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Jose De Alzibar

(1751 -  1806 )
DE ALZIBAR Jose Monja Coronada

Sotheby's
Nov 25, 2014
Find artworks, auction results, sale prices and pictures of Jose De Alzibar at auctions worldwide.
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Variants on Artist's name :

Alzibar De José

José De Alcíbar

 

Along with Jose De Alzibar, our clients also searched for the following authors:
Jose De Paez, Nicolás Enriquez, Francisco Antonio Vallejo
Artworks in Arcadja
15

Some works of Jose De Alzibar

Extracted between 15 works in the catalog of Arcadja
Jose De Alzibar -  Mater Dolorosa

Jose De Alzibar - Mater Dolorosa

Original 1775
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Gross Price
Lot number: 131
Other WORKS AT AUCTION
Description:
José de Alcibar (1730-1803) Mater Dolorosa inscribed 'O vos ómnes qui transítis per víam, atténdite et vidéte: Si est dólor sícut dólor méus.' (along the lower edge) faintly inscribed by an unknown hand 'Propiedad de Dolores Topete y Bustillo, legado por su tía, Da. Juana Bustillo y Pary, Sanlucar Barrda 21 Febrero 1891" (on the reverse) oil on canvas 36 5/8 x 28 ½ in. (93 x 72.4 cm.) Painted circa 1775. O vos omnes qui transitis per viam, attendite et videte: Si est dolor sicut dolor meus[1] Painter José de Alcíbar\’s artistic legacy includes his numerous religious images such as those commissioned by various confraternities, churches or cathedrals in Nueva España; his casta paintings that describe eighteenth-century Mexico\’s exceedingly hierarchical society through a complex system of racial classification; his elaborate portraits of young women entering convents known as monjas coronadas; and his many portraits of the thriving city\’s elites. One of the most sought after and prosperous artists of his time, Alcíbar, was also one of the founding members of the Real Academia de Bellas Artes de San Carlos in 1784. The portrayal of, as well as the devotion of the faithful to the Holy Virgin Mary as Mater Dolorosa (Sorrowful Mother), dates back to the Church\’s beginnings. Through the centuries the Church had codified her representation through the use of symbols or signifiers such as color, posture, and other visual elements that emphasized her prominent status and promoted dogma faithfully. Alcíbar\’s remarkably innovative yet somber portrayal of the Mater Dolorosa is attired as a well-to-do matron in contemporary eighteenth-century Mexico; she also wears jewelry, perhaps following the plethora of traditional Baroque paintings and gilded polychrome wood sculptures that had been popular in Seville and would have been known by the elites. But most significantly, she is endowed with great pathos. The Virgin\’s palpable humanity elicits empathy from those who behold her image. Her profound suffering is evident in her agonizing countenance with head slightly turned to the right, hands in prayer and a dagger that pierces her breast. Margarita J. Aguilar, Doctoral candidate, The Graduate Center, The City University of New York 1 From a liturgical chant for Holy Week: \“all you who walk by on the road, pay attention and see: if there be any sorrow like my sorrow,\” as Mary suffers at the foot of the cross. The original Latin does not make use of diacritical marks as in inscription on painting. Provenance Dolores Topete y Bustillo. Juana Bustillo y Pary, Sanlúcar de Barrameda, Cádiz, Spain. Galería Caylus, Madrid. Acquired from the above by the present owner. Exhibited Enschede, Rijkmuseum Twenthe, De Nieuwe Smaak: de kunst van het verzamelen in de 21ste eeuw, 17 January – 21 August 2016, p. 59, no. 7 (illustrated in color). Recommended features Studio visit: Pablo Atchugarry The Uruguayan sculptor talks Carrara marble and Michelangelo in his adopted home of Lecco on the shores of Lake Como Pedro Friedeberg: Inventor of alternative realities ​The Mexican artist discusses his influences, painting on mannequins and works offered in the Latin American Art sale 10 things to know about Fernando Botero An essential guide to arguably South America\’s most famous artist, whose work addresses everything from domestic life to bullfighting Antenna: Time to award yourself bronze A look at bronze highlights from Christie's autumn season, spanning the breadth of human history \‘Hunter and I got on instantly because we were so different\’ ​As original artwork for Fear and Loathing in Las Vegas comes to auction, its illustrator Ralph Steadman shares memories of Hunter S. Thompson Luxury Living: Homes with ornate interiors From a lavish 16th-century villa in Italy to the quintessential Paris apartment with all the (gilt) trimmings — all from Christie\’s International Real Estate
Jose De Alzibar - Portrait Of Don Melchor De Sequera

Jose De Alzibar - Portrait Of Don Melchor De Sequera

Original 1793
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Price:

Gross Price
Lot number: 67
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Description:
José de Alcíbar (Mexico c.1730-1803)

Portrait of Don Melchor de Sequera, half-length, in the uniform of a Captain in the Infantry Regiment of the Crown of New Spain

signed and dated 'Josephus ab Alzibar pin. / Mexici, a
o

1793' (lower left) inscribed 'Don Melchor de Sequera, Capitan del Regimento de Ynfanteria de la Corona de N.E. / hyo Legitimo del Teniente Coronel de Exercito: Dn. Julian de Sequera Colon de Portu- / gal, y de la Sra. Dna. Manuela Aparicio.y.Hermosill' (upper centre)

oil on canvas, unlined

32 ¼ x 24 ¼ in. (81.6 x 61.7 cm.)
PROPERTY OF THE DESCENDANTS OF HIS ROYAL HIGHNESS PRINCE FERDINAND OF BAVARIA, INFANTE OF SPAIN (1884-1958)
Jose De Alzibar - Monja Coronada

Jose De Alzibar - Monja Coronada

Original 1797
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Price:

Gross Price
Lot number: 233
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Description:
José de Alzibar

(1751-1806)

MONJA CORONADA

signed lower right; also inscribed Retrato de Ma. Margarita Leonarda Josefa de San Luis Gonzaga, natural del Pueblo de Tenancingo...Profesó en Henero de 1797 lower center

oil on canvas

41 by 33 in.

104 by 83.7 cm

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Saleroom Notice

Provenance

Private Collection, Mexico

This painting is part of the National Heritage of Mexico and cannot be permanently exported from the country. Accordingly, it is offered for sale in New York from the catalogue and will not be available in New York for inspection or delivery. The painting will be released to the purchaser in Mexico in compliance with all local requirements. Prospective buyers may contact Sotheby\’\’s representatives in Mexico City and Monterrey for an appointment to view the work.
This work is in generally good condition. The work has recently been restored, including superficial cleaning, a partial tear repair in addition to protective varnish on the canvas.A stretcher crease is present along the left border and a slight vertical abrasion near same area, extending from the middle of the canvas downwards. The works has undergone restoration for paint loss in the figure's face and hands, as well as on lower border, near the inscription and signature on the lower right hand corner. Age-related general craquelure is visible. Old restoration patches are present on the back of the canvas. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
Jose De Alzibar - Portrait Of María Ignacia Moreno Barrios

Jose De Alzibar - Portrait Of María Ignacia Moreno Barrios

Original 1792
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Lot number: 56
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Description:
José de Alcíbar (Mexico c. 1730-1803) Portrait of María Ignacia Moreno Barrios (born 1776) inscribed, signed and dated 'Dña. Maria Ignacia Moreno y Barrios, hija del Sr. Marqués de Vallameno y de Dñà. Clemencia Barrios y Alcazar de edad 16 as., Josephus ab Alzibar pinxit. a. 1792.' (along the upper edge) oil on canvas 21¾ x 16 1/8 in. (55.2 x 41 cm.)
Anonymous sale; Bonhams, London, 13 April 2011, lot 67, where acquired by the present owner.
José de Alcíbar ranks as one of the most accomplished artists active in New Spain during the second half of the 18th century. A prolific artist with a large workshop, Alcíbar left a substantial oeuvre that documents the stylistic transition from the Baroque to Neoclassicism. Best known for his religious paintings, Alcíbar's commercial success -- which coincided with unprecedented economic development in the Latin American colonies in the 18th century -- was largely due to his commissioned work as a portraitist.

The sitter for the present portrait, painted in 1792, was the fourth child of Juan de Dios Moreno Pablo-Fernández, second Marqués de Valle-Ameno (1748-1805) and his Spanish wife Clemencia Barrios-Járegui Alcázar (died after 1779), and the granddaughter of Agustín Moreno Castro Marqués de Valle Ameno (1670-1755) who was granted the title of Marqués de Valle-Ameno in 1735 and who had been appointed political and military governor of Nuevo Mexico. (A portrait of the latter is preserved in the Museo Nacional del Virreinato, Tepotzotlán.)
Jose De Alzibar -  Portrait Of María Ignacia Moreno Barrios

Jose De Alzibar - Portrait Of María Ignacia Moreno Barrios

Original 1776
Estimate:

Price:

Lot number: 157
Other WORKS AT AUCTION
Description:
José de Alcíbar (Mexican circa 1730-1803) Portrait of María Ignacia Moreno Barrios (born 1776) inscribed, signed and dated 'Dña. Maria Ignacia Moreno y Barrios, hija del Sr. Marqués de Vallameno y de Dñà. Clemencia Barrios y Alcazar de edad 16 as., Josephus ab Alzibar pinxit. a. 1792.' (along the upper edge) oil on canvas 21¾ x 16 1/8 in. (55.2 x 41 cm.) Painted circa 1792.
Anon. sale, Bonhams, London, 13 April 2011, lot 67. Acquired from the above.
José de Alcíbar ranks as one of the most accomplished artists active in New Spain during the second half of the eighteenth century. Over the course of his long career, he participated in the most important artistic events of the era, including the examination and copying of the original cloth of the sacred image of the Virgin of Guadalupe (1751-52) and the publication of those findings in 1756. He also joined fellow colleagues José de Ibarra and Miguel Cabrera in 1753-74 in co-founding a short-lived academy in Mexico City as well as establishing the Academia Real de Bellas Artes in 1781-83, where he served as a member of the faculty and director in the early 1880s. A prolific artist with a large workshop, Alcíbar left a substantial oeuvre that documents the artistic and stylistic transition from the baroque to neoclassicism.

Alcíbar is perhaps best known for his religious themed paintings, and portraits, ranging from altarpieces and casta paintings to escudos de monjas (i.e., nun shields) and society portraits. Indeed Alcíbar's success--which coincided with the unprecedented economic development obtained by the Latin American colonies in the eighteenth century--was largely due to his commissioned work as a portraitist and includes the well-known paintings of the young novices Sor María Ignacia de la Sangre de Cristo and Sor María Francisca Josefa de San Felipe Neri as well as the portraits of Fray Juan de Moya, Fray Damián Martínez de Galinsoga, the Obispo de Sonora and Doña María Josefa Bruno.

The sitter for the present portrait was the fourth child of Juan de Dios Moreno Pablo-Fernández, second Marqués de Valle-Ameno (1748-1805) and his Spanish wife Clemencia Barrios-Járegui Alcázar (died after 1779), and the grand-daughter of Agustín Moreno Castro Marqués de Valle Ameno (1670-1755) who was granted the title of Marqués de Valle-Ameno in 1735 and who had been appointed political and military governor of Nuevo Mexico. (A portrait of the latter is preserved in the Museo Nacional del Virreinato, Tepotzotlán.) The secular nature of the present canvas is unusual for the artist, rather than a presentation picture on the entry of the sitter to a nunnery, and is probably symptomatic of the social status of the sitter's family.
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