Mateo (1637) Cerezo Paintings & Artwork for Sale | Mateo (1637) Cerezo Art Value Price Guide

Nov. 14, 2024
Attributed to Mateo Cerezo (Burgos, 1637 - Madrid, 1666) - Saint John the Evangelist, 18th century
Est: €4,000 - €8,000
Oil on canvas. Dimensions: 139 x 115 cm. Saint John the Evangelist appears in a serene setting, pointing with his right hand and holding a book on his left leg. The work captures the apostle's mysticism, with a classical composition evoking the influences of Spanish Baroque art of the Counter-Reformation, a period in which religious images were used to reinforce the Catholic faith. The quality of the work suggests the hand of a painter trained in the great traditions of the 17th-century Madrid school.
Templum Fine Art Auctions
Oct. 01, 2024
Attributed to MATEO CEREZO (Burgos, 1637-Madrid, 1666). "Still life". Oil on canvas. Presents inscription with old attribution. It has a XVII century frame with damages caused by xylophages and restorations.
Est: €9,000 - €10,000
Attributed to MATEO CEREZO (Burgos, 1637-Madrid, 1666). "Still life". Oil on canvas. Presents inscription with old attribution. It has a XVII century frame with damages caused by xylophages and restorations. Measurements: 45.5 x 61.5 cm; 64.5 x 68 cm (frame). Both the arrangement of the elements of the work, as well as those that make it up are very reminiscent of the painting "Still life of fish" by Mateo Cerezo, which is in the National Museum of San Carlos in Mexico. In addition, the asymmetrical composition, the informal placement of the elements and the dense brushstroke show us the clear stylistic influence of the master from Burgos in the work of this painter. Mateo Cerezo was trained in Madrid, becoming part of Carreño's workshop. He was an artist in great demand by a varied clientele, especially for his religious painting, although he also tackled other genres. In this sense, the treatise writer and biographer Palomino declared the excellence with which he painted "bodegoncillos, with such superior excellence, that no one surpassed him", a judgment fully corroborated when contemplating the works in the National Museum of San Carlos in Mexico, which are signed and dated. Based on them, Perez Sanchez attributed to him the still life of kitchen bought by the Prado Museum in 1970, a work of obvious Flemish influence that, at times, has led to think of Pereda. The works of this artist from Valladolid have also been pointed out as Cerezo's ancestors, especially in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left works that were somewhat rougher than those he produced in the following decade. In his works he affirms himself as a faithful follower of Carreño, of whom he became one of his best collaborators. The master showed him the path he himself later followed, following the path of Van Dyck and Titian. Thus, Cerezo develops compositions that open up in wide and complex scenographies, conceived with a distinguished refinement, which is manifested both in the work as a whole and in the smallest details. Like the master of Antwerp, he endows his characters with a rich magnificence in their clothing, applying a fluid and light brushstroke, contrasted by a rich play of light. A superb example of all this is the canvas The Mystical Betrothal of St. Catherine in the Prado, signed and dated 1660. It has an inscription with an old attribution. It has a 17th century frame with damages caused by xylophagous and restorations.
Setdart Auction House
Jun. 26, 2024
Attributable to Mateo Cerezo (Burgos 1637 - Madrid 1666) - Madrid Baroque School of the 17th century - Saint Francis of Assisi in Meditation
Est: €4,000 - €5,500
Important oil painting on table measurements: 36 x 34 framed measurements: 40 x 30 cm Ex-Barcelona private collection Trained in Carreño's workshop a follower of his style and a close collaborator of his he was known for his religious painting and his still lifes praised for it even by Palomino His full baroque style is influenced by Titian and Van Dyck In the case of this “Jesus of Nazareth crowned with thorns” according to Professor Gutiérrez Pastor his technique fits with some paintings from the period between 1663 and 1666 During his career Cerezo repeatedly painted Saint Francis of Assisi being the present table perhaps used as a door element of a tabernacle
Templum Fine Art Auctions
Apr. 10, 2024
MATEO CEREZO Burgos (1637) / Madrid (1666) "Still life of fish"
Est: €28,500 - €38,000
Oil on canvas Trained in Carreño's workshop, a follower of his style and close collaborator, he was known for his religious painting and his still lifes, praised for it even by Palomino . The attribution of the present work is based on stylistic coincidences, the elements present and their placement in relation to other still lifes attributed to the painter such as the one preserved in the Museum of Fine Arts of Granada. According to the property, Peter Cherry confirmed the authorship of the work in a physical examination of it. Measurements: 83 x 63 cm
Ansorena
Dec. 13, 2023
MATEO CEREZO (Burgos, 1637-Madrid, 1666). "Still life with fish". Oil on canvas. Relined. It has very slight repainting that does not affect the important areas of the painting.
Est: €10,000 - €12,000
MATEO CEREZO (Burgos, 1637-Madrid, 1666). "Still life with fish". Oil on canvas. Retouching It has very slight repainting which does not affect the important areas of the painting. Measurements: 84 x 105 cm; 99 x 122 cm (frame). The one we now present is a still life undoubtedly attributed to Mateo Cerezo, a hitherto unpublished canvas which shows the astonishing technique and know-how of this painter. Its reminiscences with other works by Cerezo increase its interest and make it an important contribution to the artist's pictorial output. In this way, our still life can be related to the "Still Life with Fish" in the Granada Museum, in which Cerezo uses an identical arrangement of foodstuffs (although our painting has more elements): on a shelf there are practically the same fish and pots, including the central fish, the lamprey surrounding it, the sea urchin cut in half, the jar with fish on its lid, etc..., These coincidences lead us to believe that both pieces - the one now on auction and the one in the Museum of Granada - were made at the same time. Another of the works that can be related to our canvas is the one presented by the Caylus gallery in its exhibition of still lifes in 2004, in which the design is once again repeated in shelves with almost identical arrangements. It is worth mentioning that, until now, the only still lifes signed by Cerezo are, on the one hand, the one mentioned in Caylus and, on the other hand, the one housed in the Museo de San Carlos in Mexico City. Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also tackled other genres. In this respect, the treatise writer and biographer Palomino stated that he produced "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The work of this artist from Valladolid has also been identified as ancestral to Cerezo, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Thus, Cerezo developed compositions that open out into large, complex scenographies, conceived with a distinguished refinement that is evident both in the work as a whole and in the smallest details. Like the Antwerp master, he endowed his figures with a rich magnificence in their costumes, applying a fluid, light brushstroke, contrasted by a rich play of light. A superb example of all this is the Prado's The Mystical Betrothal of Saint Catherine, signed and dated 1660.
Setdart Auction House
Oct. 03, 2023
CEREZO, MATEO
Est: CHF700 - CHF1,000
(Burgos 1637–1666 Madrid) zugeschrieben Die Bekehrung der Maria Magdalena. Öl auf Leinwand auf Holz. 74x59 cm. Gerahmt. - Retouchen und Krakelüren. Rahmen beschädigt.
Schuler Auktionen
Sep. 19, 2023
ATTRIBUTED TO MATEO CEREZO - Ecce Homo
Est: -
ATTRIBUTED TO MATEO CEREZO Burgos 1637 - Madrid 1666 Ecce Homo Oil on panel Size 29 x 21.5 cm Up to now unpublished work, this moving Ecce Homo compositionally derives from another model by the painter that came onto the market in recent times. There are several versions of the same theme that we know of the painter from Burgos, such as the two copies that appear in the Museum of Burgos (deposits of the Prado Museum) or the one in the Museum of Fine Arts in Budapest. This work could be inscribed in the painter's prime years, before his premature death, when he was immersed in numerous commissions, most of them for religious institutions in the Villa and Court. His vibrant and undone brushstrokes with which he recreates the lacerating carnations of Christ, are combined with other denser and darker ones that allow him to express the drama of an image of devotion conceived to move the devoted spectator.
Subastas Segre
Sep. 18, 2023
CEREZO, MATEO
Est: CHF700 - CHF1,000
(Burgos 1637–1666 Madrid) zugeschrieben Die Bekehrung der Maria Magdalena. Öl auf Leinwand auf Holz. 74x59 cm. Gerahmt. - Retouchen und Krakelüren. Rahmen beschädigt.
Schuler Auktionen
Nov. 04, 2021
MATEO CEREZO (1637 / 1666) Jesus of Nazareth crowned with thorns and wearing a purple robe.
Est: €33,000 - €44,000
Attached is a report by Professor Ismael Gutiérrez Pastor with nº002-2021 of the year 2021 On the back is a label from the Seizure Board and the Spanish Artistic Heritage Defence Service (SDPAE), which reads: "Inventory No. 13.972 / Provenance C.N.T. / Collection no. 673" Provenance: -Probably José Romaní (Bologna ca. 1616 - Madrid, 1680), due to an old inscription on the back which is no longer known from photos. 673" Provenance: -Probably José Romaní (Bologna ca. 1616 - Madrid, 1680), due to an old inscription on the back which has now disappeared and is known from photographs -Private collection Trained in Carreño's workshop, a follower of his style and close collaborator, he was known for his religious painting and his still lifes, praised for which even Palomino praised him. His full Baroque style was influenced by Titian and Van Dyck. In the case of this "Jesus of Nazareth Crowned with Thorns", according to Professor Gutiérrez Pastor, his technique fits in with certain paintings from the period between 1663 and 1666. During his career Cerezo painted the theme of Jesus Crowned with Thorns on several occasions in a variety of compositions. The work to which he is most closely related is Christ as a Man of Sorrows, which was in the Orriols collection in Barcelona (oil on canvas, 80, 2 x 58.8 cm; sold at Christie's London, 1996, lot 127, now unlocated), both of which are clearly inspired by works by El Greco. It should be noted that this small panel has a stuccoed and gilded reverse and X-ray analysis has revealed that it is made up of thirteen pieces of wood. In addition, two hidden viagras are visible on the right-hand side and there is a hole that is currently covered where a lock would have been located, indicating that this panel may have been used as a door for a tabernacle.. Oil on panel. 28,5 x 21,5 cm
Ansorena
Oct. 09, 2019
MATEO CEREZO (1637-1666). Immaculate.
Est: €25,000 - €28,000
Oil on canvas Signed on the back: "Mº Zº". The Commandadoras de Santiago and the Venerable Tercera Order de Madrid preserve two works of similar composition, but larger dimensions. This could be a model for one of the previous. Reference literature: José R. Buendía and Ismael Gutiérrez Pastor, "Vida y obra del pintor Mateo Cerezo (1637-1666)", Burgos, Diputación Provincial de Burgos, 1986, p. 125-128. 57.2x42.5 cm.
Balclis
Oct. 25, 2017
CIRCLE OF MATEO CEREZO, María Magdalena en oración. Oil on canvas
Est: -
María Magdalena en oración CÍRCULO DE MATEO CEREZO 1637 Burgos - 1666 MadridMaría Magdalena en oración
Isbilya Subastas
Oct. 25, 2017
FOLLOWER OF MATEO CEREZO, Maria Magdalena. Oil on canvas
Est: -
Maria Magdalena SEGUIDOR DEL S. XVIII DE MATEO CEREZO 1637 Burgos - 1666 Madrid Maria Magdalena Pintor probablemente madrileño que realiza con gran maestría una versión de la Magdalena Penitente pintada hacia 1665-1666 por el maestro burgalés.
Isbilya Subastas
Mar. 11, 2017
MATEO CEREZO (ATTR) ITALIAN 1635-1685
Est: $800 - $1,200
The Holy Family (Old Master, oil on canvas , 32 1/8 x 25 in (81.6 x 63.5 cm), wax seal upper right, label verso
Trinity International Auctions & Appraisals, LLC
Apr. 05, 2016
Inmaculada
Est: -
CIRCLE OF DE MATEO CEREZO (Burgos, 1637 - Madrid, 1666), The Immaculate Conception 128 x 91 cm
Isbilya Subastas
Jul. 01, 2013
Circle of Mateo Cerezo (1637-1666)
Est: -
Circle of Mateo Cerezo (1637-1666) The Penitent Magdalen oil on canvas 34 5/8 x 28 1/8 in. (88 x 71.5 cm.)
Christie's
Dec. 07, 2011
Attributed to Mateo Cerezo (Burgos 1635-1685 Madrid) The Penitent Magdalen
Est: £10,000 - £15,000
The Penitent Magdalen oil on canvas 82.5 x 60cm (32 1/2 x 23 5/8in).
Bonhams
Apr. 13, 2011
Mateo Cerezo (Burgos 1637-1666 Madrid) circle of
Est: €20,000 - €25,000
Mateo Cerezo (Burgos 1637-1666 Madrid) circle of
Dorotheum
Dec. 04, 2008
Mateo Cerezo , Burgos bapt 1637 - 1666 Madrid the penitent magdalene oil on canvas
Est: £8,000 - £12,000
signed lower right: Mat eo f. c oil on canvas
Sotheby's