José Moreno Paintings & Artwork for Sale | José Moreno Art Value Price Guide

Apr. 25, 2024
JOSÉ MORENO (MADRID?, CIRCA 1630/1637 - BURGOS, 1677)
Est: €12,000 - €15,000
José Moreno (Madrid?, circa 1630/1637 - Burgos, 1677) "Saint Francis of Assisi and the angel with the vial of priestly purity." Oil on canvas. 122 x 95 cm. A report by Doctor Professor Ismael Gutiérrez Pastor is attatched.
La Suite Subastas
Sep. 27, 2023
José Moreno Carbonero. The kif smoker
Est: -
Oil on canvas. Signed and dated (189?) in the lower left corner.
Duran Arte y Subastas
Dec. 28, 2022
Jose Maria Del Rio Moreno. Play with flowers
Est: -
Oil on panel. Signed in the lower right corner.
Duran Arte y Subastas
Dec. 28, 2022
Jose Maria del Rio Moreno. Near the river
Est: -
Oil on canvas. Signed in the lower right corner. Missing paint.
Duran Arte y Subastas
Dec. 08, 2022
José Moreno Carbonero (Spanish, 1860-1942) Asleep in the studio, 1877 Oil on pan
Est: $3,000 - $5,000
José Moreno Carbonero (Spanish, 1860-1942) Asleep in the studio, 1877 Oil on panel 14-1/2 x 9-3/4 inches (36.8 x 24.8 cm) Signed and dated lower left: J. Moreno Carbonero / 1877 Property from the Collection of Eugene Iglesias, Hollywood, California HID01801242017
Heritage Auctions
Jul. 05, 2022
JOSÉ MORENO CARBONERO - Plaza de la paja, Madrid
Est: €1,000 - €2,000
JOSE MORENO CARBONERO Malaga 1858 - Madrid 1942 Straw Square, Madrid Oil on canvas Signed and titled on the back Measures 51 x 82 cm
Subastas Segre
May. 10, 2022
Attributed to JOSÉ MORENO (Burgos, h. 1642-h. 1674). "Penitent Magdalene". Oil on canvas. Relined. Presents vintage frame of carved wood and repaints.
Est: €7,000 - €9,000
Attributed to JOSÉ MORENO (Burgos, h. 1642-h. 1674). "Penitent Magdalene". Oil on canvas. Antique re-colouring. It has a period frame of carved wood and repainting. Measurements: 122 x 103 cm; 149 x 130 cm (frame). The monumental figure of Mary Magdalene is slightly displaced. It is a representation of the penance she underwent in the desert. Although the landscape in this work is placid and lush, as can be seen on the right-hand side, where a great spatial depth defined by the landscape is visible. The woman, Mary, seated on a rock, is shown before the viewer with a gesture of pain on her face, her clothes in tatters and in her hands a crucifix and a whip that reveal the martyrdom to which she is being subjected. In the scene, the iconographic attributes corresponding to his figure can be seen, such as the skull, or the perfume burner being held by a small angel. With regard to the technique, it is worth mentioning the monumentality of the figure, and the use of very characteristic bright tones, such as the orange of the cloak worn by Mary Magdalene, or the pink of the cloth enveloping the cherub. These characteristics, together with other pictorial features, such as the depiction of the nimbus of sanctity, are highly reminiscent of the works of José Moreno. There is little biographical information about José Moreno, whose biography in the Museo del Prado attributes a Burgalian origin to him. However, other sources indicate that the painter, whose father was from Burgos, was born in Madrid. His relationship with painting is established through the deaths of his parents, who left as executors the painters Juan de Alfaro, Juan Montero de Rojas and Gregorio Fosman. The Museo del Prado biography mentions the presence of José Moreno as a disciple of Francisco Solís's workshop in Madrid. Palomino defines his painting by emphasising his precise drawing, the clarity of the chosen tones and his great taste for decoration, bringing him close to painters of the Madrid Baroque school, such as Alonso Cano and Sebastián Herrera Barnuevo, or to Juan Carreño de Miranda. Palomino wrote in his book that José Moreno's output was not very extensive and that most of his works belonged to private collections. However, there are several works by the artist in collections accessible to the public, such as the Visitation in the Museo del Prado, The Flight into Egypt, of which there are several copies, and Saint Francis and Saint John the Baptist, which belong to the collection of the Museo Provincial de Bellas Artes in Saragossa.
Setdart Auction House
May. 10, 2022
Attributed to JOSÉ MORENO (Burgos, h. 1642-h. 1674). "Saint Jerome penitent", Oil on canvas. Old Relined. It has slight repaints and faults on the canvas.
Est: €7,000 - €9,000
Attributed to JOSÉ MORENO (Burgos, ca. 1642-h. 1674). "Penitent Saint Jerome", Oil on canvas. Old re-enteled. It presents slight repaintings and faults in the canvas. Measurements: 122 x 103 cm; 149 x 130 cm (frame). The representation of St. Jerome was one of the most recurrent themes during the reform. This is largely due to his work as a translator of the bible, and a precursor of the spread of the word of God. For this reason, a very well-defined iconographic pattern was established with regard to the representation of the saint, this work being one of the best examples as it includes all the attributes that define the saint. Examples include the skull, the lion, the stone he holds in his hand, the red cloak, the books, the trumpet, the pen and the hourglass representing the passing of time. The scene is notable for the use of bright tones, both in the landscape and in the interior occupied by the saint, which provide a glorified view of this traditional scene. One of the four great Doctors of the Latin Church, Saint Jerome was born near Aquileia (Italy) in 347. Trained in Rome, he was an accomplished rhetorician and polyglot. Baptised at the age of nineteen, between 375 and 378 he withdrew to the Syrian desert to lead an anchorite's life. He returned to Rome in 382 and became a collaborator of Pope Damasus. One of the most frequent representations of this saint is his penance in the desert. His attributes are the stone he uses to beat his chest and the skull on which he meditates. Also the cardinal's capelet (or a red mantle), although he was never a cardinal, and the tamed lion. The latter comes from a story in the "Golden Legend", where it is narrated that one day, when he was explaining the Bible to the monks in his convent, he saw a lion limping towards him. He removed the thorn from the lion's paw, and from then on he kept it in his service, instructing it to look after his donkey while he grazed. Some merchants stole the donkey, and the lion recovered it, returning it to the saint without hurting the animal. There is little biographical information about José Moreno, to whom the Museo del Prado, in its biography, attributes a Burgalese origin. However, other sources indicate that the painter, whose father was from Burgos, was born in Madrid. His relationship with painting is established through the deaths of his parents, who left as executors the painters Juan de Alfaro, Juan Montero de Rojas and Gregorio Fosman. The Museo del Prado biography mentions the presence of José Moreno as a disciple of Francisco Solís's workshop in Madrid. Palomino defines his painting by emphasising his precise drawing, the clarity of the chosen tones and his great taste for decoration, bringing him close to painters of the Madrid Baroque school, such as Alonso Cano and Sebastián Herrera Barnuevo, or to Juan Carreño de Miranda. Palomino wrote in his book that José Moreno's output was not very extensive and that most of his works belonged to private collections. However, there are several works by the artist in collections accessible to the public, such as the Visitation in the Museo del Prado, The Flight into Egypt, of which there are several copies, and Saint Francis and Saint John the Baptist, which belong to the collection of the Museo Provincial de Bellas Artes in Saragossa.
Setdart Auction House
Nov. 03, 2021
Attributed to JOSE MORENO (Burgos, h. 1642-h. 1674). "Penitent Magdalene". Oil on canvas. Relined old.
Est: €7,000 - €9,000
Attributed to JOSE MORENO (Burgos, h. 1642-h. 1674). "Penitent Magdalene". Oil on canvas. Relined old. Presents period frame carved wood and repainted. Measurements: 122 x 103 cm; 149 x 130 cm (frame). Slightly displaced is the monumental figure of Mary Magdalene. It is the representation of the penance she underwent in the desert. Although the landscape of this work is placid and lush, as can be seen in the right area, where a great spatial depth defined by the landscape can be seen. The woman, Mary, seated on a rock is shown before the viewer with a gesture of pain marked on her face, her clothes in tatters and in her hands a crucifix and a whip that reveal the martyrdom to which she is being subjected. In the scene the iconographic attributes corresponding to his figure can be appreciated, such as the skull, or the perfume holder that is being held by a small angel. Regarding the technique, it is worth mentioning the monumentality of the figure, and the use of very characteristic bright tones, an example of this is the orange of the mantle that Mary Magdalene wears, or for example the pink of the cloth that envelops the cherub. These characteristics added to other pictorial features, such as the representation of the nimbus of sanctity, are very reminiscent of the works of José Moreno. There is little biographical information about José Moreno, to whom the Museo del Prado in his biography, attributes a Burgalese origin. However, other sources indicate that the painter, whose father was from Burgos, was born in Madrid. His relationship with painting is established through the deaths of his parents, who left as executors the painters Juan de Alfaro, Juan Montero de Rojas and Gregorio Fosman. In the biography of the Prado Museum, mention is made of the presence of José Moreno as a disciple of the workshop of Francisco Solís, located in Madrid. Palomino defines his painting highlighting the precise drawing, the clarity in the chosen tonalities and a great taste for decoration, bringing him closer to painters of the Madrid Baroque school, such as Alonso Cano and Sebastián Herrera Barnuevo, or Juan Carreño de Miranda. Palomino wrote in his book that the production of José Moreno was not very extensive, and that most of his works belonged to private collections. However, several works by the artist are preserved in collections accessible to the public, such as the Visitation, which is in the Prado Museum, The Flight into Egypt, of which there are several copies and St. Francis and St. John the Baptist, which belong to the collection of the Provincial Museum of Fine Arts of Zaragoza.
Setdart Auction House
Nov. 03, 2021
Attributed to JOSÉ MORENO (Burgos, h. 1642-h. 1674). "St. Jerome penitent, Oil on canvas. Relined old.
Est: €7,000 - €9,000
Attributed to JOSÉ MORENO (Burgos, h. 1642-h. 1674). "St. Jerome penitent, Oil on canvas. Relined old. It has slight repainting and faults on the canvas. Measurements: 122 x 103 cm; 149 x 130 cm (frame). The representation of San Jerónimo, was one of the most recurrent themes during the reform. This is largely due to his work as a translator of the Bible, and precursor of the spread of the word of God. For this reason a very definite iconographic pattern was established with respect to the representation of the saint, this work being one of the best examples as it includes all the attributes that define the saint. An example of this is the skull, the lion, the stone he holds in his hand, the red mantle, the books, the trumpet, the feather and the hourglass that represents the passing of time. The scene stands out for the use of bright tonalities, both in the landscape and in the interior occupied by the saint, which provide a glorified vision of this traditional scene. One of the four great Doctors of the Latin Church, Saint Jerome was born near Aquileia (Italy) in the year 347. Baptized at the age of nineteen, between 375 and 378 he retired to the Syrian desert to lead an anchorite's life. He returned to Rome in 382 and became a collaborator of Pope Damasus. One of the most frequent representations of this saint is his penance in the desert. His attributes are the stone he uses to beat his chest and the skull on which he meditates. Also the cardinal's cape (or a red mantle), although he was never a cardinal, and the tamed lion. The latter comes from a story of the "Golden Legend", where it is narrated that one day, when he was explaining the Bible to the monks of his convent, he saw a lion coming with a limp. He removed the thorn from its paw, and from then on he kept it in his service, instructing it to look after his donkey while it grazed. Some merchants stole the donkey, and the lion recovered it, returning it to the saint without hurting the animal. There is little biographical information about José Moreno, to whom the Museo del Prado in his biography, attributes a Burgalese origin. However, other sources indicate that the painter, whose father was from Burgos, was born in Madrid. His relationship with painting is established through the deaths of his parents, who left as executors the painters Juan de Alfaro, Juan Montero de Rojas and Gregorio Fosman. In the biography of the Prado Museum, mention is made of the presence of José Moreno as a disciple of the workshop of Francisco Solís, located in Madrid. Palomino defines his painting highlighting the precise drawing, the clarity in the chosen tonalities and a great taste for decoration, bringing him closer to painters of the Madrid Baroque school, such as Alonso Cano and Sebastián Herrera Barnuevo, or Juan Carreño de Miranda. Palomino wrote in his book that the production of José Moreno was not very extensive, and that most of his works belonged to private collections. However, several works by the artist are preserved in collections accessible to the public, such as the Visitation, which is in the Prado Museum, The Flight into Egypt, of which there are several copies, and St. Francis and St. John the Baptist, which belong to the collection of the Provincial Museum of Fine Arts of Zaragoza.
Setdart Auction House
May. 26, 2021
JACINTA, LA PELIRROJA
Est: -
MORENO VILLA, Jose.- "JACINTA, LA PELIRROJA. Poema en poemas" IIº suplemento de Litoral. Málaga: Imp. Sur, 1929. 4º menor, cub. con solapas. 71 pgs. + 3 h. Adjunta la hoja suelta "Corríjase", a modo de fe de erratas. Primera edición, muy rara.
Duran Arte y Subastas
Sep. 15, 2020
JOSE MORENO VILLA
Est: -
Malaga 1887-Mexico 1955 Man on the beach. 1949 Ink and colored pencil on paper Signed and dated "24-V-49" 1949 SIze 16.5 x 21.5 cm PROVENANCE Guillermo de Osma Gallery, Madrid Private collection
Subastas Segre
May. 29, 2019
JOSÉ MORENO CARBONERO. “La aventura de los mercaderes”.
Est: €10,000 - €12,000
Oil on canvas Signed 60x96 cm The Museum of Malaga has a glass plaque photograph of this work (inv. No. BA/CE02087). Literature: C. Frontaura, "23 de abril de 1616. Muere en Madrid Miguel de Cervantes Saavedra", La Gran Vía, 22-4-1894, p. (reproduced); Miguel de Cervantes, "El ingenioso hidalgo Don Quijote de la Mancha", Barcelona, Seix, 1898, vol. I, s. p. (reproduced); "La exposición Moreno Carbonero", Hojas, "Moreno Carbonero. Homenaje al glorioso maestro", Málaga, Real Academia de Bellas Artes de San Telmo, 1943, p. 140, il. 134 (reproduced). Exhibitions: Moreno Carbonero Exhibition, Madrid, Salón Amaré, 1905.
Balclis
Jan. 24, 2019
JOSE MORENO CARBONELL "Retrato de el Doctor Robert, alcalde de Barcelona".
Est: €450 - €590
Óleo sobre lienzo. Firmado ángulo inferior derecho. 58 x 48 cms y 77,5 x 68 cms (marco).
Subarna Subastas
Sep. 27, 2018
José Moreno Carbonero. Portrait of a lady
Est: -
MORENO CARBONERO, JOSE (1860 - 1942). "Retrato de una dama". Óleo sobre lienzo. Firmado con iniciales al dorso. 79 x 58 cm
Duran Arte y Subastas
Oct. 25, 2017
JOSE MORENO “Magdalena penitente. San Jerónimo en oración”. A pair of oils on canvas
Est: -
Magdalena penitente. San Jerónimo en oración. JOSE MORENO 1642 Burgos h. - 1674 Madrid h. Magdalena penitente. San Jerónimo en oración. Poco se sabe de este pintor burgalés que muy joven marchó a Madrid donde se convirtió en discípulo de Francisco de Solís. Son pocas las obras firmadas de su mano que se conservan: Visitación (1662, Prado), tres versiones de La Huida a Egipto (dos en el Prado y una en Minneapolis Institute of Arts), Visitación (colección particular, Madrid) y Anunciación (convento de las Salesas Reales, Madrid), ambas de 1668, y San Francisco y San Juan el Bautista (ambas de 1669, Museo Provincial de Bellas Artes de Zaragoza), pero gracias a ellas podemos perfilar el estilo del artista. Sus obras, como podemos comprobar en estas dos pinturas que aquí presentamos, hacen gala de un colorido muy suave y contenido. La frialdad de su entonación y la larga, suelta y transparente pincelada traducen una sensación de frialdad que contrasta con la contenida emoción de los dos personajes. Los rostros tanto de la Magdalena como del San Jerónimo muestran una fuerte emotividad que contrasta con las proporciones elegantes y esbeltas de los cuerpos cubiertos por telas dibujadas con gran naturalidad de movimiento.
Isbilya Subastas
Jun. 28, 2017
AN ANTIQUE CARVED GILTWOOD FRAGMENT
Est: -
Remate en madera tallada y dorada con escudo papal en el centro, probablemente de Clemente XIV. S. XVIII. Con sello.
Isbilya Subastas
Oct. 22, 2015
FARMERS ON THE ROAD
Est: -
JOSÉ MORENO Campesinas en el camino Óleo sobre lienzo adherido a tabla Firmado. 64 x 100 cm
Isbilya Subastas
Oct. 22, 2015
CARDINAL PRAYING BEFORE THE SEATED SCULPTURE OF SAINT PETER
Est: -
JOSÉ MORENO Cardenal orando ante la escultura sedente de San Pedro Acuarela sobre papel 53 x 35 cm.
Isbilya Subastas
Oct. 21, 2015
VIEW OF THE GRANADA COAST
Est: -
JOSÉ MORENO Vista de la costa granadina Óleo sobre lienzo Firmado. 68 x 99 cm
Isbilya Subastas