Melchor Pérez de Holguín Paintings & Artwork for Sale | Melchor Pérez de Holguín Art Value Price Guide

Oct. 30, 2025
MELCHOR PEREZ HOLGUIN (COCHABAMBA, BOLIVIA, 1660 - POTOSI, 1732)
Est: €25,000 - €60,000
Melchor Perez Holguin (Cochabamba, Bolivia, 1660 - Potosi, 1732) "The First Journey of Saint James the Greater to Hispania" Oil on canvas. 99 x 124 cm. Beautiful painting of great historical and religious relevance, as it shows the first of James' journeys to Hispania, which left a lasting legacy in the region. This trip took place in the first century A.D. According to tradition, James was sent to Spain as one of Jesus' apostles to spread Christianity in the region. After the death of Christ, a passionate and impetuous James was part of the initial group of the early church in Jerusalem. In his evangelizing work he was awarded, according to medieval traditions, the Spanish peninsular territory, specifically the northwestern region, then known as Gallaecia. Some theories suggest that the current patron saint of Spain arrived in the northern lands via the uninhabited coast of Portugal. Others, however, trace his way through the Ebro valley and the Cantabrian Roman road. There are even those who claim that Santiago reached the peninsula by the current Cartagena, from where he started his journey to the western corner of the map. During his stay, it is believed that he performed numerous miracles and converted many people to Christianity. This journey of Santiago was of great importance for the history of Christianity in the Iberian Peninsula. His presence contributed to the expansion of Christianity in the region and laid the foundations for the subsequent evangelization of the peninsula. We say that this was James' first trip to Spain, since the second occurred centuries after his death. According to tradition, after his death in Jerusalem, his remains were taken to Hispania by his disciples. It is believed that they were buried in a place that would later become the city of Santiago de Compostela. That transfer of remains had a great impact on the region. His tomb became an important place of pilgrimage and attracted thousands of the faithful from all over Europe. The Camino de Santiago, a pilgrimage route that runs throughout the Iberian Peninsula, developed around his tomb and became one of the most important pilgrimage routes in the world. In an idyllic landscape, with rich and abundant vegetation, we can contemplate a pilgrimage path that circles the river -perhaps the Ebro River-, with a bridge crossing it. The pilgrims have serene faces, full of devotion, kindness and smiles, marked by the joy of the moment. They travel on horseback and on foot, and there is a group resting above, contemplating the temple they are approaching, surrounded by cypress trees. One stands out, James, also known in Spain as Santiago, mounted on an imposing black and white horse, the only one who, with his deep and penetrating gaze, looks directly at the viewer. The Saint stops or is stopped by another pilgrim, who rides his donkey, and both experience a spiritual and deep encounter, reflected in their faces and gestures. Their expressions are serene, with their hands intertwined. The one on the donkey kisses the hand of the saint with reverence and devotion, aware of the spiritual power of this miraculous encounter. Both the Apostle and he have their hats removed, as a sign of respect, humility and spiritual reverence. James' journey to Galicia symbolizes the spiritual connection between East and West, becoming a cultural and religious bridge that would mark the history of Spain. As for the artist, we believe this canvas was painted by Melchor Pérez Holguín, one of the most important painters of the colonial mestizo baroque, of what was called the Potosí School, which developed in the years 1700 - 1790. Tenebrism and the influence of Zurbarán were characteristic. Holguin’s work is dominated by the many commissions carried out for the Franciscans and the Dominicans. As Suzanne L. Stratton-Pruitt indicates, despite the fact that Holguín of course knew the Cuzcan art that was widespread and stylistically of great influence in Upper Peru, his work was very personal, and is somewhat removed from that style, although it adopts some common elements as the painting of Cuzco. Likewise, the serenity reflected in the faces of his characters is characteristic of Holguín, as we can see in the work we offer. Spanish Americas Colonial Fine art
La Suite Subastas
Sep. 09, 2025
Melchor Pérez Holguín (Cochabamba, Real Audiencia de Charcas, 1665 - Potosí, 1735) Large colonial Sainte Marine Peruvian colonial Viceregal school of the 17th century
Est: €12,000 - €15,000
Oil on canvas, with the Heraldic shield of the Donor couple in the upper left corner. In which one of the two distinguishes the surname Beltrán and the "Veritas Vincit" emblem along with the eagle crowning the tower. Measurements: 140 x 105 cm, measurements with frame: 165 x 130 cm. The theme of the Santa Marina is one of the most recurrent themes attributed to Francisco de Zurbarán, or to his workshop. Of these works, a large number were destined for the New World, specifically the Viceroyalty of Peru, where the Master of the Spanish Baroque enjoyed great popularity and followers, creating his own school with a multitude of followers in the New World during the 17th to 17th centuries. XIX. The story of Santa Marina tells us that he chose the Christian life, and dedicated himself to farming and shepherding. A Roman prefect named Olybrius became infatuated with her, desiring her as his wife, concubine, or slave. By refusing her claims, Marina was accused of practicing Christianity. At her trial, held when she was fifteen years old (in 138), she did not renounce Christianity, and she was condemned to be beheaded at the hands of the Romans. Provenance: Barcelona private collection.
Templum Fine Art Auctions
Nov. 14, 2024
Melchor Pérez Holguín (Cochabamba, Real Audiencia de Charcas, 1665 - Potosí, 1735) Large colonial Sainte Marine Peruvian colonial Viceregal school of the 17th century
Est: €12,000 - €15,000
Oil on canvas, with the Heraldic shield of the Donor couple in the upper left corner. In which one of the two distinguishes the surname Beltrán and the "Veritas Vincit" emblem along with the eagle crowning the tower. Measurements: 140 x 105 cm, measurements with frame: 165 x 130 cm. The theme of the Santa Marina is one of the most recurrent themes attributed to Francisco de Zurbarán, or to his workshop. Of these works, a large number were destined for the New World, specifically the Viceroyalty of Peru, where the Master of the Spanish Baroque enjoyed great popularity and followers, creating his own school with a multitude of followers in the New World during the 17th to 17th centuries. XIX. The story of Santa Marina tells us that he chose the Christian life, and dedicated himself to farming and shepherding. A Roman prefect named Olybrius became infatuated with her, desiring her as his wife, concubine, or slave. By refusing her claims, Marina was accused of practicing Christianity. At her trial, held when she was fifteen years old (in 138), she did not renounce Christianity, and she was condemned to be beheaded at the hands of the Romans. Provenance: Barcelona private collection.
Templum Fine Art Auctions
Oct. 31, 2024
Melchor Perez Holguin Circle (Cochabamba, Bolivia, 1660 - Potosi, 1732)
Est: €6,500 - €10,000
Melchor Perez Holguin Circle (Cochabamba, Bolivia, 1660 - Potosi, 1732) "Sagrada Familia con San Juanito" Oil on canvas. 99 x 79 cm. Spanish Americas. Oil.
La Suite Subastas
Oct. 31, 2024
MELCHOR PÉREZ HOLGUÍN (COCHABAMBA, BOLIVIA, 1660 - POTOSÍ, 1732)
Est: €20,000 - €25,000
Melchor Pérez Holguín (Cochabamba, Bolivia, 1660 - Potosí, 1732) 'Saint Anthony of Padua with the Child' Oil on canvas. 96 x 75 cm. The depicted saint, Saint Anthony of Padua, was a 'Franciscan friar, companion of Saint Francis of Assisi, preacher, thaumaturge, and doctor of the Church,' as reported by Luis Monreal in his 'Iconografía del Cristianismo' (Iconography of Christianity). His popularity can be shown by the diversity and extent of the iconography surrounding the saint, detailed in the cited book by Monreal. However, the quintessential representation of Saint Anthony of Padua is the one we can see in this canvas: he holds the Christ Child in his arms, an image that expresses the familiarity the saint has with the Child. His attributes include the book, which he holds, along with the Child, with his left hand, and the lily of purity in his right hand. Additionally, the quill and the flame of divine love or inflamed heart, which, in this case, do not appear in the painting. Holguín was one of the most important painters of the colonial mestizo baroque, of what was called the Potosí School, which developed in the years 1700 - 1790. Tenebrism and the influence of Zurbarán were characteristic. Holguin’s work is dominated by the many commissions carried out for the Franciscans and the Dominicans. Born in Cochabamba, Bolivia he died in Potosí. As Suzanne L. Stratton-Pruitt indicates, despite the fact that Holguín of course knew the Cuzcan art that was widespread and stylistically of great influence in Upper Peru, his work was very personal, and is somewhat removed from that style, although it adopts some common elements as the painting of Cuzco, such as the floral borders. There are other elements that are unique to Holguín’s work, such as the addition of gold brocade in the halos and the lace trim on the Virgin Mary’s cloaks and necklines. Likewise, the serenity reflected in the faces of his characters is characteristic of Holguín. Bibliographic reference: - Monreal y Tejada, Luis. (2000). 'Iconografía del Cristianismo'. El Acantilado. Spanish Americas. Oil.
La Suite Subastas
Oct. 31, 2024
ATTRIBUTED TO MELCHOR PÉREZ HOLGUÍN (COCHABAMBA, BOLIVIA, 1660 - POTOSÍ, 1732)
Est: €12,000 - €16,000
Attributed to Melchor Pérez Holguín (Cochabamba, Bolivia, 1660 - Potosí, 1732) 'Saint Barbara' Oil on canvas. 130 x 96 cm. Holguín was one of the most important painters of the colonial mestizo baroque, of what was called the Potosí School, which developed in the years 1700 - 1790. Tenebrism and the influence of Zurbarán were characteristic. Holguin’s work is dominated by the many commissions carried out for the Franciscans and the Dominicans. Born in Cochabamba, Bolivia he died in Potosí. As Suzanne L. Stratton-Pruitt indicates, despite the fact that Holguín of course knew the Cuzcan art that was widespread and stylistically of great influence in Upper Peru, his work was very personal, and is somewhat removed from that style, although it adopts some common elements as the painting of Cuzco, such as the floral borders. There are other elements that are unique to Holguín’s work, such as the addition of gold brocade in the halos and the lace trim on the Virgin Mary’s cloaks and necklines. Likewise, the serenity reflected in the faces of his characters is characteristic of Holguín. Saint Barbara, a virgin and martyr who lived in Antioch or Nicomedia in the 3rd century, was imprisoned in a tower by her father to protect her from her suitors. Before entering the tower, she was baptised in a pool. Although she managed to escape, she was recaptured and brought before the judge Marcian, who sentenced her to death. During her beheading, a bolt of lightning killed her executioners. These events, along with others from her legend, are depicted in iconography, especially the image of the tower. Saint Barbara is also associated with attributes such as the peacock, symbol of immortality, and the pyx or Eucharistic vessel, representing death met through the sacraments. She is also associated with explosives due to the flash of lightning during her martyrdom, leading to the name ‘santabarbara’ being given to a ship's store of gunpowder. For this reason, she is considered the patron saint of artillery and is sometimes depicted with a cannon. Spanish Americas. Oil.
La Suite Subastas
Jun. 27, 2024
MELCHOR PÉREZ HOLGUÍN (COCHABAMBA, BOLIVIA, 1660 - POTOSÍ, 1732)
Est: €65,000 - €80,000
Melchor Pérez Holguín (Cochabamba, Bolivia, 1660 - Potosí, 1732) 'Saint Thomas' Oil on canvas. 100 x 78,5 cm. Holguín was one of the most important painters of the colonial mestizo baroque, of what was called the Potosí School, which developed in the years 1700 - 1790. Tenebrism and the influence of Zurbarán were characteristic. Holguin’s work is dominated by the many commissions carried out for the Franciscans and the Dominicans. Born in Cochabamba, Bolivia he died in Potosí. As Suzanne L. Stratton-Pruitt indicates, despite the fact that Holguín of course knew the Cuzcan art that was widespread and stylistically of great influence in Upper Peru, his work was very personal, and is somewhat removed from that style, although it adopts some common elements as the painting of Cuzco, such as the floral borders. There are other elements that are unique to Holguín’s work, such as the addition of gold brocade in the halos and the lace trim on the Virgin Mary’s cloaks and necklines. Likewise, the serenity reflected in the faces of his characters is characteristic of Holguín. Colonial Spanish Americas.
La Suite Subastas
Feb. 28, 2024
Melchor Pérez Holguín (Cochabamba, Real Audiencia de Charcas, 1665 - Potosí, 1735) Large colonial Sainte Marine Peruvian colonial Viceregal school of the 17th century
Est: €12,000 - €15,000
Oil on canvas, with the Heraldic shield of the Donor couple in the upper left corner. In which one of the two distinguishes the surname Beltrán and the "Veritas Vincit" emblem along with the eagle crowning the tower. Measurements: 140 x 105 cm, measurements with frame: 165 x 130 cm. The theme of the Santa Marina is one of the most recurrent themes attributed to Francisco de Zurbarán, or to his workshop. Of these works, a large number were destined for the New World, specifically the Viceroyalty of Peru, where the Master of the Spanish Baroque enjoyed great popularity and followers, creating his own school with a multitude of followers in the New World during the 17th to 17th centuries. XIX. The story of Santa Marina tells us that he chose the Christian life, and dedicated himself to farming and shepherding. A Roman prefect named Olybrius became infatuated with her, desiring her as his wife, concubine, or slave. By refusing her claims, Marina was accused of practicing Christianity. At her trial, held when she was fifteen years old (in 138), she did not renounce Christianity, and she was condemned to be beheaded at the hands of the Romans. Provenance: Barcelona private collection.
Templum Fine Art Auctions
Jan. 25, 2024
Melchor Pérez Holguín (Cochabamba, Real Audiencia de Charcas, 1665 - Potosí, 1735) Large colonial Sa
Est: €20,000 - €25,000
Oil on canvas, with the Heraldic shield of the Donor couple in the upper left corner. In which one of the two distinguishes the surname Beltrán and the "Veritas Vincit" emblem along with the eagle crowning the tower. Measurements: 140 x 105 cm, measurements with frame: 165 x 130 cm. The theme of the Santa Marina is one of the most recurrent themes attributed to Francisco de Zurbarán, or to his workshop. Of these works, a large number were destined for the New World, specifically the Viceroyalty of Peru, where the Master of the Spanish Baroque enjoyed great popularity and followers, creating his own school with a multitude of followers in the New World during the 17th to 17th centuries. XIX. The story of Santa Marina tells us that he chose the Christian life, and dedicated himself to farming and shepherding. A Roman prefect named Olybrius became infatuated with her, desiring her as his wife, concubine, or slave. By refusing her claims, Marina was accused of practicing Christianity. At her trial, held when she was fifteen years old (in 138), she did not renounce Christianity, and she was condemned to be beheaded at the hands of the Romans. Provenance: Barcelona private collection.
Templum Fine Art Auctions
Apr. 05, 2016
Imposición de la casulla a San Ildefonso
Est: -
MELCHOR PÉREZ HOLGUÍN, Imposición de la casulla a San Ildefonso PÉREZ HOLGUÍN Bolivia, h. 1665-1732 Activo en Potosí, Pérez Holguín es considerado el mejor pintor de su centuria. Su producción estuvo estrechamente ligada a las órdenes religiosas de la zona. En esta versión del conocido tema iconográfico, el pintor despliega todos sus rasgos distintivos, entre los que destacan la ternura y la fuerza expresiva de los rostros. 155 x 100 cm
Isbilya Subastas
Sep. 12, 2011
Workshop of Melchor Perez de Holguin (Peruvian, 1665-1724), San Diego de Alcalá
Est: $300 - $500
Saint Diego de Alcalá oil on canvas 28 3/4 x 23 1/4in
Bonhams