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Eduardo Rosales Sold at Auction Prices

b. 1836 - d. 1873

Eduardo Rosales Gallinas (4 November 1836 – 13 September 1873) was a Spanish painter. He was an adherent of the Italian-based art movement known as "Purismo" and specialized in historical scenes.

He was born in Madrid. The second son of a minor official, he began his education in a private school operated by the Escolapios. He was orphaned as a teenager and enrolled in the Real Academia de Bellas Artes de San Fernando, where he studied under Federico de Madrazo in 1851.[2]

Rosales accompanied some friends to Rome in 1857, without a fellowship or other financial support, until he received a special stipend from the government to continue his studies in 1861.[2] He joined a group of Spanish painters who gathered in the Antico Caffè Greco, which included José Casado del Alisal, Dióscoro Puebla and Marià Fortuny. There he began to associate with followers of the Nazarene movement, but soon abandoned his interest in them and produced his first important work "Tobías y el angel".

However, he continued to be interested in developing a more realistic style, which was achieved in his best known work "Doña Isabel la Católica dictando su testamento". He took it to the International Exposition (1867) in Paris[2] and later returned to Rome, where he sent a telegram to his friends Martín Rico and Raimundo de Madrazo telling them that the painting had been an outstanding success, taking the First Gold Medal for work by a foreigner. He was also named a Chevalier in the Legion d'Honneur.[3]

Final years: He married his cousin Maximina in 1868. They had two children, one of whom, Eloisa, died in infancy and was memorialized in his painting "Primeros pasos" (First Steps). Rosales was in poor health himself, having had tuberculosis for many years, and made frequent visits to Panticosa in the Pyrenees, where the water was famous for its curative properties.[4] In 1869, he left Rome for good and opened a studio in Madrid. The harsh criticism he received for his work "La Muerte de Lucrecia" (1871) left him discouraged and he never painted another large-scale canvas.[4]

The following year, hoping to find a climate that would more amenable to his health, he moved to Murcia. Upon the declaration of the First Spanish Republic, he was offered positions at the Museo del Prado, which he rejected, and at the new Academia de España en Roma [es], which he accepted but never filled, due to his worsening condition. He died shortly thereafter, in Madrid.[4]

In 1922, Madrid honored him with a memorial statue, sculpted by Mateo Inurria and placed on a street named after him, the Paseo del Pintor Rosales.

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        • ROSALES, EDUARDO (1836 - 1873)
          May. 28, 2024

          ROSALES, EDUARDO (1836 - 1873)

          Est: -

          Mixed technique on paper. Signed and dated (1861) in the lower right corner.

          Duran Arte y Subastas
        • SPANISH SCHOOL, 19th/20thC - The death of Lucrécia
          May. 23, 2024

          SPANISH SCHOOL, 19th/20thC - The death of Lucrécia

          Est: €750 - €1,000

          Oil on canvas, after the original by Eduardo Rosales (1836-1873) at the Prado Museum. Framed. Signs of use, restoration. Dim.:66.5x81cm.

          Marques dos Santos
        • EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Portrait of a woman", 1869
          May. 21, 2024

          EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Portrait of a woman", 1869

          Est: €4,200 - €5,600

          Oil on canvas Probably painted in Rome. Certified by Trinidad J. Rosales and Manuel Comba Bibliography: Calvo Serraller, F. and Benito, P., "Rosales", The geniuses of Spanish painting, volume 22, Sarpe, 1988, pp. 9 and 85 Exhibitions: "Eduardo Rosales in private collections", Ibercaja, December 2000, Zaragoza. Exhibition catalogue, p. 146, no. 28 (reproduced). Label on the back Measurements: 41 x 31 cm

          Ansorena
        • EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Young man in profile"
          May. 21, 2024

          EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Young man in profile"

          Est: €450 - €600

          Watercolor on paper With label from Rosales' testamentary / The testamentaries / F. Sanz / V. Palmaroli / S. Maureta". Measurements: 30 x 21.5 cm

          Ansorena
        • EDUARDO ROSALES - Passage
          Oct. 24, 2023

          EDUARDO ROSALES - Passage

          Est: -

          EDUARDO ROSALES Madrid 1836 - 1873 Landscape Oil on canvas Signed Measurements 14 x 25.5 cm On the back label of the Delegate Board of Seizure (marquis of Toca).

          Subastas Segre
        • EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Portrait of a young man"
          Oct. 03, 2023

          EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Portrait of a young man"

          Est: €1,200 - €1,600

          Oil on canvas. Signed in the lower left corner. Old numbering and modern labels. Exhibitions: - "Rosales en las colecciones privadas", Ibercaja Exhibition Hall, Zaragoza, from October 3 to December 31, 2000. Exhibition catalogue: early 138 and 244, nº20 (reproduced) Measurements: 37 x 30 cm.

          Ansorena
        • EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Fuensanta Valley"
          Oct. 03, 2023

          EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Fuensanta Valley"

          Est: €900 - €1,200

          Oil on paper or cardboard adhered to cardboard On the back inscription in ink: "Landscape by E. Rosales painted in ¿? that represents a site in Fuensanta Murcia and that was painted in 1872 and pasted on the cardboard by me in the year 1909" Signature erased. Sealed with sealing wax Exhibitions: "Eduardo Rosales in private collections", Ibercaja, Exhibition and Congress Center, Zaragoza, October-December 2000. Catalog of the exhibition: early 168 and 247, nº 50 (reproduced) Measurements: 15.5 x 24.5 cm

          Ansorena
        • Eduardo Rosales. Allegrazie bridge, Florence
          Apr. 26, 2023

          Eduardo Rosales. Allegrazie bridge, Florence

          Est: -

          Drawing. Inscription on the back "These drawings belong to an album by Eduardo Rosales in which he drew without signing, during his stay in Rome in 1857. It was given to me by my grandmother, Carlota Rosales, daughter of the painter. I am, therefore, his great-granddaughter . Elena Santonja". Exhibitions: - 2000 "Eduardo Rosales in private collections". Camon Aznar Museum. Ibercaja, nº 21 - 2007 "Eduardo Rosales (1836 - 1873). Drawings. Fundación Marcelino Botín, nº 28 Bibliography: José Luis Díez. Catalog raisonné Eduardo Rosales. Drawings. Fundación Marcelino Botín. Catalog number 747 File in Volume I page 465, reproduced in Volume II page 605.

          Duran Arte y Subastas
        • Eduardo Rosales. A view of Porta Romana, Siena
          Apr. 26, 2023

          Eduardo Rosales. A view of Porta Romana, Siena

          Est: -

          Drawing. On the back is the inscription " These drawings belong to an album by Eduardo Rosales in which he drew without signing during his stay in Rome in 1857. It was given to me by my grandmother, Carlota Rosales, the painter's daughter. I am, therefore, his great-granddaughter. Elena Santonja" Exhibitions: - 2000 "Eduardo Rosales in private collections". Camon Aznar Museum. Ibercaja, nº 22 Bibliography: José Luis Díez. Raisonné catalog Eduardo Rosales. Drawings. Marcelino Botin Foundation. Catalog number 757. File in Volume I page 468; reproduced in Volume II page 617.

          Duran Arte y Subastas
        • Eduardo Rosales. A woman's head in profile
          Apr. 26, 2023

          Eduardo Rosales. A woman's head in profile

          Est: -

          Drawing. Bibliography: José Luis Díez. Raisonné catalog Eduardo Rosales. Drawings. Marcelino Botin Foundation. Catalog number 660. File in Volume I page 430; reproduced in Volume II page 581.

          Duran Arte y Subastas
        • Eduardo Rosales. A portrait of Joaquina Blanco
          Apr. 26, 2023

          Eduardo Rosales. A portrait of Joaquina Blanco

          Est: -

          Drawing. Inscription 10 Aug. / 1857 in the lower right corner Labels on the back: - María Satonja Rosales - Museo del Prado. Exhibition Ier Centenary of the Death of Eduardo Rosales (1873 - 1973). Number 25 - IberCaja. Exhibition and Congress Center (Zaragoza). Exhibition "Rosales in private collections". October - December 2000. Exhibitions: - 1973 "Exhibition of the work of Eduardo Rosales (1836 - 1873). Museo del Prado, nº 25 - 2000 "Eduardo Rosales in private collections". Camón Aznar Museum. Ibercaja , nº 15 Bibliography: José Luis Díez. Eduardo Rosales raisonne catalogue. Drawings. Marcelino Botín Foundation. Catalog number 403. Record in Volume I page 336; reproduced in Volume II page 534.

          Duran Arte y Subastas
        • EDUARDO ROSALES - Sketch of History box
          Mar. 28, 2023

          EDUARDO ROSALES - Sketch of History box

          Est: -

          EDUARDO ROSALES Madrid 1836 - 1873 Sketch of a History painting. 1848 Drawing in pencil, ink and wash on paper Signed, dated and titled: "In a few days we will be able to finish what was agreed" Measurements 89 x 180 mm Origin: - Messrs. de Comba Collection, Madrid. - Private collection, Madrid. Work exhibited at: - Museo del Prado. "Exhibition 1st Centenary of the death of Eduardo Rosales (1873-1973), Madrid, 1973 (see label on the back).

          Subastas Segre
        • Spanish historicist school, second half of the 19th century. Circle of EDUARDO ROSALES (Madrid, 1836 – 1873). "Marriage". Oil on canvas.
          Feb. 14, 2023

          Spanish historicist school, second half of the 19th century. Circle of EDUARDO ROSALES (Madrid, 1836 – 1873). "Marriage". Oil on canvas.

          Est: €3,500 - €4,000

          Spanish historicist school, second half of the 19th century. Circle of EDUARDO ROSALES (Madrid, 1836 - 1873) . "Marriage". Oil on canvas. Measurements: 40 x 60 cm; 47 x 66 cm (frame). In this piece we are offered a historicist scene in which a marriage is represented. It is not known what is really the object of this scene but, we know that it has a treatment belonging, clearly, to the Circle of the painter Eduardo Rosales. The scene depicts a bride accompanied by her relatives inside a church, which we can identify from the architecture. Born into a humble family, Eduardo Rosales trained in the Nazarenism that then dominated the Madrid Academy of Fine Arts, where he entered in 1851 and was a pupil of Federico de Madrazo. Thanks to friends and colleagues, including the painters Palmaroli and Álvarez Catalá, Rosales travelled to Italy by his own means in 1857 in their company. During the trip he visited Bordeaux and Nîmes, where he was impressed by the historical paintings of Léon Cogniet and Paul Delaroche. In Rome he survived with difficulty until he finally obtained a government pension in 1860, which enabled him to produce his first important works. After his first great triumph at the National Exhibition of Fine Arts in 1864, he remained for some time in Madrid, where he painted several portraits, both family and commissioned. In 1865 he travelled to Paris with Martín Rico and Raimundo de Madrazo, and returned there two years later. However, these years of his life were spent mainly in Rome, where he worked intensely before returning to Spain in 1868 following his marriage. During this period he received important aristocratic, religious and governmental commissions, although he was also interested in types and landscapes during his stays in Panticosa and Murcia. Towards the end of his life, after a controversial success at the National Exhibition of 1871, he was proposed as the first director of the newly founded Spanish Academy in Rome in 1873, a post he did not take up as he died. A leading figure in 19th-century Spanish painting, his early works reveal a personal style that tends towards a historicist monumentality, but at the same time synthetic, still with cold ranges, in the orbit of Romantic purism. His mature style is forged through a personal interpretation of the pictorial myths of his time, within an international academicism although dominated by Velázquez, until he reached a completely modern plastic autonomy. Although he worked in portraiture, religious painting, painting of popular types, etc., his artistic career was strongly determined by his success in official national and international exhibitions of history painting. Thus, at the National Exhibition of 1864 he won the first medal for "Doña Isabel la Católica dictando su testamento" ("Doña Isabel la Católica dictating her will"), one of the most important paintings of the genre in Spain, a canvas which was also awarded a prize at the Universal Exhibition in Paris in 1867, where he was awarded the Legion of Honour. He won the same award again in 1871 for "Muerte de Lucrecia" ("Death of Lucrecia"), a bold work of disconnected brushstrokes and vibrant execution. Rosales is widely represented in the Museo del Prado, as well as in other important art galleries and in important private collections.

          Setdart Auction House
        • EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Portrait of a woman, his wife?", 1869
          Jan. 17, 2023

          EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Portrait of a woman, his wife?", 1869

          Est: €6,000 - €8,000

          Oil on canvas Certified by Trinidad J. Rosales and Manuel Comba Bibliography: Calvo Serraller, F. and Benito, P., " Rosales", The geniuses of Spanish painting, volume 22, Sarpe, 1988, early 9 and 85 Exhibitions: "Eduardo Rosales in private collections", Ibercaja, December 2000, Zaragoza. Exhibition catalogue, p. 146, no. 28 (reproduced). Label on the back Measurements: 41 x 31 cm

          Ansorena
        • EDUARDO ROSALES Y GALLINA
          Dec. 16, 2022

          EDUARDO ROSALES Y GALLINA

          Est: €500 - €800

          Madrid, 1836 ; 1873 Ritratto di arabo Firmato Eduardo Rosales, dedica e data 1863 in basso a sinistra Olio su cartone, cm 60X38

          Wannenes Art Auctions
        • EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Portrait of Sebastián, his model", 1867
          Dec. 14, 2022

          EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Portrait of Sebastián, his model", 1867

          Est: €7,500 - €10,000

          Oil on canvas It is probably a sketch for a painting on Diogenes that was never produced, according to a handwritten label on the back. Work certified by Juan M. Comba Origin: -Don Eugenio Montero Ríos, politician; sold two years later to Don Manuel Rico Sinovas, Director of the National Observatory and politician (according to the label on the back) -Private collection, Madrid Bibliography: Calvo Serraller, F. and Benito, P., "Rosales", The geniuses of Spanish painting , volume 22, Sarpe, 1988, early 16 and 86 Exhibitions: "Eduardo Rosales in private collections", Ibercaja, December 2000, Zaragoza. Exhibition catalogue, p. 142, no. 24 (reproduced). Label on the back Measurements: 53 x 40.5 cm

          Ansorena
        • EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Medieval Characters"
          Dec. 14, 2022

          EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Medieval Characters"

          Est: €300 - €400

          Pair of inks on paper Signed with the testamentary seal on the upper part. In the lower part, the signatures of Gabriel Maureta and Carlota Rosales, the artist's daughter Measurements: 19 x 15 cm each

          Ansorena
        • EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Landscape with trees and architectures"
          Dec. 14, 2022

          EDUARDO ROSALES GALLINAS Madrid (1836 / 1873) "Landscape with trees and architectures"

          Est: €300 - €400

          Graphite on paper With signature in the lower right corner Measurements: 9.6 x 14.8 cm

          Ansorena
        • Spanish historicist school, second half of the 19th century. Circle of EDUARDO ROSALES (Madrid, 1836 – 1873). "Marriage". Oil on canvas.
          Nov. 08, 2022

          Spanish historicist school, second half of the 19th century. Circle of EDUARDO ROSALES (Madrid, 1836 – 1873). "Marriage". Oil on canvas.

          Est: €3,500 - €4,000

          Spanish historicist school, second half of the 19th century. Circle of EDUARDO ROSALES (Madrid, 1836 - 1873) . "Marriage". Oil on canvas. Measurements: 40 x 60 cm; 47 x 66 cm (frame). In this piece we are offered a historicist scene in which a marriage is represented. It is not known what is really the object of this scene but, we know that it has a treatment belonging, clearly, to the Circle of the painter Eduardo Rosales. The scene depicts a bride accompanied by her relatives inside a church, which we can identify from the architecture. Born into a humble family, Eduardo Rosales trained in the Nazarenism that then dominated the Madrid Academy of Fine Arts, where he entered in 1851 and was a pupil of Federico de Madrazo. Thanks to friends and colleagues, including the painters Palmaroli and Álvarez Catalá, Rosales travelled to Italy by his own means in 1857 in their company. During the trip he visited Bordeaux and Nîmes, where he was impressed by the historical paintings of Léon Cogniet and Paul Delaroche. In Rome he survived with difficulty until he finally obtained a government pension in 1860, which enabled him to produce his first important works. After his first great triumph at the National Exhibition of Fine Arts in 1864, he remained for some time in Madrid, where he painted several portraits, both family and commissioned. In 1865 he travelled to Paris with Martín Rico and Raimundo de Madrazo, and returned there two years later. However, these years of his life were spent mainly in Rome, where he worked intensely before returning to Spain in 1868 following his marriage. During this period he received important aristocratic, religious and governmental commissions, although he was also interested in types and landscapes during his stays in Panticosa and Murcia. Towards the end of his life, after a controversial success at the National Exhibition of 1871, he was proposed as the first director of the newly founded Spanish Academy in Rome in 1873, a post he did not take up as he died. A leading figure in 19th-century Spanish painting, his early works reveal a personal style that tends towards a historicist monumentality, but at the same time synthetic, still with cold ranges, in the orbit of Romantic purism. His mature style is forged through a personal interpretation of the pictorial myths of his time, within an international academicism although dominated by Velázquez, until he reached a completely modern plastic autonomy. Although he worked in portraiture, religious painting, painting of popular types, etc., his artistic career was strongly determined by his success in official national and international exhibitions of history painting. Thus, at the National Exhibition of 1864 he won the first medal for "Doña Isabel la Católica dictando su testamento" ("Doña Isabel la Católica dictating her will"), one of the most important paintings of the genre in Spain, a canvas which was also awarded a prize at the Universal Exhibition in Paris in 1867, where he was awarded the Legion of Honour. He won the same award again in 1871 for "Muerte de Lucrecia" ("Death of Lucrecia"), a bold work of disconnected brushstrokes and vibrant execution. Rosales is widely represented in the Museo del Prado, as well as in other important art galleries and in important private collections.

          Setdart Auction House
        • EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873). "New Testament sketch". Pencil drawing and gouache on paper. Signed in the lower right corner.
          Oct. 19, 2022

          EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873). "New Testament sketch". Pencil drawing and gouache on paper. Signed in the lower right corner.

          Est: €650 - €700

          EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873). "Sketch of the New Testament". Pencil and gouache drawing on paper. Signed in the lower right corner. Size: 32 x 44 cm; 49 x 62 cm (frame). Born in the bosom of a humble family, Eduardo Rosales was formed in the nazarenism that at that time dominated the Academy of Fine Arts of Madrid, where he entered in 1851 and was a pupil of Federico de Madrazo. Thanks to friends and colleagues, including the painters Palmaroli and Álvarez Catalá, Rosales travelled to Italy by his own means in 1857 in their company. During the trip he visited Bordeaux and Nîmes, where he was impressed by the historical paintings of Léon Cogniet and Paul Delaroche. In Rome he survived with difficulty until he finally obtained a government pension in 1860, which enabled him to produce his first important works. After his first great triumph at the National Exhibition of Fine Arts in 1864, he remained for some time in Madrid, where he painted several portraits, both family and commissioned. In 1865 he travelled to Paris with Martín Rico and Raimundo de Madrazo, and returned there two years later. However, these years of his life were spent mainly in Rome, where he worked intensely before returning to Spain in 1868 following his marriage. During this period he received important aristocratic, religious and governmental commissions, although he was also interested in types and landscapes during his stays in Panticosa and Murcia. Towards the end of his life, after a controversial success at the National Exhibition of 1871, he was proposed as the first director of the newly founded Spanish Academy in Rome in 1873, a post he did not take up as he died. A leading figure in 19th-century Spanish painting, from his earliest works we can recognise a personal style that tended towards a monumental, historicist but at the same time synthetic style, still with cold ranges, in the orbit of Romantic purism. His mature style is forged through a personal interpretation of the pictorial myths of his time, within an international academicism, although dominated by Velázquez, until he reached a completely modern plastic autonomy. Although he worked in portraiture, religious painting, painting of popular types, etc., his artistic career was strongly determined by his success in official national and international exhibitions of history painting. Thus, at the National Exhibition of 1864 he won the first medal for "Doña Isabel la Católica dictando su testamento" ("Doña Isabel la Católica dictating her will"), one of the most important paintings of the genre in Spain, a canvas which was also awarded a prize at the Universal Exhibition in Paris in 1867, where he was awarded the Legion of Honour. He won the same award again in 1871 for "Muerte de Lucrecia" ("Death of Lucrecia"), a bold work of disconnected brushstrokes and vibrant execution. Rosales is widely represented in the Museo del Prado, as well as in other important art galleries and in important private collections.

          Setdart Auction House
        • ATTRIBUTED TO EDUARDO ROSALES Madrid (1836 / 1873) "Courtly Lady"
          Sep. 28, 2022

          ATTRIBUTED TO EDUARDO ROSALES Madrid (1836 / 1873) "Courtly Lady"

          Est: €975 - €1,300

          Oil on canvas Measurements: 24 x 18 cm

          Ansorena
        • EDUARDO ROSALES - Madrid 1836 - 1873
          Sep. 20, 2022

          EDUARDO ROSALES - Madrid 1836 - 1873

          Est: -

          EDUARDO ROSALES Madrid 1836 - 1873 classic figure pencil drawing on paper Signed (stamped) Measures 170 x 110mm

          Subastas Segre
        • EDUARDO ROSALES GALLINAS (Madrid, 1836 – 1873). "Sketch of the death of Lucrecia". Oil on canvas. Attached certificate issued by Mr. Eduardo Rosales, great-grandson of the artist. It presents slight restorations.
          Jun. 09, 2022

          EDUARDO ROSALES GALLINAS (Madrid, 1836 – 1873). "Sketch of the death of Lucrecia". Oil on canvas. Attached certificate issued by Mr. Eduardo Rosales, great-grandson of the artist. It presents slight restorations.

          Est: €5,000 - €6,000

          EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873). "Sketch of the Death of Lucretia". Oil on canvas. Attached certificate issued by Don Eduardo Rosales, great-grandson of the artist. It presents slight restorations. Measurements: 41 x 62 cm; 57 x 73,5 cm (frame). In 1871, Eduardo Rosales showed his painting entitled "The Death of Lucretia" at the National Exhibition, with which he won the first medal. This piece, which now belongs to the Museo del Prado collection, differs to some extent from this sketch, although it should be noted that the artist prepared numerous compositions in order to achieve a work that could win the medal. In both pieces we can see the artist's interest in setting the scene in an intimate atmosphere. The piece, as the Prado Museum points out, shows "The suicide of the Roman patrician Lucretia after being raped by the son of the king of Rome; an episode that would bring about the end of the monarchy and the proclamation of the Roman Republic in 510 BC and which would be widely disseminated from Neoclassicism onwards as a prime example of virtue and marital fidelity". Born into a humble family, Eduardo Rosales was trained in the Nazarenism that then dominated the Madrid Academy of Fine Arts, where he entered in 1851 and was a pupil of Federico de Madrazo. Thanks to friends and colleagues, including the painters Palmaroli and Álvarez Catalá, Rosales travelled to Italy by his own means in 1857 in their company. During the trip he visited Bordeaux and Nîmes, where he was impressed by the historical paintings of Léon Cogniet and Paul Delaroche. In Rome he survived with difficulty until he finally obtained a government pension in 1860, which enabled him to produce his first important works. After his first great triumph at the National Exhibition of Fine Arts in 1864, he remained for some time in Madrid, where he painted several portraits, both family and commissioned. In 1865 he travelled to Paris with Martín Rico and Raimundo de Madrazo, and returned there two years later. However, these years of his life were spent mainly in Rome, where he worked intensely before returning to Spain in 1868 following his marriage. During this period he received important aristocratic, religious and governmental commissions, although he was also interested in types and landscapes during his stays in Panticosa and Murcia. Towards the end of his life, after a controversial success at the National Exhibition of 1871, he was proposed as the first director of the newly founded Spanish Academy in Rome in 1873, a post he did not take up as he died. A leading figure in 19th-century Spanish painting, from his earliest works we can recognise a personal style that tends towards a monumental, historicist but at the same time synthetic style, still with cold ranges, in the orbit of Romantic purism. His mature style is forged through a personal interpretation of the pictorial myths of his time, within an international academicism, although dominated by Velázquez, until he reached a completely modern plastic autonomy. Although he worked in portraiture, religious painting, painting of popular types, etc., his artistic career was strongly determined by his success in official exhibitions.

          Setdart Auction House
        • EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873). "The shepherd", 1870. Oil on canvas. It presents slight restorations. It has exhibition labels on the back and a Rosales Testamentary label signed by Gabriel Maureta.
          Apr. 07, 2022

          EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873). "The shepherd", 1870. Oil on canvas. It presents slight restorations. It has exhibition labels on the back and a Rosales Testamentary label signed by Gabriel Maureta.

          Est: €20,000 - €30,000

          EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873). "The Shepherd, 1870. Oil on canvas. It has slight restorations. It has exhibition labels on the back and a label of the Rosales Testamentary signed by Gabriel Maureta. Dutch style frame with damage. Signed, dated and located in the lower right corner. Measurements: 70,5 x 63,5 cm; 93,5 x 86 cm (frame). Work exhibited in: - Pintores de la luz, art gallery of the Banco de Bilbao (Castellana, 81), Madrid 10 October-10 November 1983. - Four generations of Madrid painters: Rosales and his descendants, Sala Picaso, Madrid, 1 February-31 March 1984. - Eduardo Rosales in private collections, Ibercaja, Centro de Exposiciones y Congresos, Zaragoza 3 October-31 December 2000. Work reproduced in: -Los genios de la pintura española, Eduardo Rosales, Ed. Sarpe, 1988, p. 24. - Catalogue of the exhibition Eduardo Rosales in private collections, Ibercaja, Centro de Exposiciones y Congresos, Zaragoza 3 October-31 December 2000, p. 151, cat.33. Eduardo Rosales spent a large part of his artistic career in Rome, where he laid the foundations of his academicist aesthetic. In fact, in 1973 he was proposed as director of the Spanish Academy in Rome, but due to his death he was unable to take up the post. In this work set in Rome, the author presents us with an idyllic character who conveys a bucolic image of his profession as a shepherd. Oblivious to the viewer's gaze, he stands in the centre of the composition, his face turned to the right and holding a flute in his hands. The whole scene is dominated by a broad, sketchy brushstroke which is at its best in the conception of the landscape. Born into a humble family, Eduardo Rosales was trained in the Nazarenism that then dominated the Madrid Academy of Fine Arts, where he entered in 1851 and was a pupil of Federico de Madrazo. Thanks to friends and colleagues, including the painters Palmaroli and Álvarez Catalá, Rosales travelled to Italy by his own means in 1857 in their company. During the trip he visited Bordeaux and Nîmes, where he was impressed by the historical paintings of Léon Cogniet and Paul Delaroche. In Rome he survived with difficulty until he finally obtained a government pension in 1860, which enabled him to produce his first important works. After his first great triumph at the National Exhibition of Fine Arts in 1864, he remained for some time in Madrid, where he painted several portraits, both family and commissioned. In 1865 he travelled to Paris with Martín Rico and Raimundo de Madrazo, and returned there two years later. However, these years of his life were spent mainly in Rome, where he worked intensely before returning to Spain in 1868 following his marriage. During this period he received important aristocratic, religious and governmental commissions, although he was also interested in types and landscapes during his stays in Panticosa and Murcia. Towards the end of his life, after a controversial success at the National Exhibition of 1871, he was proposed as the first director of the newly founded Spanish Academy in Rome in 1873, a post he did not take up as he died. A leading figure in 19th-century Spanish painting, his early works reveal a personal style that tends towards a historicist monumentality, but at the same time synthetic, still with cold ranges, in the orbit of Romantic purism. His mature style is forged through a personal interpretation of the pictorial myths of his time, within an international academicism, although dominated by Velázquez, until he reached a completely modern plastic autonomy. Although he worked in portraiture, religious painting, painting of popular types, etc., his artistic career was strongly determined by his success in official exhibitions.

          Setdart Auction House
        • Eduardo Rosales (Madrid, 1836 - 1873). "Scene orientaliste"
          Mar. 16, 2022

          Eduardo Rosales (Madrid, 1836 - 1873). "Scene orientaliste"

          Est: €500 - €600

          Eduardo Rosales (Madrid, 1836 - 1873) "Scene orientaliste" Pencil and ink drawing 24 x 32,5 cm 500 - 600 €

          Greco Subastas
        • EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873). "The shepherd", 1870. Oil on canvas. It presents slight restorations.
          Mar. 15, 2022

          EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873). "The shepherd", 1870. Oil on canvas. It presents slight restorations.

          Est: €20,000 - €30,000

          EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873). "The Shepherd, 1870. Oil on canvas. It has slight restorations. It has exhibition labels on the back and a label of the Rosales Testamentary signed by Gabriel Maureta. Dutch style frame with damage. Signed, dated and located in the lower right corner. Measurements: 70,5 x 63,5 cm; 93,5 x 86 cm (frame). Work exhibited in: - Pintores de la luz, art gallery of the Banco de Bilbao (Castellana, 81), Madrid 10 October-10 November 1983. - Four generations of Madrid painters: Rosales and his descendants, Sala Picaso, Madrid, 1 February-31 March 1984. - Eduardo Rosales in private collections, Ibercaja, Centro de Exposiciones y Congresos, Zaragoza 3 October-31 December 2000. Work reproduced in: -Los genios de la pintura española, Eduardo Rosales, Ed. Sarpe, 1988, p. 24. - Catalogue of the exhibition Eduardo Rosales in private collections, Ibercaja, Centro de Exposiciones y Congresos, Zaragoza 3 October-31 December 2000, p. 151, cat.33. Eduardo Rosales spent a large part of his artistic career in Rome, where he laid the foundations of his academicist aesthetic. In fact, in 1973 he was proposed as director of the Spanish Academy in Rome, but due to his death he was unable to take up the post. In this work set in Rome, the author presents us with an idyllic character who conveys a bucolic image of his profession as a shepherd. Oblivious to the viewer's gaze, he stands in the centre of the composition, his face turned to the right and holding a flute in his hands. The whole scene is dominated by a broad, sketchy brushstroke which is at its best in the conception of the landscape. Born into a humble family, Eduardo Rosales was trained in the Nazarenism that then dominated the Madrid Academy of Fine Arts, where he entered in 1851 and was a pupil of Federico de Madrazo. Thanks to friends and colleagues, including the painters Palmaroli and Álvarez Catalá, Rosales travelled to Italy by his own means in 1857 in their company. During the trip he visited Bordeaux and Nîmes, where he was impressed by the historical paintings of Léon Cogniet and Paul Delaroche. In Rome he survived with difficulty until he finally obtained a government pension in 1860, which enabled him to produce his first important works. After his first great triumph at the National Exhibition of Fine Arts in 1864, he remained for some time in Madrid, where he painted several portraits, both family and commissioned. In 1865 he travelled to Paris with Martín Rico and Raimundo de Madrazo, and returned there two years later. However, these years of his life were spent mainly in Rome, where he worked intensely before returning to Spain in 1868 following his marriage. During this period he received important aristocratic, religious and governmental commissions, although he was also interested in types and landscapes during his stays in Panticosa and Murcia. Towards the end of his life, after a controversial success at the National Exhibition of 1871, he was proposed as the first director of the newly founded Spanish Academy in Rome in 1873, a post he did not take up as he died. A leading figure in 19th-century Spanish painting, his early works reveal a personal style that tends towards a historicist monumentality, but at the same time synthetic, still with cold ranges, in the orbit of Romantic purism. His mature style is forged through a personal interpretation of the pictorial myths of his time, within an international academicism, although dominated by Velázquez, until he reached a completely modern plastic autonomy. Although he worked in portraiture, religious painting, painting of popular types, etc., his artistic career was strongly determined by his success in official exhibitions.

          Setdart Auction House
        • EDUARDO ROSALES. A young woman.
          Mar. 10, 2022

          EDUARDO ROSALES. A young woman.

          Est: €3,000 - €3,500

          Oil on canvas The model could be the one pictured on a canvas from 1871 (70x50 cm) kept in a private collection. Reference bibliography: Luis Rubio Gil, “Eduardo Rosales in private collections”, Zaragoza, Ibercaja, 2000, p. 155 54.5x40cm.

          Balclis
        • EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873). "The shepherd", 1870. Oil on canvas. It presents slight restorations. It has exhibition labels on the back and a Rosales Testamentary label signed by Gabriel Maureta. Dutch style frame with flaws.
          Jan. 27, 2022

          EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873). "The shepherd", 1870. Oil on canvas. It presents slight restorations. It has exhibition labels on the back and a Rosales Testamentary label signed by Gabriel Maureta. Dutch style frame with flaws.

          Est: €30,000 - €40,000

          EDUARDO ROSALES GALLINAS (Madrid, 1836 - 1873). "The Shepherd, 1870. Oil on canvas. It has slight restorations. It has exhibition labels on the back and a label of the Rosales Testamentary signed by Gabriel Maureta. Dutch style frame with damage. Signed, dated and located in the lower right corner. Measurements: 70,5 x 63,5 cm; 93,5 x 86 cm (frame). Work exhibited in: - Pintores de la luz, art gallery of the Banco de Bilbao (Castellana, 81), Madrid 10 October-10 November 1983. - Four generations of Madrid painters: Rosales and his descendants, Sala Picaso, Madrid, 1 February-31 March 1984. - Eduardo Rosales in private collections, Ibercaja, Centro de Exposiciones y Congresos, Zaragoza 3 October-31 December 2000. Work reproduced in: -Los genios de la pintura española, Eduardo Rosales, Ed. Sarpe, 1988, p. 24. - Catalogue of the exhibition Eduardo Rosales in private collections, Ibercaja, Centro de Exposiciones y Congresos, Zaragoza 3 October-31 December 2000, p. 151, cat.33. Eduardo Rosales spent a large part of his artistic career in Rome, where he laid the foundations of his academicist aesthetic. In fact, in 1973 he was proposed as director of the Spanish Academy in Rome, but due to his death he was unable to take up the post. In this work set in Rome, the author presents us with an idyllic character who conveys a bucolic image of his profession as a shepherd. Oblivious to the viewer's gaze, he stands in the centre of the composition, his face turned to the right and holding a flute in his hands. The whole scene is dominated by a broad, sketchy brushstroke which is at its best in the conception of the landscape. Born into a humble family, Eduardo Rosales was trained in the Nazarenism that then dominated the Madrid Academy of Fine Arts, where he entered in 1851 and was a pupil of Federico de Madrazo. Thanks to friends and colleagues, including the painters Palmaroli and Álvarez Catalá, Rosales travelled to Italy by his own means in 1857 in their company. During the trip he visited Bordeaux and Nîmes, where he was impressed by the historical paintings of Léon Cogniet and Paul Delaroche. In Rome he survived with difficulty until he finally obtained a government pension in 1860, which enabled him to produce his first important works. After his first great triumph at the National Exhibition of Fine Arts in 1864, he remained for some time in Madrid, where he painted several portraits, both family and commissioned. In 1865 he travelled to Paris with Martín Rico and Raimundo de Madrazo, and returned there two years later. However, these years of his life were spent mainly in Rome, where he worked intensely before returning to Spain in 1868 following his marriage. During this period he received important aristocratic, religious and governmental commissions, although he was also interested in types and landscapes during his stays in Panticosa and Murcia. Towards the end of his life, after a controversial success at the National Exhibition of 1871, he was proposed as the first director of the newly founded Spanish Academy in Rome in 1873, a post he did not take up as he died. A leading figure in 19th-century Spanish painting, his early works reveal a personal style that tends towards a historicist monumentality, but at the same time synthetic, still with cold ranges, in the orbit of Romantic purism. His mature style is forged through a personal interpretation of the pictorial myths of his time, within an international academicism, although dominated by Velázquez, until he reached a completely modern plastic autonomy. Although he worked in portraiture, religious painting, painting of popular types, etc., his artistic career was strongly determined by his success in official exhibitions.

          Setdart Auction House
        • EDUARDO ROSALES GALLINAS (1836 / 1873) "Philip IV of Velazquez"
          Dec. 16, 2021

          EDUARDO ROSALES GALLINAS (1836 / 1873) "Philip IV of Velazquez"

          Est: €450 - €600

          Copy of certificate signed by Comba Oil on canvas. 15 x 14 cm

          Ansorena
        • EDUARDO ROSALES. A girl.
          Dec. 16, 2021

          EDUARDO ROSALES. A girl.

          Est: €600 - €700

          Oil on canvas stuck to wood On the back, a label with inscription: “S. of Castro. Rosales”. Made circa 1859. Exhibition: "Rosales en las colecciones privadas", Zaragoza, Centro de Exposiciones y Congresos, 2000 12x8.5 cm.

          Balclis
        • EDUARDO ROSALES GALLINAS (1836 / 1873) "Woman with mandolin"
          Nov. 03, 2021

          EDUARDO ROSALES GALLINAS (1836 / 1873) "Woman with mandolin"

          Est: €33,000 - €44,000

          Signed with initial in lower left corner. On the back label of the exhibition "Rosales en las colecciones privadas" Exhibitions: - "Eduardo Rosales en las colecciones privadas", IBERCAJA, Centro de Exposiciones y Congresos de Ibercaja, from 3 October to 31 December 2000 (catalogue cover) Bibliography: Martul, C. "Los Genios de la pintura española. Eduardo Rosales", Sarpe, 1988, nº31. Rubio Gil, L., "Eduardo Rosales", Ediciones del Aguazul, 2002. P. 129. (Reproduced). . Oil on canvas. 55,2 x 34 cm

          Ansorena
        • Atributed to Eduardo Rosales. Sketch
          Oct. 27, 2021

          Atributed to Eduardo Rosales. Sketch

          Est: -

          Óleo sobre lienzo. Copia de Tiépolo. Obra tradicionalmente atribuída a Eduardo Rosales en inventario familiar realizado por Bernardino de Pantorba.

          Duran Arte y Subastas
        • EDUARDO ROSALES - Study of Brutus for the history painting "The death of Lucrecia"
          Sep. 21, 2021

          EDUARDO ROSALES - Study of Brutus for the history painting "The death of Lucrecia"

          Est: €5,000 - €10,000

          EDUARDO ROSALES Madrid 1836 - 1873 Study of Brutus for the history painting "The death of Lucrecia". 1871 Oil on canvas Size 48.5 x 29.5 cm

          Subastas Segre
        • EDUARDO ROSALES - Presentation of Don Juan of Austria to Emperor Charles V, in Yuste
          Sep. 21, 2021

          EDUARDO ROSALES - Presentation of Don Juan of Austria to Emperor Charles V, in Yuste

          Est: €90 - €180

          EDUARDO ROSALES pinxit Madrid 1836 - 1873 BARTOLOMÉ MAURA Y MONTANER sculpit in Palma de Mallorca 1844 - Madrid 1926 Presentation of Don Juan of Austria to Emperor Carlos V, in Yuste . 1886 Copper engraving Signed, titled and dedicated Sizes 500 x 760 mm This is the first stamping test dedicated by the engraver to the widow of the painter Maximina Martínez Pedrosa.

          Subastas Segre
        • ATTRIBUTED TO EDUARDO ROSALES (1836 / 1873) "Historical Scene".
          Jul. 20, 2021

          ATTRIBUTED TO EDUARDO ROSALES (1836 / 1873) "Historical Scene".

          Est: €1,800 - €3,600

          On the back with label of the Exhibition Rosales en las colecciones privadas, Ibercaja October 3 to December 31, 2000. . Oil on cardboard

          Ansorena
        • EDUARDO ROSALES - Men's Academy
          Jun. 29, 2021

          EDUARDO ROSALES - Men's Academy

          Est: -

          EDUARDO ROSALES Madrid 1836 - 1873 Male Academy Oil on canvas Measures 82.5 x 64.5 cm With testamentary seal.

          Subastas Segre
        • Atributed to Eduardo Rosales. Sketch
          Jun. 23, 2021

          Atributed to Eduardo Rosales. Sketch

          Est: -

          Óleo sobre lienzo. Copia de Tiépolo. Obra tradicionalmente atribuída a Eduardo Rosales en inventario familiar realizado por Bernardino de Pantorba.

          Duran Arte y Subastas
        • EDUARDO ROSALES (Madrid, 1836 - 1873). "King Wamba rejects the crown." Oil on canvas. Signed in the lower right corner.
          Apr. 20, 2021

          EDUARDO ROSALES (Madrid, 1836 - 1873). "King Wamba rejects the crown." Oil on canvas. Signed in the lower right corner.

          Est: €2,400 - €2,800

          EDUARDO ROSALES (Madrid, 1836 - 1873). "King Wamba rejects the crown." Oil on canvas. Signed in the lower right corner. Measurements: 32 x 63.5 cm; 58 x 84 cm (frame). Eduardo Rosales offers us in this canvas a historicist scene starring King Wamba, Visigothic monarch forced to reject the crown under threat of death. The scene is contextualized in the interior of a palace presided over by the enthroned figure of the monarch, next to which rests the crown that he proposes to reject. The composition is completed by the figure of an armed warrior in a proud and haughty position, as well as a group of court figures and bishops who escort and witness the historical episode. It is a canvas of quick workmanship, possibly a sketch for a larger work. Wamba (c. 630-688) was king of the Visigoths between 672 and 680, successor to King Recesvinto. It is believed that the metropolitan of Toledo, Julian II, intervened in the conspiracy that ended the power of King Wamba. The king was deceived and narcotized and once in that state, he was tonsured, dressed in a monk's habit and forced to renounce the crown. Born into a humble family, Eduardo Rosales was formed in the Nazarenism that then dominated the Academy of Fine Arts in Madrid, where he entered in 1851 and was a student of Federico de Madrazo. Thanks to friends and colleagues, among whom were the painters Palmaroli and Álvarez Catalá, Rosales traveled to Italy by his own means in 1857, in their company. During the trip he visited Bordeaux and Nimes, where he was impressed by the historical paintings of Léon Cogniet and Paul Delaroche. In Rome he survived with difficulty until he finally obtained a government pension in 1860, which allowed him to produce his first important works. After his first great triumph at the National Exhibition of Fine Arts in 1864, he remained for some time in Madrid, where he painted several portraits, both family and commissioned. In 1865 he went to Paris with Martín Rico and Raimundo de Madrazo, and returned there two years later. However, these years of his life were spent mainly in Rome, where he carried out an intense work before returning to Spain in 1868, following his marriage. During this period he received important aristocratic, religious and governmental commissions, although he was also interested in types and landscapes during his stays in Panticosa and Murcia. At the end of his life, after a controversial success in the National of 1871, he was proposed as the first director of the newly founded Academy of Spain in Rome in 1873, a position he did not occupy because of his death. Capital figure of the Spanish painting of the nineteenth century, from his early works is recognized a personal style that tends to a historicist monumentality, but at the same time synthetic, still cold ranges, in the orbit of romantic purism. His mature style is forged through a personal interpretation of the pictorial myths of his time, within an international academicism although dominated by Velázquez, until reaching a completely modern plastic autonomy. Although he worked on portraits, religious painting, popular types, etc., his artistic career was strongly determined by his successes in official national and international exhibitions in history painting. Thus, in the National of 1864 he obtained the first medal for "Doña Isabel la Católica dictating his will", one of the summits of the genre in Spain, a canvas that was also awarded in the Universal of Paris in 1867, where he was awarded the Legion of Honor. He won the same award again in 1871 for "Muerte de Lucrecia" (Death of Lucrecia), a bold work of unconnected brushstrokes and vibrant workmanship. Rosales is widely represented in the Prado Museum, as well as in other important art galleries and in important private collections.

          Setdart Auction House
        • Atributed to Eduardo Rosales. Sketch
          Mar. 25, 2021

          Atributed to Eduardo Rosales. Sketch

          Est: -

          Óleo sobre lienzo. Copia de Tiépolo. Obra tradicionalmente atribuída a Eduardo Rosales en inventario familiar realizado por Bernardino de Pantorba.

          Duran Arte y Subastas
        • EDUARDO ROSALES GALLINAS - "Escena clásica"
          Jun. 24, 2020

          EDUARDO ROSALES GALLINAS - "Escena clásica"

          Est: -

          Certificado de Juan Comba

          Ansorena
        • Eduardo Rosales (Madrid, 1836 - Madrid, 1873) "Classical scene"
          Jun. 02, 2020

          Eduardo Rosales (Madrid, 1836 - Madrid, 1873) "Classical scene"

          Est: €2,500 - €3,500

          "Classical scene" Oil on canvas Signed. Preparatory study 41 x 57 cm

          Goya Subastas
        • Eduardo Rosales Gallina (Madrid, 1836 - 1873) “The Crucifixion of Christ”
          Jun. 02, 2020

          Eduardo Rosales Gallina (Madrid, 1836 - 1873) “The Crucifixion of Christ”

          Est: €350 - €400

          “The Crucifixion of Christ” Drawing Signed 34 x 27 cm

          Goya Subastas
        • ROSALES, EDUARDO (836-1873) Figura clásica. Dibujo
          Feb. 28, 2019

          ROSALES, EDUARDO (836-1873) Figura clásica. Dibujo

          Est: -

          ROSALES, EDUARDO (836-1873) Figura clásica. Dibujo a lápiz y clarión, de 20x12,5 cm. Con sello del autor.

          Subastas Galileo
        • ROSALES, EDUARDO (1836-1873). “Anciano”. Dibujo a lápiz, de 23x18 cm. Con sello del autor.
          Jan. 31, 2019

          ROSALES, EDUARDO (1836-1873). “Anciano”. Dibujo a lápiz, de 23x18 cm. Con sello del autor.

          Est: -

          ROSALES, EDUARDO (1836-1873). “Anciano”. Dibujo a lápiz, de 23x18 cm. Con sello del autor.

          Subastas Galileo
        • ROSALES, EDUARDO (1836-1873). “Figuras”. Acuarela,
          Dec. 20, 2018

          ROSALES, EDUARDO (1836-1873). “Figuras”. Acuarela,

          Est: -

          ROSALES, EDUARDO (1836-1873). “Figuras”. Acuarela, de 14x11,5 cm. Firmada con sello de autor. English Translations ROSALES, EDUARDO (1836-1873). “Figuras”. Watercolor, 14x11.5 cm. Signed with author stamp.

          Subastas Galileo
        • ROSALES, EDUARDO (1836-1873), pinx; GALVÁN, EDUARD
          Nov. 20, 2018

          ROSALES, EDUARDO (1836-1873), pinx; GALVÁN, EDUARD

          Est: -

          ROSALES, EDUARDO (1836-1873), pinx; GALVÁN, EDUARDO, sculp. “La muerte de Lucrecia”. Etching. Signed on plate. Size: 48x55.5 cm. ROSALES, EDUARDO (1836-1873), pinx; GALVÁN, EDUARDO, sculp. “La muerte de Lucrecia”. Aguafuerte. Firmado en plancha. Med.: 48x55,5 cm.

          Subastas Galileo
        • Eduardo Rosales, "Campesinas napolitanas", Oil on canvas
          Oct. 24, 2018

          Eduardo Rosales, "Campesinas napolitanas", Oil on canvas

          Est: €15,000 - €18,000

          Eduardo Rosales Madrid 1836 - 1873. "Campesinas napolitanas" Oil on canvas Signed. Made in Rome in 1866. With stamp of the testamentary of the artist. Literature and exhibiton: "Catálogo de la exposición de pinturas de D. Eduardo Rosales dispuesta por la testamentaria del mismo en los salones del señor Bosch", Madrid, Imprenta de la Biblioteca de Instrucción y Recreo, 1873, p. 12, cat. no. 12; Luis Rubio Gil, "Eduardo Rosales", Barcelona, Ediciones del Aguazul, 2002, p. 194 111.5x77 cm

          Balclis
        • ROSALES, EDUARDO (1836 - 1873). "Judas ante el Cal
          Jul. 23, 2018

          ROSALES, EDUARDO (1836 - 1873). "Judas ante el Cal

          Est: €3,000 - €3,600

          ROSALES, EDUARDO (1836 - 1873). "Judas ante el Calvario". Óleo sobre lienzo. Firmado en el ángulo inferior derecho. 72 x 52 cm Eduardo Rosales. Jude in fron of the cross

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