Bartolomé Esteban Murillo Paintings & Artwork for Sale | Bartolomé Esteban Murillo Art Value Price Guide

Mar. 27, 2025
Portrait of Children with Grapes by Bartolomé Esteban Murillo
Est: €300 - €400
Oil painting on canvas, 19th century Spanish school, depicting a Portrait of Children with Grapes by Bartolomé Esteban Murillo. Dimensions: 88x110 cm. Signed at the bottom left by an unidentified artist. The artwork is in good condition with minor signs of wear as shown in the attached photos.
De Francesco Casa D'Aste e Galleria
Mar. 26, 2025
BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - 1682). "Christ". Oil on canvas. Relined. Bibliography: - Valdivieso, E., Murillo. Catalog raisonné of paintings, El Viso, 2011, nº cat. 76.
Est: €85,000 - €100,000
BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - 1682). "Christ". Oil on canvas. Relined. Bibliography: - Valdivieso, E., Murillo. Catalog raisonné of paintings, El Viso, 2011, nº cat. 76. It has a frame of the second half of the nineteenth century with faults. Measurements: 57.5 x 44 cm; 84 x 73 cm (frame). Provenance: New York, private collection (until 2006); Sotheby's New York. Malaga, private collection until 2020 and Seville, private collection. This painting was discovered in a private collection in the United States in 2006, at which time it was auctioned by Sotheby's as a work by Bartolomé Esteban Murillo. Subsequently, Professor Enrique Valdivieso incorporated it into the catalog raisonné of the Sevillian painter, assigning it entry number 76. The expert dated the piece to around 1655, comparing it to the full-length figure of Christ that appears in the painting Saint John the Baptist Pointing to Christ, currently in the Art Institute of Chicago. This painting, which can also be dated to the same period, was originally part of the four scenes from the life of St. John the Baptist that Murillo painted for the Augustinian Calzados of the convent of San Leandro in Seville. Although there are no specific details about the commission of this work, it is likely that it was intended for private devotion and that, in its initial conception, it was accompanied by an image of the Virgin. The dimensions of the painting are 53 x 43 cm. Little is known about Murillo's childhood and youth. He lost his father in 1627 and his mother in 1628, which made his brother-in-law become his tutor. Around 1635 he began his training as a painter, probably under the guidance of Juan del Castillo, husband of a cousin of his. This working and artistic relationship lasted approximately six years, a common period for apprenticeship at that time. In 1645, after his marriage, he began a brilliant career that would establish him as the most recognized and sought-after painter in Seville. Murillo's only documented trip occurred in 1658, when he spent several months in Madrid. During his stay, he may have interacted with court painters such as Velázquez, Zurbarán and Cano, as well as having access to the rich collection of paintings in the Royal Palace, which was an obligatory reference for artists of his time. Although there are few documentary references about his adult life, it is known that Murillo enjoyed a wealthy economic position, kept apprentices and led the Sevillian art scene, surpassing even Zurbarán in prestige. In 1660, together with Francisco Herrera el Mozo, he founded a painting academy with the aim of raising the artistic level of the city, a project in which he played a leading role. His fame transcended both locally and nationally, and according to Palomino, around 1670 King Charles II offered him to move to Madrid as a court painter, although there is no certainty that this offer actually happened. What is certain is that Murillo remained in Seville until his death. Currently, his works are in the most important museums in the world, such as the Prado Museum, the Hermitage in St. Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York and the National Gallery in London. Bibliography: - Valdivieso, E., Murillo. Catalog raisonné of paintings, El Viso, 2011, cat. no. 76.
Setdart Auction House
Mar. 24, 2025
Portrait of Sister Francisca Dorotea (1558-1632)
Est: €8,000 - €12,000
Portrait of Sister Francisca Dorotea (1558-1632) oil on canvas according to the original painting by Bartolomé Esteban Murillo (1617-1682) found in the Cathedral of Seville Spanish School 17th C. relined restorations. Notes: Sister Francisca Dorotea born in Santiago de Compostela on February 6 1558 and died in Seville on March 13 1623 was a Galician Discalced Dominican nun of great religious devotion. In 1590 she founded a community of Dominicans which after several displacements and changes of headquarters culminated in the founding of the convent of Santa Maria de los Reys in 1611 in Seville. Sister Francisca professed in this convent in 1613 and died there in 1623. During the beatification process of Sister Francisca Dorotea Canon Juan de Loaysa postulator of the cause commissioned the painter Bartolomé Esteban Murillo in 1674 to paint a portrait of the nun. The portrait was based on a representation of the nun on her deathbed as inscribed in gilt letters (not present in the painting we are offering for auction) and which would have been incorporated later into the canvas possibly in 1688 when Loaysa donated it to the cathedral of Seville. A drawing was made of her and Cornelio Schut created a calcographic engraving which was printed in Antwerp by Martin Bouché in 1683. This portrait became famous for portraying a crucial and very significant moment in the life of Sister Francisca. During her agony intensely thirsty and about to die Sister Francisca asked the sisters for a crucifix but they hesitated to give her water fearing that it would prolong her suffering. However when she brought the crucifix close to her mouth she succumbed to the wound on Christ's side drinking an invisible liquid that quenched her thirst a miracle that marked her life and her holiness. This mystical experience and the devotion of Sister Francisca Dorotea were perpetuated through her image as a symbol of faith and her deep spiritual connection to Christ – vd. https://www.catedraldesevilla.es/la-catedral/patrimonio/pintura/ - consulted on 7-2-2025 at 11:54. Dim. - 47 x 37 cm
Cabral Moncada Leilões
Mar. 23, 2025
ANTIQUE HAND PAINTED PORCELAIN PLAQUE AFTER MURILLO
Est: $100 - $150
An antique 19th century painting on porcelain plaque. After the ca. 1670 artwork titled The Holy Family with John the Baptist and St. Elizabeth by Bartolome Esteban Murillo, 1617 to 1682, a Spanish artist. The hand-painted oval plaque represents Virgin Mary with Baby Jesus. Unsigned. Oval standing frame with a suspension on the backside. Collectible Porcelain Decor For Interior Design, European Classic Fine Art.
Antique Arena Inc
Mar. 18, 2025
BARTOLOMÉ ESTEBAN MURILLO (Sevilla, 1617 - 1682), El Niño J
Est: -
BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - 1682) "The Child Jesus asleep on the cross". Oil on canvas The Child Jesus appears here placidly asleep surrounded by the attributes of his martyrdom, and with a hand gently resting on a skull, a premonitory symbol of the Passion and death that awaits him. The first image we know of this iconography is an engraving by Giacomo Francia (c. 1486 - 1557) in which the image of the sleeping Jesus is accompanied by a phrase from the Song of Songs "Ego dormio et cor meum vigilat", alluding to the fact that although the body sleeps, the soul is always vigilant. According to Benito Navarrete, Murillo must have been inspired by the figure of the Child that appears in the engraving of Francesco Vanni (Siena, 1563 -1610) Virgin in adoration of the sleeping Baby Jesus, isolating it but preserving the melancholic tone of Vannni. (Navarrete Prieto, B. "La pintura andaluza del siglo XVII y sus fuentes grabadas". Fundación de Apoyo a la Historia del Arte Hispánico. Madrid, 1998. pp. 292, fig. 628). Several versions of this theme by the master from Seville are known, the best known is the one preserved today in the Museo del Prado, painted around 1660, with a composition practically identical to the one presented here, varying only in the color and folds of the cloth on which the Child rests, very similar in size to the one presented here (64 x 88.5 cm.) and published in Japan, R. "Bartolomé Esteban Murillo. Infant Jesus asleep on the cross". In: Guido Reni, Madrid, Museo Nacional del Prado, 2023, pp. 338 - 339, nº 70. If we compare our Child with the one in the Prado Museum, we observe a Murillo who holds the brush more, indicating that our version must be a work of youth, perhaps the first of the versions of this theme that he did and that was so popular in the Seville of the Golden Century. Enclosed is a certificate from Prof. Enrique Valdivieso. Measurements: 63.5 x 86 cm.
Magna Art Auctions
Mar. 08, 2025
CHILDREN OIL PAINTING AFTER BARTOLOME MURILLO
Est: $100 - $150
A vintage Baroque Style oil painting on a metal plate after the original oil painting on canvas, Boys Playing Dice, circa 1670-1675 by Bartolome Esteban Murillo (Spanish, 1617-1682). Framed. The previous auction paper label is attached to the back. Bartolome Esteban Murillo was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times. One of a kind artwork.
Antique Arena Inc
Feb. 25, 2025
Attributed to BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - 1682) and Workshop. "Dolorosa". Oil on canvas. Attached report of Don Enrique Valdivieso.
Est: €25,000 - €30,000
Attributed to BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - 1682) and Workshop. "Dolorosa". Oil on canvas. Attached report of Don Enrique Valdivieso. Measurements: 104 x 81 x 2 cm. Following the words of Don Enrique Valdivieso regarding this painting "It represents a Dolorosa, whose style characteristics can be clearly classified as belonging to the Sevillian School of the second half of the seventeenth century and at the same time as a work linked to the production of Murillo. In this case it should be noted that Murillo must have made an original prototype of this Dolorosa, although like many other works of this artist it has not reached our days or is in unknown whereabouts. This original must have attracted the attention of the Sevillian clientele, devotee of this type of themes and therefore, there must have been several times when some customers approached the artist to make repetitions of this work. This painting of which we report must be, therefore, one of the repetitions or replicas that were requested of Murillo, which were very often made with the help of his workshop, what is formerly called his workshop. In this canvas it can be seen that Murillo has repeated the original that he conceived in his day and at the same time authorized the members of his workshop to intervene in it, so the cataloguing of this Dolorosa has to be done as a work of Murillo with the collaboration and participation of his workshop. In other occasions, it was the officers and assistants of this artist who, following the models of the master, made the replicas entirely, but this is not the case of the Dolorosa we are reporting. To this aspect we attach an identical Dolorosa belonging to a private collection in Madrid that is clearly a realization of Murillo's workshop, so its quality is inferior to the one we catalog in this report. It stands out in this work the disposition of the figure of the Virgin as sorrowful in a model in which she has been captured in three parts of her body and is represented with a sorrowful but serene and collected expression. She shows her hands crossed on her chest while contemplating the body of Christ in the representation of the Ecce Homo, a painting that always accompanied these sorrowful women on another canvas. The original of this Ecce Homo is also unknown in our days. Enveloped in the half-light, the beauty of the figure of the virgin stands out, somewhat mortified by the pain she feels in the pathetic contemplation of the body of her son. The soft dramatism with which this figure is imbued is reinforced by the harmonious contrast of the blue-red tones that correspond to her tunic and mantle." Attached is a report from Mr. Enrique Valdivieso.
Setdart Auction House
Feb. 25, 2025
BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682). "Saint". Oil on canvas. Relined in the 20th century. Signed in the lower right corner.
Est: €52,000 - €55,000
BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682). "Saint". Oil on canvas. Relined in the 20th century. Signed in the lower right corner. Measurements: 40.5 x 32 cm; 53 x 44 cm (frame). In this intimate scene, the artist resorts to the theatricality of the baroque, enhanced by a completely artificial and directed light that enhances the relevance of the protagonist. The lighting focuses especially on the face, leaving the rest of the room in semi-darkness. In the center of the scene, as usual, the protagonist looks at the viewer while holding in one hand a pen that he has just taken out of the inkwell and in the other a text that simulates the shape of the tablets of Moses. These attributes indicate the relevance of the character, who directs a complicit gaze at the viewer. Aesthetically, the scene recalls to a great extent, due to the composition and lighting, the painting of Saint Thomas Aquinas by Bartolomé Esteban Murillo. Little is known about Murillo's childhood and youth, except that he was orphaned of his father in 1627 and of his mother in 1628, which led him to be tutored by his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, very possibly with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship would last about six years, as was customary at the time. After his marriage, in 1645, he began what was to be a brilliant career that progressively made him the most famous and sought-after painter in Seville. The only recorded trip occurred in 1658, when Murillo was in Madrid for several months. It is believed that, at court, he maintained contact with resident painters such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for artists passing through the court. Although documentary references about his mature years are scarce, it is known that he enjoyed an affluent life, which allowed him to maintain a high standard of living and to have several apprentices. Becoming the first painter of Seville, surpassing in fame even Zurbarán, drove his will to raise the artistic level of local painting. Therefore, in 1660, he decided to found a painting academy together with Francisco Herrera el Mozo, of which he was the main promoter. His fame spread throughout the national territory, and Palomino points out that around 1670 King Charles II offered him to move to Madrid to work as a court painter. Although there is no certainty about this statement, it is certain that Murillo remained in Seville until the end of his life. Currently, his works are kept in the most important art galleries in the world, such as the Prado Museum, the Hermitage in St. Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York and the National Gallery in London.
Setdart Auction House
Feb. 25, 2025
Bartolomé Esteban Murillo (Siviglia 1618 - Cadice 1682) copia del XIX secolo
Est: €600 - €900
Bartolomé Esteban Murillo (Siviglia 1618 - Cadice 1682) copia del XIX secolo Madonna col Bambino Olio su tela 109 x 80 cm Bartolomé Esteban Murillo (Seville 1618 - Cadiz 1682) 19th century copy Madonna and Child Oil on canvas 109 x 80 cm
Lucas Aste
Feb. 25, 2025
Bartolomé Esteban Murillo (Siviglia 1618 - Cadice 1682) copia del XIX secolo
Est: €500 - €800
Bartolomé Esteban Murillo (Siviglia 1618 - Cadice 1682) copia del XIX secolo Madonna col Bambino Olio su tela 156 x 105 cm Bartolomé Esteban Murillo (Seville 1618 - Cadiz 1682) 19th century copy Madonna and Child Oil on canvas 156 x 105 cm
Lucas Aste
Feb. 25, 2025
Bartolomé Esteban Murillo (Siviglia 1618 - Cadice 1682) copia del XIX secolo
Est: €600 - €900
Bartolomé Esteban Murillo (Siviglia 1618 - Cadice 1682) copia del XIX secolo San Giovannino Olio su tela 85 x 72 cm Bartolomé Esteban Murillo (Seville 1618 - Cadiz 1682) copy of the 19th century Saint John Oil on canvas 85 x 72 cm
Lucas Aste
Feb. 22, 2025
ANTIQUE 19TH C OIL PAINTING AFTER MURILLO
Est: $100 - $150
A finely painted antique 19th century oil on canvas copy of The Little Fruit Seller after Bartolome Esteban Murillo, Spanish, 1617 to 1682. Mounted in a finely crafted period giltwood frame richly ornate in the Baroque style. One of a kind artwork. Classic European Fine Art Collectibles.
Antique Arena Inc
Feb. 22, 2025
„Trauben- und Melonenesser“ nach Murillo
Est: -
„Trauben- und Melonenesser“ nach Murillo zwei sitzende, ärmlich gekleidete Straßenjungen, Melonen und Trauben essend, fein lasierende, verkleinerte Kopie nach dem berühmten ca. 1645-55 entstandenen Gemälde „Trauben- und Melonenesser“ von Bartolomé Esteban Murillo (1617-1682), welches heute in der Alten Pinakothek in München verwahrt wird, Öl auf Leinwand, Mitte 19. Jh., unsigniert, geringe Altersspuren, Pendant zur nachfolgenden Position, als Pendants im Spätbiedermeier-Goldstuckrahmen (rest.bed.) gerahmt, Falzmaße ca. 43,5 x 34,5 cm. "Grape and Melon Eaters" after Murillo Two seated, poorly dressed street boys eating melons and grapes, finely glazed, reduced copy after the famous painting "Grape and Melon Eaters" by Bartolomé Esteban Murillo (1617-1682), painted around 1645-55, which is now kept in the Alte Pinakothek in Munich, oil on canvas, mid 19th cent, unsigned, minor traces of age, pendant to the following item, framed as pendants in a late Biedermeier gilt stucco frame (rest.bed.), rebate dimensions approx. 43.5 x 34.5 cm.
Auktionshaus Mehlis GmbH
Feb. 22, 2025
Bartolomé Esteban MURILLO (1618-1682) Kopie 19. Jh., Die Würfelspieler, Ö/Lwd, 110 x 77 cm, gerahmt
Est: -
Bartolomé Esteban MURILLO (1618-1682) Kopie 19. Jh., Die Würfelspieler, Ö/Lwd, 110 x 77 cm, gerahmt 133 x 99 cm / Bartolomé Esteban MURILLO (1618-1682) Copy 19th century, The Dice Players, oil on canvas, 110 x 77 cm, framed 133 x 99 cm
Auktionshaus Mars
Feb. 20, 2025
attr Bartolome Murillo Portrait of a Cardinal
Est: $600 - $800
attributed MURILLO, Bartolome Esteban, (Spanish, 1617-1682): Portrait of a Catholic Cardinal holding a letter from Rome, Oil/Canvas, no visible signature, possibly hidden in letter, 35.75" x 28.75", framed 42.75" x 35.75". Condition: Paint flake and loss, craquelure, inpaint, sold with all faults.
Amero Auctions
Feb. 04, 2025
BARTOLOMÉ ESTEBAN MURILLO (SEVILLE 1617-1682). Travelers on donkeys approac
Est: $70,000 - $100,000
BARTOLOMÉ ESTEBAN MURILLO (SEVILLE 1617-1682). Travelers on donkeys approaching a ruined city gate. pen and brown ink, brown wash8 3/8 x 5 ¼ in (21.4 x 13.5 cm).
Christie's
Jan. 25, 2025
A. PICKEL (*1617) after MURILLO (*1618), Hl. Alphonsus Rodriguez, Steel engraving
Est: €45 - €75
A. Pickel (1617 - 1682 ) after Bartolomé Esteban Murillo (1618 Seville - 1682 ibid.): Hl. Alphonsus Rodriguez, 19th century, Steel engraving Technique: Steel engraving on Paper Inscription: Signed on the left below with "Murillo pinx." and on the right with "A. Pickel sc.". Below the name of the saint: "S. Alphonsus Rodriguez S. J.". Date: Description: Depiction of the saint of the Spanish Jesuit Alphonsus Rodriguez (Segovia 1532 - Palma 1617) with a flying angel laying a wreath of flowers on him. Keywords: 19th century, Romanticism, Biblical, Spain, Size: Paper: 16,8 cm x 10,8 cm (6,6 x 4,3 in), Depiction: 8,8 cm x 5,9 cm (3,5 x 2,3 in)
Fichter Kunsthandel
Dec. 27, 2024
Portrait of Children with Grapes by Bartolomé Esteban Murillo
Est: €300 - €400
Oil painting on canvas, 19th century Spanish school, depicting a Portrait of Children with Grapes by Bartolomé Esteban Murillo. Dimensions: 88x110 cm. Signed at the bottom left by an unidentified artist. The artwork is in good condition with minor signs of wear as shown in the attached photos.
De Francesco Casa D'Aste e Galleria
Dec. 17, 2024
BARTOLOMÉ ESTEBAN MURILLO Seville 1617- 1682 The inspiration
Est: -
BARTOLOMÉ ESTEBAN MURILLO Seville 1617- 1682 The inspiration of Saint Thomas Aquinas, c. 1650 Oil on canvas Dimensions 96 x 68 cm Provenance: - Private collection, Barcelona. This Saint Thomas Aquinas painted around 1650 by Bartolomé Esteban Murillo is a clear example of the painter's technical skill in combining the mastery characteristic of his style with devotional themes of profound spirituality. The figure of the saint, monumental and solemn, is located in an undefined interior, flooded with an atmosphere of soft darkness that is only broken by a focus of golden light that descends from above and fully affects the figure of the saint. This important member of the Dominican order, famous for his theological wisdom and his prolific writings, appears precisely in the circumstance of writing one of his sacred texts and, for this reason, he shows in his hands the pen and the book that he is about to write; he raises his face towards the heavenly light, certain of receiving from heaven the divine inspiration that will grant truth and transcendence to his writings. The chromaticism of the painting is markedly sober due to the effect of the penumbra, which muffles the tones; among them, the contrast of black and white that make up the habit of the order of Saint Dominic stands out. A companion to the previous painting is the Saint Bonaventure that currently belongs to a collection in Madrid. It has similar dimensions and due to its technique it also seems to have been painted around 1650. Therefore, both works are a pair and show a similar composition and stylistic characteristics and a similar expressiveness, given that this saint also seeks inspiration for his writings from above. The link between these two saints painted by Murillo clearly showed the search for union between Dominicans and Franciscans, far from the differences that had separated both religious orders throughout the Middle Ages. Text extracted from Enrique Valdivieso in Murillo, 2010. Bibliography: - Valdivieso, Enrique., Murillo. Catalogue raisonné of paintings, Madrid, 2010, pp. 65, 284, cat. No. 32.
Subastas Segre
Dec. 14, 2024
Bartolome Esteban Murillo Oil on Wood Panel
Est: $660,000 - $880,000
Bartolomé Esteban Murillo (SPANISH, 1618-1682) oil on wood panel, 25 3/4" x 19 7/8" Frame: 34 1/2" x 28 3/8"
1stBid
Dec. 10, 2024
Natividade à maneira de Bartolomé Esteban MURILLO (1618-1682) Óleo sobre tela Dim. aprox.: 108 x 142 cm.
Est: €1,400 - €3,000
Natividade à maneira de Bartolomé Esteban MURILLO (1618-1682) Óleo sobre tela Dim. aprox.: 108 x 142 cm.; Dim. total. aprox.: 136,5 x 168,5 cm. Restauros e defeitos. Emoldurado.
Palácio do Correio Velho
Dec. 07, 2024
German Hand-Painted Porcelain Plaque, "Melonen und Traubenesser" (Melon and Grape Eaters)
Est: $400 - $600
German Hand-Painted Porcelain Plaque, "Melonen und Traubenesser" (Melon and Grape Eaters) early 20th century painted after Bartolomé Esteban Murillo (Spanish, 1617-1682), inscribed on verso and with maker's mark 15 3/4 x 13 1/2 inches (frame) 9 x 6 3/4 inches (sight)
Fontaine's Auction Gallery
Dec. 07, 2024
After MURILLO (*1618), Immaculate Conception (around 1678), 1905, Photogravure
Est: €150 - €200
After Bartolomé Esteban Murillo (1618 Seville - 1682 ibid.): Immaculate Conception of the Virgin Mary (c 1678), from a catalogue of masterpieces, 1905, Photogravure Technique: Photogravure on Paper Date: 1905 Description: From the catalogue: Masterpieces of Painting. Old Masters. Reproductions in Photogravure. With a preface and accompanying text by Wilhelm Bode and Fritz Knapp, Berlin 1905. Please note further offers from the Masterpieces catalogue in our online shop. The photogravure is accompanied by the corresponding picture text by Wilhelm Bode on an additional sheet. The catalogue attributes the picture to the collection of the Louvre, Paris. In the meantime, the original hangs in the Prado, Madrid. Source: Meisterwerke der Malerei. Alte Meister. Reproductionen in Photogravure. Mit einem Vorwort und begleitendem Text von Wilhelm Bode und Fritz Knapp, Berlin 1905 | Book, Religion, Mythology, Genre, Landscape Keywords: 20th century, Baroque, Biblical, Spain, Size: Paper: 50,8 cm x 38,0 cm (20 x 15 in), Depiction: 35,3 cm x 24,5 cm (13,9 x 9,6 in)
Fichter Kunsthandel
Dec. 07, 2024
PLANER (*1818) after GOSSE (+1558), depiction of Carl V, Sst Romanticism
Est: €45 - €75
Christian Julius Gustav Planer (1818 Leipzig - 1873 Dresden) after Gosse (unkn. -1558 ): Scenic depiction of Carl V (1500 - 1558) discovering a sleeping soldier and drawing his sabre In the background a fortress wall in front of a mountain range, 19th century, Steel engraving Technique: Steel engraving on Paper Inscription: Signed "Gosse pmx" below the print on the left and "Planer sc" on the right, inscribed with the sitter's name below. Date: 19th century Keywords: 19th century, Romanticism, Portraits, Germany, Size: Paper: 32,9 cm x 23,6 cm (13 x 9,3 in), Depiction: 15,0 cm x 12,7 cm (5,9 x 5 in)
Fichter Kunsthandel
Dec. 06, 2024
Murillo, Bartolomé Esteban
Est: €80 - €120
(1618-1682) Kopie nach. Trauben und Melonenesser. Öl auf Lwd, 20. Jh. Sichtmaß 75 x 54,5 cm, inkl. Rahmen 99 x 79 cm. - Mit Rest., drei hinterlegten Rissen, sowie Beschäd. durch Rahmung. D
Kiefer Buch- und Kunstauktionen
Nov. 30, 2024
ANTIQUE GERMAN KPM PORCELAIN PLAQUE AFTER MURILLO
Est: $100 - $150
An antique mid-19th century painting on porcelain plaque. After the ca. 1670 artwork titled The Little Fruitseller by Bartolome Esteban Murillo, 1617 to 1682, a Spanish artist. The hand-painted rectangular plaque represents two girls with a fruit basket counting coins. Presumably production of the Konigliche Porzellan-Manufaktur Berlin, or KPM, one of the most influential German porcelain factories revered for its porcelain plaques depicting historical scenes or copies of famous paintings. Blue mat, golden frame. Collectible Porcelain Decor For Interior Design.
Antique Arena Inc
Nov. 28, 2024
ESCUELA ESPAÑOLA, S. XIX Santo Tomás de Villanueva dando limosna
Est: €180 - €260
Copia de obra original realizada hacia 1668-1669 por Bartolomé Esteban Murillo (Sevilla, 1617 - 1682) que se conserva en el Museo de Bellas Artes de Sevilla.
Isbilya Subastas
Nov. 28, 2024
ESCUELA ESPAÑOLA, S. XIX, Dolorosa
Est: €85 - €120
Siguiendo modelos de Bartolomé Esteban Murillo (Sevilla, 1617 - 1682).
Isbilya Subastas
Nov. 28, 2024
ESCUELA SEVILLANA, S. XIX, Virgen con el Niño Jesús
Est: €380 - €440
Copia de obra original realizada hacia 1675 por Bartolomé Esteban Murillo (Sevilla, 1617 - 1682) que se conserva en el Palazzo Barberini, Roma.
Isbilya Subastas
Nov. 28, 2024
ESCUELA ESPAÑOLA S. XVIII, Santo Tomás de Villanueva dando limosna
Est: €140 - €180
Copia de obra original realizada hacia 1668-1669 por Bartolomé Esteban Murillo (Sevilla, 1617 - 1682) que se conserva en el Museo de Bellas Artes de Sevilla. Deterioros en la capa pictórica.
Isbilya Subastas
Nov. 27, 2024
ESCUELA ESPAÑOLA, S. XIX, Santo Tomás de Villanueva dando limosna
Est: €500 - €750
Copia de obra original realizada hacia 1668-1669 por Bartolomé Esteban Murillo (Sevilla, 1617 - 1682) que se conserva en el Museo de Bellas Artes de Sevilla. Rotura en el lienzo.
Isbilya Subastas
Nov. 25, 2024
Andalusian school, following models BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 – Cádiz, 1682), 18th century. "Immaculate". Oil on canvas. It retains its original fabric. It presents jumps in the painting. It has damage to the frame.
Est: €2,000 - €2,500
Andalusian school, following models BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682), 18th century. "Purísima". Oil on canvas. It preserves its original canvas. It has some leaps in the painting. It has damages in the frame. Measurements: 84 x 54 cm; 130 x 110 cm (frame). Medieval Christianity passionately debated the belief that Mary had been conceived without the stain of original sin. Some universities and corporations swore to defend this privilege of the Mother of God, several centuries before the First Vatican Council defined the dogma of faith in 1854. At the end of the Middle Ages the need arose to give iconographic form to this idea, and the model of the Apocalyptic Woman of Saint John was taken, maintaining some elements and modifying others (the Apocalyptic Woman is pregnant, but not the Immaculate). The definitive image came to fruition in the 16th century, apparently in Spain. Following a Valencian tradition, the Jesuit Father Alberro had a vision of the Immaculate Conception and described it to the painter Juan de Juanes so that he could depict it as faithfully as possible. It is an evolved iconographic concept, sometimes associated with the theme of the Coronation of the Virgin. Mary is shown standing, dressed in a white tunic and blue cloak, her hands crossed on her chest, with the moon at her feet (in memory of Diana's chastity) and treading on the infernal serpent (symbol of her victory over Original Sin). Around his head, like a halo, he wears the twelve stars, symbolic of fullness and alluding to the twelve tribes of Israel. Most of these images are accompanied in the painting by the Marian symbols of the litanies and psalms, such as the mystical rose, the palm tree, the cypress, the enclosed garden, the ark of Faith, the gate of Heaven, the ivory tower, the sun and moon, the sealed fountain, the cedar of Lebanon, the spotless mirror, the morning star, and so on. In Baroque painting, the background is usually celestial and populated with angels, as 17th-century artists faithfully maintained the iconographic type but dispensed with the symbols of the litanies or reduced them, incorporating them into the composition in a naturalistic manner, and sought greater dynamism and a sense of theatricality.
Setdart Auction House
Nov. 25, 2024
Spanish school, ca. 1852, XIX century. Follower of BARTOLOMÉ ESTEBAN MURILLO, (Seville, 1617 - Cadiz, 1682). "The children of the shell. Oil on canvas. Presents old restorations and two patches.
Est: €700 - €800
Spanish school, ca. 1852, XIX century. Follower of BARTOLOMÉ ESTEBAN MURILLO, (Seville, 1617 - Cadiz, 1682). "The children of the shell. Oil on canvas. Presents old restorations and two patches. Measurements: 75 x 95 cm; 102 x 124 cm (frame). This painting follows faithfully and with great skill the model that Murillo made around 1670, currently preserved in the Museo del Prado, from the royal collection and represents Jesus child with San Juanito. It is one of the most popular works of the painter, since it combines a theme very much to the taste of popular religiosity with a naturalistic treatment and a special mastery in the treatment of children, something characteristic of the style of Murillo, who is considered one of the best painters of children in Spanish art. Little is known about Murillo's childhood and youth, except that he was orphaned of his father in 1627 and of his mother in 1628, for which reason he was taken under the tutelage of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, very possibly with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship would last about six years, as was customary at the time. After his marriage, in 1645, he began what was to be a brilliant career that progressively made him the most famous and sought-after painter in Seville. The only recorded trip he made is documented in 1658, the year in which Murillo was in Madrid for several months. It may be thought that at the court he maintained contact with the painters who resided there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all those artists who passed through the court. Despite the few documentary references regarding his mature years, we know that he enjoyed a comfortable life, which allowed him to maintain a high standard of living and several apprentices. Having become the first painter of the city, surpassing in fame even Zurbarán, moved his will to raise the artistic level of local painting. That is why in 1660 he decided, together with Francisco Herrera el Mozo, to found an academy of painting, of which he was the main promoter. His fame spread to such an extent, throughout the national territory, that Palomino indicates that around 1670 King Charles II offered him the possibility of moving to Madrid to work there as a court painter. We do not know if this reference is true, but the fact is that Murillo remained in Seville until the end of his life. His works are currently preserved in the most important art galleries in the world, such as the Prado Museum, the Hermitage in St. Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York or the National Gallery in London, among many others. It presents old restorations and two patches.
Setdart Auction House
Nov. 25, 2024
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682). "The angel freeing St. Peter". Oil on canvas. It has a frame of the nineteenth century.
Est: €1,200 - €1,400
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682). "The angel freeing St. Peter". Oil on canvas. It has a frame of the nineteenth century. Measurements: 28 x 32.5 cm; 36 x 41 cm (frame). This work follows the models of the painting "San Pedro liberated by the angel", painted by Murillo. The piece of the Sevillian master is part of the collection of the Hermitage Museum of St. Petersburg and although the theme is the same, the arrangement of the characters and the composition varies. In this particular case the author places the protagonists in the foreground, both standing and surrounded by a background in which the cell is barely outlined. Little is known about Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, which is why he was taken under the tutelage of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, very possibly with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship would last about six years, as was customary at the time. After his marriage, in 1645, he began what was to be a brilliant career that progressively made him the most famous and sought-after painter in Seville. The only recorded trip he made is documented in 1658, the year in which Murillo was in Madrid for several months. It may be thought that at the court he maintained contact with the painters who resided there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all those artists who passed through the court. Despite the few documentary references regarding his mature years, we know that he enjoyed a comfortable life, which allowed him to maintain a high standard of living and several apprentices. Having become the first painter of the city, surpassing in fame even Zurbarán, moved his will to raise the artistic level of local painting. For this reason, in 1660 he decided, together with Francisco Herrera el Mozo, to found an academy of painting, of which he was the main promoter. His fame spread to such an extent, throughout the national territory, that Palomino indicates that around 1670 King Charles II offered him the possibility of moving to Madrid to work there as a court painter. We do not know if this reference is true, but the fact is that Murillo remained in Seville until the end of his life. His works are currently preserved in the most important art galleries in the world, such as the Prado Museum, the Hermitage in St. Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York or the National Gallery in London, among many others.
Setdart Auction House
Nov. 25, 2024
Andalusian school of the seventeenth century. Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682). "Immaculate". Oil on canvas.
Est: €4,000 - €5,000
Andalusian school of the seventeenth century. Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682). "Immaculate". Oil on canvas. Measurements: 97 x 76 cm; 121 x 100 cm (frame). We are in front of a canvas directly inspired by "La Inmaculada del Escorial", an oil painting by Bartolomé Esteban Murillo between 1660 and 1665, today housed in the Prado Museum. The Sevillian master was inspired by a young maiden whose figure centers the canvas, with her body slightly turned, her hands crossed over her heart and her gaze raised. The entire Immaculate rises above a lunar crescent and is accompanied by several child angels, who appear both below her and in the upper corners, surrounding the break of Glory that surrounds the Virgin with golden light. The angels at her feet carry lilies, roses and a palm leaf, Marian symbols taken from the litanies. In the last decades of the 17th century, the emotional, sweet and delicate sentimentality of Murillo prevailed in Seville over the more dramatic one of Valdés Leal, and hence the predominance of his influence in the following century. However, as time progresses, we will find an increasingly superficial influence, which focuses on the imitation of models and compositions, but leaving aside its plastic language, in favor of formulas more typical of the new century. The theme of the Immaculate Conception, very frequent in Spanish art, came to constitute one of the signs of national identity of Spain as a Catholic country. It is one of the most genuinely local themes of Spanish Baroque painting, since our country was the main defender of this mystery, and the one that fought most insistently to make it a dogma of faith. In this context, numerous artists and intellectuals worked to build a clear iconography that would help to spread the Immaculate Conception, bringing together symbolism and popular fervor. Little is known about Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, which is why he was taken under the tutelage of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, very possibly with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship would last about six years, as was customary at the time. After his marriage, in 1645, he began what was to be a brilliant career that progressively made him the most famous and sought-after painter in Seville. The only recorded trip he made is documented in 1658, the year in which Murillo was in Madrid for several months. It may be thought that at the court he maintained contact with the painters who resided there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all those artists who passed through the court. Despite the few documentary references regarding his mature years, we know that he enjoyed a comfortable life, which allowed him to maintain a high standard of living and several apprentices. Having become the first painter of the city, surpassing in fame even Zurbarán, moved his will to raise the artistic level of local painting.
Setdart Auction House
Nov. 21, 2024
A Berlin (KPM) / Thallmaier Painted Porcelain Oval Plaque after Murillo
Est: $1,500 - $2,000
A Berlin (KPM) / Thallmaier Painted Porcelain Oval Plaque after Murillo Germany, late 19th century, painted in the studio of Franz Xavier Thallmaier with the Holy Family after Bartolome Esteban Murillo (1617-1682), within a rectangular giltwood frame; with impressed "K.P.M." and scepter mark, further impressed "5" and incised "w", and with paper label "Frz. X Thallmaier / K.B. Hof. / Porzellanaierei Munchen"
Abell Auction
Nov. 13, 2024
Murillo, Bartolomé Esteban (Werkstatt/Studio)
Est: €3,500 - €5,000
Murillo, Bartolomé Esteban (Werkstatt/Studio) Sevilla 1617 - 1682 36 x 28 cm Mater Dolorosa. Oil/canvas, relined, verso on the Spanish baroque frame old lacquer seal with a crowned coat of arms. With an expert report by Prof. Dr. Enrique Valdivieso González. Private collection, Saarland. Murillo, Bartolomé Esteban (Werkstatt/Studio) Sevilla 1617 - 1682 36 x 28 cm Mater Dolorosa. Öl/Lwd., doubl., rückseitig auf dem spanischen Barockrahmen altes Lacksiegel mit bekröntem Wappen. Mit einem Gutachten von Prof. Dr. Enrique Valdivieso González. Saarländische Privatsammlung.
Nagel Auction
Oct. 28, 2024
After BARLOLOMÉ ESTEBAN MURILLO (Seville, 1617 - 1682). Andalusian school, XIX century. "Rebecca and Eliezer". Oil on canvas, Presents faults and Punctures. Frame of the nineteenth century.
Est: €1,200 - €1,500
After BARLOLOMÉ ESTEBAN MURILLO (Seville, 1617 - 1682). Andalusian school, XIX century. "Rebecca and Eliezer". Oil on canvas, Presents faults and Punctures. Frame of the nineteenth century. Measurements: 107 x 150 cm; 123 x 167 x 6'5 cm (frame). In this painting of Sevillian school of nineteenth-century period, the author reproduces the Murillo painting "Rebecca and Eliezer" (1660, preserved in the Prado Museum), remaining faithful to the original. The work shows Rebecca, the future wife of the Hebrew patriarch Isaac, conversing by the well with Eliezer, who was a servant of her future father-in-law Abraham, next to the well. It is a biblical passage frequently depicted in 17th century European painting. Murillo's version, as usual in the Sevillian master, has the peculiarity of placing us before a typical Andalusian scene. Rebeca and her neighbors look like girls from the neighborhood of Triana or any Andalusian village of their time, gathered with their pitchers around the fountain. Except for the clothing, the scenery would be common to any area of Spain. It presents faults and Punctures.
Setdart Auction House
Oct. 28, 2024
Workshop of BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682). "St. Peter Magpie. Oil on canvas. Relined. It presents faults and restorations on the pictorial surface. It has a frame of the twentieth century wood and glass with faults.
Est: €6,000 - €7,000
Workshop of BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682). "St. Peter Magpie. Oil on canvas. Relined. It presents faults and restorations on the pictorial surface. It has a frame of the twentieth century wood and glass with faults. Measurements: 127 x 100 cm; 126 x 102 cm (frame). In this intimate scene the artist resorts to the theatricality of the baroque, enhanced by a completely artificial and directed light that enhances the relevance of the protagonist. In the center of the scene, as usual, the protagonist is shown kneeling before the spectator in a prayerful attitude with his heart in his hand and with his gaze fixed on the sky where a cross can be seen. The scene is completed with a table dressed with a white tablecloth on which a crucifix with the figure of Christ can be seen. In the lower area the name of the protagonist can be read. Pedro Urraca was a Spanish mercenary born in Jadraque (1583) into a noble family. One of his brothers joined the Franciscans and left for the New World; he got his parents to allow Pedro to join him. In 1604, at the age of 21, he entered the convent of the Mercedarians in Quito. He then dedicated himself to preaching and evangelizing the poor, as well as begging to fulfill the fourth vow of his order. The viceroy of Peru, Francisco de Borja y Aragón, who when he returned to Spain in 1621, asked him to be his chaplain. In 1627 he returned to Lima and dedicated himself mainly to confession. Thematically the piece presents similarities with Murillo's works, specifically some of those of the convent of La Merced. Although the style is reminiscent of the painting of the painter Francisco Meneses Osorio (Seville, c. 1640 - 1721), who was born in Seville, and is believed to have died there. Very little is known of his life. He was a pupil and imitator of Murillo, and it has been suggested that some of the works attributed to the latter were painted by Osorio. We know that Murillo considered him his friend, that he was a close acquaintance of Juan Garzón, with whom he worked; that at one time he was secretary and then president of the Academy of Sevillo, and that while in that city he had a great reputation. It is said that this reputation was discarded after his death, because it was felt that some of his copies of Murillo's works were so accurate that he should have signed the master's name. In fact, it was suggested that two of his copies had been accepted as genuine works by Murillo. On the other hand, these statements are stated by a Spanish author to have been made solely for the purpose of discrediting Osorio. It is said that he and Murillo worked together in the Capuchin church in Cadiz. His main work was painted for the church of San Martin in Madrid, and depicts the prophet Elijah. There are pictures of him in the museums of Cadiz and Seville, the latter related to the Order of St. Francis. It is said that a work depicting St. Catherine, which is preserved in Cadiz, had a special devotion to St. Philip Neri and was buried in the church dedicated to that saint. It presents faults and restorations on the pictorial surface. It has a 20th century wood and glass frame with faults.
Setdart Auction House
Oct. 27, 2024
Bartolome Esteban Murillo Oil on wood Panel
Est: $400,000 - $500,000
Bartolome Esteban Murillo (SPANISH, 1618-1682) oil on wood panel, 25 3/4" x 19 7/8" Frame: 34 1/2" x 28 3/8"
1stBid
Oct. 26, 2024
Pocket watch: gold/enamel hunting case watch with fine painting after paintings by Batolome E. Murillo, ca. 1890
Est: €2,500 - €5,000
Ca. Ø31mm, approx. 36g, 18k gold, hunting case watch, fine enamel painting on both sides, representation of two famous baroque paintings by Bartolomé Esteban Murillo (1617-1682), serial number 80769, dome and dial signed Pasqual Marques Valencia, fine cylinder movement, original Louis XV enamel dial in excellent condition, red minutes, pink gold hands, intact and very well preserved, the watch comes with a small chatelaine set with Oriental pearls. The watch is a very rare work of art due to the two paintings. Bartolomé Esteban Murillo (* 1617[1] in Seville, Andalusia
Cortrie Spezial Auktionen
Oct. 26, 2024
ANTIQUE 18TH C ITALIAN OIL PAINTING AFTER MURILLO
Est: $100 - $150
Oil on canvas painting. Italian school, late 17th to early 20th century. After Bartolome Esteban Murillo, 1617 to 1682, a Spanish artist. The artwork depicts Christ Child in Glory. Unsigned. Golden frame. Collectible Fine Art, Christian Catholic Painting.
Antique Arena Inc
Oct. 20, 2024
Ecole Espagnole du XVIIIe siècle d'après Bartolomé Esteban MURILLO (1617-1682)
Est: €2,000 - €3,000
Ecole Espagnole du XVIIIe siècle d'après Bartolomé Esteban MURILLO (1617-1682) Jeune buveur Huile sur toile rentoilée. 81,5 x 65 cm Note. Cette œuvre est reprise d'une œuvre du Maître espagnol conservée à Londres, à la National Gallery (NG1286).
Osenat
Sep. 26, 2024
BARTOLOMÉ ESTEBAN MURILLO, 1618 SEVILLA – 1682 EBENDA, NACH
Est: €2,000 - €3,000
PORTRAIT EINER JUNGEN FRAU MIT TURBAN Öl auf Leinwand. 61 x 50,5 cm (im Hochoval). In dekorativem, rechteckigen Rahmen. Elegantes Portrait der jungen Frau vor beigem Landschaftshintergrund, nach dem berühmten Gemälde des Künstlers mit einem spanischen Blumenmädchen. Rest., teils Rahmenschäden. (1410588) (18)
Hampel Fine Art Auctions
Sep. 24, 2024
AFTER ESTEBAN MURILLO (1617-1682)
Est: €200 - €300
A boy drinking. Painting by T.W Wood. Oil on canvas. Dated 1878. Unframed. Provenance: West Cork, Ireland, Private Collection. PICTURES AND PRINTS Tuesday 24th September 2024 Approximate Time 12:20:15
Sheppards
Jul. 28, 2024
Bartolome Esteban Murillo Oil on wood Panel
Est: $400,000 - $500,000
Bartolome Esteban Murillo (SPANISH, 1618-1682) oil on wood panel, 25 3/4" x 19 7/8" Frame: 34 1/2" x 28 3/8"
1stBid
Jul. 27, 2024
After MURILLO (*1618), The little fruit seller, 1818, Lithography
Est: €300 - €400
After Bartolomé Esteban Murillo (1618 Seville - 1682 ibid.): The little fruit seller Two Women with a Basket of Grapes, The Grape Harvest, 1818, Lithography Technique: Lithography on Paper Watermark: Undeterminable watermark Date: Date: 1818 Description: Signed below the image "Morilo pinx. / Selb del." and inscribed on the verso by another hand "1818 / WINKLER '49". | Watermark: H. Oser in Basel Keywords: 19th century, Figurative, Nature, Germany, Size: Paper: 51,0 cm x 36,0 cm (20,1 x 14,2 in), Depiction: 28,5 cm x 22,2 cm (11,2 x 8,7 in)
Fichter Kunsthandel
Jul. 25, 2024
Important Nazarene Christ in Oval - BARTOLOMÉ ESTEBAN MURILLO O TALLER (Seville, 1618 - 1682), SEVILLIAN BAROQUE SCHOOL OF THE 17TH CENTURY
Est: €10,000 - €14,000
Spanish school from the 17th century, oil on canvas measurements: 125 X 102 cm, frame measurements: 130 x 114 cm. Provenance: important Andalusian private collection (lots 148 to 175).
Templum Fine Art Auctions