Francisco de Zurbarán Paintings & Artwork for Sale | Francisco de Zurbarán Art Value Price Guide

Oct. 09, 2024
SANTO NIÑO DE LA ESPINA - FRANCISCO DE ZURBARAN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664), with possible workshop intervention (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664)
Est: €60,000 - €65,000
Attached is a report from the Doctor in Art History from the University of Seville, Don Enrique Valdivieso. Sevillian School of the 17th century, a very important version of the Extremaduran Master that differs slightly from the best known preserved in the Fine Arts of Seville. With possible intervention of the Master's workshop, measurements: 125 x 85 cm, version of which at least three versions are known. The best known of them, and of identical measurements but slight changes in the color of the Son of Man's clothing and background, but of similar artistic quality and identical measurements to the present work, coming from a very important private collection in Seville, preserved in the BBAA of Seville, inventory number CE0158P. Provenance: important Andalusian private collection (lots 148 to 175).
Templum Fine Art Auctions
Oct. 09, 2024
Attributed to Francisco de Zurbarán y Taller (1598 - 1664), oil on canvas, framed dimensions: 145 x 90 cm
Est: €12,000 - €15,000
Oil painting attributed to Francisco de Zurbarán and his workshop (1598-1664), depicting a monk deep in reading. The composition and light recall the master's characteristic style.
Templum Fine Art Auctions
Sep. 12, 2024
SANTO NIÑO DE LA ESPINA - FRANCISCO DE ZURBARAN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664), with possible workshop intervention (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664)
Est: €60,000 - €65,000
Attached is a report from the Doctor in Art History from the University of Seville, Don Enrique Valdivieso. Sevillian School of the 17th century, a very important version of the Extremaduran Master that differs slightly from the best known preserved in the Fine Arts of Seville. With possible intervention of the Master's workshop, measurements: 125 x 85 cm, version of which at least three versions are known. The best known of them, and of identical measurements but slight changes in the color of the Son of Man's clothing and background, but of similar artistic quality and identical measurements to the present work, coming from a very important private collection in Seville, preserved in the BBAA of Seville, inventory number CE0158P. Provenance: important Andalusian private collection (lots 148 to 175).
Templum Fine Art Auctions
Jul. 25, 2024
SANTO NIÑO DE LA ESPINA - FRANCISCO DE ZURBARAN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664), with possible workshop intervention (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664)
Est: €60,000 - €65,000
Attached is a report from the Doctor in Art History from the University of Seville, Don Enrique Valdivieso. Sevillian School of the 17th century, a very important version of the Extremaduran Master that differs slightly from the best known preserved in the Fine Arts of Seville. With possible intervention of the Master's workshop, measurements: 125 x 85 cm, version of which at least three versions are known. The best known of them, and of identical measurements but slight changes in the color of the Son of Man's clothing and background, but of similar artistic quality and identical measurements to the present work, coming from a very important private collection in Seville, preserved in the BBAA of Seville, inventory number CE0158P. Provenance: important Andalusian private collection (lots 148 to 175).
Templum Fine Art Auctions
Jun. 11, 2024
Follower of FRANCISCO DE ZURBARÁN (1598 - 1664) "Saint Bruno"
Est: €550 - €600
Follower of FRANCISCO DE ZURBARÁN (1598 - 1664) "Saint Bruno" Oil on canvas Faults 75, 5 x 54 cm 550 - 600 €
Bayeu Subastas
May. 29, 2024
Spanish school of the second half of the seventeenth century. Following models of FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "Jesus before Herod". Oil on canvas. Relined. With inscription in the lower margin.
Est: €2,000 - €2,500
Spanish school of the second half of the seventeenth century. Following models of FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "Jesus before Herod". Oil on canvas. Relined. With inscription in the lower margin. Measurements: 205 x 154 cm; 210 x 158 cm (frame). We see in this canvas the representation of Jesus in the Court of Herod. The episode is narrated in the Gospel of Luke: after being judged by the Sanhedrin, Jesus is sent to the Roman governor Pontius Pilate, who upon learning that he was a Galilean understood that the case would be under the jurisdiction of Herod Antipas.
Setdart Auction House
Apr. 25, 2024
PORTRAIT OS SAINT IGNACE OF LOYOLA, FOUNDER OF THE JESUIT ORDER, ATTRIBUTED TO FRANCISCO DE ZURBARÁN (1598 – 1664), SPANISH BAROQUE SCHOOL OF THE 17TH CENTURY
Est: €45,000 - €50,000
Exceptional trove, Templum is pleased to present this magnificent portrait from an important Spanish private collection. We are probably in front of the best quality portrait of the Saint of Basque origin known to date. Which, due to the delicacy of the brushstrokes, the fineness of the features of the face and the background. Reference bibliography: M.L. Caturla, Fin y muerte de Francisco de Zurbarán. Documentos recogidos y comentados, Madrid 1964, Pérez Sánchez, Alfonso E., Pintura barroca en España 1600-1750, Madrid, Ediciones Cátedra, 1992, ISBN 84-376-0994-1, pp.189-191; Fernández López, José, Programas iconográficos de la pintura sevillana del siglo XVII, Sevilla, Publicaciones de la Universidad de Sevilla, 1991, ISBN 84-7405-589-X, pp. 186-199. Framed measures: 72 x 58 cm, canvas measurements : 55 x 40 cm
Templum Fine Art Auctions
Mar. 24, 2024
Style of Francisco De Zurbaran (Spanish, 1598-1664) 'Santa Lucia' Oil on Canvas
Est: $800 - $1,200
Style of Francisco De Zurbaran (Spanish, 1598-1664) 'Santa Lucia' Oil on Canvas 18th / 19th century unsigned copy, depicting St. Lucia, framed Property from: an Estate, Chicago (Edgewater), Illinois Category: Fine Art > Paintings Estimated Sale Time: 10:44 am CST Shipping Status: Due to size, weight, value or shipping complexity, this item must be shipped via a 3rd Party and the shipping cost may be high. We recommend contacting multiple shipping vendors for an estimate as the cost may vary greatly. Last modified: March 6, 2024, 3:53 pm
Leonard Auction
Mar. 20, 2024
Francisco Zurbaran 1598–1664, im Stil von
Est: CHF1,000 - CHF1,500
Francisco Zurbaran 1598–1664, im Stil von Stillleben mit Früchten und Geschirr, 19/20. Jhr. Öl auf Leinwand 47 x 62 cm *For this lot VAT of 8,1% will also be charged on the hammer price.
Artcurial Beurret Bailly Widmer
Feb. 07, 2024
San Hugo, obispo de Lincoln
Est: -
Copia de obra original realizada hacia 1637-1639 por Francisco de Zurbarán (Fuente de Cantos, 1598 - Madrid, 1664), concertada con la Cartuja de Jerez para el pasillo del Sagrario y que se conserva en el Museo de Cádiz.
Isbilya Subastas
Dec. 27, 2023
Worker of Francisco de Zurbarán. Virgin
Est: -
Oil on canvas. Work executed around 1655-1658, the last years of Zurbarán's stay in Seville. The model that presents the figure of the Virgin is taken from originals that the master must have drawn in his workshop, the closest being the one that appears in the painting that represents the Virgin with the Child and Saint John that is preserved in the Museum of Fine Arts of Bilbao. Attached report issued by Mrs. Odile Delenda and Mr. Enrique Valdivieso.
Duran Arte y Subastas
Dec. 20, 2023
Attributed to Francisco Zurbarán y su Obrador, Spanish school of the 17th century (Fuente de Cantos, 1598 - Madrid, 1664)
Est: €45,000 - €47,500
Oil on canvas, canvas measurements: 80 x 60 cm, framed measurements: 102 x 81cm. Provenance: important private collection, Madrid.
Templum Fine Art Auctions
Dec. 20, 2023
Francisco De Zurbaràn (ambito di) (Fuente de Cantos, 1598 - Madrid, 1664) Natura morta di frutta e oggetti olio su tela
Est: -
Francisco De Zurbaràn (ambito di) (Fuente de Cantos, 1598 - Madrid, 1664) Natura morta di frutta e oggetti olio su tela
Gliubich Casa d'Aste
Dec. 13, 2023
FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "St. Joseph with the Child Jesus in his arms", ca. 1650-1660. Oil on canvas. Antique relined.
Est: €350,000 - €400,000
FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "St. Joseph with the Child Jesus in his arms", ca. 1650-1660. Oil on canvas. Antique relined. In very good condition, with restorations. Attached is a recent study issued by Odile Delenda, expert and author of the catalog raisonné of the work of Francisco Zurbarán, which indicates that she will include the work in the Supplement to her Catalogue raisonné and critic of Francisco de Zurbarán in preparation. High quality frame simulating tortoiseshell, 17th century. Bibliography consulted: "Analysis and study of a canvas of St. Joseph with the Child Jesus in his arms unpublished by Odile Delenda". Measurements: 191 x 114 cm; 240 x 169 cm (frame). In her detailed study Odile Delenda affirms that, although the unpublished work "Saint Joseph with the Child Jesus in his arms" responds to one of the usual iconographic types in Baroque art, it is an unusual representation in the work of the master Francisco Zurbarán. He continues: "Its very peculiar and premonitory iconography, which deals with the real role of the holy earthly father of Christ in the Catholic Church [...], is very striking. In this canvas we are studying, Mary's husband, a magnificent adult male, in the years of full possession of his physical and intellectual strength, appears standing, young and beautiful, in front of a very dark background, holding up the flowered rod of lilies that is his classic iconographic attribute, as a symbol of his purity. His face is very similar to those of Christ when painted by Zurbarán himself in his paintings. Thus we can recognize in this beautiful representation of St. Joseph, the slightly slanted eyes with his self-absorbed expression and the oval face of Jesus in the painting of the master from Extremadura "Christ crowning St. Joseph" (Seville, Museo de Bellas Artes). The saint of the presently studied canvas delicately carries, between his closed arms, an almost naked infant figure of the Child Jesus, Savior of the World with his sacrifice. Through this beautiful unpublished figure, we get a glimpse of a personality of great mystical depth". As in several of Zurbarán's works, a significant column crosses the painting behind the figures and in front of the background. It has a helical shape, something never seen before in Zurbarán's painting. Delenda also highlights the tiny scene that the master (or a pupil of his workshop) immortalizes in the background, showing the Miracle of the Palm Tree during the flight of the Holy Family to Egypt. Among other important and interesting contributions, the Zurbarán expert states "We can compare some details of the painting with autograph figures by Zurbarán himself. For example, the way of painting the flowers of the flowered cane can be compared with those of the vase of the "Child of the Thorn" in the Museum of Fine Arts in Seville (dated between 1645-1650) or the vase of "The Virgin of the Annunciation", 1658-1660, which belongs to a private collection. Similarly, the perfect globe of the world of solid glass that Jesus carries in his right hand can be compared by its technique to the transparent water glass of the "Child of the Thorn". He concludes "This large unpublished canvas is impressive and shows the evolution of the mature painter's abilities towards the modern demands of his religious patrons. The painting is moving because of the very simplicity of the figure, its profound mystical expression and the affirmation of the pose shows a new grace. His technique seems looser than in his youth, but his brushstroke remains sure". Francisco de Zurbarán trained in Seville, where he was a disciple of Pedro Díaz de Villanueva between 1614 and 1617. During this period he would have the opportunity to meet Pacheco and Herrera, and to establish contacts with his contemporaries Velázquez and Cano, apprentices like him in Seville at the time. After several years of diverse apprenticeship, Zurbarán returned to Badajoz without undergoing the Sevillian guild examination. He settled in Llerena between 1617 and 1628, a city where he received commissions both from the municipality and from various convents and churches in Extremadura. In 1629, by unusual proposal of the Municipal Council, Zurbarán settled definitively in Seville, beginning the most prestigious decade of his career. He received commissions from all the religious orders present in Andalusia and Extremadura, and was finally invited to the court in 1634, perhaps at the suggestion of Velázquez, to participate in the decoration of the great hall of the Buen Retiro. Back in Seville, Zurbarán continued to work for the court and for various monastic orders. In 1658, probably moved by the difficulties of the Sevillian market, he moved to Madrid.
Setdart Auction House
Dec. 13, 2023
FRANCISCO ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "Santa Faz". Oil on canvas. Attribution confirmed by Doña Odile Delenda. Preserves original canvas. It has restorations on the pictorial surface.
Est: €250,000 - €300,000
FRANCISCO ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "Santa Faz". Oil on canvas. Attribution confirmed by Doña Odile Delenda. Preserves original canvas. It has restorations on the pictorial surface. Measurements: 102 x 80 cm; 122 x 102 cm (frame). The theme of the Santa Faz, was retaken by Francisco Zurbarán at a time when the works with this theme were no longer common. In this devotional image painted in oil on canvas, the image of Christ's face is represented, which seems to be printed on the canvas of the Veronica. Jesus wears the crown of thorns, and shows the blood stains that show suffering or exhaustion. Looking directly at the viewer with a serious and emphatic gesture, but at the same time serene and calm, the image thus reflects Christ as savior and redeemer. The iconography of the Holy Face has its origin in the episode that occurred during the Passion of Christ, when on the way to Calvary a woman took off her veil to wipe the face of the Messiah with it. The image of the face of Jesus Christ was imprinted on the linen handkerchief, and it was miraculously preserved through the centuries, becoming an object of worship. The woman would later be called Veronica, whose etymology derives from the Latin "verum" (true) and the Greek "eikon" (image). The Santa Faz is one of the most famous relics of Christianity, first described in 1137. Francisco de Zurbarán trained in Seville, where he was a disciple of Pedro Díaz de Villanueva between 1614 and 1617. During this period he would have the opportunity to meet Pachecho and Herrera, and to establish contacts with his contemporaries Velázquez and Cano, apprentices like him in Seville at the time. After several years of diverse apprenticeship, Zurbarán returned to Badajoz without undergoing the Sevillian guild examination. He settled in Llerena between 1617 and 1628, a city where he received commissions both from the municipality and from various convents and churches in Extremadura. In 1629, by unusual proposal of the Municipal Council, Zurbarán settled definitively in Seville, beginning the most prestigious decade of his career. He received commissions from all the religious orders present in Andalusia and Extremadura, and was finally invited to the court in 1934, perhaps at the suggestion of Velázquez, to participate in the decoration of the great hall of the Buen Retiro. Back in Seville, Zurbarán continued to work for the court and for various monastic orders. In 1958, probably moved by the difficulties of the Sevillian market, he moved to Madrid. During this last period of his production, he painted canvases of private devotion of small format and refined execution. Zurbarán was a painter of simple realism, excluding grandiloquence and theatricality from his work, and we can even find some clumsiness when solving the technical problems of geometric perspective, despite the perfection of his drawing in anatomies, faces and objects. His severe compositions, rigorously ordered, reach an exceptional level of pious emotion. With respect to tenebrism, the painter practiced it especially in his first Sevillian period.
Setdart Auction House
Nov. 25, 2023
FRANCISCO DE ZURBARAN (Cerchia di), Olio su tela
Est: €6,000 - €8,000
FRANCISCO DE ZURBARAN (Cerchia di) (Fuente de Cantos 1598 - Madrid 1664) San Romualdo Olio su tela. cm 101,5 x 87.
Benedetto Trionfante Auction House s.r.l
Nov. 14, 2023
Francisco de Zurbarán, Fuente de Cantos 1598 - 1664 Madrid, Successor, Saint Francis of Assisi
Est: €800 - €1,200
Francisco de Zurbarán Fuente de Cantos 1598 - 1664 Madrid, Successor Saint Francis of Assisi 17th/18th century Oil on canvas, relined 49.5 x 39 cm, with frame 65 x 55 cm
Tiberius Auctions
Oct. 26, 2023
Attributed to Francisco Zurbarán y su Obrador, Spanish school of the 17th century (Fuente de Cantos, 1598 - Madrid, 1664)
Est: €45,000 - €47,500
Oil on canvas, canvas measurements: 80 x 60 cm, framed measurements: 102 x 81cm. Provenance: important private collection, Madrid.
Templum Fine Art Auctions
Jul. 12, 2023
Spanish school of the 16th century. Circle of FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "Virgin and Child Salvator Mundi". Oil on canvas. Relined in the end of the 18th century.
Est: €2,700 - €3,000
Spanish school of the 16th century. Circle of FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "Virgin and Child Salvator Mundi". Oil on canvas. Re-drawn at the end of the 18th century. Size: 111 x 85 cm; 120 x 93 cm (frame). The wake of the Marian painting of Zurbarán is manifested in this work of Christ as "Salvator Mundi", an iconography that represents the Christological concept of Jesus Christ as universal saviour, in relation to his role as judge in the Final Judgement and to his character of Redeemer. The monumental canon of the Virgin and child, their sculptural presence, has been achieved through subtle light modelling. The melancholic tenderness of the faces and the way in which the figures emerge emphatically from a misty background reveal the influence of Zurbarán. Francisco de Zurbarán trained in Seville, where he was a pupil of Pedro Díaz de Villanueva between 1614 and 1617. During this period he had the opportunity to meet Pachecho and Herrera and to establish contacts with his contemporaries Velázquez and Cano, apprentices like himself in Seville at the time. After several years of diverse apprenticeship, Zurbarán returned to Badajoz without undergoing the Sevillian guild examination. He settled in Llerena between 1617 and 1628, where he received commissions both from the municipality and from various convents and churches in Extremadura. In 1629, at the unusual suggestion of the Municipal Council, Zurbarán settled permanently in Seville, marking the beginning of the most prestigious decade of his career. He received commissions from all the religious orders present in Andalusia and Extremadura, and was finally invited to the court in 1934, perhaps at Velázquez's suggestion, to take part in the decoration of the great hall of the Buen Retiro. On returning to Seville, Zurbarán continued to work for the court and for various monastic orders. In 1958, probably prompted by the difficulties of the Sevillian market, he moved to Madrid. During this last period of his output he produced small-format private devotional canvases of refined execution. Zurbarán was a painter of simple realism, excluding grandiloquence and theatricality from his work, and we can even find some clumsiness when solving the technical problems of geometric perspective, despite the perfection of his drawing of anatomies, faces and objects. His severe, rigorously ordered compositions reach an exceptional level of pious emotion. With regard to tenebrism, the painter practised it above all in his early Sevillian period. No one surpasses him in his way of expressing the tenderness and candour of children, young virgins and adolescent saints. His exceptional technique also enabled him to depict the tactile values of canvases and objects, making him an exceptional still life painter.
Setdart Auction House
Jul. 07, 2023
STUDIO OF FRANCISCO DE ZURBARÁN (FUENTE DE CANTOS, BADAJOZ 1598-1664 MADRID
Est: £20,000 - £30,000
STUDIO OF FRANCISCO DE ZURBARÁN (FUENTE DE CANTOS, BADAJOZ 1598-1664 MADRID) The Crucifixion oil on canvas 60 1/8 x 40 3/4 in. (152.8 x 103.5 cm.)
Christie's
Jun. 29, 2023
FRANCISCO DE ZURBARAN (Attr.le), Olio su tela
Est: €8,000 - €12,000
FRANCISCO DE ZURBARAN (Attr.le) (Fuente de Cantos 1598 - Madrid 1664) Santa Teresa Davila protettrice della Spagna Olio su tela Si ringrazia il professore e storico dell'arte Heinrich W. Pfeiffer per aver ascritto l'opera alla produzione cilena del maestro spagnolo, che lavorò in America latina nel decennio 1650-1660 Provenienza: Nobile famiglia siciliana. cm 179 x 142.
Benedetto Trionfante Auction House s.r.l
Jun. 22, 2023
School of FRANCISCO de ZURBARÁN (1598 - 1664). "Virgin praying". Oil on canvas. Relined.
Est: €1,800 - €2,000
School of FRANCISCO de ZURBARÁN (1598 - 1664). "Virgin praying". Oil on canvas. Relined. Measurements: 97 x 77 cm; 112 x 92 cm (frame). Intimate image of the Virgin, withdrawn in prayerful attitude. The strong tenebrist contrasts are placed at the disposal of this silent maternal sorrow, focusing the attention on the face with delicate features and half-closed eyelids, as well as on the hands joined in prayer. The robe is bathed in a chiaroscuro that brings out subtle emerald lights, with a velvet quality, and veering towards black at the edges to merge with the neutral background. The trail of Zurbarán's Marian painting is evident in this Virgin praying. The monumental canon of the Virgin, her sculptural presence, has been achieved through the subtle modelling of light. The melancholic tenderness of the face and the way in which the figures emerge roundly from a dark background are evidence of Zurbarán's school. Francisco de Zurbarán trained in Seville, where he was a pupil of Pedro Díaz de Villanueva between 1614 and 1617. During this period he had the opportunity to meet Pacheco and Herrera and to establish contacts with his contemporaries Velázquez and Cano, apprentices like himself in Seville at the time. After several years of diverse apprenticeship, Zurbarán returned to Badajoz without undergoing the Sevillian guild examination. He settled in Llerena between 1617 and 1628, where he received commissions both from the municipality and from various convents and churches in Extremadura. In 1629, at the unusual suggestion of the Municipal Council, Zurbarán settled permanently in Seville, marking the beginning of the most prestigious decade of his career. He received commissions from all the religious orders present in Andalusia and Extremadura, and was finally invited to the court in 1634, perhaps at Velázquez's suggestion, to take part in the decoration of the great hall of the Buen Retiro. On returning to Seville, Zurbarán continued to work for the court and for various monastic orders. In 1658, probably prompted by the difficulties of the Sevillian market, he moved to Madrid. Francisco de Zurbarán is represented in the most important art galleries around the world, such as the Prado Museum, the Metropolitan Museum in New York, the Louvre, the Hermitage in St Petersburg and the National Gallery in London, among many others.
Setdart Auction House
Jan. 26, 2023
Francisco de Zurbaran. Jose Cascales Munoz
Est: €100 - €250
Exemplary of the work Francisco de Zurbarán. His time, life and his works. With the favorable report of the Royal Academy of Fine Arts of San Fernando. Contains 80 photogravures of the artist's best paintings. Hardcover binding in cloth and leather with decorated spine. Printed by the Compañía General de Artes Gráficas in Madrid in 1931.
Templum Fine Art Auctions
Nov. 05, 2022
Francisco de Zurbaran, Still Life with Lemons, Oranges, and a Rose, Poster on foamcore
Est: $170 - $200
Artist: Francisco de Zurbaran (1598 - 1664) Title: Still Life with Lemons, Oranges, and a Rose Year: 1994 Medium: Poster on foamcore Image Size: Size: 24 x 37 in. (60.96 x 93.98 cm)
RoGallery
Oct. 27, 2022
La Santa Verónica, Francisco de Zurbarán (Fuente de Cantos, Badajoz, 7 de noviembre de 1598 – Madrid, 27 de agosto de 1664)
Est: €150,000 - €180,000
Francisco de Zurbarán (Fuente de Cantos, Badajoz, 1598-Madrid, 1664). The Holy Face. Oil on canvas. Signed and dated 1639. Certificate from Enrique Valdivieso is attached. Relining. 100 x 82 cm. The theme of the Holy Face or the cloth of Veronica is one of the most repeated iconographies in Zurbarán's production. The theme reached a special devotion that was very widespread in 17th century Spain for showing the proximity of a moment of the Passion, a motif and an ideal size for oratories and chapels that brought the face of Christ closer to the faithful. In the center the head of Christ with a crown of thorns is represented, alluding to the face of Jesus when on his way to Calvary, a woman wiped her face with the veil that covered her head. This episode, despite representing one of the Stations of the Via Crucis, is not found in the canonical Gospels. The oldest quotation dates from the second century, in the apocryphal Gospel of Nicodemus. According to professor Enrique Valdivieso "We are facing one of the different versions that Zurbarán made on the iconography of the Holy Face" There are currently a dozen cataloged copies of this work. Valdivieso insists on the dating between 1630-1640 especially because of the identical repetition of the cloths. "Very important are also the games of light and shadow that create the folds of the cloth and that originate an effect of powerful relief and volumetry at the same time as the sensation of contemplating something real". This work is the most similar to the one kept in the National Museum in Stockholm. The composition of the painting is overwhelming both for its realism and for its strong drama. As the specialist in the work of the Extremaduran painter Odile Delenda points out "The pleasure in representing Veronica's veil with this accentuated realistic character, like a trompe l'oeil, is resolved in these paintings by the Extremaduran master through the illusion of the frame, being the only link with the outside world fine double cords from which a knotted cloth hangs in a neutral and undefined space. A long shiny pin gathers the cloth in the center, creating a totally illusionistic "frame in frame". The presentation of the canvas is a painter's own invention, of which we do not know other examples in seventeenth-century painting. " We owe to the great Zurbaranista María Luisa Caturla the interesting and perfect definition of the Holy Face of Zurbarán as «trompe-l'œil a lo divino». Caturla studied this theme in the Extremadura's work, considering it, with good reason, a kind of religious trompe l'oeil. This painting will be included by Delenda in the Supplement to the reasoned and critical catalog of Francisco de Zurbarán, currently in preparation. Reference bibliography: María Luisa Caturla "The Holy Face of Zurbarán: trompe-l'oeil a lo divino". Goya, Madrid, nº 64-65, pp. 202-205. Madrid, January-April 1965. Odile Delenda "Francisco de Zurbarán, 1598-1664". 2 vols. Madrid: Foundation.
Templum Fine Art Auctions
Sep. 28, 2022
Workshop of FRANCISCO ZURBARAN (Fuente de Cantos, Badajoz, 1598 – Madrid, 1664). "The Child of the Thorn".
Est: €25,000 - €30,000
Workshop of FRANCISCO ZURBARAN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). El Niño de la espina" ("Child with the Thorn"). Oil on canvas. Re-retouched. It presents repainting and restorations on the pictorial surface. It has a 20th century frame. Measurements: 132 x 178 cm; 159 x 205 cm (frame). Due to its stylistic characteristics, this canvas can be inscribed within the aesthetic patterns defined by the master Zurbarán, and more specifically those corresponding to his workshop. This work precisely follows the iconographic model of the "Child with the Thorn" already used by Francisco de Zurbarán, following a composition similar to other works of the same subject matter from the same period. Thus, we see a rosy-cheeked Christ Child, gazing attentively at his hands, particularly one of his fingers, from which a fine trickle of blood runs down onto the crown of thorns, alluding to the Passion. The conception of the Child is very similar to that seen in the work by Zurbarán in the collection of the Museo de Bellas Artes in Seville. However, in this case the scene is enlarged to include a woman of monumental dimensions on the right. Her features and her needlework indicate that this is the image of the Virgin Mary, who, oblivious to the viewer, is concentrating on her work, paying no attention to her son. This manner in which the artist presents the figures invites the viewer to empathise with the divinity, as she appears before him in a friendly, everyday manner, dramatic only in the lighting and not in her subject matter. Francisco de Zurbarán trained in Seville, where he was a pupil of Pedro Díaz de Villanueva between 1614 and 1617. During this period he had the opportunity to meet Pachecho and Herrera and to establish contacts with his contemporaries Velázquez and Cano, apprentices like himself in Seville at the time. After several years of diverse apprenticeship, Zurbarán returned to Badajoz without undergoing the Sevillian guild examination. He settled in Llerena between 1617 and 1628, where he received commissions both from the municipality and from various convents and churches in Extremadura. In 1629, at the unusual suggestion of the Municipal Council, Zurbarán settled permanently in Seville, marking the beginning of the most prestigious decade of his career. He received commissions from all the religious orders present in Andalusia and Extremadura, and was finally invited to the court in 1934, perhaps at Velázquez's suggestion, to take part in the decoration of the great hall of the Buen Retiro. On returning to Seville, Zurbarán continued to work for the court and for various monastic orders. In 1958, probably prompted by the difficulties of the Sevillian market, he moved to Madrid. During this last period of his output he produced small-format private devotional canvases of refined execution. Zurbarán was a painter of simple realism, excluding grandiloquence and theatricality from his work, and we can even find some clumsiness when solving the technical problems of geometric perspective, despite the perfection of his drawing of anatomies, faces and objects. His severe, rigorously ordered compositions reach an exceptional level of pious emotion. With regard to tenebrism, the painter practised it above all in his early Sevillian period. No one surpasses him in his way of expressing the tenderness and candour of children, young virgins and adolescent saints. His exceptional technique also enabled him to depict the tactile values of canvases and objects, making him an exceptional still life painter. His sobriety, expressive power and the plasticity of his figures, added to his obvious gifts as a colourist, place him at the top of the Spanish masters of the Golden Age.
Setdart Auction House
Aug. 10, 2022
Francisco de Zurbaran, Still Life with Lemons, Oranges, and a Rose, Poster on foamcore
Est: $170 - $200
Artist: Francisco de Zurbaran (1598 - 1664) Title: Still Life with Lemons, Oranges, and a Rose Year: 1994 Medium: Poster on foamcore Image Size: Size: 24 x 37 in. (60.96 x 93.98 cm)
RoGallery
Jul. 19, 2022
Zurbarán workshop. Monk praying
Est: -
Oil on canvas.
Duran Arte y Subastas
Jul. 06, 2022
Studio of Francisco de Zurbarán (Fuente de Cantos 1598-1664 Madrid) Saint Francis unframed
Est: £10,000 - £15,000
Studio of Francisco de Zurbarán (Fuente de Cantos 1598-1664 Madrid) Saint Francis oil on canvas 102.2 x 87.2cm (40 1/4 x 34 5/16in). unframed For further information on this lot please visit the Bonhams website
Bonhams
Apr. 19, 2022
Francisco de Zurbaran, Still Life with Lemons, Oranges, and a Rose, Poster on foamcore
Est: $125 - $150
Artist: Francisco de Zurbaran (1598 - 1664) Title: Still Life with Lemons, Oranges, and a Rose Year: 1994 Medium: Poster on foamcore Size: 24 x 37 in. (60.96 x 93.98 cm)
RoGallery
Apr. 07, 2022
VIRGIN WITH CHILD AND SAINT JOHN, AROUND FRANCISCO DE ZURBARÁN (FUENTE DE CANTOS, BADAJOZ, 1598 – MADRID, 1664), ANDALUSIAN SCHOOL OF THE 17TH CENTURY
Est: €1,000 - €1,200
Oil on canvas, framed measurements: 131 x 101 cm. Canvas measures: 113 x 82 cm
Templum Fine Art Auctions
Apr. 06, 2022
Workroom of FRANCISCO ZURBARAN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "Saint Francis receiving the stigmata", ca 1630-1650 Oil on canvas. Attached report of the work issued by Ismael Gutierrez Pastor.
Est: €5,000 - €6,000
Attributed to the Obrador of FRANCISCO ZURBARAN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "Saint Francis Receiving the Stigmata", ca 1630-1650 Oil on canvas. Relined. Attached is a report on the work issued by Ismael Gutierrez Pastor. It has slight repainting. Measurements: 145 x 105 cm; 156 x 116 cm (frame). In this work of devotional character the episode is represented in which St. Francis, being retired in the mountain, had a vision in which Christ appeared to him, from whose wounds rays emerged that caused the saint stigmata in his hands and feet. The scene is set in the foreground, with the saint three-quarter length, dressed in the Franciscan sackcloth, with the Holy Scriptures in front of him, and a skull on a rock, the objects of his meditation. Saint Francis (Assisi, Italy, 1182 - 1226) was the son of a wealthy Italian merchant. Baptised John, he soon became known as "Francesco" (the little Frenchman), because his mother came from that country. His youth was joyful and carefree until the age of twenty-five, when he changed completely and began to dedicate himself to the service of God, practising the Gospel ideal: purity, detachment and joy in peace. Francesco renounced the great inheritance he had received from his parents and decided to live poorly, setting an example of an authentic Christian. He soon had several young disciples, called by the saint "order of the Friars Minor". In 1210, Pope Innocent III granted them the foundation of the new order and encouraged them in their evangelical work. He was a legendary figure during his lifetime, considered a living relic. Likewise, his exquisite poetry and his familiarity with nature add the most human accent known in a saint, as can be seen in his "Canticle to the Sun".Francisco de Zurbarán trained in Seville, where he was a disciple of Pedro Díaz de Villanueva between 1614 and 1617. During this period he had the opportunity to meet Pachecho and Herrera, and to establish contacts with his contemporaries Velázquez and Cano, apprentices like himself in Seville at the time. After several years of diverse apprenticeship, Zurbarán returned to Badajoz without undergoing the Sevillian guild examination. He settled in Llerena between 1617 and 1628, where he received commissions both from the municipality and from various convents and churches in Extremadura. In 1629, at the unusual suggestion of the Municipal Council, Zurbarán settled permanently in Seville, marking the beginning of the most prestigious decade of his career. He received commissions from all the religious orders present in Andalusia and Extremadura, and was finally invited to the court in 1934, perhaps at Velázquez's suggestion, to take part in the decoration of the great hall of the Buen Retiro. On returning to Seville, Zurbarán continued to work for the court and for various monastic orders. In 1958, probably prompted by the difficulties of the Sevillian market, he moved to Madrid. During this last period of his output he produced small-format private devotional canvases of refined execution. Zurbarán was a painter of simple realism, excluding grandiloquence and theatricality from his work, and we can even find a certain clumsiness when solving the technical problems of geometric perspective, despite the perfection of his drawing of anatomies, faces and objects. Nor is he interested in foreshortening or in suggesting illusionistic Italian-style spaces. His severe, rigorously ordered compositions reach an exceptional level of pious emotion. With regard to tenebrism, the painter practised it above all in his early Sevillian period, both in his well-known monastic works and in pieces for private devotion. No one surpasses him in his way of expressing the tenderness and candour of children, young virgins and adolescent saints. His exceptional technique also enabled him to depict the tactile values of canvases and objects, making him an exceptional still life painter. His sobriety, his expressive power
Setdart Auction House
Mar. 29, 2022
Workshop of F. de Zurbarán. Saint Bruno
Est: -
Oil on canvas. Work belonging to the Sevillian school of the mid-seventeenth century, made around 1650, by a disciple of Zurbarán. The San Francisco made by Zurbarán in 1639 was taken as a model, today exhibited in the National Gallery in London. Attached certificate of authenticity issued by Don Enrique Valdivieso.
Duran Arte y Subastas
Mar. 10, 2022
Spanish school of the 16th century. Circle of FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "Virgin and Child Salvator Mundi". Oil on canvas. Relined in the end of the 18th century.
Est: €8,000 - €9,000
Spanish school of the 16th century. Circle of FRANCISCO DE ZURBARÁN (Fuente de Cantos, Badajoz, 1598 - Madrid, 1664). "Virgin and Child Salvator Mundi". Oil on canvas. Re-drawn at the end of the 18th century. Size: 111 x 85 cm; 120 x 93 cm (frame). The wake of the Marian painting of Zurbarán is manifested in this work of Christ as "Salvator Mundi", an iconography that represents the Christological concept of Jesus Christ as universal saviour, in relation to his role as judge in the Final Judgement and to his character of Redeemer. The monumental canon of the Virgin and child, their sculptural presence, has been achieved through subtle light modelling. The melancholic tenderness of the faces and the way in which the figures emerge emphatically from a misty background reveal the influence of Zurbarán. Francisco de Zurbarán trained in Seville, where he was a pupil of Pedro Díaz de Villanueva between 1614 and 1617. During this period he had the opportunity to meet Pachecho and Herrera and to establish contacts with his contemporaries Velázquez and Cano, apprentices like himself in Seville at the time. After several years of diverse apprenticeship, Zurbarán returned to Badajoz without undergoing the Sevillian guild examination. He settled in Llerena between 1617 and 1628, where he received commissions both from the municipality and from various convents and churches in Extremadura. In 1629, at the unusual suggestion of the Municipal Council, Zurbarán settled permanently in Seville, marking the beginning of the most prestigious decade of his career. He received commissions from all the religious orders present in Andalusia and Extremadura, and was finally invited to the court in 1934, perhaps at Velázquez's suggestion, to take part in the decoration of the great hall of the Buen Retiro. On returning to Seville, Zurbarán continued to work for the court and for various monastic orders. In 1958, probably prompted by the difficulties of the Sevillian market, he moved to Madrid. During this last period of his output he produced small-format private devotional canvases of refined execution. Zurbarán was a painter of simple realism, excluding grandiloquence and theatricality from his work, and we can even find some clumsiness when solving the technical problems of geometric perspective, despite the perfection of his drawing of anatomies, faces and objects. His severe, rigorously ordered compositions reach an exceptional level of pious emotion. With regard to tenebrism, the painter practised it above all in his early Sevillian period. No one surpasses him in his way of expressing the tenderness and candour of children, young virgins and adolescent saints. His exceptional technique also enabled him to depict the tactile values of canvases and objects, making him an exceptional still life painter.
Setdart Auction House
Dec. 28, 2021
Zurbarán workshop. Monk praying
Est: -
Óleo sobre lienzo.
Duran Arte y Subastas
Dec. 17, 2021
Follower of FRANCISCO DE ZURBARAN (1598-1664) - 'Still Life with Lemons, Oranges and a Rose'
Est: €2,250 - €3,000
Oil on canvas, 18th/19thC. Dim.: 40x70 cm.
Marques dos Santos
Dec. 14, 2021
Francisco de Zurbarán Umkreis Hl. Lucia von Syrakus
Est: €5,000 - €10,000
Francisco de Zurbarán Umkreis Saint Lucia of Syracuse oil on canvas 82.5 x 62 cm private property, Europe
Im Kinsky
Nov. 28, 2021
Francisco de Zurbaran, Still Life with Lemons, Oranges, and a Rose, Poster on foamcore
Est: $170 - $200
Artist: Francisco de Zurbaran (1598 - 1664) Title: Still Life with Lemons, Oranges, and a Rose Year: 1994 Medium: Poster on foamcore Image Size: Size: 24 x 37 in. (60.96 x 93.98 cm)
RoGallery
Nov. 26, 2021
WORKSHOP OF FRANCISCO DE ZURBARAN (FUENTE DE CANTOS, 1598 -MADRID, 1664) : SAINT CASILDA
Est: €9,000 - €12,000
Oil on canvas, 147x103.5 cm. With important 17th century Florentine frame In the top left-hand corner of the canvas there is a gilded inscription with a brushstroke indicating the person depicted: "S. CASILDA"
Bertolami Fine Art s.r.l.
Jul. 09, 2021
STUDIO OF FRANCISCO DE ZURBARÁN (FUENTE DE CANTOS, BADAJOZ 1598-1664 MADRID
Est: £15,000 - £20,000
STUDIO OF FRANCISCO DE ZURBARÁN (FUENTE DE CANTOS, BADAJOZ 1598-1664 MADRID) Don Sancho, Bishop of Toledo oil on canvas 20 ½ x 12 1/8 in. (52 x 30.5 cm.)
Christie's
May. 28, 2021
Francisco de Zurbaran, Still Life with Lemons, Oranges, and a Rose, Poster on foamcore
Est: $170 - $200
Artist: Francisco de Zurbaran (1598 - 1664) Title: Still Life with Lemons, Oranges, and a Rose Year: 1994 Medium: Poster on foamcore Image Size: Size: 24 x 37 in. (60.96 x 93.98 cm)
RoGallery
May. 25, 2021
Francisco de Zurbaran (Spanish b.1598 -d.1664). Portrait of the Virgin Mary
Est: $100 - $5,000
Attributed to: Francisco de Zurbaran (Spanish b.1598 -d.1664). Titled: “Portrait of the Virgin Mary with Child in Heaven prayed to by the clergy” Medium: Oil on Canvas (relined), vintage frame. Image Size: 17-3/8” x 23-7/8" (without frame). Signed: (Upper right). Condition: Very good for its age.
Bill Hood & Sons Arts & Antiques Auctions
Apr. 29, 2021
FRANCISCO DE ZURBARÁN (FUENTE DE CANTOS, BADAJOZ, 1598-MADRID, 1664). THE HOLY FACE.
Est: €60,000 - €90,000
Francisco de Zurbarán (Fuente de Cantos, Badajoz, 1598-Madrid, 1664). The Holy Face. Oil on canvas. Signed and dated 1639. Certificate from Enrique Valdivieso is attached. Relining. 100 x 82 cm. The theme of the Holy Face or the cloth of Veronica is one of the most repeated iconographies in Zurbarán's production. The theme reached a special devotion that was very widespread in 17th century Spain for showing the proximity of a moment of the Passion, a motif and an ideal size for oratories and chapels that brought the face of Christ closer to the faithful. In the center the head of Christ with a crown of thorns is represented, alluding to the face of Jesus when on his way to Calvary, a woman wiped her face with the veil that covered her head. This episode, despite representing one of the Stations of the Via Crucis, is not found in the canonical Gospels. The oldest quotation dates from the second century, in the apocryphal Gospel of Nicodemus. According to professor Enrique Valdivieso "We are facing one of the different versions that Zurbarán made on the iconography of the Holy Face" There are currently a dozen cataloged copies of this work. Valdivieso insists on the dating between 1630-1640 especially because of the identical repetition of the cloths. "Very important are also the games of light and shadow that create the folds of the cloth and that originate an effect of powerful relief and volumetry at the same time as the sensation of contemplating something real". This work is the most similar to the one kept in the National Museum in Stockholm. The composition of the painting is overwhelming both for its realism and for its strong drama. As the specialist in the work of the Extremaduran painter Odile Delenda points out "The pleasure in representing Veronica's veil with this accentuated realistic character, like a trompe l'oeil, is resolved in these paintings by the Extremaduran master through the illusion of the frame, being the only link with the outside world fine double cords from which a knotted cloth hangs in a neutral and undefined space. A long shiny pin gathers the cloth in the center, creating a totally illusionistic "frame in frame". The presentation of the canvas is a painter's own invention, of which we do not know other examples in seventeenth-century painting. " We owe to the great Zurbaranista María Luisa Caturla the interesting and perfect definition of the Holy Face of Zurbarán as «trompe-l'œil a lo divino». Caturla studied this theme in the Extremadura's work, considering it, with good reason, a kind of religious trompe l'oeil. This painting will be included by Delenda in the Supplement to the reasoned and critical catalog of Francisco de Zurbarán, currently in preparation. Reference bibliography: María Luisa Caturla "The Holy Face of Zurbarán: trompe-l'oeil a lo divino". Goya, Madrid, nº 64-65, pp. 202-205. Madrid, January-April 1965. Odile Delenda "Francisco de Zurbarán, 1598-1664". 2 vols. Madrid: Foundation.
Aletheia Subastas
Mar. 13, 2021
HEILIGER FRANZISKUS MIT WUNDMALEN, VOR DER BIBEL UND EINEM KRUZIFIX ADORIEREND
Est: €8,000 - €16,000
RefOld4321 FRANCISCO DE ZURBARÁN (OR SCHOOL) 1598 Fuente de Cantos - 1664 Madrid SAINT FRANCISCUS WITH STIGMATA, ADORING IN FRONT OF THE BIBLE AND A CRUCIFIX Oil on canvas (relined). 121 x 85 cm (F. 136 x 100,5 cm). Part. slightly restored. Frame. Provenance: South German Private Collection.
Hargesheimer Kunstauktionen Düsseldorf
Mar. 11, 2021
FRANCISCO DE ZURBARÁN. After. Our Lady of Mercy.
Est: €600 - €700
Oil on wood Copy with variations of Our Lady of the Caves by Francisco de Zurbarán, preserved in the Museum of Fine Arts in Seville 53.5x35 cm.
Balclis
Dec. 16, 2020
FRANCISCO DE ZURBARÁN. After. Saint Anthony the Abbot.
Est: €15,000 - €15,500
Oil on canvas After the original by Francisco de Zurbarán (ca. 1640), preserved in a private collection in Madrid (oil on canvas 204x110 cm); there is a copy by the workshop, preserved in the convent Buena Muerte in Lima. Reference literature; Odile Delenda, "Zurbarán. Catálogo razonado y crítico", Madrid, Fundación Arte Hispánico, 2009, t. I, p. 491 and 492 196x110 cm.
Balclis
Dec. 14, 2020
Follower of Francisco de Zurbarán (1598 – 1664) "The veil of St. Veronica"
Est: €900 - €1,000
Follower of Francisco de Zurbarán (Fuente de Cantos, Badajoz, 1598 – Madrid, 1664) "The veil of St. Veronica" Oil on canvas 80 x 58 cm 900 - 1.000 €
Goya Subastas
Nov. 07, 2020
FRANCISCO DE ZURBARAN (SPANISH 1598-1664)
Est: $80,000 - $120,000
FRANCISCO DE ZURBARAN (SPANISH 1598-1664) Veil of Veronica, circa 1638-1640 oil on canvas 101 x 82 cm (39 3/4 x 32 1/4 in.) PROVENANCE In Spain by the 19th century Sands Johnson Collection, London Their sale, Christie's, May 19-20, 1926, lot 314 Acquired at the above by R. Ward (£47) Anonymous sale, Christie's, May 28, 1926, where acquired by Morson (£47) A. Ruck Collection, London, 1929 Collection of J. Hamilton-Jones, London, 1958 Kleinberger & Co., Paris Acquired at the above March 19, 1959 by Bob Jones University, Greenville, South Carolina, accession no. P.59.169.KI (label on verso) Acquired from the above by Jack Tanzer of Knoedler & Co., Inc. on May 29, 1974, New York, inventory no. A9976 (label on verso) M. Knoedler & Co., Inc., New York, inventory no. A9976 (label on verso) Where acquired by the present owner, May 29, 1974 LITERATURE August L. Mayer, Some Unknown Works by Zurbaran, Apollo: The International Magazine of the Arts, Volume 7 (April 1928), pages 180-181 Martin Soria, The Paintings of Zurbaran (London: Phaidon Press, 1953), pp.169-170, no. 147 (illustrated, fig. 102) Ellen Johnson, "College Museum Notes," College Art Journal 19, no. 2 (Winter, 1959-1960): p. 171 (illustrated, fig. 5) Jose Guidol, Art Quarterly (Spring 1960), p. 94 Paul Guinard, Zurbaran et les peintures espagnols de la vie monastique (Paris : Ed. du Temps, 1960), p. 219, no. 89 CONDITION Observed in frame, the painting is in overall age appropriate condition. The canvas is re-lined. Overall craquelure visible to the naked eye. Scattered nicks to the perimeter. Inspection under UV shows an uneven layer of varnish with scattered overall fluorescence underneath. Atop the varnish layer, a rectangular area of retouching measuring 4 x 3 cm to the bottom right of the veil. Visible termite damage to the wooden frame. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Shapiro Auctions LLC