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

Jul. 17, 2024
Figura de un Belén realizada en terracota policrom…
Est: -
Figura de un Belén realizada en terracota policromada representando hombre cargando leña. Trabajo napolitano.
Arte Subastas Bilbao
Jul. 17, 2024
ATRIBUIDO A MATEO CEREZO - Niño Jesús con San Juanito
Est: -
ATRIBUIDO A MATEO CEREZO - Niño Jesús con San Juanito
Arte Subastas Bilbao
Mar. 26, 2024
ESCUELA MADRILEÑA, S.XVII. CÍRCULO DE MATEO CEREZO
Est: €2,000 - €2,500
Escuela madrileña, s.XVII. Círculo de Mateo Cerezo (Burgos, 1637-Madrid, 1666) Asunción de la Virgen. Óleo sobre lienzo. Reentelado. 89 x 62 cm.
Aletheia Subastas
Sep. 19, 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: €20,000 - €25,000
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 The one we now present is a still life undoubtedly attributed to Mateo Cerezo, a hitherto unpublished canvas which shows the astonishing technique and know-how of this painter.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
May. 22, 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: €60,000 - €80,000
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
Dec. 28, 2021
MATEO CEREZO (Burgos, 1637-Madrid, 1666). "The lamentation". Pen and brown ink and gouache on paper.
Est: €9,000 - €10,000
MATEO CEREZO (Burgos, 1637-Madrid, 1666). "The lamentation". Pen and brown ink and gouache on paper. Presents good state of preservation. Preserves numbering 19190. Measurements: 10 x 15.7 cm; 44.5 x 59 cm (frame). The scene of the lamentation or weeping over the body of the dead Christ is part of the cycle of the Passion, and it is intercalated between the Descent from the Cross and the Holy Burial. It narrates the moment in which the body of Christ is deposited on a shroud (in other cases, on the stone of anointing) and they are arranged around him, bursting into lamentations and sobs, his mother, St. John, the holy women, Joseph of Arimathea and Nicodemus. It is a very emotional theme, fruit of popular piety, which concentrates the attention on the drama of the Passion and the loving and sorrowful contemplation, with a realistic and moving sense. In Byzantium, and in the representations of Byzantine influence, the figure of Christ rests on the slab of the anointing, where his corpse was perfumed and prepared to receive burial, which later in Italian art will become a sepulcher. This scene does not appear in the Gospels, but finds its origin in mystical literature and religious texts of piety, as well as in those of the confraternities of flagellants. 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. The magnificent scenery of full baroque character, closed with a majestic architectural background and a landscape of clouds and sky fully Venetian, denotes the elegance of the works of Van Dyck. The influence of this same artist can be attributed to the opulent vestments of the saint, which contrast with the attentive study of the reality with which he represents the basket of fruit, an example of the quality of the still life of the painter from Burgos.
Setdart Auction House
Sep. 21, 2021
Circle of MATEO CEREZO (Burgos, 1637-Madrid, 1666). "Penitent Magdalene". Oil on canvas. Relining. It presents repainting and restorations.
Est: €4,000 - €5,000
Circle of MATEO CEREZO (Burgos, 1637-Madrid, 1666). "Penitent Magdalene". Oil on canvas. Relining. It presents repainting and restorations. Measurements: 103 x 85 cm. In this canvas, Mary Magdalene is represented as a penitent in the desert, dressed with a jet robe, on which the red tone of the cloak stands out. Although this is an unusual feature, the young woman, who appears to be absorbed in the Scriptures, does not have long, flowing hair, which alludes to the style of the young woman's life before she met Christ. The saint is depicted next to a perfumer, the Holy Scriptures and the skull. Mary Magdalene is mentioned in the New Testament as a distinguished disciple of Christ. According to the Gospels, she housed and provided materially for Jesus and his disciples during their stay in Galilee, and was present at the Crucifixion. She was a witness to the Resurrection, as well as the one in charge of transmitting the news to the apostles. She is also identified with the woman who anointed the feet of Jesus with perfumes before his arrival in Jerusalem, so her main iconographic attribute is a knob of essences, like the one shown here. While Eastern Christianity particularly honours Mary Magdalene for her closeness to Jesus, considering her "equal to the apostles", in the West the idea developed, based on her identification with other women in the Gospels, that before meeting Jesus she had engaged in prostitution. Hence the later legend that she spent the rest of her life as a penitent in the desert, mortifying her flesh. She was most often depicted in this way in art, especially in the 17th century, a time when Catholic societies were particularly fascinated by the lives of mystics and saints who lived in solitude in the wilderness, dedicated to prayer and penance. The story of this saint serves as an example of Christ's forgiveness, and conveys the message of the possibility of redemption of the soul through repentance and faith. 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 Cerezo's descendant, 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
Apr. 29, 2015
MATEO CEREZO | The Immaculate Conception
Est: £30,000 - £50,000
oil on canvas, unlined
Sotheby's
Mar. 20, 2013
MATEO CEREZO, attributed to, MOUNTAIN LANDSCAPE
Est: €3,500 - €4,000
MATEO CEREZO, attributed to, MOUNTAIN LANDSCAPE WITH KNEELING SHEPHERD (A SAINT?), 62.5 x 81 cm, Oil on canvas (relined)
Kunsthaus Lempertz KG
Sep. 21, 2012
Attributed to CEREZO, MATEO the younger(Burgos
Est: CHF12,000 - CHF18,000
Attributed to CEREZO, MATEO the younger (Burgos 1635 - 1685 Madrid) Madonna and Child with Saint Dominic. Oil on canvas. 131 x 95 cm. CEREZO, MATEO d. J. (ZUGESCHRIEBEN) (Burgos 1635 - 1685 Madrid) Madonna mit dem Kind und dem Heiligen Dominikus. Öl auf Leinwand. 131 x 95 cm.
Koller Auctions
May. 02, 2012
Attributed to Mateo Cerezo (Burgos 1635-1685 Madrid)
Est: £7,000 - £10,000
The Penitent Magdalen oil on canvas 82.5 x 60cm (32 1/2 x 23 5/8in).
Bonhams