Sebastián (1654) Muñoz Sold at Auction Prices

Figure painter, Painter, Portrait painter, b. 1654 - d. 1690

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    • SEBASTIÁN MUÑOZ (Casarrubios del Monte, Toledo, 1654/1657-Madrid, 1690). "Saint Elizabeth of Hungary curing the ringworm", 1689. Oil on canvas. Preserves original canvas with additions in the margins.
      Oct. 01, 2024

      SEBASTIÁN MUÑOZ (Casarrubios del Monte, Toledo, 1654/1657-Madrid, 1690). "Saint Elizabeth of Hungary curing the ringworm", 1689. Oil on canvas. Preserves original canvas with additions in the margins.

      Est: €5,000 - €6,000

      SEBASTIÁN MUÑOZ (Casarrubios del Monte, Toledo, 1654/1657-Madrid, 1690). "Saint Elizabeth of Hungary curing the ringworm", 1689. Oil on canvas. Preserves original canvas with additions in the margins. It presents restorations in the pictorial surface and damages caused by xylophages in the frame. Signed and dated on the back. Measurements: 183 x 114 cm; 216 x 146 cm (frame). In this work we see St. Elizabeth of Hungary healing a child, a theme that was very much to the taste of the time. Aesthetically the work also shows a taste for the costumbrista painting that became popular during the Baroque period. Saint Elizabeth was the daughter of King Andrew II of Hungary. She married Louis IV of Thuringia and upon the death of her husband in 1227 decided to lead an ascetic life, devoting herself to charitable works. For this purpose she built a hospital for the poor and lepers in Marburg, attending personally to the sick. In 1228 she took the habit of a Franciscan tertiary, becoming its patroness. In 1235 she was canonized by Gregory IX. Murillo used to present the saint surrounded by lepers whom she cured with her own hands. Sebastián Muñoz began his training as an apprentice in the workshop of Hipólito de Torres. In January 1680, he moved to Madrid to work with Claudio Coello on the decorations to celebrate the arrival of Maria Luisa de Orleans, the new wife of King Charles II. He then moved to Italy, where he joined expatriate Spanish painters in petitioning the king to establish an academy of Spanish painting in Rome. While there, he studied with Carlo Maratta. On his return to Spain, he stopped in Zaragoza, where he again worked as Coello's assistant, painting frescoes in the Iglesia de la Mantería. Returning to Madrid in 1686, he worked at the Royal Alcazar, where he painted the ceiling of the Queen's bedroom with a scene from Orlando Furioso. In another part of the palace, he created a scene from the mythological story of Psyche and Cupid, which earned him an appointment as court painter. In 1689 he painted the queen's funeral for the Convent of Carmen Calzado. It is said that the monks did not recognize the Queen as the portrait, so Muñoz had to place her portrait in a medallion, supported by angels. At the Buen Retiro Palace, he worked on the decoration of the private rooms of the new Queen, Maria Anna de Neuburg, at the same time, he began to restore the frescoes of the dome of the Basilica of Our Lady of Atocha. It preserves original canvas with additions in the margins. It presents restorations in the pictorial surface and damages caused by xylophages in the frame. Signed and dated

      Setdart Auction House
    • Nuestra Señora de la Soledad de la Paloma, attributed to Sebastian Muñoz (1654 - 1690)
      Apr. 30, 2022

      Nuestra Señora de la Soledad de la Paloma, attributed to Sebastian Muñoz (1654 - 1690)

      Est: -

      Oil painting on canvas depicting Our Lady of Solitude of Paloma, a Marian devotion that began in Madrid, Spain circa 1791. Attributed to the 17th century Spanish artist Sebastian Muñoz (1654 - 1690). The subject resembles the Philippines' very own, Nuestra Señora de la Soledad de la Porta Vaga, whose patronage of Cavite started two centuries earlier than the Lady of Paloma. With note at the back "No. 3°... Jimenez Zuritano... El Carpio."

      Casa de Memoria
    • Attributed to SEBASTIAN MUÑOZ (Casarrubios del Monte, Toledo, 1654/1657-Madrid, 1690). "Virgin of the Solitude or of the dove". Oil on canvas. It has a label on the back.
      Apr. 28, 2021

      Attributed to SEBASTIAN MUÑOZ (Casarrubios del Monte, Toledo, 1654/1657-Madrid, 1690). "Virgin of the Solitude or of the dove". Oil on canvas. It has a label on the back.

      Est: €3,000 - €4,000

      Attributed to SEBASTIAN MUÑOZ (Casarrubios del Monte, Toledo, 1654/1657-Madrid, 1690). "Virgin of the Solitude or of the dove". Oil on canvas. It has a label on the back. Measurements: 80 x 69 cm; 88 x 78 cm (frame). Our Lady of Solitude is a variant of advocation of the Virgin Mary of the title of Our Lady of Sorrows. Although the model instituted by Gaspar Becerra in his Virgen de la Soledad del convento de la Victoria gave rise to a characteristic and "uniquely Spanish" iconography of this advocation that spread throughout the Christian world, it has its roots in the spread throughout Europe, thanks especially to the Servites, the cult of Our Lady of Sorrows, since the Solitude of Mary is the last of the Seven Sorrows of the Virgin Mary. The Virgen de la Paloma is a Marian devotion typical of the city of Madrid, and her image is in the center of the altarpiece of the parish of the Virgen de la Paloma and San Pedro el Real. According to the report written in 1791 by the mayor of Madrid, the Marquis of Casa García Postigo, the canvas, a representation of Our Lady of Solitude, was found or given to some children in a lot adjacent to the street of La Paloma, in 1787. The work was then recovered by Isabel Tintero, who cleaned and framed it, placing it in the doorway of her house. Several miracles were soon attributed to the image, so its cult spread rapidly, and in 1795 a chapel was built to house it. The one we present here is a faithful, although partial, copy of the original canvas, which shows Mary with a gesture of pain, dressed in mourning and adorned with a silver crown. Sebastian Muñoz began his training as an apprentice in the workshop of Hipólito de Torres. In January 1680, he moved to Madrid to work with Claudio Coello on the decorations to celebrate the arrival of Maria Luisa de Orleans, the new wife of King Charles II. He then moved to Italy, where he joined expatriate Spanish painters in petitioning the king to establish an academy of Spanish painting in Rome. While there, he studied with Carlo Maratta. On his return to Spain, he stopped in Zaragoza, where he again worked as Coello's assistant, painting frescoes in the Iglesia de la Mantería.Back in Madrid in 1686, he worked at the Real Alcázar, where he painted the ceiling of the Queen's bedroom with a scene from Orlando Furioso In another part of the palace, he created a scene from the mythological story of Psyche and Cupid, which earned him an appointment as court painter. In 1689 he painted the queen's funeral for the Convent of Carmen Calzado. It is said that the monks did not recognize the Queen as the portrait, so Muñoz had to place her portrait in a medallion, supported by angels.At the Buen Retiro Palace, he worked on the decoration of the private rooms of the new Queen, Maria Anna de Neuburg, at the same time, he began to restore the frescoes of the dome of the Basilica of Our Lady of Atocha.

      Setdart Auction House
    • SEBASTIÁN MUÑOZ - Saint Teresa of Jesus inspired by the Holy Spirit
      Oct. 22, 2019

      SEBASTIÁN MUÑOZ - Saint Teresa of Jesus inspired by the Holy Spirit

      Est: -

      SEBASTIÁN MUÑOZ Navalcarnero, Madrid h. 1654 - Madrid 1690 Saint Teresa of Jesus inspired by the Holy Spirit Oil on canvas Size 101.5 x 79 cm

      Subastas Segre
    • Attributed to Sebastian Munoz (Spanish, 1654-1690), "Study of a Seated Male Nude Pointing", sanguine chalk on laid paper, 28-1/2" x...
      Dec. 08, 2018

      Attributed to Sebastian Munoz (Spanish, 1654-1690), "Study of a Seated Male Nude Pointing", sanguine chalk on laid paper, 28-1/2" x...

      Est: $1,000 - $1,500

      Attributed to Sebastian Munoz (Spanish, 1654-1690) "Study of a Seated Male Nude Pointing" sanguine chalk on laid paper unsigned, 13-1/2" x 9-3/8"; together with a "Study of a Seated Male Nude", attributed to Carlo Maratti (Italian, 1625-1713), sanguine on laid paper with a circular watermark, unsigned, 17-1/8" x 11-5/8". Each matted, glazed and framed. 28-1/2" x 24-1/2" and 27-3/4" x 21-3/4", respectively Provenance: Giuliano Cesari, Lafayette, Louisiana; Estate of Richard Anthony Goula, proceeds to benefit the Thistlewood Foundation, Lafayette, Louisiana.

      New Orleans Auction Galleries
    • Attributed to Sebastian Muñoz (Madrid circa 1650-1690)
      Oct. 30, 2013

      Attributed to Sebastian Muñoz (Madrid circa 1650-1690)

      Est: £3,000 - £5,000

      The Adoration of the Shepherds oil on canvas 61.7 x 45.2cm (24 5/16 x 17 13/16in).

      Bonhams
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