Anselmo Guinea Sold at Auction Prices

ANSELMO GUINEA AND UGALDE - Portrait of a lady

ANSELMO GUINEA AND UGALDE Bilbao 1854 - 1906 Portrait of a lady. 1884 Oil on panel Signed and dated in Rome Measurements 52 x 28 cm

ANSELMO GUINEA Y UGALDE - Italian fishermen celebrating Asuncion Day

ANSELMO GUINEA Y UGALDE Bilbao (1855-1906) Italian fishermen celebrating the day of the Assumption Oil on canvas Signed Measurements 44.5 x 80 cm

ANSELMO DE GUEZALA Y GUINEA - "Arrantzales"

"Arrantzales"

ANSELMO DE GUEZALA Y GUINEA - "Romería"

"Romería"

ANSELMO DE GUEZALA Y GUINEA - "Sardineras"

"Sardineras"

ANSELMO GUINEA Y UGALDE (Bilbao, 1854 - 1906)

Recto: dancer. Verso: two figures embracing in flight Recto: charcoal and white lead on brown paper. Verso: pencil on paper, cm. 40x51,5 PROVENANCE: Private collection, central-Italy.

ANSELMO GUINEA Y UGALDE (Abando, Bilbao, 1854 - 1906). "Odalisque", Rome, 1882. Watercolor on paper. Signed, located and dated in the upper left corner.

ANSELMO GUINEA Y UGALDE (Abando, Bilbao, 1854 - 1906). "Odalisque", Rome, 1882. Watercolour on paper. Signed, located and dated in the upper left corner. Work exhibited in the retrospective of the artist held at the Bilbao Fine Arts Museum in 2012. Work catalogued in "Anselmo Guinea (1855-1906). The origins of modernity in Basque painting", p. 100. Measurements: 66 x 100 cm; 95 x 130 cm (frame). Anselmo Guinea painted "Odalisque" during his stay in Rome, where he perfected and studied ancient techniques after having trained in the studio-workshop of Federico de Madrazo. With its almost calligraphic outline and diaphanous, transparent colours, it is one of the few works with an Orientalist theme that he produced. Almost as if playing with the viewer, the young woman appears barefoot, covered with rich fabrics from her ankles to her head, while insinuating just enough not to escape her and her rapturous sensuality. She lies on a harem bed, warming herself with the smoking bronze brazier in front of her, in an ostentatious interior with vases and other decorative arts depicted in detail. She assumes a fully dynamic pose in which one of her arms is raised to her head. Formally, the scene is filtered by a chromaticism based on subtle transparencies and delicate contrasts, carefully nuanced and worked in detail to enhance the volumetric expressiveness of the woman's body. Anselmo Guinea trained at the Special School of Painting, Sculpture and Engraving in Madrid and in the studio-workshop of Federico de Madrazo. On returning to the Basque Country in 1876, he was given the chair of drawing at the School of Arts and Crafts, a post he held until his death. Later, in 1881, he travelled to Rome to perfect his skills and study ancient techniques. In 1890 he travelled to Paris in the company of Manuel Losada, where he attended classes at the Gerveix academy, thus coming into contact with the Impressionist trends that were then gaining ground in the French capital. He became acquainted at first hand with Impressionism, but also with Pointillism and Art Nouveau, and from then on his painting took a turn, becoming more luminous and fluid. Guinea held exhibitions of his work in that city (1882, 1894) and in Madrid. He also took part in the International Exhibition in Barcelona in 1890 and in the one organised by the Municipal Museum of the same city in 1898, being awarded the second medal in the latter. He took part in the National Exhibitions of Fine Arts, winning third medals in the 1884 and 1899 editions. He was also awarded a gold medal at the Provincial Exhibition of Vizcaya held in Bilbao in 1882. He worked in watercolour, easel and mural painting, and in the latter discipline he decorated several public buildings, such as the Vizcaya Provincial Council, and private residences such as the one in Sota (Ibaigane). A pioneer in Spain of the new pictorial styles that were being developed abroad, Guinea is one of the most outstanding patriarchs of modern Basque painting. He was a magnificent draughtsman, and also mastered foreshortening, diaphanous and transparent colours and the serene, almost melancholic expressions of the Biscayan people he portrayed. His contribution to the renewal of Basque genre painting and landscape painting was decisive; despite the fact that industrialisation was beginning to alter the landscape, Guinea remained attached to a ruralist vision, for which he found types and motifs in the idyllic valley of Arratia. At the turn of the century, his friendship with various local collectors, and above all with the shipowner Ramón de la Sota, enabled him to broaden his thematic range with marine scenes and also to explore the artistic possibilities of stained glass in a modernist vein. In 2012, the Bilbao Fine Arts Museum dedicated the first monographic exhibition of his work to him. He is currently mainly represented in that museum, as well as in the Fine Arts Museum of Álava, the Casa de Juntas in Gernika, the Palacio Foral de Bilbao and other public and private collections.

ANSELMO GUINEA Y UGALDE (Abando, Bilbao, 1854 - 1906). "Odalisque", Rome, 1882. Watercolor on paper. Signed, located and dated in the upper left corner.

ANSELMO GUINEA Y UGALDE (Abando, Bilbao, 1854 - 1906). "Odalisque", Rome, 1882. Watercolour on paper. Signed, located and dated in the upper left corner. Work exhibited in the retrospective of the artist held at the Bilbao Fine Arts Museum in 2012. Work catalogued in "Anselmo Guinea (1855-1906). The origins of modernity in Basque painting", p. 100. Measurements: 66 x 100 cm; 95 x 130 cm (frame). Anselmo Guinea painted "Odalisque" during his stay in Rome, where he perfected and studied ancient techniques after having trained in the studio-workshop of Federico de Madrazo. With its almost calligraphic outline and diaphanous, transparent colours, it is one of the few works with an Orientalist theme that he produced. Almost as if playing with the viewer, the young woman appears barefoot, covered with rich fabrics from her ankles to her head, while insinuating just enough not to escape her and her rapturous sensuality. She lies on a harem bed, warming herself with the smoking bronze brazier in front of her, in an ostentatious interior with vases and other decorative arts depicted in detail. She assumes a fully dynamic pose in which one of her arms is raised to her head. Formally, the scene is filtered by a chromaticism based on subtle transparencies and delicate contrasts, carefully nuanced and worked in detail to enhance the volumetric expressiveness of the woman's body. Anselmo Guinea trained at the Special School of Painting, Sculpture and Engraving in Madrid and in the studio-workshop of Federico de Madrazo. On returning to the Basque Country in 1876, he was given the chair of drawing at the School of Arts and Crafts, a post he held until his death. Later, in 1881, he travelled to Rome to perfect his skills and study ancient techniques. In 1890 he travelled to Paris in the company of Manuel Losada, where he attended classes at the Gerveix academy, thus coming into contact with the Impressionist trends that were then gaining ground in the French capital. He became acquainted at first hand with Impressionism, but also with Pointillism and Art Nouveau, and from then on his painting took a turn, becoming more luminous and fluid. Guinea held exhibitions of his work in that city (1882, 1894) and in Madrid. He also took part in the International Exhibition in Barcelona in 1890 and in the one organised by the Municipal Museum of the same city in 1898, being awarded the second medal in the latter. He took part in the National Exhibitions of Fine Arts, winning third medals in the 1884 and 1899 editions. He was also awarded a gold medal at the Provincial Exhibition of Vizcaya held in Bilbao in 1882. He worked in watercolour, easel and mural painting, and in the latter discipline he decorated several public buildings, such as the Vizcaya Provincial Council, and private residences such as the one in Sota (Ibaigane). A pioneer in Spain of the new pictorial styles that were being developed abroad, Guinea is one of the most outstanding patriarchs of modern Basque painting. He was a magnificent draughtsman, and also mastered foreshortening, diaphanous and transparent colours and the serene, almost melancholic expressions of the Biscayan people he portrayed. His contribution to the renewal of Basque genre painting and landscape painting was decisive; despite the fact that industrialisation was beginning to alter the landscape, Guinea remained attached to a ruralist vision, for which he found types and motifs in the idyllic valley of Arratia. At the turn of the century, his friendship with various local collectors, and above all with the shipowner Ramón de la Sota, enabled him to broaden his thematic range with marine scenes and also to explore the artistic possibilities of stained glass in a modernist vein. In 2012, the Bilbao Fine Arts Museum dedicated the first monographic exhibition of his work to him. He is currently mainly represented in that museum, as well as in the Fine Arts Museum of Álava, the Casa de Juntas in Gernika, the Palacio Foral de Bilbao and other public and private collections.

ANSELMO GUINEA Y UGALDE (Abando, Bilbao, 1854 - 1906). "Odalisque", Rome, 1882. Watercolour on paper. Signed, located and dated in the upper left corner.

ANSELMO GUINEA Y UGALDE (Abando, Bilbao, 1854 - 1906). "Odalisque", Rome, 1882. Watercolour on paper. Signed, located and dated in the upper left corner. Work exhibited in the retrospective of the artist held at the Bilbao Fine Arts Museum in 2012. Size: 66 x 100 cm; 95 x 130 cm (frame). Anselmo Guinea produced "Odalisca" during his stay in Rome, where he perfected and studied ancient techniques after having trained in the studio-workshop of Federico de Madrazo. With its almost calligraphic outline and diaphanous, transparent colours, it is one of the few works with an Orientalist theme that he produced. Almost as if playing with the viewer, the young woman appears barefoot, covered with rich fabrics from her ankles to her head, while insinuating just enough not to escape her and her rapturous sensuality. She lies on a harem bed, warming herself with the smoking bronze brazier in front of her, in an ostentatious interior with vases and other decorative arts depicted in detail. She assumes a fully dynamic pose in which one of her arms is raised to her head. Formally, the scene is filtered by a chromaticism based on subtle transparencies and delicate contrasts, carefully nuanced and worked in detail to enhance the volumetric expressiveness of the woman's body. Anselmo Guinea trained at the Special School of Painting, Sculpture and Engraving in Madrid and in the studio-workshop of Federico de Madrazo. On returning to the Basque Country in 1876, he was given the chair of drawing at the School of Arts and Crafts, a post he held until his death. Later, in 1881, he travelled to Rome to perfect his skills and study ancient techniques. In 1890 he travelled to Paris in the company of Manuel Losada, where he attended classes at the Gerveix academy, thus coming into contact with the Impressionist trends that were then gaining ground in the French capital. He became acquainted at first hand with Impressionism, but also with Pointillism and Art Nouveau, and from then on his painting took a turn, becoming more luminous and fluid. Guinea held exhibitions of his work in that city (1882, 1894) and in Madrid. He also took part in the International Exhibition in Barcelona in 1890 and in the one organised by the Municipal Museum of the same city in 1898, being awarded the second medal in the latter. He took part in the National Exhibitions of Fine Arts, winning third medals in the 1884 and 1899 editions. He was also awarded a gold medal at the Provincial Exhibition of Vizcaya held in Bilbao in 1882. He worked in watercolour, easel and mural painting, and in the latter discipline he decorated several public buildings, such as the Vizcaya Provincial Council, and private residences such as the one in Sota (Ibaigane). A pioneer in Spain of the new pictorial styles that were being developed abroad, Guinea is one of the most outstanding patriarchs of modern Basque painting. He was a magnificent draughtsman, and also mastered foreshortening, diaphanous and transparent colours and the serene, almost melancholic expressions of the Biscayan people he portrayed. His contribution to the renewal of Basque genre painting and landscape painting was decisive; despite the fact that industrialisation was beginning to alter the landscape, Guinea remained attached to a ruralist vision, for which he found types and motifs in the idyllic valley of Arratia. At the turn of the century, his friendship with various local collectors, and above all with the shipowner Ramón de la Sota, enabled him to broaden his thematic range with marine scenes and also to explore the artistic possibilities of stained glass in a modernist vein. In 2012, the Bilbao Fine Arts Museum dedicated the first monographic exhibition of his work to him. He is currently mainly represented in that museum, as well as in the Fine Arts Museum of Álava, the Casa de Juntas in Gernika, the Palacio Foral de Bilbao and other public and private collections.

ANSELMO GUINEA Y UGALDE "Muchacha con paragüas" ANSELMO GUINEA Y UGALDE "Muchacha con paragüas"

"Muchacha con paragüas" ANSELMO GUINEA Y UGALDE "Muchacha con paragüas"

ANSELMO GUINEA Y UGALDE "Huerta" ANSELMO GUINEA Y UGALDE "Huerta"

"Huerta" ANSELMO GUINEA Y UGALDE "Huerta"

Anselmo Guinea y Ugalde Bilbao 1854 - 1906 "Misa mayor" (o "El coro") Óleo sobre lienzo

Anselmo Guinea y Ugalde Bilbao 1854 - 1906 "Misa mayor" (o "El coro") Óleo sobre lienzo Firmado y fechado en 1898. Exposición y bibliografía: "IV Exposición de Bellas Artes e Industrias Artísticas", Palacio de Bellas Artes, Barcelona, 1898, p. 21 y 75, nº cat. 381 (reproducido). Bibliografía: L. C., ''Exposición de Bellas Artes. V. Sala quinta'', "La Dinastía", Barcelona, 1-7-1898, p. 1 ("Anselmo Guinea con el título de ''Misa mayor'' presenta el interior de una iglesia pintado con notable acierto y con la valentía y sello de individualidad que le distinguen y le hemos visto en otros cuadros"); y Mikel Lertxundi Galiana, "Anselmo Guinea (1855-1906). Los orígenes de la modernidad en la pintura vasca", Bilbao, Museo de Bellas Artes de Bilbao, 2012, p. 235 93x161,5 cm

Watercolor, Anselmo Guinea y Ugalde

Anselmo Guinea y Ugalde (Spanish, 1854-1906), Battle Scene with Soldier, 1882, watercolor, signed, dated and inscribed "ROMA" lower left, sight: 30"h x 21.25"w

Anselmo Guinea y Ugalde Bilbao 1854 - 1906 Marineros de Lequeitio Acuarela sobre papel

Anselmo Guinea y Ugalde Bilbao 1854 - 1906 Sailors at Lequeitio Watercolour on paperSigned, located and dated in 1887. On the back of the frame, old label of the framer Delclaux y Cª of Bilbao. Provenance: collection of Álvaro Caro Széchenyi, marqués de la Romana (Madrid 1856 - San Sebastián 1923), San Sebastián 35.5x50.5 cm Anselmo Guinea y Ugalde Bilbao 1854 - 1906 Marineros de Lequeitio Acuarela sobre papel Firmada, localizada y fechada en 1887. En el reverso del marco, antigua etiqueta del enmarcador Delclaux y Cª de Bilbao. Procedencia: colección de Álvaro Caro Széchenyi, marqués de la Romana (Madrid 1856 - San Sebastián 1923), San Sebastián 35,5x50,5 cm

Anselmo Guinea y Ugalde Bilbao 1854 - 1906 Playa de Lequeitio Acuarela sobre papel

Anselmo Guinea y Ugalde Bilbao 1854 - 1906 The Beach at Lequeitio Watercolour on paperSigned, located and dated in 1887. On the back of the frame, old label of the framer Delclaux y Cª of Bilbao. Provenance: collection of de Álvaro Caro Széchenyi, marqués de la Romana (Madrid 1856 - San Sebastián 1923), San Sebastián 35.5x50.5 cm Anselmo Guinea y Ugalde Bilbao 1854 - 1906 Playa de Lequeitio Acuarela sobre papel Firmada, localizada y fechada en 1887. En el reverso del marco, antigua etiqueta del enmarcador Delclaux y Cª de Bilbao. Procedencia: colección de Álvaro Caro Széchenyi, marqués de la Romana (Madrid 1856 - San Sebastián 1923), San Sebastián 35,5x50,5 cm

Anselmo de Guinea (Italian, 1855-1906) Reclining odalisque

Reclining odalisque signed and dated 'Guinea Roma 82' (upper left) watercolour 68 x 98.5cm (26 3/4 x 38 3/4in).

ANSELMO DE GUINEA (ITALIAN 1855-1906) DOLCE FAR NIENTE 66cm x 100cm (26in x 39.5in)

ANSELMO DE GUINEA (ITALIAN 1855-1906) DOLCE FAR NIENTE Signed, inscribed and dated 'Roma ' 82', watercolour 66cm x 100cm (26in x 39.5in)

Courting on the Capri shore

Anselmo De Guinea (Italian, 1855-1906) Courting on the Capri shore signed 'A Guinea' (lower left) oil on canvas 12 3/8 x 16 3/8 in. (31.5 x 41.5 cm.)

Anselmo de Guinea (Italian, 1855-1906)

Women on a Terrace, Capri signed, inscribed and dated 'A Guinea Roma-87' (lower right) oil on canvas 29 1/2 x 44 in. (75 x 111.8 cm.) Painted in 1887

ANSELMO DE GUINEA (Italian 1855-1906) 'THE PET GOAT'