Francisco (1565) Ribalta Paintings & Artwork for Sale | Francisco (1565) Ribalta Art Value Price Guide

Nov. 14, 2024
FRANCISCO RIBALTA (Solsona, 1565 - Valencia, 1628) - Saint Francis in meditation
Est: €4,500 - €6,500
Oil on canvas. Dimensions 99 × 75 cm. Saint Francis, kneeling, meditates before a crucifix that he holds delicately in his hands. The chiaroscuro emphasizes the expression of his face, full of devotion and surrender, while the skull that rests under his arm refers to the fleeting nature of life. The work of Ribalta, a master of Spanish tenebrism, captures the religious fervour of the Counter-Reformation, with a focus on spirituality and sacrifice, reflecting the deep roots of Christianity in 17th-century Spanish society.
Templum Fine Art Auctions
Oct. 29, 2024
FRANCISCO RIBALTA Solsona, Lleida (1565) / Valencia (1628) "Saint Mary Magdalene"
Est: €57,000 - €76,000
Oil on canvas. Provenance: - Spanish noble collection. Bibliography: - MARCO, V., Baroque painting in Valencia (1600 - 1630), CEEH, Madrid, 2021, p. 431, Cat. No. 98. Francisco Ribalta was one of the great figures of Spanish Baroque painting, especially in the Kingdom of Valencia. There he practised a type of naturalistic painting that became part of the Valencian pictorial tradition, perpetuating itself over time for several decades after his death in 1628. His success lay in knowing how to create a painting of great plastic quality and charged with religious emotion, which effectively transmitted the message of the commissioners and which, through the contemplation of images with a real appearance, provided the faithful with a vivid religious emotion; achieving a perfect balance between the real and the supernatural. The unpublished work that we present here, in which we see Saint Mary Magdalene as a penitent, brings together all the aforementioned ingredients, being a perfect example of the best of his production. Her sad expression, caused by deep repentance, moves those who contemplate it, showing tearful eyes and tears that slide down her face. She is found in complete solitude, in a cave in the desert, with her arms extended in a gesture of mystical surrender, as a clear sign of acceptance of divine designs. She is accompanied by a book, the skull and the crucifix, as symbols of meditation. Coming from a noble collection, the restoration to which the work has recently been subjected has allowed us to compare its excellent state of conservation and to observe with greater precision Ribalta's technique in his mature stage; with a very light layer of preparation that allows the reddish preparation of the canvas to emerge in some parts. The almost sculptural volumes of the saint's head, as well as her expression and position, allow us to formally relate it to other works of his, such as, for example, the Alma en pena in the Museo del Prado (P001064). We know that Ribalta painted this subject on more than one occasion, but none of these works have been able to be located. One, of smaller dimensions, was in the collection of Don Pedro de Arce. Nor is it the famous Magdalene from the Parcent collection, as this is a landscape-format work, whose authorship was attributed to Juan Ribalta. A strong candidate is a Saint Mary Magdalene (Marco 2021. Francisco Ribalta, Cat. No. 98) that formed a pair with a Saint Peter, both penitents, and that as an original by Ribalta was given in 1661 by Ramon Sans de la Llosa, lord of Beniferri, to Jose de Castellvi, father of the Marquis of Villatorcas, passing thereafter to the collection of the Counts of Cervellon. Lost from the memory of the author of the painting, its quality meant that, together with its companion,It is believed that the painting was attributed to Jose de Ribera in later inventories. However, this assumption cannot be confirmed with complete certainty as its measurements do not appear in the documents consulted. This composition by Ribalta must have been a notable success in its time. Proof of this is the version made by Vicente Castello of the same theme which, kept in a private collection, was temporarily deposited in the Bancaja collection. This painting closely follows the model of Francisco Ribalta, but Castello, with his own formal language different from that of the master, gives it a greater decorative sense and greater dynamism, losing much of the religious emotion and mystical content of the Ribalta original. Measurements: 105 x 91 cm.
Ansorena
Oct. 28, 2024
FRANCISCO RIBALTA (Solsona, Lleida, 1565 - Valencia, 1628). "The Child Virgin with St. Anne and St. Joachim". Oil on canvas. Relined. Work expertized by the historian Don José Gómez Frechina. Presents restorations.
Est: €22,000 - €25,000
FRANCISCO RIBALTA (Solsona, Lleida, 1565 - Valencia, 1628). "The child Virgin with St. Anne and St. Joachim". Oil on canvas. Relined. Work expertized by the historian Don José Gómez Frechina. Presents restorations. Measurements: 142 x 117 cm; 158 x 133 cm (frame). During the baroque period numerous images of the Virgin proliferated, enriching its iconographic representations. It is not usual this type of scene where the Virgin is next to her two parents, since Mary's childhood is usually represented through her birth or her presentation in the temple. In this case the tenderness with which the author has represented the characters stands out, showing an intimate scene where some older parents pose their attentive gazes on a little Mary. In spite of the childish and innocent appearance, the artist has defined the figure of the Virgin in the embroidered apron she wears; the crescent moon, the fountain etc...are Marian symbols typical of the Virgin. Following the words of a study carried out by the prestigious Nicolás Cortes gallery "in the church of San Juan del Hospital in Valencia there was a canvas with this same composition, according to Fernando Llorca in his book San Juan del Hospital de Valencia: una fundación del siglo XIII (Valencia, 1930). The fortune and acceptance of this painting is evident in the two 17th century copies preserved in the Museum of Fine Arts of Valencia (inv.3417 and 4083). Ribalta's original idea of capturing the Lauretan symbols on the Virgin's apron was later taken up by Jerónimo Jacinto de Espinosa (Cocentaina, 1600-Valencia, 1667). Catalan by origin, Ribalta began his training in El Escorial, within the mannerism that dominated court painting at that time. After beginning his career in Madrid, he moved to Valencia in 1599, probably encouraged by the patronage of the patriarch Archbishop Juan de Ribera. There he produced his first known works, the altarpieces for the church of Algemesí, which denote a style halfway between the mannerism of the Escorial style and naturalism. During these first years of the 17th century he carried out several commissions for the archbishop, whose death in 1611 marked a certain stylistic turn in Ribalta's work. His language takes an intimate and profound slant, very much in keeping with the more pious mood of the Counter-Reformation, inspired by the solemn gravity of certain models of Sebastiano del Piombo that he knew in Valencia itself. Ribalta knew how to combine these influences with a naturalistic and direct language for which he was especially gifted. His chromatism also became more restrained and sober, and his figures lost in gesticulation to deepen in expressive intensity. From the second decade of the century his disciple Vicente Castelló and his son Juan Ribalta worked with him, forming a solid and prolific artistic team, in which sometimes it is not easy to distinguish their individualities. Around 1618 Ribalta fell ill, and this was the beginning of his last stage, the most mature of his production. He painted fewer works, but his style became more intense and emotional, entering into a deep naturalism of moving force, as seen in his great painting "Embrace of St. Francis to the Crucified", painted for the Capuchins of Valencia around 1622. Six years later Francisco Ribalta died, and a few months later also his son Juan, leaving traced in the Valencian painting guidelines that would last for a long time, conditioning the development of the Baroque style. In fact, Ribalta was, along with Velázquez and Ribera, one of the main founders of the naturalistic language in Spain. Works by Francisco Ribalta can be seen in the Prado Museum, the National Gallery of London, the Museum of Fine Arts of Valencia, the Hermitage of St. Petersburg, the Louvre, the National Museum of Art of Catalonia, the Chi-Mei of Taiwan and the J. Paul Getty Museum of Los Angeles, among other art galleries. Work expertized by the historian Don José Gómez Frechina. It presents restorations.
Setdart Auction House
Oct. 01, 2024
FRANCISCO RIBALTA (Solsona, Lleida, 1565 - Valencia, 1628). "Saint Simon. Oil on canvas. Relined. Work reproduced in: Gómez Frechina, J.: Masters of the Spanish Baroque. Museum of BB. AA
Est: €15,000 - €18,000
FRANCISCO RIBALTA (Solsona, Lleida, 1565 - Valencia, 1628). "Saint Simon. Oil on canvas. Relined. Work reproduced in: Gómez Frechina, J.: Masters of the Spanish Baroque. Museum of BB. AA. of Murcia, Murcia 2020, cat. nº 3 p. 18. It presents restorations on the pictorial surface. Measurements: 109 x 87 cm; 124,5 x 104 cm (frame). Devotional scene representing the figure of a man dressed in brown tunic and ochre mantle. The figure is shown to the spectator through his posture with a pious attitude. To do so, he raises his face upwards and directs his gaze towards the sky, in an attitude of clemency. Inscribed in an exterior, the piece stands out for its austerity, both in the conception of the landscape and the figure that follows a triangular composition with classical influence. The representation of this religious figure, probably a hermit and the book, added to the dimensions of the work, indicates that it was probably a painting that belonged to a larger clique, formed by religious figures, saints or apostles. Thanks to the color of the tunic and the mantle, the feather that is on the rocks and the book that he holds open in his hands, it can be deduced that it is the representation of Simon the Zealot or Simon the Canaanite or Simon the Canaanite. He was one of Jesus' apostles. To distinguish him from Simon Peter, he is called Canaanite , according to the manuscript (Matthew 10: 4 Mark 3:18), and in the list of apostles in Luke 6:15, repeated in Acts 1:13, Zelotes, the "Zealot".We can frame this work within the circle of Francisco Ribalta, a painter formed between the mannerism of the Escorial and the natusralism that, from the decade of 1610, will evolve taking an intimate and deep bias, very according to the most pious mood of the Counter-Reformation, inspired by the solemn gravity of certain models of Sebastiano del Piombo that he knew in Valencia itself. Ribalta knew how to combine these influences with a naturalistic and direct language for which he was especially gifted. His chromatism also became more restrained and sober, and his figures lost in gesticulation to deepen in expressive intensity. From the second decade of the century his disciple Vicente Castelló and his son Juan Ribalta worked with him, forming a solid and prolific artistic team, in which sometimes it is not easy to distinguish their individualities. Around 1618 Ribalta fell ill, and this was the beginning of his last stage, the most mature of his production. He painted fewer works, but his style became more intense and emotional, entering into a deep naturalism of moving force, as seen in his great painting "Embrace of St. Francis to the Crucified", painted for the Capuchins of Valencia around 1622. Six years later Francisco Ribalta died, and a few months later also his son Juan, leaving traced in the Valencian painting guidelines that would last for a long time, conditioning the development of the Baroque style. In fact, Ribalta was, together with Velázquez and Ribera, one of the main founders of the naturalistic language in Spain. Work reproduced in: Gómez Frechina, J.: Masters of the Spanish Baroque. Museum of BB. AA. de Murcia, Murcia 2020, cat. nº 3 p. 18. It presents restorations on the pictorial surface.
Setdart Auction House
Apr. 25, 2024
ATTRIBUTED TO FRANCISCO RIBALTA (SOLSONA, LÉRIDA, 1565-VALENCIA, 1628) - SAN DIMAS
Est: €8,000 - €10,000
Oil on canvas measures: 100 x 90 cm, measures with frame: 120 x 100 cm (Solsona, Lérida, 1565-Valencia, 1628). A painter of Lleida origin, he began his training in El Escorial in view of Spanish and Italian works and artists who worked there, capturing the most significant developments in his art. He thus developed an eclectic style that would come to combine the rhetoric of Cincinato, the daring foreshortening of Tibaldi or the gravity of Bartolomé Carducho, with the drama of Navarrete and the chiaroscuro plays of light of the best Cambiaso, aspects that emerge undisguisedly in his production. He first practiced his profession in Madrid, between 1585 and 1598, where he painted religious works and portraits, and where he married and had two daughters and then a son, Juan, in 1597, who over the years would become a notable painter. In 1599 he moved to Valencia, surely encouraged by the artistic demands of the patriarch archbishop Juan de Ribera. He remained in Valencia for the rest of his life, carrying out intense work and giving his style an increasingly personal air that in his maturity reached the highest levels of quality in the direction of naturalism. Provenance: important private Valencian collection.
Templum Fine Art Auctions
Jan. 25, 2024
FRANCISCO RIBALTA (Solsona, Lleida, 1565 – Valencia, 1628). "Saint Teresa crowned by Christ". Oil on board. Presents restorations. Work reproduced in "Lights of the Baroque". Painting from the 17th century in Spain. 2009. Page 30.
Est: €13,000 - €14,000
FRANCISCO RIBALTA (Solsona, Lleida, 1565 - Valencia, 1628). "Saint Teresa crowned by Christ". Oil on panel. With restorations. Work reproduced in "Lights of the Baroque". 17th century painting in Spain. 2009. Page 30 . Measurements: 23 x 16,5 cm; 51 x 45 cm (frame). A young Jesus with beautiful and kind features bends his face towards Saint Teresa, who, although she is not completely portrayed, seems to be on her knees. Only Jesus, who crowns Saint Teresa, looks piously at the saint, while she bows her head, directing her gaze to an external point outside the composition. The image is completed by the presence of two figures contemplating the scene, including the one behind Saint Teresa, who, by pointing to the scene with his hand, introduces a sense of spatiality into this image in which the planes merge into each other. Finally, two cherub heads fill the space in the upper right-hand corner of the work. Aesthetically, the work is close to the paintings of Francisco Ribalta, who created an image of great devotion in accordance with the precepts of the Counter-Reformation, and its naturalistic and direct aesthetic can also be appreciated, treated with a sober and restrained chromatic range that harmonises with the expressive intensity of the figures. Originally Catalan, Ribalta began his training at El Escorial, within the Mannerism that dominated court painting at the time. After beginning his career in Madrid he moved to Valencia in 1599, probably encouraged by the patronage of the patriarch Archbishop Juan de Ribera. There he produced his first known works, the altarpieces for the church of Algemesí, which denote a style somewhere between the mannerism of the Escorial style and naturalism. During these early years of the 17th century he carried out several commissions for the archbishop, whose death in 1611 marked a certain stylistic shift in Ribalta's work. His language took on an intimate and profound slant, very much in keeping with the more pious mood of the Counter-Reformation, inspired by the solemn gravity of certain models by Sebastiano del Piombo that he knew in Valencia itself. Ribalta was able to combine these influences with a naturalistic, direct language for which he was particularly gifted. His chromaticism also became more restrained and sober, and his figures became less gesticulated and more expressive. From the second decade of the century his pupil Vicente Castelló and his son Juan Ribalta worked with him, forming a solid and prolific artistic team in which it is sometimes difficult to distinguish their individualities. Around 1618 Ribalta fell ill, and this was the beginning of his last and most mature period of his production. He painted fewer works, but his style became more intense and emotive, moving towards a profound naturalism of moving force, as can be seen in his great painting "Embrace of Saint Francis to the Crucified", painted for the Capuchins in Valencia around 1622. Six years later Francisco Ribalta died, and a few months later his son Juan also died, leaving behind guidelines in Valencian painting that would last for a long time, conditioning the development of the Baroque style. In fact, Ribalta was, together with Velázquez and Ribera, one of the main founders of the naturalist language in Spain. Works by Francisco Ribalta can be seen in the Prado Museum, the National Gallery in London, the Fine Arts Museum in Valencia, the Hermitage in Saint Petersburg, the Louvre, the National Art Museum of Catalonia, the Chi-Mei in Taiwan and the J. Paul Getty Museum in Los Angeles, among other art galleries.
Setdart Auction House
Dec. 18, 2023
FRANCISCO RIBALTA Solsona, Lerida (1565) / Valencia (1628) "Virgin of the Cherries", c. 1615-1620
Est: €105,000 - €140,000
Oil on canvas. Provenance: - Collection of Don Fernando de Borja y Aragon, Count of Mayalde, Simari and Prince of Esquilache. – Madrid, private collection. Bibliography: - Historical Archive of Madrid Protocols, no. 9812, late 358-441; - Marco Garcia, V., Baroque painting in Valencia, CEEH, Madrid, 2021. Francisco Ribalta no. cat. 109. The Borja family, Borgia in Italian, originally from Aragon and established in the kingdom of Valencia and later in Italy, was one of the most influential during the Renaissance and Baroque. Among its members are Popes Calixtus III and Alexander VII, Saint Francis of Borgia himself and numerous prominent men belonging to the high nobility who carried out an important work of patronage over the centuries. One of them was Fernando de Borja y Aragon (Lisbon, c. 1583 – Madrid, 1665), Count of Mayalde, Simari and Prince of Esquilache who held different positions of power throughout his life under the reigns of Philip III and Philip. IV. The first entrusted him with missions as ambassador in Savoy, Florence and Rome. The second incorporated him as Gentleman of his Royal Chamber and named him Viceroy of Aragon. Thanks to his high position, his culture and the fact that he knew Italian artistic environments directly, Fernando de Borja managed to amass an important collection of paintings that, after his death, was valued by Juan Antonio Escalante in 1666. The inventory drawn up by him shows a collection with a clear preference for the great Italian masters, especially the Venetians, but among these paintings was a single work done by a Spanish painter, the great Francisco Ribalta, which was valued at the high sum of one hundred and ten reales and which represented “ “A Virgin with the Child giving him some cherries.” This important work mentioned in the aforementioned inventory is the one shown here and was possibly acquired by Fernando de Borja y Aragon for his collection during the years in which he held the position of Viceroy of Valencia, between 1635 and 1640. Francisco Ribalta He had died in 1628, so we assume that it must not have been a direct commission from the painter, but the fame he had achieved during his life was still valid in those years and his paintings continued to be requested by the great collectors of the time. Francisco Ribalta captured on this canvas an adorable vision of the Holy Family in which the Virgin, with a complacent gesture and tender gaze, offers some cherries to the Child Jesus while he rests on an embroidered pillow and tries to reach the sweet offering held by his mother and which gives the name to the work. In the background, among typically Ribaltesque shadows, Saint Juanito appears carrying in his hands the cross and a staff from which several fruits hang. Following his characteristic naturalism, Ribalta presents Maria in a far from idealized way, wearing the feminine attire of the popular classes of the time, with her hair practically loose and part of the buttons of the dress unbuttoned. However, it gives the main figures of the composition a monumental tone that is accompanied by a detailed and rigorous anatomical study; all of this captured with a color palette of clear Venetian descent, very much to the taste of its owner, in which greenish and bluish tones predominate combined with ochres, reds, mauves and intense whites. The technical expertise achieved by Ribalta in this mature work, its origin and its endearing and empathetic theme make it a key piece in his production. Measurements: 90 x 123.5 cm.
Ansorena
Oct. 26, 2023
Great Adoration of Shepherds with important Baroque Frame from the 17th century of the same period, FRANCISCO RIBALTA (Solsona, Lérida, 1565-Valencia, 1628), Spanish school from the 17th century
Est: €20,000 - €22,500
Oil on canvas, canvas measurements: 175 x 129 cm. Measurements with its period frame: 207 x 162 cm. Origin: important private collection, Madrid. Francisco Ribalta (Solsona, Lérida, 1565-Valencia, 1628) was a Spanish baroque painter, trained in the orbit of Escurialense painting and established in 1599 in Valencia, where at a very early date he cultivated a naturalism of a personal style and intense chiaroscuro that would become the hallmark of the Valencian school of the 17th century. Located chronologically at the origins of Spanish baroque painting, Ribalta's work constitutes the link between the latest mannerism and the new baroque currents. Immersed in the religious spirit of the Counter-Reformation, which he fully shared, he focused the visionary motifs of his painting with a naturalistic technique, in such a way that the supernatural seemed to take place in the most credible and closest way to the viewer, whom he tried to put in contact. direct with the miraculous event thanks to the simplicity of his compositions, without superfluous embellishments. Bibliography: Benito Domenech, Fernando and Vallés Borrás, Vicent Joan (1989). "A trial of Francisco Ribalta in 1618." Bulletin of the Academy of Fine Arts of San Fernando (69): 143-168. Repainting and some restorations, requires cleaning. Provenance: important private collection, Madrid.
Templum Fine Art Auctions
Jul. 06, 2023
Very Important Full-length Christ as Man of Sorrows, based on the original model by Juan de Juanes, school of Francisco Ribalta (Solsona, Lleida, 1565-Valencia, 1628)
Est: €12,000 - €14,000
Oil on canvas. Canvas measures: 156 x 110 cm, framed measurements: 171 x 125 cm. Valencian School from the 17th century, at least 12 oil versions of this Nazarene Christ are known, including some painted by Francisco Ribalta, José de Vergara, Felipe Martí and Nicolás Borrás, among others. Several versions should be highlighted, among them the one painted by Nicolás Borras preserved in the BBAA in Valencia, a version very similar to the present work but half-length preserved in the Corpus Christi Monastery in Carcaixent, a third version also half-length in the Parish of the Assumption of Bocairent and a fourth version attributed to Felipe Martí in the Monastery of Santa Clara de Gandía. Origin: important Sevillian private collection.
Templum Fine Art Auctions
Nov. 02, 2022
FRANCISCO RIBALTA Solsona (Gerona) (1565) / Valencia (1628) "Last Supper" 65 x 100 cm
Est: €25,500 - €34,000
Oil on panel Old collection label attached to the support. Provenance: -Collection of the Marquises of Valle-Santoro. -Private collection, Madrid. Bibliography: -Marco, V., "Baroque painting in Valencia (1600-1737)", CEEH, Madrid, 2021, Francisco Ribalta, cat no. 105, reproduced on p. 431. Francisco Ribalta is, without a doubt, the most important painter in Valencia in the first third of the 17th century. Connoisseur of reformed painting and of those artistic novelties of the circle of painters established at the court, he was in charge of overcoming local late Mannerism and directing the Valencian school of painting towards a naturalistic style, which remained in force for much of the century. The key to his success was the fact that he knew how to assimilate, to its novel language, some models that were strongly incardinated in the local Valencian tradition, especially those of Juan de Juanes, the great master of the previous century, who still survived in the taste of Valencian society at that time. Among the examples that can be cited, the paintings he made in the altarpiece of Saint Eloy in the parish of Saint Catherine of Valencia stand out, distributed in state museums and private collections, or the superb Dead Christ supported by angels in the Prado National Museum. The table that we present here, due to its style, must have been executed in the first decade of the 17th century and, due to its dimensions, format and iconography, it must have been located in the central space of the bench of an altarpiece. In it, although carried out in a naturalistic key, Some of the Joanesque language still survives, which can be seen, mainly, in the Eucharistic model of Christ and in the general composition of the work, directly inspired by the iconic Holy Supper by Juan de Juanes from the main altarpiece of the San Esteban parish, today preserved in the Prado Museum. This debt to the Joanesque models and the fact that it was painted on panel justify the fact that, when this painting was collected in the will of the Marqueses de Valle-Santoro, it was listed as "The Lord's Supper on Ribalta or Juanes panel". In 2021 the paternity of the work was returned to Francisco Ribalta, based on its stylistic characteristics and on the close formal parallelism between this composition and some homonymous works by the same hand, such as the Holy Supper of the Imperial School for Orphaned Children of San Vicente Ferrer. Some faces of the apostles are directly inspired by the Last Supper of the Royal College of Corpus Christi in Valencia, which can be considered one of his most emblematic works. Measurements: 65 x 100 cm
Ansorena
Jun. 22, 2022
FRANCISCO RIBALTA (Solsona, Lleida, 1565 – Valencia, 1628). "Saint Teresa crowned by Christ". Oil on board. Presents restorations. Work reproduced in "Lights of the Baroque". Painting from the 17th century in Spain. 2009. Page 30.
Est: €13,000 - €14,000
FRANCISCO RIBALTA (Solsona, Lleida, 1565 - Valencia, 1628). "Saint Teresa crowned by Christ". Oil on panel. With restorations. Work reproduced in "Lights of the Baroque". 17th century painting in Spain. 2009. Page 30 . Measurements: 23 x 16,5 cm; 51 x 45 cm (frame). A young Jesus with beautiful and kind features bends his face towards Saint Teresa, who, although she is not completely portrayed, seems to be on her knees. Only Jesus, who crowns Saint Teresa, looks piously at the saint, while she bows her head, directing her gaze to an external point outside the composition. The image is completed by the presence of two figures contemplating the scene, including the one behind Saint Teresa, who, by pointing to the scene with his hand, introduces a sense of spatiality into this image in which the planes merge into each other. Finally, two cherub heads fill the space in the upper right-hand corner of the work. Aesthetically, the work is close to the paintings of Francisco Ribalta, who created an image of great devotion in accordance with the precepts of the Counter-Reformation, and its naturalistic and direct aesthetic can also be appreciated, treated with a sober and restrained chromatic range that harmonises with the expressive intensity of the figures. Originally Catalan, Ribalta began his training at El Escorial, within the Mannerism that dominated court painting at the time. After beginning his career in Madrid he moved to Valencia in 1599, probably encouraged by the patronage of the patriarch Archbishop Juan de Ribera. There he produced his first known works, the altarpieces for the church of Algemesí, which denote a style somewhere between the mannerism of the Escorial style and naturalism. During these early years of the 17th century he carried out several commissions for the archbishop, whose death in 1611 marked a certain stylistic shift in Ribalta's work. His language took on an intimate and profound slant, very much in keeping with the more pious mood of the Counter-Reformation, inspired by the solemn gravity of certain models by Sebastiano del Piombo that he knew in Valencia itself. Ribalta was able to combine these influences with a naturalistic, direct language for which he was particularly gifted. His chromaticism also became more restrained and sober, and his figures became less gesticulated and more expressive. From the second decade of the century his pupil Vicente Castelló and his son Juan Ribalta worked with him, forming a solid and prolific artistic team in which it is sometimes difficult to distinguish their individualities. Around 1618 Ribalta fell ill, and this was the beginning of his last and most mature period of his production. He painted fewer works, but his style became more intense and emotive, moving towards a profound naturalism of moving force, as can be seen in his great painting "Embrace of Saint Francis to the Crucified", painted for the Capuchins in Valencia around 1622. Six years later Francisco Ribalta died, and a few months later his son Juan also died, leaving behind guidelines in Valencian painting that would last for a long time, conditioning the development of the Baroque style. In fact, Ribalta was, together with Velázquez and Ribera, one of the main founders of the naturalist language in Spain. Works by Francisco Ribalta can be seen in the Prado Museum, the National Gallery in London, the Fine Arts Museum in Valencia, the Hermitage in Saint Petersburg, the Louvre, the National Art Museum of Catalonia, the Chi-Mei in Taiwan and the J. Paul Getty Museum in Los Angeles, among other art galleries.
Setdart Auction House
Apr. 09, 2022
Large Oil Painting after Francisco Ribalta
Est: $1,000 - $1,500
"Christ Embracing Saint Bernard", after the original by Francisco Ribalta (Spanish, 1565-1628) and now in the Museo del Prado, Madrid; oil on canvas, signed verso "Cristo Abrazando A San Bernardo (Ribalta) / Copia por Luis Carrillo - Museo Del Prado - Madrid / 1960", gilt wood frame; sight 39"W, 58 3/34"H; frame 44 1/2"W, 64 1/4"H; craquelure in area above and to right of christ's head with small spots of paint loss, scattered light scratches, scattered losses to edge of frame
Ivy Auctions
Mar. 02, 2022
FRANCISCO RIBALTA. Solsona (Gerona) (1565) / Valencia (1628). "Coronation of Saint Teresa of Jesus".
Est: €13,500 - €27,000
23,5 x 17 cm. Oil on panel. Exhibitions: - "Lights of the Baroque". 17th century painting in Spain. 2009. Page 30 .
Ansorena
Nov. 26, 2021
AMBIT OF FRANCISCO RIBALTA (SOLSONA, 1565 – VALENCIA, 1628) : THE FLAGELLATION OF CHRIST
Est: €12,000 - €15,000
Oil on canvas, cm. 181x138,5. Framed PROVENANCE: private collection, Rome
Bertolami Fine Art s.r.l.
Nov. 25, 2021
Spanish School of 17th Century. Circle or Workshop of Francisco Ribalta (Solsona, Lleida, 1565 - Valencia, 1628)
Est: €30,000 - €35,000
Spanish School of 17th Century. Circle or Workshop of Francisco Ribalta (Solsona, Lleida, 1565 - Valencia, 1628) Oil on canvas. 166 x 118 cm.
La Suite Subastas
Nov. 25, 2021
FRANCISCO RIBALTA (Solsona, Lleida, 1565 - Valencia, 1628). "St. Joachim, St. Anne and the Child Virgin". Oil on canvas.
Est: €27,000 - €30,000
FRANCISCO RIBALTA (Solsona, Lleida, 1565 - Valencia, 1628). "St. Joachim, St. Anne and the Child Virgin". Oil on canvas. Work expertized by the historian Don José Gómez Frechina. It presents restorations. Measurements: 140.5 x 117 cm; 159 x 136 cm (frame). During the baroque period numerous images of the Virgin proliferated, enriching its iconographic representations. It is not usual this type of scene where the Virgin is next to her two parents, since Mary's childhood is usually represented through her birth or her presentation in the temple. In this case the tenderness with which the author has represented the characters stands out, showing an intimate scene where some older parents place their attentive gazes on a little Mary. In spite of the childish and innocent appearance, the artist has defined the figure of the Virgin in the embroidered apron she wears; the crescent moon, the fountain etc...are Marian symbols typical of the Virgin. Following the words of a study carried out by the prestigious Nicolás Cortes gallery "in the church of San Juan del Hospital in Valencia there was a canvas with this same composition, according to Fernando Llorca in his book San Juan del Hospital de Valencia: una fundación del siglo XIII (Valencia, 1930). The fortune and acceptance of this painting is evident in the two 17th century copies preserved in the Museum of Fine Arts of Valencia (inv.3417 and 4083). Ribalta's original idea of capturing the Lauretan symbols on the Virgin's apron was later taken up by Jerónimo Jacinto de Espinosa (Cocentaina, 1600-Valencia, 1667). Catalan by origin, Ribalta began his training in El Escorial, within the mannerism that dominated court painting at that time. After beginning his career in Madrid, he moved to Valencia in 1599, probably encouraged by the patronage of the patriarch Archbishop Juan de Ribera. There he produced his first known works, the altarpieces for the church of Algemesí, which denote a style somewhere between the mannerism of the Escorial style and naturalism. During these first years of the 17th century he carried out several commissions for the archbishop, whose death in 1611 marked a certain stylistic turn in Ribalta's work. His language takes an intimate and profound slant, very much in keeping with the more pious mood of the Counter-Reformation, inspired by the solemn gravity of certain models of Sebastiano del Piombo that he knew in Valencia itself. Ribalta knew how to combine these influences with a naturalistic and direct language for which he was especially gifted. His chromatism also became more restrained and sober, and his figures lost in gesticulation to deepen in expressive intensity. From the second decade of the century his disciple Vicente Castelló and his son Juan Ribalta worked with him, forming a solid and prolific artistic team, in which sometimes it is not easy to distinguish their individualities. Around 1618 Ribalta fell ill, and this was the beginning of his last stage, the most mature of his production. He painted fewer works, but his style became more intense and emotional, entering into a deep naturalism of moving force, as seen in his great painting "Embrace of St. Francis to the Crucified", painted for the Capuchins of Valencia around 1622. Six years later Francisco Ribalta died, and a few months later also his son Juan, leaving traced in the Valencian painting guidelines that would last for a long time, conditioning the development of the Baroque style. In fact Ribalta was, together with Velázquez and Ribera, one of the main founders of the naturalistic language in Spain. Works by Francisco Ribalta can be seen in the Prado Museum, the National Gallery of London, the Museum of Fine Arts of Valencia, the Hermitage of St. Petersburg, the Louvre, the National Museum of Art of Catalonia, the Chi-Mei of Taiwan and the J. Paul Getty Museum of Los Angeles, among other art galleries.
Setdart Auction House
Jul. 14, 2021
FRANCISCO RIBALTA (Solsona, Lérida, 1565-Valencia, 1628). "Christ crucified". Oil on canvas.
Est: €15,000 - €18,000
FRANCISCO RIBALTA (Solsona, Lérida, 1565-Valencia, 1628). "Christ crucified". Oil on canvas. Size: 81,5 x 65 cm. Certificate of authenticity issued by Vicente Aguilera Cerni in 1973 is attached. Catalan of origin, his first formation was made in the environment of El Escorial at the sight of works and Spanish and Italian artists who worked there, capturing the most significant novelties of his art. He thus developed an eclectic style that would come to combine the rhetoric of Cincinato, the daring foreshortenings of Tibaldi or the gravity of Bartolomé Carducho, with the dramatism of Navarrete and the chiaroscuro play of light of the best Cambiaso, aspects that emerge undisguised in his production. In his early years he practiced his profession in Madrid, between 1585 and 1598, where he painted religious works and portraits. In 1599 he moved to Valencia, probably encouraged by the artistic demands of the patriarch Archbishop Juan de Ribera. He remained in Valencia for the rest of his life, working intensely and giving his style an increasingly personal air that in his maturity reached the highest levels of quality in the direction of naturalism. In the present case and, according to the certificate issued by Vicente Aguilera Cerni, it is a canvas from the early seventeenth century, representing a Crucified Christ with a reinforced frame of the time. The work comes from Mr. Llácer's ancestors, being unknown any other origin previous to the family tradition. It is a work of superb workmanship, in perfect state of preservation, having been restored around 1973, the year in which the certificate was issued. Today it shows craquelures in accordance with the time elapsed since the restoration of this work was carried out. This is a masterful piece of chiaroscuro, stripped of mannerist residues, and therefore attributed to Francisco Ribalta.
Setdart Auction House
May. 12, 2021
FRANCISCO RIBALTA (1565 / 1628) "Coronation of Saint Teresa of Jesus".
Est: €16,500 - €22,000
Exhibitions: - "Lights of the Baroque". 17th century painting in Spain. 2009. Page 30 . Oil on board
Ansorena
Feb. 20, 2021
Ribalta, Francisco de
Est: €340 - €500
(wohl 1565 Solsona - Valencia 1628). Der Heilige Franziskus wird im Fall von einem Engel gestützt. Lavierte Tuschfederzeichnung. Ca. 23,5 x 16,7 cm. Verso m. handschriftl. span. Notiz, die Bl. thematisch zuweist. Zudem Reste einer früheren Klebung auf eine Buchseite. Weiterhin Sp. früherer Mont. Beliegt eine Expertise von Prof. Dr. Ernst Heinrich Zimmermann, dem damaligen Generaldirektor der staatl. Museen in Berlin i.R. vom 08.02.(19)62 m. eh. U. u. Bestätigung, dass es sich um ein Werk Ribaltas handle. - Teilhinterl. Randeinriss ob. ca. 6 cm. Knicksp. diagonal re. ca. 17 cm. Etw. fl. D
Kiefer Buch- und Kunstauktionen
Mar. 14, 2019
FRANCISCO RIBALTA (SOLSONA 1526 - VALENCIA 1628). Attributed to. Saint John the Baptist.
Est: €4,250 - €5,300
Oil on canvas 179.6x95 cm.
Balclis
Oct. 24, 2018
Attributed to Francisco Ribalta, Saint John the Baptist, Oi
Est: €6,000 - €8,000
Attributed to Francisco Ribalta Solsona 1565 - Valencia 1628 Saint John the Baptist Oil on canvas 179.6x95 cm
Balclis
Jul. 05, 2018
FRANCISCO RIBALTA | Christ carrying the cross
Est: £30,000 - £40,000
oil on pine panel
Sotheby's
May. 22, 2018
ATTRIBUTED TO FRANCISCO RIBALTA, AFTER SEBASTIANO DEL PIOMBO | Christ Carrying the Cross
Est: $10,000 - $15,000
oil on canvas
Sotheby's
Oct. 25, 2017
FRANCISCO RIBALTA, Coronación de Santa Teresa. Oil on board
Est: -
Coronación de Santa Teresa FRANCISCO RIBALTA 1565 Solsona, Lérida - 1628 Valencia Coronación de Santa Teresa Agradecemos su ayuda en la catalogación a D. José Gómez Frechina.
Isbilya Subastas
Oct. 21, 2015
CORONATION OF SAINT TERESA
Est: -
FRANCISCO RIBALTA Coronación de Santa Teresa Óleo sobre lienzo Bibliografía: VV.AA. Luces del Barroco. Pintura Española del siglo XVII. Granada, 2003. pp.30-31; Catálogo de la exposición celebrada en Granada. Exposiciones: Luces del Barroco. Pintura Española del siglo XVII. Granada, 2003. 23 x 17 cm
Isbilya Subastas
Jul. 20, 2015
STUDIO OF FRANCISCO RIBALTA
Est: -
(Solsona, Lérida, 1565-Valencia, 1628). "San Mateo", óleo sobre tabla, 28x20 cm.
Sala de Ventas
May. 18, 2015
FRANCISCO RIBALTA'S STUDIO
Est: -
(Solsona, Lérida, 1565-Valencia, 1628). "San Mateo", óleo sobre tabla, 28x20 cm.
Sala de Ventas
Jun. 22, 2011
Attribué à Francisco de RIBALTA (1565 - 1628) Simon de Cyrene portant la croix du Christ Toile agrandie sur trois côtés 98 x 120,5 c...
Est: €15,000 - €20,000
Attribué à Francisco de RIBALTA (1565 - 1628) Simon de Cyrene portant la croix du Christ Toile agrandie sur trois côtés 98 x 120,5 cm mise à 106 x 130 cm Porte une étiquette avec le n° 85 sur la bande du haut
Tajan
Mar. 17, 2011
Atribuido a Francisco Ribalta (Solsona 1565 - Valencia 1628) Fraile cartujo
Est: - €4,000
Atribuido a Francisco Ribalta (Solsona 1565 - Valencia 1628) Fraile cartujo Óleo sobre lienzo
Balclis

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Francisco (1565) Ribalta Sold at Auction Prices

Painter, b. 1565 - d. 1628

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FRANCISCO RIBALTA (Solsona, 1565 - Valencia, 1628) - Saint Francis in meditation

FRANCISCO RIBALTA Solsona, Lleida (1565) / Valencia (1628) "Saint Mary Magdalene"

FRANCISCO RIBALTA (Solsona, Lleida, 1565 - Valencia, 1628). "The Child Virgin with St. Anne and St. Joachim". Oil on canvas. Relined. Work expertized by the historian Don José Gómez Frechina. Presents restorations.

FRANCISCO RIBALTA (Solsona, Lleida, 1565 - Valencia, 1628). "Saint Simon. Oil on canvas. Relined. Work reproduced in: Gómez Frechina, J.: Masters of the Spanish Baroque. Museum of BB. AA

ATTRIBUTED TO FRANCISCO RIBALTA (SOLSONA, LÉRIDA, 1565-VALENCIA, 1628) - SAN DIMAS

FRANCISCO RIBALTA (Solsona, Lleida, 1565 – Valencia, 1628). "Saint Teresa crowned by Christ". Oil on board. Presents restorations. Work reproduced in "Lights of the Baroque". Painting from the 17th century in Spain. 2009. Page 30.

FRANCISCO RIBALTA Solsona, Lerida (1565) / Valencia (1628) "Virgin of the Cherries", c. 1615-1620

Great Adoration of Shepherds with important Baroque Frame from the 17th century of the same period, FRANCISCO RIBALTA (Solsona, Lérida, 1565-Valencia, 1628), Spanish school from the 17th century

Very Important Full-length Christ as Man of Sorrows, based on the original model by Juan de Juanes, school of Francisco Ribalta (Solsona, Lleida, 1565-Valencia, 1628)

FRANCISCO RIBALTA Solsona (Gerona) (1565) / Valencia (1628) "Last Supper" 65 x 100 cm

FRANCISCO RIBALTA (Solsona, Lleida, 1565 – Valencia, 1628). "Saint Teresa crowned by Christ". Oil on board. Presents restorations. Work reproduced in "Lights of the Baroque". Painting from the 17th century in Spain. 2009. Page 30.

Large Oil Painting after Francisco Ribalta

FRANCISCO RIBALTA. Solsona (Gerona) (1565) / Valencia (1628). "Coronation of Saint Teresa of Jesus".

AMBIT OF FRANCISCO RIBALTA (SOLSONA, 1565 – VALENCIA, 1628) : THE FLAGELLATION OF CHRIST

Spanish School of 17th Century. Circle or Workshop of Francisco Ribalta (Solsona, Lleida, 1565 - Valencia, 1628)

FRANCISCO RIBALTA (Solsona, Lleida, 1565 - Valencia, 1628). "St. Joachim, St. Anne and the Child Virgin". Oil on canvas.

FRANCISCO RIBALTA (Solsona, Lérida, 1565-Valencia, 1628). "Christ crucified". Oil on canvas.

FRANCISCO RIBALTA (1565 / 1628) "Coronation of Saint Teresa of Jesus".

Ribalta, Francisco de

FRANCISCO RIBALTA (SOLSONA 1526 - VALENCIA 1628). Attributed to. Saint John the Baptist.

Attributed to Francisco Ribalta, Saint John the Baptist, Oi

FRANCISCO RIBALTA | Christ carrying the cross

ATTRIBUTED TO FRANCISCO RIBALTA, AFTER SEBASTIANO DEL PIOMBO | Christ Carrying the Cross

FRANCISCO RIBALTA, Coronación de Santa Teresa. Oil on board

CORONATION OF SAINT TERESA

STUDIO OF FRANCISCO RIBALTA

FRANCISCO RIBALTA'S STUDIO

Attribué à Francisco de RIBALTA (1565 - 1628) Simon de Cyrene portant la croix du Christ Toile agrandie sur trois côtés 98 x 120,5 c...

Atribuido a Francisco Ribalta (Solsona 1565 - Valencia 1628) Fraile cartujo

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