Tomas Lopez Enguidanos Paintings & Artwork for Sale | Tomas Lopez Enguidanos Art Value Price Guide

Sep. 17, 2024
TOMÁS LÓPEZ ENGUÍDANOS - View of the Royal Monastery from the Alto del Romeral
Est: -
TOMÁS LÓPEZ ENGUÍDANOS Valencia 1773 – Madrid 1814 View of the Royal Monastery from the Alto del Romeral Engraving Signed and titled on plate Measurements 370 x 550 mm
Subastas Segre
May. 16, 2024
TOMÁS LÓPEZ ENGUÍDANOS & JOSÉ MARÍA BONIFAZ - Pareja Los tutores fieles y Muerte de Carlos XII
Est: €20 -
TOMÁS LÓPEZ ENGUÍDANOS & JOSÉ MARÍA BONIFAZ - Pareja Los tutores fieles y Muerte de Carlos XII 14x9 cm
Arte Subastas Bilbao
Nov. 07, 2023
TOMAS LOPEZ ENGUIDANOS AND MANUEL ALEGRE "View of the Courtyard of the Kings of San Lorenzo del Escorial in the Royal Monastery seen from the Portico" and "View of the Holy Week Monument of the Royal Monastery of San Lorenzo"
Est: €420 - €560
Two copper engravings They present deterioration in the paper. Measurements: Footprint: 55.5 x 37 cm each; paper: 61.5 x 43.5 cm each
Ansorena
May. 29, 2023
Attributed to JOSÉ LÓPEZ ENGUIDANOS (Valencia, 1760 - Madrid, 1812). "Still lifes". Oils on canvas.
Est: €3,000 - €3,200
Attributed to JOSÉ LÓPEZ ENGUIDANOS (Valencia, 1760 - Madrid, 1812). "Still lifes". Oil on canvas. Sizes: 52 x 32 cm; 67 x 47 cm (frame), each one. Pair of still lifes with the same vertical format and a similar aesthetic composition, although the elements that make up the scene differ in each of the paintings. In both pieces, the main elements of the still life are located in the frontal foreground, on a wooden table, a common element in Baroque still life painting. The flowers, which seem to obey a certain disorder, follow a classical pyramidal composition. In both cases, the intense white and pink colouring stands out against the dark background that covers both scenes, and another noteworthy aspect is the delicacy of the vase in both still lifes, which indicates the quality of the painter's hand. A characteristic that was common in the Spanish Baroque still life scene is the passage of time, as can be seen in the fallen leaves of the flowers, as this suggestion imbued the images with a certain morality, alluding to the passage of time, or tempus Fugit, and of course to religion. As is usual in examples of Spanish school still lifes that follow the 17th-century Baroque tradition, the dark background and humble horizontal surface emphasise the objects that make up the painting. The still life in Spain was one of the most characteristic genres and, due to its special characteristics, is clearly different from the same subject in workshops in the rest of Europe. José López Enguídanos was a painter and engraver who was the brother of the engravers Vicente and Tomás. He trained at the San Carlos Academy in Valencia and at the San Fernando Royal Academy of Fine Arts in Madrid, where he was a pupil of Mariano Salvador Maella. He also collaborated with Antonio Ponz when the latter was Secretary of the Royal Academy in Madrid, and accompanied him on a number of trips. He was appointed a Merit Academician at the Madrid institution in 1795 and was given the honorary post of painter of the chamber under the protection of Manuel Godoy. He also produced numerous engravings on a variety of subjects and drawings for other engravers, as well as several didactic works. Although he dealt with historical subjects, painted copies of outstanding works and executed several portraits, he was best known for his still lifes, which were to bring him notable success. His work received several prizes such as the General Painting Competitions of 1781 and 1784. Today his work is preserved in certain private collections and in institutions such as the Academia de Bellas Artes de San Fernando in Madrid or the Casita del Príncipe de El Monasterio de El Escorial, in the Fundación Ignacio Larramendi, engravings in the Biblioteca Nacional de Madrid, etc.
Setdart Auction House
Dec. 19, 2022
ENGUÍDANOS (1775 - 1814) after J. MAEA (1760 - 1826) and SALVADOR CARMONA (1740 - 1805) after R. XIMENO (1759 -1825) "Pablo de Cespedes" and "D. Antonio de Solis"
Est: €150 - €200
TOMÁS LÓPEZ ENGUÍDANOS (1775 - 1814) after JOSÉ MAEA (1760 - 1826) and JUAN ANTONIO SALVADOR CARMONA (1740 - 1805) after RAFAEL XIMENO (1759 -1825) "Pablo de Cespedes" and "D. Antonio de Solis" A pair of framed engravings 32 x 25 cm 150 - 200 €
Bayeu Subastas
Nov. 09, 2022
JOSÉ LÓPEZ ENGUIDANOS (Valencia, 1760 - Madrid, 1812). "Still life". Oil on canvas.
Est: €7,000 - €8,000
JOSÉ LÓPEZ ENGUIDANOS (Valencia, 1760 - Madrid, 1812). "Still lifes". Oil paintings on canvas. Sizes: 38 x 63 cm (x2); 54 x 81 cm (frames, X2). Pair of still lifes with the same landscape format, and a similar aesthetic composition, although the elements that make up the scene differ in each of the paintings. In both pieces, the main elements of the still life are located in the frontal foreground, on a wooden table, a common element in Baroque still life painting. The fruits, which seem to be in a certain disorder, follow a classical pyramid-shaped composition. In both cases, the intense green and yellow colours stand out against the dark background that covers both scenes, and another noteworthy aspect is that in both still lifes the fruit is chopped, indicating the passage of time. This characteristic was common in the Spanish still life scene of the Baroque period, as this suggestion imbued the images with a certain morality, alluding to the passage of time, or tempus Fugit, and of course to religion. As is usual in examples of Spanish school still lifes that follow the 17th-century Baroque tradition, the dark background and humble horizontal surface emphasise the objects that make up the painting. The still life in Spain was one of the most characteristic genres and, due to its special characteristics, is clearly different from the same subject in workshops in the rest of Europe. José López Enguídanos was a painter and engraver who was the brother of the engravers Vicente and Tomás. He trained at the San Carlos Academy in Valencia and at the San Fernando Royal Academy of Fine Arts in Madrid, where he was a pupil of Mariano Salvador Maella. He also collaborated with Antonio Ponz when the latter was Secretary of the Royal Academy in Madrid, and accompanied him on a number of trips. He was appointed Académico de Mérito at the Madrid institution in 1795 and was awarded the honorary post of painter de cámara under the protection of Manuel Godoy. He also produced numerous engravings on a variety of subjects and drawings for other engravers, as well as several didactic works. Although he dealt with historical subjects, painted copies of outstanding works and executed several portraits, he was best known for his still lifes, which were to bring him notable success. His work received several prizes such as the General Painting Competitions of 1781 and 1784. Today his work is preserved in certain private collections and in institutions such as the Academia de Bellas Artes de San Fernando in Madrid or the Casita del Príncipe de El Monasterio de El Escorial, in the Fundación Ignacio Larramendi, engravings in the Biblioteca Nacional de Madrid, etc.
Setdart Auction House
Feb. 23, 2022
JOSÉ LÓPEZ ENGUIDANOS (Valencia, 1760 - Madrid, 1812). "Still life". Oil on board.
Est: €11,000 - €12,000
JOSÉ LÓPEZ ENGUIDANOS (Valencia, 1760 - Madrid, 1812). "Still lifes". Oil paintings on panels. Sizes: 38 x 63 cm (x2); 54 x 81 cm (frames, X2). Pair of still lifes with the same landscape format, and a similar aesthetic composition, although the elements that make up the scene differ in each of the paintings. In both pieces, the main elements of the still life are located in the frontal foreground, on a wooden table, a common element in Baroque still life painting. The fruits, which seem to be in a certain disorder, follow a classical pyramid-shaped composition. In both cases, the intense green and yellow colours stand out against the dark background that covers both scenes, and another noteworthy aspect is that in both still lifes the fruit is chopped, indicating the passage of time. This characteristic was common in the Spanish still life scene of the Baroque period, as this suggestion imbued the images with a certain morality, alluding to the passage of time, or tempus Fugit, and of course to religion. As is usual in examples of Spanish school still lifes that follow the 17th-century Baroque tradition, the dark background and humble horizontal surface emphasise the objects that make up the painting. The still life in Spain was one of the most characteristic genres and, due to its special characteristics, is clearly different from the same subject in workshops in the rest of Europe. José López Enguídanos was a painter and engraver who was the brother of the engravers Vicente and Tomás. He trained at the San Carlos Academy in Valencia and at the San Fernando Royal Academy of Fine Arts in Madrid, where he was a pupil of Mariano Salvador Maella. He also collaborated with Antonio Ponz when the latter was Secretary of the Royal Academy in Madrid, and accompanied him on a number of trips. He was appointed Académico de Mérito at the Madrid institution in 1795 and was awarded the honorary post of painter de cámara under the protection of Manuel Godoy. He also produced numerous engravings on a variety of subjects and drawings for other engravers, as well as several didactic works. Although he dealt with historical subjects, painted copies of outstanding works and executed several portraits, he was best known for his still lifes, which were to bring him notable success. His work received several prizes such as the General Painting Competitions of 1781 and 1784. Today his work is preserved in certain private collections and in institutions such as the Academia de Bellas Artes de San Fernando in Madrid or the Casita del Príncipe de El Monasterio de El Escorial, in the Fundación Ignacio Larramendi, engravings in the Biblioteca Nacional de Madrid, etc.
Setdart Auction House
May. 31, 2020
Star Chart by Tomás López Enguídanos
Est: -
An 18th Century hand watercolored etching depicting constellations and the months of the year by Spanish engraver Tomás López Enguídanos (1775 - 1814). Signed and dated 1793. Framed.
Casa de Memoria
Sep. 18, 2019
OSÉ GÓMEZ DE NAVÍA delin, TOMÁS LÓPEZ ENGUÍDANOS sculpit - View of the Real Monasterio de San Lorenzo del Escorial from high Romeral between west to east.
Est: -
JOSÉ GÓMEZ DE NAVÍA delin San Ildefonso, Segovia 1757- Madrid c. 1812 TOMÁS LÓPEZ ENGUÍDANOS sculpit Valencia 1775 – Madrid 1814 View of the Real Monasterio de San Lorenzo del Escorial from high Romeral between west to east. 1800 Engraved by etching and burin Signed and titled Measurements 38 x 53 cm sheet Collection of different views from the Magnífico Templo and Real Monasterio de San Lorenzo de El Escorial..., Madrid: Real Calcografía, 1800-1809.
Subastas Segre
Dec. 17, 2018
Tomás López Enguidanos (Valencia, 1775 - Madrid, 1814) "The Magnitude of the stars" 1793 Coloured engraving Calcografía Nacional 53 x 104 cm 200 - 250 €
Est: -
Tomás López Enguidanos (Valencia, 1775 - Madrid, 1814) "The Magnitude of the stars" 1793 Coloured engraving Calcografía Nacional 53 x 104 cm 200 - 250 €
Goya Subastas
Jun. 21, 2018
Tomás López Eguidanos. Constellations
Est: -
LOPEZ ENGUIDANOS, TOMAS (1773 - 1814). "Magnitud de las estrellas". Aguafuerte sobre papel. 63 x 105 cm
Duran Arte y Subastas
May. 18, 2015
TOMÁS LÓPEZ ENGUÍDANOS
Est: -
(Valencia, 1775-Madrid, 1814). "La Artillería Nolente...", grabado coloreado, 43x55 cm. Con marco de época.
Sala de Ventas