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Juan Nisa De Valdes Leal

Spain (1622 -  1690 ) Wikipedia® : Juan Nisa De Valdes Leal
DE VALDES LEAL Juan Nisa  Christ, The Savior

Wickliff & Associates
Sep 13, 2018
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Variants on Artist's name :

Juan De Valdes Leal

 

Artworks in Arcadja
67

Some works of Juan Nisa De Valdes Leal

Extracted between 67 works in the catalog of Arcadja
Juan Nisa De Valdes Leal -  Christ, The Savior

Juan Nisa De Valdes Leal - Christ, The Savior

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Lot number: 522
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Description:
Lot 0522 DetailsShipping & PaymentAuction Terms & InfoLot 0522Juan De Valdes Leal (Spain, 1622-1690) 41x33.5 , O/C , unsigned , Christ, the Savior , Depicting: Jesus holding the world in his left hand Provenance: Letter from Frederik B Anthon, Restorer for the Los Angeles County (CA) Museum, 1962, attributing the painting to Valdes Leal, as his donation of it to the Immaculate Heart School, Hollywood, CA. Subsequently sold to Edward and Mary Welch, Long Beach, CA in 1966 via Market Street Antiques, LA, thence by descent. Condition: Evidence of previous relining. Surface cleaning recently completed, with minor frame/gesso restoration, Redman Studios Presented in antique carved and gesso, gilded frame; size as framed 51x44; PROVENANCE: Letter from Frederik B Anthon, Restorer for the Los Angeles County (CA) Museum, 1962, attributing the painting to Valdes Leal, as his donation of it to the Immaculate Heart School, Hollywood, CA. Subsequently sold to Edward and Mary Welch, Long Beach,CA in 1966 via Market Street Antiques, LA, thence by descent.ConditionEvidence of previous relining. Surface cleaning recently completed, with minor frame/gesso restoration, Redman StudiosS
Juan Nisa De Valdes Leal - The Disputation Of Saint Jerome

Juan Nisa De Valdes Leal - The Disputation Of Saint Jerome

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Lot number: 34
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PROPERTY OF A GERMAN FAMILY Juan de Valdés Leal THE DISPUTATION OF SAINT JEROME SEVILLE 1622 - 1690 oil on canvas 226.5 x 252 cm.; 89 1/8 x 99 1/4 in. Commissioned for the monastery of San Jerónimo de Buenavista, Seville; in the sacristy; Removed by the French to the Alcázar in Seville; recorded there in 1810 (in room 2 as 'Saint Jerome disputing with some heretics', or in room 10 as one of 'four episodes from the life of Saint Jerome'); Restored to San Jerónimo in 1812, after the expulsion of the French from Seville; Whence acquired after 1835 by Baron Isidore Taylor (1789–1879) for King Louis-Philippe I (1773–1850), and hung in the Spanish Gallery at the Musée Royal du Louvre, Paris (either as no. 280 Discussion de saint Jérôme avec les rabbins; or as no. 281 Discussion de saint Jérôme avec les docteurs); His posthumous sale ('Pictures forming the celebrated Spanish Gallery of His Majesty the late King Louis Philippe'), London, Christie's, 6 May 1853 and subsequent days, 13 May 1853 (3rd day's sale), either lot 234, for £40, or lot 235, for £28 (both as St Jerome disputing with the Rabbis); John Samuel Wanley Sawbridge Erle Drax, MP (1800–1887), Olantigh Towers, Wye, Kent; By inheritance to his nephew Wanley Elias Sawbridge Erle-Drax; By whom sold ('Old Pictures collected by the late J.S.W.S. Erle Drax. Esq.'), London, Christie's, 19 February 1910, lot 128 (as Saint Jerome disputing with the Rabbis, 90 in. by 97 in.), for £7.7s.0d., to Wagner; By whom sold on 1 September 1910 to Josef Cremer (1845–1938), Dortmund; listed as no. 940, hanging in the Neuer Galerie (as Jerome with the Rabbis); Offered in the posthumous sale of Cremer's collection, ('Sammlung Geheimrat Josef Cremer Dortmund'), Berlin, Wertheimer, 29 May 1929, lot 145 (as St Jerome and the Rabbis); Thence by family descent. Paris, Musée Royal du Louvre, 1838–1853, no. 281.
Juan Nisa De Valdes Leal - The Annunciation

Juan Nisa De Valdes Leal - The Annunciation

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Lot number: 196
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Description:
Juan de Valdés Leal (Seville 1622-1690)
The Annunciation
with the inventory mark 'N
o
42' (on the reverse of thecanvas)
oil on canvas
23¼ x 25½ in. (82 x 65 cm.)
We are grateful to Professor Enrique Valdivieso for confirmingthe attribution, on the basis of photographs, and for suggesting adate of circa 1680-90.
Juan Nisa De Valdes Leal - Saint Sebastian

Juan Nisa De Valdes Leal - Saint Sebastian

Original
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Lot number: 220
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Description:
Juan Valdés Leal (Seville 1622-1690)
Saint Sebastian
numbered '66' (lower right); and numbered and inscribed 'N.66/D.n Juan Valdes Leal' (on the reverse)
oil on canvas
31¾ x 19 5/8 in. (80.7 x 49.8 cm.)
Pre-Lot Text
THE PROPERTY OF A SPANISH NOBLE FAMILY
Provenance
In the present family since the end of the 19th century.
Juan Nisa De Valdes Leal - The Visitation

Juan Nisa De Valdes Leal - The Visitation

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Lot number: 79
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DESCRIPTION
signed in ligature and dated J. BAL/DEs Fa A ° 1673 lower right
oil on canvas
PROVENANCE
D. José de Madrazo, Madrid, 1856; M. de Negrón, Art Market, Spain, where acquired by Galerie Heim, by 1950; With Galerie Heim, Paris, until at least 1993.
EXHIBITED
Paris, Galerie Heim, Tableaux de maîtres anciens : catalogue vendu au profit de la Caisse de secours du Syndicat de la presse artistique française, 1956, no. 27; Durham, England, Barnard Castle, Bowes Museum, Four Centuries of Spanish Art, June 17-September 17, 1967, no.78; Mexico City, Centro Cultural/Arte Contemporáneo, A.C., Juan de Valdés Leal y El Arte Sevillano del Barroco, August 5-December 5, 1993, no. 76.
LITERATURE AND REFERENCES
José de Madrazo Collection Catalogue, 1866, p. 104; Tableaux de maîtres anciens: Tableaux de maîtres anciens : catalogue vendu au profit de la Caisse de secours du Syndicat de la presse artistique française, exhibition catalogue, Paris 1956, cat. no. 27, reproduced; J. Gudiol, "Un Valdés Leal inédito," in Revista de Arte, 1957, p. 269, no. 16; J.A. Gaya Nuño, La Pintura Española Fuera de Espña, Madrid 1958, p.315, cat. no. 2785; E. Trapier, Valdés Leal: Spanish Baroque Painter, New York 1960, p.59, reproduced, fig. 131; T. Mullaly, "A Major Early and Other Works", in Connosieur, vol.CLXV, 1966, p.167; Barnard Castle, Bowes Museum, Four Centuries of Spanish Art, exhibition catalogue, Durham 1967, cat. no. 78, reproduced; E.Young, "The Spanish Paintings at the Bowes Museum", in Apollo, vol. LXXXV, 1967, p.58; D.T. Kinkead, Valdés Leal, New York 1978, pp.244, 432; E. Valdivieso, Historia de la Pintura Sevillana, Seville 1986, p.274; Centro Cultural/Arte Contemporáneo, A.C., Juan de Valdés Leal y El Arte Sevillano del Barroco, exhibition catalogue, Meixco City 1993, p. 199, cat. no. 76. reproduced in color, p. 199.
CATALOGUE NOTE
Valdés Leal, the last of the great artists of the School of Seville, achieved renown as not only a painter, but also as a draughtsman, sculptor, etcher and architect. In addition to these outstanding achievements, he also wrote on art, though none of his writings is extant. With the exception of a few rare portraits, his paintings are entirely religious and highly expressive in both their technique and compositional approach,1 and as is the case in the present canvas, the dynamism within Valdés Leal's style is directly influenced by his own religious passion. This ability to infuse his own personal spiritual beliefs into his painting is upheld most successfully in the present Visitation scene through the delicate embrace of Mary and Elizabeth in the immediate foreground. The Dove, perfectly aligned with the interlocking hands of Mary and Elizabeth, forms a link between the human emotion of the two women, and the divine presence of God. Clad in garments with heavy, mannered folds, light falls most strongly upon the faces of the two women, and reveals their fleshy and aged faces. There is an apparent lack of restraint here, as the artist draws directly with his brush, creating an overall painterly and free quality which complements the outward emotion of the figures themselves. This free quality is reminiscent of the Flemish masters Rubens and Van Dyck, who themselves had a profound influence on Valdés Leal's generation.2 A group of cherubs hovers above the women, although the artist has kept the number to a minimum as to allow the eye to focus on the main figures below. Beyond this central scene, a heavily robed Saint Joseph enters from the left hand side of the canvas and moves hurriedly up a set of stairs to greet Zacharias. Leaning on a cane with one hand and pointing expressively to the main foreground scene with the other, this subtle hand gesture draws together the two seemingly separate figural groups. As Trapier comments, St. Joseph is "an impressive, well modeled figure done in tones of rich brown and grey."3 Valdés Leal executed this Visitation in 1673, the same year in which he was commissioned to paint a series of works depicting the Life of St. Ambrose for the oratory in the Archiepiscopal Palace in Seville. It is during that year that he also accepted a commision to gild and paint his well-known Vanities for the high altar retable of the church of the Hospital de la Caridad. 1. D.Kinkead, "Juan de Valdés Leal", in The Dictionary of Art, vol.XXXI, New York 1996, p. 808. 2. An early contemporary of Valdés Leal, Juan de Moya, travelled with Van Dyck and the army of Charles I throughout the Low Countries and England, absorbing Van Dyck's style and creating many copies after the Flemish artist before returning to Spain and disseminating his style throughout Spain, and Seville in particular. 3. E. Trapier, Valdés Leal: Spanish Baroque Painter, New York 1960, p.59.
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