Pedro Orrente Paintings & Artwork for Sale | Pedro Orrente Art Value Price Guide

Jul. 28, 2026
Pastoral scene with figures and livestock, Attributed to PEDRO DE ORRENTE, 17th century
Est: €4,000 - €5,000
(Murcia, 1580-Valencia, January 19, 1645) Oil on canvas. Dimensions without frame: 111 x 107 cm. Dimensions with frame: 121 x 117 cm.
Templum Fine Art Auctions
Jul. 15, 2026
Pastoral Scene - 17th Century - Attributed to Pedro de Orrente (Murcia, 1580-Valencia, 1645)
Est: €6,000 - €8,000
Oil on canvas. Measurements: 140 cm x 120 cm and 180 cm x 144 cm
Templum Fine Art Auctions
Jul. 02, 2026
PEDRO DE ORRENTE (MURCIA, 1580 – VALENCIA, 1645)
Est: €10,000 - €18,000
Pedro de Orrente (Murcia, 1580 – Valencia, 1645) “The Encounter Between Jesus and the Samaritan Woman” Oil on canvas. 81 x 102 cm. A certificate of authenticity by Mr. Jose Gómez Frechina is attached. José Gómez Frechina attributes the present painting to Pedro Orrente on the basis of both its close compositional relationship to other known versions of the subject and a series of stylistic characteristics that he considers fully autograph features of the Murcian master. The author points out that this Christ and the Samaritan Woman at the Well constitutes a previously unpublished work within Orrente’s catalogue, although the composition was already known through another autograph version published by Diego Angulo and Alfonso E. Pérez Sánchez, as well as through a third variant executed by a follower of the artist. According to Frechina, the close correspondence among these compositions fits perfectly within the workshop practices inherited from the Bassano family, whereby Orrente developed multiple versions of successful inventions in order to meet the demand for commissions. From a stylistic standpoint, Frechina states that the characteristics of the painting “reveal the autograph character of Pedro Orrente,” highlighting in particular “the typical zigzag folds of the draperies, the contrasted use of light and shadow, the accuracy of the drawing, the detailed anatomical study, the rich colouring, the vigorous brushwork of the sky, and the mastery in the depiction of animals, all of which refer back to his Venetian training.” He further emphasizes the presence of elements that recur throughout Orrente’s oeuvre, such as the landscape structured by “the painter’s characteristic masses of trees silhouetted against a bluish sky with clouds,” a formula that appears repeatedly in securely attributed works by the artist. The composition unfolds within an expansive natural setting in which Christ, seated beside the well, converses with the Samaritan woman while the Apostles advance in the distance towards an urban centre. Frechina also draws attention to certain architectural motifs in the background. The domed building crowned by a lantern, he notes, appears in other autograph works by Orrente, including the Crucifixion in the Metropolitan Museum of Art, New York, and several versions of the Wedding at Cana. This recurring architectural feature provides an additional and significant point of comparison in support of the attribution. Particular importance is attached to the dog positioned beside the Samaritan woman. Frechina relates this detail to Orrente’s renowned skill as an animal painter, recalling the praise bestowed upon him by Francisco Pacheco in his Arte de la Pintura (1649), where Orrente is celebrated as one of Spain’s foremost painters of animals. This aspect of his production also explains why art historical tradition has long referred to him as the “Spanish Bassano.” Taken together, the compositional correspondence with other autograph versions, the technical quality of the execution, the presence of recurring landscape and architectural motifs, and the specific stylistic features identified by Gómez Frechina constitute the principal arguments supporting the attribution of the painting to Pedro Orrente. The work may therefore be integrated with full coherence into the mature corpus of Pedro Orrente, standing as a valuable testimony to the narrative power and refined naturalism that characterize the production of the artist traditionally known as the “Spanish Bassano.” Set within a richly wooded landscape and displaying a clear Italianate sense of staging and composition, this painting depicts the encounter between Christ and the Samaritan woman, one of the most celebrated episodes of the New Testament (John 4:5–42). In this passage, Christ pauses to rest beside Jacob’s Well in Sychar and breaks through the cultural barriers of his time by asking a Samaritan woman for water. The universal message conveyed by the episode is that, by speaking to a Samaritan—a group marginalized by the Jewish community—and forgiving her past, Christ demonstrates that his message of salvation is intended for all humanity. During their conversation, Christ offers her “living water,” symbolizing divine grace and the Holy Spirit, explaining that whoever drinks from it shall never again experience spiritual thirst. It is also in this dialogue that Christ openly reveals his identity as the Messiah. The episode teaches that God seeks worshippers who adore Him “in spirit and in truth,” regardless of any physical temple or earthly sanctuary. This beautiful painting is remarkable for the naturalness of its figures, whose gestures, expressions, glances and movements are rendered with extraordinary sensitivity. Particular attention is devoted to the eloquence of the hands and faces, which communicate the spiritual depth of the encounter with quiet dignity and humanity. A true jewel by one of the masters of the Spanish Golden Age, this work possesses the rare ability to enhance any private or museum collection. It invites silent contemplation, conveying a profound sense of peace through a scene of sacra conversazione that is simple, intimate, relaxed and deeply human.
La Suite Subastas
Jun. 29, 2026
Pastoral landscape, Pedro Orrente (Murcia, 1580-Valencia, 1645)
Est: €5,500 - €9,500
Oil on canvas. Dimensions 121 x 81 cm; framed 130 x 94 cm. A sweeping pastoral landscape centered around a group of shepherds and animals in the foreground, with a large mountain in the background and an open light that sweeps across valleys, clouds, and hills in an atmosphere of serene spaciousness. The composition is constructed by large groves of trees on either side that frame the scene and draw the eye to the center, where oxen, sheep, goats, dogs, and common people are gathered in everyday poses of rest, tending livestock, and conversation. The scene takes on an almost biblical or idealized character, typical of Baroque pastoral painting, where the humble is ennobled by the vastness of the landscape and the harmony between nature and human life. The artistic quality lies in the spatial organization, the skillful interplay of warm shadows and distant blue tones, and the fluidity with which figures, animals, and features of the terrain are combined. Based on its composition, subject matter, and the identification indicated on the label, the work is placed within the sphere of Pedro Orrente, within the 17th-century Spanish school, heir to Venetian and naturalist models adapted to Spanish taste. It stands out for its theatrical flair, the rustic nobility of its subject, and the way in which it transforms a scene of shepherds into a poetic and monumental vision of the countryside. Provenance: important private collection.
Templum Fine Art Auctions
Jun. 18, 2026
Follower of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645); XVII century. "The adoration of the shepherds". Oil on canvas. It has a frame of the nineteenth century.
Est: €400 - €600
Follower of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645); XVII century. "The adoration of the shepherds". Oil on canvas. It has a frame of the nineteenth century. Measurements: 29 x 38 cm; 46 x 45 cm (frame). This canvas represents a classic theme in the History of Art, that of the shepherds adoring the newborn baby Jesus in the portal of Bethlehem. It is a scene that lends itself to be interpreted as a large composition with numerous characters, worked in a costumbrista key, a feature that was very much to the taste of the Baroque painters, who sought above all a natural and close art, which moved the mood of the faithful and made them feel close to what was represented on the canvas, to the sacred story. Known as "the Spanish Bassano", Pedro Orrente was an artist of great success in his time, admired as a follower of the formulas of the famous family of artists of Venice, especially in the realization of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving very young from his native Murcia to Toledo, where he was already in 1600. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez catalogued as his master. In 1607 he is already back in Spain, installed in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must have also spent time in Madrid. During his stay in Venice, he must not only have learned the pictorial manners of the Bassano family, but he would also assume their conception of painting as a market-oriented activity. In this sense, the treatment of sacred themes as genre scenes will be fundamental. These were, above all, lively series of biblical stories in which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes, and accompanied by all kinds of animals and everyday objects.
Setdart Auction House
Jun. 17, 2026
PEDRO ORRENTE Murcia (1580) / Valencia (1645) "Portrait of a gentleman with a ruff", c. 1620
Est: €14,000 - €21,000
Oil on canvas. On the reverse, affixed to the stretcher, is a label from the Board of Delegation for the Seizure, Protection, and Salvage of Artistic Treasures. An old chalk inscription reads "Albiz." Provenance: Collection of Maria Josefa Gutierrez-Maturana y Matheu-Arias-Davila, Countess of Albiz (until 1981); subsequently passed to its current owners. Portraits have, since their origin, served a legitimizing function, in which the person portrayed proudly displayed their lineage and social rank. In Spanish Golden Age painting, portraiture ceased to be the exclusive domain of the ruling classes thanks to a new concept of "portraability" and a new appreciation of "virtus," in which anyone was deemed worthy of being portrayed based on their personal virtues, such as an exemplary life, moral integrity, or brilliance in their work. Francisco Pacheco himself states in his treatise that nobility and lineage were no longer the primary criteria for someone to be portrayed. One of the most significant examples is the "Ingenios" (Witnesses) series by Van der Hamen (1596-1631). In the year of his death, twenty bust portraits of illustrious figures were inventoried among his possessions. These portraits, conceived as a group in themselves, represented various writers of the Spanish Golden Age, such as Quevedo, Gongora, Lope de Vega, and Ruiz de Alarcon. The surviving examples of this series share similar characteristics with this portrait, which must have been painted around the same time, in the 1920s. They all generally share the same features: the subjects are depicted in bust or three-quarter view, emerging from a neutral background and accompanied by an inscription or text alluding to their identity. These works were grouped in the great collections of the 17th century, within galleries dedicated to illustrious men. One example is the collection that the Marquis of Leganes kept at his villa in Morata. We do not know the identity of the person depicted here, and the only information we have about him, thanks to the inscription at the top, is that he was 57 years old when he was painted. His black clothing against the neutral background makes his face stand out and draws all the attention of the work. The detailed treatment of his features and its naturalism lead us to believe that it is a portrait painted directly from life. The cartouche with the Latin inscription "Initium sapientiae timor Domini" (The fear of the Lord is the beginning of wisdom), taken from the Book of Proverbs (9:10), was sometimes used as a motto in religious or educational institutions, suggesting that the subject of the portrait must have been involved in similar pursuits. The short, loose brushstrokes that mold the strands of his hair and the hair on his face,The impasto used in the flesh tones, the rendering of the eyes with white outlining of the lower eyelid, and the treatment of the background lead us to attribute the painting to Pedro Orrente. Several works by him are known that are very similar in conception and in which the same technique can be appreciated, such as the Self-Portrait in the Prado Museum, which belonged to the Dukes of Montpensier (P003242), and the Portrait of a Gentleman with a Ruff, from a Valencian noble collection, which was sold some years ago. The same technique and types can be seen in some of the figures in his large compositions from the Toledo period, such as the Miracle of Saint Leocadia of 1616. Dimensions: 90.5 x 69.5 cm
Ansorena
Jun. 04, 2026
PEDRO DE ORRENTE (MURCIA, 1580 - VALENCIA, 1645)
Est: €14,000 - €18,000
Pedro de Orrente (Murcia, 1580 - Valencia, 1645) 'The Crucifixion. Night version' Oil on canvas. 139,5 x 97,5 cm. The authenticity of this painting was confirmed by Mr. Jose Gómez Frechina. Who would issue the certificate of authenticity if the buyer so requests. The Metropolitan Museum of Art of New York preserves the daytime version of this same picture (inv. 2014.228). 'Orrente traveled to Venice and Rome before working in Toledo, where he knew El Greco. The younger artist adopted El Greco’s high-pitched palette and penchant for exaggerated forms, but he combined them with a naturalism learned from paintings inspired by Caravaggio. Here, he filled a frequently depicted crucifixion subject with a series of anecdotal details.The dynamic but elegant figure on a ladder, for example, responds to Christ’s cry of thirst by using a cane to retrieve from a bystander a wet sponge that he will then hold to Christ’s lips.' Bibliographic reference: - Metropolitan Museum of Art. (n.d.). 'The Crucifixion'. https://www.metmuseum.org/art/collection/search/652416
La Suite Subastas
May. 27, 2026
Pastoral Scene - 17th Century - Attributed to Pedro de Orrente (Murcia, 1580-Valencia, 1645)
Est: €6,000 - €8,000
Oil on canvas. Measurements: 140 cm x 120 cm and 180 cm x 144 cm
Templum Fine Art Auctions
May. 26, 2026
Pedro de Orrente (Murcia 1580 - Valencia 1645) attribuito
Est: €1,000 - €1,500
Pedro de Orrente (Murcia 1580 - Valencia 1645) attribuito Esodo biblico Olio su tela 46 x 66 cm In questo caso specifico, Orrente prende spunto da soggetti cari al Grechetto e li elabora secondo il suo stile caratterizzato dai Bassano. Non è certo se Pedro venne in Italia e frequentò realmente i Bassano, probabilmente creò il suo stile sia grazie alle copie bassanesche che giungevano in terra iberica sia alla diffusione delle incisioni tratte dai prototipi di Jacopo Bassano e, in questo caso, di Giovanni Benedetto Castiglione. Si formò a Toledo, a contatto con le opere di El Greco e secondo quanto riporta Antonio Palomino, Pedro Orrente compì un viaggio di formazione a Madrid. Il suo stile deriva dai maestri italiani suoi contemporanei, soprattutto i Bassano, ma anche Grechetto e Carracci gli furono d’ispirazione, sebbene pare non fosse mai stato in Italia, ergo in contatto diretto con le loro opere. Inoltre, il contatto con i pittori Jusepe de Ribera e Francisco Ribalta gli permise di approfondire la lezione di Caravaggio, di cui fu uno dei divulgatori in Spagna. Pittore di successo operò quasi stabilmente a Valencia, nella sua bottega si formarono Esteban March e Pablo Pontons. Pedro de Orrente (Murcia 1580 - Valencia 1645) attributed Biblical Exodus Oil on canvas 46 x 66 cm In this specific case, Orrente draws inspiration from subjects favoured by Il Grechetto and reinterprets them according to his own style, which is notably influenced by the Bassano family. It is not certain whether Pedro travelled to Italy and actually had direct contact with the Bassano workshop; more likely, he developed his style both through Bassano copies that circulated in Spain and through the dissemination of engravings after prototypes by Jacopo Bassano and, in this case, Giovanni Benedetto Castiglione.
Lucas Aste
May. 24, 2026
PEDRO ORRENTE, 1580 - 1645, CIRCLE OF
Est: -
Pedro Orrente 1580 - 1645, Circle of 17th century Sheep Shearers at Rest Oil on canvas, relined 77 x 119 cm Pedro Orrente 1580 - 1645, Umkreis 17. Jahrhundert Schafscherer bei der Rast Öl auf Leinwand, doubliert 77 x 119 cm
Tiberius Auctions
Apr. 28, 2026
PEDRO ORRENTE, 1580 - 1645, CIRCLE OF
Est: €1,000 - €2,000
Pedro Orrente 1580 - 1645, Circle of 17th century Sheep Shearers at Rest Oil on canvas, relined 77 x 119 cm Pedro Orrente 1580 - 1645, Umkreis 17. Jahrhundert Schafscherer bei der Rast Öl auf Leinwand, doubliert 77 x 119 cm
Tiberius Auctions
Apr. 15, 2026
Pastoral Scene - 17th Century - Attributed to Pedro de Orrente (Murcia, 1580-Valencia, 1645)
Est: €6,000 - €8,000
Oil on canvas. Measurements: 140 cm x 120 cm and 180 cm x 144 cm
Templum Fine Art Auctions
Mar. 25, 2026
Pastoral landscape, Pedro Orrente (Murcia, 1580-Valencia, 1645)
Est: €5,500 - €9,500
Oil on canvas. Dimensions 121 x 81 cm; framed 130 x 94 cm. A sweeping pastoral landscape centered around a group of shepherds and animals in the foreground, with a large mountain in the background and an open light that sweeps across valleys, clouds, and hills in an atmosphere of serene spaciousness. The composition is constructed by large groves of trees on either side that frame the scene and draw the eye to the center, where oxen, sheep, goats, dogs, and common people are gathered in everyday poses of rest, tending livestock, and conversation. The scene takes on an almost biblical or idealized character, typical of Baroque pastoral painting, where the humble is ennobled by the vastness of the landscape and the harmony between nature and human life. The artistic quality lies in the spatial organization, the skillful interplay of warm shadows and distant blue tones, and the fluidity with which figures, animals, and features of the terrain are combined. Based on its composition, subject matter, and the identification indicated on the label, the work is placed within the sphere of Pedro Orrente, within the 17th-century Spanish school, heir to Venetian and naturalist models adapted to Spanish taste. It stands out for its theatrical flair, the rustic nobility of its subject, and the way in which it transforms a scene of shepherds into a poetic and monumental vision of the countryside. Provenance: important private collection.
Templum Fine Art Auctions
Mar. 11, 2026
Attributed to Pedro Orrente (Montealegre del Castillo, Albacete, 1580 – Valencia, 1645) "Shepherds on the Road"
Est: €3,000 - €5,000
Attributed to Pedro Orrente (Montealegre del Castillo, Albacete, 1580 – Valencia, 1645) "Shepherds on the Road" Oil on panel 88 x 122 cm 3.000 – 5.000 €
Greco Subastas
Feb. 25, 2026
PEDRO DE ORRENTE PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Christ and the Samaritan woman". Oil on canvas. Relined. Presents restorations. Attached report by José Manuel Gómez Frechina.
Est: €8,000 - €9,000
PEDRO DE ORRENTE PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Christ and the Samaritan woman". Oil on canvas. Relined. Presents restorations. Attached report by José Manuel Gómez Frechina. Measurements: 81 x 103 cm; 95 x 117 cm (frame). The work is fully inscribed in the pictorial language developed by Pedro de Orrente, one of the main introducers in Spain of the naturalistic and narrative formulas of Venetian roots, especially those derived from the Bassano family, which earned him the nickname of "the Spanish Bassano". The treatment of the landscape as the active setting of the scene, the harmonious integration of human and animal figures, and the conception of the religious episode as a scene of daily life are characteristic features of the Orrentian style. The brushstroke is loose but controlled, with special attention to the effects of light and chromatic richness, particularly in the earthy, green and ochre tones of the landscape. The composition is organized in a balanced manner, favoring narrative clarity over extreme dramatism, which coincides with Orrente's tendency to soften the hallmarks of Caravaggism in favor of a naturalism that is gentler and more accessible to the viewer. The technical and formal characteristics point to a work made in the artist's immediate environment, probably within a well-structured workshop that repeated models and compositions devised by the master, a common circumstance given the wide demand for his production. The episode of Christ and the Samaritan woman (John 4:5-26) was one of the favorite themes of Baroque painting due to its strong symbolic charge and narrative potential. In the work, the encounter at the well is presented as a genre scene, a common resource in Pedro de Orrente, who knew how to transform biblical passages into recognizable and familiar situations for the contemporary public. Christ appears characterized as a walker, integrated into the natural environment, while the Samaritan woman is represented as a rural woman, accompanied by everyday objects and animals that reinforce the domestic and earthly character of the episode. This approach responds directly to Orrentian conception of sacred painting as a living narrative, populated with anecdotal details that enrich the reading of the scene and underline its human dimension. The inclusion of the landscape, treated with breadth and depth, not only acts as a spatial framework, but also becomes a fundamental narrative element, following the Bassanesque tradition that Orrente assimilated during his stay in Venice and adapted to Spanish taste. Presents restorations. Attached report by José Manuel Gómez Frechina.
Setdart Auction House
Feb. 04, 2026
PEDRO ORRENTE (MURCIA 1580-1645 VALENCIA). Scene from the Story of Balaam;
Est: $20,000 - $30,000
PEDRO ORRENTE (MURCIA 1580-1645 VALENCIA). Scene from the Story of Balaam; and The Sacrifice of Gideon. oil on canvasthe first 39 ¼ x 53 5/8 in. (99.8 x 136.2 cm.); the second 39 1/8 x 53 ¾ in. (99.4 x 136.5 cm.)(2).
Christie's
Jan. 28, 2026
Pastoral Scene - 17th Century - Attributed to Pedro de Orrente (Murcia, 1580-Valencia, 1645)
Est: €6,000 - €8,000
Oil on canvas. Measurements: 140 cm x 120 cm and 180 cm x 144 cm
Templum Fine Art Auctions
Jan. 14, 2026
Attributed to Pedro de Orrente (Murcia, baptized on April 18, 1580-Valencia, January 19, 1645)
Est: €4,000 - €6,000
Oil on canvas. Dimensions 89 × 117 cm. The scene depicts the parable of the Good Samaritan, a theme with strong moral weight that became popular in Christian art. The Samaritan, dressed in earthen garments and with a compassionate expression, attends to the injured man in the foreground, surrounded by a landscape that is a transition between rural and urban. The composition is notable for the empathetic interaction between the two figures and the presence of the donkey, which adds narrative authenticity. The anatomical modeling, the treatment of the drapery folds, and the warm colors indicate a style characteristic of 17th-century Spanish painting.
Templum Fine Art Auctions
Dec. 10, 2025
PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Portrait of a gentleman. Oil on canvas. Relined.
Est: €35,000 - €40,000
PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Portrait of a gentleman. Oil on canvas. Relined. Measurements: 79 x 66,5 cm; 97 x 89,5 cm (frame). Portrait of gentleman of long bust, of great sobriety, with a neutral bottom plunged in the penumbra on which the face stands out, directly illuminated by a warm light, harnessed by the great ruff of his neck. It stands out from his bearded face, as well as the depth of the gaze, which brings maturity to the character. In short, the work shows a realism of the face in which the skill and virtuosity of the author manages to bring a great verisimilitude to the physiognomy of the character. The work with the black, the ruff, and the position of the hand show us that this is the representation of a man of high status, perhaps a minister, and his gesture, with his hand on his chest, is a sign of self-affirmation. Returning to the modeling of the face, it is worth noting the similarities with the self-portrait of Pedro Orrente, belonging to the collection of the Prado Museum. In the words of Don José Gómez Frechina "Of the production of easel portraits by Pedro de Orrente (1580-1645) only his Self-Portrait is known, mentioned in 1866 in the collection of the Dukes of Montpensier and donated by Basilio Alexiades Thymanakis -in 1975- to the Museo Nacional del Prado", Known as "the Spanish Bassano", Pedro Orrente was an artist of great success in his time, admired as a follower of the formulas of the famous family of artists of Venice, especially in the realization of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving at a very young age from his native Murcia to Toledo, where he was already in 1600. If the fame of the Bassano's works was enormous throughout Spain, the climate in the Castilian city must have been especially receptive to his painting, as evidenced by the works of the best masters who worked there. It is not surprising, therefore, that Orrente, who shortly afterwards would travel to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez catalogued as his master. In 1607 he is already back in Spain, installed in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must have also spent time in Madrid. During his stay in Venice, he must not only have learned the pictorial manners of the Bassano family, but he would also assume their conception of painting as a market-oriented activity. In this sense, the treatment of sacred themes as genre scenes will be fundamental. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes, and accompanied by all kinds of animals and everyday objects. Works by Pedro Orrente are currently kept in the Prado Museum, the Hermitage in St. Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
Setdart Auction House
Nov. 20, 2025
Pastoral Scene - 17th Century - Attributed to Pedro de Orrente (Murcia, 1580-Valencia, 1645)
Est: €6,000 - €8,000
Oil on canvas. Measurements: 140 cm x 120 cm and 180 cm x 144 cm
Templum Fine Art Auctions
Nov. 20, 2025
Attributed to Pedro de Orrente (Murcia, baptized on April 18, 1580-Valencia, January 19, 1645)
Est: €4,000 - €6,000
Oil on canvas. Dimensions 89 × 117 cm. The scene depicts the parable of the Good Samaritan, a theme with strong moral weight that became popular in Christian art. The Samaritan, dressed in earthen garments and with a compassionate expression, attends to the injured man in the foreground, surrounded by a landscape that is a transition between rural and urban. The composition is notable for the empathetic interaction between the two figures and the presence of the donkey, which adds narrative authenticity. The anatomical modeling, the treatment of the drapery folds, and the warm colors indicate a style characteristic of 17th-century Spanish painting.
Templum Fine Art Auctions
Nov. 04, 2025
PEDRO ORRENTE Murcia (1580) / Valencia (1645) "Portrait of a gentleman with a ruff", c. 1620
Est: €24,000 - €32,000
Oil on canvas. On the reverse, attached to the frame, is a label from the Delegated Board of Seizure, Protection and Salvage of Artistic Treasures. Old chalk inscription "Albiz". Provenance: Collection of Maria Josefa Gutierrez-Maturana and Matheu-Arias-Davila, Countess of Albiz (until 1981); from then on, by succession, to its current owners. Portraits have fulfilled a legitimizing function since their origin, in which the person portrayed proudly displayed their lineage and social rank. In Spanish Golden Age painting, portraiture ceased to be the exclusive preserve of the ruling classes thanks to the emergence of a new concept of "portraitability" and a new appreciation of "virtus," in which every person deserved to be portrayed based on their personal virtues, such as an exemplary life, moral integrity, or brilliance in their work. Francisco Pacheco himself expressed in his treatise that nobility and lineage were no longer the main values for someone to be portrayed. One of the most relevant examples is the "Ingenios" by Van der Hamen (1596-1631). The year of his death, twenty bust portraits of illustrious figures were inventoried among his estate. These portraits were conceived as a group in themselves, and included various literary figures from the Spanish Golden Age, such as Quevedo, Gongora, Lope de Vega, and Ruiz de Alarcon. The surviving examples of this series exhibit similar characteristics to this portrait, which must have been executed in a similar time period, around the 1920s. They all share the same general characteristics: the subjects are depicted bust-length or three-quarter-length, emerging from a neutral background and bearing some inscription or text alluding to their identification. These works were grouped together in the great collections of the 17th century, within galleries dedicated to illustrious men. One example is the one the Marquis of Leganes had in his villa in Morata. We do not know the identity of the subject depicted here, and the only information we have about him, thanks to the inscription above, is that he was 57 years old at the time of the painting. His black clothing against the neutral background makes his face stand out and draws attention to himself. The detailed treatment of his features and his naturalism lead us to believe that this is a portrait taken directly from life. The cartouche with the Latin inscription “Initium sapientiae timor Domini” (The fear of God is the beginning of wisdom), taken from the Book of Proverbs (9:10), was sometimes used as a motto in religious or educational institutions, so the sitter must have been dedicated to these same tasks. The type of short, loose brushstrokes that shape the strands of hair and the hair on his face,The chromatic impasto used in the flesh tones of the face, the drawing of the eyes with the lower eyelid outlined in white, and the treatment of the background lead us to attribute the painting to Pedro Orrente. Several works by him are known that are very similar in conception and in which the same technique can be seen, such as the Self-Portrait in the Prado Museum, which belonged to the Duke and Duchess of Montpensier (P003242), and the Portrait of a Gentleman with a Ruff, from a Valencian noble collection and which was sold some years ago. The same technique and types can be seen in some of his large compositions from the Toledo period, such as the Miracle of Saint Leocadia of 1616. Dimensions: 90.5 x 69.5 cm.
Ansorena
Sep. 16, 2025
PEDRO DE ORRENTE - The Wedding at Cana
Est: -
PEDRO DE ORRENTE Murcia 1580 - Valencia 1644 The Wedding at Cana Oil on canvas Dimensions 101.5 x 142 cm This painting of The Wedding at Cana, attributed to Pedro de Orrente, dynamically and richly depicts the famous Gospel episode of Christ's first miracle: the conversion of water into wine during a wedding banquet. Orrente, influenced by the naturalism of Caravaggio and the everyday realism of the Venetian masters, sets the scene in a classicist architecture that frames a composition full of characters and anecdotal details. The artist uses warm chromaticism and a careful stage layout that lend liveliness to the story, highlighting both the figure of Christ and the interaction between servants and diners. This version can be directly linked to another painting of the same subject preserved in the parish church of Nuestra Señora de la Asunción in La Guardia (Toledo). Both works share a similar compositional language, such as the focus on the secondary narrative and the horizontal layout of the banquet, although they present variations in the characters and spatial arrangement that reflect the serial and adaptive nature of Orrente's workshop. These differences allow us to appreciate the painter's versatility and his ability to reinterpret the same subject according to different devotional or decorative demands.
Subastas Segre
Jul. 30, 2025
Pastoral Scene - 17th Century - Attributed to Pedro de Orrente (Murcia, 1580-Valencia, 1645)
Est: €6,000 - €8,000
Oil on canvas. Measurements: 140 cm x 120 cm and 180 cm x 144 cm
Templum Fine Art Auctions
Jul. 01, 2025
ATTRIBUTED TO PEDRO DE ORRENTE - Jacob with the sheep
Est: -
ATTRIBUTED TO PEDRO DE ORRENTE Murcia 1580 - Valencia 1645 Jacob with the sheep Oil on canvas Dimensions 33.5 x 39.5 cm Provenance: - Sotheby Parke Bernet Inc., New York, June 17, 1976, lot 20 (as Murillo). - Private collection, Madrid. Work published in: - Curtis, Charles B., Velazquez and Murillo. A Descriptive and Historical Catalogue, New York, 1883, p. 274, no. 407.
Subastas Segre
Jun. 18, 2025
Follower of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645); XVII century. "The adoration of the shepherds". Oil on canvas. It has a frame of the nineteenth century.
Est: €800 - €1,000
Follower of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645); XVII century. "The adoration of the shepherds". Oil on canvas. It has a frame of the nineteenth century. Measurements: 29 x 38 cm; 46 x 45 cm (frame). This canvas represents a classic theme in the History of Art, that of the shepherds adoring the newborn baby Jesus in the portal of Bethlehem. It is a scene that lends itself to be interpreted as a large composition with numerous characters, worked in a costumbrista key, a feature that was very much to the taste of the Baroque painters, who sought above all a natural and close art, which moved the mood of the faithful and made them feel close to what was represented on the canvas, to the sacred story. Known as "the Spanish Bassano", Pedro Orrente was an artist of great success in his time, admired as a follower of the formulas of the famous family of artists of Venice, especially in the realization of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving very young from his native Murcia to Toledo, where he was already in 1600. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez catalogued as his master. In 1607 he is already back in Spain, installed in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must have also spent time in Madrid. During his stay in Venice, he must not only have learned the pictorial manners of the Bassano family, but he would also assume their conception of painting as a market-oriented activity. In this sense, the treatment of sacred themes as genre scenes will be fundamental. These were, above all, lively series of biblical stories in which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes, and accompanied by all kinds of animals and everyday objects.
Setdart Auction House
May. 22, 2025
Pastoral Scene - 17th Century - Attributed to Pedro de Orrente (Murcia, 1580-Valencia, 1645)
Est: €6,000 - €8,000
Oil on canvas. Measurements: 140 cm x 120 cm and 180 cm x 144 cm
Templum Fine Art Auctions
May. 20, 2025
PEDRO DE ORRENTE - The Annunciation
Est: -
PEDRO DE ORRENTE Murcia 1580 - Valencia 1644 The Annunciation Oil on canvas Dimensions 100 x 67.5 cm Provenance: - Collection of Raúl Roviralta Astoul, 1st Marquis of Roviralta and by descent to its current owners. This unpublished and delicate Annunciation represents an important contribution to the pictorial corpus of Pedro de Orrente. Although few documentary references about his life have come down to us, he is credited with having traveled to Venice around 1602 where he worked in the workshop of Leandro Bassano, specializing in the famous pastoral setting paintings that made him so famous in Spain. This is one of the best versions of the Gospel theme created by the artist, comparable to a second version kept in a private collection in Madrid. Bibliography: - Angulo, Diego and Pérez Sánchez, Alfonso., "Toledan painting from the first third of the 17th century", Madrid, CSIC, 1973, pp. 255, 256 and 299.
Subastas Segre
Mar. 25, 2025
ESCUELA TOLEDANA, FLES. DEL S.XVII. CÍRCULO DE PEDRO ORRENTE. EL DILUVIO. ÓLEO SOBRE LIENZO.
Est: €4,000 - €4,500
Escuela toledana, fles. del s.XVII. Círculo de Pedro Orrente (Murcia, 1580-Valencia, 1645) El Diluvio. Óleo sobre lienzo. Reentelado. Conocido como «el Bassano español», fue un artista de gran éxito en su tiempo, admirado como seguidor de las fórmulas de la célebre familia de artistas del Véneto, sobre todo en la realización de series de temas del Antiguo Testamento ambientados en frondosos paisajes. En este caso la representación del Diluvio universal. El Diluvio se incluye entre los episodios bíblicos inspirados en la vida de Noé al considerar a este patriarca como una prefiguración de Cristo. Su narración está inspirada en el Génesis. 104 x 154 cm.
Aletheia Subastas
Feb. 11, 2025
PEDRO DE ORRENTE - Jacob's blessing
Est: -
PEDRO DE ORRENTE Murcia 1580 - Valencia 1644 Jacob's blessing Oil on canvas Measurements 63 x 110 cm
Subastas Segre
Jan. 23, 2025
Manera Pedro de Orrente (Murcia, 1580 - Valencia, 1645) - Spanish school of the 17th century
Est: €5,000 - €7,000
Oil on canvas measures: 165 x 110 cm, measures with frame: 182 x 130 cm
Templum Fine Art Auctions
Nov. 26, 2024
PEDRO DE ORRENTE (MURCIA, 1580 - VALENCIA, 1645)
Est: €20,000 - €30,000
Pedro de Orrente (Murcia, 1580 - Valencia, 1645) 'The Crucifixion. Night version' Oil on canvas. 139,5 x 97,5 cm. The authenticity of this painting was confirmed by Mr. Jose Gómez Frechina. The Metropolitan Museum of Art of New York preserves the daytime version of this same picture (inv. 2014.228). 'Orrente traveled to Venice and Rome before working in Toledo, where he knew El Greco. The younger artist adopted El Greco’s high-pitched palette and penchant for exaggerated forms, but he combined them with a naturalism learned from paintings inspired by Caravaggio. Here, he filled a frequently depicted crucifixion subject with a series of anecdotal details.The dynamic but elegant figure on a ladder, for example, responds to Christ’s cry of thirst by using a cane to retrieve from a bystander a wet sponge that he will then hold to Christ’s lips.' Bibliographic reference: - Metropolitan Museum of Art. (n.d.). 'The Crucifixion'. https://www.metmuseum.org/art/collection/search/652416. Antiques.
La Suite Subastas
Oct. 31, 2024
PEDRO DE ORRENTE (MURCIA, 1580 - VALENCIA, 1645)
Est: €21,000 - €25,000
Pedro de Orrente (Murcia, 1580 - Valencia, 1645) ‘The Sacrifice of Isaac’ and “Reconstruction after the Flood (Noah's Sacrifice and God's Pact with Noah)”. Pair of oil paintings on canvas. 106 x 147 cm each. Attached is a study by the art historian José Gómez Frechina, from which we extract the following summary: ‘Pedro Orrente played a primordial role in the dissemination of early naturalism in Castile and, especially, in Valencia. […] The key to understanding Pedro Orrente's extensive pictorial production and his non-conformity in the reigns of Philip III and his son Philip IV is to be found in his Italian training, which is already reflected in artistic literature,’ the study states. ‘Jusepe Martínez, painter to Philip IV and treatise writer [...] tells us of his many travels and of his production of series based on the Old Testament, as is the case with the pair of autographed canvases by Pedro Orrente that are the subject of this study. [...] The young Pedro Orrente's formative journey to the Italian peninsula at the end of 1602, his possible stay in Rome, and his certain stay in Venice provide a reasoned explanation for the style of his art and his extensive and certain knowledge of the paintings of Leandro da Ponte (Bassano del Grappa, 1557 - Venice, 1622), better known as Bassano after his place of birth. [...] His narrative ability is outstanding in the excellent execution of important pictorial ensembles in which he put his great talent for creation and invention to the test. In some cases literature and painting intertwine in a perfect union between the printed letter with its multiple messages and the colours and lines of the painting with its suggestive beauty. This is the case, for example, of the stories of Jacob, Moses, Noah or the patriarch Abraham’. With regard to the paintings in the auction, Gómez Frechina reports that ‘they are two previously unknown canvases by Pedro Orrente. The stylistic characteristics of the two canvases reveal Orrente's signature character with the typical zigzag folding, the peculiar way of resolving the landscape with clumps of trees, the correctness of the drawing, the rich colouring and the mastery in painting animals that recall his Venetian training. The subject of the first canvas is the Reconstruction after the Flood with Noah's sacrifice and God's Covenant with Noah. In the foreground are Noah's three sons, Shem, Ham and Japheth, with their wives, building a shelter for the animals after the Flood. These events are recorded in Genesis 8-9,’ as specified in the study. ‘There is a canvas with the same composition signed by Orrente in the Diocesan Museum of Orihuela. [...] In the Sacrifice of Isaac, Pedro Orrente is very faithful to the text with the presence of the donkey and Abraham's two servants, as narrated in Genesis 22’, Gómez Frechina's study specifies. ‘The composition of this Sacrifice of Isaac by Pedro Orrente is unique to our knowledge. We know of no other signed version or copy of this same landscape composition. We do know of a canvas by Orrente in the Museo Nacional del Prado with Abraham and Isaac on the Way to the Sacrifice in a landscape composition (P00330; oil on canvas, 116 x 161 cm). Orrente signed another painting of the Sacrifice of Isaac in circa 1616, which is kept in the Bilbao Fine Art Museum (oil on canvas 133,5 x 167 cm).” Oil.
La Suite Subastas
Oct. 16, 2024
DE ORRENTE PEDRO (1580 - 1645) - Rebecca at the well
Est: €2,000 - €4,000
DE ORRENTE PEDRO (1580 - 1645). Rebecca at the well. 91,00 x 73,00 cm.
Capitolium Art
Oct. 09, 2024
Important Great Saint Francis of Assisi in Meditation, Pedro de Orrente (Murcia, 1580-Valencia, 1645), Valencian Caravaggist school of the 17th century, Spanish school of the 17th century
Est: €9,000 - €12,000
Oil on canvas. Canvas measurements: 144 x 95 cm, framed measurements: 160 x 112 cm. (Murcia, 1580-Valencia, 1645). Spanish painter. Known as "the Spanish Bassano", he was a very successful artist in his time, admired as a follower of the formulas of the famous family of artists from Veneto, especially in the creation of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving very young from his native Murcia to Toledo, where he was already in 1600. If the fame of the Bassano's works was enormous throughout Spain, the climate in the Castilian city must have been especially receptive. to his painting. The best masters who worked there left clear evidence of this: Juan Sánchez Cotán copied his works, while El Greco left in writing his admiration for Jacopo Bassano. It is not surprising that Orrente, who would travel to Italy shortly after, headed to Venice. He left for the transalpine country at the end of 1602 and in 1605 he was already in the lake city. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. "Three paintings by Pedro de Orrente", Spanish Art Archive, Madrid, 1974, pp. 333-334. "Three paintings by Pedro de Orrente", Spanish Art Archive, Madrid, 1974, pp. 333-334.
Templum Fine Art Auctions
Sep. 24, 2024
PEDRO ORRENTE Murcia (1580) / Valencia (1645) "Tobias and the angel"
Est: €7,500 - €10,000
Oil on canvas. Measurements: 45 x 57.5 cm.
Ansorena
Sep. 12, 2024
Important Great Saint Francis of Assisi in Meditation, Pedro de Orrente (Murcia, 1580-Valencia, 1645), Valencian Caravaggist school of the 17th century, Spanish school of the 17th century
Est: €9,000 - €12,000
Oil on canvas. Canvas measurements: 144 x 95 cm, framed measurements: 160 x 112 cm. (Murcia, 1580-Valencia, 1645). Spanish painter. Known as "the Spanish Bassano", he was a very successful artist in his time, admired as a follower of the formulas of the famous family of artists from Veneto, especially in the creation of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving very young from his native Murcia to Toledo, where he was already in 1600. If the fame of the Bassano's works was enormous throughout Spain, the climate in the Castilian city must have been especially receptive. to his painting. The best masters who worked there left clear evidence of this: Juan Sánchez Cotán copied his works, while El Greco left in writing his admiration for Jacopo Bassano. It is not surprising that Orrente, who would travel to Italy shortly after, headed to Venice. He left for the transalpine country at the end of 1602 and in 1605 he was already in the lake city. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. "Three paintings by Pedro de Orrente", Spanish Art Archive, Madrid, 1974, pp. 333-334. "Three paintings by Pedro de Orrente", Spanish Art Archive, Madrid, 1974, pp. 333-334.
Templum Fine Art Auctions
Jul. 18, 2024
Important Great Saint Francis of Assisi in Meditation, Pedro de Orrente (Murcia, 1580-Valencia, 1645), Valencian Caravaggist school of the 17th century, Spanish school of the 17th century
Est: €9,000 - €12,000
Oil on canvas. Canvas measurements: 144 x 95 cm, framed measurements: 160 x 112 cm. (Murcia, 1580-Valencia, 1645). Spanish painter. Known as "the Spanish Bassano", he was a very successful artist in his time, admired as a follower of the formulas of the famous family of artists from Veneto, especially in the creation of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving very young from his native Murcia to Toledo, where he was already in 1600. If the fame of the Bassano's works was enormous throughout Spain, the climate in the Castilian city must have been especially receptive. to his painting. The best masters who worked there left clear evidence of this: Juan Sánchez Cotán copied his works, while El Greco left in writing his admiration for Jacopo Bassano. It is not surprising that Orrente, who would travel to Italy shortly after, headed to Venice. He left for the transalpine country at the end of 1602 and in 1605 he was already in the lake city. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. "Three paintings by Pedro de Orrente", Spanish Art Archive, Madrid, 1974, pp. 333-334. "Three paintings by Pedro de Orrente", Spanish Art Archive, Madrid, 1974, pp. 333-334.
Templum Fine Art Auctions
Jun. 27, 2024
Pedro de Orrente, 1580 Mucia – 1645 Valencia, zugeschrieben
Est: €4,000 - €6,000
VERKÜNDIGUNG AN DIE HIRTEN Öl auf Leinwand. Auf Platte aufgezogen. 94 x 120 cm. In hölzernem Profilrahmen. Inmitten einer bewaldeten Landschaft mehrere polychrom gekleidete Hirten, von links der Verkündigungsengel heranschwebend. Insgesamt dem Charakter Bassanos Nachtbilder entsprechend. Der spanische Künstler Orrente stand stark unter venezianischen Einfluss und so auch der Bassanos, das verhalf ihm zu seinem Kosenamen „spanischer Bassano“. Rest. (1400033) (13)
Hampel Fine Art Auctions
Jun. 26, 2024
Manera Pedro de Orrente (Murcia 1580 - Valencia 1645) - Spanish school of the 17th century
Est: €5,000 - €7,000
Oil on canvas measures: 165 x 110 cm measures with frame: 182 x 130 cm
Templum Fine Art Auctions
May. 21, 2024
PEDRO DE ORRENTE - La bendición de Jacob
Est: -
PEDRO DE ORRENTE Murcia 1580 - Valencia 1644 La bendición de Jacob Óleo sobre lienzo Medidas 63 x 110 cm
Subastas Segre
Apr. 25, 2024
ATTRIBUTED TO PEDRO DE DE ORRENTE (1580 - 1645), PEASANTS AT WORK, SPANISH SCHOOL, 17TH CENTURY
Est: €6,000 - €6,500
Oil on canvas. Unframed measurements: 111 x 73. Framed measurements: 124 x 88. Views of the town with farmers picking fruit in the foreground. Attributed to Pedro de Orrente (1580 - 1645), Spanish Baroque painter known as the Spanish Bassano. His style is characterized by his twilight lighting in the landscapes, of Bassanesque inspiration, but with a clear predisposition towards tenebrist naturalism. Likewise, in his paintings we find a colorism based on ocher and earthy tones among which he makes bright red, green or white strokes stand out with great skill.
Templum Fine Art Auctions
Mar. 21, 2024
Attributed to Pedro de de Orrente (1580 - 1645), Peasants at work, Spanish school, 17th century
Est: €6,000 - €6,500
Oil on canvas. Unframed measurements: 111 x 73. Framed measurements: 124 x 88. Views of the town with farmers picking fruit in the foreground. Attributed to Pedro de Orrente (1580 - 1645), Spanish Baroque painter known as the Spanish Bassano. His style is characterized by his twilight lighting in the landscapes, of Bassanesque inspiration, but with a clear predisposition towards tenebrist naturalism. Likewise, in his paintings we find a colorism based on ocher and earthy tones among which he makes bright red, green or white strokes stand out with great skill.
Templum Fine Art Auctions
Mar. 19, 2024
PEDRO DE ORRENTE - Pastoral scene with characters
Est: -
PEDRO DE ORRENTE Murcia 1580 - Valencia 1644 Pastoral scene with characters Oil on canvas Measurements 112.5 x 160.5 cm
Subastas Segre
Feb. 06, 2024
PEDRO DE ORRENTE - Departure of Jacob with his flocks
Est: -
PEDRO DE ORRENTE Murcia 1580 - Valencia 1644 Departure of Jacob with his flocks Oil on canvas Measurements 95 x 145 cm Pedro de Orrente, better known as "the Spanish Bassano" popularized a series of canvases dedicated to the Old Testament that were very similar to what Leandro Bassano created in his prolific workshop in Venice in the first third of the 17th century. Despite the few documentary references that have survived to this day, it is very likely that Orrente traveled to Venice around 1602. Upon returning to Spain he specialized in this genre of paintings with a pastoral setting that was successfully received among the most important collections that include the real. We are faced with one of the best versions of the biblical theme made by Pedro de Orrente. Bibliography: - Angulo, Diego and Pérez Sánchez, Alfonso; "Toledan painting from the first third of the 17th century", Madrid, CSIC, 1973, p. 291.
Subastas Segre
Dec. 18, 2023
PEDRO ORRENTE Murcia (1580) / Valencia (1645) “Assumption of the Virgin”
Est: €7,500 - €10,000
Oil on canvas. Origin: Barcelona, private collection. Orrente is a transcendental figure in the development of naturalistic painting in Murcia, Toledo and Valencia. His works, influenced by the Bassano style, show a loose brushstroke and Venetian-style coloring as seen in this composition that presents models similar to those made by the painter in the missing main altarpiece of Villarejo de Salvanes. Measurements: 147 x 79.5 cm.
Ansorena
Oct. 18, 2023
Workshop of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Pastoral scene for a passage from the Old Testament". Oil on canvas.
Est: €2,000 - €2,500
Workshop of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Pastoral scene for a passage from the Old Testament". Oil on canvas. Relined. Size: 57 x 69 cm; 76,5 x 88 cm (frame). During his stay in Venice, Pedro de Orrente must not only have learned the pictorial manners of the Bassano family, but he would also take on their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes would be fundamental in this respect. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes and accompanied by all kinds of animals and everyday objects. In the present work we seem to recognise David by the harp resting at his side, but he is depicted as a shepherd with his sheep. This is a workshop work by the painter Pedro de Orrente. Known as "the Spanish Bassano", Pedro Orrente was a highly successful artist of his time, admired as a follower of the formulas of the famous Venetian family of artists, especially in his series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving from his native Murcia to Toledo at a very young age, where he was already in 1600. If the fame of the Bassano family's works was enormous throughout Spain, the climate in the Castilian city must have been particularly receptive to their painting, as the works of the best masters who worked there attest. It is therefore not surprising that Orrente, who shortly afterwards travelled to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez classified as his master. In 1607 he was already back in Spain, settled in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must also have spent time in Madrid. During his stay in Venice he must not only have learnt the Bassano family's pictorial manner but also took on board their conception of painting as a market-oriented activity. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such a large output the painter must have had a very well-established workshop that repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. However, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
Setdart Auction House
Oct. 17, 2023
PEDRO ORRENTE, (Murcia, 1580 – Valencia, 1645). “Moses and the water from the rock.” Oil on canvas. Empire Framework.
Est: €4,500 - €5,000
PEDRO ORRENTE, (Murcia, 1580 - Valencia, 1645). "Moses and the water from the rock". Oil on canvas. Empire frame. Measurements: 90 x 111 cm; 103,5 x 126 cm (frame). Known as "the Spanish Bassano", Pedro Orrente was a very successful artist in his time, admired as a follower of the formulas of the famous family of artists from Venice, especially in the execution of series of Old Testament themes set in luxuriant landscapes. He lived in several Spanish cities, moving from his native Murcia to Toledo at a very young age, where he was already in 1600. If the fame of the Bassano family's works was enormous throughout Spain, the climate in the Castilian city must have been particularly receptive to their painting, as the works of the best masters who worked there attest. It is therefore not surprising that Orrente, who shortly afterwards travelled to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez classified as his master. In 1607 he was already back in Spain, settled in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must also have spent time in Madrid. During his stay in Venice he must not only have learned the Bassano family's pictorial manner, but also their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes would be fundamental in this respect. These were, above all, lively series of biblical stories with which enthusiasts could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes and accompanied by all kinds of animals and everyday objects. Works by Pedro Orrente are currently held in the Prado Museum, the Hermitage in St Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
Setdart Auction House