Mariano Salvador de Maella Paintings & Artwork for Sale | Mariano Salvador de Maella Art Value Price Guide

Dec. 17, 2024
MARIANO SALVADOR MAELLA Valencia 1739 - Madrid 1819 Appariti
Est: -
MARIANO SALVADOR MAELLA Valencia 1739 - Madrid 1819 Apparition of Saint Leocadia to Saint Ildefonso in the presence of King Recesvinto and his court, ca. 1770-1771 Oil on canvas Dimensions 106 x 54.3 cm On the back, label from the Board of Seizure and Protection of Artistic Heritage (inv. no. 14185, provenance: CNT) Provenance: - Viudes Collection. - Cavestany Collection, Madrid. - By descent to its current owners. This passage of Saint Ildefonso and Saint Leocadia would be recited on many occasions by Mariano Salvador Maella during the course of his prolific career. From its comparison with similar examples, the obvious interest in emphasising the presence of the Virgin and, therefore, in highlighting the importance of the writings of this saint from Toledo in the devotion to the Immaculate Mary emerges here. The presence of this scene in the pictorial cycle written for the decoration of this Collegiate Church was unavoidable as it refers in some way to the patron saint of this Royal Site of San Ildefonso. Once again, the canvas continues to act for the Valencian as a precious vehicle for compositional experimentation, hence the author does not resist incorporating a balustrade in the foreground. The purpose of this move is none other than to pave the way for an architectural space where this popular episode from the saint's chronicle can be displayed. The original fresco by Maella in this vault of the Collegiate church of San Ildefonso was destroyed by bombing during the Civil War, so after the end of the war the painter Horacio Ferrer was commissioned to recreate it. At that time, the family that owned this sketch spent their summers in La Granja and news of its existence would undoubtedly spread. Ferrer immediately made a copy, which until recently remained in the painter's studio but was acquired by the National Heritage, and then transferred the composition to the final dimensions of the church. Text extracted from José M. de la Mano in Mariano... 2011. Selected bibliography: Mano Mora, José Manuel de la., Mariano Salvador Maella. Catalogue raisonné, Madrid, 2011, cat. nº III.20.
Subastas Segre
Dec. 10, 2024
MARIANO SALVADOR MAELLA Valencia (1739) / Madrid (1819) "Nativity of Christ", 1805-1806
Est: €30,000 - €40,000
Oil on canvas. Provenance: Ducal House of Hijar, possible commission to the painter by Pedro de Alcantara de Silva, 9th Duke of Hijar; Ducal House of Hijar (throughout the 19th century); Maria Araceli de Silva y Fernandez de Cordoba, 11th Duchess of Almazan (from 1930); Seized during the Spanish Civil War and deposited in the Museo Nacional del Prado (1936-1939); Maria del Rosario Mariategui y Silva, 12th Duchess of Almazan (until 2008); From there by succession to its current owners. Bibliography: Delegate Board for the Seizure, Protection and Rescue of Artistic Treasures, collection inventory number: Almazan 15, deposit number at the Museo del Prado: 8097; English: Photo library of the Institute of Cultural Heritage of Spain. Moreno Archive (15262_B); Study of the work carried out by Professor Dr. Arturo Anson Navarro, dated October 7, 2014. Reference bibliography: DE LA MANO, J., Mariano Salvador Maella. Power and image in the Spain of the Enlightenment, Madrid, 2011. The Valencian Mariano Salvador Maella is considered one of the best Spanish painters of the 18th century. Chamber painter of Charles III, he devoted himself mainly to the decoration of the Royal Palace of Madrid and other Royal Sites; the decoration of important cathedrals such as those of Valencia, Toledo, Burgo de Osma or Jaen, and some commissions for the main houses of the Spanish aristocracy; a good example being the work presented here representing the Nativity of Christ. This beautiful and harmonious painting, as Arturo Anson points out in the extensive study he made of it, was commissioned by Don Pedro de Alcantara de Silva, 9th Duke of Hijar, possibly intended for the bedroom or a small oratory of his palatial residence. Stylistically, this Nativity of Maella is closely related to the large painting of the Adoration of the Shepherds (DE LA MANO, J., 2011, V.71 and V.72, early 476-477) that the Valencian painter made in 1806 for the chapel of the new Madrid palace that the Dukes of Villahermosa had ordered to be built on the Paseo del Prado. As Arturo Anson points out, the work must have been painted at a similar date, since both reflect the painter's mature style and are very similar compositionally, although there are variations in the position of some figures. The painting shows the characters in the middle of a nocturnal environment, showing the Virgin smiling at the Child Jesus and kneeling in front of the manger, displaying a gesture of complacency. The Child Jesus radiates the light that illuminates the scene and, with the position of his hands, seems to want to communicate to his parents the knowledge and acceptance of his redemptive mission. As Anson indicates, the painting is a good example of the enlightened Catholic sensibility that combines religious emotion with delicacy and expressive restraint; a religiosity that is more interior than exterior,of neo-Erasmian theological foundations, which is expressed through an intimate and austere devotion. Attached is a study of the painting carried out by Professor Don Arturo Anson Navarro on October 7, 2014. Measurements: 97 x 73 cm.
Ansorena
Oct. 31, 2024
MARIANO SALVADOR MAELLA (VALENCIA, 1739 - MADRID, 1819)
Est: €10,000 - €18,000
Mariano Salvador Maella (Valencia, 1739 - Madrid, 1819) ‘Immaculate Conception Oil on canvas. 79 x 49 cm. This is most certainly a preparatory painting, finished in detail, for the large canvas for the altar of the chapel of San Antonio in the church of San Francisco el Grande in Madrid. Another preparatory work, ‘The Immaculate Conception’ (P007602) by Maella, circa 1787, is on display in the Museo del Prado in room 89. With the exception of the dimensions (142 x 74 cm), everything else is identical. Consequently we have referred to the description given by the Prado on its website: ‘The composition is configured in three interdependent registers in order to highlight the main image of the painting. The upper space is occupied by the Eternal Father, surrounded by angels who appear to support him, accentuating his marked foreshortening and constituting a kind of canopy of figures in the manner of a determining apex of Divine Grace. Below, the Virgin, dressed in the traditional attire - a blue mantle billowing behind her and a white tunic - raises her eyes to heaven and crosses her hands over her breast. The angels in the lower area carry some traditional symbolic elements such as lilies, a mirror and a rose, and partly conceal a terrestrial sphere on which an ophidian glides, almost segmented by the emerging horn of a lunar crescent. It bites into the apple of original sin and seems to be strangely chased away by an angel in the lower right corner, who holds the necklace of the royal order in his hands. Maella perfectly combines the two tonal ranges, relying on cold or warm use of colour, depending which is most useful for his particular vision, while distributing the details by harmonising them through successions of parallel or zigzag diagonals, in order to obtain the impression of dynamism, underlined by the attitudes of all the figures, except for the Virgin, who provides the calm note in the midst of a formulation that is little less than centrifugal on the whole.’ Reference bibliography: - Museo del Prado. (s.f.). 'La Inmaculada Concepción'. https://www.museodelprado.es/coleccion/obra-de-arte/la-inmaculada-concepcion/61db14cb-c75f-4904-8e15-9eed097917e2. Oil.
La Suite Subastas
Oct. 09, 2024
Virgen del Carmen delivering the scapular to Saint Simon, attributed to Mariano Salvador Maella (Valencia, 1739-Madrid, 1819)
Est: €4,000 - €4,500
Oil on copper, with inscription on the back "IP aº 1767". The scene represents, in vertical format, the moment in which the Virgin Mary and the Child Jesus hand over the Carmelite scapular to the English Saint Simon Stock (Kent, around 1775-Bordeaux, 1285). Sixth Prior General of the Carmelite Order, 13th century. In it, Maria, sitting on a cumulus of clouds, appears barefoot, dressed in a pink tunic and a blue mantle, touched with a greenish veil that partially covers her head. On the right side of her lap we find the Child Jesus, holding the cross in her right hand. On the left, a kneeling angel carrying various Carmelite scapulars on a tray, completing the scene with two angels at the top of the composition. According to the Doctor in Art History, D. José Ángel Rivera de las Heras, "The work is framed, therefore, after his Roman stage. And on a specific date, the year 1767, the year in which we know that he married María González Velázquez, settling on Carretas street in Madrid ”. Reference bibliography: Louis Réau, Iconography of the Saints. From P to Z. Volume 2, volume 5, Barcelona, 1998. pp. 229-230 ; Juan Fernando Roig, Iconography of the saints, Barcelona, 1950, p. 251 ; Jose Luis Morales and Marin, Mariano Salvador Maella. Life and work, Zaragoza, 1996. Copper measurements: 30 x 26 cm. Measures with frame: 39 x 33 cm Juan Fernando Roig, Iconography of the saints, Barcelona, 1950, p. 251 ; Jose Luis Morales and Marin, Mariano Salvador Maella. Life and work, Zaragoza, 1996. Copper measurements: 30 x 26 cm. Measures with frame: 39 x 33 cm Juan Fernando Roig, Iconography of the saints, Barcelona, 1950, p. 251 ; Jose Luis Morales and Marin, Mariano Salvador Maella. Life and work, Zaragoza, 1996. Copper measurements: 30 x 26 cm. Measures with frame: 39 x 33 cm
Templum Fine Art Auctions
Sep. 12, 2024
MARIANO SALVADOR MAELLA, Attr. (Valencia, 1739-Madrid, 1819) - Great Holy Family with Saint John in oil on panel, 18th century Valencian school
Est: €4,000 - €6,000
Around 1770, with original frame from the same period. Spanish school of the 18th century. Table measurements: 90 x 70 cm, framed measurements: 100 x 80 cm. Francisco Bayeu (Zaragoza, 1734-Madrid, 1795) began his career in Zaragoza in the workshop of the bohemian painter Juan Andrés Merklein and in the drawing classes of José Luzán Martínez. Bayeu later returned to his hometown, where he carried out several commissions for churches and convents, including the Aula Dei Charterhouse. Anton Raphael Mengs asked him in 1762 to help him decorate the New Palace. Thanks to Mengs's interventions, the Aragonese collaborated on numerous decorative works for the royal sites, which earned him the appointment of chamber painter in 1767. He worked mainly as a fresco painter, and in 1768 he painted the vault of the hall. conversation room of the princes of Asturias, decorated with the theme of Hercules on Olympus. Bayeu combined his tasks at court with different assignments offered by the Zaragoza authorities. Later he was entrusted with the decoration of the royal chapel of the Aranjuez palace. Bayeu was also responsible for the artistic tasks of the Santa Bárbara Tapestry Factory. He made the cardboard models that his brother made and supervised the work of Goya, his brother-in-law since 1773. In 1785, Charles III commissioned Bayeu and Maella to restore the paintings in the royal collections. Reference bibliography: os Bayeu, Caja de Ahorros y Monte de Piedad de Zaragoza, Aragón y Rioja (Ibercaja, Obra Social y Cultural), 1979. ISBN 84-500-3272-5. Provenance: important private collection from Barcelona.
Templum Fine Art Auctions
Feb. 06, 2024
Attribué à Mariano Salvador MAELLA Valence, 1739 - Madrid, 1819 Étude de nu féminin à demi couché Crayon noir
Est: €400 - €600
Attribué à Mariano Salvador MAELLA Valence, 1739 - Madrid, 1819 Étude de nu féminin à demi couché Crayon noir Annoté 'N. 40' à la plume et encre brune au verso Sans cadre h: 40 w: 49 cm Provenance : Collection particulière européenne Commentaire : Rapport de condition : Feuille libre, papier vergé Pliure verticale traversant la feuille Quelques légères petites pliures Bords irréguliers Feuille légèrement insolée Piqûres, taches Estimation 400 - 600 €
Artcurial
Nov. 29, 2023
Mariano Salvador Maella (Valencia, 1739 - Madrid, 1819) "Sketch of Immaculate in Glory", Aragonese school of the 18th - 19th centuries
Est: €12,000 - €15,000
Oil on canvas, measurements: 64 x 33, no frame attached. Very possibly a cellar used to project an altar with a larger work. Reference bibliography: Louis Réau, Iconography of the Saints. From P to Z. Volume 2, volume 5, Barcelona, 1998. pp. 229-230; Juan Fernando Roig, Iconography of the Saints, Barcelona, 1950, p. 251; José Luis Morales y Marín, Mariano Salvador Maella. Life and work, Zaragoza, 1996. Provenance: important Andalusian private collection, Sevillian palace, Seville, Andalusia, Spain.
Templum Fine Art Auctions
Sep. 28, 2023
Mariano Salvador Maella. Portrait of the infant
Est: -
Oil on canvas, relined. Old inventory and transportation labels on the back. Provenance: - Collection of the Duque del Infantado (Pps. 20th century label on the back) - [From the Collection of Duque del Infantado] - Private collection. Reproduced in the Moreno Archive with the signature (17662_B), who places it in the Duques del Infantado Collection with an attribution to Francisco de Goya.
Duran Arte y Subastas
Jul. 13, 2023
TALLER DE MARIANO SALVADOR MAELLA Pareja de Batalla de las Navas de Tolosa y Batalla del Salado
Est: -
TALLER DE MARIANO SALVADOR MAELLA (Valencia, 1739 - Madrid, 1819) Pareja de "Batalla de las Navas de Tolosa" y "Batalla del Salado" Óleo sobre lienzo. Marcos y bastidores de época. 29 x 48 cm
Arte Subastas Bilbao
Jul. 13, 2023
MARIANO SALVADOR MAELLA La Justicia y la Paz protectoras de las Artes
Est: -
MARIANO SALVADOR MAELLA (Valencia, 1739 - Madrid, 1819) "La Justicia y la Paz protectoras de las Artes" Óleo sobre lienzo 64 x 42 cm
Arte Subastas Bilbao
May. 30, 2023
Virgen del Carmen delivering the scapular to Saint Simon, attributed to Mariano Salvador Maella (Valencia, 1739-Madrid, 1819)
Est: €4,000 - €4,500
Oil on copper, with inscription on the back "IP aº 1767". The scene represents, in vertical format, the moment in which the Virgin Mary and the Child Jesus hand over the Carmelite scapular to the English Saint Simon Stock (Kent, around 1775-Bordeaux, 1285). Sixth Prior General of the Carmelite Order, 13th century. In it, Maria, sitting on a cumulus of clouds, appears barefoot, dressed in a pink tunic and a blue mantle, touched with a greenish veil that partially covers her head. On the right side of her lap we find the Child Jesus, holding the cross in her right hand. On the left, a kneeling angel carrying various Carmelite scapulars on a tray, completing the scene with two angels at the top of the composition. According to the Doctor in Art History, D. José Ángel Rivera de las Heras, "The work is framed, therefore, after his Roman stage. And on a specific date, the year 1767, the year in which we know that he married María González Velázquez, settling on Carretas street in Madrid ”. Reference bibliography: Louis Réau, Iconography of the Saints. From P to Z. Volume 2, volume 5, Barcelona, 1998. pp. 229-230 ; Juan Fernando Roig, Iconography of the saints, Barcelona, 1950, p. 251 ; Jose Luis Morales and Marin, Mariano Salvador Maella. Life and work, Zaragoza, 1996. Copper measurements: 30 x 26 cm. Measures with frame: 39 x 33 cm Juan Fernando Roig, Iconography of the saints, Barcelona, 1950, p. 251 ; Jose Luis Morales and Marin, Mariano Salvador Maella. Life and work, Zaragoza, 1996. Copper measurements: 30 x 26 cm. Measures with frame: 39 x 33 cm Juan Fernando Roig, Iconography of the saints, Barcelona, 1950, p. 251 ; Jose Luis Morales and Marin, Mariano Salvador Maella. Life and work, Zaragoza, 1996. Copper measurements: 30 x 26 cm. Measures with frame: 39 x 33 cm
Templum Fine Art Auctions
May. 10, 2023
MARIANO SALVADOR MAELLA Valencia (1739) / Madrid (1819) "Apollo with the Four Elements" and "Cibele offers Ceres her productions"
Est: €27,000 - €36,000
Pair of graphite drawings on garbanzo paper. The couple of designs presented here are the first ideas of two decorations made by Maella for the mural decoration of the Casa del Labrador: the great fresco of "Apollo with the Four Elements", which decorates the ceiling of the Billiard Room, and "Cybeles offers Ceres her productions", intended for another of the palatial rooms of the same building. These previously unpublished drawings are of great interest because they show a series of modifications made by the painter during the creative process of the two works. In the first of them, the most notorious, is the change in the distribution of the representation of the Four Elements. The area located right in front of the access to the room is presided over in both cases by the god Apollo, but, in the design on paper, at his feet, there is a representation of the elements that make up the group of the Earth, presided over by the goddess Cibeles, crowned and with the terrestrial sphere, while in the sketch on canvas and the final fresco they are replaced by those of Water, led by Neptune mounted on a chariot drawn by seahorses. The Air group, located on the right, and the Fire group, in the background, did not see themselves modified in their final arrangement. The first is starred by Aeolus, divinity of the winds, and the second by Vulcan, working in his forge and with Etna in the background. In this preparatory design, completing the cloudscape, The representations of the Morning Star and El Rocío also appear outlined. In the second, one of its four angles is still unexposed and the three compositional groups are still very sketchy. In them you can identify the group of Apollo in his car, alluding to the fertilizing sun; and the one that represents Cibeles and Ceres, as the incarnation of the goddess of harvests and assisted by Farming. This previous idea raised by Maella on paper is directly related to some oil sketches made by the painter that were conceived as models for the same room. One of them belonged to José Lázaro Galdiano and appeared on the market a few years ago (Abalarte, October 2020 Auction, lot 76), while the other is in the Saarland Museum in Sarrebruck (See De la Mano, 2011, early . 389-390) As De la Mano explains in his study on Maella (De la Mano, 2011, p. 399) the frescoes made by the painter follow a general idea raised in all the decoration of the Casa del Labrador which is called to extol the rural nature of this palatial residence. Measurements: 36 x 44.5 cm. and 38 x 46.5 cm.
Ansorena
Apr. 20, 2023
Attributed to MARIANO SALVADOR MAELLA (Valencia, 1739 – Madrid, 1819). "The Adoration of the Shepherds". Oil on canvas. Relined. It presents slight repaints.
Est: €5,000 - €6,000
Attributed to MARIANO SALVADOR MAELLA (Valencia, 1739 - Madrid, 1819). "The Adoration of the Shepherds. Oil on canvas. Re-retouched. It presents slight repainting. Measurements: 55 x 39,5 cm; 80 x 60 cm (frame). Faithful to his style, Mariano Salvador Maella offers us a canvas that combines the last traces of the eighteenth-century baroque with the novelties of neoclassicism, always marked by academicism and rigour in the drawing. Thus, we are faced with a tremendously narrative work, featuring the Holy Family, who occupy the centre of the composition accompanied by the shepherds who devotionally observe the newborn Child. This theme was treated by Maella on several occasions; in fact, similar works in terms of theme and style can be found in the collection of the Museo de Bellas Artes of A Coruña. A painter, engraver and illustrator, Maella began his training in Madrid, in the drawing studio of the sculptor Felipe de Castro. He later continued his studies at the recently created San Fernando Academy, where his teacher was Antonio González Velázquez, from whom he learned the elements of the late eighteenth-century Baroque. After completing his studies and having won several Academy competitions, he moved to Rome in 1757. There he began his professional career, following the Baroque style of his master. However, on returning to France he entered the sphere of Anton Raphael Mengs, leaving the Baroque influence behind him for good. From then on he carried out important work as a fresco painter in the decoration of the Royal Palace in Madrid and other royal sites. In 1774 he was appointed chamber painter, and from then on he combined his service to the king with his post at the Santa Bárbara Tapestry Factory, where he was responsible for supervising the work of the young painters. He was also a member of merit of the Royal Academy of San Fernando from 1765, replacing Mengs as professor there from 1769, before finally being appointed director in 1772. At the height of his career, Charles IV awarded him the title of first painter to the king, shared with Goya, in 1799. Maella is currently represented in the Prado Museum, the National Heritage collection, the Metropolitan Museum in New York and the Valencia Fine Arts Museum, among others.
Setdart Auction House
Mar. 28, 2023
MARIANO SALVADOR MAELLA Valencia (1739) / Madrid (1819) "Justice and Peace, protectors of the Arts", 1773
Est: €16,500 - €22,000
Oil on canvas Sketch for the presentation of the ceiling fresco in the hall of the Palacio del Pardo in Madrid, executed by Maella in 1773. Another sketch is known (see De la Mano, III.9) with approximate measurements that presents slight variations with respect to the present work and the final fresco. The version that we present here is very interesting because it sheds a little more light on the process of creation and execution of a royal commission by Maella, where he continually considered different solutions that were presented to the Monarch. The highlight of this work is that the main figure of Justica appears holding the scales that identifies her, a solution not present in the other sketch but that was executed in the vault, surely to be able to better identify the figure. On the other hand, the figure of Amalthea, the group of Arts and the putti at the top, have slight variations with respect to the final result. Reference bibliography: De la Mano, JM, “Mariano Salvador Maella. Power and image in the Spain of the Enlightenment”, FAH, Madrid, 2011, pp. 305 - 307 Measurements: 63.5 x 42 cm
Ansorena
Dec. 14, 2022
MARIANO SALVADOR MAELLA Valencia (1739) / Madrid (1819) "Apollo with the Four Elements", 1803-1805
Est: €21,000 - €28,000
Graphite on garbanzo paper. The first idea of what can be considered Maella's great epilogue in his contribution to the mural decoration of the Casa del Labrador: the great fresco of "Apollo with the Four Elements" that decorates the ceiling of the Billiard Room. In the spring of 1805, the Valencian painter moved to Aranjuez with the aim of definitively capturing on the roof of the Royal Site the allegory that he had already sketched on a canvas of this space and that is preserved today in a private collection. This unpublished drawing is of great interest because a series of modifications made by the painter during the creative process of the work can be seen. Among them, the most notorious is the change in the distribution of the representation of the Four Elements. The area located right in front of the access to the room is presided over in both cases by the god Apollo but, in the design on paper, at his feet, there is a representation of the elements that make up the group of the Earth, presided over by the goddess Cibeles, crowned and with the terrestrial sphere, while in the sketch on canvas and the final fresco they are replaced by those of Water, led by Neptune mounted on a chariot drawn by seahorses. The Air group, located on the right, and the Fire group, in the background, did not see themselves modified in their final arrangement. The first is starred by Aeolus, divinity of the winds, and the second by Vulcan, working in his forge and with Etna in the background. In this preparatory design, completing the cloudscape, The representations of the Morning Star and El Rocío also appear outlined. As De la Mano explains in his study on Maella (De la Mano, 2011, p. 399) the fresco made by the painter follows the general idea raised in all the decoration of the Casa del Labrador that is called to ponder nature rural of this palatial residence. Apollo, as a solar deity, favors the development of crops and therefore the progress of Agriculture. Measurements: 36 x 44.5 cm. It favors the development of crops and therefore the progress of Agriculture. Measurements: 36 x 44.5 cm. It favors the development of crops and therefore the progress of Agriculture. Measurements: 36 x 44.5 cm.
Ansorena
Dec. 14, 2022
MARIANO SALVADOR MAELLA Valencia (1739) / Madrid (1819) "Scene with a holy Roman martyr"
Est: €6,000 - €8,000
Sanguine on laid paper. Watermark in capital letters. Measurements: 14.8 x 20.8 cm.
Ansorena
Dec. 14, 2022
MARIANO SALVADOR MAELLA Valencia (1739) / Madrid (1819) "The Assumption of the Virgin"
Est: €4,500 - €6,000
Graphite on laid paper. Finished in half a point, this drawing is related in its composition to some works made by Maella such as the painting for the cathedral of Jaén, the canvas that belongs to the collection of the Museo Nacional del Prado, the one for the church of Santa María de Talavera in the Queen or that of Villabalter in León. The upper register, with the Virgin with her arms outstretched, is more similar, with more variations among the group of apostles who are next to the empty tomb. Measurements: 21 x 14 cm.
Ansorena
Dec. 14, 2022
MARIANO SALVADOR MAELLA Valencia (1739) / Madrid (1819) "Scene with a holy Roman martyr"
Est: €4,200 - €5,600
Graphite on laid paper. Filigree with medallion with scroll border and thistle in central space. Measurements: 20.5 x 15 cm.
Ansorena
Jun. 07, 2022
ATRIBUIDO A MARIANO SALVADOR MAELLA. LA VIRGEN DEL CARMEN ENTREGA EL ESCAPULARIO A SAN SIMÓN STOCK.
Est: €2,400 - €3,000
Atribuido a Mariano Salvador Maella (Valencia, 1739-Madrid, 1819) La Virgen del Carmen entrega el escapulario a San Simón Stock. Óleo sobre cobre. La Virgen sedente sobre las nubes con el Niño en su regazo entrega el escapulario al Santo que sosteniendo una cruz en su mano derecha lo ecibe ante la mirada de un ángel que sostiene una bandeja con diversos escapularios carmelitanos. Inscripción en el reverso: "I.P. a º 1767". Según Don José Ángel Rivera de las Heras "la obra se enmarca después de su etapa romana y en una fecha concreta, el año 1767". Adjunta estudio de José Ángel Rivera de las Heras. 31 x 25 cm.
Aletheia Subastas
May. 24, 2022
ATTRIBUITED TO MARIANO SALVADOR MAELLA - Saint Joseph with Child Jesus in the workshop
Est: €7,000 - €14,000
ATTRIBUTED TO MARIANO SALVADOR MAELLA Valencia 1739 - Madrid 1819 Saint Joseph with the Child Jesus in the Workshop Oil on canvas Size 84 x 51 cm Back inscribed in black ink: "Painted p. Maella/ Property / De Jose Ya...".
Subastas Segre
Dec. 22, 2021
"ATTRIBUTED TO MARIANO SALVADOR MAELLA (VALENCIA, 1739 - MADRID, 1819) ""THE VIRGIN WITH THE CHILD GIVING THE SCAPULAR TO SAINT SIMON"" "
Est: €12,000 - €18,000
Oil on copper, with inscription on the reverse "I.P. aº 1767". The scene represents, in vertical format, the moment when the Virgin Mary and the Child Jesus present the Carmelite scapular to the English Saint Simon Stock (Kent, around 1775-Bordeaux, 1285). Sixth Prior General of the Carmelite Order, 13th century. In it, Mary, sitting on a cumulus of clouds, appears barefoot, dressed in a pink tunic and blue cloak, wearing a greenish veil that partially covers her head. On the right side of his lap we find the Child Jesus, holding the cross in his right hand. On the left, a kneeling angel carrying various Carmelite scapulars on a tray, two angels in the upper part of the composition completing the scene. According to the Doctor in Art History, D. José Ángel Rivera de las Heras, "The work is therefore framed after its Roman period. And on a specific date, the year 1767, the year in which we know that he married María González Velázquez, settling in Calle Carretas de Madrid ". Reference bibliography: Louis Réau, Iconography of the Saints. From P to Z. Volume 2, volume 5, Barcelona, 1998. pp. 229-230; Juan Fernando Roig, Iconography of the Saints, Barcelona, 1950, p. 251; José Luis Morales and Marín, Mariano Salvador Maella. Life and work, Zaragoza, 1996. Copper measurements: 30 x 26 cm. Measures with frame: 39 x 33 cm
Templum Fine Art Auctions
Dec. 02, 2021
ATTRIBUTED TO MARIANO SALVADOR MAELLA (VALENCIA, 1739 - MADRID, 1819) "THE VIRGIN WITH THE CHILD GIVING THE SCAPULAR TO SAINT SIMON"
Est: €12,000 - €18,000
Oil on copper, with inscription on the reverse "I.P. aº 1767". The scene represents, in vertical format, the moment when the Virgin Mary and the Child Jesus present the Carmelite scapular to the English Saint Simon Stock (Kent, around 1775-Bordeaux, 1285). Sixth Prior General of the Carmelite Order, 13th century. In it, Mary, sitting on a cumulus of clouds, appears barefoot, dressed in a pink tunic and blue cloak, wearing a greenish veil that partially covers her head. On the right side of his lap we find the Child Jesus, holding the cross in his right hand. On the left, a kneeling angel carrying various Carmelite scapulars on a tray, two angels in the upper part of the composition completing the scene. According to the Doctor in Art History, D. José Ángel Rivera de las Heras, "The work is therefore framed after its Roman period. And on a specific date, the year 1767, the year in which we know that he married María González Velázquez, settling in Calle Carretas de Madrid ". Reference bibliography: Louis Réau, Iconography of the Saints. From P to Z. Volume 2, volume 5, Barcelona, 1998. pp. 229-230; Juan Fernando Roig, Iconography of the Saints, Barcelona, 1950, p. 251; José Luis Morales and Marín, Mariano Salvador Maella. Life and work, Zaragoza, 1996. Copper measurements: 30 x 26 cm. Measures with frame: 39 x 33 cm
Templum Fine Art Auctions
Oct. 20, 2021
MARIANO SALVADOR MAELLA (Valencia, 1739 - Madrid, 1819).
Est: €25,000 - €30,000
MARIANO SALVADOR MAELLA (Valencia, 1739 - Madrid, 1819). "Holy Family with Saint Teresa of Jesus". Oil on canvas. Relined. Attached certificate of authenticity issued by the Amatller Institute of Hispanic Art. Measurements: 215 x 157 cm; 239 x 183 cm (frame). Faithful to his style, Mariano Salvador Maella offers us a canvas that combines the last traces of eighteenth-century baroque with the novelties of neoclassicism, always marked by academicism and rigour in the drawing. This is a tremendously narrative work, with the Holy Family in the centre of the composition and Saint Teresa of Jesus in the lower right corner. In an exceptional interplay of gazes, gestures and symbolism, Maella immortalises Saint Teresa as if she were a donor, in the manner of a portrait, idealised both in the treatment of her face and her clothing. Thus, the Carmelite habit, far from being represented as a mere garment, is worked with great subtlety and determination, as if it were a delicate transparent veil. The saint looks at the Child Jesus, personified by the Valencian artist as Cupid. With the help of his parents, the little boy points his arrow at Teresa of Jesus, an allusion to the ecstasy experienced by the saint herself, in which she felt God's love piercing her heart. Maella completes the composition with the representation of the Holy Spirit, from whose beak emanate the rays that inspire the saint in her writing. In relation to this last point, it is worth mentioning how Saint Teresa is considered one of Spain's most celebrated writers. On the heavenly plane, in the manner of a typically Baroque break in glory, God the Father Almighty is depicted, relegated to the background, albeit with a firm and decisive line, a faithful reflection of her religious condition. This exceptional composition, which embodies the powerful artistic work of Salvador Maella, denotes the Valencian artist's taste for classical antiquity, a characteristic of neoclassicism reflected in the personification of the Christ Child as Cupid, in the foot of the classical column that rises in the background of the work and in the tonsure of flowers that crowns the Saint (in the manner of a laurel wreath). A painter, engraver and illustrator, Maella began his training in Madrid, in the drawing studio of the sculptor Felipe de Castro. He later continued his studies at the recently created San Fernando Academy, where his teacher was Antonio González Velázquez, from whom he learned the elements of the late 18th-century Baroque. After completing his studies and having won several Academy competitions, he moved to Rome in 1757. There he began his professional career, following the Baroque style of his master. However, on returning to France he entered the sphere of Anton Raphael Mengs, leaving the Baroque influence behind him for good. From then on he carried out important work as a fresco painter in the decoration of the Royal Palace in Madrid and other royal sites. In 1774 he was appointed chamber painter, and from then on he combined his service to the king with his post at the Santa Bárbara Tapestry Factory, where he was responsible for supervising the work of the young painters. He was also a member of merit of the Royal Academy of San Fernando from 1765, replacing Mengs as professor there from 1769, before finally being appointed director in 1772. At the height of his career, Charles IV awarded him the title of first painter to the king, shared with Goya, in 1799. Maella is currently represented in the Prado Museum, the National Heritage collection, the Metropolitan Museum in New York and the Valencia Fine Arts Museum, among others.
Setdart Auction House
Jul. 01, 2021
Circle of Mariano Salvador Maella (Spanish,
Est: £200 - £300
Circle of Mariano Salvador Maella (Spanish, 1739-1819) The Vision of St Anthony of Padua sanguine chalk on white laid paper 8 1/2 x 15 1/2in. (16.5 x 39.4cm.) * Provenance: Label on reverse for Hal O'Nials Fine Art Dealer, 6 Ryder Street, St James's, London. Exhibition of Old Master Drawings April-May 1965. No.53
Martel Maides
Jun. 17, 2021
MARIANO SALVADOR MAELLA (VALENCIA, 1739-MADRID, 1819). SAINT JOSEPH WITH THE CHILD.
Est: €4,000 - €6,000
Mariano Salvador Maella (Valencia, 1739-Madrid, 1819). Saint Joseph with the Child. Oil on canvas. Signed on the back. 63 x 49 cm. Spanish painter, engraver and illustrator, in 1750 he moved to Madrid to enter the drawing studio of the sculptor Felipe de Castro and later he did so in the recently created Academia de San Fernando, where he attended the classes of the painter Antonio González Velázquez, who he transmitted to him all the elements of the late eighteenth-century baroque, with its characteristic rococo delicacy to the Roman, derived from Corrado Giaquinto. After completing her studies and having won several awards at the Academy competitions, Maella moved to Rome in 1757. The influence of the Baroque was relegated when Maella returned to Spain in 1765 and entered the orbit of Anton Raphael Mengs. From then on he developed extensive work as a fresco artist in the decoration of the Royal Palace of Madrid and other royal sites. In his religious painting, Maella dedicated many of his canvases to the theme of the Immaculate Conception, incessantly required by churches and individuals. Maella was a fruitful painter, of incessant creativity in all pictorial genres. After Bayeu's death in 1795 he became director of the San Fernando Royal Academy of Fine Arts. At the peak of his career, Carlos IV granted him in 1799 the title of first painter to the king, vacant since the death of Mengs, although shared with Francisco de Goya. After the War of Independence, with the ascent to the throne Fernando VII, he was relegated from his positions and was replaced by his disciple, Vicente López Portaña.
Aletheia Subastas
Apr. 08, 2021
MARIANO SALVADOR MAELLA (1739 / 1819) "Jesus with the children", h.1756-57
Est: €3,150 - €4,200
Exhibitions: "Spanish Drawing from the Renaissance to Goanda. The Collection of Queen María Cristina de Borbón", Zaragoza, December 2008, Reproduced in the exhibition catalogue nº85, pages 284-87.
Ansorena
Jan. 22, 2020
ESCUELA ESPAÑOLA S. XVIII / . - "Virgen"
Est: -
ESCUELA ESPAÑOLA S. XVIII / . "Virgen" Obra cercana a los prototipos de Virgen realizados por Mariano Salvador Maella (1739 - 1819). Presenta puntual deterioro en el lienzo. 59 x 45 cm Óleo sobre lienzo
Ansorena
Dec. 19, 2019
MARIANO SALVADOR MAELLA (1738-1819). "GLORIFICATION OF SAINT STEPHEN."
Est: €1,000 - €1,300
Oil on card. Includes certification from The Amatller Institute. 27 x 25 cm; 49.5 x 50 cm. (frame).
Subarna Subastas
Oct. 17, 2019
MARIANO SALVADOR MAELLA (1738-1819). "THE GLORIFICATION OF SAINT STEPHEN."
Est: €1,500 - €1,950
MARIANO SALVADOR MAELLA (1738-1819). Oil on canvas With authentification certificate from The Amatller Insitute. 27 x 25cm; 49.5 x 50cm. (frame)
Subarna Subastas
Mar. 20, 2019
MARIANO SALVADOR MAELLA (Valencia, 1739 - Madrid, 1819) "The Immaculate Conception". Oil on canvas
Est: -
MARIANO SALVADOR MAELLA (Valencia, 1739 – Madrid, 1819), Inmaculada, Replica con algunas variantes de la conservada en el Museo del Prado. Con certificado de D. Rafael Manzano Martos. 186 x 124 cm ENGLISH MARIANO SALVADOR MAELLA (Valencia, 1739 - Madrid, 1819) "The Immaculate Conception". Oil on canvas
Isbilya Subastas
Feb. 19, 2019
MARIANO SALVADOR MAELLA, circle of
Est: €500 - €700
MARIANO SALVADOR MAELLA, circle of (Valencia 1739 - Madrid 1819) VIRGIN OF SORROWS AT THE FEET OF THE CROSS Oil on canvas, cm. 30 x 21 CONDITIONS OF THE PAINTING Late nineteenth-century re-lining. Restoration points on the face and on the dress of the Virgin FRAME Giltwood frame carved to climbing leaves, of the end of the 18th century MARIANO SALVADOR MAELLA, ambito di (Valencia 1739 - Madrid 1819) VERGINE ADDOLORATA AI PIEDI DELLA CROCE Olio su tela, cm. 30 x 21 CONDIZIONI DEL DIPINTO Rintelo tardo ottocentesco. Punti di restauro sul volto e sulla veste della Vergine CORNICE Cornice in legno dorato intagliata a foglie rampicanti, della fine del XVIII secolo
Casa d'Aste Babuino
Oct. 26, 2017
ATRIBUIDO A MARIANO SALVADOR MAELLA (1739-1819)
Est: €1,800 - €2,340
La aparición de San Jaime al rey Ramiro Versión casi identica en Reial Acadèmia Belles Arts de Sant Jordi. Existe una copia de esta obra que pertenece a la Caja de Ahorros de Zaragoza, Aragón y La Rioja. Óleo sobre lienzo. 37,5 x 87 cm.
Subarna Subastas
Oct. 18, 2017
ATTRIBUTED TO MARIANO SALVADOR MAELLA The Immaculate Conception. Oil on tinplate
Est: -
ATRIBUIDO A MARIANO SALVADOR MAELLA (Valencia 1739-Madrid1819) Inmaculada Concepción Oleo sobre chapa de hojalata de 35 x 25 cm. Hacia 1780-90.En elreverso, en un papel pegado a la tabla que cierra la caja del marco,inscripción a tinta de principios del s. XIX: "El Exmo. Sr Dn. JuanAcisclo de / Vera y Delgado, Arzobispo de Laodicea / Coadministradordel de Sevilla, obispo elec- / to de Cádiz, concede 80 días de Yndul- /gencias a todos los Fieles que rezaren / devotamente un Ave Mariadelante de / la Purísima Concepción y otros 80 por / una Salve,rogando a Dios”."En importante marco de madera dorada con decoración en relieve decandelieri de gusto renacentista.
Sala Retiro Subastas
Apr. 26, 2017
ATTRIBUTED TO MARIANO SALVADOR MAELLA (Valencia 1739-Madrid 1819) The Immaculate Conception. Oil on sheet metal
Est: -
ATTRIBUTED TO MARIANO SALVADOR MAELLA (Valencia 1739-Madrid 1819) The Immaculate Conception. Oil on sheet metal SPANISH ATRIBUIDO A MARIANO SALVADOR MAELLA (Valencia 1739-Madrid1819) Inmaculada Concepción Oleo sobre chapa de hojalata de 35 x 25 cm. Hacia 1780-90.En elreverso, en un papel pegado a la tabla que cierra la caja del marco,inscripción a tinta de principios del s. XIX: "El Exmo. Sr Dn. JuanAcisclo de / Vera y Delgado, Arzobispo de Laodicea / Coadministradordel de Sevilla, obispo elec- / to de Cádiz, concede 80 días de Yndul- /gencias a todos los Fieles que rezaren / devotamente un Ave Mariadelante de / la Purísima Concepción y otros 80 por / una Salve,rogando a Dios”."En importante marco de madera dorada con decoración en relieve decandelieri de gusto renacentista.
Sala Retiro Subastas
Jul. 12, 2016
MARIANO SALVADOR MAELLA (VALENCIA 1739-MADRID 1919)
Est: €2,500 - €3,250
El sueño de don Ramiro" Óleo sobre lienzo. Med.: 38 x 87,5 cm. Versiones de este mismo boceto conservadas en Ibercaja de Zaragoza.
Subarna Subastas
Apr. 27, 2016
MARIANO SALVADOR MAELLA (Valencia, 1739-1819) Saint Leocadia
Est: -
MARIANO SALVADOR MAELLA (Valencia, 1739-1819) Santa Leocadia Oleo sobre lienzo de 76 x 62 cm.
Sala Retiro Subastas
Jan. 20, 2016
MARIANO SALVADOR MAELLA (Valencia, 1739 - 1819), Santa Leocadia - MARIANO SALVADOR MAELLA 1739 Valencia - 1819 Santa Leocadia
Est: -
MARIANO SALVADOR MAELLA 1739 Valencia - 1819 Santa Leocadia
Isbilya Subastas
May. 28, 2015
MARIANO SALVADOR MAELLA (1738-1819)
Est: -
óleo sobre cartón. Med.: 27 x 25 cm. "Glorificació de Sant Esteve". Certificado del Instituto Amatller.
Subarna Subastas
May. 18, 2015
MARIANO SALVADOR MAELLA
Est: -
(Valencia, 1739-Madrid, 1819). "La aparición de San Jaime al rey Ramiro", óleo sobre lienzo, 37x95 cm. Existen dos copias de esta obra, que pertenecen a la Caja de Ahorros de Zaragoza y a la Academia Catalana de Bellas Artes de Sant Jordi, respectivamente. En 1777 Maella pintó en la colegiata de San Ildefonso de la Granja, una bóveda con el tema de Santiago a Caballo.
Sala de Ventas
Mar. 11, 2015
Mariano Salvador Maella Valencia 1739 - Madrid 1819 The appearance of Baby Jesus to Saint Anthony of Padua Oil on canvas Made circa 1
Est: €7,000 -
Mariano Salvador Maella Valencia 1739 - Madrid 1819 The appearance of Baby Jesus to Saint Anthony of Padua Oil on canvas Made circa 1787 57x36 cm Mariano Salvador Maella Valencia 1739 - Madrid 1819 Aparición del Niño Jesús a San Antonio de Padua Óleo sobre lienzo Realizado hacia 1787. El museo Cerralbo de Madrid conserva otro boceto (óleo sobre lienzo, 57x30 cm) para la versión definitiva destinada a la parroquia de la Casa de Campo, actualmente en el Museo Municipal de Madrid 57x36 cm
Balclis
Mar. 05, 2015
MARIANO SALVADOR MAELLA
Est: -
(Valencia, 1739-Madrid, 1819). "San José con El Niño Jesús", óleo sobre lienzo, 84x51 cm.
Sala de Ventas
Mar. 05, 2015
MARIANO SALVADOR MAELLA
Est: -
(Valencia, 1739-Madrid, 1819). "Purísima Concepción", óleo sobre lienzo, 115x85 cm.
Sala de Ventas
Dec. 17, 2014
CIRCLE OF MARIANO SALVADOR MAELLA
Est: -
(Valencia, 1739-Madrid,1819). "Sagrada Familia", óleo sobre lienzo, 80x56 cm. Boceto preparatorio del altar mayor de la Catedral de Jaén.
Sala de Ventas
Dec. 17, 2014
MARIANO SALVADOR MAELLA
Est: -
(Valencia, 1739-Madrid, 1819). "San José", óleo sobre lienzo, 65x50 cm.
Sala de Ventas
Oct. 01, 2014
Mariano Salvador Maella Valencia 1739 - Madrid 1819 Cibeles o Alegoría de la Tierra Óleo sobre lienzo
Est: €9,000 -
Mariano Salvador Maella Valencia 1739 - Madrid 1819 Cibeles o Alegoría de la Tierra Óleo sobre lienzo Con nº inv. "91" (inscrito), y "667" (en una etiqueta). Procedencia: colección Sebastián Antón Pascual (Vilanova i La Geltrú 1807 - Bagnères de Luchon 1872) 18,5x20 cm
Balclis
May. 27, 2014
MARIANO SALVADOR MAELLA
Est: -
(Valencia, 1739-Madrid, 1819). "La aparición de San Jaime al rey Ramiro", óleo sobre lienzo, 37x95 cm. Existen dos copias de esta obra, que pertenecen a la Caja de Ahorros de Zaragoza y a la Academia Catalana de Bellas Artes de Sant Jordi, respectivamente
Sala de Ventas
May. 29, 2013
MAELLA, MARIANO SALVADOR Valencia/1739 -
Est: - €40,000
MAELLA, MARIANO SALVADOR Valencia/1739 - Madrid/1819 " San Francisco de Borja ante el cadaver de la emperatriz Isabel". O/L. 63 x 32 cm. Se trata del boceto para el cuadro, así titulado, que ocupa el altar central de la Capilla dedicada a San Francisco de Borja en la Catedral de Valencia. HISTORIAL: Entre 1787 y 1788 la condesa-duquesa de Benavente y Gandía (y también duquesa de Osuna) promovió la renovación de la capilla de su patronazgo en la Catedral de Valencia, dedicada a San Francisco de Borja, su ilustre antepasado, quien había sido en vida duque de Gandía y marqués de Lombay. Intervino en primer lugar el pintor valenciano Mariano Salvador Maella, autor del lienzo principal de altar bajo el tema de La conversión de San Francisco de Borja. Posteriormente se encargaron a Goya los dos cuadros laterales. El 16 de octubre de 1788 estarían ya terminados porque en esa fecha Goya presentó a la duquesa la factura por su trabajo, que ascendía a 30.000 reales. PROCEDENCIA: Emilio Oliver Momparler, por donación de su padre Emilio Oliver Sanz de Bremond.
Duran Arte y Subastas
May. 14, 2013
ESCUELA MADRILEÑA S.XVIII
Est: -
Círculo de Mariano Salvador Maella (Valencia,1739-Madrid,1819). "Inmaculada", óleo sobre lienzo, 136x75 cm.
Sala de Ventas