Vicente López y Portaña Paintings & Artwork for Sale | Vicente López y Portaña Art Value Price Guide

Sep. 25, 2024
VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850) "Portrait of a Lady. Oil on canvas. It presents faults on the pictorial surface. Bibliography: Díez, José Luis, Catalogue, Vicente López (1772-1850). Catalogue raisonné. Volume II.
Est: €12,000 - €15,000
VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850) "Portrait of a Lady. Oil on canvas. It presents faults on the pictorial surface. Bibliography: Díez, José Luis, Catalogue, Vicente López (1772-1850). Catalogue raisonné. Volume II. Madrid, Fundación de Apoyo a la Historia del Arte Hispánico, 1999, pp.188 (P-735) and 758. It has a 20th-century frame following antique models. Measurements: 46 x 35 cm; 64.5 x 50.5 cm (frame). This work shows features inherited from the painting of López Portaña, influences which can be seen in the objective treatment of the sitter, without any hint of idealisation. It follows a realistic style, influenced by the naturalist tradition. In addition, in the work, we can see the artist's interest in portraying the fabrics and the different qualities that make up the lady's clothing, something very much to Vicente López's taste. Vicente López began his training as a disciple of Antonio de Villanueva at the San Carlos Academy in Valencia, where he was awarded the first-class prize in 1786 and 1789, obtaining a pension to study in Madrid. Once at court, the following year he won first place in the competition at the San Fernando Academy. There he learnt the baroque and colourful sense of composition and a taste for precise and analytical drawing. The Baroque lavishness of the frescoes of Luca Giordano and Corrado Giaquinto also had a decisive influence on his language. Now an established artist, he returned to his native city in 1792. There he received important public and private commissions, including portraits of Ferdinand VII and Marshal Soult. In his portraits López shows his Valencian heritage, the weight of the naturalism of Ribera and Ribalta, as well as his mastery in the reproduction of details and qualities. His quality in the field of portraiture led Ferdinand VII to summon him back to court in 1814, appointing him the following year as his first court painter. From then on he became the most sought-after painter by Spanish high society, alternating his work at court with teaching, official posts and private commissions. In 1823 he took over the artistic direction of the Royal Museum of Paintings, for which he painted a superb portrait of Francisco de Goya, now in the Prado. Works by Vicente López are kept in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Academia de San Fernando, the Museo Municipal de Játiva, the Museo Nacional de Arte de Cataluña, the New York Historical Society, the Indianapolis Museum of Art, the J. Paul Getty Museum in Los Angeles, the National Gallery of Modern and Contemporary Art in Rome and the Fundación Lázaro Galdiano in Madrid.
Setdart Auction House
Jun. 27, 2024
VICENTE LÓPEZ PORTAÑA (VALENCIA, 1772 - MADRID, 1850)
Est: €500 - €700
Vicente López Portaña (Valencia, 1772 - Madrid, 1850) ‘Saint Joseph of Calasanz Ink drawing on paper. 10.5 x 7.5 cm. Preparatory for the engraved print by Francisco Jordán, catalogued under no. E-167 in the catalogue raisonné of José Luis Díez, Vicente López: vida y obra, Madrid, 1999; p. 606 (plate 94). Díez catalogues a drawing that is practically identical (cat. no. D-238, p. 606, plate 94) although its dimensions are much larger (80 x 60 cm)
La Suite Subastas
Jun. 27, 2024
VICENTE LÓPEZ PORTAÑA (VALENCIA, 1772 - MADRID, 1850)
Est: €500 - €700
Vicente López Portaña (Valencia, 1772 - Madrid, 1850) "Resurrection of Christ" Ink drawing on paper. 10,5 x 11 cm. Preparatory sketch for the engraved print by Vicente Capilla, catalogued under number E-82 in the catalogue raisonné by José Luis Díez, Vicente López: vida y obra, Madrid, 1999; p. 643 (plate 131). There are some stains caused by damp. Vicente López Portaña, born on 19 September 1772, began his artistic training as a pupil of the Franciscan Antonio de Villanueva at the San Carlos Academy in Valencia. During this first stage of his career he was awarded first prize in 1789 for his canvas "King Hezekiah Flaunting his Riches", with allowed him to reach the capital. The following year he won first place in the competition at the San Fernando Academy with the painting The Catholic Monarchs. From that moment onwards he began to absorb the academic teachings inherited from Mengs, mainly through Mariano Salvador Maella, from whom he picked up the baroque, the colourful sense of his compositions and his taste for drawing. After his youthful period in Madrid, where his experience enabled him to become a prestigious artist, in 1792 he decided to return to his native city, Valencia. For many years he received various commissions, especially religious paintings and murals for churches in Valencia, as well as portraits, monuments and drawings for engraving. During the War of Independence, he was in Valencia and painted the portrait of Ferdinand VII in the habit of the Order of Charles III. Vicente López's portrait style, respectful and objective, led Ferdinand VII to appoint him as his first chamber painter, and he was forced to return to Madrid. Due to the prestigious appointment he obtained, he was the most sought-after painter among the aristocracy and upper-class bourgeoisie. In 1826 he painted his masterpiece, the portrait of the painter Francisco de Goya y Lucientes, the most important and iconic work of his long career. Vicente López Portaña retained his artistic talent throughout his old age, producing portraits until the day of his death in Madrid on 22 July 1850.
La Suite Subastas
Jun. 26, 2024
Vicente Lopez Portana. Virgin with a Child
Est: -
Oil on copper. Signed in the lower left corner. Attached is a certificate issued by Mr. Jose Manuel Arnaiz.
Duran Arte y Subastas
Jun. 25, 2024
VICENTE LOPEZ PORTAÑA Valencia (1772) / Madrid (1850) "Painful", c. 1825-1826
Est: €15,000 - €20,000
Oil on canvas. Provenance: Bermudez Collection of Castro O'Lawlor, Marquisate of Lema. On the reverse, above the frame, old label and numbering from the O'Lawlor collection (no. 506). Label of the Board of Seizure, Protection and Salvage of the Artistic Treasure (no. 10172 / Lema/ collection no. 4). Registered in the Photo Library of the Cultural Heritage Institute of Spain (no. AJP-0445_P – Marques de Lema). Bibliography: DIEZ, Jose Luis, Vicente Lopez (1772-1850). Catalog Raisonne, Madrid, 1999, p. 38, plate 181, cat. P-132. In this dramatic and striking image of the Virgin of Sorrows, Vicente Lopez shows Mary next to the Cross, wearing the traditional blue-gray tunic and blue mantle. With a sorry gesture he contemplates the crown of thorns and the nails of the Passion, which appear arranged on a silver tray, while she wipes away her tears with a white handkerchief. It was made by Vicente Lopez at the request of General O'Lawlor and O' Brennan, with whose family the painter maintained a close relationship. In addition to this work, there is documentary evidence that he made other works for the same client, among which was his own portrait; collected, like this Dolorosa, in the catalog of Lopez's works made by Jose Luis Diez (See Diez 1999, P-132 and P-662). As Jose Luis Diez indicated in his catalogue, this painting must have enjoyed considerable success due to the numerous versions known of it, this being the highest quality of all. The different replicas taken from this image were also included in the painter's catalog raisonne with numbers (P-133, P-134, PS-3), its author indicating the existence of a copy of this Dolorosa that appeared three decades ago in the trade (Ansorena, October 1993 Auction, lot 221). Measurements: 103 x 80 cm.
Ansorena
Jun. 18, 2024
"Jesús camino del monte Calvario"
Est: -
.
Isbilya Subastas
Apr. 10, 2024
VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850). "Portrait of Fernando VII". Oil on canvas. It has an old label on the back from the National Portrait Exhibition and the Manuel Barbié Gallery (Barcelona).
Est: €30,000 - €40,000
VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850). "Portrait of Fernando VII". Oil on canvas. It has an old label on the back from the National Portrait Exhibition and the Manuel Barbié Gallery (Barcelona). It has a 19th century frame. Measures: 72.5 x 57.5 cm; 90.5 x 75 cm (frame). This work attributed to López Portaña shows the effigy of King Ferdinand VII, who was portrayed by the painter on numerous occasions. In fact, in this particular piece we can see how he has used a composition very similar to that of the portrait of Ferdinand VII belonging to the collection of the San Fernando Academy of Fine Arts, with the sitter in the centre following a pyramidal scheme of great volumetric presence and a completely fictitious point of light next to the sitter's face. Although it is true that the two portraits differ because in this case the King is presented in his army captain's uniform, the same as in the work in the Museo Nacional del Prado (Madrid). Vicente López began his training as a pupil of Antonio de Villanueva at the San Carlos Academy in Valencia, where he was awarded first-class honours in 1786 and 1789 and was granted a pension to study in Madrid. Once at court, the following year he won first place in the competition at the San Fernando Academy. There he learnt the baroque and colourist sense of composition and a taste for precise and analytical drawing. The Baroque lavishness of the frescoes of Luca Giordano and Corrado Giaquinto also had a decisive influence on his language. Now an established artist, he returned to his native city in 1792. There he received important public and private commissions, including portraits of Ferdinand VII and Marshal Soult. In his portraits López shows his Valencian heritage, the weight of the naturalism of Ribera and Ribalta, as well as his mastery in the reproduction of details and qualities. His quality in the field of portraiture led Ferdinand VII to summon him back to court in 1814, appointing him the following year as his first court painter. From then on he became the most sought-after painter by Spanish high society, alternating his work at court with teaching, official posts and private commissions. In 1823 he took over the artistic direction of the Royal Museum of Paintings, for which he painted a superb portrait of Francisco de Goya, now in the Prado. Works by Vicente López are kept in the Prado Museum, the Museo de Bellas Artes de Valencia San Pío V, the Academia de San Fernando, the Museo Municipal de Játiva, the Museo Nacional de Arte de Cataluña, the New York Historical Society, the Indianapolis Museum of Art, the J. Paul Getty Museum in Los Angeles, the National Gallery of Modern and Contemporary Art in Rome and the Fundación Lázaro Galdiano in Madrid.
Setdart Auction House
Feb. 28, 2024
Vicente López Portaña (Valencia, 1772 - Madrid, 1850)
Est: €22,500 - €25,000
Oil on canvas, measurements: 93 x 75 cm, measurements with frame: 105 x 90 cm
Templum Fine Art Auctions
Jan. 24, 2024
VICENTE LoPEZ PORTAÑA Valencia (1772) / Madrid (1850) "Archbishop Pablo Garcia y Abella", h.1848
Est: €3,000 - €4,000
Oil on cardboard On the back label of the Delegate Board of Seizure, Protection and Salvage of the artistic treasure with inventory number: 13168; Origin: Marañon; Collection No.: 99 Preparatory bust study for the half-length painting of Archbishop Pablo Garcia y Abella (1776-1860), signed and dated by Lopez in 1848, and which is preserved in the private collection of the heirs of the sitter (oil on canvas , 84 x 74 cm). Both are similar except for the absence in this sketch of the great cross and band of the order of Charles III. Yes, it displays, on the bishop's muceta, the pectoral cross and the band and great cross of Isabel the Catholic. Provenance: -Gregorio Marañon Collection, Madrid -Private collection, Catalonia Bibliography: -Diez, JL, "Vicente Lopez (1772-1850)". Catalog raisonne, volume II, Foundation to support the history of Hispanic art, Madrid, 1999, early 142 and 786, no. P-576, pLate No. 274 Measurements: 30.5 x 22.5 cm
Ansorena
Dec. 27, 2023
Vicente López Portaña. Portrait of a General
Est: -
Oil on canvas. Provenance: - Stoup Collection, Murcia. - Private collection. Bibliography: - DÍEZ, José Luis: Vicente López. Catalog Raisonné. Vol (II). Hispanic Art Foundation. Madrid, 1999. Page 659. Rep. B/W. Cat. No.: P-588.
Duran Arte y Subastas
Nov. 15, 2023
VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850). "Saint Francis of Paula". Oil on panel.
Est: €1,800 - €2,200
Attributed to VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850). "Saint Francis of Paula". Oil on panel. Size: 21,5 x 16,5 cm. In this representation of the Italian hermit St. Francis of Paola, the founder of the Order of the Minims is characterised as an old man with a grey beard wearing a habit, leaning on a staff, looking with a grave face at the divine manifestation that bursts forth in the form of a breaking of glory. Stylistically and compositionally it shows a pulse comparable to other devotional paintings by Vicente López, whose figures are characterised by a similar emotionalism. Vicente López began his training as a pupil of Antonio de Villanueva at the San Carlos Academy in Valencia, where he was awarded first-class prizes in 1786 and 1789 and was granted a pension to study in Madrid. Once at court, the following year he won first place in the competition at the San Fernando Academy. There he learnt the baroque and colourful sense of composition and a taste for precise and analytical drawing. The Baroque lavishness of the frescoes of Luca Giordano and Corrado Giaquinto also had a decisive influence on his language. Now an established artist, he returned to his native city in 1792. There he received important public and private commissions, including portraits of Ferdinand VII and Marshal Soult. In his portraits López shows his Valencian heritage, the weight of the naturalism of Ribera and Ribalta, as well as his mastery in the reproduction of details and qualities. His quality in the field of portraiture led Ferdinand VII to summon him back to court in 1814, appointing him the following year as his first court painter. From then on he became the most sought-after painter by Spanish high society, alternating his work at court with teaching, official posts and private commissions. In 1823 he took over the artistic direction of the Royal Museum of Paintings, for which he painted a superb portrait of Francisco de Goya, now in the Prado. Works by Vicente López are kept in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Academia de San Fernando, the Museo Municipal de Játiva, the Museo Nacional de Arte de Cataluña, the New York Historical Society, the Indianapolis Museum of Art, the J. Paul Getty Museum in Los Angeles, the National Gallery of Modern and Contemporary Art in Rome and the Fundación Lázaro Galdiano in Madrid.
Setdart Auction House
Oct. 18, 2023
Attributed to Vicente López Portaña (Valencia, 1772 – Madrid, 1850) "Allegory of Peace"
Est: €6,000 - €8,000
Attributed to Vicente López Portaña (Valencia, 1772 – Madrid, 1850) "Allegory of Peace" Oil on canvas 46 x 70 cm 6.000 - 8.000 €
Greco Subastas
Oct. 03, 2023
VICENTE LÓPEZ PORTAÑA Valencia (1772) / Madrid (1850) "The Archbishop Pablo García y Abella", c.1848
Est: €5,250 - €7,000
Oil on cardboard On the back label of the Delegate Board for the Seizure, Protection and Salvage of the artistic treasure with inventory number: 13168; Origin: Cashew; Collection Nº: 99 Preparatory study of the bust for the half-length painting of Archbishop Pablo García y Abella (1776-1860), signed and dated by López in 1848, and which is kept in the private collection of the heirs of the sitter (oil on canvas , 84 x 74 cm). Both are similar except for the absence in this sketch of the great cross and band of the order of Carlos III. If it shows, on the episcopal hood, the pectoral cross and the band and great cross of Isabel the Catholic. Origin: -Gregorio Marañón Collection, Madrid -Private collection, Catalonia Bibliography: -Díez, JL, "Vicente López (1772-1850)". Catalog raisonné, volume II, Fundación de apoyo a la historia del arte hispánico, Madrid, 1999, early 142 and 786, nº P-576, plate. nº 274 Measurements: 30.5 x 22.5 cm
Ansorena
Jul. 04, 2023
VICENTE LÓPEZ PORTAÑA - Immaculate Conception. H. 1780
Est: -
VICENTE LÓPEZ PORTAÑA Valencia 1772 - Madrid 1850 Immaculate Conception. H. 1780 Oil on canvas Measurements 104 x 76.5 cm His style of long straight and brittle brushstrokes, loosely executed, are related to the drawing technique of Vicente López de this time of youth. You can request a complete study on the authorship of this work.
Subastas Segre
Jun. 29, 2023
Vicente Lopez Portana. immaculate
Est: -
Oil on canvas.
Duran Arte y Subastas
Jun. 29, 2023
Vicente Lopez Portana. Virgin with a Child
Est: -
Oil on copper. Signed in the lower left corner. A certificate issued by Don Jose Manuel Arnaiz is attached.
Duran Arte y Subastas
Jun. 13, 2023
"Jesús camino del monte Calvario"
Est: -
.
Isbilya Subastas
Jun. 13, 2023
"María Magdalena"
Est: -
.
Isbilya Subastas
May. 18, 2023
Attributed to Vicente López Portaña ( Valencia, 1772 - Madrid, 1850), early 19th Century "Portrait of a Cardinal"
Est: €3,000 - €4,000
Attributed to Vicente López Portaña ( Valencia, 1772 - Madrid, 1850), early 19th Century "Portrait of a Cardinal" Oil on canvas 105 x 76 cm 3.000 - 4.000 €
Greco Subastas
Apr. 20, 2023
Attributed to VICENTE LÓPEZ PORTAÑA (Valencia, 1772 – Madrid, 1850). "Roof sketch". Oil on canvas.
Est: €3,000 - €4,000
Attributed to VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850). "Sketch of a ceiling. Oil on canvas. Size: 42 x 22 cm; 54 x 34 cm (frame). The format of the image indicates its decorative function as an ornamental part of an architecture, this image being a preparatory sketch. Vicente López was a specialist in fresco painting, in fact he was responsible for the decoration of the ceiling of the Casino de la Reina, with an allegorical theme, as is the case with this work, which is also inspired by allegory. Vicente López began his training as a pupil of Antonio de Villanueva at the San Carlos Academy in Valencia, where he was awarded the first-class prize in 1786 and 1789 and was granted a pension to study in Madrid. Once at court, the following year he won first place in the competition at the San Fernando Academy. There he learnt the baroque and colourist sense of composition and a taste for precise and analytical drawing. The Baroque lavishness of the frescoes of Luca Giordano and Corrado Giaquinto also had a decisive influence on his language. Now an established artist, he returned to his native city in 1792. There he received important public and private commissions, including portraits of Ferdinand VII and Marshal Soult. In his portraits López shows his Valencian heritage, the weight of the naturalism of Ribera and Ribalta, as well as his mastery in the reproduction of details and qualities. His quality in the field of portraiture led Ferdinand VII to summon him back to court in 1814, appointing him the following year as his first court painter. From then on he became the most sought-after painter by Spanish high society, alternating his work at court with teaching, official posts and private commissions. In 1823 he took over the artistic direction of the Royal Museum of Paintings, for which he painted a superb portrait of Francisco de Goya, now in the Prado. Works by Vicente López are kept in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Academia de San Fernando, the Museo Municipal de Játiva, the Museo Nacional de Arte de Cataluña, the New York Historical Society, the Indianapolis Museum of Art, the J. Paul Getty Museum in Los Angeles, the National Gallery of Modern and Contemporary Art in Rome and the Fundación Lázaro Galdiano in Madrid.
Setdart Auction House
Feb. 14, 2023
Spanish school of the late 18th-early 19th century. Circle of VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850). "Portrait of a lady, possibly of Queen Maria Cristina de Borbón". Gouache on vellum. Bronze frame.
Est: €500 - €550
Spanish school of the late 18th-early 19th century. Circle of VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850). "Portrait of a lady, possibly of Queen Maria Cristina de Borbón". Gouache on vellum. Bronze frame. Measurements: 8,5 x 7 x 0,5 cm. We are in front of a miniature in which, most probably, Queen Maria Cristina de Borbón is represented, queen consort of Spain by her marriage with the king Fernando VII from 1829 to 1833, and regent of the Kingdom between 1833 and 1840, during most of the minority of her daughter Isabel II. The wedding portrait that Vicente Lopez Portaña painted of her in 1830, now in the Museo del Prado, bears aesthetic similarities to the present miniature. There is another portrait by Luis de la Cruz y Ríos, also in the Spanish art gallery, in which the pose and affable gesture bear close similarities to our work. Vicente López began his training as a pupil of Antonio de Villanueva at the San Carlos Academy in Valencia, where he was awarded the first-class prize in 1786 and 1789 and was granted a pension to study in Madrid. Once at court, the following year he won first place in the competition at the San Fernando Academy. There he learnt the baroque and colourist sense of composition and a taste for precise and analytical drawing. The Baroque lavishness of the frescoes of Luca Giordano and Corrado Giaquinto also had a decisive influence on his language. Now an established artist, he returned to his native city in 1792. There he received important public and private commissions, including portraits of Ferdinand VII and Marshal Soult. In his portraits López shows his Valencian heritage, the weight of the naturalism of Ribera and Ribalta, as well as his mastery in the reproduction of details and qualities. His quality in the field of portraiture led Ferdinand VII to summon him back to court in 1814, appointing him the following year as his first court painter. From then on he became the most sought-after painter by Spanish high society and alternated his work at court with teaching, official posts and private commissions. In 1823 he took over the artistic direction of the Royal Museum of Paintings, for which he painted a superb portrait of Francisco de Goya, now in the Prado. Works by Vicente López are kept in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Academia de San Fernando, the Museo Municipal de Játiva, the Museo Nacional de Arte de Cataluña, the New York Historical Society, the Indianapolis Museum of Art, the J. Paul Getty Museum in Los Angeles, the National Gallery of Modern and Contemporary Art in Rome and the Fundación Lázaro Galdiano in Madrid.
Setdart Auction House
Jun. 22, 2022
ATTRIBUTED TO VICENTE LÓPEZ PORTAÑA (1772-1850). "MARQUÉS DE REGUER", CIRCA 1823-1825.
Est: €2,000 - €3,500
Oil on canvas. Some minor imperfections in the paint and a small restored tear to the canvas with a visible patch on reverse. Accompanied by a study issued by Perveco-Revision in 2018.102 x 75 cm; 124 x 97 cm. (frame).
Subarna Subastas
Apr. 30, 2022
"The Catholic Monarchs receiving the Embassy of the King of Fez," following Vicente López Portaña
Est: -
Oil painting on panel by a follower of Spanish royal court painter Vicente López Portaña (1772 - 1850). The original work is now exhibited at the Real Academia de Bellas Artes de San Fernando, Madrid, Spain. With old inscription at the back dated 1795.
Casa de Memoria
Feb. 24, 2022
VICENTE LÓPEZ PORTAÑA (VALENCIA, 1772 - MADRID, JULY 22, 1850), EXCEPTIONAL PAIR OF CANVASES REPRESENTING THE STUDY OF THE HEADS OF THE 12 APOSTLES
Est: €12,000 - €18,000
Pair of preparatory author canvases for the original work preserved in the Xàtiva Museum of Fine Arts. Measurements: 55 x 86 cm. (Valencia, 1772-Madrid, 1850). Spanish painter. Born in Valencia on September 19, 1772, he began his artistic training as a disciple of the Franciscan Antonio de Villanueva at the Academy of San Carlos in Valencia, an institution where he won the first class prize in 1789 with the canvas King Hezekiah making ostentation of his riches (Museum of Fine Arts of Valencia San Pío V), endowed with 40 pesos and a pension to study in Madrid. Already at court, the following year he won first place in the San Fernando Academy contest with the painting The Catholic Monarchs receiving an embassy from the King of Fez (San Fernando Academy, Madrid), and there he assimilates with extraordinary fidelity the academic teachings inherited from Mengs fundamentally through Mariano Salvador Maella, from whom Vicente López picks up the baroque and colorful sense of his compositions and the taste for drawing, precise and analytical, as a method of prior study of his paintings, being equally dazzled by the baroque lavishness of the frescoes by Luca Giordano and Corrado Giaquinto, which he contemplates in royal places, and which will decisively influence the aesthetic language of his compositions. Returning to his hometown in 1792 as a prestigious painter, he carried out numerous commissions in those years, especially religious paintings and murals for Valencian churches, as well as portraits, monument projects and a large number of drawings to engrave, remaining in Valencia during the War of Independence, a time when, in addition to making the full-length portrait of Ferdinand VII in the habit of the order of Carlos III (Valencia City Council and Játiva Municipal Museum, Valencia), he will portray in Marshal Soult and other French soldiers on several occasions. The portrait style of Vicente López, respectful and objective with his characters, captured with a personal sense of realism -inherited from the Valencian naturalist tradition, through the canvases of Ribalta and Ribera-, together with his extraordinary mastery in reproducing the qualities of the fabrics and the sumptuousness of the jewels and tinsel, made Fernando VII claim the Valencian artist at court on July 26, 1814, naming him his first court painter on March 1 of the following year. Since then he will become the most requested painter of the wealthy aristocracy and bourgeoisie of Madrid, alternating his work at the Palace with his teaching activity, official positions and his private commissions. In 1818 he painted the spectacular Allegory of the donation of the casino to Queen Isabel of Braganza by the Madrid City Council (Prado), contributing decisively in those years to the project of the Royal Museum of Paintings, appointed by the Crown to select and restore the paintings that they had to constitute it, and whose artistic direction he would assume from 1823. Three years later he made his superb portrait The painter Francisco de Goya y Lucientes (Prado), without a doubt, his best-known work and the most emblematic effigy of the Aragonese painter, bound for the gallery of contemporary artists of the Museum. Director of the decorative program of the Royal Palace of Madrid, in 1828 he painted the Allegory of the Institution of the Order of Carlos III for one of its ceilings, multiplying his portrait activity in those years. In 1831 he finished the portrait of Ferdinand VII with the habit of the order of the Golden Fleece for the Embassy of Spain to the Holy See, perhaps the most imposing and overwhelming effigy of this monarch, while his very personal style gradually accommodated to the formal language , not to the spirit, of the thriving romanticism of the Elizabethan era. Faithful to his aesthetics and training, and as the first chamber painter of the young Isabel II, he began in those years by royal commission a monumental painting of classical history with the theme of Cyrus the Great before the corpses of Abradato and Pantea, an ambitious work and singular, today disappeared, which he left unfinished. Until his old age, he kept his exceptional technical skills unchanged, which allowed him to continue his tireless activity as a painter and draftsman until a few days before his death, when he concluded the portrait of General Narváez (Museo de Bellas Artes de Valencia San Pío V), and he died in Madrid on July 22, 1850. Reference Bibliography: Díez García, José Luis, Vicente López (1772-1850). Life and work, Madrid, Hispanic Art Foundation, 1999.
Templum Fine Art Auctions
Feb. 15, 2022
Huile sur toile "Portrait présumé de Don Frédéric de Pizarro y Bo
Est: €1,500 - €2,500
Huile sur toile "Portrait présumé de Don Frédéric de Pizarro y Bouligny, Secrétaire de la Légation d'Espagne à Bruxelles". Entourage de Vicente López Portaña. Ecole espagnole. Epoque: 1ère moitié du XIXème. Provenance: ancienne collection des Barons de Steenhault de Waerbeeck, château de Steenhault. (*). Dim.:74,5x57cm. D'origine espagnole, ce gentilhomme, diplomate en poste à Bruxelles, y épousa la Baronne Charlotte Marbais du Graty. Ils eurent une fille qui épousa le Baron Adhémar de Steenhault de Waerbeeck. Sur ce portrait, il porte l'Ordre de l'Aigle Rouge (Prusse), l'Ordre de Sainte-Anne (Russie), l'Ordre Royal de Charles III (Espagne), l'Ordre Royal de Saint-Ferdinand et du Mérite (Naples et Sicile), l'Ordre de Saint-Alexandre Nevski (Russie), l'Ordre de Saint-Etienne (Hongrie) et probablement la Croix des Volontaires Royaux (France).
Vanderkindere
Dec. 28, 2021
Vicente López Portaña. Archangel sketch
Est: -
Óleo sobre lienzo.
Duran Arte y Subastas
Dec. 28, 2021
VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850). "The twelve apostles". Models for The Last Supper (Játiva), ca.1805. Pair of oil on canvas, reentelados. Without signature. Size: 56 x 80 cm. c.u.
Est: €20,000 - €25,000
VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850). "The twelve apostles". Models for The Last Supper (Játiva), ca.1805. Pair of oil on canvas, reentelados. Without signature. Size: 56 x 80 cm. c.u. In these two canvases the authorship of Vicente López Portaña is evident in the way of resolving each one of the biblical characters that later he would transfer to the monumental painting of The Last Supper, destined to the refectory of the Royal Monastery of Santa Clara de Játiva (one of the outstanding works of the artist, dated in 1805). The six apostles represented on each side of the table, distancing themselves from the figure of Christ at the moment when he advances that one of them is going to betray him, appear here distributed in two paintings. The final painting will respect most of the expressions and gestures reproduced here, except for slight variations. In the museum of the castle of Peralada (Gerona) two heads of apostles are conserved that, like these groups, are also taken from life to transfer them to this same Last Supper, among them that of Judas Thaddeus. All of them are reviewed by José Luis Díez in the catalog raisonné on the artist (Fundacio?n de Apoyo a la Historia del Arte Hispa?nico, 1999, pp. 35, 552 and 553). In it, emphasis is placed on Vicente López's interest in individualizing each of the figures in the monumental painting, which led the painter to portray real models. They translate into a highly expressive naturalism. Vicente López began his training as a disciple of Antonio de Villanueva at the Academy of San Carlos in Valencia, where he obtained in 1786 and 1789 the first class prize, obtaining a pension to study in Madrid. Already in the court, the following year he reached the first place in the competition of the Academy of San Fernando. There he learned the baroque and colorful sense of compositions, and the taste for drawing, precise and analytical. The baroque lavishness of Luca Giordano's and Corrado Giaquinto's frescoes also had a decisive influence on his language. Already consecrated, he returned to his native city in 1792. There he received important public and private commissions, including portraits of Ferdinand VII and Marshal Soult. In his portraits López shows his Valencian heritage, the weight of Ribera and Ribalta's naturalism, as well as his mastery in the reproduction of details and qualities. His quality in the field of the portrait makes Fernando VII call him back to the court in 1814, naming him the following year first painter of the chamber. From then on he was the most sought-after painter by the Spanish high society, and he alternated his work at the court with teaching, official posts and private commissions. In 1823 he became the artistic director of the Royal Museum of Paintings, for which he painted a superb portrait of Francisco de Goya, now in the Prado. Works by Vicente López are kept in the Prado Museum, the Fine Arts Museum of Valencia San Pío V, the Academy of San Fernando, the Municipal Museum of Játiva, the National Museum of Art of Catalonia, the New York Historical Society, the Indianapolis Museum of Art, the J. Paul Getty Museum in Los Angeles, the National Gallery of Modern and Contemporary Art in Rome and the Lázaro Galdiano Foundation in Madrid.
Setdart Auction House
Nov. 24, 2021
VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850). "The mystical nuptials of St. Catherine of Siena". Oil on canvas. Relined.
Est: €10,000 - €12,000
VICENTE LÓPEZ PORTAÑA (Valencia, 1772 - Madrid, 1850). "The mystical nuptials of St. Catherine of Siena". Oil on canvas. Relined. Presents repainting, restorations and period frame made of wood. Measurements: 143 x 93 cm; 155 x 105 cm (frame). Kneeling, adopting a devotional gesture, St. Catherine holds the crown of thorns, while raising her gaze towards the figure of Christ. Jesus, standing, looks at the martyr, while showing her the wounds left by the nails, which on canvas are arranged on a tray. An angel closes the composition, located in the background, a resource that was used in many of the paintings by López Portaña, as can be seen in the dream of St. Joseph, or St. Peter freed by the Angel, both belonging to the collection of the Prado Museum in Madrid. Saint Catherine was born in Siena around 1347, she was the twenty-fifth daughter of a dyer named Jacopo Benincasa. At the age of seven she took a vow of virginity. As her mother wanted to marry her off, she shaved her head. Received into the Third Order of St. Dominic at the age of sixteen, despite family opposition, she wore the black habit of the Tertiaries or Sisters of Penance. In the convent she led an ascetic life that ruined her fragile health. She professed a particular devotion to St. Agnes of Montepulciano. According to legend, when Catherine visited the tomb of St. Agnes, and was bending over the body of the saint to kiss her foot, the saint raised it to the height of her lips. She was glorified for having contributed to bring Pope Gregory XI to Rome from Avignon. On the occasion of the Western Schism, she took the side of Urban VI. She died in Rome in 1380 and was canonized in 1461. Her body rests under the high altar of the Dominican church of Santa Maria sopra Minerva, near Fra Angelico. But her head was claimed by Siena, her hometown. Vicente López began his training as a disciple of Antonio de Villanueva at the Academy of San Carlos in Valencia, where he obtained in 1786 and 1789 the first class prize, obtaining a pension to study in Madrid. Already in the court, the following year he reached the first place in the competition of the Academy of San Fernando. There he learned the baroque and colorful sense of compositions, and the taste for drawing, precise and analytical. The baroque lavishness of the frescoes of Luca Giordano and Corrado Giaquinto also had a decisive influence on his language. Already consecrated, he returned to his native city in 1792. There he received important public and private commissions, including portraits of Ferdinand VII and Marshal Soult. In his portraits López shows his Valencian heritage, the weight of Ribera and Ribalta's naturalism, as well as his mastery in the reproduction of details and qualities. His quality in the field of the portrait makes Fernando VII call him back to the court in 1814, appointing him the following year as first chamber painter. From then on he was the most sought-after painter by the Spanish high society, and he alternated his work at the court with teaching, official posts and private commissions. In 1823 he became the artistic director of the Royal Museum of Paintings, for which he painted a superb portrait of Francisco de Goya, now in the Prado. Works by Vicente López are kept in the Prado Museum, the Fine Arts Museum of Valencia San Pío V, the Academy of San Fernando, the Municipal Museum of Játiva, the National Museum of Art of Catalonia, the New York Historical Society, the Indianapolis Museum of Art, the J. Paul Getty Museum in Los Angeles, the National Gallery of Modern and Contemporary Art in Rome and the Lázaro Galdiano Foundation in Madrid.
Setdart Auction House
Oct. 14, 2021
Vicente López Portaña (Valencia 1772-Madrid 1850), studio for the portrait of general Francisco Javier Rocaberti Dameto de Bellpuig
Est: €1,800 - €3,500
Oil on canvas: 43 x 35 cm
Templum Fine Art Auctions
Sep. 22, 2021
VICENTE LÓPEZ PORTAÑA School (Valencia, 1772 - Madrid, 1850). "Portrait of a lady. Oil on canvas. Relined
Est: €700 - €900
VICENTE LÓPEZ PORTAÑA School (Valencia, 1772 - Madrid, 1850). "Portrait of a lady. Oil on canvas. Relined It presents faults. Measurements: 50 x 38,5 cm. This work presents features inherited from the painting of López Portaña, influences that can be appreciated in the objective treatment of the portrayed, without glimpses of idealization. Following a realistic style, influenced by the naturalist tradition. In addition, in the work, we can see the artist's interest in portraying the fabrics and the different qualities that make up the lady's clothing, something very much to Vicente López's taste. Vicente López began his training as a disciple of Antonio de Villanueva at the San Carlos Academy in Valencia, where he was awarded the first-class prize in 1786 and 1789, obtaining a pension to study in Madrid. Once at court, the following year he won first place in the competition at the San Fernando Academy. There he learnt the baroque and colourist sense of composition and a taste for precise and analytical drawing. The Baroque lavishness of the frescoes of Luca Giordano and Corrado Giaquinto also had a decisive influence on his language. Now an established artist, he returned to his native city in 1792. There he received important public and private commissions, including portraits of Ferdinand VII and Marshal Soult. In his portraits López shows his Valencian heritage, the weight of the naturalism of Ribera and Ribalta, as well as his mastery in the reproduction of details and qualities. His quality in the field of portraiture led Ferdinand VII to summon him back to court in 1814, appointing him the following year as his first court painter. From then on he became the most sought-after painter by Spanish high society and alternated his work at court with teaching, official posts and private commissions. In 1823 he took over the artistic direction of the Royal Museum of Paintings, for which he painted a superb portrait of Francisco de Goya, now in the Prado. Works by Vicente López are kept in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Academia de San Fernando, the Museo Municipal de Játiva, the Museo Nacional de Arte de Cataluña, the New York Historical Society, the Indianapolis Museum of Art, the J. Paul Getty Museum in Los Angeles, the National Gallery of Modern and Contemporary Art in Rome and the Fundación Lázaro Galdiano in Madrid.
Setdart Auction House
Jun. 16, 2021
VICENTE LÓPEZ PORTAÑA (1772 / 1850) "Bishop Mariano Rodríguez de Olmedo"
Est: €142,500 - €190,000
Signed and dated (partially illegible 18??) at lower right. Provenance: -Marqués de Villafuerte -Private collection, Madrid Bibliography: -Díez, J.L., "Vicente López Portaña (1772 - 1850)". Catalog raisonné, volume II, FAHA, P-702, p. 175, plate nº 268 Important personality, Mariano Rodríguez de Olmedo (Guarganqui, Peru, 1771 - Santiago de Cuba, Cuba 1831) received his doctorate in Theology from the University of Alcalá de Henares. In 1799 he returned to Peru where he was a deputy on two occasions. In 1814 he was granted a canonry in the Cathedral of Cáceres and was named bishop of Puerto Rico on June 21, 1815. In 1825 he was named archbishop of Santiago de Cuba, as well as primate of the Indies. In this imposing portrait he appears seated pointing to a pastoral letter that he addresses to his diocesans printed in 1825, and he is represented with the crosses and bands of Isabel La Católica, Carlos III and St. Hermenegildo. As José Luis Diez points out in his monograph on the painter, "this is the ecclesiastical portrait "with the most elaborate decorative machine" of those painted by López, putting it in relation, due to its scenography and ostentation, with the great official portraits of the painter in the final stage of his life. The portrait, painted in Spain probably after Olmedo's death, was taken to Lima by Mariano Lapuerta along with another work by Vicente López to be family pictures, according to a letter preserved on the back of the painting signed in Lima in 1842 by Luis Lapuerta. .195 x 128 cm
Ansorena
Apr. 08, 2021
VICENTE LÓPEZ PORTAÑA (1772 / 1850) "The Infante Antonio Pascual de Borbón, ha. "1815-16.
Est: €18,750 - €25,000
Provenance: Private collection, Madrid Bibliographand: Diez, J.L., "Vicente López Portaña (1772 - 1850)". Catalogue raisonné, volume II, FAHA, P-336, plate 138, pp. 81 and 650 (reproduced before cleaning)
Ansorena
Dec. 22, 2020
VICENTE LÓPEZ PORTAÑA (VALENCIA, 1772-MADRID, 1850) "RETRATO DE FRANCISCO JAVIER ROCABERTI DAMETO Y DESPUIG".
Est: -
Vicente López Portaña (Valencia, 1772-Madrid, 1850) "Retrato de Francisco Javier Rocaberti Dameto y Despuig". Óleo sobre lienzo. 43 x 34 cm.
Aletheia Subastas
Dec. 17, 2020
Vicente López Portaña
Est: -
Vicente López Portaña (Valencia, 1772-Madrid, 1850). Alegoría de la abundancia, óleo sobre lienzo, 126x78 cm. Se adjunta certificado de don Joaquín Ciervo Paradell, fechado el 3 de abril de 1942.
Sala de Ventas
Dec. 15, 2020
VICENTE LÓPEZ PORTAÑA Valencia 1772 - Madrid 1850
Est: -
Scepter Hand Study Pencil drawing on paper Size 33 x 24.5 cm Sketch of the painting of Isabel II of National Heritage, Madrid.
Subastas Segre
Dec. 10, 2020
Vicente López Portaña (Valencia, 1772-Madrid, 1850) "Retrato de Francisco Javier Rocaberti Dameto y Despuig".
Est: €2,500 -
Vicente López Portaña (Valencia, 1772-Madrid, 1850) "Retrato de Francisco Javier Rocaberti Dameto y Despuig". Óleo sobre lienzo. 43 x 34 cm.
Aletheia Subastas
Nov. 05, 2020
Vicente López Portaña (Valencia, 1772 - Madrid, 1850)
Est: €3,800 - €5,000
Vicente López Portaña (Valencia, 1772 - Madrid, 1850) “Madonna and Child” Oil on canvas. 73 x 60 cm.
La Suite Subastas
Jul. 09, 2020
ATTRIBUTED TO VICENTE LÓPEZ PORTAÑA (1772-1850). "MARQUÉS DE REGUER", CIRCA 1823-1825.
Est: -
Oil on canvas. Some minor imperfections in the paint and a small restored tear to the canvas with a visible patch on reverse. Accompanied by a study issued by Perveco-Revision in 2018.102 x 75 cm; 124 x 97 cm. (frame).
Subarna Subastas
Mar. 13, 2020
Vicente López Portaña
Est: -
Vicente López Portaña (Valencia, 1772-Madrid, 1850). Alegoría de la abundancia, óleo sobre lienzo, 126x78 cm. Se adjunta certificado de don Joaquín Ciervo Paradell, fechado el 3 de abril de 1942.
Sala de Ventas
Feb. 26, 2020
Vicente López Portaña
Est: -
Vicente López Portaña (Valencia, 1772-Madrid, 1850). Alegoría de la abundancia, óleo sobre lienzo, 126x78 cm. Se adjunta certificado de don Joaquín Ciervo Paradell, fechado el 3 de abril de 1942.
Sala de Ventas
Dec. 19, 2019
ATTIBUTED TO VICENTE LÓPEZ PORTAÑA (1772-1850). "MARQUIS OF REGUER", CIRCA 1823-1825.
Est: €4,000 - €5,200
Oil on canvas. Minor defects to paintwork and small tear in cloth has been restored with patch visible on reverse. Offered with study copy from Perveco- Revision and Peritaje, 2018. 102 x 75 cm; 124 x 97 cm. (frame).
Subarna Subastas
Dec. 19, 2019
VICENTE LÓPEZ PORTAÑA (1772-1850). "ISABEL II, CHILD".
Est: €7,000 - €9,100
Oil on canvas. Signed bottom right. Deterioration and cracking to the face as well as a large crack to the varnish. Attached is a 2019 expert report by the specialists Mireia Hernández Esteban y Mª Inmaculada Lidón Corbí, in which they attribute the work to the artist. 118 x 84 cm.
Subarna Subastas
Dec. 12, 2019
Vicente López Portaña (1772 - 1850)
Est: €12,000 - €14,000
Vicente López Portaña (1772 - 1850) Oil on canvas. Circa 1814. 45,5 x 31,5 cm. This is a study for a painting of the Virgin Mary which was never made. The study, like many of the period, is painted onto the canvas without supports, which is why artists finished the edges with a painted frame, in this case a brown one, to show to the patron who would pay for the final painting. This painting had been missing since 1939. Bibliography: Reproduced and referenced in the catalogue raisonné of Vicente López´s work, compiled by José Luis Díez, on plate 81.
La Suite Subastas
Jun. 27, 2019
Vicente López Portaña (Valencia, 1772 - Madrid, 1850)
Est: €7,750 - €9,500
Vicente López Portaña (Valencia, 1772 - Madrid, 1850) "Madonna and Child" Oil on Copper. Signed "V Lopez". With a study by Jose Manuel Arnaiz y Asociados SL, Nº Reg. 08/921. 14,7 x 10,7 cm.
La Suite Subastas
May. 21, 2019
TALLER DE VICENTE LÓPEZ PORTAÑA - Cristo Salvador bendiciendo
Est: -
TALLER DE VICENTE LÓPEZ PORTAÑA Valencia 1772 - Madrid 1850 “Cristo Salvador bendiciendo” Oil on canvas Measurements 44.5 x 33.5 cm
Subastas Segre
Oct. 26, 2017
Vicente López Portaña. Santa Juana de Chantal
Est: -
LÓPEZ PORTAÑA, VICENTE (1772 - 1850). "Santa Juana de Chantal". Óleo sobre lienzo. 31,5 x 23,5 cm
Duran Arte y Subastas
Jun. 30, 2017
VICENTE LOPEZ PORTANÃ (1772-1850) ATTRIBUTED
Est: €750 - €1,500
VICENTE LOPEZ PORTANÃ (1772-1850) ATTRIBUTED "Bishop's portrait"Oil on canvas. Restorations.Dim: 111x82 cm.
Corte Real, Leiloeira
May. 31, 2017
Workshop of Vicente López Portaña Valencia 1772 - Madrid 1850 Maria Christina of Bourbon, Queen of Spain
Est: €6,000 -
Workshop of Vicente López Portaña Valencia 1772 - Madrid 1850 Maria Christina of Bourbon, Queen of Spain Oil paint on canvas A partir del original de Vicente López (1830), conservado en el Museo del Prado, Madrid (nº inv. P00865). Bibliografía de referencia: J. L. Díez, "Vicente López", Madrid, Fundación de Apoyo a la Historia del Arte Hispánico, 1999, vol. II, p. 107-108 90x65 cm Taller de Vicente López Portaña Valencia 1772 - Madrid 1850 María Cristina de Borbón, reina de España Óleo sobre lienzo A partir del original de Vicente López (1830), conservado en el Museo del Prado, Madrid (nº inv. P00865). Bibliografía de referencia: J. L. Díez, "Vicente López", Madrid, Fundación de Apoyo a la Historia del Arte Hispánico, 1999, vol. II, p. 107-108 90x65 cm
Balclis