Luis Tristán de Escamilla Paintings & Artwork for Sale | Luis Tristán de Escamilla Art Value Price Guide

Oct. 01, 2024
Attributed to LUIS TRISTÁN LUIS TRISTÁN (Toledo?, 1580/85 - Toledo, 1624). "Portrait of a gentleman", c. 1613. Oil on panel. Inscribed "1613", located in the upper right area.<
Est: €6,000 - €7,000
Attributed to LUIS TRISTÁN LUIS TRISTÁN (Toledo?, 1580/85 - Toledo, 1624). "Portrait of a gentleman", c. 1613. Oil on panel. Inscribed "1613", located in the upper right area. It has Repainting and restorations. It has damage on the board caused by xylophages. Measurements: 48 x 34 cm; 61,5 x 47 cm (frame). In this sober portrait, the artist presents us with a protagonist, who looks directly at the viewer with a serious and haughty gesture. It seems that only the face and the white collar belong to the artist's work, since the rest of the body blends in with the dark background. A work of vibrant character, which forms a bearded face of truthful features, and a pristine white neck, composed of spots applied with furious strokes of the brush. This piece is reminiscent in its aesthetic conception to the work that belongs to the collection of the Prado Museum, "Portrait of an old man", attributed to Luis Tristán. Although the characters differ in age, the conception of both works has great similarities, as a clear inheritance of El Greco's painting. Although it should be noted that in this case, the artist uses a direct focus of light that falls directly on the face of the protagonist. Luis Tristán, one of the most outstanding representatives of the Toledo school of the early seventeenth century. A disciple of El Greco and Ribera in Italy, he returned to Toledo for good in 1613. His style, thanks to the heterogeneous nature of his training, is very varied, almost contradictory at times. The strong influence of El Greco will always remain in his work, especially in the elongation and expressive instability of his figures, but his direct knowledge of Caravaggism in Rome, precisely during its peak, is reflected in a naturalism especially evident in some of his works. Tristan seems to lean towards one way or another at specific moments, either by his own decision or by imposition of the clientele. Likewise, the study of Venetian compositions can be appreciated in his language, although the clearest influence in his work is determined by the paintings that Juan Bautista Maíno left in Toledo, especially the "Portrait of the Four Easters" from the church of San Pedro Mártir, which combines Roman naturalism with sumptuous color. All this is reflected in works such as the set that Tristan made in 1616 for the parish church of Yepes. He is currently represented in the Prado Museum, the El Greco Museum in Toledo, the Louvre Museum in Paris, the Cambridge Museum, the Pollock House in Glasgow, the Fine Arts Museums of Budapest, Caracas, Bucharest and Seville, the Cathedral of Toledo and other temples in the region, the Santa Cruz Museum and the Archbishop's Palace in Toledo, the Royal Palace in Madrid and other collections and museums. It presents Repainting and restorations.
Setdart Auction House
Sep. 26, 2024
LUIS TRISTAN, 1586 – 1624, ZUGESCHRIEBEN
Est: €4,000 - €6,000
APOSTEL PAULUS Öl auf Leinwand. Doubliert. 83 x 63 cm. Unten bezeichnet. In breitem, ornamental reliefierten Rahmen mit Wappenbekrönung. Vor dunklem Fond sich abzeichnend die sich leicht nach links wendende Halbfigur des Apostels Paulus mit im Redegestus erhobener Hand, zusammengekniffener Stirn und einem langen ihm attributiv zukommendem Schwert in seiner anderen Hand. (14015313) (13) Luis Tristan, 1586 – 1624, attributed PAUL THE APOSTLE Oil on canvas. Relined. 83 x 63 cm. Inscribed below.
Hampel Fine Art Auctions
Jun. 27, 2024
Luis Tristan, 1586 – 1624, zugeschrieben
Est: €8,000 - €12,000
APOSTEL PAULUS Öl auf Leinwand. Doubliert. 83 x 63 cm. Unten bezeichnet. In breitem, ornamental reliefierten Rahmen mit Wappenbekrönung. Vor dunklem Fond sich abzeichnend die sich leicht nach links wendende Halbfigur des Apostels Paulus mit im Redegestus erhobener Hand, zusammengekniffener Stirn und einem langen ihm attributiv zukommendem Schwert in seiner anderen Hand. (14015313) (13) Luis Tristan, 1586 – 1624, attributed PAUL THE APOSTLE Oil on canvas. Relined. 83 x 63 cm. Inscribed below.
Hampel Fine Art Auctions
Jan. 25, 2024
LUIS TRISTÁN (Toledo?, 1580/85 - Toledo, 1624). "Penitent St. Jerome". Oil on canvas. Relined. Presents restorations.
Est: €8,000 - €10,000
LUIS TRISTÁN (Toledo?, 1580/85 - Toledo, 1624). "Penitent Saint Jerome. Oil on canvas. Re-tinted. It presents restorations. Measurements: 177 x 124 cm. There are several versions of Tristán representing Saint Jerónimo, as penitent and in his study, in fact a very similar to the present painting is in the Museo del Greco (Toledo), as well as another version in the convent of the Jerónimo de san Pablo (Toledo). In this canvas the theme of Saint Jerónimo penitent in the desert is approached through a classical, clear and open composition. Thus, the saint appears full-length, looking at the crucifix, highlighted by the lighting and also by the intense crimson tone of the curtain in the background and the hat indicating his cardinal's life, both elements perfectly balanced by the whites of the cloth covering his legs and his beard and hair. The saint is depicted in a motley setting, next to him is the lion, lying at his feet, and on the table is the pen with which he is writing the scriptures. Barely discernible in the present canvas, the artist depicts a trumpet in the upper right corner next to some books, signalling the Last Judgement. A disciple of El Greco and Ribera in Italy, he returned to Toledo for good in 1613. His style, thanks to the heterogeneous nature of his training, is very varied, almost contradictory at times. The strong influence of El Greco will always remain in his work, especially in the elongation and expressive instability of his figures, but his direct knowledge of Caravaggism in Rome, precisely during its heyday, is reflected in a naturalism that is particularly evident in some of his works. Tristan seems to lean towards one or other style at specific moments, either by his own decision or at the behest of his clientele. The study of Venetian compositions is also evident in his language, although the clearest influence on his work is determined by the paintings that Juan Bautista Maíno left in Toledo, especially the "Portrait of the Four Easters" in the church of San Pedro Mártir, which combines Roman naturalism with sumptuous colour. All of this is reflected in works such as the set that Tristán painted in 1616 for the parish church of Yepes. He is currently represented in the Prado Museum, the El Greco Museum in Toledo, the Louvre in Paris, the Louvre in Cambridge, the Pollock House in Glasgow, the Fine Arts Museums in Budapest, Caracas, Bucharest and Seville, Toledo Cathedral and other churches in the region, the Santa Cruz Museum and the Archbishop's Palace in Toledo, the Royal Palace in Madrid and other collections and museums.
Setdart Auction House
Dec. 20, 2023
Saint Jerome in Prayer, Luis Tristán (Toledo, 1580/85 - Toledo, 1624), 17th century Spanish school
Est: €15,000 - €18,000
Oil on canvas, measurements: 122 x 102 cm. Provenance: important private collection, Madrid. Painter from Toledo, a contemporary of El Greco's son, Jorge Manuel Theotocópuli, with whom he collaborated on some works, such as the tumulus erected in 1621 on the death of Philip III. His style, thanks to the heterogeneity of his training, appears very varied, almost contradictory, at times. El Greco's strong imprint will always remain in his painting, especially in the elongation and instability of his figures; But his direct knowledge of the Caravaggist experience in Rome, precisely in years when it was in full swing, also linked him to a naturalism evident in some of his works. More than a personal evolution between two ways that seem opposite, Tristán seems to lean towards one or the other at specific times, either by his own decision or by imposition of his clientele. Likewise, the study of Venetian compositions is noticeable in his painting, but without a doubt the clearest influence is determined by the works that Juan Bautista Maíno left in Toledo, especially the great "Altarpiece of the Four Easters" in the church of San Pedro. Martyr, a novel representation of Roman naturalism enlivened with sumptuous color. All of this will be reflected in works such as the set that Tristán created in 1616 for the parish church of Yepes (Toledo), one of the most important of his production, of which the Prado keeps two examples of saints. The rest of Tristán's works in the Madrid art gallery are six canvases with which he is linked, although one of them is very doubtful, and which come mostly from the Trinidad Museum, in addition to an "Old Man" from the Royal Collection and "The Last Supper" acquired in 1993 thanks to the Villaescusa legacy (García López, D. in Enciclopedia MNP, 2006, volume VI, p. 2112).
Templum Fine Art Auctions
Dec. 18, 2023
LUIS TRISTAN Toledo (1585) / (1624) "Saint John the Evangelist", c. 1606-1612
Est: €10,500 - €14,000
Oil on canvas Origin: -Private collection, France. Measurements: 130 × 97.5 cm
Ansorena
Oct. 26, 2023
Important Self-portrait of Luis Tristán (Toledo, 1580/85 - Toledo, 1624), Spanish school of the 17th century
Est: €6,000 - €8,000
Oil on canvas, measurements: 74 x 61 cm without frame, measurements with frame: 94 x 81 cm. Provenance: important private collection, Madrid. Half-length portrait of the master of late Spanish Mannerism. Painter from Toledo, a contemporary of El Greco's son, Jorge Manuel Theotocópuli, with whom he collaborated on some works, such as the tumulus erected in 1621 on the death of Philip III. His style, thanks to the heterogeneity of his training, appears very varied, almost contradictory, at times. El Greco's strong imprint will always remain in his painting, especially in the elongation and instability of his figures; But his direct knowledge of the Caravaggist experience in Rome, precisely in years when it was in full swing, also linked him to a naturalism evident in some of his works. More than a personal evolution between two ways that seem opposite, Tristán seems to lean towards one or the other at specific times, either by his own decision or by imposition of his clientele. Likewise, the study of Venetian compositions is noticeable in his painting, but without a doubt the clearest influence is determined by the works that Juan Bautista Maíno left in Toledo, especially the great "Altarpiece of the Four Easters" in the church of San Pedro. Martyr, a novel representation of Roman naturalism enlivened with sumptuous color. All of this will be reflected in works such as the set that Tristán created in 1616 for the parish church of Yepes (Toledo), one of the most important of his production, of which the Prado keeps two examples of saints. The rest of Tristán's works in the Madrid art gallery are six canvases with which he is linked, although one of them is very doubtful, and which come mostly from the Trinidad Museum, in addition to an "Old Man" from the Royal Collection and "The Last Supper" acquired in 1993 thanks to the Villaescusa legacy (García López, D. in Enciclopedia MNP, 2006, volume VI, p. 2112).
Templum Fine Art Auctions
Sep. 19, 2023
LUIS TRISTÁN (Toledo?, 1580/85 - Toledo, 1624). "Penitent St. Jerome". Oil on canvas. Relined. Presents restorations.
Est: €16,000 - €18,000
LUIS TRISTÁN (Toledo?, 1580/85 - Toledo, 1624). "Penitent Saint Jerome. Oil on canvas. Re-tinted. It presents restorations. Measurements: 177 x 124 cm. There are several versions of Tristán representing Saint Jerónimo, as penitent and in his study, in fact a very similar to the present painting is in the Museo del Greco (Toledo), as well as another version in the convent of the Jerónimo de san Pablo (Toledo). In this canvas the theme of Saint Jerónimo penitent in the desert is approached through a classical, clear and open composition. Thus, the saint appears full-length, looking at the crucifix, highlighted by the lighting and also by the intense crimson tone of the curtain in the background and the hat indicating his cardinal's life, both elements perfectly balanced by the whites of the cloth covering his legs and his beard and hair. The saint is depicted in a motley setting, next to him is the lion, lying at his feet, and on the table is the pen with which he is writing the scriptures. Barely discernible in the present canvas, the artist depicts a trumpet in the upper right corner next to some books, signalling the Last Judgement. A disciple of El Greco and Ribera in Italy, he returned to Toledo for good in 1613. His style, thanks to the heterogeneous nature of his training, is very varied, almost contradictory at times. The strong influence of El Greco will always remain in his work, especially in the elongation and expressive instability of his figures, but his direct knowledge of Caravaggism in Rome, precisely during its heyday, is reflected in a naturalism that is particularly evident in some of his works. Tristan seems to lean towards one or other style at specific moments, either by his own decision or at the behest of his clientele. The study of Venetian compositions is also evident in his language, although the clearest influence on his work is determined by the paintings that Juan Bautista Maíno left in Toledo, especially the "Portrait of the Four Easters" in the church of San Pedro Mártir, which combines Roman naturalism with sumptuous colour. All of this is reflected in works such as the set that Tristán painted in 1616 for the parish church of Yepes. He is currently represented in the Prado Museum, the El Greco Museum in Toledo, the Louvre in Paris, the Louvre in Cambridge, the Pollock House in Glasgow, the Fine Arts Museums in Budapest, Caracas, Bucharest and Seville, Toledo Cathedral and other churches in the region, the Santa Cruz Museum and the Archbishop's Palace in Toledo, the Royal Palace in Madrid and other collections and museums.
Setdart Auction House
Jun. 20, 2023
LUIS TRISTÁN (Toledo, c. 1585-ibid., 1624) "Penitent Saint Jerome". Oil on canvas. Keep original fabric. Attached report of Don Ignacio G. Panicello.
Est: €10,000 - €12,000
LUIS TRISTÁN (Toledo, ca. 1585-ibidem, 1624) "Penitent Saint Jerome. Oil on canvas. Preserves original canvas. Attached report by Don Ignacio G. Panicello. Measurements: 122 x 101 cm. There are several versions of Tristán representing St. Jerónimo, as a penitent and in his study, in fact one very similar to the present painting is in the Museo del Greco (Toledo), as well as another version in the convent of the Jerónimo de san Pablo (Toledo). In this canvas the theme of St. Jerónimo penitent in the desert is approached through a classical, clear and open composition. Thus, the saint appears full-length, looking at the crucifix, highlighted by the lighting and also by the intense crimson tone of the curtain in the background and the hat indicating his cardinal's life, both elements perfectly balanced by the whites of the cloth covering his legs and his beard and hair. The saint is depicted in a motley setting, next to him is the lion, lying at his feet, and on the table is the pen with which he is writing the scriptures. Barely discernible in the present canvas, the artist depicts a trumpet in the upper right corner next to some books, signalling the Last Judgement. A disciple of El Greco and Ribera in Italy, he returned to Toledo for good in 1613. His style, thanks to the heterogeneous nature of his training, is very varied, almost contradictory at times. The strong influence of El Greco will always remain in his work, especially in the elongation and expressive instability of his figures, but his direct knowledge of Caravaggism in Rome, precisely during its heyday, is reflected in a naturalism that is particularly evident in some of his works. Tristan seems to lean towards one or other style at specific moments, either by his own decision or at the behest of his clientele. The study of Venetian compositions is also evident in his language, although the clearest influence on his work is determined by the paintings that Juan Bautista Maíno left in Toledo, especially the "Portrait of the Four Easters" in the church of San Pedro Mártir, which combines Roman naturalism with sumptuous colour. All of this is reflected in works such as the set that Tristán painted in 1616 for the parish church of Yepes. He is currently represented in the Prado Museum, the El Greco Museum in Toledo, the Louvre in Paris, the Louvre in Cambridge, the Pollock House in Glasgow, the Fine Arts Museums in Budapest, Caracas, Bucharest and Seville, Toledo Cathedral and other churches in the region, the Santa Cruz Museum and the Archbishop's Palace in Toledo, the Royal Palace in Madrid and other collections and museums.
Setdart Auction House
Mar. 07, 2023
LUIS TRISTAN (Toledo?, 1580/85 – Toledo, 1624). "Penitent Saint Jerome". Oil on canvas. Relined. It presents restorations. It has a 20th century frame, following old models.
Est: €20,000 - €22,000
LUIS TRISTÁN (Toledo?, 1580/85 - Toledo, 1624). "Penitent Saint Jerome". Oil on canvas. Re-tinted. It presents restorations. It has a 20th century frame, following ancient models. Measurements. 120 x 105 cm; 140 x 125 cm (frame). There are several versions of Tristán representing Saint Jerónimo, as a penitent and in his study, in fact a very similar one to the present painting is in the Museo del Greco (Toledo), as well as another version in the convent of the Jerónimo de san Pablo (Toledo). In this canvas the theme of Saint Jerónimo penitent in the desert is approached through a classical, clear and open composition. Thus, the saint appears full-length, looking at the crucifix, highlighted by the lighting and also by the intense crimson tone of the curtain in the background and the hat indicating his cardinal's life, both elements perfectly balanced by the whites of the cloth covering his legs and his beard and hair. The saint is depicted in a motley setting, next to him is the lion, lying at his feet, and on the table is the pen with which he is writing the scriptures. Barely discernible in the present canvas, the artist depicts a trumpet in the upper right corner next to some books, signalling the Last Judgement. A disciple of El Greco and Ribera in Italy, he returned to Toledo for good in 1613. His style, thanks to the heterogeneous nature of his training, is very varied, almost contradictory at times. The strong influence of El Greco will always remain in his work, especially in the elongation and expressive instability of his figures, but his direct knowledge of Caravaggism in Rome, precisely during its heyday, is reflected in a naturalism that is particularly evident in some of his works. Tristan seems to lean towards one or other style at specific moments, either by his own decision or at the behest of his clientele. The study of Venetian compositions is also evident in his language, although the clearest influence on his work is determined by the paintings that Juan Bautista Maíno left in Toledo, especially the "Portrait of the Four Easters" in the church of San Pedro Mártir, which combines Roman naturalism with sumptuous colour. All of this is reflected in works such as the set that Tristán painted in 1616 for the parish church of Yepes. He is currently represented in the Prado Museum, the El Greco Museum in Toledo, the Louvre in Paris, the Louvre in Cambridge, the Pollock House in Glasgow, the Fine Arts Museums in Budapest, Caracas, Bucharest and Seville, Toledo Cathedral and other churches in the region, the Santa Cruz Museum and the Archbishop's Palace in Toledo, the Royal Palace in Madrid and other collections and museums.
Setdart Auction House
Mar. 07, 2023
LUIS TRISTÁN (Toledo, ca. 1585-ibidem, 1624). "Saint Hermenegild in Prison". Oil on canvas. Enclosed certificate by José Gómez-Frechina.
Est: €15,000 - €18,000
LUIS TRISTÁN (Toledo, ca. 1585-ibidem, 1624). "Saint Hermenegild in Prison". Oil on canvas. Attached certificate of authenticity by José Gómez-Frechina. Measurements: 204 x 106 cm. Luis Tristán, an outstanding disciple of El Greco, has represented here St. Hermenegild wearing a crown of gold and precious stones, adorned with a long brocade cloak and ermine shoulders, sumptuous clothing of a Visigoth prince that has been captured extracting the right qualities with precious skill. The chains that bind him around his neck, around his ruff, do not detract from the dignity of his bearing. The imploring eyes of his wiry face, in whose spiritual aura we can see the influence of El Greco, rise up towards the sky. The elongated canon of the figure and the elegant, long-fingered hands have also been learned from the Toledo master. Two groups of seraphim appear on either side. One hand is raised to his chest in a theatrical and expressive gesture. The use of colour is based on a dramatic expression of chromatic contrasts, typically baroque. Saint Hermenegild, son of King Leovigild, was imprisoned for his refusal to return to Arianism, which was the religion of the Spanish Visigoths at the time (6th century), and therefore refusing communion to an Arian bishop, an attitude of religious opposition that extended to the political sphere and led to his death in Tarragona in 585. A disciple of El Greco and Ribera in Italy, he returned to Toledo for good in 1613. His style, thanks to the heterogeneous nature of his training, is very varied, almost contradictory at times. The strong influence of El Greco will always remain in his work, especially in the elongation and expressive instability of his figures, but his direct knowledge of Caravaggism in Rome, precisely during its heyday, is reflected in a naturalism that is particularly evident in some of his works. Tristan seems to lean towards one or other style at specific moments, either by his own decision or at the behest of his clientele. The study of Venetian compositions is also evident in his language, although the clearest influence on his work is determined by the paintings that Juan Bautista Maíno left in Toledo, especially the "Portrait of the Four Easters" in the church of San Pedro Mártir, which combines Roman naturalism with sumptuous colour. All of this is reflected in works such as the set that Tristán painted in 1616 for the parish church of Yepes. He is currently represented in the Prado Museum, the El Greco Museum in Toledo, the Louvre in Paris, the Louvre in Cambridge, the Pollock House in Glasgow, the Fine Arts Museums in Budapest, Caracas, Bucharest and Seville, Toledo Cathedral and other churches in the region, the Santa Cruz Museum and the Archbishop's Palace in Toledo, the Royal Palace in Madrid and other collections and museums.
Setdart Auction House
Dec. 01, 2022
Luis Tristán (Toledo, c. 1580/85 - 1624)
Est: €15,000 - €18,000
Luis Tristán (Toledo, c. 1580/85 - 1624) "Saint Hermenegild in prison" Oil on canvas. 204 x 106 cm. A certificate from Mr. José Gómez Frechina is attached, dated October 14, 2022. As we read in the certificate: "Luis Tristán de Escamilla -also cited by sources as Luis Rodríguez Tristán- was an important interpreter of the beginnings of naturalism in El Greco's Toledo and is better known by artistic historiography as Luis Tristán. He initially trained - documented between 1603 and 1606 - in the workshop of the Cretan painter Doménikos Theotokópoulos (Heraklion, 1541 – Toledo, 1614), he became friends with his painter son Jorge Manuel Theotocópuli and went to Italy in his youth, as the painter and treatise writer Jusepe Martínez from Aragon notes, where he was strongly influenced by Caravaggio's tenebrism. In 1612, Luis Tristán appears documented again in Toledo after his Italian experience, undertaking numerous commissions until his early death in 1624. Tristán's style combines the mannerism of El Greco, the spirit of the reformed Tuscans from Escorial, the forms of the painter Roman Orazio Borgianni and the Roman realism related to Caravaggio. The work that concerns us includes the theme of "Saint Hermenegild in prison" and is an unpublished work by the painter Luis Tristán due to its stylistic characteristics and was made in the last period of the painter in his native Toledo. Hermenegild, a Spanish-Visigothic prince from the 6th century, was the son of King Liuvigild and brother of Reccared. He converted from Arianism to Catholicism under the influence of the Archbishop of Seville Saint Leander and by his marriage to the Frankish Catholic princess Ingunda in 579. Being Governor Regent of Baetica, Hermenegild conspired against his father Liuvigild and after the rebellion was put down he was sent to Tarragona prison. There he refused to receive communion from an Arian bishop, remaining faithful to Catholicism and was beheaded on April 13, 585 by his jailer Sisberto. Worship of Saint Hermenegild came with the authorization and canonization of Pope Sixtus V in 1585 at the request of King Philip II, a thousand years after his martyrdom, which promoted worship of him among the faithful. Philip II ordered the transfer of his head, which was kept in the monastery of Sijena (Huesca) to El Escorial, increasing his collection of relics there. Tristán represents San Hermenegild dressed as a king with armour, ermine mantle, ruff, cuffs and royal crown. As a symbol of his captivity, he wears a ring around his neck with a chain of thick links. The young king directs his gaze upwards and in his confinement witnesses a burst of glory with small tongues of fire as at the Pentecost prior to his imminent martyrdom. The cherubs are similar to those of the "Immaculate Conception" by Luis Tristán in the church of San Julián de Santa Olalla (Toledo)." The certificate also includes the reference bibliography consulted by José Gómez Frechina.
La Suite Subastas
Oct. 27, 2022
Saint Thomas, Spanish school of the 16th - 17th century, around Luis Tristán (Toledo, h. 1585-ibidem, 1624)
Est: €2,500 - €2,750
Oil on board, board measurements: 124 x 83 cm
Templum Fine Art Auctions
Jun. 22, 2022
LUIS TRISTAN (Toledo, 1580/85 – Toledo, 1624). No title. Oil on canvas. Relined. It presents multiple overpaints and restorations.
Est: €15,000 - €17,000
LUIS TRISTAN (Toledo, 1580/85 - Toledo, 1624). Untitled. Oil on canvas. Re-coloured. It presents multiple repainting and restorations. Measurements: 137 x 92 cm. Luis Tristán created numerous works dedicated to the theme of the crucifixion, a subject highly valued and requested by the patrons of the time both in commissions of public nature and those destined to the private devotion. It was El Greco who, with his paintings on this theme, established the aesthetic basis for this type of depiction and thus became a point of reference and influence on painters of the period, especially his pupils such as Luis Tristán. Tristan's works on the figure of the crucified Christ were characterised by the presence of architecture, as can be seen in the present work, which symbolised the city of Jerusalem. In this work we can see the aesthetic traces of his master in the treatment of the anatomical proportions, particularly the elongation of the arms, the way in which he configures the cloth of purity and the use of colour based on a dramatic expression of chromatic contrasts. The manner of representing the body of Christ, still alive with his face turned towards the sky and his body in tension, was a common aesthetic pattern in 17th-century Toledo. A disciple of El Greco and Ribera in Italy, he returned to Toledo for good in 1613. His style, thanks to the heterogeneous nature of his training, is very varied, almost contradictory at times. The strong influence of El Greco will always remain in his work, especially in the elongation and expressive instability of his figures, but his direct knowledge of Caravaggism in Rome, precisely during its heyday, is reflected in a naturalism that is particularly evident in some of his works. Tristan seems to lean towards one or other style at specific moments, either by his own decision or at the behest of his clientele. The study of Venetian compositions is also evident in his language, although the clearest influence on his work is determined by the paintings that Juan Bautista Maíno left in Toledo, especially the "Portrait of the Four Easters" in the church of San Pedro Mártir, which combines Roman naturalism with sumptuous colour. All of this is reflected in works such as the set that Tristán painted in 1616 for the parish church of Yepes. He is currently represented in the Prado Museum, the El Greco Museum in Toledo, the Louvre in Paris, the Louvre in Cambridge, the Pollock House in Glasgow, the Fine Arts Museums in Budapest, Caracas, Bucharest and Seville, Toledo Cathedral and other churches in the region, the Santa Cruz Museum and the Archbishop's Palace in Toledo, the Royal Palace in Madrid and other collections and museums.
Setdart Auction House
May. 24, 2022
LUIS TRISTAN - Mater Dolorosa
Est: €8,000 - €16,000
LUIS TRISTAN Toledo 1586 - 1624 Mater Dolorosa Oil on canvas Size 77.5 x 46.5 cm
Subastas Segre
May. 10, 2022
ATTRIBUTED TO LUIS TRISTÁN. Toledo (1585 / 1624). "Saint Francis of Assisi.
Est: €3,300 - €4,400
Oil on canvas. .109 x 100 cm.
Ansorena
Feb. 10, 2022
Attributed to LUIS TRISTÁN (Toledo, 1580/85 Toledo, 1624). "San Francisco". Oil on canvas. Relined. Presents stamp on the back of the Board of Confiscation. It has a 19th century frame, c. 1830.
Est: €18,000 - €22,000
Attributed to LUIS TRISTÁN (Toledo, 1580/85 - Toledo, 1624). "Saint Francis. Oil on canvas. Re-coloured. It has the seal of the Junta de Incautación on the back. It has a frame of the 19th century, c. 1830. Measurements: 166 x 111 cm; 176 x 121 cm (frame). This canvas represents the figure of Saint Francis inscribed in a landscape that indicates that it is the saint's moment of penitence. Saint Francis raises his hands towards his face, holding a crucifix, to which he looks up in supplication, a trait that can be deduced both from the gesture and from the tears that fall down his cheek. On his habit we can see not only the rope tied at the waist with the corresponding knots that identify him iconographically, but also how the artist has reflected the vow of poverty through the tears and patches on the habit. Aesthetically, the artist uses brown and dark colours with an angular line close to the style used by Luis de Tristán; in fact, the way in which the habit is represented, with that elongated hood, is very similar to that of the work belonging to the collection of the Prado Museum in Madrid, which was painted by the artist in 1681. Luis Tristán de Escamilla, also Luis Rodríguez Tristán (1586-1624), was a painter who became El Greco's assistant between 1603 and 1607, which had a great influence on his personal works. One of his most important paintings is an altar picture in the church of Yepes (1616), as well as The Adoration of the Magi (now in the Museum of Fine Arts, Budapest), Saint Louis Distributing Alms (now in the Louvre) and The Round of the Bread and Egg (Museo de Santa Cruz), Toledo. Diego Velázquez proclaimed himself a follower of Tristan. Saint Francis (Assisi, Italy, 1182 - 1226) was the son of a wealthy Italian merchant. Baptised John, he soon became known as "Francesco" (the little Frenchman), because his mother came from that country. His youth was joyful and carefree until the age of twenty-five, when he changed completely and began to dedicate himself to the service of God, practising the Gospel ideal: purity, detachment and joy in peace. Francesco renounced the great inheritance he had received from his parents and decided to live poorly, giving the example of an authentic Christian. He soon had several young disciples, called by the saint "order of the Friars Minor". In 1210, Pope Innocent III granted them the foundation of the new order and encouraged them in their evangelical work. During a retreat on the mountain, Christ appeared to him, and legend has it that rays came out of his wounds, causing Francis various stigmata. He was a legendary figure during his lifetime, considered a living relic. Likewise, his exquisite poetry and his familiarity with nature add the most human accent known in a saint, as can be seen in his "Canticle to the Sun". His iconography is abundant, second only to that of Saint Anthony of Padua. He always wears the Franciscan sackcloth, with a three-knotted cord tied around his waist. The three knots represent the three vows of poverty, chastity and obedience. He also usually shows the stigmata on his hands and feet, and sometimes these are highlighted by rays of light coming out of the wounds, although this is not the case here. At first the saint was depicted in art with a beard, until the painter Giotto, who devoted much of his work to the saint, painted him without it. In the Counter-Reformation period he was again depicted with a beard, less smiling and more mournful.
Setdart Auction House
Dec. 16, 2021
LUIS TRISTAN (TOLEDE 1586-1624)
Est: €5,000 - €7,000
LUIS TRISTAN (TOLEDE 1586-1624) MARIE MADELEINE DANS UN PAYSAGE Toile Etiquette au revers du châssis Marie Madeleine in a landscape, canvas, a label on the back of the stretcher 122 x 79 cm - 48 x 311/8 in.
Tajan
Sep. 29, 2021
Luis Tristán. Holy Virgin
Est: -
Óleo sobre lienzo. Algunas faltas de pintura. Se adjunta informe de Don Enrique Valdivieso que fecha la obra entre 1615-1620.
Duran Arte y Subastas
Sep. 21, 2021
Spanish school; Circle of LUIS TRISTAN (Toledo?, 1580/85 - Toledo, 1624); first third of the 17th century. "Portrait of a gentleman. Oil on canvas. Re-coloured.
Est: €3,500 - €4,000
Spanish school; Circle of LUIS TRISTAN (Toledo?, 1580/85 - Toledo, 1624); first third of the 17th century. "Portrait of a gentleman. Oil on canvas. Re-coloured. It has an illegible legend on the back. It has restorations and repainting. Measurements: 60 x 48 cm. In this sober portrait, the artist presents us a protagonist, who looks directly at the spectator with a serious and haughty gesture in a certain way. It seems that only the face and the ruff belong to the artist's workmanship, as the rest of the body blends in with the dark background. It is a work of a vibrant character, which forms a rosy face with truthful features and a nervous ruff, composed of spots applied with furious strokes of the brush. The aesthetic conception of this piece is reminiscent of the work in the Museo del Prado collection, "Portrait of an Old Man", attributed to Luis Tristán. Although the figures differ in age, the conception of both works is very similar, as a clear inheritance of El Greco's painting. Although it is worth noting that in this case the artist uses a direct focus of light, which falls directly on the face of the protagonist. From its formal characteristics we can link this work to a member of the workshop of Luis Tristán, one of the most outstanding representatives of the Toledo school of the early 17th century. A disciple of El Greco and Ribera in Italy, he returned to Toledo for good in 1613. His style, thanks to the heterogeneous nature of his training, is very varied, almost contradictory at times. The strong influence of El Greco will always remain in his work, especially in the elongation and expressive instability of his figures, but his direct knowledge of Caravaggism in Rome, precisely during its heyday, is reflected in a naturalism that is particularly evident in some of his works. Tristan seems to lean towards one or other style at specific moments, either by his own decision or at the behest of his clientele. The study of Venetian compositions is also evident in his language, although the clearest influence on his work is determined by the paintings that Juan Bautista Maíno left in Toledo, especially the "Portrait of the Four Easters" in the church of San Pedro Mártir, which combines Roman naturalism with sumptuous colour. All of this is reflected in works such as the set that Tristán painted in 1616 for the parish church of Yepes. He is currently represented in the Prado Museum, the El Greco Museum in Toledo, the Louvre in Paris, the Louvre in Cambridge, the Pollock House in Glasgow, the Fine Arts Museums in Budapest, Caracas, Bucharest and Seville, Toledo Cathedral and other churches in the region, the Santa Cruz Museum and the Archbishop's Palace in Toledo, the Royal Palace in Madrid and other collections and museums.
Setdart Auction House
Oct. 29, 2020
Luis Tristan Circle. Saint Francis
Est: -
Óleo sobre lienzo. Lienzo con roturas.
Duran Arte y Subastas
Jun. 27, 2019
Luis Tristán (c. 1585/1590 - 1624)
Est: €5,500 - €7,000
Luis Tristán (c. 1585/1590 - 1624) "Immaculate Conception" Oil on canvas. Circa 1615 – 1620. 98 x 74 cm. According to Enrique Valdivieso "this painting belongs to the first quarter of the 17th century Toledo school, within which it can be pinpointed as belonging to Luis Tristán (c. 1585/1590 - 1624). A careful examination of this painting reveals that it is a replica of the original by the same artist, which is kept at the Seville Fine Art Museum..." The painting comes with Enrique Valdivieso González´s report.
La Suite Subastas
Mar. 23, 2018
Attributed to TRISTAN, LUIS
Est: CHF2,000 - CHF3,000
Attributed to TRISTAN, LUIS (circa 1586 Toledo 1624) Philip the Apostle Oil on panel. 23.5 x 18.5 cm. Provenance: Swiss private collection. --------------- TRISTAN, LUIS (ZUGESCHRIEBEN) (um 1586 Toledo 1624) Der Apostel Philippus. Öl auf Holz. 23,5 x 18,5 cm. Provenienz: Schweizer Privatbesitz.
Koller Auctions
Sep. 30, 2016
Luis TRISTAN (c.1586-1624), dans le goût de
Est: €100 - €150
Luis TRISTAN (c.1586-1624), dans le goût de Portrait de cardinal Huile sur toile 49 x 39 cm ( léger accident )
Carvajal SVV
Dec. 17, 2015
LUIS TRISTÁN WORKSHOP
Est: -
LUIS TRISTÁN WORKSHOP TALLER DE LUIS TRISTÁN (Toledo, 1580/85-1624). "San Jerónimo", óleo sobre lienzo, 110x70 cm.
Sala de Ventas
Jun. 24, 2004
ATTRIBUE A LUIS TRISTAN DE ESCAMILLA (TOLEDE VERS 1586-1624)
Est: €15,000 - €20,000
Saint Jean l'Evangéliste Huile sur toile 78,5 x 61,5 cm. (30 7/8 x 24 1/4 in.) avec inscription 'N 36..' (au dos)
Christie's