Antonio Palomino Paintings & Artwork for Sale | Antonio Palomino Art Value Price Guide

Oct. 29, 2024
ANTONIO ACISCLO PALOMINO Bujalance, Córdoba 1653 -…
Est: -
ANTONIO ACISCLO PALOMINO Bujalance, Córdoba 1653 - Madrid 1726 Portrait of Philip V in Spanish dress. c. 1701 Oil on canvas Dimensions 76 x 60.5 cm On the reverse, there is a label from the Board of Seizure (Conde de Floridablanca collection). The portrait follows the model established by Hyacinthe Rigaud, official painter to Louis XIV, in the first portrait of King Philip V in Spanish dress (Versailles, inv. MV8493). In this, the monarch appears dressed entirely in black, with a white ruff framing his face. The blue band of the Order of the Holy Spirit crosses his chest, while around his neck he wears the Golden Fleece and, again on his chest, the insignia of the Order of the Holy Spirit. At waist level, the hilt of a sword can be seen, a symbol of power and nobility. This portrait model was a notable success, and numerous copies and interpretations of it have been preserved, either in three-quarter or bust format, and of various qualities. In this case, we are faced with a reinterpretation by the royal painter Antonio Palomino, who provides a more intimate atmosphere and softens the features of the sovereign. There are few portraits by Palomino that we know of, and among them, the full-length portrait he made of Philip V preserved at the University of Salamanca stands out. However, the effigy analysed here has a closer relationship with the series of portraits of Spanish monarchs that he painted in fresco in the Oratory of the Casa de la Villa in Madrid, where he represented Philip III, Philip IV and Charles II. In these representations, Palomino also followed widely disseminated portrait models, but in all of them he provided a softening of the features that gives a distinctive character to his images. In addition, the figures stand out against a red background that imitates a curtain, giving the portraits a notable modernity, an aspect that is also appreciated in the work studied here. Gloria Martínez Leiva
Subastas Segre
Oct. 01, 2024
ACISLO ANTONIO PALOMINO Y VELASCO (Bujalance, Cordoba, 1655 - Madrid, 1726). "Sketch of dome". Oil on canvas. Relined. Work reproduced in: Palencia, J. Mª. The splendor of the Andalusian Baroque.
Est: €7,000 - €8,000
ACISLO ANTONIO PALOMINO Y VELASCO (Bujalance, Cordoba, 1655 - Madrid, 1726). "Sketch of dome". Oil on canvas. Relined. Work reproduced in: Palencia, J. Mª. The splendor of the Andalusian Baroque. Córdoba 2007 p. 106 and Palencia, J. Mª. Espíritu barroco. Burgos 2008 p. 152. It presents restorations and Repainting on the pictorial surface. It has a 20th century frame. Measurements: 67.5 x 91.5 cm; 82 x 107 cm (frame). Sketch for dome in which you can appreciate the delicate work of perspective created by the artist to optimize the vision of the faithful. Adapted to the format, it is possible to appreciate a whole celestial court dominated by a break of Glory, crowned in the center with the dove of the Holy Spirit. Below him God the Father and Jesus in red tunic are represented in a plane followed by the presence of the praying Virgin, St. Joseph and a court of martyr saints. Aesthetically the work is very reminiscent of Palomino's work for the dome of the tabernacle in the Dome of the Charterhouse in Granada, where several angels and saints are portrayed with St. Bruno holding the world with his shoulders. Spanish painter and treatise writer, initially trained in Cordoba under the direction of Juan de Valdes Leal while studying humanities. With the protection of Juan de Alfaro, a disciple of Velázquez, who was working at the Madrid court, in 1678 he traveled to Madrid. There he was introduced into the circle of Juan Carreño de Miranda and Claudio Coello, who brought him into contact with the Royal Collections and gave him the opportunity to collaborate in some works, such as the decoration of the room of Queen Maria Luisa de Orleans, first wife of Charles II, and the cierzo gallery, both in the Royal Alcazar. These works allowed him to obtain the title of painter to the King in 1688. Luca Giordano's arrival in Madrid in 1692 made him interested in learning the fresco technique, becoming one of the most important Spanish fresco painters of the second half of the 17th century. He collaborated in the preparation of the vaults of El Escorial and those of the old oratory of the Madrid City Hall. Between 1697 and 1701 he worked in Valencia, painting the vaults of the church of Santos Juanes and the basilica of Nuestra Señora de los Desamparados. In 1705, he traveled to Salamanca where he executed the Triumph of the Church for the choir of the church of San Esteban (in situ). Between 1712 and 1713, he painted eight canvases with scenes and saints related to the history of the city of Cordoba for the chapel of Cardinal Salazar and for the main altar of the Cathedral, both in that city. Between 1723 and 1725, he worked on his last work before his death, the decoration of the sacrarium of the Carthusian monastery of El Paular in Granada. Ordained a priest when he became a widower in 1725, he is known more for his facet as a writer and theoretician than as a painter, due to the publication of three volumes that, grouped under the title of "The pictorial museum and optical scale", deal with The theory of painting (1715), The practice of painting (1724) and The Spanish parnassus picturesque laureate (1724). The latter consists of two hundred and twenty-six biographies of painters and sculptors who worked in Spain and constitutes a fundamental literary source for the study of the history of Spanish art of that period. Work reproduced in: Palencia, J. Mª. The splendor of the Andalusian Baroque. Córdoba 2007 p. 106 and Palencia, J. Mª. Espíritu barroco. Burgos 2008 p. 152. It presents restorations and Repainting on the pictorial surface.
Setdart Auction House
May. 23, 2024
CHRIST CHILD IN GLORY ON PANEL, 18TH CENTURY, ANTONIO PALOMINO Y VELASCO (BUJALANCE, CÓRDOBA, 1655-MADRID, 1726)
Est: €2,000 - €2,500
Oil on panel. Measurements: 44 x 21 cm
Templum Fine Art Auctions
Nov. 28, 2023
Antonio PALOMINO (1655-1726) D'après, "Immaculada Concepción", huile sur toile
Est: CHF600 - CHF800
Antonio PALOMINO (1655-1726) D'après, "Immaculada Concepción", huile sur toile. Porte au dos une inscription "Palomino y Valesco". 66 x 48.5 cm
Dogny Auction
Sep. 19, 2023
ANTONIO ACISCLO PALOMINO - Saint Joseph with the Child
Est: -
ANTONIO ACISCLO PALOMINO Bujalance, Córdoba 1653 - Madrid 1726 Saint Joseph with the Child Oil on canvas Measurements 58 x 42 cm
Subastas Segre
May. 30, 2023
Great Immaculate Virgin, Acisclo Antonio Palomino y Velasco, Bujalance, Córdoba, 1655 - Madrid, 1726
Est: €16,000 - €18,000
Oil on canvas, measures: 181 x 132, framed measures: 212 x 161 cm
Templum Fine Art Auctions
Oct. 21, 2022
Immaculate Conception
Est: $5,000 - $7,000
Property from a Private Collection, Miami, Sold Without Reserve Antonio Acisco Palomino de Castro y Velasco Bujalance 1653/55 - 1726 Madrid Immaculate Conception said to have once been signed with monogram lower left oil on canvas canvas: 82 by 57 in.; 210.3 by 147 cm. framed: 98 by 71 in.; 248.9 by 181.6 cm. Bid on Sotheby's
Sotheby's
Jan. 26, 2022
Palomino. Engraving
Est: -
Copper engraving, design by Antonio González. Subsequent stamping by National Chalcography.
Duran Arte y Subastas
Jan. 26, 2022
Palomino. Engraving
Est: -
Copper engraving on bifolio, design by Antonio González. Subsequent stamping by National Chalcography.
Duran Arte y Subastas
Dec. 21, 2021
ACISCLO ANTONIO PALOMINO Y VELÁSCO (Bujalance, Córdoba, 1655 - Madrid, 1726). "The Circumcision of Christ". Oil on canvas.
Est: €6,000 - €7,000
ACISCLO ANTONIO PALOMINO Y VELÁSCO (Bujalance, Córdoba, 1655 - Madrid, 1726). "The Circumcision of Christ". Oil on canvas. Presents restorations and has a period frame. Measurements: 83 x 105 cm; 123 cm (frame). It is the Evangelist Luke who narrates this episode (2, 21), being a usual iconographic theme in all the Christian tradition, and that precedes the Presentation of the Child in the Temple. The art is helped by the information provided by the Apocryphal Gospels (Pseudo-Matthew, Arabic Gospel of the infancy, mainly) to add details to the theme that, in Are, is shown since the end of the 10th century, usually forming part of the Cycle of Mary or of Christ. The present work has a relatively simple background to focus the viewer's attention on the figures, although it has been ennobled by a series of moldings and hanging draperies, recalling Baroque works. The figures, shown almost from the waist up, create a balanced composition around the central element: the altar where the Child Jesus is, with the priest who is going to circumcise him. Mary also appears, with the usual colors in her iconography in this century. Classicism is evident in the anatomy of the figures, the lack of strong light and chromatic contrasts, the expressions of the characters, etc., although the survival of details of the 17th century Baroque tradition is also clear, as is usual in the Spanish school of the time on some occasions. Due to its characteristics of style and form, we can relate this work to the hand of Acisclo Antonio Palomino, painter and one of the most outstanding Baroque art treatises. Palomino trained in Córdoba under the direction of Juan de Valdés Leal. He traveled to Madrid in 1678, and there he was introduced into the circle of Carreño de Miranda and Claudio Coello, who brought him into contact with the royal collections and gave him the opportunity to produce his first works for the court, which allowed him to obtain the title of painter to the king in 1688. The arrival of Lucas Jordán in Madrid in 1692 made him interested in the fresco technique, becoming one of the most important Spanish fresco painters of the second half of the 17th century. Between 1697 and 1701 he worked in Valencia, and in 1705 he traveled to Salamanca to carry out a religious commission. Between 1712 and 1713 he painted a series of canvases with scenes and saints related to the history of Cordoba for the cathedral, and between 1723 and 1725 he worked on what would be his last work, the decoration of the tabernacle of the Carthusian monastery of El Paular in Granada. Ordained a priest when he was widowed in 1725, he is now especially known as a writer and art theorist, thanks to his work "El museo pictórico y escala óptica" (1715-24). Palomino is widely represented in the Prado Museum, as well as in numerous Spanish churches and museums throughout Spain.
Setdart Auction House
Apr. 22, 2021
Acislo Antonio Palomino y Velasco (Bujalance, Cordoba, 1655 Madrid, 1726)
Est: €7,400 - €8,500
Acislo Antonio Palomino y Velasco (Bujalance, Cordoba, 1655 Madrid, 1726) "Christ Child" Oil on canvas. Signed. 84 x 60 cm. With a report by Enrique Valdivieso González.
La Suite Subastas
Mar. 11, 2021
ACISCLO ANTONIO PALOMINO Y VELASCO (Bujalance, Córdoba, 1655 - Madrid, 1726)."Immaculate Conception".Oil on canvas.
Est: €15,000 - €20,000
ACISCLO ANTONIO PALOMINO Y VELASCO (Bujalance, Córdoba, 1655 - Madrid, 1726). "Immaculate Conception". Oil on canvas. Relined painting in the mid-19th century. Antique frame in gilt wood, with gilding from the 19th century It has small repaints and old restorations. Measurements: 208 x 146 cm; 228 x 167 cm (frame). Antonio Palomino offers us an image of the Immaculate Conception typically counter-reformist and typical of the Spanish Baroque, a reinterpretation of the models of Carreño de Miranda that were so successful in Madrid and the rest of Spain. We are in front of a typically baroque image in its conception, dynamic and in movement, with a marked scenographic character and a clear didactic sense, although late baroque in the palette of colors used: pastel colors, in perfect harmony, which denote the artist's knowledge of the pictorial fashions that prevailed at the time. The virgin is captured from a low point of view, with a floating mantle, long hair and peaceful gesture and around her are cherubs holding branches of lilies in their hands, thus configuring a clearly narrative composition, blurred, which shows the influence that Palomino received from Giordano, Italian artist who worked in Spain between 1692 and 1702, and the Spanish Francisco Rizi. It is worth mentioning the splendid treatment of the rays that emerge behind the virgin, which have been worked by means of a vast and dense layer of paint that provides a pleasing luminous effect, in the manner of sparkles, to the composition. There are several versions made by Antonio Palomino in which the theme of the Immaculate Conception is represented. The first of them, dated 1712 and preserved in the Prado Museum, presents a compositionally similar Immaculate Conception, although it shows minor alterations such as the position of the Virgin's head, which this time looks to the front. The second one, preserved in the Museo de Bellas Artes de Valencia, has similar characteristics to the one in Madrid: the composition is monumental, with Mary Immaculate in the center, illuminated by a nuanced light whose focus comes from the divine sun, a Marian attribute, which is behind her, and in the lower right corner rises the figure of a dragon, as a symbol of the Devil, although it is usually represented with the apple that made Adam and Eve fall into temptation. Acisclo Antonio Palomino was a painter and one of the most outstanding Baroque art treatises. Palomino trained in Córdoba under the direction of Juan de Valdés Leal. He traveled to Madrid in 1678, and there he was introduced into the circle of Carreño de Miranda and Claudio Coello, who brought him into contact with the royal collections and gave him the opportunity to produce his first works for the court, which allowed him to obtain the title of painter to the king in 1688. The arrival of Lucas Jordán in Madrid in 1692 made him interested in the fresco technique, becoming one of the most important Spanish fresco painters of the second half of the 17th century. Between 1697 and 1701 he worked in Valencia, and in 1705 he traveled to Salamanca to carry out a religious commission. Between 1712 and 1713 he painted a series of canvases with scenes and saints related to the history of Cordoba for the cathedral, and between 1723 and 1725 he worked on what would be his last work, the decoration of the tabernacle of the Carthusian monastery of El Paular in Granada. Ordained a priest when he was widowed in 1725, he is now especially known as a writer and art theorist, thanks to his work "El museo pictórico y escala óptica" (1715-24). Palomino is widely represented in the Prado Museum, as well as in numerous Spanish churches and museums throughout Spain.
Setdart Auction House
Dec. 15, 2020
ATRIBUTED TO ANTONIO ACISCLO PALOMINO DE CASTRO 1653 / 1726 "The Virgin of Pilar surrounded by angels"
Est: €2,250 - €3,000
There is at least one known version in which Palomino treats this theme and which was attributed at the time by Doña Natividad Galindo, presenting numerous compositional and stylistic coincidences (see Galindo, N. "Una virgen del Pilar: nueva atribución"). Oil on canvas
Ansorena
May. 28, 2020
PALOMINO DE CASTRO Y VEL, AGISELO ANTONIO (Bujalan
Est: -
PALOMINO DE CASTRO Y VEL, AGISELO ANTONIO (Bujalance, Córdoba, 1653 - Madrid, 1726) El cuerno de la abundancia Huella: 8.5 x 11.8 cm. Papel: 22 x 24.6 cm.
Duran Arte y Subastas
May. 28, 2020
PALOMINO DE CASTRO Y VEL, AGISELO ANTONIO (Bujalan
Est: -
PALOMINO DE CASTRO Y VEL, AGISELO ANTONIO (Bujalance, Córdoba, 1653 - Madrid, 1726) El taller de las artes Huella: 7.5 x 12.6 cm. Papel: 20 x 25.3 cm.
Duran Arte y Subastas
Jan. 25, 2020
Attr Acisclo Antonio Palomino de Castro y Velasco
Est: $3,000 - $5,000
Attributed to: Acisclo Antonio Palomino de Castro y Velasco (Spanish, 1655–1726) Title: The Immaculate Conception Medium: oil on canvas Size: (40x60) Plus 6" Frame
Joshua Kodner
Dec. 18, 2019
ACISCLO ANTONIO PALOMINO (Bujalance, Cordoba 1653-1726) Santa Rosalia de Palermo. Oil on canvas.
Est: -
ACISCLO ANTONIO PALOMINO (Bujalance, Cordoba 1653-1726) Santa Rosalia de Palermo Óleo sobre lienzo de 167 x 121 cm. No son muy numerosas las versiones que se conocen del episodio de la vida de Santa Rosalía representado en esta pintura; se trata del momento en que la joven palermitana se dirige a la citadacueva del monte Pellegrino para llevar en ella una vida de penitencia y oración. Aunque este lienzo no está firmado, se puede atribuir a Acisclo Antonio Palomino, pintor nacido en Bujalance (Córdoba) pero trasladado en su juventud a la Corte madrileña, donde su estilo fue recibiendo sucesivas influencias de Carreño, Claudio Coello y Luca Giordano, estilo que prolongó hasta bien entrado el siglo XVIII, aunque su paleta, por la práctica de la pintura al fresco, en la que fue un consumado artífice, se fue aclarando hacia unos tonos más nacarados, que preludian lo que será el estilo rococ English Translation ACISCLO ANTONIO PALOMINO (Bujalance, Cordoba 1653-1726) Santa Rosalia de Palermo. Oil on canvas.
Sala Retiro Subastas
Dec. 19, 2018
ACISCLO ANTONIO PALOMINO (Bujalance, Cordoba 1653-1726) Santa Rosalia de Palermo Óleo sobre lienzo de 167 x 121 cm. No son muy numerosas las versiones que se conocen del episodio de la vida de Santa Rosalía representado en esta pintura; se trata del momento en que la joven palermitana se dirige a la citadacueva del monte Pellegrino para llevar en ella una vida de penitencia y oración. Aunque este lienzo no está firmado, se puede atribuir a Acisclo Antonio Palomino, pintor nacido en Bujalance (Córdoba) pero trasladado en su juventud a la Corte madrileña, donde su estilo fue recibiendo sucesivas influencias de Carreño, Claudio Coello y Luca Giordano, estilo que prolongó hasta bien entrado el siglo XVIII, aunque su paleta, por la práctica de la pintura al fresco, en la que fue un consumado artífice, se fue aclarando hacia unos tonos más nacarados, que preludian lo que será el estilo rococ
Est: -
ACISCLO ANTONIO PALOMINO (Bujalance, Cordoba 1653-1726) Santa Rosalia de Palermo Oil on canvas of 167 x 121 cm. The versions that are known of the episode of the life of Santa Rosalía represented in this painting are not very numerous; It is about the moment when the young palermitana goes to the aforementioned cave of Monte Pellegrino to lead her in a life of penance and prayer. Although this canvas is not signed, it can be attributed to Acisclo Antonio Palomino, a painter born in Bujalance (Córdoba) but transferred in his youth to the Madrid Court, where his style was receiving successive influences from Carreño, Claudio Coello and Luca Giordano, style that He prolonged well into the eighteenth century, although his palette, through the practice of fresco painting, in which he was an accomplished craftsman, gradually became clearer towards more pearly tones, which prelude what will be the Rococo style.
Sala Retiro Subastas
Oct. 24, 2018
Acisclo Antonio Palomino, The Assumption of Virgin Mary, Oi
Est: €2,000 - €2,500
Acisclo Antonio Palomino Bujalance 1655 - Madrid 1726 The Assumption of Virgin Mary Oil on wood On the back, a partially illegible inscription: “Febrero 25.16 (…) Palomino” 28.5x20.5 cm
Balclis
Feb. 01, 2018
ACISCLO ANTONIO PALOMINO (Bujalance, Cordoba 1653-1726) Santa Rosalia de Palermo Óleo sobre lie
Est: -
ACISCLO ANTONIO PALOMINO (Bujalance, Cordoba 1653-1726) Santa Rosalia de Palermo Óleo sobre lienzo de 167 x 121 cm. No son muy numerosas las versiones que se conocen del episodio de la vida de Santa Rosalía representado en esta pintura; se trata del momento en que la joven palermitana se dirige a la citadacueva del monte Pellegrino para llevar en ella una vida de penitencia y oración. Aunque este lienzo no está firmado, se puede atribuir a Acisclo Antonio Palomino, pintor nacido en Bujalance (Córdoba) pero trasladado en su juventud a la Corte madrileña, donde su estilo fue recibiendo sucesivas influencias de Carreño, Claudio Coello y Luca Giordano, estilo que prolongó hasta bien entrado el siglo XVIII, aunque su paleta, por la práctica de la pintura al fresco, en la que fue un consumado artífice, se fue aclarando hacia unos tonos más nacarados, que preludian lo que será el estilo rococó. Tanto la manera de construir el paisaje como las las lejanías con celajes arrebolados, recuerdan dos de sus obras firmadas: Las alegorías del Aire y el Fuego que, procedentes de la colección Real, se conservan en elMuseo Nacional del Prado. Es también característico de su pincel el grupo de querubines del ángulo superior izquierdo,cuyos modelos pueden encontrarse en las numerosas versiones de la Inmaculada Concepción que realizó. En cuanto a la efigie de Santa Rosalía, parece probable que Palomino tuviera en cuenta la representación que de esta santa había realizado Luca Giordano en torno a 1697, momento en que el napolitano se encontraba en España y con quien Palomino había tenido contacto directo. Sin embargo, hay que destacar un cierto amaneramiento en las figuras de los ángeles adolescentes, amaneramiento que se puede observar en sus obras en sus obras más tardías y que puede ser debido, bien a su edad avanzada, bien a la participación de su hijo Francisco (Madrid, 1685- Madrid, 1726), de cuya actividad junto a su padre se tienen noticias documentales desde 1705.Con independencia de los rasgos estilísticos que llevan a considerar esta pintura como de Antonio Palomino y a situarla en su etapa avanzada de su producción, existen otras razones que apoyan esta atribución. En primer lugar en 1726 el P. Luis Ignacio Zevallos publicó el libro: "Vida y virtudes de la Venerable Madre Juana de la Encarnación" en el que se contienen una serie de ilustraciones grabadas por su sobrino Juan Bernabé Palomino ( Córdoba , 1692- Madrid, 1777) , una de las cuales repite idéntica composicion.
Sala Retiro Subastas
Jun. 21, 2017
ACISCLO ANTONIO PALOMINO (Bujalance, Cordoba 1653-1726) Santa Rosalia de Palermo. Oil on canvas
Est: -
ACISCLO ANTONIO PALOMINO (Bujalance, Cordoba 1653-1726) Santa Rosalia de Palermo Óleo sobre lienzo de 167 x 121 cm. Santa Rosalía fue una joven perteneciente a la nobleza siciliana que vivió en elsiglo XII haciendo penitencia en una cueva en el monte Pellegrino, cerca de Palermo. La devoción por esta santa había ido decayendo a lo largo de la Edad Media, pero el hallazgo de sus restos en 1624, momento en que la peste asolaba la ciudad de Palermo, hizo resurgir su popularidad, ya que se atribuyó a su intercesión la remisión de la epidemia. Paralelamente surgió un renovado interés por la plasmación de su imagen y, al tratarse de una eremita, su representación más habitual se acomodó a los modelos de Maria Magdalena. No son muy numerosas las versiones que se conocen del episodio de la vida de Santa Rosalía representado en esta pintura; se trata del momento en que la joven palermitana se dirige a la citadacueva del monte Pellegrino para llevar en ella una vida de penitencia y oración. Vestida con una túnica marrón y calzada con sandalias, va acompañada por dos ángeles mancebos, quesegún algunos autores fueron San Rafael y su Angel de la Guarda; en la mano izquierda lleva un rústico bastón y con la derecha sostiene un crucifijo y un pequeño fardo que aprietacontra su seno, tal como dicen sus hagiógrafos que partió de la casa paterna para iniciar una vida de eremita. Aunque este lienzo no está firmado, se puede atribuir a Acisclo Antonio Palomino, pintor nacido en Bujalance (Córdoba) pero trasladado en su juventud a la Corte madrileña, donde su estilo fue recibiendo sucesivas influencias de Carreño, Claudio Coello y Luca Giordano, estilo que prolongó hasta bien entrado el siglo XVIII, aunque su paleta, por la práctica de la pintura al fresco, en la que fue un consumado artífice, se fue aclarando hacia unos tonos más nacarados, que preludian lo que será el estilo rococó. Tanto la manera de construir el paisaje como las las lejanías con celajes arrebolados, recuerdan dos de sus obras firmadas: Las alegorías del Aire y el Fuego que, procedentes de la colección Real, se conservan en elMuseo Nacional del Prado. Es también característico de su pincel el grupo de querubines del ángulo superior izquierdo,cuyos modelos pueden encontrarse en las numerosas versiones de la Inmaculada Concepción que realizó. En cuanto a la efigie de Santa Rosalía, parece probable que Palomino tuviera en cuenta la representación que de esta santa había realizado Luca Giordano en torno a 1697, momento en que el napolitano se encontraba en España y con quien Palomino había tenido contacto directo. Sin embargo, hay que destacar un cierto amaneramiento en las figuras de los ángeles adolescentes, amaneramiento que se puede observar en sus obras en sus obras más tardías y que puede ser debido, bien a su edad avanzada, bien a la participación de su hijo Francisco (Madrid, 1685- Madrid, 1726), de cuya actividad junto a su padre se tienen noticias documentales desde 1705.Con independencia de los rasgos estilísticos que llevan a considerar esta pintura como de Antonio Palomino y a situarla en su etapa avanzada de su producción, existen otras razones que apoyan esta atribución. En primer lugar en 1726 el P. Luis Ignacio Zevallos publicó el libro: "Vida y virtudes de la Venerable Madre Juana de la Encarnación" en el que se contienen una serie de ilustraciones grabadas por su sobrino Juan Bernabé Palomino ( Córdoba , 1692- Madrid, 1777) , una de las cuales repite idéntica composicion.
Sala Retiro Subastas
Apr. 27, 2016
*ATTRIBUTED TO ACISCLO ANTONIO PALOMINO DE CASTRO Y VELASCO (BUJALANCE 1655-1726 MADRID)
Est: £2,000 - £3,000
*ATTRIBUTED TO ACISCLO ANTONIO PALOMINO DE CASTRO Y VELASCO (BUJALANCE 1655-1726 MADRID) God the Father and the Holy Spirit surrounded by angels, a ceiling design oil on canvas 35.2 x 47.2cm (13 7/8 x 18 9/16in).
Bonhams
Dec. 04, 2008
Antonio Acisco Palomino de Castro y Velasco , Bujalance 1653/55 - 1726 Madrid the martyrdom of Saint Pelagius oil on canvas
Est: £40,000 - £60,000
signed with monogram lower right: A °P oil on canvas
Sotheby's