Ignacio de Ríes Paintings & Artwork for Sale | Ignacio de Ríes Art Value Price Guide

Oct. 01, 2024
IGNACIO DE RÍES (Seville, ca. 1616 - ?, 1670). "Christ carrying the cross". Oil on canvas. Relined. Preserves period frame with flaws and damage caused by xylophages.
Est: €10,000 - €12,000
IGNACIO DE RÍES (Seville, ca. 1616 - ?, 1670). "Christ carrying the cross". Oil on canvas. Relined. Preserves period frame with flaws and damage caused by xylophages. Measurements: 210 x 163 cm; 234 x 191.5 cm (frame). In this canvas the author captures one of the most dramatic moments of the Way of the Cross, for this the painter defines the figure of Christ in a monumental way, located in a plane very close to the spectator. In fact, this way of presenting the figure is related to the painting "King David", which is in the collection of the Prado Museum in Madrid. Although in this particular case a landscape can be seen in the background. The images of Christ carrying the cross in his ascent to Mount Calvary were relatively frequent in Christian iconography, and since early Christian art there are examples that are linked to texts where reference is made to the symbolic role of the cross as an instrument of salvation and attainment of eternal life. The theme of this one may derive from the Expolio, perhaps planned to be a series that completely addressed the passion of Christ. In this case there is no aesthetic reference to the path that Jesus walked, but the author has decided to collect a scene devoid of the anecdotal. Ignacio de Ríes was a Spanish painter, son of the Flemish painter Mateo de Ríes, from whom he possibly received his first artistic training. Between 1635 and 1645, approximately, he is documented as an official in Zurbarán's workshop, being considered one of his most important disciples. His work is characterized by a very eclectic style strongly influenced by Zurbarán's painting, as can be seen in the use of chiaroscuro and a descriptive technique that pays great attention to the qualities of the objects, among other aspects. Likewise, to create his compositions he frequently resorted to Flemish prints by authors such as Aegidius Sadeler II or Jeronimus Wierix. Although his stylistic evolution is very limited, we can place in a first stage those works more attached to the style of his master -such as the San Miguel Arcángel (The Metropolitan Museum of Art, New York)- and in a second stage those in which he uses a looser brushstroke and in which the influence of Murillo's painting can be appreciated, such as the Asunción de la Virgen, of 1661, for the church of San Bartolomé in Seville. Around 1653 he painted the most important work of his career: the paintings for the chapel of the Immaculate Conception in the cathedral of Segovia, commissioned by Pedro Fernández Miñano y Contreras to decorate the space that would serve as a funeral chapel for his family, which determines that the predominant message of the whole revolves around repentance and penitence. Of all of them, the most outstanding is The Tree of Life, not only for its workmanship but also for its iconography, representing Christ's warning of the imminent arrival of Death to a group of men and women who, placed at the top of the tree, appear to be committing different capital sins. The Prado Museum preserves by his hand King David, a work of great quality that, both stylistically and iconographically, can be related to Zurbarán and his series on the sons of Jacob (Auckland Castle, Durham). It preserves a period frame with faults and damages caused by xylophagous.
Setdart Auction House
Oct. 01, 2024
IGNACIO DE RÍES (Seville, ca. 1616 - ?, 1670). "Santiago the Lesser. Oil on canvas. Bibliography: Delenda, O. "Francisco de Zurbarán. 1598-1664. The sets and the workshop". Volume II.
Est: €10,000 - €12,000
IGNACIO DE RÍES (Seville, ca. 1616 - ?, 1670). "Santiago the Lesser. Oil on canvas. Bibliography: Delenda, O. "Francisco de Zurbarán. 1598-1664. The sets and the workshop". Volume II. Madrid, 2010. IR-6 and IR-7. p. 291. -Catalog of the exhibition Semblantes. Segovia, 2011 pp. 122-125. Presents restorations on the pictorial surface. Measurements: 185 x 108 cm; 208 x 128 cm (frame). The apostle James the Less is represented with one of his characteristic attributes, the staff. Captured in a recollected attitude with his hands in pious disposition and his gaze directed to the sky. The painting is stylistically inscribed in the Andalusian baroque. The artist has lowered the point of view a little, with a perspective that flees from the strict frontality and brings a greater magnificence to the protagonist of the scene. In addition, this resource allows the viewer to pay attention to the background landscape where a secondary scene that narrates the martyrdom of the saint takes place. Ignacio de Ríes was a Spanish painter, son of the Flemish painter Mateo de Ríes, from whom he possibly received his first artistic training. Between 1635 and 1645, approximately, he is documented as an official in Zurbarán's workshop, being considered one of his most important disciples. His work is characterized by a very eclectic style strongly influenced by Zurbarán's painting, as can be seen in the use of chiaroscuro and a descriptive technique that pays great attention to the qualities of the objects, among other aspects. Likewise, to create his compositions he frequently resorts to Flemish prints by authors such as Aegidius Sadeler II or Jeronimus Wierix. Although his stylistic evolution is very limited, we can place in a first stage those works more attached to the style of his master -such as the San Miguel Arcángel (The Metropolitan Museum of Art, New York)- and in a second stage those in which he uses a looser brushstroke and in which the influence of Murillo's painting can be appreciated, such as the Asunción de la Virgen, of 1661, for the church of San Bartolomé in Seville. Around 1653 he painted the most important work of his career: the paintings for the chapel of the Immaculate Conception in the cathedral of Segovia, commissioned by Pedro Fernández Miñano y Contreras to decorate the space that would serve as a funeral chapel for his family, which determines that the predominant message of the whole revolves around repentance and penitence. Of all of them, the most outstanding is The Tree of Life, not only for its workmanship but also for its iconography, representing Christ's warning of the imminent arrival of Death to a group of men and women who, placed at the top of the tree, appear to be committing different capital sins. The Prado Museum preserves by his hand King David, a work of great quality that, both stylistically and iconographically, can be related to Zurbarán and his series on the sons of Jacob (Auckland Castle, Durham). It presents restorations on the pictorial surface.
Setdart Auction House
Oct. 01, 2024
IGNACIO DE RÍES (Seville, ca. 1616 - ?, 1670). "Saint Bartholomew. Oil on canvas. Bibliography: Delenda, O. "Francisco de Zurbarán. 1598-1664. The sets and the workshop". Volume II.
Est: €10,000 - €12,000
IGNACIO DE RÍES (Seville, ca. 1616 - ?, 1670). "Saint Bartholomew. Oil on canvas. Bibliography: Delenda, O. "Francisco de Zurbarán. 1598-1664. The sets and the workshop". Volume II. Madrid, 2010. IR-6 and IR-7. p. 291. -Catalog of the exhibition Semblantes. Segovia, 2011 pp. 122-125. Measurements: 185 x 108 cm; 208 x 128 cm (frame). Monumental and with his gaze directed to the sky, Saint Bartholomew holds his characteristic knife and the Holy Scriptures in the other hand. The artist has lowered the point of view a little, with a perspective that flees from the strict frontality and brings a greater magnificence to the protagonist of the scene. In addition, this resource allows the viewer to pay attention to the background landscape where a secondary scene that narrates the martyrdom of the saint takes place. Saint Bartholomew was one of Jesus' apostles, and is mentioned in the Gospels always in the company of Philip. According to John, in whose Gospel he appears under the name of Nathanael, he was one of the disciples to whom Jesus appeared at the Sea of Tiberias after his resurrection. His martyrdom and death are attributed to Astiages, king of Armenia and brother of King Polymius, whom the saint had converted to Christianity. As the priests of the pagan temples, who were running out of followers, protested to Astiages about Bartholomew's evangelizing work, the ruler sent for him and ordered him to worship their idols, just as he had done with his brother. Faced with the saint's refusal, the king ordered him to be flayed alive in his presence until he renounced God or died. The image of Saint Bartholomew has undergone few modifications throughout the history of art, being common the representation of the saint at the moment of martyrdom. Ignacio de Ríes was a Spanish painter, son of the Flemish painter Mateo de Ríes, from whom he possibly received his first artistic training. Between 1635 and 1645, approximately, he is documented as an official in Zurbarán's workshop, being considered one of his most important disciples. His work is characterized by a very eclectic style strongly influenced by Zurbarán's painting, as can be seen in the use of chiaroscuro and a descriptive technique that pays great attention to the qualities of the objects, among other aspects. Likewise, to create his compositions he frequently resorted to Flemish prints by authors such as Aegidius Sadeler II or Jeronimus Wierix. Although his stylistic evolution is very limited, we can place in a first stage those works more attached to the style of his master -such as the San Miguel Arcángel (The Metropolitan Museum of Art, New York)- and in a second stage those in which he uses a looser brushstroke and in which the influence of Murillo's painting can be appreciated, such as the Asunción de la Virgen, of 1661, for the church of San Bartolomé in Seville. Around 1653 he painted the most important work of his career: the paintings for the chapel of the Immaculate Conception in the cathedral of Segovia, commissioned by Pedro Fernández Miñano y Contreras to decorate the space that would serve as a funeral chapel for his family, which determines that the predominant message of the set revolves around repentance and penitence. Of all of them, the most outstanding is The Tree of Life, not only for its workmanship but also for its iconography, representing Christ's warning of the imminent arrival of Death to a group of men and women who, placed at the top of the tree, appear to be committing different capital sins. The Prado Museum preserves by his hand King David, a work of great quality that, both stylistically and iconographically, can be related to Zurbarán and his series on the sons of Jacob (Auckland Castle, Durham). Bibliography: Delenda, O. "Francisco de Zurbarán. 1598-1664. The sets and the workshop". Volume II. Madrid, 2010. IR-6 and IR-7. p. 291. -Catalog of the exhibition Semblantes. Segovia, 2011 pp. 122-125.
Setdart Auction House
Oct. 01, 2024
IGNACIO DE RÍES (Seville, ca. 1616 - ?, 1670). "Prayer in the Garden". Oil on copper. Work referenced in Delenda, O. "Zurbarán. The sets and the workshop". Volume II. Hispanic Art Foundation, Madrid 2010 p. 383.
Est: €5,000 - €6,000
IGNACIO DE RÍES (Seville, ca. 1616 - ?, 1670). "Prayer in the Garden". Oil on copper. Work referenced in Delenda, O. "Zurbarán. The sets and the workshop". Volume II. Hispanic Art Foundation, Madrid 2010 p. 383. Measurements: 30.5 x 20 cm; 40 x 29 cm (frame). The figure of Christ in this devotional copper keeps great similarities with the representation of Jesus in "The Tree of Life" of the cathedral of Segovia, painted by Ríes. The image depicts Jesus in the Garden of Olives at the moment when the angel comforts him, while his disciples Peter, John and James sleep beside him (Matthew: ch. 26 v. 37; Mark: ch. 14 v. 33). The Gospels narrate that, distressed by a strange sadness, Jesus went to pray on the Mount of Olives, where the apostles followed him. Once there, Jesus withdraws to one side to pray, the moment of the crucifixion becoming present to him. Thus, this episode begins the bloody Passion in the soul of Christ. The apostles fall into a deep sleep, and an angel appears to Jesus to comfort him. In fact, this episode alludes to the greatest temptation of Jesus' life, the last of all: knowing his destiny, he can either flee from his enemies or continue to fulfill his divine mission, risking his life (Luke: 22, 39- 46 ). Which narrates how Jesus, on his knees, prayed, saying: "Father, if you are willing, take this cup away from me; but not my will, but yours be done". Then an angel from heaven appeared to him and comforted him. And in agony, he persisted in his prayer. His sweat became like thick drops of blood falling to the ground. Rising from prayer, he came to the disciples and found them asleep with sorrow; and he said to them, "How is it that you are asleep? Rise and pray that you may not fall into temptation." Ignacio de Ríes was a Spanish painter, son of the Flemish painter Mateo de Ríes, from whom he possibly received his first artistic training. Between 1635 and 1645, approximately, he is documented as an official in Zurbarán's workshop, being considered one of his most important disciples. His work is characterized by a very eclectic style strongly influenced by Zurbarán's painting, as can be seen in the use of chiaroscuro and a descriptive technique that pays great attention to the qualities of the objects, among other aspects. Likewise, to create his compositions he frequently resorted to Flemish prints by authors such as Aegidius Sadeler II or Jeronimus Wierix. Although his stylistic evolution is very limited, we can place in a first stage those works more attached to the style of his master -such as the San Miguel Arcángel (The Metropolitan Museum of Art, New York)- and in a second stage those in which he uses a looser brushstroke and in which the influence of Murillo's painting can be appreciated, such as the Asunción de la Virgen, of 1661, for the church of San Bartolomé in Seville. Around 1653 he painted the most important work of his career: the paintings for the chapel of the Immaculate Conception in the cathedral of Segovia, commissioned by Pedro Fernández Miñano y Contreras to decorate the space that would serve as a funeral chapel for his family, which determines that the predominant message of the whole revolves around repentance and penitence. Of all of them, the most outstanding is The Tree of Life, not only for its workmanship but also for its iconography, representing Christ's warning of the imminent arrival of Death to a group of men and women who, placed at the top of the tree, appear to be committing different capital sins. The Prado Museum preserves by his hand King David, a work of great quality that, both stylistically and iconographically, can be related to Zurbarán and his series on the sons of Jacob (Auckland Castle, Durham). Work referenced in Delenda, O. "Zurbarán. Los conjuntos y el obrador". Volume II. Fundación de Arte Hispánico, Madrid 2010 p. 383.
Setdart Auction House
Jun. 27, 2024
IGNACIO DE RÍES (SEVILLE, 1616 - ?, 1670).
Est: €12,000 - €16,000
Ignacio de Ríes (Seville, 1616 - ?, 1670). ‘Vera Cruz’ (True Cross) Oil on canvas. 157,5 x 232 cm. Christ, with the cross on his shoulders, meets Veronica. Ignacio de Ríes, son of the Flemish painter Mateo de Ríes, was already an official in Zurbarán's workshop from 1635 onwards and was one of his most outstanding disciples. De Ríes, a painter of extreme importance and value, present in the Museo del Prado and the Metropolitan Museum of Art in New York, presents us with a chiaroscuro scene of the meditation of this station of the "Via Dolorosa". He pays great attention to the high quality details of objects (Veronica's cloth and the pearl on her breast, the horse's head, the soldier's helmet), of clothing (the golden suit of the soldier kicking the fallen Jesus) and of fabrics and textures, such as the cloak enveloping Jesus, among other aspects. It also conveys great quality and expressiveness in faces and hands that also speak of Zurbarán's technique reflected in his works, as one of his best disciples. This painting took part in the exhibition "Teresa de Jesús: Woman, Saint and Doctor", held in Alba de Tormes between 28 March and 22 October 2022, to commemorate the fourth centenary of the canonisation of Saint Teresa de Jesús. It was organised by the Teresian Centenary Commission, the Discalced Carmelite Order and the Town Council of the municipality.
La Suite Subastas
Sep. 28, 2022
IGNACIO DE RIES (Seville, c. 1616 - ?, c. 1670) "Prayer in the garden"
Est: €7,500 - €10,000
Oil on copper Delenda, O. "Zurbarán. The ensembles and the workshop". Volume II. Hispanic Art Foundation, Madrid 2010 p. 383. Measurements: 30 x 19.5 cm
Ansorena
Jan. 04, 2022
IGNACIO DE RIES. SANTA CATALINA.
Est: €12,000 - €15,000
Ignacio de Ries (Sevilla, 1612-1661) Santa Catalina. Óleo sobre lienzo. Ataviada con ropajes nobles está representada con sus atributos habituales la espada y la rueda símbolo de su martirio. En una mano sujeta un libro en la otra la palma. Fue hijo de un pintor flamenco aficando en Sevilla, donde nació. Veinte años depués trabajaba en el taller de Zurbarán entre 1636 y 1661 pudiéndose considerar como uno de sus discípulos más importantes. Su obra se caracterizan por un estilo ecléctico fuertemente influenciado por la pintura de Zurbarán como se puede apreciar en esta obra en el uso del claroscuro así como en el interés por describir de manera exacta la indumentaria y por individualizar las diferentes texturas, así como las características del vestido y el tocado de la santa. Reentelado. 150 x 70 cm.
Aletheia Subastas
Dec. 09, 2021
Ignacio de Ries. Santa Catalina.
Est: €12,000 - €15,000
Ignacio de Ries (Sevilla, 1612-1661) Santa Catalina. Óleo sobre lienzo. Ataviada con ropajes nobles está representada con sus atributos habituales la espada y la rueda símbolo de su martirio. En una mano sujeta un libro en la otra la palma. Fue hijo de un pintor flamenco aficando en Sevilla, donde nació. Veinte años depués trabajaba en el taller de Zurbarán entre 1636 y 1661 pudiéndose considerar como uno de sus discípulos más importantes. Su obra se caracterizan por un estilo ecléctico fuertemente influenciado por la pintura de Zurbarán como se puede apreciar en esta obra en el uso del claroscuro así como en el interés por describir de manera exacta la indumentaria y por individualizar las diferentes texturas, así como las características del vestido y el tocado de la santa. Reentelado. 150 x 70 cm.
Aletheia Subastas
Sep. 21, 2021
IGNACIO DE RIES - Immaculate Conception
Est: €4,000 - €8,000
IGNACIO DE RIES Flanders c. 1612 - Seville c. 1661 Immaculate Conception. H. 1650 Oil on canvas Sizes 166 x 109 cm We are facing an unpublished work by this Sevillian painter of Flemish Provenience trained in Francisco de Zurbarán's workshop in Extremadura. Its dating can be placed in the late period, after the painting in the Chapel of the Conception of the Cathedral of Segovia. The authorship of this work has been confirmed by the researcher Benito Navarrete Prieto, to whom we thank for the information. Bibliography: Navarrete Prieto, B. Ignacio de Ries, FAHAH, Madrid, 2001.
Subastas Segre
Oct. 22, 2019
IGNACIO DE RIES - Immaculate Conception
Est: -
IGNACIO DE RIES Flanders c. 1612 - Seville c. 1661 Immaculate Conception. H. 1650 Oil on canvas Size 166 x 109 cm We are in front of an unpublished work of this Sevillian painter of Flemish origin formed in the workshop of Francisco de Zurbarán. The painting can be dated in the late days of his production, after the realization of the paintings of the Chapel of the Conception in the Cathedral of Segovia. The authorship of this work has been confirmed by Benito Navarrete Prieto Bibliography: Navarrete Prieto, B. Ignacio de Ries, FAHAH, Madrid, 2001.
Subastas Segre
Apr. 25, 2018
IGNACIO DE RIES (Flandes c.1612-Sevilla c.1661) Santa Águeda
Est: -
Oil on canvas of 203 x 106 cm. Ignacio de Ries, born around 1612, probably in Flandes, was a disciple of Francisco de Zurbarán, in whose Sevillian workshop he worked between 1636 and 1661. From the beginning he shows in all his works a notable influence of the master from Extremadura, although in his later years his painting will show a greater dynamism in the work of Murillo but without renouncing his original style. We can compare the work of "Santa Águeda" with other paintings by Ignacio de Ríes with which he keeps great similarity as the work of "Santa Justa and Santa Rufina" of the Chapel of San Antonio in the Cathedral of Seville, "Santa Bárbara", "Santa Casilda" and "Santa Engracia", in different private collections.
Sala Retiro Subastas
Feb. 21, 2018
17th CENTURY SEVILLIAN SCHOOL. CIRCLE OF IGNACIO DE RIES
Est: -
ESCUELA SEVILLANA SIGLO XVII, Círculo de Ignacio de Ries (Flandes ¿?, 1612-Sevilla, 1661). "Cristo bendiciendo el Mundo", óleo sobre lienzo, 65x49 cm.
Sala de Ventas
Oct. 25, 2017
ATTRIBUTED TO IGNACIO DE RIES, Virgen del Rosario. Oil on canvas
Est: -
Virgen del Rosario ATRIBUIDO A IGNACIO DE RIES 1612 Flandes?, h. - 1661 Sevilla, dp. Virgen del Rosario La Virgen con túnica rojiza y manto verde, sostiene al Niño. Ambos aparecen con un rosario en sus manos, de oro y azabache el de María y de perlas el de Jesús. Aparecen sentados en un trono de nubes y con cinco querubines a sus pies, unos cortinajes carmesí a ambos lados dan un aspecto muy teatral al conjunto. Las figuras realizadas con una técnica claroscurista y de gran precisión descrptiva de gran formato y en un plano muy próximo al espectador,sitúan a esta obra en el entorno de Francisco de Zurbarán. En ese mismo contexto hay que situar el interés por describir de manera exacta la indumentaria y por individualizar sus diferentes texturas, así como las características del manto y el broche que lo sujeta. También el rostro dulce de la Virgen y la paleta escogida nos llevan a pensar en uno de los seguidores del sevillano que alcanzó cotas de mayor calidad, Ignacio de Ríes. De él se sabe que su padre era un pintor flamenco avecindado en Sevilla, donde nació Ignacio hacia 1616. Veinte años después trabajaba en el taller de Zurbarán, y en 1653 firmó varios cuadros de la Capilla de la Concepción de la Catedral de Segovia, su obra más importante. En esta Virgen que aquí presentamos llama la atención la delicadeza y calidad del modelado, que se consigue mediante una sutil gradación de los tonos cromáticos, y un uso sofisticado de luces y sombras.
Isbilya Subastas
Feb. 25, 2016
IGNACIO DE RIES
Est: -
IGNACIO DE RIES (Flandes?, c. 1612-Sevilla?, después de 1661). "Inmaculada", óleo sobre lienzo, 190x110 cm.
Sala de Ventas
Jul. 07, 2010
Ignacio de Ries (active Seville c. 1602/12-after 1665)
Est: £30,000 - £50,000
Ignacio de Ries (active Seville c. 1602/12-after 1665) Saint Margaret of Antioch, as a shepherdess inscribed 'S. MARINA' (upper right) oil on canvas 69 3/8 x 40 in. (176.3 x 101.5 cm.)
Christie's