José Estruch Paintings & Artwork for Sale | José Estruch Art Value Price Guide

Sep. 14, 2023
ANTONIO JOSÉ ESTRUCH MARTÍNEZ (Valencia, 1835 - 1907). 'Tobias and Angel', 1887. Oil on table. Signed in the lower left corner. Signed and dated on the back.
Est: €1,200 - €1,400
ANTONIO JOSÉ ESTRUCH MARTÍNEZ (Valencia, 1835 - 1907). "Tobias and the Angel", 1887. Oil on panel. Signed in the lower left corner. Signed and dated on the back. Size: 27 x 20 cm, 42 x 35.5 cm (frame). Situated in a landscape, two figures appear in the foreground: a winged, luxuriously dressed figure and, next to him, a young man in more humble clothes. The painting shows the moment before Tobias, following the angel's instructions, prepares to cut out the heart and entrails of a huge fish to cure his father's blindness (Book of Tobit: VII, 15). According to the biblical passage, the scene in which Tobias and Raphael stop at Lake Tiberias, where Tobias catches the fish that will cure his father's blindness, takes place at sunset. And it is precisely the fishing event that is depicted in most paintings, this one being somewhat exceptional in that it does not depict the fish or the river, but rather the moment beforehand. The golden light of the sunset can be appreciated, reflected in the left area of the composition, where the landscape is open to the horizon. Aesthetically, the clarity of the tones used by the artist, who works with a range of pastel colours, as can be seen in the cloak of Saint Raphael. The work is also notable for its smooth, harmonious features, which indicate that it is a 19th-century aesthetic. The author of the work is José Estruch, who trained at the Academy of San Carlos, completing his studies in Italy, where he travelled after finishing his Fine Arts degree in order to find a more international and cosmopolitan training. It was there that Estruch copied paintings by great Renaissance masters such as Leonardo da Vinci, Dürer and Raphael, among others. This trip to Italy led to a situation in which he did not quite define his style and this resulted in an even more solitary character. Even so, he continued to copy "Madonnas" by Raphael. In 1877, he won a silver medal with his "Guillem de Vinatea", which prompted him to seek popularity outside Valencia. He travelled to Madrid, where a year later he spontaneously painted "17 cabezas en los urinarios del Buen Retiro de Madrid" (17 heads in the urinals of the Buen Retiro in Madrid), in which he depicted the vices and virtues of society. Unfortunately, Estruch decided not to confess to being the author. He devoted his time to religious works and commissions, as well as working mainly on portraits. Around 1864, he continued to produce works on religious themes inspired by the Renaissance artist Juan de Juanes, including a Saviour, an oil painting on panel that is kept in the Museo Nacional del Prado although it came from the Church of Fuente la Higuera in Valencia, and a Holy Family, also oil on panel, which is now in Huesca. The painter was forced to remain in Valencia and work in this artistic style as he had not yet found his own personal style. Three years later, at the age of 32, Estruch discovered Goya's engravings and was surprised to see those carefree representations, as well as appreciating the Aragonese painter's courageous way of expressing indignation, this interior scene being an example of his influence. In the years that followed he continued to take on numerous portrait commissions while drawing and admiringly capturing the Goyaesque style he had come to know in the famous engravings.
Setdart Auction House
Jul. 04, 2023
ANTONIO JOSÉ ESTRUCH MARTÍNEZ (Valencia, 1835 - 1907). "Santa Maria Egipciaca", 1859. Oil on canvas. Signed and dated on the back.
Est: €6,000 - €6,500
ANTONIO JOSÉ ESTRUCH MARTÍNEZ (Valencia, 1835 - 1907). "Santa María Egipciaca", 1859. Oil on canvas. Signed and dated on the back. Size: 89 x 73 cm, 103 x 87 cm (frame). The work represents a female bust portrait. The woman is seated, with her hands in an attitude of resignation, looking with half-open eyes and a sorrowful and penitent face with a lost look. Due to attributes such as the skull and the crucifix, she can be identified with Saint Maria Egipciaca. Saint Maria Egiptiaca (ca. 344 - ca. 421) is venerated as the patron saint of penitent women, especially in the Coptic Church, but also in the Catholic, Orthodox and Anglican Churches. The main source of information about her is the "Vita" written by Sophronius, Patriarch of Jerusalem, in the 6th century. She was born in Egypt, and at the age of twelve she went to Alexandria, where she led a dissolute life, according to some authors, devoting herself to prostitution. However, Sophronius states that she often refused to accept the money offered for her sexual favours, driven only by "insatiable desire and irrepressible passion". After seventeen years, Mary travelled to Jerusalem for the feast of the Exaltation of the Holy Cross, driven by the desire to meet lustful pilgrims. There, however, as she tried to enter the Church of the Holy Sepulchre, an invisible force prevented her from doing so. Aware that this had happened because of her impurity, she felt a strong sense of remorse, and seeing an icon of the Theotokos outside the church, she prayed for forgiveness and promised to renounce the world, consecrating herself to the ascetic life. After this, he tried again to enter the church, and was allowed to do so. After receiving communion, she went into the desert and lived there for the rest of her life as a hermit. According to legend, she took with her only three loaves of bread (symbol of the Eucharist), and lived on what she found in nature. The author of the work, José Estruch, trained at the Academy of San Carlos, completing his studies in Italy, where he travelled after finishing his Fine Arts degree in order to find a more international and cosmopolitan training. It was there that Estruch copied paintings by great Renaissance masters such as Leonardo da Vinci, Dürer and Raphael, among others. This trip to Italy led to a situation in which he did not quite define his style and this resulted in an even more solitary character. Even so, he continued to copy "Madonnas" by Raphael. In 1877, he won a silver medal with his "Guillem de Vinatea", which prompted him to seek popularity outside Valencia. He travelled to Madrid, where a year later he spontaneously painted "17 cabezas en los urinarios del Buen Retiro de Madrid" (17 heads in the urinals of the Buen Retiro in Madrid), in which he depicted the vices and virtues of society. Unfortunately, Estruch decided not to confess to being the author. He devoted his time to religious works and commissions, as well as working mainly on portraits. Around 1864, he continued to produce works on religious themes inspired by the Renaissance artist Juan de Juanes, including a Saviour, an oil painting on panel that is kept in the Museo Nacional del Prado although it came from the Church of Fuente la Higuera in Valencia, and a Holy Family, also oil on panel, which is now in Huesca. The painter was forced to remain in Valencia and work in this artistic style as he had not yet found his own personal style. Three years later, at the age of 32, Estruch discovered Goya's engravings and was surprised to see those carefree representations, as well as appreciating the Aragonese painter's courageous way of expressing indignation, this interior scene being an example of his influence. In the years that followed he continued to take on numerous portrait commissions while drawing and admiringly capturing the Goyaesque style he had come to know in the famous engravings.
Setdart Auction House
Sep. 30, 2021
ANTONIO JOSE ESTRUCH (1838 / 1907) "St. Vincent Ferrer as the Angel of the Apocalypse", 1893
Est: €150 - €200
Signed and dated on the back "José Es/truch year/1893". . Oil on board..17 x 9 cm.
Ansorena
Jul. 20, 2021
ANTONIO JOSE ESTRUCH (1838 / 1907) "Sacred Heart of Jesus" 1891
Est: €1,500 - €3,000
Signed in the lower left corner; on the back signed and dated, and with sketch of Dolorosa. . Oil on canvas
Ansorena
Jun. 29, 2021
JOSÉ ANTONIO ESTRUCH MARTÍNEZ - Waiter smiling
Est: -
JOSÉ ANTONIO ESTRUCH MARTÍNEZ Sant Joan de l´Énova 1835 - La Pobla Llarga 1907 Young man smiling Charcoal drawing Signed Measurements 400 x 315 mm
Subastas Segre
Jun. 29, 2021
JOSÉ ANTONIO ESTRUCH MARTÍNEZ - Woman with turban
Est: -
JOSÉ ANTONIO ESTRUCH MARTÍNEZ Sant Joan de l´Énova 1835 - La Pobla Llarga 1907 Woman with a turban Charcoal drawing Signed Measurements 400 x 315 mm
Subastas Segre
Mar. 31, 2016
Spanish Character Painting - Antonio Jose Estruch
Est: $4,000 - $6,000
Antonio Jose Estruch Martinez (Spanish) "Amor, Furor, y Terror" ca. 1870s to 1880s CE. A large, signed oil painting on canvas by the Spanish artist Antonio Jose Estruch Martinez (b. 1835, d. 1907) depicting a montage of nineteen character portraits presenting a range of dramatic expressions. The composition is signed "Estruch" in red the lower right corner and titled "Amor, Furor, y Terror" in the lower left corner. The palette presents extreme contrasts of light and dark, a model of pronounced chiaroscuro. The passionate visages are adeptly modeled and significantly close to the picture plane, resulting in a strong, spirited composition. One may discern influences of Daumier, Gericault, and Hogarth in his work. Estruch was the son of the artist known as Domingo Estruch y Jordan (1796-1832). He studied with Francisco Martinez at the Academy of San Carlos de Valencia, and was also educated in Madrid and Italy. Early in his career, he painted copies of famous masterworks and was under the patronage of Don Vinvente Moroder of Valencia. In time he began painting his own religious paintings and portraits, among his best known was his "Last Supper" and his portrait of the Archbishop of Valencia (1880). Estruch was also lauded for his improvised charcoal drawings, and this painting draws upon the artist's early work in caricature. According to Begoña Marcilla Jordá who published a conservation study of Jose Estruch's "Descent from the Cross," Jose Estruch, while walking through the gardens of Buen Retiro in Madrid in 1871, decided to leave a sample of his grotesque caricatures in the bathroom. This exposure, oddly enough, resulted in a great deal of popularity and admiration for the paintings that Estruch called "Cabezas" or heads. They were drawings that presented immense expression, and the Madrileno society embraced them. His "Cabezas" became quite popular and fashionable. Even the Duke of Tamames was impressed and became Estruch's patron. However, back in his home of Valencia, others were less impressed. His grotesque caricatures incited angry responses due to their vulgarity and the rapidity with which he could created the charcoal drawings. The critics wrote about the painter incessantly and some described his works as las diabólicas originalidades de Estruch (Estruch's perverse or diabolic originals). Of course bold choices often incise strong criticism. To my eye this is a painting that displays wonderful artistry and technique. What's more, planning out the intricate composition no doubt required immense skill. A rare find for any avid art collector who appreciates the overlaps between visual art, psychology, and theater! Size: painting itself measures 40" W x 29.25" H (101.6 cm x 74.3 cm); 43.75"x 33" (111.1 x 83.8 cm) framed Provenance: Ex-private P. Nikitovich collection, CO; acquired in the 1980s. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #112972
Artemis Gallery
Jun. 24, 2012
Antonio José ESTRUCH (1838-1907). Conversations. Deux fusains sur papier marouflé sur carton signés. 53 x 76 cm (Petites déchirures).
Est: €150 - €200
Antonio José ESTRUCH (1838-1907). Conversations. Deux fusains sur papier marouflé sur carton signés. 53 x 76 cm (Petites déchirures).
Hôtel des Ventes d'Enghien
Jun. 24, 2012
Antonio José ESTRUCH (1838-1907). Les retrouvailles. Fusain sur papier marouflé sur carton signé en bas à droite. 53 x 75 cm (Petites déchirures).
Est: €100 - €150
Antonio José ESTRUCH (1838-1907). Les retrouvailles. Fusain sur papier marouflé sur carton signé en bas à droite. 53 x 75 cm (Petites déchirures).
Hôtel des Ventes d'Enghien
Jun. 24, 2012
Antonio José ESTRUCH (1838-1907). Quatre femmes. Fusain sur papier marouflé sur carton signé en haut à gauche. 53 x 76 cm (Petites déchirures).
Est: €100 - €150
Antonio José ESTRUCH (1838-1907). Quatre femmes. Fusain sur papier marouflé sur carton signé en haut à gauche. 53 x 76 cm (Petites déchirures).
Hôtel des Ventes d'Enghien
Jun. 24, 2012
Antonio José ESTRUCH (1838-1907). Les jeunes mariés. Fusain sur papier marouflé sur carton signé en haut à gauche. 52 x 75 cm (Petites déchirures).
Est: €100 - €150
Antonio José ESTRUCH (1838-1907). Les jeunes mariés. Fusain sur papier marouflé sur carton signé en haut à gauche. 52 x 75 cm (Petites déchirures).
Hôtel des Ventes d'Enghien
Jun. 24, 2012
Antonio José ESTRUCH (1838-1907). Quatre moines. Fusain sur papier marouflé sur carton signé en bas à gauche. 52 x 76 cm (Petites déchirures).
Est: €100 - €150
Antonio José ESTRUCH (1838-1907). Quatre moines. Fusain sur papier marouflé sur carton signé en bas à gauche. 52 x 76 cm (Petites déchirures).
Hôtel des Ventes d'Enghien