Antonio María Esquivel Paintings & Artwork for Sale | Antonio María Esquivel Art Value Price Guide

Sep. 15, 2026
ATTRIBUTED TO ANTONIO MARÍA ESQUIVEL - Portrait of a girl
Est: -
ATTRIBUTED TO ANTONIO MARÍA ESQUIVEL Seville 1806 - Madrid 1857 Portrait of a Girl Oil on canvas Dimensions 39.2 x 29.5 cm
Subastas Segre
Sep. 08, 2026
Andalusian School, ca. 1830. Possibly ANTONIO MARÍA ESQUIVEL SUAREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Portrait of a lady. Oil on canvas. Presents faults and Puncture. Period frame.
Est: €1,200 - €1,400
Andalusian School, ca. 1830. Possibly ANTONIO MARÍA ESQUIVEL SUAREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Portrait of a lady. Oil on canvas. Presents faults and Puncture. Period frame. Measurements: 66 x 53 cm; 77 x 64 x 5 cm. This canvas, whose delicate workmanship and way of idealizing the model refer to the work of the Sevillian master Antonio María Esquivel, is a refined exponent of the Spanish romantic portrait. The lady, depicted bust-length, wears a sumptuous emerald green dress with a boat neckline that accentuates the elegance of the shoulders, framed by the puffed sleeves characteristic of the fashion of the time. The ensemble is enriched by a knotted scarf at the front and a superb jewelry device, composed of drop earrings, elements that underline the social status of the portrayed and Esquivel's mastery in capturing material qualities. Antonio María Esquivel is considered the most representative and prolific painter of Sevillian romanticism, and one of the most outstanding in Spain at the time. Trained at the Academy of Fine Arts of Seville, he was appointed chamber painter in 1843 and member of the Royal Academy of San Fernando in 1847, collaborated with the publications "El siglo XIX" and "El Panorama" and was part of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid. Although he dealt with very diverse subjects, portraiture is essential in his career. In addition to the artistic merit, his portraits illustrate the society of his time with historical rigor, without neglecting the affective values. He received many commissions for portraits in different formats, and also made several self-portraits, one of which is preserved in the Prado Museum. He also made group portraits, which speak of his fascination with the Dutch Baroque and his corporate portraits. As for religious themes, he was a follower of Murillo, in relation to his own condition as a Sevillian. His history paintings had a very personal, literary and theatrical character, the result of the romantic environment in which he lived. Among his official recognitions are the plaque of the Siege of Cadiz and the Cross of Commander of the Order of Isabella the Catholic. In 2006, in commemoration of his second centenary, the Academy of Fine Arts of Seville, in collaboration with the El Monte Foundation, held a retrospective exhibition dedicated to his work. He is represented in the Prado Museum, the Huesca City Hall, the Lázaro Galdiano Museum, the Fine Arts Museum of Seville, the Romantic and Naval Museums of Madrid, the National Library and the Santa Cruz Museum of Toledo, among many others.
Setdart Auction House
Jul. 15, 2026
Circle of ANTONIO MARÍA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806 – Madrid, 1857). "Portrait of a Man," ca. 1850. Oil on canvas. Period frame, carved and gilded wood.
Est: €700 - €900
Circle of ANTONIO MARÍA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806 – Madrid, 1857). "Portrait of a Man," ca. 1850. Oil on canvas. Period frame, carved and gilded wood. Measurements: 53 x 43.5 cm; 68 x 58 cm (frame). This portrait of a man bears the stylistic hallmarks of Antonio María Esquivel, suggesting it may have been painted by a disciple of the master portraitist. The oval-shaped portrait depicts a gentleman’s features rendered with realism and meticulous brushwork, executed with the precision of a miniaturist. The brown velvet coat wraps around his torso, and his haughty posture is accentuated by the silk scarf tied around his neck. His eyes shine, breathing life into his face—a effect enhanced by the skin tones and thinning hair, as each element is rendered with extreme precision. Esquivel was the most representative and prolific painter of Sevillian Romanticism, and one of the most prominent artists of his time in Spain. Trained at the Academy of Fine Arts in Seville, he was appointed court painter in 1843 and a member of the Royal Academy of San Fernando in 1847; he contributed to the publications *El siglo XIX* and *El Panorama* and was a member of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid. Although he tackled a wide variety of subjects, portraiture was central to his career. In addition to their artistic merit, his portraits depict the society of his time with historical accuracy, without neglecting emotional depth. He received many commissions for portraits in various formats and also produced several self-portraits, one of which is housed in the Prado Museum. His works are represented in numerous private collections and in institutions such as the Prado Museum, the Huesca City Council, the Lázaro Galdiano Museum in Madrid, the Museum of Fine Arts in Seville, the Romantic Museum and the Naval Museum in Madrid, the National Library, and the Santa Cruz Museum in Toledo, among many others. Vintage frame, made of carved and gilded wood.
Setdart Auction House
Jun. 30, 2026
ANTONIO MARÍA ESQUIVEL (Seville, 1806-Madrid, 1857)
Est: €4,750 - €9,500
ANTONIO MARÍA ESQUIVEL (Seville, 1806-Madrid, 1857) Portrait of a Lady Oil on canvas. Dimensions: 125 x 90 cm. Signed in the lower right corner.
Fernando Duran
Jun. 17, 2026
ANTONIO MARIA ESQUIVEL Seville (1806) / Madrid (1857) "Portrait of Maria Dolores Rossique Hernandez Tilly, Marchioness of Ordoño"
Est: €4,500 - €6,750
Oil on canvas. Maria Dolores was born in 1813 in Pozo Estrecho, near Cartagena, and died in Murcia in 1874. She married first Diego Aleman Garcia y Falcon; and in 1843, she married Mariano Fontes Queipo de Llano, VII Marquis of Ordoño, perpetual councilman of Murcia and widower of Maria Teresa de Contreras y Mencos. In this portrait, she appears seated, dressed in black, with a closed fan in one hand and a handkerchief in the other, wearing three roses on her chest, alluding to the Rossique surname, whose coat of arms features these flowers. Regarding its date of creation, it was probably painted around 1843, the year of Maria Dolores's second marriage, when she became the Marchioness of Ordoño. Dimensions: 126 x 93 cm
Ansorena
May. 19, 2026
Spanish School, XIX century. Attributed to ANTONIO MARÍA ESQUIVEL SUAREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Portrait of a lady. Oil on canvas.
Est: €2,000 - €2,400
Spanish School, XIX century. Attributed to ANTONIO MARÍA ESQUIVEL SUAREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Portrait of a lady. Oil on canvas. Measurements: 116 x 90 cm; 136 x 110 cm (frame). The lady wears a magnificent silk dress in peacock blue, with a voluminous skirt characteristic of the 1850s. The delicate lace tablecloth over her shoulders shows the meticulous brushwork for which Esquivel was known, masterfully capturing the transparency and texture of the fabric. She wears a multi-strand pearl choker with a gold pendant. Her left wrist features a bracelet with a miniature portrait, a sentimental piece of jewelry common in the period, probably representing her husband or a close relative. She holds a closed fan, an indispensable accessory of Spanish high society, which often had its own "language" at social events. The figure is set in a classical interior with heavy red drapery and a golden candelabra. This "theatrical" background serves to enhance the figure, emphasizing her presence and the luminosity of her skin. This 19th century portrait is an exceptional example of the Spanish Romantic school, attributed to the renowned Sevillian painter Antonio María Esquivel. Esquivel was a central figure in the art of the mid-19th century, serving as chamber painter to Queen Isabella II, and noted for his ability to combine technical precision with the emotional softness of his time.
Setdart Auction House
May. 14, 2026
ANTONIO MARÍA ESQUIVEL. Gentleman.
Est: €1,800 - €2,000
Oil on canvas. Signed and dated 1842. 72x56 cm.
Balclis
May. 12, 2026
ATTRIBUTED TO ANTONIO MARÍA ESQUIVEL - Portrait of a girl
Est: -
ATTRIBUTED TO ANTONIO MARÍA ESQUIVEL Seville 1806 - Madrid 1857 Portrait of a Girl Oil on canvas Dimensions 39.2 x 29.5 cm
Subastas Segre
Apr. 09, 2026
ANTONIO MARIA ESQUIVEL Seville (1806) / Madrid (1857) "Portrait of Mother and Daughter", 1849
Est: €4,500 - €6,000
Oil on canvas Signed and dated in the lower right corner. Measurements: 126 x 92 cm
Ansorena
Mar. 23, 2026
SEGUIDOR DE ANTONIO MARÍA ESQUIVEL (1806-1857). Primera mit
Est: €2,500 -
SEGUIDOR DE ANTONIO MARÍA ESQUIVEL (1806-1857). Primera mitad del siglo XIX "Retrato de dama ". Óleo sobre lienzo Procedencia: - Antigua colección Don Ramón Aras Jauregui. - Colección particular, Madrid Medidas:52 x 42 cm.
Magna Art Auctions
Mar. 11, 2026
Attributed to Antonio María Esquivel, 19th Century "Portrait of a Gentleman in Military Uniform"
Est: €3,000 - €4,000
Attributed to Antonio María Esquivel, 19th Century "Portrait of a Gentleman in Military Uniform" Oil on canvas 117 x 86 cm 3.000 – 4.000 €
Greco Subastas
Feb. 25, 2026
Andalusian School, ca. 1830. Possibly ANTONIO MARÍA ESQUIVEL SUAREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Portrait of a lady. Oil on canvas. Presents faults and Puncture. Period frame.
Est: €1,200 - €1,400
Andalusian School, ca. 1830. Possibly ANTONIO MARÍA ESQUIVEL SUAREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Portrait of a lady. Oil on canvas. Presents faults and Puncture. Period frame. Measurements: 66 x 53 cm; 77 x 64 x 5 cm. This canvas, whose delicate workmanship and way of idealizing the model refer to the work of the Sevillian master Antonio María Esquivel, is a refined exponent of the Spanish romantic portrait. The lady, depicted bust-length, wears a sumptuous emerald green dress with a boat neckline that accentuates the elegance of the shoulders, framed by the puffed sleeves characteristic of the fashion of the time. The ensemble is enriched by a knotted scarf at the front and a superb jewelry device, composed of drop earrings, elements that underline the social status of the portrayed and Esquivel's mastery in capturing material qualities. Antonio María Esquivel is considered the most representative and prolific painter of Sevillian romanticism, and one of the most outstanding in Spain at the time. Trained at the Academy of Fine Arts of Seville, he was appointed chamber painter in 1843 and member of the Royal Academy of San Fernando in 1847, collaborated with the publications "El siglo XIX" and "El Panorama" and was part of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid. Although he dealt with very diverse subjects, portraiture is essential in his career. In addition to the artistic merit, his portraits illustrate the society of his time with historical rigor, without neglecting the affective values. He received many commissions for portraits in different formats, and also made several self-portraits, one of which is preserved in the Prado Museum. He also made group portraits, which speak of his fascination with the Dutch Baroque and his corporate portraits. As for religious themes, he was a follower of Murillo, in relation to his own condition as a Sevillian. His history paintings had a very personal, literary and theatrical character, the result of the romantic environment in which he lived. Among his official recognitions are the plaque of the Siege of Cadiz and the Cross of Commander of the Order of Isabella the Catholic. In 2006, in commemoration of his second centenary, the Academy of Fine Arts of Seville, in collaboration with the El Monte Foundation, held a retrospective exhibition dedicated to his work. He is represented in the Prado Museum, the Huesca City Hall, the Lázaro Galdiano Museum, the Fine Arts Museum of Seville, the Romantic and Naval Museums of Madrid, the National Library and the Santa Cruz Museum of Toledo, among many others.
Setdart Auction House
Dec. 17, 2025
Attributed to ANTONIO MARIA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Academic study". Oil on canvas. Relined. Provenance: Private collection in Belgium. With export permit.
Est: €4,000 - €5,000
Attributed to ANTONIO MARIA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Academic study". Oil on canvas. Relined. Provenance: Private collection in Belgium. With export permit. Measurements: 103 x 82 cm; 126 x 104 cm (frame). The portrait welcomes a physiognomy of the gentleman characterized with verism and detailed brushstroke, with miniaturist pulse. A vine leaf covers his private parts. The moving posture breathes life into the body, which is aided by the marked musculature and the concentrated face, as each element is resolved with extreme precision. Esquivel was the most representative and prolific painter of Sevillian romanticism, and one of the most outstanding of his time in Spain. His life was a true romantic plea; lost his fortune after the death of his father, he was orphaned and poor, with seventeen years he enlisted against the absolutist cause of the Duke of Angoulême, and did not live comfortably until his move to Madrid in 1831. However, in 1838 he returned to Seville, where he lost his sight shortly afterwards. Cured in 1840 he returned to Madrid, where he worked until his death. Trained at the Academy of Fine Arts of Seville, he was appointed chamber painter in 1843 and member of the Royal Academy of San Fernando in 1847, he collaborated with the publications "El siglo XIX" and "El Panorama" and was a member of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid, which led him to publish the monographs of José Elbo y Herrera el Viejo (1847) and his "Tratado de anatomía práctica" (1848). He also cultivated art criticism, and wrote about history painting and the German Nazarenes. As a painter he fully identified with romanticism, which he expressed through the feeling and aesthetic correctness of his work. His style, partly eclectic, is characterized by a great technical mastery, which manages to harmoniously balance the correctness of the drawing and the quality of the colors. Although he dealt with very diverse subjects, portraiture is essential in his career. In addition to the artistic merit, his portraits illustrate the society of his time with historical rigor, without neglecting the affective values. He received many commissions for portraits in different formats, and also made several self-portraits, one of which is preserved in the Prado Museum. He also made group portraits, which speak of his fascination for the Dutch Baroque and his corporate portraits. As for religious themes, he was a follower of Murillo, in relation to his own condition as a Sevillian. His history paintings had a very personal, literary and theatrical character, the result of the romantic environment in which he lived. Among his official recognitions are the plaque of the Siege of Cadiz and the Cross of Commander of the Order of Isabella the Catholic. In 2006, in commemoration of his second centenary, the Academy of Fine Arts of Seville, in collaboration with the El Monte Foundation, held a retrospective exhibition dedicated to his work. He is represented in the Prado Museum, the Huesca City Hall, the Lázaro Galdiano Museum, the Fine Arts Museum of Seville, the Romantic and Naval Museums in Madrid, the National Library and the Santa Cruz Museum in Toledo, among many others. Provenance: Belgian auction. With export permit.
Setdart Auction House
Dec. 12, 2025
ANTONIO MARIA ESQUIVEL Seville (1806) / Madrid (1857) “Portrait of Maria Dolores Rossique Hernandez Tilly, Marchioness of Ordoño”
Est: €10,500 - €14,000
Oil on canvas Maria Dolores was born in 1813 in Pozo Estrecho, near Cartagena, and died in Murcia in 1874. She married first Diego Aleman Garcia y Falcon; and in 1843, she married Mariano Fontes Queipo de Llano, VII Marquis of Ordoño, perpetual councilman of Murcia and widower of Maria Teresa de Contreras y Mencos. In this portrait, she appears seated, dressed in black, with a closed fan in one hand and a handkerchief in the other, wearing three roses on her chest, alluding to the Rossique surname, whose coat of arms features these flowers. Regarding its date of creation, it was probably painted around 1843, the year of Maria Dolores's second marriage, when she became the Marchioness of Ordoño. Dimensions: 126 x 93 cm
Ansorena
Oct. 28, 2025
ANTONIO MARIA ESQUIVEL - Retrato de Almirante
Est: -
ANTONIO MARIA ESQUIVEL Sevilla 1806 - Madrid 1857 Retrato de Almirante Óleo sobre lienzo Firmado y fechado Medidas 115,5 x 95,5 cm
Subastas Segre
Oct. 16, 2025
ANTONIO MARÍA ESQUIVEL Y SUÁREZ DE URBINA, (Seville, 1806 - Madrid, 1857). "Saint Justa and Saint Rufina. Oil on canvas. Presents a patch on the back.
Est: €4,000 - €4,500
ANTONIO MARÍA ESQUIVEL Y SUÁREZ DE URBINA, (Seville, 1806 - Madrid, 1857). "Saint Justa and Saint Rufina. Oil on canvas. Presents a patch on the back. Measurements: 58.5 x 44.5 cm, 75 x 60.5 cm (frame). The sisters Justa and Rufina embrace with tenderness under a leaden sky. At their side, the tamed lion reminds us of the episode in which he saved their lives, on one of the many occasions they had to suffer martyrdom for remaining faithful to their beliefs. The women, of idealized beauty, are in a barren landscape. In the distance, a solitary Greek temple can be seen. The older sister looks up to heaven, imploring the Lord's forgiveness. The little one embraces her, conveying a deep feeling. This is an outstanding example of the romantic style developed by Antonio María Esquivel, which he applied to both profane and sacred subjects. Antonio María Esquivel was the most representative and prolific painter of Sevillian romanticism, and one of the most outstanding of his time in Spain. His life was a true romantic plea; lost his fortune after the death of his father, he was orphaned and poor, with seventeen years he enlisted against the absolutist cause of the Duke of Angoulême, and did not live comfortably until his move to Madrid in 1831. However, in 1838 he returned to Seville, where he lost his sight shortly afterwards. Cured in 1840 he returned to Madrid, where he worked until his death. Trained at the Academy of Fine Arts in Seville, he was appointed chamber painter in 1843 and a member of the Royal Academy of San Fernando in 1847. He collaborated with the publications "El siglo XIX" and "El Panorama" and was a member of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid, which led him to publish the monographs of José Elbo y Herrera el Viejo (1847) and his "Tratado de anatomía práctica" (1848). He also cultivated art criticism, and wrote about history painting and the German Nazarenes. As a painter he fully identified with romanticism, which he expressed through the feeling and aesthetic correctness of his work. His style, partly eclectic, is characterized by a great technical mastery, which manages to harmoniously balance the correctness of the drawing and the quality of the colors. Although he dealt with very diverse subjects, portraiture is essential in his career. In addition to the artistic merit, his portraits illustrate the society of his time with historical rigor, without neglecting the affective values. He received many commissions for portraits in different formats, and also made several self-portraits, one of which is preserved in the Prado Museum. He also made group portraits, which speak of his fascination with the Dutch Baroque and his corporate portraits. As for religious themes, he was a follower of Murillo, in relation to his own condition as a Sevillian. His history paintings had a very personal, literary and theatrical character, the result of the romantic environment in which he lived. Among his official recognitions are the plaque of the Siege of Cadiz and the Cross of Commander of the Order of Isabella the Catholic. In 2006, in commemoration of his second centenary, the Academy of Fine Arts of Seville, in collaboration with the El Monte Foundation, held a retrospective exhibition dedicated to his work. He is represented in the Prado Museum, the Huesca City Hall, the Lázaro Galdiano Museum, the Fine Arts Museum of Seville, the Romantic and Naval Museums of Madrid, the National Library and the Santa Cruz Museum of Toledo, among many others.
Setdart Auction House
Oct. 01, 2025
ANTONIO MARIA ESQUIVEL Seville (1806) / Madrid (1857) "Portrait of a Knight of the Order of Calatrava", 1838
Est: €5,250 - €7,000
Oil on canvas Signed and dated lower left. On the back, label of the Delegated Board of Seizure, Protection and Salvage of Artistic Treasures with inventory number: 13073; Provenance: Marañon; and collection number: 30. Provenance: -Gregorio Marañon Collection -Private collection, London Exhibitions: -"Elizabethan Painting (1830-1870)", Spanish Society of Friends of Art, June 1951, Madrid Bibliography -Pantorba, B. de, “Study and catalogue of Esquivel'work”, Arte Español: Journal of the Spanish Society of Friends of Art, 1959, p. 178 Measurements: Measurements: 74 x 57.5 cm
Ansorena
Oct. 01, 2025
ANTONIO MARIA ESQUIVEL Seville (1806) / Madrid (1857) “Portrait of Maria Dolores Rossique Hernandez Tilly, Marchioness of Ordoño”
Est: €13,500 - €18,000
Oil on canvas Maria Dolores was born in 1813 in Pozo Estrecho, near Cartagena, and died in Murcia in 1874. She married Diego Aleman Garcia y Falcon in her first marriage; and in 1843 she married Mariano Fontes Queipo de Llano, 7th Marquis of Ordoño, perpetual councilor of Murcia and widower of Mª Teresa de Contreras y Mencos. In this portrait she appears seated, dressed in black, with a closed fan in one hand and a handkerchief in the other, wearing three roses on her chest, which allude to the surname Rossique, on whose coat of arms the aforementioned flowers appear. As for the date of completion, it was probably painted around 1843, the date of Maria Dolores'second marriage and the moment when she became the Marchioness of Ordoño. Dimensions: Measurements: 126 x 93 cm
Ansorena
Sep. 09, 2025
Spanish school of the 19th century. Following models of ANTONIO MARÍA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806-Madrid, 1857). "La Celestina" or "Erotic Scene". Oil on canvas.
Est: €6,500 - €7,000
Spanish school of the 19th century. Following models of ANTONIO MARÍA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806-Madrid, 1857). "La Celestina" or "Erotic Scene". Oil on canvas. Measurements: 126 x 95 cm; 150 x 119 cm (frame). This painting is a work of great interest both for its subject matter and its stylistic execution. It follows closely the models of the famous romantic painter Antonio María Esquivel y Suárez de Urbina. Entitled "La Celestina" or "Erotic Scene", it evokes the famous tragicomedy of the same name by Fernando de Rojas. The composition is dynamic and theatrical, centered on an interior scene full of ambiguity. The main focus falls on a young woman, seated on an unmade bed. Her posture and expression convey surprise or alarm: her torso is turned, her right hand raised in a gesture of rejection or fright, and her white dress, with a generous neckline, suggests a situation of interrupted intimacy. Her gaze turns apprehensively to the figure beside her: a dwarf attired in a bicorn-style hat, red vest and dark breeches. His expression is lively and gesticulating, with his hands raised, as if he were in the middle of an impassioned speech. The lower third of the painting is populated by other figures that add a grotesque and mysterious character to the scene. Beneath the bed, another dwarf looks directly at the viewer with a complicit or mischievous smile. Next to him, another short figure holds a cat, an animal that in classical iconography symbolizes lust, betrayal or the occult. Other barely visible faces emerge from the gloom, creating a claustrophobic and voyeuristic atmosphere. The work clearly follows the postulates of Spanish Romanticism, influenced by the tradition of the Golden Age, especially in the use of chiaroscuro. The color palette is based on earthy, ochre and red tones, which contrast with the luminosity of the protagonist's white dress. The brushstrokes capture the expressiveness of the characters, which border on caricature, a trait that can be found in the genre and satirical painting of the time. The title "La Celestina" suggests that the painting is an allegorical interpretation or scene inspired by the literary work. Although it does not represent a specific passage literally, it captures its spirit: corruption, mediation in carnal love and the loss of innocence. The young woman could be a representation of Melibea, beset by temptations and figures orchestrating her amorous encounter. The dwarves, recurring figures in Spanish court and art (as in Velázquez's work), could function here as personifications of the vices, the gossiping servants or the intermediaries of the procuress Celestina. The alternative title, "Erotic Scene," is more direct and underscores the sensual tension of the composition. The work moves in ambiguity, leaving the viewer to decide whether it is a scene of seduction, harassment or a comedy of entanglements with a grotesque and moralizing touch. Esquivel was the most representative and prolific painter of Sevillian romanticism, and one of the most outstanding of his time in Spain. Trained at the Academy of Fine Arts of Seville, he was appointed chamber painter in 1843 and member of the Royal Academy of San Fernando in 1847, collaborated with the publications "El siglo XIX" and "El Panorama" and was part of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid. Although he dealt with very diverse subjects, portraiture is essential in his career. In addition to the artistic merit, his portraits illustrate the society of his time with historical rigor, without neglecting the affective values. He received many commissions for portraits in different formats, and also made several self-portraits, one of which is preserved in the Prado Museum. He is represented in numerous private collections and institutions such as the Prado Museum, the Huesca City Hall, the Lázaro Galdiano Museum in Madrid, the Fine Arts Museum in Seville, the Romantic and Naval Museums in Madrid, the National Library and the Santa Cruz Museum in Toledo, among many others.
Setdart Auction House
Jul. 30, 2025
Portrait of a Girl with a Pink Ribbon - Antonio María Esquivel y Suárez de Urbina (Seville, March 8, 1806 - Madrid, April 9, 1857)
Est: €10,000 - €12,000
A report by Don Enrique Valdivieso is attached. This delicate oval portrait depicts a young girl in an elegant dress with pink ribbons, highlighting a sense of innocence and refinement typical of 19th-century high society. The oil painting technique used in this work highlights the fine details of the dress and the texture of the ribbons, while the gilded oval frame perfectly frames the figure. The use of color and composition suggests a sophisticated interior setting, likely of a wealthy family, capturing an intimate moment from the sitter's childhood. 156x128
Templum Fine Art Auctions
Jul. 16, 2025
Attributed to ANTONIO MARIA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Academic study". Oil on canvas. Relined. Provenance: Private collection in Belgium. With export permit.
Est: €4,000 - €5,000
Attributed to ANTONIO MARIA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Academic study". Oil on canvas. Relined. Provenance: Private collection in Belgium. With export permit. Measurements: 103 x 82 cm; 126 x 104 cm (frame). The portrait welcomes a physiognomy of the gentleman characterized with verism and detailed brushstroke, with miniaturist pulse. A vine leaf covers his private parts. The moving posture breathes life into the body, which is aided by the marked musculature and the concentrated face, as each element is resolved with extreme precision. Esquivel was the most representative and prolific painter of Sevillian romanticism, and one of the most outstanding of his time in Spain. His life was a true romantic plea; lost his fortune after the death of his father, he was orphaned and poor, with seventeen years he enlisted against the absolutist cause of the Duke of Angoulême, and did not live comfortably until his move to Madrid in 1831. However, in 1838 he returned to Seville, where he lost his sight shortly afterwards. Cured in 1840 he returned to Madrid, where he worked until his death. Trained at the Academy of Fine Arts of Seville, he was appointed chamber painter in 1843 and member of the Royal Academy of San Fernando in 1847, he collaborated with the publications "El siglo XIX" and "El Panorama" and was a member of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid, which led him to publish the monographs of José Elbo y Herrera el Viejo (1847) and his "Tratado de anatomía práctica" (1848). He also cultivated art criticism, and wrote about history painting and the German Nazarenes. As a painter he fully identified with romanticism, which he expressed through the feeling and aesthetic correctness of his work. His style, partly eclectic, is characterized by a great technical mastery, which manages to harmoniously balance the correctness of the drawing and the quality of the colors. Although he dealt with very diverse subjects, portraiture is essential in his career. In addition to the artistic merit, his portraits illustrate the society of his time with historical rigor, without neglecting the affective values. He received many commissions for portraits in different formats, and also made several self-portraits, one of which is preserved in the Prado Museum. He also made group portraits, which speak of his fascination for the Dutch Baroque and his corporate portraits. As for religious themes, he was a follower of Murillo, in relation to his own condition as a Sevillian. His history paintings had a very personal, literary and theatrical character, the result of the romantic environment in which he lived. Among his official recognitions are the plaque of the Siege of Cadiz and the Cross of Commander of the Order of Isabella the Catholic. In 2006, in commemoration of his second centenary, the Academy of Fine Arts of Seville, in collaboration with the El Monte Foundation, held a retrospective exhibition dedicated to his work. He is represented in the Prado Museum, the Huesca City Hall, the Lázaro Galdiano Museum, the Fine Arts Museum of Seville, the Romantic and Naval Museums in Madrid, the National Library and the Santa Cruz Museum in Toledo, among many others. Provenance: Belgian auction. With export permit.
Setdart Auction House
Jul. 01, 2025
ATTRIBUTED TO ANTONIO MARÍA ESQUIVEL - Portrait of the Marquis of Heredia
Est: -
ATTRIBUTED TO ANTONIO MARÍA ESQUIVEL Seville 1806 - Madrid 1857 Portrait of the Marquis of Heredia Oil on canvas Measurements 74 x 56.5 cm
Subastas Segre
Jun. 24, 2025
Antonio María Esquivel. Portrait
Est: -
Oil on canvas. Signed and dated (1837) in the lower right corner.
Duran Arte y Subastas
Jun. 18, 2025
ANTONIO MARÍA ESQUIVEL Seville (1806) / Madrid (1857) "Andalusian Child", 1843
Est: €12,000 - €16,000
Oil on canvas. Signed and dated lower left. Dimensions: 156 x 104 cm.
Ansorena
Jun. 18, 2025
ANTONIO MARÍA ESQUIVEL Seville (1806) / Madrid (1857) "Portrait of Don Teodoro Zía, director of the Royal Martínez Silver Factory", 1839
Est: €9,000 - €12,000
Oil on canvas. Signed and dated in the lower left corner. Dimensions: 113 x 95 cm.
Ansorena
Jun. 18, 2025
ANTONIO MARÍA ESQUIVEL Seville (1806) / Madrid (1857) "Portrait of His Excellency Mr. Juan Dumanof S. Ambassador and Master of Russia"
Est: €3,000 - €4,000
Oil on pressed cardboard Titled and signed in the upper left corner Measurements: 31 x 22.5 cm
Ansorena
May. 28, 2025
Antonio María Esquivel. Portrait of a Lady
Est: -
Oil on canvas. Signed in the upper right corner.
Duran Arte y Subastas
Apr. 30, 2025
Portrait of a Girl with a Pink Ribbon - Antonio María Esquivel y Suárez de Urbina (Seville, March 8, 1806 - Madrid, April 9, 1857)
Est: €10,000 - €12,000
A report by Don Enrique Valdivieso is attached. This delicate oval portrait depicts a young girl in an elegant dress with pink ribbons, highlighting a sense of innocence and refinement typical of 19th-century high society. The oil painting technique used in this work highlights the fine details of the dress and the texture of the ribbons, while the gilded oval frame perfectly frames the figure. The use of color and composition suggests a sophisticated interior setting, likely of a wealthy family, capturing an intimate moment from the sitter's childhood. 156x128
Templum Fine Art Auctions
Apr. 02, 2025
ANTONIO MARIA ESQUIVEL Seville (1806) / Madrid (1857) "Portrait of a gentleman"
Est: €2,700 - €3,600
Oil on canvas Signed on the right side Measurements: 51.5 x 45 cm
Ansorena
Apr. 02, 2025
ANTONIO MARIA ESQUIVEL Seville (1806) / Madrid (1857) "Portrait of a military man of the Order of Calatrava"
Est: €7,500 - €10,000
Oil on canvas Signed and dated in the lower left corner. On the back, label of the Delegated Board of Seizure, Protection and Rescue of Artistic Treasures with inventory number: 13073; Provenance: Marañon; and collection number: 30. Provenance: -Gregorio Marañon Collection -Private collection, London Exhibitions: -"Isabellaine Painting (1830-1870)", Spanish Society of Friends of Art, June 1951, Madrid Bibliography -Pantorba, B. de, "Study and catalogue of Esquivel's work", Spanish Art: Magazine of the Spanish Society of Friends of Art, 1959, p.178 Measurements: 74 x 57.5 cm
Ansorena
Feb. 20, 2025
Young Lady Portrait - Antonio María Esquivel y Suárez de Urbina (Sevilla, 8 de marzo de 1806-Madrid, 9 de abril de 1857)
Est: €10,000 - €12,000
This delicate portrait depicts a young girl in an elegant dress adorned with pink ribbons, highlighting on her details the dress codes of the high society in the 19th century. The oil painting technique used in this piece accentuates the fine details of the dress and the texture of the ribbons, while the oval-shaped golden frame perfectly encases the figure. The use of color and composition suggests a sophisticated interior setting, likely from a wealthy family, capturing an intimate moment of the child's life. 156x128
Templum Fine Art Auctions
Feb. 11, 2025
ATTRIBUTED TO ANTONIO MARÍA ESQUIVEL - Young lady sitting in a garden
Est: -
ATTRIBUTED TO ANTONIO MARÍA ESQUIVEL Seville 1806 - Madrid 1857 Young lady sitting in a garden Oil on canvas Measurements 185 x 110 cm
Subastas Segre
Feb. 05, 2025
CÍRCULO DE ANTONIO MARÍA ESQUIVEL (Sevilla, 1806 - Madrid, 1857) - Retrato femenino
Est: €460 - €600
Se adjunta informe de Doña Paula Domínguez López, Historiadora del Arte.
Isbilya Subastas
Dec. 19, 2024
ANTONIO MARÍA ESQUIVEL Y SUÁREZ DE URBINA, (Seville, 1806 - Madrid, 1857). "Saint Justa and Saint Rufina. Oil on canvas. Presents a patch on the back.
Est: €8,000 - €9,000
ANTONIO MARÍA ESQUIVEL Y SUÁREZ DE URBINA, (Seville, 1806 - Madrid, 1857). "Saint Justa and Saint Rufina. Oil on canvas. Presents a patch on the back. Measurements: 58.5 x 44.5 cm, 75 x 60.5 cm (frame). The sisters Justa and Rufina embrace with tenderness under a leaden sky. At their side, the tamed lion reminds us of the episode in which he saved their lives, on one of the many occasions they had to suffer martyrdom for remaining faithful to their beliefs. The women, of idealized beauty, are in a barren landscape. In the distance, a solitary Greek temple can be seen. The older sister looks up to heaven, imploring the Lord's forgiveness. The little one embraces her, conveying a deep feeling. This is an outstanding example of the romantic style developed by Antonio María Esquivel, which he applied to both profane and sacred subjects. Antonio María Esquivel was the most representative and prolific painter of Sevillian romanticism, and one of the most outstanding of his time in Spain. His life was a true romantic plea; lost his fortune after the death of his father, he was orphaned and poor, with seventeen years he enlisted against the absolutist cause of the Duke of Angoulême, and did not live comfortably until his move to Madrid in 1831. However, in 1838 he returned to Seville, where he lost his sight shortly afterwards. Cured in 1840 he returned to Madrid, where he worked until his death. Trained at the Academy of Fine Arts in Seville, he was appointed chamber painter in 1843 and a member of the Royal Academy of San Fernando in 1847. He collaborated with the publications "El siglo XIX" and "El Panorama" and was a member of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid, which led him to publish the monographs of José Elbo y Herrera el Viejo (1847) and his "Tratado de anatomía práctica" (1848). He also cultivated art criticism, and wrote about history painting and the German Nazarenes. As a painter he fully identified with romanticism, which he expressed through the feeling and aesthetic correctness of his work. His style, partly eclectic, is characterized by a great technical mastery, which manages to harmoniously balance the correctness of the drawing and the quality of the colors. Although he dealt with very diverse subjects, portraiture is essential in his career. In addition to the artistic merit, his portraits illustrate the society of his time with historical rigor, without neglecting the affective values. He received many commissions for portraits in different formats, and also made several self-portraits, one of which is preserved in the Prado Museum. He also made group portraits, which speak of his fascination with the Dutch Baroque and his corporate portraits. As for religious themes, he was a follower of Murillo, in relation to his own condition as a Sevillian. His history paintings had a very personal, literary and theatrical character, the result of the romantic environment in which he lived. Among his official recognitions are the plaque of the Siege of Cadiz and the Cross of Commander of the Order of Isabella the Catholic. In 2006, in commemoration of his second centenary, the Academy of Fine Arts of Seville, in collaboration with the El Monte Foundation, held a retrospective exhibition dedicated to his work. He is represented in the Prado Museum, the Huesca City Hall, the Lázaro Galdiano Museum, the Fine Arts Museum of Seville, the Romantic and Naval Museums of Madrid, the National Library and the Santa Cruz Museum of Toledo, among many others.
Setdart Auction House
Dec. 11, 2024
Treatise on pictorial anatomy
Est: -
ESQUIVEL, Antonio María.- "TREATY ON PICTORIAL ANATOMY, inspected by the Royal Academy of Fine Arts of S. Fernando, and approved by the Government of HM for the study of painters and sculptors" M.: Printed by D. Francisco Andrés and company, 1848. Smaller folio, hol. smooth spine, post. 99 pgs. + 2 h. + Engraved cover + 18 plates each with explanatory h. Some mottling.
Duran Arte y Subastas
Nov. 27, 2024
CÍRCULO DE ANTONIO MARÍA ESQUIVEL (Sevilla, 1806 - Madrid, 1857), Retrato femenino
Est: €600 - €900
Se adjunta informe de Doña Paula Domínguez López, Historiadora del Arte.
Isbilya Subastas
Nov. 13, 2024
La Celestina
Est: €15,000 - €20,000
Antonio María Esquivel Seville 1806 - 1857 Madrid La Celestina Oil on canvas Signed and dated lower left A Esquivel f 18[...] 122,5 x 94 cm ; 48¼ by 37 in.
Sotheby's
Oct. 29, 2024
ATTRIBUTED TO ANTONIO MARIA ESQUIVEL Seville 1806 …
Est: -
ATTRIBUTED TO ANTONIO MARIA ESQUIVEL Seville 1806 - Madrid 1857 Portrait of Isabel II Oil on canvas Measurements 118 x 87.5 cm
Subastas Segre
Oct. 23, 2024
Antonio Maria Esquivel. Lady undressing 1835
Est: -
Oil on canvas. Signed and dated (1835) in the lower right corner. Numbered: 43768.
Duran Arte y Subastas
Oct. 23, 2024
Antonio Maria Esquivel. Girl portrait
Est: -
Oil on canvas. Signed and dated (1841) in the lower left corner. Certificate issued by Don Enrique Valdivieso is included.
Duran Arte y Subastas
Oct. 09, 2024
Young Lady Portrait - Antonio María Esquivel y Suárez de Urbina (Sevilla, 8 de marzo de 1806-Madrid, 9 de abril de 1857)
Est: €10,000 - €12,000
This delicate portrait depicts a young girl in an elegant dress adorned with pink ribbons, highlighting on her details the dress codes of the high society in the 19th century. The oil painting technique used in this piece accentuates the fine details of the dress and the texture of the ribbons, while the oval-shaped golden frame perfectly encases the figure. The use of color and composition suggests a sophisticated interior setting, likely from a wealthy family, capturing an intimate moment of the child's life. 156x128
Templum Fine Art Auctions
Sep. 24, 2024
ANTONIO MARIA ESQUIVEL Seville (1806) / Madrid (1857) "Portrait of Jose Luis Escudero Fernandez de Cordoba", 1845
Est: €2,100 - €2,800
Oil on canvas. Signed and dated in the lower left corner. On the back there is an inscription with the identity of the person portrayed, indicating that the work was painted when he was seven years old. Measurements: 72 x 55 cm.
Ansorena
Sep. 17, 2024
ANTONIO MARIA ESQUIVEL - Self-portrait
Est: -
ANTONIO MARIA ESQUIVEL Seville 1806 - Madrid 1857 Self-portrait Oil on canvas Measurements 41 x 29 cm
Subastas Segre
Sep. 17, 2024
ANTONIO MARIA ESQUIVEL - Portrait of a lady. 1838
Est: -
ANTONIO MARIA ESQUIVEL Seville 1806 - Madrid 1857 Portrait of a lady. 1838 Oil on canvas Signed and dated Measurements 123.5 x 94 cm Provenance: Céspedes Collection (on the back, old label from the Board of Seizure).
Subastas Segre
Sep. 12, 2024
Attributed to ANTONIO MARÍA ESQUIVEL SUAREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Saint Ursula. Oil on canvas. With illegible inscription on the back.
Est: €2,000 - €2,500
Attributed to ANTONIO MARÍA ESQUIVEL SUAREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Saint Ursula. Oil on canvas. With illegible inscription on the back. Measurements: 93.5 x 73 cm; 103 x 84 cm (frame). This canvas shows Saint Ursula dressed as a maiden. According to medieval legend, a young girl named Ursula converted to Christianity promising to keep her virginity. As she was sought after by a Breton prince, she decided to make a pilgrimage to Rome and thus achieve the consecration of her vows. In Rome, she was received by Pope Siricius who blessed her and consecrated her vows of perpetual virginity to dedicate herself to the preaching of the Gospel of Christ. When she returned to Germany, she was surprised in Cologne by the attack of the Huns, in 451. Attila, king of this people, fell in love with her but the young woman resisted and, together with other maidens who refused to surrender to the sexual appetites of the barbarians, she was martyred. Due to its formal characteristics, this work can be attributed to Antonio Maria Esquivel, a Spanish painter and theorist appointed as Pintor de Cámara during the reign of Isabel II, who was recognized for his romantic style. Despite coming from a noble family, with the death of his father they find themselves in a precarious and difficult situation. However, his mother encouraged him to continue his studies at the Academy of Fine Arts in Seville, where he became familiar with the painting of Bartolomé Esteban Murillo (1618-1682). These studies were paralyzed by the invasion of the Hundred Thousand Sons of St. Louis, a military conflict that caused him to enlist in the liberal ranks to defend the square of Cadiz. In 1831 he resumed his studies and in 1831, as a pensioner in Madrid, he entered the general competition of the Academy, which named him an academician of merit. During his stay in the Spanish capital, he participated assiduously in the Artistic and Literary Lyceum, where he received anatomy classes. He also participated in the exhibitions of the Academy in 1835, 1837 and 1838.
Setdart Auction House
Sep. 12, 2024
Young Lady Portrait - Antonio María Esquivel y Suárez de Urbina (Sevilla, 8 de marzo de 1806-Madrid, 9 de abril de 1857)
Est: €10,000 - €12,000
This delicate portrait depicts a young girl in an elegant dress adorned with pink ribbons, highlighting on her details the dress codes of the high society in the 19th century. The oil painting technique used in this piece accentuates the fine details of the dress and the texture of the ribbons, while the oval-shaped golden frame perfectly encases the figure. The use of color and composition suggests a sophisticated interior setting, likely from a wealthy family, capturing an intimate moment of the child's life. 156x128
Templum Fine Art Auctions
Jul. 25, 2024
Attributed to ANTONIO MARIA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Academic study". Oil on canvas. Re-colored. Provenance: Private collection in Belgium. With export permit.
Est: €4,000 - €5,000
Attributed to ANTONIO MARIA ESQUIVEL Y SUÁREZ DE URBINA (Seville, 1806 - Madrid, 1857). "Academic study". Oil on canvas. Relined. Provenance: Private collection in Belgium. With export permit. Size: 103 x 82 cm; 126 x 104 cm (frame). The portrait shows a physiognomy of the gentleman characterised with verism and detailed brushstrokes, with a miniaturist's pulse. A fig leaf covers his private parts. The moving posture breathes life into the body, which is aided by the pronounced musculature and the concentrated face, as each element is resolved with extreme precision. Esquivel was the most representative and prolific painter of Sevillian Romanticism and one of the most outstanding of his time in Spain. His life was a true Romantic plea; he lost his fortune after his father's death, was orphaned and left poor, and at the age of seventeen he enlisted against the absolutist cause of the Duke of Angoulême, and did not live comfortably until he moved to Madrid in 1831. However, in 1838 he returned to Seville, where he lost his sight shortly afterwards. Cured in 1840 he returned to Madrid, where he worked until his death. Trained at the Seville Academy of Fine Arts, he was appointed chamber painter in 1843 and a member of the San Fernando Royal Academy in 1847, contributed to the publications "El siglo XIX" and "El Panorama" and was a member of the Artistic and Literary Lyceum. He taught at the San Fernando Academy in Madrid, which led him to publish the monographs of José Elbo y Herrera el Viejo (1847) and his "Tratado de anatomía práctica" (1848). He was also an art critic and wrote on history painting and the German Nazarenes. As a painter he fully identified with Romanticism, which he expressed through the sentiment and aesthetic correctness of his work. His style, which is partly eclectic, is characterised by a great technical mastery that manages to harmoniously balance the correctness of the drawing and the quality of the colours. Although he dealt with a wide range of subjects, portraiture is an essential part of his career. In addition to his artistic merit, his portraits illustrate the society of his time with historical rigour, without neglecting affective values. He received many commissions for portraits in various formats, and also produced several self-portraits, one of which is in the Museo del Prado. He also executed group portraits, which reflect his fascination with the Dutch Baroque and his corporate portraits. With regard to religious themes, he was a follower of Murillo, in connection with his own status as a Sevillian. His history paintings had a very personal, literary and theatrical character, the result of the Romantic atmosphere in which he lived. His official awards include the plaque of the Siege of Cadiz and the Cross of Commander of the Order of Isabella the Catholic. In 2006, in commemoration of his second centenary, the Seville Academy of Fine Arts, in collaboration with the El Monte Foundation, held a retrospective exhibition dedicated to his work. He is represented in the Prado Museum, the Huesca Town Hall, the Lázaro Galdiano Museum, the Fine Arts Museum in Seville, the Romantic and Naval Museums in Madrid, the National Library and the Santa Cruz Museum in Toledo, among many others.
Setdart Auction House
Jul. 11, 2024
ANTONIO MARIA ESQUIVEL. His circle. Saint Lawrence.
Est: €800 - €900
Oil on canvas 113x81.5 cm.
Balclis