Francisco de Zurbarán

Spanish, 1598–1664

324 followers

Francisco de Zurbarán

Bio

Spanish, 1598–1664

Followers
324
Auction results
Filter auction results to compare past lots by medium, size, and more. Note that auction prices vary based on market specifics at the time of the auction and may not be indicative of the current gallery market. To get the best sense of value, pair the artist’s auction results with their career highlights like exhibition history, gallery representation, and presence in museum collections. For more information on how auction pricing differs from gallery pricing, check out this article.
This is based on the artwork’s average dimension.
Earliest
Latest
Showing 142 results
Showing 142 results
Bought in
Christ on the Cross
Sold on Dec 4, 2019
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Artwork Info
Painting
oil on canvas
189.0 x 267.0 cm
Estimate
Realized Price
Price not available
Auction Sale
Dec 4, 2019
Sotheby's
Description
Christ on the Cross
oil on canvas
Dec 4, 2019
Sotheby's
Bought in
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Artwork Info
Painting
189.0 x 267.0 cm
Estimate
Auction Sale
Dec 4, 2019
Sotheby's
Realized Price
Price not available
£550,000
THE PENITENT SAINT PETER
Sold on Jul 4, 2018
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Artwork Info
paintings
108.0 x 155.5 cm
Estimate
Realized Price
£550,000
Auction Sale
Jul 4, 2018
Sotheby's
Description
THE PENITENT SAINT PETER
paintings
Jul 4, 2018
Sotheby's
£550,000
Realized price
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Artwork Info
108.0 x 155.5 cm
Estimate
Auction Sale
Jul 4, 2018
Sotheby's
Realized Price
£550,000
Bought in
San Carlo Borromeo praying before the Santo Clavo
Sold on Dec 6, 2017
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Artwork Info
Painting
oil on canvas
62.2 x 79.7 cm
Estimate
Realized Price
Price not available
Auction Sale
Dec 6, 2017
Bonhams
Description
San Carlo Borromeo praying before the Santo Clavo
oil on canvas
Dec 6, 2017
Bonhams
Bought in
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Artwork Info
Painting
62.2 x 79.7 cm
Estimate
Auction Sale
Dec 6, 2017
Bonhams
Realized Price
Price not available
$1,452,500
Sold on Jan 25, 2017
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Artwork Info
Painting
oil on canvas
121 by 102.7 cm
Estimate
Realized Price
$1,452,500
Auction Sale
Jan 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
Jan 25, 2017
Sotheby's
$1,452,500
Realized price
Reveal more
Artwork Info
Painting
121 by 102.7 cm
Estimate
Auction Sale
Jan 25, 2017
Sotheby's
Realized Price
$1,452,500
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.
Bought in
Saint James the Greater
Sold on Dec 14, 2015
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Artwork Info
Painting
oil on canvas
136.91 x 151.79 in
Estimate
Realized Price
Price not available
Auction Sale
Dec 14, 2015
Christie's
Description
Saint James the Greater
oil on canvas
Dec 14, 2015
Christie's
Bought in
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Artwork Info
Painting
136.91 x 151.79 in
Estimate
Auction Sale
Dec 14, 2015
Christie's
Realized Price
Price not available
$137,000
Veronica's Veil, 1598-1664
Sold on Jun 3, 2015
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Artwork Info
Painting
oil on canvas
101.6 x 83.2 cm
Estimate
Realized Price
$137,000
Auction Sale
Jun 3, 2015
Christie's
Description
Francisco de Zurbarán (Fuente de Cantos, Badajoz 1598-1664 Madrid) Veronica's Veil oil on canvas 40 x 32¾ in. (101.6 x 83.2 cm.)
Veronica's Veil, 1598-1664
oil on canvas
Jun 3, 2015
Christie's
$137,000
Realized price
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Artwork Info
Painting
101.6 x 83.2 cm
Estimate
Auction Sale
Jun 3, 2015
Christie's
Realized Price
$137,000
Description
Francisco de Zurbarán (Fuente de Cantos, Badajoz 1598-1664 Madrid) Veronica's Veil oil on canvas 40 x 32¾ in. (101.6 x 83.2 cm.)
£47,500
The Entombment of Saint Catherine on Mount Sinai
Sold on Apr 29, 2015
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Artwork Info
paintings
137.01 x 199.21 in
Estimate
Realized Price
£47,500
Auction Sale
Apr 29, 2015
Sotheby's
Description
The Entombment of Saint Catherine on Mount Sinai
paintings
Apr 29, 2015
Sotheby's
£47,500
Realized price
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Artwork Info
137.01 x 199.21 in
Estimate
Auction Sale
Apr 29, 2015
Sotheby's
Realized Price
£47,500
£47,500
Sold on Apr 29, 2015
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Artwork Info
Estimate
Realized Price
£47,500
Auction Sale
Apr 29, 2015
Sotheby's
Description
Apr 29, 2015
Sotheby's
£47,500
Realized price
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Artwork Info
Estimate
Auction Sale
Apr 29, 2015
Sotheby's
Realized Price
£47,500
$3,000
Portrait of a Saint
Sold on Feb 21, 2015
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Artwork Info
Painting
oil on canvas
76.2 x 101.6 in
Estimate
Realized Price
$3,000
Auction Sale
Feb 21, 2015
Clars Auction Gallery
Description
Portrait of a Saint
oil on canvas
Feb 21, 2015
Clars Auction Gallery
$3,000
Realized price
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Artwork Info
Painting
76.2 x 101.6 in
Estimate
Auction Sale
Feb 21, 2015
Clars Auction Gallery
Realized Price
$3,000
Bought in
Santa Catalina de Alejando
Sold on Nov 19, 2014
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Artwork Info
Painting
oil on canvas
92.99 x 59.99 in
Estimate
Realized Price
Price not available
Auction Sale
Nov 19, 2014
Duran Subastas de Arte
Description
Santa Catalina de Alejando
oil on canvas
Nov 19, 2014
Duran Subastas de Arte
Bought in
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Artwork Info
Painting
92.99 x 59.99 in
Estimate
Auction Sale
Nov 19, 2014
Duran Subastas de Arte
Realized Price
Price not available