Juan de (1614) Arellano Paintings & Artwork for Sale | Juan de (1614) Arellano Art Value Price Guide

Nov. 25, 2024
JUAN DE ARELLANO (Santorcaz, Madrid, 1614 - Madrid, 1676) and TALLER. "Virgin of the milk". Oil on canvas. Attached photocopy of expertizaje made by Don Peter Cherry.
Est: €20,000 - €25,000
JUAN DE ARELLANO (Santorcaz, Madrid, 1614 - Madrid, 1676) and TALLER. "Virgin of the milk". Oil on canvas. Attached photocopy of expertizaje made by Don Peter Cherry. Measurements: 157 x 107 cm; 173 x 122 cm (frame). Cut out on a neutral background, Mary is situated, dressed in a red tunic under a green mantle edged in gold, with the Child in her lap, to whom she is breastfeeding. The decoration is completed with fruit and flowers worthy of being considered a still life in their own right. Although we know Juan de Arellano for his still lifes of flowers above all, he also worked on other themes (landscapes, portraits, allegories and religious works). The work would be framed in the Spanish Baroque school of the second half of the 17th century, following Juan de Arellano, as can be appreciated by the lightness, variety and subtlety of the present painting, or the delicate fabrics, and the play of light and shadow. It also shows very similar characteristics to works on the same subject attributed to Arellano, such as those in the chapel of Santa Tecla in the cathedral of Burgos or the Museum of Santa Cruz in Toledo, both reproduced in the catalog of the exhibition "Juan de Arellano. 1614-1676" by A.E. Pérez Sánchez, figs. 17 and 18 (Madrid, 1998). The theme of the Virgin of the Milk was very common in Byzantine art, in whose icons the theme was known as Panagia Galaktotrofusa. The type of the Virgin Nurse is already found, however, in the Roman catacombs, with clear Coptic roots, and showed a proven fact in the Gospels and the Liturgy, hence its importance in the Gothic, where it appears either demurely or in clear ostentation, and in very varied positions, from seated to reclining. The Counter-Reformation, however, did not consider it worthy enough and during the Baroque its representations did not abound (except for the clear and striking exception of Caravaggio, with his "Virgin weaning the Child"), at least until the eighteenth century recovered the theme for art because of the elegance it can have, the sweetness it gives off (very much to the taste of the Rococo) and for being a clear example of the maternal-filial relationship between Jesus and his Mother.
Setdart Auction House
Oct. 28, 2024
JUAN DE ARELLANO (Santorcaz, 1614-Madrid, 1676). "Flower vase". Oil on canvas. Attached study of Don Ismael Gutiérrez Pastor (Doctor in art history from the Autonomous University of Madrid). Signed in the lower right corner.
Est: €35,000 - €40,000
JUAN DE ARELLANO (Santorcaz, 1614-Madrid, 1676). "Flower vase". Oil on canvas. Attached study of Don Ismael Gutiérrez Pastor (Doctor in art history from the Autonomous University of Madrid). Signed in the lower right corner. Size: 41 x 34 cm; 54 x 81 cm (frame). The faint brushstrokes that form the transparent vase, the delicacy of the blue flower that has lost its splendour and falls on its weight, are examples of the mastery of the author of this work. Juan de Arellano was an artist who specialised mainly in flower paintings, achieving, as we can see here, great mastery in composing sensual bouquets with a contrasting palette in a language fully in keeping with the Spanish Baroque. After an initial period devoted to religious painting, he decided to abandon the figure to specialise in the floral genre. In this respect, it is necessary to transcribe the response that the biographer and theoretician. Palomino, when asked about his almost exclusive dedication to flower painting, said: "Because I work less and earn more". Palomino also mentions that he may have spent time in Alcalá de Henares before coming to Madrid to work in the workshop of Juan de Solís. Arellano must have perceived the success that flower painting could have at court, where the market for flower painting enthusiasts was largely supplied by imports. In his works we can sense the overcoming of the tradition of Juan van der Hamen - continued by his pupil Antonio Ponce, in a more formal and rigid manner - transmuted in a more complicated Baroque direction. His first influences came from Flemish examples, especially Daniel Seghers, thanks to which he was able to endow his works with a meticulous and precious technique that he always retained. He also copied extensively the works of the Roman Mario Nuzzi, known as Mario dei Fiori, one of the best definers of the genre and well known in Spain. From him he took a more lively formulation in his strokes that led him in the profuse and exuberant direction already mentioned. We know that he opened a shop in the centre of Madrid: as early as 1646 he had one in Calle de Atocha. It became one of the most important in the capital, where his works were known and acquired by a large number of noblemen, as is recorded in the abundant inventories that have been preserved. In addition to flower paintings, her studio also produced other genres such as still lifes, portraits, landscapes, allegorical and religious themes. He is known to have collaborated with other artists who painted the figures that Arellano surrounded with his floral compositions, such as Francisco Camilo and Mateo Cerezo. Among his disciples is his son José, who repeated his father's models with a less refined technique that reveals a certain dryness and a more muted chromaticism. His son-in-law Bartolomé Pérez de la Dehesa continued his still lifes of flowers and inherited his sensual interpretation of nature by applying it to more tranquil compositions. In technique, however, he is closer to the Italian painters. The Museo del Prado houses up to eleven canvases by Juan de Arellano. Most of them come from the royal collections, as well as from the bequest of Xavier Laffite and the donation of the widowed Countess of Moriles. Of the works in the Prado, Still Life with Fruit is an exception to the artist's speciality, flower painting.
Setdart Auction House
Oct. 09, 2024
Important Still Life with Flowers, c. 1670, Juan de Arellano (1614 – 1676) signed, oil on canvas framed dimensions 100 x 75 cm
Est: €55,000 - €65,000
The oil painting, attributed to Juan de Arellano, shows an exquisite floral composition in which the painter's mastery in the representation of textures and colours stands out. The flowers emerge from a golden basket, arranged with elegance, and stand out against the dark background that gives greater prominence to the details. Each flower is executed with a precision that conveys freshness and naturalness, distinctive characteristics of the master of baroque still life. Signed, circa 1670.
Templum Fine Art Auctions
Sep. 24, 2024
JUAN DE ARELLANO Santorcaz (Madrid) (1614) / Madrid (1676) "Bronze vase with flowers", c. 1660-1670
Est: €67,500 - €90,000
Oil on canvas. Signed. Bibliography and exhibitions: - VV.AA., "Luces del Barroco", exhibition catalogue, Caixa de Girona Foundation, 2004, pp. 114-115. Juan de Arellano is one of the best flower painters of Spanish painting of the Golden Age. Many details of his life are known and a good number of works signed by him, a good example being this beautiful pair of canvases that represent two arrangements florals, one in a bronze vase and another in a glass one. He specialized in works of this type, dedicating himself almost exclusively to it, his paintings being highly appreciated and valued both by the clientele of his time and by the collecting that developed in later periods. These paintings belong to his mature period, and must have been made in the sixties of the 17th century. Both vases, with a vertical composition, are placed on a stone shelf. The glass vase is much more common in its production, but the bronze vase finds a very close parallel in a specimen preserved in the Varez Fisa collection. Its compositional simplicity contrasts with the exuberance and richness of the floral arrangements, which stand out for their vivid colors and the way the light shapes their shapes, highlighting them against the neutral background. Measurements: 59 x 49 cm.
Ansorena
Sep. 24, 2024
JUAN DE ARELLANO Santorcaz (Madrid) (1614) / Madrid (1676) "Crystal vase with flowers", c. 1660-1670
Est: €67,500 - €90,000
Oil on canvas. Signed. Bibliography and exhibitions: - VV.AA., "Luces del Barroco", exhibition catalogue, Caixa de Girona Foundation, 2004, pp. 114-115. Juan de Arellano is one of the best flower painters of Spanish painting of the Golden Age. Many details of his life and a good number of works signed by him are known, a good example being this beautiful pair of canvases that represent two arrangements florals, one in a bronze vase and another in a glass one. He specialized in works of this type, dedicating himself almost exclusively to it, his paintings being highly appreciated and valued both by the clientele of his time and by the collecting that developed in later periods. These paintings belong to his mature period, and must have been made in the sixties of the 17th century. Both vases, with a vertical composition, are placed on a stone shelf. The glass vase is much more common in its production, but the bronze vase finds a very close parallel in a specimen preserved in the Varez Fisa collection. Its compositional simplicity contrasts with the exuberance and richness of the floral arrangements, which stand out for their vivid colors and the way the light shapes their shapes, highlighting them against the neutral background. Measurements: 59 x 49 cm.
Ansorena
Jul. 09, 2024
Follower of Juan de Arellano, Spanish 1614-1676- Floral still life with
Est: £3,000 - £5,000
Follower of Juan de Arellano, Spanish 1614-1676- Floral still life with tulips and irises in a glass vase, on a stone ledge; oil on canvas, 76.6 x 64 cm. Note: The present work is clearly closely related to the painting of De Arellano, who was himself heavily influenced by Mario Nuzzi (1603-1673) and Jan Brueghel the Elder (1568-1625). The present composition recalls a number of De Arellano's paintings, including a pair of pendant still lifes in the collection of the Prado in Madrid [P000596 and P000597], somewhat smaller and more restrained than the more abundant bouquets which De Arellano and his contemporaries often depicted.
Roseberys
May. 23, 2024
JUAN DE ARELLANO (SANTORCAZ, MADRID 1614-1676 MADRID) - Roses, daffodils, carnations and other flowers in an urn on a stone ledge; and...
Est: $70,000 - $100,000
JUAN DE ARELLANO (SANTORCAZ, MADRID 1614-1676 MADRID) Roses, daffodils, carnations and other flowers in an urn on a stone ledge; and... oil on canvas 44 x 19 ½ in. (106.7 x 47 cm.) (2)
Christie's
May. 22, 2024
Follower of Juan de Arellano (Spanish, 1614-1676)
Est: £200 - £300
Follower of Juan de Arellano (Spanish, 1614-1676) Basket of tulips and other flowers, bears signature "Juan de Arellano" lower left, probably 18th century, label on reverse inscribed in sepia ink "Sevilla ...169", 19th century carved wooden frame over painted, canvas re-lined and stretcher replaced, 22½ x 16½ in. (57.2 x 41.9cm.).
Martel Maides
Apr. 10, 2024
JUAN DE ARELLANO (Santorcaz, 1614-Madrid, 1676). "Still lifes". Oil on canvas. Relined. Authorship confirmed by the expert Don Peter Cherry. They have frames following ancient models.
Est: €85,000 - €90,000
JUAN DE ARELLANO (Santorcaz, 1614-Madrid, 1676). "Still lifes". Oil on canvas. Relined. Authorship confirmed by the expert Don Peter Cherry. They have frames following ancient models. Measurements: 72 x 55,5 cm (x2); 91 x 75 cm (frames, x2). Pair of still lifes of flowers perfectly framed within the full Spanish baroque, with a magnificent treatment of the qualities, the colors and, especially, the effective tenebrist illumination, which gives the flowers a presence and a three-dimensional aspect that reaches an illusionist level, almost trompe l'oeil. The flowers, worked in both paintings in shades of red, ochre and white, emerge from the half-light. Both pieces were painted around 1668 and their authorship has been confirmed by Peter Cherry, an expert in Baroque still life painting. Each of the pieces is numbered in the upper right area, indicating that they were part of a set of four works, only one of which is signed. Juan de Arellano was an artist who specialized mainly in flower paintings, achieving, as we can see here, a great mastery in composing, with a contrasting palette, sensual bouquets in a language fully inscribed in the Spanish Baroque. After a first stage dedicated to religious painting, he decided to abandon the figure to specialize in the floral genre. In this sense, it is necessary to transcribe the response that the biographer and theorist. Palomino put in his mouth when asked about his almost exclusive dedication to flower painting: "Because in this I work less and earn more". Palomino also reports his possible stay in Alcalá de Henares before arriving in Madrid to work in the workshop of Juan de Solís. Arellano must have perceived the success that flower painting could have at the court, where the market of fans of this genre was largely nourished through imports. In his works we can intuit the overcoming of the tradition of Juan van der Hamen -continued by his pupil Antonio Ponce, in a more formal and rigid way-, transmuted in a direction of greater baroque complication. He received his first influences from Flemish examples, especially from Daniel Seghers, thanks to which he was able to endow his works with a meticulous and precious technique that he always kept. In addition, he copied abundantly the works of the Roman Mario Nuzzi, known as Mario dei Fiori, one of the best definers of the genre and well known in Spain. From him he took a more lively formulation in the strokes that led him in the profuse and exuberant direction already mentioned. We know that he opened a store in the center of Madrid: already in 1646 he had one in Atocha Street. It became one of the most important in the capital, where his works were known and acquired by a large number of nobles, as is shown in the abundant inventories preserved. In his workshop, in addition to flower paintings, there was room for other genres such as still lifes, portraits, landscapes, allegorical and religious themes. It is known that he collaborated with other artists who painted the figures that Arellano surrounded with his floral compositions, such as Francisco Camilo and Mateo Cerezo. Among his disciples is his son José, who repeats his father's models with a less refined technique that shows a certain dryness and a more muted chromatism. His son-in-law Bartolomé Pérez de la Dehesa, who inherited his sensual interpretation of nature and applied it to more tranquil compositions, continued his still lifes of flowers. However, in technique he is closer to Italian painters. The Prado Museum holds up to eleven canvases by Juan de Arellano. Most of them come from royal collections, and also from the legacy of Xavier Laffite and the donation of the widowed Countess of Moriles. Of the works in the Prado, Bodegón de frutas is an exception to the author's specialty, the painting of flowers.
Setdart Auction House
Apr. 10, 2024
JUAN DE ARELLANO (Santorcaz, Madrid, 1614 - Madrid, 1676) and TALLER. "Virgin of the milk". Oil on canvas. Attached photocopy of expertizaje made by Don Peter Cherry.
Est: €50,000 - €60,000
JUAN DE ARELLANO (Santorcaz, Madrid, 1614 - Madrid, 1676) and TALLER. "Virgin of the milk". Oil on canvas. Attached photocopy of expertizaje made by Don Peter Cherry. Measurements: 157 x 107 cm; 173 x 122 cm (frame). Cut out on a neutral background, Mary is situated, dressed in a red tunic under a green mantle edged in gold, with the Child in her lap, to whom she is breastfeeding. The decoration is completed with fruit and flowers worthy of being considered a still life in their own right. Although we know Juan de Arellano for his still lifes of flowers above all, he also worked on other themes (landscapes, portraits, allegories and religious works). The work would be framed in the Spanish Baroque school of the second half of the 17th century, following Juan de Arellano, as can be appreciated by the lightness, variety and subtlety of the present painting, or the delicate fabrics, and the play of light and shadow. It also shows very similar characteristics to works on the same subject attributed to Arellano, such as those in the chapel of Santa Tecla in the cathedral of Burgos or the Museum of Santa Cruz in Toledo, both reproduced in the catalog of the exhibition "Juan de Arellano. 1614-1676" by A.E. Pérez Sánchez, figs. 17 and 18 (Madrid, 1998). The theme of the Virgin of the Milk was very common in Byzantine art, in whose icons the theme was known as Panagia Galaktotrofusa. The type of the Virgin Nurse is already found, however, in the Roman catacombs, with clear Coptic roots, and showed a proven fact in the Gospels and the Liturgy, hence its importance in the Gothic, where it appears either demurely or in clear ostentation, and in very varied positions, from seated to reclining. The Counter-Reformation, however, did not consider it worthy enough and during the Baroque its representations did not abound (except for the clear and striking exception of Caravaggio, with his "Virgin weaning the Child"), at least until the eighteenth century recovered the subject for art because of the elegance it can have, the sweetness it gives off (very much to the taste of the Rococo) and for being a clear example of the maternal-filial relationship between Jesus and his Mother.
Setdart Auction House
Feb. 21, 2024
Juan de ARELLANO (Santorcaz 1614 - Madrid 1676) Fl…
Est: €30,000 - €50,000
Juan de ARELLANO (Santorcaz 1614 - Madrid 1676) Fleurs coupées dans une corbeille d'osier ajourée Toile Hauteur : 44 cm Largeur : 59,5 cm Restaurations anciennes Signé en bas à droite "Juan deare / LLano" Expert : Cabinet TURQUIN
Osenat
Feb. 01, 2024
Still Life of Floral Bouquet in a Lapis and Bronze Vase
Est: $40,000 - $60,000
Juan de Arellano Santorcaz 1614 - 1676 Madrid Still Life of Floral Bouquet in a Lapis and Bronze Vase signed lower right: Juan de Arellano oil on canvas canvas: 20 ⅜ by 17 in.; 51.8 by 43.2 cm. framed: 25 ⅞ by 27 ¼ in.; 65.7 by 69.2 cm.
Sotheby's
Dec. 13, 2023
JUAN DE ARELLANO (Santorcaz, 1614-Madrid, 1676). "Flower vase". Oil on canvas. Attached study of Don Ismael Gutiérrez Pastor (Doctor in art history from the Autonomous University of Madrid). Signed in the lower right corner.
Est: €40,000 - €45,000
JUAN DE ARELLANO (Santorcaz, 1614-Madrid, 1676). "Flower vase". Oil on canvas. Attached study of Don Ismael Gutiérrez Pastor (Doctor in art history from the Autonomous University of Madrid). Signed in the lower right corner. Size: 41 x 34 cm; 54 x 81 cm (frame). The faint brushstrokes that form the transparent vase, the delicacy of the blue flower that has lost its splendour and falls on its weight, are examples of the mastery of the author of this work. Juan de Arellano was an artist who specialised mainly in flower paintings, achieving, as we can see here, great mastery in composing sensual bouquets with a contrasting palette in a language fully in keeping with the Spanish Baroque. After an initial period devoted to religious painting, he decided to abandon the figure to specialise in the floral genre. In this respect, it is necessary to transcribe the response that the biographer and theoretician. Palomino, when asked about his almost exclusive dedication to flower painting, said: "Because I work less and earn more". Palomino also mentions that he may have spent time in Alcalá de Henares before coming to Madrid to work in the workshop of Juan de Solís. Arellano must have perceived the success that flower painting could have at court, where the market for flower painting enthusiasts was largely supplied by imports. In his works we can sense the overcoming of the tradition of Juan van der Hamen - continued by his pupil Antonio Ponce, in a more formal and rigid manner - transmuted in a more complicated Baroque direction. His first influences came from Flemish examples, especially Daniel Seghers, thanks to which he was able to endow his works with a meticulous and precious technique that he always retained. He also copied extensively the works of the Roman Mario Nuzzi, known as Mario dei Fiori, one of the best definers of the genre and well known in Spain. From him he took a more lively formulation in his strokes that led him in the profuse and exuberant direction already mentioned. We know that he opened a shop in the centre of Madrid: as early as 1646 he had one in Calle de Atocha. It became one of the most important in the capital, where his works were known and acquired by a large number of noblemen, as is recorded in the abundant inventories that have been preserved. In addition to flower paintings, her studio also produced other genres such as still lifes, portraits, landscapes, allegorical and religious themes. He is known to have collaborated with other artists who painted the figures that Arellano surrounded with his floral compositions, such as Francisco Camilo and Mateo Cerezo. Among his disciples is his son José, who repeated his father's models with a less refined technique that reveals a certain dryness and a more muted chromaticism. His son-in-law Bartolomé Pérez de la Dehesa continued his still lifes of flowers and inherited his sensual interpretation of nature by applying it to more tranquil compositions. In technique, however, he is closer to the Italian painters. The Museo del Prado houses up to eleven canvases by Juan de Arellano. Most of them come from the royal collections, as well as from the bequest of Xavier Laffite and the donation of the widowed Countess of Moriles. Of the works in the Prado, Still Life with Fruit is an exception to the artist's speciality, flower painting.
Setdart Auction House
Sep. 22, 2023
ARELLANO, JUAN DE
Est: CHF1,500 - CHF2,000
(1614–1676 Madrid) Nachfolger des 18.Jhs. Blumen in einem Korb. Öl auf Leinwand, 60x80 cm. Gerahmt. - Retouchen in Blumen und Korb.
Schuler Auktionen
Jun. 29, 2023
Attributed to Juan de Arellano (Santorcaz, Madrid, 1614 - Madrid, 1676)
Est: €15,000 - €20,000
Attributed to Juan de Arellano (Santorcaz, Madrid, 1614 - Madrid, 1676) 'Nursing Madonna' Oil on canvas. Relined. On a carved, gilded and polychromed wooden frame from the period. 105 x 85,5 cm.
La Suite Subastas
Jun. 29, 2023
Juan de Arellano, 1614 - 1676, zugeschrieben
Est: €14,000 - €16,000
BLUMENBOUQUET IN GLASVASE Öl auf Leinwand. Doubliert. 62 x 51 cm. In dekorativem Rahmen. Vor braunem Hintergrund, auf einer Ablage stehend, eine große bauchige Glasvase mit einem großen darinstehenden Blumenstrauß, der u.a. besteht aus gefiederten rötlichen Nelken, Chrysanthemen, blauer Ackerwinde, Löwenmäulchen und gelben Ringelblumen. Qualitätvolle farbenfrohe Darstellung. Der spanische Stilllebenmaler war vornehmlich in Madrid tätig, wobei sein Werk neben Anregungen durch Jan Brueghel d.Ä. oder Daniel Seghers insbesondere von dem seinerzeit in Madrid hoch geschätzten Maler Mario Nuzzi, bekannt als Mario dei Fiori, beeinflusst wurde. Provenienz: Christie’s, London, 11. Dezember 1987, The property of a gentleman, Lot 133. (1360936) (3) (18) Juan de Arellano, 1614 – 1676, attributed FLOWER BOUQUET IN GLASS VASE Oil on canvas. Relined. 62 x 51 cm.
Hampel Fine Art Auctions
May. 20, 2023
Juan de Arellano, Flower still life
Est: €20,000 - €25,000
Signed lower centre: Juna de Arellano
Kunsthaus Lempertz KG
May. 07, 2023
Juan de Arellano Attr. Still Life Oil Painting
Est: $8,000 - $12,000
Juan de Arellano (Spanish, 1614-1676) attributed Old Master fine oil painting on canvas depicting a still life scene with a bouquet of flowers including morning glories, an iris, a peony, and carnations, 17th century, apparently unsigned, with David M. Koetser Gallery and handwritten labels to reverse, housed in a gilt wood frame carved with acanthus leaf border. Image: 32.5" H x 22.5" W; frame: 40" H x 30" W. Note: Koetser Gallery in Zurich, Switzerland is generations-old and still in operation. The gallery has been procuring Old Master paintings since before World War I.
Auctions at Showplace
Feb. 22, 2023
Florero
Est: -
.
Isbilya Subastas
Feb. 22, 2023
José de Arellano. still life
Est: -
Lot consisting of two oil paintings on canvas. Relined. Works traditionally attributed to Juan de Arellano (Santorcaz, Madrid, 1614-Madrid, 1676). Due to the type of brushwork and muted chromaticism, they can be related to the production of his son, José de Arellano (1665-1710). Provenance: - Elina Gallinal Castellanos de Eguiluz Collection.
Duran Arte y Subastas
Jan. 25, 2023
Attributed to Juan de Arellano Flowers in a Glass Vase
Est: $700 - $1,100
Attributed to Juan de Arellano Flowers in a Glass Vase Oil on canvas 17 1/4 x 12 3/4 inches (43.8 x 32.4 cm) Provenance: Private collection, Boston C
DOYLE Auctioneers & Appraisers
Dec. 19, 2022
Cesto de flores
Est: -
Firmado y fechado al dorso 1665. Con marco 75 x 98 cm.
Isbilya Subastas
Dec. 15, 2022
ATTRIBUTED TO JUAN DE ARELLANO (1614-1676). "VASE WITH CHRYSANTHEMUMS".
Est: €8,000 - €12,000
Oil on canvas. Relined. Juan de Arellano was a Spanish Baroque painter specializing in the representation of floral still lifes that he executed with impressive mastery, highly influenced by Flemish and Italian artists whose works enriched Madrid's aristocratic collections. 63 x 53 cm; 80.5 x 70.5 cm (frame).
Subarna Subastas
Oct. 27, 2022
Exceptional pair of still lifes, Spanish school of the 17th century, school of Juan de Arellano
Est: €25,000 - €30,000
Pair of oil paintings on canvas, with important Spanish period frames. Measurements (with frame) 115 x 82 cm. Juan de Arellano (Santorcaz, Madrid, 1614-Madrid, 1676). Spanish painter. He was an artist specialized primarily in flower paintings, with which he achieved great success, both artistic and financial. After a first stage dedicated to religious painting, he decided to abandon the figure to specialize in the floral genre. In this sense, it is necessary to transcribe the answer that the biographer and theorist Palomino put in his mouth when asked about his almost exclusive dedication to flower painting: "Because in this I work less and earn more." Palomino also reports on his possible visit to Alcalá de Henares before arriving in Madrid to work in Juan de Solís's workshop. Arellano must have sensed the success that flower painting could have at court, where the market for fans of this genre was largely nourished through imports. In his works we can intuit the overcoming of the tradition of Juan van der Hamen -continued by his student Antonio Ponce, in a more formal and rigid way-, transmuted in a more complicated Baroque direction. His first influences came from Flemish examples, especially Daniel Seghers, thanks to which he was able to give his works a meticulous and precious technique that he always preserved. In addition, he copied abundantly the works of the Roman Mario Nuzzi, known as Mario dei Fiori, one of the best definers of the genre and well known in Spain. From him he took a more moving formulation in the strokes that led him in the profuse and exuberant direction already commented. We know that he opened a store in the center of Madrid: as early as 1646 he had one on Calle de Atocha. It became one of the most important in the capital, where its works were known and acquired by a large number of nobles, as is stated in the abundant conserved inventories. In his workshop, in addition to flower paintings, there was room for other genres such as still lifes, portraits, landscapes, allegorical and religious subjects. Related literature: Latest vases. Juan de Arellano 1614-1676, cat. exp., Bilbao, Museum of Fine Arts, 1997. Juan de Arellano, 1614-1676, cat. exp., Madrid, Fundación Caja Madrid, 1998. Spanish Flowers of the Golden Age. Flower painting in 17th century Spain, cat. exp., Madrid,
Templum Fine Art Auctions
Oct. 26, 2022
"Allegory of Touch"
Est: €8,000 - €10,000
Taller de Juan de Arellano (Santorcaz, Madrid, 1614 - Madrid, 1676) "Allegory of Touch" Oil on canvas 124 x 138 cm 8.000 - 10.000 €
Greco Subastas
Mar. 09, 2022
CESTO DE FLORES
Est: -
Firmado y fechado al dorso 1665. Con marco 75 x 98 cm.
Isbilya Subastas
Feb. 23, 2022
JUAN DE ARELLANO (Santorcaz, 1614-Madrid, 1676). "Flower vase". Oil on canvas. Signed in the lower right corner.
Est: €42,000 - €45,000
JUAN DE ARELLANO (Santorcaz, 1614-Madrid, 1676). "Flower vase". Oil on canvas. Signed in the lower right corner. Size: 41 x 34 cm; 54 x 81 cm (frame). The faint brushstrokes that form the transparent vase, the delicacy of the blue flower that has lost its splendour and falls on its weight, are examples of the mastery of the author of this work. Juan de Arellano was an artist who specialised mainly in flower paintings, achieving, as we can see here, great mastery in composing sensual bouquets with a contrasting palette in a language fully in keeping with the Spanish Baroque. After an initial period devoted to religious painting, he decided to abandon the figure to specialise in the floral genre. In this respect, it is necessary to transcribe the response that the biographer and theoretician. Palomino, when asked about his almost exclusive dedication to flower painting, said: "Because I work less and earn more". Palomino also mentions that he may have spent time in Alcalá de Henares before coming to Madrid to work in the workshop of Juan de Solís. Arellano must have perceived the success that flower painting could have at court, where the market for flower painting enthusiasts was largely supplied by imports. In his works we can sense the overcoming of the tradition of Juan van der Hamen - continued by his pupil Antonio Ponce, in a more formal and rigid manner - transmuted in a more complicated Baroque direction. His first influences came from Flemish examples, especially Daniel Seghers, thanks to which he was able to endow his works with a meticulous and precious technique that he always retained. He also copied extensively the works of the Roman Mario Nuzzi, known as Mario dei Fiori, one of the best definers of the genre and well known in Spain. From him he took a more lively formulation in his strokes that led him in the profuse and exuberant direction already mentioned. We know that he opened a shop in the centre of Madrid: as early as 1646 he had one in Calle de Atocha. It became one of the most important in the capital, where his works were known and acquired by a large number of noblemen, as is recorded in the abundant inventories that have been preserved. In addition to flower paintings, her studio also produced other genres such as still lifes, portraits, landscapes, allegorical and religious themes. He is known to have collaborated with other artists who painted the figures that Arellano surrounded with his floral compositions, such as Francisco Camilo and Mateo Cerezo. Among his disciples is his son José, who repeated his father's models with a less refined technique that reveals a certain dryness and a more muted chromaticism. His son-in-law Bartolomé Pérez de la Dehesa continued his still lifes of flowers and inherited his sensual interpretation of nature by applying it to more tranquil compositions. In technique, however, he is closer to the Italian painters. The Museo del Prado houses up to eleven canvases by Juan de Arellano. Most of them come from the royal collections, as well as from the bequest of Xavier Laffite and the donation of the widowed Countess of Moriles. Of the works in the Prado, Still Life with Fruit is an exception to the artist's speciality, flower painting.
Setdart Auction House
May. 31, 2021
Mallorcan school from the last third of the 17th century. Following models of JUAN DE ARELLANO (Santorcaz, Madrid, 1614 - Madrid, 1676). "Flower vase". Oil on canvas.
Est: €2,000 - €2,500
Mallorcan school from the last third of the 17th century. Following models of JUAN DE ARELLANO (Santorcaz, Madrid, 1614 - Madrid, 1676). "Flower vase". Oil on canvas. Reinforced with bands. Vintage frame. Measurements: 68 x 58 cm; 78 x 68 cm (frame). The artist of the present canvas offers us a masterly still life of flowers directly influenced by the painting of Juan de Arellano. The anonymous painter thus dissociates himself from the rest of Mallorcan artists who, from the seventeenth century onwards, chose to follow the models of Tomas de Hiepes. Thus, we are faced with a work that maintains the taste for naturalism that leads the painter to meticulously describe the details of the elements and to transmit their qualities, creating a fully baroque composition that continues the models established by Juan de Arellano and later by his son José. The luminous aspect, on the other hand, is key in this work, and reveals the direct influence of the tenebrist baroque, which reached these still life painters through the work of Maíno. While during the first half of the century the still life is orderly and clear, with a classicist aesthetic, the works of the second half of the century present very different characteristics, the result of the stylistic evolution towards the full baroque, leaving behind the dominant classicism of the beginning of the century. In works such as the vase we present here, the taste for extreme naturalism is maintained, which leads the author to meticulously describe not only the details of the flowers and vases, but also to convey their different tactile qualities. In this case it is a dynamic composition in terms of the arrangement of the flowers. Despite this, it is a composition centered and dominated by geometry, not yet the open and dynamic structures, full of diagonals, of the full baroque. However, the arrangement of the flowers has already lost the strict rigor and austerity of the naturalistic baroque. The Mallorcan school of still lifes shows a strong influence of the Valencian school, although it had its own personality and must have enjoyed a certain importance, given the number of works that have survived to the present day. It developed mainly from the late seventeenth century and during the eighteenth century, from the appearance of the figure of Guillermo Mesquida (1625-1747), which will raise the level of Mallorcan painting. He was the most famous painter of the Balearic Baroque and absolute dominator of the artistic panorama between the end of the XVII and the first half of the XVIII. He was an excellent painter of still lifes, although we do not preserve today not a single one of them that we can attribute to him with absolute certainty. His biographers indicate that he was a disciple in Rome of the Italian Carlos Marata, a painter who had great influence in the development of still life, since he collaborated with numerous specialists of this genre. Mesquida represented in his works fruits, animals and flowers, and founded in Mallorca a workshop in which numerous works would be made, some of which are still preserved today. His style would have been characterized by a great chromatic richness and a clear ostentatiousness and abundance of fruit and floral elements, traits that his followers of the Majorcan school would inherit, as can be seen in this canvas. Thanks to Mesquida's influence, the Mallorcan still life painters picked up Italian elements, especially Neapolitan and Roman, always combined with the influence of the Valencian school.
Setdart Auction House
May. 31, 2021
Mallorcan school from the last third of the 17th century. Following models of JUAN DE ARELLANO (Santorcaz, Madrid, 1614 - Madrid, 1676). "Flower vase". Oil on canvas.
Est: €2,000 - €2,500
Mallorcan school from the last third of the 17th century. Following models of JUAN DE ARELLANO (Santorcaz, Madrid, 1614 - Madrid, 1676). "Flower vase". Oil on canvas. Reinforced with bands. 17th century frame. Measurements: 68 x 58 cm; 78 x 68 cm (frame). The artist of the present canvas offers us a masterly still life of flowers directly influenced by the painting of Juan de Arellano. The anonymous painter thus dissociates himself from the rest of Mallorcan artists who, from the seventeenth century onwards, chose to follow the models of Tomas de Hiepes. Thus, we are faced with a work that maintains the taste for naturalism that leads the painter to meticulously describe the details of the elements and to transmit their qualities, creating a fully baroque composition that continues the models established by Juan de Arellano and later by his son José. The luminous aspect, on the other hand, is key in this work, and reveals the direct influence of the tenebrist baroque, which reached these still life painters through the work of Maíno. While during the first half of the century the still life is orderly and clear, with a classicist aesthetic, the works of the second half of the century present very different characteristics, the result of the stylistic evolution towards the full baroque, leaving behind the dominant classicism of the beginning of the century. In works such as the vase we present here, the taste for extreme naturalism is maintained, which leads the author to meticulously describe not only the details of the flowers and vases, but also to convey their different tactile qualities. In this case it is a dynamic composition in terms of the arrangement of the flowers. Despite this, it is a composition centered and dominated by geometry, not yet the open and dynamic structures, full of diagonals, of the full baroque. However, the arrangement of the flowers has already lost the strict rigor and austerity of the naturalistic baroque. The Mallorcan school of still lifes shows a strong influence of the Valencian school, although it had its own personality and must have enjoyed a certain importance, given the number of works that have survived to the present day. It developed mainly from the late seventeenth century and during the eighteenth century, from the appearance of the figure of Guillermo Mesquida (1625-1747), which will raise the level of Mallorcan painting. He was the most famous painter of the Balearic Baroque and absolute dominator of the artistic panorama between the end of the XVII and the first half of the XVIII. He was an excellent painter of still lifes, although we do not preserve today not a single one of them that we can attribute to him with absolute certainty. His biographers indicate that he was a disciple in Rome of the Italian Carlos Marata, a painter who had great influence in the development of still life, since he collaborated with numerous specialists of this genre. Mesquida represented in his works fruits, animals and flowers, and founded in Mallorca a workshop in which numerous works would be made, some of which are still preserved today. His style would have been characterized by a great chromatic richness and a clear ostentatiousness and abundance of fruit and floral elements, traits that his followers of the Majorcan school would inherit, as can be seen in this canvas. Thanks to Mesquida's influence, the Mallorcan still life painters picked up Italian elements, especially Neapolitan and Roman, always combined with the influence of the Valencian school.
Setdart Auction House
May. 26, 2021
DE ARELLANO, Juan
Est: $40,000 - $60,000
DE ARELLANO, Juan (Spanish school, 1614-1676). "Still life with flowers." 36 x 36 cm. Provenance Alejandro Gallinal Heber Elina Gallinal Castellanos de Eguiluz DE ARELLANO, Juan (escuela española, 1614-1676). “Bodegón con flores.” 36 x 36 cm. Proveniencia Alejandro Gallinal Heber Elina Gallinal Castellanos de Eguiluz
Zorrilla Subastas
Dec. 19, 2019
17th C. Madrid School. Allegory of touch
Est: -
ESCUELA MADRILEÑA S. XVII. "Alegoría del tacto". Óleo sobre lienzo. Posiblemente obra del Taller de Juan de Arellano. La presente obra se basa en una de las series que representan Los Sentidos pertenecientes a la Colección Masaveu (AE Pérez Sánchez, Juan de Arellano 1614-1676, Madrid, 1998, páginas 68-69, fig. 19-22). 125 x 138 cm
Duran Arte y Subastas
Dec. 18, 2019
BARTOLOMÉ PÉREZ Pareja de floreros. A pair of oils on canvas.
Est: -
BARTOLOMÉ PÉREZ 1634 Madrid 1693 Pareja de floreros Después de Juan de Arellano (1614-1676), Bartolomé Pérez fue el pintor más importante de bodegones florales que trabajó en la corte en el siglo XVII. Aunque está documentado como primer aprendiz en el taller de Andrés de la Torre, parece que también tuvo contacto con Arellano, quien había elevado el género de la pintura de bodegones dominando la producción en Madrid durante más de una treintena de años. De hecho, Pérez se casó con su hija en 1663, firmando sus primeras obras de flores en 1665. Tras la muerte de Arellano en 1698, Pérez se hizo cargo del taller de este último junto con su cuñado, José. Sus bodegones decorativos le valieron el reconocimiento de la corte, lo cual le otorgó una mayor importancia como artista. Tras su participación en las decoraciones temporales para la llegada de María Luisa de Orleans a Madrid en 1679, pintó obras para el vestidor de la Reina en el Alcázar (1686) y participó en las decoraciones de producciones teatrales en el Coliseo del Buen Retiro. . Como resultado, Pérez fue nombrado Pintor honorario del Rey en 1689, realizando al año siguiente la decoración de la habitación de Carlos II. El prometedor ascenso de su carrera se vio interrumpido por su muerte en un accidente laboral, mientras pintaba en el palacio madrileño del Duque de Monteleón. Aunque sus bodegones florales están cerca de los de su suegro, Pérez desarrolló su propio estilo personal, como se aprecia en el presente par de obras a pequeña escala. Como también estaba familiarizado con los artistas no españoles que habían inspirado a Arellano, no se limitó a seguir una fórmula exitosa. En colecciones privadas en Madrid, había, por ejemplo, piezas de flores de los mejores practicantes del género, entre ellos Daniel Seghers, Jan Brueghel el Viejo y Mario Nuzzi. Los bodegones de este último fueron los que más influenciaron a Arellano y Pérez, junto a los de su seguidor, Paolo Porpora. No obstante, en la obra de Bartolomé Pérez también encontramos referencias a otros artistas de su generación, como Andrea Belvedere y Abraham Brueghel. Estos dos lienzos de pequeño formato revelan un aspecto menos conocido del arte de Pérez, sus pinturas de gabinete. El tamaño reducido de la pareja corresponde a los requisitos decorativos de los coleccionistas hacia finales de siglo. Si bien sus jarrones y cestas de flores a gran escala derivan claramente de los modelos que Arellano puso de moda en Madrid, estas nuevas obras son adaptaciones del repertorio del artista desde una visión más íntima. La composición es esencialmente la misma, un ramo de flores en media sombra. Estéticamente recuerda a algunas de las guirnaldas florales pintadas y firmadas por Pérez hacia fines de la década de 1680, como la Guirnalda de flores con San Antonio de Padua en el Museo del Prado (P03655). En la oscuridad emergen los colores brillantes, al igual que las formas orgánicas de las plantas bañadas por la luz. Organizados en floreros lujosos con monturas de bronce, los bodegones estaban dirigidos a una clientela refinada. La pequeña escala de estos trabajos no desmerece su calidad en ejecución. Pérez presenta las variadas texturas de las flores con un uso versátil del pincel: los pétalos firmes de los tulipanes están, por ejemplo, pintados con una precisión que difiere de la descripción más pictórica de las rosas, a las que confiere una textura suave y aterciopelada. Además, la combinación de los diversos tipos de flores y la gama cromática empleada son las típicas de Pérez, realizadas como siempre con delicadeza y contrastando sobremanera los colores brillantes de las hojas sobre el entorno más oscuro en el que están enmarcadas. Pareja de óleos sobre lienzo 33 x 24 cm Pintura antigua y S. XIX
Isbilya Subastas
Oct. 29, 2019
Cesto de flores Firmado y fechado al dorso 1665. Con marco 75 x
Est: -
Cesto de flores Firmado y fechado al dorso 1665. Con marco 75 x 98 cm. 50 x 75 cm TALLER DE JUAN DE ARELLANO (Santorcaz, Madrid, 1614-Madrid, 1676)Pintura antigua y S. XIXÓleo sobre lienzo,. , WORKSHOP OF JUAN DE ARELLANO (Santorcaz, Madrid, 1614-Madrid, 1676) Cesto de flores. Oil on canvas
Isbilya Subastas
Aug. 26, 2018
After Juan de Arellano, (Spanish, 1614-1676), "Vase of Flowers"
Est: $1,000 - $1,500
After Juan de Arellano (Spanish, 1614-1676) "Vase of Flowers", 1955 oil on canvas signed, dated and inscribed "Arellano 'Florero' Museo del Prado. copia. J. Lazcano, 1955" en verso. Presented in a modern giltwood frame. 32" x 24", framed 38-1/4" x 30"
New Orleans Auction Galleries
Jul. 05, 2018
JUAN DE ARELLANO | Still life of tulips, bluebells and other flowers in a basket on a stone pedestal
Est: £40,000 - £60,000
oil on canvas
Sotheby's
Jul. 05, 2018
JUAN DE ARELLANO | Still life of roses, lilies, morning glories and other flowers in a basket on a stone pedestal
Est: £80,000 - £120,000
oil on canvas
Sotheby's
May. 26, 2018
Corbeille de fleurs sur un entablement,
Est: CHF2,000 - CHF3,000
Corbeille de fleurs sur un entablement,
Galartis SA
Mar. 24, 2018
ARELLANO Juan de (attribué à), 1614-1676 [ES]. Corbeille de fleurs sur un entablement,
Est: CHF4,000 - CHF5,000
ARELLANO Juan de (attribué à), 1614-1676 [ES]. Corbeille de fleurs sur un entablement, huile sur toile (57 x 74 cm).
Galartis SA
Oct. 19, 2016
SCHOOL OF JUAN DE ARELLANO (SANTORCAZ, MADRID, 1614-MADRID, 1676)
Est: -
ESCUELA DE JUAN DE ARELLANO (Santorcaz, Madrid, 1614-Madrid, 1676) Florero 49 x 35 cm Óleo sobre lienzo
Isbilya Subastas
May. 26, 2016
Spanish School, 17th Century Circle of Juan de Arellano Allegory of the Sense of Hearing
Est: €4,000 -
Spanish School, 17th Century Circle of Juan de Arellano Allegory of the Sense of Hearing Oil on canvas Bibliografía de referencia: A. E. Pérez Sánchez (dir.), "Juan de Arellano 1614-1676", Madrid, Caja Madrid, 1998, p. 70-76 y 268 108,5x163,5 cm Escuela española del siglo XVII. Círculo de Juan de Arellano Alegoría del oído Óleo sobre lienzo Bibliografía de referencia: A. E. Pérez Sánchez (dir.), "Juan de Arellano 1614-1676", Madrid, Caja Madrid, 1998, p. 70-76 y 268 108,5x163,5 cm
Balclis
Jan. 20, 2016
JUAN DE ARELLANO (Santorcaz, Madrid, 1614 - Madrid, 1676), Florero - JUAN DE ARELLANO (Santorcaz, Madrid, 1614-Madrid, 1676) Florero
Est: -
Firmado. Con certificado de D. Enrique Valdivieso.
Isbilya Subastas
Jul. 09, 2015
JUAN DE ARELLANO | Blue irises, parrot tulips, anemones, peonies and other flowers in a glass vase, on a stone ledge
Est: £30,000 - £40,000
oil on canvas
Sotheby's
Jul. 08, 2015
JUAN DE ARELLANO | Still life with a large array of flowers in a glass vase on a stone pedestal
Est: £150,000 - £200,000
oil on canvas, unlined
Sotheby's
Apr. 22, 2015
TALLER DE JUAN DE ARELLANO (1614-1676)
Est: -
óleo sobre lienzo. Med.: 108 x 164 cm. "Alegoría del olfato"
Subarna Subastas
Oct. 02, 2014
TALLER DE JUAN DE ARELLANO (1614-1676)
Est: -
TALLER DE JUAN DE ARELLANO (1614-1676) óleo sobre lienzo. Med.: 108 x 164 cm. "Alegoría del tacto"
Subarna Subastas
Oct. 02, 2014
TALLER DE JUAN DE ARELLANO (1614-1676)
Est: -
TALLER DE JUAN DE ARELLANO (1614-1676) óleo sobre lienzo. Med.: 108 x 164 cm. "Alegoría del gusto"
Subarna Subastas
Oct. 02, 2014
TALLER DE JUAN DE ARELLANO (1614-1676)
Est: -
TALLER DE JUAN DE ARELLANO (1614-1676) óleo sobre lienzo. Med.: 108 x 164 cm. "Alegoría del olfato"
Subarna Subastas
Feb. 21, 2014
Attributed to Juan de Arellano (1614-1676): Still Life with Vase of Flowers
Est: $300 - $500
Attributed to Juan de Arellano (1614-1676): Still Life with Vase of Flowers Oil on canvas, unsigned, with label from Charles A. Jackson, Manchester, England, in octagonal frame. 20 x 16 in. (sight), 23 x 18 1/2 in. (frame). Property of a Long Island Collector
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