Bartolomé Esteban Murillo Paintings & Artwork for Sale | Bartolomé Esteban Murillo Art Value Price Guide

Dec. 17, 2024
BARTOLOMÉ ESTEBAN MURILLO Seville 1617- 1682 The inspiration
Est: -
BARTOLOMÉ ESTEBAN MURILLO Seville 1617- 1682 The inspiration of Saint Thomas Aquinas, c. 1650 Oil on canvas Dimensions 96 x 68 cm Provenance: - Private collection, Barcelona. This Saint Thomas Aquinas painted around 1650 by Bartolomé Esteban Murillo is a clear example of the painter's technical skill in combining the mastery characteristic of his style with devotional themes of profound spirituality. The figure of the saint, monumental and solemn, is located in an undefined interior, flooded with an atmosphere of soft darkness that is only broken by a focus of golden light that descends from above and fully affects the figure of the saint. This important member of the Dominican order, famous for his theological wisdom and his prolific writings, appears precisely in the circumstance of writing one of his sacred texts and, for this reason, he shows in his hands the pen and the book that he is about to write; he raises his face towards the heavenly light, certain of receiving from heaven the divine inspiration that will grant truth and transcendence to his writings. The chromaticism of the painting is markedly sober due to the effect of the penumbra, which muffles the tones; among them, the contrast of black and white that make up the habit of the order of Saint Dominic stands out. A companion to the previous painting is the Saint Bonaventure that currently belongs to a collection in Madrid. It has similar dimensions and due to its technique it also seems to have been painted around 1650. Therefore, both works are a pair and show a similar composition and stylistic characteristics and a similar expressiveness, given that this saint also seeks inspiration for his writings from above. The link between these two saints painted by Murillo clearly showed the search for union between Dominicans and Franciscans, far from the differences that had separated both religious orders throughout the Middle Ages. Text extracted from Enrique Valdivieso in Murillo, 2010. Bibliography: - Valdivieso, Enrique., Murillo. Catalogue raisonné of paintings, Madrid, 2010, pp. 65, 284, cat. No. 32.
Subastas Segre
Dec. 14, 2024
Bartolome Esteban Murillo Oil on Wood Panel
Est: $660,000 - $880,000
Bartolomé Esteban Murillo (SPANISH, 1618-1682) oil on wood panel, 25 3/4" x 19 7/8" Frame: 34 1/2" x 28 3/8"
1stBid
Dec. 10, 2024
Natividade à maneira de Bartolomé Esteban MURILLO (1618-1682) Óleo sobre tela Dim. aprox.: 108 x 142 cm.
Est: €1,400 - €3,000
Natividade à maneira de Bartolomé Esteban MURILLO (1618-1682) Óleo sobre tela Dim. aprox.: 108 x 142 cm.; Dim. total. aprox.: 136,5 x 168,5 cm. Restauros e defeitos. Emoldurado.
Palácio do Correio Velho
Dec. 07, 2024
German Hand-Painted Porcelain Plaque, "Melonen und Traubenesser" (Melon and Grape Eaters)
Est: $400 - $600
German Hand-Painted Porcelain Plaque, "Melonen und Traubenesser" (Melon and Grape Eaters) early 20th century painted after Bartolomé Esteban Murillo (Spanish, 1617-1682), inscribed on verso and with maker's mark 15 3/4 x 13 1/2 inches (frame) 9 x 6 3/4 inches (sight)
Fontaine's Auction Gallery
Dec. 07, 2024
After MURILLO (*1618), Immaculate Conception (around 1678), 1905, Photogravure
Est: €150 - €200
After Bartolomé Esteban Murillo (1618 Seville - 1682 ibid.): Immaculate Conception of the Virgin Mary (c 1678), from a catalogue of masterpieces, 1905, Photogravure Technique: Photogravure on Paper Date: 1905 Description: From the catalogue: Masterpieces of Painting. Old Masters. Reproductions in Photogravure. With a preface and accompanying text by Wilhelm Bode and Fritz Knapp, Berlin 1905. Please note further offers from the Masterpieces catalogue in our online shop. The photogravure is accompanied by the corresponding picture text by Wilhelm Bode on an additional sheet. The catalogue attributes the picture to the collection of the Louvre, Paris. In the meantime, the original hangs in the Prado, Madrid. Source: Meisterwerke der Malerei. Alte Meister. Reproductionen in Photogravure. Mit einem Vorwort und begleitendem Text von Wilhelm Bode und Fritz Knapp, Berlin 1905 | Book, Religion, Mythology, Genre, Landscape Keywords: 20th century, Baroque, Biblical, Spain, Size: Paper: 50,8 cm x 38,0 cm (20 x 15 in), Depiction: 35,3 cm x 24,5 cm (13,9 x 9,6 in)
Fichter Kunsthandel
Dec. 07, 2024
PLANER (*1818) after GOSSE (+1558), depiction of Carl V, Sst Romanticism
Est: €45 - €75
Christian Julius Gustav Planer (1818 Leipzig - 1873 Dresden) after Gosse (unkn. -1558 ): Scenic depiction of Carl V (1500 - 1558) discovering a sleeping soldier and drawing his sabre In the background a fortress wall in front of a mountain range, 19th century, Steel engraving Technique: Steel engraving on Paper Inscription: Signed "Gosse pmx" below the print on the left and "Planer sc" on the right, inscribed with the sitter's name below. Date: 19th century Keywords: 19th century, Romanticism, Portraits, Germany, Size: Paper: 32,9 cm x 23,6 cm (13 x 9,3 in), Depiction: 15,0 cm x 12,7 cm (5,9 x 5 in)
Fichter Kunsthandel
Dec. 06, 2024
Murillo, Bartolomé Esteban
Est: €80 - €120
(1618-1682) Kopie nach. Trauben und Melonenesser. Öl auf Lwd, 20. Jh. Sichtmaß 75 x 54,5 cm, inkl. Rahmen 99 x 79 cm. - Mit Rest., drei hinterlegten Rissen, sowie Beschäd. durch Rahmung. D
Kiefer Buch- und Kunstauktionen
Nov. 30, 2024
ANTIQUE GERMAN KPM PORCELAIN PLAQUE AFTER MURILLO
Est: $100 - $150
An antique mid-19th century painting on porcelain plaque. After the ca. 1670 artwork titled The Little Fruitseller by Bartolome Esteban Murillo, 1617 to 1682, a Spanish artist. The hand-painted rectangular plaque represents two girls with a fruit basket counting coins. Presumably production of the Konigliche Porzellan-Manufaktur Berlin, or KPM, one of the most influential German porcelain factories revered for its porcelain plaques depicting historical scenes or copies of famous paintings. Blue mat, golden frame. Collectible Porcelain Decor For Interior Design.
Antique Arena Inc
Nov. 28, 2024
ESCUELA ESPAÑOLA, S. XIX Santo Tomás de Villanueva dando limosna
Est: €180 - €260
Copia de obra original realizada hacia 1668-1669 por Bartolomé Esteban Murillo (Sevilla, 1617 - 1682) que se conserva en el Museo de Bellas Artes de Sevilla.
Isbilya Subastas
Nov. 28, 2024
ESCUELA ESPAÑOLA, S. XIX, Dolorosa
Est: €85 - €120
Siguiendo modelos de Bartolomé Esteban Murillo (Sevilla, 1617 - 1682).
Isbilya Subastas
Nov. 28, 2024
ESCUELA SEVILLANA, S. XIX, Virgen con el Niño Jesús
Est: €380 - €440
Copia de obra original realizada hacia 1675 por Bartolomé Esteban Murillo (Sevilla, 1617 - 1682) que se conserva en el Palazzo Barberini, Roma.
Isbilya Subastas
Nov. 28, 2024
ESCUELA ESPAÑOLA S. XVIII, Santo Tomás de Villanueva dando limosna
Est: €140 - €180
Copia de obra original realizada hacia 1668-1669 por Bartolomé Esteban Murillo (Sevilla, 1617 - 1682) que se conserva en el Museo de Bellas Artes de Sevilla. Deterioros en la capa pictórica.
Isbilya Subastas
Nov. 27, 2024
ESCUELA ESPAÑOLA, S. XIX, Santo Tomás de Villanueva dando limosna
Est: €500 - €750
Copia de obra original realizada hacia 1668-1669 por Bartolomé Esteban Murillo (Sevilla, 1617 - 1682) que se conserva en el Museo de Bellas Artes de Sevilla. Rotura en el lienzo.
Isbilya Subastas
Nov. 25, 2024
Andalusian school, following models BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 – Cádiz, 1682), 18th century. "Immaculate". Oil on canvas. It retains its original fabric. It presents jumps in the painting. It has damage to the frame.
Est: €2,000 - €2,500
Andalusian school, following models BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682), 18th century. "Purísima". Oil on canvas. It preserves its original canvas. It has some leaps in the painting. It has damages in the frame. Measurements: 84 x 54 cm; 130 x 110 cm (frame). Medieval Christianity passionately debated the belief that Mary had been conceived without the stain of original sin. Some universities and corporations swore to defend this privilege of the Mother of God, several centuries before the First Vatican Council defined the dogma of faith in 1854. At the end of the Middle Ages the need arose to give iconographic form to this idea, and the model of the Apocalyptic Woman of Saint John was taken, maintaining some elements and modifying others (the Apocalyptic Woman is pregnant, but not the Immaculate). The definitive image came to fruition in the 16th century, apparently in Spain. Following a Valencian tradition, the Jesuit Father Alberro had a vision of the Immaculate Conception and described it to the painter Juan de Juanes so that he could depict it as faithfully as possible. It is an evolved iconographic concept, sometimes associated with the theme of the Coronation of the Virgin. Mary is shown standing, dressed in a white tunic and blue cloak, her hands crossed on her chest, with the moon at her feet (in memory of Diana's chastity) and treading on the infernal serpent (symbol of her victory over Original Sin). Around his head, like a halo, he wears the twelve stars, symbolic of fullness and alluding to the twelve tribes of Israel. Most of these images are accompanied in the painting by the Marian symbols of the litanies and psalms, such as the mystical rose, the palm tree, the cypress, the enclosed garden, the ark of Faith, the gate of Heaven, the ivory tower, the sun and moon, the sealed fountain, the cedar of Lebanon, the spotless mirror, the morning star, and so on. In Baroque painting, the background is usually celestial and populated with angels, as 17th-century artists faithfully maintained the iconographic type but dispensed with the symbols of the litanies or reduced them, incorporating them into the composition in a naturalistic manner, and sought greater dynamism and a sense of theatricality.
Setdart Auction House
Nov. 25, 2024
Spanish school, ca. 1852, XIX century. Follower of BARTOLOMÉ ESTEBAN MURILLO, (Seville, 1617 - Cadiz, 1682). "The children of the shell. Oil on canvas. Presents old restorations and two patches.
Est: €700 - €800
Spanish school, ca. 1852, XIX century. Follower of BARTOLOMÉ ESTEBAN MURILLO, (Seville, 1617 - Cadiz, 1682). "The children of the shell. Oil on canvas. Presents old restorations and two patches. Measurements: 75 x 95 cm; 102 x 124 cm (frame). This painting follows faithfully and with great skill the model that Murillo made around 1670, currently preserved in the Museo del Prado, from the royal collection and represents Jesus child with San Juanito. It is one of the most popular works of the painter, since it combines a theme very much to the taste of popular religiosity with a naturalistic treatment and a special mastery in the treatment of children, something characteristic of the style of Murillo, who is considered one of the best painters of children in Spanish art. Little is known about Murillo's childhood and youth, except that he was orphaned of his father in 1627 and of his mother in 1628, for which reason he was taken under the tutelage of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, very possibly with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship would last about six years, as was customary at the time. After his marriage, in 1645, he began what was to be a brilliant career that progressively made him the most famous and sought-after painter in Seville. The only recorded trip he made is documented in 1658, the year in which Murillo was in Madrid for several months. It may be thought that at the court he maintained contact with the painters who resided there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all those artists who passed through the court. Despite the few documentary references regarding his mature years, we know that he enjoyed a comfortable life, which allowed him to maintain a high standard of living and several apprentices. Having become the first painter of the city, surpassing in fame even Zurbarán, moved his will to raise the artistic level of local painting. That is why in 1660 he decided, together with Francisco Herrera el Mozo, to found an academy of painting, of which he was the main promoter. His fame spread to such an extent, throughout the national territory, that Palomino indicates that around 1670 King Charles II offered him the possibility of moving to Madrid to work there as a court painter. We do not know if this reference is true, but the fact is that Murillo remained in Seville until the end of his life. His works are currently preserved in the most important art galleries in the world, such as the Prado Museum, the Hermitage in St. Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York or the National Gallery in London, among many others. It presents old restorations and two patches.
Setdart Auction House
Nov. 25, 2024
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682). "The angel freeing St. Peter". Oil on canvas. It has a frame of the nineteenth century.
Est: €1,200 - €1,400
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682). "The angel freeing St. Peter". Oil on canvas. It has a frame of the nineteenth century. Measurements: 28 x 32.5 cm; 36 x 41 cm (frame). This work follows the models of the painting "San Pedro liberated by the angel", painted by Murillo. The piece of the Sevillian master is part of the collection of the Hermitage Museum of St. Petersburg and although the theme is the same, the arrangement of the characters and the composition varies. In this particular case the author places the protagonists in the foreground, both standing and surrounded by a background in which the cell is barely outlined. Little is known about Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, which is why he was taken under the tutelage of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, very possibly with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship would last about six years, as was customary at the time. After his marriage, in 1645, he began what was to be a brilliant career that progressively made him the most famous and sought-after painter in Seville. The only recorded trip he made is documented in 1658, the year in which Murillo was in Madrid for several months. It may be thought that at the court he maintained contact with the painters who resided there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all those artists who passed through the court. Despite the few documentary references regarding his mature years, we know that he enjoyed a comfortable life, which allowed him to maintain a high standard of living and several apprentices. Having become the first painter of the city, surpassing in fame even Zurbarán, moved his will to raise the artistic level of local painting. For this reason, in 1660 he decided, together with Francisco Herrera el Mozo, to found an academy of painting, of which he was the main promoter. His fame spread to such an extent, throughout the national territory, that Palomino indicates that around 1670 King Charles II offered him the possibility of moving to Madrid to work there as a court painter. We do not know if this reference is true, but the fact is that Murillo remained in Seville until the end of his life. His works are currently preserved in the most important art galleries in the world, such as the Prado Museum, the Hermitage in St. Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York or the National Gallery in London, among many others.
Setdart Auction House
Nov. 25, 2024
Andalusian school of the seventeenth century. Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682). "Immaculate". Oil on canvas.
Est: €4,000 - €5,000
Andalusian school of the seventeenth century. Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682). "Immaculate". Oil on canvas. Measurements: 97 x 76 cm; 121 x 100 cm (frame). We are in front of a canvas directly inspired by "La Inmaculada del Escorial", an oil painting by Bartolomé Esteban Murillo between 1660 and 1665, today housed in the Prado Museum. The Sevillian master was inspired by a young maiden whose figure centers the canvas, with her body slightly turned, her hands crossed over her heart and her gaze raised. The entire Immaculate rises above a lunar crescent and is accompanied by several child angels, who appear both below her and in the upper corners, surrounding the break of Glory that surrounds the Virgin with golden light. The angels at her feet carry lilies, roses and a palm leaf, Marian symbols taken from the litanies. In the last decades of the 17th century, the emotional, sweet and delicate sentimentality of Murillo prevailed in Seville over the more dramatic one of Valdés Leal, and hence the predominance of his influence in the following century. However, as time progresses, we will find an increasingly superficial influence, which focuses on the imitation of models and compositions, but leaving aside its plastic language, in favor of formulas more typical of the new century. The theme of the Immaculate Conception, very frequent in Spanish art, came to constitute one of the signs of national identity of Spain as a Catholic country. It is one of the most genuinely local themes of Spanish Baroque painting, since our country was the main defender of this mystery, and the one that fought most insistently to make it a dogma of faith. In this context, numerous artists and intellectuals worked to build a clear iconography that would help to spread the Immaculate Conception, bringing together symbolism and popular fervor. Little is known about Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, which is why he was taken under the tutelage of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, very possibly with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship would last about six years, as was customary at the time. After his marriage, in 1645, he began what was to be a brilliant career that progressively made him the most famous and sought-after painter in Seville. The only recorded trip he made is documented in 1658, the year in which Murillo was in Madrid for several months. It may be thought that at the court he maintained contact with the painters who resided there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all those artists who passed through the court. Despite the few documentary references regarding his mature years, we know that he enjoyed a comfortable life, which allowed him to maintain a high standard of living and several apprentices. Having become the first painter of the city, surpassing in fame even Zurbarán, moved his will to raise the artistic level of local painting.
Setdart Auction House
Nov. 21, 2024
A Berlin (KPM) / Thallmaier Painted Porcelain Oval Plaque after Murillo
Est: $1,500 - $2,000
A Berlin (KPM) / Thallmaier Painted Porcelain Oval Plaque after Murillo Germany, late 19th century, painted in the studio of Franz Xavier Thallmaier with the Holy Family after Bartolome Esteban Murillo (1617-1682), within a rectangular giltwood frame; with impressed "K.P.M." and scepter mark, further impressed "5" and incised "w", and with paper label "Frz. X Thallmaier / K.B. Hof. / Porzellanaierei Munchen"
Abell Auction
Nov. 13, 2024
Murillo, Bartolomé Esteban (Werkstatt/Studio)
Est: €3,500 - €5,000
Murillo, Bartolomé Esteban (Werkstatt/Studio) Sevilla 1617 - 1682 36 x 28 cm Mater Dolorosa. Oil/canvas, relined, verso on the Spanish baroque frame old lacquer seal with a crowned coat of arms. With an expert report by Prof. Dr. Enrique Valdivieso González. Private collection, Saarland. Murillo, Bartolomé Esteban (Werkstatt/Studio) Sevilla 1617 - 1682 36 x 28 cm Mater Dolorosa. Öl/Lwd., doubl., rückseitig auf dem spanischen Barockrahmen altes Lacksiegel mit bekröntem Wappen. Mit einem Gutachten von Prof. Dr. Enrique Valdivieso González. Saarländische Privatsammlung.
Nagel Auction
Oct. 28, 2024
After BARLOLOMÉ ESTEBAN MURILLO (Seville, 1617 - 1682). Andalusian school, XIX century. "Rebecca and Eliezer". Oil on canvas, Presents faults and Punctures. Frame of the nineteenth century.
Est: €1,200 - €1,500
After BARLOLOMÉ ESTEBAN MURILLO (Seville, 1617 - 1682). Andalusian school, XIX century. "Rebecca and Eliezer". Oil on canvas, Presents faults and Punctures. Frame of the nineteenth century. Measurements: 107 x 150 cm; 123 x 167 x 6'5 cm (frame). In this painting of Sevillian school of nineteenth-century period, the author reproduces the Murillo painting "Rebecca and Eliezer" (1660, preserved in the Prado Museum), remaining faithful to the original. The work shows Rebecca, the future wife of the Hebrew patriarch Isaac, conversing by the well with Eliezer, who was a servant of her future father-in-law Abraham, next to the well. It is a biblical passage frequently depicted in 17th century European painting. Murillo's version, as usual in the Sevillian master, has the peculiarity of placing us before a typical Andalusian scene. Rebeca and her neighbors look like girls from the neighborhood of Triana or any Andalusian village of their time, gathered with their pitchers around the fountain. Except for the clothing, the scenery would be common to any area of Spain. It presents faults and Punctures.
Setdart Auction House
Oct. 28, 2024
Workshop of BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682). "St. Peter Magpie. Oil on canvas. Relined. It presents faults and restorations on the pictorial surface. It has a frame of the twentieth century wood and glass with faults.
Est: €6,000 - €7,000
Workshop of BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682). "St. Peter Magpie. Oil on canvas. Relined. It presents faults and restorations on the pictorial surface. It has a frame of the twentieth century wood and glass with faults. Measurements: 127 x 100 cm; 126 x 102 cm (frame). In this intimate scene the artist resorts to the theatricality of the baroque, enhanced by a completely artificial and directed light that enhances the relevance of the protagonist. In the center of the scene, as usual, the protagonist is shown kneeling before the spectator in a prayerful attitude with his heart in his hand and with his gaze fixed on the sky where a cross can be seen. The scene is completed with a table dressed with a white tablecloth on which a crucifix with the figure of Christ can be seen. In the lower area the name of the protagonist can be read. Pedro Urraca was a Spanish mercenary born in Jadraque (1583) into a noble family. One of his brothers joined the Franciscans and left for the New World; he got his parents to allow Pedro to join him. In 1604, at the age of 21, he entered the convent of the Mercedarians in Quito. He then dedicated himself to preaching and evangelizing the poor, as well as begging to fulfill the fourth vow of his order. The viceroy of Peru, Francisco de Borja y Aragón, who when he returned to Spain in 1621, asked him to be his chaplain. In 1627 he returned to Lima and dedicated himself mainly to confession. Thematically the piece presents similarities with Murillo's works, specifically some of those of the convent of La Merced. Although the style is reminiscent of the painting of the painter Francisco Meneses Osorio (Seville, c. 1640 - 1721), who was born in Seville, and is believed to have died there. Very little is known of his life. He was a pupil and imitator of Murillo, and it has been suggested that some of the works attributed to the latter were painted by Osorio. We know that Murillo considered him his friend, that he was a close acquaintance of Juan Garzón, with whom he worked; that at one time he was secretary and then president of the Academy of Sevillo, and that while in that city he had a great reputation. It is said that this reputation was discarded after his death, because it was felt that some of his copies of Murillo's works were so accurate that he should have signed the master's name. In fact, it was suggested that two of his copies had been accepted as genuine works by Murillo. On the other hand, these statements are stated by a Spanish author to have been made solely for the purpose of discrediting Osorio. It is said that he and Murillo worked together in the Capuchin church in Cadiz. His main work was painted for the church of San Martin in Madrid, and depicts the prophet Elijah. There are pictures of him in the museums of Cadiz and Seville, the latter related to the Order of St. Francis. It is said that a work depicting St. Catherine, which is preserved in Cadiz, had a special devotion to St. Philip Neri and was buried in the church dedicated to that saint. It presents faults and restorations on the pictorial surface. It has a 20th century wood and glass frame with faults.
Setdart Auction House
Oct. 27, 2024
Bartolome Esteban Murillo Oil on wood Panel
Est: $400,000 - $500,000
Bartolome Esteban Murillo (SPANISH, 1618-1682) oil on wood panel, 25 3/4" x 19 7/8" Frame: 34 1/2" x 28 3/8"
1stBid
Oct. 26, 2024
Pocket watch: gold/enamel hunting case watch with fine painting after paintings by Batolome E. Murillo, ca. 1890
Est: €2,500 - €5,000
Ca. Ø31mm, approx. 36g, 18k gold, hunting case watch, fine enamel painting on both sides, representation of two famous baroque paintings by Bartolomé Esteban Murillo (1617-1682), serial number 80769, dome and dial signed Pasqual Marques Valencia, fine cylinder movement, original Louis XV enamel dial in excellent condition, red minutes, pink gold hands, intact and very well preserved, the watch comes with a small chatelaine set with Oriental pearls. The watch is a very rare work of art due to the two paintings. Bartolomé Esteban Murillo (* 1617[1] in Seville, Andalusia
Cortrie Spezial Auktionen
Oct. 26, 2024
ANTIQUE 18TH C ITALIAN OIL PAINTING AFTER MURILLO
Est: $100 - $150
Oil on canvas painting. Italian school, late 17th to early 20th century. After Bartolome Esteban Murillo, 1617 to 1682, a Spanish artist. The artwork depicts Christ Child in Glory. Unsigned. Golden frame. Collectible Fine Art, Christian Catholic Painting.
Antique Arena Inc
Oct. 20, 2024
Ecole Espagnole du XVIIIe siècle d'après Bartolomé Esteban MURILLO (1617-1682)
Est: €2,000 - €3,000
Ecole Espagnole du XVIIIe siècle d'après Bartolomé Esteban MURILLO (1617-1682) Jeune buveur Huile sur toile rentoilée. 81,5 x 65 cm Note. Cette œuvre est reprise d'une œuvre du Maître espagnol conservée à Londres, à la National Gallery (NG1286).
Osenat
Sep. 26, 2024
BARTOLOMÉ ESTEBAN MURILLO, 1618 SEVILLA – 1682 EBENDA, NACH
Est: €2,000 - €3,000
PORTRAIT EINER JUNGEN FRAU MIT TURBAN Öl auf Leinwand. 61 x 50,5 cm (im Hochoval). In dekorativem, rechteckigen Rahmen. Elegantes Portrait der jungen Frau vor beigem Landschaftshintergrund, nach dem berühmten Gemälde des Künstlers mit einem spanischen Blumenmädchen. Rest., teils Rahmenschäden. (1410588) (18)
Hampel Fine Art Auctions
Sep. 24, 2024
AFTER ESTEBAN MURILLO (1617-1682)
Est: €200 - €300
A boy drinking. Painting by T.W Wood. Oil on canvas. Dated 1878. Unframed. Provenance: West Cork, Ireland, Private Collection. PICTURES AND PRINTS Tuesday 24th September 2024 Approximate Time 12:20:15
Sheppards
Jul. 28, 2024
Bartolome Esteban Murillo Oil on wood Panel
Est: $400,000 - $500,000
Bartolome Esteban Murillo (SPANISH, 1618-1682) oil on wood panel, 25 3/4" x 19 7/8" Frame: 34 1/2" x 28 3/8"
1stBid
Jul. 27, 2024
After MURILLO (*1618), The little fruit seller, 1818, Lithography
Est: €300 - €400
After Bartolomé Esteban Murillo (1618 Seville - 1682 ibid.): The little fruit seller Two Women with a Basket of Grapes, The Grape Harvest, 1818, Lithography Technique: Lithography on Paper Watermark: Undeterminable watermark Date: Date: 1818 Description: Signed below the image "Morilo pinx. / Selb del." and inscribed on the verso by another hand "1818 / WINKLER '49". | Watermark: H. Oser in Basel Keywords: 19th century, Figurative, Nature, Germany, Size: Paper: 51,0 cm x 36,0 cm (20,1 x 14,2 in), Depiction: 28,5 cm x 22,2 cm (11,2 x 8,7 in)
Fichter Kunsthandel
Jul. 25, 2024
Important Nazarene Christ in Oval - BARTOLOMÉ ESTEBAN MURILLO O TALLER (Seville, 1618 - 1682), SEVILLIAN BAROQUE SCHOOL OF THE 17TH CENTURY
Est: €10,000 - €14,000
Spanish school from the 17th century, oil on canvas measurements: 125 X 102 cm, frame measurements: 130 x 114 cm. Provenance: important Andalusian private collection (lots 148 to 175).
Templum Fine Art Auctions
Jul. 05, 2024
Murillo, Bartolomé Esteban
Est: €120 - €180
(1618-1682) Kopie nach. Trauben und Melonenesser. Öl auf Lwd, 20. Jh. Sichtmaß 75 x 54,5 cm, inkl. Rahmen 99 x 79 cm. - Mit Rest., drei hinterlegten Rissen, sowie Beschäd. durch Rahmung. D
Kiefer Buch- und Kunstauktionen
Jun. 27, 2024
Bartolomé Esteban Murillo, 1618 Sevilla – 1682, zug.
Est: €5,000 - €7,000
ANBETUNG DER HIRTEN Öl auf Leinwand. 60 x 44 cm. Wiederholung des im Nationalmuseum Sevilla befindlichen großformatigen Werkes, von dem einige Beispiele bekannt geworden sind. Die Malqualität weist wohl auf einen spanischen Künstler von Rang, des ausgehenden 17. / Anfang 18. Jahrhunderts. Murillo hat das biblische Geschehen bewusst ins Helldunkel gestellt, wobei das Leuchten von dem auf weißem Laken liegenden Kind ausgeht, und das hohe Format mit weit nach oben ziehendem Himmel auf den göttlichen Bezug weisen soll. Die einzelnen Gestalten und Gesichter zeigen sich hier im Unterschied zum Murillo-Vorbild sehr eigencharakteristisch. (14008951) (11)
Hampel Fine Art Auctions
Jun. 25, 2024
BARTOLOME ESTEBAN MURILLO Seville (1618 / 1682) "Saint Catherine of Alexandria"
Est: €375,000 - €500,000
Oil on canvas. Bibliography: - Hereza, P., Corpus Murillo. Paintings and drawings. Hagiography, (pending publication), catalog number [H-110], as a work by Murillo. Reference bibliography: - Valdivieso, E., Murillo. Critical catalog, 3 vol., Madrid, 1981; - Valdivieso, E., Murillo., Catalog raisonne of paintings, El Viso, Madrid, 2012; - Perez Sanchez, A. and Navarrete Prieto, B., The young Murillo, cat. Expo., Museum of Fine Arts of Bilbao and Junta de Andalucia, 2009; - Hereza, P., Corpus Murillo. Paintings, drawings. Commissions, Seville City Council, ICAS, 2019. Bartolome Esteban Murillo represented the learned saint of Alexandria on more than one occasion. Known are his works from his youth from the Mie Prefectural Art Museum in Mie-Ken (Japan), which belonged to the Duke of Hijar and went to the Luis Felipe de Orleans collection, or the one that was in the church of Santa Catalina in Seville and after After a long journey through different European collections, he returned to Spain to be part of the Focus Abengoa Collection. The painting presented here, from a private collection in Madrid, must be related by its technique and composition to the painting preserved in the Pushkin Museum in Moscow, identified with the missing example from the Robert Langton Douglas collection. It shows Saint Catherine following her traditional iconography. Due to her birth into a noble family, she represents her dressed in rich clothing and, because she is the daughter of a king, wearing the crown on her head with a delicate floral decoration. The ring that she wears on her left hand, rather than her lineage, refers to one of the best-known episodes of her hagiography: that of her mystical betrothal to Christ. She carries in her right hand the sword with which she was beheaded and her palm that alludes to her condition as a martyr. Her left arm rests on the cogwheel, an instrument of one of the tortures to which she was subjected and which was exploded by lightning that ended up blinding her executioners. With a highly correct drawing, on a neutral background, the figure emerges from the darkness through a bright color, which Murillo enhances with the beautiful color harmony produced between the purple of the dress and the yellow of the cloak, as complementary colors. The painter represents the saint with a natural position but clothed in nobility, placing his hand on her chest and directing her gaze to heaven with a gesture of mystical rapture, showing her resignation and dedication to divine designs. . The characterization of this female face, both in its expression and in its formal conception, presents numerous parallels with Saint Rufina on the canvas of Saints Justa and Rufina kept in the Museum of Fine Arts of Seville. This beautiful work by the Sevillian painter will be included and studied under number [H-110] in Hereza, Pablo: Corpus Murillo. Paintings and drawings.Hagiography (pending publication) as a work by Murillo with a chronology of h. 1652-1657. Measurements: 121 x 91 cm.
Ansorena
Jun. 23, 2024
Ceramic: LONGWY cloisonné enameled earthenware plaque - The Assumption - after MURILLO Bartolomé Esteban
Est: €100 - €150
Céramique: Plaque en faïence émaux cloisonnés de LONGWY -L'Assomption- d'après *MURILLO B.* (Bartolomé Esteban) (1618-1682) Atelier d'Art à partir de 1957 Ceramic: LONGWY cloisonné enameled earthenware plaque - The Assumption - after MURILLO Bartolomé Esteban
Monsantic.com
Jun. 09, 2024
After Murillo Immaculate Conception Oil, 19th C.
Est: $1,000 - $2,000
After Bartolome Esteban Murillo (Spanish, 1617-1682), Immaculate Conception of Mary, Oil on Canvas, 19th century, label to verso from the Holy Name of Mary Parish in Montgomery, New York signed by Father Patrick Brady (third pastor of the church from 1874-1894) and dated 1879, giltwood frame. Image: 41" H x 29.75" W; frame: 44" H x 33" W x 1" D. Provenance: From a New York City Collection. Keywords: Painting, Religious Art, Virgin Mother, Antique, Baroque Revival, Old Master
Auctions at Showplace
May. 29, 2024
Sevillian school of the 17th century. Follower of BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682). ‘Virgin and Child’. Oil on canvas. Old frame. It presents faults and repainting.
Est: €500 - €600
Sevillian school of the 17th century. Follower of BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682). ‘Virgin and Child’. Oil on canvas. Old frame. It presents faults and repainting. Measurements: 70 x 58 cm; 79 x 67 x 4 cm (frame). Murillo invented his own model of Maternity, in which the union of the Mother and the Child was full and juicy, so that the tenderness and the affection were prioritised above any will to represent the figures in their sacredness. In fact, they could be ordinary people, a young woman with her child. The present painter, a follower of Murillo, takes up this legacy, as he also makes an expressive Baroque chiaroscuro his own. Sevillian school of the 17th century.
Setdart Auction House
May. 29, 2024
Spanish school of the XVIII century. Following models of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1618-1682). "The Good Shepherd". Oil on canvas. Relined.
Est: €2,000 - €2,200
Spanish school of the XVIII century. Following models of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1618-1682). "The Good Shepherd". Oil on canvas. Relined. Measurements: 61 x 48 cm, 75 x 60 cm (frame). Following models of Bartolomé Esteban Murillo, copy of the original of the Prado Museum. Murillo has gone down in history as one of the great painters of children's themes, and this not only for his famous genre scenes starring children, but also for representations like this one, in which the Child Jesus appears in the biblical metaphor of the good shepherd who feeds and cares for his sheep. This is a type of image of great success among the Sevillian society of the time, and whose devotional effectiveness has remained intact through the centuries. In this type of work, which in many cases was intended for private worship, the author showed himself to be a true master when it came to combining a wise and delicate style with a gentle and sweet content. However, owner as he was of a powerful sense of composition, he endowed them with remarkable monumentality and balance. The ruins of architecture that appear in the background have a double meaning. On the one hand, they are part of a Virgilian tradition that is manifested in literature and the plastic arts and that likes the image of the shepherd among the fallen remains of a splendorous past. On the other hand, Christian iconography frequently used the reference to classical ruins as a symbol of defeated paganism. Relined.
Setdart Auction House
May. 29, 2024
Andalusian school of the second half of the seventeenth century. After BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682). "Virgin with Child". Oil on canvas. Relined.
Est: €1,000 - €1,200
Andalusian school of the second half of the seventeenth century. After BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682). "Virgin with Child". Oil on canvas. Relined. Presents restoration, Repainting, dirt and frame with some chipping. Stretcher frame with some old xylophagous. Measurements: 98 x 72 cm; 109 x 86 cm (frame). In this canvas the Virgin Mary is represented with the Child in her arms, both embracing each other with tenderness. Mary appears in three quarters, seated, holding her son with both hands, surrounding him with her arms. Jesus, for his part, appears almost naked, although Mary covers him with a white cloth as is common in this iconography. The Child turns his body towards his mother, resting his hands on her breast. The composition is placed in a dark interior, the figures are cut out against a neutral background that is illuminated by the soft light radiating from the figures. The Virgin wears pink inner tunic and blue mantle and golden veil, colors that allude respectively to purity, the future Passion of her son, the concepts of truth and eternity and the divine Glory. Formally, important traces of Murillo's art can be appreciated in this work, both in the way of composing the scene and in the type of the child, of great sweetness and naturalism, as well as in the studied and effective illumination and in the chromaticism tending to monochrome, around ochre, earthy and carmine colors.
Setdart Auction House
May. 29, 2024
Attributed to BARTOLOMÉ ESTEBAN MURILLO (Seville, 1618-1682). ‘Christ Salvator Mundi’. Oil on copper.
Est: €62,000 - €64,000
Attributed to BARTOLOMÉ ESTEBAN MURILLO (Seville, 1618-1682). ‘Christ Salvator Mundi’. Oil on copper. Size: 11 x 9 cm; 27.5 x 25 cm (frame). The monumentality of the figure and the consistency of the figure that is portrayed through a vaporous brushstroke that creates an almost powdery atmosphere, together with the softening of the gesture and the psychological capture of the protagonist that conveys great tenderness are characteristic of Murillo's painting. It should also be noted that this type of image was a great success among Sevillian society at the time, and its devotional efficacy has remained intact over the centuries. In this type of work, which in many cases was intended for private worship, the artist showed himself to be a true master when it came to combining a wise and delicate style with a gentle and sweet content. However, as he possessed a powerful sense of composition, he endowed them with remarkable monumentality and balance. Little is known of Murillo's childhood and youth except that he lost his father in 1627 and his mother in 1628, for which reason he was taken into the care of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship lasted about six years, as was customary at the time. After his marriage in 1645 he embarked on what was to be a brilliant career that gradually made him the most famous and sought-after painter in Seville. The only trip he is known to have made is documented in 1658, when Murillo was in Madrid for several months. It is conceivable that while at court he kept in touch with the painters who lived there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all the artists who passed through the court. Despite the few documentary references to his mature years, we know that he enjoyed a comfortable life, which enabled him to maintain a high standard of living and have several apprentices. Having become the leading painter in the city, surpassing even Zurbarán in fame, he was determined to raise the artistic level of local painting. In 1660 he decided, together with Francisco Herrera el Mozo, to found an academy of painting, of which he was the main driving force. His fame spread so far throughout Spain that Palomino states that around 1670 King Charles II offered him the possibility of moving to Madrid to work there as a court painter. We do not know whether this reference is true, but the fact is that Murillo remained in Seville until the end of his life.
Setdart Auction House
May. 25, 2024
F. PILOTY (*1786) after MURILLO (*1618), The grape and melon eaters, Lithography
Est: €300 - €400
Ferdinand Piloty sen. (1786 Homburg - 1844 Munich) after Bartolomé Esteban Murillo (1618 Seville - 1682 ibid.): The grape and melon eaters Poorly dressed boys gleefully dining with a basket filled with grapes, 19th century, Lithography Technique: Lithography on Paper Inscription: Signed below the image on the left and right. The original painting is in the Munich Pinakothek. The print is from the publication series 'Königlich Baierischer Gemälde-Saal zu München und Schleissheim'. This publication summarises the royal collection lithographically. The series was published between 1810 and 1816, with Piloty and Strixner providing the largest number of lithographs. Date: 19th century Description: Although the children are poorly dressed and seem to live on the streets, they do not have to starve. Murillo, who mostly captured children and beggar figures in supposed everyday situations, presents an idealised image of poverty. Keywords: Simplicity, everyday life, idealised naturalism, poverty, street children, idyll of poverty, idyll, grapes, children, child life, child poverty, Alte Pinakothek, Staatsgemäldesammlung, Munich, 19th century, Baroque, Genre, Spain, Size: Paper: 63,4 cm x 46,7 cm (25 x 18,4 in), Depiction: 45,0 cm x 34,0 cm (17,7 x 13,4 in)
Fichter Kunsthandel
May. 25, 2024
F. PILOTY (*1786) after MURILLO (*1618), The pie eaters, Lithography
Est: €300 - €400
Ferdinand Piloty sen. (1786 Homburg - 1844 Munich) after Bartolomé Esteban Murillo (1618 Seville - 1682 ibid.): The pie eaters Poorly dressed boys gleefully dining with a basket filled with dog and fruit, 19th century, Lithography Technique: Lithography on Paper Inscription: Signed below the image on the left and right. The original painting is in the Munich Pinakothek. The print is from the publication series 'Königlich Baierischer Gemälde-Saal zu München und Schleissheim'. This publication summarises the royal collection lithographically. The series was published between 1810 and 1816, with Piloty and Strixner providing the largest number of lithographs. Date: 19th century Description: Although the children are poorly dressed and seem to live on the streets, they do not have to starve. Murillo, who mostly captured children and beggar figures in supposed everyday situations, presents an idealised image of poverty. Keywords: Simplicity, everyday life, idealised naturalism, poverty, street children, idyll of poverty, idyll, children, children's life, child poverty, Alte Pinakothek, Staatsgemäldesammlung, Munich, 19th century, Baroque, Genre, Spain, Size: Paper: 63,6 cm x 46,3 cm (25 x 18,2 in), Depiction: 44,4 cm x 34,3 cm (17,5 x 13,5 in)
Fichter Kunsthandel
May. 25, 2024
F. PILOTY (*1786) after MURILLO (*1618), Delousing of a boy, Lithography
Est: €300 - €400
Ferdinand Piloty sen. (1786 Homburg - 1844 Munich) after Bartolomé Esteban Murillo (1618 Seville - 1682 ibid.): Domestic toilet Simple interior with old woman delousing a boy, 19th century, Lithography Technique: Lithography on Paper Inscription: Signed below the image on the left and right. The original painting is in the Munich Pinakothek. The print is from the publication series 'Königlich Baierischer Gemälde-Saal zu München und Schleissheim'. This publication summarises the royal collection lithographically. The series was published between 1810 and 1816, with Piloty and Strixner providing the largest number of lithographs. Date: 19th century Description: The boy leans in the old woman's lap, plays with a small dog and lets himself be deloused. Keywords: Domesticity, Simplicity, Grandmother, Grandson, Boy, Dog, Interior, Everyday life, Alte Pinakothek, Staatsgemäldesammlung, Munich, 19th century, Baroque, Genre, Spain, Size: Paper: 63,3 cm x 46,2 cm (24,9 x 18,2 in), Depiction: 44,5 cm x 33,0 cm (17,5 x 13 in)
Fichter Kunsthandel
May. 16, 2024
Estaban Murillo framed oil on canvas
Est: $5,000 - $10,000
Estaban Murillo framed oil on canvas, Spanish 1617 - 1682, attributed to, unsigned, baroque style, sleeping putti, red draped tent and landscape background image - 29 3/4" x 40" in a 36" x 46 1/4" carved and gilt frame. Condition: appears to have old professional cleaning, good
Barry S. Slosberg Inc
May. 11, 2024
AFTER BARTOLOME MURILLO (1617-1682)
Est: $1,000 - $2,000
"Madonna and Child". Grand tour. Oil on canvas. Unsigned. Housed in elaborate gilt wood Adams style frame. 38 x 29 3/8 inches.
John McInnis Auctioneers
May. 07, 2024
Bartolomé Esteban Murillo, Seville 1617 - 1682 Seville, follower, Virgin of Madrid/ Immaculate Conception
Est: €100 - €200
Bartolomé Esteban Murillo Seville 1617 - 1682 Seville, follower Virgin of Madrid/Immaculate Conception High-quality repetition of the important painting 19th century Oil on canvas 68.5 x 55.5 cm, with frame 86 x 64 cm
Tiberius Auctions
Apr. 27, 2024
BARTOLOME ESTEBAN MURILLO (1618-1682) WORKSHOP OF "THE SORROWFUL MOTHER" OIL ON CANVAS. 17TH CENTURY.
Est: €4,000 - €6,000
Bartolome Esteban MURILLO (1618-1682) workshop of "The Sorrowful Mother" Oil on canvas. 17th century. Enclosed is a document written in Spanish and signed by Mr. Enrique Valdivieso Gonzalez (Spanish art historian holding the post of professor of art history at the University of Seville and specialist in the Sevillian school of painting). "Enrique Valdivieso Gonzalez, Emeritus Professor of Art History at the University of Seville, reports on a painting on canvas (36 x 28 cm), which depicts a Dolorosa, pointing out that it is a work with clear stylistic characteristics that suggest it was painted in Murillo's studio. In fact, following a model created by the master that is currently conserved in the Prado Museum, this work was created in his studio, in which the forms created by Murillo are maintained at a high level of quality, so that we can see the softness and elegance of the drawing and the harmony of the different chromatic shades used. The repetition of works in Murillo's studio is justified by the great success that this pictorial model had with the Sevillian public, who bought this type of painting to be placed in the private chapels of many large residences or at least in the oratories that were found in every important house. This demand obliged Murillo to produce, with the help of his studio, numerous repetitions of this type of Dolorosa, which was always accompanied by an Ecce Homo, although for various reasons such as inheritances and scores, the couple found themselves repeatedly and currently separated; (a study of the different typologies of Dolorosas that Murillo painted is collected in E. Valdivieso, The School of Murillo. Seville, 2018, pp. 365-371). The expression of the Virgin, who is undoubtedly contemplating her son, who has been brutally beaten and crowned with thorns, is particularly meticulous in this work. However, her highly balanced expression is based on the fact that her spiritual suffering is more profound than her physical suffering. On the other hand, the chromatic treatment is very sober, alternating the white of the veil with the blue of the brushstroke, warning that the latter hue has darkened considerably over time, tending towards black." Seville, 20 March 2023 - Weight: 7.68 kg - Shipping unavailable - Region: Spain - Sizes: H 625mm x L 550mm avec cadre - At first sight: restored
Goldfield Auction
Apr. 10, 2024
AFTER BARTOLOME ESTEBAN MURILLO (1617-1682), MADONNA AND CHILD
Est: $2,000 - $3,000
After Bartolome Esteban Murillo (1617-1682), Madonna and Child Oil on canvas 89 x 63 cm
Hammersite
Apr. 10, 2024
Workshop of BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682). "The apparition of the Virgin and Child to San Felix de Cantalicio". Oil on canvas. Relined. It presents Repainting and restorations.
Est: €6,000 - €7,000
Workshop of BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682). "The apparition of the Virgin and Child to San Felix de Cantalicio". Oil on canvas. Relined. It presents Repainting and restorations. Measurements: 100 x 68 cm: 118 x 84 cm (frame). This painting is a version of the painting of the same title that is in the Museum of Fine Arts of Seville by Bartolomé Esteban Murillo. It depicts the miracle in which the Virgin appears to the saint to put the Child in his arms. It is an iconographic model of Italian origin, although it is Murillo who gives it its perfect form in this version of around 1665-1668. The original painting of the master is of large dimensions - 283 by 188 cms - and has the Catalog No. 199 of the Museum of Fine Arts of Seville. This is one of the sixteen works made by the Sevillian master for the Capuchin convent in Seville. In the paintings dedicated to Franciscan saints - Saint Anthony of Padua, Saint Felix Cantalicio and Saint Francis embracing the cross - the softness of lights and colors, harmonizing without violence the brown of the Franciscan habit with the greenish or illuminated backgrounds intensify the intimate character of his mystical visions, stripped of all dramatism. Saint Felix is the patron saint of the lay brothers, and had been canonized during the years when the Capuchins of Seville took charge of the chapel that bears his name. It is a painting of gentle, soft forms with a certain pictorial richness that reminds us of Leonardo's sfumato although at the same time it already points to rococo. It seems reasonable to maintain that its beauty was so appreciated that Murillo's workshop received requests to make copies of it in smaller canvases for the residences of the Andalusian nobility or the local bourgeoisie. Very few artists in the second half of the seventeenth century were able to escape the influence of Murillo. Some of them were his disciples and even important Flemish painters. Of the direct disciples the best known and closest is Francisco Meneses Osorio, who completed the work just begun by Murillo in the altarpiece of the Capuchins of Cadiz. Cornelius Shut, originally from Antwerp, painter who lived many years in Seville and became president of the Academy of Fine Arts of Seville has left us several drawings of great influence of the master and moved firmly within his circle of influence. Other painters of the time who followed his style were Valdés Leal, Francisco Herrera el Mozo or Zurbarán himself. Some of his most important disciples - great followers of Murillo's style - who could be authors of this work are Francisco Meneses Osorio, Matías de Arteaga, Francisco Polanco, Ignacio de Ries and the Granada-born Sebastián Gómez, about whom a legend was woven that made him Murillo's "slave painter", probably to draw a parallel with Velázquez and Juan de Pareja. Likewise, linked to Murillo's painting, without being able to specify the exact degree of personal or professional relationship were Esteban Márquez de Velasco, of whom some works of a certain quality very influenced by the master, with Alonso Miguel de Tovar and Bernardo Lorente Germán, the painter of the Divinas Pastoras, the influence of Murillo goes into the first half of the eighteenth century. Both of them, together with Domingo Martínez, Murillo's taste for the delicate and tender, served the court during their stay in Seville from 1729 to 1733, a moment of glory for Murillo's painting given the fondness shown by Queen Isabel de Farnesio, who bought as many works as she could, including many of those that are currently preserved by his hand in the Prado Museum. At that time, none of his genre paintings remained in Seville and Palomino wrote, with some dismay, since what was valued was the sweetness of the color rather than the drawing, that "so today, outside Spain, a painting by Murillo is valued more than one by Titian, or Van-Dyck. Among the painters who worked in the transition from the seventeenth to the eighteenth century faithfully following Murillo's style, Juan Simón Gutiérrez stands out. We know that he worked in Seville for more than half a century and therefore his artistic production must have been very abundant although only three signed works have come down to us. The Death of Saint Dominic, today in Seville, the Virgin with the Augustinian Saints, in a convent of the Trinity in Carmona and a Holy Family in the Recoletas of Medina Sidonia, his hometown. We believe that it is possible that this is one of his works that shows a personal style within the Murillo style, especially in the remains of his characters that have allowed us to identify unsigned works by his hand. Murillo's success lies in the kind character of his models, which responds to a sensibility that moves away from the baroque and approaches the softness and kindness, the sweetness, the delicate and sentimental of the rococo. In any case and in spite of not being possible to affirm the authorship with absolute accuracy, this Virgin and San Félix Cantalicio is a significant work of excellent quality based on a model of the master, being that the works of Juan Simón Gutiérrez and other painters of his orbit and his disciples were so abundant, of such great quality and so similar to those of Murillo that it is very difficult to attribute them firmly to each painter and often they have been erroneously attributed to the master.
Setdart Auction House