Pedro Orrente Paintings & Artwork for Sale | Pedro Orrente Art Value Price Guide

Nov. 26, 2024
PEDRO DE ORRENTE (MURCIA, 1580 - VALENCIA, 1645)
Est: €20,000 - €30,000
Pedro de Orrente (Murcia, 1580 - Valencia, 1645) 'The Crucifixion. Night version' Oil on canvas. 139,5 x 97,5 cm. The authenticity of this painting was confirmed by Mr. Jose Gómez Frechina. The Metropolitan Museum of Art of New York preserves the daytime version of this same picture (inv. 2014.228). 'Orrente traveled to Venice and Rome before working in Toledo, where he knew El Greco. The younger artist adopted El Greco’s high-pitched palette and penchant for exaggerated forms, but he combined them with a naturalism learned from paintings inspired by Caravaggio. Here, he filled a frequently depicted crucifixion subject with a series of anecdotal details.The dynamic but elegant figure on a ladder, for example, responds to Christ’s cry of thirst by using a cane to retrieve from a bystander a wet sponge that he will then hold to Christ’s lips.' Bibliographic reference: - Metropolitan Museum of Art. (n.d.). 'The Crucifixion'. https://www.metmuseum.org/art/collection/search/652416. Antiques.
La Suite Subastas
Oct. 31, 2024
PEDRO DE ORRENTE (MURCIA, 1580 - VALENCIA, 1645)
Est: €21,000 - €25,000
Pedro de Orrente (Murcia, 1580 - Valencia, 1645) ‘The Sacrifice of Isaac’ and “Reconstruction after the Flood (Noah's Sacrifice and God's Pact with Noah)”. Pair of oil paintings on canvas. 106 x 147 cm each. Attached is a study by the art historian José Gómez Frechina, from which we extract the following summary: ‘Pedro Orrente played a primordial role in the dissemination of early naturalism in Castile and, especially, in Valencia. […] The key to understanding Pedro Orrente's extensive pictorial production and his non-conformity in the reigns of Philip III and his son Philip IV is to be found in his Italian training, which is already reflected in artistic literature,’ the study states. ‘Jusepe Martínez, painter to Philip IV and treatise writer [...] tells us of his many travels and of his production of series based on the Old Testament, as is the case with the pair of autographed canvases by Pedro Orrente that are the subject of this study. [...] The young Pedro Orrente's formative journey to the Italian peninsula at the end of 1602, his possible stay in Rome, and his certain stay in Venice provide a reasoned explanation for the style of his art and his extensive and certain knowledge of the paintings of Leandro da Ponte (Bassano del Grappa, 1557 - Venice, 1622), better known as Bassano after his place of birth. [...] His narrative ability is outstanding in the excellent execution of important pictorial ensembles in which he put his great talent for creation and invention to the test. In some cases literature and painting intertwine in a perfect union between the printed letter with its multiple messages and the colours and lines of the painting with its suggestive beauty. This is the case, for example, of the stories of Jacob, Moses, Noah or the patriarch Abraham’. With regard to the paintings in the auction, Gómez Frechina reports that ‘they are two previously unknown canvases by Pedro Orrente. The stylistic characteristics of the two canvases reveal Orrente's signature character with the typical zigzag folding, the peculiar way of resolving the landscape with clumps of trees, the correctness of the drawing, the rich colouring and the mastery in painting animals that recall his Venetian training. The subject of the first canvas is the Reconstruction after the Flood with Noah's sacrifice and God's Covenant with Noah. In the foreground are Noah's three sons, Shem, Ham and Japheth, with their wives, building a shelter for the animals after the Flood. These events are recorded in Genesis 8-9,’ as specified in the study. ‘There is a canvas with the same composition signed by Orrente in the Diocesan Museum of Orihuela. [...] In the Sacrifice of Isaac, Pedro Orrente is very faithful to the text with the presence of the donkey and Abraham's two servants, as narrated in Genesis 22’, Gómez Frechina's study specifies. ‘The composition of this Sacrifice of Isaac by Pedro Orrente is unique to our knowledge. We know of no other signed version or copy of this same landscape composition. We do know of a canvas by Orrente in the Museo Nacional del Prado with Abraham and Isaac on the Way to the Sacrifice in a landscape composition (P00330; oil on canvas, 116 x 161 cm). Orrente signed another painting of the Sacrifice of Isaac in circa 1616, which is kept in the Bilbao Fine Art Museum (oil on canvas 133,5 x 167 cm).” Oil.
La Suite Subastas
Oct. 16, 2024
DE ORRENTE PEDRO (1580 - 1645) - Rebecca at the well
Est: €2,000 - €4,000
DE ORRENTE PEDRO (1580 - 1645). Rebecca at the well. 91,00 x 73,00 cm.
Capitolium Art
Oct. 09, 2024
Important Great Saint Francis of Assisi in Meditation, Pedro de Orrente (Murcia, 1580-Valencia, 1645), Valencian Caravaggist school of the 17th century, Spanish school of the 17th century
Est: €9,000 - €12,000
Oil on canvas. Canvas measurements: 144 x 95 cm, framed measurements: 160 x 112 cm. (Murcia, 1580-Valencia, 1645). Spanish painter. Known as "the Spanish Bassano", he was a very successful artist in his time, admired as a follower of the formulas of the famous family of artists from Veneto, especially in the creation of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving very young from his native Murcia to Toledo, where he was already in 1600. If the fame of the Bassano's works was enormous throughout Spain, the climate in the Castilian city must have been especially receptive. to his painting. The best masters who worked there left clear evidence of this: Juan Sánchez Cotán copied his works, while El Greco left in writing his admiration for Jacopo Bassano. It is not surprising that Orrente, who would travel to Italy shortly after, headed to Venice. He left for the transalpine country at the end of 1602 and in 1605 he was already in the lake city. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. "Three paintings by Pedro de Orrente", Spanish Art Archive, Madrid, 1974, pp. 333-334. "Three paintings by Pedro de Orrente", Spanish Art Archive, Madrid, 1974, pp. 333-334.
Templum Fine Art Auctions
Sep. 24, 2024
PEDRO ORRENTE Murcia (1580) / Valencia (1645) "Tobias and the angel"
Est: €7,500 - €10,000
Oil on canvas. Measurements: 45 x 57.5 cm.
Ansorena
Sep. 12, 2024
Important Great Saint Francis of Assisi in Meditation, Pedro de Orrente (Murcia, 1580-Valencia, 1645), Valencian Caravaggist school of the 17th century, Spanish school of the 17th century
Est: €9,000 - €12,000
Oil on canvas. Canvas measurements: 144 x 95 cm, framed measurements: 160 x 112 cm. (Murcia, 1580-Valencia, 1645). Spanish painter. Known as "the Spanish Bassano", he was a very successful artist in his time, admired as a follower of the formulas of the famous family of artists from Veneto, especially in the creation of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving very young from his native Murcia to Toledo, where he was already in 1600. If the fame of the Bassano's works was enormous throughout Spain, the climate in the Castilian city must have been especially receptive. to his painting. The best masters who worked there left clear evidence of this: Juan Sánchez Cotán copied his works, while El Greco left in writing his admiration for Jacopo Bassano. It is not surprising that Orrente, who would travel to Italy shortly after, headed to Venice. He left for the transalpine country at the end of 1602 and in 1605 he was already in the lake city. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. "Three paintings by Pedro de Orrente", Spanish Art Archive, Madrid, 1974, pp. 333-334. "Three paintings by Pedro de Orrente", Spanish Art Archive, Madrid, 1974, pp. 333-334.
Templum Fine Art Auctions
Jul. 18, 2024
Important Great Saint Francis of Assisi in Meditation, Pedro de Orrente (Murcia, 1580-Valencia, 1645), Valencian Caravaggist school of the 17th century, Spanish school of the 17th century
Est: €9,000 - €12,000
Oil on canvas. Canvas measurements: 144 x 95 cm, framed measurements: 160 x 112 cm. (Murcia, 1580-Valencia, 1645). Spanish painter. Known as "the Spanish Bassano", he was a very successful artist in his time, admired as a follower of the formulas of the famous family of artists from Veneto, especially in the creation of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving very young from his native Murcia to Toledo, where he was already in 1600. If the fame of the Bassano's works was enormous throughout Spain, the climate in the Castilian city must have been especially receptive. to his painting. The best masters who worked there left clear evidence of this: Juan Sánchez Cotán copied his works, while El Greco left in writing his admiration for Jacopo Bassano. It is not surprising that Orrente, who would travel to Italy shortly after, headed to Venice. He left for the transalpine country at the end of 1602 and in 1605 he was already in the lake city. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. "Three paintings by Pedro de Orrente", Spanish Art Archive, Madrid, 1974, pp. 333-334. "Three paintings by Pedro de Orrente", Spanish Art Archive, Madrid, 1974, pp. 333-334.
Templum Fine Art Auctions
Jun. 27, 2024
Pedro de Orrente, 1580 Mucia – 1645 Valencia, zugeschrieben
Est: €4,000 - €6,000
VERKÜNDIGUNG AN DIE HIRTEN Öl auf Leinwand. Auf Platte aufgezogen. 94 x 120 cm. In hölzernem Profilrahmen. Inmitten einer bewaldeten Landschaft mehrere polychrom gekleidete Hirten, von links der Verkündigungsengel heranschwebend. Insgesamt dem Charakter Bassanos Nachtbilder entsprechend. Der spanische Künstler Orrente stand stark unter venezianischen Einfluss und so auch der Bassanos, das verhalf ihm zu seinem Kosenamen „spanischer Bassano“. Rest. (1400033) (13)
Hampel Fine Art Auctions
Jun. 26, 2024
Manera Pedro de Orrente (Murcia 1580 - Valencia 1645) - Spanish school of the 17th century
Est: €5,000 - €7,000
Oil on canvas measures: 165 x 110 cm measures with frame: 182 x 130 cm
Templum Fine Art Auctions
May. 21, 2024
PEDRO DE ORRENTE - La bendición de Jacob
Est: -
PEDRO DE ORRENTE Murcia 1580 - Valencia 1644 La bendición de Jacob Óleo sobre lienzo Medidas 63 x 110 cm
Subastas Segre
Apr. 25, 2024
ATTRIBUTED TO PEDRO DE DE ORRENTE (1580 - 1645), PEASANTS AT WORK, SPANISH SCHOOL, 17TH CENTURY
Est: €6,000 - €6,500
Oil on canvas. Unframed measurements: 111 x 73. Framed measurements: 124 x 88. Views of the town with farmers picking fruit in the foreground. Attributed to Pedro de Orrente (1580 - 1645), Spanish Baroque painter known as the Spanish Bassano. His style is characterized by his twilight lighting in the landscapes, of Bassanesque inspiration, but with a clear predisposition towards tenebrist naturalism. Likewise, in his paintings we find a colorism based on ocher and earthy tones among which he makes bright red, green or white strokes stand out with great skill.
Templum Fine Art Auctions
Mar. 21, 2024
Attributed to Pedro de de Orrente (1580 - 1645), Peasants at work, Spanish school, 17th century
Est: €6,000 - €6,500
Oil on canvas. Unframed measurements: 111 x 73. Framed measurements: 124 x 88. Views of the town with farmers picking fruit in the foreground. Attributed to Pedro de Orrente (1580 - 1645), Spanish Baroque painter known as the Spanish Bassano. His style is characterized by his twilight lighting in the landscapes, of Bassanesque inspiration, but with a clear predisposition towards tenebrist naturalism. Likewise, in his paintings we find a colorism based on ocher and earthy tones among which he makes bright red, green or white strokes stand out with great skill.
Templum Fine Art Auctions
Mar. 19, 2024
PEDRO DE ORRENTE - Pastoral scene with characters
Est: -
PEDRO DE ORRENTE Murcia 1580 - Valencia 1644 Pastoral scene with characters Oil on canvas Measurements 112.5 x 160.5 cm
Subastas Segre
Feb. 06, 2024
PEDRO DE ORRENTE - Departure of Jacob with his flocks
Est: -
PEDRO DE ORRENTE Murcia 1580 - Valencia 1644 Departure of Jacob with his flocks Oil on canvas Measurements 95 x 145 cm Pedro de Orrente, better known as "the Spanish Bassano" popularized a series of canvases dedicated to the Old Testament that were very similar to what Leandro Bassano created in his prolific workshop in Venice in the first third of the 17th century. Despite the few documentary references that have survived to this day, it is very likely that Orrente traveled to Venice around 1602. Upon returning to Spain he specialized in this genre of paintings with a pastoral setting that was successfully received among the most important collections that include the real. We are faced with one of the best versions of the biblical theme made by Pedro de Orrente. Bibliography: - Angulo, Diego and Pérez Sánchez, Alfonso; "Toledan painting from the first third of the 17th century", Madrid, CSIC, 1973, p. 291.
Subastas Segre
Dec. 18, 2023
PEDRO ORRENTE Murcia (1580) / Valencia (1645) “Assumption of the Virgin”
Est: €7,500 - €10,000
Oil on canvas. Origin: Barcelona, private collection. Orrente is a transcendental figure in the development of naturalistic painting in Murcia, Toledo and Valencia. His works, influenced by the Bassano style, show a loose brushstroke and Venetian-style coloring as seen in this composition that presents models similar to those made by the painter in the missing main altarpiece of Villarejo de Salvanes. Measurements: 147 x 79.5 cm.
Ansorena
Oct. 18, 2023
Workshop of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Pastoral scene for a passage from the Old Testament". Oil on canvas.
Est: €2,000 - €2,500
Workshop of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Pastoral scene for a passage from the Old Testament". Oil on canvas. Relined. Size: 57 x 69 cm; 76,5 x 88 cm (frame). During his stay in Venice, Pedro de Orrente must not only have learned the pictorial manners of the Bassano family, but he would also take on their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes would be fundamental in this respect. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes and accompanied by all kinds of animals and everyday objects. In the present work we seem to recognise David by the harp resting at his side, but he is depicted as a shepherd with his sheep. This is a workshop work by the painter Pedro de Orrente. Known as "the Spanish Bassano", Pedro Orrente was a highly successful artist of his time, admired as a follower of the formulas of the famous Venetian family of artists, especially in his series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving from his native Murcia to Toledo at a very young age, where he was already in 1600. If the fame of the Bassano family's works was enormous throughout Spain, the climate in the Castilian city must have been particularly receptive to their painting, as the works of the best masters who worked there attest. It is therefore not surprising that Orrente, who shortly afterwards travelled to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez classified as his master. In 1607 he was already back in Spain, settled in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must also have spent time in Madrid. During his stay in Venice he must not only have learnt the Bassano family's pictorial manner but also took on board their conception of painting as a market-oriented activity. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such a large output the painter must have had a very well-established workshop that repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. However, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
Setdart Auction House
Oct. 17, 2023
PEDRO ORRENTE, (Murcia, 1580 – Valencia, 1645). “Moses and the water from the rock.” Oil on canvas. Empire Framework.
Est: €4,500 - €5,000
PEDRO ORRENTE, (Murcia, 1580 - Valencia, 1645). "Moses and the water from the rock". Oil on canvas. Empire frame. Measurements: 90 x 111 cm; 103,5 x 126 cm (frame). Known as "the Spanish Bassano", Pedro Orrente was a very successful artist in his time, admired as a follower of the formulas of the famous family of artists from Venice, especially in the execution of series of Old Testament themes set in luxuriant landscapes. He lived in several Spanish cities, moving from his native Murcia to Toledo at a very young age, where he was already in 1600. If the fame of the Bassano family's works was enormous throughout Spain, the climate in the Castilian city must have been particularly receptive to their painting, as the works of the best masters who worked there attest. It is therefore not surprising that Orrente, who shortly afterwards travelled to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez classified as his master. In 1607 he was already back in Spain, settled in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must also have spent time in Madrid. During his stay in Venice he must not only have learned the Bassano family's pictorial manner, but also their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes would be fundamental in this respect. These were, above all, lively series of biblical stories with which enthusiasts could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes and accompanied by all kinds of animals and everyday objects. Works by Pedro Orrente are currently held in the Prado Museum, the Hermitage in St Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
Setdart Auction House
Oct. 17, 2023
Attributed to PEDRO ORRENTE (Murcia, 1580 - Valencia, 1645). "Supper at Emmaus". Oil on canvas.
Est: €10,000 - €12,000
Attributed to PEDRO ORRENTE (Murcia, 1580 - Valencia, 1645). "Supper at Emmaus". Oil on canvas. Size: 107 x 71,5 cm; 119 x 83 cm (frame). Known as "the Spanish Bassano", Pedro Orrente was a very successful artist in his time, admired as a follower of the formulas of the famous family of Venetian artists, especially in the execution of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving from his native Murcia to Toledo at a very young age, where he was already in 1600. If the fame of the Bassano family's works was enormous throughout Spain, the climate in the Castilian city must have been particularly receptive to their painting, as the works of the best masters who worked there attest. It is therefore not surprising that Orrente, who shortly afterwards travelled to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez classified as his master. In 1607 he was already back in Spain, settled in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must also have spent time in Madrid. During his stay in Venice he must not only have learned the Bassano's pictorial manner but also their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes would be fundamental in this respect. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes and accompanied by all kinds of animals and everyday objects. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such a large output the painter must have had a very well-established workshop that repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. However, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism at its height, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
Setdart Auction House
Sep. 27, 2023
Important Great Saint Francis of Assisi in Meditation, Pedro de Orrente (Murcia, 1580-Valencia, 1645), Valencian Caravaggist school of the 17th century, Spanish school of the 17th century
Est: €9,000 - €12,000
Oil on canvas. Canvas measurements: 144 x 95 cm, framed measurements: 160 x 112 cm. (Murcia, 1580-Valencia, 1645). Spanish painter. Known as "the Spanish Bassano", he was a very successful artist in his time, admired as a follower of the formulas of the famous family of artists from Veneto, especially in the creation of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving very young from his native Murcia to Toledo, where he was already in 1600. If the fame of the Bassano's works was enormous throughout Spain, the climate in the Castilian city must have been especially receptive. to his painting. The best masters who worked there left clear evidence of this: Juan Sánchez Cotán copied his works, while El Greco left in writing his admiration for Jacopo Bassano. It is not surprising that Orrente, who would travel to Italy shortly after, headed to Venice. He left for the transalpine country at the end of 1602 and in 1605 he was already in the lake city. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. It is quite reasonable to think about his time in the workshop of Leandro Bassano, who Jusepe Martínez classified as his teacher. Back in Spain he was in Murcia in 1607. He will once again combine stays in various cities, such as Toledo (where he will form a close friendship with El Greco's son, Jorge Manuel Theotocópuli) and Valencia. Reference bibliography: Valdivieso González, Enrique, «Three paintings by Pedro de Orrente», Spanish Art Archive, Madrid, 1974, pp. 333-334. "Three paintings by Pedro de Orrente", Spanish Art Archive, Madrid, 1974, pp. 333-334. "Three paintings by Pedro de Orrente", Spanish Art Archive, Madrid, 1974, pp. 333-334.
Templum Fine Art Auctions
Jun. 28, 2023
PEDRO ORRENTE
Est: €5,000 - €8,000
(Murcia, 1580 ; Valencia, 1645) Il sacrificio di Isacco Olio su tela, cm 100,5X147,5 Provenienza: Colonia, Lempertz il 19 novembre 2016, lotto 1032 (come Pedro Orrente) Conosciuto come 'il Bassano spagnolo', Orrente riscosse un grande successo e fu ammirato quale abile seguace del famoso artista veneto, in particolare per le sue opere a soggetto bucolico e pastorale. La sua attività si svolse in diverse città iberiche, studiando i dipinti di Juan Sánchez Cotán ed El Greco per poi recarsi nel 1602 a Venezia dove è documentato fino al 1607. Durante questi anni il pittore si dedicò a dipingere storie dell'Antico e del Nuovo Testamento in cui i paesaggi di sapore bassanesco riflettono altresì l'influenza di Tintoretto e di Paolo Fiammingo. Il dipinto è corredato da una scheda critica di Filippo Pedrocco.
Wannenes Art Auctions
Feb. 07, 2023
PEDRO DE ORRENTE'S WORKSHOP S. XVII - Jacob's departure with his flocks
Est: -
PEDRO DE ORRENTE'S WORKSHOP 17th CENTURY Jacob's departure with his flocks Oil on canvas Size 104.5 x 181 cm
Subastas Segre
Feb. 07, 2023
PEDRO DE ORRENTE WORKSHOP S. XVII - Jacob at the well
Est: -
PEDRO DE ORRENTE'S WORKSHOP 17th CENTURY Jacob at the well Oil on canvas Size 104.5 x 181 cm
Subastas Segre
Dec. 13, 2022
PEDRO DE ORRENTE - Assumption of the Virgin
Est: -
PEDRO DE ORRENTE Murcia 1580 - Valencia 1644 Assumption of the Virgin Oil on canvas Size 146 x 78 cm Origin: - Barcelona, private collection. It may be the lost canvas of this theme from the altarpiece of the Concepción de Murcia, in which Orrente paints four canvases with the following themes: Adoration of the Shepherds, Adoration of the Kings, Annunciation and Assumption of the Virgin. This work looks unfinished, which may be due to the fact that Orrente did not finish the commission when he suddenly moved to Valencia, leaving the commission in the hands of Lorenzo Suárez, also a painter; the latter had to complete the set with another four canvases of the Evangelists from the bank. The altarpiece was dismantled by the Fontes family, patrons of the chapel, and replaced by an altarpiece by Francisco Salzillo that was destroyed in 1931. Orrente's paintings remained in the hands of his descendants until Don José Fontes sold the Adoration of the Shepherds at the Museum of Murcia in 1929. The Annunciation (148 x 84 cm) fell to the other family branch in Madrid. Bibliography: - Diego Angulo Iñiguez and Alfonso E. Pérez Sánchez; Toledo painting. First half of the 17th century. Madrid, 1972, p. 254 -255.
Subastas Segre
Sep. 28, 2022
PEDRO ORRENTE Murcia (1580) / Valencia (1645) "Saint Jerome listening to the trumpet of the Last Judgment"
Est: €16,500 - €22,000
Oil on canvas. Provenance: - Madrid, Adolfo de Arenaza collection; Madrid, private collection. Bibliography: - Angulo Íñiguez, D. and Pérez Sánchez, AE, History of Spanish painting. Toledo School of the first half of the 17th century, Madrid, Diego Velázquez Institute, CSIC, 1972, p. 334, no. 337, pl. 252. This is a piece of great quality, within the Orrentian production, in which the well-known passage of Saint Jerome listening to the trumpet of the Last Judgment is represented. The saint directs his gaze to heaven contemplating the heavenly vision, embodied in the group of musical angels of the upper register. He appears showing the rigors of penance in the desert, and next to it you can see some of its most characteristic iconographic attributes such as: the stone and the skull, alluding to meditation and penance, the lion that was able to tame by removing a thorn from its leg, and the scrolls that allude to both to his erudition as well as to his work of having translated the Bible into Latin. Within the extensive production of the Murcian painter, Pérez Sánchez underlined the originality of this work since no other copies are known that repeat this composition, in which The painter's passage through Venice is evident, specifically the Bassano workshop. This can be seen in the succinctly executed background landscape that occupies a large part of the composition, the stormy cloudscape in the background, the indulgence in the anatomy of the main figure and in his typically Venetian color palette,
Ansorena
Jun. 22, 2022
Workshop of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Pastoral scene for a passage from the Old Testament". Oil on canvas.
Est: €2,500 - €3,000
Workshop of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Pastoral scene for a passage from the Old Testament". Oil on canvas. Relined. Size: 57 x 69 cm; 76,5 x 88 cm (frame). During his stay in Venice, Pedro de Orrente must not only have learned the pictorial manners of the Bassano family, but he would also take on their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes would be fundamental in this respect. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes and accompanied by all kinds of animals and everyday objects. In the present work we seem to recognise David by the harp resting at his side, but he is depicted as a shepherd with his sheep. This is a workshop work by the painter Pedro de Orrente. Known as "the Spanish Bassano", Pedro Orrente was a highly successful artist of his time, admired as a follower of the formulas of the famous Venetian family of artists, especially in his series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving from his native Murcia to Toledo at a very young age, where he was already in 1600. If the fame of the Bassano family's works was enormous throughout Spain, the climate in the Castilian city must have been particularly receptive to their painting, as the works of the best masters who worked there attest. It is therefore not surprising that Orrente, who shortly afterwards travelled to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez classified as his master. In 1607 he was already back in Spain, settled in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must also have spent time in Madrid. During his stay in Venice he must not only have learnt the Bassano family's pictorial manner but also took on board their conception of painting as a market-oriented activity. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such a large output the painter must have had a very well-established workshop that repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. However, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
Setdart Auction House
May. 25, 2022
Attributed to PEDRO ORRENTE (Murcia, 1580 - Valencia, 1645). "Supper at Emmaus". Oil on canvas.
Est: €16,000 - €17,000
Attributed to PEDRO ORRENTE (Murcia, 1580 - Valencia, 1645). "Supper at Emmaus". Oil on canvas. Size: 107 x 71,5 cm; 119 x 83 cm (frame). Known as "the Spanish Bassano", Pedro Orrente was a very successful artist in his time, admired as a follower of the formulas of the famous family of Venetian artists, especially in the execution of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving from his native Murcia to Toledo at a very young age, where he was already in 1600. If the fame of the Bassano family's works was enormous throughout Spain, the climate in the Castilian city must have been particularly receptive to their painting, as the works of the best masters who worked there attest. It is therefore not surprising that Orrente, who shortly afterwards travelled to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez classified as his master. In 1607 he was already back in Spain, settled in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must also have spent time in Madrid. During his stay in Venice he must not only have learned the Bassano's pictorial manner but also their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes would be fundamental in this respect. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes and accompanied by all kinds of animals and everyday objects. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such a large output the painter must have had a very well-established workshop that repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. However, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism at its height, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
Setdart Auction House
Apr. 06, 2022
Workshop of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Allegory of winter". Oil on canvas. It has overpaints and restorations. Presents frame following old models.
Est: €3,000 - €3,500
Workshop of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Allegory of Winter". Oil on canvas. It has repainting and restorations. It has a frame following ancient models. Sizes: 144 x 162 cm; 156 x 174 cm (frame). In the foreground, the author structures two groups of characters; in the right zone a young man climbed on a ladder gathers firewood, while in the lower zone another one seems to carry a bundle with the branches provided by his companion. At the other end of the image several people are gathered around a fire, two children, a woman and a man, all of them trying to keep warm. In the background, a couple distribute the food and finally three figures can be seen who appear to be hunting, one with a shotgun and two with falcons that facilitate this practice. Finally, the scene is completed with a landscape and a large mountain in the background. The figures are notable for their large size and the roundedness of their forms, making them stand out from the landscape. Due to the technical characteristics of the work, it should be mentioned that it is close to the workshop of Pedro Orrente. Known as "the Spanish Bassano", Pedro Orrente was a highly successful artist in his day, admired as a follower of the formulas of the famous family of Venetian artists, especially in his series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving from his native Murcia to Toledo at a very young age, where he was already in 1600. If the fame of the Bassano family's works was enormous throughout Spain, the climate in the Castilian city must have been particularly receptive to their painting, as the works of the best masters who worked there attest. It is therefore not surprising that Orrente, who shortly afterwards travelled to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez classified as his master. In 1607 he was already back in Spain, settled in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must also have spent time in Madrid. During his stay in Venice he must not only have learned the Bassano family's pictorial manner, but also their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes would be fundamental in this respect. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes and accompanied by all kinds of animals and everyday objects. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such a large output the painter must have had a very well-established workshop that repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. However, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, etc.
Setdart Auction House
Jan. 26, 2022
Workshop of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Allegory of winter". Oil on canvas.
Est: €4,500 - €5,500
Workshop of PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Allegory of winter". Oil on canvas. It has overpaints and restorations. Presents frame following old models. Measures: 144x 162 cm; 156 x 174 cm (frame). In the foreground, the author structures two groups of characters; on the right, a young man on a ladder gathers firewood, while in the lower area, another seems to be carrying a bundle with branches provided by his companion. At the other end of the image several characters gather around a bonfire, two children, a woman and a man, all of them trying to get warm. In the background, a couple distributes the food and finally we can appreciate three characters that seem to be going hunting, one with his shotgun and two with falcons that facilitate this practice. Finally, the scene is completed with a landscape and a large mountain in the background. The figures stand out for their large dimensions and the rotundity of the forms, thus showing a great prominence with respect to the landscape. Due to the technical characteristics of the work, it should be mentioned that it is close to the workshop of Pedro Orrente. Known as "the Spanish Bassano", Pedro Orrente was an artist of great success in his time, admired as a follower of the formulas of the famous family of artists of Venice, especially in the realization of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving at a very young age from his native Murcia to Toledo, where he was already in 1600. If the fame of the Bassano's works was enormous throughout Spain, the climate in the Castilian city must have been especially receptive to his painting, as evidenced by the works of the best masters who worked there. It is not surprising, therefore, that Orrente, who shortly afterwards would travel to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez catalogued as his master. In 1607 he is already back in Spain, installed in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must have also spent time in Madrid. During his stay in Venice, he must not only have learned the pictorial manners of the Bassano family, but he would also assume their conception of painting as a market-oriented activity. In this sense, the treatment of sacred themes as genre scenes will be fundamental. These were, above all, lively series of biblical stories with which the amateurs could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes, and accompanied by all kinds of animals and everyday objects. Contemporary inventories cite a large number of works by Orrente, so we deduce that in order to produce such a large output, the painter must have had a very well-constituted workshop, which repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. But, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he knew how to adopt the teachings of Titian, Tintoretto and Veronese for his works. In addition, his more than possible passage through Rome would place him in a privileged situation to know in all its apogee the development of the Caravaggist painting and the interest for naturalism, characteristics that he knew how to add to his own works. Works by Pedro Orrente are currently preserved in the Prado Museum, the Hermitage in St. Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan in New York, etc.
Setdart Auction House
Dec. 28, 2021
Pedro de Orrente and workshop. Two biblic scenes
Est: -
Dos óleos sobre lienzo.
Duran Arte y Subastas
Dec. 16, 2021
PEDRO ORRENTE. Flagellation of Christ.
Est: €3,500 - €3,900
Oil on canvas 42.5x33 cm.
Balclis
Oct. 20, 2021
PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Scene from the Old Testament. Oil on canvas.
Est: €5,000 - €5,500
PEDRO DE ORRENTE (Murcia, 1580 - Valencia, 1645). "Scene from the Old Testament. Oil on canvas. Measurements: 92 x 135 cm; 98.5 x 142 cm (frame). During his stay in Venice, Pedro de Orrente not only had to learn the pictorial manners of the Bassano family, but he would also assume their conception of painting as a market-oriented activity. In this sense, the treatment of sacred themes as genre scenes would be fundamental. These were, above all, lively series of biblical stories with which the fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes, and accompanied by all kinds of animals and everyday objects. The work in question, starring a group of shepherds around their animals, could well be inspired by a scene from the Old Testament, probably a biblical episode of Jacob. Known as "the Spanish Bassano", Pedro Orrente was a very successful artist in his time, admired as a follower of the formulas of the famous Venetian family of artists, especially in the realization of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving at a very young age from his native Murcia to Toledo, where he was already in 1600. If the fame of the Bassano's works was enormous throughout Spain, the climate in the Castilian city must have been especially receptive to his painting, as evidenced by the works of the best masters who worked there. It is not surprising, therefore, that Orrente, who shortly afterwards would travel to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez catalogued as his master. In 1607 he is already back in Spain, installed in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must have also spent time in Madrid. During his stay in Venice, he must not only have learned the pictorial manners of the Bassano family, but he would also assume their conception of painting as a market-oriented activity. Contemporary inventories cite a large number of works by Orrente, so we deduce that in order to produce such a large output, the painter must have had a very well-constituted workshop, which repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. But, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he knew how to adopt the teachings of Titian, Tintoretto and Veronese for his works. In addition, his more than possible passage through Rome would place him in a privileged situation to know in all its apogee the development of the Caravaggist painting and the interest for naturalism, characteristics that he knew how to add to his own works. Works by Pedro Orrente are currently kept in the Prado Museum, the Hermitage in St. Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
Setdart Auction House
Oct. 20, 2021
Attributed to PEDRO ORRENTE (Murcia, 1580 - Valencia, 1645). "Genesis 23". Pair of oil paintings on canvas. They present restorations Measurements: 93 x 37 cm (x2); 114 x 90 cm (frames, x2).
Est: €6,000 - €7,000
Attributed to PEDRO ORRENTE (Murcia, 1580 - Valencia, 1645). "Genesis 23". Pair of oil paintings on canvas. They present restorations Measurements: 93 x 37 cm (x2); 114 x 90 cm (frames, x2). This pair of canvases has been conceived with a similar composition, constructed through a succession of planes, dominated by the vegetation in the right area of each of the scenes. Both paintings depict scenes of genre scenes, but they differ from each other in that while in one picture the figures are doing their work, in the other they are gathered around a table and interacting in a relaxed manner. The ochre and warm tones are largely reminiscent of the palette used by Pedro Orrente. Furthermore, in the two apparently genre-themed works, the artist conceals religious themes, such as the passage from Genesis 23, which narrates Abraham's reaction after the death of his wife Sarah, while the other scene narrates the moment when Abraham converses with the sons of Heth. Known as "the Spanish Bassano", Pedro Orrente was a highly successful artist of his day, admired as a follower of the formulas of the famous Venetian family of artists, particularly in his series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving from his native Murcia to Toledo at a very young age, where he was already in 1600. If the fame of the Bassano family's works was enormous throughout Spain, the climate in the Castilian city must have been particularly receptive to their painting, as the works of the best masters who worked there attest. It is therefore not surprising that Orrente, who shortly afterwards travelled to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez classified as his master. In 1607 he was already back in Spain, settled in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must also have spent time in Madrid. During his stay in Venice he must not only have learned the Bassano family's pictorial manner, but also their conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes would be fundamental in this respect. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes and accompanied by all kinds of animals and everyday objects. Contemporary inventories cite a large number of works by Orrente, so we can deduce that in order to produce such a large output the painter must have had a very well-constituted workshop that repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. However, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he was able to adopt the teachings of Titian, Tintoretto and Veronese for his works. Furthermore, his possible visit to Rome placed him in a privileged position to become familiar with the development of Caravaggist painting and the interest in naturalism, characteristics that he was able to add to his own works. Works by Pedro Orrente are now in the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
Setdart Auction House
Sep. 21, 2021
PEDRO DE ORRENTE, (Murcia, 1580 - Valencia, 1645). "Scene from the Old Testament". Oil on canvas. Relining. It presents restorations.
Est: €1,600 - €1,800
PEDRO DE ORRENTE, (Murcia, 1580 - Valencia, 1645). "Scene from the Old Testament". Oil on canvas. Relining. It presents restorations. Measurements: 64,5 x 58 cm. Immersed in an apparently desert landscape, several characters are inscribed. Arranged in such a way that they follow a completely baroque composition, like a zigzag, a characteristic that gives a great movement and depth to the scene. The image, in which animals and people merge, is presented in a pleasant manner, close to genre paintings in which the characters are defined by a multitude of activities. However, the clothing and even the presence of the camels invite the viewer to think of a biblical scene. In fact, both the dynamism of the composition and the thematic conception of the scene suggest that it can be related to biblical paintings by Pedro de Orrente, specifically Laban Seeks Idols, which is in the Museo del Prado collection. The museum scene features a large procession, populated by characters and camels, as in this case. The story tells the biblical tale of Laban catching up with Jacob's family. With the intention of searching for and recovering the idols that Rachel, Jacob's wife, had stolen. Known as "the Spanish Bassano", Pedro Orrente was a highly successful artist of his time, admired as a follower of the formulas of the famous Venetian family of artists, especially in his series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving from his native Murcia to Toledo at a very young age, where he was already in 1600. If the fame of the Bassano family's works was enormous throughout Spain, the climate in the Castilian city must have been particularly receptive to their painting, as the works of the best masters who worked there attest. It is therefore not surprising that Orrente, who shortly afterwards travelled to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez classified as his master. In 1607 he was already back in Spain, settled in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must also have spent time in Madrid. During his stay in Venice he must not only have learnt Bassano's pictorial manner, but also took on board his conception of painting as a market-oriented activity. His treatment of sacred themes as genre scenes would be fundamental in this respect. These were, above all, lively series of biblical stories with which fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes and accompanied by all kinds of animals and everyday objects. Works by Pedro Orrente are currently held in the Prado Museum, the Hermitage in St Petersburg, the Kunsthistorisches Museum in Vienna, the Metropolitan Museum in New York, the Fine Arts Museums of Bilbao and Valencia, and the National Gallery of Denmark, among many others.
Setdart Auction House
Mar. 15, 2021
Pedro de Orrente
Est: €8,000 - €12,000
The prayer in the garden oil on canvas, 163by109cm. Expertise by José Manuel Arnaiz, Centro de Estudios Pinacològicos de Madrid S.L.
Bolli & Romiti s.r.l
Mar. 11, 2021
Attributed to PEDRO ORRENTE (Murcia, 1580 - Valencia, 1645). "Supper at Emmaus". Oil on canvas.
Est: €16,000 - €17,000
Attributed to PEDRO ORRENTE (Murcia, 1580 - Valencia, 1645). "Supper at Emmaus". Oil on canvas. Measurements: 107 x 71.5 cm; 119 x 83 cm (frame). Known as "the Spanish Bassano", Pedro Orrente was an artist of great success in his time, admired as a follower of the formulas of the famous family of artists of Venice, especially in the realization of series of Old Testament themes set in lush landscapes. He lived in several Spanish cities, moving at a very young age from his native Murcia to Toledo, where he was already in 1600. If the fame of the Bassano's works was enormous throughout Spain, the climate in the Castilian city must have been especially receptive to his painting, as evidenced by the works of the best masters who worked there. It is not surprising, therefore, that Orrente, who shortly afterwards would travel to Italy, went to Venice, where we find him as early as 1605. It is quite reasonable to think that he passed through the workshop of Leandro Bassano, whom Jusepe Martínez catalogued as his master. In 1607 he is already back in Spain, installed in Murcia. He continued to visit other Spanish cities, especially Toledo and Valencia, although he must have also spent time in Madrid. During his stay in Venice, he must not only have learned the pictorial manners of the Bassano family, but he would also assume their conception of painting as a market-oriented activity. In this sense, the treatment of sacred themes as genre scenes will be fundamental. These were, above all, lively series of biblical stories with which the fans could be flattered by the variety and dynamism of the works, populated by a large number of characters set in landscapes, and accompanied by all kinds of animals and everyday objects. Contemporary inventories cite a large number of works by Orrente, so we deduce that in order to produce such a large output, the painter must have had a very well-constituted workshop, which repeated the models established by the master. This circumstance also explains the enormous differences in quality that can be found in the catalogued works of this artist. But, although he was already noted in ancient sources for his Bassanesque canvases, Orrente also demonstrated his expertise and versatility in other types of work. Having had first-hand knowledge of the creations of the great Venetian masters, he knew how to adopt the teachings of Titian, Tintoretto and Veronese for his works. In addition, his more than possible passage through Rome would place him in a privileged situation to know in all its apogee the development of the Caravaggist painting and the interest for naturalism, characteristics that he knew how to add to his own works. Works by Pedro Orrente are currently kept in the Prado Museum, the Hermitage of St. Petersburg, the Kunsthistorisches Museum of Vienna, the Metropolitan of New York, the Fine Arts Museums of Bilbao and Valencia and the National Gallery of Denmark, among many others.
Setdart Auction House
Dec. 15, 2020
Attributed to Pedro Orrente (Montealegre del Castillo, 1580 - Valencia, 1645) "St. John the Baptist"
Est: €7,000 - €9,000
Attributed to Pedro Orrente (Montealegre del Castillo, 1580 - Valencia, 1645) "St. John the Baptist" Oil on canvas 88 x 141 cm 7.000 - 9.000 €
Goya Subastas
Oct. 27, 2020
PEDRO DE ORRENTE Murcia 1580 - Valencia 1644
Est: -
Saint John Baptist Oil on canvas Size 115.5 x 88 cm
Subastas Segre
Jul. 15, 2020
CIRCULO DE PEDRO ORRENTE (Murcia, 1580 Valencia, 1645) - "Escena del Antiguo Testamento"
Est: €500 - €2,500
CIRCULO DE PEDRO ORRENTE (Murcia, 1580 - Valencia, 1645) "Escena del Antiguo Testamento" Óleo sobre lienzo 101 x 136 cm
Arte Subastas Bilbao
Jul. 08, 2020
17th century Spanish school. Circle of Pedro Orrente
Est: -
Escuela española siglo XVII. Círculo de Pedro Orrente (Murcia, 1580- Valencia, 1645). "Pastores", óleo sobre lienzo, 67x69 cm.
Sala de Ventas
Jun. 25, 2020
Pedro Orrente (Murcia, 1580-Valencia, 1645)
Est: €6,000 - €12,000
Pedro Orrente (Murcia, 1580-Valencia, 1645) “Jacob and his flocks" Oil on canvas. Signed. P.O. F (fecit), and with the inscription Gen 27, reference to the passage of the Bible, Genesis 27. This type of indications were typical of Orrente in his biblical themes. 111 x 155 cm. Relined. Painting.
La Suite Subastas
Jan. 22, 2020
ESCUELA VALENCIANA Primera mitad S.XVII / . - "Las lágrimas de San Pedro"
Est: -
ESCUELA VALENCIANA Primera mitad S.XVII / . "Las lágrimas de San Pedro" Obra que estilisticamente presenta muchas similitudes con algunas creaciones de Pedro de Orrente (Murcia, 1580 -Valencia, 1645) 76 x 56 cm Óleo sobre lienzo
Ansorena
Jul. 10, 2019
PEDRO DE ORRENTE (Murcia, 1580-Valencia, 1645) Jes…
Est: -
PEDRO DE ORRENTE (Murcia, 1580-Valencia, 1645) Jesus y la Samaritana Oleo sobre lienzo de 80 x 100 cm. Necesita restauracion. English Translation PEDRO DE ORRENTE (Murcia, 1580-Valencia, 1645) Jesus and the Samaritan Woman. Oil on canvas.
Sala Retiro Subastas
Jul. 02, 2019
PEDRO DE ORRENTE - Jesús en el huerto de los olivos
Est: -
PEDRO DE ORRENTE Murcia 1580 - Valencia 1644 Jesús en el huerto de los olivos Oil on canvas Measurements 64 x 47 cm
Subastas Segre
Jun. 01, 2019
17th century Spanish school. Circle of Pedro Orrente
Est: -
Escuela Española siglo XVII. Círculo de Pedro Orrente (Murcia, 1580-Valencia, 1645). "Anuncio a los pastores", óleo sobre lienzo, 117x176 cm.
Sala de Ventas
May. 16, 2019
17th century Spanish school. Circle of Pedro Orrente
Est: -
Escuela Española siglo XVII. Círculo de Pedro Orrente (Murcia, 1580-Valencia, 1645). "Anuncio a los pastores", óleo sobre lienzo, 117x176 cm.
Sala de Ventas
Apr. 02, 2019
PEDRO DE ORRENTE - “Jesús en el huerto de los olivos”
Est: €3,000 - €4,500
PEDRO DE ORRENTE Murcia 1580 - Valencia 1644 “Jesús en el huerto de los olivos” Oil on canvas Measurements 64 x 47 cm
Subastas Segre
Mar. 28, 2019
CIRCULO DE PEDRO ORRENTE (1570 - 1644). "El sacrificio de Isaac". Óleo sobre lienzo. Se adjunta certificado de Bernardino de Pantorba. 75,5 x 123 cm
Est: -
Pedro de Orrente Circle. Isaac's sacrifice
Duran Arte y Subastas
Nov. 03, 2018
Spanish School: Portrait of a Cleric
Est: $4,000 - $6,000
Oil on canvas, c. 1610, unsigned, lined.40 x 34 1/2 in., 49 x 43 1/2 in. (frame).Note: This painting is thought to be Circle of El Greco, possibly attributed to Luis Tristán, or Pedro Orrente (1580-1645).
STAIR