Francisco Antolínez y Sarabia Paintings & Artwork for Sale | Francisco Antolínez y Sarabia Art Value Price Guide

Sep. 18, 2024
FRANCISCO ANTOLÍNEZ (Sevilla, h. 1645 - Madrid, h. 1700) , Adoración de los magos
Est: €5,000 - €6,000
Se conocen numerosas pinturas atribuidas a este pintor a partir de las pocas obras firmadas de su mano que se conocen, especialmente la Adoración de los pastores de la Catedral de Sevilla, fechada en 1678. Palomino y Ceán Bermúdez fueron los primeros en ofrecer datos biográficos sobre este pintor, sobrino de José Antolínez (Madrid, 1635-1675), cuya profesión principal fue la de letrado. Posteriormente los estudios de Angulo, Pérez Sánchez y Valdivieso arrojaron luz sobre su producción pictórica. Tanto Palomino como Ceán Bermúdez coinciden en afirmar que se formó artísticamente en la escuela sevillana de Murillo. Se especializó en la realización de pinturas de pequeño o mediano formato, agrupadas en series de seis, ocho o doce cuadros, en los que fundamentalmente representaba escenas religiosas. En sus composiciones se observan similitudes con Ignacio de Iriarte en cuanto al paisaje, Matías de Arteaga en cuanto a las arquitecturas y Murillo a la hora de agrupar a los personajes. También se inspiró en grabados y estampas. Su factura es suelta, dinámica y nerviosa. Las figuras, populares, menudas, pero esbeltas de proporciones y ligeras de movimiento, se mueven en ambientes de luces y sombras marcadamente contrastados, que dejan ver un vivo colorido y revelan, junto con algunos detalles y recursos, un cierto interés escenográfico que en este caso se establece mediante el empleo de las ruinas. Tanto en el ángulo inferior izquierdo como en el derecho se observan posibles números de inventario. Mientras que a la izquierda se vislumbra un “2”, a la derecha, en rojo, se lee con claridad un “290”. A comparar con le Epifanía conservada en la Iglesia de Nuestra Señora de los Remedios de Zamora o la Adoración de los Magos, atribuida al pincel del pintor, del Museo del Prado (P000589).
Isbilya Subastas
Sep. 18, 2024
ATRIBUIDO A FRANCISCO ANTOLÍNEZ Y SARABIA (Sevilla, 1644 - Madrid, 1700), Adoración de los pastores
Est: €3,600 - €4,000
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Isbilya Subastas
Sep. 17, 2024
FRANCISCO ANTOLINEZ Y SARABIA - Annunciation
Est: -
FRANCISCO ANTOLINEZ Y SARABIA Seville 1644 - Madrid 1700 Annunciation Oil on canvas Measurements 70 x 100 cm
Subastas Segre
Sep. 17, 2024
FRANCISCO ANTOLÍNEZ Y SARABIA - Flight to Egypt
Est: -
FRANCISCO ANTOLÍNEZ Y SARABIA Seville 1644 - Madrid 1700 Flight to Egypt Oil on board Measurements 20.5 x 16 cm With period frame
Subastas Segre
Sep. 17, 2024
FRANCISCO ANTOLINEZ Y SARABIA - Adoration of the Three Kings
Est: -
FRANCISCO ANTOLINEZ Y SARABIA Seville 1644 - Madrid 1700 Adoration of the Three Kings Oil on panel Measures 20.5 x 16 cm With marco de época
Subastas Segre
Sep. 17, 2024
FRANCISCO ANTOLINEZ Y SARABIA - Adoration of the Shepherds
Est: -
FRANCISCO ANTOLINEZ Y SARABIA Seville 1644 - Madrid 1700 Adoration of the Shepherds Oil on panel Dimensions 20.5 x 16 cm With period frame
Subastas Segre
Sep. 17, 2024
FRANCISCO ANTOLINEZ Y SARABIA - The Visitation
Est: -
FRANCISCO ANTOLINEZ Y SARABIA Sevilla 1644 - Madrid 1700 The Visitation Oil on panel Measures 20.5 x 16 cm With period frame
Subastas Segre
Jul. 11, 2024
FRANCISCO ANTOLÍNEZ. Attributed to. Jacob and the Angel's Struggle.
Est: €500 - €550
Oil on canvas 37.5x56.8 cm.
Balclis
Jun. 26, 2024
Rest during the Flight into Egypt Attributed to FRANCISCO ANTOLÍNEZ Y SARABIA (1644 - 1700) 17th century
Est: €8,000 - €10,000
Oil on canvas measuring 140 x 160 cm framed (Seville h 1645-h 1700) Painter of Spanish origin Brother of the well-known painter José Antolínez Palomino claims to have treated him personally describing him as maniacal and extravagant Despite dedicating himself professionally to law his curiosity led him to become interested in many different subjects especially everything related to intellectual scholarship These concerns led him to practice painting achieving success with small works in which small figures usually appear surrounded by a landscape or architectural background Although he made a living from painting he did not sign his works since he preferred to present himself as a lawyer Due to this only one work signed by his hand is known The Adoration of the Shepherds (Seville Cathedral) Since this work other similar works have been attributed to him generally small in size and with a pronounced decorative sense which form series with religious themes and are characterized by a special investigation into lighting effects developed with a rapid and agitated workmanship There are eight canvases attributed to Francisco Antolínez in the Prado Museum all of them from the Trinidad Museum
Templum Fine Art Auctions
Apr. 24, 2024
El regreso de Jacob a Canaán y Jacob y Raquel en el pozo
Est: -
Hermano del también pintor José Antolínez y abogado de profesión, Francisco fue un curioso erudito que, de entre sus muchas inquietudes, se decantó por la pintura. Tenía por costumbre no firmar sus obras, ya que prefería presentarse como hombre versado en leyes, aunque sí se conserva una pintura firmada de su mano: la Adoración de los pastores de la Catedral de Sevilla, composición fechada en 1678, a partir de la cual se le han atribuido numerosos trabajos. Se especializó en la realización de series con representaciones bíblicas del Antiguo o Nuevo Testamento, las cuales concebía como escenas de género, desarrolladas en amplios paisajes con un marcado carácter narrativo. Tal es el caso de estas dos pinturas dedicadas a la vida de Jacob, en las que se observa la influencia de Ignacio de Iriarte en el paisaje, así como la impronta de Murillo a la hora de agrupar a los personajes. Las figuras, populares y menudas, se mueven con ligereza en una atmósfera de fuertes contrastes lumínicos que realzan sobremanera las notas de color, muy a la manera italiana. Toda una escenografía, no exenta de referencias arquitectónicas, en la que el pintor despliega su pincelada rápida y agitada para indagar en unos efectos lumínicos que enaltecen aún más ambas escenas.
Isbilya Subastas
Mar. 14, 2024
FRANCISCO ANTOLÍNEZ. Attributed to. Jacob and the Angel's Struggle.
Est: €800 - €900
Oil on canvas 37.5x56.8 cm.
Balclis
Jan. 25, 2024
The Holy Trinity, manner of Francisco Antolínez (Seville, c. 1645-c. 1700), Spanish school of the 17th century
Est: €7,000 - €7,500
Oil on canvas, canvas measures: 113 x 83 cm, framed measures 106 x 95 cm
Templum Fine Art Auctions
Dec. 14, 2023
Spanish school of the 17th century. Possibly FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700) or IGNACIO DE IRIARTE (Azcotia, 1620- Seville, 1685). "Pastoral Scene". Oil on canvas.
Est: €2,500 - €3,000
Spanish school of the 17th century. Possibly FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700) or IGNACIO DE IRIARTE (Azcotia, 1620- Seville, 1685). "Pastoral Scene". Oil on canvas. Frame with plaque of attribution to Francisco Antolínez. Measurements: 84 x 110 cm; 93 x 120 cm (frame). We are in front of a pastoral scene close to the works of Ignacio de Iriarte (Azcoitia, 1621 - Seville, 1670) and Francisco Antolínez Sarabia (Seville, around 1645 - Madrid, 1700), both painters belonging to the Sevillian school of painting. It is a work in which the artist tries to communicate a religious reverence for the landscape, as well as for the figures that complete it: a shepherd resting while watching over his sheep and a young woman (in the background) leading her flock. The brother of the painter José Antolínez, Francisco was a lawyer by profession, although his curiosity led him to take an interest in a wide range of subjects. He thus became a painter, achieving success with small-format works generally featuring small figures against a background of landscape or architecture. Ceán Bermúdez stated that after studying law in Seville he learned painting at Murillo's school and attended the academy established in the Casa Lonja in the same city, where he is recorded as having attended in 1672. That same year he must have moved to Madrid to join José Antolínez, although it is likely that after Antolínez's death he returned to his native city for some time. He finally settled permanently in Madrid. Francisco Antolínez was able to make a living from painting, but in spite of this he did not sign his works, as he preferred to present himself as a lawyer. Antolínez was heir to the Flemish style of Ignacio de Iriarte in his landscapes, and to the architectural backgrounds of Matías de Torres. His figures have a clear Murilloesque character. Francisco Antolínez is currently represented in the Prado Museum, the Castrelos Museum in Vigo, the Provincial Museum in Ciudad Real, the Episcopal Palace in Huesca, the parish church of Santa Ana in Brea de Aragón, the church of Nuestra Señora de los Remedios in Zamora and other religious centres, public and private collections, etc. His work is completely dominated by the landscape, which becomes the protagonist of the image.
Setdart Auction House
Dec. 12, 2023
FRANCISCO ANTOLINEZ AND SARABIA Seville 1644 - Madrid 1700 Adoration of the Shepherds
Est: -
FRANCISCO ANTOLINEZ AND SARABIA Seville 1644 - Madrid 1700 Adoration of the Shepherds Oil on canvas Measurements 74.5 x 104 cm
Subastas Segre
Nov. 29, 2023
The Holy Trinity, manner of Francisco Antolínez (Seville, c. 1645-c. 1700), Spanish school of the 17th century
Est: €7,000 - €7,500
Oil on canvas, measures: 113 x 83 cm, framed measures 106 x 95 cm
Templum Fine Art Auctions
Oct. 18, 2023
FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 – Madrid, 1700). “Christ and the adulteress.” Oil on canvas. Relining.
Est: €1,800 - €2,000
FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700). "Christ and the Adulteress". Oil on canvas. Relined. Measurements: 48 x 67 cm. Brother of the also painter José Antolínez, Francisco was a lawyer by profession, although his curiosity would lead him to be interested in very diverse subjects. He was thus introduced to the practice of painting, achieving success with small-format works generally featuring small figures against a background of landscape or architecture. Ceán Bermúdez stated that after studying law in Seville he learned painting at Murillo's school and attended the academy established in the Casa Lonja in the same city, where he is recorded as having attended in 1672. That same year he must have moved to Madrid to join José Antolínez, although it is likely that after Antolínez's death he returned to his native city for some time. He finally settled permanently in Madrid. Francisco Antolínez was able to make a living from painting, but in spite of this he did not sign his works, as he preferred to present himself as a lawyer. Antolínez was heir to the Flemish style of Ignacio de Iriarte in his landscapes, and to the architectural backgrounds of Matías de Torres. His figures have a clear Murilloesque character. Francisco Antolínez is currently represented in the Prado Museum, the Castrelos Museum in Vigo, the Provincial Museum in Ciudad Real, the Episcopal Palace in Huesca, the parish church of Santa Ana in Brea de Aragón, the church of Nuestra Señora de los Remedios in Zamora and other religious centres and public and private collections.
Setdart Auction House
Oct. 18, 2023
FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 – Madrid, 1700). “The Sacrifice of Isaac.” Oil on canvas. Relining. It has damage caused by xylophages.
Est: €1,800 - €2,000
FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700). "The Sacrifice of Isaac". Oil on canvas. Re-retouched. It presents damages caused by xylophagous. Measurements: 48 x 67 cm; 58 x 75 cm (frame). Brother of the painter José Antolínez, Francisco was a lawyer by profession, although his curiosity would lead him to be interested in many different subjects. He thus became a painter, achieving success with small-format works generally featuring small figures against a background of landscape or architecture. Ceán Bermúdez stated that after studying law in Seville he learned painting at Murillo's school and attended the academy established in the Casa Lonja in the same city, where he is recorded as having attended in 1672. That same year he must have moved to Madrid to join José Antolínez, although it is likely that after Antolínez's death he returned to his native city for some time. He finally settled permanently in Madrid. Francisco Antolínez was able to make a living from painting, but in spite of this he did not sign his works, as he preferred to present himself as a lawyer. Antolínez was heir to the Flemish style of Ignacio de Iriarte in his landscapes, and to the architectural backgrounds of Matías de Torres. His figures have a clear Murilloesque character. Francisco Antolínez is currently represented in the Prado Museum, the Castrelos Museum in Vigo, the Provincial Museum in Ciudad Real, the Episcopal Palace in Huesca, the parish church of Santa Ana in Brea de Aragón, the church of Nuestra Señora de los Remedios in Zamora and other religious centres and public and private collections.
Setdart Auction House
Oct. 18, 2023
FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 – Madrid, 1700). "Christ". Oil on canvas. Relining.
Est: €1,800 - €2,000
FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700). "Christ". Oil on canvas. Relined. Size: 48 x 67 cm. Brother of the also painter José Antolínez, Francisco was a lawyer by profession, although his curiosity would lead him to be interested in very diverse subjects. He was thus introduced to the practice of painting, achieving success with small-format works generally featuring small figures against a background of landscape or architecture. Ceán Bermúdez stated that after studying law in Seville he learned painting at Murillo's school and attended the academy established in the Casa Lonja in the same city, where he is recorded as having attended in 1672. That same year he must have moved to Madrid to join José Antolínez, although it is likely that after Antolínez's death he returned to his native city for some time. He finally settled permanently in Madrid. Francisco Antolínez was able to make a living from painting, but in spite of this he did not sign his works, as he preferred to present himself as a lawyer. Antolínez was heir to the Flemish style of Ignacio de Iriarte in his landscapes, and to the architectural backgrounds of Matías de Torres. His figures have a clear Murilloesque character. Francisco Antolínez is currently represented in the Prado Museum, the Castrelos Museum in Vigo, the Provincial Museum in Ciudad Real, the Episcopal Palace in Huesca, the parish church of Santa Ana in Brea de Aragón, the church of Nuestra Señora de los Remedios in Zamora and other religious centres and public and private collections.
Setdart Auction House
Oct. 05, 2023
FRANCISCO ANTOLÍNEZ Y SARABIA. Attributed to. The descent of Christ.
Est: €600 - €700
Oil on canvas 46x37 cm.
Balclis
Jun. 29, 2023
FRANCISCO ANTOLÍNEZ Y SARABIA. Attributed to. The fight between Jacob and the angel.
Est: €700 - €1,200
Oil on canvas 100x157 cm.
Balclis
Jun. 29, 2023
FRANCISCO ANTOLÍNEZ Y SARABIA. Attributed to. Jacob's Blessing.
Est: €700 - €1,200
Oil on canvas 100x157 cm.
Balclis
Jun. 13, 2023
Adoración de los magos
Est: -
Se conocen numerosas pinturas atribuidas a este pintor a partir de las pocas obras firmadas de su mano que se conocen, especialmente la Adoración de los pastores de la Catedral de Sevilla, fechada en 1678. Palomino y Ceán Bermúdez fueron los primeros en ofrecer datos biográficos sobre este pintor, sobrino de José Antolínez (Madrid, 1635-1675), cuya profesión principal fue la de letrado. Posteriormente los estudios de Angulo, Pérez Sánchez y Valdivieso arrojaron luz sobre su producción pictórica. Tanto Palomino como Ceán Bermúdez coinciden en afirmar que se formó artísticamente en la escuela sevillana de Murillo. Se especializó en la realización de pinturas de pequeño o mediano formato, agrupadas en series de seis, ocho o doce cuadros, en los que fundamentalmente representaba escenas religiosas. En sus composiciones se observan similitudes con Ignacio de Iriarte en cuanto al paisaje, Matías de Arteaga en cuanto a las arquitecturas y Murillo a la hora de agrupar a los personajes. También se inspiró en grabados y estampas. Su factura es suelta, dinámica y nerviosa. Las figuras, populares, menudas, pero esbeltas de proporciones y ligeras de movimiento, se mueven en ambientes de luces y sombras marcadamente contrastados, que dejan ver un vivo colorido y revelan, junto con algunos detalles y recursos, un cierto interés escenográfico que en este caso se establece mediante el empleo de las ruinas. Tanto en el ángulo inferior izquierdo como en el derecho se observan posibles números de inventario. Mientras que a la izquierda se vislumbra un “2”, a la derecha, en rojo, se lee con claridad un “290”. A comparar con le Epifanía conservada en la Iglesia de Nuestra Señora de los Remedios de Zamora o la Adoración de los Magos, atribuida al pincel del pintor, del Museo del Prado (P000589).
Isbilya Subastas
May. 31, 2023
FRANCISCO ANTOLÍNEZ Y SARABIA (Seville 1644 - 1700) "The return of the Flight into Egypt"
Est: €2,750 - €3,500
FRANCISCO ANTOLÍNEZ Y SARABIA (Seville 1644 - 1700) "The return of the Flight into Egypt" Oil on canvas 49 x 75 cm 2.750 - 3.500 €
Bayeu Subastas
May. 30, 2023
Rest on the Flight into Egypt, Francisco Antolínez (Seville, c. 1645-c. 1700), Spanish school of the 17th century
Est: €4,500 - €5,500
A report by Mr. Enrique Valdivieso, Professor of Art History at the University of Seville is attached. Oil on canvas, measurements: 43 x 57 cm, framed measurements: 54 x 68 cm, with period frame. Brother of the well-known painter José Antolínez. Palomino claims to have treated him personally, describing him as "maniac and extravagant." Despite dedicating himself professionally to law, his curiosity led him to be interested in many different subjects, especially everything related to intellectual scholarship. These concerns led him to practice painting, obtaining success with small-sized works in which small-figured characters usually appear wrapped in a landscape or architectural background. Although he lived from painting, he did not sign his works, since he preferred to present himself as a lawyer. Because of that, Only one work signed by his hand is known, The Adoration of the Shepherds (Cathedral of Seville). Based on this work, other similar ones have been attributed to him, generally small in size and with a strong decorative sense, which form series of religious themes and are characterized by a special investigation into lighting effects, developed with a rapid and agitated style. There are eight canvases attributed to Francisco Antolínez in the Museo del Prado, all of them from the Museo de la Trinidad. Reference bibliography: Valdivieso González, Enrique, History of Sevillian painting: 13th to 20th centuries, Seville, Guadalquivir, 1986, pp. 229-230. Origin: old Catalan noble collection, Alella, Costa del Maresme. Other similar ones have been attributed to it, generally small in size and with a strong decorative sense, which form series of religious themes and are characterized by a special investigation into lighting effects, developed with a rapid and agitated style. There are eight canvases attributed to Francisco Antolínez in the Museo del Prado, all of them from the Museo de la Trinidad. Reference bibliography: Valdivieso González, Enrique, History of Sevillian painting: 13th to 20th centuries, Seville, Guadalquivir, 1986, pp. 229-230. Origin: old Catalan noble collection, Alella, Costa del Maresme. Other similar ones have been attributed to it, generally small in size and with a strong decorative sense, which form series of religious themes and are characterized by a special investigation into lighting effects, developed with a rapid and agitated style. There are eight canvases attributed to Francisco Antolínez in the Museo del Prado, all of them from the Museo de la Trinidad. Reference bibliography: Valdivieso González, Enrique, History of Sevillian painting: 13th to 20th centuries, Seville, Guadalquivir, 1986, pp. 229-230. Origin: old Catalan noble collection, Alella, Costa del Maresme. developed with a fast and hectic invoice. There are eight canvases attributed to Francisco Antolínez in the Museo del Prado, all of them from the Museo de la Trinidad. Reference bibliography: Valdivieso González, Enrique, History of Sevillian painting: 13th to 20th centuries, Seville, Guadalquivir, 1986, pp. 229-230. Origin: old Catalan noble collection, Alella, Costa del Maresme. developed with a fast and hectic invoice. There are eight canvases attributed to Francisco Antolínez in the Museo del Prado, all of them from the Museo de la Trinidad. Reference bibliography: Valdivieso González, Enrique, History of Sevillian painting: 13th to 20th centuries, Seville, Guadalquivir, 1986, pp. 229-230. Origin: old Catalan noble collection, Alella, Costa del Maresme.
Templum Fine Art Auctions
Apr. 26, 2023
Francisco Antolínez (Seville, c. 1645-c. 1700), San Joaquín and Santa Ana receiving María and San José, Sevillian school of the 17th century
Est: €14,000 - €15,000
A report by Mr. Enrique Valdivieso is attached. Oil on canvas, measures: 102 x 69 cm, framed measures: 112 x 88 cm. Francisco Antolínez (Seville, c. 1645-c. 1700). Spanish painter. Brother of the well-known painter José Antolínez. Palomino claims to have treated him personally, describing him as "maniac and extravagant." Despite dedicating himself professionally to law, his curiosity led him to be interested in many different subjects, especially everything related to intellectual scholarship. These concerns led him to practice painting, obtaining success with small-sized works in which small-figured characters usually appear wrapped in a landscape or architectural background. Although he lived from painting, he did not sign his works, since he preferred to present himself as a lawyer. Because of that, Only one work signed by his hand is known, The Adoration of the Shepherds (Cathedral of Seville). Based on this work, other similar ones have been attributed to him, generally small in size and with a strong decorative sense, which form series of religious themes and are characterized by a special investigation into lighting effects, developed with a rapid and agitated style. There are eight canvases attributed to Francisco Antolínez in the Museo del Prado, all of them from the Museo de la Trinidad.
Templum Fine Art Auctions
Mar. 22, 2023
FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, ca.1645-Madrid, ca.1700). Sevillian school, 17th century. "Flight into Egypt". Oil on canvas.
Est: €8,000 - €9,000
FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, ca.1645-Madrid, ca.1700). Sevillian school, 17th century. "Flight into Egypt". Oil on canvas. Attached certificate of authenticity issued by Doctor Enrique Valdivieso. It presents craquelados in the pictorial surface. Measurements: 43 x 57 cm; 54 x 68 cm (frame). In the Prado Museum there is a painting by Francisco Antolínez on the same subject, the Flight into Egypt, with a very similar treatment. In both versions, the angel is depicted with the same gracefulness, bending his torso with a gentle gesture; the Virgin, of Murillo influence, lulls the Child to sleep in both paintings, bringing the small tucked-in body close to her face. Joseph occupies the last position and his canon is similar in both paintings, although his gestures differ subtly. The idealised landscape in the present version is complemented by an architectural element that is not found in the Prado painting but was very common in the artist's surviving paintings. In any case, the palette with its dominance of warm tones, the Murillesque influence and his characteristic swift, intuitive brushstroke are evidence of the same artist, according to the study by Professor Valdivieso. Francisco Antolinez y Sarabia was a Baroque painter, brother of the Madrid painter José Antolínez. Antonio Palomino, who knew him personally, gave a curious description of his personality in El Parnaso español pintoresco laureado, describing him as a lawyer by profession but a skilful painter whose works "were very popular due to their size and decorative value". Antolínez's artistic corpus was established on the basis of a single signed work: "The Adoration of the Shepherds", exhibited in the Scalas Chapel of Seville Cathedral, dated 1678. Among the series attributed to him are the series on the life of the Virgin in the Museo del Prado (The Presentation of the Virgin, The Annunciation, The Marriage of the Virgin, The Nativity, The Adoration of the Kings and The Flight into Egypt), where a Landscape with Angels and the Magdalene and another Landscape with Angels and Saint Francis are also attributed to Antolinez, and the series of eight canvases in the Episcopal Palace in Huesca dedicated to the infancy and public life of Jesus.
Setdart Auction House
Dec. 20, 2022
Set of three oil paintings of Scenes from the life of Christ by Francisco Antolínez (Seville, 1645 and died in Madrid around 1700), Sevillian school of the 17th century
Est: €12,500 - €15,000
Oils on canvas, where we observe, first of all, the Miracle of the Bread, followed by Jesus preaching to the shepherds, and, finally, the Angel appearing to Jesus in Gethsemane. Framed measurements: 69 x 54 cm. Canvas measures: 60 x 46 cm.
Templum Fine Art Auctions
Dec. 19, 2022
Jacob y Raquel en el pozo
Est: -
Hermano del también pintor José Antolínez y abogado de profesión, Francisco fue un curioso erudito que, de entre sus muchas inquietudes, se decantó por la pintura. Tenía por costumbre no firmar sus obras, ya que prefería presentarse como hombre versado en leyes, aunque sí se conserva una pintura firmada de su mano: la Adoración de los pastores de la Catedral de Sevilla, composición fechada en 1678, a partir de la cual se le han atribuido numerosos trabajos. Se especializó en la realización de series con representaciones bíblicas del Antiguo o Nuevo Testamento, las cuales concebía como escenas de género, desarrolladas en amplios paisajes con un marcado carácter narrativo. Tal es el caso de estas dos pinturas dedicadas a la vida de Jacob, en las que se observa la influencia de Ignacio de Iriarte en el paisaje, así como la impronta de Murillo a la hora de agrupar a los personajes. Las figuras, populares y menudas, se mueven con ligereza en una atmósfera de fuertes contrastes lumínicos que realzan sobremanera las notas de color, muy a la manera italiana. Toda una escenografía, no exenta de referencias arquitectónicas, en la que el pintor despliega su pincelada rápida y agitada para indagar en unos efectos lumínicos que enaltecen aún más ambas escenas.
Isbilya Subastas
Dec. 19, 2022
El regreso de Jacob a Canaán
Est: -
Hermano del también pintor José Antolínez y abogado de profesión, Francisco fue un curioso erudito que, de entre sus muchas inquietudes, se decantó por la pintura. Tenía por costumbre no firmar sus obras, ya que prefería presentarse como hombre versado en leyes, aunque sí se conserva una pintura firmada de su mano: la Adoración de los pastores de la Catedral de Sevilla, composición fechada en 1678, a partir de la cual se le han atribuido numerosos trabajos. Se especializó en la realización de series con representaciones bíblicas del Antiguo o Nuevo Testamento, las cuales concebía como escenas de género, desarrolladas en amplios paisajes con un marcado carácter narrativo. Tal es el caso de estas dos pinturas dedicadas a la vida de Jacob, en las que se observa la influencia de Ignacio de Iriarte en el paisaje, así como la impronta de Murillo a la hora de agrupar a los personajes. Las figuras, populares y menudas, se mueven con ligereza en una atmósfera de fuertes contrastes lumínicos que realzan sobremanera las notas de color, muy a la manera italiana. Toda una escenografía, no exenta de referencias arquitectónicas, en la que el pintor despliega su pincelada rápida y agitada para indagar en unos efectos lumínicos que enaltecen aún más ambas escenas.
Isbilya Subastas
Dec. 15, 2022
FRANCISCO ANTOLÍNEZ Y SARABIA. Landscape.
Est: €6,000 - €7,000
Oil on canvas 69x152 cm.
Balclis
Dec. 15, 2022
FRANCISCO ANTOLÍNEZ Y SARABIA. Attributed to. Jacob's Blessing.
Est: €2,800 - €3,000
Oil on canvas 100x157 cm.
Balclis
Dec. 15, 2022
FRANCISCO ANTOLÍNEZ Y SARABIA. Attributed to. The fight between Jacob and the angel.
Est: €2,800 - €3,000
Oil on canvas 100x157 cm.
Balclis
Nov. 02, 2022
FRANCISCO ANTOLINEZ SARABIA. Seville (1645) / Madrid (1700). "Annunciation"
Est: €1,800 - €2,400
Oil on canvas. Sala Parés label on the back. 86 x 106 cm.
Ansorena
Jul. 20, 2022
SET OF THREE OIL PAINTINGS OF SCENES FROM THE LIFE OF CHRIST BY FRANCISCO ANTOLÍNEZ (SEVILLE, 1645 AND DIED IN MADRID AROUND 1700), SEVILLIAN SCHOOL OF THE 17TH CENTURY
Est: €12,500 - €15,000
Oils on canvas, where we observe, first of all, the Miracle of the Bread, followed by Jesus preaching to the shepherds, and, finally, the Angel appearing to Jesus in Gethsemane. Framed measurements: 69 x 54 cm. Canvas measures: 60 x 46 cm.
Templum Fine Art Auctions
Jun. 22, 2022
Regreso de la huida a Egipto
Est: -
.
Isbilya Subastas
Jun. 22, 2022
Spanish school of the seventeenth century. Possibly FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700) or IGNACIO DE IRIARTE (Azcotia, 1620- Seville, 1685). "Pastoral scene".
Est: €2,500 - €3,000
Spanish school of the 17th century. Possibly FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700) or IGNACIO DE IRIARTE (Azcotia, 1620- Seville, 1685). "Pastoral Scene". Oil on canvas. Frame with plaque of attribution to Francisco Antolínez. Measurements: 84 x 110 cm; 93 x 120 cm (frame). We are in front of a pastoral scene close to the works of Ignacio de Iriarte (Azcoitia, 1621 - Seville, 1670) and Francisco Antolínez Sarabia (Seville, around 1645 - Madrid, 1700), both painters belonging to the Sevillian school of painting. It is a work in which the artist tries to communicate a religious reverence for the landscape, as well as for the figures that complete it: a shepherd resting while watching over his sheep and a young woman (in the background) leading her flock. The brother of the painter José Antolínez, Francisco was a lawyer by profession, although his curiosity led him to take an interest in a wide range of subjects. He thus became a painter, achieving success with small-format works generally featuring small figures against a background of landscape or architecture. Ceán Bermúdez stated that after studying law in Seville he learned painting at Murillo's school and attended the academy established in the Casa Lonja in the same city, where he is recorded as having attended in 1672. That same year he must have moved to Madrid to join José Antolínez, although it is likely that after Antolínez's death he returned to his native city for some time. He finally settled permanently in Madrid. Francisco Antolínez was able to make a living from painting, but in spite of this he did not sign his works, as he preferred to present himself as a lawyer. Antolínez was heir to the Flemish style of Ignacio de Iriarte in his landscapes, and to the architectural backgrounds of Matías de Torres. His figures have a clear Murilloesque character. Francisco Antolínez is currently represented in the Prado Museum, the Castrelos Museum in Vigo, the Provincial Museum in Ciudad Real, the Episcopal Palace in Huesca, the parish church of Santa Ana in Brea de Aragón, the church of Nuestra Señora de los Remedios in Zamora and other religious centres, public and private collections, etc. His work is completely dominated by the landscape, which becomes the protagonist of the image.
Setdart Auction House
May. 13, 2022
SET OF THREE OIL PAINTINGS OF SCENES FROM THE LIFE OF CHRIST BY FRANCISCO ANTOLÍNEZ (SEVILLE, 1645 AND DIED IN MADRID AROUND 1700), SEVILLIAN SCHOOL OF THE 17TH CENTURY
Est: €1,200 - €1,500
Oils on canvas, where we observe, first of all, the Miracle of the Bread, followed by Jesus preaching to the shepherds, and, finally, the Angel appearing to Jesus in Gethsemane. Framed measurements: 69 x 54 cm. Canvas measures: 60 x 46 cm.
Templum Fine Art Auctions
May. 10, 2022
FRANCISCO ANTOLINEZ SARABIA. Seville (1645) / Madrid (1700).
Est: €10,500 - €14,000
"Landscapes with scenes of the Virgin and Saint Joseph". Pair of oil paintings on canvas. .45 x 59,5 cm each.
Ansorena
Apr. 06, 2022
Spanish school of the seventeenth century. Possibly FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700) or IGNACIO DE IRIARTE (Azcotia, 1620- Seville, 1685)
Est: €2,500 - €3,000
Spanish school of the 17th century. Possibly FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700) or IGNACIO DE IRIARTE (Azcotia, 1620- Seville, 1685). "Pastoral Scene". Oil on canvas. Frame with plaque of attribution to Francisco Antolínez. Measurements: 84 x 110 cm; 93 x 120 cm (frame). We are in front of a pastoral scene close to the works of Ignacio de Iriarte (Azcoitia, 1621 - Seville, 1670) and Francisco Antolínez Sarabia (Seville, around 1645 - Madrid, 1700), both painters belonging to the Sevillian school of painting. It is a work in which the artist tries to communicate a religious reverence for the landscape, as well as for the figures that complete it: a shepherd resting while watching over his sheep and a young woman (in the background) leading her flock. The brother of the painter José Antolínez, Francisco was a lawyer by profession, although his curiosity led him to take an interest in a wide range of subjects. He thus became a painter, achieving success with small-format works generally featuring small figures against a background of landscape or architecture. Ceán Bermúdez stated that after studying law in Seville he learned painting at Murillo's school and attended the academy established in the Casa Lonja in the same city, where he is recorded as having attended in 1672. That same year he must have moved to Madrid to join José Antolínez, although it is likely that after Antolínez's death he returned to his native city for some time. He finally settled permanently in Madrid. Francisco Antolínez was able to make a living from painting, but in spite of this he did not sign his works, as he preferred to present himself as a lawyer. Antolínez was heir to the Flemish style of Ignacio de Iriarte in his landscapes, and to the architectural backgrounds of Matías de Torres. His figures have a clear Murilloesque character. Francisco Antolínez is currently represented in the Prado Museum, the Castrelos Museum in Vigo, the Provincial Museum in Ciudad Real, the Episcopal Palace in Huesca, the parish church of Santa Ana in Brea de Aragón, the church of Nuestra Señora de los Remedios in Zamora and other religious centres, public and private collections, etc. His work is completely dominated by the landscape, which becomes the protagonist of the image.
Setdart Auction House
Apr. 05, 2022
FRANCISCO ANTOLINEZ SARABIA. Seville (1645) / Madrid (1700). "Annunciation". 86 x 106 cm.
Est: €3,300 - €4,400
On the back, label of the Sala Parés. Oil on canvas. 86 x 106 cm
Ansorena
Mar. 09, 2022
ADORACIÓN DE LOS MAGOS
Est: -
Se conocen numerosas pinturas atribuidas a este pintor a partir de las pocas obras firmadas de su mano que se conocen, especialmente la Adoración de los pastores de la Catedral de Sevilla, fechada en 1678. Palomino y Ceán Bermúdez fueron los primeros en ofrecer datos biográficos sobre este pintor, sobrino de José Antolínez (Madrid, 1635-1675), cuya profesión principal fue la de letrado. Posteriormente los estudios de Angulo, Pérez Sánchez y Valdivieso arrojaron luz sobre su producción pictórica. Tanto Palomino como Ceán Bermúdez coinciden en afirmar que se formó artísticamente en la escuela sevillana de Murillo. Se especializó en la realización de pinturas de pequeño o mediano formato, agrupadas en series de seis, ocho o doce cuadros, en los que fundamentalmente representaba escenas religiosas. En sus composiciones se observan similitudes con Ignacio de Iriarte en cuanto al paisaje, Matías de Arteaga en cuanto a las arquitecturas y Murillo a la hora de agrupar a los personajes. También se inspiró en grabados y estampas. Su factura es suelta, dinámica y nerviosa. Las figuras, populares, menudas, pero esbeltas de proporciones y ligeras de movimiento, se mueven en ambientes de luces y sombras marcadamente contrastados, que dejan ver un vivo colorido y revelan, junto con algunos detalles y recursos, un cierto interés escenográfico que en este caso se establece mediante el empleo de las ruinas. Tanto en el ángulo inferior izquierdo como en el derecho se observan posibles números de inventario. Mientras que a la izquierda se vislumbra un “2”, a la derecha, en rojo, se lee con claridad un “290”. A comparar con le Epifanía conservada en la Iglesia de Nuestra Señora de los Remedios de Zamora o la Adoración de los Magos, atribuida al pincel del pintor, del Museo del Prado (P000589).
Isbilya Subastas
Jan. 13, 2022
Spanish school of the 17th century. Attributed to FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700)."Penitent Mary Magdalene". Oil on canvas. With label of the Service for the Defense of National Artistic Heritage.
Est: €3,000 - €3,500
Spanish school of the 17th century. Attributed to FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700). "Penitent Mary Magdalene". Oil on canvas. With label of the Servicio de Defensa del Patrimonio Artístico Nacional. With label of Inventory of the General Directorate of Fine Arts. Measurements: 31,5 x 43 cm; 46 x 58 cm (frame). In this canvas, close to the aesthetic precepts of Francisco Antolínez, Mary Magdalene is represented as a penitent in the desert (not understood in the scriptures as such but as an isolated and uninhabited place), dressed in a simple sackcloth, probably barefoot, accompanied by her iconographic attributes; such as the crucifix, the sacred scriptures and the skull. Formally, the work combines the contrasting, chiaroscuro light treatment based on the earth tones typical of the period with a conception of the figure and composition directly derived from the Sevillian school. The present painting shows elements inherited from the Baroque period; however, the softness of the forms, the restrained composition and a certain luminism show the aesthetic progress of the painting, resulting in a more restrained image, in which we are presented with a reflective Mary Magdalene rather than the dramatic image of the figure. The brother of the painter José Antolínez, Francisco was a lawyer by profession, although his curiosity led him to take an interest in a wide range of subjects. He thus became a painter, achieving success with small-format works generally featuring small figures against a background of landscape or architecture. Ceán Bermúdez stated that after studying law in Seville he learned painting at Murillo's school and attended the academy established in the Casa Lonja in the same city, where he is recorded as having attended in 1672. That same year he must have moved to Madrid to join José Antolínez, although it is likely that after Antolínez's death he returned to his native city for some time. He finally settled permanently in Madrid. Francisco Antolínez was able to make a living from painting, but in spite of this he did not sign his works, as he preferred to present himself as a lawyer. Antolínez was heir to the Flemish style of Ignacio de Iriarte in his landscapes, and to the architectural backgrounds of Matías de Torres. His figures have a clear Murilloesque character. Francisco Antolínez is currently represented in the Prado Museum, the Castrelos Museum in Vigo, the Provincial Museum in Ciudad Real, the Episcopal Palace in Huesca, the parish church of Santa Ana in Brea de Aragón, the church of Nuestra Señora de los Remedios in Zamora and other religious centres, public and private collections, etc. His work is completely dominated by the landscape, which becomes the protagonist of the image.
Setdart Auction House
Dec. 28, 2021
Francisco Antolínez y Sarabia. Jacob's life scene
Est: -
Tres óleos sobre lienzo. Se adjunta certificado expedido por Don Enrique Valdivieso en el que considera estas tres obras como repeticiones de las obras que se conservan en la Catedral de Sevilla (E. Valdivieso, Catálogo de las pinturas de la catedral de Sevilla, 1978, pp.66-67). La primera obra representa "El cambio de primogenitura" (Génesis 25,33). La segunda obra representa "Jacob ofreciendo sus servicios a Labán" (Génesis 29,19). La tercera representa "El ángel bendice a Jacob" (Génesis, 32,30).
Duran Arte y Subastas
Dec. 14, 2021
FRANCISCO ANTOLÍNEZ Y SARABIA - The Assumption of Mary into Heaven
Est: €2,500 - €5,000
FRANCISCO ANTOLÍNEZ Y SARABIA Seville c. 1644 - Madrid c. 1700 The Assumption of Mary into Heaven Oil on canvas size 70.5 x 103.5 cm
Subastas Segre
Dec. 14, 2021
FRANCISCO ANTOLÍNEZ Y SARABIA - Rest in the flight to Egypt
Est: €2,500 - €5,000
FRANCISCO ANTOLÍNEZ Y SARABIA Seville c. 1644 - Madrid c. 1700 Rest in the flight to Egypt Oil on canvas size 70.5 x 103.5 cm
Subastas Segre
Nov. 24, 2021
Spanish school of the seventeenth century. Possibly FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700) or IGNACIO DE IRIARTE (Azcotia, 1620- Seville, 1685). "Pastoral scene". Oil on canvas.
Est: €3,000 - €3,500
Spanish school of the seventeenth century. Possibly FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700) or IGNACIO DE IRIARTE (Azcotia, 1620- Seville, 1685). "Pastoral scene". Oil on canvas. Frame with plaque of attribution to Francisco Antolínez. Measurements: 84 x 110 cm; 93 x 120 cm (frame). We are in front of a pastoral scene close to the works of Ignacio de Iriarte (Azcoitia, 1621 - Seville, 1670) and Francisco Antolínez Sarabia (Seville, around 1645 - Madrid, 1700), both painters ascribed to the Sevillian school of painting. It is a work in which the artist tries to communicate a religious reverence for the landscape, as well as for the figures that complete it: a shepherd resting while watching over his sheep and a young woman (in the background) leading her flock. Brother of the painter José Antolínez, Francisco was a lawyer by profession, although his curiosity led him to take an interest in a wide range of subjects. He was introduced to the practice of painting, achieving success with small format works, generally featuring small figures against a background of landscape or architecture. Ceán Bermúdez noted that after studying law in Seville he learned painting at Murillo's school, attending the academy established in the Casa Lonja of the same city, where he was recorded in 1672. That same year he must have moved to Madrid to meet with José Antolínez, although it is probable that after his death he returned to his native city for some time. Finally he will settle definitively in Madrid. Francisco Antolínez was able to make a living from painting, but in spite of this he did not sign his works, since he preferred to present himself as a lawyer. Antolínez shows himself to be heir to the Flemish style of Ignacio de Iriarte in his landscapes, and in the architectural backgrounds of Matías de Torres. Regarding his figures, they denote a clear Murilloesque character. Francisco Antolínez is currently represented in the Prado Museum, the Castrelos Museum in Vigo, the Provincial Museum of Ciudad Real, the Episcopal Palace of Huesca, the parish of Santa Ana de Brea de Aragón, the church of Nuestra Señora de los Remedios in Zamora and other religious centers, public and private collections, etc. The author has conceived work that is completely dominated by the landscape, which becomes the protagonist of the image.
Setdart Auction House
Nov. 24, 2021
Spanish school of the seventeenth century. Attributed to FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700). "Penitent Mary Magdalene". Oil on canvas.
Est: €3,000 - €3,500
Spanish school of the seventeenth century. Attributed to FRANCISCO ANTOLÍNEZ Y SARABIA (Seville, around 1645 - Madrid, 1700). "Penitent Mary Magdalene". Oil on canvas. With label of the Service for the Defense of National Artistic Heritage. With label of Inventory of the General Directorate of Fine Arts. Measurements: 31.5 x 43 cm; 46 x 58 cm (frame). In this canvas, close to the aesthetic precepts of Francisco Antolínez, Mary Magdalene is represented as a penitent in the desert (not understood in the scriptures as such but as an isolated and uninhabited place), dressed in a simple sackcloth, probably barefoot, accompanied by her iconographic attributes; such as the crucifix, the sacred scriptures and the skull. Formally, the work combines the contrasting light treatment, chiaroscuro and based on earth tones typical of the period with a conception of the figure and the composition directly derived from the Sevillian school. The present painting shows elements inherited from the Baroque period, however, the softness of the forms, the measured composition and a certain luminism, show us the aesthetic advance of the painting, resulting in a more measured image, in which we are presented with a Mary Magdalene, reflective and not the dramatic image of the character. Brother of the painter José Antolínez, Francisco was a lawyer by profession, although his curiosity would lead him to become interested in many different subjects. He was thus introduced to the practice of painting, obtaining success with small format works generally starring small figures against a background of landscape or architecture. Ceán Bermúdez noted that after studying law in Seville he learned painting at Murillo's school, attending the academy established in the Casa Lonja of the same city, where he was recorded in 1672. That same year he must have moved to Madrid to meet with José Antolínez, although it is probable that after his death he returned to his native city for some time. Finally he will settle definitively in Madrid. Francisco Antolínez was able to make a living from painting, but in spite of this he did not sign his works, since he preferred to present himself as a lawyer. Antolínez shows himself to be heir to the Flemish style of Ignacio de Iriarte in his landscapes, and in the architectural backgrounds of Matías de Torres. Regarding his figures, they denote a clear Murilloesque character. Francisco Antolínez is currently represented in the Prado Museum, the Castrelos Museum in Vigo, the Provincial Museum of Ciudad Real, the Episcopal Palace of Huesca, the parish of Santa Ana de Brea de Aragón, the church of Nuestra Señora de los Remedios in Zamora and other religious centers, public and private collections, etc. The author has conceived work that is completely dominated by the landscape, which becomes the protagonist of the image.
Setdart Auction House
May. 18, 2021
FRANCISCO ANTOLINEZ Y SARABIA - The Flight into Egypt
Est: €1,000 - €2,000
FRANCISCO ANTOLINEZ Y SARABIA Sevilla, 1644-Madrid, 1700 The flight into Egypt Oil on canvas size 73 x 91.5 cm
Subastas Segre