Juan de Espinal Sold at Auction Prices

b. 1718 - d. 1743

See Artist Details

0 Lots

Sort By:

Categories

Auction Date

Seller

Seller Location

Price Range

to
  • JUAN DE ESPINAL - Our Lady of Mount Carmel with the Child Jesus
    May. 23, 2023

    JUAN DE ESPINAL - Our Lady of Mount Carmel with the Child Jesus

    Est: -

    JUAN DE ESPINAL Seville 1714 - 1783 Our Lady of Mount Carmel with the Child Jesus. c. 1670 Oil on canvas Measures 124 x 94 cm Work published in: - Enrique Muñoz; Decor Carmeli. Devotion to the Virgen del Carmen in 18th century Seville through pictorial examples, in Bulletin of the Royal Academy of Fine Arts of the Immaculate Conception, 2020 (nº 55), Valladolid, p. 49. Juan de Espinal was one of the most prominent artists in the Sevillian painting scene of the second half of the 18th century. His apprenticeship years took place in the workshop of Domingo Martínez from whom he took that elegant chromaticism and vibrant brushstroke without renouncing the strong Murillo tradition that still prevailed in Seville. Throughout his prolific career as a painter, he worked for numerous religious institutions, mostly large pictorial cycles, impressive murals and devotional paintings such as this Virgen del Carmen that bears a great resemblance to the example of the Brotherhood of San Onofre of Sevilla.

    Subastas Segre
  • Juan de ESPINAL Séville, 1714 - 1783 David avec la tête de Goliath Huile sur toile
    Feb. 22, 2022

    Juan de ESPINAL Séville, 1714 - 1783 David avec la tête de Goliath Huile sur toile

    Est: €5,000 - €7,000

    Juan de ESPINAL Séville, 1714 - 1783 David avec la tête de Goliath Huile sur toile (Accident, manques et déchirures) Sans cadre h: 154,50 w: 100 cm Commentaire : Nous pouvons rapprocher cette toile d'autres peintures de Juan de Espinal, comme par exemple le 'Saint Michel' du musée des Beaux-Arts de Séville ou le saint Jean-Baptiste dans le tableau représentant 'Le Christ et saint Jean Baptiste' du palais archiéspiscopal de cette ville. Estimation 5 000 - 7 000 €

    Artcurial
  • Attributed to JUAN DE ESPINAL (Seville, 1714 - 1783). "St. Michael the Archangel. Oil on canvas. Re-drawn.
    Oct. 20, 2021

    Attributed to JUAN DE ESPINAL (Seville, 1714 - 1783). "St. Michael the Archangel. Oil on canvas. Re-drawn.

    Est: €2,000 - €2,500

    Attributed to JUAN DE ESPINAL (Seville, 1714 - 1783). "St. Michael the Archangel. Oil on canvas. Re-drawn. Size: 41 x 27 cm. Juan de Espinal was able to overcome the then predominant Murillo spirit prevailing in local painting, opening to other trends from Europe, among which the Rococo style predominated. He possessed an elegant sense of chromatism, a light brushstroke and an agile and vibrant drawing, as we see in this San Miguel Arcángel. Among the attributions, we can mention the Immaculate Conception preserved in the Lázaro Galdiano Museum in Madrid and the tempera decoration of the vault of the Church of San Francisco de Utrera, on the theme Apotheosis of the Jesuit Order. He has also been attributed a series of thirteen paintings of circular format, now conserved in the Santa Casa de Loyola in Guipúzcoa, possibly copies of the series of Jesuit stories that the Flemish Jesuit Ignacio Raeth painted for the Novitiate of Madrid. Son of the painter Gregorio Espinal, Juan de Espinal must have received his first artistic teachings from his father. He apprenticed in the workshop of Domingo Martínez, where he probably met his master's daughter, Juana Martínez, whom he would later marry. In 1749, after the death of his father-in-law and master, he inherited his father's workshop and presumably his clientele, enjoying a prestigious position. Proof of this are the various commissions he received, both from the city council and the ecclesiastical hierarchy. Another of his facets was teaching, being one of the main promoters of the art school known as Real Escuela de las Tres Nobles Artes de Sevilla and director of the painting section of this school since 1775. His first work of which we have evidence is the tempera decoration of the vault of the Church of El Salvador (Seville). It is a representation of the heavenly Glory presided over by the Holy Spirit in the form of a dove. In 1759 he was commissioned by the City Council of Seville to paint a picture of Saints Justa and Rufina, a theme already treated by Murillo. The result was a splendid work in which Espinal introduced iconographic novelties in the representation of these saints. Other of his most brilliant works are the Alegoría de la pintura Sevillana, currently on display at the Real Academia de Bellas Artes de San Fernando (Madrid), and San Carlos Borromeo dando la comunión a los apestados de Milán (Church of San Nicolás de Bari in Seville). His best set of works is undoubtedly the series of fifteen paintings on religious themes commissioned by the Archbishop of Seville Don Francisco Javier Delgado y Venegas and currently housed in the Archbishop's Palace of this city, among them are: The Archangel St. Michael, St. Gabriel, The Sacrifice of Isaac, Jacob's Dream and The Angel announcing the plague to David. It is known the existence of paintings on profane themes, such as Venus and Vulcan, but none of them has been preserved.

    Setdart Auction House
  • Juan de ESPINAL Séville, 1714 - 1783 David avec la tête de Goliath Toile
    Jun. 09, 2021

    Juan de ESPINAL Séville, 1714 - 1783 David avec la tête de Goliath Toile

    Est: €8,000 - €12,000

    Juan de ESPINAL Séville, 1714 - 1783 David avec la tête de Goliath Toile (Accident, manques et déchirures) Sans cadre David with the head of Goliath, canvas, by J. de Espinal h: 154,50 w: 100 cm Commentaire : Nous pouvons rapprocher cette toile d'autres peintures de Juan de Espinal, comme par exemple le 'Saint Michel' du musée des Beaux-Arts de Séville ou le saint Jean-Baptiste dans le tableau représentant 'Le Christ et saint Jean Baptiste' du palais archiéspiscopal de cette ville. Estimation 8 000 - 12 000 €

    Artcurial
  • Attributed to JUAN DE ESPINAL (Seville, 1714 - 1783). "San Miguel Arcangel". Oil on canvas. Reengineered.
    Apr. 28, 2021

    Attributed to JUAN DE ESPINAL (Seville, 1714 - 1783). "San Miguel Arcangel". Oil on canvas. Reengineered.

    Est: €2,000 - €2,500

    Attributed to JUAN DE ESPINAL (Seville, 1714 - 1783). "San Miguel Arcangel". Oil on canvas. Reengineered. Measurements: 41 x 27 cm. Juan de Espinal was able to overcome the then predominant Murillo spirit prevailing in local painting, opening up to other tendencies coming from Europe, among which the Rococo style predominated. He possessed an elegant sense of chromatism, a light brushstroke and an agile and vibrant drawing, as we see in this San Miguel Arcángel. Among the attributions, we can mention the Immaculate Conception preserved in the Lázaro Galdiano Museum in Madrid and the tempera decoration of the vault of the Church of San Francisco de Utrera, on the theme Apotheosis of the Jesuit Order. He has also been attributed a series of thirteen paintings of circular format, now conserved in the Santa Casa de Loyola in Guipúzcoa, possibly copies of the series of Jesuit stories that the Flemish Jesuit Ignacio Raeth painted for the Novitiate of Madrid. Son of the painter Gregorio Espinal, Juan de Espinal must have received his first artistic teachings from his father. He apprenticed in the workshop of Domingo Martínez, where he probably met his master's daughter, Juana Martínez, whom he would later marry. In 1749, after the death of his father-in-law and master, he inherited his father's workshop and presumably his clientele, enjoying a prestigious position. Proof of this are the various commissions he received, both from the city council and the ecclesiastical hierarchy. Another of his facets was teaching, being one of the main promoters of the art school known as Real Escuela de las Tres Nobles Artes de Sevilla and director of the painting section of this school since 1775. His first work of which we have evidence is the tempera decoration of the vault of the Church of El Salvador (Seville). It is a representation of the heavenly Glory presided over by the Holy Spirit in the form of a dove. In 1759 he was commissioned by the City Council of Seville to paint a picture of Saints Justa and Rufina, a theme already treated by Murillo. The result was a splendid work in which Espinal introduced iconographic novelties in the representation of these saints. Other of his most brilliant works are the Alegoría de la pintura Sevillana, currently on display at the Real Academia de Bellas Artes de San Fernando (Madrid), and San Carlos Borromeo dando la comunión a los apestados de Milán (Church of San Nicolás de Bari in Seville). His best set of works is undoubtedly the series of fifteen paintings on religious themes commissioned by the Archbishop of Seville Don Francisco Javier Delgado y Venegas and currently housed in the Archbishop's Palace of this city, among them are: The Archangel St. Michael, St. Gabriel, The Sacrifice of Isaac, Jacob's Dream and The Angel announcing the plague to David. It is known the existence of paintings on profane themes, such as Venus and Vulcan, but none of them has been preserved.

    Setdart Auction House
  • Divina Pastora
    Feb. 05, 2019

    Divina Pastora

    Est: -

    Con marco de época de 86 x 71 cm. El tema de la Divina Pastora se popularizó en Andalucía y aún más en Sevilla en el siglo XVIII gracias al monje capuchino fray Isidoro de Sevilla que en 1705 encargó un lienzo de este tema a Alonso Miguel de Tovar, pidiéndole que representara lo más fielmente posible la visión que de María había tenido. Éste pintor junto con Bernardo Lorente Germán crearon una iconografía típica que se popularizó enseguida llegando a todos los rincones de Andalucía con diferentes calidades técnicas. La Virgen se presenta sentada en una roca en campo abierto, con ropas populares, pelliza de lana de oveja y sombrero de campesina colgado en el árbol tras ella. Al fondo dos angelotes que recuerdan a los de Domingo Martínez, alimentan a las ovejas con flores. Detrás del grupo, un árbol que a la derecha se abren dejando ver un paisaje que se prolonga hasta el horizonte; en un medio plano un lobo ataca a una oveja que huye despavorida. Esta representación sigue fielmente la descripción que de esta advocación mariana hace el fraile "En el centro y bajo la sombre de un árbol, la Virgen Santísima sedante en una peña, irradiando de su rostro divino amor y ternura. La túnica roja, pero cubierto el busto hasta las rodillas de blanco pellico, ceñido en la cintura. Un manto azul, terciado al hombro izquierdo, envolverá el contorno de su cuerpo, y hacia el derecho, en las espaldas, llevará el sombrero pastoril, y junto a la diestra aparecerá el báculo de su podaría. en la mano izquierda sostendrá rosas y posará la mano derecha sobre un cordero que se acoge hacia su regazo. algunas ovejas rodearán a la Virgen, formando su rebaño, y todas en sus boquitas llevarán sendas rosas, simbólicas del avemaría con que la veneran. En lontananza se verá una oveja extraviada y perseguida por el lobo- el enemigo emergente de una cueva con afán de devorarla, pero pronuncia el avemaría; y a aparecerá el arcángel San Miguel, bajando del Cielo, con el escudo protector y la flecha, que ha de hundir en el testuz del lobo maldito." El Arcángel San Miguel sobrevolando la escena así como el rostro de la Virgen deben ponerse en relación con otros del sevillano Juan de Espinal por lo que bien podría atribuirse esta obra a su pincel. With vintage frame of 86 x 71 cm. The theme of the Divina Pastora was popularized in Andalusia and even more so in Seville in the 18th century thanks to the capuchin monk Fray Isidoro of Seville who in 1705 commissioned a canvas of this theme from Alonso Miguel de Tovar, asking him to represent as faithfully as possible the vision that Mary had had. This painter, together with Bernardo Lorente Germán, created a typical iconography that quickly became popular, reaching all corners of Andalusia with different technical qualities. The Virgin is seated on a rock in an open field, wearing folk clothes, sheep wool pelisse and peasant hat hanging on the tree behind her. In the background two angels that remind those of Domingo Martinez, feed the sheep with flowers. Behind the group, a tree that to the right they open revealing a landscape that extends to the horizon;In a flat environment a wolf attacks a sheep that fled in terror. This representation faithfully follows the description of this Marian dedication made by the friar "In the center and under the shade of a tree, the Most Holy Virgin sedated in a rock, radiating from her face divine love and tenderness. Bust to the knees of white pellico, tight at the waist.A blue mantle, thirds on the left shoulder, will wrap the contour of his body, and to the right, on the back, will wear the pastoral hat, and next to the right will appear In his left hand he will hold roses and put his right hand on a lamb that welcomes into his lap, some sheep will surround the Virgin, forming their flock, and all in their little mouths will carry pink, symbolic paths of the Hail Mary with that venerate herIn the distance you will see a sheep lost and persecuted by the wolf - the enemy emerging from a cave with eagerness to devour it, but pronounces the Hail Mary; and the archangel San Miguel will appear, coming down from Heaven, with the protective shield and the arrow, which will sink into the womb of the cursed wolf. "The Archangel Saint Michael flying over the scene as well as the face of the Virgin must be placed in contact with others of the Sevillian Juan de Espinal reason why well this work could be attributed to his brush.The Archangel San Miguel flying over the scene as well as the face of the Virgin must be put in relation with others of the Sevillian Juan de Espinal reason why this work could be attributed to his brush.The Archangel San Miguel flying over the scene as well as the face of the Virgin must be put in relation with others of the Sevillian Juan de Espinal reason why this work could be attributed to his brush.

    Isbilya Subastas
  • Attribué à Juan de ESPINAL (1714 - 1783) la Vierge de l'apocalypse Toile 43 x 34,5 cm Accidents et restaurations anciennes
    Dec. 15, 2006

    Attribué à Juan de ESPINAL (1714 - 1783) la Vierge de l'apocalypse Toile 43 x 34,5 cm Accidents et restaurations anciennes

    Est: €2,000 - €3,000

    Attribué à Juan de ESPINAL (1714 - 1783) la Vierge de l''apocalypse Toile 43 x 34,5 cm Accidents et restaurations anciennes Estimation : € 2,000-3,000

    Tajan
Lots Per Page:

Popular Artists

Devices

Get Invaluable on Your Phone

Download the app via text link to get instantly notified if you’re outbid and receive auction reminders so you never miss out!

Bid On-the-Go!

Download the Invaluable app and never miss an auction from your iOS or Android device.

App Store badgeGoogle Play badge
Invaluable Logo

As the world's leading online auction marketplace, thousands of auction houses use Invaluable to deepen relationships with millions of clients around the world. Stay connected to the things you love with curated items and auctions sent to your inbox.

You can unsubscribe at any time. View ourPrivacy Policy.

© 1986-2025 Invaluable, LLC. and participating auction houses. All Rights Reserved.

TermsSubscription AgreementPrivacy PolicyCopyrightGDPR InfoPrivacy ChoiceYour Privacy ChoicesSite Map