Agustin Esteve Marques Paintings & Artwork for Sale | Agustin Esteve Marques Art Value Price Guide

May. 21, 2024
ATRIBUIDO A AGUSTÍN ESTEVE MARQUES - Retrato de la Infanta María Isabel de Borbón
Est: -
ATRIBUIDO A AGUSTÍN ESTEVE MARQUES Valencia 1753 - Madrid 1820 Retrato de la Infanta María Isabel de Borbón Óleo sobre cobre Medidas 16 x 13 cm Obra expuesta en "Esteve" comisariada por Díaz Dalmau.
Subastas Segre
Dec. 13, 2023
Attributed to AGUSTÍN ESTEVE MARQUÉS (Valencia, 1753 - 1820). "King Ferdinand VII", c. 1815- 1820. Oil on canvas. Presents restorations on the pictorial surface. Preserves original frame.
Est: €18,000 - €19,000
Attributed to AGUSTÍN ESTEVE MARQUÉS (Valencia, 1753 - 1820). "King Ferdinand VII", c. 1815- 1820. Oil on canvas. Presents restorations on the pictorial surface. Preserves original frame. Measurements: 110 x 83 cm; 123,5 x 97,5 cm (frame). The portrait offers us the effigy of one of the most controversial Spanish monarchs, King Ferdinand VII, popularly known by the nicknames of "The Desired One" and "The Felon". Recognized as a legitimate king by the Spanish people during the Napoleonic occupation, after being restored to the throne he revealed himself, however, as an absolutist sovereign, with a vengeful and treacherous personality, surrounded by a cohort of sycophants. The monarch was portrayed by painters as outstanding as Vicente López or Francisco de Goya and all these portraits show some peculiar features, which allow us to recognize the effigy in the painting we now present. The most outstanding feature is undoubtedly the marked prognathism of the lower jaw that characterized Ferdinand VII, as well as other monarchs of the Spanish crown. The jaw protrudes from the plane of the face, giving the sitter a serious, even grim expression, despite the evident youth of the model, who appears dressed as a captain general of the armies. The model presents a somewhat martial attitude, in accordance with the character of official portrait that the painting seems to have. He appears erect with a long bust, dressed in his characteristic clothing. Agustín Esteve stood out mainly for the innumerable portraits he painted of the nobles of the Court and the high court bureaucrats. Under the protection of Godoy and the Osuna and Alba families, the painter developed a successful career at court until 1808. As in the case of other artists of his generation, the French invasion of 1808 and the convulsive period that lasted until 1814, together with the appearance of new painters and the natural decline of his age, caused his star to be eclipsed by minor commissions after the restoration of Ferdinand in 1814, and even, at the end of his life, to experience financial difficulties. Born into a family of artists, Agustín Esteve received his first lessons from his father, the sculptor Antonio Esteve. He then entered the Academy of Fine Arts of San Carlos in Valencia, and from there he went to the Academy of San Fernando in Madrid, where in 1773 he was awarded for the first time, with a third class prize in the annual competition of the Academy. After completing this final stage of his training, in which the influence of Mengs' teaching can be observed, Esteve became Francisco de Goya's assistant, something that would profoundly mark the Valencian artist's work from then on. The activity at Goya's side must have been intense since 1780, since after the death of Carlos III the new king commissioned numerous portraits to the Aragonese painter for different institutions, many of which were made directly by Esteve based on Goya's originals. During these years the painter would begin his good relations with the court, becoming the official portraitist first of the house of Osuna, and finally the main portraitist of the court at the end of the 18th century. Thus, Goya's patronage and Esteve's intense portraitist activity were finally rewarded when he was appointed Pintor de Cámara in 1800. With the entry of the French into Madrid and the accession of Joseph I to the throne, Agustín Esteve faced the same dilemma as the rest of the Pintores de Cámara regarding his loyalty to the new sovereign. Esteve, like the rest, placed himself under the orders of the new king and received his salaries as a painter of the Chamber. In spite of this, on the return of Ferdinand VII he had no problems to rejoin the service of his former master, since he was not in favor of Napoleon's brother. However, by 1814, at the age of sixty-one, Agustín Esteve's physical decrepitude was evident, his best days were over. And even more so considering that Goya's exile and the rise of Vicente López would corner him among the Chamber painters, although he continued to carry out some important commissions. Esteve is currently represented in the Prado Museum and the Museum of Fine Arts of Valencia, among other important institutions and private collections.
Setdart Auction House
Oct. 17, 2023
AGUSTÍN ESTEVE MARQUÉS (Valencia, 1753 – 1820). “Portrait of a painter”, c. 1800. Work verified by Mrs. Virginia Albarrán Martín. Oil on canvas. Relining. Preserved frame, c. 1800 of carved and gilded wood.
Est: €15,000 - €20,000
AGUSTÍN ESTEVE MARQUÉS (Valencia, 1753 - 1820). "Portrait of a painter", c. 1800. Work verified by Doña Virginia Albarrán Martín. Oil on canvas. Re-framed. It conserves frame, c. 1800 of carved and gilded wood. Measurements: 79 x 47 cm; 95 x 67 cm (frame). Esteve's quality can be appreciated in this calculated and precise image, where the position with which he captures the subject's body and the instantaneous rapidity of the brushstrokes that make up the clothing are very reminiscent of the one Goya used to portray Asensio Julià in the 1798 painting that is currently in the collection of the Thyssen Museum in Madrid. Despite the differences in the portraits, both convey a common concept: the idea of the romantic bohemian painter who anticipates his own era through his innovative gaze with which he immortalises the world. In this portrait, therefore, Esteve not only captures a specific image or a unique personality, but manages to portray an archetype with which he elevates the figure of the painter. The painter appears devoid of almost all his attributes except the brush, but arranged in a manner similar to court portraits in such a way that the painter glorifies the sitter, thus indicating the relevance of his profession within the social structure of the period. Agustín Esteve was chiefly noted for the innumerable portraits he painted of Court nobles and high-ranking court bureaucrats. Under the protection of Godoy and the Osuna and Alba families, the painter enjoyed a successful career at court until 1808. As in the case of other artists of his generation, the French invasion of 1808 and the turbulent period that lasted until 1814, together with the appearance of new painters and the natural decline of his age, meant that after the restoration of Ferdinand in 1814 his star was eclipsed by minor commissions and, at the end of his life, he even found himself in financial difficulties. Born into a family of artists, Agustín Esteve received his first lessons from his father, the sculptor Antonio Esteve. He then entered the Academy of Fine Arts of San Carlos in Valencia, and from there he went to the Academy of San Fernando in Madrid, where in 1773 he was awarded a third-class prize in the Academy's annual competition for the first time. After completing this final stage of his training, in which the influence of Mengs's teaching is evident, Esteve became Francisco de Goya's assistant, something that would have a profound influence on the Valencian artist's work from that time onwards. His work with Goya must have been intense from 1780 onwards, as after the death of Charles III the new king commissioned numerous portraits from the Aragonese painter for various institutions, many of which were executed directly by Esteve on the basis of Goya's originals. It was around this time that the painter began to establish good relations with the court, becoming the official portraitist first of the house of Osuna and finally the court's principal portraitist at the end of the 18th century. Goya's patronage and Esteve's intense portrait painting activity were finally rewarded when he was appointed Pintor de Cámara in 1800. With the entry of the French into Madrid and the accession of Joseph I to the throne, Agustín Esteve was faced with the same dilemma as the other court painters regarding his loyalty to the new sovereign. Esteve, like the rest, placed himself under the orders of the new king and was paid his wages as Chamber Painter. Despite this, he had no problems returning to the service of his former master on Ferdinand VII's return, as he had not found favour with Napoleon's brother. However, by 1814, at the age of sixty-one, Agustín Esteve's physical decrepitude was evident and his best days were behind him. And all the more so as Goya's exile and the rise of Vicente López had pushed him into a corner among the chamber painters, although he continued to undertake some important commissions.
Setdart Auction House
Nov. 24, 2021
Attributed to AGUSTÍN ESTEVE Y MÁRQUES (Valencia, 1753 - 1820). "Portrait of a clergyman. It has slight flaws in the painting.
Est: €7,000 - €8,000
Attributed to AGUSTÍN ESTEVE Y MÁRQUES (Valencia, 1753 - 1820). "Portrait of a clergyman. It has slight flaws in the painting. It has an inscription on the back about the property (Antonio Castellano, son). Measurements: 59 x 44 cm. Due to the formal and stylistic characteristics of the piece, we are in front of a painting that follows the style of the artist Agustín Esteve y Marqués. The canvas represents the portrait of a soberly attired gentleman of whom we do not appreciate any more remarkable trace than face. A face that sketches a slight smile, thus conveying a certain closeness and complicity with the viewer. The portrait genre began to proliferate in the eighteenth century, especially in the nineteenth century, when the upper classes of the bourgeoisie and nobility began to commission portraits, often with symbolic components, such as books or other objects that could give the image they wished to project. Agustín Esteve stood out mainly for the innumerable portraits he painted of Court nobles and high court bureaucrats. Under the protection of Godoy and the Osuna and Alba families, the painter developed a successful career at court until 1808. As in the case of other artists of his generation, the French invasion of 1808 and the convulsive period that lasted until 1814, together with the appearance of new painters and the natural decline of his age, caused his star to be eclipsed by minor commissions after the restoration of Ferdinand in 1814 and, at the end of his life, he even struggled financially. Born into a family of artists, Agustín Esteve received his first lessons from his father, the sculptor Antonio Esteve. He then entered the Academy of Fine Arts of San Carlos in Valencia, and from there he went to the Academy of San Fernando in Madrid, where in 1773 he was awarded for the first time, with a third class prize in the annual competition of the Academy. After completing this final stage of his training, in which the influence of Mengs' teaching can be observed, Esteve became Francisco de Goya's assistant, something that would profoundly mark the Valencian artist's work from then on. The activity at Goya's side must have been intense since 1780, since after the death of Carlos III the new king commissioned the Aragonese painter numerous portraits for different institutions, many of which were made directly by Esteve based on Goya's originals. During these years the painter would begin his good relations with the court, becoming the official portraitist first of the house of Osuna, and finally the main portraitist of the court at the end of the 18th century. Thus, Goya's patronage and Esteve's intense portraitist activity were finally rewarded when he was appointed Pintor de Cámara in 1800. With the entry of the French into Madrid and the accession of Joseph I to the throne, Agustín Esteve faced the same dilemma as the rest of the Pintores de Cámara regarding his loyalty to the new sovereign. Esteve, like the rest, placed himself under the orders of the new king and received his salaries as a painter of the Chamber. In spite of this, on the return of Ferdinand VII he had no problems to rejoin the service of his former master, since he was not in favor of Napoleon's brother. However, by 1814, at the age of sixty-one, Agustín Esteve's physical decrepitude was evident, his best days were over. And even more so considering that Goya's exile and the rise of Vicente López would corner him among the Chamber painters, although he continued to carry out some important commissions. Esteve is currently represented in the Prado Museum and the Museum of Fine Arts of Valencia, among other important institutions and private collections.
Setdart Auction House
Jun. 09, 2021
Attribué à Agustín ESTEVE y MARQUES Valence, 1753 - vers 1830 Portrait de Marie-Caroline d'Autriche, reine de Naples et de Sicile, d..
Est: €6,000 - €8,000
Attribué à Agustín ESTEVE y MARQUES Valence, 1753 - vers 1830 Portrait de Marie-Caroline d'Autriche, reine de Naples et de Sicile, dans un ovale feint Huile sur toile Portrait of Maria Carolina of Austria, Queen of Naples and Sicily, oil on canvas, attr. to A. Esteve y Marques h: 63 w: 48,50 cm Provenance : Vente anonyme ; Neuilly-sur-Seine, Aguttes, 12 mars 2019, n° 212 ; Acquis lors de cette vente par le propriétaire actuel ; Collection particulière, Bruxelles Commentaire : Sœur ainée de la reine Marie-Antoinette, Marie-Caroline d'Autriche naît à Vienne en 1752 et y décède en 1814. Elle devient reine de Naples et de Sicile à quinze ans, à l'occasion de son mariage avec Ferdinand IV de Naples. Femme de pouvoir, Marie-Caroline s'opposa à la Révolution toute sa vie durant et plaça ses enfants sur d'importants trônes européens. Elle dut toutefois faire face aux conquêtes de Napoléon Ier qui, en 1804, annexa le royaume de Naples, la condamnant à l'exil. Estimation 6 000 - 8 000 €
Artcurial
Jun. 03, 2019
CIRCLE OF AGUSTÍN ESTEVE Y MARQUÉS (Valencia, 1753-1830) Child with a bird
Est: -
CÍRCULO DE AGUSTÍN ESTEVE Y MARQUÉS (Valencia, 1753-1830) Niño con pajarito 122 x 91 cm
Isbilya Subastas
Apr. 27, 2016
AGUSTIN ESTEVE Y MARQUES | Portrait of the second Condesa de Castroterreño, half-length
Est: £2,500 - £3,500
oil on canvas
Sotheby's
Oct. 27, 2015
AGUSTIN ESTEVE Y MARQUES | Portrait of the second Condesa de Castroterreño, half-length
Est: £5,000 - £7,000
oil on canvas
Sotheby's
Nov. 05, 2014
ATTRIBUE A AGUSTIN ESTEVE Y MARQUES (VALENCE 1753-VERS 1820 MADRID) D'APRES FRANCESCO GOYA Y LUCIENTES
Est: €20,000 - €30,000
ATTRIBUE A AGUSTIN ESTEVE Y MARQUES (VALENCE 1753-VERS 1820 MADRID) D'APRES FRANCESCO GOYA Y LUCIENTES Portrait de Charles IV (1748-1819), portant l'ordre de la Toison d'Or, dans un ovale feint huile sur toile 83,3 x 67 cm. (32¾ x 26¼ in.)
Christie's
Oct. 28, 2014
AGUSTÍN ESTEVE MARQUÉS
Est: -
(València, 1753-1820). "Lince ibérico", óleo sobre lienzo, 63x82 cm.
Sala de Ventas
Sep. 24, 2010
Agustin ESTEVE Y MARQUES (attribué à)
Est: €20,000 - €30,000
Agustin ESTEVE Y MARQUES (attribué à) (1753-1809/20) El Marques de Rio-Florido Huile sur toile (restaurations anciennes) 99.5x80 cm Sans cadre
Boisgirard-Antonini

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ATRIBUIDO A AGUSTÍN ESTEVE MARQUES - Retrato de la Infanta María Isabel de Borbón

Attributed to AGUSTÍN ESTEVE MARQUÉS (Valencia, 1753 - 1820). "King Ferdinand VII", c. 1815- 1820. Oil on canvas. Presents restorations on the pictorial surface. Preserves original frame.

AGUSTÍN ESTEVE MARQUÉS (Valencia, 1753 – 1820). “Portrait of a painter”, c. 1800. Work verified by Mrs. Virginia Albarrán Martín. Oil on canvas. Relining. Preserved frame, c. 1800 of carved and gilded wood.

Attributed to AGUSTÍN ESTEVE Y MÁRQUES (Valencia, 1753 - 1820). "Portrait of a clergyman. It has slight flaws in the painting.

Attribué à Agustín ESTEVE y MARQUES Valence, 1753 - vers 1830 Portrait de Marie-Caroline d'Autriche, reine de Naples et de Sicile, d..

CIRCLE OF AGUSTÍN ESTEVE Y MARQUÉS (Valencia, 1753-1830) Child with a bird

AGUSTIN ESTEVE Y MARQUES | Portrait of the second Condesa de Castroterreño, half-length

AGUSTIN ESTEVE Y MARQUES | Portrait of the second Condesa de Castroterreño, half-length

ATTRIBUE A AGUSTIN ESTEVE Y MARQUES (VALENCE 1753-VERS 1820 MADRID) D'APRES FRANCESCO GOYA Y LUCIENTES

AGUSTÍN ESTEVE MARQUÉS

Agustin ESTEVE Y MARQUES (attribué à)

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