Andrés Pérez Paintings & Artwork for Sale | Andrés Pérez Art Value Price Guide

Oct. 09, 2024
Andrés Pérez (1669-1727) Virgin Mary handling the Holy Rosary to Sainte Therèse of Lima and St Dominicus of Guzman, 17th C Sevillian school
Est: €9,000 - €10,000
Certificate of Authenticity signed by Don Enrique Valdivieso attached. Oil on canvas painting depicting the Virgin of the Rosary crowned, accompanied by the Child Jesus. They are surrounded by angels, while Saint Dominic and Saint Catherine of Siena are depicted in a gesture of devotion at their feet. The vibrant color palette and detailed work on the figures and floral elements are characteristic of the Cuzco School. The Baroque style of the composition, along with the golden halos adorning the sacred figures, enhance the sense of sanctity in this religious artwork. 121x100
Templum Fine Art Auctions
Sep. 12, 2024
Andrés Pérez (1669-1727) Virgin Mary handling the Holy Rosary to Sainte Therèse of Lima and St Dominicus of Guzman, 17th C Sevillian school
Est: €9,000 - €10,000
Certificate of Authenticity signed by Don Enrique Valdivieso attached. Oil on canvas painting depicting the Virgin of the Rosary crowned, accompanied by the Child Jesus. They are surrounded by angels, while Saint Dominic and Saint Catherine of Siena are depicted in a gesture of devotion at their feet. The vibrant color palette and detailed work on the figures and floral elements are characteristic of the Cuzco School. The Baroque style of the composition, along with the golden halos adorning the sacred figures, enhance the sense of sanctity in this religious artwork. 121x100
Templum Fine Art Auctions
May. 29, 2024
ANDRÉS PÉREZ (Seville, 1660- 1727). "Infant Jesus with a border of flowers". Oil on canvas. Relined. With label of the Sala Parés de Barcelona on the back. Presents lack of polychrome in the frame.
Est: €7,000 - €8,000
ANDRÉS PÉREZ (Seville, 1660- 1727). "Infant Jesus with a border of flowers". Oil on canvas. Relined. With label of the Sala Parés de Barcelona on the back. It presents lack of polychrome in the frame. Measurements: 110 x 82 cm; 121 x 94 cm (frame). We are in front of a painting of quality in which formal and compositional elements characteristic of the XVIIth century of the hand of Andrés Pérez converge: the floral garland that welcomes the devotional scene has been solved extracting the just qualities of the sensual corollas. As for the central scene, the choir of angels accompanying the Infant Jesus present accomplished foreshortenings and dynamize their bodies in a variety of postures. The plastic richness is allied with the symbolic richness of the emblems that each figure carries: the instruments of the Passion (nails, hammer, ladder...), the cloth of Veronica... all of them symbols of the Way of the Cross, as is the cross that Jesus holds. With his other hand, Christ raises a bronze chalice with a sacred host that shines with inner light, while he places his bare feet on an orb surrounded by a serpent, a demonic symbol. The Child Jesus, of adolescent age, wears long curly hair and raises his gaze towards the Holy Spirit, who bursts into the sky incarnated as a white dove. Around him float seraphim with candid faces. The whole, full of characters in action, nevertheless preserves a studied compositional order through a symmetrical distribution, starting from the central axis occupied by Christ and the Holy Spirit. Cold and warm shades are boldly combined. The light contours and modulates the forms, sculpting the tender bodies with softness, giving them volume and movement. There is little information about the biography of the painter Andrés Pérez, son of painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillo influence of the time, Andres Perez has its own style characteristics, such as a very precise drawing, characters of gentle expressiveness, and large scenarios in which reminiscent of architectural environments or landscape perspectives. The two most relevant works known of this painter are kept in the Museum of Fine Arts of Seville, having been attributed to Ortega and Lucas Valdés. His works have a markedly Eucharistic symbolism, perhaps because of the commissions for chapels.
Setdart Auction House
Feb. 06, 2024
ANDRÉS PÉREZ DE PINEDA - Saint Francis of Assisi and the miracle of the Portiuncula
Est: -
ANDRÉS PÉREZ DE PINEDA Seville c.1669-1727 Saint Francis of Assisi and the miracle of the Porciuncula Oil on canvas Measurements 53.7 x 47 cm We thank the researcher Jesús Porres Benavides for his help in cataloging this work.
Subastas Segre
Jan. 25, 2024
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Virgin of Solitude". Oil on canvas. Relined.
Est: €6,000 - €7,000
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Virgin of Solitude". Oil on canvas. Re-drawn. Measurements: 205 x 145 cm. The image is defined by a representation of theatrical style, where the Virgin is inscribed in a border composed in its lower zone of flowers and in the upper zone by a whole celestial cortege inscribed in a golden break of glory. The darkness of this space and the lack of anecdotal elements that distort the composition invite the viewer to focus his gaze on the Virgin, who stands out for the white of her clothes, the clarity of her face and the brightness of her crown.Nuestra Señora de la Soledad is a variant of the title of Nuestra Señora de los Dolores. The model, instituted by Gaspar Becerra in his Virgen de la Soledad del convento de la Victoria, gave rise to a characteristic and uniquely Spanish iconography of this invocation that spread throughout the Christian world. However, it has its roots in the spread throughout Europe of the cult of Our Lady of Sorrows, as the Solitude of Mary is the last of the Seven Sorrows of the Virgin Mary. Stylistically, the emphasis on drawing is balanced by a precise tonal work that highlights the variety of textures and qualities of the clothing, flesh tones and liturgical objects. Due to the technical characteristics, the depiction of elements very typical of Andalusian art, and even of saints linked to Andalusia, this work can be aesthetically inscribed at the time when the Andalusian school reached its greatest splendour, both in terms of the quality of the works and the primordial status of Sevillian Baroque painting. He was particularly linked to the painting of Andrés Pérez. There is little information on the biography of the painter Andrés Pérez, son of the painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillesque influence of the period, Andrés Pérez possessed his own stylistic characteristics, such as a very precise drawing, characters with a gentle expressiveness, and broad scenes reminiscent of architectural settings or landscape perspectives. The two most important known works by this painter are in the Seville Museum of Fine Arts and are attributed to Ortega and Lucas Valdés. His works have a markedly Eucharistic symbolism, perhaps due to his commissions for chapels.
Setdart Auction House
Oct. 18, 2023
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Vision of Saint Augustine". Oil on canvas. Relined. Inscription on the canvas (back).
Est: €3,000 - €4,000
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Vision of Saint Augustine". Oil on canvas. Re-drawn. Inscription on the canvas (back). Measurements: 79 x 56 cm; 92 x 69 cm (frame). The painter shows us the figure of the religious seated in front of his monastic desk at the moment when his intellectual work is interrupted by three angels carrying an ecclesiastical representation, while a fourth cherub brings him the mitre. Both elements symbolise Augustine's appointment as bishop. The detail with which the interior has been depicted, from the chequered floor to the turned wooden legs and the fluted columns, is characteristic of Andrés Pérez. The variety of qualities and textures is remarkable: floating fabrics, velvet curtains, bronze crosses, etc. There is little information on the biography of the painter Andrés Pérez, son of the painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillesque influence of the period, Andrés Pérez possessed his own stylistic characteristics, such as a very precise drawing, characters of gentle expressiveness, and broad scenes reminiscent of architectural settings or landscape perspectives. The two most important known works by this painter are in the Seville Museum of Fine Arts and are attributed to Ortega and Lucas Valdés. His works have a markedly Eucharistic symbolism, perhaps due to his commissions for chapels.
Setdart Auction House
Sep. 20, 2023
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Virgin of Solitude". Oil on canvas. Relined.
Est: €6,000 - €7,000
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Virgin of Solitude". Oil on canvas. Re-drawn. Measurements: 205 x 145 cm. The image is defined by a representation of theatrical style, where the Virgin is inscribed in a border composed in its lower zone of flowers and in the upper zone by a whole celestial cortege inscribed in a golden break of glory. The darkness of this space and the lack of anecdotal elements that distort the composition invite the viewer to focus his gaze on the Virgin, who stands out for the white of her clothes, the clarity of her face and the brightness of her crown.Nuestra Señora de la Soledad is a variant of the title of Nuestra Señora de los Dolores. The model, instituted by Gaspar Becerra in his Virgen de la Soledad del convento de la Victoria, gave rise to a characteristic and uniquely Spanish iconography of this invocation that spread throughout the Christian world. However, it has its roots in the spread throughout Europe of the cult of Our Lady of Sorrows, as the Solitude of Mary is the last of the Seven Sorrows of the Virgin Mary. Stylistically, the emphasis on drawing is balanced by a precise tonal work that highlights the variety of textures and qualities of the clothing, flesh tones and liturgical objects. Due to the technical characteristics, the depiction of elements very typical of Andalusian art, and even of saints linked to Andalusia, this work can be aesthetically inscribed at the time when the Andalusian school reached its greatest splendour, both in terms of the quality of the works and the primordial status of Sevillian Baroque painting. He was particularly linked to the painting of Andrés Pérez. There is little information on the biography of the painter Andrés Pérez, son of the painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillesque influence of the period, Andrés Pérez possessed his own stylistic characteristics, such as a very precise drawing, characters with a gentle expressiveness, and broad scenes reminiscent of architectural settings or landscape perspectives. The two most important known works by this painter are in the Seville Museum of Fine Arts and are attributed to Ortega and Lucas Valdés. His works have a markedly Eucharistic symbolism, perhaps due to his commissions for chapels.
Setdart Auction House
Sep. 20, 2023
Attributed to ANDRÉS PÉREZ (Seville, c. 1660 - 1727) "Virgin with Child and Angels". Oil on canvas. Relined. 19th century frame (ca.1820). It presents faults and repainting.
Est: €3,000 - €3,500
Attributed to ANDRÉS PÉREZ (Seville, c. 1660 - 1727). "Virgin with Child and Angels". Oil on canvas. Relined. Frame from the 19th century (ca.1820). It presents faults and repainting. Measurements: 103 x 83 cm; 115 x 95,5 cm (frame). In this painting of Marian theme, we can appreciate characteristic solutions of the Sevillian Baroque, and more specifically of the master Andrés Pérez. We can glimpse Andrés Pérez's plastic work in many aspects: the soft flesh tones of the Virgin and the graceful bodies of the cherubs, the precise attention paid to the description of the different qualities (in cloths, soft cushions and other domestic objects), the narrative that the painter introduces with the small angels (a resource that can be seen, for example, in "Saint Joachim, Saint Anne and the Child Virgin" in the Museum of Fine Arts in Cordoba). A cherub holds the curtain, opening the scene as if it were a theatrical performance. This is a typically baroque device, and here it succeeds in masterfully integrating the sacred image. The Infant Jesus, on his mother's lap, holds up the rosary in one hand while the other rests on the basket of flowers presented to him by a cherub. The whole is brimming with tenderness and subtlety, thanks to the judicious use of light. Andrés Pérez attended the Academy of Fine Arts in Seville. He was greatly influenced by the work of Bartolomé Esteban Murillo, although it is not known whether this was through his father or directly in Murillo's studio. The art historian Juan Agustín Ceán Bermúdez wrote: "Signed in 1707, they were in the tabernacle of the church of Santa Lucía, then Sevillian painters separated from Murillo". There is little information on the biography of the painter Andrés Pérez, son of the painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillo influence of the period, Andrés Pérez possessed his own stylistic characteristics, such as a very precise drawing, characters of gentle expressiveness and broad scenes reminiscent of architectural settings or landscape perspectives. The two most important known works by this painter are in the Seville Museum of Fine Arts and are attributed to Ortega and Lucas Valdés.
Setdart Auction House
May. 29, 2023
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Virgin of Solitude". Oil on canvas. Relined.
Est: €7,000 - €8,000
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Virgin of Solitude". Oil on canvas. Re-drawn. Measurements: 205 x 145 cm. The image is defined by a representation of theatrical style, where the Virgin is inscribed in a border composed in its lower zone of flowers and in the upper zone by a whole celestial cortege inscribed in a golden break of glory. The darkness of this space and the lack of anecdotal elements that distort the composition invite the viewer to focus his gaze on the Virgin, who stands out for the white of her clothes, the clarity of her face and the brightness of her crown.Nuestra Señora de la Soledad is a variant of the title of Nuestra Señora de los Dolores. The model, instituted by Gaspar Becerra in his Virgen de la Soledad del convento de la Victoria, gave rise to a characteristic and uniquely Spanish iconography of this invocation that spread throughout the Christian world. However, it has its roots in the spread throughout Europe of the cult of Our Lady of Sorrows, as the Solitude of Mary is the last of the Seven Sorrows of the Virgin Mary. Stylistically, the emphasis on drawing is balanced by a precise tonal work that highlights the variety of textures and qualities of the clothing, flesh tones and liturgical objects. Due to the technical characteristics, the depiction of elements very typical of Andalusian art, and even of saints linked to Andalusia, this work can be aesthetically inscribed at the time when the Andalusian school reached its greatest splendour, both in terms of the quality of the works and the primordial status of Sevillian Baroque painting. He was particularly linked to the painting of Andrés Pérez. There is little information on the biography of the painter Andrés Pérez, son of the painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillesque influence of the period, Andrés Pérez possessed his own stylistic characteristics, such as a very precise drawing, characters with a gentle expressiveness, and broad scenes reminiscent of architectural settings or landscape perspectives. The two most important known works by this painter are in the Seville Museum of Fine Arts and are attributed to Ortega and Lucas Valdés. His works have a markedly Eucharistic symbolism, perhaps due to his commissions for chapels.
Setdart Auction House
Mar. 22, 2023
Attributed to ANDRÉS PÉREZ (Seville, c. 1660 - 1727) "Virgin with Child and Angels". Oil on canvas. Relined. 19th century frame (ca.1820). It presents faults and repainting.
Est: €3,200 - €3,500
Attributed to ANDRÉS PÉREZ (Seville, c. 1660 - 1727). "Virgin with Child and Angels". Oil on canvas. Relined. Frame from the 19th century (ca.1820). It presents faults and repainting. Measurements: 103 x 83 cm; 115 x 95,5 cm (frame). In this painting of Marian theme, we can appreciate characteristic solutions of the Sevillian Baroque, and more specifically of the master Andrés Pérez. We can glimpse Andrés Pérez's plastic work in many aspects: the soft flesh tones of the Virgin and the graceful bodies of the cherubs, the precise attention paid to the description of the different qualities (in cloths, soft cushions and other domestic objects), the narrative that the painter introduces with the small angels (a resource that can be seen, for example, in "Saint Joachim, Saint Anne and the Child Virgin" in the Museum of Fine Arts in Cordoba). A cherub holds the curtain, opening the scene as if it were a theatrical performance. This is a typically baroque device, and here it succeeds in masterfully integrating the sacred image. The Infant Jesus, on his mother's lap, holds up the rosary in one hand while the other rests on the basket of flowers presented to him by a cherub. The whole is brimming with tenderness and subtlety, thanks to the judicious use of light. Andrés Pérez attended the Academy of Fine Arts in Seville. He was greatly influenced by the work of Bartolomé Esteban Murillo, although it is not known whether this was through his father or directly in Murillo's studio. The art historian Juan Agustín Ceán Bermúdez wrote: "Signed in 1707, they were in the tabernacle of the church of Santa Lucía, then Sevillian painters separated from Murillo". There is little information on the biography of the painter Andrés Pérez, son of the painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillo influence of the period, Andrés Pérez possessed his own stylistic characteristics, such as a very precise drawing, characters of gentle expressiveness and broad scenes reminiscent of architectural settings or landscape perspectives. The two most important known works by this painter are in the Seville Museum of Fine Arts and are attributed to Ortega and Lucas Valdés.
Setdart Auction House
Mar. 21, 2023
ESCUELA ESPAÑOLA S.XVII. CÍRCULO DE ANDRÉS PÉREZ.
Est: €4,500 - €5,000
Escuela española s.XVII. Círculo de Andrés Pérez (Sevilla, 1660-1727) Jarrón con flores. Óleo sobre lienzo. 90 x 70 cm. Reentelado.
Aletheia Subastas
Dec. 29, 2022
Attributed to ANDRÉS PEREZ (Seville, 1660-1727). "Allegory of the Eucharist in a border of flowers." Oil on canvas. Presents restorations and repaints.
Est: €35,000 - €40,000
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Allegory of the Eucharist in a border of flowers". Oil on canvas. It has restorations and repainting. Measurements: 150 x 117 cm; 118 x 83 cm (frame). We see in this canvas a typical composition of the baroque period inherited from the Low Countries. It is a scheme that combines a garland of flowers, sometimes also of fruits, although not in this specific case, with a religious representation of devotional type in the interior. The artist combines the genres of religious painting and still life, seeking greater sumptuousness and a theatrical, almost trompe l'oeil-like sense, very much to the taste of Baroque painting. It should be noted that in this type of composition the flowers are not simply a secondary or accessory element, but are worked with the same care and quality as the religious image. In fact, on occasions they even reveal a more skilful hand, as these works were often the result of the collaboration between a painter of flowers and another who specialised in the human figure. In this particular work, great mastery can be seen both in the floral composition and in the scene depicted inside it. An image in which the Eucharist is glorified, as an ostensorium is placed in the centre, gilded, resplendent and with the sacred form inside. The scene is completed by a large group of figures, with the figure of God and his son standing out, both blessing, located in the upper area, inscribed in a break of glory. On the left, Christ crucified, accompanied by a choir of angels, and the figure of Justice, carrying a scale. In the lower area we see, among the flames, the figure of the good thief, who is being held by an angel, the bad thief, and the forsaken soul, a very popular representation in Andalusian painting. Finally, the scene is completed by several saints, including Saint Joseph, Saint Anthony and Saint Barbara, among others. Due to the technical characteristics, the representation of elements very typical of Andalusian art, and even of saints linked to Andalusia, this work can be aesthetically inscribed at the time when the Andalusian school reached its greatest splendour, both in terms of the quality of the works and the primordial rank of Sevillian Baroque painting. He was particularly linked to the painting of Andrés Pérez. There is little information on the biography of the painter Andrés Pérez, son of the painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillesque influence of the period, Andrés Pérez possessed his own stylistic characteristics, such as a very precise drawing, characters of gentle expressiveness, and broad scenes reminiscent of architectural settings or landscape perspectives. The two most important known works by this painter are in the Seville Museum of Fine Arts and are attributed to Ortega and Lucas Valdés. His works have a markedly Eucharistic symbolism, perhaps due to his commissions for chapels.
Setdart Auction House
Dec. 12, 2022
Attributed to ANDRÉS PÉREZ (Seville, c. 1660 - 1727) "Virgin with Child and Angels". Oil on canvas. Relined. 19th century frame (ca.1820). It presents faults and repainting.
Est: €3,200 - €3,500
Attributed to ANDRÉS PÉREZ (Seville, c. 1660 - 1727). "Virgin with Child and Angels". Oil on canvas. Relined. Frame from the 19th century (ca.1820). It presents faults and repainting. Measurements: 103 x 83 cm; 115 x 95,5 cm (frame). In this painting of Marian theme, we can appreciate characteristic solutions of the Sevillian Baroque, and more specifically of the master Andrés Pérez. We can glimpse Andrés Pérez's plastic work in many aspects: the soft flesh tones of the Virgin and the graceful bodies of the cherubs, the precise attention paid to the description of the different qualities (in cloths, soft cushions and other domestic objects), the narrative that the painter introduces with the small angels (a resource that can be seen, for example, in "Saint Joachim, Saint Anne and the Child Virgin" in the Museum of Fine Arts in Cordoba). A cherub holds the curtain, opening the scene as if it were a theatrical performance. This is a typically baroque device, and here it succeeds in masterfully integrating the sacred image. The Infant Jesus, on his mother's lap, holds up the rosary in one hand while the other rests on the basket of flowers presented to him by a cherub. The whole is brimming with tenderness and subtlety, thanks to the judicious use of light. Andrés Pérez attended the Academy of Fine Arts in Seville. He was greatly influenced by the work of Bartolomé Esteban Murillo, although it is not known whether this was through his father or directly in Murillo's studio. The art historian Juan Agustín Ceán Bermúdez wrote: "Signed in 1707, they were in the tabernacle of the church of Santa Lucía, then Sevillian painters separated from Murillo". There is little information on the biography of the painter Andrés Pérez, son of the painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillo influence of the period, Andrés Pérez possessed his own stylistic characteristics, such as a very precise drawing, characters of gentle expressiveness and broad scenes reminiscent of architectural settings or landscape perspectives. The two most important known works by this painter are in the Seville Museum of Fine Arts and are attributed to Ortega and Lucas Valdés.
Setdart Auction House
Nov. 22, 2022
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Vision of Saint Augustine". Oil on canvas. Relined. Inscription on the canvas (back).
Est: €3,500 - €4,000
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Vision of Saint Augustine". Oil on canvas. Re-drawn. Inscription on the canvas (back). Measurements: 79 x 56 cm; 92 x 69 cm (frame). The painter shows us the figure of the religious seated in front of his monastic desk at the moment when his intellectual work is interrupted by three angels carrying an ecclesiastical representation, while a fourth cherub brings him the mitre. Both elements symbolise Augustine's appointment as bishop. The detail with which the interior has been depicted, from the chequered floor to the turned wooden legs and the fluted columns, is characteristic of Andrés Pérez. The variety of qualities and textures is remarkable: floating fabrics, velvet curtains, bronze crosses, etc. There is little information on the biography of the painter Andrés Pérez, son of the painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillesque influence of the period, Andrés Pérez possessed his own stylistic characteristics, such as a very precise drawing, characters of gentle expressiveness, and broad scenes reminiscent of architectural settings or landscape perspectives. The two most important known works by this painter are in the Seville Museum of Fine Arts and are attributed to Ortega and Lucas Valdés. His works have a markedly Eucharistic symbolism, perhaps due to his commissions for chapels.
Setdart Auction House
Nov. 11, 2022
Andres Perez
Est: $3,000 - $5,000
(Spanish, 1660?1727) Still Life Fruit and Flowers, oil on canvas, 28-7/8 x 35-3/8 in.; gilt and carved wood frame, 34-7/8 x 43-3/4 in. Provenance: Estate of David R. Hayworth, High Point, North Carolina
Brunk Auctions
Jul. 05, 2022
ANDRÉS PÉREZ DE PINEDA - Flagellation
Est: €2,000 - €4,000
ATTRIBUTED TO ANDRÉS PÉREZ DE PINEDA Seville c.1669 - 1727 Flagellation Oil on canvas Measures 63.5 x 86 cm
Subastas Segre
Jun. 22, 2022
Attributed to ANDRÉS PÉREZ (Seville, c. 1660 - 1727) "Virgin with Child and Angels". Oil on canvas. Relined. 19th century frame (ca.1820). It presents faults and repainting.
Est: €5,000 - €6,000
Attributed to ANDRÉS PÉREZ (Seville, c. 1660 - 1727). "Virgin with Child and Angels". Oil on canvas. Relined. Frame from the 19th century (ca.1820). It presents faults and repainting. Measurements: 103 x 83 cm; 115 x 95,5 cm (frame). In this painting of Marian theme, we can appreciate characteristic solutions of the Sevillian Baroque, and more specifically of the master Andrés Pérez. We can glimpse Andrés Pérez's plastic work in many aspects: the soft flesh tones of the Virgin and the graceful bodies of the cherubs, the precise attention paid to the description of the different qualities (in cloths, soft cushions and other domestic objects), the narrative that the painter introduces with the small angels (a resource that can be seen, for example, in "Saint Joachim, Saint Anne and the Child Virgin" in the Museum of Fine Arts in Cordoba). A cherub holds the curtain, opening the scene as if it were a theatrical performance. This is a typically baroque device, and here it succeeds in masterfully integrating the sacred image. The Infant Jesus, on his mother's lap, holds up the rosary in one hand while the other rests on the basket of flowers presented to him by a cherub. The whole is brimming with tenderness and subtlety, thanks to the judicious use of light. Andrés Pérez attended the Academy of Fine Arts in Seville. He was greatly influenced by the work of Bartolomé Esteban Murillo, although it is not known whether this was through his father or directly in Murillo's studio. The art historian Juan Agustín Ceán Bermúdez wrote: "Signed in 1707, they were in the tabernacle of the church of Santa Lucía, then Sevillian painters separated from Murillo". There is little information on the biography of the painter Andrés Pérez, son of the painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillo influence of the period, Andrés Pérez possessed his own stylistic characteristics, such as a very precise drawing, characters of gentle expressiveness and broad scenes reminiscent of architectural settings or landscape perspectives. The two most important known works by this painter are in the Seville Museum of Fine Arts and are attributed to Ortega and Lucas Valdés.
Setdart Auction House
Apr. 27, 2022
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Vision of Saint Augustine". Oil on canvas. Relined. Inscription on the canvas (back).
Est: €4,000 - €4,500
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Vision of Saint Augustine". Oil on canvas. Re-drawn. Inscription on the canvas (back). Measurements: 79 x 56 cm; 92 x 69 cm (frame). The painter shows us the figure of the religious seated in front of his monastic desk at the moment when his intellectual work is interrupted by three angels carrying an ecclesiastical representation, while a fourth cherub brings him the mitre. Both elements symbolise Augustine's appointment as bishop. The detail with which the interior has been depicted, from the chequered floor to the turned wooden legs and the fluted columns, is characteristic of Andrés Pérez. The variety of qualities and textures is remarkable: floating fabrics, velvet curtains, bronze crosses, etc. There is little information on the biography of the painter Andrés Pérez, son of the painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillesque influence of the period, Andrés Pérez possessed his own stylistic characteristics, such as a very precise drawing, characters of gentle expressiveness, and broad scenes reminiscent of architectural settings or landscape perspectives. The two most important known works by this painter are in the Seville Museum of Fine Arts and are attributed to Ortega and Lucas Valdés. His works have a markedly Eucharistic symbolism, perhaps due to his commissions for chapels.
Setdart Auction House
Feb. 10, 2022
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Vision of Saint Augustine". Oil on canvas. Relined. Inscription on the canvas (back).
Est: €4,000 - €4,500
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Vision of Saint Augustine". Oil on canvas. Re-drawn. Inscription on the canvas (back). Measurements: 79 x 56 cm; 92 x 69 cm (frame). The painter shows us the figure of the religious seated in front of his monastic desk at the moment when his intellectual work is interrupted by three angels carrying an ecclesiastical representation, while a fourth cherub brings him the mitre. Both elements symbolise Augustine's appointment as bishop. The detail with which the interior has been depicted, from the chequered floor to the turned wooden legs and the fluted columns, is characteristic of Andrés Pérez. The variety of qualities and textures is remarkable: floating fabrics, velvet curtains, bronze crosses, etc. There is little information on the biography of the painter Andrés Pérez, son of the painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillesque influence of the period, Andrés Pérez possessed his own stylistic characteristics, such as a very precise drawing, characters of gentle expressiveness, and broad scenes reminiscent of architectural settings or landscape perspectives. The two most important known works by this painter are in the Seville Museum of Fine Arts and are attributed to Ortega and Lucas Valdés. His works have a markedly Eucharistic symbolism, perhaps due to his commissions for chapels.
Setdart Auction House
Dec. 28, 2021
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Allegory of the Eucharist in a border of flowers". Oil on canvas. Presents restorations and repainting. Size: 150 x 117 cm; 118 x 83 cm (frame).
Est: €35,000 - €40,000
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Allegory of the Eucharist in a border of flowers". Oil on canvas. Presents restorations and repainting. Size: 150 x 117 cm; 118 x 83 cm (frame). We see in this canvas a typical composition of the baroque period inherited from the low countries. It is a scheme that combines a garland of flowers, sometimes also of fruits, although not in this specific case, with a religious representation of devotional type in the interior. The author combines the genres of religious painting and still life, seeking a greater sumptuousness and a theatrical sense, almost trompe l'oeil, very much to the taste of Baroque painting. It should be noted that, in this type of compositions, the flowers are not simply a secondary or accessory element, but are worked with the same care, and with the same quality as the religious image. In fact, sometimes they even show a more skilled hand, since often these works were the result of the collaboration of a painter of flowers and another specialized in the human figure. In this particular work a great mastery can be appreciated, both in the floral composition and in the scene depicted in its interior. An image in which the Eucharist is glorified, since an ostensorium is placed in the center, golden, resplendent and with the sacred form in its interior. They complete the scene a great group of characters, emphasizing the Figure of God and his son, both blessing, located in the superior zone, inscribed in a break of glory. In the left area, Christ crucified, is accompanied by a choir of angels, and the figure of Justice, carrying a scale. In the lower area we see between flames, the figure of the good thief, who is being supported by an angel, the bad thief, and the forsaken soul, a very popular representation in Andalusian painting. Finally, the scene is completed by several saints among which are: Saint Joseph, Saint Anthony, and Saint Barbara, among others. Due to the technical characteristics, the representation of elements very typical of Andalusian art, and even of Saints linked to Andalusia, this work can be aesthetically inscribed in the moment in which the Andalusian school reached its greatest splendor, both for the quality of the works and for the primordial rank of the Sevillian Baroque painting. Especially linked to the painting of Andrés Pérez. There is little data on the biography of the painter Andrés Pérez, son of painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillo influence of the time, Andres Perez has its own style characteristics, such as a very precise drawing, characters of kind expressiveness, and large scenarios in which reminiscent of architectural environments or landscape perspectives. The two most relevant works known of this painter are kept in the Museum of Fine Arts of Seville, having been attributed to Ortega and Lucas Valdés. His works have a markedly Eucharistic symbolism, perhaps because of the commissions for chapels.
Setdart Auction House
Nov. 24, 2021
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Vision of St. Augustine. Oil on canvas.
Est: €6,000 - €7,000
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Vision of St. Augustine. Oil on canvas. Relined. Inscription on the canvas (back). Measurements: 79 x 56 cm; 92 x 69 cm (frame). The painter shows us the figure of the religious seated in front of his monastic desk at the moment of being interrupted his intellectual work by three angels that carry an ecclesiastical representation, while a fourth cherub brings him the mitre. Both elements symbolize St. Augustine's appointment as bishop. The detail with which the interior has been represented, from the checkered floor to the turned wooden legs and the fluted columns, is characteristic of Andrés Pérez. The variety of qualities and textures stand out: floating fabrics, velvet curtain, bronze cross, etc. There is little information about the biography of the painter Andrés Pérez, son of painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillo influence of the time, Andres Perez has its own style characteristics, such as a very precise drawing, characters of kind expressiveness, and large scenarios in which reminiscent of architectural environments or landscape perspectives. The two most relevant works known of this painter are kept in the Museum of Fine Arts of Seville, having been attributed to Ortega and Lucas Valdés. His works have a markedly Eucharistic symbolism, perhaps because of the commissions for chapels.
Setdart Auction House
Oct. 20, 2021
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Allegory of the Eucharist in a border of flowers". Oil on canvas. It has restorations and repainting. Measurements: 150 x 117 cm; 118 x 83 cm (frame)
Est: €38,000 - €40,000
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Allegory of the Eucharist in a border of flowers". Oil on canvas. It has restorations and repainting. Measurements: 150 x 117 cm; 118 x 83 cm (frame). We see in this canvas a typical composition of the baroque period inherited from the Low Countries. It is a scheme that combines a garland of flowers, sometimes also of fruits, although not in this specific case, with a religious representation of devotional type in the interior. The artist combines the genres of religious painting and still life, seeking greater sumptuousness and a theatrical, almost trompe l'oeil-like sense, very much to the taste of Baroque painting. It should be noted that in this type of composition the flowers are not simply a secondary or accessory element, but are worked with the same care and quality as the religious image. In fact, on occasions they even reveal a more skilful hand, as these works were often the result of the collaboration between a painter of flowers and another who specialised in the human figure. In this particular work, great mastery can be seen both in the floral composition and in the scene depicted inside it. An image in which the Eucharist is glorified, as an ostensorium is placed in the centre, gilded, resplendent and with the sacred form inside. The scene is completed by a large group of figures, with the figure of God and his son standing out, both blessing, located in the upper area, inscribed in a break of glory. On the left, Christ crucified, accompanied by a choir of angels, and the figure of Justice, carrying a scale. In the lower area we see, among the flames, the figure of the good thief, who is being held by an angel, the bad thief, and the forsaken soul, a very popular representation in Andalusian painting. Finally, the scene is completed by several saints, including Saint Joseph, Saint Anthony and Saint Barbara, among others. Due to the technical characteristics, the representation of elements very typical of Andalusian art, and even of saints linked to Andalusia, this work can be aesthetically inscribed at the time when the Andalusian school reached its greatest splendour, both in terms of the quality of the works and the primordial rank of Sevillian Baroque painting. He was particularly linked to the painting of Andrés Pérez. There is little information on the biography of the painter Andrés Pérez, son of the painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillesque influence of the period, Andrés Pérez possessed his own stylistic characteristics, such as a very precise drawing, characters of gentle expressiveness, and broad scenes reminiscent of architectural settings or landscape perspectives. The two most important known works by this painter are in the Seville Museum of Fine Arts and are attributed to Ortega and Lucas Valdés. His works have a markedly Eucharistic symbolism, perhaps due to his commissions for chapels.
Setdart Auction House
Oct. 16, 2021
Andres Ma. Perez y Ca., Rubielos Bajos
Est: -
Porcion de 1.000 Ptas, 13.10.1908, #44, GHF, braune Randbordüre, Abb. Frau mit Lampe, Knickfalte, EF/VF
Nonvaleur Concept Klaus Schiefer
Jul. 14, 2021
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Allegory of the Eucharist in a border of flowers". Oil on canvas. It has restorations and repainting. Measurements: 150 x 117 cm; 118 x 83 cm (frame).
Est: €38,000 - €40,000
Attributed to ANDRÉS PÉREZ (Seville, 1660- 1727). "Allegory of the Eucharist in a border of flowers". Oil on canvas. It has restorations and repainting. Measurements: 150 x 117 cm; 118 x 83 cm (frame). We see in this canvas a typical composition of the baroque period inherited from the Low Countries. It is a scheme that combines a garland of flowers, sometimes also of fruits, although not in this specific case, with a religious representation of devotional type in the interior. The artist combines the genres of religious painting and still life, seeking greater sumptuousness and a theatrical, almost trompe l'oeil-like sense, very much to the taste of Baroque painting. It should be noted that in this type of composition the flowers are not simply a secondary or accessory element, but are worked with the same care and quality as the religious image. In fact, on occasions they even reveal a more skilful hand, as these works were often the result of the collaboration between a painter of flowers and another who specialised in the human figure. In this particular work, great mastery can be seen both in the floral composition and in the scene depicted inside it. An image in which the Eucharist is glorified, as an ostensorium is placed in the centre, gilded, resplendent and with the sacred form inside. The scene is completed by a large group of figures, with the figure of God and his son standing out, both blessing, located in the upper area, inscribed in a break of glory. On the left, Christ crucified, accompanied by a choir of angels, and the figure of Justice, carrying a scale. In the lower area we see, among the flames, the figure of the good thief, who is being held by an angel, the bad thief, and the forsaken soul, a very popular representation in Andalusian painting. Finally, the scene is completed by several saints, including Saint Joseph, Saint Anthony and Saint Barbara, among others. Due to the technical characteristics, the representation of elements very typical of Andalusian art, and even of saints linked to Andalusia, this work can be aesthetically inscribed at the time when the Andalusian school reached its greatest splendour, both in terms of the quality of the works and the primordial rank of Sevillian Baroque painting. He was particularly linked to the painting of Andrés Pérez. There is little information on the biography of the painter Andrés Pérez, son of the painter Francisco Pérez de Pineda, of whom he was probably a disciple. According to Cean, despite the Murillesque influence of the period, Andrés Pérez possessed his own stylistic characteristics, such as a very precise drawing, characters of gentle expressiveness, and broad scenes reminiscent of architectural settings or landscape perspectives. The two most important known works by this painter are in the Seville Museum of Fine Arts and are attributed to Ortega and Lucas Valdés. His works have a markedly Eucharistic symbolism, perhaps due to his commissions for chapels.
Setdart Auction House
Apr. 08, 2021
SPANISH SCHOOL (C.XVII / .) "Glass vase with flowers"
Est: €7,500 - €10,000
Work close to the painter Andrés Pérez (1660-1727).
Ansorena
Jun. 24, 2020
ESCUELA SEVILLANA - "Salvador rodeado de guirnalda de flores"
Est: -
Obra cercana a algunas composiciones con guirnaldas de flores del pintor sevillano Andrés Pérez (c. 1660 – 1727)
Ansorena
Jan. 30, 2018
ANDRÉS PÉREZ, (Sevilla , c. 1660 – 1727) Cristo ante Pilatos
Est: -
ANDRÉS PÉREZ, (Seville, c. 1660 - 1727). "Cristo ante Pilatos". Oil on canvas. 64 x 78 cm ANDRÉS PÉREZ, (Sevilla , c. 1660 – 1727) Cristo ante Pilatos Óleo sobre lienzo 64 x 78 cm.
Isbilya Subastas
Jan. 30, 2018
ANDRÉS PÉREZ, (Sevilla , c. 1660 – 1727) El Calvario
Est: -
ANDRÉS PÉREZ, (Seville, c. 1660 - 1727). "El Calvario". Oil on canvas. 64 x 78 cm ANDRÉS PÉREZ, (Sevilla , c. 1660 – 1727) El Calvario Óleo sobre lienzo 64 x 78 cm.
Isbilya Subastas
Jan. 30, 2018
ANDRÉS PÉREZ, (Sevilla , c. 1660 – 1727) "Jesús con la cruz a cuestas"
Est: -
ANDRÉS PÉREZ, (Seville, c. 1660 - 1727). "Jesús con la cruz a cuestas". Oil on canvas. 64 x 78 cm ANDRÉS PÉREZ, (Sevilla , c. 1660 – 1727) "Jesús con la cruz a cuestas" Óleo sobre lienzo 64 x 78 cm.
Isbilya Subastas
Jan. 30, 2018
ANDRÉS PÉREZ, (Sevilla , c. 1660 – 1727) La flagelación
Est: -
ANDRÉS PÉREZ, (Seville, c. 1660 - 1727). "La flagelación". Oil on canvas. 64 x 78 cm ANDRÉS PÉREZ, (Sevilla , c. 1660 – 1727) La flagelación Óleo sobre lienzo 64 x 78 cm.
Isbilya Subastas
Jan. 30, 2018
ANDRÉS PÉREZ, (Sevilla , c. 1660 – 1727) El descendimiento
Est: -
ANDRÉS PÉREZ, (Seville, c. 1660 - 1727). "El descendimiento". Oil on canvas. 64 x 78 cm ANDRÉS PÉREZ, (Sevilla , c. 1660 – 1727) El descendimiento Óleo sobre lienzo 64 x 78 cm.
Isbilya Subastas
Jan. 30, 2018
ANDRÉS PÉREZ, (Sevilla , c. 1660 – 1727) "Oración en el huerto"
Est: -
ANDRÉS PÉREZ, (Seville, c.1660 - 1727). "Oración en el huerto". Oil on canvas. We present here an interesting collection of six scenes of the Passion of Christ painted by the Sevillian Andrés Pérez, scenes that would probably form part of a series of twel ANDRÉS PÉREZ, (Sevilla , c. 1660 – 1727) "Oración en el huerto" Presentamos aquí una interesante colección de seis escenas de la Pasión de Cristo pintadas por el sevillano Andrés Pérez, escenas que probablemente formarían parte de una serie de doce obras narrativas de los distintos momento de la Pasión: la Oración en Óleo sobre lienzo 64 x 78 cm.
Isbilya Subastas
Jun. 28, 2017
ANDRÉS PÉREZ, San Leonardo. Oil on canvas
Est: -
San Leonardo Firmado.
Isbilya Subastas
Jun. 28, 2017
RAGONESA SCHOOL, La bendición. Oil on canvas
Est: -
La bendición Siguiendo modelos de Teniers "el joven".
Isbilya Subastas
Apr. 25, 2017
ATTRIBUTED TO ANDRÉS PÉREZ (Seville, 1660-1727) «Los desposorios de la Virgen». Oil on canvas
Est: -
ATRIBUIDO A ANDRÉS PÉREZ (Sevilla, c. 1660-1727) Los desposorios de la Virgen Óleo sobre lienzo 89 x 107 cm
Isbilya Subastas
Apr. 25, 2017
ATTRIBUTED TO ANDRÉS PÉREZ (Seville, 1660-1727), «Nacimiento de la Virgen». Oil on canvas
Est: -
ATRIBUIDO A ANDRÉS PÉREZ (Sevilla, c. 1660-1727) Nacimiento de la Virgen Óleo sobre lienzo 89 x 107
Isbilya Subastas