Gregorio (1576) Fernández Paintings & Artwork for Sale | Gregorio (1576) Fernández Art Value Price Guide

May. 29, 2024
Circle of GREGORIO FERNÁNDEZ (Lugo, 1576 - Valladolid, 1636). ‘Immaculate Conception’. Carved and polychrome wood. It presents faults in the carving, repainting and restorations.
Est: €8,000 - €9,000
Circle of GREGORIO FERNÁNDEZ (Lugo, 1576 - Valladolid, 1636). ‘Immaculate Conception’. Carved and polychrome wood. It presents faults in the carving, repainting and restorations. Measurements: 85 x 33 x 27 cm. The Virgin stands on a pedestal, resting her feet on a cloud dominated by the presence of the fourth moon and three cherub heads as usual in the iconographic representation of the Immaculate Conception. The artist presents us with a monumental and stylised carving, especially the face, which stands out for the long neck and the features that contrast with the large volume of the cloak. The piece stands out for the detail of the features of the face and the hair that falls over the cloak. Aesthetically, the work follows the precepts of Gregorio Fernández's style, and in fact it is notably close to sculptures of the same theme by the master, such as the Immaculate Conception in the cathedral of Santa María de la Redonda, Logroño. Gregorio Fernández was the greatest exponent of the Castilian school of the early Baroque, heir to the expressiveness of Alonso Berruguete and Juan de Juni and permeable to the classicist influences of Pompey Leoni and Juan de Arfe, on whom he would rely to leave behind the Mannerism of his training to become a fully Baroque sculptor. Although we know little biographical information about the master, his work is well documented, as it was executed for numerous churches and brotherhoods in Castile. He was an artist who was highly representative of his time, of the dramatic spirituality of 17th century Spain, reflected in his highly pathetic processional pasos, which were his favourite subject, given that they depicted scenes from the Passion and allowed this harsh drama to be reflected. He was a unique artist, always maintaining his individuality, and in fact he defined one of the great sculptural schools of the Spanish Baroque, in contrast to the Andalusian school of Martínez Montañés, who was more classicist and harmonious. Fernández, on the other hand, was a child of the counter-reformist culture of Philip II and therefore sought a religious image that was as didactic as possible, far removed from the purely aesthetic approaches that moved the Sevillian master. Gregorio Fernández had a large workshop that took on contracts mainly from Valladolid, León and Madrid, but also from the Basque Country and Extremadura, where numerous sculptors were trained and a veritable school of followers was created. According to Palomino in the 18th century, Fernández was a pious man, even close to sainthood, who before starting work prostrated himself in deep prayer, fasted, did penance and maintained a constant dialogue with God, a life in keeping with the profound mysticism that dominated Spanish religiosity in the 17th century, and which speaks of a feeling of commitment to faith in the execution of his works.
Setdart Auction House
Apr. 25, 2024
OBRADOR GREGORIO FERNÁNDEZ (SARRIA, LUGO, APRIL 1576 - VALLADOLID, JANUARY 22, 1636), IMMACULATE IN GLORY, 16TH CENTURY SPANISH SCHOOL
Est: €4,250 - €4,500
Preserving its original gilding on the mantle, repainting on the face, in carved wood. Measurements: 70 x 30 x 20 cm. Provenance: important private collection, Valencia, Spain.
Templum Fine Art Auctions
Dec. 20, 2023
Gregorio Fernández (Sarria, Lugo, 1576-Valladolid, 1636). Star Lot. "Immaculate"
Est: €300,000 - €350,000
Report from Don Ángel Rivera de las Heras is attached. Doctor in Art History. Measurements: 152 x 90 x 52 without base, measurements with base: 215 x 90 x 60 cm. The figure is exactly the same model created by the Galician sculptor Gregorio Fernández that he made in 1617 for the Valladolid convent of San Francisco, and which was reproduced repeatedly, even during the master's lifetime, by disciples and imitators. The Virgin is standing, in a frontal and static position, almost hieratic, with her left foot forward. She has a youthful face, with a cylindrical neck and rounded head. Small locks of hair are arranged on her forehead, as in other omaculated autographs. Her long, wavy hair is divided into two levels, maintaining her symmetry: her front hair falls to her shoulders, the rest of it flows down her shoulders and down her back to below her head. waist. She keeps hers, hands joined, in a prayerful gesture. She wears a white tunic, tight with a headband, decorated with botanical motifs using the stew technique, and highlighted with borders in the cut-out, cuffs and fimbria. She covers herself with a blue mantle, bordered with a fretwork formed by vegetal scrolls applied with a brush tip, studded with seven-pointed golden stars. Her tunic and cloak show wide, ridged and broken folds, marking cavities, especially in the lower third; those on the back of the cloak are gathered, as usual, in a puff that seems to be attached to an invisible pin. The figure sits on the quarter moon and a cluster of clouds with a group formed by three heads of winged angels, who, like the Virgin, have glassy eyes, which seems to be a later addition. And she is surrounded by a halo with golden, straight and flamed rays, in which the following inscription is displayed: "TOTA PVLCHRA ES AMICA MEA / ET MACVLA NON EST IN TE" (Cf. Song of Songs 4, 7). The cubic base is from the 17th century, and is decorated with the anagram of Mary, as well as gilded moldings on its base and cornice, and vegetal plaques on the fronts. Conservation: the organoleptic examination allows us to affirm that its state of conservation is very good, although small scratches and minor chips are observed. It is a sculptural work of extraordinary artistic and plastic quality. It is not documented, but it can be attributed to Gregorio Fernández (Sarria, Lugo, 1576-Valladolid, 1636), from whose workshop it came out in the artist's last period, between 1620 and 1636. This is evidenced by its compositional design, its formal characteristics and some specific details of its execution. BIBLIOGRAPHY: Juan José Martin González, The sculptor Gregorio Fernández, Madrid, 1980; Jesús Urrea, Cat. of the exp. Gregorio Fernández, 1576 - 1636, Madrid, 1999. Provenance: important Spanish private collection.
Templum Fine Art Auctions
Nov. 07, 2023
GREGORIO FERNANDEZ Sarriá, Galicia (1576) / Valladolid (1636) "Saint Bernard in ecstasy"
Est: €52,500 - €70,000
Carved, stewed and polychrome wood. This splendid carving represents Saint Bernard, Cistercian monk of Clairvaux Abbey, in one of the best-known moments of his hagiography: the dairy prize. According to tradition, when Bernard was a young monk, he was commissioned to preach by the abbot and, fearing to disappoint him, he began to pray in front of an image of the Virgin until he fell asleep. In dreams, Mary granted him the gift of eloquence as the saint received milk from her own breast. Its technical and formal characteristics allow it to be attributed to Gregorio Fernández, the greatest exponent of Castilian Baroque sculpture. The author shows him with his hands extended as a sign of surrender and with a gesture of mystical rapture, showing the contained drama that is manifested in most of his works. With his head slightly tilted, he directs his gaze to the sky and has his mouth slightly open, showing great expressiveness. The white Cistercian habit is slightly nuanced by a light stew and a soft polychrome of plant elements, showing the characteristic metallic folds that characterize his works.
Ansorena
Jul. 20, 2022
EXCEPTIONAL PENITENT MAGDALEN, VALLADOLID SCHOOL OF THE 17TH CENTURY, GREGORIO FERNÁNDEZ CIRCLE (SARRIA, LUGO, APRIL 1576 - VALLADOLID, JANUARY 22, 1636)
Est: €6,000 - €7,000
In carved, gilt, stewed and polychrome wood, measurements: 106 X 62 X 35. Provenance: important private collection.
Templum Fine Art Auctions
May. 26, 2021
ATRIBUIDO A GREGORIO FERNÁNDEZ (Sarria 1576 - Valladolid 1636) Título:
Est: -
ATRIBUIDO A GREGORIO FERNÁNDEZ (Sarria 1576 - Valladolid 1636) Título: "Niño de la Bola" Madera tallada, dorada y policromada 35x14x13 cm
Arte Subastas Bilbao
Oct. 14, 2020
Gregorio Fernández Attrb. (1576-1636)
Est: €10,000 - €15,000
An important depiction of the Virgin of the Immaculate Conception Carved, polychrome and gilt wooden sculpture Spain, 16th/17th century (minor faults and restoration, losses to gilding and to polychrome surfaces)
Veritas Art Auctioneers
Jun. 22, 2016
GREGORIO FERNÁNDEZ
Est: -
GREGORIO FERNÁNDEZ 1576 Sarria, Lugo - 1636 Valladolid San Sebastián Madera tallada y policromada 62 cm
Isbilya Subastas
Jan. 29, 2016
SPANISH, CASTILLE, CIRCLE OF GREGORIO FERNÁNDEZ (1576-1636), FIRST HALF 17TH CENTURY | Christ as the Man of Sorrows
Est: $10,000 - $15,000
gilt and painted wood
Sotheby's
Dec. 02, 2014
A PARCEL-GILT POLYCHROME WOOD FIGURE OF THE INFANT SAINT JOHN THE BAPTIST
Est: £5,000 - £8,000
A PARCEL-GILT POLYCHROME WOOD FIGURE OF THE INFANT SAINT JOHN THE BAPTIST CIRCLE OF GREGORIO FERNANDEZ (1576-1636), VALLADOLID, 17TH CENTURY On an integrally carved polychrome wood base 25 in. (63.5 cm.) high, overall
Christie's
Mar. 27, 2014
Gregorio Fernández, 1576 - 1636, zug.
Est: €250 - €350
SCHNITZFIGUR EINES HEILIGEN BISCHOFS Höhe: 87 cm. In Nussholz, vollrund geschnitzt. Standfigur im Kontrapost auf mitgeschnitztem, rundem Sockel. Die Standhaltung des Heiligen in spannungsreicher Bewegung. Der nach oben hin schlank sich verjüngende Oberkörper mit leicht nach links herabfallender Schulter, Kopfhaltung nach links geneigt mit Blick nach unten, das Gesicht markant geschnitzt mit individuellem Ausdruck in hoher Schnitzqualität. Hohe Mitra, der Mantel durch eine rechteckige Spangenagraffe zusammengehalten. Der Mantelbausch wird mit der rechten Hand gehalten und schwingt an der linken Körperseite in zwei kräftigen Wülsten aus, darüber erhebt sich die linke Hand, die ehemals den Stab hielt (nicht mehr vorhanden). Die Handschuhe ziehen über die Arme hoch, darüber liegt das Mantelkleid, das an der rechten Seite gerade herabzieht. Das linke Knie unter kantigem Faltenwurf vorgestreckt, die gerundete Schuhspitze des rechten Fußes tritt unter dem Mantelsaum am Sockel vor. An der Rückseite kursorisch bearbeitet, ungefasst, mit schöner Alterspatina. Partiell (an der Rückseite sowie am Sockel) Wurmgänge. (9603990) Wird zum halben Schätzpreis aufgerufen
Hampel Fine Art Auctions