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Juan de Valdés Leal Sold at Auction Prices

Painter, Sculptor, Etcher, b. 1622 - d. 1690

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    • JUAN DE VALDÉS LEAL Seville 1622 - 1690 Calvary Oil on canvas Measurements
      Dec. 12, 2023

      JUAN DE VALDÉS LEAL Seville 1622 - 1690 Calvary Oil on canvas Measurements

      Est: -

      JUAN DE VALDÉS LEAL Seville 1622 - 1690 Calvary Oil on canvas Measurements 106 x 75 cm Origin: - Private collection. This work is a version of one of the paintings that were part of the main altarpiece of the church of San Benito de Calatrava in Seville that is currently in the chapel of Quinta Angustia in the current parish of Magdalena. of the same city Made between 1659 and 1660, the set originally consisted of eleven canvases of which the Immaculate Conception and the Calvary were located in the collateral spaces of said altarpiece. Although we do not know if this is a later or earlier version of the Magdalene canvas, we can note that the subject treated here lacks the opulence and dynamism of the first. The tragic gestures of the different characters in contrast with the calm countenance of Christ reveal the indisputable mastery of one of the great exponents of the Andalusian Baroque. Regarding the original origin of this work, its dimensions make us suspect that it was intended for private devotion. Work referenced in: - HERNÁNDEZ ROMERO, Antonio, Cat. Exp: Juan de Valdés Leal (1622-1690), Córdoba, Obra Social y Cultural Cajasur, 2001, p. 35. Work exhibited in: - Cajasur Museum Exhibition Hall, "Juan de Valdés Leal (1622 - 1690), Córdoba, 2001. This work has with export permit.

      Subastas Segre
    • "Our Lady of Mount Carmel." Attributable to Juan Valdés Leal (Seville, 1622 - Seville, 1690), Spanish school of the 17th century
      Nov. 29, 2023

      "Our Lady of Mount Carmel." Attributable to Juan Valdés Leal (Seville, 1622 - Seville, 1690), Spanish school of the 17th century

      Est: €7,000 - €8,000

      Oil on canvas, canvas measurements 136 x 110 cm, framed measurements: 146 x 110 cm. Provenance: important Andalusian private collection.

      Templum Fine Art Auctions
    • Head of Saint John the Baptist, Juan Valdés Leal (Seville, 1622-1690). Spanish school of the 17th century
      Nov. 29, 2023

      Head of Saint John the Baptist, Juan Valdés Leal (Seville, 1622-1690). Spanish school of the 17th century

      Est: €4,000 - €4,500

      Oil on canvas. Measurements: 53 x 40 cm. Framed measurements: 71 x 58 cm. (Seville, 1622-1690). Spanish painter and printmaker. Strictly a contemporary artist of Murillo, he was his greatest pictorial rival in the Seville of his time. The comparison between both painters has been frequent, artificially encouraged by the character of the works of both: if Murillo's was seen as the very expression of the sweetness and calm, the harshness and drama of the work of Valdés Leal and, Above all, the extreme truculence of his best-known works, the vanitas of the Church of La Caridad in Seville, serve to confirm the dichotomy. But, despite the difficult character with which he appears portrayed in the sources, the truth is that Valdés Leal's work is quite varied and is in line with the painting that was done around him. We do not know when he moved to Córdoba, although he had presumably already completed his first artistic training in his hometown. There has been speculation about his approach to the workshop of Herrera the Elder, and also to the art of Antonio del Castillo from Córdoba, as possible influences for his first known signed and dated work, the San Andrés of the church of San Francisco de Córdoba, from 1647. Bibliography: Valdés Leal, cat. exp., Madrid, Museo del Prado, 1991, nos. 10, 20, 54 and 81.

      Templum Fine Art Auctions
    • Cristo y la Virgen ("La porciúncula")
      Sep. 20, 2023

      Cristo y la Virgen ("La porciúncula")

      Est: -

      Juan de Valdés Leal (Sevilla, 1622 - 1690) representa, junto a Bartolomé Esteban Murillo, la culminación del Barroco Pleno en la escuela sevillana del Siglo de Oro. Hijo de Fernando de Nisa y Antonia Valdés, su formación debió iniciarse en el taller de Francisco de Herrera el Viejo. Posteriormente, al casarse en 1647, se instaló en Córdoba, siguiendo su formación probablemente en el taller de Antonio del Castillo. A diferencia de Murillo, su estilo se caracterizó por ser más expresivo y dramático, con una pincelada vigorosa y una gama de colores cálida, a veces terrosa, donde dominan los pardos y los ocres como ocurre en la pieza que nos ocupa. Su abundante producción nos permite comprobar que estamos ante un pintor versátil, que ofrece un amplio abanico de acabados y de composiciones. Precisamente su obra se distingue de su contemporáneo Murillo en la falta de equilibrio y en su sentido menos amable de los santos y de sus representaciones dando lugar a un estilo más temperamental y más violento, agitado incluso. Su vida artística se desarrolló entre Sevilla y Córdoba donde dejó la mayoría de los encargos más importantes que recibió. Nuestro óleo sobre lienzo pertenece la serie de obras que recogen la Vida de Santa Clara. Se trata de un fragmento que figuraba en la parte superior de "La profesión de Santa Clara", de donde fue recortada. La obra representa a Cristo en el centro del lienzo acompañado por su madre la Virgen María a la izquierda bajo un arco de medio punto y sobre unas nubes con pequeños ángeles. Ésta serie fue realizada entre 1652 y 1653 para el convento de monjas franciscanas de Santa Clara de Carmona. Se trata de su primera obra documentada. El conjunto pictórico permaneció en su lugar de origen hasta 1910, año en el que fue adquirido por el arqueólogo Jorge Bonsor, quien regularizó su tamaño y las restauró conservándolas hasta su muerte en 1930. Poco tiempo después fueron vendidas por sus herederos a Don Juan March, excepto dos de ellas que fueron adquiridas por Archer Huntington, quien las donó al Ayuntamiento de Sevilla. El cuadro presenta varias etiquetas antiguas en el dorso con diversa información de procedencia. El cuadro aparece reproducido en el libro de Enrique Valdivieso sobre la obra completa del pintor. Exposiciones: - Córdoba, 1916, nº 39; Sevilla, 1922, nº 45 Bibliografía de referencia: - VALDIVIESO, Enrique: "Juan de Valdés Leal". Ediciones Guadalquivir. Sevilla, 1988. Reproducido en la pág. 228 con el número 9. - Buruete, 1911, p. 15 - 16; Mayer, 1911, p. 81; Gestoso, 1916, p. 32-39; Von Loga, 1923, p. 350; Friedlander-Lafuente Ferrari, 1935, p. 136-137; Pompey, 1955, p. 12-14; Kubler-Soria; 1959, p. 292; Trapier, 1960, p. 4-8; Valverde, 1963, p. 16; Angulo, 1971, p. 371-373; Kinkead, 1978, p. 37-51, 328-337; Id, 1985, p. 14; Valdivieso, 1986, p. 262.

      Isbilya Subastas
    • JUAN DE VALDÉS LEAL - Mercy
      Jul. 04, 2023

      JUAN DE VALDÉS LEAL - Mercy

      Est: -

      JUAN DE VALDÉS LEAL Seville 1622 - 1690 Piedad Oil on canvas Signed Measures 159.5 x 111 cm This unpublished work signed by Juan by Valdés Leal is a version similar to the one held in the Metropolitan Museum in New York of which we know nothing about its first destination. Both paintings show the same composition, although the latter version has a more precise and less vaporous drawing than the first. The scene seems to evoke some of the processional steps or small groups of clay sculptures that proliferated on the Piedad in Spanish Baroque times. The artist has used an agile and fast brushstroke, highlighting the red tones of the Virgin's tunic in contrast to the white of the shroud. The tragic gestures of Mary, the Mater Dolorosa contrast with the serene countenance of Christ, revealing the indisputable mastery of one of the great exponents of the Andalusian Baroque.

      Subastas Segre
    • JUAN DE VALDÉS LEAL - Calvary
      Mar. 28, 2023

      JUAN DE VALDÉS LEAL - Calvary

      Est: -

      JUAN DE VALDÉS LEAL Seville 1622 - 1690 Calvary Oil on canvas Size 106 x 75 cm Origin: - Private collection. This work is a version of one of the paintings that were part of the main altarpiece of the church of San Benito de Calatrava in Seville that is currently in the chapel of Quinta Angustia in the current parish of La Magdalena from the same city Carried out between 1659 and 1660, the set originally consisted of eleven canvases of which the Immaculate Conception and Calvary were located in the collateral spaces of said altarpiece. Although we do not know if it is a later or earlier version of the canvas of the Magdalena, we can note that the subject treated here lacks the opulence and dynamism of the former. The tragic gestures of the different characters in contrast to the calm countenance of Christ reveal the indisputable mastery of one of the great exponents of the Andalusian Baroque. Regarding the original origin of this work, its dimensions suggest that it was intended for private devotion. Work referenced in: - Antonio Hernández Romero, Cat. Exp: Juan de Valdés Leal (1622-1690), Córdoba, Obra Social y Cultural Cajasur, 2001, p. 35. Work exhibited at: - Cajasur Museum Exhibition Hall, "Juan de Valdés Leal (1622 - 1690), Córdoba, 2001.

      Subastas Segre
    • JUAN DE VALDÉS LEAL - Appearance of Christ to Saint Ignatius on the way to Rome
      Dec. 13, 2022

      JUAN DE VALDÉS LEAL - Appearance of Christ to Saint Ignatius on the way to Rome

      Est: -

      JUAN DE VALDÉS LEAL Seville 1622 - 1690 Appearance of Christ to Saint Ignatius on the way to Rome. 1662 Oil on canvas Signed and dated Measurements 129 x 99 cm Origin: - Collection of the Countess of Lebrija, Seville, until 1950. - Private collection. This canvas is a reduction of one of the paintings that were part of the series on the life of Saint Ignatius of Loyola, commissioned by the Jesuit priests to Valdés Leal to decorate the cloister of the Professed House in Seville, Today in the Museum of Fine Arts in Seville. Carried out between 1660 and 1669, the cycle is inspired by the engravings that illustrate the books on the life of the founder of the Society of Jesus, written by Pedro de Rivadeneyra, also a Jesuit. The scene depicts one of the founding milestones in the saint's life known as the "vision of the Storta". The miraculous event occurred in the vicinity of Rome, in a small chapel, when Saint Ignatius, together with Pedro Fabro and Diego Laínez, prepared to entrust the audience with Pope Paul III, to whom they will present their wishes to serve the Church under a new founding charism. At that moment Ignatius saw God the Father, accompanied by his Son, in the form of Christ carrying the Cross. The Father, addressing his Son, says: "I want you to take this as your servant." The Son takes Saint Ignatius of Loyola to tell him: "I want you to serve us." In this work of great theatricality and magnificence, Juan de Valdés Leal, one of the most outstanding personalities of the Andalusian Baroque, masterfully demonstrates his mastery in the art of painting. The gestures of the figures, the swirling forms, and the loose and colorful brushstrokes infuse the scene with a dynamism that is typical of the full Baroque. Origin: - Collection of the Countess of Lebrija, Seville, until 1950. - Private collection. Bibliography: - Enrique Valdivieso, Juan de Valdés Leal, Guadalquivir, Seville, 1988, nº cat. 115. - Duncan T. Kinkead, Juan de Valdés Leal (1622 - 1690). His Life and Work, New York: Ann Arbor, 1978, p. 441. - Celestino López Martínez, Juan de Valdés Leal, Sobrinos de Izquierdo, Seville, 1922, p. 40. - José Gestoso Pérez, Biography of the Sevillian painter Juan Valdés Leal, Seville, 1916, pp. 235-236. Exhibitions: - Cat. exp. Valdés Leal and Retrospective Art, Seville, Gironés, 1923, cat. No. 26.

      Subastas Segre
    • Juan de Valdés Leal, Seville 1622 - 1690 Seville, Circle of
      Nov. 15, 2022

      Juan de Valdés Leal, Seville 1622 - 1690 Seville, Circle of

      Est: €1,500 - €3,000

      Juan de Valdés Leal Seville 1622 - 1690 Seville Circle of "Cras Tibi" Spain End of 16./beginning of 17. century Oil on wood panel 43 x 65,5 cm The Spanish Baroque painter Juan de Valdés Leal studied with Francisco de Herrera the Elder (1576-1656), among others, and was regarded as a technically extremely gifted artist. He also interacted with Bartolomé Esteban Murillo (1617-1682) and produced his first works in Córdoba in 1652, but soon returned to Seville. Valdés Leal was very productive, and his works are characterised by great inventiveness. He liked to paint the Baroque theme of vanitas or memento mori, which was widespread throughout Europe. This gloomy and macabre theme also earned him the name "painter of the dead", as is also clearly expressed in this painting. From the right side, a middle-aged man approaches an emaciated body lying on the dry earth. He is wearing a liturgical vestment, the violet colour of the dalmatic being associated with penitence, repentance, and mourning, and is also worn at funerals instead of the traditional black dress. He looks down at the corpse with a furrowed forehead and points to it with an almost imploring gesture, as if he wants to address it. The man's body, already desiccated in rigor mortis, lies on the earthy ground, surrounded by skeletal parts and skulls. His head, with its frizzy patch of hair and sunken cheeks, is also propped up on a skull. The sunken abdomen further emphasises the ribcage emerging from underneath the paper-thin skin. His scrawny arms are resting on the thighs, as if in a pose of sleep. The sinewy legs hang limply to the side and only a torn cloth covers his loins. It appears to be a chance encounter, with the sight of the dead man intended to evoke terror in the viewer. Interestingly, the dead man's blank stare is directed at the approaching man, with dark eye sockets and a wide-open mouth. Although he is no longer capable of speech, the communication to the living is revealed by the writing on the scroll above the corpse: it reads "cras tibi", referring to an inscription often found on medieval tombstones: "hodie mihi, cras tibi" - "today it is me, tomorrow it will be you". This expresses the transience of human life and the victory of death, typical of Valdés Leal's pestilential paintings. The background offers a scene of the end times with the juxtaposition of a blue-grey sky from which an angel flies down carrying a person - perhaps the soul a man? - while on the left another figure seems to fall into the blazing fire of hell. This contrast also reflects the moral of the painting, namely, to be penitent in order to be redeemed after death. Particularly important here is one's position in this world and the high importance of charity, this being understood as one of the tasks of the commissioning church. Thematically similar paintings by the so-called painter of the dead are "Finis gloriae mundi" ("The End of the Glory of the World") and "In ictu oculi" ("In the Blink of an Eye") from 1670-72, which show human remains or even a grim reaper triumphing over the deceased. The works on the allegory of death and its universality, which Valdés Leal called "hieroglyphics of our life after death", are the culmination of his artistic work.

      Tiberius Auctions
    • JUAN DE VALDÉS LEAL (Seville, 1622 - 1690) “The sale of Joseph by his brothers”. Oil on canvas. Relined. It presents restorations and overpaintings It retains partial signature in the lower right area.
      Oct. 13, 2022

      JUAN DE VALDÉS LEAL (Seville, 1622 - 1690) “The sale of Joseph by his brothers”. Oil on canvas. Relined. It presents restorations and overpaintings It retains partial signature in the lower right area.

      Est: €12,000 - €13,000

      JUAN DE VALDÉS LEAL (Seville, 1622 - 1690) "The sale of Joseph by his brothers". Oil on canvas. Re-coloured. It has restorations and repainting. It conserves a partial signature in the lower right area. Measurements: 187 x 142 cm; 204 x 157 cm (frame). The artist of this work plays with the ambiguity of the subject, since it offers us at first sight a dispute between a great number of men, and a young man who is being harassed and retained by the majority. The scene, which appears to be based on genre painting, is in fact a devotional work depicting the passage from Genesis that alludes to the sale of Joseph by his brothers, who envied him because of their father Jacob's predilection for him. The author has depicted a specific moment, the most dramatic and important in the story, as it is the moment of the capture. In addition, the composition in the form of a cross, very typical of the Baroque period, with marked diagonals and the position of Joseph's body as the central axis of the scene, lend great dynamism and expressiveness to the scene. This configuration was repeated by Leal on several occasions, for example in his work "The Wedding at Cana", now in the Seville Museum of Fine Arts. In terms of tonality, the artist echoes the tenebrism of the period, although his painting displays a vaporous finish, which is particularly noticeable in the pictorial conception of the sky, or in the hair and beards of the figures, a resource that was common in Valdés Leal's painting, as can be seen in the treatment of the figures in the painting of the Life of Saint Ambrose, which was exhibited at the Museo del Prado in 2004. Despite the difficult character with which he is portrayed in the sources, the fact is that Valdés Leal's work is quite varied and is in line with the painting that was being done in his environment. We do not know when he moved to Córdoba, although it is likely that he had already trained as an artist in his native city. It has been speculated that he was influenced by the workshop of Herrera the Elder, and also by the art of the Cordovan Antonio del Castillo, as possible influences for his first known signed and dated work, the Saint Andrew in the church of San Francisco in Cordoba, dated 1647. In it he combined the monumentality of the figure of the saint with a naturalistic approach with visible success. In 1656 he settled in Seville, where he spent most of his life. In 1660 he was one of the founders of the Academy of Drawing, of which he became president in 1663. The following year Palomino set out on his trip to the court and to El Escorial, a journey that can still be understood as an apprenticeship, driven by his eagerness to become acquainted with the works of the great masters in the royal collections. In 1667 he joined the Brotherhood of Charity in Seville, whose founder had been Miguel de Mañara, the noble visionary author of the eschatological Discourse on Truth, to which Valdés would remain attached from then on. In 1671 Valdés Leal had the opportunity to work as an architect on the ephemeral decorations that the Seville cathedral had installed to celebrate the canonisation of Saint Ferdinand. Thanks to these works Palomino defines him as "a great draughtsman, perspectivist and architect". He also produced two engravings, reproducing his works in the cathedral, for Fernando Torres Farfán's book celebrating the event, which gives us an insight into his work as an architect. These are his most important works as a printmaker, although his engraving of the cathedral monstrance, a self-portrait and the posthumous image of Miguel de Mañara are also known. In 1672 he was in Cordoba, an occasion Palomino took advantage of to meet him in person. This gives added value to the Cordovan treatise writer's affirmation of Valdés Leal's literary interest, as he describes him as possessing "the ornamentation of all good letters, not forgetting those of poetry".

      Setdart Auction House
    • Attributed to JUAN DE NISA VALDÉS LEAL
      Sep. 23, 2022

      Attributed to JUAN DE NISA VALDÉS LEAL

      Est: CHF1,000 - CHF1,500

      Attributed to JUAN DE NISA VALDÉS LEAL (1622 Seville 1690) An angel shows Saint Ferdinand III. of Castille the way. Pen and brown ink, black chalk. Old mount on backing board. Old inscription verso on the board in pen and black ink: No.3 S. Fernando. Old bill written in Spanish in pen and brown ink. 39.8 x 29.5 cm (the corners cut). --------------- JUAN DE NISA VALDÉS LEAL, zugeschrieben (1622 Sevilla 1690) Ein Engel weist dem Hl. Ferdinand III. von Kastilien den Weg. Feder in Braun, schwarze Kreide. Auf Unterlagenbogen alt aufgezogen. Dort verso mit schwarzer Feder alt bezeichnet: No.3 S. Fernando. Mit brauner Feder alte Rechnungen in spanischer Sprache. 39,8 x 29,5 cm (die Ecken angeschrägt). ---------------

      Koller Auctions
    • Attributed to JUAN DE NISA VALDÉS LEAL
      Sep. 23, 2022

      Attributed to JUAN DE NISA VALDÉS LEAL

      Est: CHF900 - CHF1,200

      Attributed to JUAN DE NISA VALDÉS LEAL (1622 Seville 1690) Design for an altar decoration with angels and putti. Pen and brown ink, grey wash, traces of black chalk. Old inscription on the backing board: Valdes Leal. 38 x 27.5 cm. --------------- JUAN DE NISA VALDÉS LEAL, zugeschrieben (1622 Sevilla 1690) Entwurf zu einem Altargesprenge mit Engel und Putten. Feder in Braun, grau laviert, Spuren von schwarzer Kreide. Auf dem Unterlagenbogen alt bezeichnet: Valdes Leal. 38 x 27,5 cm. ---------------

      Koller Auctions
    • VANITAS, SEVILLE SCHOOL OF THE 17TH CENTURY, ATTRIBUTABLE TO JUAN VALDÉS LEAL (SEVILLE, 1622-1690)
      Jul. 20, 2022

      VANITAS, SEVILLE SCHOOL OF THE 17TH CENTURY, ATTRIBUTABLE TO JUAN VALDÉS LEAL (SEVILLE, 1622-1690)

      Est: €6,000 - €9,000

      Oil on canvas, framed. With the poem "Life is a dream" by Pedro Calderón de la Barca. We find ourselves before an interesting composition in the "vanitas" theme, very extended by most of Europe during the XV to XVIII centuries, the allegories "finis gloriae mundi "(The end of worldly glories) and "in ictu oculi" (In the blink of an eye) illustrate the thought of Miguel de Mañara, renovator of the Brotherhood of Holy Charity, as he wrote in his Book of Truth , in addition to completing the iconographic program of the chapel, made up of the Holy Burial of the main altarpiece and the series of "works of mercy" painted by Murillo, with which they form a coherent whole. However, the macabre of his subject - and the strong personality of the painter - were detrimental to his posthumous fame and made it easy for him to end up being attributed any painting in which a decomposing corpse or the severed head of a saint appeared, even if it were It was about paintings of the lowest quality. Become a «painter of the dead», as Enrique Romero de Torres called him, All lugubrious and repulsive affairs seemed to suit him, while with romantic overtones the rivalry with Murillo, his contemporary, was enlarged and deepened, since Valdés was assumed to have an angry and arrogant temperament opposed to the peaceful character of his rival. Measurements: 108 x 69

      Templum Fine Art Auctions
    • Juan de Valdés Leal (Nachfolge) – Unsere Liebe Frau auf dem Pfeiler (Virgen del Pilar) (Our Lady of the Pillar (Virgen del Pilar))
      May. 18, 2022

      Juan de Valdés Leal (Nachfolge) – Unsere Liebe Frau auf dem Pfeiler (Virgen del Pilar) (Our Lady of the Pillar (Virgen del Pilar))

      Est: €5,000 - €8,000

      Oil on copper. (Late 17th C.). 47 x 32.7 cm (upper edge rounded). Inscribed in Latin below the altar. Framed.

      Karl & Faber
    • VANITAS, 17TH CENTURY SEVILLIAN SCHOOL, ATTRIBUTABLE TO JUAN VALDÉS LEAL (SEVILLE, 1622-1690)
      Apr. 07, 2022

      VANITAS, 17TH CENTURY SEVILLIAN SCHOOL, ATTRIBUTABLE TO JUAN VALDÉS LEAL (SEVILLE, 1622-1690)

      Est: €8,000 - €12,000

      Oil on canvas, framed. With the poem "Life is a dream" by Pedro Calderón de la Barca. We are faced with an interesting composition framed in the theme with the theme of vanitas, widespread throughout most of Europe during the fifteenth to eighteenth centuries, the allegories "finis gloriae mundi" (The end of worldly glories) and "in ictu oculi” (In the blink of an eye) illustrate the thought of Miguel de Mañara, renovator of the Brotherhood of Holy Charity, as he left it written in his Book of Truth, in addition to completing the iconographic program of the chapel, made up of the Holy Burial of the main altarpiece and the series of "works of mercy" painted by Murillo, with which they form a coherent whole. Nevertheless, the macabre of its subject matter—and the strong personality of the painter—were detrimental to his posthumous fame and made it easy for any painting showing a decomposing corpse or the severed head of a saint to be attributed to him, even if they were paintings of poor quality. Turned into a "painter of the dead", as Enrique Romero de Torres called him, all the gloomy and repulsive matters seemed to suit him, while with romantic overtones the rivalry with Murillo, his contemporary, was enlarged and deepened, by supposing Valdés an angry and arrogant temperament opposed to the peaceful character of his rival. Measurements: 108 x 69 even if it was subpar quality paints. Turned into a "painter of the dead", as Enrique Romero de Torres called him, all the gloomy and repulsive matters seemed to suit him, while with romantic overtones the rivalry with Murillo, his contemporary, was enlarged and deepened, by supposing Valdés an angry and arrogant temperament opposed to the peaceful character of his rival. Measurements: 108 x 69 even if it was subpar quality paints. Turned into a "painter of the dead", as Enrique Romero de Torres called him, all the gloomy and repulsive matters seemed to suit him, while with romantic overtones the rivalry with Murillo, his contemporary, was enlarged and deepened, by supposing Valdés an angry and arrogant temperament opposed to the peaceful character of his rival. Measurements: 108 x 69

      Templum Fine Art Auctions
    • Andalusian school of the seventeenth century. Circle of JUAN DE VALDÉS LEAL (Seville, 1622 - 1690). "Head of St. John the Baptist". Oil on original canvas. Frame simulating rosewood.
      Feb. 23, 2022

      Andalusian school of the seventeenth century. Circle of JUAN DE VALDÉS LEAL (Seville, 1622 - 1690). "Head of St. John the Baptist". Oil on original canvas. Frame simulating rosewood.

      Est: €3,000 - €3,500

      17th century Andalusian school. Circle of JUAN DE VALDÉS LEAL (Seville, 1622 - 1690). "Head of Saint John the Baptist". Oil on original canvas. Frame simulating rosewood. Measurements: 50 x 45 cm; 61 x 56,5 cm (frame). In this work the artist does not pay homage to the mortuary and macabre but, by representing the head of the saint, he tries to pay homage to those Christians who knew how to give their lives in defence of the Faith. There is no recreation of the gruesome in this work, but rather an exaltation of martyrdom, an idea propagated by the Counter-Reformation through the Church. Compositionally and stylistically, this painting should be contextualised within the Andalusian school. The Baroque style, the chiaroscuro, the theme of martyrdom, or rather, of the decapitated heads of the martyrs, which abounded in the painting of Valdés Leal or Llanos y Valdés and the Sevillian circle, place this painting within the Tenebrist tradition which, in parallel to Murillo's gentleness, developed in a rougher aesthetic, in the drama of the memento mori, etc. The Gospels say of John the Baptist that he was the son of the priest Zechariah and Elizabeth, cousin of the Virgin Mary. He retired at a very young age to the desert of Judea to lead an ascetic life and preach penance, and recognised in Jesus, who was baptised by him, the Messiah announced by the prophets. A year after Christ's baptism, in the year 29, John was arrested and imprisoned by the tetrarch of Galilee Herod Antipas, whose marriage to Herodias, his niece and sister-in-law, he had dared to censure. Finally St. John was beheaded, and his head given to Salome as a reward for his beautiful dances. This saint appears in Christian art in two different guises: as a child, a playmate of Jesus, and as an adult, an ascetic preacher. As for the representation of his head, either alone or carried by Salome, although it has its roots in the 6th-century Codex Sinopensis, it is not usually depicted until the Romanesque period. However, with the transition from the Middle Ages to the Modern period, the representation of Salome with the saint's head lost importance in favour of the bloody scene of the Baptist's head on a tray.

      Setdart Auction House
    • JUAN DE VALDÉS LEAL (Seville, 1622 - 1690), cercle. "Saint Francis of Borgia". Oil on canvas. Repainting. Lacking in the frame.
      Jan. 26, 2022

      JUAN DE VALDÉS LEAL (Seville, 1622 - 1690), cercle. "Saint Francis of Borgia". Oil on canvas. Repainting. Lacking in the frame.

      Est: €6,000 - €7,000

      Cículo de JUAN DE VALDÉS LEAL (Seville, 1622 - 1690). "Saint Francis of Borgia". Oil on canvas. Repainting. Lacking in the frame. Measurements: 64 x 51 cm; 82,5 x 67,5 cm (frame). Contemporary of Murillo, Valdés Leal was his biggest pictorial rival in the Seville of his time. However, their language differs greatly. Murillo's gentleness contrasts with the latter's harshness and dramatic verism. In this representation of Saint Francis Borgia, whom we recognise by the skull and imperial crown he holds in his left hand, the saint is depicted with a countenance reminiscent of other religious figures depicted by Valdés Leal, starting with the painting of the same figure that he produced for the pictorial series on the life of Saint Ignatius of Loyola (now in the Museo de Bellas Artes in Seville). Under the lowered eyelids, black eyes of impenetrably deep expression, together with the frown and half-open lips, reveal with intensity a moment of inner transformation. The dark, velvety-textured clothing accentuates by contrast the naturalism of the flesh tones, both on the face and on the hands. The glittering jewels on the skull denote particular skill in the use of glazes and glitter. The psychological depth and the symbol of the crowned skull convey the horror at the discovery of the decomposition of the Empress Isabella of Portugal when she was about to hand over her corpse in Granada. The jewels symbolise the saint's renunciation of all earthly goods. Especially known for his paintings of vanitas (such as those he painted for the church of La Caridad in Seville), Valdés Leal nevertheless worked on all kinds of religious themes. We do not know when he moved to Córdoba, although it is likely that he had already trained as an artist in his native city. It has been speculated that he was influenced by the workshop of Herrera el Viejo, and also by the art of the Cordovan Antonio del Castillo, as possible influences for his first known signed and dated work, the San Andrés in the church of San Francisco in Cordoba, dated 1647. In it he was able to combine the monumentality of the figure of the saint with a naturalistic approach with visible success. In 1656 he settled in Seville, where he spent most of his life. In 1660 he was one of the founders of the Academy of Drawing, of which he became president in 1663. The following year Palomino set out on his trip to the court and to El Escorial, a journey that can still be understood as an apprenticeship, driven by his eagerness to become acquainted with the works of the great masters in the royal collections. In 1667 he joined the Brotherhood of Charity in Seville, whose founder had been Miguel de Mañara, the noble visionary author of the eschatological Discourse on Truth, to which Valdés would remain attached from then on. In 1671 Valdés Leal had the opportunity to work as an architect on the ephemeral decorations that the Seville cathedral had installed to celebrate the canonisation of Saint Ferdinand. Thanks to these works Palomino defines him as "a great draughtsman, perspectivist and architect". He also produced two engravings, reproducing his works in the cathedral, for Fernando Torres Farfán's book celebrating the event, which gives us an insight into his work as an architect. These are his most important works as a printmaker, although his engraving of the cathedral monstrance, a self-portrait and the posthumous image of Miguel de Mañara are also known. In 1672 he was in Cordoba, an occasion that Palomino took advantage of to meet him personally. This lends further value to the Cordovan treatise writer's affirmation of Valdés Leal's literary interest, as he describes him as possessing "the ornament of all good letters, not forgetting those of poetry".

      Setdart Auction House
    • Cordovan school of the second third of the seventeenth century, following models of JUAN DE VALDÉS LEAL (Seville, 1622 - 1690). "Christ on the way to Calvary". Oil on canvas. Relined.
      Dec. 21, 2021

      Cordovan school of the second third of the seventeenth century, following models of JUAN DE VALDÉS LEAL (Seville, 1622 - 1690). "Christ on the way to Calvary". Oil on canvas. Relined.

      Est: €7,000 - €8,000

      Cordovan school of the second third of the seventeenth century, following models of JUAN DE VALDÉS LEAL (Seville, 1622 - 1690). "Christ on the way to Calvary". Oil on canvas. Relined. With important period frame. Measurements: 149 x 149 cm; 183 x 183 cm (frame). This dramatic scene represents one of the moments of the Passion of Christ: Jesus is heading, with the cross on which he will be executed, on his way to Mount Calvary. Because of the figure of Christ holding the cross, this work is closely related to the canvas of the same name painted by Juan de Valdés Leal around 1661, now in the Prado Museum. In both works, the composition is organized diagonally, directly confronting the viewer with the figure of Jesus. The figures behind the Nazarene, the Virgin and another woman, possibly Mary Magdalene or the Virgin's sister, weep in grief, while St. John points to the event with his hand. Behind this foreground composed of the main figures of the scene, a panoramic landscape unfolds in which a multitude of characters is crowded together, mainly composed of Roman soldiers on foot or on horseback, as well as the two thieves who will be executed next to Christ. The artificial diagonal composition, as well as the exacerbated dynamism, the expressiveness of the whole, the pictorial treatment or the dramatic lighting, with intense chiaroscuro and vibrant touches of color, allow us to ascribe this scene to the Cordovan Baroque school, from the last third of the 17th century.

      Setdart Auction House
    • JUAN DE VALDÉS LEAL (Seville, 1622 - 1690). "The guardian angel". Oil on panel. Cradled.
      Dec. 21, 2021

      JUAN DE VALDÉS LEAL (Seville, 1622 - 1690). "The guardian angel". Oil on panel. Cradled.

      Est: €85,000 - €100,000

      JUAN DE VALDÉS LEAL (Seville, 1622 - 1690). "The guardian angel". Oil on panel. Cradled. Measurements: 50 x 78 cm; 60 x 88 cm (frame). The religious painting of Valdés Leal stood out for its use of complex compositions, variegated of characters as in this particular case. Although a pyramidal structure can be appreciated in the center, which facilitates the reading of the scene, the author places several figures at both ends and in deeper planes, which turns the religious image into a representation full of dynamism and expressiveness. In the center, the figure of the Child Jesus is represented, accompanied by the Guardian Angel, who holds his hand and seems to guide him. In Christianity, the guardian angel would be the one that God has appointed to each person to protect him. Hence, he is usually represented as a guide for life understood as a path, as is the case here. The fact that the sculptor has represented the faithful with the figure of a child emphasizes even more this protective role that the guardian angel fulfills with respect to the defenseless Christian soul. Formally it is a work halfway between Mannerism and Baroque, although at first sight the dynamism and expressive force of the latter style dominates. However, the anatomy of the angel refers to models of Michelangelo, a key reference for the artists of Mannerism. Thus, it is a strong, muscular character with great presence, endowed with a certain idealization and far from the realistic canons of the Baroque. Valdés Leal worked, however, on all kinds of religious themes. We do not know at what date he moved to Cordoba, although it is foreseeable that he had already received his first artistic training in his native city. It has been speculated that he was close to the workshop of Herrera el Viejo, and also to the art of the Cordovan Antonio del Castillo, as possible influences for his first known signed and dated work, the San Andrés de la iglesia de San Francisco de Córdoba, from 1647. In it he combined with visible success the monumentality of the figure of the saint with a naturalistic approach. In 1656 he settled in Seville, where he spent most of his life. In 1660 he was one of the founders of the Academy of Drawing, of which he became president in 1663. The following year Palomino established his trip to the court and to El Escorial, a journey that can still be understood as an apprenticeship, driven by his eagerness to know the works of the great masters present in the royal collections. In 1667 he joined the Brotherhood of Charity of Seville, whose founder had been Miguel de Mañara, the noble visionary author of the eschatological Discourse of Truth, to which Valdés would remain attached from then on. In 1671, Valdés Leal had the opportunity to work as an architect on the ephemeral decorations that the cathedral of Seville had installed to celebrate the canonization of Saint Ferdinand. Thanks to these works Palomino defines him as "a great draftsman, perspective and architect". He also made two engravings, reproducing his works in the cathedral, for Fernando Torres Farfán's book celebrating this event, which gives us an insight into his work as an architect. These are his most important works as a printmaker, although his engraving of the cathedral monstrance, a self-portrait and the posthumous image of Miguel de Mañara are also known. In 1672 he was in Cordoba, an occasion that Palomino took advantage of to meet him personally. This gives more value to the affirmation of the Cordovan treatise writer on the literary interest of Valdés Leal, because he makes him possess "the ornament of all the good letters, without forgetting those of poetry".

      Setdart Auction House
    • Juan de Nisa Valdés Leal (1622-1690)-attributed
      Oct. 19, 2021

      Juan de Nisa Valdés Leal (1622-1690)-attributed

      Est: €1,500 - €3,000

      Juan de Nisa Valdés Leal (1622-1690)-attributed, Allegory of transcience, oil on canvas, in a carved and gilded French frame around 1700. 64x45cm

      Deutsch Auktionen
    • VANITAS, SEVILLE SCHOOL OF THE 17TH CENTURY, ATTRIBUTABLE TO JUAN VALDÉS LEAL (SEVILLE, 1622-1690)
      Oct. 14, 2021

      VANITAS, SEVILLE SCHOOL OF THE 17TH CENTURY, ATTRIBUTABLE TO JUAN VALDÉS LEAL (SEVILLE, 1622-1690)

      Est: €6,000 - €9,000

      Oil on canvas, framed. With the poem "Life is a dream" by Pedro Calderón de la Barca. We find ourselves before an interesting composition framed in the theme with the vanitas theme, very extended by most of Europe during the XV to XVIII centuries, the allegories "finis gloriae mundi "(The end of worldly glories) and "in ictu oculi" (In the blink of an eye) illustrate the thought of Miguel de Mañara, renovator of the Brotherhood of Holy Charity, as he wrote in his Book of Truth , in addition to completing the iconographic program of the chapel, made up of the Holy Burial of the main altarpiece and the series of "works of mercy" painted by Murillo, with which they form a coherent whole. However, the macabre of his subject - and the strong personality of the painter - were detrimental to his posthumous fame and made it easy for him to end up being attributed any painting in which a decomposing corpse or the severed head of a saint appeared, even if it were It was about paintings of the lowest quality. Become a «painter of the dead», as Enrique Romero de Torres called him, All lugubrious and repulsive affairs seemed to suit him, while with romantic overtones the rivalry with Murillo, his contemporary, was enlarged and deepened, since Valdés was assumed to have an angry and arrogant temperament opposed to the peaceful character of his rival. Measurements: 108 x 69

      Templum Fine Art Auctions
    • Niño Dormido in Oil on Canvas
      Mar. 20, 2021

      Niño Dormido in Oil on Canvas

      Est: -

      An 18th century Spanish oil on canvas painting portraying the sleeping Child Jesus in the manner of Juan de Valdés Leal (1622 - 1690).

      Casa de Memoria
    • Attributed to Juan de Valdes Leal oil on panel
      Dec. 09, 2018

      Attributed to Juan de Valdes Leal oil on panel

      Est: $2,000 - $3,000

      From the Estate of architectural designer Leslie Taylor Ojai, Ca who purchased her paintings at Sullivan Goss. The Santo is by the hand or of the school of Juan de Valdes Leal (1622 - 1690) who was active/lived in Italy, Spain. measures 9" x 7.25" oil on panel "Santo"

      California Auctioneers
    • JUAN DE VALDÉS LEAL | Ecce Homo
      May. 03, 2017

      JUAN DE VALDÉS LEAL | Ecce Homo

      Est: £15,000 - £20,000

      oil on canvas

      Sotheby's
    • JUAN DE VALDÉS LEAL
      Jun. 22, 2016

      JUAN DE VALDÉS LEAL

      Est: -

      JUAN DE VALDÉS LEAL 1622 Sevilla - 1690 El bautismo de Cristo en el Jordán Óleo sobre lienzo Juan de Valdés Leal (Sevilla, 1622-Sevilla, 1690) representa, junto al genial Bartolomé Esteban Murillo, la culminación del Barroco Pleno en la escuela sevillana del Siglo de Oro. Hijo de Fernando de Nisa y Antonia Valdés, su formación debió iniciarse en el taller de Francisco de Herrera el Viejo y en Córdoba, donde se instala tras casarse en 1647, probablemente en el taller de Antonio del Castillo. A diferencia de Murillo su estilo se caracterizó por ser más expresivo y dramático, con una pincelada vigorosa y una gama de colores cálida, a veces terrosa, donde dominan los pardos y los ocres. Si bien es verdad que su abundante producción nos permite comprobar que estamos ante un pintor versátil, que ofrece un amplio abanico de acabados y de composiciones, su arte precisamente se distingue del otro gran maestro de la escuela sevillana contemporánea, Murillo, en la falta de equilibrio y en su sentido menos amable de los santos y de sus representaciones. De ahí que fuese el artista dotado con un estilo más temperamental y más violento, agitado incluso, quien nos legase algunas de las Vanitas más impresionantes de nuestro Siglo de Oro, como son las Postrimerías del Hospital de la Caridad de Sevilla. Su vida artística estuvo entre Sevilla y Córdoba donde dejó la mayoría de los encargos más importantes que recibió. A día de hoy este sería el único, y por tanto inédito, lienzo atribuido a Juan Valdés Leal cuyo asunto es el Bautismo de Cristo, lo cual constituye ya de por sí una rareza. A diferencia de otras producciones suyas, Valdés Leal se muestra más sereno que de costumbre, centrando el sentido convulso y dramático en el paisaje agitado que está a las espaldas de los personajes centrales. Cristo y San Juan Bautista dominan el primer plano de la escena. Aquí el artista ha querido que el espectador se centré en el recogimiento y en el sentido místico del hecho religioso que se describe. Los ángeles de la esquina superior izquierda envueltos en un cortinaje azul dan el toque barroco y dinámico preciso para distraer al espectador frente a la atmósfera de recogimiento de los personajes centrales. Debe ser obra realizada a su regreso a Sevilla, después de 1656, cuando el pintor recibe el encargo de realizar el conjunto de pinturas para el Monasterio de San Jerónimo de Buenavista, actualmente dispersos entre diversos museos y colecciones en todo el mundo tras la desamortización en 1835. Bibliografía de referencia: VALDIVIESO, Enrique (1988): Juan de Valdés Leal. Sevilla: Ediciones Guadalquivir. VALDIVIESO, Enrique (1991): Catálogo de la exposición Valdés Leal. Madrid, Museo Nacional del Prado. 95 x 71 cm

      Isbilya Subastas
    • STUDIO OF JUAN DE VALDÉS LEAL
      Jul. 20, 2015

      STUDIO OF JUAN DE VALDÉS LEAL

      Est: -

      (Sevilla, 1622-1690). "Presentación en el templo", óleo sobre lienzo, 140x125 cm.

      Sala de Ventas
    • JUAN DE VALDÉS LEAL
      Mar. 05, 2015

      JUAN DE VALDÉS LEAL

      Est: -

      (Sevilla, 1622-1690). "Los Desposorios de la Virgen y San José", óleo sobre lienzo, 34,5x34,5 cm. Se adjunta certificado de don Enrique Valdivieso.

      Sala de Ventas
    • Juan de Valdés Leal Sevilla 1622 - 1690 La adoración de los pastores Óleo sobre lienzo
      Oct. 01, 2014

      Juan de Valdés Leal Sevilla 1622 - 1690 La adoración de los pastores Óleo sobre lienzo

      Est: €50,000 -

      Juan de Valdés Leal Sevilla 1622 - 1690 La adoración de los pastores Óleo sobre lienzo Con gran marco de madera tallada y dorada de estilo rococó, probablemente del siglo XIX. Agradecemos la colaboración de Enrique Valdivieso, imprenscindible en la catalogación de esta obra 206x124,5 cm (sin marco)

      Balclis
    • Attribué à Juan de Valdés Leal Séville, 1622 - 1690 Le voile de sainte Véronique Huile sur toile
      Jun. 09, 2012

      Attribué à Juan de Valdés Leal Séville, 1622 - 1690 Le voile de sainte Véronique Huile sur toile

      Est: €1,000 - €1,500

      Attribué à Juan de Valdés Leal Séville, 1622 - 1690 Le voile de sainte Véronique Huile sur toile h: 54,50 w: 40,50 cm

      Artcurial
    • Juan de Valdés Leal Sevilla 1622 - 1690 El bautismo de Cristo en el Jordán Óleo sobre lienzo
      May. 17, 2012

      Juan de Valdés Leal Sevilla 1622 - 1690 El bautismo de Cristo en el Jordán Óleo sobre lienzo

      Est: €40,000 -

      Juan de Valdés Leal. Seville 1622-1690. Baptism of Christ in Jordan. Oil on canvas. Report of Doctor Enrique Valdivieso attached. 95x71,5 cm Juan de Valdés Leal Sevilla 1622 - 1690 El bautismo de Cristo en el Jordán Óleo sobre lienzo Adjunta informe de D. Enrique Valdivieso 95x71,5 cm

      Balclis
    • PORTRAIT OF A SAINT IN THE MANNER OF JUAN DE VALDES LEAL (SPAIN, 1622-1690).
      Aug. 06, 2011

      PORTRAIT OF A SAINT IN THE MANNER OF JUAN DE VALDES LEAL (SPAIN, 1622-1690).

      Est: $1,500 - $2,000

      PORTRAIT OF A SAINT IN THE MANNER OF JUAN DE VALDES LEAL (SPAIN, 1622-1690). Oil on canvas, unsigned. Saint seated with pen and book. Restoration. 43 3/4"h. 27"w., in a frame, 48 1/4"h. 32"w.

      Garth's Auctioneers & Appraisers
    • Juan de Valdés Leal (Seville 1622-1690)
      Jul. 07, 2010

      Juan de Valdés Leal (Seville 1622-1690)

      Est: £60,000 - £80,000

      Juan de Valdés Leal (Seville 1622-1690) The Annunciation with the inventory mark 'Nυo 42' (on the reverse of the canvas) oil on canvas 23¼ x 25½ in. (82 x 65 cm.)

      Christie's
    • Juan de Nisa Valdes Leal Spanien 1622-1690. Hans
      Jan. 25, 2010

      Juan de Nisa Valdes Leal Spanien 1622-1690. Hans

      Est: kr6,000 - kr8,000

      Juan de Nisa Valdes Leal Spanien 1622-1690. Hans krets. Johannes döparen. Olja på uppfodrad duk, 31 x 26. Uppfodrad. Smärre retuscher...

      Auktionskammare Uppsala
    • Circle of Juan de Valdes Léal (Seville 1622-1690) The Adoration of the Magi
      Oct. 28, 2009

      Circle of Juan de Valdes Léal (Seville 1622-1690) The Adoration of the Magi

      Est: £1,500 - £2,500

      The Adoration of the Magi oil on canvas 52 x 59.2cm (20 1/2 x 23 5/16in).

      Bonhams
    • 17th C., Circle of Juan de Valdes Leal, o/c
      Oct. 24, 2009

      17th C., Circle of Juan de Valdes Leal, o/c

      Est: $8,000 - $12,000

      17th Century, circle of Juan de Valdes Leal (Spanish, 1622-1690), angels appearing, o/c, 25 1/2" x 19", in frame 32" x 26".

      Kaminski Auctions
    • Juan Valdés Leal (Seville 1622-1690)
      Jul. 08, 2009

      Juan Valdés Leal (Seville 1622-1690)

      Est: £50,000 - £70,000

      Juan Valdés Leal (Seville 1622-1690) Saint Sebastian numbered '66' (lower right); and numbered and inscribed 'N.66/D.n Juan Valdes Leal' (on the reverse) oil on canvas 31¾ x 19 5/8 in. (80.7 x 49.8 cm.)

      Christie's
    • Circle of Juan de Valdes Léal (Spanish, 1622-1690) St. Francis in the arms of an angel sight 25 1/2 x 19in (64.8 x 48.2cm)
      Apr. 21, 2009

      Circle of Juan de Valdes Léal (Spanish, 1622-1690) St. Francis in the arms of an angel sight 25 1/2 x 19in (64.8 x 48.2cm)

      Est: $4,000 - $6,000

      St. Francis in the arms of an angel oil on canvas sight 25 1/2 x 19in (64.8 x 48.2cm)

      Bonhams
    • Juan de Valdés Leal , Seville 1622 - 1690 The Visitation oil on canvas
      Jan. 29, 2009

      Juan de Valdés Leal , Seville 1622 - 1690 The Visitation oil on canvas

      Est: $180,000 - $220,000

      signed in ligature and dated J. BAL/DEs F a A ° 1673 lower right oil on canvas

      Sotheby's
    • Studio of Juan de Valdés Leal Seville 1622 - 1690 , St. Mary Magdalene oil on canvas
      Jun. 06, 2008

      Studio of Juan de Valdés Leal Seville 1622 - 1690 , St. Mary Magdalene oil on canvas

      Est: $15,000 - $20,000

      oil on canvas

      Sotheby's
    • Juan de Valdés Leal (Seville 1622-1690)
      Apr. 06, 2006

      Juan de Valdés Leal (Seville 1622-1690)

      Est: $60,000 - $80,000

      Ecce Homo signed and dated 'JOAN' (linked) 'D VALDES F A 16**' (upper right) oil on canvas, unframed 22 x 17 in. (55.9 x 43.2 cm.)

      Christie's
    • Juan de Valdés Leal (Seville 1622-1690)
      Jan. 24, 2006

      Juan de Valdés Leal (Seville 1622-1690)

      Est: $6,000 - $8,000

      Saint John the Baptist seated in a landscape (recto); The Holy Family with Saint John the Baptist (verso) pen and brown ink, brown wash heightened with white (oxidised) 8 3/8 x 5 3/4 in. (212 x 144 mm.)

      Christie's
    • JUAN DE VALDÉS LEAL SEVILLE 1622 - 1690
      Dec. 08, 2005

      JUAN DE VALDÉS LEAL SEVILLE 1622 - 1690

      Est: £30,000 - £50,000

      PROPERTY FROM A SPANISH PRIVATE COLLECTION ECCE HOMO measurements note 55.9 by 42.8 cm.; 22 by 16 7/8 in. signed and indistinctly dated upper right: JN D VALDES FA A 16.. with old inventory number on reverse: 39 oil on canvas PROVENANCE Sr. Don Joaquín Palacios Cárdenas, Seville, 1923; Guillermo Bernstein, Madrid; Sala Parés, Barcelona, 1966; Whence acquired by the present owners. EXHIBITED Seville, Exposición de Valdés Leal y de arte retrospectivo, 1922, sala C., no. 27; Seville, Exposición Ibero-Americana, 12 October 1928 - 4 March 1929, no. 892; Barcelona, Sala Parés, Pinturas Españolas siglos XVI-XVII, 1966, pp. 88-9. LITERATURE J. Gestoso, Biografia del pintor sevillano: Juan de Valdés Leal, 1916, p. 195; G. Kubler & M.S. Soria, Art and Architecture in Spain and Portugal and their American Dominions: 1500 - 1800, Baltimore 1959, p. 294; D.T. Kinkead, Valdés Leal, New York 1978, pp. 127, no. 67, reproduced fig. 63; E. Valdivieso, Juan de Valdes Leal, Seville 1988, p. 239, no. 58, reproduced. NOTE This powerful treatment of Ecce Homo by Valdés Leal was painted by the artist along with a pendant representing La Virgen Dolorosa. The pendant, although listed by Valdivieso and Kinkead (see Literature) as of unknown whereabouts, has recently surfaced in a private collection, Madrid, and shares the same unusual calligraphic form of signature as its counterpart. Both paintings exist in a second version, although of lesser quality, listed by Valdivieso as in the collection of Vicente Tortajada (see Valdivieso, under Literature, p. 129, nos. 59 and 61, reproduced figures 66 and 67). The last digit of the date on the present work has been lost, but it seems likely that the painting dates towards the end of the 1650s, at a similar moment to the artist's painting of The Sacrifice of Isaac, which was sold in these rooms, 9 December 2004, lot 339. Both paintings are dated by Valdivieso to circa 1657-59 soon after the artist's return to Seville from Madrid, where he was strongly influenced by the work of Titian, Tintoretto and Rubens, as a result of which his palette took on a greater lightness and his brushwork an increased freedom. Indeed the present composition echoes Titian's famous treatments of the subject, no less than two of which were in the Spanish Royal Collections by that time.

      Sotheby's
    • JUAN DE VALDÉS LEAL SEVILLE 1622 - 1690
      Dec. 09, 2004

      JUAN DE VALDÉS LEAL SEVILLE 1622 - 1690

      Est: £300,000 - £500,000

      oil on canvas, in a Spanish carved and gilt wood frame

      Sotheby's
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