Juan de Juanes Paintings & Artwork for Sale | Juan de Juanes Art Value Price Guide

Nov. 25, 2024
Follower of JUAN DE JUANES (Valencia?, 1510 - Bocairente, Valencia, 1579), c. 1600. "Ecce homo. Oil on panel. Cradled. Presents restorations.
Est: €8,000 - €9,000
Follower of JUAN DE JUANES (Valencia?, 1510 - Bocairente, Valencia, 1579), c. 1600. "Ecce homo. Oil on panel. Cradled. Presents restorations. Measurements: 77 x 62 cm; 88 x 74 cm (frame). In this devotional canvas, painted for an altar or private chapel, the theme of Ecce Homo is represented, very common in this type of paintings. Of simple and clear composition, with the face of Christ in the foreground, the absence of narrative details deepens the expressive power and pathos, designed to move the soul of the faithful who pray before the image, within a tremendist sense very typical of Catholic countries. Aesthetically the work is close to the painting of Juan de Juanes, specifically to the panel painted around 1570 by Juan de Juanes, currently preserved in the Prado Museum, which came from the Royal collection. The theme of Ecce Homo belongs to the cycle of the Passion, and precedes the episode of the Crucifixion. Following this iconography, Jesus is presented at the moment when the soldiers mock him, after crowning him with thorns, dressing him in a purple tunic (here red, symbolic color of the Passion) and placing a reed in his hand, kneeling and exclaiming "Hail, King of the Jews!". The words "Ecce Homo" are those pronounced by Pilate when presenting Christ before the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such in front of that of the leaders who were judging him there. From its formal and technical characteristics we can suggest that the work follows models of the artist Juan de Juanes, the name by which Vicente Juan Macip, son of Juan Macip and key painter of the Spanish Renaissance, is known. He trained with his father, and in 1534 he was commissioned alone to paint the altarpiece of St. Eloy in the church of Santa Catalina, his first autograph work. It is conjectured whether Juanes studied in Italy, as his work is clearly influenced by that school, especially Sebastiano del Piombo. However, historians tend to think that he never left Spain and that, like his father, he absorbed these influences by observing first hand the Italian paintings that arrived in the Kingdom of Valencia. He was the most important painter of Valencian painting of his time, and although he was mainly dedicated to religious painting, he also painted notable portraits such as that of Alfonso V of Aragon. Juan de Juanes is currently represented in the Prado Museum, the Hermitage in St. Petersburg, the J. Paul Getty in Los Angeles, the Fine Arts Museum of Valencia, the Courtauld Institute of Art in London and other important collections. It presents restorations.
Setdart Auction House
Apr. 10, 2024
Spanish school; XVI century. "Calvary". Oil on pine board. It presents faults and restorations on the pictorial surface. It has a frame from the early twentieth century.
Est: €62,000 - €65,000
Spanish school; XVI century. "Calvary". Oil on pine board. It presents faults and restorations on the pictorial surface. It has a frame from the early twentieth century. Measurements: 63 x 73 cm; 97 x 88 cm (frame). The artist of the present composition offers us a scene of Calvary that summarizes the Passion of Christ. We see Jesus expiring, still on the cross, with the wound in his side open. At the foot of the cross, we see Mary Magdalene standing with her hands resting on her face. On the other side of the cross, St. John the Evangelist is looking towards Christ, joining his hands in a pious attitude. At the feet two skulls can be appreciated, surely in allusion to Gestas and Dimas, that is to say the good and the bad thief that do not appear in this composition, which is closed in the distance with the imposing presence of the city. It is noteworthy to point out the way in which the artist has configured the space, as it helps not only of the planes but also of the color, using cold tones in the last plane, which enhance the feeling of remoteness. As for the figures, despite the static hieratism, a certain influence of Renaissance currents can be appreciated, especially in the anatomical treatment of Christ's body. In western art, the representation of Christ on the cross was preferred, as a narrative scene, and the figure of St. John the Baptist was replaced by that of John the Evangelist. An image that in its conception and form is the result of the expression of the people and the deepest feelings that nestled in it. With the economy of the State broken, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, the parishes and the confraternities of clerics and laymen who promoted its development, with the works sometimes being financed by popular subscription.
Setdart Auction House
Mar. 04, 2024
JUAN DE JUANES Valencia? (c. 1510) / Bocairente, Valencia (1579) "Descent from the Cross"
Est: €75,000 - €100,000
Oil on panel. Provenance: Valencia, Collection of the Dowager Marchioness of Mascarell. Bibliography: - BENITO DOMENECH, F., “Joan de Joanes. A new vision of the artist and his work”, exhibition catalogue, Valencia, 2000, pp. 220-221. Exhibitions: “Joan de Joanes (+1579)”, exhibition catalogue, Madrid, 1979-1980, no. 21. On the back, attached to the frame, label of the aforementioned exhibition, indicating its origin. This beautiful painting is one of the great works of Juan de Juanes that, until this moment, remained in the hands of individuals and that could not be seen in his monographic exhibitions held in Madrid and Valencia in 2000. However, it was one of the pieces that were part of the exhibition organized to celebrate his centenary and, despite not being able to be seen at that time, Fernando Benito DomEnech did not hesitate to definitively include it in the catalog of the painter's works (2000, pp. 220-221) . The oxidation of the varnish that covers the pictorial layer is not an impediment to contemplating its extraordinary quality and the great technical expertise of one of the greatest exponents of Renaissance painting in Spain. The theme represented in the painting is the Descent from the Cross, a passage that is part of the Passion cycle and is located chronologically between the Crucifixion and the crying over the body of the dead Christ. According to sources, Jesus was unnailed and taken down from the tree by Joseph of Arimathea and Nicodemus, whom we see represented on the stairs they used to carry out this action. One of them, wearing a red tunic, holds Christ by the torso and the other, providing movement to the composition, is still descending the stairs on the right and holding one of the Redeemer's arms. MarIa Cleopas assists him, carefully picking up one of Jesus's arms while Saint John takes her legs in her lap and the Magdalene, genuflecting, kisses his feet. Prostrate on the ground and with a sorrowful expression is the Virgin who is being comforted by MarIa SalomE. Nothing is known about the remote origin of this painting, although its bright and luminous color allows us to place its date of execution in the artist's stage of maturity in which light blue, pink and iridescent tones are frequent. The types of characters represented are characteristic of his production, imbued in this work with a clear declamatory tone in their attitudes, expressions and gestures. For the representation of the body of Christ, Juanes was directly inspired by the model offered by the Lamentation over the Dead Christ by Sebastiano del Piombo which, at the time Juanes painted this work, was still in Valencia as part of the collection of Jerome Vich. This composition of the Descent from the Cross must have enjoyed great success at the time.This is justified by the existence of another similar work of smaller size (85 x 65 cm.) that is preserved in the Museum of Fine Arts of CastellOn and that belonged to the collection of the Infante Don SebastiAn Gabriel (See Benito DomEnech 2000, pp. 162-163). However, the painting that we present here has the added interest that Juanes, following the medieval tradition, included at the ends of the composition the portraits of a man and a woman, as donors, who without a doubt were the clients of this painting. important assignment. Measurements: 91 x 71.5 cm.
Ansorena
Oct. 11, 2023
DE JUANES Juan (1507 - 1579) Huile sur panneau de tilleul renforcé à l'arr
Est: €800 - €1,200
DE JUANES Juan (1507 - 1579) Huile sur panneau de tilleul renforcé à l'arrière "Immaculée conception". Suiveur de Juan de Juanes. Ecole valencienne. Epoque : XVIème. (Ecaillements). Dim. : +/- 110x61 cm.
Vanderkindere
Sep. 20, 2023
Ecce homo
Est: -
Presenta partes de etiqueta al dorso fechada en noviembre en Ámsterdam. Nos encontramos ante uno de los más importantes pintores del Renacimiento español, que indiscutiblemente dominó el panorama valenciano del S. XVI. Juan de Juanes empezó a formarse trabajando en el taller de su padre (Juan Vicente Masip que fue, sin duda, uno de los grandes pintores valencianos de la primera parte del quinientos) con el que colaboró en la realización de numerosos trabajos. Este factor ha producido una discusión en la adjudicación de muchas obras entre padre e hijo y existen posturas divergentes a la hora de valorar si la posible maduración lograda por Juan de Juanes influyó en el padre, o si, por el contrario, fue la influencia de éste la que marcó dicha evolución en el hijo. Posteriormente, es a partir de los años treinta cuando Juanes se convierte en la figura más respetada y requerida de la Valencia de la época. Su pintura mantiene un componente flamenco al que se le une la influencia predominante italiana. Es importante destacar que durante el S. XVI el arte en Valencia experimentó un cambio de estilo incentivado por su situación geográfica y política que introdujo en la ciudad las aportaciones artísticas que se estaban desarrollando en Italia por los grandes maestros del Renacimiento, a través de Leonardo y Rafael, así como el conocimiento de la obra de Sebastiano del Piombo, indispensable para comprender la pintura de Juanes. Aunque en su obra predomina la temática religiosa, ligada a la necesidad de difundir la fe cristiana por parte de la Iglesia, también llevó a cabo obras mitológicas y una serie de retratos. Fue un extraordinario dibujante dominando un colorido rico y brillante dotando a sus personajes de una gestualidad retórica que demuestra su conocimiento y meditación sobre los tratados de elocuencia clásica. La obra que nos ocupa presenta una factura minuciosa que nos recuerda técnicamente a la de la pintura flamenca. La representación del Ecce Homo de medio cuerpo es una de las más divulgadas del autor convirtiéndose en un verdadero icono en la pintura valenciana. Nos encontramos ante una visión directa y frontal del hijo de Dios coronado de espinas portando un manto rojo, manos atadas por delante y sujetando una caña a modo de cetro. En cuanto al esquema compositivo, las formas generan una serie de direcciones que logran una sensación de equilibrio. Aparece la figura de Cristo muy iluminada destacando sobre un fondo oscuro. Este factor potencia la concentración emocional del espectador enfatizada por la mirada compasiva y expresión dolorida pero serena de Cristo capaz de cautivar e incitar un diálogo espiritual intimista, invitándonos a la contrición y a la penitencia. Nuestra obra se relaciona con otros Ecce Homos de Juan Juanes como los que se conservan en el Museo del Prado y en el Museo de Bellas Artes de Valencia. A pesar de pequeñas diferencias compositivas como la posición de las manos encontramos grandes parecidos tanto compositivos como técnicos. A su vez, lo mismo ocurre con el gran parecido de los rasgos fisionómicos del “Salvador con la Eucaristía” que también se conserva en el Museo del Prado.
Isbilya Subastas
Feb. 22, 2023
JUAN DE JUANES Valencia? (h. 1510) / Bocairente, Valencia (1579) "Veronica of the Virgin"
Est: €22,500 - €30,000
Oil on panel Within the production of the painter Juan de Juanes there is a series of images that became "iconic", becoming part of the pictorial tradition Valencian throughout the centuries. The best example is undoubtedly that of his well-known "Eucharistic Saviors", but so is the example shown here with the "Verónica de la Virgen". This face of Mary is inspired by a series of devoted models that were embodied in Icons that date back to medieval times, arriving in the West around the 12th century. A good example is the "Reliquary of the Veronica of the Virgin" in the Cathedral of Valencia, according to tradition a copy of the true portrait of Mary, Made in the year 1398 by order of King Martin the Human. In this image Maria appears represented to the bust, with her head slightly tilted and wearing a white headdress. She directs her gaze directly to the viewer, establishing a dialogue with it. Juan de Juanes took this medieval image, adapting it to the religious sensibility of the moment, humanizing the model and reinterpreting it with a refined and exquisite technique based on soft and fresh colors, applied with a subtle gradation of tones and delicate transparencies. The primitive female image is transformed by Juanes into that of a beautiful young woman, from whose head multiple golden bursts come out, arranged in two semicircular rows, forming a double nimbus of sanctity. Thus the exhibition in the "Verónica de la Virgen" of the Valencian parish of San Nicolás, dated in the year 1572, which in the past was mounted on a common monstrance or exhibitor with the image of the "Savior" which, also made by Juanes, is preserved in the same temple. The unpublished work that we present here follows this same model, although it varies in some small details such as the slight modification in some of the folds of the white headdress. Another small difference between both paintings is the size. The icon of the parish of Saint Nicholas measures 31.8 x 26.4 cm, while this example, with the same width, is almost two centimeters taller. The support is in both cases a thin oak board whose thickness ranges between 5 and 8 millimeters. Infrared reflectography applied to the work has allowed us to contemplate a detailed preliminary drawing that can be seen in the entire figure, with shapes that were previously raised with an important level of detail, from the contours of the Virgin's face, the folds of the clothing and even the shadow areas. The drawing has been done dry, with very fine and continuous lines that in some cases are later covered with very watery brushstrokes. The painting responds fully to the previous approach of the drawing, although a slight modification has been located in the right contour of the face. Nothing is known about the remote origin of this painting, located in an important private Spanish collection that, due to its quality of execution, can be assigned to Juan de Juanes without ruling out a participation in the workshop; all this taking into account that the workshops of the great artists of the 16th century were required, as a guarantee seal, the same levels of excellence analogous to those of the teacher. Until now, only a few versions made in a chronology after the death of Juanes were known, which came from the brushes of some of his disciples, such as the one in the Villagonzalo collection, the one in the Museo de Bellas Artes de la Valleta in Malta, or the of the Monastery of Clarisas de Gandía. Measurements: 33.5 x 26.4 cm. Support measures: 34.5 x 27.5 cm.
Ansorena
Mar. 14, 2022
JUAN DE JUANES (1507-1579)
Est: €150,000 - €250,000
JUAN DE JUANES (1507-1579) The dead Christ supported by angels Oil on panel H: 54 x W: 58,5 cm Bibliography: Alfonso E. Pérez Sánchez, Pintura española recuperada por elcoleccionismo privado, Ed. Fundación Fondo de Cultura de Sevilla (FOCUS), Sevilla, 1996, ill. p. 73 Provenance : Private collection, Madrid. JUAN DE JUANES Cristo sostenido por ángeles Óleo sobre tabla 54 x 58,5 cm. Collecion Privada, Madrid.
Antenor Auction
Dec. 10, 2020
JUAN DE JUANES (Valencia, around 1507 - Bocairente, Valencia, 1579). "The Virgin of milk, the Child, an angel and Saint John".
Est: €30,000 - €35,000
Oil on panel. Work that belongs to the artist's youth in which the Virgin of the Milk or Good Milk is represented, also known as the Nourishing Virgin or Nurse, Virgin of the Rest or of the Good Rest, Virgin of Bethlehem or of the Grotto of Bethlehem; It is an invocation and an iconography of the Virgin Mary, in which she is represented in the act of breastfeeding the Child Jesus. This representation has had various developments in sacred art, such as painting, sculpture and the particular iconography of the Orthodox Church.The representation of the Virgin nursing the baby Jesus is mentioned by Pope Gregory the Great, a mosaic with this representation It probably dates from the 12th century is found on the facade of the Basilica of Santa Maria in Trastevere, although a few other examples from the early Middle Ages still survive. It is considered that this invocation may be a syncretism of the mother-goddesses, in particular of the goddess Isis nursing Horus, and probably the first images appeared in Coptic art. The Milk Grotto is a place in Bethlehem, very close to the Basilica of the Nativity, where tradition says that the Virgin breastfed the Child, and a drop was spilled on a rock, which changed its color, turning white. Due to this, cave stones (made of calcium carbonate) were considered a relic in the first centuries because, when diluted in water, it took on the appearance of milk. The sanctuary built in this place is used by women who ask the Virgin to improve the quality of their breast milk. A theme within Christian hagiography linked to the nursing Virgin is that of Lactatio Bernardi, according to which the Virgin appeared to a monk in a dream and, by giving him milk, gave him some miraculous gift. Due to its formal and technical characteristics, we can relate this work to the circle of Juan de Juanes, the name by which Vicente Juan Macip, son of Juan Macip and a key painter of the Spanish Renaissance, is known. He was trained with his father, and in 1534 he was already in charge of the altarpiece of San Eloy in the church of Santa Catalina, his first autograph work.
Setdart Auction House
Jan. 22, 2020
CÍRCULO DE JUAN DE JUANES S. XVI / . - "Virgen Tota Pulcra"
Est: -
CÍRCULO DE JUAN DE JUANES S. XVI / . "Virgen Tota Pulcra" Obra que sigue el prototipo de Inmaculada Concepción creada por el valenciano Juan de Juanes (hacia 1510 - 1579) hacia 1537. Al dorso la tabla presenta un interesante trabajo de taracea parcialmente cubierto 92 x 77 cm Óleo sobre tabla
Ansorena
Jul. 05, 2018
Attributed to Juan de Juanes (Fuente la Higuera or Valencia, c. 1507 - Bocairente, 1579)
Est: €8,000 - €12,000
Attributed to Juan de Juanes (Fuente la Higuera or Valencia, c. 1507 - Bocairente, 1579) Oil on canvas, on panel. Provenance: Joan Gómez y Vidal Collection, Bishop of Teruel from 1896 to 1905, died in Manresa in 1906. 90 x 63 cm.
La Suite Subastas
Jul. 11, 2001
Juan Correa de Vivar (Mascaraque, Toledo c. 1510-1566 Toledo)
Est: $42,300 - $70,500
Saint John the Baptist oil on panel, a compartment from an altarpiece 201/2 x 8 1/8 in. (52 x 20.6 cm.) NOTES A pupil of Juan de Borgo¤a, Correa de Vivar's early work shows the direct influence of Borgo¤a's models and compositions and a decorative quality reminiscent of Pedro Berruguete. During this period he painted works for the Clarissan convent of Gri¤¢n, near Madrid, the Guisando Nativity triptych (Prado; Toledo, Museo Santa Cruz) and the Virgin with a Bird (Toledo, Colegio Doncellas). Between 1540 and 1550, his dependence on Borgo¤a's style became less marked, and the formal influence of Mannerist paintings from Rome can be seen in his work. His most important work from this period is the series of altarpieces he executed for the Cistercian monastery of San Mart¡n de Valdeiglesias, Madrid province (now in the Prado and other Spanish museums). Between 1550 and 1560, his work became indirectly influenced by Leonardo and Raphael, possibly through the Valencian painters Ya¤ez, Llanos and Juan de Juanes. In this period Correa's figures became more monumental. His last works are characterised by dramatic facial expressions and by a greater sense of movement in the more elongated figures derived from the style of Juan de Vollold¢ and Luis Morales. We are grateful to Isabel Mateos for the attribution. She dates the picture to circa 1539-40, and compares it with another Saint John the Baptist by the artist (see La Pintura Toledana en tiempos de Carlos V, Universidad de Valladolid, 2000, pp. 235-54, fig. 21).
Christie's