Blas de Ledesma Paintings & Artwork for Sale | Blas de Ledesma Art Value Price Guide

Mar. 26, 2024
ATRIBUIDO A BLAS DE LEDESMA
Est: €5,500 - €6,000
Atribuido a Blas de Ledesma (Activo en Granada, c.1602-1614) Bodegón de flores y ave. Óleo sobre lienzo. 74 x 101 cm.
Aletheia Subastas
Feb. 22, 2023
BLAS DE LEDESMA (1556 / 1598) "Still life with fruit bowl, chanterelles, cherries, asparagus, birds and chestnut and holm oak branches"
Est: €4,500 - €6,000
Oil on canvas. This still life fits in its style, technique and models within the group of paintings that have been attributed to the painter Blas de Ledesma. Active in Granada between 1602 and 1614, only one signed work of his is known and very little is known about his professional career. All the elements present in this still life, as well as the way in which they are arranged, find their parallelism in other works that have been attributed to the painter, such as the birds and branches in the upper register, the bundle of asparagus, the chanterelles or the white earthenware fruit bowl that presides over the composition in its central space. Measurements: 55 x 86.5 cm.
Ansorena
Nov. 09, 2022
BLAS DE LEDESMA Workshop (Documented in Granada between 1602 and 1614); 17th century. "Still life". Oil on canvas. Relined. Presents repaints and defects.
Est: €3,000 - €4,000
Workshop of BLAS DE LEDESMA (Documented in Granada between 1602 and 1614); first half of the 17th century. "Still life". Oil on canvas. Re-coloured. It presents repainting and damages. Measurements: 77 x 105,5 cm; 91 x 121,5 cm (frame). Baroque still life of symmetrical composition, which stands out for the abundance of food and animals that are presented on the table. The elements are arranged at various heights, creating a complex yet highly visual image. The still life in Spain was one of the most characteristic genres and, due to its special characteristics, is clearly differentiated from the same subject in workshops in the rest of Europe. The term appeared at the end of the 16th century, and stands out in this school for its austerity, in clear contrast to Flemish sumptuousness, although with a series of influences from the latter and the Italian school. Sánchez Cotán's works were so successful that his style had numerous followers (Juan de Espinosa, Antonio Ponce, Juan van der Hamen y León, etc.). In this context, the Sevillian school contributed its own particularities, thanks above all to Velázquez and Zurbarán. Blas de Ledesma was one of the first Spanish artists to cultivate the still life. Although he is a very poorly documented artist, of whom only one signed work survives, we do know that in 1602 he was in Granada, working with Pedro de Raxis on the paintings for the dome crowning the imperial staircase of the Monastery of Santa Cruz la Real. In fact, Pacheco praises him as a mural painter in his "Arte de la Pintura", and cites him, together with Pedro de Raxis and Antonio Mohedano, as a follower of Giulio Aquili and Alejandro Mayner, who introduced the grotesques into the Alhambra Palace. In 1614 he is again documented in Granada, drawing a plaster vault for the Sala de los Mocárabes in the Alhambra. He is also mentioned as working in the cathedral with Miguel Cano. We know nothing more about his life until January 1616, when the Corpus Christi Brotherhood, to which he belonged, celebrated a Mass for his soul, from which we can deduce that he must have died at the end of 1615 or early the following year. We also know, however, that he was recognised as a painter of fruit bowls, as attested by Pedro Soto de Rojas, who dedicated verses to him comparing him to Zeuxis in his "Paraíso cerrado para muchos, jardines abiertos para pocos" ("Paradise closed to many, gardens open to few") of 1652. To date we know of only one work signed by him that can be safely attributed to him, the "Still Life of Cherries" in the High Museum of Art in Atlanta (USA). It is a still life which is evidence of the knowledge of Juan Sánchez Cotán (present in Granada from 1604), characterised by a rigorously geometric composition, with the objects on a table in front of a black background, meticulously worked in great detail.
Setdart Auction House
Nov. 02, 2022
BLAS DE LEDESMA ( / Active between 1602 - 1614) "Pair of still lifes with birds, fruits and flowers"
Est: €90,000 - €120,000
Oils on canvas Imposing pair of still lifes attached to the Corpus of the painter Blas de Ledesma by coincidence in the style, technique and elements that it includes, that appear repeatedly in the rest of the works that make up the set of works attributed to the painter published by Ramón Torres Martín in 1978. Few details are known about the painter whom Palomino cites in “Arte de la Pintura” together with Pedro de Raxis and Antonio Mohedano as cultivators of decorative painting. He was active in Granada between 1602 and 1614 and only one signed work of his is known to be preserved in the High Museum of Art in Atlanta. They are presented in modern baroque-style frames in carved, gilded and polycormed wood. Bibliography: Torres Martín, R., "
Ansorena
Oct. 11, 2022
BLAS DE LEDESMA - "Bodegón".
Est: -
BLAS DE LEDESMA - "Bodegón".
Arte Subastas Bilbao
Sep. 28, 2022
BLAS DE LEDESMA (1556 / 1598) "Still life with fruit bowl, chanterelles, cherries, asparagus, birds and chestnut and holm oak branches"
Est: €4,500 - €6,000
Oil on canvas. This still life is framed in its style, technique and models within the set of paintings that have been attributed to the painter Blas de Ledesma. Active in Granada between 1602 and 1614, only one signed work of his is known and very little is known about his professional career. All the elements present in this still life, as well as the way in which they are arranged, find their parallelism in other works that have been attributed to the painter, such as the birds and branches of the upper register, the bundle of asparagus, the chanterelles or the white earthenware fruit bowl that presides over the composition in its central space. 55 x 86.5 cm.
Ansorena
Sep. 07, 2022
BLAS DE LEDESMA Workshop (Documented in Granada between 1602 and 1614); 17th century. "Still life". Oil on canvas. Relined. Presents repaints and defects.
Est: €4,000 - €6,000
Workshop of BLAS DE LEDESMA (Documented in Granada between 1602 and 1614); first half of the 17th century. "Still life". Oil on canvas. Re-coloured. It presents repainting and damages. Measurements: 77 x 105,5 cm; 91 x 121,5 cm (frame). Baroque still life of symmetrical composition, which stands out for the abundance of food and animals that are presented on the table. The elements are arranged at various heights, creating a complex yet highly visual image. The still life in Spain was one of the most characteristic genres and, due to its special characteristics, is clearly differentiated from the same subject in workshops in the rest of Europe. The term appeared at the end of the 16th century, and stands out in this school for its austerity, in clear contrast to Flemish sumptuousness, although with a series of influences from the latter and the Italian school. Sánchez Cotán's works were so successful that his style had numerous followers (Juan de Espinosa, Antonio Ponce, Juan van der Hamen y León, etc.). In this context, the Sevillian school contributed its own particularities, thanks above all to Velázquez and Zurbarán. Blas de Ledesma was one of the first Spanish artists to cultivate the still life. Although he is a very poorly documented artist, of whom only one signed work survives, we do know that in 1602 he was in Granada, working with Pedro de Raxis on the paintings for the dome crowning the imperial staircase of the Monastery of Santa Cruz la Real. In fact, Pacheco praises him as a mural painter in his "Arte de la Pintura", and cites him, together with Pedro de Raxis and Antonio Mohedano, as a follower of Giulio Aquili and Alejandro Mayner, who introduced the grotesques into the Alhambra Palace. In 1614 he is again documented in Granada, drawing a plaster vault for the Sala de los Mocárabes in the Alhambra. He is also mentioned as working in the cathedral with Miguel Cano. We know nothing more about his life until January 1616, when the Corpus Christi Brotherhood, to which he belonged, celebrated a Mass for his soul, from which we can deduce that he must have died at the end of 1615 or early the following year. We also know, however, that he was recognised as a painter of fruit bowls, as attested by Pedro Soto de Rojas, who dedicated verses to him comparing him to Zeuxis in his "Paraíso cerrado para muchos, jardines abiertos para pocos" ("Paradise closed to many, gardens open to few") of 1652. To date we know of only one work signed by him that can be safely attributed to him, the "Still Life of Cherries" in the High Museum of Art in Atlanta (USA). It is a still life which is evidence of the knowledge of Juan Sánchez Cotán (present in Granada from 1604), characterised by a rigorously geometric composition, with the objects on a table in front of a black background, meticulously worked in great detail.
Setdart Auction House
Jul. 07, 2022
ATTRIBUTED TO BLAS DE LEDESMA (DOCUMENTED IN GRANADA BETWEEN 1602 AND 1614)
Est: €18,000 - €20,000
Attributed to Blas de Ledesma (Documented in Granada between 1602 and 1614) "Still life" Oil on canvas. 106 x 70 cm. This still life is comparable to the one reproduced in "Blas de Ledesma y el bodegón español" (Blas de Ledesma and the Spanish still life) by Ramón Torres Martín, page 127, nº 2, from the Colección Sucesores de Rodríguez y Jiménez S.L., Madrid.
La Suite Subastas
Apr. 20, 2022
BLAS DE LEDESMA. BODEGONES CON FRUTAS.
Est: €18,000 - €20,000
Blas de Ledesma (Documentado en Granada entre 1602 y 1614) Bodegones con frutas. Pareja de óleos sobre lienzo. Según el Doctor Juan Ramon Triadó las obras guardan una estrecha relación con otras dos del mismo artista, actualmente en paradero desconocido, reproducidas en el libro: "Blas de Ledesma y el Bodegón español", por Ramon Torres Martín. Nº 37 y 39. Madrid, 1978. y con las que formarían un grupo de cuatro pinturas. Este pintor, que se cree de origen toledano, estuvo trabajando en Granada entre 1602 y 1614, realizando murales decorativos al fresco, hoy desaparecidos o sin identificar. A pesar de hallarse en Granada, Ledesma no rompería totalmente sus relaciones con Toledo y con lo que allí se pintaba. Prueba de ello es la influencia de la obra de El Greco en sus cuadros. La producción de Ledesma está centrada en la pintura de bodegones, de la que es un gran maestro. El catálogo elaborado por Ramón Torres enumeraba hasta ciento catorce pinturas, todas ellas de temática bodegonista, muchas de las cuales habían sido atribuidas a otros pintores, como Blas de Prado, Van der Hamen, Sánchez Cotán, etc. Se adjunta informe de Juan Ramon Triadó. 122 x 87 cm. y 145 x 92 cm. cada uno.
Aletheia Subastas
May. 01, 2019
Blas de Ledesma (active Granada 1602-1614) Apples in a wicker basket with p
Est: $60,000 - $80,000
Blas de Ledesma (active Granada 1602-1614) Apples in a wicker basket with pomegranates and peonies on a linen-covered... oil on canvas 23 7/8 x 31 ¾ in. (60.6 x 80.5 cm.)
Christie's
Oct. 25, 2017
Blas de Ledesma (Granada 1602/1614 - ?), attributed to, Still life with peaches within a porcelain bowl
Est: €4,000 - €5,000
oil on canvas, cm 52x86
Cambi Casa d'Aste
Nov. 15, 2016
Blas de Ledesma (Granada 1602/1614 - ?), attributed to, Still life with peaches within a porcelain bowl
Est: €7,000 - €8,000
oil on canvas, cm 52x86
Cambi Casa d'Aste
Mar. 05, 2015
BLAS DE LEDESMA
Est: -
(c.1580-1640). "Bodegón con frutas", pareja de óleos sobre lienzo, 95x145 cm. Se adjunta estudio de Don Joan-Ramon Triadó. Bibliografía de referencia: TORRES MARTIN, R. "Blas de Ledesma y el bodegón español", Madrid: 1978, núm. 37 y 39.
Sala de Ventas
Nov. 09, 2006
BLAS DE LEDESMA (Spanish, active 1602 - 1614)
Est: $180,000 - $220,000
BLAS DE LEDESMA (Spanish, active 1602 - 1614) Still Life with Fruit Oil on canvas 23 x 31-1/2 inches PROVENANCE: D. Santiago Pierrad, Madrid, Spain, early to mid 1800s; Thence by family descent; José Weissberger, Madrid, Spain; Newhouse Galleries, New York; Private Collection, United States; Newhouse Galleries, New York, NY; Mr. and Mrs. F. Howard Walsh, Fort Worth, Texas; Walsh Family Art Trust LITERATURE: Ingvar Bergstrom, Maestros Espanoles de Bodegones y Floreros del Siglo XVII, Madrid, 1970, pp. 26-27, plate 6, ill.; Ramon Torres Martin, Blas de Ledesma y El Bodegón Español, Madrid, 1978, cat. no. 72, ill. p. 183, described p. 112: "Bodegón con una cesta central con melocotones peaches y dos vasijas laterales con motivos florales, una llena abundance de cerezas cherries y la oltra de abaricoques. Colgadas de la parte superior hay ramas branches con ciruelas plums y abricoques." This serene presentation of peaches, apricots, cherries, and plums all arranged symmetrically in containers on a plain ledge or as swags against an inky black background is the work of Blas de Ledesma, an early seventeenth-century painter from Granada and one of the early practitioners of still life in Spain. Ledesma is recorded as having worked in Granada from 1602 to 1614, during which year he designed a stucco vault decoration for the magnificent palace of the Alhambra. Archival sources indicate that in addition to his work as a decorative frescoist, Ledesma also painted fruit still lifes, though none of the particulars of his work in this relatively new genre were described in seventeenth-century accounts either by Pacheco (in his Arte de la pintura of 1649) or by the Granadan poet Pedro Soto de Rojas in 1652. Although the few biographical details gleaned from these sources seem to stress his work in interior decoration over his work as an easel painter, it now appears that Ledesma's work as a painter of fruit pieces may have been equally significant. In 1943, a still life featuring a large centralized basket of cherries signed by Ledesma (a basket similar in appearance to that of the present work) was published by Julio Castagny and thus became the touchstone against which other works by or possibly by Ledesma have been compared (the work is now in the collection of the High Museum of Art in Atlanta, Georgia). The High Museum's still life of cherries in a basket provided proof positive that Ledesma not only produced still lifes in easel painting format, but that their compositions and stylistic conventions showed an awareness of the major trends in early seventeenth-century still-life painting in Spain. As both the High Museum painting and this present still life show, Ledesma removed the depicted objects "from their natural context and rearranged them within the context of art, where the conventions of naturalism required a dark background and a strong light to give relief to natural forms" (William B. Jordan, Spanish Still Life in the Golden Age 1600-1650, exh. cat., Kimbell Art Museum, Fort Worth, Texas, 1985, p. 69). As Alfonso Pérez Sánchez perceptively noted in relation to the High Museum picture (and by extension to the present work), Ledesma was probably influenced by the major talent of the age, Sánchez Cotán (1560-1627), "in the almost magical silence" of the picture and its quality of light (Alfonso Pérez Sánchez, Pintura española de bodegones y floreros de 1600 a Goya, exh. cat., Museo del Prado, Madrid, 1983, p.70). Jordan added to this observation that while the symmetry of Ledesma's painting has no relation to the much more sophisticated still lifes by Sánchez Cotán, its "disposition of the objects along a stone ledge and the acute observation of detail in the cherries do call to mind the Toledo tradition" (Jordan, p. 69). Although Blas de Ledesma was a provincial painter with less pictorial sophistication than a Sánchez Cotán or a Juan van der Hamen y Leon (1596-1631), he contributed to the rise of still life as a discrete new painting genre in a regional pocket of Spain, and is recognized as one of its earliest practitioners. Unfortunately, in the twentieth century's art historical zeal to resurrect the lost work of these pioneers of Spanish still life painting, Blas de Ledesma's oeuvre has been bloated with paintings by a host of other hands, both better and far worse than his own. Fortunately, however, in publications with these connoisseurship problems, notably Ramon Torres Martin's oeuvre catalogue of 1978 (see Literature above), all the works attributed to Ledesma are illustrated, making it possible to separate many of the proverbial sheep from the goats. In the way the paint is handled, the present painting appears to relate most closely to a still life of fruit by Ledesma formerly with the Galleria Lorenzelli, Bergamo, Italy (Torres Martin, 1978, no. 71, p. 183). The basket is handled with a similar coarseness, coarser than the more finely woven vessel in the High Museum painting, and seems to hover above the table rather than rest convincingly on top of it. Also quite similar is the way the leaves are handled. The serrated edges, the veins and the central stems are picked out with a much lighter paint than the green describing their flat surfaces. The plums and the peaches in both works are described similarly as well; strong highlights strike them on the top and in front, leaving only a slim margin of shadow along their lower edges to convey a sense of volume.
Heritage Auctions