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

May. 29, 2024
FRANCISCO BARRERA (Madrid, 1595 - 1658). "Still life. Oil on canvas. Piece reinforced on the outer perimeters.
Est: €4,000 - €6,000
FRANCISCO BARRERA (Madrid, 1595 - 1658). "Still life. Oil on canvas. Piece reinforced on the outer perimeters. Measurements: 52 x 77 cm. Francisco Barrera was especially active during the thirties and forties. Although he also made landscapes, decorative and genre painting, he stood out above all in the still life. His painting enjoyed great success; his workshop had many disciples, and he was friends with other still life painters such as Antonio Ponce and Juan de Arellano. He had, however, some problems with the authorities. He was denounced to the Inquisition for making religious works that did not conform to iconography. His still lifes reveal, above all, the influence of Juan de Van der Hamen, the main head of the Madrid school of the first half of the 17th century. However, being somewhat later, Barrera is less severe and geometric: he places the objects in a more intuitive, more random way, he is less meticulous in the description and does not recreate so much in the textures. Neither does he present the courtly tone of Van der Hamen's still lifes, but tends more towards the everyday. Thus, Barrera presents the food in kitchen-like contexts although, from 1626, the supports will no longer be tables but stone plinths like the one we see here, influenced by Sánchez Cotán. Especially famous were his seasonal still lifes like this one, with seasonal foods, which became fashionable at court. Barrera represents a more advanced moment in the Baroque than Van der Hamen and Cotán: he seeks asymmetry in his compositions, naturalism in the arrangement of the elements, and even opens occasionally to landscape. In his style, drawing predominates, and he likes to place elements in foreshortening, coming out of the surface on which they rest and accentuating the sensation of depth, as here the bird located in the lower right corner. Francisco Barrera is represented in the Museum of Fine Arts of Seville, the National Museum of Slovakia, as well as in other important collections around the world, both public and private. Piece reinforced on the outer perimeters.
Setdart Auction House
Dec. 27, 2023
Francisco Barrera. still life
Est: -
Oil on canvas. Rest of signature in the lower right corner.
Duran Arte y Subastas
Dec. 20, 2023
FRANCISCO BARRERA. Attributed to. Still life.
Est: €9,000 - €10,000
Oil on canvas With caption: “ABRIL” 115x140.5 cm.
Balclis
Dec. 13, 2023
FRANCISCO BARRERA (Madrid, 1595 – 1658). "Still life". Oil on canvas. Present restorations.
Est: €32,000 - €35,000
FRANCISCO BARRERA (Madrid, 1595 - 1658). "Still life". Oil on canvas. It presents restorations. Measurements: 44 x 62 cm; 61 x 78 cm (frame). Work exhibited in: Lights of the Baroque. Pintura española del siglo XVII, Gerona 2004 and Fundación Caja Navarra, Pamplona, 2004. Work reproduced in: VV.AA., "Luces del Barroco. Spanish painting of the 17th century". Catalogue: Gerona, 2004, pp. 55 and 56; Pamplona, 2004, pp. 40 and 41. This canvas depicts a still life of a kitchen, made up of a number of elements located mostly in the foreground, in a style directly related to the Baroque masters. The setting opens up in the background through a large window on the left. This small canvas shows the typical characteristics of Francisco Barrera, although it is not signed. The composition is centred on a red ceramic vase, probably Mexican (a highly valued object at the time and one that appears in 16th- and 17th-century still lifes), placed on a box of sweets and surrounded by other elements typical of a kitchen: large cucumbers centre the composition and behind them a wicker basket full of sweets. A wicker basket full of seasonal vegetables, including some irregular, bright tomatoes (it should be borne in mind that at the time these tomatoes from New Spain were still an exotic and unusual foodstuff in the Spanish diet), which are a deep red, as opposed to the rougher surfaces of the rest of the elements. The white conch shell in the foreground is stranger, but also somewhat exotic. In the background, a landscape vignette opens out like a window, adding perspective to the composition. Francisco Barrera, a renowned early Baroque still-life painter. His seasonal allegories are very similar to the present painting in theme and treatment. The Flemish school of the time also influenced this painting, which can be related to the oil painting "The Taste", a collaborative work by Rubens and Brueghel the Elder. In our painting, the young woman dressed in lapis lazuli blue who is about to eat a piece of fruit embodies the allegory of taste. A necklace of translucent stones adorns her neck. She is surrounded by fruit trees, and on her left a still life of various delicacies is accompanied by a canvas depicting the biblical miracle of the multiplication of the loaves. This typically Baroque device (the painting within the painting) iconographically links the two landscapes (the one occupied by the allegorical figure and the one painted in the biblical painting), thus enlarging and enriching the pictorial surface. The human groups, the villagers gathered around Jesus, have been depicted with great skill. In addition, alongside the allegorical figure, the expulsion from paradise has been depicted (Adam and Eve, minimised with respect to the female Allegory, have been tempted to eat the apple). In iconographic opposition to both Gospel themes, we see a monkey in the left-hand corner of the painting, symbolising gluttony and earthly pleasures. The desire to integrate a moral teaching with the still-life theme and the religious theme was explored by Francisco Barrera and the Madrid Baroque school, itself heavily influenced by the Flemish school. The idealised features of the young woman, in contrast to the veristic approach to the depiction of the delicacies, reflect a language very close to Barrera's. Barrera's still lifes can also be compared to those of Juan de Van der Hamen, although he moved away from the courtly tone of his master in favour of more intuitive, natural compositions. Particularly famous were his seasonal still lifes with seasonal foodstuffs, which became fashionable at court. Barrera represents a more advanced moment in the Baroque than Van der Hamen and Cotán: he sought asymmetry in his compositions, naturalism in the arrangement of the elements, as well as the importance he gave to the landscape. Francisco Barrera is represented in the Museum of Fine Arts in Seville, the National Museum of Slovakia, and important collections all over the world, both public and private.
Setdart Auction House
Dec. 07, 2022
Attributed to Francisco Barrera (Madrid 1595-1657) The Four Seasons (4)
Est: £50,000 - £70,000
Attributed to Francisco Barrera (Madrid 1595-1657) The Four Seasons a set of four, oil on canvas 143 x 204.5cm (56 5/16 x 80 1/2in). (4)
Bonhams
Nov. 09, 2022
Attribué à Francisco BARRERA Madrid, 1595 - 1658 Plat de poissons, citron, viande et assiettes blanches dans un intérieur de cuisine...
Est: €15,000 - €20,000
Attribué à Francisco BARRERA Madrid, 1595 - 1658 Plat de poissons, citron, viande et assiettes blanches dans un intérieur de cuisine Huile sur toile (Restaurations) Fish dish, lemon, meat and white plates in a kitchen interior, oil on canvas, attr. to F. Barrera h: 39 w: 50 cm Estimation 15 000 - 20 000 €
Artcurial
Nov. 02, 2022
FRANCISCO BARRERA Madrid (1595) / (1658) "Kitchen still life with coins and window"
Est: €42,000 - €56,000
Oil on canvas Exhibitions: “Lights of the Baroque. Spanish painting of the 17th century”, Gerona 2004 and Fundación Caja Navarra, Pamplona, 2004 Bibliography: VV.AA., “Luces del Barroco. Spanish painting of the seventeenth century. Exhibition catalogue: Gerona, 2004, early 55 and 56 (reproduced); Pamplona, 2004, p. 40 and 41 (reproduced) Measurements: 44.5 x 61 cm
Ansorena
Oct. 20, 2021
Attributed to FRANCISCO BARRERA (Madrid, 1595 - 1658). "Still life of kitchen with figure and animals". Oil on canvas. Measurements: 86,5 x 136 cm.
Est: €25,000 - €30,000
Attributed to FRANCISCO BARRERA (Madrid, 1595 - 1658). "Still life of kitchen with figure and animals". Oil on canvas. Measurements: 86,5 x 136 cm. In this work the painting of figures is combined with the still life with animals, as it was frequent in the full baroque not only in Spain, but also in other schools like the Flemish or the Italian. We see a kitchen interior, where the stone plinths that recall Sánchez Cotán allow the different objects, fruits and animals to be placed in an orderly, staggered manner, allowing them to be perfectly viewed. Other details, such as the birds hanging on the wall or the basket on the lower step, also reveal Sánchez Cotán's knowledge of the artist. However, the painter introduces a figure who adds an enormous narrative and scenographic sense to the scene and also opens up the space to a snowy landscape, which reinforces the winter sense of the image, as does the brazier in front of which the figure warms his hands. From its style, formal features and even its subject matter we can attribute this work to Francisco Barrera, a still-life painter from the Madrid school of the first half of the 17th century. Documented as a master from 1923 onwards, he was particularly active during the 1930s and 1940s. Although he also produced landscapes, decorative and genre paintings, he excelled above all in still life painting. His painting enjoyed great success; his workshop had many disciples and he was a friend of other still-life painters such as Antonio Ponce and Juan de Arellano. He did, however, have some problems with the authorities. In 1934 his shops were investigated and several portraits of the king were taken away, as they were considered unseemly (there were very strict rules about the pictorial representation of Philip IV). Ten years later he was denounced to the Inquisition for producing religious works that did not conform to iconography. His still lifes reveal, above all, the influence of Juan de Van der Hamen, the leading figure in the Madrid school of the first half of the 17th century. However, being somewhat later, Barrera is less severe and geometric: he places the objects more intuitively, more randomly, is less meticulous in his description and does not take so much pleasure in the textures. Nor does he present the courtly tone of Van der Hamen's still lifes, but tends more towards the everyday. Thus Barrera depicts food in kitchen-like contexts although, from 1626 onwards, the supports were no longer tables but stone plinths such as the one we see here, influenced by Sánchez Cotán. Particularly famous were his seasonal still lifes such as this one, with seasonal foodstuffs, which became fashionable at court. Barrera represents a more advanced moment in the Baroque than Van der Hamen and Cotán: he sought asymmetry in his compositions, naturalism in the arrangement of the elements, and even opened up occasionally to landscape. Drawing predominates in his style, and he likes to place elements foreshortened, emerging from the surface on which they rest and accentuating the sensation of depth, as here the bird in the lower right corner. Francisco Barrera is represented in the Museum of Fine Arts in Seville, the National Museum of Slovakia, as well as in other important collections around the world, both public and private.
Setdart Auction House
Sep. 21, 2021
PITTORE DEL XVII-XVIII SECOLO
Est: €2,000 - €3,000
Natura morta Olio su tela, cm 69X90 Già attribuita al pittore spagnolo Francisco Barrera (1595 - 1658), la tela esibisce altresì caratteri illustrativi che evocano le nature morte di scuola emiliano-romagnola sulla scia di Paolo Antonio Barbieri. Il ricercato arcaismo con cui sono descritti e ordinati gli oggetti, raffigurati a sé stanti, è contraddistinto da una luminosità di sapore caravaggesco che suggerirebbe una datazione arcaica. In tal senso è inevitabile pensare al significato allegorico di queste opere, dove l'essenzialità è preponderante a differenza delle esuberanti tavole imbandite olandesi. Nel nostro caso, l'artista dipinge una vera e propria meditazione sullo spazio e una rigorosa osservazione della realtà, pervenendo a un risultato di straordinaria efficacia. Tuttavia, alcuni aspetti tecnici sembrerebbero condurci al secolo successivo, con sfumature compositive che troveremo nelle prove del marchigiano Carlo Magini, per la modernità concettuale dell'impaginazione che comunque emerge e trova confronti con le Tavole di Cucina imbandite, conservate nella Pinacoteca Civica e nella Quadreria della Cassa di Risparmio di Fano. Bibliografia di riferimento: R. Battistini, B. Cleri, C. Giardini, E. Negro, N. Rosio, L'anima e le cose. La natura morta nell'Italia pontificia nel XVII e XVIII secolo, catalogo della mostra, Modena 2001, ad vocem D. Benati e L. Peruzzi, La natura morta in Emilia e in Romagna, Milano 2000, ad vocem
Wannenes Art Auctions
Apr. 28, 2021
Attributed to FRANCISCO BARRERA (Madrid, 1595 - 1658). "Still life of kitchen with figure and animals". Oil on canvas.
Est: €25,000 - €30,000
Attributed to FRANCISCO BARRERA (Madrid, 1595 - 1658). "Still life of kitchen with figure and animals". Oil on canvas. Measurements: 86.5 x 136 cm. In this work the painting of figures is combined with the still life with animals, as it was frequent within the full baroque not only in Spain, but also in other schools such as the Flemish or Italian. We see a kitchen interior, where the stone plinths that refer to Sánchez Cotán allow placing the different objects, fruits and animals in an orderly and staggered way, allowing their perfect contemplation. Other details, such as the birds hanging from the wall or the basket on the lower step, also show the knowledge of Sánchez Cotán. However, the painter introduces a character that brings an enormous narrative sense, and at the same time scenographic, to the scene, and also opens the space to a snowy landscape, which reinforces the winter sense of the image, as does the brazier in front of which the character warms his hands. Because of its style, formal features and even its subject matter, we can attribute this work to Francisco Barrera, a still life painter of the Madrid school of the first half of the 17th century. Documented as a master from 1923, he was especially active during the thirties and forties. Although he also painted landscapes, decorative and genre paintings, he excelled above all in still life painting. His painting enjoyed great success; his workshop had many disciples, and he was a friend of other still life painters such as Antonio Ponce and Juan de Arellano. He had, however, some problems with the authorities. In 1934 they investigated his stores and took away several portraits of the king, considering them unseemly (there were very strict rules about the pictorial representation of Philip IV). Ten years later he was denounced to the Inquisition for making religious works that did not conform to iconography. His still lifes reveal, above all, the influence of Juan de Van der Hamen, the main head of the Madrid school of the first half of the 17th century. However, being somewhat later, Barrera is less severe and geometric: he places the objects in a more intuitive, more random way, he is less meticulous in the description and does not recreate so much in the textures. Neither does he present the courtly tone of Van der Hamen's still lifes, but tends more towards the everyday. Thus, Barrera presents the food in kitchen-like contexts although, from 1626, the supports will no longer be tables but stone plinths like the one we see here, influenced by Sánchez Cotán. Especially famous were his seasonal still lifes like this one, with seasonal foods, which became fashionable at court. Barrera represents a more advanced moment in the Baroque than Van der Hamen and Cotán: he seeks asymmetry in his compositions, naturalism in the arrangement of the elements, and even opens occasionally to landscape. In his style, drawing predominates, and he likes to place elements in foreshortening, coming out of the surface on which they rest and accentuating the sensation of depth, as here the bird located in the lower right corner. Francisco Barrera is represented in the Museum of Fine Arts of Seville, the National Museum of Slovakia, as well as in other important collections around the world, both public and private.
Setdart Auction House
Dec. 17, 2020
Attributed to Francisco Barrera (Madrid 1595-1657) The Four Seasons (4)
Est: £80,000 - £120,000
Attributed to Francisco Barrera (Madrid 1595-1657) The Four Seasons a set of four, oil on canvas 143 x 204.5cm (56 5/16 x 80 1/2in). (4) For further information on this lot please visit the Bonhams website
Bonhams
Jul. 08, 2020
Attributed to Francisco Barrera (Madrid 1595-1657) The Four Seasons ( (4))
Est: £150,000 - £250,000
Attributed to Francisco Barrera (Madrid 1595-1657) The Four Seasons a set of four, oil on canvas 143 x 204.5cm (56 5/16 x 80 1/2in). (4) For further information on this lot please visit the Bonhams website
Bonhams
Oct. 09, 2019
FRANCISCO BARRERA (H.1595-1658). Attributed to. Allegory of Taste.
Est: €4,500 - €5,000
Oil on canvas With inscription: "GUSTAR" 105x150 cm.
Balclis
May. 29, 2019
FRANCISCO BARRERA (H.1595-1658). Attributed to. Allegory of Taste.
Est: €9,000 - €10,000
Oil on canvas With inscription: "GUSTAR" 105x150 cm.
Balclis
Jan. 30, 2019
FRANCISCO BARRERA | Allegory of winter with slaughtered pig, dried meats, fish, poultry, a meat pastry, ceramic vessels, and a brazier
Est: $80,000 - $120,000
oil on canvas
Sotheby's
Dec. 19, 2018
OBRADOR DE FRANCISCO BARRERA (Madrid, primera mitad del s. XVII) Naturaleza muerta con anade, enfriador y alimentos variados Oleo sobre lienzo de 90.5 x 142 cm
Est: -
OBRADOR DE FRANCISCO BARRERA (Madrid, first half of the 17th century) Still life with anade, cooler and various foods Oil on canvas 90.5 x 142 cm
Sala Retiro Subastas
May. 08, 2018
FRANCISCO BARRERA 1595 Madrid - 1658 Bodegón de invierno. Enero
Est: -
FRANCISCO BARRERA 1595 Madrid - 1658 Bodegón de invierno. Enero Francisco Barrera and Antonio Ponce were responsible for extending the fashion of seasonal still lifes in Madrid in the mid-17th century; Still lifes in which the typical products of a certain season or month were shown: they had to realize several series of this type, of which we do not know any complete series and yes several loose specimens. The theme of the seasons is treated explicitly in series signed mostly by these two painters in which both products from the garden and meat are displayed placed on tables or plinths in austere kitchens closely following the spatial concept created by Juan de Van der Hamen some years before, although in the productions of both a desire is perceived to surpass these schemes introducing in its works a more moved spirit, more baroque. The best-known series is the one painted by Barrera in 1638 and entitled "The Four Seasons" preserved in the Museum of Fine Arts in Seville and which also includes characters related to the work of the corresponding station. For his part, Ponce, disciple of Juan de Van der Hamen, also makes series of this theme contemporary to those of Barrera (1635-1645) although with a style more attached to that of his teacher, of which he becomes a skilful imitator, copying in many of his paintings the typical elements of the production of the first, such as the fruit baskets (Cherry, Peter: Art and Nature: the Spanish still life in the Golden Age.). Foundation of Support for the History of Hispanic Art, Madrid , 1999, page 208, images 138 and 139). In the still life that occupies us, a window opens to the left of the composition showing us an icy landscape, typical of the month that is represented and just below the sill, in large capital letters and gilded the name of the month represented "JANUARY " Through the window comes a diffuse, gray, cold light that illuminates a slaughter table placed on the right, above it a pig opened in the canal and underneath a wicker basket that already contains some pieces of meat, while the guts have been hanging on the wall; This last element is solved in the same way as the sausages that appear on the table of the "Still life with sausages and chickens" signed by Barrera and dated in 1646 and belonging to the Naseiro collection (Cherry, lame XLII.2), while the basket under the table is identical to the one that appears in "El verano" also signed by Barrera in this case in 1638 and preserved in the Museum of Fine Arts of Seville. There are also six large seasonal still lifes signed by Barrera, belonging to a series that should consist of twelve paintings, since in each of them the name of the month that is represented is written. The name of the month always appears on the gray wall and in large capital letters and gold. The six known still lifes belong to the months of February, April, May, June, July and August, and the remaining six months remain unknown. All of them are painted on canvas of large format, with measures between 101 x 160 cm. and the 102 x 155 cm .; and they are scattered today: three in the Slovak National Gallery in Bratislava, two in private collection and the last in the Arango collection (Cherry, page 203-206, line XLIV-XLVI). In these tables the typical dishes of the month in question are shown inside a room, probably the kitchen, with neutral and poorly lit walls, on tables or stepped plinths; in all of them there is an open window that shows a typical landscape of the month that occupies us, a resource taken from Van der Hamen and previous flamenco artists. As Cherry indicates, this series should have been done for an important client, and its effect when hanging the twelve paintings one after the other, from January to December, should be spectacular. Oil on canvas 100 x 161 cm Antique painting and 19th C.
Isbilya Subastas
Oct. 25, 2017
Attributed to Francisco Barrera (Madrid 1595-1657) A lobster and a pike on
Est: £4,000 - £6,000
Attributed to Francisco Barrera (Madrid 1595-1657) A lobster and a pike on a table-top
Bonhams
Jan. 29, 2016
FRANCISCO BARRERA | An allegory of the month of December, with a cat and a still life of fowl, fish, sweetmeats and chocolate on a stone ledge
Est: $40,000 - $60,000
oil on canvas
Sotheby's
Jan. 29, 2016
FRANCISCO BARRERA | An allegory of the month of October, with a still life of baskets of pomegranates, apples, grapes and other fruits, a pair of doves and songbirds on a stone ledge
Est: $70,000 - $100,000
oil on canvas
Sotheby's
Oct. 07, 2015
Francisco Javier Barrera (Spanish, 21st Century)
Est: £500 - £700
Francisco Javier Barrera (Spanish, 21st Century) A ca teva signed with monogram (lower right) pencil, pen and black ink, pastel and acrylic on paper 19 5/8 x 13 ¾ in. (50 x 35 cm.)
Christie's
Feb. 27, 2014
Francisco Barrera Madrid 1595 - 1658 Still life
Est: €6,000 -
Francisco BarreraMadrid 1595 - 1658 Still life Oil on canvas Signed and dated in 1642 56,7x94,5 cm Francisco Barrera Madrid 1595 - 1658 Bodegón Óleo sobre lienzo Firmado y fechado en 1642 56,7x94,5 cm Francisco BarreraMadrid 1595 - 1658KneipeÖl auf LeinenSigniert und datiert auf 164256,7x94,5 cm
Balclis
Sep. 17, 2010
BARRERA, FRANCISCO (ATTRIBUTED TO) (Circa 1595
Est: CHF10,000 - CHF15,000
BARRERA, FRANCISCO (ATTRIBUTED TO) (Circa 1595 Spain after 1657) Large still life with a peasant couple in a kitchen. Oil on canvas. 105 x 130 cm. BARRERA, FRANCISCO (ZUGESCHRIEBEN) (Um 1595 Spanien nach 1657) Grosses Küchenstilleben mit Bauernehepaar. Öl auf Leinwand. 105 x 130 cm.
Koller Auctions
Oct. 29, 2008
Circle of Francisco Barrera (active Madrid, died 1657) Lobster, pineapples and a woven basket
Est: £5,000 - £7,000
Lobster, pineapples and a woven basket filled with pears, apples and grapes, on a stone ledge oil on canvas 80.8 x 111.8cm (31 13/16 x 44in).
Bonhams