Jusepe de Ribera Paintings & Artwork for Sale | Jusepe de Ribera Art Value Price Guide

Jul. 22, 2026
Martirio de San Bartolomé
Est: -
Grabado al cobre sobre papel de hilo con filigrana. Texto al pie "Dedico mis obras y esta estampa al Serenismo. Príncipe Philiberto mi señor en Nápoles año 1624" Firmado en plancha en la esq. inf. derecha. Corto de márgenes.
Duran Arte y Subastas
Jul. 15, 2026
Ribera Jusepe de, called Lo Spagnoletto, 1591–1652). The Martyrdom of Saint Bartholomew, 1624
Est: £400 - £600
Ribera Jusepe de, called Lo Spagnoletto, 1591–1652). The Martyrdom of Saint Bartholomew, 1624 * Ribera (Jusepe de, called Lo Spagnoletto, Játiva 1591–1652 Naples). The Martyrdom of Saint Bartholomew, 1624, etching and engraving on laid paper, trimmed just inside platemark, tipped onto backing paper, tiny repairs to left margin, a few minimal spots, plate size 314 x 231 mm, together with: Villamena (Francesco, circa 1565-1624). Saint Francis receiving the Stigmata, after Federico Barocci, Rome, 1597, engraving on laid paper, indistinct circular watermark, trimmed inside platemark, lightly shaved to lower right corner, a rich impression, highly contrasted, 52 x 35.5 cm, plus Sayer (Robert, publisher). Triumphal monument of Philopappus, Athens; Temple at Mount Laurium, from Ruins of Athens, [London: Robert Sayer, 1759], engraving on laid paper, inscribed in pencil 'Proof' to lower margin, trimmed to platemark, tiny marginal hole to upper left corner, few minor areas of soiling, 27 x 39.5 cm, plus 61 others, mostly Italian and French engravings, 17th-century, including Giovanni Francesco Venturini (1650-1714), Le ninfe arciere di Diana, after Domenichino, engraving on laid paper, narrow margins, creased, marginal closed tears, sheet size 36 x 47 cm, and Nicolas Bazin (1633-1710), Madonna del latte, after Antonio da Correggio, engraving on laid paper, with margins, some minor soiling and staining, sheet size 44.5 x 38.5 cm QTY: (64) NOTE: (Ribera) Bartsch XX.81.6; Jonathan Brown Jusepe de Ribera: Prints and Drawings, Princeton, Fogg Art Museum, 1973, 12, i/ii. 'Made during his most intense period of printmaking, this is Ribera's first multi-figured etched composition and his last print with a religious theme. Its subject is the martyrdom of Bartholomew the Apostle. Technically this is one of his most remarkable prints and this early impression shows the enormous variety of etching marks employed to describe the figures. Most striking is the delicate stippling across the saint's body to define areas of shadow and the whiteness of his skin that contrasts with the deep sculptural folds of the executioner's garments. The technical mastery combines with complex emotions of those represented to produce a moving account of the saint's martyrdom' (British Museum online).
Dominic Winter Auctions
Jun. 30, 2026
CIRCLE OF JOSÉ DE RIBERA (Játiva, 1591–Naples, 1651)
Est: €9,000 - €18,000
CIRCLE OF JOSÉ DE RIBERA (Játiva, 1591–Naples, 1651) Saint Mary of Egypt after 1651 Oil on panel. Dimensions: 16.5 x 11.5 cm. Reference bibliography: Ribera (1591–1651), exh. cat., Alfonso E. Pérez Sánchez, ed., Madrid, Museo del Prado, 1992, p. 396, cat. no. 125; Elvira González Asenjo, Don Juan José de Austria y las artes (1629–1679), Madrid, FAHAH, 2005, pp. 63–64; Nicola Spinosa, Ribera. La obra completa, Madrid, FAH, 2008, p. 480, A362. Neapolitan depictions of Saint Mary of Egypt experienced a resurgence of interest after Masaniello's revolt in 1647. A year later, John of Austria visited the monastery dedicated to the saint in Pizzofalcone, financed the renovation of its church, and petitioned the Holy See to make her the patron saint and protector of Naples. It is within this context that Ribera's painting in the Gaetano Filangieri Civic Museum, signed and dated 1651, which belonged to the 1st Duke of Miranda, is situated. It must have been an important work, judging by the two known replicas (in the Art Museum of Budapest and the Convent of San Giuseppe in Bologna). To these must be added our panel, a high-quality reduction that should be placed within the circle of artists who worked with Ribera, such as the Spaniard Juan Dó (1601-1656) or the Flemish Hendrick van Somer (1607-1655).
Fernando Duran
Jun. 18, 2026
Follower of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652). "Ecce Homo. Oil on canvas.
Est: €1,800 - €2,000
Follower of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652). "Ecce Homo. Oil on canvas. Measurements. 74 x 56 cm; 83 x 63 cm (frame). This work, made by a follower of José de Ribera, takes as a direct reference the famous Ecce Homo preserved in the Royal Academy of Fine Arts of San Fernando (inv. No. 0629), considered the earliest version of this theme within the production of the master, dated around 1620, in the early years of his career and in the context of his relationship with the house of Osuna. The composition presents Christ three-quarter length and slightly in profile, crowned with thorns, his tunic and reed torn after being outraged by the people after the scourging. Against a deeply tenebrist background, the figure is cut with a diagonal marked by the intense chiaroscuro of the face, torso and bare arm. The result is a powerful anatomical study, charged with restrained drama and intense humanity, essential features of the Riberesque language. The original version of the Ecce Homo of the Academy of San Fernando, from the Jesuit College of Toledo, entered the institution after the expulsion of the order in 1767. Its importance was such that in 1871 it was included in the publication Cuadros selectos de la Real Academia de Bellas Artes de San Fernando, an ambitious series of prints intended to disseminate the most relevant works in the collection and to promote the art of engraving, with drawing and engraving by José María Galván and text by José María Avrial. This work, faithful to the original model, strongly conveys Ribera's spirit: tenebrism, stark realism and deep spiritual intensity, qualities that make Ecce Homo one of the most moving images of the Spanish Baroque.
Setdart Auction House
Jun. 09, 2026
Saint Jerome
Est: €100,000 - €150,000
Jusepe de Ribera Xàtiva 1591 - 1652 Naples Saint Jerome Oil on canvas 74,5 x 59,5 cm ; 29⅜ by 23⅜ in. We are grateful to Prof. Nicola Spinosa and Prof. Riccardo Lattuada for having confirmed the authentication of this work, based on photographs.
Sotheby's
Jun. 04, 2026
JOSÉ DE RIBERA (XATIVA, 1591 - NAPLES, 1652)
Est: €60,000 - €90,000
José de Ribera (Xativa, 1591 - Naples, 1652) “Anthony the Great” Oil on canvas. Relined. 178,5 x 138 cm. A certificate by Professor Nicola Spinosa accompanies the painting, dated March 15, 2025. We would like to thank the professor for cataloging the painting. As stated in his certificate, this previously unknown painting depicting Saint Anthony Abbot praying and being tempted by the devil is an autograph replica by José de Ribera of his painting, signed and dated 1644, which belonged to the former Montaner collection in Mallorca, and appears published by Spinosa in the Spanish edition of the monograph of the painter published in 2008, page 460, nº. A323. The version we have here, Spinosa continues, is of the same quality as the one we mentioned, in terms of its compositional monumentality, accentuated by the arrangement of the body and the open arms of the saint, in the form of a cross. As for the chromatic aspect of the painting, the intensity of the atmospheric light and the clarity of the color palette stand out. In addition, the professor highlights rigor with which the painter depicts the expressiveness of the figure of the devil in the lower left corner with naturalism. Provenance: - Can Desbrull Palace, also known as Ca la Gran Cristiana. Mallorca. Currently Museum of Mallorca. Reference bibliography: - Spinosa, Nicola. (2006). 'Ribera. L'opera completa'. Nápoles. - Spinosa, Nicola. (2008). 'Ribera. La obra completa'. Madrid.
La Suite Subastas
Jun. 03, 2026
Ribera, Jusepe de: Die Buße des hl. Petrus
Est: €700 - €900
Die Buße des hl. Petrus. Radierung. 32,2 x 24,5 cm. 1621. B. 17, Brown 6 II. Wz. Fünfzackige Schellenkappe mit angehängten Kugeln. Ganz ausgezeichneter, klarer Druck mit leichtem Plattenton und feinem bis sehr feinem Rändchen um die Einfassung, die Facette stellenweise noch sichtbar. Kaum merkliche, geglättete horizontale Trockenfalte, isolierte Stockflecken, vornehmlich verso minimal angestaubt, sonst in schöner Erhaltung. Beigegeben zwei Kopien nach Ribera "Der hl. Hieronymus, lesend" (nach B. 3) und "Das Martyrium des hl. Bartholomäus" von Pierre Brebiette (nach B. 6) sowie ebenfalls nach Ribera von Joseph Prenner "Heiliger in Mönchskutte". - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Jun. 03, 2026
Ribera, Jusepe de: Der hl. Hieronymus, lesend
Est: €600 - €800
Der hl. Hieronymus, lesend. Radierung. 18,9 x 23,6 cm. (1624). B. 3, Brown 13. Wz. Bekröntes Lilienwappen. Ganz ausgezeichneter, atmosphärischer Abzug mit zarten Wischkritzeln, an drei Seiten mit der vollen Darstellung, oben partiell minimal in diese geschnitten, links ca. 1,3 cm in die Darstellung beschnitten. Nur minimal angestaubt, ganz schwach fleckig, verso kleine Montierungsreste, sonst tadellos. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Jun. 03, 2026
Ribera, Jusepe de: Die Buße des hl. Petrus
Est: €500 - €750
Die Buße des hl. Petrus. Radierung. 31,4 x 23,8 cm. 1621. B. 17, Brown 6 I (von II). Wz. Anker im Kreis. Ausgezeichneter, toniger Frühdruck mit Rändchen um die Einfassungslinie, vor der Adresse von Frans Wyngaerde. Vereinzelte, nicht störende kleine dünne Papierstellen, der Gesamteindruck jedoch sehr gut. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Jun. 02, 2026
Desperate Woman, Possibly Tamar
Est: $40,000 - $60,000
Property from the Estate of Stanley Moss Jusepe de Ribera, called Lo Spagnoletto Játiva, Valencia 1591 - 1652 Naples Desperate Woman, Possibly Tamar oil on canvas canvas: 33 ⅞ by 29 ¾ in.; 86 by 75.6 cm framed: 44 by 39 ⅜ in.; 111.8 by 100.0 cm
Sotheby's
May. 28, 2026
JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652) AND WORKSHOP "St. Paul", c. 1640 -1650. Oil on canvas. Relined. Attached report issued by Mrs. Vivina Farina, Professor of Art History at the Academy of Fine Arts in Naples. Signed.
Est: €130,000 - €140,000
JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652) AND WORKSHOP "St. Paul", c. 1640 -1650. Oil on canvas. Relined. Attached report issued by Mrs. Vivina Farina, Professor of Art History at the Academy of Fine Arts in Naples. Signed. Measurements: 122 x 97 cm. The figure represented, identifiable as St. Paul by the presence of the sword, his most characteristic attribute, is part of one of the most recognizable typologies of the production of José de Ribera. The composition is closely related to models used by the artist himself in his famous series of philosophers and apostles made in Naples around 1630-1632. In particular, it is almost identical to his representation of Pythagoras preserved in the Museo de Bellas Artes de Valencia, which shows Ribera's usual practice of reusing compositional schemes, adapting them by means of attributes to transform philosophers into apostles or vice versa. This visual ambiguity is not accidental: it responds to a humanist conception in which classical wisdom and Christian truth converge in the same image. These figures, probably conceived for important collectors such as Fernando Afán de Ribera y Enríquez or Prince Charles Eusebius of Liechtenstein, are characterized by their uniform format and individualized approach. The characters appear isolated, concentrated in their inner world, with few narrative elements. In the case of St. Paul, the sword is enough to define his identity, while his reflective attitude brings him closer to the universe of the philosophers. From the stylistic point of view, the work fully displays the distinctive qualities of Ribera in his maturity: a dramatic illumination that emerges from a dark background, modeling the volume with strong hallmarks; a dense brushstroke that gives corporeity to the forms; and a sober palette that emphasizes the materiality of the figure. All this contributes to create an image of great psychological intensity, in which the viewer is confronted not only with a saint, but with a deeply human presence. José de Ribera, known as the Españoleto, was a key master of the Spanish Baroque, and in general of European art history. Although no documentary sources or evidence of his youth are preserved, it is believed that he trained with Francisco Ribalta in Valencia, after which he went to Italy, first to the north and later to Rome, where he learned first-hand about the classicists and the tenebrism of the Dutch who settled there. Finally he settled in Naples, where he arrived in 1616. Then began his period of maturity and splendor; Ribera enjoyed fame and a large workshop, and his works spread throughout Europe through engravings. He worked for viceroys and high officials of Spanish origin settled in Naples, so many of his works soon reached Spain. He was in fact famous in his native country, and in fact Velázquez himself visited him in 1630. Today works by Ribera are kept in the Prado Museum, the Louvre, the Capodimonte Museum, the Fine Arts Museum in Budapest, the Hermitage in St. Petersburg, the Kunsthistorisches and Liechtenstein Museums in Vienna, the J. Paul Getty Museum in Los Angeles, the Art Institute in Chicago, the Metropolitan Museum in New York, the National Gallery and the Royal Collection in London, the Borghese Gallery in Rome and other important art galleries in Europe, America and Asia. Attached is a report issued by Mrs. Vivina Farina.
Setdart Auction House
May. 24, 2026
JUSEPE DE RIBERA, 1591 - 1652, CIRCLE OF
Est: -
Jusepe de Ribera 1591 - 1652, Circle of Saint Jerome Oil on canvas, relined 103.5 x 79 cm Jusepe de Ribera 1591 - 1652, Umkreis Heiliger Hieronymus Öl auf Leinwand, doubliert 103,5 x 79 cm
Tiberius Auctions
Apr. 28, 2026
JUSEPE DE RIBERA, 1591 - 1652, CIRCLE OF
Est: €1,000 - €2,000
Jusepe de Ribera 1591 - 1652, Circle of Saint Jerome Oil on canvas, relined 103.5 x 79 cm Jusepe de Ribera 1591 - 1652, Umkreis Heiliger Hieronymus Öl auf Leinwand, doubliert 103,5 x 79 cm
Tiberius Auctions
Apr. 16, 2026
José de Ribera - The Drunken Silenus - Collection Benjamin West
Est: €500 - €900
This drawing executed probably in the late 17th, or 18th century comes from the collection of the American-born English painter Benjamin West (1738-1820) . It shows the painting 'Drunken Silenus' from 1626, now in the Galleria Nazionale di Capodimonte, Naples and is based on the 1628 etching made by Ribera after his own painting . Subject: Drunken Silenus: the god is lying on the ground, holding his cup up for wine; Pan crowns him with wreath; head of an ass and two drunken putti to right, two satyrs peeping to left and a barrel beyond. Brown ink drawing after the 1628 Etching. The drawing has an interesting provenance. The collection of Benjamin West was sold By Christies (1820) and Sotheby's (1823-1936). The drawing has the collection stamp B.W. (Lugt. 419) bottom middle left on the drawing. This blindstamp was affixed to the drawings, after his death, by the executors of his will. On the backside the collection stamp of the following owner (Lugt.3051) who is unidentified but appeared on some drawings on the American market. Another' collection stamp AB has not been found in Lugt. The drawing, although reproductive is of outstanding quality and in excellent condition.
Old Master Print
Mar. 26, 2026
Jusepe de Ribera, genannt „lo Spagnoletto“,1588/91 Xàtiva/Valencia – 1652 Neapel
Est: €80,000 - €120,000
APOSTEL ANDREAS Öl auf Leinwand. Doubliert. 124,3 x 97,5 cm. Verso mit Galerieetiketten. In ebonisiertem und ornamental reliefiertem Rahmen. In seinem Katalogeintrag bestätigt Stefano Causa das hier angebotene Werk als „capolavoro“ von Ribera. Vor abgedunkeltem Fond die schlaglichtartig beleuchtete Dreiviertelfigur des Apostel Andreas, nach rechts gewandt, den Blick nach rechts oben gerichtet. Links unten in seiner Hand ein Fisch liegend. Der Apostel Andreas, Bruder des Petrus und einer der zwölf Jünger Jesu, nimmt in der christlichen Tradition einen besonderen Platz ein. Seine Darstellung mit einem Fisch ist nicht zufällig, sondern tief in seiner Lebensgeschichte und der Symbolik der frühen Kirche verwurzelt. Andreas stammte, wie sein Bruder, aus dem galiläischen Bethsaida und arbeitete als Fischer am See Genezareth. Als Jesus ihn und Petrus mit den Worten „Folgt mir nach, ich werde euch zu Menschenfischern machen“ (Matthäus 4,19) berief, verließen beide ihr bisheriges Leben, um seine Jünger zu werden. Der Fisch wurde so zu einem zentralen Symbol für Andreas – nicht nur als Erinnerung an seinen Beruf, sondern auch als Zeichen für seine neue Aufgabe: Menschen für den Glauben an Jesus zu gewinnen. Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565–1628) in Valencia. In Rom setzte er sich mit den Werken von Raphael (1483–1520) und Agostino (1557–1602) und Annibale Carracci (1560–1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489–1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71–1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten, wie Einsiedlern oder Philosophen. Literatur: Stefano Causa, Patrizia Piscitello (Hrsg.), Luca Giordano. Dalla natura alla pittura. Katalog zur Ausstellung im Museo e Real Bosco di Capodimonte, Mailand 2020, Nr. 33. Nicola Spinosa, Pittura del Seicento a Napoli, Neapel 2010, S. 279, Nr. 206, dort noch nicht Ribera zugewiesen. Ausstellungen: Luca Giordano. Dalla Natura alla Pittura, Museo e Real Bosco di Capodimonte, Neapel, 8. Oktober 2020 – 11. April 2021. (1472041) (13) Jusepe de Ribera, also known as “lo Spagnoletto”, 1588/91 Xàtiva/Valencia – 1652 Naples APOSTLE ANDREW Oil on canvas. Relined. 124.3 x 97.5 cm. Gallery labels on the reverse. In his catalogue entry, Stefano Causa confirms the work offered here as a “capolavoro” by Ribera. Literature: Stefano Causa and Patrizia Piscitello (eds.), Luca Giordano. Dalla natura alla pittura, exhibition catalogue, Museo e Real Bosco di Capodimonte, Milan 2020, no. 33. Nicola Spinosa, Pittura del Seicento a Napoli, Naples 2010, p. 279, no. 206, not yet attributed to Ribera. Exhibitions: Luca Giordano. Dalla Natura alla Pittura, Museo e Real Bosco di Capodimonte, Naples, 8 October 2020 – 11 April 2021.
Hampel Fine Art Auctions
Mar. 24, 2026
JOSEPH OF RIBERA - Immaculate Child
Est: -
JOSÉ DE RIBERA Jativa 1591 - Naples 1652 Immaculate Conception, 1649 Oil on canvas Signed and dated Dimensions 75 x 61 cm Provenance: - Private collection, Madrid. This painting, acquired in Madrid in the 1940s and until now undocumented in studies on Ribera, depicts a young Virgin Mary in prayer, surrounded by cherubs against a golden halo. The iconography, unusual in Italy, suggests private devotional use and could be related to an early Immaculate Conception, with parallels in the Hispanic world such as Zurbarán's work of 1656 (Prado Museum). The Virgin appears wearing a white tunic and blue mantle, following traditional models of the Immaculate Conception. Some formal features—the rounded face, the short fringe, the warm flesh tones—recall Ribera's style in the 1640s, with affinities to the Penitent Magdalene (Prado, 1641) and the Saint Agnes of Dresden. The winged heads of the cherubs show a treatment similar to that of the Immaculate Conception in the Prado, from the collection of the Marquis of Alcántara. The canvas shows signs of old interventions and wear, although it retains characteristic features of the painter, such as the reddish outlines on the fingers. The possibility of workshop intervention is consistent with Ribera's known practice in the 1640s, when his fluctuating health led him to alternate personal work with the help of assistants. Documents from 1651 attest to this period of intermittent activity, shortly before his death in 1652. The painter continued to produce some important works during these years—such as the Immaculate Conception of 1646 for the Royal Palace of Naples or the Pietà for the Ruffo family—although his output focused primarily on single, medium-sized figures, within which typology this canvas fits. The interpretation proposed by Professor Viviana Farina some months ago is now confirmed by the microscopic study of the signature, which is indeed his own and corroborates the date of 1649, already hypothesized by the expert based on stylistic factors. Therefore, this painting belongs to the mature phase in which Ribera still alternated periods of peak quality with occasional workshop participation. Viviana Farina Naples, March 4, 2026 The work includes an extensive technical and analytical study carried out by Icono I & R.
Subastas Segre
Mar. 10, 2026
Jusepe de Ribera, Spanish 1591-1652- The Penitence of St.
Est: £400 - £600
Jusepe de Ribera, Spanish 1591-1652- The Penitence of St. Peter; etching, trimmed within the plate mark and corners, signed with monogram 'HSP' (within the plate, lower left), 31.4 x 23.2 cm. Provenance: The Collection of Professor David Davies (1937-2022), art historian; Thence by descent. Private Collection, UK. Note: 'Ribera explored the subject of Peter’s penitence throughout his career. The scene in The Penitence of St. Peter depicts the moment right after Peter (identified by his bald head and the Key of Heaven sitting on a rock) betrays Jesus by denying him three times. He regrets his actions and seeks forgiveness for what he has done. He sits in a craggy landscape, crouching behind a rock as if to hide, choosing a quiet place where he can openly express his remorse. Clasping his hands, Peter looks up, visibly in anguish. He has humbled himself, seeking the absolution that he is later granted by the risen Lord.' (Westmont Ridley-Tree Museum of Art).
Roseberys
Mar. 05, 2026
Jusepe de Ribera (attribuito a) (Xàtiva 1591 - Napoli 1652)
Est: €50,000 - €70,000
Lut player or Allegory of Hearing Oil on canvas cm. 96,5x75,5. Framed This remarkable painting belongs to the complex Roman period of the young Ribera and his Five Senses series, commissioned around 1615 by Pietro Cussida, the Spanish king Philip III’s diplomatic representative to the Holy See. Long considered the highest-quality contemporary copy of the lost original, it was definitively identified by Gianni Papi with the work now in the Koelliker collection. Our painting stands out among known versions for its exceptional quality and refined execution, particularly in the delicate depiction of the lute and hands, and in the caricatured, grottesque expression of the figure, enhanced by the virtuoso rendering of the teeth and the contrasting white ruff. Cleaning is expected to further reveal its masterful details. O'Connor Lynch Collection, New York; private collection, Pully; private collection, Italy.
Bertolami Fine Art s.r.l.
Feb. 24, 2026
Madonna Addolorata
Est: -
Da un Expertise di Ferdinando Bologna del 5 Novembre 1969."Egregio Signore,conosco nell'originale il dipinto di Sua proprietà raffigurante, ad olio su tela di cm. 73 x 61, la mezza figura di una Madonna addolorata recante tra le mani la corona di spine.L'opera, di altissima e concentrata qualità pittorica, è un prodotto autografo del pittore spagnolo di origine, ma attivo prevalentemente a Napoli, JUSEPE RIBERA (Jativa, 1588 - Napoli, 1652). Lo prova da una parte l'inconfondibile tendenza a volgere in espressionismo sviscerato l'atteggiamento devoto di origine contro-riformata: una tendenza che si ritrova costantemente in tutte le opere del Ribera; da un'altra parte lo ribadisce la concentrazione naturalistica, di specifica origine caravaggesca, in cui quell'espressionismo si obiettiva in pittura: ciò che è appunto il tratto dominante, distintivo e specifico di tutta la produzione autografa del maestro.In tal senso i confronti con le opere sicure del Ribera potrebbero estendersi indefinitamente, derivandone ogni volta l'evidenza solare dell'appartenenza del Suo quadro alla mano stessa del pittore. Ma sono in grado di stabilire che, mentre dal punto di vista del tema iconografico trattato l'"Addolorata" di Sua proprietà trova un corrispettivo molto preciso nell'"Addolorata" che si conserva nella Gemäldegalerie di Kassel (cfr. la riproduzione in E. Du Gue Trapier, Ribera, New York, 1952, p. 157, fig. 111); dal punto di vista tipologico e soprattutto stilistico essa trova il punto di somiglianza più stretto, e decisivo, nella figura dell'Addolorata che appare al centro della famosa "Pietà" del Ribera, conservata tuttora a Napoli nel Tesoro della Certosa di San Martino (cfr. la riproduzione ibidem, p. 146, fig. 94). La somiglianza stilistica con la "Pietà" di San Martino è anzi tale, da implicare necessariamente il riferimento dell'opera in questione al medesimo momento dell'esperienza artistica del maestro.Poiché della "Pietà" di San Martino è nota la data esatta dell'esecuzione — essa fu pagata al pittore il giorno 3 Ottobre 1637 —, non dubito che l'"Addolorata" in Suo possesso debba essere datata intorno allo stesso anno, in ogni caso non più tardi del 1640.Lo stato di conservazione del dipinto è eccellente."Corredata da fotografia in bianco e nero con riferimento autografo alla stessa. Misure: cm 73 x 61 (con cornice cm 88,5 x 77,0)
Gliubich Casa d'Aste
Feb. 17, 2026
Jusepe de Ribera detto Lo Spagnoletto (Xàtiva 1591 - Napoli 1652) cerchia di
Est: €3,000 - €5,000
Jusepe de Ribera detto Lo Spagnoletto (Xàtiva 1591 - Napoli 1652) cerchia di San Pietro Olio su tela 81 x 65 cm Dopo una formazione in patria, probabilmente avvenuta sotto la guida di Francisco Ribalta, Jusepe de Ribera giunse in Italia nel 1611, passando un biennio al nord della penisola, precisamente a Cremona, Milano e Parma. Giunse a Roma nel 1613, e dopo tre anni andò a Napoli ove, nel giro di breve tempo, divenne uno degli artisti più in vista. Il suo fare pittorico amalgama il forte carattere patetico, tipicamente spagnolo, con un naturalismo esasperato di derivazione nordica e caravaggesca, arricchito con cromatismo neo-veneto. Essendo uno dei più grandi maestri della storia dell’arte, le sue opere sono conservate nei più prestigiosi musei del mondo: Gemäldegalerie di Berlino, Museo Reale del Belgio a Bruxelles, Prado di Madrid, Louvre di Parigi, Capodimonte a Napoli e tanti altri. Maestro indiscusso e fondamentale nell’ambito napoletano del Seicento, durante la sua felice attività artistica guidò un'importante bottega, dalla quale uscirono maestri di primaria importanza, tra i quali il primo da menzionare è Luca Giordano, che nella sua fase iniziale dimostrò tutto il suo debito verso lo Spagnoletto; poi Aniello Falcone, oggi conosciuto come autore di battaglie; lo spagnolo Juan Do, Giovanni Ricca, i fratelli pugliesi Francesco e Cesare Fracanzano e il fiammingo Hendrick van Somer e Bartolomeo Bassante. Jusepe de Ribera also called Lo Spagnoletto (Xàtiva 1591 - Naples 1652) circle of Saint Peter Oil on canvas 81 x 65 cm
Lucas Aste
Feb. 08, 2026
Jusepe de Ribera ("Lo Spagnoletto"), Colored Drawing
Est: $3,000 - $5,000
Jusepe de Ribera (aka "Lo Spagnoletto", Spanish, 1591-1652), colored drawing, 13 1/2" x 9". Provenance: Ipswich, Massachusetts collection. PLEASE NOTE: On KaminskiLIVE, lots valued at over $3,000 are designated as Premier Lots in the auction descriptions. Bidding on these lots requires pre-approval. Existing customers with a history of completed payments will be automatically pre-approved. New customers must either call Kaminski Auctions at 978-927-2223 Ext 507 with a credit card to obtain pre-approval or have a credit card on file with our auction house.
Kaminski Auctions
Feb. 04, 2026
JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO (JÁTIVA 1591-1652 NAPLES). Saint Pa
Est: $400,000 - $600,000
JUSEPE DE RIBERA, CALLED LO SPAGNOLETTO (JÁTIVA 1591-1652 NAPLES). Saint Paul. oil on canvas30 1/8 x 24 7/8 in. (76.5 x 63.2 cm.).
Christie's
Dec. 29, 2025
JOSÉ DE RIBERA (Játiva, 1591 – Nápoles, 1656), 1625-1630, S
Est: €90,000 -
JOSÉ DE RIBERA (Játiva, 1591 – Nápoles, 1656), 1625-1630 "San Jerónimo escuchando la trompeta del Juicio Final ". Óleo sobre lienzo Desde su venta en 1896 la atribución a José de Ribera se ha mantenido hasta ahora. Los historiadores del arte, Gaya Nuño y August L. Mayer, lo identificaron erróneamente con la copia de taller conservada en el museo Anna y Luigi Parmeggiani. Ribera trató este tema religioso en varias ocasiones con diferentes composiciones entre 1620-1630, siendo las más importantes la versión de la colegiata de Osuna, datada hacia 1620 y donada por el virrey duque de Osuna, uno de los principales mecenas del pintor. Las otras versiones son las de 1626 del Museo di Copodimonte, y la tela del Museo del Hermitage, la más famosa, firmada y fechada en 1626, de la cual deriva la que presentamos aquí. A parte de estas se conocen otras versiones, como la mencionada del museo Anna y Luigi Parmeggiani, que se considera copia de taller. Dado que existe una estampa primigenia creada por el mismo Ribera de esta composición, y conservada en la Hispanic Society de New York, no es de extrañar que, a parte de la versión del Hermitage, el mismo pintor pudiera haber realizado otra réplica autógrafa entre la que se podría encontrar esta. De la cual, y sobre todo tras sus exposiciones, no todos los especialistas coincidieron en su catalogación y autoría. Claro está, que estos historiadores del arte habían examinado la pintura sin ser haber sido restaurada, viéndola con una gran capa de suciedad y barniz oxidado que impedía ver su auténtica calidad. Ahora tras su limpieza se pude determinar que no es una mera copia de taller, sino que se trataría de una versión autógrafa de Ribera, lo cual era normal dentro de su repertorio, y con la posibilidad de intervención de algún colaborador avanzado de su prolífico taller. Procedencia: Comprado probablemente por el IV Duque de Osuna, Juan Téllez-Girón y Enríquez de Ribera (1597-1656), virrey de Sicilia, de ahí pasó a la Colección de los Duques de Osuna, vendida en la almoneda de la colección en 1896 con la atribución de José de Ribera. Formó parte de varias colecciones españolas, como la del doctor Carlo Croce. Puesta en venta en 1993 para de nuevo ser comparada en el mercado artístico español. Tras 1896, adquirida por Alejandro Pidal y Mon (1896), colección Roque Pidal y Bernardo de Quirón hasta 1949; colección privada, América del Sur, colección Carlo Croce hasta 1993 en venta en Christie’s Nueva York el 14 de enero de 1993, lot. 131, como José de Ribera; en Madrid en la colección de Concha Barrios Fine Arts, colección Hinojosa en Madrid hasta 1995, colección privada, Madrid, 2002. Bibliografía: Gutiérrez Pastor, Ismael, El tiempo de la pintura, maestros españoles de los siglos XVI al XIX, 2007, Ed. Coll & Cortés, págs. 29-30. Todo el resto de la extensa bibliografía relacionada con esta pintura se encuentra en la ficha de catalogación de este catálogo. Exposiciones: Baroque Painters in Italy, Northamptom, MA, Smith College Museum of Art, 1989. Mostly Baroque. Italian Paintings and Drawings from the Carlo Croce Collection. Wilmington, DE, Delawere Art Museum, 1992. La pintura tiene permiso de exportación para su salida y venta fuera de España. Medidas:176 x 129, 5 cm.
Magna Art Auctions
Dec. 12, 2025
FOLLOWER OF JOSEPH OF RIBERA (17TH CENTURY) "Saint Jerome listening to the trumpet of the Last Judgment"
Est: €6,000 - €8,000
Oil on copper. Composition based on a similar engraving by Jose de Ribera (1591-1652). Dimensions: 31 x 23.5 cm
Ansorena
Dec. 11, 2025
Jusepe De Ribera 1591 Xàtiva-1652 Napoli Ecce Homo
Est: €30,000 - €40,000
L'Ecce Homo (olio su tela, cm 64x52) è opera certa di Jusepe de Ribera, realizzata dal maestro di origine valenzana a Napoli, dove si era definitivamente trasferito da Roma alla fine del 1616, con una datazione verso il 1630-1632. Del dipinto si conoscono anche una replica autografa e di dimensioni leggermente minori (c 57x46@@@ N. Spinosa, Ribera. L'opera completa, Napoli 2006, pag. 307, n. A123, foto pubblicata invertita), che si colloca nella fase di passaggio dello spagnolo dal naturalismo della produzione precedente al pittoricismo di matrice 'neoveneta' dell'opera successiva al 1634-35, e alcune repliche dell'atelier del pittore (Cadice, Museo de Bellas Artes@@@ Helsinki, Atheneum Museum). Si ringrazia il Prof. N. Spinosa per aver confermato l'attribuzione all'artista e aver redatto la scheda di presentazione sopra riportata olio su tela
Cambi Casa d'Aste
Dec. 11, 2025
Jusepe De Ribera 1591 Xàtiva-1652 Napoli, attribuito a Studi per la testa di San Girolamo e il leone
Est: €4,000 - €5,000
Ringraziamo i Prof.ri Nicola Spinosa e Nicholas Turner che indipendentemente hanno confermato l'autografia del disegno. Il foglio è uno dei rari esempi grafici di Ribera eseguito con un pennello anziché a penna quasi a voler trasmettere al disegno un significato pittorico anziché puramente grafico. Nel caso specifico lo studio di teste con la presenza del leone, farebbe pensare ad uno studio preliminare per il 'San Girolamo e I'Angelo del Giudizio' dipinto dal maestro in varie versioni negli anni 1626-1627. Si veda il Catalogo ELECTA della mostra di Napoli del 1992 a cura di Nicola Spinosa e Alfonso Perez Sanchez (nr .1.22-1.23@@@ pp. 152-153-154). La versione del dipinto più vicina al presente studio, per la tipologia delle teste e l'iconografia del leone, sembra essere quella dell'Hermitage di San Pietroburgo databile 1626. Per altri schizzi simili si veda il 'Riposo di Ercole' presso Il Cathedral Museum de La Valletta-Malta, databile verso la fine degli anni '20(catalogo della mostra del Prado 2016 - a cura di G. Finaldi nr. 59 pag. 178) ed anche la 'testa grottesca di con piccole figure sul capo' di collezione privata già resa nota da Nicholas Turner nel 2004 pag. 32a, fig. 3 (Catalogo di Madrid nr. 132 pp. 318-319) e datata dal Turner verso il 1630. In questi disegni molto pittorici i tratti ad inchiostro bruno son rapidi e corposi come nel nostro foglio e tralasciano completamente la tecnica meticolosa e sottile utilizzata nei disegni a sanguigna, per dare sfogo ad un bisogno dell'artista di rendere visibile il senso della materia. Tuttavia secondo il Turner, il disegno a cui il nostro maggiormente si avvicina è il ritratto grottesco di Oxford - Ashmolean ritagliato in silouette da Gaburri e una volta ritenuto autoritratto. penna, inchiostro bruno e acquerello su carta
Cambi Casa d'Aste
Nov. 28, 2025
Ribera, Jusepe de (±1590-1652) (after). Drunken Silenus.
Est: €100 - €150
Ribera, Jusepe de (±1590-1652) (after). Drunken Silenus. Etching, 1628, 27x34,8 cm., "Josaph à Ribera Hisp. Valent. Setaben f. Partenope 1628" and "Romae DD" in the plate, framed. - Copy in reverse. Cut just outside the borderline, w. loss of the captions. Flattened old middle-fold. = Cf. Bartsch 13 and Brown 14.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Nov. 28, 2025
Ribera, José de (±1590-1652). Large grotesque head.
Est: €2,500 - €3,500
Ribera, José de (±1590-1652). Large grotesque head. Etching, monogrammed and "hispanus" in the plate, ±1622.{#} - Trimmed on/ just outside the borderline; a few foxed spots; a few shallow creases. = On early 17th century laid paper, with a watermark showing a Basle crozier in a crowned shield and below a monogram. Bartsch 9 ("Tête d'homme à poireaux"). SEE ILLUSTRATION PLATE LXXXII.
Bubb > Kuyper: Auctioneers of Books, Fine Arts & Manuscripts
Nov. 26, 2025
Ribera, Jusepe de: Die Buße des hl. Petrus
Est: €1,800 - €2,400
Die Buße des hl. Petrus. Radierung. 32,1 x 24,6 cm. 1,4 x 23,8 cm. 1621. B. 17, Brown 6 II. Wz. Reich geschmücktes Krüglein mit Vierblatt und Halbmond darüber. Mit der Adresse von Frans Wyngaerde. Prachtvoller, atmosphärischer Abzug mit schönem Plattenton und sehr feinem Rändchen um die markant und deutlich zeichnende Plattenkante. Unten mittig winziges Rostfleckchen, auf dem Oberschenkel winziges Fleckchen in hellem Rot, verso geglättete Mittel- und Horizontalfalten, unauffällige Ausbesserungen in den linken Eckenspitzen, links zwei kurze hinterlegte Randeinrisse, winzige Löchlein oben am Felsen, verso kleine Klebe- und Montierungsreste, sonst vorzügliches Exemplar. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Nov. 26, 2025
Ribera, Jusepe de: Der trunkene Silen
Est: €3,600 - €4,500
Der trunkene Silen. Radierung. 26,7 x 34,5 cm. 1628. B. 13 II, Brown 14 II (von III). Ausgezeichneter, toniger Frühdruck mit feinem Rändchen um die Einfassungslinie, oben stellenweise bis auf diese beschnitten; vor der Adresse von Rossi und dem Datum 1649. Minimale Altersspuren, sonst sehr gut erhalten. In dieser Druckqualität selten. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Bassenge Auctions
Nov. 24, 2025
JUSEPE DE RIBERA, XÀTIVA 1591 - 1652 NAPLES, ATTRIBUTED
Est: €100 - €200
Jusepe de Ribera Xàtiva 1591 - 1652 Naples, attributed Saint Peter Black chalk, white highlights 39 x 26 cm, with frame 75.5 x 51 cm In an 18th-century Baroque frame Monogrammed lower left
Tiberius Auctions
Nov. 20, 2025
School of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652); XVII century. "The apparition of the Child to St. Anthony". Oil on canvas. Relined. Presents restorations.
Est: €2,500 - €3,000
School of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652); XVII century. "The apparition of the Child to St. Anthony". Oil on canvas. Relined. Presents restorations. Measurements: 185 x 146 cm. This painting is directly inspired by the homonymous canvas of José de Ribera, preserved in the Royal Academy of Fine Arts of San Fernando in Madrid, where the painting is defined. This iconographic model of José Ribera will be strongly established in the Spanish Counter-Reformation, because before him the dominant iconography was the representation of the child in the arms of the saint. Here the intense luminous contrast brings an unquestionable dramatic effect, typically baroque, to the composition. The light, cold and silver, seems to emanate from the interior of the bodies: from the flesh of the saint, whose features express the utmost arrogance, and from the naked body of the Child Jesus. The painter has dispensed with the court of cherubs that surround the Child as a break of glory, in Ribera's painting. The marked diagonal of the original composition is maintained, as well as the plasticity given by the golden effect of the celestial light. Ribera made different versions of the theme, and it is kept in El Escorial, in the cathedral of Granada and in the Museo di Capodimonte in Naples. The painting comes from the royal collections and formed a set with the Assumption of the Magdalene by the same author and also in the Academy in the Royal Apartments of El Escorial. Both canvases are a good example of the devotion to the saints after the Council of Trent (1545-1563). In 1871 this canvas was included in Cuadros selectos de la Real Academia de las tres Nobles Artes de San Fernando, a collection of prints that aimed to spread the knowledge of the most singular works of the institution and, at the same time, to promote the art of engraving. Due to its subject matter and style, we can situate this painting within the Neapolitan school of the 17th century around the school of José de Ribera, a key painter belonging to the generation of the great masters of the Golden Age, self-taught in Italy. His first contact with naturalism took place with his arrival in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth and hurried technique, the feísmo and the rigorous drawing, characteristics that shaped his style in his Roman period. However, in 1616 he went to Naples and settled there permanently. In this city Ribera will become the head of the group of Neapolitan naturalists, and around him an important circle of painters will be created. In spite of being in Italy, Ribera will send numerous works to Spain, so that his language will be key for the formation of the baroque in our country. His work will bring the tenebrism and, later, the full baroque, long before it will arrive directly to Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting would be characterized by a very loose brushstroke, with Venetian influence, which would also mark the work of his followers. Thus, the school of Ribera developed a style of dramatic and contrasting illumination, clearly tenebrist, nuanced however by a Venetian brushstroke, impastoed and fluid. Thus, here we see an artificial and directed spotlight that penetrates the scene through the upper left corner and directly illuminates the face and torso of the philosopher, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models leaning on the light, that touch of doughy and expressive brush directly from the school of Ribera. It presents restorations.
Setdart Auction House
Nov. 20, 2025
Follower of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652); XVIII century. "Male face". Oil on canvas. Relined. Presents faults in the pictorial surface.
Est: €500 - €700
Follower of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652); XVIII century. "Male face". Oil on canvas. Relined. Presents faults in the pictorial surface. Measurements. 30,5 x 23,5 cm (frame). The work offers us the concentrated face of a male figure of advanced age, probably identifiable as one of the apostles. The man has been represented bust-length, with a bushy beard and moustache, while he observes the spectator in a serious gesture, in which a certain sadness can be perceived. The figure stands out against a neutral background of brownish tones, thanks to a powerful spotlight outside the composition that falls on the face. The type of lighting used, as well as the subject matter and the chromatic range, based on brown, reddish and gray tones, denote the artist's knowledge of Spanish Baroque painting of the Golden Age, specifically that of José de Ribera, a key painter for the development of naturalistic Baroque not only in Spain, but also in Italy and in other national schools, given the great diffusion of his work. Called "el Españoleto", he was a key master of the Spanish Baroque, and in general of the history of art at the European level. Although no documentary sources or evidence of his youth are preserved, it is believed that he trained with Francisco Ribalta in Valencia, after which he went to Italy, first to the north and later to Rome, where he learned first-hand about the classicists and the Caravaggesque tenebrism of the Dutch who settled there. Finally he settled in Naples, where he arrived in 1616. Then began his period of maturity and splendor; Ribera enjoyed fame and a large workshop, and his works spread throughout Europe through engravings. It presents faults in the pictorial surface.
Setdart Auction House
Nov. 20, 2025
Spanish or Italian school, follower of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652); XVII century. "St. Francis of Paula. Oil on canvas. It has a frame of the nineteenth century.
Est: €500 - €700
Spanish or Italian school, follower of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652); XVII century. "St. Francis of Paula. Oil on canvas. It has a frame of the nineteenth century. Measurements: 48 x 36 cm; 73 x 61 cm (frame). The light contrast generated by the artist in this image through a completely dark background on which emerges the golden and worn skin of the old San Francisco de Paula. The aesthetic influence of José Ribera is evident. It is a work perfectly framed within the naturalistic baroque, heir of José de Ribera, starring a totally earthly man, with a face far from any idealization. San Francisco de Paula is presented as a real person, with personalized features typical of the individualized study, furrowed by deep wrinkles. As usual within the naturalistic baroque, the composition is simple and clear, with the character in the foreground against a neutral and dark background that enhances his physical presence. Apart from the human model and this composition, the lighting is also clearly naturalistic, a tenebrism derived directly from Ribera. Saint Francis of Paola an Italian hermit, founder of the Order of the Minims. Very young he began his life as a hermit in the outskirts of his native town, Paula. Gradually he became famous for his wonders, and around 1450 there was already a group of followers around his figure. His community grew, and in 1470 the Congregation of Hermits (the future Order of Minims) received diocesan approval from the Archbishop of Consenza. Four years later, Pope Sixtus IV granted them pontifical approval. In 1483 Francis of Paola went to France by order of the Pope and at the request of King Louis XI. There he developed some diplomatic work in favor of the Holy See, at the same time that he tried to obtain the approval of a Rule for his congregation, which he finally obtained in 1493.
Setdart Auction House
Nov. 13, 2025
Jusepe de Ribera (bottega di) (Xàtiva 1591 - Napoli 1652)
Est: €13,000 - €18,000
Praying Saint Francis Oil on canvas cm. 76x63,5. Framed The painting is accompanied by a restoration report carried out by the studio ‘Consulenze d'arte e di restauro dipinti antichi e dell'Ottocento’ in Castel Gandolfo, which suggests that the work dates back to the first half of the 17th century.
Bertolami Fine Art s.r.l.
Nov. 05, 2025
Spanish school seventeenth century. Workshop of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652). "The smell". Oil on canvas. Relined. It has a frame of the nineteenth century.
Est: €18,000 - €20,000
Spanish school seventeenth century. Workshop of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652). "The smell". Oil on canvas. Relined. It has a frame of the nineteenth century. Measurements: 112 x 90 cm; 127 x 105 cm (frame). This work follows the models of the painting "The smell" that belongs to the series "The five senses", painted by José de Ribera when he was in Rome, currently in the collection Juan Abelló. As did "El Españoleto", the artist of our canvas captures the image in a naturalistic style inspired by Caravaggio, from whom he takes the violent tenebrist lighting and the use of humble figures. Thus, the sense of smell is represented by a mature man, dressed in a threadbare shirt of undefined color due to dirt, seated before an austere wooden table on which an onion and a head of garlic can be seen. In his hands he holds an onion, while looking directly at the viewer. The style of this canvas corresponds to Ribera's first stage, in which he faithfully follows the dictates of Caravaggio by using a powerful spotlight of clear light that, coming from the left, intensely illuminates the figure, creating a marked contrast with the background. Naturalism leads the painter to represent as faithfully as possible each and every detail. The brown and dark tones also correspond to the characteristics of this style. The models are people taken from everyday life, humanizing the painting, both profane and sacred. Sight and Smell are other companions of the series. José de Ribera, called the Españoleto, was a key master of the Spanish Baroque, and in general of the history of art at the European level. Although no documentary sources or evidence of his youth are preserved, it is believed that he trained with Francisco Ribalta in Valencia, after which he went to Italy, first to the north and later to Rome, where he learned first-hand about the classicists and the tenebrism of the Dutch who settled there. Finally he settled in Naples, where he arrived in 1616. Then began his period of maturity and splendor; Ribera enjoyed fame and a large workshop, and his works spread throughout Europe through engravings. He worked for viceroys and high officials of Spanish origin settled in Naples, so many of his works soon reached Spain. He was in fact famous in his native country, and in fact Velázquez himself visited him in 1630. Today works by Ribera are kept in the Prado Museum, the Louvre, the Capodimonte Museum, the Fine Arts Museum in Budapest, the Hermitage in St. Petersburg, the Kunsthistorisches and Liechtenstein Museums in Vienna, the J. Paul Getty Museum in Los Angeles, the Art Institute in Chicago, the Metropolitan Museum in New York, the National Gallery and the Royal Collection in London, the Borghese Gallery in Rome and other important art galleries in Europe, America and Asia.
Setdart Auction House
Nov. 04, 2025
ANONYMOUS (19th century) "Jacob's Dream"
Est: €450 - €600
Oil on canvas. The painting is based on the eponymous composition by Jose de Ribera (1591-1652) housed in the Museo Nacional del Prado. Dimensions: 75 x 54.5 cm.
Ansorena
Oct. 30, 2025
Jusepe De Ribera (1591-1652) Saint Jerome Hearing the Trumpet of the Last Judgment., 1621.
Est: $1,500 - $2,500
Jusepe De Ribera (1591-1652) Saint Jerome Hearing the Trumpet of the Last Judgment. Etching, 1621. Fourth state (of 5). Indistinguishable letters watermark. Bartsch 4; Brown 5.
Swann Auction Galleries
Oct. 19, 2025
Jusepe de Ribera ("Lo Spagnoletto"), Colored Drawing
Est: $4,000 - $6,000
Jusepe de Ribera (aka "Lo Spagnoletto", Spanish, 1591-1652), colored drawing, 13 1/2" x 9". Provenance: Ipswich, Massachusetts collection. PLEASE NOTE: On KaminskiLIVE, lots valued at over $3,000 are designated as Premier Lots in the auction descriptions. Bidding on these lots requires pre-approval. Existing customers with a history of completed payments will be automatically pre-approved. New customers must either call Kaminski Auctions at 978-927-2223 Ext 507 with a credit card to obtain pre-approval or have a credit card on file with our auction house.
Kaminski Auctions
Sep. 13, 2025
JUSEPE DE RIBERA (SCHULE) | BÜSSENDER HIERONYMUS
Est: €300 - €600
JUSEPE DE RIBERA (SCHOOL) (''Also: José or Juan Jusepe de Ribera'') 12 January 1591 Játiva (Province of Valencia) - 2 September 1652 Naples PENITENT HIERONYMUS Oil on canvas. 64 x 59 cm (F. 80 x 71.5 cm). Part. min. old rest., part. min. old retouching. Frame. Provenance: South German private collection.JUSEPE DE RIBERA (SCHULE) ('Auch: José oder Juan Jusepe de Ribera') 12. Januar 1591 Játiva (Provinz Valencia) - 2. September 1652 Neapel BÜSSENDER HIERONYMUS Öl auf Leinwand. 64 x 59 cm (R. 80 x 71,5 cm). Part. min. altrest., part. min. Altretuschen. Rahmen. Provenienz: Süddeutsche Privatsammlung.
Hargesheimer Kunstauktionen Düsseldorf
Sep. 10, 2025
JOSÉ DE RIBERA (Xátiva, Valencia, 1591-Naples, 1652). "Saint Anthony Abbot. Oil on canvas. Relined. Attached certificate of authenticity issued by Nicola Spinosa.
Est: €90,000 - €100,000
JOSÉ DE RIBERA (Xátiva, Valencia, 1591-Naples, 1652). "Saint Anthony Abbot. Oil on canvas. Relined. Attached certificate of authenticity issued by Nicola Spinosa. Measurements: 178 x 138 cm; 195 x 155 x 5 cm (frame). This painting is a powerful and dramatic representation of Saint Anthony Abbot, executed by the Spanish Baroque master José de Ribera, known in Italy as "Lo Spagnoletto". As the certificate indicates, it is an autograph replica (i.e., painted by Ribera himself) of a work signed and dated 1644. This version shares the monumentality and quality of the original, standing out as a magnificent example of the artist's mature style. The work is a paradigmatic example of tenebrism, a style of which Ribera was one of the greatest exponents, following in the wake of Caravaggio. The composition is articulated around a violent contrast between light and shadow that sculpts the figures and, above all, creates an atmosphere of immense dramatic and spiritual tension. St. Anthony appears kneeling, in full communication with the divine, with his body and arms open, which, as the certificate points out, "ideally form a cross". This posture symbolizes his own spiritual crucifixion, his sacrifice and his resistance in the face of evil. His left arm is raised towards heaven, holding a simple staff, while his gaze is directed towards the same source of divine light that illuminates him, with his mouth half-open in a gesture of supplication or ecstasy. The right hand, open and in the foreground, conveys vulnerability and surrender. A powerful diagonal light, coming from the upper left corner, sculpts the figure of the saint. It strikes directly on his forehead, his beard, his shoulder and his white robe, pulling him out of the darkness that surrounds him. This light is both natural and symbolic: it represents divine grace or revelation, as an aid to the saint in his struggle. True to his style, Ribera avoids any idealization. St. Anthony's face is that of a real old man, with skin furrowed by deep wrinkles, a clear forehead and a long, textured white beard. Ribera captures with an almost tactile precision the fragility of old age and physical suffering, which accentuates the strength of his spirit. This "expressive rigor in a naturalistic key" (as Nicola Spinosa writes) is one of the painter's unmistakable hallmarks. The painting represents one of the best known episodes in the life of St. Anthony Abbot, father of eremitical monasticism: his temptations in the desert. Crouching in the shadows, but with his face illuminated by a sinister reflection, is the devil. Ribera represents him with grotesque and bestial features: pointed ears, deformed nose, eyes in blood and with the fire of hell coming out of his mouth. This figure, as the certificate points out, is of a remarkable "expressive rigor", embodying the tangible presence of evil. The saint is recognizable by his traditional attributes: the dark habit of the Antonian order over a white tunic, symbolizing his monastic life; the crosier or tau, and the pig or boar that accompanies him. The certificate provides crucial data that situates this work. It confirms that it is a high quality version painted by Ribera himself, linked to a main work of 1644. The possible connection to a painting that circulated in the Montevideo market and at auctions in Madrid and London (albeit with erroneous attributions and titles) traces a fascinating story of its possible journey through time, highlighting how masterpieces can sometimes lose their correct identification. In conclusion, this version of "San Antonio Abad" is a masterpiece that synthesizes the essence of José de Ribera's art: a profound Baroque spirituality expressed through raw realism, monumental composition, and a masterful use of chiaroscuro to explore the eternal conflict between faith and temptation, light and darkness. José de Ribera, known as the Españoleto, was a key master of the Spanish Baroque, and in general of European art history. Although no documentary sources or evidence of his youth are preserved, it is believed that he trained with Francisco Ribalta in Valencia, after which he went to Italy, first to the north and later to Rome, where he learned first-hand about the classicists and the tenebrism of the Dutch who settled there. Finally he settled in Naples, where he arrived in 1616. Then began his period of maturity and splendor; Ribera enjoyed fame and a large workshop, and his works spread throughout Europe through engravings. He worked for viceroys and high officials of Spanish origin settled in Naples, so many of his works soon reached Spain. He was in fact famous in his native country, and in fact Velázquez himself visited him in 1630. Today, works by Ribera are kept in the Prado Museum, the Louvre, the Capodimonte Museum, the Fine Arts Museum in Budapest, the Hermitage in St. Petersburg, the Kunsthistorisches and Liechtenstein Museums in Vienna, the J. Paul Getty Museum in Los Angeles, the Art Institute in Chicago, the Metropolitan Museum in New York, the National Gallery and the Royal Collection in London, the Borghese Gallery in Rome and other important art galleries in Europe, America and Asia.
Setdart Auction House
Jul. 10, 2025
Spanish School; Follower of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652); XVII century. "St. Jerome penitent. Oil on canvas. Relined.
Est: €4,000 - €6,000
Spanish School; Follower of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652); XVII century. "St. Jerome penitent. Oil on canvas. Relined. Measurements: 72,5 x 97,5 cm; 96 x 119,5 cm (frame). In this work the painter offers us an image charged with mystical emotion, very typical of Spanish Counter-Reformation art. In fact, the Prado Museum houses in its collection a work with an identical model, attributed to José de Ribera (P003119). Thus, we see a work of clear and concise composition, with the saint full-length in the foreground, highlighted by direct lighting, tenebrist, on a background of dark tones. As was also common at this time in the Spanish school, Saint Jerome appears, writing and meditating next to a human skull. Although in this case it should be noted that the saint holds a stone in his hands, while directing his gaze towards a point outside the composition of the canvas. Next to the saint can be seen other iconographic attributes that define the figure of St. Jerome, first of all, the lion that accompanied him since he took the thorn out of the silver, and also the scriptures that define him as the first translator of the Bible. One of the four great Doctors of the Latin Church, St. Jerome was born near Aquileia (Italy) in 347. Trained in Rome, he was an accomplished rhetorician and polyglot. Baptized at the age of nineteen, between 375 and 378 he retired to the Syrian desert to lead an anchorite's life. He returned to Rome in 382 and became a collaborator of Pope Damasus. One of the most frequent representations of this saint is his penance in the desert. His attributes are the stone he uses to beat his chest and the skull on which he meditates. Also the cardinal's cape (or a red mantle), although he was never a cardinal, and the tamed lion. The latter comes from a story of the "Golden Legend", where it is narrated that one day, when he was explaining the Bible to the monks of his convent, he saw a lion coming with a limp. He removed the thorn from its paw, and from then on he kept it in his service, instructing it to look after his donkey while it grazed. Some merchants stole the donkey, and the lion recovered it, returning it to the saint without hurting the animal. Spanish Baroque painting is one of the most authentic and personal examples of art, because its conception and form of expression arose from the people and the deepest feelings that nestled in it. With the economy of the State in ruins, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, parishes and confraternities of clerics and laymen who promoted its development, the works sometimes being financed by popular subscription. Sculpture was thus compelled to embody the prevailing ideals in these environments, which were none other than religious ones, at a time when the counter-reformist doctrine demanded from art a realistic language so that the faithful would understand and identify with what was represented, and an expression endowed with an intense emotional content to increase the fervor and devotion of the people. The religious subject is, therefore, the preferred theme of Spanish painting of this period, which in the first decades of the century starts from a priority interest in capturing the natural, to progressively intensify throughout the century the expression of expressive values, which is achieved through the movement and variety of gestures, the use of light resources and the representation of moods and feelings.
Setdart Auction House
Jul. 08, 2025
JUSEPE DE RIBERA (1588-1652), THE PASSION – RENAISSANCE PERIOD
Est: $12,000 - $25,000
Charcoal, sepia, and pencil on paper Signature: Stamped with the Isidore Kaiser Collection, Copenhagen-Hamburg seal and JLK stamp on the reverse Dimensions: 21 x 16.4 cm Provenance: Isidore Kaiser Collection, Copenhagen-Hamburg Condition: For a detailed condition report, please contact us at info@hammersite.com
Hammersite
Jul. 03, 2025
Saint Francis in meditation
Est: £50,000 - £70,000
Property from a Private Collection Jusepe de Ribera, called Spagnoletto Játiva, Valencia 1591–1652 Naples Saint Francis in meditation oil on canvas unframed: 101 x 78.5 cm.; 39¾ x 30⅞ in. framed: 116.9 x 93.9 cm.; 46 x 37 in.
Sotheby's
Jun. 26, 2025
Jusepe De Ribera 1591 Xàtiva-1652 Napoli Ritratto virile
Est: €30,000 - €60,000
reca al retro cartiglio con vecchia attribuzione a Crespi In quest’opera Jusepe de Ribera ci presenta un uomo ormai nel pieno degli anni, ritratto in primo piano con una forza psicologica straordinaria. Il volto è segnato da rughe profonde, occhiaie marcate, barba ispida e capelli arruffati. Lo sfondo scuro e neutro su cui si staglia la figura permette ad essa di emergere in modo ancor più drammatico. L’uomo guarda verso lo spettatore, ma il suo sguardo è assente, dolente, quasi svuotato, in perfetto stile riberiano. Un fascio di luce, proveniente da sinistra, accarezza la fronte, le guance e il naso, lasciando il resto in ombra: un chiaroscuro che crea forti contrasti, contribuendo così ad aumentare ulteriormente l’intensità emotiva del ritratto. Nella tela qui presentata, nonostante le piccole dimensioni, sono racchiuse e ben esemplificate le caratteristiche tipiche della produzione della maturità del grande maestro spagnolo. L’alta qualità delle dense stesure cromatiche e le caratteristiche fisionomiche del soggetto permettono infatti di datare l’opera alla fine degli anni Quaranta del Seicento, anni nei quali Ribera aveva ormai assorbito ed elaborato le conseguenze della ormai matura attenzione per esempi diversi di pittura ‘neo-rubensiana’ e ‘neo-veneta’ dei precedenti anni Venti. olio su tela
Cambi Casa d'Aste
Jun. 26, 2025
Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 – 1652
Est: €40,000 - €60,000
HEILIGER PETRUS Öl auf Leinwand. Doubliert. 126,5 x 99 cm. In breitem ornamental verziertem Rahmen. Beigegeben eine Expertise von Prof. Nicola Spinosa, in Kopie. Das Bildthema geht auf die Stelle des Neuen Testaments zurück, wonach der Heilige Petrus in schuldhafter Reue seines Verrats an Jesus gedenkt. Diese Bibelstelle wurde von mehreren bedeutenden Malern aufgegriffen. Der Blick ist, wie auch hier, zumeist nach oben gerichtet. Hier sitzt der Heilige an einem Tisch, den Kopf auf seinen linken Arm gestützt. Die Qualität der Bildoberfläche im Bereich des Heiligen lässt keinen Zweifel an der vollen eigenständigen Schaffung des Gemäldes durch Ribera, in dem die charakteristische Rauheit der Hände und die Falten der Stirn, die verwelkte Haut und die Rötung um die Augen, verursacht durch Weinen und Alter, deutlich wahrnehmbar sind. Das Motiv finden wir auch in Darstellungen des Guido Reni oder Diego Velasquez. Für das Gemälde gibt es einige Vergleichsbeispiele, wie etwa ein Werk in einer Londoner Privatsammlung, signiert „Jusepe R“ (Spinosa, 2003, S. 272, Nr. A. 67), ebenfalls dargestellt in einem intimen und bußfertigen Gespräch mit der Gottheit, sowie die halbfigurige Interpretation desselben Modells, dargestellt in der identischen physiognomischen Haltung, aufbewahrt in der Eremitage von Sankt Petersburg (Spinosa, 2003, S. 276, Nr. A80). Auch im Giustiniani-Inventar von 1638 von Spagnoletto wird ein Gemälde erwähnt, das dem vorliegenden Werk nahe steht (Danesi Squarzina, 2003, S. 325). Ebenso ist ein Gemälde, das im Art Institute of Chicago (Inv. Nr. 1993:60) verwahrt wird, thematisch vergleichbar. Bevor Ribera nach Neapel ging, studierte er bei Francisco Ribalta (1565-1628) in Valencia. In Rom setzte er sich mit den Werken Raphaels (1483-1520) und Agostino (1557-1602) und Annibale Carraccis (1560-1609) auseinander, in Parma und Modena mit denen von Antonio Allegri Correggio (um 1489-1534). Später stand er stark unter dem Einfluss von Michelangelo Merisi il Caravaggio (1570/71-1610). Die Qualität seiner Bilder erhob ihn zum Hofmaler des Herzogs von Osuna sowie des Königs von Neapel. Im Jahr 1644 wurde er durch den Papst zum Ritter des Christusordens geschlagen. 1630 war er bereits Mitglied der Accademia di San Luca in Rom. Neben Caravaggio ist er der bedeutendste Naturalist der neapolitanischen Malerei mit Betonung des Chiaroscuro. Ein Hauptmerkmal seines Wirkens ist die bewusste Wahl der Darstellung von meist alten, asketisch knochig-schlanken Gestalten wie Einsiedlern oder Philosophen. Provenienz: Christie's, 08. Dezember 2017, Lot 165 als aus der Werkstatt Riberas stammend. Literatur: Vgl. Nicola Spinosa, L'opera completa di Ribera, Mailand 1979. Vgl. Silvia Danesi Squarzina, La collezione Giustiniani, Bd. 3, Turin 2003. Vgl. James Hall, Dizionario dei soggetti e dei simboli nell'arte, Mailand 2003. Vgl. Nicola Spinosa, Ribera. L'opera completa, Neapel 2003. Vgl. Nicola Spinosa, Ribera. La obra completa, Madrid 2008, S. 501. (1381871) (13) Jusepe de Ribera, also known as “Lo Spagnoletto”, 1588/91 Xàtiva/ Valencia - 1652 Naples SAINT PETER Oil on canvas. Relined. 126.5 x 99 cm. Accompanied by an expert's report by Professor Nicola Spinosa, in copy. Provenance: Christie's, 8 December 2017, lot 165 as a work by the workshop of Ribera. Literature: cf. Nicola Spinosa, L'opera completa di Ribera, Mailand 1979. cf. Silvia Danesi Squarzina, La collezione Giustiniani, vol. 3, Turin 2003. cf. James Hall, Dizionario dei soggetti e dei simboli nell'arte, Mailan 2003. cf. Nicola Spinosa, Ribera. L'opera completa, Naples 2003. cf. Nicola Spinosa, Ribera. La obra completa, Madrid 2008, S. 501. (†)
Hampel Fine Art Auctions
Jun. 26, 2025
Jusepe de Ribera, 1591 – 1652, Kreis des
Est: €6,000 - €8,000
MADONNA MIT KIND Öl auf Leinwand. Doubliert. 74 x 63 cm. Die Vorlage zu dem hier angebotenen Werk, das noch in der Zeit Riberas entstanden ist, bildet Riberas Madonnenbild von 1646, das sich im Philadelphia Museum of Art befindet (ebenfalls auf Leinwand, Inv.Nr. E1924-3-54). Ein Unterschied zu dem genannten Werk besteht in dem hier eingefügten zarten Nimbusreif, der um das Haupt der Maria gelegt ist. Auch die linke Hand der Maria, die das Kind hält, ist dem genannten Vergleichsbild gegenüber unterschiedlich wiedergegeben: In der Philadelphia-Version ist die Hand an den Körper gelegt und nach oben gerichtet, während sie in dem hier vorliegenden Gemälde eine natürlichere Haltung am Tuch zeigt. Diese Abweichungen deuten auf ein korrigierendes Bestreben hin. Literatur: Vgl. Nicola Spinosa, Ribera: L'opera completa, Neapel 2006. Vgl. Michael Scholz-Hänsel, Jusepe de Ribera. 1591–1652. Köln 2000. A.R. (1430982) (11) Jusepe de Ribera, 1591 – 1652, circle of MADONNA AND CHRIST CHILD Oil on canvas. Relined. 74 x 63 cm. Literature: Nicola Spinosa, Ribera: L”Topera completa, 2nd expanded edition, Napoli 2006 Michael Scholz-Hänsel, Jusepe de Ribera, 1591– 1652, Cologne 2000.
Hampel Fine Art Auctions
May. 28, 2025
Bottega di Jusepe de Ribera (Xativa 1591 - Napoli 1652) - Our Lady of Sorrows
Est: €2,000 - €3,000
oil on canvas cm 74.5 x 62 PROVENANCE Finarte Auction Rome, 2 June 1986, lot 169 The painting offered in the lot is related to the prototype by Jusepe de Ribera today in the Gemaldegalerie in Kassel.
Finarte