Felipe Gil de Mena Paintings & Artwork for Sale | Felipe Gil de Mena Art Value Price Guide

Dec. 19, 2024
FELIPE GIL DE MENA, (Palencia, 1603 - 1673). "The death of St. Joseph. Oil on panel. Unsigned.
Est: €2,800 - €3,000
FELIPE GIL DE MENA, (Palencia, 1603 - 1673). "The death of St. Joseph. Oil on panel. Unsigned. Measurements: 35 x 48,5 cm, 44 x 57 cm (frame). We see in this panel a biblical theme captured as a contemporary costumbrista scene, in an interior defined by the neutral ground, plunged into darkness in the background, following the formula of the naturalistic baroque. The bed, center of the composition, is depicted with detail and realism, and on it we see a dying Saint Joseph. On both sides of the headboard Christ and Mary are seated, and on each side we see two praying angels. Christ takes the hand of the dying man, while the Virgin contemplates him, showing great pain in her face. This is an unusual formula for the representation of the Holy Family, although the leading role of St. Joseph is typical of Spanish Counter-Reformation art. Felipe Gil de Mena began his artistic training in Valladolid with the master Diego Valentin Diaz, although he later moved to Madrid to attend the workshop of the painter Juan Van der Hamen. As the Royal Academy of History points out, Gil de Mena was linked throughout his life to his master Valentin Diaz "He trained with this painter, although it is believed that he may also have been at the Court and even met Zurbarán. He would inherit his master's workshop, and would become the most recognized painter in the city and nearby towns. From then on he was requested by different convents to paint series of canvases, of which the one of the cloister of the convent of San Francisco de Valladolid stands out. Several canvases are preserved in the National Sculpture Museum, such as the painting of St. Francis and St. Dominic in the refectory, probably inspired by prints from the end of the 16th century. Before 1660, Gil de Mena received commissions for several convents in the province of Valladolid, such as that of San José de Medina de Rioseco, of the Discalced Carmelites, where some of his paintings of Franciscan and Carmelite themes are preserved. But it was from that date, the date of his master's death, when Gil de Mena became a much sought-after painter. He worked for the church of Santa María and the church of San Antolín de Tordesillas, where he collaborated in the altarpiece made by José de Alejo in 1659. He also made several works for the parishes of Ítero de la Vega, Baltanás or San Miguel de Peñafiel, and worked for the Jesuits, as in the altarpiece of paintings dedicated to the Immaculate Conception (1664) for the collegiate church of Villagarcía de Campos; or in the canvas of the Apotheosis of the Eucharist, for those of Valladolid, today the church of San Miguel, in which the artistic evolution of Gil de Mena can be seen".
Setdart Auction House
Oct. 28, 2024
FELIPE GIL DE MENA (Palencia, 1603-1673). "Annunciation. Oil on panel. Signed and dated in the lower central area.
Est: €2,800 - €3,000
FELIPE GIL DE MENA (Palencia, 1603-1673). "Annunciation. Oil on panel. Signed and dated in the lower central area. Measurements: 30 x 43 cm; 36 x 50 cm (frame). In this work we see an Annunciation typical of the full Spanish baroque, with a scenographic and triumphalist composition, clearly counter-reformist, where the celestial and the earthly plane are united in only one. We see Mary in the foreground, kneeling before a lectern, on which rests a small book. The celestial area, represented by a break of glory of clear divine light, bursts into the earthly scene, although the angel Gabriel does not even set foot on the ground. Between Mary and the angel we see the Holy Spirit in the form of a dove and other cherubs hovering in the environment. Felipe Gil de Mena began his artistic training in Valladolid with the master Diego Valentin Diaz, although he later moved to Madrid to attend the workshop of the painter Juan Van der Hamen. As the Royal Academy of History points out, Gil de Mena was linked throughout his life to his master Valentin Diaz "He trained with this painter, although it is believed that he may also have been at the Court and even met Zurbarán. He would inherit his master's workshop, and would become the most recognized painter in the city and nearby towns. From then on he was requested by different convents to paint series of canvases, of which the one of the cloister of the convent of San Francisco de Valladolid stands out. Several canvases are preserved in the National Sculpture Museum, such as the painting of St. Francis and St. Dominic in the refectory, probably inspired by prints from the end of the 16th century. Before 1660, Gil de Mena received commissions for several convents in the province of Valladolid, such as that of San José de Medina de Rioseco, of the Discalced Carmelites, where some of his paintings of Franciscan and Carmelite themes are preserved. But it was from that date, the date of his master's death, when Gil de Mena became a much sought-after painter. He worked for the church of Santa María and the church of San Antolín de Tordesillas, where he collaborated in the altarpiece made by José de Alejo in 1659. He also made several works for the parishes of Ítero de la Vega, Baltanás or San Miguel de Peñafiel, and worked for the Jesuits, as in the altarpiece of paintings dedicated to the Immaculate Conception (1664) for the collegiate church of Villagarcía de Campos; or in the canvas of the Apotheosis of the Eucharist, for those of Valladolid, today the church of San Miguel, in which the artistic evolution of Gil de Mena can be seen".
Setdart Auction House
Jan. 13, 2022
FELIPE GIL DE MENA (Palencia, 1603-1673). "Jesus and Mary Magdalene". Oil on canvas.
Est: €7,500 - €8,000
FELIPE GIL DE MENA ( Palencia, 1603-1673). "Jesus and Mary Magdalene". Oil on canvas. Relined. Measurements: 82 x 120 cm; 97 x 134 cm (frame). In the scene there is a devotional theme in which Jesus is inscribed, together with a woman kneeling in front of him. She can be identified as either the Good Samaritan or Mary Magdalene. It is probably Mary Magdalene because of the small perfumer in the scene between the two figures. Because Mary Magdalene is identified as the woman who anointed Jesus' feet with perfumes before his arrival in Jerusalem, her main iconographic attribute is a knob of essences. While Eastern Christianity honours Mary Magdalene especially for her closeness to Jesus, considering her "equal to the apostles", she is also considered "equal to the apostles". Felipe Gil de Mena began his artistic training in Valladolid with the master Diego Valentin Diaz, although he later moved to Madrid and attended the workshop of the painter Juan Van der Hamen. As the Royal Academy of History points out, Gil de Mena was linked throughout his life to his master Valentin Díaz "He trained with this painter, although it is thought that he may also have been at the Court and even met Zurbarán. He inherited his master's workshop and became the most renowned painter in the city and nearby towns. From then on he was commissioned by various convents to paint series of canvases, including the cloister of the convent of San Francisco in Valladolid. The Museo Nacional de Escultura houses several canvases, such as the painting of Saint Francis and Saint Dominic in the refectory, probably inspired by prints from the late 16th century. Before 1660 Gil de Mena received commissions for several convents in the province of Valladolid, such as the convent of San José de Medina de Rioseco, belonging to the Discalced Carmelites, where some of his paintings of Franciscan and Carmelite themes have survived. But it was from that date, the date of his master's death, that Gil de Mena became a much sought-after painter. He then worked for the church of Santa María and the church of San Antolín in Tordesillas, where he collaborated on the altarpiece painted by José de Alejo in 1659. He also produced various works for the parishes of Ítero de la Vega, Baltanás and San Miguel de Peñafiel, as well as for the Jesuits, such as the altarpiece of paintings dedicated to the Immaculate Conception (1664) for the collegiate church of Villagarcía de Campos; or the canvas of the Apotheosis of the Eucharist, for those of Valladolid, now the church of San Miguel, in which the artistic evolution of Gil de Mena can be seen".
Setdart Auction House
Mar. 01, 2011
Philipe Gil de Mena, ascribed to: "Noli me tangere". Jesus and Mary Magdalene outside Jerusalem.
Est: kr15,000 - kr20,000
"Noli me tangere". Jesus and Mary Magdalene outside Jerusalem. Inscribed and dated P. G. de M. 1656. Oil on canvas. 81 x 118 cm.
Bruun Rasmussen Auctioneers
Jun. 01, 2010
Philipe Gil de Mena, ascribed to: "Noli me tangere". Jesus and Mary Magdalene outside Jerusalem.
Est: kr20,000 - kr30,000
"Noli me tangere". Jesus and Mary Magdalene outside Jerusalem. Inscribed and dated P. G. de M. 1656. Oil on canvas. 81 x 118 cm.
Bruun Rasmussen Auctioneers
Jul. 01, 2009
Philipe Gil de Mena: Jesus and Mary Magdalene
Est: - €4,050
Philipe Gil de Mena: Jesus and Mary Magdalene outside Jerusalem. Sign. P. G. de M. 1656. Oil on canvas. 81 x 118 cm.
Bruun Rasmussen Auctioneers
May. 06, 2009
Philipe Gil de Mena Jesus and Mary Magdalene
Est: - €4,050
Philipe Gil de Mena Jesus and Mary Magdalene outside Jerusalem. Sign. P. G. de M. 1656. Oil on canvas. 81 x 118 cm.
Bruun Rasmussen Auctioneers
Nov. 10, 2007
Maleri: Jesu og Maria Magdalena med Jerusalem og
Est: - €70,000
Maleri: Jesu og Maria Magdalena med Jerusalem og oliebjerget i baggrunden, 80 x 122 cm. Philipe Gil de Mena (1600-1674)
Auktionshuset.com
Oct. 06, 2007
Maleri: Jesu og Maria Magdalena med Jerusalem og
Est: €70 -
Maleri: Jesu og Maria Magdalena med Jerusalem og oliebjerget i baggrunden, 80 x 122 cm. Philipe Gil de Mena (1600-1674)
Auktionshuset.com