Studio of Francisco de Zurbarán (Fuente de Cantos, Badajoz 1598-1664 Madrid)
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Studio of Francisco de Zurbarán (Fuente de Cantos, Badajoz 1598-1664 Madrid)

Friar Pedro de Beteta; and Friar Guillermo de Valencia

Details
Studio of Francisco de Zurbarán (Fuente de Cantos, Badajoz 1598-1664 Madrid)
Friar Pedro de Beteta; and Friar Guillermo de Valencia
oil on canvas
22 x 14 in. (56 x 35.5 cm.)
two (2)
Provenance
Cloister of the Convento de San José de la Merced Descalza, Seville. Confiscated during the Peninsular War by Napoleonic troops and placed on deposit at the Alcázar Palace, Seville, 1810.
Louis-Philippe, King of the French (purchased for him in Spain c. 1835-1837 by his agent, Baron Isidore Taylor; the paintings hung in the Galerie Espagnole, Paris, until they were sold at auction in 1848).
Louis-Philippe, King of the French, from the Galerie Espagnole; Christie's, London, 6-7, 13-14 and 20-21 May 1853, two of sixteen paintings sold under lots 213-217, 260-264 and 448-453.
Emile Péreire (1800-1875) and Isaac Péreire (1806-1880), Paris; their sale, Hôtel Drouot, Paris, 30-31 January 1868, lots 65-66.
Literature
A. Ponz, Viaje de España, Madrid, 1780, IX, p. 109 (letter 3, paragraph 50).
J.A. Céan Bermudez, Diccionario histórico de los más ilustres profesores de las bellas artes en España, Madrid, 1800, VI, p. 49.
'Inventario de las Pinturas que existen en el Real Palacio de Sevilla con separación de Salas y Autores...', 1810 (published in M. Gómez Imaz, Inventario de los cuadros sustraídos por el gobierno Intruso en Sevilla [año 1810], 2nd ed., Seville, 1917, pp. 137, 152, 154, 157 and 174).
Notice des tableaux de la Galerie Espagnole exposés dans les salles du Musée Royal au Louvre, Paris, 1838, p. 91.
D. Angulo Iñiguez, 'Francisco Zurbarán martires mercedarios...', Archivos Español de Arte, no. 46, July-August 1941, p. 373, note 1. P. Guinard, 'Los conjuntos dispersos o desaparecidos de Zurbarán: anotaciones a Céan Bermudez-II', Archivo Español de Arte, XX, July-September 1947, pp. 175-176 and 184-187, no. 79.
M.S. Soria, The paintings of Zurbarán: Complete Edition, London, 1955, p. 173, nos. 163-k and 163-1.
J.A. Gaya Nuño, La Pintura española fuera de España, Madrid, 1958, p. 340, nos. 3036 and 3037.
P. Guinard, Zurbarán et les peintres espagnols de la vie monastique, Paris, 1960, p. 197.
P. Guinard, 'Zurbarán en France', Revista de Estudios Extremeños, XVII, 1961, pp. 370-371, 381-382, no. 1.
R. Torres Martín, Zurbarán: el pintor gótico del siglo XVII, Seville, 1963, n.p., nos. 176 and 177.
I.H. Lipschutz, Spanish Painting and the French Romantics, Cambridge, Mass., 1972, p. 225 (reprint of the Galerie Espagnole catalogue, 1838).
M. Gregori and T. Frati, L'Opera completa di Zurbarán, Milan, 1973, p. 101, nos. 208 and 209.
P. Guinard and T. Frati, Tout l'oeuvre peint de Zurbarán, Paris, 1975, p. 101, nos. 208 and 209.
J. Gállego and J. Gudiol, Zurbarán, Barcelona, 1976, p. 93.
J. Baticle and C. Marinas, La Galerie espagnole de Louis-Philippe au Louvre, 1838-1848, Paris, 1981, pp. 237-238, two of the sixteen paintings listed under the heading 'Premiers missionnaires aux Indes, martyrs', nos. 374-389.
F. García Gutierrez, 'Los mártires mercedarios de Zurbarán', Archivo Espanol de Arte, LVII, 1984, p. 152.
M.L. Caturla and O. Delenda, Francisco de Zurbarán, Paris, 1994, pp. 174/176 and 205, note 23, illustrated p. 175.
P. Civil, 'L'image du martyr dans l'Espagne post-tridentine. Autour de quelques représentations de martyrs chartreux et mercédaires', Cauces. Revue d'etudes hispaniques, 2002, pp. 83 and 90, figs. 9 and 10, no. 3.
O. Delenda, Francisco de Zurbarán (1598-1644), Madrid, 2010, II, pp. 453-454, nos. II-231j-k, illustrated p. 453 (colour).
Special notice

VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

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Harriet West

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Lot Essay

These two paintings originally formed part of a series of thirty-eight representations of the martyrs of the missionary Order of the Mercedarians, only twenty-four of which have been located (for a description of the series see O. Delenda, op. cit., pp. 450-58). The paintings were made for the lower cloister of the Order's monastery in Seville, and although there is no record of their arrangement, they were presumably grouped to form a tabernacle. They were removed to the Alcázar palace in 1810 and were dispersed sometime thereafter. Sixteen of the paintings, these two among them, entered the collection of Louis-Philippe, and between 1838 and 1848 were hung in the Galerie Espagnole.

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