Domingo (1688) Martínez Paintings & Artwork for Sale | Domingo (1688) Martínez Art Value Price Guide

Dec. 19, 2024
Attributed to DOMINGO MARTÍNEZ (Seville, 1688 - 1749), . "Jesus with the attributes of the Passion". Oil on canvas.
Est: €8,000 - €9,000
Attributed to DOMINGO MARTÍNEZ (Seville, 1688 - 1749), . "Jesus with the attributes of the Passion". Oil on canvas. Measurements: 100 x 82 cm; 111 x 92 cm (frame). This painting, attributed to the Sevillian baroque master Domingo Martinez, reflects the technical and aesthetic skill of Domingo Martinez, while displaying the deep symbolism that permeates the theology of Christ's redemptive sacrifice. By showing us the Infant Jesus associated with the attributes of the Passion, he seeks to connect the faithful with the mystery of the Incarnation and Salvation, being the art of the Counter-Reformation a pedagogical and emotive vertebral vehicle. The Child Jesus wears a crown of thorns anticipating the suffering and sacrifice he will face in his adulthood. From the wicker basket spill the nails, symbols of the Crucifixion and, next to it, we read "Inri" on the piece of white cloth. Next to it, the skull, which alludes to human mortality and redemption by the death of Christ. As for the serpent, symbol of the devil and sin, it is redeemed by the Child, destined to crush evil. This type of iconography is a prefiguration (spiritual preparation) of the events of the Passion, which in the context of the Baroque sought to move the viewer. The two angels holding the cross in the sky reinforce the divine and heavenly dimension of Jesus' suffering. Stylistically, the painting is framed within the Andalusian seventeenth century, candid and subtle in the handling of a light that models the bodies with softness, and extracts the right textures and qualities of the flesh and silky curly hair. Domingo Martinez was trained in his hometown, being Lucas Valdes one of his teachers. The sources indicate that he was appreciated in his time, given that we find important commissions such as those received from the archbishop of Seville, for whom he made several paintings for the cathedral of the Andalusian capital and the church of Nuestra Señora de la Consolación in Umbrete. Likewise, during the stay of Philip V's court in Seville (1729-33) he maintained a relationship with French painters in the service of the king, such as Jean Ranc and Louis-Michel van Loo, whose influence will be evident in his work, combined with the direct inheritance of Murillo. On the other hand, it was precisely Ranc who proposed Martínez as court painter, an offer that the painter, however, rejected, since he did not wish to move to Madrid with the king. He had several disciples, and we know that his workshop trained Andrés de Rubira, Pedro Tortolero and Juan de Espinal, the latter painter who would eventually become his son-in-law and heir to the family workshop. His first important work was the decorative set of the church of the Colegio de San Telmo, with paintings on the life of Christ and his relationship with the sea, made in 1724. Six years later he painted two large paintings for the Convent of Santa Paula in Seville. In this same decade of 1730 he also produced individual works and sets for churches in Seville and its province, always with religious themes, as well as the portrait of Archbishop Luis de Salcedo y Azcona for the Archbishop's Palace of Seville (1739). He was equally prolific in the last decade of his life, when he created tempera decorations for the churches of Santa Ana and San Luis de los Franceses in Seville, as well as several canvases. His last work, executed around 1748, was a set of eight canvases representing the great masquerade held in Seville in June of the previous year on the occasion of the accession to the throne of Fernando VI. Works by Martínez are currently preserved in the Museum of Fine Arts in Seville.
Setdart Auction House
Jun. 26, 2024
Attributed to DOMINGO MARTÍNEZ (Seville, 1688 - 1749), . "Immaculate Conception". Oil on canvas. Relined.
Est: €10,000 - €12,000
Attributed to DOMINGO MARTÍNEZ (Seville, 1688 - 1749), . "Immaculate Conception". Oil on canvas. Relined. Measurements: 106 x 77 cm; 125,5 x 101 cm (frame). We see in this work a representation of the Immaculate perfectly framed within the Spanish seventeenth century, marked at stylistic and iconographic level follows the models established in the Baroque, especially those established by the artist Juan Carreño Miranda in his work of the Immaculate Conception, located in the convent of the Barefoot. We see Mary dressed in white and blue (symbols of purity and the concepts of truth and eternity, respectively), surrounded by standing child angels. Some angels carry symbols of the litanies, such as the lilies or the palm. The definitive icnographic image of the Immaculate Conception took shape in the 16th century, apparently in Spain. Following a Valencian tradition, the Jesuit Father Alberro had a vision and described it to the painter Juan de Juanes so that he could capture it as faithfully as possible. It is an evolved iconographic concept, which is sometimes associated with the theme of the Coronation of the Virgin. Due to its artistic and aesthetic characteristics, it can be said that this canvas was made by a follower of the Spanish painter Domingo Martinez. This artist was trained in his hometown, being Lucas Valdés one of his teachers. The sources indicate that he was appreciated in his time, given that we find important commissions such as those received from the archbishop of Seville, for whom he made several paintings destined for the cathedral of the Andalusian capital and the church of Nuestra Señora de la Consolación in Umbrete. Likewise, during the stay of Philip V's court in Seville (1729-33) he maintained a relationship with French painters in the service of the king, such as Jean Ranc and Louis-Michel van Loo, whose influence will be evident in his work, combined with the direct inheritance of Murillo. On the other hand, it was precisely Ranc who proposed Martínez as court painter, an offer that the painter, however, rejected, since he did not wish to move to Madrid with the king. He had several disciples, and we know that his workshop trained Andrés de Rubira, Pedro Tortolero and Juan de Espinal, the latter painter who would eventually become his son-in-law and heir to the family workshop. His first important work was the decorative set of the church of the Colegio de San Telmo, with paintings on the life of Christ and his relationship with the sea, made in 1724. Six years later he painted two large paintings for the Convent of Santa Paula in Seville. In this same decade of 1730 he also produced individual works and sets for churches in Seville and its province, always with religious themes, as well as the portrait of Archbishop Luis de Salcedo y Azcona for the Archbishop's Palace of Seville (1739). He was equally prolific in the last decade of his life, when he created tempera decorations for the churches of Santa Ana and San Luis de los Franceses in Seville, as well as several canvases. His last work, produced around 1748, was a set of eight canvases representing the great masquerade held in Seville in June of the previous year on the occasion of the accession to the throne of Fernando VI. Works by Martínez are currently preserved in the Museum of Fine Arts in Seville.
Setdart Auction House
Dec. 13, 2023
Attributed to DOMINGO MARTÍNEZ (Seville, 1688 - 1749), . "Immaculate Conception". Oil on canvas. Relined.
Est: €15,000 - €17,000
Attributed to DOMINGO MARTÍNEZ (Seville, 1688 - 1749), . "Immaculate Conception". Oil on canvas. Relined. Measurements: 106 x 77 cm; 125,5 x 101 cm (frame). We see in this work a representation of the Immaculate perfectly framed within the Spanish seventeenth century, marked at stylistic and iconographic level follows the models established in the Baroque, especially those established by the artist Juan Carreño Miranda in his work of the Immaculate Conception, located in the convent of the Barefoot. We see Mary dressed in white and blue (symbols of purity and the concepts of truth and eternity, respectively), surrounded by standing child angels. Some angels carry symbols of the litanies, such as the lilies or the palm. The definitive icnographic image of the Immaculate Conception took shape in the 16th century, apparently in Spain. Following a Valencian tradition, the Jesuit Father Alberro had a vision and described it to the painter Juan de Juanes so that he could capture it as faithfully as possible. It is an evolved iconographic concept, which is sometimes associated with the theme of the Coronation of the Virgin. Due to its artistic and aesthetic characteristics, it can be said that this canvas was made by a follower of the Spanish painter Domingo Martinez. This artist was trained in his hometown, being Lucas Valdés one of his teachers. The sources indicate that he was appreciated in his time, given that we find important commissions such as those received from the archbishop of Seville, for whom he made several paintings destined for the cathedral of the Andalusian capital and the church of Nuestra Señora de la Consolación in Umbrete. Likewise, during the stay of Philip V's court in Seville (1729-33) he maintained a relationship with French painters in the service of the king, such as Jean Ranc and Louis-Michel van Loo, whose influence will be evident in his work, combined with the direct inheritance of Murillo. On the other hand, it was precisely Ranc who proposed Martínez as court painter, an offer that the painter, however, rejected, since he did not wish to move to Madrid with the king. He had several disciples, and we know that his workshop trained Andrés de Rubira, Pedro Tortolero and Juan de Espinal, the latter painter who would eventually become his son-in-law and heir to the family workshop. His first important work was the decorative set of the church of the Colegio de San Telmo, with paintings on the life of Christ and his relationship with the sea, made in 1724. Six years later he painted two large paintings for the Convent of Santa Paula in Seville. In this same decade of 1730 he also produced individual works and sets for churches in Seville and its province, always with religious themes, as well as the portrait of Archbishop Luis de Salcedo y Azcona for the Archbishop's Palace of Seville (1739). He was equally prolific in the last decade of his life, when he created tempera decorations for the churches of Santa Ana and San Luis de los Franceses in Seville, as well as several canvases. His last work, produced around 1748, was a set of eight canvases representing the great masquerade held in Seville in June of the previous year on the occasion of the accession to the throne of Fernando VI. Works by Martínez are currently preserved in the Museum of Fine Arts in Seville.
Setdart Auction House
Mar. 10, 2022
DOMINGO MARTINEZ (Sevilla, 1688 - 1749) and BALTASAR BOUTTATS (Amberes, 1666/1682-1756) "The majestic and portentous monument of Seville", 1737. Recorded. Paper with faults glued to fabric.
Est: €1,000 - €1,200
DOMINGO MARTINEZ (Seville, 1688 - 1749) and BALTASAR BOUTTATS (Antwerp, 1666/1682-1756). "The majestic and portentous monument of Seville", 1737. Engraving. Paper with faults glued to canvas. Size: 146 x 86 cm. Work that reflects the Funerary catafalque monument of the bishop of Seville, carried out in 1737, which was designed by Domingo Martínez. This artist was trained in his native city, Lucas Valdés being one of his teachers. The sources indicate that he was appreciated in his day, as he received important commissions such as those from the archbishop of Seville, for whom he executed several paintings for the cathedral of the Andalusian capital and the church of Nuestra Señora de la Consolación in Umbrete. During Philip V's court stay in Seville (1729-33) he was also in contact with French painters in the king's service, such as Jean Ranc and Louis-Michel van Loo, whose influence was evident in his work, combined with Murillo's direct inheritance. On the other hand, it was precisely Ranc who proposed Martínez as court painter, an offer which the painter rejected, however, as he did not wish to move to Madrid with the king. He had several disciples, and we know that his workshop trained Andrés de Rubira, Pedro Tortolero and Juan de Espinal, the latter of whom would eventually become his son-in-law and heir to the family workshop. His first major work was the decorative ensemble of the church of the Colegio de San Telmo, with paintings on the life of Christ and his relationship with the sea, executed in 1724. Six years later he produced two large paintings for the Convent of Santa Paula in Seville. In the 1730s he also executed individual works and ensembles for churches in Seville and its province, always on religious themes, as well as the portrait of Archbishop Luis de Salcedo y Azcona for the Archbishop's Palace in Seville (1739). He was equally prolific in the last decade of his life, when he executed tempera decorations for the churches of Santa Ana and San Luis de los Franceses in Seville, as well as several canvases. His last work, executed around 1748, was a set of eight canvases depicting the great masquerade held in Seville in June of the previous year on the occasion of Ferdinand VI's accession to the throne. Works by Martínez are currently housed in the Seville Museum of Fine Arts.
Setdart Auction House
Jan. 26, 2022
DOMINGO MARTÍNEZ (Seville, 1688 - 1749), attributed. "Child Jesus in niche". Oil on canvas.
Est: €2,000 - €2,200
DOMINGO MARTÍNEZ (Seville, 1688 - 1749), attributed. "Infant Jesus in a niche. Oil on canvas. Measurements: 27.5 x 19 cm, 33.5 x 28 cm. (frame). Devotional representation of the Infant Jesus in a stone niche. He carries a cross on his left shoulder, and together with the drop of blood pearling his forehead, they are symbolic omens of the episode of the Passion. From its formal characteristics it could be attributed to one of the most outstanding painters of the Sevillian school of the first half of the 18th century, Domingo Martínez. This artist trained in his native city and Lucas Valdés was one of his teachers. The sources indicate that he was appreciated in his day, as he received important commissions such as those from the archbishop of Seville, for whom he executed several paintings for the cathedral of the Andalusian capital and the church of Nuestra Señora de la Consolación in Umbrete. During Philip V's court stay in Seville (1729-33) he was also in contact with French painters in the king's service, such as Jean Ranc and Louis-Michel van Loo, whose influence was evident in his work, combined with Murillo's direct inheritance. On the other hand, it was precisely Ranc who proposed Martínez as court painter, an offer which the painter rejected, however, as he did not wish to move to Madrid with the king. He had several disciples, and we know that his workshop trained Andrés de Rubira, Pedro Tortolero and Juan de Espinal, the latter of whom would eventually become his son-in-law and heir to the family workshop. His first major work was the decorative ensemble of the church of the Colegio de San Telmo, with paintings on the life of Christ and his relationship with the sea, executed in 1724. Six years later he produced two large paintings for the Convent of Santa Paula in Seville. In the 1730s he also executed individual works and ensembles for churches in Seville and its province, always on religious themes, as well as the portrait of Archbishop Luis de Salcedo y Azcona for the Archbishop's Palace in Seville (1739). He was equally prolific in the last decade of his life, when he executed tempera decorations for the churches of Santa Ana and San Luis de los Franceses in Seville, as well as several canvases. His last work, executed around 1748, was a set of eight canvases depicting the great masquerade held in Seville in June of the previous year on the occasion of Ferdinand VI's accession to the throne. Works by Martínez are currently housed in the Seville Museum of Fine Arts.
Setdart Auction House
Oct. 20, 2021
DOMINGO MARTÍNEZ (Seville, 1688 - 1749), attributed. "Infant Jesus in niche. Oil on canvas.
Est: €1,800 - €2,200
DOMINGO MARTÍNEZ (Seville, 1688 - 1749), attributed. "Infant Jesus in niche. Oil on canvas. Size: 27.5 x 19 cm, 33.5 x 28 cm. (frame). Devotional representation of the Infant Jesus in a stone niche. He carries a cross on his left shoulder, and together with the drop of blood pearling his forehead, are symbolic omens of the episode of the Passion. Due to its formal characteristics it could be attributed to one of the most outstanding painters of the Sevillian school of the first half of the 18th century, Domingo Martínez. This artist was trained in his native city, Lucas Valdés being one of his teachers. The sources indicate that he was appreciated in his time, given that we find important commissions such as those received from the archbishop of Seville, for whom he made several paintings destined for the cathedral of the Andalusian capital and the church of Nuestra Señora de la Consolación in Umbrete. Likewise, during the stay of Philip V's court in Seville (1729-33) he maintained a relationship with French painters in the service of the king, such as Jean Ranc and Louis-Michel van Loo, whose influence will be evident in his work, combined with the direct inheritance of Murillo. On the other hand, it was precisely Ranc who proposed Martínez as court painter, an offer that the painter, however, rejected, since he did not wish to move to Madrid with the king. He had several disciples, and we know that his workshop trained Andrés de Rubira, Pedro Tortolero and Juan de Espinal, the latter painter who would eventually become his son-in-law and heir to the family workshop. His first important work was the decorative set of the church of the Colegio de San Telmo, with paintings on the life of Christ and his relationship with the sea, made in 1724. Six years later he painted two large paintings for the Convent of Santa Paula in Seville. In this same decade of 1730 he also produced individual works and sets for churches in Seville and its province, always with religious themes, as well as the portrait of Archbishop Luis de Salcedo y Azcona for the Archbishop's Palace of Seville (1739). He was equally prolific in the last decade of his life, when he created tempera decorations for the churches of Santa Ana and San Luis de los Franceses in Seville, as well as several canvases. His last work, produced around 1748, was a set of eight canvases representing the great masquerade held in Seville in June of the previous year on the occasion of the accession to the throne of Fernando VI. Works by Martínez are currently preserved in the Museum of Fine Arts in Seville.
Setdart Auction House
Jul. 14, 2021
DOMINGO MARTÍNEZ (Seville, 1688 - 1749), attributed. "Infant Jesus in niche." Oil on canvas.
Est: €2,000 - €2,400
DOMINGO MARTÍNEZ (Seville, 1688 - 1749), attributed. "Infant Jesus in niche." Oil on canvas. Size: 27.5 x 19 cm, 33.5 x 28 cm. (frame). Devotional representation of the Infant Jesus in a stone niche. He carries a cross on his left shoulder, and together with the drop of blood pearling his forehead, are symbolic omens of the episode of the Passion. Due to its formal characteristics it could be attributed to one of the most outstanding painters of the Sevillian school of the first half of the 18th century, Domingo Martínez. This artist was trained in his native city, Lucas Valdés being one of his teachers. The sources indicate that he was appreciated in his time, given that we find important commissions such as those received from the archbishop of Seville, for whom he made several paintings destined for the cathedral of the Andalusian capital and the church of Nuestra Señora de la Consolación in Umbrete. Likewise, during the stay of Philip V's court in Seville (1729-33) he maintained a relationship with French painters in the service of the king, such as Jean Ranc and Louis-Michel van Loo, whose influence will be evident in his work, combined with the direct inheritance of Murillo. On the other hand, it was precisely Ranc who proposed Martínez as court painter, an offer that the painter, however, rejected, since he did not wish to move to Madrid with the king. He had several disciples, and we know that his workshop trained Andrés de Rubira, Pedro Tortolero and Juan de Espinal, the latter painter who would eventually become his son-in-law and heir to the family workshop. His first important work was the decorative set of the church of the Colegio de San Telmo, with paintings on the life of Christ and his relationship with the sea, made in 1724. Six years later he painted two large paintings for the Convent of Santa Paula in Seville. In this same decade of 1730 he also produced individual works and sets for churches in Seville and its province, always with religious themes, as well as the portrait of Archbishop Luis de Salcedo y Azcona for the Archbishop's Palace of Seville (1739). He was equally prolific in the last decade of his life, when he created tempera decorations for the churches of Santa Ana and San Luis de los Franceses in Seville, as well as several canvases. His last work, produced around 1748, was a set of eight canvases representing the great masquerade held in Seville in June of the previous year on the occasion of the accession to the throne of Fernando VI. Works by Martínez are currently preserved in the Museum of Fine Arts in Seville.
Setdart Auction House
Jun. 01, 2021
DOMINGO MARTÍNEZ (Seville, 1688 - 1749), attributed. "Child Jesus in niche". Oil on canvas.
Est: €2,500 - €3,000
DOMINGO MARTÍNEZ (Seville, 1688 - 1749), attributed. "Child Jesus in niche". Oil on canvas. Measurements: 27.5 x 19 cm., 33.5 x 28 cm. (frame). Devotional representation of the Child Jesus in a stone niche. He carries a cross on his left shoulder, and together with the drop of blood pearling his forehead, are symbolic omens of the episode of the Passion. Due to its formal characteristics it could be attributed to one of the most outstanding painters of the Sevillian school of the first half of the 18th century, Domingo Martínez. This artist was trained in his native city, Lucas Valdés being one of his teachers. The sources indicate that he was appreciated in his time, given that we find important commissions such as those received from the archbishop of Seville, for whom he made several paintings destined for the cathedral of the Andalusian capital and the church of Nuestra Señora de la Consolación in Umbrete. Likewise, during the stay of Philip V's court in Seville (1729-33) he maintained a relationship with French painters in the service of the king, such as Jean Ranc and Louis-Michel van Loo, whose influence will be evident in his work, combined with the direct inheritance of Murillo. On the other hand, it was precisely Ranc who proposed Martínez as court painter, an offer that the painter, however, rejected, since he did not wish to move to Madrid with the king. He had several disciples, and we know that his workshop trained Andrés de Rubira, Pedro Tortolero and Juan de Espinal, the latter painter who would eventually become his son-in-law and heir to the family workshop. His first important work was the decorative set of the church of the Colegio de San Telmo, with paintings on the life of Christ and his relationship with the sea, made in 1724. Six years later he painted two large paintings for the Convent of Santa Paula in Seville. In this same decade of 1730 he also produced individual works and sets for churches in Seville and its province, always with religious themes, as well as the portrait of Archbishop Luis de Salcedo y Azcona for the Archbishop's Palace of Seville (1739). He was equally prolific in the last decade of his life, when he created tempera decorations for the churches of Santa Ana and San Luis de los Franceses in Seville, as well as several canvases. His last work, produced around 1748, was a set of eight canvases representing the great masquerade held in Seville in June of the previous year on the occasion of the accession to the throne of Fernando VI. Works by Martínez are currently preserved in the Museum of Fine Arts in Seville.
Setdart Auction House
Dec. 11, 2020
Domingo Martinez (Sevilla 1688-1749), ambito di, Adorazione dei pastori
Est: €1,500 - €2,000
olio su tela, cm 68x50
Cambi Casa d'Aste
May. 08, 2018
ATRIBUIDO A DOMINGO MARTÍNEZ 1688 Sevilla - 1749 Inmaculada
Est: -
ATTRIBUTED TO DOMINGO MARTÍNEZ 1688 Sevilla - 1749 Inmaculada There is not much information we know about the life of the Sevillian painter; was formed with Lucas Valdés, son of Valdés Leal and his style depends directly on Murillo, assuming as his own the concept that he created of the Immaculate triumphant surrounded by angels and cherubs that emerge from the clouds, as in the Immaculate in the church of San Lesmes de Burgos and this one that we present here. It was well considered within the local sphere as evidenced by the commissions he received from the archbishop of Seville to make different paintings for the Cathedral and the church of Our Lady of Consolation of Umbrete. (Valdivieso, Enrique, History of Sevillian painting, 1992, Guadalquivir SL Ed.). The stay of the court of Felipe V in Seville during the period 1729-1733, allowed him to get in touch with the French painters who were at the service of it, such as Jean Ranc and Louis-Michel van Loo; which gave a twist to his painting, joining Murillo's influence with a Frenchified mannerism in colors and forms. Oil on canvas 182 x 129 cm Antique painting and 19th C.
Isbilya Subastas
Mar. 15, 2017
Domingo Martínez Sevilla 1688 - 1749 "El majestuoso y portentoso Monumento de Sevilla" Grabado
Est: €900 -
Domingo Martínez Sevilla 1688 - 1749 "El majestuoso y portentoso Monumento de Sevilla" Grabado Firmado en plancha y fechado en 1737 136x75 cm
Balclis
Jun. 22, 2016
DOMINGO MARTÍNEZ
Est: -
DOMINGO MARTÍNEZ 1688 Sevilla - 1749 San Francisco resucita a San Buenaventura Óleo sobre lienzo Firmado "Dominicus/Martines" en la zona inferior. Esta pintura formaba parte, junto al lienzo del Nacimiento de San Francisco y el de la Visión de San Francisco, de un conjunto de dieciséis obras realizadas por Domingo Martínez para el claustro del Convento de San Francisco de Sevilla. Las pinturas fueron incautadas por los franceses en 1810 y, tras ser almacenados en el Real Alcázar de Sevilla, fueron dispersados. Se trata de una nueva incorporación al catálogo de este pintor. Procedencia: Pintado para el claustro del Antiguo Convento de San Francisco de Sevilla. Reales Alcázares de Sevilla. Aparece inventariado en 1810 junto con los otros cuadros de la serie de escenas de la vida del santo: ”lienzo de 2 ¼ varas en cuadro”. Colección privada. Madrid. 2001. Bibliografía: Gómez Imaz, M.”Inventario de las Pinturas del Palacio y Salones del Alcázar de Sevilla” Sevilla. 1917. 2ª Edición. Nº 340. Pág. 512. Soro Cañas, S. “Domingo Martínez”. Sevilla. 1982. Obras citadas. Pág. 97. Navarrete Prieto, B. “…El Buen Uso de las Estampas… Pintura e Imagen Impresa en la Obra de Domingo Martínez.” Catalogo de la Exposición “Domingo Martínez en la Estela de Murillo.” Sevilla. Centro Cultural El Monte. Mayo – junio de 2004. Pág. 82 y 83. Fig. 4.15. Pleguezuelo, A. “Algo más sobre la obra de Domingo Martínez”. Homenaje a Alfonso E. Pérez Sánchez (en prensa). Pleguezuelo, A. ”Nuevas Obras del Pintor Domingo Martínez”. “In Sapinenta Libertas. Escritos en Homenaje al Profesor. Alfonso E. Pérez Sánchez”. Madrid, 2007. Pág. 571- 580. Fig. 6 187 x 180 cm
Isbilya Subastas
Apr. 05, 2016
Nacimiento de San Francisco de Asís
Est: -
DOMINGO MARTÍNEZ (1688 - 1749), Nacimiento de San Francisco de Asís MARTÍNEZ 1688 Sevilla 1749 Procedencia: Pintado para el claustro del Antiguo Convento de San Francisco de Sevilla. Reales Alcázares de Sevilla. Aparece inventariado en 1810 junto con los otros cuadros de la serie de escenas de la vida del santo.” lienzo de 2 ¼ varas en cuadro” Colección privada. Madrid. 2001. Bibliografía: Gómez Imaz, M.”Inventario de las Pinturas del Palacio y Salones del Alcázar de Sevilla” Sevilla. 1917. 2ª Edición. Nº 340. Pág. 512. Soro Cañas, S. “Domingo Martínez”. Sevilla. 1982. Obras citadas. Pág. 97. Navarrete Prieto, B. “…El Buen Uso de las Estampas… Pintura e Imagen Impresa en la Obra de Domingo Martínez.” Catalogo de la Exposición “Domingo Martínez en la Estela de Murillo.” Sevilla. Centro Cultural El Monte. Mayo – junio de 2004.Pág. 82 y 83. Fig. 4.15. Pleguezuelo, A. “Algo más sobre la obra de Domingo Martínez”. Homenaje a Alfonso E. Pérez Sánchez (en prensa). Pleguezuelo, A.”Nuevas Obras del Pintor Domingo Martínez”. “In Sapinenta Libertas. Escritos en Homenaje al Profesor. Alfonso E. Pérez Sánchez”. Madrid, 2007. Pág. 571- 580. Fig. 6 188 x 181 cm
Isbilya Subastas
Oct. 29, 2014
Attributed to Domingo Martínez Seville 1688 - 1749 The Altarpiece of the Virgin of the Kings in the Royal Chapel of Seville Cathedral
Est: €3,600 -
Attributed to Domingo Martínez Seville 1688 - 1749 The Altarpiece of the Virgin of the Kings in the Royal Chapel of Seville Cathedral Oil on canvas Other depictions of the same altarpiece are known, done by Matías de Arteaga, Lucas Valdés, Francisco Meneses Osorio and Bernabé de Ayala, among others. Reference literature: Alfonso Pleguezuelo (ed.), Domingo Martínez. En la estela de Murillo", Seville, Fundación El Monte, 2004, p. 264" 166x102.5 cm Atribuido a Domingo Martínez Sevilla 1688 - 1749 El retablo de la Virgen de los Reyes en la Capilla Real de la Catedral de Sevilla Óleo sobre lienzo Se conocen otras representaciones del mismo retablo realizadas por Matías de Arteaga, Lucas Valdés, Francisco Meneses Osorio, Bernabé de Ayala, entre otros. Bibliografía de referencia: Alfonso Pleguezuelo (ed.), "Domingo Martínez. En la estela de Murillo", Sevilla, Fundación El Monte, 2004, p. 264 166x102,5 cm Domingo Martínez Sevilla 1688 – 1749 zugeschrieben Das Altarbild der Jungfrau der Könige in der Königlichen Kapelle der Kathedrale von Sevilla Öl auf Leinwand Andere Darstellungen desselben Altarbilds sind bekannt, die von Matías de Arteaga, Lucas Valdés, Francisco Meneses Osorio, Bernabé de Ayala, und anderen geschaffen wurden. Referenzbibliografie: Alfonso Pleguezuelo (Hrsg.), "Domingo Martínez. En la estela de Murillo", Sevilla, Fundación El Monte, 2004, S. 264 166x102,5 cm
Balclis
May. 29, 2014
Attributed to Domingo Martínez Seville 1688 - 1749 The retable of the Virgin of the Kings in the Capilla Real of the Seville's Cathe
Est: €6,000 -
Attributed to Domingo Martínez Seville 1688 - 1749 The retable of the Virgin of the Kings in the Capilla Real of the Seville's Cathedral Oil on canvas There are other representations of the same retable made by Matías de Arteaga, Lucas Valdés, Francisco Meneses Osorio and Bernabé de Ayala, among others. Reference literature: Alfonso Pleguezuelo (ed.), "Domingo Martínez. En la estela de Murillo", Seville, Fundación El Monte, 2004, p. 264 166x102,5 cm Atribuido a Domingo Martínez Sevilla 1688 - 1749 El retablo de la Virgen de los Reyes en la Capilla Real de la Catedral de Sevilla Óleo sobre lienzo Se conocen otras representaciones del mismo retablo realizadas por Matías de Arteaga, Lucas Valdés, Francisco Meneses Osorio, Bernabé de Ayala, entre otros. Bibliografía de referencia: Alfonso Pleguezuelo (ed.), "Domingo Martínez. En la estela de Murillo", Sevilla, Fundación El Monte, 2004, p. 264 166x102,5 cm
Balclis
Dec. 04, 2008
Domingo Martínez , Seville 1688 - 1749 an allegory of autumn oil on canvas
Est: £15,000 - £20,000
oil on canvas
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Attributed to Domingo Martínez Seville 1688 - 1749 The Altarpiece of the Virgin of the Kings in the Royal Chapel of Seville Cathedral

Attributed to Domingo Martínez Seville 1688 - 1749 The retable of the Virgin of the Kings in the Capilla Real of the Seville's Cathe

Domingo Martínez , Seville 1688 - 1749 an allegory of autumn oil on canvas

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Painter, b. 1688 - d. 1749

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