Juan Sánchez Cotán Paintings & Artwork for Sale | Juan Sánchez Cotán Art Value Price Guide

Nov. 14, 2024
TRIPTYCH OF THE "VIRGIN OF THE PEAR" - Fray Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627) - Grenada Mannerist School of the late 16th century
Est: €37,500 - €45,000
Templum is pleased to present for the first time to the national and international art auctions market this true gem in the form of a miniature portable triptych exquisitely painted in oil on copper and richly decorated on its exterior in linear bone and ebony inlay; which in itself represents a true artistic milestone given its outstanding quality and small size, where the artistic canons of late Mannerism and the transition to the Granada Baroque merge and intertwine perfectly. Painted in oil on copper, with three leaves, in the center, an exquisite Virgin of La Pera with a maternal and loving gesture holding the Child Jesus in her lap, for which the words written here fall short, very short at the time. to describe the sublime, delicate and refined line used by Master Fray Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627). On the left page the viewer can see a magnificent Christ the Man of Sorrows tied to the column, and, finally, on the right page, a more than outstanding Magdalena Penitente, also a work by the same author, bathed in tears, who observes sadly. to a smiling and smiling Child God, with a happy look, being wrapped up by his Heavenly Mother, without yet knowing his final destination of the Cross as Redeemer of Humanity. Reference bibliography: Orozco Díaz, Emilio (1993). The painter friar Juan Sánchez Cotán. University of Granada. ISBN 9788433817600. Open measurements: 33 x 21 cm, closed measurements: 21 x 16.5 cm. Provenance: important private collection from Barcelona, unpublished piece in the art market and national auctions to date.
Templum Fine Art Auctions
Oct. 09, 2024
TRIPTYCH OF THE "VIRGIN OF THE PEAR" - Fray Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627) - Grenada Mannerist School of the late 16th century
Est: €37,500 - €45,000
Templum is pleased to present for the first time to the national and international art auctions market this true gem in the form of a miniature portable triptych exquisitely painted in oil on copper and richly decorated on its exterior in linear bone and ebony inlay; which in itself represents a true artistic milestone given its outstanding quality and small size, where the artistic canons of late Mannerism and the transition to the Granada Baroque merge and intertwine perfectly. Painted in oil on copper, with three leaves, in the center, an exquisite Virgin of La Pera with a maternal and loving gesture holding the Child Jesus in her lap, for which the words written here fall short, very short at the time. to describe the sublime, delicate and refined line used by Master Fray Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627). On the left page the viewer can see a magnificent Christ the Man of Sorrows tied to the column, and, finally, on the right page, a more than outstanding Magdalena Penitente, also a work by the same author, bathed in tears, who observes sadly. to a smiling and smiling Child God, with a happy look, being wrapped up by his Heavenly Mother, without yet knowing his final destination of the Cross as Redeemer of Humanity. Reference bibliography: Orozco Díaz, Emilio (1993). The painter friar Juan Sánchez Cotán. University of Granada. ISBN 9788433817600. Open measurements: 33 x 21 cm, closed measurements: 21 x 16.5 cm. Provenance: important private collection from Barcelona, unpublished piece in the art market and national auctions to date.
Templum Fine Art Auctions
Sep. 12, 2024
Attributable to Juan Sánchez Cotán, Holy Family, Granada school, 17th century
Est: €8,000 - €10,000
Oil on canvas, canvas measures: 82 x 105 cm, framed measures: 97 x 118 cm. Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627) was a Spanish painter, a disciple of Blas de Prado and influenced by some artists who worked in El Escorial, such as Luca Cambiaso or Juan Fernández Navarrete. Sánchez Cotán worked in Toledo, where he had an important clientele, until in 1603 he decided to enter the Cartuja as a lay brother, one of the most strictly observed religious orders, settling in Granada until his death on September 8, 1627, a festival of the Nativity of the Virgin, the same day that, according to Antonio Palomino, he had professed as a Carthusian in 1604. Antonio Palomino affirms that he was a disciple of Blas de Prado in Toledo, with whom he "excelled in painting fruit". Although it has not been possible to confirm documents, this learning relationship is plausible. Prado, who made frequent trips to El Escorial assimilating the Mannerist tendencies that were practiced there, would have been, according to literary sources, the creator of the Spanish still life, although none of his hands have been preserved. On the other hand, their friendly relationship and professional with Sánchez Cotán is accredited until the same year of his death in 1599. The testament that Sánchez Cotán drew up in 1603, when he was preparing to take the Carthusian habit, together with the inventory of his assets carried out by his executors, are the best source of information available for the knowledge of his human and professional trajectory up to that year. Reference bibliography: Ripollés, Carmen (2018). «The still lifes of Juan Sánchez Cotán and artistic ingenuity in early modern Toledo». Bulletin of the Museo del Prado XXXVI (54): 34-47.
Templum Fine Art Auctions
Sep. 12, 2024
TRIPTYCH OF THE "VIRGIN OF THE PEAR" - Fray Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627) - Grenada Mannerist School of the late 16th century
Est: €37,500 - €45,000
Templum is pleased to present for the first time to the national and international art auctions market this true gem in the form of a miniature portable triptych exquisitely painted in oil on copper and richly decorated on its exterior in linear bone and ebony inlay; which in itself represents a true artistic milestone given its outstanding quality and small size, where the artistic canons of late Mannerism and the transition to the Granada Baroque merge and intertwine perfectly. Painted in oil on copper, with three leaves, in the center, an exquisite Virgin of La Pera with a maternal and loving gesture holding the Child Jesus in her lap, for which the words written here fall short, very short at the time. to describe the sublime, delicate and refined line used by Master Fray Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627). On the left page the viewer can see a magnificent Christ the Man of Sorrows tied to the column, and, finally, on the right page, a more than outstanding Magdalena Penitente, also a work by the same author, bathed in tears, who observes sadly. to a smiling and smiling Child God, with a happy look, being wrapped up by his Heavenly Mother, without yet knowing his final destination of the Cross as Redeemer of Humanity. Reference bibliography: Orozco Díaz, Emilio (1993). The painter friar Juan Sánchez Cotán. University of Granada. ISBN 9788433817600. Open measurements: 33 x 21 cm, closed measurements: 21 x 16.5 cm. Provenance: important private collection from Barcelona, unpublished piece in the art market and national auctions to date.
Templum Fine Art Auctions
Jul. 25, 2024
Attributable to Juan Sánchez Cotán, Holy Family, Granada school, 17th century
Est: €8,000 - €10,000
Oil on canvas, canvas measures: 82 x 105 cm, framed measures: 97 x 118 cm. Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627) was a Spanish painter, a disciple of Blas de Prado and influenced by some artists who worked in El Escorial, such as Luca Cambiaso or Juan Fernández Navarrete. Sánchez Cotán worked in Toledo, where he had an important clientele, until in 1603 he decided to enter the Cartuja as a lay brother, one of the most strictly observed religious orders, settling in Granada until his death on September 8, 1627, a festival of the Nativity of the Virgin, the same day that, according to Antonio Palomino, he had professed as a Carthusian in 1604. Antonio Palomino affirms that he was a disciple of Blas de Prado in Toledo, with whom he "excelled in painting fruit". Although it has not been possible to confirm documents, this learning relationship is plausible. Prado, who made frequent trips to El Escorial assimilating the Mannerist tendencies that were practiced there, would have been, according to literary sources, the creator of the Spanish still life, although none of his hands have been preserved. On the other hand, their friendly relationship and professional with Sánchez Cotán is accredited until the same year of his death in 1599. The testament that Sánchez Cotán drew up in 1603, when he was preparing to take the Carthusian habit, together with the inventory of his assets carried out by his executors, are the best source of information available for the knowledge of his human and professional trajectory up to that year. Reference bibliography: Ripollés, Carmen (2018). «The still lifes of Juan Sánchez Cotán and artistic ingenuity in early modern Toledo». Bulletin of the Museo del Prado XXXVI (54): 34-47.
Templum Fine Art Auctions
Jul. 25, 2024
TRIPTYCH OF THE "VIRGIN OF THE PEAR" - Fray Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627) - Grenada Mannerist School of the late 16th century
Est: €37,500 - €45,000
Templum is pleased to present for the first time to the national and international art auctions market this true gem in the form of a miniature portable triptych exquisitely painted in oil on copper and richly decorated on its exterior in linear bone and ebony inlay; which in itself represents a true artistic milestone given its outstanding quality and small size, where the artistic canons of late Mannerism and the transition to the Granada Baroque merge and intertwine perfectly. Painted in oil on copper, with three leaves, in the center, an exquisite Virgin of La Pera with a maternal and loving gesture holding the Child Jesus in her lap, for which the words written here fall short, very short at the time. to describe the sublime, delicate and refined line used by Master Fray Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627). On the left page the viewer can see a magnificent Christ the Man of Sorrows tied to the column, and, finally, on the right page, a more than outstanding Magdalena Penitente, also a work by the same author, bathed in tears, who observes sadly. to a smiling and smiling Child God, with a happy look, being wrapped up by his Heavenly Mother, without yet knowing his final destination of the Cross as Redeemer of Humanity. Reference bibliography: Orozco Díaz, Emilio (1993). The painter friar Juan Sánchez Cotán. University of Granada. ISBN 9788433817600. Open measurements: 33 x 21 cm, closed measurements: 21 x 16.5 cm. Provenance: important private collection from Barcelona, unpublished piece in the art market and national auctions to date.
Templum Fine Art Auctions
Jun. 26, 2024
TRIPTYCH OF THE VIRGIN OF THE PEAR - Fray Juan Sánchez Cotán (Orgaz Toledo 1560-Granada 1627) - Grenada Mannerist School of the late 16th century
Est: €45,000 - €65,000
Templum is pleased to present for the first time to the national and international art auctions market this true gem in the form of a miniature portable triptych exquisitely painted in oil on copper and richly decorated on its exterior in linear bone and ebony inlay; which in itself represents a true artistic milestone given its outstanding quality and small size where the artistic canons of late Mannerism and the transition to the Granada Baroque merge and intertwine perfectly Painted in oil on copper with three leaves in the center an exquisite Virgin of La Pera with a maternal and loving gesture holding the Child Jesus in her lap for which the words written here fall short very short at the time to describe the sublime delicate and refined line used by Master Fray Juan Sánchez Cotán (Orgaz Toledo 1560-Granada 1627) On the left page the viewer can see a magnificent Christ the Man of Sorrows tied to the column and finally on the right page a more than outstanding Magdalena Penitente also a work by the same author bathed in tears who observes sadly to a smiling and smiling Child God with a happy look being wrapped up by his Heavenly Mother without yet knowing his final destination of the Cross as Redeemer of Humanity Reference bibliography: Orozco Díaz Emilio (1993) The painter friar Juan Sánchez Cotán University of Granada ISBN 9788433817600 Open measurements: 33 x 21 cm closed measurements: 21 x 16 5 cm Provenance: important private collection from Barcelona unpublished piece in the art market and national auctions to date
Templum Fine Art Auctions
May. 29, 2024
Spanish school XVIII century. Follower of JUAN SÁNCHEZ COTÁN, (Orgaz, Toledo, 1560 - Granada, 1627). "Still life with apples". Oil on canvas. Relined.
Est: €4,000 - €5,000
Spanish school XVIII century. Follower of JUAN SÁNCHEZ COTÁN, (Orgaz, Toledo, 1560 - Granada, 1627). "Still life with apples". Oil on canvas. Relined. Measurements: 80.5 x 100 cm; 99 x 119 cm (frame). Possible disciple of Blas de Prado and influenced by some of the artists who worked in El Escorial, as Luca Cambiaso or Juan Fernández Navarrete, and also by the Venetian masters, of whom he made numerous copies for private collectors, Juan Sánchez Cotán worked in Toledo, where he had an important clientele, until in 1603 he entered as a lay brother in the Carthusian monastery, settling in Granada. The bulk of his work is made up of religious paintings, especially the numerous ones he painted for the Carthusian monastery in Granada, although he also painted portraits and landscapes. However, he is famous for his still lifes, especially since the celebration in Madrid, in 1935, of the exhibition "Floreros y bodegones en la pintura española", which was key for the critical revaluation of the Spanish still life, and which turned Sánchez Cotán into one of its cornerstones. Sánchez Cotán enjoyed a comfortable life in Toledo, carrying out commissions for religious paintings for churches and also others of lesser importance, such as painting the arms of the archbishop of Toledo on each of a shoemaker. However, no disciples or assistants are mentioned in the documentation. Also around this time he made the aforementioned copies of Venetian works, and some landscapes. In his works of this time, a fully formed, refined and sweet style is evident, derived from the painters of the school of El Escorial, which remained virtually unchanged throughout his career. Works by Sánchez Cotán are currently held in the Prado Museum, the Fine Arts Museum of Granada, the San Diego Museum in California, the Art Institute of Chicago, the Barbara Piasecka Johnson Collection in Princeton (USA), the Bowes Museum of Durham in the United Kingdom and other collections. Relined.
Setdart Auction House
May. 28, 2024
SÁNCHEZ COTÁN,JUAN (1560 - 1627)
Est: -
Oil on panel. Signed in the lower left corner.
Duran Arte y Subastas
Feb. 29, 2024
Juan Sánchez Cotán (Orgaz, Toledo, 1560 - Granada, 1627) "Return from the Flight into Egypt of the Holy Family"
Est: €4,000 - €6,000
Juan Sánchez Cotán (Orgaz, Toledo, 1560 - Granada, 1627) "Return from the Flight into Egypt of the Holy Family" Oil on canvas 101 x 77 cm 4.000 - 6.000 € Descriptive text of the emeritus professor of the University of Granada, Mr. Domingo Sánchez-Mesa is enclosed This dynamic painting by Cotán can be located in Toledo, and more probably in his years at the Carthusian monastery of El Paular. It is a work in a peaceful and orderly tone, like almost all his production, although here the geometric sense that characterizes his compositions is surprisingly surpassed by a double diagonal, formed between the two groups of angels and the Holy Family. Equally surprising is the use of the three bands of light, concatenated to the passage of the divine personages, which seem to be of the painter's time and hand, but which allow the remains of a corrected background to peep through between the wings of the flying angels
Greco Subastas
Feb. 29, 2024
Juan Sánchez Cotán (Orgaz, Toledo, 1560 - Granada, 1627). "Virgin of the milk"
Est: €4,000 - €7,000
Juan Sánchez Cotán (Orgaz, Toledo, 1560 - Granada, 1627). "Virgin of the milk" Oil on canvas 107 x 88 cm 4.000 - 7.000 € Descriptive text of the emeritus professor of the University of Granada, Mr. Domingo Sánchez-Mesa is enclosed This work can be dated in the last third of that century, in the painter's Toledo period. The artistic atmosphere in Toledo at that time, full of the values brought by artists who had worked at the Escorial, is expressed in the monumentality of this Marian figure, a true matron, without Mannerist anatomical exaggerations, but still far from the incipient Baroque style, and all translated with that halo of personal Cotanesque primitivism. It has undergone a first cleaning, unfinished, of oxidized varnish and dirt
Greco Subastas
Dec. 20, 2023
Spanish school by Juan Sánchez Cotán (Toledo, 1560 - Granada, 1627), 17th century
Est: €5,000 - €6,000
Oil on canvas, canvas measurements: 70 x 50, framed measurements: 80 x 60 cm. Provenance: important private collection, Madrid. Lot without reserve.
Templum Fine Art Auctions
Sep. 27, 2023
Immaculate Virgin in Glory, attributed to Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627), Spanish school of the 17th century
Est: €20,000 - €25,000
Oil on board, framed. Table measurements: 34 x 25 cm. Framed measurements: 52 x 44 cm. First Spanish painter whose still lifes we know, mostly painted before 1603. Baptized in the parish church of his hometown on June 25, 1560, he lived and worked in Toledo. It is possible that he was a disciple of Blas de Prado, a painter who enjoys the distinction of being the first documented Spanish still life painter, but of whom no works of that genre have been identified. Part of Sánchez Cotán's family resided in Orgaz (Toledo); In Alcázar de San Juan (Ciudad Real) lived his brother Alonso Sánchez Cotán, sculptor, and his two artist sons, Alonso, also a sculptor and assembler, and Damián, a gilder and stew. The central event in Sánchez Cotán's life was his decision, at the age of forty-three, of leaving Toledo to become a Carthusian. It is surprising that in the documentation of his Toledo career there is no mention of disciples or assistants. His inventory includes portraits and copies of Venetian paintings for private collectors, as well as landscapes. Of some sixty paintings reviewed in that document, half were religious subjects, eleven portraits and only nine still lifes. Judging by that, the devotional easel paintings would be a basic production of the artist, generally pious images of the Virgin and saints rather than narrative scenes. Those he made in Toledo present a fully formed, refined and sweet style of figures, derived from the painters of the El Escorial school, which remained virtually unchanged throughout his career. There is no doubt, however, that the truly notable aspect of Sánchez Cotán's art, as was already recognized in the 17th century, were his still lifes. Reference bibliography: Cherry, Peter, Art and nature. The Spanish still life in the golden century, Madrid, Foundation to Support the History of Hispanic Art, 1999. Provenance: important private Valencian collection.
Templum Fine Art Auctions
Jul. 06, 2023
Virgin Mary Imposing the Holy Rosary to Sainte Therèse, Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627), 17th century Spanish School
Est: €45,000 - €50,000
Oil on canvas, no frame attached. Canvas measurements: 174 x 120 cm. (Orgaz, Toledo, 1560-Granada, 1627). First Spanish painter whose still lifes we know of, mostly painted before 1603. Baptized in the parish church of his native town on June 25, 1560, he lived and worked in Toledo. It is possible that he was a disciple of Blas de Prado, a painter who enjoys the distinction of being the first documented Spanish still life artist, but whose works of that genre have not been identified. Part of the Sánchez Cotán family resided in Orgaz (Toledo); Alcázar de San Juan (Ciudad Real) lived his brother Alonso Sánchez Cotán, a sculptor, and his two artist sons, Alonso, also a sculptor and assembler, and Damián, a gilder and stewmaker. The central event in the life of Sánchez Cotán was his decision, at the age of forty-three, to leave Toledo to become a Carthusian. It is surprising that in the documentation of his Toledo career there is no mention of disciples or assistants. His inventory alludes to portraits and copies of Venetian paintings for private collectors, as well as landscapes. Of some sixty paintings reviewed in that document, half were religious, eleven portraits and only nine still lifes. Judging from that, devotional easel paintings would be a basic output of the artist, generally pious images of the Virgin and saints rather than narrative scenes. Those he produced in Toledo present a fully formed, refined and sweet style of figures, derived from the painters of the Escorial school, which remained virtually unchanged throughout his career. There is no doubt, however, that the truly notable aspect of Sánchez Cotán's art, as recognized already in the 17th century, were his still lifes. Reference bibliography: Cherry, Peter, Art and nature. The Spanish still life in the Golden Age, Madrid, Fundación de Apoyo a la Historia del Arte Hispánico, 1999. Provenance: important Valencian private collection.
Templum Fine Art Auctions
Mar. 23, 2023
Attributable to Juan Sánchez Cotán, Holy Family, Granada school, 17th century
Est: €8,000 - €10,000
Oil on canvas, canvas measures: 82 x 105 cm, framed measures: 97 x 118 cm. Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627) was a Spanish painter, a disciple of Blas de Prado and influenced by some artists who worked in El Escorial, such as Luca Cambiaso or Juan Fernández Navarrete. Sánchez Cotán worked in Toledo, where he had an important clientele, until in 1603 he decided to enter the Cartuja as a lay brother, one of the most strictly observed religious orders, settling in Granada until his death on September 8, 1627, a festival of the Nativity of the Virgin, the same day that, according to Antonio Palomino, he had professed as a Carthusian in 1604. Antonio Palomino affirms that he was a disciple of Blas de Prado in Toledo, with whom he "excelled in painting fruit". Although it has not been possible to confirm documents, this learning relationship is plausible. Prado, who made frequent trips to El Escorial assimilating the Mannerist tendencies that were practiced there, would have been, according to literary sources, the creator of the Spanish still life, although none of his hands have been preserved. On the other hand, their friendly relationship and professional with Sánchez Cotán is accredited until the same year of his death in 1599. The testament that Sánchez Cotán drew up in 1603, when he was preparing to take the Carthusian habit, together with the inventory of his assets carried out by his executors, are the best source of information available for the knowledge of his human and professional trajectory up to that year. Reference bibliography: Ripollés, Carmen (2018). «The still lifes of Juan Sánchez Cotán and artistic ingenuity in early modern Toledo». Bulletin of the Museo del Prado XXXVI (54): 34-47.
Templum Fine Art Auctions
Dec. 28, 2022
Juan Sanchez Cotán. Holy Virgin
Est: -
Oil on panel. Signed in the lower left corner.
Duran Arte y Subastas
Oct. 27, 2022
Vegetable still life, following models by Juan Sánchez Cotán (Toledo, 1560 - Granada, 1627), 19th century
Est: €2,500 - €3,000
Oil on canvas, canvas measures: 73 x 50, framed measures: 82 x 59 cm
Templum Fine Art Auctions
May. 10, 2022
JUAN SANCHEZ COTAN Orgaz (Toledo) (1560) / Granada (1627) "Infant Jesus Shepherd of Passion" (Niño Jesús Pastor de Pasión)
Est: €22,500 - €30,000
Oil on canvas Bibliography: Palencia Cerezo, J. Mª, "Esplendor del barroco andaluz", Colección Granados. Córdoba-Sevilla 2007 p. 122; Palencia Cerezo, J. Mª." Baroque spirit. Granados Collection. Burgos 2008 p. 174. . 113 x 72 cm
Ansorena
Apr. 27, 2022
JUAN SÁNCHEZ COTAN (Orgaz, Toledo, 1560 - Granada, 1627). Immaculate. Oil on canvas. Redesigned. It has slight overcoats.
Est: €26,000 - €28,000
JUAN SÁNCHEZ COTAN (Orgaz, Toledo, 1560 - Granada, 1627). "Immaculate Conception. Oil on canvas. Relined. It has slight repainting. Exhibitions: "The Baroque in painting". CajaSur, Cordoba, December 2004 - January 2005. Bibliography: Pareja López, Enrique: "El Barroco en la pintura". Exhibition catalogue. Publications Obra Social y Cultural Cajasur, 2004. pp. 176-177. Sizes: 145.5 x 104 cm; 169 x 128 cm (frame). This oil on canvas represents the Virgin as a young woman with long golden hair in a prayerful attitude, a common iconographic model in this Counter-Reformation period. All the elements surrounding the Virgin correspond to the titles of honour glossed in the litanies. The colours used by the painter also correspond to a pre-established symbolism: the tunic is in hyacinth, the colour of purity, and the mantle is an intense sky blue, the colour of eternity. It should be related to the Inmaculada painted by Sánchez Cotán around 1617-1618 for the Cartuja de la Asunción in Granada, published in Orozco Díaz, E.: Las Vírgenes de Sanchez Cotán. Granada, 1954, pp. 54-58, nº 12 and Orozco Díaz, E.: El Museo de Bellas Artes de Granada. Guides to the Museums of Spain. Num. XXVI, Madrid, 1966, p. 42. This one of the Cartuja is the clear model of the Inmaculada which we present here; Orozco says of it... He repeated it many times, either as a literal copy, or with slight variations, in large and small. It must have pleased the city and left its mark... so it is not surprising to find Immaculate Conception inspired by the one in the Charterhouse like the one we present here. As for its style, we can appreciate some archaic features for its time, such as the hieratic and frontal nature of the figure. However, the quality of Cotán's painting in the small details such as the gemstones on the cloak, the vegetal embroidery on the tunic and the flowers, all link the work to the proto-baroque naturalism which the painter so masterfully captured in his still lifes. Juan Sánchez Cotán worked in Toledo, where he had an important clientele, until 1603, when he entered the Carthusian monastery as a lay brother and settled in Granada. The bulk of his oeuvre from that time onwards consisted of paintings of religious subjects, particularly the very numerous ones he produced for the charterhouse in Granada, although he also produced portraits and landscapes. However, he is best known for his still lifes, especially since the exhibition "Floreros y bodegones en la pintura española" ("Vases and Still Lifes in Spanish Painting") was held in Madrid in 1935, which was a key event in the critical reappraisal of the Spanish still life and made Sánchez Cotán one of its cornerstones. Sánchez Cotán enjoyed a comfortable life in Toledo, commissioning religious paintings for churches as well as other minor works, such as painting the arms of the archbishop of Toledo on a cobbler's armoury. However, the documentation does not mention any disciples or assistants. It was also around this time that he produced the aforementioned copies of Venetian works, as well as some landscapes. His works from this period reveal a fully developed, refined and gentle style derived from the painters of the El Escorial school, which remained virtually unchanged throughout his career. Works by Sánchez Cotán are now in the Museo del Prado, the Museo de Bellas Artes in Granada, the Museo de San Diego in California, the Art Institute of Chicago, the Barbara Piasecka Johnson Collection in Princeton (USA), the Bowes Museum in Durham, UK, and other collections.
Setdart Auction House
Apr. 05, 2022
JUAN SANCHEZ COTAN. Orgaz (Toledo) (1560) / Granada (1627). "La Huida a Egipto". 127,5 x 107 cm.
Est: €39,000 - €52,000
Provenance: -Convent of the Bernardine Mothers of the Blessed Sacrament, Madrid -Private collection, acquired directly from the Bernardine Mothers around 1968-70 -Private collection, Malaga Bibliography: - Ángulo Íñiguez, D., "El pintor Juan Mateo", Archivo español del arte, XXIX, nº 115, 1956, pp. 250-51 -Ángulo Íñiguez, D., Pérez Sánchez, A.E., "Pintura toledana. First half of the 17th century", Instituto Diego Velázquez, CSIC, Madrid, 1972, pp. 51 and 73, no. 61, plate 57 -Clavijo García, A., "Un cuadro poco conocido de Sánchez Cotán en colección particular malagueña", Cuadernos del Arte XVI, Art Department, University of Granada, 1984, pp. 309-317 An important work by Sánchez Cotán, probably painted during his time in Toledo before his departure for Granada, around 1603. It was probably around that date that the work entered the Convent of the Bernardas del Santísimo Sacramento, where it remained until the years 68-70 of the 20th century, when the nuns had to sell it to a private individual due to the ruin of the Convent, as Agustín Clavijo found out and reported in his publication. It is for this reason that a work so representative of Cotán's refined and gentle style is still in such good condition that it has scarcely been mentioned in publications on the painter. Sánchez Cotán narrates the moment of the Flight into Egypt in a very classical iconographic manner, reflecting the artistic and religious atmosphere of Toledo: the Virgin and Child seated on the donkey and Saint Joseph behind on foot, carrying his carpenter's saw, accompanied by angels hovering around them, offering dates to Jesus and crowning the Virgin. The work is a good reflection of the influences of Escorial art on Cotán's work, with a naturalistic air, especially when painting the landscape, and a simple but effective narrative tendency, a reflection of the painter's pious and honest personality. Oil on canvas. 127,5 x 107 cm
Ansorena
Mar. 29, 2022
Juan Sanchez Cotan. Virgin
Est: -
Oil on board. Signed in the lower left corner.
Duran Arte y Subastas
Jan. 19, 2022
ATRIBUIDO A JUAN SÁNCHEZ COTÁN (Orgaz, Toledo 1560 - Granada 1627 Título: "Inmaculada Concepción" Ól
Est: -
ATRIBUIDO A JUAN SÁNCHEZ COTÁN (Orgaz, Toledo 1560 - Granada 1627 Título: "Inmaculada Concepción" Óleo sobre lienzo 180x140 cm
Arte Subastas Bilbao
Dec. 28, 2021
JUAN SÁNCHEZ COTAN (Orgaz, Toledo, 1560 - Granada, 1627). "Immaculate". Oil on canvas. Re-lined
Est: €26,000 - €28,000
JUAN SÁNCHEZ COTAN (Orgaz, Toledo, 1560 - Granada, 1627). "Immaculate". Oil on canvas. Re-lined It has slight repainting. Exhibitions: "The Baroque in painting". CajaSur, Cordoba, December 2004 - January 2005. Bibliography: Pareja López, Enrique: "The Baroque in painting". Exhibition catalog. Publications Obra Social y Cultural Cajasur, 2004. pp. 176-177. Size: 145.5 x 104 cm; 169 x 128 cm (frame). This oil on canvas represents the Virgin as a young woman with long golden hair in a praying attitude, a common iconographic model in this counter-reformist period. All the elements surrounding the Virgin respond to the titles of honor glossed in the litanies. Also the colors used by the painter respond to a pre-established symbology, thus the tunic is of hyacinth color, the color of purity, and the mantle of an intense celestial blue, the color of eternity. It should be related to the Inmaculada made by Sánchez Cotán around 1617-1618 for the Cartuja de la Asunción in Granada, published in Orozco Díaz, E.: Las Vírgenes de Sanchez Cotán. Granada, 1954, pp. 54-58, nº 12 and Orozco Díaz, E.: The Museum of Fine Arts of Granada. Guides of the Museums of Spain. Num. XXVI, Madrid, 1966, page 42. This one of the Cartuja is the clear model of the Inmaculada that we present here; Orozco says of it... He repeated it many times, either as a literal copy, or with slight variations, in large and small. It must have been liked in the city and left its mark... so it is not surprising to find Immaculate Conception inspired by the one in the Cartuja like the one we present here. As for its style, we can appreciate some archaizing features for its time, such as the hieratism and the frontality of the figure. However, the quality of Cotán's painting in the small details such as the precious stones of the cloak, the vegetal embroidery of the tunic or the flowers connects the work with the proto-baroque naturalism that the painter so masterfully captured in his still lifes. Juan Sánchez Cotán worked in Toledo, where he had an important clientele, until 1603, when he joined the Carthusian monastery as a lay brother and settled in Granada. From then on, the bulk of his work consisted of religious paintings, especially the numerous ones he painted for the Charterhouse in Granada, although he also painted portraits and landscapes. However, he is famous for his still lifes, especially since the celebration in Madrid, in 1935, of the exhibition "Floreros y bodegones en la pintura española", which was key for the critical revaluation of the Spanish still life, and which turned Sánchez Cotán into one of its cornerstones. Sánchez Cotán enjoyed a comfortable life in Toledo, carrying out commissions for religious paintings for churches and also others of lesser importance, such as painting the arms of the archbishop of Toledo on each of a shoemaker. However, no disciples or assistants are mentioned in the documentation. Also around this time he made the aforementioned copies of Venetian works, and some landscapes. In his works of this time, a fully formed, refined and sweet style is evident, derived from the painters of the school of El Escorial, which remained virtually unchanged throughout his career. Works by Sánchez Cotán are currently held in the Museo del Prado, the Museo de Bellas Artes de Granada, the Museo de San Diego in California, the Art Institute of Chicago, the Barbara Piasecka Johnson Collection in Princeton (USA), the Bowes Museum of Durham in the United Kingdom and other collections.
Setdart Auction House
Dec. 16, 2021
JUAN SANCHEZ COTAN (1560 / 1627) "The running away to Egypt""
Est: €51,000 - €68,000
Provenance: -Convent of the Bernardine Mothers of the Blessed Sacrament, Madrid -Private collection, acquired directly from the Bernardine Mothers around 1968-70 -Private collection, Malaga Bibliography: - Ángulo Íñiguez, D., "El pintor Juan Mateo", Archivo español del arte, XXIX, nº 115, 1956, pp. 250-51 -Ángulo Íñiguez, D., Pérez Sánchez, A.E., "Pintura toledana. First half of the 17th century", Instituto Diego Velázquez, CSIC, Madrid, 1972, pp. 51 and 73, no. 61, plate 57 -Clavijo García, A., "Un cuadro poco conocido de Sánchez Cotán en colección particular malagueña", Cuadernos del Arte XVI, Art Department, University of Granada, 1984, pp. 309-317 An important work by Sánchez Cotán, probably painted during his time in Toledo before his departure for Granada, around 1603. It was probably around that date that the work entered the Convent of the Bernardas del Santísimo Sacramento, where it remained until the years 68-70 of the 20th century, when the nuns had to sell it to a private individual due to the ruin of the Convent, as Agustín Clavijo found out and recorded in his publication. It is for this reason that a work so representative of Cotán's refined and gentle style is still in such good condition that it has scarcely been mentioned in publications on the painter. Sánchez Cotán depicts the moment of the Flight into Egypt in a very classical iconographic manner, reflecting the artistic and religious atmosphere of Toledo: the Virgin and Child seated on the donkey and Saint Joseph behind on foot, carrying his carpenter's saw, accompanied by angels hovering around them, offering dates to Jesus and crowning the Virgin. The work is a good reflection of the influences of Escorial art on Cotán's work, with a naturalistic air, especially when painting the landscape, and a simple but effective narrative tendency, a reflection of the painter's pious and honest personality. Oil on canvas. 127,5 x 107 cm
Ansorena
Oct. 10, 2021
JUAN SANCHEZ COTAN (STYLE OF).
Est: $300 - $500
Oil on canvas. Still Life. From a New York, NY collection.
Clarke Auction Gallery
May. 26, 2021
ATRIBUIDO A JUAN SÁNCHEZ COTÁN (Orgaz, Toledo 1560 - Granada 1627 Títul
Est: -
ATRIBUIDO A JUAN SÁNCHEZ COTÁN (Orgaz, Toledo 1560 - Granada 1627 Título: "Inmaculada Concepción" Óleo sobre lienzo 180x140 cm Medidas con marco : 207 x 167 cm.
Arte Subastas Bilbao
Dec. 15, 2020
ATTRIBUTED TO JUAN SÁNCHEZ COTÁN Orgaz 1560 - Granada 1627
Est: -
Vera effigy of Saint Bruno of Cologne Oil on canvas Size 60.5 x 40.5 cm
Subastas Segre
Feb. 13, 2020
Fray Juan Sánchez Cotán (Orgaz, Toledo, 1560 - Granada, 1627)
Est: €20,000 - €25,000
Fray Juan Sánchez Cotán (Orgaz, Toledo, 1560 - Granada, 1627) "Saint Beatrice of Silva" Oil on canvas. Signed. 115 x 77 cm. The painting, as Isabel Mateo notes in her report, “is the recreation of the moment in which she decided to leave the world, a biographical moment, in which she is accompanied by a servant, and in which the painter mixes 15th century with 16th century attire. Also, we are presented with what came to be the most important facet in his artistic career, the still life.” Isabel Mateo compares this Saint Beatrice to the model of the Immaculate Virgin and the Virgin of the Annunciation by Sanchez Cotán at the Museo de Granada, among other paintings. The painting comes with a certificate of authenticity by Isabel Mateo Gómez from 2016.
La Suite Subastas
Oct. 30, 2019
Fray Juan Sánchez Cotán (Orgaz, Toledo, 1560 - Granada, 1627)
Est: €9,000 - €12,000
Fray Juan Sánchez Cotán (Orgaz, Toledo, 1560 - Granada, 1627) "Immaculate Conception" Oil on board. 33 x 24 cm. With 16th century ebony veneer Dutch style frame. Comparable works: Altarpiece at the Chapel of the Immaculate, Church of Santiago Apóstol in Valladolid and the Museum of Fine Arts of Granada.
La Suite Subastas
Nov. 09, 2018
Juan SANCHEZ COTAN (Orgaz 1560 – Grenade 1627)
Est: €50,000 - €70,000
Sainte Béatrice de Silva avant son entrée au couvent Toile 115,5 x 79 cm Bibliographie : E. Valdivieso « Mentalidad e intencion en la pintura de bodegones » in Lecturas de Arte, 1992, vol. III, p. 187, reproduit ; I. Mateo Gomez, « Pintores bodegonistas toledanis de fines del siglo XVI », in Pulchrum Scripta varia in honorem Me Concepcion Garcia Gainza, Pampelune, 2001, p. 532.
Leclere - Maison de ventes
Mar. 24, 2010
Attribué à Juan Sanchez COTAN (1560 - 1627) -
Est: €20,000 - €30,000
Attribué à Juan Sanchez COTAN (1560 - 1627) - Saint Louis de Gonzague...
Cornette de Saint-Cyr
Mar. 04, 2009
Attribué à Juan Sanchez COTAN (1560-1627). Saint
Est: €30,000 - €40,000
Attribué à Juan Sanchez COTAN (1560-1627). Saint Louis de Gonzague recevant la première communion de Saint Charles Borromée. Toile. 111 x 147 cm. Né à Orgaz près de Tolède en 1561, Fray Juan Sanchez Cotan... [ Actual Lot Number 74 ]
Ader
Dec. 08, 2004
Juan Sánchez Cotán (Orgaz 1560-1627 Granada)
Est: -
Bodegón with a cardoon and francolin signed 'Ju° Sãchez co[tan?]' (lower right on the ledge) oil on canvas 28 7/8 x 24 1/2 in. (73.3 x 62.2 cm.)
Christie's