Marcos Zapata Sold at Auction Prices

Painter, b. 1710 - d. 1773

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    • ATTRIBUTED TO MARCOS ZAPATA INCA (CUZCO, PERU, CIRCA 1710 - 1773)
      Apr. 25, 2024

      ATTRIBUTED TO MARCOS ZAPATA INCA (CUZCO, PERU, CIRCA 1710 - 1773)

      Est: €15,000 - €25,000

      Attributed to Marcos Zapata Inca (Cuzco, Peru, circa 1710 - 1773) 'The Conversion of Saint Francis'. Oil on canvas. 156 x 124 cm.    Saint Francis of Assisi, like all those who became saints, underwent a period of conversion. This marvellous painting depicts Francis of Assisi precisely at the stage of his personal search and introspection, praying in the family chapel. Once, while he was praying, he heard a voice saying to him: 'Vade, Francisce, et repara domum meam' (Go, Francis, and repair my house). 'From that moment the compassion of the Crucified One was engraved on Francis' soul' (2Cel 10). The phrase appears in the painting, coming from the mouth of the Christ, before whom Francis is praying. In the background, and no less important than the main scene, the Cuzco painter depicts the moment of 'his firm vow of poverty and detachment' before his parents and the local bishop. Saint Francis' father, Pedro de Bernardone, put up stiff resistance to his son's decision to follow Christ. One day, no longer knowing what to do to dissuade him from his attempts, he denounced him to the bishop.  The bishop, however, discreet and wise, advised Francis to appear at his palace and answer his father's accusations, which he did. On the appointed day he appeared before the bishop. After being comforted by the bishop's profound words, the young saint took an unexpected step: he went to a nearby room, stripped off his clothes and returned to the room completely naked (either out of modesty or because the painting was to be hung in a public place, or through the decision of the person who paid for the artwork, the painter does not reflect this) to deposit his clothes, together with all the money he was carrying, at the feet of his father, as a sign of a complete break with the world. Pedro de Berbardone, on the left and weeping, stupefied and furious, picked up his 'maddened' son's belongings and left without a word. Then the prelate, with tears in his eyes, approached the young man and clothed him in his own cloak, hiding his painful nakedness in the large folds of it; he then held him tightly to his heart.   Marcos Zapata Inca was a Peruvian painter born in Cuzco. He is known as one of the last representatives of the Cuzco school. Zapata specialised in religious painting, and between the years 1748 and 1764 he painted nearly 200 artworks. One of his most important commissions was the series of 24 paintings dedicated to the life of Saint Francis of Assisi that was created for the Capuchin order of Santiago de Chile in 1748. Later in 1755 he painted 50 canvases on the theme of the Laurentian Litany for Cuzco Cathedral and in 1762 he painted close to 73 artworks for The Society of Jesus in Cuzco. His style influenced the artists of his time, and was characterised by his special way of representing the Virgin Mary surrounded by angels' heads. The compositions related to the Virgin Mary with their allegories greatly interested him and it seems that he was inspired by engravings by Christoph Thomas Scheffler from 1732. Artists such as Antonio Vilca and Ignacio Chacón continued working in a similar vein. Spanish Americas.

      La Suite Subastas
    • ATTRIBUTED TO MARCOS ZAPATA OR MARCOS SAPACA INCA (CUZCO, PERU, 170-1773).
      Mar. 07, 2024

      ATTRIBUTED TO MARCOS ZAPATA OR MARCOS SAPACA INCA (CUZCO, PERU, 170-1773).

      Est: €20,000 - €40,000

      Attributed to Marcos Zapata or Marcos Sapaca Inca (Cuzco, Peru, 170-1773). 'The Adoration of the Shepherds with the Archangel Saint Michael' Oil on canvas.  168 x 112 cm.  Important carved and gilded wood frame of the period. Peruvian painter born in Cuzco. He is known as one of the last representatives of the Cuzco school. Zapata specialized in religious painting, and between the years 1748 and 1764 he painted nearly 200 works. One of his most important commissions was the series of 24 paintings dedicated to the life of Saint Francis of Assisi that was created for the Capuchin order of Santiago de Chile in 1748. Later in 1755 he painted 50 canvases on the theme of the Laurentian Litany for Cuzco Cathedral and in 1762 he painted about 73 artworks for The Society of Jesus in Cuzco. His style influenced the artists of his time, and was characterised by his special way of representing the Virgin surrounded by angels' heads. The compositions related to the Virgin Mary with their allegories greatly interested him and it seems that he was inspired by engravings by Christoph Thomas Scheffler from 1732. Artists such as Antonio Vilca and Ignacio Chacón continued working in a similar vein. A curious and interesting iconographic change can be observed in this painting depicting the Adoration of the Shepherds during the Nativity of the Christ Child. Curious because amidst the guests and attendees, there is one who stands out remarkably. In a typical scene, the Virgin Mary gazes skyward with gratitude as she holds the Son of God to her bosom, the Saviour of the People of Israel. Her role contrasts with that of Saint Joseph, who is always older and bearded, a kind of fatherly figure, protector of Mary, and in a secondary role, almost outside the scene, behind, asleep, which clearly shows that he is not the actual father. He is the foster father. A very tender scene is created by the composition of the three shepherds, one with a hen, another with a jug, and one who stands out, kneeling, illuminated and warmed by the gaze and affection of the Child who leaps into his arms.  Not missing from this Adoration are an ox and a donkey or mule, adoring and warming the Child with their breath, a presence that follows a prophecy from Isaiah that says: 'the ox knows his owner, and the ass his master's crib.' In some sermons, these animals are even considered as foreshadowing the two thieves of the Crucifixion. The angels enter the scene, including the Archangel, Saint Michael. Their presence reinforces the importance of the event and the presence of the whole of heaven, which sends its chief messenger to bow at the Child's feet. Saint Michael takes the Child in his arms proclaiming his 'Quis ut Deus?' (Who is like God), the reason for his being and actions. Others attend who proclaim the Glory of God and his triumph over evil.  There is one dressed in red, the colour of the Saviour, on the left, in the background, rousing the more laggardly shepherds. Spanish Americas.

      La Suite Subastas
    • School of Cuzco: The Virgin Mary surrounded by angels and saints, oil on canvas, Peru, 18th C.
      Aug. 31, 2023

      School of Cuzco: The Virgin Mary surrounded by angels and saints, oil on canvas, Peru, 18th C.

      Est: €6,000 - €12,000

      Work: 180 x 130 cm This painting has many similarities with 'The Blue Mantle Virgin' (ca. 1760), attributed to Marcos Zapata (ca. 1710-1773) and offered at Christie's, New York, Latin American Sale, June 2, 2000, lot 260 (est. USD 20.000-30.000).

      Coronari Auctions
    • Attributed to Marcos Zapata or Marcos Sapaca Inca. (Cuzco, Peru, 1710-1773) or his workshop.
      Jul. 07, 2022

      Attributed to Marcos Zapata or Marcos Sapaca Inca. (Cuzco, Peru, 1710-1773) or his workshop.

      Est: €5,000 - €7,500

      Attributed to Marcos Zapata or Marcos Sapaca Inca. (Cuzco, Peru, 1710-1773) or his workshop. "Our Lady of Carmel with the Christ Child" Oil on canvas. 68 x 57 cm. Peruvian painter born in Cuzco. He is known as one of the last representatives of the Cuzco school. Zapata specialized in religious painting, and between the years 1748 and 1764 he painted nearly 200 works. One of his most important commissions was the series of 24 paintings dedicated to the life of Saint Francis of Assisi that was created for the Capuchin order of Santiago de Chile in 1748. Later in 1755 he painted 50 canvases on the theme of the Laurentian Litany for Cuzco Cathedral and in 1762 he painted about 73 artworks for The Society of Jesus in Cuzco. His style influenced the artists of his time, and was characterised by his special way of representing the Virgin surrounded by angels' heads. The compositions related to the Virgin Mary with their allegories greatly interested him and it seems that he was inspired by engravings by Christoph Thomas Scheffler from 1732. Artists such as Antonio Vilca and Ignacio Chacón continued working in a similar vein. Our painting can be compared to "The Virgin Mary enthroned, praised by angels" that is preserved in the Almudena Church in Cuzco (Photo 1: http://artecolonialamericano.az.uniandes.edu.co:8080/artworks /9514); “Our Lady of Sorrows” in the Celso Pastor de Lima Collection (Photo 2: http://52.183.37.55/artworks/20573) and “The Divine Shepherdess” in Cuzco Cathedral, among others. Colonial.

      La Suite Subastas
    • Circle of Marcos Zapata (Peruvian c. 1710-1773) Oil on canvas
      Nov. 19, 2014

      Circle of Marcos Zapata (Peruvian c. 1710-1773) Oil on canvas

      Est: $6,000 - $9,000

      Circle of MARCOS ZAPATA(Peruvian c. 1710-1773) St. Anthony of Padua with Donor Oil on canvas Inscribed lower left 48.75 inches x 36.5 inches (124 x 93 cm), contained in a carved gilt frame The inscription records the donor's (Reverand Doctor Antonio de Valdés) university specialization in philosophy and his activities as an educator in diverse parishes southeast of Cuzco: Carabaia, Lampa, Tinta, and Azangaro. Near Azangaro is San Anton, so plausibly the parish church of that town is represented in the painting. The red sash with a golden crown that Valdés so prominently displays is a testament of his success as a vicar of the archdiocese (Obispado). Reference also is made to his being associated with the Jesuits. Clearly Valdés was responsible for the administration of several parishes and he traveled throughout the diocese of Cuzco as visitador, preaching to town folk and keeping the faithful Orthodox.

      Jackson's International
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