 cm (frame).Here the monumental figure of the Saviour is the protagonist of the composition, raising his right hand to give the blessing. In his left hand he holds part of his garment which he gathers with his hand on his chest in an attitude of compassion and forgiveness, a motif which alludes to the universal authority of Christian doctrine. Also worthy of note is the importance of the lighting, with a naturalistic influence, as well as the sober chromaticism, with expressive contrasts of light and shade and a directed, dramatic light.Jerónimo Jacinto Espinosa was one of the most important representatives of the early Valencian Baroque. Born in Cocentaina and settled in Valencia, after the death of Francisco Ribalta in 1628 he became the city's most prestigious painter. He trained with his father, the Mannerist painter Jerónimo Rodríguez de Espinosa, and showed precocious talent. His language is also influenced by Francisco Ribalta, as well as by Juan Ribalta and Pedro Orrente. He was a prolific painter, focusing mainly on hagiographic themes and scenes from the New Testament. However, he also produced portraits in the naturalistic style of his training. In fact, Tenebrist naturalism, with its warm, Caravaggesque intonation in the manner of the Ribaltas, remained constant in his work throughout his career, without showing any influence from the new decorative Baroque trends that triumphed in Madrid and Seville.Espinosa signed his first important work, The Miracle of the Christ of the Rescue, in 1622-23. In this canvas he already showed a fully mature style, which soon earned him new commissions from various Valencian convents. His masterly portrait of the Dominican Jerónimo Mos (1628) also dates from this period. Espinosa also worked for the local nobility, although many of the works he executed before 1640 have been lost. In the following years, and especially in the last decade of his life, he produced his most notable works, and worked for the cathedral, the university and the city of Valencia itself. It should also be noted that we have preserved some drawings by his hand, which give us a better understanding of his system of working. These are studies from life, which are essential to achieve the realism of his painting. His work on canvas was fast, with Venetian-style brushstrokes, glazes and fluid paste. As a result, he achieved a brilliance of colour praised by his contemporaries. Espinosa's works are currently held in the Prado Museum, the Fine Arts Museum of Valencia, the University of Valencia, the National Art Museum of Catalonia, the Museum of the City of Valencia and other collections, both public and private, as well as in various religious centres in the Valencian Community.
Setdart Auction House
Oct. 17, 2023
Jerónimo Jacinto Espinosa (Cocentaina, Alicante, 1600 - Valencia, 1667). “Christ preaching.” Oil on canvas. Presents expertization by Joan-Ramón Triadó in Barcelona in 1999. Presents technical restoration report.
Est: €8,000 - €9,000
Jerónimo Jacinto Espinosa (Cocentaina, Alicante, 1600 - Valencia, 1667). "Christ preaching". Oil on canvas. Presents expert appraisal by Joan-Ramón Triadó in Barcelona in 1999. Presents a technical restoration report. Measurements: 108 x 86 cm; 142 X 121 cm (frame). Here the monumental figure of the Saviour is the protagonist of the composition, raising his right hand to give the blessing. In his left hand he holds part of his garment which he gathers with his hand on his chest in an attitude of compassion and forgiveness, a motif which alludes to the universal authority of Christian doctrine. Also worthy of note is the importance of the lighting, with a naturalistic influence, as well as the sober chromaticism, with expressive contrasts of light and shade and a directed, dramatic light. Jerónimo Jacinto Espinosa was one of the most important representatives of the early Valencian Baroque. Born in Cocentaina and settled in Valencia, after the death of Francisco Ribalta in 1628 he became the city's most prestigious painter. He trained with his father, the Mannerist painter Jerónimo Rodríguez de Espinosa, and showed precocious talent. His language is also influenced by Francisco Ribalta, as well as by Juan Ribalta and Pedro Orrente. He was a prolific painter, focusing mainly on hagiographic themes and scenes from the New Testament. However, he also produced portraits in the naturalistic style of his training. In fact, Tenebrist naturalism, with its warm, Caravaggesque intonation in the manner of the Ribaltas, remained constant in his work throughout his career, without showing any influence from the new decorative Baroque trends that triumphed in Madrid and Seville. Espinosa signed his first important work, The Miracle of the Christ of the Rescue, in 1622-23. In this canvas he already showed a fully mature style, which soon earned him new commissions from various Valencian convents. His masterly portrait of the Dominican Jerónimo Mos (1628) also dates from this period. Espinosa also worked for the local nobility, although many of the works he executed before 1640 have been lost. In the following years, and especially in the last decade of his life, he produced his most notable works, and worked for the cathedral, the university and the city of Valencia itself. It should also be noted that we have preserved some drawings by his hand, which give us a better understanding of his system of working. These are studies from life, which are essential to achieve the realism of his painting. His work on canvas was fast, with Venetian-style brushstrokes, glazes and fluid paste. As a result, he achieved a brilliance of colour praised by his contemporaries. Espinosa's works are currently held in the Prado Museum, the Fine Arts Museum of Valencia, the University of Valencia, the National Art Museum of Catalonia, the Museum of the City of Valencia and other collections, both public and private, as well as in various religious centres in the Valencian Community.
Setdart Auction House
Oct. 05, 2023
JERÓNIMO JACINTO ESPINOSA. Saint Peter of Verona.
Est: €1,500 - €1,800
Oil on canvas stuck to wood Made circa 1640 74x55 cm.
Balclis
Jan. 17, 2023
JERONIMO JACINTO DE ESPINOSA Cocentaina (1600) / Valencia (1667) "Holy Family"
Est: €13,500 - €18,000
Oil on canvas. On the back, attached to the frame, label of the Delegate Board for the Seizure, Protection and Salvage of the Artistic Treasure (no. 10404). Provenance: - Private collection, Madrid. Bibliography: - Gómez Frechina, J., "In Memoriam. Scientific portrait of Professor Fernando Benito Doménech", Ars Longa. Art Notebooks, no. 21, 2012, p. 60, fig. 42. - Marco García, V., Baroque Painting in Valencia (1600-1737), CEEH, Madrid, 2021, p. 386, Cat. Jerónimo Jacinto de Espinosa no. 69. - A photographic record is preserved in the Moreno Archive of the IPCE (no. 410007_B) Jerónimo Jacinto de Espinosa was, without a doubt, the most important figure of the Valencian school of painting in the central decades of the six hundred. His works were highly appreciated since ancient times, being very frequent among the great collections of the nobility. His works are impregnated with the naturalism inherited from Francisco Ribalta and in them he uses strongly contrasted lighting in which the figures stand out against a neutral background . These are endowed with that naturalistic sense and at the same time with a solemn and severe gravity, creating types of noble appearance and a very human quality. This painting, preserved until now in an important private collection and never before exhibited, brings together all these characteristics presenting the main members of the Sagrada Família in an indeterminate space, in an atmosphere of pleasant daily life. The Child Jesus, naked and sitting on his mother's lap, is interacting with the Virgin and Saint Joseph. He receives a piece of fruit that his father offers him, while, with his right hand, he takes the hand that Maria takes to one of her bare breasts. With this gesture, Espinosa reinforces the everyday, intimate, and familiar sense of the scene, situating it in a moment prior to breastfeeding. The painting has a rich iconography that transcends the mere everyday life shown by Espinosa. The Virgin appears represented as the "Virgo Lactans"; Marian dedication of medieval origin in which Mary is represented at the time of breastfeeding the Child Jesus. The fruit that Saint Joseph gives to the Child Jesus, a pear,
Ansorena
Mar. 02, 2022
JERONIMO JACINTO DE ESPINOSA. Cocentaina (1600) / Valencia (1667). "Virgin and Child", 1667.
Est: €15,000 - €30,000
147 x 110 cm. Oil on canvas. Signed and dated on the lower left. A painter trained with his father, Jerónimo Rodríguez de Espinosa, he was influenced by Francisco Ribalta, Pedro de Orrente and Zurbarán, he focused on religious painting and portraiture, predisposed by his naturalistic training, he stood out for his colourist skill and his style is based on tenebrist naturalism with warm intonation in the manner of the Ribalta family, without reaching the decorative Baroque. He is one of the most important figures of the Valencian Baroque, although his style hardly evolved, and his influence is great, having numerous disciples.
Ansorena
Sep. 29, 2021
Jerónimo Jacinto Espinosa or follower. Virgin
Est: -
Óleo sobre lienzo. Al dorso placa de madera con firma.
Duran Arte y Subastas
Jan. 27, 2021
JERONIMO JACINTO DE ESPINOSA 1600 / 1667
Est: €27,000 - €36,000
"Virgin and Child", 1667 Signed and dated at the bottom left. A painter who trained with his father, Jerónimo Rodríguez de Espinosa, he was influenced by Francisco Ribalta, Pedro de Orrente and Zurbarán, and focused on religious painting and portrait painting due to his naturalist training, and stood out for his ability to colour and his style is based on tenebrist naturalism with warm tones in the manner of the Ribalta family, without going so far as decorative baroque. He is one of the most important figures of the Valencian Baroque, despite the fact that his style has hardly evolved, and his influence is great, having numerous disciples. Oil on canvas ANTIQUE AND STYLE PAINTING
Ansorena
Jul. 14, 2020
JERONIMO JACINTO DE ESPINOSA - The Adoration of the Shepherds
Est: €4,500 -
JERONIMO JACINTO DE ESPINOSA Cocentaina, Alicante 1600 - Valencia 1667 The Adoration of the Shepherds Oil on canvas attached to panel Measurements: 36.5 x 36.8 cm This work can be related to the artist's youthful stage when his style, still in training,
Subastas Segre
May. 21, 2019
JERÓNIMO JACINTO DE ESPINOSA - La última comunión de la Mgdalena
Est: -
JERÓNIMO JACINTO DE ESPINOSA Cocentaina, Alicante 1600 - Valencia 1667 “La última comunión de la Magdalena” Oil on canvas Measurements 108.5 x 92 cm
Subastas Segre
Dec. 06, 2018
JERÓNIMO JACINTO DE ESPINOSA | Christ on the Road to Calvary; The Flagellation of Christ
Est: £15,000 - £20,000
a pair, both oil on canvas, laid onto panel
Sotheby's
Mar. 15, 2018
Jerónimo Jacinto Espinosa Cocentaina 1600 - Valencia 1667 Saint Mary Magdalene Oil on canvas 120,5x91 cm
Est: €6,000 - €8,000
Jerónimo Jacinto Espinosa Cocentaina 1600 - Valencia 1667 Saint Mary Magdalene Oil on canvas 120,5x91 cm
Balclis
Jan. 20, 2018
Jerónimo Jacinto de Espinosa (1600-67), St Vincent
Est: $300 - $500
Jerónimo Jacinto de Espinosa (1600-67), St Vincent Follower of Espinosa. Copy after 17th C. portrait of St Vincent de Paul, (1581 – 1660) was a French Roman Catholic priest who dedicated himself to serving the poor. He is venerated as a saint in the Catholic Church and the Anglican Communion and was canonized in 1737. He was renowned for his compassion, humility and generosity. Oil on Canvas. In a modern gilt frame S: 27.5 inches height, 28 inches width. F: 33.5 inches height, 34 inches width 27.5" x 28"W
Peachtree & Bennett
Jul. 13, 2016
Vicente Castelló Valencia, h. 1580 - h. 1636 The Flagellation of Christ Oil on canvas
Est: €5,000 -
Vicente Castelló Valencia, h. 1580 - h. 1636 The Flagellation of Christ Oil on canvas Anteriormente atribuido a Alonso Cano. Exposición y bibliografía: "Catálogo de la segunda exposición de pintura andaluza del siglo XVII de colecciones barcelonesas", Sala Parés, Barcelona, 1947, p. 5, lám. I (reproducido) 219x180 cm Vicente Castelló Valencia (?) h. 1580 - h. 1636 La flagelación de Cristo Óleo sobre lienzo Anteriormente atribuido a Alonso Cano. Exposición y bibliografía: "Catálogo de la segunda exposición de pintura andaluza del siglo XVII de colecciones barcelonesas", Sala Parés, Barcelona, 1947, p. 5, lám. I (reproducido). Agradecemos la colaboración de Víctor Marco, imprescindible para la atribución de esta obra 219x180 cm
Balclis
May. 27, 2014
JERÓNIMO JACINTO DE ESPINOSA (ATTRIB.)
Est: -
(Cocentaina, Alicante, 1600-Valencia, 1667). "San Blas", óleo sobre lienzo, 107x107 cm.
Sala de Ventas
Dec. 19, 2013
ATTR. TO JERÓNIMO JACINTO DE ESPINOSA
Est: -
(Cocentaina, Alicante, 1600-Valencia, 1667). "San Blas", óleo sobre lienzo, 107x107 cm.
Sala de Ventas
Jul. 06, 2006
JERÓNIMO JACINTO ESPINOSA COCENTAINA, ALICANTE BAPT 1600 - 1667 VALENCIA
Est: £15,000 - £20,000
THE PROPERTY OF A EUROPEAN NOBLE FAMILY SAINT VINCENT OF SARAGOSSA measurements note 175 by 112 cm.; 68 3/4 by 44 in. oil on canvas PROVENANCE Private collection, Alicante; The Casa Rojas Collection, Madrid, by the early part of the 20th Century; Thence by family descent to the present owners. LITERATURE A.E. Pérez Sánchez, Jerónimo Jacinto de Espinosa, Madrid 1972, pp. 39-40, reproduced plate 27. NOTE See note to previous lot. We are grateful to Dr. Fernando Benito Doménech for confirming the attribution to Espinosa on the basis of photographs.
Sotheby's
Jul. 06, 2006
JERÓNIMO JACINTO ESPINOSA COCENTAINA, ALICANTE BAPT 1600 - 1667 VALENCIA
Est: £15,000 - £20,000
THE PROPERTY OF A EUROPEAN NOBLE FAMILY SAINT LAWRENCE measurements note 175 by 112 cm.; 68 3/4 by 44 in. oil on canvas PROVENANCE Private collection, Alicante; The Casa Rojas Collection, Madrid, by the early part of the 20th Century; Thence by family descent to the present owners. LITERATURE A.E. Pérez Sánchez, Jerónimo Jacinto de Espinosa, Madrid 1972, pp. 39-40, reproduced plate 27. NOTE This and the following lot were traditionally attributed to Juan de Ribalta, until correctly published by Pérez Sánchez (see Literature) in 1972 as by the hand of Ribalta's fellow Valencian painter Jerónimo Jacinto Espinosa. The author describes both paintings as: 'Muy bien conservados y restaurados de reciente, lo que permite apreciar bien su rico y jugoso colorido... quizás de lo más hermoso que conservamos de su mano'. We are grateful to Dr. Fernando Benito Doménech for confirming the attribution to Espinosa on the basis of photographs.
Sotheby's