Agustín Esteve y Marqués Sold at Auction Prices

PORTRAIT OF A YOUNG BOY, ATTRIBUTED TO AGUSTÍN ESTEVE (VALENCIA, 1753-1820), DISCIPLE OF FRANCISCO DE GOYA

Oil on canvas, unframed measurements: 31 x 25 cm, framed measurements: 42 x 35 cm. Bibliography: Goya: Catalog of painting by Francisco Goya, José Luis Morales y Marín. ISBN 8460090736, provenance: important private collection, Valencia.

AGUSTIN ESTEVE Valencia (1753) / Madrid (c.1809) "Portrait of Don Jose Maria Ramirez de Verger"

Oil on canvas Origin: -RamIrez de Verger family; -Collection of Don Antonio Pons and RamIrez de Verger in 1943; -Acquired in 1970 by the relatives of the current owners Exhibitions: - "Paintings and sculptures from Malaga collections", Center for Andalusian Studies, House of the Consulate of Malaga, February - April 1943 Bibliography: -SAnchez CantOn, FJ, "Paintings and sculptures from Malaga collections", Center for Andalusian Studies, 1944, .p 47, lam. XXXVIII Measurements: 115 x 94 cm

AGUSTIN ESTEVE Valencia (1753) / Madrid (c.1809) "Portrait of Don Jose Maria Ramirez de Verger"

Oil on canvas Origin: -Ramirez de Verger family; -Collection of Don Antonio Pons and Ramirez de Verger in 1943; -Acquired in 1970 by the relatives of the current owners Exhibitions: - "Paintings and sculptures from Malaga collections", Center for Andalusian Studies, House of the Consulate of Malaga, February - April 1943 Bibliography: -Sanchez Canton, FJ, "Paintings and sculptures from Malaga collections", Center for Andalusian Studies, 1944, .p 47, lam. XXXVIII Measurements: 115 x 94 cm

Attributed to AGUSTÍN ESTEVE (Valencia, 1753 – 1820). “Portrait of Don Genaro de Perellós y Palafox, Marquis of Dos-Aguas”, 1813. Oil on canvas. Keep the original fabric. It has an inscription on the back.

Attributed to AGUSTÍN ESTEVE (Valencia, 1753 - 1820). "Portrait of Don Genaro de Perellós y Palafox, Marquis of Dos-Aguas", 1813. Oil on canvas. The original canvas is preserved. It has an inscription on the back. It has restorations and a period frame. Provenance: private collection conceived since the 70's between London and Madrid. Measurements: 64 x 45.5 cm; 75.5 x 57 cm (frame). Due to the formal and stylistic characteristics of the piece, we are dealing with a painting that follows the style of the artist Agustín Esteve y Marqués. The canvas represents the portrait of a gentleman soberly dressed in his military uniform. The portrait in three fours and against a neutral background is notable for the artist's psychological capture of the sitter. He is identified as Don Genaro de Perellós y Palafox, Marquis of Dos-Aguas, by the inscription on the back. Agustín Esteve was particularly noted for the innumerable portraits he painted of Court nobles and high-ranking court bureaucrats. Under the protection of Godoy and the Osuna and Alba families, the painter enjoyed a successful career at court until 1808. As in the case of other artists of his generation, the French invasion of 1808 and the turbulent period that lasted until 1814, together with the appearance of new painters and the natural decline of his age, meant that after the restoration of Ferdinand in 1814 his star was eclipsed by minor commissions and, at the end of his life, he even found himself in financial difficulties. Born into a family of artists, Agustín Esteve received his first lessons from his father, the sculptor Antonio Esteve. He then entered the Academy of Fine Arts of San Carlos in Valencia, and from there he went to the Academy of San Fernando in Madrid, where in 1773 he was awarded a third-class prize in the Academy's annual competition for the first time. After completing this final stage of his training, in which the influence of Mengs's teaching is evident, Esteve became Francisco de Goya's assistant, something that would have a profound influence on the Valencian artist's work from that time onwards. His work with Goya must have been intense from 1780 onwards, as after the death of Charles III the new king commissioned numerous portraits from the Aragonese painter for various institutions, many of which were executed directly by Esteve on the basis of Goya's originals. It was around this time that the painter began to establish good relations with the court, becoming the official portraitist first of the house of Osuna and finally the court's principal portraitist at the end of the 18th century. Thus, Goya's patronage and Esteve's intense portrait painting activity were finally rewarded when he was appointed Pintor de Cámara in 1800. With the entry of the French into Madrid and the accession of Joseph I to the throne, Agustín Esteve was faced with the same dilemma as the other court painters regarding his loyalty to the new sovereign. Esteve, like the rest, placed himself under the orders of the new king and was paid his wages as Chamber Painter. Despite this, he had no problems returning to the service of his former master on the return of Ferdinand VII, as he had not found favour with Napoleon's brother. However, by 1814, at the age of sixty-one, Agustín Esteve's physical decrepitude was evident and his best days were behind him. And all the more so as Goya's exile and the rise of Vicente López had pushed him into a corner among the chamber painters, although he continued to undertake a number of important commissions. Esteve is currently represented in the Museo del Prado and the Museo de Bellas Artes in Valencia, among other important institutions and private collections.

ATRIBUIDO A AGUSTÍN ESTEVE Y MARQUÉS - "Retrato de caballero"

"Retrato de caballero"

Retrato masculino

Firmado en el reverso.

AGUSTIN ESTEVE (1753 / .) "Portrait of Mª del Rosario Rodríguez del Morzo"

.96 x 69 cm

AGUSTIN ESTEVE 1753 / . "El Infante Carlos María Isidro de Borbón" and "El Infante Francisco de Paula de Borbón"

Copy of the sketches of the portraits of the Infantes painted by Francisco de Goya for the painting "The family of Carlos IV" both conserved in the Museum of the Prado of Madrid Origin: -Collection of the Queen María Cristina de Borbón (1806 -1878) -Cole. Pair of oil paintings on canvas attached to board

AGUSTÍN ESTEVE Y MARQUÉS (Valencia, 1753 - 1830) "Retrato del Conde de Cron". Oil on canvas

AGUSTÍN ESTEVE Y MARQUÉS (Valencia, 1753 – 1830), Retrato del Conde de Cron, Inscripción alusiva al personaje representado. Etiquetas en el reverso, una de ellas de la Junta de Incautación. 111 x 83,5 cm ENGLISH AGUSTÍN ESTEVE Y MARQUÉS (Valencia, 1753 - 1830) "Retrato del Conde de Cron". Oil on canvas

Niño con aro

Procedencia: Colección Isaac Garcia Blanco (fundador del Museo de Arte Hispano Americano Isaac Garcia Blanco, Buenos Aires, Argentina). Provenance: Isaac Garcia Blanco Collection (founder of the Isaac Garcia Blanco Hispanic American Art Museum, Buenos Aires, Argentina).

El niño del violín

El niño del violín CIRCLE OF AGUSTÍN ESTEVE Y MARQUÉS (Valencia, 1753-1830) Oil on canvas 122 x 90 cm

AGUSTÍN ESTEVE Y MARQUÉS, Retrato del Conde de Cron. Oil on canvas

Retrato del Conde de Cron Lleva firma y fecha: "Jose Montenegro/Sevilla/1927".

MANUEL CABRAL AGUADO BEJARANO, Retrato de Manuel Barrón. Oil on canvas

Retrato de Manuel Barrón Firmado y fechado en Jerez en 1899.

AGUSTIN ESTEVE Y MARQUES - PORTRAIT OF YOUNG LADY WITH HAND FAN

AGUSTÍN ESTEVE Y MARQUÉS 1753 Valencia - 1830 Retrato de joven dama con abanico Hijo del retablista valenciano Agustín Esteve se inició en los rudimentos del dibujo con su propio padre antes de pasar a la Real Academia de Bellas Artes de San Carlos de Valencia donde estuvo entre 1768 y 1770. En ese último año se traslada a Madrid para seguir su formación en la Real Academia de Bellas Artes de San Fernando. Es en la capital donde se convierte en discípulo de dos de los mejores pintores del momento: Francisco Bayeu y Mariano Salvador Maella, valenciano al igual que él. También en el ambiente de la Academia entrará en contacto con Francisco de Goya, con el que posteriormente colaboró en numerosas ocasiones. Con el genio aragonés se convirtió a partir de la década de 1780 en el retratista favorito entre las clases altas de la capital. Su elegante estilo, de dibujo esmerado y refinado, así como la influencia del retrato contemporáneo inglés son los elementos que definen su arte. Una fecha clave en su trayectoria fue la de 1800 cuando es nombrado Pintor de Cámara de Carlos IV. En los retratos realizados entre 1780 y 1800 se advierte también el influjo de su contemporáneo y compañero, Francisco de Goya. Ambos trabajan además juntos para la Casa Ducal de Osuna en la década de 1790 y en la realización de retratos oficiales de la Casa Real. En 1789, y con el advenimiento al trono de Carlos IV se nombra a Francisco de Goya retratista oficial del nuevo monarca, lo que da origen a una actividad incesante en la Real Cámara en la realización de retratos del rey y de la reina. De este modo, los contactos de Esteve con Goya le convierten durante un periodo de quince años en copista de los modelos oficiales del aragonés con destino a las numerosas instituciones públicas que los demandaban. Ello no supuso que Esteve dejara de seguir pintando retratos, que fue el género en el más destacó aunque también nos dejó algunas obras de temática religiosa. El retrato que presentamos es una obra maestra sin duda. La joven retratada viste al modo francés de la época del primer Imperio. Por tanto, el retrato fue pintado en los primeros años del siglo XIX, entre 1800-1805. El pintor ha colocado a la dama sentada en una habitación, mirando fijamente al espectador, vestido blanco, delicado portento de veladuras y transparencias donde Esteve se recrea, brazos enguantados también en blanco, amenizados con el color dorado de la mantilla que la envuelve parcialmente y el lazo también dorado de la cintura. La retratada se recorta sobre un fondo neutro, esbozo del interior de una habitación, roto a la derecha con un sencillo y delicioso florero. Estamos ante una obra maestra del retrato dieciochesco del que desgraciadamente desconocemos la identidad de la retratrada. 102 x 80 cm Óleo sobre lienzo

AGUSTIN ESTEVE Y MARQUES | Portrait of the Second Condesa de Castroterreño, half-length

oil on canvas

AGUSTIN ESTEVE Y MARQUES

AGUSTIN ESTEVE Y MARQUES VALENCIA 1753 - CIRCA 1820 MADRID PORTRAIT OF DON DIEGO DE COLÓN, SEATED IN A STUDY INTERIOR inscribed on the letter: Al S. D./ Diego Colon oil on canvas, unlined 157.5 by 104.8 cm.; 62 by 41 1/4 in.

Attributed to Agustin Esteve y Marques Portrait of a Lady with a Blue Hat, 1798

Attributed to Agustin Esteve y Marques Portrait of a Lady with a Blue Hat, 1798 Bears signature Agn Esteve and date 1798 (rc) Oil on canvas 23 1/2 x 17 3/4 inches (87.6 x 66 cm)

Agustin Esteve y MarquesValencia 1753 - circa 1820 Madrid

Agustin Esteve y Marques Valencia 1753 - circa 1820 Madrid , Portrait of a Young Woman Holding Two Roses

oil on canvas