José Villegas y Cordero Paintings & Artwork for Sale | José Villegas y Cordero Art Value Price Guide

Oct. 23, 2024
José Villegas Cordero (Seville 1848 - Madrid 1921) “Veiled Lady”
Est: €2,500 - €3,000
José Villegas Cordero (Seville 1848 - Madrid 1921) “Veiled Lady” Oil on canvas Signed in Rome 52 x 41 cm 2.500 - 3.000 €
Greco Subastas
Jun. 25, 2024
JOSE VILLEGAS CORDERO Seville (1848) / Madrid (1921) "The blind musician"
Est: €675 - €900
Watercolor on paper Signed and located "Seville" in the lower left corner Measurements: 32 x 22 cm
Ansorena
Jun. 11, 2024
JOSÉ VILLEGAS Y CORDERO (Seville, 1848 - Madrid, 1921). "Female portrait". Watercolor on paper glued to cardboard. Signed in the lower right corner.
Est: €500 - €600
JOSÉ VILLEGAS Y CORDERO (Seville, 1848 - Madrid, 1921). "Female portrait". Watercolor on paper glued to cardboard. Signed in the lower right corner. Measurements: 35,5 x 28 cm. José Villegas began his apprenticeship with José María Romero, under whose direction he studied for two years. Then he entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Pequeña filósofa" to the Sevillian Exposition of 1860, which was sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Niñas pidiendo limosna", highly praised by the critics, and "Colón en la Rábida", acquired by the Dukes of Montpensier. He then traveled to Madrid, where he went to the studio of Federico de Madrazo. There he befriended Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant color. Seduced by the orientalist work of Fortuny, Villegas returned to Seville and visited Morocco, from where he brought back some paintings and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended night classes at the Chigi Academy and shared his studio with other colleagues, until he moved to Rosales' workshop. His work, at this time, focused on costumbrista themes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also allowed him to satisfy the demand of an international clientele that, after Fortuny, demanded Arab fantasy themes. Thus, Villegas took advantage of his sketches taken in Morocco, without forgetting the themes of genre and "casacones". In the mid-seventies he returned to Seville and visited Morocco again. Back in Rome from 1876, he picks up the torch bequeathed by Fortuny and becomes the most admired and quoted painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes, and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. Also, in the mid-eighties he focused on paintings directly inspired by Italian Renaissance art, his culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited with great success in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible framework for the setting of his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Prado Museum and in 1903 academician of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastian and the Collection of the Bank of Spain, among other important institutions, both public and private.
Setdart Auction House
Jun. 11, 2024
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Portrait of a girl. Oil on canvas. Signed in the lower right corner.
Est: €1,000 - €1,200
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Portrait of a girl. Oil on canvas. Signed in the lower right corner. Measurements: 41 x 33 cm; 50 x 42 cm (frame). José Villegas began his apprenticeship with José María Romero, under whose direction he studied for two years. Then he entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Pequeña filósofa" to the Sevillian Exhibition of 1860, which was sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Niñas pidiendo limosna", highly praised by the critics, and "Colón en la Rábida", acquired by the Dukes of Montpensier. He then traveled to Madrid, where he went to the studio of Federico de Madrazo. There he befriended Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant color. Seduced by the orientalist work of Fortuny, Villegas returned to Seville and visited Morocco, from where he brought back some paintings and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended night classes at the Chigi Academy and shared a studio with other artists, until he moved to Rosales' studio. His work, at this time, focused on costumbrista themes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also allowed him to satisfy the demand of an international clientele that, after Fortuny, demanded Arab fantasy themes. Thus, Villegas took advantage of his sketches taken in Morocco, without forgetting the themes of genre and "casacones". In the mid-seventies he returned to Seville and visited Morocco again. Back in Rome from 1876, he picks up the torch bequeathed by Fortuny and becomes the most admired and quoted painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes, and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. Also, in the mid-eighties he focused on paintings directly inspired by Italian Renaissance art, his culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited with great success in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible framework for the setting of his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Prado Museum and in 1903 academician of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastian and the Collection of the Bank of Spain, among other important institutions, both public and private.
Setdart Auction House
Jun. 11, 2024
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). No title. Oil on canvas. Attached certificate issued by Don Ángel Castro. It has faults and losses. Signed in the lower right corner.
Est: €3,500 - €4,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Oil on canvas. Attached certificate issued by Don Ángel Castro. With faults and losses. Signed in the lower right corner. Measurements: 88 x 47 cm. Intimate portrait in which the author collects the effigy of a young girl. The author does not portray the protagonist in the foreground, but moves her figure towards the interior, and partially hides her body behind the furniture. In this way he portrays not only a young girl, but also her innocence, candour and shyness. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work centred on genre subjects, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demands of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting the genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
May. 21, 2024
JOSÉ VILLEGAS CORDERO Seville (1848) / Madrid (1921) "The economics student"
Est: €9,000 - €12,000
Oil on canvas Signed in the lower left corner Measurements: 95.5 x 55.5 cm
Ansorena
Feb. 29, 2024
José Villegas Cordero (Seville, 1848 - Madrid, 1921) "Girl's head with braids"
Est: €2,000 - €2,500
José Villegas Cordero (Seville, 1848 - Madrid, 1921) "Girl's head with braids" Oil on cardboard Signed 31 x 27 cm 2.000 - 2.500 €
Greco Subastas
Nov. 07, 2023
JOSE VILLEGAS CORDERO Seville (1848) / Madrid (1921) "The Barber of Seville", 1913
Est: €3,750 - €5,000
Oil on canvas Signed and dated in the lower left part Measurements: 48.5 x 74 m
Ansorena
Oct. 18, 2023
José Villegas Cordero (Seville, 1848 - Madrid, 1921) "Flowers"
Est: €500 - €700
José Villegas Cordero (Seville, 1848 - Madrid, 1921) "Flowers" Oil on silk Fan leaf Signed 32 x 65 cm 500 - 700 €
Greco Subastas
Oct. 18, 2023
José Villegas Cordero (Seville, 1848 - Madrid, 1921 "Girl in a red dress"
Est: €2,000 - €2,500
José Villegas Cordero (Seville, 1848 - Madrid, 1921 "Girl in a red dress" Oil on canvas Signed 69 x 55 cm 2.000 - 2.500 €
Greco Subastas
May. 24, 2023
JOSÉ VILLEGAS Y CORDERO (SEVILLE 1848-1921 MADRID) The Andalusian Fates oil on canvas 61 5/8 x 56 3/4 in. (156.4 x 144.2 cm.) 75
Est: $60,000 - $80,000
JOSÉ VILLEGAS Y CORDERO (SEVILLE 1848-1921 MADRID) The Andalusian Fates oil on canvas 61 5/8 x 56 3/4 in. (156.4 x 144.2 cm.)
Christie's
May. 18, 2023
José Villegas Cordero (Seville, 1848 - Madrid, 1921) “Young girl with a blue headband”
Est: €3,000 - €4,000
José Villegas Cordero (Seville, 1848 - Madrid, 1921) “Young girl with a blue headband” Oil on canvas 49 x 50 cm 3.000 - 4.000 €
Greco Subastas
Mar. 23, 2023
José Villegas Cordero (Seville, 1848 - Madrid, 1921) "Odalisque"
Est: €4,000 - €5,000
José Villegas Cordero (Seville, 1848 - Madrid, 1921) "Odalisque" Oil on canvas Signed 94 x 135 cm 4.000 - 5.000 €
Greco Subastas
Mar. 23, 2023
José Villegas Cordero (Seville, 1848 - Madrid 1921) "Biarritz"
Est: €900 - €1,200
José Villegas Cordero (Seville, 1848 - Madrid 1921) "Biarritz" Watercolor Signed 25 x 48 cm 900 - 1.200 €
Greco Subastas
Jan. 25, 2023
Jose Villegas y Cordero. Untitled
Est: -
Oil on canvas. Signed and dedicated [to my very dear friend Manuel del Palaci?] in the lower right corner. With paint loss in the lower right corner.
Duran Arte y Subastas
Nov. 08, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). Seville Bridge. Oil on board.
Est: €2,000 - €2,500
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Bridge of Seville". Oil on panel. Attached certificate of authenticity issued by Don Ángel Castro Martin, Doctor of Art History. Stamp on the back. Signed and located (Seville), in the lower right-hand corner. Measurements: 10 x 16 cm; 29 x 35,5 cm (frame). View of the Guadalquivir with the Torre del Oro in the background, this work certified by Don Ángel Martín, shows a small landscape of the city of Seville, which due to its technical characteristics belongs to the eighties. During this period, although Villegas was in Rome, he spent some time in Seville. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Oct. 06, 2022
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). No title. Oil on canvas. Attached certificate issued by Don Ángel Castro. It presents slight repainting and damage in the frame.
Est: €7,000 - €8,000
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Oil on canvas. Attached certificate issued by Don Ángel Castro. It presents slight repainting and damages in the frame. Measurements: 46 x 99 cm; 80 x 133 cm (frame). José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Oct. 06, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). No title. Oil on canvas. Attached certificate issued by Don Ángel Castro. It has faults and losses. Signed in the lower right corner.
Est: €4,000 - €5,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Oil on canvas. Attached certificate issued by Don Ángel Castro. With faults and losses. Signed in the lower right corner. Measurements: 88 x 47 cm. Intimate portrait in which the author collects the effigy of a young girl. The author does not portray the protagonist in the foreground, but moves her figure towards the interior, and partially hides her body behind the furniture. In this way he portrays not only a young girl, but also her innocence, candour and shyness. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work centred on genre subjects, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demands of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting the genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Aug. 31, 2022
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). No title. Oil on canvas. Attached certificate issued by Don Ángel Castro. It presents slight repainting and damage in the frame.
Est: €7,000 - €8,000
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Oil on canvas. Attached certificate issued by Don Ángel Castro. It presents slight repainting and damages in the frame. Measurements: 46 x 99 cm; 80 x 133 cm (frame). José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Aug. 31, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). No title. Oil on canvas. Attached certificate issued by Don Ángel Castro. It has faults and losses. Signed in the lower right corner.
Est: €5,000 - €6,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Oil on canvas. Attached certificate issued by Don Ángel Castro. With faults and losses. Signed in the lower right corner. Measurements: 88 x 47 cm. Intimate portrait in which the author collects the effigy of a young girl. The author does not portray the protagonist in the foreground, but moves her figure towards the interior, and partially hides her body behind the furniture. In this way he portrays not only a young girl, but also her innocence, candour and shyness. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work centred on genre subjects, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demands of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting the genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Jul. 13, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). "Child Portrait". Oil on canvas. Attach certificate of Don Ángel Castro. It presents slight restorations. It has wax seals on the back. Signed in the middle left area.
Est: €1,500 - €2,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Child Portrait". Oil on canvas. Attached certificate of Don Ángel Castro. It has slight restorations. It has sealing wax seals on the back. Signed in the intermediate left zone. Measurements: 58 x 48 cm; 70 x 58 cm (frame). The composition represents an infantile model whose face, of wide faces, stands out on the opaque background, showing the fully delineated outline. The author creates a simple and balanced image with the right chromatic notes that add volume to the work. It should be mentioned that the oval format was characteristic of Villegas's work, which he sometimes used for his most direct relatives, as in the case of the portrait of his sister, Eloísa Villegas. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Jul. 13, 2022
JOSE VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). Biarritz beach, c.1910. Watercolor on paper. Attached certificate issued by Don Ángel Castro. Signed in the lower left corner.
Est: €1,500 - €2,000
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Biarritz Beach", c.1910. Watercolour on paper. Attached certificate issued by Don Ángel Castro. Signed in the lower left corner. Measurements: 25 x 48 cm; 39 x 31 cm (passe-partout). Among the various summer trips that Villegas, already director of the Prado Museum, would make along the Cantabrian coast at the beginning of the 20th century, his numerous visits to San Sebastian stand out, a city in which he was very much appreciated and which he would not fail to capture in various compositions, Biarritz and San Juan de Luz being two of his favourite places. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demands of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre themes and "casacones". In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Jul. 13, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). “Villa d´ Este, the 1000 fountains (Rome)”. Watercolor on paper. Attach certificate of Don Ángel Castro. Signed and located in the lower left corner.
Est: €1,500 - €2,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Villa d' Este, the 1000 fountains (Rome)". Watercolour on paper. Attached certificate issued by Don Ángel Castro. Signed and located in the lower left corner. Measurements: 35 x 53 cm; 38,5 x 57 cm (frame). The artists of the Spanish colony in Rome, Villegas among them, finding in the gardens of Villa d'Este in Tivoli, one of the favourite places to escape during the summer. in this case the author represents the fountain of the hundred spouts, which he had already painted in a work of the year 1896. although in this case he does not introduce any human presence, but focuses his attention on the landscape. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Jul. 13, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). "Villa d'Este". Watercolor on paper. Attach certificate of Don Ángel Castro. It has a stamp on the back. Signed and located in the lower left corner.
Est: €1,500 - €2,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Villa d' Este". Watercolour on paper. Attached certificate issued by Don Ángel Castro. With stamp on the back. Signed and located in the lower left corner. Measurements: 54 x 35,5 cm. In this work the artist presents us with a frontal view of the palace of the villa d'Este, situated in Tivoli, on the outskirts of Toma. This viewpoint offered by the artist allows the dense and slender trees that frame the main path surrounding the staircase to be realised, treating the architectural construction as a backdrop and giving great prominence to the landscape. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Jun. 09, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). Seville Bridge. Oil on board.
Est: €3,000 - €4,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Bridge of Seville". Oil on panel. Attached certificate of authenticity issued by Don Ángel Castro Martin, Doctor of Art History. Stamp on the back. Signed and located (Seville), in the lower right-hand corner. Measurements: 10 x 16 cm; 29 x 35,5 cm (frame). View of the Guadalquivir with the Torre del Oro in the background, this work certified by Don Ángel Martín, shows a small landscape of the city of Seville, which due to its technical characteristics belongs to the eighties. During this period, although Villegas was in Rome, he spent some time in Seville. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Jun. 09, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). "Portrait Pepe, nephew of the painter", 1895. Oil on canvas. Preserves period frame. Signed, dated and titled in the lower area.
Est: €7,500 - €8,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Portrait of Pepe, the painter's nephew, 1895. Oil on canvas. It retains its period frame. Signed, dated and titled in the lower area. Measurements: 135,5 x 70 cm; 164 x 98,5 cm (frame). Child portrait in which the author presents us with a spontaneous image of a young man, who, as can be seen in the dedication, is the author's own nephew. The softening of the features, together with the posture of the subject, show us the closeness between the painter and his nephew. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work centred on genre subjects, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
May. 11, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). “Urban landscape”. Watercolor on paper on cardboard. Signed in the lower right corner.
Est: €900 - €1,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Urban landscape". Watercolour on paper adhered to cardboard. Signed in the lower right corner. Measurements: 36 x 26 cm. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. Then he entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demands of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre themes and "casacones". In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
May. 11, 2022
JOSÉ VILLEGAS Y CORDERO (Seville, 1848 – Madrid, 1921). "Study of anatomy", 1887. Oil on canvas. Signed and dated in the lower left corner.
Est: €2,500 - €3,000
JOSÉ VILLEGAS Y CORDERO (Seville, 1848 - Madrid, 1921). "Study of Anatomy", 1887. Oil on canvas. Signed and dated in the lower left corner. Measurements: 90 x 60 cm; 108 x 78 cm (frame). This type of scenes were common during the 19th century, in which there was a strong academicist influence in the artistic development of the country. In this work the author presents us with the nude body of an old man. It is represented from a sober perspective, showing the protagonist with great dignity, although in a certain way idealised, as his body does not correspond in its totality to that of an old man. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Pequeña filósofa ("Little Philosopher") to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
May. 11, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). "Portrait of a young man". Oil on canvas. Attached certificate issued by Mr. Ángel Castro. Signed in the lower left corner.
Est: €1,500 - €2,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Portrait of a young man. Oil on canvas. Attached certificate issued by Don Ángel Castro. Signed in the lower left corner. Measurements: 67 x 55 cm. In this work the author not only presents the spectator with a delicately worked portrait, but also manages to capture the psychological essence of the protagonist in an exceptional way. The features of the young woman's face, her pearly skin and her dress indicate that she is a lady of high society, although her restless gaze and her half-open mouth describe a young beginner, who has left her adolescence behind. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
May. 11, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). "Rome". Watercolor on paper. It presents breaks in the lower list of the frame. Signed in the lower right corner.
Est: €1,500 - €2,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Roma". Watercolour on paper. There are tears in the lower part of the frame. Signed in the lower right corner. Measurements: 39 x 53,5 cm. We see in this canvas a scene set in the 18th century, worked with a great attention to detail, a marked descriptive spirit and a special care of the play of light and the qualities of the canvases, following the masters of that century. This type of image, with a hedonistic, cheerful and colourful theme, worked with a precious and descriptive style, was common during the second half of the 19th century, within the context of historicism. They belong to the genre known as "de casacones" in Spain and "tableautin" in France, characterised by works inspired by an idealised past, often from the 17th and 18th centuries, normally in small or medium format and intended for an eminently bourgeois clientele. One of the first examples of this genre was Mariano Fortuny's "Il Contino", dated 1861 and now in the Museo Nacional de Arte de Cataluña. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
May. 11, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). “View of the Campo de las Maravillas square in Venice”. Watercolor on paper glued to cardboard. Signed in the lower right corner.
Est: €900 - €1,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "View of the Piazza Campo de las Maravillas de Venecia". Watercolour on paper glued to cardboard. Signed in the lower right corner. Size: 25 x 35 cm; 38 x 48 cm (frame). José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Apr. 05, 2022
JOSÉ VILLEGAS CORDERO. Seville (1848) / Madrid (1921). "Sevillana with white mantilla and fan". 100 x 70 cm.
Est: €22,500 - €30,000
Signed in the upper right corner "Villegas/Sevilla". Oil on canvas. 100 x 70 cm
Ansorena
Mar. 15, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). No title. Oil on canvas. Attached certificate issued by Don Ángel Castro. It has faults and losses. Signed in the lower right corner.
Est: €5,000 - €6,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Oil on canvas. Attached certificate issued by Don Ángel Castro. With faults and losses. Signed in the lower right corner. Measurements: 88 x 47 cm. Intimate portrait in which the author collects the effigy of a young girl. The author does not portray the protagonist in the foreground, but moves her figure towards the interior, and partially hides her body behind the furniture. In this way he portrays not only a young girl, but also her innocence, candour and shyness. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work centred on genre subjects, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demands of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting the genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Mar. 15, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). "Girls." Oil on canvas mounted on cardboard. Attached certificate of Don Ángel Castro. Signed in the lower right area.
Est: €4,000 - €5,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Girls". Oil on canvas adhered to cardboard. Enclosed certificate of Don ángel castro. Signed in the lower right area. Measurements: 50 x 39 cm; 59 x 49 cm (frame). In Villegas Cordero's painting, this type of displacient theme was very recurrent in his artistic production. In fact, he has several works where the protagonists are women in a garden full of lights and shadows. In this particular case the young women are not outside, but in a closed room, although with a large presence of plants. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work centred on genre subjects, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demands of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting the genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Mar. 15, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). "Arab stay". Oil on canvas. Attached certificate issued by Don Ángel Castro. Presents restorations. Signed in the lower right corner.
Est: €2,000 - €3,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Arabian stay". Oil on canvas. Attached certificate issued by Don Ángel Castro. It presents restorations. Signed in the lower right corner. Measurements: 45 x 70,5 cm. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work centred on genre subjects, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demands of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre themes and "casacones". In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Mar. 04, 2022
Jose Villegas y Cordero (1848-1921), Countrywomen, Rome, 1890s | Jose Villegas y Cordero (1844/48-1921), Landfrauen, Rom, 1890er
Est: €4,000 - €6,000
Jose Villegas y Cordero (1848-1921), Countrywomen, Rome, 1890s, Oil on panel, signed lower right Villegas and there inscribed MDCCCXXXXII, dimensions: 35.6 x 22 cm, gilded portal frame in classicist style: 64.5 x 42.5 cm. | Jose Villegas y Cordero (1844/48-1921), Landfrauen, Rom, 1890er, Oel auf Holz, signiert rechts unten Villegas und dort bezeichnet MDCCCXXXXII, 35,6 x 22 cm, Vergoldeter Portal-Rahmen im klassizistischen Stil: 64,5 x 42,5 cm.
Amadeus Auction
Jan. 26, 2022
José Villegas. The condemning man
Est: -
Watercolor on paper. Signed on the upper left side.
Duran Arte y Subastas
Dec. 28, 2021
José Villegas y Cordero. Two Biarritz marines
Est: -
Dos óleos sobre tabla. Firmados y localizados (Biarritz) en el ángulo inferior y superior izquierdo.
Duran Arte y Subastas
Nov. 10, 2021
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Oil on canvas.
Est: €7,000 - €8,000
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Oil on canvas. Attached certificate issued by Don Angel Castro. It has slight repainting and damage to the frame. Measurements: 46 x 99 cm; 80 x 133 cm (frame). José Villegas began his apprenticeship with José María Romero, under whose direction he studied for two years. Then he entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Pequeña filósofa" to the Sevillian Exhibition of 1860, which was sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Niñas pidiendo limosna", highly praised by the critics, and "Colón en la Rábida", acquired by the Dukes of Montpensier. He then traveled to Madrid, where he went to the studio of Federico de Madrazo. There he befriended Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant color. Seduced by the orientalist work of Fortuny, Villegas returned to Seville and visited Morocco, from where he brought back some paintings and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended night classes at the Chigi Academy and shared his studio with other colleagues, until he moved to Rosales' workshop. His work, at this time, focused on costumbrista themes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also allowed him to satisfy the demand of an international clientele that, after Fortuny, demanded Arab fantasy themes. Thus, Villegas took advantage of his sketches taken in Morocco, without forgetting the themes of genre and "casacones". In the mid-seventies he returned to Seville and visited Morocco again. Back in Rome from 1876, he picks up the torch bequeathed by Fortuny and becomes the most admired and quoted painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes, and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. Also, in the mid-eighties he focused on paintings directly inspired by Italian Renaissance art, his culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited with great success in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible framework for the setting of his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Prado Museum and in 1903 academician of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastian and the Collection of the Bank of Spain, among other important institutions, both public and private.
Setdart Auction House
Nov. 10, 2021
José Villegas y Cordero (Spanish, 1848-1921) Portrait of Caridad Fé y Alba
Est: £1,500 - £2,000
José Villegas y Cordero (Spanish, 1848-1921) Portrait of Caridad Fé y Alba inscribed, signed and dated 'à Caridad Fé y Alba/Villegas/1906 (lower left) oil on canvas 160 x 85cm (63 x 33 7/16in). For further information on this lot please visit the Bonhams website
Bonhams
Jul. 21, 2021
José Villegas y Cordero. The duel finish
Est: -
Acuarela. Firmada en el ángulo inferior derecho.
Duran Arte y Subastas
Jul. 15, 2021
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Biarritz". Oil on panel.
Est: €6,000 - €8,000
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Biarritz". Oil on panel. Signed and located. Provenance: private collection of Madrid. Measures: 10,5 x 20,5 cm and 10,5 x 20 cm. José Villegas began his apprenticeship with José María Romero, under whose direction he studied for two years. Then he entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Pequeña filósofa" to the Sevillian Exhibition of 1860, which was sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Niñas pidiendo limosna", highly praised by the critics, and "Colón en la Rábida", acquired by the Dukes of Montpensier. He then traveled to Madrid, where he went to the studio of Federico de Madrazo. There he befriended Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant color. Seduced by the orientalist work of Fortuny, Villegas returned to Seville and visited Morocco, from where he brought back some paintings and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended night classes at the Chigi Academy and shared his studio with other colleagues, until he moved to Rosales' workshop. His work, at this time, focused on costumbrista themes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also allowed him to satisfy the demand of an international clientele that, after Fortuny, demanded Arab fantasy themes. Thus, Villegas took advantage of his sketches taken in Morocco, without forgetting the themes of genre and "casacones". In the mid-seventies he returned to Seville and visited Morocco again. Back in Rome from 1876, he picks up the torch bequeathed by Fortuny and becomes the most admired and quoted painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes, and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. Also, in the mid-eighties he focused on paintings directly inspired by Italian Renaissance art, his culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited with great success in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible framework for the setting of his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Prado Museum and in 1903 academician of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastian and the Collection of the Bank of Spain, among other important institutions, both public and private.
Setdart Auction House
Jun. 17, 2021
JOSÉ VILLEGAS CORDERO (1848 / 1921) "The blind musician"
Est: €1,350 - €1,800
Signed Villegas, Seville in lower left corner
Ansorena
May. 11, 2021
JOSE VILLEGAS CORDERO (1848 / 1921) "The Florence Sisters".
Est: €9,000 - €12,000
Signed in the lower left corner. On the back titled on the frame and on the canvas. . Oil on canvas
Ansorena
Apr. 28, 2021
José Villegas y Cordero. Trovadours sketch
Est: -
Óleo sobre lienzo. Firmado, fechado (1888) y dedicado en el ángulo superior izquierdo.
Duran Arte y Subastas
Dec. 04, 2020
José Villegas y Cordero, 1844/48 – 1921, zugeschrieben
Est: €3,500 - €5,000
LA SIESTA Öl auf Leinwand. 31 x 52,5 cm. Links unten Signatur „Villegas.“. In dekorativem Rahmen. Liegende junge Frau vor hellbraunem Hintergrund. Sie trägt ein weißes Gewand und hat eine rote Decke über ihren Unterkörper gelegt, während ihr Kopf auf einem rosa-blauen großen Kissen ruht. Mit ihren aufgeweckten dunklen Augen schaut sie aus dem Bild heraus. Malerei in raschem Pinselduktus bei reduzierter Farbigkeit. Retuschen. (1250732) (18)
Hampel Fine Art Auctions
Jul. 17, 2019
José Villegas Cordero (Spanish, 1848-1921) Portrait of Caridad Fé Alba
Est: £2,500 - £3,500
José Villegas y Cordero (Spanish, 1848-1921) Portrait of Caridad Fé y Alba inscribed, signed and dated 'à Caridad Fé y Alba/Villegas/1906 (lower left)oil on canvas160 x 85cm (63 x 33 7/16in). Caridad Fé y Alba, seen here as a young girl, was from a prominent Spanish family. In 1925 she married the influential lawyer Don Silverio de la Torre y Eguia, a Liberal Socialist and later member of the democratically elected Republican Government, who was also painted by Sorolla. Their son, Fernando de la Torre, was evacuated to England during the Spanish Civil War and was billeted with Hugh Fraser Stewart, then Dean of Trinity College, and father of Frida Stewart, the well-known anti-fascist and Communist activist who had formed local Spanish Aid committees at the outbreak of the Spanish Civil War and driven an ambulance in Spain in 1937 to 1938 on behalf of the Spanish Medical Aid Committee. Fernando remained in Britain and died in 2015 but always remained a proud Basque and Spanish Republican.This painting is likely to be the companion to the portrait by Villegas of Caridad's sister, Mariquita Fe y Alba, also painted in 1906 and offered at Christie's New York, 25 October 1996, lot 195.
Bonhams
Jul. 11, 2019
José Villegas Cordero (Spanish, 1844-1921) Set of Two Drawings: Studies for a ba
Est: $400 - $600
José Villegas Cordero (Spanish, 1844-1921) Set of Two Drawings: Studies for a baptism Chalk on paper, each 3 x 10-3/8 inches (7.6 x 26.4 cm) (largest) Each signed verso: Villegas PROPERTY FROM THE ESTATE OF NEAL GLASS AND KERRY BETENSKY PROVENANCE: Giovanni Piancastelli (1845-1926), painter, collector and Director of the Galleria Borghese, Rome; Estate of Reverend Father Francis Agius (1891-1958) of Our Lady of Counsel, Inwood, Long Island, New York; Sale, New York, by heirs of the above; Harry Glass, Long Island, New York, circa 1950s, acquired from the above; Estate of the above; Neal Glass and Kerry Betensky Long Island, New York by descent; Estate of the above. EXHIBITED: "Italian 19th Century Drawings and Watercolors," Shepherd Gallery, New York, April 1976. LITERATURE: R. Olson, Italian 19th Century Drawings and Watercolors: An Album. Camuccini & Minardi to Mancini & Balla, Shepherd Gallery, New York, April 1976. Modernists and traditionalists will find works to covet within this catalogue. And, without a doubt, this auction presents a singular opportunity for enthusiasts of 19th-century European academic paintings and drawings. The sale boasts a rich array of masterful oils on canvas and panel in beautiful condition by celebrated Italian, French, Belgian, German, Polish, Danish and Spanish painters. Some of them, such as Cesare Detti's monumental Venetian spectacle, Henri III reçu par le doge Muccinigo au palais Foscari, with its cast of 60 figures, earned inaugural exposure to the public at the Paris Salons. One work in the sale, a jewel-like panel of a scullery maid peeling apples by Belgian genre specialist, Charles van Meer, was formerly in the personal collection of Queen Victoria of England and her husband Prince Albert of Saxe-Coburg and Gotha. Collectors will note that our Spring sale contains an attractive selection of 19th-century academic drawings from the estate of Neal Glass and Kerry Betensky. These sheets originate from an immense corpus of over 12,000 drawings assembled into a series of albums in the later 19th century by Giovanni Piancastelli (1845-1926), a painter as well as then-Director of the Galleria Borghese in Rome. During Piancastelli's period of activity, collecting drawings on this scale was not uncommon, particularly for a figure with close ties to an artistic community such as he had. It is notable that the current selection of drawings were contemporary works of art when Piancastelli acquired them. Many of the artists represented were figures Piancastelli knew personally, and who held teaching positions at the Academy of San Luca in Rome. While the fate of Piancastelli's entire drawing collection is unknown, the first batch purchased from it en bloc was sold in 1901 to the American Hewitt sisters, Sarah and Eleanor, who were forming a museum in New York City. Their 3,500 Piancastelli drawings remain in the permanent collection of the Cooper-Hewitt Museum. The Glass/Betensky drawings in the current catalogue share the above provenance, literature and exhibition history, unless otherwise noted in our online catalogue. Please note that the cataloguing for these sheets follows the extensive research and connoisseurship undertaken by the Shepherd Gallery, New York, as published in the catalogue to its 1976 exhibition Italian 19th Century Drawings and Watercolors: An Album. Camuccini & Minardi to Mancini & Balla. HID01801242017
Heritage Auctions