Francisco de Zurbarán

Spanish, 1598-1664

303 followers
Follow

Francisco de Zurbarán

Spanish, 1598-1664

303
Followers
Auction results
Filter past auction results to compare and evaluate Francisco de Zurbarán's market.
Size
reveal less
This is based on the artwork’s average dimension.
check
Small (under 40cm)
check
Medium (40–70cm)
check
Large (over 70cm)
Auction house
reveal more
Showing 174 results
Showing 174 results
Portrait of two girls, traditionally identified as the daughters of Juan de las Roelas (1558/60-1625), full-length, with a spaniel
Sold on Oct 30, 2018
reveal more
Artwork Info
paintings
98.8 x 141.6 cm
Auction Sale
Oct 30, 2018
Christie's
Description
Portrait of two girls, traditionally identified as the daughters of Juan de las Roelas (1558/60-1625), full-length, with a spaniel
paintings
Oct 30, 2018
Christie's
reveal more
Artwork Info
98.8 x 141.6 cm
Estimate
Auction Sale
Oct 30, 2018
Christie's
Realized Price
Description
SAINTS AGATHA, LUCY AND APOLLONIA
Sold on 10/29/2018
reveal more
Artwork Info
Painting
oil on canvas
165.1 by 154.3 cm
Auction Sale
10/29/2018
Sotheby's
Description
oil on canvas canvas: 57 by 52 1/4 in.; 145 by 134 cm. framed: 65 by 60 3/4 in.; 165.1 by 154.3 cm.
SAINTS AGATHA, LUCY AND APOLLONIA
oil on canvas
10/29/2018
Sotheby's
reveal more
Artwork Info
Painting
165.1 by 154.3 cm
Estimate
Auction Sale
10/29/2018
Sotheby's
Realized Price
Description
oil on canvas canvas: 57 by 52 1/4 in.; 145 by 134 cm. framed: 65 by 60 3/4 in.; 165.1 by 154.3 cm.
SAINTS AGATHA, LUCY AND APOLLONIA
Sold on Oct 15, 2018
reveal more
Artwork Info
paintings
134.0 x 145.0 cm
Auction Sale
Oct 15, 2018
Sotheby's
Description
SAINTS AGATHA, LUCY AND APOLLONIA
paintings
Oct 15, 2018
Sotheby's
reveal more
Artwork Info
134.0 x 145.0 cm
Estimate
Auction Sale
Oct 15, 2018
Sotheby's
Realized Price
Description
THE PENITENT SAINT PETER
Sold on Jul 4, 2018
reveal more
Artwork Info
paintings
108.0 x 155.5 cm
Auction Sale
Jul 4, 2018
Sotheby's
Description
THE PENITENT SAINT PETER
paintings
Jul 4, 2018
Sotheby's
reveal more
Artwork Info
108.0 x 155.5 cm
Estimate
Auction Sale
Jul 4, 2018
Sotheby's
Realized Price
Description
SAINTS AGATHA, LUCY AND APOLLONIA
Sold on May 22, 2018
reveal more
Artwork Info
paintings
134.0 x 145.0 cm
Auction Sale
May 22, 2018
Sotheby's
Description
SAINTS AGATHA, LUCY AND APOLLONIA
paintings
May 22, 2018
Sotheby's
reveal more
Artwork Info
134.0 x 145.0 cm
Estimate
Auction Sale
May 22, 2018
Sotheby's
Realized Price
Description
THE VEIL OF SAINT VERONICA
Sold on May 2, 2018
reveal more
Artwork Info
paintings
79.0 x 98.3 cm
Auction Sale
May 2, 2018
Sotheby's
Description
THE VEIL OF SAINT VERONICA
paintings
May 2, 2018
Sotheby's
reveal more
Artwork Info
79.0 x 98.3 cm
Estimate
Auction Sale
May 2, 2018
Sotheby's
Realized Price
Description
The Infant Madonna
Sold on Apr 11, 2018
reveal more
Artwork Info
paintings
39.3 x 49.4 cm
Auction Sale
Apr 11, 2018
Bonhams
Description
The Infant Madonna
paintings
Apr 11, 2018
Bonhams
reveal more
Artwork Info
39.3 x 49.4 cm
Estimate
Auction Sale
Apr 11, 2018
Bonhams
Realized Price
Description
San Carlo Borromeo praying before the Santo Clavo
Sold on Dec 6, 2017
reveal more
Artwork Info
paintings
62.2 x 79.7 cm
Auction Sale
Dec 6, 2017
Bonhams
Description
San Carlo Borromeo praying before the Santo Clavo
paintings
Dec 6, 2017
Bonhams
reveal more
Artwork Info
62.2 x 79.7 cm
Estimate
Auction Sale
Dec 6, 2017
Bonhams
Realized Price
Description
Sold on January 25, 2017
reveal more
Artwork Info
Painting
oil on canvas
121 by 102.7 cm
Auction Sale
January 25, 2017
Sotheby's
Description
This beautiful depiction of The Mystic Marriage of Saint Catherine of Alexandria has been dated by Odile Delenda to circa 1660-62, during the final phase of the artist’s career from 1658 until his death in 1664, when he resided in Madrid.  The only known treatment of this subject by Zurbarán, it is a particularly fine example of his late Madrilenian style and reveals the artist’s response to the great Italian paintings he encountered in the collection of his patron Philip IV. Zurbarán’s relocation from Seville to Madrid in 1658 is well documented and we know that he arrived in the city in late May of that year. This was his second sojourn there, preceded some 25 years earlier by a visit in 1634-35 when he played an important role in the decoration of the Salón de Reinos at the Buen Retiro, with a team of leading Spanish painters under the supervision of Philip IV’s favorite, the Conde-Duque de Olivares.  The impetus for his second visit is not known, but seems certainly connected to his long friendship with the court painter Diego Velázquez.  On 23 December 1658, Zurbarán testified favorably on behalf of Velázquez in the preliminary inquiry concerning his admission and knighthood in the Order of Santiago.  By June of 1659 Zurbarán appears to have settled in Madrid permanently, and he and his wife are recorded as residing at calle de las Carretas, parish of Santa Cruz.1 As the only known work of this subject by Zurbarán, it is probably identifiable with the one listed in a post-mortem inventory of the artist’s belongings drawn up on 3 September 1664 by Don Roque Antonio de Palacio, clerk of the court, on behalf of the artist’s widow Doña Leonor de Tordera.  Among the paintings remaining in the artist’s studio was: Otra nra Señora y el niño y Santa Catalino con marco (Another Our Lady with Child Jesus and Saint Catherine with frame).2  A second likely reference to the painting occurs in a valuation carried out by Don Luis Jimeno (recorded as a maître peintre) of the late artist’s works, drawn up on 11 August 1665 at the behest of his widow: Vn lienço de bara y quartta de Nuestra Señora y Santta Catalina con moldura en cien RS…V100 (A canvas "de bara y quartta" (an old measure approximately 1.2 m.) representing Our Lady with Saint Catherine with moulding some 100 by 100).3  If this is, indeed, the painting that remained in Zurbarán’s studio, it was probably not a commissioned work, but a painting of a popular and appealing subject that the artist had produced for direct sale.4 Of the some 35 surviving works from Zurbarán’s late Madrid period, over half are of Marian themes, and most are painted on a scale that indicates their function as private devotional images. As visible in the present Mystic Marriage of Saint Catherine, the artist’s style is now characterized by a move away from the intense, dramatic lighting of his earlier work towards a softer and more diffused light.  The stiffer, more geometric forms of his earlier figures and draperies have given way to a more naturalistic treatment.  The Virgin and Saint Catherine are both portrayed as classically beautiful young women.  According to legend, Catherine was of noble birth and Zurbarán has depicted her richly robed and wearing a sumptuous brown, brocaded cape.  At lower left is her attribute, the broken spiked wheel.  Before Saint Catherine's martyrdom, the Emperor Maxentius ordered her to be tortured with an instrument made up of four wheels studded with iron spikes.  However, a thunderbolt from heaven destroyed it before she was harmed.  The account of her “mystic marriage” is the most often depicted episode from her life.  Following her conversion to Christianity she had a vision of the Virgin holding the Christ Child who reached out and placed a ring on her finger, thereby symbolizing her spiritual betrothal to God.  Delenda suggests that Zurbarán’s composition may have been influenced by certain engravings of the subject by the Wierix family (figs. 1 and 2).5  While retaining the position of the central figures, Zurbarán has excluded the celestial figures and any background elements.  Interestingly, traces of a small crown can be seen on Catherine’s head as well as traces of a putto’s head in the upper background indicating that the artist may have originally considered including more elements in the overall design.  Ultimately, Zurbarán pared down the composition giving it more visual clarity and power, and allowing the viewer to focus on the tender interaction between Catherine and the Christ Child.   1.  See M.L. Caturla and O. Delenda, Francisco de Zurbáran, Paris 1994, p. 320, Document nos. 183 and 185. 2.  Ibid., p. 324, Document no. 203.  The original inventory is in the Archivo Histórico de Protocolos, Madrid, Protocolo 10592, folios 451-2.3.  Ibid., p. 324, Document no. 205.  The original inventory is in the Archivo Histórico de Protocolos, Madrid, Protocolo 10592, folios 453-5.4.  See O. Delenda, under Literature, 2011, p. 383.5.  Ibid., p. 384.
oil on canvas
January 25, 2017
Sotheby's
reveal more
Artwork Info
Painting
121 by 102.7 cm
Estimate
Auction Sale
January 25, 2017
Sotheby's
Realized Price
Description
This beautiful depiction of The Mystic Marriage of Saint Catherine of Alexandria has been dated by Odile Delenda to circa 1660-62, during the final phase of the artist’s career from 1658 until his death in 1664, when he resided in Madrid.  The only known treatment of this subject by Zurbarán, it is a particularly fine example of his late Madrilenian style and reveals the artist’s response to the great Italian paintings he encountered in the collection of his patron Philip IV. Zurbarán’s relocation from Seville to Madrid in 1658 is well documented and we know that he arrived in the city in late May of that year. This was his second sojourn there, preceded some 25 years earlier by a visit in 1634-35 when he played an important role in the decoration of the Salón de Reinos at the Buen Retiro, with a team of leading Spanish painters under the supervision of Philip IV’s favorite, the Conde-Duque de Olivares.  The impetus for his second visit is not known, but seems certainly connected to his long friendship with the court painter Diego Velázquez.  On 23 December 1658, Zurbarán testified favorably on behalf of Velázquez in the preliminary inquiry concerning his admission and knighthood in the Order of Santiago.  By June of 1659 Zurbarán appears to have settled in Madrid permanently, and he and his wife are recorded as residing at calle de las Carretas, parish of Santa Cruz.1 As the only known work of this subject by Zurbarán, it is probably identifiable with the one listed in a post-mortem inventory of the artist’s belongings drawn up on 3 September 1664 by Don Roque Antonio de Palacio, clerk of the court, on behalf of the artist’s widow Doña Leonor de Tordera.  Among the paintings remaining in the artist’s studio was: Otra nra Señora y el niño y Santa Catalino con marco (Another Our Lady with Child Jesus and Saint Catherine with frame).2  A second likely reference to the painting occurs in a valuation carried out by Don Luis Jimeno (recorded as a maître peintre) of the late artist’s works, drawn up on 11 August 1665 at the behest of his widow: Vn lienço de bara y quartta de Nuestra Señora y Santta Catalina con moldura en cien RS…V100 (A canvas "de bara y quartta" (an old measure approximately 1.2 m.) representing Our Lady with Saint Catherine with moulding some 100 by 100).3  If this is, indeed, the painting that remained in Zurbarán’s studio, it was probably not a commissioned work, but a painting of a popular and appealing subject that the artist had produced for direct sale.4 Of the some 35 surviving works from Zurbarán’s late Madrid period, over half are of Marian themes, and most are painted on a scale that indicates their function as private devotional images. As visible in the present Mystic Marriage of Saint Catherine, the artist’s style is now characterized by a move away from the intense, dramatic lighting of his earlier work towards a softer and more diffused light.  The stiffer, more geometric forms of his earlier figures and draperies have given way to a more naturalistic treatment.  The Virgin and Saint Catherine are both portrayed as classically beautiful young women.  According to legend, Catherine was of noble birth and Zurbarán has depicted her richly robed and wearing a sumptuous brown, brocaded cape.  At lower left is her attribute, the broken spiked wheel.  Before Saint Catherine's martyrdom, the Emperor Maxentius ordered her to be tortured with an instrument made up of four wheels studded with iron spikes.  However, a thunderbolt from heaven destroyed it before she was harmed.  The account of her “mystic marriage” is the most often depicted episode from her life.  Following her conversion to Christianity she had a vision of the Virgin holding the Christ Child who reached out and placed a ring on her finger, thereby symbolizing her spiritual betrothal to God.  Delenda suggests that Zurbarán’s composition may have been influenced by certain engravings of the subject by the Wierix family (figs. 1 and 2).5  While retaining the position of the central figures, Zurbarán has excluded the celestial figures and any background elements.  Interestingly, traces of a small crown can be seen on Catherine’s head as well as traces of a putto’s head in the upper background indicating that the artist may have originally considered including more elements in the overall design.  Ultimately, Zurbarán pared down the composition giving it more visual clarity and power, and allowing the viewer to focus on the tender interaction between Catherine and the Christ Child.   1.  See M.L. Caturla and O. Delenda, Francisco de Zurbáran, Paris 1994, p. 320, Document nos. 183 and 185. 2.  Ibid., p. 324, Document no. 203.  The original inventory is in the Archivo Histórico de Protocolos, Madrid, Protocolo 10592, folios 451-2.3.  Ibid., p. 324, Document no. 205.  The original inventory is in the Archivo Histórico de Protocolos, Madrid, Protocolo 10592, folios 453-5.4.  See O. Delenda, under Literature, 2011, p. 383.5.  Ibid., p. 384.
Saint James the Greater
Sold on Dec 14, 2015
reveal more
Artwork Info
paintings
136.91 x 151.79 in
Auction Sale
Dec 14, 2015
Christie's
Description
Saint James the Greater
paintings
Dec 14, 2015
Christie's
reveal more
Artwork Info
136.91 x 151.79 in
Estimate
Auction Sale
Dec 14, 2015
Christie's
Realized Price
Description
navigate left
navigate right