Francisco Rizi Paintings & Artwork for Sale | Francisco Rizi Art Value Price Guide

Dec. 02, 2025
Madrid school, possibly FRANCISCO RIZI (Madrid, 1614 - El Escorial, 1685); XVII century. "Ecce homo. Oil on panel. It has a frame of the time.
Est: €4,000 - €5,000
Madrid school, possibly FRANCISCO RIZI (Madrid, 1614 - El Escorial, 1685); XVII century. "Ecce homo. Oil on panel. It has a frame of the time. Measurements: 40 x 23 cm; 55 x 38 cm (frame). This work presents with emotional intensity the moment in which Christ, crowned with thorns and covered with the red mantle of the mockery, is shown to the people before his crucifixion. The composition, of elongated format and theatrical structure, concentrates the action around the central figure of Christ, whose serene expression contrasts with the agitation of the surrounding characters. The directed lighting, with strong chiaroscuro, emphasizes the drama of the scene and reveals the influence of tenebrism, a characteristic resource of 17th century Madrid painting. The use of a warm and earthy palette, together with the loose and vibrant brushstroke, recalls the mature style of Rizi, in whom the naturalistic heritage of Caravaggio and the scenographic grandiloquence of the courtly baroque converge. The artist thus achieves a synthesis between devotion and theatricality, presenting the suffering of Christ not only as a narrative episode, but as a visual meditation on redemption and divine compassion. Francisco Rizi was an outstanding painter of the Spanish Baroque. Son of the Italian artist Antonio Ricci, who came to Spain to work at El Escorial with Federico Zuccaro, and brother of the painter and theorist Juan Andrés Rizi, he Spanishized his surname and trained first with his father and then with Vicente Carducho, of whom he was one of the most brilliant disciples. From a young age he was linked to the court and in 1656 he was appointed painter to the king. He developed a very versatile career, combining religious and easel painting with ephemeral and theatrical decorations, especially for the Buen Retiro Palace, where he directed the scenographic montages for many years. He also worked intensely for the cathedral of Toledo, where he was named its official painter in 1653. Rizi was a fully Baroque artist, characterized by his loose brushwork, rich color and ability to create movement and depth, especially in his frescoes of architectural perspectives and open skies. His last work was La Sagrada Forma for the sacristy of El Escorial, finished after his death by his disciple Claudio Coello. Among his most outstanding works preserved in the Prado Museum are Auto de fe en la Plaza Mayor de Madrid, El Expolio de Cristo, La profanación de un crucifijo and San Andrés.
Setdart Auction House
Nov. 20, 2025
Madrid School, Circle of FRANCISCO RIZI (Madrid, 1614-San Lorenzo de El Escorial, 1685); second half of the seventeenth century. "Adoration of the shepherds." Oil on canvas. Relined. Presents overpaint. It has an 18th century frame.
Est: €1,000 - €1,500
Madrid School, Circle of FRANCISCO RIZI (Madrid, 1614-San Lorenzo de El Escorial, 1685); second half of the 17th century. "Adoration of the Shepherds. Oil on canvas. Re-coloured. It has repainting. It has an 18th century frame. Measurements: 62 x 55 cm; 72 x 63,5 cm (frame). The painting represents the moment in which the shepherds are adoring the Baby Jesus. Arranged in an interior of dark tones, the author has placed all the characters of the scene using a classical composition in the form of a frieze. Slightly shifted to the left, and in the lower area, the figure of the child can be seen on a bed of straw. The child is being uncovered by Saint Joseph, who is holding the white cloth to facilitate the adoration of the shepherds. In the centre, Mary places her hand on her breast and tilts her head downwards with her eyelids closed, adopting an attitude of grief as if she knew the fate of her little baby. To the right of the Virgin, a shepherd leans on the mule to better observe the scene, behind him another shepherd turns his face towards an exterior point as if appealing to someone who is not in the scene, inviting him to participate in it. Finally, in the last plane, a sketched figure contemplates the scene. The technical characteristics of the work make it aesthetically identifiable with the school of Francesco Rizi, son of the painter Antonio Rizi. Despite his Italian origin, Francisco was born in Madrid, as his family had moved to Spain to work at El Escorial. Francisco began his training with his father, together with his brother Juan, but later went on to study with Vicente Carducho, from whom he received great artistic influence. In 1634 he obtained contact with the Royal Court, thus establishing himself as a painter. When Carducho died in 1638, he joined other painters to finish the decoration of the Salón de Oro (Golden Hall) of the Alcázar in Madrid. He is known for being one of the first Spanish painters to be influenced by the Baroque style, with direct influences from the painting of artists such as Rubens and Van Dyck. Thanks to his work, he attracted the attention of the court, which is why he began to work for them, carrying out numerous commissions. In addition, thanks to his collaboration with Toledo cathedral, he became the cathedral's official painter, a position he retained until his death. In 656 he was appointed Painter to the King, making him one of the most sought-after artists of the day, which enabled him to open a workshop where renowned artists such as Claudio Coello trained. Due to his wealthy position at court, he was granted permission to live in the Real Alcázar. However, in 1671, when Juan Carreño was appointed painter to Queen Mariana, his position at court declined, although he continued to be appreciated by religious institutions.
Setdart Auction House
Jun. 25, 2025
ATRIBUIDO A FRANCISCO RIZI (Madrid, 1614 - 1685), Retrato d
Est: -
ATRIBUIDO A FRANCISCO RIZI (Madrid, 1614 - 1685) "Retrato de caballero con escudo heráldico ". Óleo sobre lienzo Medidas:105 x 83 cm.
Magna Art Auctions
Dec. 10, 2024
FRANCISCO RIZI DE GUEVARA Madrid (1614) / San Lorenzo del Escorial (1685) "The Virgin and Child Handing the Rosary to Saint Dominic of Guzman and Saint Catherine of Siena", c. 1680-1685
Est: €9,000 - €12,000
Oil on canvas. Reference bibliography: - Angulo Iniguez, D., “Francisco Rizi: his life. Religious paintings dated before 1670”, Spanish Art Archive, Madrid, 1958, volume XXXI, no. 122, early 171-173. 89-115 - Perez Samchez, AE, Carreño, Rizi, Herrera and the Madrid painting of his time (1650-1700), exhibition catalogue, Madrid, 1985. Francisco Rizi was one of the main promoters and introducers of the Full Baroque in Madrid, bringing in new works from Italy and Flanders during the middle years of the 17th century. From his earliest works, his pictorial style was influenced by the great Flemish compositions of Rubens and his circle, showing a taste for spotty brushstrokes, loose workmanship and delicate colours, in which clear Venetian resonances can be appreciated. The work presented here, as Jose Maria Quesada states in his studio, is an unpublished and original model by Francisco Rizi that was intended to preside over the altarpiece of the main altar of the church of a Dominican convent due to the presence of Saint Catherine of Siena. The Virgin and Child Jesus preside over the scene. Both hold in their hands two rosaries which they give to the founders of the Dominican order: Saint Dominic of Guzman and Saint Catherine of Siena. Presented in a composition in the manner of Sacra Conversazione, Jose Maria Quesada points out that Rizi used the same scheme in two other altar paintings: The Virgin and Child, Saint Philip and Saint Francis, signed and dated 1650, which presides over the main altar of the church of the convent of Our Lady of the Angels of the Capuchin Fathers of El Pardo (Madrid) and The Virgin and Child with Saint Francis and possibly Saint Isabel of Portugal, painted around 1678, for the convent of Capuchin Mothers of Plasencia. There are numerous formal parallels with this last work, especially in the group of angels holding the Virgin and Child. A study of the work carried out by Jose Maria Lopez Quesada of the Institute of Historical-Artistic Studies is included. Measurements: 75.5 x 49 cm.
Ansorena
Nov. 26, 2024
Attributed to Francisco Rizi (Madrid, 1614 - El Escorial, Madrid, 1685)
Est: €10,000 - €15,000
Attributed to Francisco Rizi (Madrid, 1614 - El Escorial, Madrid, 1685) ‘The Flight into Egypt’ Oil on panel. 44 x 34 cm. Francisco Rizi was an important painter from Madrid of Italian descent who played an important role in the Madrid court of the seventeenth century, a fact that explains the extensive collection that houses the Prado Museum of Rizi. The museum describes him as “a painter of great success and one of the greatest exponents of the great pictorial baroque of Madrid from the mid-17th century. A formulation that he knew how to transmit to his disciples, as he trained artists as unique as Juan Antonio Escalante, José Antolínez or Claudio Coello”. With ties to the Madrid court since 1638, he achieved the status of painter to the king in 1656. Three years earlier, he received the title of painter of the cathedral of Toledo, with which he was particularly linked. An artist of great versatility, he worked in oil and fresco, in addition to participating in and leading numerous ephemeral projects such as decorations for royal receptions or in theaters such as the Buen Retiro Palace, of which he was director for decades, as reported by the Prado. The museum describes his painting as an example of “the full development of the new Baroque forms that came to the fore at the time.With his loose and carefree brushstroke, of full colorful sumptuousness, he manages to create effects of dynamism and movement full of expressiveness”. The Prado Museum preserves a considerable part of his corpus, among which the same museum highlights the well-known “Auto de fe de la Plaza Mayor de Madrid” (P001126), the “Expolio de Cristo (Cristo de la Paciencia)” (P002925) and the “Profanación de un crucifijo (Familia de herejes azotando un crucifijo)” (P003775), the latter two of his most dramatic works, from the Capuchins of Madrid. Reference bibliography: - Museo del Prado. (n.d.). “Rizi, Francisco.” https://www.museodelprado.es/aprende/enciclopedia/voz/rizi-francisco/57f64849-a3f7-48bb-87d6-3d8d6e821ee4. Antiques.
La Suite Subastas
Nov. 26, 2024
Attributed to Francisco Rizi (Madrid, 1614 - El Escorial, Madrid, 1685)
Est: €10,000 - €15,000
Attributed to Francisco Rizi (Madrid, 1614 - El Escorial, Madrid, 1685) ‘The Adoration of the Kings’ Oil on panel. 44 x 34 cm. Francisco Rizi was an important painter from Madrid of Italian descent who played an important role in the Madrid court of the seventeenth century, a fact that explains the extensive collection that houses the Prado Museum of Rizi. The museum describes him as “a painter of great success and one of the greatest exponents of the great pictorial baroque of Madrid from the mid-17th century. A formulation that he knew how to transmit to his disciples, as he trained artists as unique as Juan Antonio Escalante, José Antolínez or Claudio Coello”. With ties to the Madrid court since 1638, he achieved the status of painter to the king in 1656. Three years earlier, he received the title of painter of the cathedral of Toledo, with which he was particularly linked. An artist of great versatility, he worked in oil and fresco, in addition to participating in and leading numerous ephemeral projects such as decorations for royal receptions or in theaters such as the Buen Retiro Palace, of which he was director for decades, as reported by the Prado. The museum describes his painting as an example of “the full development of the new Baroque forms that came to the fore at the time.With his loose and carefree brushstroke, of full colorful sumptuousness, he manages to create effects of dynamism and movement full of expressiveness”. The Prado Museum preserves a considerable part of his corpus, among which the same museum highlights the well-known “Auto de fe de la Plaza Mayor de Madrid” (P001126), the “Expolio de Cristo (Cristo de la Paciencia)” (P002925) and the “Profanación de un crucifijo (Familia de herejes azotando un crucifijo)” (P003775), the latter two of his most dramatic works, from the Capuchins of Madrid. Reference bibliography: - Museo del Prado. (n.d.). “Rizi, Francisco.” https://www.museodelprado.es/aprende/enciclopedia/voz/rizi-francisco/57f64849-a3f7-48bb-87d6-3d8d6e821ee4. Antiques.
La Suite Subastas
Nov. 26, 2024
Attributed to Francisco Rizi (Madrid, 1614 - El Escorial, Madrid, 1685)
Est: €10,000 - €15,000
Attributed to Francisco Rizi (Madrid, 1614 - El Escorial, Madrid, 1685) ‘The Adoration of the Shepherds’ Oil on panel. 44 x 34 cm. Francisco Rizi was an important painter from Madrid of Italian descent who played an important role in the Madrid court of the seventeenth century, a fact that explains the extensive collection that houses the Prado Museum of Rizi. The museum describes him as “a painter of great success and one of the greatest exponents of the great pictorial baroque of Madrid from the mid-17th century. A formulation that he knew how to transmit to his disciples, as he trained artists as unique as Juan Antonio Escalante, José Antolínez or Claudio Coello”. With ties to the Madrid court since 1638, he achieved the status of painter to the king in 1656. Three years earlier, he received the title of painter of the cathedral of Toledo, with which he was particularly linked. An artist of great versatility, he worked in oil and fresco, in addition to participating in and leading numerous ephemeral projects such as decorations for royal receptions or in theaters such as the Buen Retiro Palace, of which he was director for decades, as reported by the Prado. The museum describes his painting as an example of “the full development of the new Baroque forms that came to the fore at the time.With his loose and carefree brushstroke, of full colorful sumptuousness, he manages to create effects of dynamism and movement full of expressiveness”. The Prado Museum preserves a considerable part of his corpus, among which the same museum highlights the well-known “Auto de fe de la Plaza Mayor de Madrid” (P001126), the “Expolio de Cristo (Cristo de la Paciencia)” (P002925) and the “Profanación de un crucifijo (Familia de herejes azotando un crucifijo)” (P003775), the latter two of his most dramatic works, from the Capuchins of Madrid. Reference bibliography: - Museo del Prado. (n.d.). “Rizi, Francisco.” https://www.museodelprado.es/aprende/enciclopedia/voz/rizi-francisco/57f64849-a3f7-48bb-87d6-3d8d6e821ee4. Antiques.
La Suite Subastas
Nov. 26, 2024
ATTRIBUTED TO FRANCISCO RIZI (MADRID, 1614 - EL ESCORIAL, MADRID, 1685)
Est: €10,000 - €15,000
Attributed to Francisco Rizi (Madrid, 1614 - El Escorial, Madrid, 1685) “The Annunciation” Oil on panel. 44 x 34 cm. Francisco Rizi was an important painter from Madrid of Italian descent who played an important role in the Madrid court of the seventeenth century, a fact that explains the extensive collection that houses the Prado Museum of Rizi. The museum describes him as “a painter of great success and one of the greatest exponents of the great pictorial baroque of Madrid from the mid-17th century. A formulation that he knew how to transmit to his disciples, as he trained artists as unique as Juan Antonio Escalante, José Antolínez or Claudio Coello”. With ties to the Madrid court since 1638, he achieved the status of painter to the king in 1656. Three years earlier, he received the title of painter of the cathedral of Toledo, with which he was particularly linked. An artist of great versatility, he worked in oil and fresco, in addition to participating in and leading numerous ephemeral projects such as decorations for royal receptions or in theaters such as the Buen Retiro Palace, of which he was director for decades, as reported by the Prado. The museum describes his painting as an example of “the full development of the new Baroque forms that came to the fore at the time.With his loose and carefree brushstroke, of full colorful sumptuousness, he manages to create effects of dynamism and movement full of expressiveness”. The Prado Museum preserves a considerable part of his corpus, among which the same museum highlights the well-known “Auto de fe de la Plaza Mayor de Madrid” (P001126), the “Expolio de Cristo (Cristo de la Paciencia)” (P002925) and the “Profanación de un crucifijo (Familia de herejes azotando un crucifijo)” (P003775), the latter two of his most dramatic works, from the Capuchins of Madrid. Reference bibliography: - Museo del Prado. (n.d.). “Rizi, Francisco.” https://www.museodelprado.es/aprende/enciclopedia/voz/rizi-francisco/57f64849-a3f7-48bb-87d6-3d8d6e821ee4. Antiques.
La Suite Subastas
Mar. 28, 2023
FRANCISCO RIZI - Immaculate Conception
Est: -
FRANCISCO RIZI Madrid 1614 - San Lorenzo de El Escorial 1685 Immaculate Conception Oil on canvas Measurements 83 x 62.5 cm There are several known versions of Rizi on the Immaculate Conception. These also cover a broad chronological framework that goes from 1651 to 1680. They are commissions related to Franciscan and Augustinian religious orders, fundamentally female. The painting in question shows a clear dependence on the version of the convent of Augustinian mothers, better known as the Gaitanas de Toledo, so it must be dated after 1680 and, therefore, at the end of the career from Rizi. The reduced dimensions of this one also show that it must have been a commission for an individual. However, the painting has a complex iconography that basically follows what is proposed in the Toledo painting. Following the apocalyptic story –incarnated by the eagle of Saint John who holds the book of Revelation in his claws–, the Virgin stands on the crescent moon, triumphant over the serpent of Genesis that bites the apple. In the upper area of the painting, God the Father touches the head of Mary with his scepter accompanied by the Child Jesus and the Dove of the Holy Spirit. With this gesture the painter captures, as in the painting of the Gaitanas, a complex issue raised by theologians of the time -such as Friar Hortensio Félix Paravicino- taking as their starting point the writings of Saint Augustine: that of God the Father preserving the virgin of original sin They reinforce this broad theological program, demonstrative of the words of Antonio Palomino when he said of Rizi that "his works, and inventiveness, were always well-founded in erudition." In search of common elements in the representation, the figures of the archangels are in tune with the allegories of the Virtues that Rizi represented on the walls of the Chapel of the Miracle in Las Descalzas Reales in 1678. Likewise, the type of architecture The palace in which the fountain of purity is inserted is also very close to the one that appears, this time to the right of the composition, in the disappeared Immaculate Conception of Alcalá de Henares. Finally, the similarities when painting the Virgin's face with others that appear in devotional paintings by the artist and also in a smaller format are appreciated. An example is that of Santa Teresa de Jesús and the Sagrada Familia from the Granados collection, where the way in which the face of the saint is made is very reminiscent of that of this Immaculate Conception. (An extensive academic study on this work is attached)
Subastas Segre
Apr. 05, 2022
"MADRID SCHOOL. (Mid 17th century). "Study of hands". 12,5 x 16,2 cm."
Est: €600 - €800
On the back, a scene with an angel drawn in fountain pen. Stylistically both drawings are very close to Francisco Rizi (1614- 1685). Black pencil on paper. 12,5 x 16,2 cm
Ansorena
Apr. 08, 2021
MADRILENIAN SCHOOL (2ª 1/2 C.XVII / .) "Saint Andrew"
Est: €30,000 - €40,000
This work has traditionally been attributed to Francisco Rizi (1614-1685), one of the leading exponents of 17th Century Madrid Baroque. Although his career was long and prolix, and his standle evolved over the andears, this Saint Andrew does not entireland fit in with his production, especialland because of the human tandpe used (see "Saint Andrew", 1646. Oil on canvas, 247 x 140 cm. Museo del Prado, Madrid). Therefore, as this work is an important piece in terms of size and qualitand, undoubtedland an exponent of the great Madrid Baroque, it could be related to some other artist of the period. A more detailed analandsis, paanding attention to the work, its general tone, which indicates a verand specific tandpe of preparation that has climbed up the pictorial laander over time, and especialland the face of Saint Andrew, allows us to relate it to Francisco Solís (ca. 1620-1684), an outstanding painter who worked for the court and for various religious orders of some importance, both inside and outside Madrid. We are grateful to José María Quesada Valera for his help in cataloguing this lot.
Ansorena
Dec. 17, 2020
17th century Spanish school. Circle of Francisco Ricci
Est: -
Escuela española siglo XVII. Círculo de Francisco Ricci (Madrid, 1614-1685). Ecce homo, óleo sobre lienzo, 45x73 cm.
Sala de Ventas
Dec. 15, 2020
FRANCISCO RIZI Madrid 1614 - San Lorenzo de El Escorial 1685
Est: -
Ecce Homo. H. 1670 Oil on canvas Size 91 x 72 cm A comprehensive study by researcher Don José María Quesada is attached.
Subastas Segre
Jan. 30, 2018
ATRIBUIDO A FRANCISCO RIZI 1614 Madrid - 1685El Escorial (Madrid) Angelotes
Est: -
ATTRIBUTED TO FRANCISCO RIZI (Madrid, 1614 - El Escorial, Madrid, 1685). "Angelotes". Oil on canvas. With inventory number 571. 106 x 70 cm ATRIBUIDO A FRANCISCO RIZI 1614 Madrid - 1685El Escorial (Madrid) Angelotes Con número de inventario 571 Óleo sobre lienzo 106 x 70 cm.
Isbilya Subastas
Nov. 14, 2017
Attribué à Francisco Rizi Madrid, 1608 - 1685 La Crucifixion de saint Pierre Plume et encre brune
Est: €2,000 - €3,000
Attribué à Francisco Rizi Madrid, 1608 - 1685 La Crucifixion de saint Pierre Plume et encre brune (Encre ferrogallique) The Crucifixion of Saint Peter, pen and brown ink, attr. to F. Rizi h: 17,50 w: 14,50 cm Estimation 2 000 - 3 000 €
Artcurial
Jul. 08, 2015
FRANCISCO RIZI | The Martyrdom of St. Andrew
Est: £8,000 - £12,000
Pen and brown ink with red-brown wash, squared for transfer in black chalk, arched top
Sotheby's
Apr. 29, 2015
FRANCISCO RIZI | The Circumcision
Est: £20,000 - £30,000
oil on canvas
Sotheby's
Apr. 29, 2015
FRANCISCO RIZI | The pentitent Magdalen
Est: £8,000 - £12,000
oil on canvas
Sotheby's
Jul. 06, 2011
Francisco Rizi de Guevara (Madrid, 1614-1685)
Est: £30,000 - £50,000
Francisco Rizi de Guevara (Madrid, 1614-1685) The Presentation of the Virgin in the Temple with Saints Anne and Joachim signed and dated '1664 Regi.υo Hispã. Pict.υr Fran.υo Riciυo fe.' (lower centre) oil on canvas 78¾ x 56¾ in. (200 x 144.2 cm.)
Christie's
Jul. 07, 2010
Francisco Rizi de Guevara (Madrid, 1614-1685)
Est: £50,000 - £80,000
Francisco Rizi de Guevara (Madrid, 1614-1685) The Presentation of the Virgin in the Temple with Saints Anne and Joachim signed and dated '1664 Regi.υo Hispã. Pict.υr Fran.υo Riciυo fe.' (lower centre) oil on canvas 78¾ x 56¾ in. (200 x 144.2 cm.)
Christie's
Nov. 05, 2009
Francisco Rizi de Guevara (Madrid, 1614-1685)
Est: £80,000 - £120,000
Francisco Rizi de Guevara (Madrid, 1614-1685) The Presentation of the Virgin in the Temple with Saints Anne and Joachim signed and dated '1664 Regi.υo Hispã. Pict.υr Fran.υo Riciυo fe.' (lower centre) oil on canvas 78¾ x 56¾ in. (200 x 144.2 cm.)
Christie's