Alonso Cano Sold at Auction Prices

Painter, Sculptor, b. 1601 - d. 1667

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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Exceptional discovery in outstanding condition and unpublished work to date in the Spanish auction market from an important Andalusian private collection.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
Dec. 14, 2022
Attributed to Alonso Cano (Granada 1601-1667) with possible participation of Pedro de Mena (Granada 1628-1688) "San Diego de San Nicolás" 1650s Carved, polychrome and gilt wooden sculpture.
Est: -
Attributed to Alonso Cano (Granada 1601-1667) with possible participation of Pedro de Mena (Granada 1628-1688) "San Diego de San Nicolás" 1650s Carved, polychrome and gilt wooden sculpture. With glass paste eyes and a half-open mouth that reveals the teeth. Polished carnations and great detail in the polychrome reflecting the incipient beard on the face and the texture of the fabric of the habit with its seams and large patches. With a wooden base covered in golden leaves and with four volutes in the corners. The Saint is known as San Diego de Alcalá, for being the place of his death and his body is venerated in the cathedral of Alcalá de Henares. Episodes of ecstasy and levitation as well as several miracles are attributed to him. He appears represented in one of those moments of ecstasy with outstretched arms and looking up at the sky. He wears a Franciscan habit with a hooded cape over his shoulders and a rope girdle with three knots. Alonso Cano and Pedro de Mena shared a workshop and activity in the 1650s when Cano returned to Granada from Madrid to act as ration keeper in the cathedral and settled in Mena's workshop and gave him a concept aesthetic based on technical perfection and realism. With study by Professor José Angel Rivera de las Heras. A San Diego de Alcala, the work of both, was made for the Convent of Santo Angel Custodio in Granada, which has a similar posture to this one that we present with the left leg advanced, which gives it movement and also has a beard several days. It can also be related to San Pedro de Alcántara by Pedro de Mena from the Museum of Valladolid due to the great realism of the face and clothing as well as the expression of ecstasy with both arms outstretched. Height: 68 cm
Subastas Segre
Nov. 10, 2022
Santa Teresa de Jesús
Est: -
Escultura de bulto redondo en madera tallada y policromada representando a Santa Teresa de Jesús. Aparece la Santa de pie vestida con el hábito carmelita y portando un libro en su mano izquierda haciendo alusión a su faceta de escritora y doctora de la iglesia.
Isbilya Subastas
Oct. 27, 2022
Saint John the Evangelist, 17th century Granada school, circle of Alonso Cano (Granada 1601 - September 1667)
Est: €5,000 - €6,000
Oil on canvas, 139 x 116 cm (with frame) and 122 x 104 (canvas).
Templum Fine Art Auctions
Sep. 10, 2022
ALONSO CANO (ATTR.) NINO JESÚS DORMIDO
Est: €2,800 - €5,600
ATTRIBUTED TO ALONSO CANO 19 February 1601 Granada - 3 September 1667 Ibid NINO JESÚS DORMIDO Oil on canvas (old relined). 44 x 58 cm (F. 67 x 82 cm). Part. min. old rest. Frame. A comparable work of the 'Virgin and Child' after Cano is housed in the 'Real Academia de Bellas Artes de San Fernando. The work also shows clear compositional influences of Murillo. For similar and comparable compositions by Murillo see Iniguez, Diego Angulo: Murillo, Madrid, 1981, Vol. III, Lám. 321 (catalogue 215) and Lám. 323 (catalogue 208). 323 (Katalog 208). Provenance: Southwest German private collection.Zeichen(10)ALONSO CANO (ATTR.) 19. Februar 1601 Granada - 3. September 1667 Ebenda NINO JESÚS DORMIDO Öl auf Leinwand (altdoubl.). 44 x 58 cm (R. 67 x 82 cm). Part. min. altrest. Rahmen. Eine vergleichbare Arbeit der 'Jungfrau mit dem Kind' nach Cano beherbergt die 'Real Academia de Bellas Artes de San Fernando. Das Werk zeigt gleichfalls kompositorisch deutliche Einflüsse Murillos. Zu ähnlichen und vergleichbaren Kompositionen Murillos vgl. Iniguez, Diego Angulo: Murillo, Madrid, 1981, Band III, Lám. 321 (Katalog 215) und Lám. 323 (Katalog 208). Provenienz: Südwestdeutsche Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Jul. 19, 2022
ATTRIBUTED TO ALONSO CANO (Granada, 1601-1667) "Vision of Saint Anthony of Padua"
Est: €8,250 - €11,000
Oil on canvas. Provenance: Collection of Gaspar de Haro y Guzmán, Marquis of Carpio; Collection of nobles, Madrid. On the back, an inscription on the canvas with the crowned initials "DGH" that correspond to the collection of Don Gaspar de Haro y Guzmán, Marqués del Carpio, along with its old cataloging: "Sn Antonio de Padua /Original by Alonso Cano/titled El Corregio español". Old 19th century donation label from the Caballero Saavedra family attached to the support. Alonso Cano painted the "Vision of Saint Anthony of Padua" on numerous occasions, one of the best-known episodes in the hagiography of this saint who was awarded the great privilege of having Jesus in his arms. This composition only reproduces the figure of the Franciscan with the Child, dispensing with the image of the Virgin that appears in the majority of compositions, such as the one preserved in the Alte Pinakothek in Munich and a second one that, coming from a private collection, circulated around some time ago. Spanish trade. 65 x 49 cm.
Ansorena
Jun. 23, 2022
Santa Teresa de Jesús
Est: -
Madera tallada, dorada, estofada y policromada
Isbilya Subastas
Apr. 06, 2022
Attributed to ALONSO CANO (Granada, 1601 - 1667). "San Diego de Alcala". Carved and polychrome wood. Vitreous paste eyes.
Est: €26,000 - €28,000
Attributed to ALONSO CANO (Granada, 1601 - 1667). "Saint Diego de Alcalá". Carved and polychrome wood. Vitreous paste eyes. Measurements: 62 x 23 x 18 cm. This carving follows the same aesthetic precepts as the work carried out by Alonso Cano, of the religious Saint Diego, which currently belongs to the Museum of Fine Arts of Granada. Saint Diego de Alcalá (1400-1463), a Spanish Franciscan friar canonised by Pope Sixtus V in 1588, in the only canonisation carried out by the Catholic Church during the 16th century. Born at the end of the 14th century into a modest family in the small village of San Nicolás del Puerto, north of Seville, from his earliest youth Diego consecrated himself to the Lord as a hermit. Already dressed in the Franciscan habit, as a lay brother in the Order of Friars Minor of the Observance, he made numerous journeys, something rare for his time: he lived in the Canary Islands, Rome, Castile and Andalusia, and during his pilgrimage to Rome he visited various parts of Spain, France and Italy. He finally spent his last years in the convent of Santa María de Jesús in Alcalá de Henares, where he died in 1463. He was a very popular saint, patron saint of numerous localities, such as the city of California that bears his name. As a result, great artists treated his figure, as is the case of Lope de Vega, who dedicated a sonnet and a comedy to him. In the visual arts, he is depicted as a young beardless youth, despite the fact that he reached the age of sixty, with two iconographic attributes: a set of keys, for having been the convent's porter and cook, and the most important, some flowers that he picks in his habit, with both hands. This element alludes to one of the most popular episodes of his life, in which it is narrated that Diego was so generous with those who begged at the door of the convent that his superiors found it annoying and excessive. On one occasion they saw the saint wearing something in his habit, and were about to reprimand him when miraculously the bread rolls that Diego brought to the poor turned into roses. 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 most prestigious master in the city 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 housed 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, etc.
Setdart Auction House
Jan. 26, 2022
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: €7,000 - €7,500
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
Dec. 03, 2021
Cano, Alonso: zugeschrieben. Die Beweinung Christi
Est: €1,000 - €1,500
zugeschrieben. Die Beweinung Christi. Feder in Braun über Spuren von Rötel, rotbraun laviert, aufgezogen. 18,2 x 13,4 cm. Unten teils unleserlich bezeichnet "C.. V...que / Alonso Cano" sowie oben nummeriert "125.". - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Galerie Bassenge
Sep. 30, 2021
ALONSO CANO (1601 / 1667) "Christ and the Samaritan Woman" a. 1645-1650
Est: €37,500 - €50,000
This exquisite painting is a version of the well-known canvas by Cano which, with the same theme, has been kept in the rooms of the Museo de la Real Academia de San Fernando since the 19th century. There are a number of differences between this work and the one now in the Academy, the main ones being its format and the fact that Cano focused mainly on the study of the figures and attached less importance to the depiction of the background landscape surrounding the figures. This canvas seems to be the modellino, i.e. the sketch for a painting which, published some years ago, was in a private collection in Barcelona. It could be a prototype from which other versions were made and which may have been intended for the decoration of an altarpiece. Attached is a study of the work by José María Quesada Valera, director of the Instituto de Estudios Histórico-Artísticos. . Oil on canvas..38,5 x 32, 5 cm.
Ansorena
Jun. 08, 2021
Attributed to Alonso Cano (Granada, 1601 - 1667) or José de Mora (Baza, 1642 - Granada, 1724)
Est: €12,000 - €15,000
Attributed to Alonso Cano (Granada, 1601 - 1667) or José de Mora (Baza, 1642 - Granada, 1724) Imposing carved and polychromed wooden sculpture, with glass eyes. It may depict Saint Ignatius of Loyola. 35 x 29 x 15 cm.
La Suite Subastas
Jun. 08, 2021
Attributed to Alonso Cano (Granada, 1601-1667)
Est: €35,000 - €38,000
Attributed to Alonso Cano (Granada, 1601-1667) "Teresa of Ávila" Magnificent carved, gilded, estofado and polychromed sculpture. Total dimensions. 174 x 70 x 35 cm. Height without plinth: 155 cm. Saint Teresa, depicted in one of her two most important roles, that of writer devoted to the religious life, so she can express her revelations. She holds a delicate quill in her right hand and a book in the left. The carving is full of details which permit its attribution to master Alonso Cano, such as the delicate facial features, the expressivity it has, the hands, the multiple and heavy folds in the cloak etc. It is worth mentioning the decoration, the rosy skin tones and, of course, the marvellous estofado on fine gold and black with vegetation motifs of large flowers, combined with the fine and delicate designs of small flowers and circles. This image is comparable to the Saint Teresa by Alonso Cano at the Convent of Buen Suceso in Seville, which is also almost exactly the same height: 148 cm.
La Suite Subastas
Jul. 30, 2020
ALONSO CANO (GRANADA 1601-1667) The infant Christ sleeping
Est: £15,000 - £25,000
ALONSO CANO (GRANADA 1601-1667) The infant Christ sleeping oil on canvas 297⁄8 x 36 in. (76 x 91.4 cm.) inscribed 'ECO DORMIO ECOR MEV VIC' (on the banderole, lower right) Please note this lot is the property of a private individual. Provenance King Louis Philippe I of France (1773-1850), The Spanish Gallery, Louvre, Paris, by 1838; his sale (†), Christie's, London, 6 May 1853, lot 54, 23 gns. to, J. C. W. Sawbridge-Erle-Drax; Christie's, London, 10 May 1935, lot 79, as 'Cano', where unsold.
Christie's
Mar. 05, 2020
* Cano (Alonso, 1601-1667), attributed to. Pyramus and Thisbe, pen, brown ink and brown wash
Est: £400 - £600
* Attributed to Alonso Cano ( 1601-1667). Pyramus and Thisbe, pen, brown ink and brown wash on laid paper, inscribed in a slightly later hand (possibly late 17th or early 18th century) lower right 'geraldi alonso cano', additional sketch in pencil to verso of a running female figure, several pinholes, sheet size183 x 124 mm (7.25 x 4.9 ins), edge-mounted on modern card, window-mounted (Qty: 1)
Dominic Winter Auctions
Feb. 20, 2020
Cercano a Alonso Cano (1601-1667) "Santa Catalina de Alejandría"
Est: -
Cercano a Alonso Cano (1601-1667) "Santa Catalina de Alejandría" Óleo sobre lienzo 103x80 cm
Subastas Darley
Oct. 30, 2019
Busto de San Antonio
Est: -
Busto de San Antonio Con peana 50,5 X 27,5 X 33 cm/ Sin peana 30 x 20 x 30 cm ATRIBUIDO A ALONSO CANO (Granada, 1601 – 1667)Escultura, Artes decorativasMadera tallada y policromada y tela encolada,. , ATTRIBUTED TO ALONSO CANO (Granada, 1601 – 1667) A carved polychrome bust of Saint Anthony
Isbilya Subastas
Jun. 30, 2019
painting oil on canvasrentoile - St Joseph and the Child Jesus - (chipping) signed CANO Alonso
Est: €8,000 - €12,000
Tableau HSTrentoilé -St Joseph et l'Enfant Jésus- (écaillage) signé *CANO A.* (Alonso) (1601. 1667) 96x73cm cadre bois avec étude d'analyse scientifique du Labo UCL de 2018 painting oil on canvasrentoile - St Joseph and the Child Jesus - (chipping) signed CANO Alonso
Monsantic.com
Mar. 20, 2019
Alonso Cano, Nachfolge
Est: CHF5,000 - CHF7,000
Antonius mit Christuskind
Artcurial Beurret Bailly Widmer