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Luis de (1509) Morales Sold at Auction Prices

Painter, b. 1520 - d. 1586

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    • LUIS DE MORALES (UMKREIS)
      Mar. 09, 2024

      LUIS DE MORALES (UMKREIS)

      Est: €800 - €1,600

      CIRCLE OF LUIS DE MORALES ('Called: El Divino also Divino Morales') Around 1509 Badajoz - 9 May 1586 ibid. ECCE HOMO Oil on oak panel. 38 x 32.5 cm (F. 53 x 45.5 cm). Part. slightly old rest., min. old retouching. Frame. Provenance: South German private collection. LUIS DE MORALES (UMKREIS) ('Genannt: El Divino auch Divino Morales') Um 1509 Badajoz - 9. Mai 1586 ebenda ECCE HOMO Öl auf Eichenholztafel. 38 x 32,5 cm (R. 53 x 45,5 cm). Part. leicht altrest., min. Altretuschen. Rahmen. Provenienz: Süddeutsche Privatsammlung.

      Hargesheimer Kunstauktionen Düsseldorf
    • Tableaux Huile sur toile marouflée sur toile "Saint Pierre". Suiveur de
      Feb. 13, 2024

      Tableaux Huile sur toile marouflée sur toile "Saint Pierre". Suiveur de

      Est: €1,000 - €1,500

      Tableaux Huile sur toile marouflée sur toile "Saint Pierre". Suiveur de Luis de Morales. Ecole espagnole. Epoque: XVIIème. Dim.:+/-82x57,5cm. DE MORALES Luis (vers 1509-1586). Suiveur de.

      Vanderkindere
    • LUIS DE MORALES, EL DIVINO (? BADAJOZ C.1520-?1586) Mater Dolorosa; and Chr
      Jan. 31, 2024

      LUIS DE MORALES, EL DIVINO (? BADAJOZ C.1520-?1586) Mater Dolorosa; and Chr

      Est: $60,000 - $80,000

      LUIS DE MORALES, EL DIVINO (? BADAJOZ C.1520-?1586) Mater Dolorosa; and Christ Bearing the Cross oil on panel, with an arched top 9 x 6 ½ in. (22.8 x 16.5 cm.), each (2)

      Christie's
    • Luis de Morales, um 1509/10 Badajoz – 1586, zugeschrieben
      Dec. 07, 2023

      Luis de Morales, um 1509/10 Badajoz – 1586, zugeschrieben

      Est: €4,000 - €5,000

      BEWEINUNG CHRISTI Öl auf Eichenholz. 76 x 63 cm. Maria hält Jesus in ihren Armen, seitlich dahinter Johannes Evangelist sowie Maria Magdalena. Die Figuren im Halbbildnis vor dunklem, nahezu schwarzem Hintergrund, auf dem die goldgelben Nimbusse zur Geltung kommen. Die realistische Härte, insbesondere im Gesicht des Toten, entspricht der Malweise von Luis de Morales. So lassen sich in mehreren seiner Werke vergleichbare Gesichtszüge, insbesondere bei der Jesusdarstellung finden. Der Maler, der oft als erster der spanischen Renaissance bezeichnet wird, widmete sich ausschließlich religiösen Themen, weshalb er auch „El Divino“ oder „Divino Morales“ genannt wurde. (13816724) (11)

      Hampel Fine Art Auctions
    • LUIS DE MORALES "THE DIVINE" - Ecce Homo
      Oct. 24, 2023

      LUIS DE MORALES "THE DIVINE" - Ecce Homo

      Est: -

      LUIS DE MORALES "THE DIVINE" Badajoz h. 1510 - 1586 Ecce Homo Oil on panel Measurements 30 x 37.5 cm The appearance of this work represents an interesting contribution to the pictorial corpus of Luis de Morales, better known as “the Divine” for his consummate dedication to painting religious-themed paintings of great iconographic fortune that were highly celebrated among the erudite clientele of the time. His fame was such that apparently he was requested by Philip II himself to perform some devotional works that he later gave to his most intimate circle of friends. There are many questions that exist around their training. The writer Antonio Palomino makes him a disciple of the painter of Flemish descent Pedro de Campaña, who lived in Seville between 1537 and 1563. The most accurate hypothesis maintains that he must have made a trip to Valencia where he came into contact with the Italianate novelties of the Lombard world through the painters Fernando Yáñez and Fernando de Llanos. The work in question derives from a single Ecce Homo model of which at least three autograph copies are preserved (Private Collection, Madrid; Private Collection, Switzerland; González Aller Collection, Madrid). Unlike these last works, the artist shows us a more intimate image, a half-bust, where the representation of both the full torso and the arms has been omitted. As if it were a zoom, the face of Christ fixes his gaze on the viewer, an anguish that is accentuated by the gesture of his mouth half open. Although the crown of thorns does not appear on his head, five wounds on his forehead testify to it. The torso is covered by a bluish-colored tunic that is tied on the left shoulder, while on the right rests the reed-scepter that defines him as “king of the Jews.” In front of these specimens we find a second version (collection of heirs of the Marquis of Miraflores, Badajoz cathedral and former Montaner collection) in which the model is somewhat older as well as bearded and presents a huge cross without a crucifix. The careful precision of the drawing together with the marvelous thoroughness with which the painter has described details as summary as the threads of blood or the hair reveal to us that it is a work completely handwritten by Luis de Morales without intervention from the workshop. Attached is an extensive study carried out by Mrs. Isabel Mateo Gómez (July 2023).

      Subastas Segre
    • LUIS DE MORALES "THE DIVINE" - Ecce Homo
      Sep. 19, 2023

      LUIS DE MORALES "THE DIVINE" - Ecce Homo

      Est: -

      LUIS DE MORALES "THE DIVINE" Badajoz h. 1510 - 1586 Ecce Homo Oil on panel Size 40 x 28.5 cm Origin: - Acquired by the ancestors of the current owners in Andalusia around 1950. - Private collection, Madrid. The appearance of this work represents an important addition to the pictorial corpus of Luis de Morales, better known as "el Divino" for his dedication to religious-themed paintings that enjoyed great popularity among his clientele at the time. His fame was such that he must have been required by Philip II himself to paint some devotional works that he later gave to his closest circle of friends. The work in question bears an enormous resemblance to the Ecce Homo from the old collection of the Count of Adanero. In this replica, only the dark brown tunic that covers part of the right torso varies. As Isabel Mateo, a great connoisseur of the work of Luis de Morales, has recently stated, we find ourselves before an autograph work, of excellent quality, without the intervention of the workshop. The careful precision of the drawing, together with the prodigious meticulousness with which the painter has described such summary details as the hair or the facial wounds corroborate this. An extensive study carried out by Mrs. Isabel Mateo (June 2023) is attached.

      Subastas Segre
    • LUIS DE MORALES "EL DIVINO" - Christ tied to the column with repentant Saint Peter
      Mar. 28, 2023

      LUIS DE MORALES "EL DIVINO" - Christ tied to the column with repentant Saint Peter

      Est: -

      LUIS DE MORALES "THE DIVINE" Badajoz h. 1510 - 1586 Christ tied to the column with repentant Saint Peter Oil on canvas Size 102 x 78 cm The Extremaduran painter Luis de Morales, also known in historiography artistic as the "divine Morales", promoted throughout his long artistic career the consolidation and fixation of iconographic prototypes associated with the rise in demand for private devotional paintings that responded to the religious fervor and spiritualism of the second half of the 16th century. in Spain, close to the postulates of the Council of Trent (1545 - 1563) and the practice of "devotio moderna". The painting that concerns us represents one of the Christological themes related to the Passion of the Redeemer recurring in the production of Luis de Morales and offers a very high level of quality, constituting one of the pieces without a doubt to be incorporated into the reasoned corpus of easel painting by the painter from Badajoz. The work reflects one of the key passages of the Passion of Christ, the moment of vexation and affliction of Jesus tied to the column to be flogged by the executioners. Morales resorts as a solution in search of a key to intimacy with the faithful praying to a studied focus that reminds us of the close-ups of current cinematography, managing to clear the image of secondary elements that can distract attention. Although the canonical Gospels do not echo the presence of Saint Peter in the scourging of Christ, this scene had special relevance in Extremadura with Luis de Morales and in Andalusia with Pedro de Campaña and -especially in Córdoba- with the early examples by Alejo Fernández (Museo de Bellas Artes de Córdoba) or the table preserved in the Gemäldegalerie in Dresden attributed for a time to Pedro Romana. Solís Rodríguez in 1999 pointed out the probable source of this pictorial theme in the book of Prayer and Meditation by Fray Luis de Granada that coincided with Morales in Badajoz when he was prior of the Santo Domingo convent, pointing out a text from the book printed in 1554: "Then the Savior, and looked at Peter, and his eyes went after that sheep that had been lost to him. Oh sight of marvelous virtue; oh silent sight, more greatly significant! Peter well understood the language and voices of that sight; for that of the rooster were not enough to wake him up, and these yes. But they declare it from Peter, which did not flow as much from the eyes of Peter as from the eyes of Christ". The painting object of this study was made known in a reasoned way as an autograph work of Luis de Morales by Romero Asenjo and Illán Gutiérrez in 2013 and the authorship of Morales was also corroborated by García-Frías Checa in the monographic exhibition dedicated to him the Museo Nacional del Prado, the Museo de Bellas Artes de Bilbao and the Museu Nacional d'Art de Catalunya in 2015. Known is the example of this theme in the metropolitan cathedral of Santa María de la Almudena in Madrid (oil on walnut panel, 70 x 55 cm) remembered by Palomino as a "most excellent thing", which once belonged to the Imperial College of Madrid. In this version, Christ appears to the right of the column and wears a thick noose around his neck. Another copy of Christ at the Column with Repentant Saint Peter by Luis de Morales (oil on walnut panel, 83.5 x 60 cm) was unveiled by Benoît-Cattin in 2007 in the parish church of Saint-Willibrord in Gravelines (France) that bears many similarities with the specimen we are studying here. In both, Christ wears the crown of thorns on his head and his body does not present the imprint of the executions of the whipping of the table of the Almudena, already mentioned. On the other hand, the rope that surrounds the smooth shaft of the column and the minor shadow of the head of the Savior projected on the veined marble differ. In his 1962 monograph on Morales, Backsbacka points out the copy of Christ to the Column in the Comas collection in bust format (oil on panel, 55 x 40 cm) and a copy in the Asensio collection (oil on panel, 88 x 66 cm) that was in the Museo del Prado exhibition on Morales in 1917 that repeats the figure of Christ bent over from the canvas studied here without the figure of Saint Peter in this case and that is surely the one today preserved in the Museo Santa Cruz de Toledo . In this same study from 1962, Backsbacka refers to another copy of Christ to the column with repentant Saint Peter without referencing measurements and support in a private collection in Madrid that is very similar to the canvas we are dealing with here, but that is offered without the crown of thorns on the head of Christ. We have located an old photo from the IPCE photo library that is surely the same piece. In this case the shadow of the head of Christ extends over the entire shaft of the column as in the Gravelines panel. The world of affections is revealed in this painting with the glances between Christ and Saint Peter, the tears on the faces of both and the twitching gesture of the intertwined fingers of the apostle in an act of contrition. This autograph canvas by Luis de Morales bears witness to the fortune of this iconographic model known through various moral examples, in which it is also worth mentioning, in addition to those already mentioned, the painting of Christ tied to the column with a sayón (oil on panel, 72 x 71 cm) belonging to the side of the altarpiece of Arroyo de la Luz. (See the complete study carried out by the researcher José Gómez Frechina, March 31, 2022) Work referenced in: - Rafael Romero Asenjo and Adelina Illán Gutiérrez, "Christ carrying the Cross: a surviving sarga by Luis de Morales: technical Examination and Workshop Practices" in D. Saunders, M. Spring, and A. Meeks (eds.), The Renaissance Workshop: The Materials and Techniques of Renaissance Art , London, Archetype Publications 2013, p. 98-104. - Carmen García-Frías, "San Pedro repentant before Christ tied to the column (Luis de Morales)" in Cat. Exp. El Divino Morales (edition by Leticia Ruiz Gómez), Madrid, 2015, nº 25, pp. 123-125. - Rafael Romero Asenjo and Adelina Illán Gutiérrez, "Luis de Morale's Altarpiece for the Church of the Conception in Badajoz: Technical and Documentary Sources", Yale University Art Gallery Bulletin, 2016, pp. 63-74. This work has an export permit.

      Subastas Segre
    • LUIS DE MORALES "THE DIVINE" - Penitent Magdalena
      Jul. 05, 2022

      LUIS DE MORALES "THE DIVINE" - Penitent Magdalena

      Est: €90,000 - €180,000

      LUIS DE MORALES "THE DIVINE" Badajoz H. 1510 - 1586 penitent magdalene oil on board Measures 93.8 x 70.2 cm With an important Spanish frame "a cassetta" from the 16th century in red pine wood, carved and sgraffito with the groove decorated with plant motifs in the corners flanking the following inscription: "ORA PRO NOBIS / QUONIAM MULIER / SANCTA ES IUDITH. IV / DOCTRIX DISCIPLINE DEI". Origin: - Collection of D. Rafael García Palencia, Extremadura (label on the back) - Private collection, Madrid. Reference bibliography: - Dotor Municio, Ángel, "Four Spanish painters of the Golden Age: Morales, Sánchez Coello, Roelas, Ribalta", Gerona - Madrid, Dalmau Carles Pla Editores, 1947, pp. 19 and 33. fig. two. Work exhibited in: - Exhibition of works by Divino Morales, Prado Museum, Madrid, 1917, p. 13, no. 33. This important penitent Magdalena was unveiled in an exhibition dedicated to Luis de Morales at the Prado Museum in 1912. Since then it has remained anonymous, changing owners twice. The composition bears an enormous resemblance to the penitent Magdalena of the Clerecía de Salamanca (oil on panel, 104 x 87.5 cm). Unlike the Salamancan panel, the repentant sinner shows her curly hair and a landscape background full of vegetation. Also, in the lower left corner is the bottle of ointment with which he embalmed the body of Jesus. The last of the autograph versions by the artist is found in a private collection in Pontevedra (oil on canvas, 109 x 91 cm) which must have been the same one that appeared in the church of San Marcos in Salamanca. As Isabel Mateo has recently stated, it is likely that these versions of the Magdalene formed a pair with the artist's well-known Saint Jerome, such as the example in the National Gallery of Ireland or the one in a private collection in Madrid. The monumental presence of the Magdalena with an elongated barrel recalls the models of the Antwerp painter Quinten Massys. The careful precision of the drawing together with the prodigious thoroughness with which the painter has described details as brief as the skull or the sorrowful face of the saint reveal that it is a completely autograph work by Luis de Morales without the intervention of the workshop. Attached is an extensive study by researcher Isabel Mateo Gómez (Madrid, June 5, 2022)

      Subastas Segre
    • Luis de Morales (follower), oil on panel
      May. 19, 2022

      Luis de Morales (follower), oil on panel

      Est: $7,000 - $10,000

      Follower of Luis de Morales, called El Divino (Spain, 1509-1586), Madonna and Child, oil on cradled panel, no signature observed, artist tag to frame, 24"h x 18"w (panel), 32"h x 25"w (frame)

      Millea Bros Ltd
    • LUIS DE MORALES "EL DIVINO" Badajoz h. 1510 - 1586 Ecce Homo Oil on panel M
      Mar. 29, 2022

      LUIS DE MORALES "EL DIVINO" Badajoz h. 1510 - 1586 Ecce Homo Oil on panel M

      Est: €30,000 - €60,000

      LUIS DE MORALES "EL DIVINO" Badajoz h. 1510 - 1586 Ecce Homo Oil on panel Measures 58.5 x 45 cm The appearance of this work represents an important contribution to the pictorial corpus of Luis de Morales, better known as "el Divino" for his consummate dedication to religious-themed paintings that enjoyed great popularity among the clientele of the time. His fame was such that he must have been required by Felipe II himself to paint some devotional works that he later gave to his closest circle of friends. The work that concerns us bears an enormous resemblance to the Ecce Homo that is preserved in the cathedral of Seville. In this last replica, almost exact, a larger area of ​​the torso and the right arm can be seen. Very similar, but with some difference in the placement of the hands and in the movement of the body, is the Ecce Homo from the Conde de Albox collection in Madrid and, to a lesser extent, the one from the Vicente Castañeda collection. As the researcher Isabel Mateo, a great connoisseur of the work of Luis de Morales, has recently stated, we are faced with an autograph work of excellent quality, without the intervention of the workshop. The careful precision of the drawing, together with the prodigious thoroughness with which the painter has described such summary details as the bleeding wounds on the forehead or the hair, corroborate this. An extensive study carried out by Doña Isabel Mateo (January 2022) is attached.

      Subastas Segre
    • LUIS DE MORALES (ODER WERKSTATT/SCHULE) PIETA
      Mar. 12, 2022

      LUIS DE MORALES (ODER WERKSTATT/SCHULE) PIETA

      Est: €2,200 - €4,400

      WORKSHOP OR SCHOOL OF LUIS DE MORALES c. 1509 Badajoz - 9 May 1586 Ibid PIETA Oil on hardwood panel. 45 x 30 cm (F. 76,5 x 55,5 cm). Part. min. rest. Beautyful Neo-Renaissance frame of the probably 19th century. Provenance: South German private collection. LUIS DE MORALES (ODER WERKSTATT/SCHULE) Um 1509 Badajoz - 9. Mai 1586 Ebenda PIETA Öl auf Hartholztafel. 45 x 30 cm (R. 76,5 x 55,5 cm). Part. min. rest. Schöner Neo-Renaissance-Rahmen des wohl 19. Jh. Provenienz: Süddeutsche Privatsammlung.

      Hargesheimer Kunstauktionen Düsseldorf
    • LUIS DE MORALES "EL DIVINO" - Holy Family with the Child wrapped in swaddling clothes "faja".
      Dec. 14, 2021

      LUIS DE MORALES "EL DIVINO" - Holy Family with the Child wrapped in swaddling clothes "faja".

      Est: €30,000 - €60,000

      LUIS DE MORALES "EL DIVINO" Badajoz h. 1510 - 1586 Holy Family with Child wrapped in swaddling clothes "sash". H. 1550- 1553 Oil on panel size 47 x 33 cm Provenance: - Private collection, Madrid. This delicate panel presented here should be related to the Virgin holding the Child of the Hispanic Society of New York, a work of great interest as it comes from the Bonsor collection in Carmona (Seville). The researcher Isabel Mateo has recently studied this work in which she has shown its quality and iconographic interest by linking it to the city of Seville and the impact it must have had on artists of the following century, such as Murillo and his famous version of the Flight into Egypt. Both the model of the Virgin and the color, the treatment of the hair, the drawing of the hands, the orange color of the dress and the voluminous blue mantle that covers her put her in direct relation with the Virgin of the Annunciation of the old altarpiece of the tabernacle of the cathedral of Badajoz. These small "tablets" were highly appreciated during Morales' lifetime, especially among the wealthy nobles and ecclesiastics of the time who required them for their private oratories. In fact, these works fulfilled the mission of covering a type of private and intimate devotion favored by the mystical literature of the time.

      Subastas Segre
    • Luis de Morales (follower), oil on panel
      Dec. 02, 2021

      Luis de Morales (follower), oil on panel

      Est: $15,000 - $25,000

      Follower of Luis de Morales, called El Divino (Spain, 1509-1586), Madonna and Child, oil on cradled panel, no signature observed, artist tag to frame, 24"h x 18"w (panel), 32"h x 25"w (frame)

      Millea Bros Ltd
    • LUIS DE MORALES´ATELIER (Mid-C. XVI / .) "Mercy"
      Apr. 08, 2021

      LUIS DE MORALES´ATELIER (Mid-C. XVI / .) "Mercy"

      Est: €9,000 - €12,000

      Oil on board

      Ansorena
    • LUIS DE MORALES "EL DIVINO" AND WORKSHOP - The Virgin teaching the Child to write
      Feb. 16, 2021

      LUIS DE MORALES "EL DIVINO" AND WORKSHOP - The Virgin teaching the Child to write

      Est: €32,000 - €64,000

      LUIS DE MORALES "EL DIVINO" AND WORKSHOP Badajoz h. 1510 - 1586 The Virgin teaching the Child to write Oil on panel Sizes 58.5 x 41.5 cm Provenance: - Private collection, France . - Private collection, Madrid. This magnificent work that we present here must be related to the Virgin teaching the Child to write (oil on panel, 54 x 46 cm) preserved in the Museum of Fine Arts of Mexico, a work of special interest since It is the first version of how many have reached today. The technical comparison but especially the amazing compositional resemblance between said work and the one at hand, allows us to affirm that we are dealing with an unpublished work. In 1997 the researcher Isabel Mateo published an interesting article in which she revealed some of the versions and replicas of this model that are kept in different private and museum collections. We appreciate in this delicate work the characteristic style that derives from the Leonardesque mannerism that justifies the controversial stay of the Badajoz painter in Italy. It is an autograph work but unfinished, although within the softer tone typical of some tables with workshop intervention. Bibliography: Mateo Gómez, Isabel; Another replica of the Virgin teaching the Child to write by Luis de Morales, Bulletin of the Seminary of Art and Archeology Studies: BSAA (volume 63, 1997), pp. 401-409.

      Subastas Segre
    • MORALES, LUIS DE (GEN. EL DIVINO), Umkreis: Christus mit Dornenkrone.
      Nov. 06, 2020

      MORALES, LUIS DE (GEN. EL DIVINO), Umkreis: Christus mit Dornenkrone.

      Est: CHF2,600 - CHF4,000

      MORALES, LUIS DE (GEN. EL DIVINO) (um 1509 Badajoz 1586); Umkreis : Christus mit Dornenkrone; Öl auf Holz; 32,5x23,5 cm

      Dobiaschofsky Auktionen AG
    • Luis de Morales "el divino" (Badajoz 1509–1586) (att.) - Ecce Homo
      Dec. 06, 2019

      Luis de Morales "el divino" (Badajoz 1509–1586) (att.) - Ecce Homo

      Est: €15,000 - €20,000

      Luis de Morales "el divino" (Badajoz 1509–1586) Ecce Homo Devotional table attributed to bottega of Luis de Morales. Depicts a model numerous times repeateded by morales, the probable origin of which os the very known subject of Sebastiano Del Piombo. Oil on panel century XVII, table in excellent condition. Dimensions: 26x52.3 cm. Provenance: Italian private collection. Condition Report: Good general conditions, normal signs of aging; blackening and light cracks on the shoulder; Fire forged hooks on the left side, the table could be been the right side of an altarpiece.   __ My sales tags: Leonardo Da Vinci, Leonardeschi, Old Master, Giovan Pietro Rizzoli called Giampietrino, Bernardino Luini, Daniele Crespi, Andrea Solari, Giovanni Antonio Boltraffio, Francesco Melzi, Sofonisba Anguissola, Artemisia Gentileschi, Gian Giacomo Caprotti, Salaì, Cesare da Sesto, Perugino, Guercino, Carracci, Cagnacci, Quentin Massys, Carlo Dolci. Ecce Homo, Mona Lisa, St. John the Baptist, Italy, Florence, Florentine painting, Flemish painting, Renaissance, Italienischer Maler, Flämische Schule, Caravaggist, Niederländischer, Lombardischer, scuola veneta, Venetian school, Jusepe De Ribera, Jacopo Negretti detto Palma il Giovane, Simone Cantarini, Salvator Rosa, Rubens  

      Arte In
    • LUIS DE MORALES AND WORKSHOP | Pietà
      May. 22, 2018

      LUIS DE MORALES AND WORKSHOP | Pietà

      Est: $20,000 - $30,000

      oil on panel, unframed

      Sotheby's
    • Luis de Morales. Jesus Nazareno
      Nov. 23, 2017

      Luis de Morales. Jesus Nazareno

      Est: -

      MORALES, LUIS DE (1509 - 1586). "Nazareno". Óleo sobre tabla. Marco antiguo.Se desconoce el año de su nacimiento. Palomino lo sitúa hacia 1509 pero la mayoría de los historiadores retrasan esta fecha hasta 1520. Tampoco se sabe mucho acerca de su formación. Gaya Nuño fija tres etapas: una primera en Sevilla donde plantea que pudo aprender con Pedro de Campaña. La segunda etapa lo sitúa en Portugal. El rasgo más característico de este momento es el manierismo. Finalmente Luis de Morales pudo viajar a Milán donde conocería y estudiaría la obra de Sebastiano del Piombo. Debido a la fama que disfrutó en vida y a la predilección por temas religiosos en sus obras, fue llamado «El divino Morales». Desarrolló su actividad en un relativo aislamiento en Extremadura, si bien sus obras se distribuyeron por toda la Península.En su pintura se observa un alargamiento de las figuras y el uso de la técnica del esfumado leonardesco, lo cual hace pensar en influencias de escuelas pictóricas extranjeras. Debido a su particular estilo de representación su obra es fácilmente identificable. 100 x 76,5 cm

      Duran Arte y Subastas
    • Luis de Morales, el Divino (?Badajoz c. - Ecce Homo
      Oct. 31, 2017

      Luis de Morales, el Divino (?Badajoz c. - Ecce Homo

      Est: $200,000 - $300,000

      Luis de Morales, el Divino (?Badajoz c. Ecce Homo oil on panel 14 7/8 x 11 ¾ in. (37.9 x 29.8 cm.)

      Christie's
    • LUIS DE MORALES (BADAJOZ CIRCA 1509-1586) Ecce Homo oil on panel 31.4 x 25.2cm (12 3/
      Jul. 05, 2017

      LUIS DE MORALES (BADAJOZ CIRCA 1509-1586) Ecce Homo oil on panel 31.4 x 25.2cm (12 3/

      Est: £30,000 - £50,000

      LUIS DE MORALES (BADAJOZ CIRCA 1509-1586) Ecce Homo oil on panel 31.4 x 25.2cm (12 3/8 x 9 15/16in) with a later extension to the top 2cm.

      Bonhams
    • Luis de Morales. Jesus Nazareno
      May. 25, 2017

      Luis de Morales. Jesus Nazareno

      Est: -

      MORALES, LUIS DE (1509 - 1586). "Nazareno". Óleo sobre tabla. Marco antiguo.Se desconoce el año de su nacimiento. Palomino lo sitúa hacia 1509 pero la mayoría de los historiadores retrasan esta fecha hasta 1520. Tampoco se sabe mucho acerca de su formación. Gaya Nuño fija tres etapas: una primera en Sevilla donde plantea que pudo aprender con Pedro de Campaña. La segunda etapa lo sitúa en Portugal. El rasgo más característico de este momento es el manierismo. Finalmente Luis de Morales pudo viajar a Milán donde conocería y estudiaría la obra de Sebastiano del Piombo. Debido a la fama que disfrutó en vida y a la predilección por temas religiosos en sus obras, fue llamado «El divino Morales». Desarrolló su actividad en un relativo aislamiento en Extremadura, si bien sus obras se distribuyeron por toda la Península.En su pintura se observa un alargamiento de las figuras y el uso de la técnica del esfumado leonardesco, lo cual hace pensar en influencias de escuelas pictóricas extranjeras. Debido a su particular estilo de representación su obra es fácilmente identificable.. 100 x 76,5 cm

      Duran Arte y Subastas
    • Luis de Morales. Jesus Nazareno
      Dec. 22, 2016

      Luis de Morales. Jesus Nazareno

      Est: -

      MORALES, LUIS DE (1509 - 1586). "Nazareno". Óleo sobre tabla. 100 x 76,5 cm. Marco antiguo.Se desconoce el año de su nacimiento. Palomino lo sitúa hacia 1509 pero la mayoría de los historiadores retrasan esta fecha hasta 1520. Tampoco se sabe mucho acerca de su formación. Gaya Nuño fija tres etapas: una primera en Sevilla donde plantea que pudo aprender con Pedro de Campaña. La segunda etapa lo sitúa en Portugal. El rasgo más característico de este momento es el manierismo. Finalmente Luis de Morales pudo viajar a Milán donde conocería y estudiaría la obra de Sebastiano del Piombo. Debido a la fama que disfrutó en vida y a la predilección por temas religiosos en sus obras, fue llamado «El divino Morales». Desarrolló su actividad en un relativo aislamiento en Extremadura, si bien sus obras se distribuyeron por toda la Península.En su pintura se observa un alargamiento de las figuras y el uso de la técnica del esfumado leonardesco, lo cual hace pensar en influencias de escuelas pictóricas extranjeras. Debido a su particular estilo de representación su obra es fácilmente identificable.

      Duran Arte y Subastas
    • LUIS DE MORALES, DIT EL DIVINO La Vierge à l'Enfant au fuseau huile sur pan
      Mar. 30, 2015

      LUIS DE MORALES, DIT EL DIVINO La Vierge à l'Enfant au fuseau huile sur pan

      Est: €120,000 - €180,000

      LUIS DE MORALES, DIT EL DIVINO La Vierge à l'Enfant au fuseau huile sur panneau 51,6 x 36,7 cm.

      Christie's
    • LUIS DE MORALES AND WORKSHOP
      Jun. 06, 2013

      LUIS DE MORALES AND WORKSHOP

      Est: $80,000 - $120,000

      PROPERTY  SOLD  BY  THE  ART  INSTITUTE  OF  CHICAGO BADAJOZ  (?)  CIRCA  1520-1586  (?) PIET oil  on  panel 26  3/16    by  19  1/8    in.;  66.5  by  48.5  cm.

      Sotheby's
    • Circle of Luis de Morales (Badajoz, circa 1520-1586?)
      Jun. 06, 2012

      Circle of Luis de Morales (Badajoz, circa 1520-1586?)

      Est: $10,000 - $15,000

      Circle of Luis de Morales (Badajoz, circa 1520-1586?) A triptych of The Virgin and Child with the young Saint John the Baptist; Saint John the Baptist on the left wing; Saint John the Evangelist on the right wing inscribed 'ORA PRO NOBIS P ANTONI COυNFESOυR' (on the tabernacle frieze) oil on panel, in the original engaged frame 33½ x 37¾ in. (85.1 x 95.9 cm.), the wings extended

      Christie's
    • Circle of Luis de Morales (SPANISH, circa 1520-1586?)
      Feb. 07, 2012

      Circle of Luis de Morales (SPANISH, circa 1520-1586?)

      Est: $20,000 - $30,000

      Circle of Luis de Morales (SPANISH, circa 1520-1586?) A triptych of The Virgin and Child with the young Saint John the Baptist; Saint John the Baptist on the left wing; Saint John the Evangelist on the right wing inscribed 'ORA PRO NOBIS P ANTONI COυNFESOυR' (on the tabernacle frieze) oil on panel, in the original engaged frame 33½ x 37¾ in. (85.1 x 95.9 cm.), the wings extended

      Christie's
    • LUIS DE MORALES
      Dec. 08, 2011

      LUIS DE MORALES

      Est: £40,000 - £60,000

      BADAJOZ (?) CIRCA 1520 - 1586 (?) BADAJOZ CHRIST CARRYING THE CROSS distemper on linen 202 by 154 cm.; 79 1/2 by 60 5/8 in.

      Sotheby's
    • Attribué à Louis de MORALES, dit El Divino (1509 ?
      Dec. 10, 2010

      Attribué à Louis de MORALES, dit El Divino (1509 ?

      Est: €12,000 - €15,000

      Attribué à Louis de MORALES, dit El Divino (1509 ? - 1586) Le Christ aux outrages Panneau 54 x 45 cm

      Millon & Associes
    • After Luis de Morales 1520-1586 Christ Seated
      Nov. 25, 2008

      After Luis de Morales 1520-1586 Christ Seated

      Est: €3,000 - €5,000

      After Luis de Morales 1520-1586 Christ Seated Signed oil on canvas 83 x 105 cms

      Sheppards
    • *MORALES, LUIS DE
      Sep. 15, 2008

      *MORALES, LUIS DE

      Est: CHF30,000 - CHF40,000

      MORALES, LUIS DE (1509 Badajoz 1586), follower Mary before the crown of thorns. Oil on canvas. 101.2 x 87.6 cm. MORALES, LUIS DE (1509 Badajoz 1586), Nachfolger Maria vor der Dornenkrone. Öl auf Leinwand. 101,2 x 87,6 cm.

      Koller Auctions
    • Ecce Homo
      Dec. 06, 2007

      Ecce Homo

      Est: £400,000 - £600,000

      Luis de Morales, el Divino (Badajaoz c. 1515 - 1586?) Ecce Homo with inscription 'Divino. Morales fecit' (on the reverse) oil on panel 28¾ x 20½ in. (73.1 x 52.1 cm.) in a 17th century Spanish carved and painted frame

      Christie's
    • LUIS DE MORALES BADAJOZ (?) CIRCA 1520 - 1586 (?) BADAJOZ
      Dec. 07, 2006

      LUIS DE MORALES BADAJOZ (?) CIRCA 1520 - 1586 (?) BADAJOZ

      Est: £40,000 - £60,000

      PROPERTY FROM A FRENCH PRIVATE COLLECTION THE PIETA measurements note 55.4 by 42.5 cm.; 21 3/4 by 16 3/4 in. oil on panel, unframed PROVENANCE In the collection of the family of the present owners for at least four generations. NOTE The subject of the Pietà was treated widely by Morales, no doubt due to its conformity to prevailing counter-reformation strictures, as well as the high demand for private devotional images among his clientele in the isolated region surrounding his home town of Badajoz. Although images such as the present are seemingly familiar, rarely did the artist create direct repetitions of his works (which was largely the preserve of his workshop), but instead his autograph works are distinguished by subtle alterations in the poses and disposition of the figures, as well as in the arrangement of the drapery. In this respect the present work is no exception, for although it shares certain compositional similarities with other known treatments by the artist, its design appears to be unique.

      Sotheby's
    • STUDIO OF LUIS DE MORALES BADAJOZ (?) CIRCA 1520 - 1586 (?) BADAJOZ
      Dec. 08, 2005

      STUDIO OF LUIS DE MORALES BADAJOZ (?) CIRCA 1520 - 1586 (?) BADAJOZ

      Est: £15,000 - £20,000

      STUDIO OF LUIS DE MORALES BADAJOZ (?) CIRCA 1520 - 1586 (?) BADAJOZ THE VIRGIN AND CHILD measurements note 76.8 by 56.5 cm.; 30 1/4 by 22 1/4 in. oil on panel, unframed NOTE This is a studio version of a popular design by Luis de Morales, known through an autograph work in the Hispanic Society, New York (see I. Bäcksbacka, Luis de Morales, Helsinki 1962, p. 153, cat. no. 12, reproduced fig. 18), as well as a number of autograph and studio variants.

      Sotheby's
    • Luis de Morales, el Divino (? Badajoz c. 1520-?1586)
      Jul. 08, 2005

      Luis de Morales, el Divino (? Badajoz c. 1520-?1586)

      Est: £60,000 - £80,000

      The Virgin and Child oil on panel 23 3/8 x 17 in. (59.3 x 43.1 cm.)

      Christie's
    • LUIS DE MORALES BADAJOZ (?) CIRCA 1520 - 1586 (?) BADAJOZ
      Dec. 09, 2004

      LUIS DE MORALES BADAJOZ (?) CIRCA 1520 - 1586 (?) BADAJOZ

      Est: £25,000 - £35,000

      oil on panel, with gold tracing, in an elaborate Spanish carved and parcel gilt wood frame

      Sotheby's
    • Luis de Morales (? Badajoz c. 1520-? 1586 Badajoz)
      Dec. 08, 2004

      Luis de Morales (? Badajoz c. 1520-? 1586 Badajoz)

      Est: £10,000 - £15,000

      Ecce Homo oil on panel 14 3/4 x 10 7/8 in. (37.5 x 27.6 cm.)

      Christie's
    • Luis de Morales, el Divino (? Badajoz c. 1520- ?1586)
      Jul. 10, 2002

      Luis de Morales, el Divino (? Badajoz c. 1520- ?1586)

      Est: $93,600 - $124,800

      Ecce Homo oil on panel 13 x 91/2 (33 x 24.2 cm.) NOTES Morales was a painter with a highly individual style; his meticulous technique and the prominent echoes of the styles and forms of Leonardo da Vinci and Raphael indicate the formative influence of Italianizing Flemish painters. This would seem to confirm Palomino's statement that Morales trained in Seville with the Flemish Mannerist, Peeter de Kempeneer (Pedro de Campa¤a), who is recorded in Spain from 1537 (see A.A. Palomino de Castro y Velasco, Museo pict¢rico [1712-24], III, trans. N. Alaya Mallory, as Lives of the Eminent Spanish Painters and Sculptors, Cambridge, 1987, p. 38). Morales' earliest dated work, the Virgin with the Little Bird now in a private collection, Madrid, dates from 1546. His only signed work is the Raphaelesque Madonna of Purity in San Pietro Maggiore, Naples. Morales' oeuvre was exclusively religious in subject matter, concentrating on the imagery of the Passion, and reflects the preferred subjects of meditation of contemporary Spanish mystics such as Saint Peter of Alcantar  (1499-1562), Fray Luis de Granada (1504-1588) and Juan de Avila (1500-1569). Numerous replicas and versions of these subjects testify to their enormous popularity as images of devotion, and Ecce Homo was a subject that Morales repeated several times. The closest seems to be that recorded on a Witt photograph mount as in the collection of Pr. Kotchoubey, although in the latter there are minor differences in the position of the stick that Christ holds.

      Christie's
    • Luis de Morales, el Divino (? Badajoz c. 1520- ?1586)
      Dec. 12, 2001

      Luis de Morales, el Divino (? Badajoz c. 1520- ?1586)

      Est: $145,000 - $217,500

      Ecce Homo oil on panel 13 x 91/2 (33 x 24.2 cm.) NOTES Morales was a painter with a highly individual style; his meticulous technique and the prominent echoes of the styles and forms of Leonardo da Vinci and Raphael indicate the formative influence of Italianizing Flemish painters. This would seem to confirm Palomino's statement that Morales trained in Seville with the Flemish Mannerist, Peeter de Kempeneer (Pedro de Campa¤a), who is recorded in Spain from 1537 (see A.A. Palomino de Castro y Velasco, Museo pict¢rico [1712-24], III, trans. N. Alaya Mallory, as Lives of the Eminent Spanish Painters and Sculptors, Cambridge, 1987, p. 38). Morales' earliest dated work, the Virgin with the Little Bird now in a private collection, Madrid, dates from 1546. His only signed work is the Raphaelesque Madonna of Purity in San Pietro Maggiore, Naples. Morales' oeuvre was exclusively religious in subject matter, concentrating on the imagery of the Passion, and reflects the preferred subjects of meditation of contemporary Spanish mystics such as Saint Peter of Alcantar  (1499-1562), Fray Luis de Granada (1504-1588) and Juan de Avila (1500-1569). Numerous replicas and versions of these subjects testify to their enormous popularity as images of devotion, and Ecce Homo was a subject that Morales repeated several times. The closest seems to be that recorded on a Witt photograph mount as in the collection of Pr. Kotchoubey, although in the latter there are minor differences in the position of the stick that Christ holds.

      Christie's
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