Pedro Berruguete Sold at Auction Prices

Painter, b. 1450 - d. 1504

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    • Possibly PEDRO BERRUGUETE (Paredes de Nava, Palencia, h. 1445/50 - Madrid?, 1503). "Saint Paul". Carved wood. It presents faults in the size, and loss of polychromy.
      Mar. 30, 2022

      Possibly PEDRO BERRUGUETE (Paredes de Nava, Palencia, h. 1445/50 - Madrid?, 1503). "Saint Paul". Carved wood. It presents faults in the size, and loss of polychromy.

      Est: €9,000 - €10,000

      Possibly PEDRO BERRUGUETE (Paredes de Nava, Palencia, ca. 1445/50 - Madrid?, 1503). "Saint Paul". Carved wood. It presents faults in the carving, and loss of the polychromy. Measurements: 28 x 21 x 7 cm. In spite of the faults in this bust of Saint Paul, caused by the passage of time, the sculpture still shows the technical quality of the sculptor, defined through a delicate use of the trepano, as can be seen in the finish of the beard and hair of the protagonist, which show a realistic play of volumes. The idealised face and the monumentality of the bust's body show the artist's knowledge of Renaissance aesthetic precepts. For this reason the work belongs to the circle of Pedro Berruguete, one of the most outstanding painters of 15th-century Spain, the main introducer of the Italian Renaissance in the Castilian school and therefore situated in the transition between the Flemish-influenced Gothic style and the new Italian Renaissance language. Although we know very little documentary information about his life and work, we do know that he was born in the Palencia town of Paredes de Nava around 1445, if we assume, as is generally accepted, that he was the "peras Spagnolus" mentioned in Urbino in 1477. By then he was already a full resident of the Italian city, which is why he had to leave Castile for Italy at least in 1472. Berruguete was born into a family of noble origins and various hypotheses have been put forward regarding his artistic training. It is most likely that he trained in his native Castile with a master influenced by northern models, perhaps Justo de Gante. This training in the Flemish language has led some scholars to situate his training in Flanders, although given the importance of the Nordic influence in Spain at the time, a trip to the Low Countries was not a necessary condition for knowledge of the Flemish language. His training must have been completed in 1470 before he left for Italy, as two panels survive from this period: "Historia de la Santa Cruz" (Museo Parroquial de Santa Eulalia, Paredes de Nava) and "La prueba del fuego" (Museo del Prado). He must have started his journey to Italy with Rome in mind, although he must have arrived in Urbino early, around 1473 or 1474. There he worked for Duke Federico de Montefeltro, producing works such as The Double Portrait of Federico de Montefeltro and his Son Ghibaldo (Gallerie Nazionale delle Marche, Urbino). He must have subsequently returned to Castile and Ceán Bermúdez locates him in Toledo in 1483 on the basis of documentation indicating that he was at that date working on the paintings of the Old Tabernacle in Toledo cathedral, now lost. After a period in Toledo Berruguete is said to have returned to his native town, where between 1485 and 1488 he executed an altarpiece of Saint Anne and the Virgin. After this altarpiece he returned to Toledo, where he is again documented in 1494. In Toledo he must have come into contact with the painter Juan de Borgoña, with whom he shared his mastery of Toledan painting at the time. Around this time he painted the main altarpiece for the convent of Santo Tomás in Ávila, commissioned by the Inquisitor Tomás de Torquemada. The most important panel of this group, the "Auto de Fe presided over by Saint Domingo de Guzmán", is now in the Museo del Prado. Some historians also suggest that he may have worked for Isabella the Catholic, as can be deduced from the "Saint John the Evangelist in Patmos", which Berruguete delivered in 1499 to the old Alcázar in Madrid (now in the Royal Chapel in Granada). Shortly afterwards, around 1500, we find him working for the Hospital de La Latina in Madrid, commissioned by Beatriz Galindo, the queen's tutor.

      Setdart Auction House
    • FOLLOWER OF PEDRO BERRUGUETE Paredes de Nava, Palencia 1450 - 1503 Funeral of San Agu
      Mar. 23, 2021

      FOLLOWER OF PEDRO BERRUGUETE Paredes de Nava, Palencia 1450 - 1503 Funeral of San Agu

      Est: -

      FOLLOWER OF PEDRO BERRUGUETE Paredes de Nava, Palencia 1450 - 1503 Funeral of San Agustín? Ink drawing attached to paper (cut out) Sizes 23.5 x 38.5 cm With collection stamp in the lower right margin.

      Subastas Segre
    • OLD MASTERS PAINTING
      Jul. 18, 2020

      OLD MASTERS PAINTING

      Est: $6,000 - $8,000

      OLD MASTERS PAINTING A Renaissance painted wood panel on gilt ground with the figure of San Diego, attributed to Pedro Berruguete (Spain, 1450-1504). Compare panel portrait at the Museu Nacional d' Art de Catalunya, Barcelona, portrait of St. Gregory the Pope, 15th c., unframed, 21 3/8" x 15".

      Thomaston Place Auction Galleries
    • OLD MASTERS PAINTING
      Feb. 29, 2020

      OLD MASTERS PAINTING

      Est: $10,000 - $15,000

      OLD MASTERS PAINTING A Renaissance painted wood panel on gilt ground with the figure of San Diego, attributed to Pedro Berruguete (Spain, 1450-1504). Compare panel portrait at the Museu Nacional d' Art de Catalunya, Barcelona, portrait of St. Gregory the Pope, 15th c., unframed, 21 3/8" x 15".

      Thomaston Place Auction Galleries
    • PEDRO BERRUGUETE - “Natividad”
      Apr. 02, 2019

      PEDRO BERRUGUETE - “Natividad”

      Est: €100,000 - €150,000

      PEDRO BERRUGUETE Paredes de Nava, Palencia 1450 - 1503 “Nacimiento de Cristo” Oil on wood Measurements 84 x 51 cm Provenance: - Mr and Mrs Carvallo-Álvarez Cabeza de Vaca, nobles from Carrocid, (Lugo), m. 1860. - By descent to their daughter María Teresa married to Salvador Castro Pardo-Montenegro. - By descent to their daughter María Cristina Castro Carvallo, married in 1942 to Rafael Móyer Feijoo. - Private collection, Lugo.

      Subastas Segre
    • PEDRO BERRUGUETE (Paredes de Nava, Palencia, c. 1445/1450 - Madrid?, 1503), Aparición del Ángel a San Joaquín (c. 1480-1490) - PEDRO BERRUGUETE (Paredes de Nava, Palencia, h. 1445/1450-Madrid?, 1503) Aparición del Ángel a San Joaquín (h.
      Jan. 20, 2016

      PEDRO BERRUGUETE (Paredes de Nava, Palencia, c. 1445/1450 - Madrid?, 1503), Aparición del Ángel a San Joaquín (c. 1480-1490) - PEDRO BERRUGUETE (Paredes de Nava, Palencia, h. 1445/1450-Madrid?, 1503) Aparición del Ángel a San Joaquín (h.

      Est: -

      Existen muy pocas referencias documentales sobre la vida y la obra de este gran pintor castellano de origen hidalgo que, no en vano, fue llamado por el profesor Don Diego Angulo Íñiguez "el Velázquez del S. XV". Aunque existen varias hipótesis acerca de su formación, esta debió tener lugar en Castilla junto a algún maestro conocedor de los modelos nórdicos y flamencos. Después marcharía a Italia, donde aparece documentado, tras una estancia en Roma, en el “studiolo” de Federico de Montefeltro, en la ciudad de Urbino, a partir de 1477. Las cuatro obras documentadas que han llegado hasta nosotros: el retablo mayor de la iglesia de Santa Eulalia de Paredes de Nava (Palencia), de hacia 1490, la pintura mural del exterior de la capilla de San Pedro de la catedral de Toledo de 1497, el retablo mayor de la catedral de Ávila, a partir de 1499 (inconcluso) y el retablo de Guaza de Campos (Palencia), de 1501; así como el resto de obras adscritas a la producción del pintor, hablan de un fuerte eclecticismo marcado por su caracter castellano, por la influencia flamenca recibida durante su formación y por las maneras italianas que conoció posteriormente. La tabla aquí presentada narra un tema similar al realizado por el pintor para el Retablo de Santa Eulalia en Paredes de Nava. Dedicado a la vida de la Virgen, una de las tablas cuenta cómo el Ángel anuncia a Santa Ana que está en estado de buena esperanza. Tras esto acude a avisar a San Joaquín, hecho que no aparece representado con frecuencia en la historia del arte. Pese a las diferencias en la composición de la escena, ambas basadas en la perspectiva lineal ortodoxa, las similitudes se hacen más que evidentes en la figura principal del santo, ejemplo de su conocimiento de los modelos clásicos y de su maestría a la hora de representar la figura humana en movimiento. Se adjunta certificado de Dña. Isabel Mateo Gómez.

      Isbilya Subastas
    • Pedro Berruguete (manner of)
      Jun. 11, 2011

      Pedro Berruguete (manner of)

      Est: $800 - $1,400

      Pedro Berruguete (manner of) (Spanish, fl. 1450-1504) SAINT THOMAS OF AQUINAS oil on copper panel, framed, unsigned H8 3/4" W6 3/4" Provenance: Banner Elk, North Carolina private collection.

      Charlton Hall
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