Alonso Cano Paintings & Artwork for Sale | Alonso Cano Art Value Price Guide

Jul. 15, 2026
Granada school, following models of ALONSO CANO (Granada, 1601 - 1667); c, 1700. "Chapel tabernacle". Carved wood, gilded and polychrome. It presents polychrome of later period and has faults in...
Est: €1,400 - €1,500
Granada school, following models of ALONSO CANO (Granada, 1601 - 1667); c, 1700. "Chapel tabernacle". Carved wood, gilded and polychrome. It presents polychrome of later period and has faults in the carving. Measurements: 50 x 22 x 17 cm; 25 x 28 cm (base). Devotional image of Mary as Immaculate, with a closed and ascending structure, in the form of a spindle, which follows the models established by Alonso Cano. The image represents Mary in a praying position, dressed in blue and white (colors allusive to the concepts of truth and eternity, the blue, and purity, the white), on a pedestal of clouds adorned with cherub faces and with the fourth crescent moon, allusive to the iconography of the Immaculate Conception, which exceeds the sides. The piece follows the traditional iconography, in such a way that the spectator can recreate himself with the delicacy of the carving, which is displayed in the conception of the mantle, which seems to be waved by the wind, and in the fineness of the Virgin's facial features, completely idealized. Because of its formal and iconographic characteristics we can frame this Inmaculada within the circle of followers of Alonso Cano, painter, sculptor and architect who is considered today as one of the most influential artists of the Spanish Baroque. He was also the initiator of the Granada school of painting and sculpture, and his disciples included Juan de Sevilla, Pedro Atanasio Bocanegra, José Risueño, Pedro de Mena and José de Mora. Son of an important assembler of altarpieces and possibly also a draftsman, Alonso Cano was initiated in architectural drawing and imagery by his father, with whom he collaborated from a very young age. In 1614 or 1615 he moved with his family to Seville, where he soon joined the painting workshop of Francisco Pacheco, by then the most prestigious master of the city, in fact Velázquez's master, with whom Cano became a close friend. As a sculptor, it is traditionally considered that he must have trained with Juan Martínez Montañés, although there is no documentary evidence of this. In 1624 he signed his first known painting, and two years later he obtained the title of master painter. In 1638 he moved to Madrid, and was soon appointed chamber painter and drawing teacher of Prince Baltasar Carlos. There he became acquainted with the royal collections, which will lead his language to evolve from its early Caravaggism to a more colorful and elegant language, sometimes related to Van Dyck. However, in 1644 he was accused of murdering his wife, which led him to take refuge in Valencia. A year later he returned to Madrid, and in 1652 he returned definitively to Granada, where he obtained a position in the cathedral thanks to the influence of Philip IV. There he completed the decoration of the main chapel and became the main master of the cathedral. Works by Alonso Cano are currently kept in the Prado Museum, the Museum of Fine Arts in Seville, the Hermitage in St. Petersburg, the Louvre in Paris, the Metropolitan in New York, the J. Paul Getty in Los Angeles and the Art Institute of Chicago, among other important collections in Spain and abroad. It presents polychromy from a later period and has flaws in the carving.
Setdart Auction House
Jun. 25, 2026
Alonso Cano, 1601 Granada – 1667 ebenda, zugeschrieben
Est: €5,000 - €9,000
JESUS AUF DEM GANG NACH EMMAUS Öl auf Kupfer. 28 x 36 cm. Die Darstellung bezieht sich auf den Bericht des Neuen Testaments, wonach Jesus auf dem Weg nach Emmaus drei Tage nach der Auferstehung zweien seiner Jünger begegnet, die ihn nicht sofort erkennen. Im Bibeltext werden die Namen der Jünger nicht genannt. Der Ikonografie gemäß dürfte es sich bei der mittleren Figur um Petrus handeln, bei der linken um Jakobus den Jüngeren. Das Gemälde geht auf eine Originalfassung von Alonso Cano aus dem Zeitraum zwischen 1635 und 1650 zurück, in den Maßen 52 x 67 cm, das sich heute im Walters Art Museum in Baltimore, USA, befindet. Möglicherweise handelt es sich bei dem kleineren Format auf Kupfer um eine Künstler- bzw. Werkstattwiederholung. Die kleinere Ausführung weist einige Unterschiede im Detail auf, so ist Jakobus der Jüngere mit Wanderstab und rotem Rock weiter nach links außerhalb der Mauer gestellt. In der Kunstliteratur wurde die stilistische Nähe zu Francisco de Zurbaran bereits festgestellt, dem das Originalgemälde vormals auch zugeschrieben war. Die Tatsache, dass hier nicht die Hauptfigur des Neuen Testaments, Jesus, sondern Petrus im Mittelpunkt des Gemäldes steht, lässt darauf schließen, dass der Auftrag einer Peterskirche gegolten hat. Ausführung in hoher Qualität. (1481034) (10)
Hampel Fine Art Auctions
Jun. 17, 2026
ATTRIBUTED TO ALONSO CANO (Granada, 1601-1667) "The Virgin of Carmen with Saint Albert and Saint Teresa"
Est: €4,000 - €6,000
Our Lady of Mount Carmel with Saint Albert and Saint Teresa" Oil on canvas. Probably from an altarpiece in the church of San Alberto in Seville. Dimensions: 64 x 57.5 cm
Ansorena
Jun. 10, 2026
ALONSO CANO (Granada, 1601-Granada, 1667). Segunda mitad de
Est: €6,000 -
ALONSO CANO (Granada, 1601-Granada, 1667). Segunda mitad del siglo XVII "Retrato de Don Alonso de Granada (Alonso Cano?)". Óleo sobre lienzo Cartela de la Dirección General de Bellas Artes/ Exposición Alonso Cano/ Granada junio-julio 1954/ Título "Retrato de Don Alonso de Granada (Fragmento)/ Dimensiones 0,33 x 0,39 / Propiedad Excmo. Sr. Conde de las Almenas./Domicilio Columela , 5º 3º . izqda. Presenta cartela de Junta Delegada de Incautación sección y conservación de Tesoro Artístico Nacional. Dirección General de Bellas Artes: N.º Inventario 22444. Procedencia: Llano de S. Javier. N.º colección: 8. 13 X 18. En el reverso de la tela está escrito: " Dn Alonso de Gra/nada/Original de Cano Medidas:39 x 33 cm.
Magna Art Auctions
Jun. 10, 2026
ALONSO CANO (Granada, 1601-Granada, 1667). Segunda mitad de
Est: €20,000 -
ALONSO CANO (Granada, 1601-Granada, 1667). Segunda mitad del siglo XVII "Cristo yacente sostenido por ángeles". Óleo sobre lienzo Firmado con el anagrama en el ángulo inferior derecho. Procedencia: Importante colección privada de Granada. Medidas:109 x 169 cm.
Magna Art Auctions
May. 28, 2026
Attributed to ALONSO CANO (Granada, 1601 - 1667). "Immaculate Conception". Carved and gilded wood. It retains traces of polychrome.
Est: €32,000 - €35,000
Attributed to ALONSO CANO (Granada, 1601 - 1667). "Immaculate Conception". Carved and gilded wood. It retains traces of polychrome. Measurements: 135 x 54 x 32 cm; 170 cm (total height). This devotional sculpture represents the Virgin Mary in her invocation of the Immaculate Conception, conceived within the scope of the Granada school and following the models established by Alonso Cano, key figure of the Spanish Baroque and founder of the sculptural language of Granada. The Virgin appears in a praying attitude, suspended on a crescent moon pedestal, in a composition of clear spiritual elevation. The carving stands out for the extraordinary subtlety in the treatment of the drapery, especially in the mantle, which seems to undulate gently as if moved by an invisible breeze, and for the idealized fineness of the features of the face, conceived under a canon of serene and ethereal beauty. The work is part of the Baroque devotional tradition, where the image not only fulfills a function of worship, but also of emotional and theological contemplation. In this sense, the Granada school, direct heir to the teaching of Alonso Cano, developed a sculptural language characterized by restrained elegance, refined spirituality and a strong expressive charge, far removed from the more extreme dramatism of other Baroque schools. Alonso Cano is considered one of the most influential figures of Spanish Baroque art. Initially trained in the family environment of carving altarpieces, he developed between Seville, Madrid and Granada, where he consolidated a personal style that integrated painting, sculpture and architecture. His contact with masters such as Francisco Pacheco and his relationship with artists such as Velázquez contributed to the formation of a refined language, which evolved from an initial tenebrism towards a more luminous and elegant aesthetic, sometimes close to the sensibility of Van Dyck. His final stage in Granada was decisive for the configuration of the local school, forming disciples such as Pedro de Mena or José de Mora, who perpetuated his vision of a deeply spiritual sculpture, based on the idealization of forms and the search for a transcendent beauty. In this context, the image of the Immaculate Conception should not be understood solely as a Marian representation, but as the culmination of an aesthetic and theological ideal: a figure suspended between the human and the divine, where matter and spirituality merge in a language of extraordinary delicacy. It preserves remains of polychromy.
Setdart Auction House
Apr. 23, 2026
ALONSO CANO ALONSO CANO (Granada, 1601 - 1667). "Santo Domingo de Guzmán", c. 1665. Ink on paper. Presents restorations. Provenance: Private collection Madrid, Vindel Collection, Collection of Felix Boix. Signed lower left corner
Est: €14,000 - €15,000
ALONSO CANO ALONSO CANO (Granada, 1601 - 1667). "Santo Domingo de Guzmán", c. 1665. Ink on paper. Presents restorations. Provenance: Private Collection Madrid, Vindel Collection, Collection of Felix Boix. Signed lower left corner Measurements: 15 x 12 cm. The scene, impregnated with spirituality, shows Saint Dominic in a solemn gesture of blessing, addressing a woman kneeling at his feet. The female figure, humble and devout, tenderly holds a child in her arms, symbolizing a supplication or act of surrender. The setting, located at the doors of a church, is suggested by a sober architecture that frames the composition, adding a sacred context. Cano's precision in the strokes, especially in the folds of the vestments and the serene features of the protagonists, conveys an atmosphere of recollection and grace. Aesthetically, the work has similarities with a set of drawings by the artist dedicated to Santo Domingo, which are in the collection of the Prado Museum. In fact, the museum itself points out that these drawings were conceived "for the series of Santo Domingo, proposed by Cano for the convent of Santa Cruz la Real in Granada and that, finally, Antonio del Castillo, who apparently was also the author of the copies of these same drawings, painted them for his compositions. Palomino pointed out with respect to the mentioned series And in this time he made all the drawings, for the paintings of the cloister of the Royal Convent of Santa Cruz, Order of Preachers, of the Life of its Glorious Patriarch, which I have in my possession. But the paintings in the said cloister were executed by the drawings of cano a guy from the Castle and they are very deteriorated from time. This passage has allowed us to attribute to Cano fifteen drawings of Dominican themes; all of them present the arched upper part and similar dimensions, although not exact. In addition, there are direct copies of Cano's drawings, made by another hand, which are sometimes the testimony of compositions whose autograph drawing has been lost. Taken together, these two groups of drawings reveal the scope of the iconographic program designed by Cano to adorn the main cloister of the convent of Santa Cruz la Real. The commissioning of these drawings must have been very important to Cano, since the convent of Santa Cruz la Real, founded by Ferdinand and Isabella to commemorate the 1492 victory over the Muslim rulers of Granada, was one of the most prestigious religious centers in Andalusia." Alonso Cano was considered one of the most important Baroque artists in Spain. Painter, sculptor and architect, being of great importance his contribution to the three disciplines, which is why today he is considered one of the most influential artists of the Spanish Baroque. He was also the initiator of the Granada school of painting and sculpture, and his disciples included Juan de Sevilla, Pedro Atanasio Bocanegra, José Risueño, Pedro de Mena and José de Mora. Son of an important assembler of altarpieces and possibly also a draftsman, Alonso Cano was initiated in architectural drawing and imagery by his father, with whom he collaborated from a very young age. In 1614 or 1615 he moved with his family to Seville, where he soon joined the painting workshop of Francisco Pacheco, by then the most prestigious master of the city, in fact Velázquez's master, with whom Cano became a close friend. As a sculptor, it is traditionally considered that he must have trained with Juan Martínez Montañés, although there is no documentary evidence of this. In 1624 he signed his first known painting, and two years later he obtained the title of master painter. In 1638 he moved to Madrid, and was soon appointed chamber painter and drawing teacher of Prince Baltasar Carlos. There he became acquainted with the royal collections, which will lead his language to evolve from its early Caravaggism to a more colorful and elegant language, sometimes related to Van Dyck. However, in 1644 he was accused of murdering his wife, which led him to take refuge in Valencia. A year later he returned to Madrid, and in 1652 he returned definitively to Granada, where he obtained a position in the cathedral thanks to the influence of Philip IV. There he completed the decoration of the main chapel and became the main master of the cathedral. Works by Alonso Cano are currently kept in the Prado Museum, the Museum of Fine Arts in Seville, the Hermitage in St. Petersburg, the Louvre in Paris, the Metropolitan in New York, the J. Paul Getty in Los Angeles and the Art Institute of Chicago, among other important collections in Spain and abroad. It presents restorations.
Setdart Auction House
Mar. 23, 2026
ALONSO CANO (Granada, 1601-1667). Entre 1635 y 1637, Virge
Est: €35,000 -
ALONSO CANO (Granada, 1601-1667). Entre 1635 y 1637 "Virgen con el Niño o Virgen de Belén". Óleo sobre lienzo La autoría de la obra la Virgen de Belén de Alonso Cano conservada en la catedral de Sevilla quedó confirmada gracias a un documento que mencionó Harold Wethey procedente de dicha catedral. Sin embargo, en cuestiones de datación no hay opinión unánime. La versión de taller conservada en el Museo de Bellas Artes de Jaén tiene una inscripción que data la obra entre 1635-38, últimos años de la etapa sevillana de Cano. La segunda vertiente de datación coloca la obra entre 1657 y 1666, durante el último periodo granadino, alegándose que la inscripción de la obra de taller está realizada durante una restauración del siglo XIX. Los últimos estudios son partidarios que la obra sevillana sea pintada hacia 1662. Su dulzura y belleza se pueden comparar con otras obras de Cano como La Virgen con el Niño conservada en las colecciones de El Escorial. Dado la fama y el éxito que tuvo esta composición fue copiada y versionada varias veces por el taller y sus seguidores. Entre ellas cabe descarta la réplica de taller conservada en el Museo de Bellas Artes de Jaén; la réplica de fecha más tardía pintada en su etapa granadina, conservada en el Museo del Hermitage de San Petersburgo, cedida al Museo Estatal de Artes Plásticas A.S. Pushkin de Moscú; la copia de la colección del Banco de España datada entre 1645 -1650, la subastada en Magna-Art en 2020 como seguidor de Alonso Cano; la obra de la catedral anglicana de Edimburgo y otras tantas en colecciones privadas españolas. La versión del museo ruso puede ayudar a datar la obra presentada. Dicho lienzo ha tenido dudas entre los historiadores del arte en su autoría, para algunos fue pintada por algún discípulo virtuoso del maestro granadino, y para otros, dada su gran calidad, por el mismo Cano. A día de hoy, en el catálogo razonado del museo de 1995 aparecía la obra como copia de Cano, sin embargo, en el catálogo de 2005 sobre las obras españolas del Hermitage de San Petersburgo, esta aparece atribuida a Cano. La obra expuesta fue examinada a por algunos especialistas y de boca no dudaron de la autoría del pintor granadino, siendo entonces una réplica del mismo Cano. La calidad y estado de conservación es bastante superior a las versiones conservadas en Moscú, Jaén o Madrid, para ser considera obra de taller o copia de un discípulo aventajado. Medidas:94 x 72,5 cm.
Magna Art Auctions
Jan. 28, 2026
FOLLOWER OF ALONSO CANO (1601-1667), ST FRANCIS AT PRAYER
Est: £500 - £700
FOLLOWER OF ALONSO CANO (1601-1667)ST FRANCIS AT PRAYEROil on canvas45 x 37.5cm (17½ x 14¾ in.)
Dreweatts 1759 Fine Sales
Dec. 17, 2025
ATTRIBUÉ à ALONSO CANO (1601–1667) LE CHRIST AU JARDIN DES OLIVIERS DANS UNE GUIRLANDE DE FLEURS Toile, réduite sur les bords ...
Est: €3,000 - €5,000
ATTRIBUÉ à ALONSO CANO (1601–1667) LE CHRIST AU JARDIN DES OLIVIERS DANS UNE GUIRLANDE DE FLEURS Toile, réduite sur les bords Restaurations anciennes Att to A. Cano, Christ in the garden of olives in a garland of flowers, canvas, reduced at the edges, with restorations 62 x 50 CM - 24,4 x 19,7 IN.
Tajan
Sep. 06, 2025
Alonso Cano
Est: €8,500 - €17,000
(1601 Granada - 1667 ebenda) Umkreis Gemäldepaar von Joseph und Maria Gegenstücke. Statuarisch wirkende Darstellungen der Hl. Maria als junge Frau mit weichen Gesichtszügen und des Hl. Joseph als älteren, vollbärtigen Mann in orientalischer Tracht mit Hirtenstab, der mit seiner rechten Hand zur Seite deutet. Die Komposition, der Zeigegestus und das Format lassen darauf schließen, das es sich einst um flankierende Bilder eines Altars handelte. Cano hatte ein höchst bewegtes Leben, wegen seines Mulitalents als Maler, Bildhauer und Architekt nennt man ihn auch den "spanischen Michelangelo". Er gilt zudem als Begründer der Malschule von Granada. Cano kam bereits in jungen Jahren mit seiner Familie nach Sevilla, wo er ein Schüler der Maler Juan del Castillo, Francisco Pacheco und Francisco de Herrera d. Ä. wurde. 1614 machte er auch die Bekanntschaft mit Diego Velázquez. 1637 musste Cano wegen eines Duells aus Sevilla flüchten, doch gelang ihm mit Empfehlung von Velázquez eine Karriere am Hof in Madrid: er wurde u. a. Hofmaler Königs Philipp IV., agierte als Zeichenlehrer des Infanten Baltasar Carlos und war an der Ausstattung einiger Räume des Alcázar beteilgt. 1644 musste er erneut flüchten, ging in die Kartause Porta Coeli in Valencia und trat in den geistlichen Stand ein. Es folgten die zweifache Rückkehr nach Madrid, es gab aber auch Aufenthalte in Granada und Toledo. Öl/Lwd., doubl.; Auf Rahmenplakette Alonso Cano attr.; 108 x 39,5 cm bzw. 107,5 cm x 40 cm. Rahmen. Circle of Alonso Cano (1601 - 1667). A pair of paintings decpicting Mary and Joseph. Oil on canvas, relined.
Kunstauktionshaus Schloss Ahlden
Jul. 10, 2025
Follower of ALONSO CANO (Granada, 1601 - 1667), XIX century. "Virgin and Child". Oil on canvas. Presents restorations. Frame of the nineteenth century in gilded carved wood.
Est: €2,500 - €3,000
Follower of ALONSO CANO (Granada, 1601 - 1667), XIX century. "Virgin and Child". Oil on canvas. Presents restorations. Frame of the nineteenth century in gilded carved wood. Measurements: 92 x 80 cm; 131 x 121 X 7 cm (frame). The present work, of nineteenth-century period, is a version of the painting "The Virgin and Child" by Alonso Cano, preserved in the Prado Museum. Under the moonlight, the devotional image of the Virgin and Child Jesus in this composition is endearing for its silver lighting and for being a very young mother of peasant appearance, far from the idealizing canons of the previous tradition. The couple is placed in the foreground, which gives them volume and solidity, but at the same time the tenderness emanating from their bodies detracts from their monumentality. Mary wears a wavy mane that falls over her shoulders. The red tunic turns mauve under the lunar light. The plump body of the child is endowed with a naturalistic softness that is particularly successful. The blue mantle covers the mother's shoulders and also the lap on which the child lies. The composition is harmonious and balanced. This work summarizes some of the main characteristics of Alonso Cano's style and, especially, his ability to assimilate the most varied influences. Thus, while the composition is based on a well-known print by Dürer, the coloring shows the mark he left on the knowledge of Titian's works in the Royal Collections, and the Virgin is related to some of Raphael's madonnas. But all this interpreted with the serenity and repose characteristic of the painter.
Setdart Auction House
Jun. 26, 2025
ALONSO CANO (Granada, 1601 - 1667), Spanish Grenada Baroque School of the 17th century - SPAIN - BAROQUE
Est: €50,000 - €55,000
NOTICE TO INTERNATIONAL BIDDERS: THIS ARTWORK HAS BEEN GRANTED THE EXPORT PERMIT BY THE SPANISH MINISTRY OF CULTURE AND CAN BE EXPORTED BOTH OUTSIDE SPAIN AND THE EU. Oil on canvas with measurements: 99.5 x 75 cm. Framed measurements: 150 x 125 cm. Of sublime technique and masterful artistic quality that are difficult to express with words, together with an important Spanish baroque pine frame from the same period in ebonized wood. Very possibly a private devotional commission made during his time in Madrid that spans from 1638 to 1650 of Our Lady of Soledad de la Victoria, a carving of immense devotion at the time both in the Peninsula and in the New World newly established colonial devotional missions, made by the sculptor and image maker Gaspar Becerra (1520-1570) for the disappeared convent of Nuestra Señora de la Victoria in Madrid, in whose church he had an important chapel and of which another version is preserved (larger format and twin of the one offered by Templum Fine Art Auctions ) in the Cathedral of Granada. Measurements: canvas only 99.5 x 75 cm. Framed measurements: 150 x 125 cm. Templum Subastas is pleased to present for the first time to the national and international art and auction market this work, of which a report by the Doctor in Art History of the University of Granada Mr. José Antonio Díaz Gomez is attached. The piece proposed here is presented in an excellent state of conservation, on an original canvas support on a wood frame, 97cm high, 74cm wide and 2cm thick, to which it is stapled after a contemporary intervention. The author of this painting has used the oil technique to recreate a true effigy of the Virgen de la Soledad, a round vestibule carving destroyed during the Spanish Civil War and originally made for the Convent of Our Lady of Victoria, of minimal friars of Madrid, by the Baeza sculptor Gaspar Becerra in 1565, in turn inspired, apparently, by a painting of French origin that Queen Isabel de Valois kept in her private oratory. Alonso Cano captures like no other artist of his time time the maternal tenderness and emotional spirituality that the self-absorbed, dry and austere countenance of the present work awakened in the faithful. Bibliography: Henares Cuéllar, Ignacio (dir.) Alonso Cano: spirituality and artistic modernity. Seville: Ministry of Culture, Junta de Andalucía, 2001; Véliz, Zahira. Alonsco Cano (1601-1667): drawings. Catalog raisonné. Santander: Marcelino Botín Foundation, 2011. Provenance: 1) Acquired from an important Spanish private institution dissolved collection, Barcelona, 2) Liquidation of the private collection of an antiques dealer and collector, Barcelona. Lot no subject to reserve price.
Templum Fine Art Auctions
Jun. 26, 2025
Ritratto di San Nicola da Tolentino
Est: €5,000 - €10,000
In atto benedicente vestito con manto stellato e stante a sorreggere un piatto a ricordare l'episodio miracoloso delle starne risuscitate Nel retro , come da foto , attribuzione ad Alonso Cano
Gliubich Casa d'Aste
Jun. 18, 2025
Granada school of the seventeenth century. Circle of ALONSO CANO (Granada, 1601 - 1667). "Christ Crucified. Polychrome wood carving.
Est: €3,500 - €4,000
Granada school of the seventeenth century. Circle of ALONSO CANO (Granada, 1601 - 1667). "Christ Crucified. Polychrome wood carving. Measurements: 30 x 30 x 8 cm. This is a quality carving, which follows the pictorial models of Alonso Cano (see the Christ preserved in the Academy of Fine Arts of San Fernando), and transfers them to the sculpture. It is a Christ of four nails, with an elongated and robust canon, which allows to turn each of the legs separately and give the figure a subjugating presence. The outstretched arms end in precisely turned hands. The two outstretched fingers symbolize the dual nature of Jesus, human and divine. The head falls inert, showing us that the body has stopped suffering, so that the muscles relax slightly showing a harmonious whole, of great beauty. Alonso Cano and other masters from Granada were the standard bearers of the classicist line of the Baroque, as opposed to the extreme pathos that developed in other parts of Spain.
Setdart Auction House
Jun. 04, 2025
ALONSO CANO ALMANSA, "Virgen con el Niño".
Est: -
ALONSO CANO ALMANSA, "Virgen con el Niño".
Arte Subastas Bilbao
May. 28, 2025
Circle of ALONSO CANO (Granada, 1601 - 1667); End of the XVII century. "Immaculate Conception". Oil on canvas. Relined.
Est: €2,000 - €2,500
Circle of ALONSO CANO (Granada, 1601 - 1667); End of the XVII century. "Immaculate Conception". Oil on canvas. Relined. Measurements: 140 x 88 cm. Devotional image starring the figure of the Virgin Mary as Immaculate Conception. The piece follows an aesthetic of scenographic character, typical of the Baroque period, in fact the break of glory is defined by a set of ethereal clouds among which are exposed the litanies, essential iconography in the representation of the Virgin as Immaculate. Aesthetically the work is close to the stylistic precepts of Alonso Cano, an artist considered one of the most important Baroque artists in Spain. Painter, sculptor and architect, being of great importance his contribution to the three disciplines, which is why today he is considered one of the most influential artists of the Spanish Baroque. He was also the initiator of the Granada school of painting and sculpture, and his disciples included Juan de Sevilla, Pedro Atanasio Bocanegra, José Risueño, Pedro de Mena and José de Mora. Son of an important assembler of altarpieces and possibly also a draftsman, Alonso Cano was initiated in architectural drawing and imagery by his father, with whom he collaborated from a very young age. In 1614 or 1615 he moved with his family to Seville, where he soon joined the painting workshop of Francisco Pacheco, by then the most prestigious master of the city, in fact Velázquez's master, with whom Cano became a close friend. As a sculptor, it is traditionally considered that he must have trained with Juan Martínez Montañés, although there is no documentary evidence of this. In 1624 he signed his first known painting, and two years later he obtained the title of master painter. In 1638 he moved to Madrid, and was soon appointed chamber painter and drawing teacher of Prince Baltasar Carlos. There he became acquainted with the royal collections, which will lead his language to evolve from its early Caravaggism to a more colorful and elegant language, sometimes related to Van Dyck. However, in 1644 he was accused of murdering his wife, which led him to take refuge in Valencia. A year later he returned to Madrid, and in 1652 he returned definitively to Granada, where he obtained a position in the cathedral thanks to the influence of Philip IV. There he completed the decoration of the main chapel and became the main master of the cathedral. Works by Alonso Cano are currently kept in the Prado Museum, the Museum of Fine Arts in Seville, the Hermitage in St. Petersburg, the Louvre in Paris, the Metropolitan in New York, the J. Paul Getty in Los Angeles and the Art Institute of Chicago, among other important collections in Spain and abroad.
Setdart Auction House
May. 22, 2025
ALONSO CANO (Granada, 1601 - 1667), Spanish Grenada Baroque School of the 17th century - SPAIN - BAROQUE
Est: €50,000 - €60,000
NOTICE TO INTERNATIONAL BIDDERS: THIS ARTWORK HAS BEEN GRANTED THE EXPORT PERMIT BY THE SPANISH MINISTRY OF CULTURE AND CAN BE EXPORTED BOTH OUTSIDE SPAIN AND THE EU. Oil on canvas with measurements: 99.5 x 75 cm. Framed measurements: 150 x 125 cm. Of sublime technique and masterful artistic quality that are difficult to express with words, together with an important Spanish baroque pine frame from the same period in ebonized wood. Very possibly a private devotional commission made during his time in Madrid that spans from 1638 to 1650 of Our Lady of Soledad de la Victoria, a carving of immense devotion at the time both in the Peninsula and in the New World newly established colonial devotional missions, made by the sculptor and image maker Gaspar Becerra (1520-1570) for the disappeared convent of Nuestra Señora de la Victoria in Madrid, in whose church he had an important chapel and of which another version is preserved (larger format and twin of the one offered by Templum Fine Art Auctions ) in the Cathedral of Granada. Measurements: canvas only 99.5 x 75 cm. Framed measurements: 150 x 125 cm. Templum Subastas is pleased to present for the first time to the national and international art and auction market this work, of which a report by the Doctor in Art History of the University of Granada Mr. José Antonio Díaz Gomez is attached. The piece proposed here is presented in an excellent state of conservation, on an original canvas support on a wood frame, 97cm high, 74cm wide and 2cm thick, to which it is stapled after a contemporary intervention. The author of this painting has used the oil technique to recreate a true effigy of the Virgen de la Soledad, a round vestibule carving destroyed during the Spanish Civil War and originally made for the Convent of Our Lady of Victoria, of minimal friars of Madrid, by the Baeza sculptor Gaspar Becerra in 1565, in turn inspired, apparently, by a painting of French origin that Queen Isabel de Valois kept in her private oratory. Alonso Cano captures like no other artist of his time time the maternal tenderness and emotional spirituality that the self-absorbed, dry and austere countenance of the present work awakened in the faithful. Bibliography: Henares Cuéllar, Ignacio (dir.) Alonso Cano: spirituality and artistic modernity. Seville: Ministry of Culture, Junta de Andalucía, 2001; Véliz, Zahira. Alonsco Cano (1601-1667): drawings. Catalog raisonné. Santander: Marcelino Botín Foundation, 2011. Provenance: 1) Acquired from an important Spanish private institution dissolved collection, Barcelona, 2) Liquidation of the private collection of an antiques dealer and collector, Barcelona. Lot no subject to reserve price.
Templum Fine Art Auctions
May. 10, 2025
CANO, ALONSO, In der Art - Manner of: Grablegung Christi.
Est: CHF450 - CHF900
CANO, ALONSO (1601 Granada 1667); In der Art - Manner of : Grablegung Christi; Öl auf Holz, parkettiert; 23x41,5 cm
Dobiaschofsky Auktionen AG
Apr. 30, 2025
Important Virgin Immaculate in Glory, 17th century Granada school, Granada circle of Alonso Cano (Granada, February 19, 1601-Granada, September 3, 1667)
Est: €5,000 - €6,000
Made of polychrome, gilded and embossed wood, total dimensions with base: 40 x 15 x 15 cm. Provenance: private collection, Madrid.
Templum Fine Art Auctions
Feb. 26, 2025
Alonso Cano. Child attributes of the Passion
Est: -
Oil on canvas. A certificate issued by Enrique Valdivieso is attached, which dates the work to around 1650. The loose, scrubbed brushstrokes are typical of Cano's style in the middle years of the 17th century, with which he created numerous images of children, very similar to the one presented in this work. This can be seen in representations of the Virgin and Child, such as the one that appears in the painting preserved in the Cathedral of Seville and in another that belongs to the collegiate church of San Antolín, in Medina del Campo.
Duran Arte y Subastas
Feb. 25, 2025
ALONSO CANO ALONSO CANO (Granada, 1601 - 1667). "Santo Domingo de Guzmán", c. 1665. Ink on paper. Presents restorations. Provenance: Private collection Madrid, Vindel Collection, Collection of Felix Boix. Signed lower left corner
Est: €19,000 - €20,000
ALONSO CANO ALONSO CANO (Granada, 1601 - 1667). "Santo Domingo de Guzmán", c. 1665. Ink on paper. Presents restorations. Provenance: Private Collection Madrid, Vindel Collection, Collection of Felix Boix. Signed lower left corner Measurements: 15 x 12 cm. The scene, impregnated with spirituality, shows Saint Dominic in a solemn gesture of blessing, addressing a woman kneeling at his feet. The female figure, humble and devout, tenderly holds a child in her arms, symbolizing a supplication or act of surrender. The setting, located at the doors of a church, is suggested by a sober architecture that frames the composition, adding a sacred context. Cano's precision in the strokes, especially in the folds of the vestments and the serene features of the protagonists, conveys an atmosphere of recollection and grace. Aesthetically, the work has similarities with a set of drawings by the artist dedicated to Santo Domingo, which are in the collection of the Prado Museum. In fact, the museum itself points out that these drawings were conceived "for the series of Santo Domingo, proposed by Cano for the convent of Santa Cruz la Real in Granada and that, finally, Antonio del Castillo, who apparently was also the author of the copies of these same drawings, painted them for his compositions. Palomino pointed out with respect to the mentioned series And in this time he made all the drawings, for the paintings of the cloister of the Royal Convent of Santa Cruz, Order of Preachers, of the Life of its Glorious Patriarch, which I have in my possession. But the paintings in the said cloister were executed by the drawings of cano a guy from the Castle and they are very deteriorated from time. This passage has allowed us to attribute to Cano fifteen drawings of Dominican themes; all of them present the arched upper part and similar dimensions, although not exact. In addition, there are direct copies of Cano's drawings, made by another hand, which are sometimes the testimony of compositions whose autograph drawing has been lost. Taken together, these two groups of drawings reveal the scope of the iconographic program designed by Cano to adorn the main cloister of the convent of Santa Cruz la Real. The commissioning of these drawings must have been very important to Cano, since the convent of Santa Cruz la Real, founded by Ferdinand and Isabella to commemorate the 1492 victory over the Muslim rulers of Granada, was one of the most prestigious religious centers in Andalusia." Alonso Cano was considered one of the most important Baroque artists in Spain. Painter, sculptor and architect, being of great importance his contribution to the three disciplines, which is why today he is considered one of the most influential artists of the Spanish Baroque. He was also the initiator of the Granada school of painting and sculpture, and his disciples included Juan de Sevilla, Pedro Atanasio Bocanegra, José Risueño, Pedro de Mena and José de Mora. Son of an important assembler of altarpieces and possibly also a draftsman, Alonso Cano was initiated in architectural drawing and imagery by his father, with whom he collaborated from a very young age. In 1614 or 1615 he moved with his family to Seville, where he soon joined the painting workshop of Francisco Pacheco, by then the most prestigious master of the city, in fact Velázquez's master, with whom Cano became a close friend. As a sculptor, it is traditionally considered that he must have trained with Juan Martínez Montañés, although there is no documentary evidence of this. In 1624 he signed his first known painting, and two years later he obtained the title of master painter. In 1638 he moved to Madrid, and was soon appointed chamber painter and drawing teacher of Prince Baltasar Carlos. There he became acquainted with the royal collections, which will lead his language to evolve from its early Caravaggism to a more colorful and elegant language, sometimes related to Van Dyck. However, in 1644 he was accused of murdering his wife, which led him to take refuge in Valencia. A year later he returned to Madrid, and in 1652 he returned definitively to Granada, where he obtained a position in the cathedral thanks to the influence of Philip IV. There he completed the decoration of the main chapel and became the main master of the cathedral. Works by Alonso Cano are currently kept in the Prado Museum, the Museum of Fine Arts in Seville, the Hermitage in St. Petersburg, the Louvre in Paris, the Metropolitan in New York, the J. Paul Getty in Los Angeles and the Art Institute of Chicago, among other important collections in Spain and abroad. It presents restorations.
Setdart Auction House
Feb. 20, 2025
ALONSO CANO (Granada, 1601 - 1667), Spanish Granada Baroque School of the 17th century - NO RESERVE LOT
Est: €200,000 - €250,000
NOTICE TO BIDDERS: THIS ARTWORK HAS BEEN GRANTED EXPORT PERMIT BY THE SPANISH MINISTRY OF CULTURE AND CAN BE EXPORTED OUTSIDE THE EU. Dossier of Alain Morreau, Paris, and PHD Jose Antonio Diaz Gomez, University of Granada attached. Oil on canvas with measurements: 99.5 x 75 cm. Framed measurements: 150 x 125 cm. Of sublime technique and masterful artistic quality that are difficult to express with words, together with an important Spanish baroque pine frame from the same period in ebonized wood. Very possibly a private devotional commission made during his time in Madrid that spans from 1638 to 1650 of Our Lady of Soledad de la Victoria, a carving of immense devotion at the time both in the Peninsula and in the New World newly established colonial devotional missions, made by the sculptor and image maker Gaspar Becerra (1520-1570) for the disappeared convent of Nuestra Señora de la Victoria in Madrid, in whose church he had an important chapel and of which another version is preserved (larger format and twin of the one offered by Templum Fine Art Auctions ) in the Cathedral of Granada. Measurements: canvas only 99.5 x 75 cm. Framed measurements: 150 x 125 cm. Templum Subastas is pleased to present for the first time to the national and international art and auction market this work, of which a report by the Doctor in Art History of the University of Granada Mr. José Antonio Díaz Gomez is attached. The piece proposed here is presented in an excellent state of conservation, on an original canvas support on a wood frame, 97cm high, 74cm wide and 2cm thick, to which it is stapled after a contemporary intervention. The author of this painting has used the oil technique to recreate a true effigy of the Virgen de la Soledad, a round vestibule carving destroyed during the Spanish Civil War and originally made for the Convent of Our Lady of Victoria, of minimal friars of Madrid, by the Baeza sculptor Gaspar Becerra in 1565, in turn inspired, apparently, by a painting of French origin that Queen Isabel de Valois kept in her private oratory. Alonso Cano captures like no other artist of his time time the maternal tenderness and emotional spirituality that the self-absorbed, dry and austere countenance of the present work awakened in the faithful. Bibliography: Henares Cuéllar, Ignacio (dir.) Alonso Cano: spirituality and artistic modernity. Seville: Ministry of Culture, Junta de Andalucía, 2001; Véliz, Zahira. Alonsco Cano (1601-1667): drawings. Catalog raisonné. Santander: Marcelino Botín Foundation, 2011. Provenance: acquired from an important Spanish private institution dissolved collection.
Templum Fine Art Auctions
Jan. 23, 2025
ALONSO CANO (Granada 1601 - 1667) - Child Jesus with attributes of the Passion (c.1650)
Est: €50,000 - €80,000
Oil on canvas. Measurements: 70 x 56 cm (without frame), 80 x 65 cm (with frame). We would like to thank Mr. Enrique Valdivieso González for his help in cataloguing this work. The work represents the Child Jesus with attributes of the Passion, a piece that, due to its stylistic characteristics, can be attributed as an original by Alonso Cano, made in Madrid around 1650. In this painting, Cano uses a child model that stands out for its physical expressiveness, a recurring feature in his work, used on multiple occasions throughout his artistic career. As for the From the iconography of the canvas, it can be noted that the Child Jesus is represented as the savior of the world, carrying a sphere crowned by a cross located to the left of his figure. In addition, the work includes various symbols related to his Passion, death and resurrection: on the ground you can see the scourge with which he was whipped, the rope with which he was dragged to Calvary, the three nails that held him to the cross, the sign with the INRI placed on top of the wood, and the spear that pierced his side. The reference to his resurrection is evident in the skull that the Child steps on, symbolizing his triumph over death. The technique of loose, scrubbed brushstrokes used in this work is characteristic of Cano's style in the middle years of the 17th century. This resource was used by the artist to create numerous images of children, similar to the one seen in this canvas. Comparable examples can be found in representations of the Virgin and Child, such as the painting preserved in the Cathedral of Seville and another in the collegiate church of San Antolín, in Medina del Campo. (Text taken from Mr. Valdivieso's document)
Templum Fine Art Auctions
Dec. 17, 2024
ALONSO CANO Granada 1601 - 1667 Immaculate Conception, c. 16
Est: -
ALONSO CANO Granada 1601 - 1667 Immaculate Conception, c. 1660-1667 Oil on canvas Dimensions 192.5 x 135.5 cm Provenance: - Collection of General John Meade, Madrid, until 1842. - Bequeathed by John Meade to Ángela Laporta in a public will in Madrid on June 16, 1842. - From 1842 by descent to the current owners. This unpublished Immaculate Conception by the Granadan Alonso Cano is an important addition to the catalogue of works by one of the most outstanding painters of the Spanish Baroque. Its execution date has been placed around 1664-1667, at the height of his artistic career, when the painter, upon his return to Granada, was preparing to finish the Marian series for the main chapel of the metropolitan cathedral of Granada. The model for the Immaculate Conception, as Benito Navarrete had already pointed out, is based on a print by Rafaello Schiaminossi based on a composition by Bernardo Castello, whose model was copied in a second print attributed to Francisco de Herrera the Elder, preserved in the National Library of Madrid. This fusiform compositional model had a great impact on the Conceptionist creations made by Alonso Cano, although the young Velázquez also used this same type in the Immaculate Conception of Dean López Cepero, now in the Focus-Abengoa Foundation in Seville. One of the first works to use this rhomboidal scheme is the Immaculate Conception, which he painted between 1656 and 1660 for the Franciscan convent of San Antonio and San Diego in Granada, now in a private collection in Granada. However, the example that serves as a reference for this work is the Immaculate Conception of the Chapter Oratory of the Metropolitan Cathedral of Granada (fig. 1), painted between 1660 and 1667, which is directly derived from the small carving on the lectern. Another of the works executed by Alonso Cano around 1660-1667, the Immaculate Conception in the Magdeburg Museum (fig. 2), unfortunately destroyed during the course of the Second World War, bears great similarities to Meade's Immaculate Conception. In both works we can see an almost identical posture, with some changes that affect both the cloak and one of the Virgin's arms. There is also a parallel between the position of the head, here not so inclined, and the halo composed of light bursts and the twelve stars of the stellarium. Regarding the latter, it should be noted that Cano had already used this same resource around 1628 for the Immaculate Conception in the church of San Alberto in Seville. Unlike his first Conceptionist works with a marked tenebrist affiliation, at this time Alonso Cano worked on compositions of great lyricism, less complex but luminous, with beautiful blue tones, without renouncing a masterful drawing and admirable execution. We do not know under what circumstances Meade acquired the Immaculate Conception, although we can guess that he had the advice of some of his contacts in the Madrid art circuit. Likewise, it is very difficult to determine the first destination of this painting. We know that Alonso Cano painted several Immaculate Conceptions that are currently in an unknown whereabouts. The excellent state of preservation of the work allows us to observe Cano's work process, with the artist's agile and vibrant brushstrokes being visible, executed without hesitation or modifications that demonstrate his proven mastery in the use of the brush. Another common element with many of Cano's works is the soft but meticulous modeling with which he has treated the flesh tones, with a rich chromatic variety and characteristic shading. The painter's indisputable skill can also be seen in the Virgin's white tunic, in which the brushstrokes are applied using broken and long strokes, which are highly expressive. Bibliography: - Navarrete Prieto, Benito., La pintura andaluza del siglo XVII y sus fuente gravadas, Madrid, 1998. - Aterido Fernández, Ángel and Gila Medina, Lázaro. (coord. and ed.), Corpus Alonso Cano. Documents and texts, Madrid, Ministry of Education, 2002. - Navarrete Prieto, Benito., "Integration of Granada Baroque painting in the European cultural context" in Antiquity and Excellence, cat. exp. Museum of Fine Arts of Seville, 2007, pp. 76-83. - Pérez Sánchez, Alfonso E., Spanish Baroque painting 1600-1750, Madrid, 2010, pp. 208-214.
Subastas Segre
Dec. 07, 2024
Alonso Cano (1601 Granada - 1667 ibid.) (attrib.)
Est: -
Alonso Cano (1601 Granada - 1667 ibid.) (attrib.) Praying Boy, oil on canvas, 81 cm x 65 cm canvas dimensions, partially craquelured, in need of cleaning, retouched, partially restored. A boy kneels down to pray. He turns towards a source of light outside of the painting, which illuminates his face. Spanish court fashion has long since merged into the fashion of the Thirty Years' War, in whose ascetic black the child presents himself. Red-lined boots and a white collar covering his shoulders complete his fussy appearance. The barren landscape in the background, from which the boy turns away, is dominated by a large wooden cross. The loaf of bread that he has placed in front of him refers to the carnal physicality of Christ and to the Last Supper, at which Jesus broke bread with his disciples. The boy is turning towards a divine power that is higher than his own physical existence. The sculptural quality of the boy and the clarity of the forms are reminiscent of Francisco Pachero's influence on Alonso Cano, who valued the disegno, the influence of drawing on the painting, and favoured it over the use of colour. Cano's typical use of light emphasises the spiritual expression of the boy, whose devotion encourages the viewer to devote as well. The artistic quality of the subject and its execution emphasise the high religious significance that this painting had at the time of its creation.
Wettmann
Nov. 25, 2024
Follower of ALONSO CANO (Granada, 1601 - 1667), XIX century. "Virgin and Child". Oil on canvas. Presents restorations. Frame of the nineteenth century in gilded carved wood.
Est: €3,000 - €4,000
Follower of ALONSO CANO (Granada, 1601 - 1667), XIX century. "Virgin and Child". Oil on canvas. Presents restorations. Frame of the nineteenth century in gilded carved wood. Measurements: 92 x 80 cm; 131 x 121 X 7 cm (frame). The present work, of nineteenth-century period, is a version of the painting "The Virgin and Child" by Alonso Cano, preserved in the Prado Museum. Under the moonlight, the devotional image of the Virgin and Child Jesus in this composition is endearing for its silver lighting and for being a very young mother of peasant appearance, far from the idealizing canons of the previous tradition. The couple is placed in the foreground, which gives them volume and solidity, but at the same time the tenderness emanating from their bodies detracts from their monumentality. Mary wears a wavy mane that falls over her shoulders. The red tunic turns mauve under the lunar light. The plump body of the child is endowed with a naturalistic softness that is particularly successful. The blue mantle covers the mother's shoulders and also the lap on which the child lies. The composition is harmonious and balanced. This work summarizes some of the main characteristics of Alonso Cano's style and, especially, his ability to assimilate the most varied influences. Thus, while the composition is based on a well-known print by Dürer, the coloring shows the mark he left on the knowledge of Titian's works in the Royal Collections, and the Virgin is related to some of Raphael's madonnas. But all this interpreted with the serenity and repose characteristic of the painter.
Setdart Auction House
Oct. 28, 2024
Granada school, following models of ALONSO CANO (Granada, 1601 - 1667); c, 1700. "Chapel tabernacle". Carved wood, gilded and polychrome. It presents polychrome of later period and has faults in the carving.
Est: €1,600 - €2,000
Granada school, following models of ALONSO CANO (Granada, 1601 - 1667); c, 1700. "Chapel tabernacle". Carved wood, gilded and polychrome. It presents polychrome of later period and has faults in the carving. Measurements: 50 x 22 x 17 cm; 25 x 28 cm (base). Devotional image of Mary as Immaculate, with a closed and ascending structure, in the form of a spindle, which follows the models established by Alonso Cano. The image represents Mary in a praying position, dressed in blue and white (colors allusive to the concepts of truth and eternity, the blue, and purity, the white), on a pedestal of clouds adorned with cherub faces and with the fourth crescent moon, allusive to the iconography of the Immaculate Conception, which exceeds the sides. The piece follows the traditional iconography, in such a way that the spectator can recreate himself with the delicacy of the carving, which is displayed in the conception of the mantle, which seems to be waved by the wind, and in the fineness of the Virgin's facial features, completely idealized. Because of its formal and iconographic characteristics we can frame this Inmaculada within the circle of followers of Alonso Cano, painter, sculptor and architect who is considered today as one of the most influential artists of the Spanish Baroque. He was also the initiator of the Granada school of painting and sculpture, and his disciples included Juan de Sevilla, Pedro Atanasio Bocanegra, José Risueño, Pedro de Mena and José de Mora. Son of an important assembler of altarpieces and possibly also a draftsman, Alonso Cano was initiated in architectural drawing and imagery by his father, with whom he collaborated from a very young age. In 1614 or 1615 he moved with his family to Seville, where he soon joined the painting workshop of Francisco Pacheco, by then the most prestigious master of the city, in fact Velázquez's master, with whom Cano became a close friend. As a sculptor, it is traditionally considered that he must have trained with Juan Martínez Montañés, although there is no documentary evidence of this. In 1624 he signed his first known painting, and two years later he obtained the title of master painter. In 1638 he moved to Madrid, and was soon appointed chamber painter and drawing teacher of Prince Baltasar Carlos. There he became acquainted with the royal collections, which will lead his language to evolve from its early Caravaggism to a more colorful and elegant language, sometimes related to Van Dyck. However, in 1644 he was accused of murdering his wife, which led him to take refuge in Valencia. A year later he returned to Madrid, and in 1652 he returned definitively to Granada, where he obtained a position in the cathedral thanks to the influence of Philip IV. There he completed the decoration of the main chapel and became the main master of the cathedral. Works by Alonso Cano are currently kept in the Prado Museum, the Museum of Fine Arts in Seville, the Hermitage in St. Petersburg, the Louvre in Paris, the Metropolitan in New York, the J. Paul Getty in Los Angeles and the Art Institute of Chicago, among other important collections in Spain and abroad. It presents polychromy from a later period and has flaws in the carving.
Setdart Auction House
Oct. 20, 2024
Alonso CANO (1601-1667), d'après
Est: €2,000 - €3,000
Alonso CANO (1601-1667), d'après Le Christ lié à la colonne Grande huile sur toile XVIIIe siècle. 147 x 100 cm (Restaurations). Note. Notre tableau est une copie d'un original du Maître Espagnol conservé au Musée des Beaux Arts de Pau.
Osenat
Oct. 06, 2024
Alonso Cano (1601-1667): Holy Family with St. John the Baptist
Est: $8,000 - $12,000
Alonso Cano 1601-1667 Holy Family with St. John oil on canvas unsigned
Abell Auction
Sep. 21, 2024
Alonso Cano, Umkreis
Est: €10,000 - €15,000
Alonso Cano 1601 Granada - 1667 Granada Umkreis - Bildnispaar Maria und Joseph - Öl/Lwd. (2). Doubl. 108 x 39,5 cm bzw. 107,5 x 40,2 cm. Rahmen. Etwas rest. Der spanische Maler, Bildhauer und Architekt gilt als Begründer der Granadinischen Malerei (Escuela granadina de pintura). Aufgrund der Vielseitigkeit seines künstlerischen Talents wurde er auch als der "spanische Michelangelo" bezeichnet.
Das Kunst- und Auktionshaus Kastern GmbH & Co KG
Sep. 12, 2024
ALONSO CANO (Granada, 1601 - 1667) - THE VISION OF SAN FRANCISCO, Granada Baroque school of the 17th century
Est: €90,000 - €120,000
Oil on canvas, measurements: 199 x 158 cm, measurements with frame: 202 x 161. Published in the Spanish Art Archive, No. 210, year 1980. Provenance: important Andalusian private collection.
Templum Fine Art Auctions
Sep. 12, 2024
ALONSO CANO (Granada, 1601 - 1667), Spanish Granada Baroque School of the 17th century - NO RESERVE LOT
Est: €300,000 - €350,000
NOTICE TO BIDDERS: THIS ARTWORK HAS BEEN GRANTED EXPORT PERMIT BY THE SPANISH MINISTRY OF CULTURE AND CAN BE EXPORTED OUTSIDE THE EU. Dossier of Alain Morreau, Paris, and PHD Jose Antonio Diaz Gomez, University of Granada attached. Oil on canvas with measurements: 99.5 x 75 cm. Framed measurements: 150 x 125 cm. Of sublime technique and masterful artistic quality that are difficult to express with words, together with an important Spanish baroque pine frame from the same period in ebonized wood. Very possibly a private devotional commission made during his time in Madrid that spans from 1638 to 1650 of Our Lady of Soledad de la Victoria, a carving of immense devotion at the time both in the Peninsula and in the New World newly established colonial devotional missions, made by the sculptor and image maker Gaspar Becerra (1520-1570) for the disappeared convent of Nuestra Señora de la Victoria in Madrid, in whose church he had an important chapel and of which another version is preserved (larger format and twin of the one offered by Templum Fine Art Auctions ) in the Cathedral of Granada. Measurements: canvas only 99.5 x 75 cm. Framed measurements: 150 x 125 cm. Templum Subastas is pleased to present for the first time to the national and international art and auction market this work, of which a report by the Doctor in Art History of the University of Granada Mr. José Antonio Díaz Gomez is attached. The piece proposed here is presented in an excellent state of conservation, on an original canvas support on a wood frame, 97cm high, 74cm wide and 2cm thick, to which it is stapled after a contemporary intervention. The author of this painting has used the oil technique to recreate a true effigy of the Virgen de la Soledad, a round vestibule carving destroyed during the Spanish Civil War and originally made for the Convent of Our Lady of Victoria, of minimal friars of Madrid, by the Baeza sculptor Gaspar Becerra in 1565, in turn inspired, apparently, by a painting of French origin that Queen Isabel de Valois kept in her private oratory. Alonso Cano captures like no other artist of his time time the maternal tenderness and emotional spirituality that the self-absorbed, dry and austere countenance of the present work awakened in the faithful. Bibliography: Henares Cuéllar, Ignacio (dir.) Alonso Cano: spirituality and artistic modernity. Seville: Ministry of Culture, Junta de Andalucía, 2001; Véliz, Zahira. Alonsco Cano (1601-1667): drawings. Catalog raisonné. Santander: Marcelino Botín Foundation, 2011. Provenance: acquired from an important Spanish private institution dissolved collection.
Templum Fine Art Auctions
Jul. 25, 2024
ALONSO CANO (Granada, 1601 - 1667) - THE VISION OF SAN FRANCISCO, Granada Baroque school of the 17th century
Est: €90,000 - €120,000
Oil on canvas, measurements: 199 x 158 cm, measurements with frame: 202 x 161. Published in the Spanish Art Archive, No. 210, year 1980. Provenance: important Andalusian private collection.
Templum Fine Art Auctions
Jul. 18, 2024
Precious colonial Immaculate Virgin inspired by the models of Alonso Cano (1601-1667), colonial school of New Granada or New Spain, mid-18th century
Est: €1,500 - €2,000
Gilded, stewed, sgraffito and dotted wood carving made of tropical wood, preserving most of its original polychromy. Measurements: 54 x 23 x 15 cm
Templum Fine Art Auctions
Jun. 26, 2024
NUESTRA SENORA DE LA VICTORIA - ALONSO CANO (Granada 1601 - 1667) Spanish Grenada Baroque School of the 17th century - STAR LOT
Est: €650,000 - €750,000
NOTICE TO INTERNATIONAL BIDDERS: THIS ARTWORK HAS BEEN GRANTED THE EXPORT PERMIT BY THE SPANISH MINISTRY OF CULTURE AND CAN BE EXPORTED BOTH OUTSIDE SPAIN AND THE EU Oil on canvas with measurements: 99 5 x 75 cm Framed measurements: 150 x 125 cm Of sublime technique and masterful artistic quality that are difficult to express with words together with an important Spanish baroque pine frame from the same period in ebonized wood Very possibly a private devotional commission made during his time in Madrid that spans from 1638 to 1650 of Our Lady of Soledad de la Victoria a carving of immense devotion at the time both in the Peninsula and in the New World newly established colonial devotional missions made by the sculptor and image maker Gaspar Becerra (1520-1570) for the disappeared convent of Nuestra Señora de la Victoria in Madrid in whose church he had an important chapel and of which another version is preserved (larger format and twin of the one offered by Templum Fine Art Auctions ) in the Cathedral of Granada Measurements: canvas only 99 5 x 75 cm Framed measurements: 150 x 125 cm Templum Subastas is pleased to present for the first time to the national and international art and auction market this work of which a report by the Doctor in Art History of the University of Granada Mr José Antonio Díaz Gomez is attached The piece proposed here is presented in an excellent state of conservation on an original canvas support on a wood frame 97cm high 74cm wide and 2cm thick to which it is stapled after a contemporary intervention The author of this painting has used the oil technique to recreate a true effigy of the Virgen de la Soledad a round vestibule carving destroyed during the Spanish Civil War and originally made for the Convent of Our Lady of Victoria of minimal friars of Madrid by the Baeza sculptor Gaspar Becerra in 1565 in turn inspired apparently by a painting of French origin that Queen Isabel de Valois kept in her private oratory Alonso Cano captures like no other artist of his time time the maternal tenderness and emotional spirituality that the self-absorbed dry and austere countenance of the present work awakened in the faithful Bibliography: Henares Cuéllar Ignacio (dir ) Alonso Cano: spirituality and artistic modernity Seville: Ministry of Culture Junta de Andalucía 2001; Véliz Zahira Alonsco Cano (1601-1667): drawings Catalog raisonné Santander: Marcelino Botín Foundation 2011 Provenance: 1) Acquired from an important Spanish private institution dissolved collection Barcelona 2) Liquidation of the private collection of an antiques dealer and collector Barcelona Lot no subject to reserve price
Templum Fine Art Auctions
May. 16, 2024
Alonso Cano (1601-1667): Holy Family with St. John the Baptist
Est: $8,000 - $12,000
Alonso Cano 1601-1667 Holy Family with St. John oil on canvas unsigned
Abell Auction
Apr. 25, 2024
ALONSO CANO (GRANADA, FEBRUARY 19, 1601-GRANADA, SEPTEMBER 3, 1667) - SIGNED IN ANAGRAMA, GRANADA BAROQUE SCHOOL OF THE 17TH CENTURY
Est: €40,000 - €45,000
Oil on canvas framed measurements: 280 x 110 cm, canvas only measurements: 190 x 126 cm. Originally from La Mancha. His father, Miguel Cano, was a native of Almodóvar del Campo, and his mother, María de Almansa, was a native of Villarrobledo. In 1587 the couple settled in Granada, where they had eight children. Alonso was the seventh and was baptized on March 19, 1601 in the Church of San Ildefonso. Two of the eight children must have died in Granada, since Miguel Cano only refers to six in his will in 1642. The father was a master assembler and worked with altarpieces, choir stalls and tabernacles. In his work in Granada, he collaborated with artists such as Pablo de Rojas, Bernabé de Gaviria, Diego de Navas, Diego de Aranda, Juan García Corrales and Bautista de Alvarado. According to the historian Juan Agustín Ceán Bermúdez, the painter Juan del Castillo passed through Granada and noticed the great gifts of Alonso Cano. He then advised his father to take him to Seville, to train him in the arts. Provenance: important private collection from Seville.
Templum Fine Art Auctions
Apr. 10, 2024
Granada school of the seventeenth century. Circle of ALONSO CANO (Granada, 1601 - 1667). "Christ Crucified. Polychrome wood carving.
Est: €3,500 - €4,000
Granada school of the seventeenth century. Circle of ALONSO CANO (Granada, 1601 - 1667). "Christ Crucified. Polychrome wood carving. Measurements: 30 x 30 x 8 cm. This is a quality carving, which follows the pictorial models of Alonso Cano (see the Christ preserved in the Academy of Fine Arts of San Fernando), and transfers them to the sculpture. It is a Christ of four nails, with an elongated and robust canon, which allows to turn each of the legs separately and give the figure a subjugating presence. The outstretched arms end in precisely turned hands. The two outstretched fingers symbolize the dual nature of Jesus, human and divine. The head falls inert, showing us that the body has stopped suffering, so that the muscles relax slightly showing a harmonious whole, of great beauty. Alonso Cano and other masters from Granada were the standard bearers of the classicist line of the Baroque, as opposed to the extreme pathos that developed in other parts of Spain.
Setdart Auction House
Feb. 20, 2024
Alonso Cano (Spanish 1601 - 1667) Fruit offering, oil on canvas, 20 x 17 inches, framed 28 1/2 x 25 inches.
Est: $500 - $1,500
Alonso Cano (Spanish 1601 - 1667) Fruit offering, oil on canvas, 20 x 17 inches, framed 28 1/2 x 25 inches.
Bill Hood & Sons Arts & Antiques Auctions
Feb. 02, 2024
Perhaps the School of Alonso Cano (Granada 1601 – 1667)
Est: $5,000 - $7,000
Property from the Asbjorn Lunde Foundation Perhaps the School of Alonso Cano (Granada 1601 – 1667) Christ after the Deposition polychrome terracotta height: 9 ⅛ in.; 23.18 cm.
Sotheby's
Dec. 12, 2023
ALONSO CANO Granada 1601 - 1667 Jesus tied to the column. 1620-1624 Oil on canva
Est: -
ALONSO CANO Granada 1601 - 1667 Jesus tied to the column. 1620-1624 Oil on canvas Measurements 165 x 111 cm Origin: - Private collection. We are faced with an unpublished work by a young Alonso Cano who must have painted shortly after leaving the workshop of his teacher Francisco Pacheco in 1616. The painting also demonstrates his contact with Juan del Castillo, whom he would soon surpass and , above all, the influence of the young Velázquez, who from 1617 began to stand out in Seville over the rest of the painters. The technical studies carried out on the painting during its restoration in 2007 by Rocío Viguera and Sierra Muñoz provide significant data for its study. The canvas on which it was made is the type called "mantelillo" or "damasked" fabrics due to the drawing formed by the weft. It is a single piece of cloth that was used from the end of the 16th century and the following century, in commissions of certain relevance. Velázquez himself used it in some of his first Sevillian paintings such as the Imposition of the Chasuble to San Ildefonso. At an uncertain but very early date the painting was also re-covered with a single piece of table cloth. It also presents a very old rectangular intervention in the lower left area. The study of pigments reveals that the preparation is the usual one in 16th century Sevillian painting, known as "red earth." In one of the x-rays you can see a halo made with white lead, a resource that was very common among Sevillian painters at the beginning of the 16th century. An example is the Flagellation of Juan del Castillo from the Museum of Fine Arts in Seville - a work that until recently was attributed to Pacheco - or in early paintings by Velázquez such as the Immaculate Conception of the Focus Foundation (1617) or the Virgin Girl (1617 -1618) appeared recently in Madrid commerce. A first glance allows us to rule out Francisco Pacheco or Juan del Castillo, although he shares important connections with the latter. The figure of Christ is related to the one that appears in the Negation of Saint Peter in the Museum of Fine Arts of Seville (around 1635). This has in turn been linked to the small Christ on the column (38 x 18 cm) of the door of the tabernacle of the main altarpiece of the parish of Santa María la Blanca de La Campana (Seville), painted by Alonso Cano around 1631. Although Castillo's mastery over Cano has traditionally been assumed, Serrera has already shown that in this case it is more feasible to think just the opposite from a certain moment onwards. The chronology of both paintings also confirms this proposal, since the small panel of La Campana de Cano predates Castillo's canvas. Despite being a very early painting, the treatment of the purity cloth and the tunic on the ground tells us of an artist close to the young Velázquez, and even the way of painting them is very reminiscent of those that appear in Saint John the Evangelist in Patmos by Velázquez from the National Gallery, London (ca. 1618). Also in San Juan Bautista in the desert of the Art Institute of Chicago (around 1625), a work recently attributed to Cano. Taking all of the above into account, we believe that the painting should be attributed to Alonso Cano, being one of the first he was able to create. A clear antecedent of our work is Christ tied to the column by Pedro de Campaña, painted in 1547 for the sacramental chapel of the Sevillian church of Santa Catalina. The archaism of the composition or the proximity to the Flemish painter's model, especially in the way of representing the purity cloth, seem to demonstrate this. The way of painting the tunic folded on the ground is very close, as we have already pointed out, to Saint John the Evangelist in Patmos by Velázquez in the National Gallery in London, made around 1618. We are therefore faced with the evidence, so many times pointed out by specialists, about the influence of the young Velázquez on his friend and companion, since he had begun to work for others after passing the master's exam on March 14, 1617. Attached a complete study on the work carried out by the researcher Ángel Rodríguez Rebollo.
Subastas Segre
Nov. 29, 2023
Star Lot - ALONSO CANO (Granada, 1601 - ibidem, 1667) - Saint Teresa Receiving the Holy Spirit, 17th century
Est: €200,000 - €250,000
Exceptional discovery in outstanding condition and unpublished work to date in the Spanish auction market from an important Andalusian private collection. Measurements: 161 x 83 cm canvas only, framed measurements: 180 x 100 cm. Related works: a Santa María Magdalena de Pazzi executed by Alonso Cano during his period in Seville around 1628, of a similar period to the present work, acquired by the Junta de Andalucía at Sotheby's London, lot 17, Old Masters Evening Sale, December 8 2021. And an Apparition of Christ crucified to Saint Teresa of Jesus of similar date preserved in the Prado Museum, inventory number P008152. Reference bibliography: PÉREZ SÁNCHEZ, Alonso E. (1992), Baroque Painting in Spain, 1600-1750. Madrid: Cátedra, ISBN 9788437609941; VÉLIZ, Zahira; CERÓN, Mercedes (2011), Alonso Cano (1601-1667), drawings: catalog raisonné, Santander: Fundación Botín, ISBN 9788496655775. Provenance: important Andalusian private collection.
Templum Fine Art Auctions
Oct. 18, 2023
Spanish school of the seventeenth century. Circle of ALONSO CANO (Granada, 1601 - 1667), after a model by RENI, Guido (Calvenzano di Vergato, Bologna, 1575 - Bologna, 1642). "Santa Catalina". Oil on canvas.
Est: €5,000 - €6,000
17th-century Spanish school. Circle of ALONSO CANO (Granada, 1601 - 1667), based on a model by RENI, Guido (Calvenzano di Vergato, Bologna, 1575 - Bologna, 1642). "Saint Catherine". Oil on canvas. Size: 100 x 80 cm; 128 x 106 cm (frame). The work presents a focally illuminated background, on which stands out the figure of the portrayed, Saint Catherine of Alexandria, a lady with rich clothes and fine features who turns her gaze towards the ground. Her fine gestures are striking and her distinctive attributes, such as the palm of martyrdom and the queen's crown, stand out. The saint's clothing, the whitish complexion, the magnificent and detailed drawing of the work, the chosen colouring, the forms of the woman's face and neck, the lack of accessories that distract the viewer's attention, the size of the figure and the objects, etc. all recall works by Guido Reni, such as his "Saint Catherine", executed around 1606 and now in the Museo del Prado, which Cano's circle was able to see through engravings. Due to its formal characteristics, we can place this work in the circle of followers of Alonso Cano, a key painter, sculptor and architect of the Spanish Baroque. Cano was also the initiator of the Granada school of painting and sculpture, and his disciples included Juan de Sevilla, Pedro Atanasio Bocanegra, José Risueño, Pedro de Mena and José de Mora. The son of an important assembler of altarpieces and possibly also a draughtsman, Alonso Cano was introduced to architectural drawing and imagery by his father, with whom he collaborated from a very early age. In 1614 or 1615 he moved with his family to Seville, where he soon joined the painting workshop of Francisco Pacheco, then the city's most prestigious master and Velázquez's de facto teacher, with whom Cano became a close friend. As a sculptor, he is traditionally considered to have trained with Juan Martínez Montañés, although there is no documentary evidence of this. As early as 1624 he signed his first known painting and two years later he qualified as a master painter. In 1638 he moved to Madrid and was soon appointed court painter and drawing teacher to Prince Baltasar Carlos. There he became acquainted with the royal collections, which led his language to evolve from its early Caravaggism towards a more colourful and elegant language, sometimes related to Van Dyck. However, in 1644 he was accused of murdering his wife, which led him to take refuge in Valencia. A year later he returned to Madrid, and in 1652 he returned permanently to Granada, where he obtained a post in the cathedral thanks to the influence of Philip IV. There he completed the decoration of the main chapel and became maestro mayor of the cathedral. Works by Alonso Cano are currently held in the Prado Museum, the Museum of Fine Arts in Seville, the Hermitage in St Petersburg, the Louvre in Paris, the Metropolitan Museum in New York, the J. Paul Getty Museum in Los Angeles and the Art Institute of Chicago, among other important collections in Spain and abroad. Iconographically, the work depicts Saint Catherine of Alexandria, a Christian martyr of the 4th century. Endowed with a great intelligence, she soon stood out for her extensive studies, which placed her on the same level as the greatest poets and philosophers of the time. One night Christ appeared to her and she decided to consecrate her life to him, considering herself his fiancée from then on. She refused to marry the emperor Maximian, and victoriously held a dispute with fifty philosophers sent by him to prove to him the inanity of the Christian faith. Furious, Maximian condemned her to be torn apart by a spiked wheel. The wheel miraculously breaks, and Catherine is finally beheaded.
Setdart Auction House
Oct. 05, 2023
Alonso Cano Workshop (Granada, 1601-1667).
Est: €3,000 - €5,000
Alonso Cano Workshop (Granada, 1601-1667). "Saint Joseph with the Child" Oil on canvas. 60.5 x 46.5 cm. With an imposing carved, gilded, and polychromed 18th-century wooden frame.
La Suite Subastas
Jul. 07, 2023
ALONSO CANO (GRANADA 1601-1667) AND STUDIO The Immaculate Conception oil on
Est: £20,000 - £30,000
ALONSO CANO (GRANADA 1601-1667) AND STUDIO The Immaculate Conception oil on canvas, unlined 73 1/2 x 51 1/2 in. (186.7 x 130.8 cm.)
Christie's
May. 30, 2023
Precious colonial Immaculate Virgin inspired by the models of Alonso Cano (1601-1667), colonial school of New Granada or New Spain, mid-18th century
Est: €1,500 - €2,000
Gilded, stewed, sgraffito and dotted wood carving made of tropical wood, preserving most of its original polychromy. Measurements: 54 x 23 x 15 cm
Templum Fine Art Auctions
Apr. 26, 2023
Exceptional Saint Dominicus of Guzman, attributable to Alonso Cano or his Workshop (Granada, February 19, 1601- ibid., September 3, 1667) Granada school of the 17th century
Est: €12,000 - €15,000
It presents small faults on the fingers and right sleeve of the tunic, Santo Domingo de Guzmán measurements: 55 x 37 x 20 cm, base measurements: 20 x 30 x 23 cm. Total measurements of the set: 75 x 37 x 23 cm. Mannerism was very influential in Cano's initial training, to which came to be added the baroque style that was beginning to be appreciated in the Sevillian environment. During a good part of his Sevillian period he practiced tenebrism in his paintings.In 1640 he was in charge of restoring some paintings after the fire at the Buen Retiro palace, which led him to assimilate Italian and Flemish pictorial techniques. He was especially influenced by the Venetian painters of the 16th century and by Van Dyck's elegant forms and transparent tones. Between 1639 and 1640 he was commissioned to paint 16 imaginary portraits of medieval kings of Spain for the Golden Hall of the Alcázar in Madrid. In the fire of 1734, all but One King of Spain and Two Kings of Spain were lost. Both are in the Museo del Prado and they show the painter's interest in color and transparency. Reference bibliography: Alonso Cano. Art and iconography. Exhibition catalogue. Granada: Archbishopric of Granada. 2002. ISBN 84-607-4488-4. Origin: old family collection from a mansion in southern Spain. Art and iconography. Exhibition catalogue. Granada: Archbishopric of Granada. 2002. ISBN 84-607-4488-4. Origin: old family collection from a mansion in southern Spain. Art and iconography. Exhibition catalogue. Granada: Archbishopric of Granada. 2002. ISBN 84-607-4488-4. Origin: old family collection from a historic Hacienda in southern Spain.
Templum Fine Art Auctions