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    • PEDRO DE MOYA (Granada, c. 1610- January 15, 1674). "The Virgin and Child with St. John". Oil on canvas. Preserves original canvas and frame of the eighteenth century with faults. Presents faults and Punctures.
      Oct. 28, 2024

      PEDRO DE MOYA (Granada, c. 1610- January 15, 1674). "The Virgin and Child with St. John". Oil on canvas. Preserves original canvas and frame of the eighteenth century with faults. Presents faults and Punctures.

      Est: €3,000 - €4,000

      PEDRO DE MOYA (Granada, c. 1610- January 15, 1674). "The Virgin and Child with St. John". Oil on canvas. Preserves original canvas and frame of the eighteenth century with faults. Presents faults and Punctures. Measurements. 102 x 90 cm; 127 x 100 cm (frame). This painting represents the virgin seated with the child Jesus playing in her lap. Although it is an interior scene, certainly simple, it has some elements such as the beautiful glass jar with lilies on the table that could have a symbolic value and represent St. Joseph. Under the table there is also a sewing basket that could refer to Mary's industriousness. The composition presents the classic pyramidal disposition. At the vertex of this triangle would be the heads of Mary and her son. The work clearly presents characteristics typical of the Granada painting of the second half of the 17th century, following the influence shown by Alonso Cano and appreciable in other Granada painters such as Juan de Sevilla, Pedro Atanasio de Bocanegra and Pedro de Moya or Niño de Guevara in Malaga. It is an exceptional painting of first quality in this orbit mentioned, but it is certainly difficult to propose an accurate attribution. Some have seen in this work a certain relationship with others by Pedro Atanasio de Bocanegra, which is not at all far-fetched. It may also have some connection with other works such as the Virgin of the Good Milk of the parish of San Pedro and San Pablo de Granada, catalogued as anonymous from Granada at the end of the 17th century. The piece has certain similarities with the painting "Vision of St. Mary Magdalene of Pazzi" belonging to the collection of the Museum of Fine Arts of Granada. In both a similar chromatic range can be appreciated, especially in the use of an iridescent range appreciable in the pink and blue of the Virgin's mantle. There is little biographical information about the life of Pedro de Moya, according to the words of Palominio, Pedro de Moya began his training in Seville under the guidance of the master Juan del Castillo. It was in that city where he established contact with the painting of Murillo and Alonso Cano, who influenced artistically in the pictorial conception of Pedro de Moya. It is known that he moved to Flanders, due to his military condition, and established contact with the painter Van Dyck, as well as with Rubens. The proximity with Van Dyck has led to think that Pedro de Moya moved to England with the master. It is probable that he returned to Spain in 1641, first in the city of Seville and later in Granada. It is probable that this condition of nomadic life hindered the investigation of his biography, in addition to this characteristic we must add a scarce knowledge of his artistic production, since at present there are few documented works of the master. Aesthetically his painting was defined by a style similar to that of Cano. Preserves original cloth and frame of the eighteenth century with faults. Presents faults and punctures.

      Setdart Auction House
    • PEDRO DE MOYA (Granada, c. 1610- January 15, 1674) "Virgin and Child". Oil on canvas. Work exhibited at the Museum of Fine Arts of Murcia. Work reproduced in the catalog "Masters of Spanish Baroque
      Oct. 01, 2024

      PEDRO DE MOYA (Granada, c. 1610- January 15, 1674) "Virgin and Child". Oil on canvas. Work exhibited at the Museum of Fine Arts of Murcia. Work reproduced in the catalog "Masters of Spanish Baroque

      Est: €6,000 - €8,000

      PEDRO DE MOYA (Granada, c. 1610- January 15, 1674) "Virgin and Child". Oil on canvas. Work exhibited at the Museum of Fine Arts of Murcia. Work reproduced in the catalog "Masters of Spanish Baroque, Granados Collection, Unpublished Work. Museum of Fine Arts of Murcia. 2020-2021. p. 152. It presents restorations on the pictorial surface. Preserves important period frame, c. 1690. Measurements: 102.5 x 91 cm; 137.5 x 126.5 cm (frame). This painting represents the virgin seated with the child Jesus playing in her lap. Although it is certainly a simple interior scene, it has some elements such as the beautiful glass jar with lilies on the table that could have a symbolic value and represent St. Joseph. Under the table there is also a sewing basket that could refer to Mary's industriousness. Also significant is the angel that offers to Saint Mary a basket with cherries that, due to its intense red color, could also be a prefiguration of the Passion of Christ. The composition presents the classic pyramidal disposition. At the vertex of this triangle would be the heads of Mary and her son, where the viewer's gaze is directed and is the most powerful narrative point of the work. The light comes from a window in the upper right corner, which provides a soft and homogeneous illumination without creating violent hallmarks. The work clearly presents characteristics typical of the Granada painting of the second half of the 17th century, following the influence shown by Alonso Cano and appreciable in other Granada painters such as Juan de Sevilla, Pedro Atanasio de Bocanegra and Pedro de Moya or Niño de Guevara in Malaga. It is an exceptional painting of first quality in this orbit mentioned, but it is certainly difficult to propose an accurate attribution. Some have seen in this work a certain relationship with others by Pedro Atanasio de Bocanegra, which is not at all far-fetched. It may also have some connection with other works such as the Virgin of the Good Milk of the parish of San Pedro and San Pablo de Granada, catalogued as anonymous from Granada at the end of the 17th century. The piece has certain similarities with the painting "Vision of St. Mary Magdalene of Pazzi" belonging to the collection of the Museum of Fine Arts of Granada. In both a similar chromatic range can be appreciated, especially in the use of an iridescent range appreciable in the pink and blue of the Virgin's mantle. There is little biographical information about the life of Pedro de Moya, according to the words of Palominio, Pedro de Moya began his training in Seville under the guidance of the master Juan del Castillo. It was in that city where he established contact with the painting of Murillo and Alonso Cano, who influenced artistically in the pictorial conception of Pedro de Moya. It is known that he moved to Flanders, due to his military condition, and established contact with the painter Van Dyck, as well as with Rubens. The proximity with Van Dyck has led to think that Pedro de Moya moved to England with the master. It is probable that he returned to Spain in 1641, first in the city of Seville and later in Granada. It is probable that this condition of nomadic life hindered the investigation of his biography, in addition to this characteristic we must add a scarce knowledge of his artistic production, since at present there are few documented works of the master. Aesthetically his painting was defined by a style similar to that of Cano. Work exhibited at the Museum of Fine Arts of Murcia. Work reproduced in the catalog "Masters of the Spanish Baroque, Granados Collection, Unpublished Work. Museum of Fine Arts of Murcia. 2020-2021. p. 152. It presents restorations on the pictorial surface. Preserves important period frame, c. 1690.

      Setdart Auction House
    • PEDRO DE MOYA Y GAMEZ (GRENADE VERS 1619-1674)
      Dec. 15, 2022

      PEDRO DE MOYA Y GAMEZ (GRENADE VERS 1619-1674)

      Est: €8,000 - €12,000

      PEDRO DE MOYA Y GAMEZ (GRENADE VERS 1619-1674) VIERGE A L’ENFANT AVEC LE JEUNE SAINT JEAN BAPTISTE Toile Restaurations anciennes Virgin with Child with the young St John the Baptist, canvas, old restorations 103 x 91 cm - 40,6 x 35,8 in.

      Tajan
    • Attributed to PEDRO DE MOYA
      Sep. 23, 2022

      Attributed to PEDRO DE MOYA

      Est: CHF700 - CHF900

      Attributed to PEDRO DE MOYA (1610 Granada 1674) An angel shows a child the way. Black and red chalk. Old attribution verso in pencil: Pedro de Moya. 33.1 x 23.8 cm. --------------- PEDRO DE MOYA, zugeschrieben (1610 Granada 1674) Ein Engel weist einem Kind den Weg. Schwarze und rote Kreide. Auf der Rückseite mit Bleistift ältere Zuschreibung: Pedro de Moya. 33,1 x 23,8 cm. ---------------

      Koller Auctions
    • PEDRO DE MOYA (Granada, c. 1610- January 15, 1674) "Immaculate". Oil on canvas. Relined.
      Nov. 25, 2021

      PEDRO DE MOYA (Granada, c. 1610- January 15, 1674) "Immaculate". Oil on canvas. Relined.

      Est: €13,000 - €14,000

      PEDRO DE MOYA (Granada, c. 1610- January 15, 1674) "Immaculate". Oil on canvas. Relined. Presents restorations. Presents on the back old label of the Ibero-American Exposition, Seville, 1929: Written in ink: No. 806; Exhibitor D. Fernando López Cepero; Object: The Conception of P. de Moya; Location: Seville. Bibliography: Iberoamerican Exposition. Pabellón de las Bellas Artes, Seville 1929: Calvo Castellón, A. The architectural backgrounds and the landscape in the Andalusian Baroque painting. Granada, 1982, pp. 307 and 308. Measurements: 49 x 38 cm; 63 x 49.5 cm (frame). Several works from the collection of Fernando López Cepero were included in the Ibero-American exhibition held in Seville in 1929. They were grouped in room V of the Fine Arts Pavilion. In 1982, Professor Calvo Castellón included this painting in the published version of his doctoral thesis: Los fondos arquitectónicos y el paisaje en la pintura barroca andaluza. At that time it still belonged to the López Cepero collection in Seville. In the writing he maintains the traditional attribution to Pedro de Moya and emphasizes that this is the only baroque painter from Granada who paints the Immaculate Conception with a landscape background that includes elements of the Lauretan litanies: the bay, the ship, the hortus conclusus with the well, the palm tree, the cypress. As for the provenance, it is worth mentioning that Fernando López Cepero was the great-grandson of Manuel López Cepero, one of the most important art collectors of the 19th century in Spain. Manuel López Cepero (Jerez de la Frontera, Cádiz, 1778-Sevilla, 1858) was a priest of liberal ideas, writer and politician. A member of the Cortes de Cádiz, he became Dean of the cathedral of Seville and held important political and cultural positions. His collection, installed in the old house of Murillo, had more than a thousand paintings. The image of this Inmaculada is perfectly framed within the Spanish 17th century, marked at a stylistic and iconographic level following the models established in the Baroque. We see Mary dressed in white and blue (symbols of purity and the concepts of truth and eternity, respectively), leaning on the sphere, and a set of vaporous clouds that harmonize with the faces of child angels. It is very interesting to note that under the break of glory in which the Virgin is inscribed, a landscape can be seen in which a maritime view and another of a landscape character can be appreciated, thus demonstrating the power of the Virgin as Queen of Christianity, exercising her power universally. 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. There is little biographical information about the life of Pedro de Moya, according to the words of Palominio, Pedro de Moya began his training in Seville at the hand of the master Juan del Castillo. It was in that city where he established contact with the painting of Murillo and Alonso Cano, who influenced artistically in the pictorial conception of Pedro de Moya. It is known that he moved to Flanders, due to his military condition, and established contact with the painter Van Dyck, as well as with Rubens. The proximity with Van Dyck has led to think that Pedro de Moya moved to England with the master. It is probable that he returned to Spain in 1641, first in the city of Seville and later in Granada. It is probable that this condition of nomadic life hindered the investigation of his biography, in addition to this characteristic we must add a scarce knowledge of his artistic production, since at present there are few documented works of the master. Aesthetically his painting was defined by a style similar to that of Cano.

      Setdart Auction House
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