Important Archangel San Rafael with period frame, attributed to Bernabé de Ayala, 17th century

Important Archangel San Rafael with period frame, attributed to Bernabé de Ayala, 17th century
Born around 1620/1625 in Jerez de la Frontera, having been a relative of Catalina de Ayala Camacho, wife of the Portuguese painter Baltazar Gomes Figueira and mother of the Portuguese still life painter Josefa de Óbidos. He was one of the founders in 1660 of the drawing academy of Seville, where he remained until 1671, later settling in Cádiz, attracted by the art trade with the American colonies, and establishing his residence in the house of Miguel Legot, son by the Flemish painter Pablo Legot. He was one of the best disciples of Francisco de Zurbarán, the only signed work of his is the Virgen de los Reyes on his altar in Seville Cathedral, precisely dated 1662 and kept at the headquarters of the Constitutional Court of Lima. The presence of this painting in Peru has been attested since 1666, in the convent of the Augustinian Recollects of Nuestra Señora del Prado, and it is proof of Ayala's dedication to the art trade with America, of which there is also some other documentary testimony. From that single signed work, a significant number of works of a certain quality have been attributed to him, close to the production of the Extremaduran master, Odile Delenda coming to form a catalog of forty-two works related to the painter, of which ten could considered safe. Among this set of attributed works is an Assumption already mentioned by Ceán as existing on the altar of the tabernacle of the church of San Juan de Dios in Seville, now in the church of San Roque in Algeciras, the canvases of the archangels in the Chapel of San Miguel of the Cathedral of Jaén and similar series of saints, angels and sibyls in convents and private Andalusian and Lima collections, including an apostolate in the sacristy of the convent of San Francisco and a series of holy founders of monastic orders in the convent of La Buena Muerte, or Christ crowning San José del Museum of Fine Arts of Seville, currently restored to Zurbarán. In 2006, two of his paintings, eminently Zurbaranesque in nature, were incorporated into the Museum of Fine Arts in Seville: Santa Lucía and San Roque, attributed to Ayala due to their similarities with another series related to the painter of five full-length saints and saints. preserved in the church of Nuestra Señora de la Paz in Seville. Reference bibliography: Hernández Díaz, José, «Más pinturas sevillanas de influjos zurbaranescos», Boletín de Bellas Artes, 6 (1978), pp. 163-176. kinkead, Duncan T., Painters and Gilders in Seville 1650-1699. Documents, Bloomington In., AuthorHouse, 2006, ISBN 1-4259-7205-5. Lamas-Delgado, Eduardo. «Le peintre Bernabé de Ayala et autres petits maîtres entre Séville et Cadix», Annales d'Histoire de l'art et d'archéologie. XXXVI. 2014. Pérez Sánchez, Anfonso E. Baroque painting in Spain 1600-1750. Madrid. Chair. 1992. Ceán Bermúdez, Juan Agustín, Historical Dictionary of the most illustrious professors of Fine Arts in Spain, Madrid, 1800. Delenda, Odile, «Bernabé de Ayala (Séville, vers 1620/25 – après 1675). Un élève oublié de Francisco Zurbarán”, Les Cahiers d'Histoire de l'Art, 9, 2011, pp. 24-33. Origin: important private collection, Andalusia. Measurements: 144 x 88 cm, framed measurements: 163 x 104 cm Author House, 2006, ISBN 1-4259-7205-5. Lamas-Delgado, Eduardo. «Le peintre Bernabé de Ayala et autres petits maîtres entre Séville et Cadix», Annales d'Histoire de l'art et d'archéologie. XXXVI. 2014. Pérez Sánchez, Anfonso E. Baroque painting in Spain 1600-1750. Madrid. Chair. 1992. Ceán Bermúdez, Juan Agustín, Historical Dictionary of the most illustrious professors of Fine Arts in Spain, Madrid, 1800. Delenda, Odile, «Bernabé de Ayala (Séville, vers 1620/25 – après 1675). Un élève oublié de Francisco Zurbarán”, Les Cahiers d'Histoire de l'Art, 9, 2011, pp. 24-33. Origin: important private collection, Andalusia. Measurements: 144 x 88 cm, framed measurements: 163 x 104 cm Author House, 2006, ISBN 1-4259-7205-5. Lamas-Delgado, Eduardo. «Le peintre Bernabé de Ayala et autres petits maîtres entre Séville et Cadix», Annales d'Histoire de l'art et d'archéologie. XXXVI. 2014. Pérez Sánchez, Anfonso E. Baroque painting in Spain 1600-1750. Madrid. Chair. 1992. Ceán Bermúdez, Juan Agustín, Historical Dictionary of the most illustrious professors of Fine Arts in Spain, Madrid, 1800. Delenda, Odile, «Bernabé de Ayala (Séville, vers 1620/25 – après 1675). Un élève oublié de Francisco Zurbarán”, Les Cahiers d'Histoire de l'Art, 9, 2011, pp. 24-33. Origin: important private collection, Andalusia. Measurements: 144 x 88 cm, framed measurements: 163 x 104 cm Annales d'Histoire de l'art et d'archéologie. XXXVI. 2014. Pérez Sánchez, Anfonso E. Baroque painting in Spain 1600-1750. Madrid. Chair. 1992. Ceán Bermúdez, Juan Agustín, Historical Dictionary of the most illustrious professors of Fine Arts in Spain, Madrid, 1800. Delenda, Odile, «Bernabé de Ayala (Séville, vers 1620/25 – après 1675). Un élève oublié de Francisco Zurbarán”, Les Cahiers d'Histoire de l'Art, 9, 2011, pp. 24-33. Origin: important private collection, Andalusia. Measurements: 144 x 88 cm, framed measurements: 163 x 104 cm Annales d'Histoire de l'art et d'archéologie. XXXVI. 2014. Pérez Sánchez, Anfonso E. Baroque painting in Spain 1600-1750. Madrid. Chair. 1992. Ceán Bermúdez, Juan Agustín, Historical Dictionary of the most illustrious professors of Fine Arts in Spain, Madrid, 1800. Delenda, Odile, «Bernabé de Ayala (Séville, vers 1620/25 – après 1675). Un élève oublié de Francisco Zurbarán”, Les Cahiers d'Histoire de l'Art, 9, 2011, pp. 24-33. Origin: important private collection, Andalusia. Measurements: 144 x 88 cm, framed measurements: 163 x 104 cm Un élève oublié de Francisco Zurbarán”, Les Cahiers d'Histoire de l'Art, 9, 2011, pp. 24-33. Origin: important private collection, Andalusia. Measurements: 144 x 88 cm, framed measurements: 163 x 104 cm Un élève oublié de Francisco Zurbarán”, Les Cahiers d'Histoire de l'Art, 9, 2011, pp. 24-33. Origin: important private collection, Andalusia. Measurements: 144 x 88 cm, framed measurements: 163 x 104 cm