Alonso Miguel de Tovar Paintings & Artwork for Sale | Alonso Miguel de Tovar Art Value Price Guide

Sep. 08, 2026
Attribution to ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752) "St. Michael the Archangel. Oil on canvas. Relined in the nineteenth century. Presents restorations.
Est: €4,000 - €5,000
Attribution to ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752) "St. Michael the Archangel. Oil on canvas. Relined in the nineteenth century. Presents restorations. Measurements: 104 x 82,5 cm; 123 x 102 cm (frame). San Miguel Arcángel is shown in this work in the culminating moment of his victory over the devil, to whom he steps firmly while he holds with one hand the chain that oppresses the neck of the defeated creature and raises with the other the justiciary sword. The composition responds to an iconography of deep counter-reformationist roots: the archangel, prince of the heavenly militias, embodies the triumph of good over evil, of orthodoxy over heresy and of divine order over infernal chaos. The image not only articulates a biblical story, but also proposes a moral and spiritual model in accordance with the devotional sensibility of the Hispanic Baroque. Formally, the painting evidences the assimilation of the Sevillian tradition, in particular the imprint of Bartolomé Esteban Murillo, whose influence decisively marked Tobar's career. The figure of the archangel is defined by an elegant diagonal arrangement that dynamizes the scene and reinforces the theatrical effect of the whole. The soft modeling of the faces, the delicacy in the treatment of the flesh tones and the vaporousness of the fabrics reveal a pictorial language that, although heir to the full Baroque, moves towards a more amiable and luminous sensibility, typical of the first century. The chromatism, articulated in warm ranges and moderate hallmarks, moves away from the most severe tenebrism to favor an atmosphere of celestial clarity, emphasizing the triumphant and glorious dimension of the archangel. The attribution to Tobar is based on stylistic affinities and the context of his production. A painter of remarkable technical skill, he was called to Madrid in 1723 to make copies of royal portraits, a task that earned him the nickname of "Don Alonso, the Copyist". Collaborator of Jean Ranc and portraitist appreciated in the environment of Queen Isabel de Farnesio, he reached the appointment of chamber painter in 1733. His stay in Seville consolidated his prestige as a portrait painter and reinforced his admiration for Murillo, whose compositions he copied and reinterpreted on several occasions, as evidenced by examples preserved in the Prado Museum. It presents restorations.
Setdart Auction House
Mar. 24, 2026
Attribution to ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752) "St. Michael the Archangel. Oil on canvas. Relined in the nineteenth century. Presents restorations.
Est: €4,000 - €5,000
Attribution to ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752) "St. Michael the Archangel. Oil on canvas. Relined in the nineteenth century. Presents restorations. Measurements: 104 x 82,5 cm; 123 x 102 cm (frame). San Miguel Arcángel is shown in this work in the culminating moment of his victory over the devil, to whom he steps firmly while he holds with one hand the chain that oppresses the neck of the defeated creature and raises with the other the justiciary sword. The composition responds to an iconography of deep counter-reformationist roots: the archangel, prince of the heavenly militias, embodies the triumph of good over evil, of orthodoxy over heresy and of divine order over infernal chaos. The image not only articulates a biblical story, but also proposes a moral and spiritual model in accordance with the devotional sensibility of the Hispanic Baroque. Formally, the painting evidences the assimilation of the Sevillian tradition, in particular the imprint of Bartolomé Esteban Murillo, whose influence decisively marked Tobar's career. The figure of the archangel is defined by an elegant diagonal arrangement that dynamizes the scene and reinforces the theatrical effect of the whole. The soft modeling of the faces, the delicacy in the treatment of the flesh tones and the vaporousness of the fabrics reveal a pictorial language that, although heir to the full Baroque, moves towards a more amiable and luminous sensibility, typical of the first century. The chromatism, articulated in warm ranges and moderate hallmarks, moves away from the most severe tenebrism to favor an atmosphere of celestial clarity, emphasizing the triumphant and glorious dimension of the archangel. The attribution to Tobar is based on stylistic affinities and the context of his production. A painter of remarkable technical skill, he was called to Madrid in 1723 to make copies of royal portraits, a task that earned him the nickname of "Don Alonso, the Copyist". Collaborator of Jean Ranc and portraitist appreciated in the environment of Queen Isabel de Farnesio, he reached the appointment of chamber painter in 1733. His stay in Seville consolidated his prestige as a portrait painter and reinforced his admiration for Murillo, whose compositions he copied and reinterpreted on several occasions, as evidenced by examples preserved in the Prado Museum. It presents restorations.
Setdart Auction House
Mar. 17, 2026
Attributed to ALONSO MIGUEL DE TOVAR (Huelva, 1678 - Madrid, 1758) "Conversion of Saint Paul the Apostle"
Est: €2,750 - €3,500
Attributed to ALONSO MIGUEL DE TOVAR (Huelva, 1678 - Madrid, 1758) "Conversion of Saint Paul the Apostle" Oil on canvas 83 x 63 cm 2.750 - 3.500 €
Bayeu Subastas
Jul. 10, 2025
Attributed to ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752). "Santiago Apostle baptizing the Hispanics". Oil on canvas. Presents faults and restorations.
Est: €7,000 - €9,000
Attributed to ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752). "Santiago Apostle baptizing the Hispanics". Oil on canvas. Presents faults and restorations. It has a stretcher frame with part of the canvas folded on the back (approx. 50 cm) and frame of the nineteenth century. Measurements: 183 x 235 cm; 215 x 264 cm (frame). This work reflects the moment in which Santiago, after the resurrection of Jesus, traveled to Hispania and preached the Gospel, converting many people to Christianity. The arrangement of the monumental figures and the format of the work itself, which has a part of the canvas folded to adapt it to the frame, indicate that the piece was probably conceived to be seen from below and as part of an ornamental cycle composed of more pieces, probably referring to evangelization. In this particular case Santiago is standing in the center of the scene with a rod in his hand and the shell with which he baptizes in the other. At his feet a man with a naked torso prostrates himself before the apostle and with his back to the spectator receiving the baptism. A large number of characters complete the scene, highlighting anecdotally that they are taking off their clothes. Aesthetically the work is close to the painting of Alonso Miguel Tovar, who was trained in the workshop of the painter Juan Antonio Osorio, a great admirer of the work of Bartolomé Esteban Murillo, like Tovar. Because of his detailed knowledge of Murillo's technique, the Cathedral Chapter commissioned him to restore the painting of the Nativity of the Virgin in the chapel of the Immaculate Conception in the cathedral of Seville. Around 1723 he painted an Immaculate Conception for the chapel of the Casa de Contratación, which was then in Cadiz. This work is currently kept in the cathedral of Cadiz. Isabel de Farnesio, wife of Felipe V and fond of Murillo, called Tovar to the Court between the end of 1723 and the beginning of 1724. Tovar's arrival in Madrid coincided with the hiring of many artists to decorate the palace of La Granja de San Ildefonso. In 1726 Teodoro Ardemans died and Alonso Miguel Tovar was appointed painter of Felipe V's chamber. Currently, Tovar's work is housed in the most important Spanish and international art galleries: the Prado Museum, the National Gallery of London, the Louvre Museum in Paris, the Museum of Fine Arts in Budapest, the Museum of Fine Arts in Seville, the Museum of Cadiz, the Wallraf-Richartz Museum in Cologne, the Kimbell Art Museum in Fort Worth, the Detroit Institute of Arts, the National Museum of Ancient Art in Lisbon or the Museum of Fine Arts in Nancy, among many others. It presents faults and restorations. It has a stretcher frame with part of the canvas folded on the back (approx. 50 cm) and a 19th century frame.
Setdart Auction House
May. 08, 2025
Attributed to ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752) "The Annunciation of the Virgin". Oil on canvas. Relined. It has a frame of the eighteenth century.
Est: €9,000 - €9,500
Attributed to ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752) "The Annunciation of the Virgin". Oil on canvas. Relined. It has a frame of the eighteenth century. Measurements: 166 x 124 cm; 177 x 135 cm (frame). The spatial complexity that denotes here the theme of the Annunciation, making coexist the pedestrian architectural plane with the celestial, presents clear concomitances with the aesthetics that was implanted in the Baroque tradition in terms of the treatment of biblical episodes. Although it is worth mentioning that in this case the scene is defined by a great complexity and a broad sense of theatricality, since it is not the usual representation of the Annunciation. In fact, the work presents a great narrative sense of history, since the Trinity dominates the scene, with God the Father, Jesus and the Holy Spirit accompanied by a large retinue of child angels. In the last shot we can see St. Joseph with the announcing angel who brings the good news and in the foreground the Virgin on her knees directing her gaze to the archangel Gabriel, who shows her a canvas with her image as Immaculate. The complexity of the scene and its quality bring the work closer to the hand of Alonso Miguel Tovar, who was probably trained in the workshop of the painter Juan Antonio Osorio, a great admirer of the work of Bartolomé Esteban Murillo, like Tovar. Because of his detailed knowledge of Murillo's technique, the Cathedral Chapter commissioned him to restore the painting of the Nativity of the Virgin in the chapel of the Immaculate Conception in the cathedral of Seville. Around 1723 he painted an Immaculate Conception for the chapel of the Casa de Contratación, which was then located in Cadiz. This work is currently preserved in the cathedral of Cadiz. Isabel de Farnesio, wife of Felipe V and admirer of Murillo, called Tovar to the Court between the end of 1723 and the beginning of 1724. Tovar's arrival in Madrid coincided with the hiring of numerous artists to decorate the palace of La Granja de San Ildefonso. In 1726 Teodoro Ardemans died and Alonso Miguel Tovar was appointed painter of Felipe V's chamber. Tovar's work is currently in the most important Spanish and international art galleries: Prado Museum, National Gallery of London, Louvre Museum of Paris, Museum of Fine Arts of Budapest, Museum of Fine Arts of Seville, Museum of Cadiz, Wallraf-Richartz Museum of Cologne, Kimbell Art Museum of Fort Worth, Detroit Institute of Arts, National Museum of Ancient Art of Lisbon and Museum of Fine Arts of Nancy, among many others. It has an 18th century frame.
Setdart Auction House
Mar. 20, 2025
Immaculate Conception - Attributed to Alonso Miguel de Tovar, Madrid 1678-1752, oil on canvas
Est: €20,000 - €25,000
166.5 x 125 cm. 177.5 x 135 x 5.5 cm. (frame)
Templum Fine Art Auctions
Feb. 05, 2025
ATRIBUIDO A ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678 - Madrid, 1758) - Retrato de joven con armadura
Est: €14,000 - €16,000
Nos encontramos ante una pieza del s. XVIII, un óleo sobre lienzo de factura española. La obra que nos ocupa está atribuida por la historiografía reciente a Alonso Miguel de Tobar (Higuera de la Sierra, 1678 – Madrid, 1752) – el uso del apellido Tobar con b en lugar de con v como suele ser habitual es siguiendo la forma de designar a este autor por el Museo del Prado–. Nuestro artista se forma en la Sevilla post murillesca, teniendo sus inicios en el taller de Juan Antonio Osorio, siendo compañero de Domingo Martínez. En 1732 se traslada a Madrid donde irá copiando retratos regios, y terminará siendo compañero de Jan Ranc. Ganará fama por los numerosos retratos que realizó del círculo de la reina Isabel de Farnesio –a la que acompañará junto al resto de la Corte a Sevilla y a él se le atribuye ser el causante del interés y gustó de la reina por Murillo–. Tobar será nombrado pintor de cámara, y tras otra pequeña estancia en Sevilla volverá Madrid donde se encargó de inventariar las obras que se habían salvado del incendio del Alcázar. En sus etapas madrileñas, como hemos referido, destaca su labor como copista de retratos de pintores franceses, y como pintor de retratos de la corte y de nobles, pero no será los únicos con los que se codee. La obra que nos atañe se puede ubicar en la nobleza del sur de la península, concretamente en Sevilla, tanto como por la inscripción que hay en la obra como por los numerosos registros en archivos e inventarios de nobles de la ciudad que hacen referencia al autor. El joven protagonista de la pintura fue retratado a la edad de 12 años, aparece recortado sobre un cielo azul nuboso, luce armadura y manto rojo cuyos pliegues evocan al mismo tratamientos de paños de otras pinturas del autor, pañuelo blanco al cuello y melena de rizos blancos y grisáceos, acorde al tipo de retrato de aparato francés de la época. En su mano porta una carta cuyos caracteres dicen: «A la reverendísima señora duquesa de Lerma (?) mi señora y mi […] deseo y he Dama de la Reyna y Señora. Sevilla». En la trasera de la pintura encontramos una inscripción que reza: «SE HIZO. EL AÑO. DE. 1730 / DE HEDAD. DE. 12. AÑOS». Bibliografía: - CANO RIVERO, Ignacio y QUILES GARCÍA, Fernando. Alonso Miguel de Tovar (1678-1752), Museo de Bellas Artes de Sevilla, catálogo de la exposición sep.-nov. 2006. - PORRES BENAVIDES, Jesús. «“Con tanta exactitud, que se equivocaban las copias con los originales”: Reflexiones y nuevas obras de Alonso Miguel de Tovar y su círculo». Pp. 243-273. Archivo Hispalense. T. CVI. 2023
Isbilya Subastas
Jan. 28, 2025
ALONSO MIGUEL DE TOVAR (1678-1752
Est: -
Alonso Miguel de Tovar (1678-1752), copy after, ''La divina Pastora'', anonymous 19th century copy, oil on canvas with rounded arch, unsigned, restored and retouched, minimal flaking, 133 x 102 cm
Historia Auctionata
Nov. 25, 2024
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Divina Pastora". Oil on canvas. It has slight damage to the pictorial surface
Est: €7,000 - €8,000
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Divina Pastora". Oil on canvas. It has slight damage to the pictorial surface. It preserves its original canvas. It has a period frame, with faults in the carving. Measurements: 88.5 x 65.5 cm; 98.5 x 74.5 cm (frame). The way in which the Virgin's clothing is conceived, the two flowers that she holds in her hand, and how they fall slightly under her weight, the lamb that looks at Mary, while in her mouth she holds a flower, the presence of the archangel in the background, are characteristics that adapt to the aesthetic pattern established by Tovar, in the work he carried out in 1732, for Don José María Téllez-Girón y Benavides, VII Duke of Osuna. The piece is kept in the chapel of La Divina Pastora", which is located in the old Hospital de San Bernardo in Seville. The origins of the devotion to the Divina Pastora are unclear until the 18th century. Although its widespread dissemination is due to a Capuchin priest of great Marian devotion, Fray Isidoro de Sevilla, who in 1703 commissioned a canvas with this theme from Alonso Miguel de Tovar, today we can see a similar work by Tovar in the Museo Carmen Thyssen in Malaga. In 1705 he also wrote "La Pastora Coronada" ("The Crowned Shepherdess"), a work in which he set out his predictable idea of the Virgin as a shepherdess. The father describes her as follows: "in the centre and under the shade of a tree, the Blessed Virgin seated on a rock, radiating divine love and tenderness from her face, her red tunic but her bust covered up to her knees with white pellicle tight around her waist, a blue cloak draped over her left shoulder, she will wrap around her shepherdess and next to her right hand will appear the staff of her power. In her left hand she will hold the Child, and her right hand will rest on a lamb which she is holding in her lap. Some sheep will surround the Virgin, forming her flock, and all of them will carry roses in their mouths, symbolic of the Hail Mary with which they venerate her. In the distance, a lost sheep was pursued by the wolf, but by pronouncing the Hail Mary, Saint Michael appeared with the arrow which he plunged into the testicle of the accursed wolf". Alonso Miguel Tovar most probably trained in the workshop of the painter Juan Antonio Osorio, a great admirer of the work of Bartolomé Esteban Murillo, as was Tovar. Because of his detailed knowledge of Murillo's technique, the Cathedral Chapter commissioned him to restore the painting of the Nativity of the Virgin in the chapel of the Immaculate Conception in Seville cathedral. Around 1723 he painted an Immaculate Conception for the chapel of the Casa de Contratación, which was then in Cadiz. This work is currently kept in the cathedral of Cadiz. Isabella of Farnese, the wife of Philip V and a fan of Murillo, called Tovar to the Court between late 1723 and early 1724. Tovar's arrival in Madrid coincided with the hiring of many artists to decorate the palace of La Granja de San Ildefonso. In 1726 Teodoro Ardemans died and Alonso Miguel Tovar was appointed painter to Philip V's chamber. Tovar's work is currently housed in the most important Spanish and international art galleries: the Prado Museum, the National Gallery in London, the Louvre Museum in Paris, the Museum of Fine Arts in Budapest, the Museum of Fine Arts in Seville, the Museum of Cadiz, the Wallraf-Richartz Museum in Cologne, the Kimbell Art Museum in Fort Worth, the Detroit Institute of Arts, the National Museum of Ancient Art in Lisbon and the Museum of Fine Arts in Nancy, among many others.
Setdart Auction House
Jul. 25, 2024
ALONSO MIGUEL DE TOVAR O TOBAR (Huelva, 1678-Madrid, 1758), Holy Child Jesus of la Espina with important cornucopia frame, 17th-18th century
Est: €4,000 - €4,500
Andalusian baroque school from the beginning of the 18th century. Canvas measurements: 62 x 50 cm, frame measurements: 100 x 82 cm. Provenance: important Andalusian private collection (lots 148 to 175).
Templum Fine Art Auctions
Oct. 18, 2023
ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752). "Virgin with the Child and Santa Ana". Oil on canvas.
Est: €1,500 - €2,000
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Virgin and Child with Saint Anne". Oil on canvas (original canvas). Measurements: 55,5 x 42 cm; 66 x 54 cm (frame). Alonso Miguel de Tovar offers us a devotional image that abandons the pictorial quality of the Sevillian school. In it we see the Infant Jesus flanked by his Virgin and Saint Anne. The child raises his gaze towards the heavenly plane, where a break of glory opens up, with little child angels in the background. Alonso Miguel Tovar most probably trained in the workshop of the painter Juan Antonio Osorio, a great admirer of the work of Bartolomé Esteban Murillo, like Tovar. Because of his detailed knowledge of Murillo's technique, the Cathedral Chapter commissioned him to restore the painting of the Nativity of the Virgin in the chapel of the Immaculate Conception in Seville cathedral. Around 1723 he painted an Immaculate Conception for the chapel of the Casa de Contratación, which was then in Cadiz. This work is currently kept in the cathedral of Cadiz. Isabella of Farnese, the wife of Philip V and a fan of Murillo, called Tovar to the Court between late 1723 and early 1724. Tovar's arrival in Madrid coincided with the hiring of many artists to decorate the palace of La Granja de San Ildefonso. In 1726 Teodoro Ardemans died and Alonso Miguel Tovar was appointed painter to Philip V's chamber. Tovar's work is currently housed in the most important Spanish and international art galleries: the Prado Museum, the National Gallery in London, the Louvre Museum in Paris, the Museum of Fine Arts in Budapest, the Museum of Fine Arts in Seville, the Museum of Cadiz, the Wallraf-Richartz Museum in Cologne, the Kimbell Art Museum in Fort Worth, the Detroit Institute of Arts, the National Museum of Ancient Art in Lisbon and the Museum of Fine Arts in Nancy, among many others.
Setdart Auction House
Apr. 19, 2023
El Buen Pastor
Est: -
La obra que nos ocupa representa al Niño Jesús como Buen Pastor. El simbolismo de Cristo y los cristianos como el pastor y sus ovejas aparece en los primeros años del cristianismo. Lo podemos encontrar en las parábolas de San Lucas y de San Juan. No obstante, al llegar la Edad Media, se había extinguido, y a partir de ese período se encontrará tan solo de manera excepcional hasta adentrarnos en el Barroco donde se hizo muy popular. Hay que destacar que la imagen del “Buen Pastor” sería una adaptación de un prototipo pagano, el de Mercurio, guardián de los rebaños, llevando un carnero. La oveja rescatada y devuelta al rebaño simboliza al pecador arrepentido. En nuestro lienzo, sobre un paisaje, aparece el Niño descalzo sentado sobre unas piedras. Tiene redondas carnaciones y eleva su melancólica e inocente mirada hacia el cielo mientras apoya su mano derecha en su pecho y con su brazo izquierdo abraza por el cuello a una de las tres ovejas que aparecen en la representación. Viste túnica rosa y manto azul bajo piel de cordero. Dicha obra deja patente que se trata de uno de los mejores conocedores de la obra de Bartolomé Esteban Murillo que plasmo esta representación y fue muy copiada. A su vez, podemos relacionar el presente lienzo con otra obra Alonso Miguel de Tovar, nos referimos a La Divina Pastora (Colección Carmen Thyssen-Bornemisza) entre otros. El tono bucólico del paisaje y la ternura de los gestos son también similares a los del presente cuadro. Formalmente, la obra se ajusta plenamente al estilo barroco naturalista, con una composición sencilla y claramente comprensible, sin detalles anecdóticos que distraigan la atención. Está fuertemente iluminado por la luz tenebrista propia de esta escuela naturalista, un foco artificial y dirigido que incide directamente sobre el rostro y la figura, dejando el resto en penumbra, creando sutiles sombras y expresivos juegos de claroscuros que modelan los volúmenes y refuerzan la ilusión de tridimensionalidad tan buscada en este periodo. Tovar nació en la localidad onubense de Higuera de la Sierra en 1678. En 1723 se trasladó a Madrid con motivo de haberle sido encomendada la tarea de realizar copias de los retratos regios. Su habilidad en dicho trabajo le valió el mote de «Don Alonso, el Copista». Colaboró con Jean Ranc haciéndose célebre en la corte por el gran número de retratos que realizó de personas del círculo de la reina Isabel Farnesio. Posteriormente, al acompañar a la Corte a Sevilla, fue el causante de despertar en la reina el interés y admiración por la pintura de Murillo. Durante dicha estancia, Tovar se convirtió en uno de los retratistas más afamados de la ciudad. En 1733 fue nombrado pintor de cámara y siguió a la corte a La Granja de San Ildefonso. La extraordinaria calidad de esta composición de la obra atestigua la mano del hábil pintor de escuela andaluza.
Isbilya Subastas
Feb. 07, 2023
ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752). "Virgin with the Child and Santa Ana". Oil on canvas.
Est: €2,500 - €3,000
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Virgin and Child with Saint Anne". Oil on canvas (original canvas). Measurements: 55,5 x 42 cm; 66 x 54 cm (frame). Alonso Miguel de Tovar offers us a devotional image that abandons the pictorial quality of the Sevillian school. In it we see the Infant Jesus flanked by his Virgin and Saint Anne. The child raises his gaze towards the heavenly plane, where a break of glory opens up, with little child angels in the background. Alonso Miguel Tovar most probably trained in the workshop of the painter Juan Antonio Osorio, a great admirer of the work of Bartolomé Esteban Murillo, like Tovar. Because of his detailed knowledge of Murillo's technique, the Cathedral Chapter commissioned him to restore the painting of the Nativity of the Virgin in the chapel of the Immaculate Conception in Seville cathedral. Around 1723 he painted an Immaculate Conception for the chapel of the Casa de Contratación, which was then in Cadiz. This work is currently kept in the cathedral of Cadiz. Isabella of Farnese, the wife of Philip V and a fan of Murillo, called Tovar to the Court between late 1723 and early 1724. Tovar's arrival in Madrid coincided with the hiring of many artists to decorate the palace of La Granja de San Ildefonso. In 1726 Teodoro Ardemans died and Alonso Miguel Tovar was appointed painter to Philip V's chamber. Tovar's work is currently housed in the most important Spanish and international art galleries: the Prado Museum, the National Gallery in London, the Louvre Museum in Paris, the Museum of Fine Arts in Budapest, the Museum of Fine Arts in Seville, the Museum of Cadiz, the Wallraf-Richartz Museum in Cologne, the Kimbell Art Museum in Fort Worth, the Detroit Institute of Arts, the National Museum of Ancient Art in Lisbon and the Museum of Fine Arts in Nancy, among many others.
Setdart Auction House
Dec. 12, 2022
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Divine Shepherdess". Oil on canvas. It presents slight flaws on the pictorial surface. Keep your original fabric.
Est: €7,000 - €8,000
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Divina Pastora". Oil on canvas. It has slight damage to the pictorial surface. It preserves its original canvas. It has a period frame, with faults in the carving. Measurements: 88.5 x 65.5 cm; 98.5 x 74.5 cm (frame). The way in which the Virgin's clothing is conceived, the two flowers that she holds in her hand, and how they fall slightly under her weight, the lamb that looks at Mary, while in her mouth she holds a flower, the presence of the archangel in the background, are characteristics that adapt to the aesthetic pattern established by Tovar, in the work he carried out in 1732, for Don José María Téllez-Girón y Benavides, VII Duke of Osuna. The piece is kept in the chapel of La Divina Pastora", which is located in the old Hospital de San Bernardo in Seville. The origins of the devotion to the Divina Pastora are unclear until the 18th century. Although its widespread dissemination is due to a Capuchin priest of great Marian devotion, Fray Isidoro de Sevilla, who in 1703 commissioned a canvas with this theme from Alonso Miguel de Tovar, today we can see a similar work by Tovar in the Museo Carmen Thyssen in Malaga. In 1705 he also wrote "La Pastora Coronada" ("The Crowned Shepherdess"), a work in which he set out his predictable idea of the Virgin as a shepherdess. The father describes her as follows: "in the centre and under the shade of a tree, the Blessed Virgin seated on a rock, radiating divine love and tenderness from her face, her red tunic but her bust covered up to her knees with white pellicle tight around her waist, a blue cloak draped over her left shoulder, she will wrap around her shepherdess and next to her right hand will appear the staff of her power. In her left hand she will hold the Child, and her right hand will rest on a lamb which she is holding in her lap. Some sheep will surround the Virgin, forming her flock, and all of them will carry roses in their mouths, symbolic of the Hail Mary with which they venerate her. In the distance, a lost sheep was pursued by the wolf, but by pronouncing the Hail Mary, Saint Michael appeared with the arrow which he plunged into the testicle of the accursed wolf". Alonso Miguel Tovar most probably trained in the workshop of the painter Juan Antonio Osorio, a great admirer of the work of Bartolomé Esteban Murillo, as was Tovar. Because of his detailed knowledge of Murillo's technique, the Cathedral Chapter commissioned him to restore the painting of the Nativity of the Virgin in the chapel of the Immaculate Conception in Seville cathedral. Around 1723 he painted an Immaculate Conception for the chapel of the Casa de Contratación, which was then in Cadiz. This work is currently kept in the cathedral of Cadiz. Isabella of Farnese, the wife of Philip V and a fan of Murillo, called Tovar to the Court between late 1723 and early 1724. Tovar's arrival in Madrid coincided with the hiring of many artists to decorate the palace of La Granja de San Ildefonso. In 1726 Teodoro Ardemans died and Alonso Miguel Tovar was appointed painter to Philip V's chamber. Tovar's work is currently housed in the most important Spanish and international art galleries: the Prado Museum, the National Gallery in London, the Louvre Museum in Paris, the Museum of Fine Arts in Budapest, the Museum of Fine Arts in Seville, the Museum of Cadiz, the Wallraf-Richartz Museum in Cologne, the Kimbell Art Museum in Fort Worth, the Detroit Institute of Arts, the National Museum of Ancient Art in Lisbon and the Museum of Fine Arts in Nancy, among many others.
Setdart Auction House
Sep. 28, 2022
ALONSO MIGUEL DE TOVAR (1678 / 1772) "Saint Teresa receives the necklace from the hands of the Virgin and Saint Joseph"
Est: €6,750 - €9,000
Oil on canvas Provenance: -López Cepero Collection and Marqués de Pidal Collection (19th century). On the back is a letter from Manuel López Cepero to Pedro José Pidal, Marquis of Pidal, dated in Seville on November 20, 1852 in which he attributes the painting to Tobar and confirms the gift of the painting. -Private collection, Madrid Bibliography: -Martínez Plaza, Pedro J., "A commission for the Marquis of Salamanca: correspondence between José María Huet and Manuel López Cepero in 1848." Hispanic Letters P. note nº11 -Valdivieso, E., “The school of Murillo. Contributions to the knowledge of his disciples and followers”, Universidad de Sevilla, 2018, p. 127.
Ansorena
Sep. 28, 2022
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Divine Shepherdess".
Est: €7,000 - €8,000
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Divina Pastora". Oil on canvas. It has slight damage to the pictorial surface. It preserves its original canvas. It has a period frame, with faults in the carving. Measurements: 88.5 x 65.5 cm; 98.5 x 74.5 cm (frame). The way in which the Virgin's clothing is conceived, the two flowers that she holds in her hand, and how they fall slightly under her weight, the lamb that looks at Mary, while in her mouth she holds a flower, the presence of the archangel in the background, are characteristics that adapt to the aesthetic pattern established by Tovar, in the work he carried out in 1732, for Don José María Téllez-Girón y Benavides, VII Duke of Osuna. The piece is kept in the chapel of La Divina Pastora", which is located in the old Hospital de San Bernardo in Seville. The origins of the devotion to the Divina Pastora are unclear until the 18th century. Although its widespread dissemination is due to a Capuchin priest of great Marian devotion, Fray Isidoro de Sevilla, who in 1703 commissioned a canvas with this theme from Alonso Miguel de Tovar, today we can see a similar work by Tovar in the Museo Carmen Thyssen in Malaga. In 1705 he also wrote "La Pastora Coronada" ("The Crowned Shepherdess"), a work in which he set out his predictable idea of the Virgin as a shepherdess. The father describes her as follows: "in the centre and under the shade of a tree, the Blessed Virgin seated on a rock, radiating divine love and tenderness from her face, her red tunic but her bust covered up to her knees with white pellicle tight around her waist, a blue cloak draped over her left shoulder, she will wrap around her shepherdess and next to her right hand will appear the staff of her power. In her left hand she will hold the Child, and her right hand will rest on a lamb which she is holding in her lap. Some sheep will surround the Virgin, forming her flock, and all of them will carry roses in their mouths, symbolic of the Hail Mary with which they venerate her. In the distance, a lost sheep was pursued by the wolf, but by pronouncing the Hail Mary, Saint Michael appeared with the arrow which he plunged into the testicle of the accursed wolf". Alonso Miguel Tovar most probably trained in the workshop of the painter Juan Antonio Osorio, a great admirer of the work of Bartolomé Esteban Murillo, as was Tovar. Because of his detailed knowledge of Murillo's technique, the Cathedral Chapter commissioned him to restore the painting of the Nativity of the Virgin in the chapel of the Immaculate Conception in Seville cathedral. Around 1723 he painted an Immaculate Conception for the chapel of the Casa de Contratación, which was then in Cadiz. This work is currently kept in the cathedral of Cadiz. Isabella of Farnese, the wife of Philip V and a fan of Murillo, called Tovar to the Court between late 1723 and early 1724. Tovar's arrival in Madrid coincided with the hiring of many artists to decorate the palace of La Granja de San Ildefonso. In 1726 Teodoro Ardemans died and Alonso Miguel Tovar was appointed painter to Philip V's chamber. Tovar's work is currently housed in the most important Spanish and international art galleries: the Prado Museum, the National Gallery in London, the Louvre Museum in Paris, the Museum of Fine Arts in Budapest, the Museum of Fine Arts in Seville, the Museum of Cadiz, the Wallraf-Richartz Museum in Cologne, the Kimbell Art Museum in Fort Worth, the Detroit Institute of Arts, the National Museum of Ancient Art in Lisbon and the Museum of Fine Arts in Nancy, among many others.
Setdart Auction House
Sep. 07, 2022
ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752). "Virgin with the Child and Santa Ana". Oil on canvas.
Est: €3,000 - €3,500
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Virgin and Child with Saint Anne". Oil on canvas (original canvas). Measurements: 55,5 x 42 cm; 66 x 54 cm (frame). Alonso Miguel de Tovar offers us a devotional image that abandons the pictorial quality of the Sevillian school. In it we see the Infant Jesus flanked by his Virgin and Saint Anne. The child raises his gaze towards the heavenly plane, where a break of glory opens up, with little child angels in the background. Alonso Miguel Tovar most probably trained in the workshop of the painter Juan Antonio Osorio, a great admirer of the work of Bartolomé Esteban Murillo, like Tovar. Because of his detailed knowledge of Murillo's technique, the Cathedral Chapter commissioned him to restore the painting of the Nativity of the Virgin in the chapel of the Immaculate Conception in Seville cathedral. Around 1723 he painted an Immaculate Conception for the chapel of the Casa de Contratación, which was then in Cadiz. This work is currently kept in the cathedral of Cadiz. Isabella of Farnese, the wife of Philip V and a fan of Murillo, called Tovar to the Court between late 1723 and early 1724. Tovar's arrival in Madrid coincided with the hiring of many artists to decorate the palace of La Granja de San Ildefonso. In 1726 Teodoro Ardemans died and Alonso Miguel Tovar was appointed painter to Philip V's chamber. Tovar's work is currently housed in the most important Spanish and international art galleries: the Prado Museum, the National Gallery in London, the Louvre Museum in Paris, the Museum of Fine Arts in Budapest, the Museum of Fine Arts in Seville, the Museum of Cadiz, the Wallraf-Richartz Museum in Cologne, the Kimbell Art Museum in Fort Worth, the Detroit Institute of Arts, the National Museum of Ancient Art in Lisbon and the Museum of Fine Arts in Nancy, among many others.
Setdart Auction House
May. 10, 2022
ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752). "Virgin with the Child and Santa Ana". Oil on canvas.
Est: €3,500 - €4,000
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Virgin and Child with Saint Anne". Oil on canvas (original canvas). Measurements: 55,5 x 42 cm; 66 x 54 cm (frame). Alonso Miguel de Tovar offers us a devotional image that abandons the pictorial quality of the Sevillian school. In it we see the Infant Jesus flanked by his Virgin and Saint Anne. The child raises his gaze towards the heavenly plane, where a break of glory opens up, with little child angels in the background. Alonso Miguel Tovar most probably trained in the workshop of the painter Juan Antonio Osorio, a great admirer of the work of Bartolomé Esteban Murillo, like Tovar. Because of his detailed knowledge of Murillo's technique, the Cathedral Chapter commissioned him to restore the painting of the Nativity of the Virgin in the chapel of the Immaculate Conception in Seville cathedral. Around 1723 he painted an Immaculate Conception for the chapel of the Casa de Contratación, which was then in Cadiz. This work is currently kept in the cathedral of Cadiz. Isabella of Farnese, the wife of Philip V and a fan of Murillo, called Tovar to the Court between late 1723 and early 1724. Tovar's arrival in Madrid coincided with the hiring of many artists to decorate the palace of La Granja de San Ildefonso. In 1726 Teodoro Ardemans died and Alonso Miguel Tovar was appointed painter to Philip V's chamber. Tovar's work is currently housed in the most important Spanish and international art galleries: the Prado Museum, the National Gallery in London, the Louvre Museum in Paris, the Museum of Fine Arts in Budapest, the Museum of Fine Arts in Seville, the Museum of Cadiz, the Wallraf-Richartz Museum in Cologne, the Kimbell Art Museum in Fort Worth, the Detroit Institute of Arts, the National Museum of Ancient Art in Lisbon and the Museum of Fine Arts in Nancy, among many others.
Setdart Auction House
Feb. 10, 2022
ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752). "Virgin with the Child and Santa Ana". Oil on canvas.
Est: €4,500 - €5,000
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Virgin and Child with Saint Anne". Oil on canvas (original canvas). Measurements: 55,5 x 42 cm; 66 x 54 cm (frame). Alonso Miguel de Tovar offers us a devotional image that abandons the pictorial quality of the Sevillian school. In it we see the Infant Jesus flanked by his Virgin and Saint Anne. The child raises his gaze towards the heavenly plane, where a break of glory opens up, with little child angels in the background. Alonso Miguel Tovar most probably trained in the workshop of the painter Juan Antonio Osorio, a great admirer of the work of Bartolomé Esteban Murillo, like Tovar. Because of his detailed knowledge of Murillo's technique, the Cathedral Chapter commissioned him to restore the painting of the Nativity of the Virgin in the chapel of the Immaculate Conception in Seville cathedral. Around 1723 he painted an Immaculate Conception for the chapel of the Casa de Contratación, which was then in Cadiz. This work is currently kept in the cathedral of Cadiz. Isabella of Farnese, the wife of Philip V and a fan of Murillo, called Tovar to the Court between late 1723 and early 1724. Tovar's arrival in Madrid coincided with the hiring of many artists to decorate the palace of La Granja de San Ildefonso. In 1726 Teodoro Ardemans died and Alonso Miguel Tovar was appointed painter to Philip V's chamber. Tovar's work is currently housed in the most important Spanish and international art galleries: the Prado Museum, the National Gallery in London, the Louvre Museum in Paris, the Museum of Fine Arts in Budapest, the Museum of Fine Arts in Seville, the Museum of Cadiz, the Wallraf-Richartz Museum in Cologne, the Kimbell Art Museum in Fort Worth, the Detroit Institute of Arts, the National Museum of Ancient Art in Lisbon and the Museum of Fine Arts in Nancy, among many others.
Setdart Auction House
Oct. 20, 2021
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Virgin with Child and Saint Anne". Oil on canvas (original canvas).
Est: €5,000 - €5,500
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Virgin with Child and Saint Anne". Oil on canvas (original canvas). Size: 55.5 x 42 cm; 66 x 54 cm (frame). Alonso Miguel de Tovar offers us a devotional image that abandons the pictorial quality of the Sevillian school. In it we see the Infant Jesus flanked by the Virgin and Saint Anne. The little one raises his gaze towards the celestial plane, where a break of glory is opened by little child angels. Most likely, Alonso Miguel Tovar was trained in the workshop of the painter Juan Antonio Osorio, a great admirer of the work of Bartolomé Esteban Murillo, like Tovar. Due to his detailed knowledge of Murillo's technique, the Cathedral Chapter commissioned him to restore the painting of the Nativity of the Virgin in the chapel of the Immaculate Conception in the cathedral of Seville. Around 1723 he painted an Immaculate Conception for the chapel of the Casa de Contratación, which was then in Cadiz. This work is currently preserved in the cathedral of Cadiz. Isabel de Farnesio, wife of Felipe V and fond of Murillo, called Tovar to the Court between the end of 1723 and the beginning of 1724. Tovar's arrival in Madrid coincided with the hiring of many artists to decorate the palace of La Granja de San Ildefonso. In 1726 Teodoro Ardemans died and Alonso Miguel Tovar was appointed painter of Felipe V's chamber. Currently, Tovar's work is housed in the most important Spanish and international art galleries: The Prado Museum, the National Gallery of London, the Louvre Museum in Paris, the Museum of Fine Arts in Budapest, the Museum of Fine Arts in Seville, the Museum of Cadiz, the Wallraf-Richartz Museum in Cologne, the Kimbell Art Museum in Fort Worth, the Detroit Institute of Arts, the National Museum of Ancient Art in Lisbon or the Museum of Fine Arts in Nancy, among many others.
Setdart Auction House
Jun. 30, 2021
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Virgin with the Child and Santa Ana". Oil on canvas (original canvas).
Est: €14,000 - €16,000
ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Virgin with the Child and Santa Ana". Oil on canvas (original canvas). Measurements: 55.5 x 42 cm; 66 x 54 cm (frame). Alonso Miguel de Tovar provides us with a devotional image that abandons the pictorial quality of the Sevillian school. In it we see the Infant Jesus flanked by the Virgin and Saint Anne. The little one raises his gaze towards the celestial plane, where a break of glory is opened by little child angels. Most likely, Alonso Miguel Tovar was trained in the workshop of the painter Juan Antonio Osorio, a great admirer of the work of Bartolomé Esteban Murillo, like Tovar. Due to his detailed knowledge of Murillo's technique, the Cathedral Chapter commissioned him to restore the painting of the Nativity of the Virgin in the chapel of the Immaculate Conception in the cathedral of Seville. Around 1723 he painted an Immaculate Conception for the chapel of the Casa de Contratación, which was then in Cadiz. This work is currently preserved in the cathedral of Cadiz. Isabel de Farnesio, wife of Felipe V and fond of Murillo, called Tovar to the Court between the end of 1723 and the beginning of 1724. Tovar's arrival in Madrid coincided with the hiring of many artists to decorate the palace of La Granja de San Ildefonso. In 1726 Teodoro Ardemans died and Alonso Miguel Tovar was appointed painter of Felipe V's chamber. Currently, Tovar's work is housed in the most important Spanish and international art galleries: The Prado Museum, the National Gallery of London, the Louvre Museum in Paris, the Museum of Fine Arts in Budapest, the Museum of Fine Arts in Seville, the Museum of Cadiz, the Wallraf-Richartz Museum in Cologne, the Kimbell Art Museum in Fort Worth, the Detroit Institute of Arts, the National Museum of Ancient Art in Lisbon or the Museum of Fine Arts in Nancy, among many others.
Setdart Auction House
Jan. 31, 2019
ALONSO MIGUEL DE TOVAR | Saint Dominic receiving the Rosary from the Virgin
Est: $60,000 - $80,000
oil on canvas
Sotheby's
Jan. 30, 2018
ALONSO MIGUEL DE TOBAR (Aracena, Huelva, 1678 - Madrid, 1758) Divina Pastora
Est: -
ALONSO MIGUEL DE TOBAR (Aracena, Huelva, 1678 - Madrid, 1758). "Divina Pastora". Oil on canvas. This Divina Pastora must be put in relation with a miniature in copper of Huelva's hand, belonging to the BrothersLesser Capuchins of Seville, from around 17 ALONSO MIGUEL DE TOBAR (Aracena, Huelva, 1678 - Madrid, 1758) Divina Pastora Esta Divina Pastora debe ponerse en relación con una miniatura en cobre de mano del onubense, perteneciente a los Hermanos Menores Capuchinos de Sevilla, de hacia 1703, que presenta una composición, modelos y cromatismo muy similares a los de este cuadro. Óleo sobre lienzo 93 x 61 cm.
Isbilya Subastas
Sep. 21, 2017
18th.C Spanish School. Divine Shepherd
Est: -
ESCUELA ESPAÑOLA. ÚLTIMO TERCIO S.XVIII. "Divina Pastora". Óleo sobre lienzo. Copia de una obra de Alonso Miguel de Tovar (1678-1752). Al dorso Indulgencia de 40 días, otorgada por D.Antonio María Sánchez Cid Carrascal, Obispo de Coria, a todo aquel que rezara ante esta imagen de la Divina Pastora. Fechada en Madrid a tres del mes de Octubre de 1854. Un agujero en el lienzo. 102 x 76 cm
Duran Arte y Subastas
Feb. 25, 2016
ALONSO MIGUEL DE TOBAR (ATTRIB.)
Est: -
ALONSO MIGUEL DE TOBAR (ATTRIB.) (Huelva, 1678-Madrid, 1758). "Divina Pastora", óleo sobre lienzo, 94x69 cm.
Sala de Ventas
May. 20, 2010
Alonso Miguel de Tobar (Higuera de la Sierra, 1678-Madrid, 1758) Saint Barbara
Est: €6,000 - €7,800
Alonso Miguel de Tobar (Higuera de la Sierra, 1678-Madrid, 1758) Saint Barbara . Oil painting on canvas. 96x71 cm.
Balclis

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Attribution to ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752) "St. Michael the Archangel. Oil on canvas. Relined in the nineteenth century. Presents restorations.

Attribution to ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752) "St. Michael the Archangel. Oil on canvas. Relined in the nineteenth century. Presents restorations.

Attributed to ALONSO MIGUEL DE TOVAR (Huelva, 1678 - Madrid, 1758) "Conversion of Saint Paul the Apostle"

Attributed to ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752). "Santiago Apostle baptizing the Hispanics". Oil on canvas. Presents faults and restorations.

Attributed to ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752) "The Annunciation of the Virgin". Oil on canvas. Relined. It has a frame of the eighteenth century.

Immaculate Conception - Attributed to Alonso Miguel de Tovar, Madrid 1678-1752, oil on canvas

ATRIBUIDO A ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678 - Madrid, 1758) - Retrato de joven con armadura

ALONSO MIGUEL DE TOVAR (1678-1752

ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Divina Pastora". Oil on canvas. It has slight damage to the pictorial surface

ALONSO MIGUEL DE TOVAR O TOBAR (Huelva, 1678-Madrid, 1758), Holy Child Jesus of la Espina with important cornucopia frame, 17th-18th century

ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752). "Virgin with the Child and Santa Ana". Oil on canvas.

El Buen Pastor

ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752). "Virgin with the Child and Santa Ana". Oil on canvas.

ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Divine Shepherdess". Oil on canvas. It presents slight flaws on the pictorial surface. Keep your original fabric.

ALONSO MIGUEL DE TOVAR (1678 / 1772) "Saint Teresa receives the necklace from the hands of the Virgin and Saint Joseph"

ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Divine Shepherdess".

ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752). "Virgin with the Child and Santa Ana". Oil on canvas.

ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752). "Virgin with the Child and Santa Ana". Oil on canvas.

ALONSO MIGUEL DE TOVAR (Huelva, 1678-Madrid, 1752). "Virgin with the Child and Santa Ana". Oil on canvas.

ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Virgin with Child and Saint Anne". Oil on canvas (original canvas).

ALONSO MIGUEL DE TOVAR (Higuera de la Sierra, Huelva, 1678-Madrid, 1752). "Virgin with the Child and Santa Ana". Oil on canvas (original canvas).

ALONSO MIGUEL DE TOVAR | Saint Dominic receiving the Rosary from the Virgin

ALONSO MIGUEL DE TOBAR (Aracena, Huelva, 1678 - Madrid, 1758) Divina Pastora

18th.C Spanish School. Divine Shepherd

ALONSO MIGUEL DE TOBAR (ATTRIB.)

Alonso Miguel de Tobar (Higuera de la Sierra, 1678-Madrid, 1758) Saint Barbara

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