Francisco (1622) Herrera Sold at Auction Prices

Circle of FRANCISCO HERRERA ‘El mozo’ (Seville, 1627- Madrid, 1685). ‘The Trinity’. Oil on canvas. Re-coloured. It presents restorations and repainting on the pictorial surface.

Circle of FRANCISCO HERRERA ‘El mozo’ (Seville, 1627- Madrid, 1685). ‘The Trinity’. Oil on canvas. Re-coloured. It presents restorations and repainting on the pictorial surface. Measurements: 163 x 128 cm. Over God the Father and Christ flies the white dove, symbol of the Holy Spirit, so that the work presents an iconographic and symbolic duality, being, on the one hand, a representation of the Pietà or Lamentation for the death of Christ and, on the other hand, a representation of the Trinity. It is a Trinity that focuses on Christ's sacrifice for humanity, and which fuses the earthly, temporal realm, in which Jesus met his death, with the heavenly, timeless realm, referred to by the cluster of angels framing the scene and the orange sky behind the figure of God the Father, thus resulting in a figure with multiple levels of theological, symbolic interpretation. In terms of aesthetics, the work is related to the artistic production of Francisco Herrea, ‘El mozo’ (Seville, 1627-Madrid, 1685), son of Francisco Herrera the Elder, ‘El mozo’, who began his artistic training under the guidance of his father, although he finally continued his studies in Rome. At first he devoted himself to architecture, although he soon began to work in the fresco technique. In 1656 he returned to Seville and four years later, in 1660, together with other painters such as Murillo, Valdes Leál and Camprobín, he founded the Seville academy of drawing, of which he was deputy director. A year later he moved to Madrid where he worked on the Frescoes of San Felipe el Real. It was on this project that he attracted the attention of Philip IV, who hired him to paint the dome of the chapel of Nuestra Señora de Atocha and also appointed him court painter and superintendent of the royal buildings. Subsequently, with the appointment of Charles II, he continued to form part of the court and was appointed master of the royal works. His work is characterised by his specialisation in the still life genre, although he was also an appreciated portraitist, although he did not achieve the success of his father. However, due to his dynamic and colourful works, in which his light and versatile brushstrokes stand out, he became a master of the Baroque, which was fundamental in the development of Madrid painting in the last third of the 17th century.

ESCUELA ESPAÑOLA, S.XVII. CÍRCULO DE FRANCISCO DE HERRERA EL MOZO. SAN JERÓNIMO PENITENTE.

Escuela española, s.XVII. Círculo de Francisco de Herrera el Mozo (Sevillla, 1622-Madrid, 1685) San Jerónimo penitente. Óleo sobre lienzo. Basado en la obra de Francisco Herrera el Mozo. Óleo sobre lienzo. Basado en la obra de Francisco Herrera el Mozo. San Jerónimo fue uno de los santos más populares de la España del Barroco, ya que servía para insistir en uno de los temas favoritos de la iglesia contrarreformista: la doctrina del arrepentimiento y la penitencia. En esta escena el santo eremita se encuentra en actitud penitente con el torso medio desnudo y vistiendo túnica roja escuchando el toque de la trompeta del Juicio Final. Con una mano sujeta el crucifijo, su mirada se posa sobre la calavera, símbolo de penitencia, una pluma y un tintero dan fe de la dedicación de San Jerónimo a la escritura. Reentelado. 123,5 x 98 cm.

(Attrib) FRANCISCO (EL MOZZO) HERRERA THE YOUNGER

A saint writing among clouds Pen and ink with graphite (Spanish, 1622-1685), inscribed on verso, "Herrera the Younger / Mozo", framed h. 7 w. 5-1/4 in. (sight) overall: 11-3/4 x 10 in. (framed) n.b. Not all items are on display in our saleroom. If you wish to see a specific item in-person we suggest you contact us before attending our preview.

Attributed to FRANCISCO HERRERA "El mozo" (Seville, 1627- Madrid, 1685). "The birth of the Virgin. Presents faults in the frame, and period frame.

Attributed to FRANCISCO HERRERA "El mozo" (Seville, 1627- Madrid, 1685). "The birth of the Virgin. Presents faults in the frame, and period frame. Measures: 57 x 43 cm; 79 x 64 x 7 cm (frame). Under a break of glory starring the figure of God holding the city and pointing to the figure of the Immaculate Conception, a scene of earthly character develops. It shows a woman lying on a luxurious bed, holding a baby in her arms. Next to the bed an adult man, elegantly dressed, approaches the bed with a magnanimous gesture. The figures can be identified with St. Joachim, the Virgin and Mary. The theme of the Nativity of Mary was frequently represented in art, as part of the cycles of the Life of the Virgin. These depictions, both medieval and later, are often valuable documents that provide information about the domestic interiors and customs of their time. The cycle of the Life of the Virgin spread during the Middle Ages, basing its iconography on the Gospels and, above all, on the apocrypha collected in the "Golden Legend" of Santiago de la Voragine. Anne and Joachim, Mary's parents, had been married for many years without conceiving children. In order for her conception to be immaculate, that is, without the lust of original sin, it took place when the spouses embraced at the Golden Gate of Jerusalem. According to the text, this is how St. Anne became pregnant and, nine months later, gave birth to the Virgin Mary. The birth of Mary is traditionally depicted as we see it here, as a genre scene set in an interior of the period. In the absence of details concerning the Virgin Birth in the Bible, art has turned to the Apocryphal Gospels for inspiration. The Protoevangelium of James provides the names of her parents (Joachim and Anne), and tells that she, barren, withdrew to fast in the desert for 40 days, and an angel appears to her, who then communicates the news to her husband. Similar stories are found in other texts: the Gospel of the Nativity of Mary, the Armenian Gospel of the Infancy, etc. Due to its aesthetics, the work is related to the artistic production of Francisco Herrea, "El mozo" (Seville, 1627- Madrid, 1685), son of Francisco Herrera el viejo, "El mozo", began his artistic training under the guidance of his father, although he finally continued his studies in Rome. At first he dedicated himself to architecture, although he soon began to work with the fresco technique. In 1656 he returned to Seville, and four years later, in 1660, together with other painters such as Murillo, Valdes Leál and Camprobín, he founded the drawing academy of Seville, of which he was the deputy director. A year later he moved to Madrid where he worked on the Frescoes of San Felipe el Real. It was in this project, with which he caught the attention of Philip IV, who hired him to paint the dome of the chapel of Our Lady of Atocha and also appointed him court painter and superintendent of the royal buildings. Later, with the appointment of Charles II, he continued to form part of the court, and was appointed master of the royal works. His work is characterized by specialization in the still life genre, although he was also an appreciated portraitist, without reaching the success of his father. However, due to his dynamic and colorful works, where a light and versatile brush movement stands out, he became a master of the Baroque, fundamental in the development of Madrid painting in the last third of the 17th century.

Attributed to Francisco Herrera "el Mozo" (Sevilla 1627 - Madrid 1685) "God the Father" Oil on canvas 110 x 89 cm 12.000 - 15.000 €

Francisco de Herrera the Younger (Seville, 1627 - Madrid, 1685), attributed on

Francisco de Herrera the Younger (Seville, 1627 - Madrid, 1685), attributed on Saint Francis and the angel Oil on copper, cm. 42x34. Framed The painting is accompanied by an expertise by Dr. Emilio Negro.

Attribué à Francesco HERRERA Le Jeune (1622- 1685) L’Intronisation d’un Evêque Toile 105 x 138 cm

Attribué à Francesco HERRERA Le Jeune (1622- 1685) L’Intronisation d’un Evêque Toile 105 x 138 cm

Francisco de Herrera the Younger , Seville 1612 - 1685 Madrid the triumph of Saint Michael over the devil oil on slate

oil on slate

Francisco Herrera the Younger (1627-1685)

A bearded saint holding a book and a cross pen and brown ink 81/4 x 53/4 in. (210 x 147 mm.) PROVENANCE C. Savelli (L. 637). NOTES See note to the previous lot.

Francisco Herrera the Younger (1627-1685)

A bearded saint, bust-length black chalk, pen and brown ink 81/8 x 57/8 in. (207 x 150 mm.) PROVENANCE C. Savelli (L. 637). NOTES Professor Jonathan Brown confirmed the attribution of this and the following lot in a letter to the previous owner dated 31 October 1976. The engraver-like handling of the pen is close to that in a sheet of studies in the Kunsthalle, Hamburg, J. Brown, 'Drawings by Herrera the Younger and a Follower', Master Drawings, 1975, 3, p. 238, pl. 5. The type of the figure and the composition evidently draws on the models of Ribera, to whom this drawing was previously attributed. Carlos Savelli was from 1896 to 1901 the curator of Prints and Drawings at the Buenos Aires Museum. He retired to Paris, and died there around 1922.

Francisco de Herrera the Younger (1627-1685)

The Madonna and Child with the Infant Baptist and Saint Anne with inscription 'herrera' pen and brown ink, brown wash, the upper left corner cut 71/4 x 51/2 in. (183 x 139 mm.) NOTES The fluency of the wash and the figure types are comparable with those found in drawings in the Biblioteca Nacional, Madrid, and the Kunsthalle in Hamburg, J. Brown, 'Drawings by Herrera the Younger and a Follower', Master Drawings, 1975, 3, pp. 237-8, pls. 1, 3 and 9.