Bernardo de Legarda Paintings & Artwork for Sale | Bernardo de Legarda Art Value Price Guide

Jun. 27, 2024
BERNARDO DE LEGARDA (QUITO, ECUADOR, CIRCA 1770 - 1773)
Est: €35,000 - €60,000
Bernardo de Legarda (Quito, Ecuador, circa 1770 - 1773) ‘Martyrdom of Saint Barbara’. Carved, polychromed and gilded wooden relief. 35,5 x 27 x 3,5 cm. Wonderful relief, in which Legarda magnificently narrates the dramatic moment in which the saint is about to be beheaded, while a lightning bolt is about to fall on her executioner, killing him. Next to her is the tower in which her father, Dioscorus, had her locked up to protect her from being harassed by suitors. Before entering the tower the saint baptised herself in a pool. She escaped, but was arrested and brought before the judge Martinianus, who condemned her to death. In this relief, the tower, according to tradition, has three windows to recall the words of the saint, who stated that the light had entered her through the three windows of the Father, the Son and the Holy Spirit. The relief is an example of absolute mastery as well as virtuosity in polychromy. The characters are dressed in rich and elaborate robes in vivid colours, with polychrome brushwork of flowers enriched with motifs painted in gold. It is ornamented down to the smallest detail. It is presented in its original carved, wooden, niche type frame, which even has its inner edge decorated with a border of flowers. Bernardo Legada, an enormously talented sculptor and painter, stands out as one of the most important artists of the Viceroyalty of Ecuador. The magnitude, variety and aesthetic quality of his work is unparalleled in the entire viceregal period. Legarda, while consolidating the validity of the Quito School as a differentiated style, is a pioneer in the vision of the artist as an individual. When we speak of this Master we usually think only of his free-standing sculptures, but Legarda is perhaps one of the few artists of the South American region who inherited the multidisciplinary versatility of the first artists who arrived or developed in Latin America, as was the master Bernardo Bitti, one of the three pillars of viceregal art in South America at the end of the XVI century. He was an outstanding and fine sculptor, prolific image maker, skilled painter, painstaking gilder, silversmith and mirror maker.His workshop, large and prosperous, located near San Francisco, was a centre of great activity. There is a large number of artworks by the master Bernardo de Legarda in the different churches in the capital of Ecuador that attest to his genius. Amongst his most important artworks is the main altarpiece of the Church of La Merced in Quito, as well as the altarpiece of the Temple of the Jesuits. This relief is especially remarkable because there are very few artworks by Legarda on the market today, and even fewer with this type of relief carving. Its small size and quality, together with its magnificent polychromy, make this relief a coveted jewel that could certainly be a museum piece. The sweet expressions of the characters, who seem oblivious to the scene depicted where Saint Barbara is about to have her throat slit, are classic Legarda. This type of expression and idealised faces reminiscent of porcelain dolls are repeated over and over again in his sculpture. It is sufficient to see just some of his works to notice that this was undoubtedly the great Master of kind, serene and sweet faces. We take two artworks by the author as typological references of his relief carving. On the one hand, a relief sculptural ensemble conceived within its own niche, representing the Apocalyptic Immaculate Virgin with a choir of angels, in the BEAEP Cultural Center Museum. And on the other hand, an exquisite relief sculpture of a larger size representing the Assumption of Mary, in the Church of San Francisco, in Quito, Ecuador. Furthermore, when analysing the carving, we compared its clothing, polychromy and sweet features with those of the Archangel Saint Gabriel in the same church in Quito; and also with the Archangel Saint Michael of the Primate Cathedral of Quito, whose sweet face is especially reminiscent of that of the Saint Barbara we have here. Colonial Spanish Americas. Works of Art.
La Suite Subastas
Jun. 27, 2024
ATTRIBUTED TO BERNARDO LEGARDA (QUITO CIRCA 1700 - 1773)
Est: €6,000 - €8,000
Attributed to Bernardo Legarda (Quito, circa 1700 - 1773) "Saint Joseph and the Virgin Mary" Pair of carved and polychromed wooden sculptures with vitreous eyes. They would have belonged to a nativity scene. 28 x 16 x 10 cm. and 30 x 16 x 12 cm. Wonderful example of the baroque sculpture from Quito. The sculptor presents us with the Virgin Mary and Saint Joseph, humanised and with serene expressions full of spirituality. Bernardo Legada, a sculptor and painter of enormous talent, stood out as one of the most important artists of the Viceroyalty of Ecuador. Like other indigenous art image-makers, he dedicated himself solely to sacred art. His most important works include the main altarpiece of the Church of La Merced in Quito, as well as the altarpiece of the Temple of the Jesuits. Wonderful treatment of the flesh tones, with characteristic polychrome on the faces that looks like porcelain. The decoration of the habit is a delightful brush composition of polychrome flowers and fine gold latticework. Some of Legarda's other important artworks are, for example, the Calvary found in the Convent of Santo Domingo in Quito, the Virgin of Quito which is in the main altar of the church of San Francisco and is the only artwork that has the signature of the author, Our Lady of the Assumption of Popayán, kept in the Cathedral of Popayán, Colombia, a Saint John of God at the Convent of Santo Domingo in Quito, and the Calvary of the Chapel of Cantuña, in Quito. He is also the architect of the main altarpieces of the church of the Carmen Bajo monastery and the church of La Merced, both in Quito, also of the altarpiece in the presbytery of the Church of the Society of Jesus. Reference bibliography: - "Escuela quiteña: principales exponentes y su legado en el arte ecuatoriano. Plan de difusión cultural”. Estupiñán Ordóñez Doris Amelia. P. 187, nº 48. Colonial Spanish Americas.
La Suite Subastas
Apr. 25, 2024
VERY LARGE AND PERIOD ORIGINAL SAINT PETER, BERNARDO DE LEGARDA (QUITO, 1700 - 1773), POSSIBLY WITH THE INTERVENTION OF HIS WORKSHOP, 18TH CENTURY SPANISH COLONIAL SCHOOL OF QUITO
Est: €4,000 - €4,500
In original polychrome state, the key is missing. It requires a small restoration. Measurements: 90 x 32 x 22 cm. Origin: important private collection from a farmhouse in Andalusia, southern Spain.
Templum Fine Art Auctions
Jul. 26, 2023
Exquisite Great Expiring Christ, Bernardo de Legarda (Quito, 1700 - 1773), Quito colonial school of the 18th century
Est: €12,000 - €15,000
Polychrome wood carving, bright colors, dramatic expression and preserving all its original polychromy, measurements from hand to feet: 74 cm, measurements from head to feet: 62 cm, measurements from hand to hand: 51 cm and depth: 12 cm. Bernardo de Legarda y Arco (1700-1773) was an 18th century sculptor, carver, painter and silversmith from Quito, belonging to the Quito School of Art. He was born in the city of Quito, around the year 1700, although the exact date is unknown. Despite having belonged to a mestizo family with few economic possibilities, he was able to enter the best art schools in the city thanks to the great efforts of his father, where he learned all the secrets of one of the best schools in the world. continent. He married Alejandra Velázquez, also a mestizo, but she left with another man shortly after, causing Legarda to fully concentrate on his isolated work in his workshop, near the Church of San Francisco. Dedicated to his artistic creations until the last of his days, Bernardo de Legarda died on June 1, 1773, in his hometown: Quito. Almost all the churches in the Historic Center of the city owe Legarda the work of the largest number of his altarpieces; He knew how to turn the naves of the temples into art galleries, into true museums of religious art, thus making the eighteenth century of the Quito School lean towards sculpture, in relation to painting. Origin: old Spanish family collection. Bernardo de Legarda died on June 1, 1773, in his hometown: Quito. Almost all the churches in the Historic Center of the city owe Legarda the work of the largest number of his altarpieces; He knew how to turn the naves of the temples into art galleries, into true museums of religious art, thus making the eighteenth century of the Quito School lean towards sculpture, in relation to painting. Origin: old Spanish family collection. Bernardo de Legarda died on June 1, 1773, in his hometown: Quito. Almost all the churches in the Historic Center of the city owe Legarda the work of the largest number of his altarpieces; He knew how to turn the naves of the temples into art galleries, into true museums of religious art, thus making the eighteenth century of the Quito School lean towards sculpture, in relation to painting. Origin: old Spanish family collection. thus achieving that the eighteenth century of the Quito School leaned towards the side of sculpture, in relation to painting. Origin: old Spanish family collection. thus achieving that the eighteenth century of the Quito School leaned towards the side of sculpture, in relation to painting. Origin: old Spanish family collection.
Templum Fine Art Auctions
May. 30, 2023
Very Large and period original Saint Peter, Bernardo de Legarda (Quito, 1700 - 1773), possibly with the intervention of his Workshop, 18th century Spanish colonial school of Quito
Est: €3,000 - €4,000
In original polychrome state, the key is missing. It requires a small restoration. Measurements: 90 x 32 x 22 cm. Origin: important private collection from a farmhouse in Andalusia, southern Spain.
Templum Fine Art Auctions
May. 30, 2023
Very Large and original to the period Expiring Christ, Bernardo de Legarda (Quito, 1700 - 1773), Quito colonial school of the 18th century
Est: €12,000 - €15,000
Polychrome wood carving, bright colors, dramatic expression and preserving all its original polychromy, measurements from hand to feet: 74 cm, measurements from head to feet: 62 cm, measurements from hand to hand: 51 cm and depth: 12 cm. Bernardo de Legarda y Arco (1700-1773) was an 18th century sculptor, carver, painter and silversmith from Quito, belonging to the Quito School of Art. He was born in the city of Quito, around the year 1700, although the exact date is unknown. Despite having belonged to a mestizo family with few economic possibilities, he was able to enter the best art schools in the city thanks to the great efforts of his father, where he learned all the secrets of one of the best schools in the world. continent. He married Alejandra Velázquez, also a mestizo, but she left with another man shortly after, causing Legarda to fully concentrate on his isolated work in his workshop, near the Church of San Francisco. Dedicated to his artistic creations until the last of his days, Bernardo de Legarda died on June 1, 1773, in his hometown: Quito. Almost all the churches in the Historic Center of the city owe Legarda the work of the largest number of his altarpieces; He knew how to turn the naves of the temples into art galleries, into true museums of religious art, thus making the eighteenth century of the Quito School lean towards sculpture, in relation to painting. Origin: old Spanish family collection. Bernardo de Legarda died on June 1, 1773, in his hometown: Quito. Almost all the churches in the Historic Center of the city owe Legarda the work of the largest number of his altarpieces; He knew how to turn the naves of the temples into art galleries, into true museums of religious art, thus making the eighteenth century of the Quito School lean towards sculpture, in relation to painting. Origin: old Spanish family collection. Bernardo de Legarda died on June 1, 1773, in his hometown: Quito. Almost all the churches in the Historic Center of the city owe Legarda the work of the largest number of his altarpieces; He knew how to turn the naves of the temples into art galleries, into true museums of religious art, thus making the eighteenth century of the Quito School lean towards sculpture, in relation to painting. Origin: old Spanish family collection. thus achieving that the eighteenth century of the Quito School leaned towards the side of sculpture, in relation to painting. Origin: old Spanish family collection. thus achieving that the eighteenth century of the Quito School leaned towards the side of sculpture, in relation to painting. Origin: old Spanish family collection.
Templum Fine Art Auctions
Dec. 01, 2022
Attributed to Bernardo de Legarda (Quito, Peru, 1700 - 1773)
Est: €6,000 - €8,000
Attributed to Bernardo de Legarda (Quito, Peru, 1700 - 1773) "Nativity" Sculptural set in carved, gilded, estofado and polychromed fruit wood. Measurements: Saint Joseph: 21 x 12 x 10 cm., Virgin Mary: 22 x 10 x 8 cm. and Angel: 15 x 8 x 7 cm. Bernardo Legada, an enormously talented sculptor and painter, stands out as one of the most important artists of the Viceroyalty of Ecuador. Like other image makers of indigenous art, he dedicated himself solely to sacred art. Highlights among his most important works are the main altarpiece of the Iglesia de la Merced in Quito, as well as the altarpiece of the Temple of the Jesuits. Colonial School. Sculpture.
La Suite Subastas
Feb. 18, 2021
Spanish Colonial figure of the Virgin of Quito
Est: $300 - $500
19th c. or older, Ecuador, gilt and polychrome painted carved wood, gilt metal halo and wings, natural pearl earrings, in the style of Bernardo Legarda (Ecuadorian, 1700-1773), approx 8"h x 4"dia
Millea Bros Ltd
Nov. 05, 2020
Attributed to Bernardo Legarda (Quito, c. 1770 - 1773)
Est: €12,000 - €15,000
Attributed to Bernardo Legarda (Quito, c. 1770 - 1773). Colonial. “Ecce Homo” Polychromed lead sculpture. Marvellous example of baroque sculpture from Quito. The sculptor has depicted a humanised Christ, with a serene expression, full of spirituality. The mastery of the sculptor can be perceived clearly in the definition of the body, in which the musculature of the back, arms and legs as well as the refined polychroming technique on the carnations are outstanding. With beautiful, delicate and lengthened features, the face, which is almost feminine, is framed by long locks of hair which fall down the back, conveying a feeling of great spirituality and devotion. Bernardo Legada was an enormously talented sculptor and painter and stands out as one of the most important artists in Viceroy Ecuador. Like other indigenous artists, he dedicated himself solely to sacred imagery. Some of his most important work includes the main altarpiece in the Basilica de la Merced in Quito and the altarpiece at the Jesuit Church of the Society of Jesus in Quito. Height 42 cm.
La Suite Subastas
Nov. 05, 2020
Attributed to Bernardo Legarda (Quito, c. 1770 - 1773)
Est: €12,000 - €15,000
Attributed to Bernardo Legarda (Quito, c. 1770 - 1773). Colonial. “Christ tied to the column” Polychromed lead sculpture. Marvellous example of baroque sculpture from Quito. The sculptor shows us Christ tied to the column after the flagellation, a scene from the Passion which does not include other characters that would distract attention. He manages to focus the attention of the faithful on the love of God in Christ through His suffering. With a gesture of profound sadness, Christ bows his head, with pain reflected in his face. As in the previous sculpture, Legarda’s mastery is clear to see in this piece. Bernardo Legada was an enormously talented sculptor and painter and stands out as one of the most important artists in Viceroy Ecuador. Like other indigenous artists, he dedicated himself solely to sacred imagery. Some of his most important work includes the main altarpiece in the Basilica de la Merced in Quito and the altarpiece at the Jesuit Church of the Society of Jesus in Quito. Height 56 cm.
La Suite Subastas
Jul. 30, 2020
Attributed to Bernardo de Legarda (Quito school, circa 1700-1773) - Immaculate Conception
Est: $25,000 - $30,000
Attributed to Bernardo de Legarda (Quito school, circa 1700-1773) Immaculate Conception gilt and painted wood with metal and glass 12 x 8 x 4 in. (30.5 x 20.3 x 10.2 cm.)
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