Juan Simón Gutierrez Paintings & Artwork for Sale | Juan Simón Gutierrez Art Value Price Guide

Dec. 12, 2024
Attributed to JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, 1634 - Seville, 1718) - Saint John of God
Est: €9,000 - €18,000
Oil on canvas. Measurements: 165 x 104 cm.
Templum Fine Art Auctions
Oct. 28, 2024
Workshop of JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 - 1718). "San Juanito". Oil on canvas. Relined. Presents restorations on the pictorial surface.
Est: €1,500 - €1,700
Workshop of JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 - 1718). "San Juanito". Oil on canvas. Relined. Presents restorations on the pictorial surface. Measurements: 48.5 x 71 cm; 74.5 x 97.5 cm (frame). Due to its formal, thematic and technical characteristics, we can ascribe this painting to the circle of Juan Simón Gutiérrez. The painter constructs in this canvas a tender representation of Saint John the Baptist, whose sweetness and innocence contrasts with the dramatic symbolism that underlies the image. The tender lamb that accompanies him alludes directly to Christ's bloody sacrifice, and his red mantle symbolizes his own martyrdom. This type of infantile images of dramatic content, but with a sweet and touching appearance, designed precisely to move the soul of the faithful who pray before them, was very frequent in the Spanish Baroque. Its most frequent form was that of the Child with the symbols of the Passion, which projects on the innocent infancy of Jesus the shadow of the cross. It will be especially in the art of the Counter-Reformation where this funereal presentiment of the Passion is expressed by means of transparent allusions. Born in Cadiz, Juan Simón Gutiérrez began his artistic training in Seville, perhaps with Murillo himself, as Ceán Bermúdez and Fernando Quiles consider. In any case, in 1664 he was already active independently, since at this date he is documented as a participant in the Sevillian Academy, of which he was a member until 1672. His life was hard, despite the recognition of his contemporaries, and he had important economic difficulties, in a time when poverty was common among the Sevillian population, as a result of the recession of trade with the colonies, the War of Succession and various epidemics. As for his language, Gutiérrez was a faithful follower of Murillo, whom he undoubtedly had the opportunity to meet, both through the Academy and the brotherhood of San Lucas, his own guild. The quality of his work earned him the respect and recognition of the other Sevillian masters, and in fact in 1680 he obtained the position of "alcalde alamir" of painting, that is, in charge of examining aspiring masters. His status also assured him an important workshop, where Francisco Díaz and Tomás Martínez, among others, were trained. Likewise, Ceán Bermúdez points out that he was an appreciated "fair painter", which indicates that his works were in great demand in the Sevillian market, from which paintings were sent to all Andalusia and also to America. Gutiérrez mainly painted religious themes, the most demanded at the time, although he also tackled profane motifs, such as battles and scenes of customs, and even made three small canvases on the "History of Constantine". His works are currently preserved in religious centers such as the convent of La Trinidad in Carmona or the main church of Santa María la Coronada in Medina Sidonia, as well as in the Museum of Fine Arts in Seville and the Museum of Fine Arts in Los Angeles, in the United States. It presents restorations on the pictorial surface.
Setdart Auction House
Oct. 28, 2024
Workshop of JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 - 1718). "Child Jesus as a good shepherd. Oil on canvas. Relined. Presents restorations on the pictorial surface.
Est: €1,500 - €1,700
Workshop of JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 - 1718). "Child Jesus as a good shepherd. Oil on canvas. Relined. Presents restorations on the pictorial surface. Measurements 48,5 x 71 cm; 74,5 x 97,5 cm (frame). This work is based on the model of the master Juan Simón Gutiérrez, reproduced in Valdivieso Marques Argudín Collection, Madrid. Christian art delighted throughout its history, and especially in the Modern Age, projecting on the innocent infancy of Jesus the shadow of the cross. The contrast between the happy unconcern of a child and the horror of the sacrifice to which he was predestined was designed to move hearts. This idea was already familiar to the theologians of the Middle Ages, but the artists of the time expressed it discreetly. This iconography was relatively common in the Spanish Baroque, with such well-known examples as that of Francisco de Zurbarán from 1630 (Museo de Bellas Artes de Sevilla), or the one linked to Murillo's workshop in the Museo Félix Cañada in Madrid, or the one in the Museo del Prado in Madrid from the 17th century. This type of relationship with important themes was very common in Catholic Baroque painting, in which the Counter-Reformation encouraged a series of themes to support everything that the Protestants attacked. And themes similar to the present one had the softness that was then considered appropriate for women's convents, hence the devotion to the Child Jesus was encouraged, above all, by this type of institution. The total absence of the usual dramatism of Baroque painting is striking. Juan Simón Gutiérrez was trained in Seville, where he must have come into contact with Murillo, as evidenced by the great imprint that the master left on his works. His presence at the Seville Academy is recorded between 1664 and 1667, the year in which his marriage is documented. In 1680 he obtained the position of mayor alamir, being responsible for the entrance exams of the new students of the Academy. His works are preserved in religious centers such as the convent of La Trinidad de Carmona or the main church of Santa María la Coronada de Medina Sidonia, as well as in the Museum of Fine Arts of Seville and the Museum of Fine Arts of Los Angeles, in the United States.
Setdart Auction House
Oct. 01, 2024
JUAN SIMON GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 - 1718). "St. Teresa receives the necklace from the hands of the Virgin and St. Joseph". Oil on canvas. Relined.
Est: €7,000 - €8,000
JUAN SIMON GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 - 1718). "St. Teresa receives the necklace from the hands of the Virgin and St. Joseph". Oil on canvas. Relined. Presents letter on the back of Manuel López Cepero to Pedro José Pidal, Marquis of Pidal, dated in Seville on November 20, 1852 and confirms the gift of the painting. It has slight flaws, scratches on the canvas and flaws in the frame. Provenance: López Cepero Collection and Marqués de Pidal Collection (19th century) and private collection, Madrid. Measurements: 57 x 44 cm; 65 x 49,5 cm (frame). Bibliography: Martínez Plaza, Pedro J., "Un encargo para el marqués de Salamanca: correspondencia entre José María Huet y Manuel López Cepero en 1848." Cartas Hispánicas P. note nº11. -Valdivieso, E., "The school of Murillo. Contributions to the knowledge of his disciples and followers", University of Seville, 2018, p. 127. Saint Teresa left in writing several apparitions of the Virgin. In this particular case, she narrates the vision she had on the day of Our Lady of the Assumption in 1561 in the church of Santo Tomás de Ávila when she was meditating: "I sat down, and it still seems to me that I could not see or hear Mass, and then I was scrupulous about it. It seemed to me, being thus, that I saw myself dressed in a very white and clear garment. And at first I did not see who was dressing me; then I saw Our Lady, on the right side, and my Father Saint Joseph on the left, who were dressing me in that garment..... I had just finished dressing... He told me that he was very happy to serve the glorious St. Joseph, that I should believe that what he intended for the monastery would be done and that the Lord and the two of them would be very well served in it. that they would keep us, and that, since her Son had promised to walk with us, that as a sign that this would be true, he would give me that jewel. It seemed to me that I had put around my neck a very beautiful golden necklace, and that I had attached to it a cross of great value... it seemed to me that I saw them ascending to heaven with a great multitude of angels. I was very lonely, ... Although born in Cadiz, Juan Simón Gutiérrez would have been trained in Seville, perhaps with Murillo himself, as Ceán Bermúdez and Fernando Quiles consider. In any case, in 1664 he was already active independently, given that at this date he is documented as a participant in the Sevillian Academy, of which he was a member until 1672. His life was hard, despite the recognition of his contemporaries, and he had important economic difficulties, in a time when poverty was common among the Sevillian population, as a result of the recession of trade with the colonies, the War of Succession and various epidemics. As for his language, Gutiérrez was a faithful follower of Murillo, whom he undoubtedly had the opportunity to meet, both through the Academy and the brotherhood of San Lucas, his own guild. The quality of his work earned him the respect and recognition of the other Sevillian masters, and in fact in 1680 he obtained the position of "alcalde alamir" of painting, that is, in charge of examining aspiring masters. His status also assured him an important workshop, where Francisco Díaz and Tomás Martínez, among others, were trained. Likewise, Ceán Bermúdez points out that he was an appreciated "fair painter", which indicates that his works were in great demand in the Sevillian market, from which paintings were sent to all Andalusia and also to America. Gutiérrez mainly painted religious themes, the most demanded at the time, although he also tackled profane motifs, such as battles and scenes of customs, and even made three small canvases on the "History of Constantine". His works are currently preserved in religious centers such as the convent of La Trinidad in Carmona or the main church of Santa María la Coronada in Medina Sidonia, as well as in the Museum of Fine Arts in Seville and the Museum of Fine Arts in Los Angeles, in the United States. Bibliography: Martínez Plaza, Pedro J., "Un encargo para el marqués de Salamanca: correspondencia entre José María Huet y Manuel López Cepero en 1848." Cartas Hispánicas P. note nº11. -Valdivieso, E., "The school of Murillo. Contributions to the knowledge of his disciples and followers", University of Seville, 2018, p. 127.
Setdart Auction House
Jun. 26, 2024
Attributed to Juan Simón Gutiérrez (Medina Sidonia 1634-Seville 1718) - San Juanito Sevillian school of the 17th - 18th centuries
Est: €1,200 - €1,600
Oil on canvas measurements: 70 x 50 cm 80 x 60 cm framed
Templum Fine Art Auctions
Jun. 26, 2024
Attributed to JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 – 1718). "Christ on the cross and Mary Magdalene." Oil on canvas.
Est: €4,000 - €5,000
Attributed to JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 – 1718). "Christ on the cross and Mary Magdalene." Oil on canvas. Measurements: 90 x 65 cm.; 96 x 71 cm. (frame). The lifeless body of Christ occupies the compositional center of this devotional painting attributed to Juan Simón Gutiérrez. The soft features of Mary Magdalene kneeling next to the cross and the cottony lines that outline the figures refer to the teaching of Murillo, which Juan Simón inherited and adapted to his own style. The city of Jerusalem is outlined under the light of a moon whose eclipse symbolizes the cosmic blackout that accompanies the death of Jesus. The broad brushstroke develops into delicate strokes that model gestures and figures, transmitting the mystical feeling of the biblical scene. Although born in Cádiz, Juan Simón Gutiérrez would have trained in Seville, perhaps with Murillo himself, as Ceán Bermúdez and Fernando Quiles consider. In any case, in 1664 he was already active independently, since on this date he is documented as a participant in the Sevillian Academy, of which he would be a part until 1672. His life was hard, despite the recognition of his contemporaries, and went through significant economic difficulties, at a time when poverty was common among the Sevillian population, as a result of both the recession in trade with the colonies and the War of Succession and various epidemics. Regarding his language, Gutiérrez was a faithful follower of Murillo, whom he undoubtedly had the opportunity to know, both through the Academy and the brotherhood of San Lucas, his own guild. The quality of his work earned him the respect and recognition of other Sevillian masters, and in fact in 1680 he obtained the position of “alcalde alamir” of painting, that is, in charge of the examination of master's candidates. His category also guaranteed him an important workshop, where, among others, Francisco Díaz and Tomás Martínez were trained. Likewise, Ceán Bermúdez points out that he was an appreciated “fairground painter”, which indicates that his works were in high demand in the Sevillian market, from which paintings were sent to all of Andalusia and also to America. Gutiérrez mainly created works with religious themes, the most in demand at the time, although he also addressed secular motifs, such as battles and scenes of customs, and even made three small canvases on the “History of Constantine.” His works are currently preserved in religious centers such as the convent of La Trinidad in Carmona or the main church of Santa María la Coronada in Medina Sidonia, as well as in the Museum of Fine Arts in Seville and the Museum of Los Angeles, in the United States.
Setdart Auction House
Apr. 10, 2024
Attributed to JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 – 1718). "Christ on the cross and Mary Magdalene." Oil on canvas.
Est: €4,000 - €5,000
Attributed to JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 – 1718). "Christ on the cross and Mary Magdalene." Oil on canvas. Measurements: 90 x 65 cm.; 96 x 71 cm. (frame). The lifeless body of Christ occupies the compositional center of this devotional painting attributed to Juan Simón Gutiérrez. The soft features of Mary Magdalene kneeling next to the cross and the cottony lines that outline the figures refer to the teaching of Murillo, which Juan Simón inherited and adapted to his own style. The city of Jerusalem is outlined under the light of a moon whose eclipse symbolizes the cosmic blackout that accompanies the death of Jesus. The broad brushstroke develops into delicate strokes that model gestures and figures, transmitting the mystical feeling of the biblical scene. Although born in Cádiz, Juan Simón Gutiérrez would have trained in Seville, perhaps with Murillo himself, as Ceán Bermúdez and Fernando Quiles consider. In any case, in 1664 he was already active independently, since on this date he is documented as a participant in the Sevillian Academy, of which he would be a part until 1672. His life was hard, despite the recognition of his contemporaries, and went through significant economic difficulties, at a time when poverty was common among the Sevillian population, as a result of both the recession in trade with the colonies and the War of Succession and various epidemics. Regarding his language, Gutiérrez was a faithful follower of Murillo, whom he undoubtedly had the opportunity to know, both through the Academy and the brotherhood of San Lucas, his own guild. The quality of his work earned him the respect and recognition of other Sevillian masters, and in fact in 1680 he obtained the position of “alcalde alamir” of painting, that is, in charge of the examination of master's candidates. His category also guaranteed him an important workshop, where, among others, Francisco Díaz and Tomás Martínez were trained. Likewise, Ceán Bermúdez points out that he was an appreciated “fairground painter”, which indicates that his works were in high demand in the Sevillian market, from which paintings were sent to all of Andalusia and also to America. Gutiérrez mainly created works with religious themes, the most in demand at the time, although he also addressed secular motifs, such as battles and scenes of customs, and even made three small canvases on the “History of Constantine.” His works are currently preserved in religious centers such as the convent of La Trinidad in Carmona or the main church of Santa María la Coronada in Medina Sidonia, as well as in the Museum of Fine Arts in Seville and the Museum of Los Angeles, in the United States.
Setdart Auction House
Mar. 21, 2024
Santo Tomás de Villanueva giving alms, Juan Simón Gutiérrez (Medina Sidonia, 1634-Sevilla, 1718), Spanish 18th century Baroque school
Est: €2,500 - €3,000
Oil on canvas. Measurements: 100 x 80 cm (canvas), 115 x 95 cm (framed).
Templum Fine Art Auctions
Dec. 13, 2023
Attributed to JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 – 1718). "Christ on the cross and Mary Magdalene." Oil on canvas.
Est: €6,000 - €8,000
Attributed to JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 – 1718). "Christ on the cross and Mary Magdalene." Oil on canvas. Measurements: 90 x 65 cm.; 96 x 71 cm. (frame). The lifeless body of Christ occupies the compositional center of this devotional painting attributed to Juan Simón Gutiérrez. The soft features of Mary Magdalene kneeling next to the cross and the cottony lines that outline the figures refer to the teaching of Murillo, which Juan Simón inherited and adapted to his own style. The city of Jerusalem is outlined under the light of a moon whose eclipse symbolizes the cosmic blackout that accompanies the death of Jesus. The broad brushstroke develops into delicate strokes that model gestures and figures, transmitting the mystical feeling of the biblical scene. Although born in Cádiz, Juan Simón Gutiérrez would have trained in Seville, perhaps with Murillo himself, as Ceán Bermúdez and Fernando Quiles consider. In any case, in 1664 he was already active independently, since on this date he is documented as a participant in the Sevillian Academy, of which he would be a part until 1672. His life was hard, despite the recognition of his contemporaries, and went through significant economic difficulties, at a time when poverty was common among the Sevillian population, as a result of both the recession in trade with the colonies and the War of Succession and various epidemics. Regarding his language, Gutiérrez was a faithful follower of Murillo, whom he undoubtedly had the opportunity to know, both through the Academy and the brotherhood of San Lucas, his own guild. The quality of his work earned him the respect and recognition of other Sevillian masters, and in fact in 1680 he obtained the position of “alcalde alamir” of painting, that is, in charge of the examination of master's candidates. His category also guaranteed him an important workshop, where, among others, Francisco Díaz and Tomás Martínez were trained. Likewise, Ceán Bermúdez points out that he was an appreciated “fairground painter”, which indicates that his works were in high demand in the Sevillian market, from which paintings were sent to all of Andalusia and also to America. Gutiérrez mainly created works with religious themes, the most in demand at the time, although he also addressed secular motifs, such as battles and scenes of customs, and even made three small canvases on the “History of Constantine.” His works are currently preserved in religious centers such as the convent of La Trinidad in Carmona or the main church of Santa María la Coronada in Medina Sidonia, as well as in the Museum of Fine Arts in Seville and the Museum of Los Angeles, in the United States.
Setdart Auction House
Jul. 26, 2023
The reception of San Francisco de Borja in the Society of Jesus of Rome, Juan Simón Gutiérrez (Medina Sidonia, Cádiz, 1643-Seville, 1718), Spanish school of the 17th century
Est: €45,000 - €55,000
The reception of San Francisco de Borja in the Society of Jesus in Rome. Oil on canvas. Signed. Made around 1700-1710. The episode in this painting is from 1580, when the then Duke of Gandia, the future San Francisco de Borja, is received at the gates of the Casa Profesa in Rome by San Ignacio de Loyola with the intention of being welcomed into the Jesuit order. Report of D. Enrique Valdivieso is attached. Canvas measures: 134 x 170. Framed measures: 213 x 148 cm
Templum Fine Art Auctions
Jul. 06, 2023
Important Christ Salvator Mundi, Andalusian school of the end of the 17th century, attributable to Juan Simón Gutiérrez (Medina Sidonia, 1634-Seville, 1718)
Est: €4,000 - €5,000
Oil on canvas, frame not attached, measurements: 118 x 77.5 cm. Origin: important Andalusian family collection.
Templum Fine Art Auctions
May. 31, 2023
JUAN SIMÓN GUTIERREZ (Medina Sidonia, 1634 - Seville, 1718) "Sainte Agnes"
Est: €3,500 - €4,000
JUAN SIMÓN GUTIERREZ (Medina Sidonia, 1634 - Seville, 1718) "Sainte Agnes" Oil on canvas 67 x 50 cm 3.500 - 4.000 €
Bayeu Subastas
May. 26, 2023
ATTRIBUTED TO JUAN SIMÓN GUTIÉRREZ (MEDINA SIDONIA, 1634 - SEVILLE, 1718)
Est: €4,000 - €7,000
Attributed to Juan Simón Gutiérrez (Medina Sidonia, 1634 - Seville, 1718) 'Mary Magdalene at the foot of the Cross' Oil on canvas. 90 x 65cm. In this painting Mary Magdalene is the main figure among those found in the classical representations of the Calvary, which include the Virgin Mary and Saint John. In this case, the painter has given absolute prominence to Mary Magdalene's pain, as she fervently embraces the Cross in the face of the inevitable. The treatment of the fabric, the carnations and the mauve and ocher colours is characteristic of Simón Gutiérrez. We would like to thank Professor Enrique Valdivieso for his help in identifying the artist who created this painting. He also tells us that it is a painting that Diego Angulo classified as a 'disciple' work, and published in: Murillo, 1981, vol. II, no. 1642, p. 456, plate 573. Reference bibliography: Enrique Valdivieso: 'The Murillo School'. Seville, 2018, p. 116. Two paintings of Christ on the Cross with Mary Magdalene embracing the foot of the cross that have been attributed to Murillo, and that Valdivieso catalogues as creations by Juan Simón Gutiérrez are reproduced.
La Suite Subastas
Oct. 27, 2022
The reception of San Francisco de Borja in the Society of Jesus of Rome, Juan Simón Gutiérrez (Medina Sidonia, Cádiz, 1643-Seville, 1718), Spanish school of the 17th century
Est: €45,000 - €55,000
The reception of San Francisco de Borja in the Society of Jesus in Rome. Oil on canvas. Signed. Made around 1700-1710. The episode in this painting is from 1580, when the then Duke of Gandia, the future San Francisco de Borja, is received at the gates of the Casa Profesa in Rome by San Ignacio de Loyola with the intention of being welcomed into the Jesuit order. Report of D. Enrique Valdivieso is attached. Canvas measures: 134 x 170. Framed measures: 213 x 148 cm
Templum Fine Art Auctions
Sep. 28, 2022
JUAN SIMON GUTIERREZ Medina Sidonia (1644) / Sevilla (1718) "El Salvador Niño"
Est: €4,500 - €6,000
Oil on canvas Bibliography: Palencia, J. Mª., "Esplendor del baroco andaluz". Exhibition catalogue, Cajasur, Córdoba, 2007 p. 82. Measurements: 52 x 42 cm
Ansorena
May. 13, 2022
Great Immaculate Virgin, Sevillian school from the end of the 17th century, circle of Bartolomé Esteban Murillo, attributed to Sebastián Gómez (active between 1690 and 1699)
Est: €1,500 - €2,000
Sebastián Gómez (active between 1690 and 1699), called "el Mulato de Murillo", was a Spanish Baroque painter who followed the style of Bartolomé Esteban Murillo. Born in Granada and possibly the son of Moorish slaves, in the 18th century the belief spread that the painter had been Murillo's slave. Thus, at the end of the century, the inventory of the collection of the Count of Águila included three paintings attributed to «Sebastián the slave of Murillo», and Ceán Bermúdez, in the Letter to a friend of his, on the style and taste of the painting, published in Cadiz in 1806, mentioned him among the Sevillian painter's disciples, because "even though he was his slave", he added, "he had also taught him the art of painting". The legend was poetized by Hans Christian Andersen who in 1838 wrote the poem The Zombie Did It, dedicated to Murillo's African slave who retouched and improved the master's works at night. The two signed works that are known of him: the Virgen del Rosario con santos, dated 1690 and signed Iliberritanus, a work from the Dominican convent in Seville where Ceán still saw it (Seville Museum of Fine Arts), with a weak drawing and grandiloquent composition, and the Santa Rosalía de Viterbo in the Museum of Salamanca from the Franciscans of Écija, dated 1699, in which he uses the Granatense formula thus affirming the Granada origin, show characteristics of both Alonso Cano's painting, which he would see before leaving his hometown, like de Murillo. By the same hand, a Coronation of the Virgin is preserved in the Museum of Cádiz and an Immaculate Conception in the Museum of Seville, in addition to four paintings in the National Museum of San Carlos in Mexico because, like other Andalusian painters, he dedicated part of his production to american market. Reference bibliography: "Pérez Sánchez, Alfonso E. (1992). Pintura barroca en España 1600-1750. Madrid : Ediciones Cátedra. ISBN 84-376-0994-1".
Templum Fine Art Auctions
Mar. 29, 2022
Juan Simon Gutierrez. Saint Ignatius and Saint Francis
Est: -
Oil on canvas. Signed in the lower right corner. Work carried out between 1680-1690, probably commissioned to the artist by the Sevillian Jesuits to evoke the episode that happened in Rome in 1580 when the then Duke of Gandía, future Saint Francis Borgia, was received at the gates of the Casa Profesa in Rome with the intention of being welcomed into the Jesuit Order. A certificate issued by Don Enrique Valdivieso is attached.
Duran Arte y Subastas
Dec. 28, 2021
Attributed to JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 - 1718). "The apparition of the Virgin and Child to San Felix de Cantalicio". Oil on canvas. Relined.
Est: €12,000 - €14,000
Attributed to JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 - 1718). "The apparition of the Virgin and Child to San Felix de Cantalicio". Oil on canvas. Relined. Presents repainting and restorations. Measurements: 100 x 68 cm. A saint holding the Child between his arms, raises his sight towards a break of glory where the Virgin, sweetly, extends her arms to pick up the Child. The artist has used pastel colors and a broad brushstroke that remains open, leaving an elegant and delicate subtlety that forms a peaceful and close to the faithful work. The saint represented is Saint Felix of Cantalicio. The work follows the aesthetic precepts of the work of the master Esteban Murillo, which today belongs to the collection of the Museum of Fine Arts in Seville. Murillo's work was created around 1668-1669, with the intention of decorating the nave of the Epistle of the Convent of Capuchinos (Seville). By the technical characteristics it is possible to relate the work to the painting of Juan Simón Gutiérrez, although born in Cadiz, Juan Simón Gutiérrez would have been trained in Seville, perhaps with Murillo himself, as Ceán Bermúdez and Fernando Quiles consider. In any case, in 1664 he was already active independently, since at that date he is documented as a participant in the Sevillian Academy, of which he was a member until 1672. His life was hard, despite the recognition of his contemporaries, and he had important economic difficulties, in a time when poverty was common among the Sevillian population, as a result of the recession of trade with the colonies, the War of Succession and various epidemics. As for his language, Gutiérrez was a faithful follower of Murillo, whom he undoubtedly had the opportunity to meet, both through the Academy and the brotherhood of San Lucas, his own guild. The quality of his work earned him the respect and recognition of the other Sevillian masters, and in fact in 1680 he obtained the position of "alcalde alamir" of painting, that is, in charge of examining aspiring masters. His status also assured him an important workshop, where Francisco Díaz and Tomás Martínez, among others, were trained. Likewise, Ceán Bermúdez points out that he was an appreciated "fair painter", which indicates that his works were in great demand in the Sevillian market, from which paintings were sent to all Andalusia and also to America. Gutiérrez mainly painted religious themes, the most demanded at the time, although he also tackled profane motifs, such as battles and scenes of customs, and even made three small canvases on the "History of Constantine". His works are currently preserved in religious centers such as the convent of La Trinidad in Carmona or the main church of Santa María la Coronada in Medina Sidonia, as well as in the Museum of Fine Arts in Seville and the Museum of Fine Arts in Los Angeles, in the United States.
Setdart Auction House
Dec. 22, 2021
SAINT JOHN, ATTRIBUTABLE TO JUAN SIMÓN GUTIÉRREZ (MEDINA SIDONIA, 1634 - SEVILLE, 1718)
Est: €2,500 - €3,500
Oil on canvas, with great compositional quality: measures: 52 x 89 cm
Templum Fine Art Auctions
Dec. 16, 2021
JUAN SIMON GUTIERREZ (1644 / 1718) "The Good Sheperd"
Est: €6,000 - €8,000
Oil on canvas. 105,5 x 78 cm
Ansorena
Dec. 02, 2021
SAINT JOHN, ATTRIBUTABLE TO JUAN SIMÓN GUTIÉRREZ (MEDINA SIDONIA, 1634 - SEVILLE, 1718)
Est: €2,500 - €3,500
Oil on canvas, with great compositional quality: measures: 52 x 89 cm
Templum Fine Art Auctions
Oct. 14, 2021
JUAN SIMÓN GUTIÉRREZ (MEDINA SIDONIA, CÁDIZ, 1643-SEVILLE, 1718)
Est: €20,000 - €30,000
The reception of San Francisco de Borja in the Society of Jesus of Rome. Oil on canvas. Signed. Made around 1700-1710. The episode in this painting is from 1580, when the then Duke of Gandía, future Saint Francisco de Borja, was received at the doors of the Professed House in Rome by Saint Ignatius of Loyola with the intention of being welcomed into the Jesuit order. Enrique Valdivieso's report is attached. 213 x 148 cm.
Templum Fine Art Auctions
Aug. 03, 2021
JUAN SIMÓN GUTIÉRREZ (MEDINA SIDONIA, CÁDIZ, 1643-SEVILLE, 1718) THE RECEPTION OF SAN FRANCISCO DE BORJA IN THE SOCIETY OF JESUS OF ROME.
Est: €30,000 - €45,000
Juan Simón Gutiérrez (Medina Sidonia, Cádiz, 1643-Seville, 1718) The reception of San Francisco de Borja in the Society of Jesus of Rome. Oil on canvas. Signed. Made around 1700-1710. The episode in this painting is from 1580, when the then Duke of Gandía, future Saint Francisco de Borja, was received at the doors of the Professed House in Rome by Saint Ignatius of Loyola with the intention of being welcomed into the Jesuit order. Enrique Valdivieso's report is attached. 213 x 148 cm.
Aletheia Subastas
Apr. 28, 2021
JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 - 1718). “Virgin spinner”. Oil on canvas. 18th century frame.
Est: €2,500 - €3,000
JUAN SIMÓN GUTIÉRREZ (Medina Sidonia, Cádiz, 1643 - 1718). “Virgin spinner”. Oil on canvas. 18th century frame. Measurements: 84 x 63 cm .; 95 x 76 cm. (Frame). Although born in Cadiz, Juan Simón Gutiérrez would have been trained in Seville, perhaps with Murillo himself, as Ceán Bermúdez and Fernando Quiles consider. In any case, in 1664 he was already active independently, since at this date he is documented as a participant in the Sevillian Academy, of which he would be a member until 1672. His life was hard, despite the recognition of his contemporaries, and he had important economic difficulties, in a time when poverty was common among the Sevillian population, as a result of the recession of trade with the colonies, the War of Succession and various epidemics. As for his language, Gutiérrez was a faithful follower of Murillo, whom he undoubtedly had the opportunity to meet, both through the Academy and the brotherhood of San Lucas, his own guild. The quality of his work earned him the respect and recognition of the other Sevillian masters, and in fact in 1680 he obtained the position of "alcalde alamir" of painting, that is, in charge of examining aspiring masters. His status also assured him an important workshop, where Francisco Díaz and Tomás Martínez, among others, were trained. Likewise, Ceán Bermúdez points out that he was an appreciated "fair painter", which indicates that his works were in great demand in the Sevillian market, from which paintings were sent to all Andalusia and also to America. Gutiérrez mainly painted religious themes, the most demanded at the time, although he also tackled profane motifs, such as battles and scenes of customs, and even made three small canvases on the "History of Constantine". His works are currently preserved in religious centers such as the convent of La Trinidad in Carmona or the main church of Santa María la Coronada in Medina Sidonia, as well as in the Museum of Fine Arts in Seville and the Museum of Fine Arts in Los Angeles, in the United States.
Setdart Auction House
Dec. 17, 2019
ATTRIBITED TO JUAN SIMÓN GUTIÉRREZ - Virgen María en orla de flores
Est: -
ATTRIBITED TO JUAN SIMÓN GUTIÉRREZ Medina Sidonia, Cádiz 1643 - Sevilla 1718 Virgen María en orla de flores OIL on canvas Size 63 x 55,5 cm
Subastas Segre
Dec. 12, 2019
JUAN SIMON GUTIERREZ "El recibimiento de San Francisco de Borja en la Compa
Est: -
JUAN SIMON GUTIERREZ "El recibimiento de San Francisco de Borja en la Compañía de Jesús de Roma". Oil on canvas, OLD MASTERS JUAN SIMON GUTIERREZ 1644 / 1718 "El recibimiento de San Francisco de Borja en la Compañía de Jesús de Roma" Óleo sobre lienzo 212 x 148 cm Firmado "Juan Simon Gutieres Facebat", obra datable hacia 1700-1710. Se adjunta estudio de Don Enrique Valdivieso fechad o en 2013. El episodio de esta pintura, es de 1550, cuando San Ignacio de Loyola junto con otros jesuitas se encontraba en la puerta de su convento en Roma para recibir al futuro San Francisco de Borja que entonces ostentaba el título de Duque de Gandía.
Ansorena
Jul. 02, 2019
JUAN SIMÓN GUTIÉRREZ - Calvario
Est: -
JUAN SIMÓN GUTIÉRREZ Medina Sidonia, Cadiz 1643 - Seville 1718 Calvario Oil on canvas Measurements 61 x 42 cm Inscription on the bottom right: 16 M de R. Origin: - Marquis of Remisa’s collection, h. 1846 (inventoried as Bartolomé Esteban Murillo). - Marquis of Viana’s collection, Madrid. - Particular collection, Madrid. Referenced work in: - Picture Gallery of Em. S.M. of G.R.’s catalogue, handwritten inventory carried out by Ceferino Araujo in 1864: 16 M de R 6.000 / Cristo en la cruz con la Virgen, San Juan y la Magdalena al pie, figuras enteras: original de Bartolomé Esteban Murillo, bien conservado y del buen tiempo del autor. Tiene de alto dos pies, y de ancho un pie y seis pulgadas. - Angulo Íñiguez, Diego., Murillo, T. II. Critical catalogue, Espasa-Calpe, Madrid, 1981, page 455, no. 1633. - Angulo Íñiguez, Diego., Murillo, T. III. Layers, Espasa-Calpe, Madrid, 1981, lay. 571 (caption exchanged with the preceding image) Importante obra inédita de Juan Simón Gutiérrez, considerado como uno de los más brillantes discípulos del genial Murillo. Esta composición sigue con gran fidelidad el Calvario del Meadows Museum de Dallas. We express our gratitude to the professor Enrique Valdivieso for his help in cataloguing this work.
Subastas Segre
Jun. 27, 2019
Juan Simón Gutiérrez (Medina Sidonia, 1634 - Sevilla, 1718)
Est: €7,200 - €8,500
Juan Simón Gutiérrez (Medina-Sidonia, 1634 - Seville, 1718) "Madonna and Child with angel musicians" Oil on canvas. 138 x 105 cm. One of Murillo´s most outstanding disciples, Simón Gutiérrez worked in Seville for sixty years. This painting is a version of the "Virgin of the napkin" by his Master, Murillo. In his report on this painting, Enrique Valdivieso explains that: "Juan Simón Gutiérrez knew exactly how to transpose the sense that Murillo gave to his original onto this canvas, expressing a beautiful scene from everyday life in the home at Nazareth. Mary wraps the Child in cloths, with a kind and pleasant attitude, while on her face there is a suggestion of melancholy self-absorption at the presentiment of the future passion and death of her Child.” The painting comes with Enrique Valdivieso González´s report.
La Suite Subastas
Jun. 27, 2019
Juan Simón Gutiérrez (Medina Sidonia, 1634 - Seville, 1718)
Est: €22,500 - €27,000
Juan Simón Gutiérrez (Medina Sidonia, 1634 - Seville, 1718) "Saint Francis Borgia being received at the Society of Jesus in Rome" Oil on canvas. Signed. Circa 1700 - 1710. 212 x 150 cm. At the doors of the Society of Jesus in Rome the scene in which Saint Ignatius of Loyola, along with three other jesuites recieve the Duke of Gandia, Saint Francis of Borgia, who, having renounced his aristocratic title, joined the jesuit order in 1547. The episode depicted would have taken place in 1550. Juan Simón Gutiérrez, who trained in Seville, was one of Murillo´s best followers, whose style he kept throughout his career. Paintings of his are kept at the Convent of the Carmona Trinity, the Fine Art Museum of Seville and the Main Church of the crowned Saint in Medina Sidonia.
La Suite Subastas
Jun. 27, 2019
Juan Simón Gutiérrez (Medina Sidonia, 1643 - Sevilla, 1718)
Est: €10,500 - €14,000
Juan Simón Gutiérrez (Medina Sidonia, 1643 - Seville, 1718) "The Child Virgin Spinning" Oil on canvas. Circa 1710. 78 x 56 cm. Enrique Valdivieso explains in his report that "In this Child Virgin Spinning there are stylistic lines which are similar to those the artist used in his painting of the same theme which belongs to the Museo de Prado and which is currently kept at the Army Museum in Madrid, (see E. Valdivieso, Pintura barroca Sevillana (Baroque painting from Seville), Seville, 2003, p. 57). This version is of the whole body, whereas the Museo del Prado version is only of a half figure. There is also a beautiful vase of flowers on a small table and a basket with sewing pieces in the left lower part.” The painting comes with Enrique Valdivieso González´s report from October 2010.
La Suite Subastas
Oct. 25, 2017
JUAN SIMÓN GUTIÉRREZ, The Immaculate Conception. Oil on canvas
Est: -
Inmaculada JUAN SIMÓN GUTIÉRREZ 1634 Medina Sidonia - 1718 Sevilla Inmaculada Juan Simón Gutiérrez es uno de los más destacados seguidores de la tradición murillesca. La adscripción de esta pintura a la lista de obras conocidas del pintor se ha basado en el análisis estilístico de la misma, el cual ha permitido identificar ciertos elementos muy característicos, como el tratamiento del modelado y los pliegues, los rasgos faciales, o la aureola de ángeles que coronan a la figura principal, elemento recurrente en la producción pictórica del asidonense que aparecen, entre otros, en dos de los lienzos que el profesor D. Enrique Valdivieso ha atribuido al pintor. Nos referimos a “La Virgen Niña hilando” y al “Niño Jesús hiriéndose con la corona de espinas”, ambos propiedad del Museo del Prado.
Isbilya Subastas
Dec. 04, 2008
- Juan Simón Gutierrez , Seville 1644 - 1718 the annunciation oil on canvas
Est: £15,000 - £20,000
oil on canvas
Sotheby's
Dec. 08, 2005
JUAN SIMÓN GUTIERREZ SEVILLE 1644 - 1718
Est: £8,000 - £12,000
PROPERTY FROM A PRIVATE COLLECTION THE HOLY FAMILY measurements note 126 by 95.5 cm.; 49 5/8 by 37 5/8 in. oil on canvas PROVENANCE Acquired by the grandparents of the present owners during the early part of the 20th Century. LITERATURE D. Angulo Iñiguez, Murillo, Madrid 1981, vol. III, reproduced plate 548 (erroneously listed as cat. no. 346), under uncertain attributions. NOTE Juan Simón Gutierrez is listed as a member of the Academia de Pintura in Seville from 1664 until 1672. His oeuvre is based around three signed works and the present painting can be compared closely, both in handling and figure types, to the artist's depiction of The Virgin and Child with Augustinian Saints in the Convent de la Trinidad, Carmona (see E. Valdivieso, Pintura Barroca Sevillana, Seville 2003, reproduced p. 399, plate 377). We are grateful to Professor Enrique Valdivieso for endorsing the attribution to Juan Simón Gutierrez on the basis of photographs.
Sotheby's