Juan Antonio de Frías y Escalante Paintings & Artwork for Sale | Juan Antonio de Frías y Escalante Art Value Price Guide

Oct. 23, 2024
JUAN ANTONIO DE FRÍAS Y ESCALANTE. Annunciation.
Est: €3,800 - €4,000
Oil on canvas. c. 1665 Practically identical pieces with small variations: one in Béziers, Musée des Beaux Arts, painted on canvas and of practically the same dimensions, and another smaller one on copper in Paris, Galerie Terrades in 2020. 35.5x46 cm Webography: https://www.galerieterrades.com/userfiles/publications/TERRADES_low%20.pdf.
Balclis
Jul. 25, 2024
JUAN ANTONIO FRÍAS Y ESCALANTE Córdoba, 1633 - Madrid, 1669). "St. Michael the Archangel subduing the devil". Oil on canvas. Relined. We thank Dr. Alvaro Pascual Chenel, for his help confirming the authorship of the master.
Est: €5,500 - €6,000
JUAN ANTONIO FRÍAS Y ESCALANTE Córdoba, 1633 - Madrid, 1669). "St. Michael the Archangel subduing the devil". Oil on canvas. Relined. We thank Dr. Alvaro Pascual Chenel, for his help confirming the authorship of the master. Frame of the early twentieth century. Measurements: 82 x 56 cm; 95 x 69 cm (frame). Álvaro Pascual Chenel has a PhD in Art History from the University of Bologna, and in History from the University of Alcalá de Henares. His main line of research focuses on the image of power in Spanish art of the Modern Age. He has published numerous studies, such as the article on Juan Antonio Frías y Escalante. In this canvas we see the representation of St. Michael subduing the devil, standing on his body, holding up a sword, in a little undefined scenario, but that is guessed earthly by the clouds that are glimpsed and the orography of the lower area. The composition is dynamic and scenographic, and follows a very frequent model in the Baroque, with the saint with Roman soldier's attire, full body, occupying most of the pictorial surface. According to tradition, St. Michael is the head of the heavenly militia and defender of the Church. Precisely for this reason he fights against the rebellious angels and the dragon of the Apocalypse. He is also psychopomp, that is to say, he leads the dead and weighs the souls on the day of the Last Judgment. Scholars have linked his cult to that of several gods of antiquity: Anubis in Egyptian mythology, Hermes and Mercury in classical mythology, and Wotan in Norse mythology. In the West, the cult of St. Michael began to develop from the 5th and 6th centuries, first in Italy and France, and then spreading to Germany and the rest of Christendom. The churches and chapels dedicated to him are innumerable around the year 1000, in connection with the belief that on that date the Apocalypse would arrive. His temples are often located on high places, since he is a celestial saint. The kings of France gave him a particular veneration from the 14th century, and the Counter-Reformation made him the head of the church against the Protestant heresy, giving a new impulse to his cult. St. Michael the Archangel is a military saint, and therefore patron saint of knights and of all trades related to weapons, as well as to the scales, for his role as apocalyptic judge. His iconography is of considerable richness, but relatively stable. As a general rule, he appears in the attire of a soldier or knight, holding a spear or sword and a shield, generally decorated with a cross, although here he bears the legend "QVDOS". When he fights the dragon, he fights on foot or in the air, which distinguishes him from St. George, who is almost always on horseback. However, the great difference between the two saints is St. Michael's wings. A member of what is known as the "truncated generation", Antonio Frías y Escalante was a disciple of Francisco Rizzi, with whom he worked from a very young age. The brevity of his life prevented him from developing an artistic maturity that augured great achievements, as his contemporaries expected, but from the beginning his works show his admiration for Venice, especially for Tintoretto and Veronese. Thus, his followers would take from him his characteristic and personal chromatic range, centered on cold colors, a very refined palette of pinks, blues, grays and mauves, which we see in part in this canvas, especially in the cloths and flowers that surround the composition, although here the cold tones are offset by the warmth of the golds and carmines. Also typical of Escalante will be the light, delicate, almost transparent brushstroke, in which the example of Titian is manifested.
Setdart Auction House
Dec. 13, 2022
JUAN ANTONIO DE FRÍAS Y ESCALANTE - Saint Joseph with the Child
Est: -
JUAN ANTONIO DE FRÍAS Y ESCALANTE Córdoba 1633 - Madrid 1669 Saint Joseph with the Child Oil on canvas Size 65 x 49 cm In the Hermitage Museum A similar version by Frías y Escalante (oil on canvas, 83 x 65 cm) is preserved in Saint Petersburg.
Subastas Segre
Nov. 09, 2022
Attributed to JUAN ANTONIO FRIAS Y ESCALANTE (Córdoba, 1633 – Madrid, 1669). "Saint Joseph with the Child". Oil on canvas. Relined. Presents restorations.
Est: €4,000 - €5,000
Attributed to JUAN ANTONIO FRIAS Y ESCALANTE (Cordoba, 1633 - Madrid, 1669). "Saint Joseph with Child". Oil on canvas. Re-retouched. It presents restorations. Size: 42,5 x 32,5 cm; 48,5 x 38,5 cm (frame). This work shows the same subject and composition as the painting made by Frias y Escalante between 1660 and 1665, currently part of the collection of the Hermitage Museum (St. Petersburg), which it entered in 1814, due to the purchase of the collection of W. Coesvelt (Amsterdam). Although his brushstrokes are more fluid, in the present work the artist depicts the same moment: an interior dominated by a young Joseph cuddling his son, whose posture is close to his father in a tender, childlike manner. Thus showing the viewer an intimate scene that is close to everyday life. With a classical triangular composition, the Child is almost in the centre, with his nudity and the shine of his pearly skin standing out, although it is true that he shares this space with the profile of Saint Joseph, so that the artist makes the two figures the protagonists, without emphasising the figure of one over the other. Although the interior is barely visible, it is conceived following earlier models, with the large window and the large red curtain, although the artist pays greater attention to the foreground, where he shows the viewer a play of textures created by the fabrics. This technical purity, together with the use of earthy colours, is largely reminiscent of the work of Antonio Frías y Escalante, as the composition and chromatic range coincide to a large extent. A member of what is known as the "truncated generation", Antonio Frías y Escalante was a disciple of Francisco Rizzi, with whom he worked from a very young age. The brevity of his life prevented him from developing an artistic maturity that augured great achievements, as his contemporaries expected, but from the outset his works reveal his admiration for Venice, especially Tintoretto and Veronese. Thus, his followers would take from him his characteristic and personal chromatic range, centred on cold colours, a very refined palette of pinks, blues, greys and mauves, which we see in part in this canvas, especially in the drapery and in the flowers that surround the composition, although here the cold tones are offset by the warm tones of the golds and carmines. Also typical of Escalante is the light, delicate, almost transparent brushstroke in which the example of Titian is filtered through the elegant classicism of Cano. This lesson of Escalante's can be seen here especially in the treatment of the flesh tones, executed with enormous delicacy.
Setdart Auction House
Dec. 21, 2021
JUAN ANTONIO FRIAS Y ESCALANTE (Córdoba, 1633 - Madrid, 1669). Untitled. Oil on canvas. Relined.
Est: €35,000 - €40,000
JUAN ANTONIO FRIAS Y ESCALANTE (Córdoba, 1633 - Madrid, 1669). Untitled. Oil on canvas. Relined. Provenance: Sotheby's London. Presents restorations. Measurements: 62 x 54 cm; 69,5 x 90,5 cm (frame). Member of the known as "truncated generation", Antonio Frías y Escalante was a disciple of Francisco Rizzi, with whom he worked from a very young age. The brevity of his life prevented him from developing an artistic maturity that augured great achievements, as his contemporaries expected, but from the beginning his works show his admiration for Venice, especially for Tintoretto and Veronese. Thus, his followers would take from him his characteristic and personal chromatic range, centered on cold colors, a very refined palette of pinks, blues, grays and mauves, which we see in part in this canvas, especially in the cloths and flowers that surround the composition, although here the cold tones are offset by the warmth of the golds and carmines. Also typical of Escalante will be the light, delicate, almost transparent brushstroke, in which the example of Titian is manifested filtered by the elegant classicism of Cano. Here this lesson of Escalante can be appreciated especially in the treatment of the flesh tones, executed with enormous delicacy. The Madrid Baroque school arose around the court of Philip IV first and Charles II later, and developed throughout the seventeenth century, continuing well into the eighteenth century. Analysts of this school have insisted on considering its development as a result of the agglutinating power of the court; what is truly decisive is not the place of birth of the different artists, but the fact that they were educated and worked around and for a nobiliary and religious clientele located next to the royalty. This allows and favors a stylistic unity even though the logical divergences due to the personality of the members can be appreciated. This meant an awakening of the nationalist conscience by allowing a liberation from the previous Italianizing molds to jump from the last echoes of Mannerism to Tenebrism. This will be the first step of the school, which in gradual sense, is walking successively until the attainment of a more autochthonous baroque language and linked to the political, religious and cultural conceptions of the monarchy of the Austrias, to go to die with the first shoots of the rococo that are manifested in the production of the last of its representatives, A. Palomino. Stylistically, it starts from a naturalism with a remarkable capacity for synthesis to lead opportunely to the allegorical and formal complexity characteristic of the decorative baroque. These artists show a great concern for the studies of light and color, as we see here, highlighting at first the games between extreme tones typical of tenebrism that later will be replaced by a more exalted and luminous colorism. They receive and assimilate Italian, Flemish and Velázquez influences. The clientele will determine the fact that the subject matter is reduced almost exclusively to portraits and religious paintings.
Setdart Auction House
Apr. 28, 2021
JUAN ANTONIO FRÍAS Y ESCALANTE Córdoba, 1633 - Madrid, 1669). "Saint Michael the Archangel subduing the devil." Oil on canvas. Relining.
Est: €14,000 - €18,000
JUAN ANTONIO FRÍAS Y ESCALANTE Córdoba, 1633 - Madrid, 1669). "Saint Michael the Archangel subduing the devil." Oil on canvas. Relining. Thanks to Dr. Álvaro Pascual Chenel for his help confirming the teacher's authorship. There is the possibility of issuing a report of the work in charge of the buyer. Frame of the early twentieth century. Measurements: 82 x 56 cm; 95 x 69 cm (frame). Álvaro Pascual Chenel holds a PhD in Art History from the University of Bologna and in History from the University of Alcalá de Henares. His main line of research focuses on the image of power in Spanish art of the Modern Age. He has published numerous studies, such as the article on Juan Antonio Frías y Escalante. In this canvas we see the representation of St. Michael subduing the devil, standing on his body, holding up a sword, in a little undefined scenario, but that is guessed earthly by the clouds that are glimpsed and the orography of the lower area. The composition is dynamic and scenographic, and follows a very frequent model in the Baroque, with the saint with Roman soldier's attire, full body, occupying most of the pictorial surface. According to tradition, St. Michael is the head of the heavenly militia and defender of the Church. Precisely for this reason he fights against the rebellious angels and the dragon of the Apocalypse. He is also psychopomp, that is to say, he leads the dead and weighs the souls on the day of the Last Judgment. Scholars have linked his cult to that of several gods of antiquity: Anubis in Egyptian mythology, Hermes and Mercury in classical mythology, and Wotan in Norse mythology. In the West, the cult of St. Michael began to develop from the 5th and 6th centuries, first in Italy and France, and then spreading to Germany and the rest of Christendom. The churches and chapels dedicated to him are innumerable around the year 1000, in connection with the belief that on that date the Apocalypse would arrive. His temples are often located on high places, since he is a celestial saint. The kings of France gave him a particular veneration from the 14th century, and the Counter-Reformation made him the head of the church against the Protestant heresy, giving a new impulse to his cult. St. Michael the Archangel is a military saint, and therefore patron saint of knights and of all trades related to weapons, as well as to the scales, due to his role as apocalyptic judge. His iconography is of considerable richness, but relatively stable. As a general rule, he appears in the attire of a soldier or knight, holding a spear or sword and a shield, generally decorated with a cross, although here he bears the legend "QVDOS". When he fights the dragon, he fights on foot or in the air, which distinguishes him from St. George, who is almost always on horseback. However, the great difference between the two saints is St. Michael's wings. A member of what is known as the "truncated generation", Antonio Frías y Escalante was a disciple of Francisco Rizzi, with whom he worked from a very young age. The brevity of his life prevented him from developing an artistic maturity that augured great achievements, as his contemporaries expected, but from the beginning his works show his admiration for Venice, especially for Tintoretto and Veronese. Thus, his followers would take from him his characteristic and personal chromatic range, centered on cold colors, a very refined palette of pinks, blues, grays and mauves, which we see in part in this canvas, especially in the cloths and flowers that surround the composition, although here the cold tones are offset by the warmth of the golds and carmines. Also typical of Escalante will be the light, delicate, almost transparent brushstroke, in which the example of Titian is manifested.
Setdart Auction House
Sep. 12, 2020
JAMES ANTONIO DE FRIDAY ESCALANTE 1633-1670
Est: $1,000 - $1,500
Attribution To Escalante. Spanish Oils, Turkish Battle Scene And King Presentation Scene; 10.5 H X 12 W , Good Condition
J. Garrett Auctioneers
Sep. 12, 2020
MONUMENTALE DARSTELLUNG DER BEWEINUNG CHRISTI
Est: €600 - €1,200
JUAN ANTONIO DE FRIAS Y ESCALANTE (IN THE MANNER OF) 1633 Córdoba - 1669 Madrid MONUMENTAL PAINTING OF THE LAMENTATION OF CHRIST Oil on canvas (old relined). 124 x 211 cm (F. 130 x 214 cm). Inscribed in the upper right corner: 'MARIA AGN: KAHR DONO DEDIT 1751'. Part. damaged and old restored, soiled surface. Frame. Provenance: Formerly property of a rhenish Monastery. JUAN ANTONIO DE FRIAS Y ESCALANTE (IN DER ART DES) 1633 Córdoba - 1669 Madrid MONUMENTALE DARSTELLUNG DER BEWEINUNG CHRISTI Öl auf Leinwand (altdoubl.). 124 x 211 cm (R. 130 x 214 cm). Rechts oben in der Darstellung bezeichnet: 'MARIA AGN: KAHR DONO DEDIT 1751'. Part. besch. und altrest., verschmutzte Oberfläche. Rahmen. Provenienz: Ehemals rheinischer Klosterbesitz.
Hargesheimer Kunstauktionen Düsseldorf
Dec. 18, 2019
ATTRIBUTED TO JUAN ANTONIO DE FRIAS ESCALANTE (Córdoba 1633-Madrid 1669) San Juan de Dios adorando al Crucifijo. Oil on board.
Est: -
ATRIBUIDO A JUAN ANTONIO DE FRIAS ESCALANTE (Córdoba 1633-Madrid 1669) San Juan de Dios adorando al Crucifijo Oleo sobre tabla de 22.5 x 17.5 cm. Al dorso, etiqueta de la Junta de Incautacion. Nº inventario 12767. Procedencia: -Colección Marques de Jura Real.-Colección particular, Madrid. English Translation ATTRIBUTED TO JUAN ANTONIO DE FRIAS ESCALANTE (Córdoba 1633-Madrid 1669) San Juan de Dios adorando al Crucifijo. Oil on board.
Sala Retiro Subastas
Apr. 29, 2015
JUAN ANTONIO DE FRIAS Y ESCALANTE | Saint Peter Nolasco carried to the altar by angels
Est: £5,000 - £7,000
oil on canvas
Sotheby's
Jul. 08, 2009
Juan Antonio Frias y Escalante (Cordoba 1633-1670 Madrid) Moses breaking the tablets,
Est: £5,000 - £7,000
Moses breaking the tablets, the Adoration of the Golden Calf in the distance oil on canvas 70.7 x 105.3cm (27 13/16 x 41 7/16in).
Bonhams
Feb. 24, 2009
'The Expulsion from the Garden of Eden' oil on
Est: £15,000 - £20,000
'The Expulsion from the Garden of Eden' oil on canvas by Juan Antonio de Frias y Escalante, (1630-1670), in a polychrome acanthus design frame 73 x 73 inches (187 x 187cm) Provenance The Heim Gallery 1966 Exhibitied Four Centuries of Spanish Painting, The Bowes Museum, Barnard Castle, 1967, catalogue number 57
Woolley & Wallis
Jan. 18, 2009
Manner of Juan Antonio Frias y Escalante, (Spanish, 1633-1670), A Saint Reading
Est: $300 - $500
Manner of Juan Antonio Frias y Escalante (Spanish, 1633-1670) A Saint Reading oil on canvas 28 1/2 x 22 1/2 inches.
Hindman
Dec. 04, 2008
Juan Antonio de Frias y Escalante , Cordoba 1630 - 1669 Madrid the adoration of the magi oil on canvas
Est: £12,000 - £18,000
oil on canvas
Sotheby's
Oct. 30, 2008
- Juan Antonio de Frias y Escalante , Cordoba 1630 - 1669 Madrid the vision of Saint Paschal Baylon oil on canvas
Est: £6,000 - £8,000
oil on canvas
Sotheby's
Dec. 09, 2004
JUAN ANTONIO DE FRIAS Y ESCALANTE CORDOBA 1630 - 1669 MADRID
Est: £4,000 - £6,000
signed lower centre: FA/IOANNES ANTo ESCA/LANTE oil on canvas
Sotheby's
Mar. 24, 2004
Attribué à Juan Antonio de Frias y ESCALANTE (1630-1670) Saint Joseph et lenfant Jésus Toile 193 x 141,5 cm Accident
Est: €12,000 - €15,000
Attribué à Juan Antonio de Frias y ESCALANTE (1630-1670) Saint Joseph et l'enfant Jésus Toile 193 x 141,5 cm Accident Estimation : €12,000-15,000
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Painter, b. 1633 - d. 1670

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JUAN ANTONIO DE FRÍAS Y ESCALANTE. Annunciation.

JUAN ANTONIO FRÍAS Y ESCALANTE Córdoba, 1633 - Madrid, 1669). "St. Michael the Archangel subduing the devil". Oil on canvas. Relined. We thank Dr. Alvaro Pascual Chenel, for his help confirming the authorship of the master.

JUAN ANTONIO DE FRÍAS Y ESCALANTE - Saint Joseph with the Child

Attributed to JUAN ANTONIO FRIAS Y ESCALANTE (Córdoba, 1633 – Madrid, 1669). "Saint Joseph with the Child". Oil on canvas. Relined. Presents restorations.

JUAN ANTONIO FRIAS Y ESCALANTE (Córdoba, 1633 - Madrid, 1669). Untitled. Oil on canvas. Relined.

JUAN ANTONIO FRÍAS Y ESCALANTE Córdoba, 1633 - Madrid, 1669). "Saint Michael the Archangel subduing the devil." Oil on canvas. Relining.

JAMES ANTONIO DE FRIDAY ESCALANTE 1633-1670

MONUMENTALE DARSTELLUNG DER BEWEINUNG CHRISTI

ATTRIBUTED TO JUAN ANTONIO DE FRIAS ESCALANTE (Córdoba 1633-Madrid 1669) San Juan de Dios adorando al Crucifijo. Oil on board.

JUAN ANTONIO DE FRIAS Y ESCALANTE | Saint Peter Nolasco carried to the altar by angels

Juan Antonio Frias y Escalante (Cordoba 1633-1670 Madrid) Moses breaking the tablets,

'The Expulsion from the Garden of Eden' oil on

Manner of Juan Antonio Frias y Escalante, (Spanish, 1633-1670), A Saint Reading

Juan Antonio de Frias y Escalante , Cordoba 1630 - 1669 Madrid the adoration of the magi oil on canvas

- Juan Antonio de Frias y Escalante , Cordoba 1630 - 1669 Madrid the vision of Saint Paschal Baylon oil on canvas

JUAN ANTONIO DE FRIAS Y ESCALANTE CORDOBA 1630 - 1669 MADRID

Attribué à Juan Antonio de Frias y ESCALANTE (1630-1670) Saint Joseph et lenfant Jésus Toile 193 x 141,5 cm Accident

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