Sebastián Martínez Domedel Paintings & Artwork for Sale | Sebastián Martínez Domedel Art Value Price Guide

Sep. 25, 2024
SEBASTIÁN MARTÍNEZ DOMEDEL (Jaén, around 1615 – Madrid, 1667). “Saint Peter Penitent.” Oil on canvas. Relining. It has flaws on the pictorial surface.
Est: €3,500 - €4,000
SEBASTIÁN MARTÍNEZ DOMEDEL (Jaén, around 1615 - Madrid, 1667). "Saint Peter Penitent". Oil on canvas. Re-tinted. There are flaws in the pictorial surface. Measures: 43 x 34 cm. In this devotional painting, the face of the apostle Peter is turned towards heaven, appealing for divine intervention. His features reveal the characteristic workmanship of the Baroque painter Martínez Domedel, whose aged male models, rendered in a naturalistic style and whose faces are illuminated by bright watery eyes, are repeated in various compositions. The overhead light skilfully models the features with protruding cheekbones and frizzy beard. The intense expressiveness of this model can be compared with those that the painter used in the Evangelists in Jaén Cathedral. In particular, the definition of the face and expressiveness are very reminiscent of Saint Luke. The wrinkles that furrow the forehead have been resolved in a style that identifies Martínez Domedel. The specialist Rafael Mantas Fernández (Instituto de Estudios Jienenses. Jaén, 2019) defines his work as follows: "he wastes great pictorial qualities in the definition of the anatomies of his sacred images, which embody real characters taken from the street... with a psychological tension, which incited the faithful of the 17th century to prayer, perfectly fulfilling the Tridentine postulates of the time". Sebastián Martínez Domedel was located by Palomino in Jaén, training with Antonio García Reinoso. His style is eclectic and marked by a strong influence of naturalist painting and by the concomitances of other contemporary artists such as Antonio del Castillo, Alonso Cano and José de Ribera. He began his training in Jaén in his father's studio, where he acquired the basic knowledge of the art of painting. He was able to complete his studies with the local painter Cristóbal Vela Cobo. Later he moved to Cordoba, a stay which enriched his style and brought him into contact with artists of the time. After his years of apprenticeship he soon became the most famous painter in the city of Jaén. Around the 1650s and 1660s he reached the maturity of his style and was in demand by important religious institutions and prominent civil figures in 17th-century society. The last years of his life were spent in Madrid, where he was appointed court painter to Philip IV, enriching his repertoire of images and compositional solutions after contemplating the works of important artists at the Royal Sites and above all at the Royal Monastery of El Escorial.
Setdart Auction House
Jul. 02, 2024
SEBASTIÁN MARTÍNEZ DOMEDEL Jaén c. 1615 - Madrid 1...
Est: -
SEBASTIÁN MARTÍNEZ DOMEDEL Jaén c. 1615 - Madrid 1667 Contemplative man Oil on canvas On the back inscribed: "De Pereda / ... / 900" Measurements 44.4 x 29.3 cm Bibliography: - Mantas Fernández, Rafael. Sebastián Martínez Domedel. Life and work, Instituto de Estudios Gienneses / Diputación de Jaén, 2020, cat, nº 44, 57. Sebastián Martínez Domedel is one of the most enigmatic figures in Spanish baroque painting. His apprenticeship probably ended in Córdoba with Cristóbal Vela Cobo with whom he collaborated in the pictorial decoration of the church of San Agustín where he must have known first-hand the works of Antonio del Castillo. In 1661 he visited the royal collections of El Escorial on behalf of the cathedral chapter of Jaén to copy some paintings for the Rosario altarpiece. The writer Palomino writes that Philip IV named him his painter, an unconfirmed news. Endowed with an extraordinary genius for composing novel iconographic subjects to which he imprints an unusual expressiveness of gestures, Sebastián Martínez can be considered one of the most prominent Spanish painters belonging to the naturalist movement of the second half of the 17th century. The self-absorbed countenance of the sitter, with his eyes and mouth half-open, with a gesture of rapt mysticism, can be related to the types of other works by the artist such as the "Saint Augustine of Hippo" in a private collection. Likewise, its format seems to evoke tronies, a genre of Dutch and Flemish baroque painting that represents a head or bust based on studies from life. Finally, the dimensions of this work are almost identical to the "Santiago el Mayor" (oil on canvas, 40.5 x 29.5 cm) from a private collection that was auctioned in this same room in December 2009. br> We thank Rafael Mantas Fernández for his help in cataloging this work.
Subastas Segre
Apr. 24, 2024
Sebastián Martínez Domedel. Saint Peter
Est: -
Oil on canvas. The authorship of this work has been confirmed by D. Rafael Mantas Fernández. Sebastián Martínez Domedel, an outstanding baroque painter who began his training in Córdoba with a disciple of Céspedes. His skill in drawing, color, and landscapes made him a respected teacher in his hometown. In 1660, he was appointed court painter by Philip IV when he moved to Madrid. However, he died in 1667, leaving a lasting legacy. Although many of his works were private commissions, his influence is felt in several Spanish regions such as Jaén, Córdoba, Seville, Cádiz and Madrid. The painting of San Sebastián in the cathedral of Jaén and the Immaculate Conception in the parish of Santa Cruz stand out. He also left five canvases in the chapel of the main altarpiece of the nuns of Corpus Christi in Córdoba.
Duran Arte y Subastas
Feb. 29, 2024
Sebastián Martínez Domedel (Jaén, Spain, c.1615 - Madrid, 1667) "Saint Augustine of Hippo"
Est: €9,000 - €10,000
Sebastián Martínez Domedel (Jaén, Spain, c.1615 - Madrid, 1667) "Saint Augustine of Hippo" Oil on canvas 100 x 78 cm 9.000 - 10.000 € A resounding work by the painter from Jaén, who claims his place among the great masters of the Spanish Golden Age. This painting supports such consideration, as it combines a character of monumental presence, with a strong personality rictus -that of the tormented intellectual who interpellates God looking for the truth-, and a wide and sure brushstroke, generating effects of great realism, translated in the saint's face, the episcopal ornaments and the still life in the foreground.
Greco Subastas
Dec. 13, 2023
SEBASTIÁN MARTÍNEZ DOMEDEL (Jaén, around 1615 – Madrid, 1667). “Saint Peter Penitent.” Oil on canvas. Relining. It has flaws on the pictorial surface.
Est: €5,000 - €6,000
SEBASTIÁN MARTÍNEZ DOMEDEL (Jaén, around 1615 - Madrid, 1667). "Saint Peter Penitent". Oil on canvas. Re-tinted. There are flaws in the pictorial surface. Measures: 43 x 34 cm. In this devotional painting, the face of the apostle Peter is turned towards heaven, appealing for divine intervention. His features reveal the characteristic workmanship of the Baroque painter Martínez Domedel, whose aged male models, rendered in a naturalistic style and whose faces are illuminated by bright watery eyes, are repeated in various compositions. The overhead light skilfully models the features with protruding cheekbones and frizzy beard. The intense expressiveness of this model can be compared with those that the painter used in the Evangelists in Jaén Cathedral. In particular, the definition of the face and expressiveness are very reminiscent of Saint Luke. The wrinkles that furrow the forehead have been resolved in a style that identifies Martínez Domedel. The specialist Rafael Mantas Fernández (Instituto de Estudios Jienenses. Jaén, 2019) defines his work as follows: "he wastes great pictorial qualities in the definition of the anatomies of his sacred images, which embody real characters taken from the street... with a psychological tension, which incited the faithful of the 17th century to prayer, perfectly fulfilling the Tridentine postulates of the time". Sebastián Martínez Domedel was located by Palomino in Jaén, training with Antonio García Reinoso. His style is eclectic and marked by a strong influence of naturalist painting and by the concomitances of other contemporary artists such as Antonio del Castillo, Alonso Cano and José de Ribera. He began his training in Jaén in his father's studio, where he acquired the basic knowledge of the art of painting. He was able to complete his studies with the local painter Cristóbal Vela Cobo. Later he moved to Cordoba, a stay which enriched his style and brought him into contact with artists of the time. After his years of apprenticeship he soon became the most famous painter in the city of Jaén. Around the 1650s and 1660s he reached the maturity of his style and was in demand by important religious institutions and prominent civil figures in 17th-century society. The last years of his life were spent in Madrid, where he was appointed court painter to Philip IV, enriching his repertoire of images and compositional solutions after contemplating the works of important artists at the Royal Sites and above all at the Royal Monastery of El Escorial.
Setdart Auction House
Dec. 13, 2022
SEBASTIÁN MARTÍNEZ DOMEDEL - Saint Peter in Tears
Est: -
SEBASTIÁN MARTÍNEZ DOMEDEL Jaén c. 1615 - Madrid 1667 Saint Peter in tears Oil on canvas Measures 39 x 37.9 cm In this vertical format painting, Saint Peter is represented in tears while you are praying. It is undoubtedly a recurring iconographic type for the Prince of the Apostles, since it shows the saint in a human form and brings the faithful closer to prayer. Martínez Domedel was a 17th century painter from Jaen who trained in his father Bartolomé Martínez's workshop. In Córdoba he received certain influences from the aesthetics of Herrera el Viejo (1590-1654) and Antonio del Castillo (1616-1668), but also from the Caravaggesque line, from Ribera (1591-1652) and from Zurbarán (1598-1664). The skill of his painting gave him the positions of painter in the Cathedral of Jaén and the Court of Felipe IV, he assumed both positions in 1660. Normally working with commissions for religious spaces, he used to deal with Catholic iconographies, although his restlessness He made his way in landscape painting. Thematically, the painter chooses an episode after the Denial of Christ, in which Saint Peter is shown in an attitude of repentance. To do this, the painting presents a typical type in his painting, that of an elderly man, with a bushy and graying beard, which in turn shows the influence of Andalusian naturalism. The brushwork of this painter is directly related to the Cordovan school of the time, which caused his fame to spread rapidly. The treatment of the saint's robe is common to his works; the folds are heavy, so they describe many folds. The coloring was also considered modern for its time, the greenish tone of the tunic is rare and shows a revolution in the painter's palette. As for the background of the composition, it is usual in the production of this painter to represent his characters against a shadowy background. However, although Martínez breaks down a series of elements in his paintings, he does so in a simple way, without creating a sense of vacui horror. In his compositions, he shows the influence of some masters of the moment, but always with a characteristic touch of his production. In this case, this hallmark can be seen in the individualization of the saint and in the brilliance of the eyes. In the same way, although the beard does not allow us to fully appreciate the delimitation of the face, a certain roundness is noted, a feature that can also be seen in the countenance of the Immaculate Conception that he made for the Corpus Christi Convent (Córdoba). Martínez painted this iconography on another occasion, which today is in the Granados Collection (oil on canvas, 162 x 103 cm) that represents Saint Peter full length in solitude together with his best-known attributes: the keys and the book. We thank Rafel Mantas Fernánez for his help in cataloging this work.
Subastas Segre
Dec. 12, 2022
SEBASTIÁN MARTINEZ DOMEDEL (Jaén, around 1615 – Madrid, 1667). "James the Greater". Oil on canvas. Relined. It presents restorations.
Est: €22,000 - €24,000
SEBASTIÁN MARTINEZ DOMEDEL (Jaén, around 1615 - Madrid, 1667). "Santiago el Mayor". Oil on canvas. Re-drawn. It presents restorations. Size: 129 x 95 cm; 140 x 106 cm (frame). Santiago el Mayor is presented in this canvas in a monumental way, taking almost the totality of the composition that is closed by a completely dark finish that gives more prominence to the figure and a finish that resizes the forms giving a sculptural sense to the figure of the apostle. Slightly turned, Saint James turns his face towards the viewer, staring with a serious but serene face, furrowed with wrinkles that hint at adulthood and experience, as well as his grizzled hair. The author of the image only presents him with a staff on which he leans and a book which he holds in the other hand in allusion to the scriptures, thus avoiding iconographic distractions and basing the scene on the sobriety and religiosity which the main character emanates. Furthermore, this austerity gives way to greater visual detail in the folds of the clothing and the details of the face, which reveal a great technical mastery and an exquisite play of volumes shaped through the use of light and shadow, as is particularly evident in the modelling of the sleeve. The characteristics of the work indicate that it probably belonged to a larger pictorial ensemble in which all the apostles were represented. In fact, there is a Saint Peter by Sebastián Martínez in a private collection in Denmark and a Saint Thomas in the Granados collection, which show great pictorial similarities with this piece. Sebastián Martínez Domedel, a follower of Murillo's school, was located by Palomino in Jaén, where he trained with Antonio García Reinoso. He arrived in Madrid after Velázquez died (so it would not have been possible for him to learn with him), where he died in 1667, without means. Experts suppose that he may have studied in Córdoba, in the workshop of Juan Luis Zambrano, or with Antonio del Castillo (which would explain his dedication to landscapes), although it is possible that he trained in Jaén, as mentioned above. There is documentary evidence of a trip to Madrid in 1661 to visit the Royal Collections at El Escorial, commissioned by the Jaen cathedral chapter, with the aim of copying some paintings for the altarpiece of the Holy Face in that building. Some documented works by the master survive, which reveal an eclectic and somewhat uneven artist who frequently used prints for his inspiration and copied old masters with some skill, also imitating some of his contemporaries. Paintings by him can be found in various private collections, particularly in Spain, as well as in the church of San Ginés in Madrid, the convent of Corpus Christi in Córdoba, the Museo de Jaén, the Museo del Prado in Madrid, Jaén Cathedral, etc.
Setdart Auction House
Sep. 01, 2022
SEBASTIÁN MARTÍNEZ DOMEDEL. LAS LÁGRIMAS DE SAN PEDRO.
Est: €4,500 - €7,000
Sebastián Martínez Domedel (Jaén c.1615-1620-Madrid, 1667) Las lágrimas de San Pedro. Óleo sobre lienzo. Reentelado. El rostro del apóstol evidencia los rasgos característicos de los modelos masculinos que suele emplear el pintor gienense en sus obras, muestra a un hombre de avanzada edad, con pómulos pronunciados, cabello y barba desaliñados. Desde el punto de vista técnico y del modelo planteado se relaciona con obras como los Evangelistas de la Catedral de Jaén. En concreto, la definición del rostro y la expresividad recuerdan mucho al San Lucas. La pincelada matérica utilizada para marcar las arrugas de la frente y la piel de las manos es muy característico en el estilo de Martínez Domedel. Como indica Rafael Mantas "derrocha grandes cualidades pictóricas en la definición de las anatomías de sus imágenes sagradas, las cuales encarnan a personajes reales tomados de la calle...con una tensión psicológica, que incitaba a la oración al fiel del siglo XVII, cumpliendo a la perfección los postulados tridentinos de la época". Su estilo es ecléctico y está marcado por una fuerte influencia de la pintura naturalista y por las concomitancias de otros artistas contemporáneos como Antonio del Castillo, Alonso Cano o José de Ribera. Su formación se inicia en Jaén en el taller de su padre, donde adquiere los conocimiento básicos del arte de la pintura. Pudo completar sus estudios con el pintor local Cristóbal Vela Cobo. Posteriormente se traslada a Córdoba, estancia que supuso el enriquecimiento de su estilo entrando en contacto con artistas de la época. Transcurridos los años de aprendizaje se convirtió en poco tiempo en el pintor más afamado de la ciudad de Jaén. En torno a las décadas de 1650 y 1660 alcanzó la madurez de su estilo, siendo requerido por importantes instituciones religiosas y por destacadas personalidades civiles de la sociedad del siglo XVII. Los últimos años de su vida transcurren en Madrid donde será nombrado pintor de cámara de Felipe IV, se enriquecerá su repertorio de imágenes y de soluciones compositivas tras contemplar las obras de importantes artistas en los Reales Sitios y sobretodo en el Real Monasterio del Escorial. Bibliografía de referencia: "Sebastián Martínez Domedel. Vida y obra", por Rafael Mantas Fernández. Instituto de Estudios Jienenses. Jaén, 2019. Agradecemos la colaboración de Rafael Mantas en la catalogación de esta obra. 49,5 x 37,5 cm.
Aletheia Subastas
Jul. 19, 2022
SEBASTIÁN MARTÍNEZ DOMEDEL. LAS LÁGRIMAS DE SAN PEDRO.
Est: €5,000 - €7,000
Sebastián Martínez Domedel (Jaén c.1615-1620-Madrid, 1667) Las lágrimas de San Pedro. Óleo sobre lienzo. Reentelado. El rostro del apóstol evidencia los rasgos característicos de los modelos masculinos que suele emplear el pintor gienense en sus obras, muestra a un hombre de avanzada edad, con pómulos pronunciados, cabello y barba desaliñados. Desde el punto de vista técnico y del modelo planteado se relaciona con obras como los Evangelistas de la Catedral de Jaén. En concreto, la definición del rostro y la expresividad recuerdan mucho al San Lucas. La pincelada matérica utilizada para marcar las arrugas de la frente y la piel de las manos es muy característico en el estilo de Martínez Domedel. Como indica Rafael Mantas "derrocha grandes cualidades pictóricas en la definición de las anatomías de sus imágenes sagradas, las cuales encarnan a personajes reales tomados de la calle...con una tensión psicológica, que incitaba a la oración al fiel del siglo XVII, cumpliendo a la perfección los postulados tridentinos de la época". Su estilo es ecléctico y está marcado por una fuerte influencia de la pintura naturalista y por las concomitancias de otros artistas contemporáneos como Antonio del Castillo, Alonso Cano o José de Ribera. Su formación se inicia en Jaén en el taller de su padre, donde adquiere los conocimiento básicos del arte de la pintura. Pudo completar sus estudios con el pintor local Cristóbal Vela Cobo. Posteriormente se traslada a Córdoba, estancia que supuso el enriquecimiento de su estilo entrando en contacto con artistas de la época. Transcurridos los años de aprendizaje se convirtió en poco tiempo en el pintor más afamado de la ciudad de Jaén. En torno a las décadas de 1650 y 1660 alcanzó la madurez de su estilo, siendo requerido por importantes instituciones religiosas y por destacadas personalidades civiles de la sociedad del siglo XVII. Los últimos años de su vida transcurren en Madrid donde será nombrado pintor de cámara de Felipe IV, se enriquecerá su repertorio de imágenes y de soluciones compositivas tras contemplar las obras de importantes artistas en los Reales Sitios y sobretodo en el Real Monasterio del Escorial. Bibliografía de referencia: "Sebastián Martínez Domedel. Vida y obra", por Rafael Mantas Fernández. Instituto de Estudios Jienenses. Jaén, 2019. Agradecemos la colaboración de Rafael Mantas en la catalogación de esta obra. 49,5 x 37,5 cm.
Aletheia Subastas
May. 10, 2022
SEBASTIÁN MARTÍNEZ DOMEDEL Jaen (1615) / Madrid (1667) "Saint Thomas
Est: €52,500 - €70,000
Oil on canvas A work that probably belonged to an apostolate executed in the second half of the 1640s, of which a Saint Peter (oil on canvas, 130 x 96 cm) is known, made known by Benito Navarrete in private collection in Denmark. . 128 x 94 cm
Ansorena
Oct. 30, 2018
SEBASTIÁN MARTÍNEZ DOMEDEL (JAÉN C. 1615-1667 MADRID) - Saint Paul of Thebes
Est: $40,000 - $60,000
SEBASTIÁN MARTÍNEZ DOMEDEL (JAÉN C. 1615-1667 MADRID) Saint Paul of Thebes oil on canvas 47 1/4 x 36 5/8 in. (120 x 93 cm.)
Christie's
Oct. 25, 2017
Attributed to Sebastian Martinez Domedel (Jaen 1602-1667 Madrid) The Behe
Est: £800 - £1,200
Attributed to Sebastian Martinez Domedel (Jaen 1602-1667 Madrid) The Beheading of Saint John the Baptist unframed
Bonhams