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Eugenio Lucas Velazquez Sold at Auction Prices

Painter, b. 1817 - d. 1870

Eugenio Lucas Velázquez (9 February 1817 – 11 September 1870) was a Spanish painter in the Romantic style, known for genre and costumbrista scenes which often featured fantastic elements. Nineteenth-century sources refer to him as Eugenio Lucas Padilla, which has caused some confusion,[1] although it seems reasonable to assume that Velázquez was an adopted name. Few of his paintings are signed, causing a problem with attribution as well.

He was born to a middle-class family in Madrid and was originally a cabinet-maker. It is difficult to reconstruct his artistic studies. In the catalog accompanying his works at the Exposition Universelle (1855), he claims to have attended the Real Academia de Bellas Artes de San Fernando and studied with José de Madrazo, even though he had abandoned the Classicism taught there. It is known that he displayed four works at the Academia in 1841 and spent long hours copying the paintings at the Museo del Prado; especially those of Goya and Diego Velázquez.[1]

He joined the National Militia in 1843 and was a member until the late 1850s. The following year, he married Martina Hernández Muñoz. In 1848, apparently suffering from financial difficulties, they went to live with her aunt, Vicenta. Within a year, thanks to some successful exhibitions, he had acquired commissions that enabled them to establish their own home.

In 1850, he was one of the artists commissioned to provide decorations for the ceiling of the new Teatro Real (since painted over or removed). Queen Isabel II attended the opening, named him an honorary court painter, and made him a Knight in the Order of Charles III.[1] After that, most of his clients came from the upper nobility; most notably, the Marqués de Salamanca, who later had one of Goya's Black Paintings removed and placed in his palace.

In 1852, he took a trip to Paris, possibly accompanied by his mistress, Francisca Villaamil, the sister of Jenaro Pérez Villaamil. In Paris he came under the influence of Delacroix. The following year, he and his wife were separated. He and Francisca had four children, including the artist, Eugenio Lucas Villaamil.[1]

During the 1860s, he made several more trips to Paris, with visits to Switzerland and Italy. On one trip to Paris, it is said that he went to the Louvre and discovered that a painting attributed to Diego Velázquez was actually one of his.[citation needed] True or not, this could serve to explain his use of the name "Velázquez". In his later years, he was criticized as being a mere copier of Goya.

He died on 11 September 1870 in Madrid.

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  • EUGENIO LUCAS VELÁZQUEZ Madrid (1817 / 1870) "Festival in the Netherlands"
    Jul. 21, 2026

    EUGENIO LUCAS VELÁZQUEZ Madrid (1817 / 1870) "Festival in the Netherlands"

    Est: €12,000 - €18,000

    Oil on canvas. Signed. Inventory number in white in the lower left corner Provenance: - Madrid, collection of the Marquises of Villabrágima; Madrid, private collection. Bibliography: - Arnaiz, JM, "Eugenio Lucas. His life and work", Madrid, 1981, cat. No. 111, pp. 346-347. Measurements: 96 x 147 cm.

    Ansorena
  • EUGENIO LUCAS VELÁZQUEZ - Portrait of a majo
    Jun. 30, 2026

    EUGENIO LUCAS VELÁZQUEZ - Portrait of a majo

    Est: -

    EUGENIO LUCAS VELÁZQUEZ Madrid 1817-1870 Portrait of a majo Oil on canvas Measurements 42.3 x 36 cm

    Subastas Segre
  • Follower of EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Goyaesque scene. Oil on canvas.
    Jun. 18, 2026

    Follower of EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Goyaesque scene. Oil on canvas.

    Est: €600 - €800

    Follower of EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Goyaesque scene. Oil on canvas. Measurements: 54 x 61 cm; 75 x 81 cm (frame). Scene starring two men and a woman of low social extraction, faithfully following the style and critical and dark vision of his indirect master, Francisco de Goya. Thus, although it portrays an oppressive, dark and suffocating environment, despite being a landscape, it is rich in chiaroscuro in the baroque style, illuminated by a tenebrist light, with violent hallmarks of light and shadow, which gives the scene a certain dramatic theatricality. This expressive violence is also evident in the brushstroke itself, loose and very impastoed, sinuous and changing, which becomes the protagonist of the composition as much as the light, the dusty atmosphere or even the caricatured faces of the characters. Mentioned since the 19th century as Eugenio Lucas Padilla, or Eugenio Lucas the Elder, he was the Spanish Romantic artist who best understood Goya's art. Trained in the neoclassicism of the Academy of San Fernando, he soon turned his training around and dedicated himself to the study of Velázquez and, above all, Goya, whose works he admired and copied in the Prado Museum. In Goya's painting, Lucas Velázquez found the starting point to develop an imaginative personal painting, of fantastic visions and unleashed passions, within the purest romantic style. He also took the subject matter from Goya, and painted scenes of the Inquisition, covens, pilgrimages and bullfights. He also painted, in 1850, the now disappeared ceiling of the Royal Theater of Madrid, and later he was named honorary chamber painter and knight of the order of Carlos III by Queen Isabel II. As a good romantic, he made several trips, among which his stays in Italy, Morocco and Paris stand out.

    Setdart Auction House
  • EUGENIO LUCAS VELÁZQUEZ'S SCHOOL (1817-1870) THE BAPTISM
    May. 20, 2026

    EUGENIO LUCAS VELÁZQUEZ'S SCHOOL (1817-1870) THE BAPTISM

    Est: €3,000 - €5,000

    Oil on canvas. Dimensions 65 x 53 / 82 x 70 cm. An ecclesiastical interior scene centered around a baptismal font, surrounded by a group of elegantly dressed figures participating in the ceremony under a dimly lit atmosphere, illuminated by warm spotlights that define their silhouettes and enliven their faces. The space, barely suggested, gives prominence to the effect of light, the gleam of the golden touches, and the vibrancy of the brushstrokes, applied loosely and evocatively. The composition has a genre and theatrical feel, with particular attention to the atmosphere and the overall impression rather than minute detail. Within the Spanish Romantic tradition of the 19th century, the work reflects a sensibility akin to genre painting and religious subjects, treated with technical freedom and a taste for the effects of light.

    Templum Fine Art Auctions
  • EUGENIO LUCAS VELÁZQUEZ - Exorcism
    May. 12, 2026

    EUGENIO LUCAS VELÁZQUEZ - Exorcism

    Est: -

    EUGENIO LUCAS VELÁZQUEZ Madrid 1817 - 1870 Exorcism Oil on canvas Signed Measurements 43 x 52.5 cm

    Subastas Segre
  • EUGENIO LUCAS VELAZQUEZ Madrid (1817 / 1870) "Scenes of Courtship in the Countryside", 1861
    May. 12, 2026

    EUGENIO LUCAS VELAZQUEZ Madrid (1817 / 1870) "Scenes of Courtship in the Countryside", 1861

    Est: €5,250 - €7,000

    Pair of oil paintings on tin. Signed and dated. Presented in Napoleon III style frames. Dimensions: 32 x 18.5 cm each

    Ansorena
  • EUGENIO LUCAS VELÁZQUEZ'S SCHOOL (1817-1870) THE BAPTISM
    Mar. 25, 2026

    EUGENIO LUCAS VELÁZQUEZ'S SCHOOL (1817-1870) THE BAPTISM

    Est: €3,000 - €5,000

    Oil on canvas. Dimensions 65 x 53 / 82 x 70 cm. An ecclesiastical interior scene centered around a baptismal font, surrounded by a group of elegantly dressed figures participating in the ceremony under a dimly lit atmosphere, illuminated by warm spotlights that define their silhouettes and enliven their faces. The space, barely suggested, gives prominence to the effect of light, the gleam of the golden touches, and the vibrancy of the brushstrokes, applied loosely and evocatively. The composition has a genre and theatrical feel, with particular attention to the atmosphere and the overall impression rather than minute detail. Within the Spanish Romantic tradition of the 19th century, the work reflects a sensibility akin to genre painting and religious subjects, treated with technical freedom and a taste for the effects of light.

    Templum Fine Art Auctions
  • Attributed to EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870) "Spanish lady in flamenco dress"
    Mar. 18, 2026

    Attributed to EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870) "Spanish lady in flamenco dress"

    Est: €1,300 - €1,500

    Attributed to EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870) "Spanish lady in flamenco dress" Oil on canvas 43 x 30 cm 1.300 - 1.500 €

    Bayeu Subastas
  • EUGENIO LUCAS VELÁZQUEZ Madrid (1817 / 1870) "Fiesta en los Países Bajos"
    Feb. 24, 2026

    EUGENIO LUCAS VELÁZQUEZ Madrid (1817 / 1870) "Fiesta en los Países Bajos"

    Est: €30,000 - €40,000

    Oil on canvas. Signed. Inventory number in blank in the lower left corner. Provenance: Madrid, collection of the Marquesses of Villabrágima; Madrid, private collection. Bibliography: ARNAIZ, JM, "Eugenio Lucas. His Life and Work", Madrid, 1981, cat. no. 111, pp. 346-347. Dimensions: 96 x 147 cm.

    Ansorena
  • ATTRIBUTED TO EUGENIO LUCAS VELAZQUEZ Madrid (1817) / (1870) "Rest during the journey"
    Feb. 24, 2026

    ATTRIBUTED TO EUGENIO LUCAS VELAZQUEZ Madrid (1817) / (1870) "Rest during the journey"

    Est: €1,350 - €1,800

    Oil on canvas Measurements: 35 x 43 cm

    Ansorena
  • Eugenio Lucas Velázquez. Figures
    Jan. 27, 2026

    Eugenio Lucas Velázquez. Figures

    Est: -

    Watercolor on paper. Signed in the lower left corner.

    Duran Arte y Subastas
  • EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Orientalist scene". Oil on panel. Signed in the lower margin.
    Jan. 14, 2026

    EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Orientalist scene". Oil on panel. Signed in the lower margin.

    Est: €1,000 - €1,200

    EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Orientalist scene". Oil on panel. Signed in the lower margin. Measurements: 23 x 28 cm; 37 x 44 cm (frame). We observe here the romantic temperament of Lucas Velázquez applied to an exotic subject, where the Arab architecture and the cavalry in movement melt in a vibrant and almost theatrical atmosphere. The loose, doughy and agitated brushwork, together with the powerful chiaroscuro, directly relates the piece to his Goyaesque universe, transferring that vehement energy to an oriental setting that he approached after his travels and his interest in the picturesque. It is a concise example of his ability to transform a narrative motif into an intense and dynamic vision. The work of Eugenio Lucas Velázquez, a key figure of Spanish Romanticism and the most passionate heir of the Goyaesque universe, is today widely represented in important national and international institutions. Among them are the Museo del Prado, the Museo Lázaro Galdiano, the Museo Nacional de Arte de Cataluña and the Museo de Bellas Artes de Bilbao, where his mastery of chiaroscuro and his boundless imagination can be appreciated. Outside Spain, his paintings are part of collections as relevant as the Musée Goya in Castres, the British Museum in London or the Metropolitan Museum of Art in New York, testimony of the scope and prestige that his pictorial language -free, vehement and deeply Goyaesque- achieved beyond its borders.

    Setdart Auction House
  • SEGUIDOR DE EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870).
    Dec. 29, 2025

    SEGUIDOR DE EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870).

    Est: €600 -

    SEGUIDOR DE EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). Siglo XIX "Escena de misericordia". Óleo sobre lienzo La pintura muestra dos frailes franciscanos que atienden a una mujer, seguramente una prostituta, por sus ropas y actitud, acompañada de su "Celestina", que está detrás con un paraguas y con una cara grotesca, muy similar a algunos de los personajes de las pinturas negras de Goya. Medidas:54 x 61 cm.

    Magna Art Auctions
  • EUGENIO LUCAS VELÁZQUEZ Madrid 1817 - 1870 Preaching from the pulpit Oil on pane
    Dec. 16, 2025

    EUGENIO LUCAS VELÁZQUEZ Madrid 1817 - 1870 Preaching from the pulpit Oil on pane

    Est: -

    EUGENIO LUCAS VELÁZQUEZ Madrid 1817 - 1870 Preaching from the pulpit Oil on panel Signed Measurements 25 x 16.5 cm

    Subastas Segre
  • EUGENIO LUCAS VELÁZQUEZ Madrid 1817 - 1870 God forgive her. And she was his mother
    Dec. 16, 2025

    EUGENIO LUCAS VELÁZQUEZ Madrid 1817 - 1870 God forgive her. And she was his mother

    Est: -

    EUGENIO LUCAS VELÁZQUEZ Madrid 1817 - 1870 God forgive her. And she was his mother Oil on panel Dimensions 30 x 19 cm This work is a copy of the original etching by Francisco de Goya, which belongs to the series Los Caprichos (1799).

    Subastas Segre
  • EUGENIO LUCAS VELÁZQUEZ Madrid 1817 - 1870 The Glutton Oil on panel Signed
    Dec. 16, 2025

    EUGENIO LUCAS VELÁZQUEZ Madrid 1817 - 1870 The Glutton Oil on panel Signed

    Est: -

    EUGENIO LUCAS VELÁZQUEZ Madrid 1817 - 1870 The Glutton Oil on panel Signed Dimensions 19 x 30 cm

    Subastas Segre
  • EUGENIO LUCAS VELÁZQUEZ Madrid 1817-1870 The Maja and the Procuresses Oil on pan
    Dec. 16, 2025

    EUGENIO LUCAS VELÁZQUEZ Madrid 1817-1870 The Maja and the Procuresses Oil on pan

    Est: -

    EUGENIO LUCAS VELÁZQUEZ Madrid 1817-1870 The Maja and the Procuresses Oil on panel Signed Dimensions 31.3 x 21 cm This work is a copy of the original by Francisco de Goya, made between 1776 and 1780.

    Subastas Segre
  • ATTRIBUTED TO EUGENIO LUCAS VELAZQUEZ Madrid (1817) / (1870) "Rest during the trip"
    Nov. 04, 2025

    ATTRIBUTED TO EUGENIO LUCAS VELAZQUEZ Madrid (1817) / (1870) "Rest during the trip"

    Est: €1,350 - €1,800

    Oil on canvas Measurements: 35 x 43 cm

    Ansorena
  • EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). Siglo XIX, A
    Oct. 22, 2025

    EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). Siglo XIX, A

    Est: -

    EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). Siglo XIX "Aquelarre ". Óleo sobre lienzo Firmado en ángulo inferior derecho Medidas:54 x 65 cm. English Translation: EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). XIX Century "Aquelarre ". Oil on canvas Signed in lower right corner Measurements: 54 x 65 cm.

    Magna Art Auctions
  • Attributed to EUGENIO LUCAS VELAZQUEZ ( Madrid, 1817-1870) "Bandits"
    Oct. 14, 2025

    Attributed to EUGENIO LUCAS VELAZQUEZ ( Madrid, 1817-1870) "Bandits"

    Est: €600 - €700

    Attributed to EUGENIO LUCAS VELAZQUEZ ( Madrid, 1817-1870) "Bandits" Oil on panel 33 x 23 cm 600 - 700 €

    Bayeu Subastas
  • EUGENIO LUCAS VELAZQUEZ Madrid (1817 / 1870) "Gourmets at the Crosses of May" and "A Procession on May 2" .
    Oct. 01, 2025

    EUGENIO LUCAS VELAZQUEZ Madrid (1817 / 1870) "Gourmets at the Crosses of May" and "A Procession on May 2" .

    Est: €1,200 - €1,600

    Pair of oil paintings on tin. On the back, old ink inscriptions on paper indicate that these scenes belong to a series of popular customs of Madrid. Measurements: each. Measurements: 24 x 16.5 cm

    Ansorena
  • Eugenio Lucas Velázquez. Group of characters
    Sep. 23, 2025

    Eugenio Lucas Velázquez. Group of characters

    Est: -

    Ink drawing on paper.

    Duran Arte y Subastas
  • ATTRIB. TO EUGENIO LUCAS VELASQUEZ (1817-1870). "Scene of Don Quixote and Sancho".
    Jul. 24, 2025

    ATTRIB. TO EUGENIO LUCAS VELASQUEZ (1817-1870). "Scene of Don Quixote and Sancho".

    Est: €1,200 - €4,500

    Oil on canvas. The canvas has visible restorations on the reverse and has been reinforced with bands. The paint layer has also been treated. 82 x 122 cm; 102 x 142 cm (frame).

    Subarna Subastas
  • ATTRIB. TO EUGENIO LUCAS VELASQUEZ (1817-1870). "The bandits".
    Jul. 24, 2025

    ATTRIB. TO EUGENIO LUCAS VELASQUEZ (1817-1870). "The bandits".

    Est: €1,200 - €4,500

    Oil on canvas. Signed "Eº Lucas", the E being apocryphal. The paint layer has interventions. 80 x 100 cm; 101 x 122 cm (frame).

    Subarna Subastas
  • EUGENIO LUCAS VELÁZQUEZ Madrid (1817 / 1870) "Battle", 1861
    Jul. 21, 2025

    EUGENIO LUCAS VELÁZQUEZ Madrid (1817 / 1870) "Battle", 1861

    Est: €900 - €1,800

    Ink and wash on paper. Signed and dated in the lower right corner. Measurements: 38 x 26.2 cm.

    Ansorena
  • EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Majos en tertulia". Oil on canvas. Work published in ARNAIZ, J.M., "Eugenio Lucas. His life and his work". Ed M. Montal, Madrid, 1981. pp. 298-299.
    Jul. 16, 2025

    EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Majos en tertulia". Oil on canvas. Work published in ARNAIZ, J.M., "Eugenio Lucas. His life and his work". Ed M. Montal, Madrid, 1981. pp. 298-299.

    Est: €2,500 - €3,000

    EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Majos en tertulia". Oil on canvas. Work published in ARNAIZ, J.M., "Eugenio Lucas. His life and his work". Ed M. Montal, Madrid, 1981. pp. 298-299. It presents small tears, the canvas is unstretched and the frame with important losses. Measurements: 80 x 60 cm; 90 x 71 cm (frame). This type of themes in which young women were represented dressed as majas, being harassed by men or in some cases with older women as a celestina, became popular during the time, being Eugenio Lucas Velázquez one of the greatest exponents of this theme. These images, which were based on a costumbrista and populist tradition, acquired a new dimension from the hand of the painter from Madrid who, through his palette of dark tones and his rapid stroke, as can be seen here, abandoned the idyllic sense of this type of scene and focused the viewer's gaze on a symbolic and critical image of the society of the time. Mentioned since the 19th century as Eugenio Lucas Padilla, or Eugenio Lucas the Elder, he was the Spanish Romantic artist who best understood Goya's art. Trained in the neoclassicism of the Academy of San Fernando, he soon turned his training around and dedicated himself to the study of Velázquez and, above all, Goya, whose works he admired and copied in the Prado Museum. In Goya's painting, Lucas Velázquez found the starting point to develop an imaginative personal painting, of fantastic visions and unleashed passions, within the purest romantic style. His work represents, in fact, the best costumbrismo of the Madrid school of Spanish Romanticism. He also took the subject matter from Goya, and painted scenes of the Inquisition, covens, pilgrimages and bullfights. His canvases such as "Condemned by the Inquisition" or "The Hunter" (both in the Prado Museum) even attracted Manet himself during his trip to Spain. Lucas Velázquez also painted, in 1850, the now disappeared ceiling of the Teatro Real in Madrid, and the following year he was appointed honorary painter of the chamber as a landscape painter. In 1853 he was named Knight of the Order of Carlos III by Queen Isabel II. During the decade of the fifties he continued his palace career, being named appraiser of Goya's Black Paintings in 1855, the same year in which he took part in the Universal Exposition of Paris, where his work was very well received by the French critics. From 1868, the year of Isabel II's resignation to the throne, his decline began in parallel to that of the monarchy. In the sixties, as a good romantic, he made several trips, among which his stays in Italy, Morocco and Paris stand out. In the French capital, he also met one of the greatest exponents of French impressionism, Edouard Manet. He died in 1870, leaving as a legacy an important and varied work in which we can glimpse a man of unquestionable originality and to whom no field was alien. His works are characterized by the use of a spirited brushstroke and a casual style, without drawing concerns, with a dense and impastoed matter of great chromatic richness and with the presence of strong chiaroscuro. He achieved great success as a painter of manners and scenes of fantastic and sinister character, although it is true that he was also an excellent landscape painter and portraitist. The work of Lucas Velázquez is very well represented in the Prado Museum, and also in other centers such as the Fine Arts Museum of Bilbao, the National Art Museum of Catalonia, the Lázaro Galdiano Museum, the British Museum, the Metropolitan Museum of New York and the Goya Museum in Castres (France). It has small tears, the canvas is unstretched and the frame with significant losses. Work published in ARNAIZ, J.M., "Eugenio Lucas. His life and work". Ed M. Montal, Madrid, 1981. pp. 298-299.

    Setdart Auction House
  • EUGENIO LUCAS VELÁZQUEZ Madrid (1817 / 1870) "On the balcony"
    Jun. 18, 2025

    EUGENIO LUCAS VELÁZQUEZ Madrid (1817 / 1870) "On the balcony"

    Est: €5,100 - €6,800

    Oil on canvas Signed in the lower right corner Measurements: 78 x 52 cm

    Ansorena
  • Attributed to Eugenio Lucas Velazquez (Madrid, 1817-1870) "The Mass"
    May. 29, 2025

    Attributed to Eugenio Lucas Velazquez (Madrid, 1817-1870) "The Mass"

    Est: €1,000 - €1,500

    Attributed to Eugenio Lucas Velazquez (Madrid, 1817-1870) "The Mass" Oil on canvas 56 x 76 cm 1.000 - 1.500 €

    Greco Subastas
  • EUGENIO LUCAS VELAZQUEZ, Duchess
    May. 24, 2025

    EUGENIO LUCAS VELAZQUEZ, Duchess

    Est: $300 - $600

    Sepia gouache on laid paper by Eugenio Lucas Velazquez, Madrid (1817-1870), titled "The Duchess of Alba Combing Her Hair." Based on a drawing by Francisco de Goya from the "Album de Sanlucar." Signed lower right. Approx. 4-1/2 x 7-1/2" viewable, 5-3/4" x 8-3/4" overall. Purchased July 2023 from Ansorena (Spain). This item can be shipped in-house.

    Blackwell Auctions LLC
  • EUGENIO LUCAS VELAZQUEZ, Prostitute
    May. 24, 2025

    EUGENIO LUCAS VELAZQUEZ, Prostitute

    Est: $300 - $600

    Sepia gouache on laid paper by Eugenio Lucas Velazquez, Madrid (1817-1870), titled " Maria Luisa de Parma" / "A Prostitute." Inspired by Francisco de Goya's engraving no. 5 of the "Los Caprichos" series, "Tal Para Cual." Signed lower left. Approx. 5-1/4" x 7-1/4" viewable, 6-1/2" x 8-1/2" overall. Purchased July 2023 from Ansorena (Spain). This item can be shipped in-house.

    Blackwell Auctions LLC
  • Follower of EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Goyaesque scene. Oil on canvas.
    May. 14, 2025

    Follower of EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Goyaesque scene. Oil on canvas.

    Est: €1,000 - €1,200

    Follower of EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Goyaesque scene. Oil on canvas. Measurements: 54 x 61 cm; 75 x 81 cm (frame). Scene starring two men and a woman of low social extraction, faithfully following the style and critical and dark vision of his indirect master, Francisco de Goya. Thus, although it portrays an oppressive, dark and suffocating environment, despite being a landscape, it is rich in chiaroscuro in the baroque style, illuminated by a tenebrist light, with violent hallmarks of light and shadow, which gives the scene a certain dramatic theatricality. This expressive violence is also evident in the brushstroke itself, loose and very impastoed, sinuous and changing, which becomes the protagonist of the composition as much as the light, the dusty atmosphere or even the caricatured faces of the characters. Mentioned since the 19th century as Eugenio Lucas Padilla, or Eugenio Lucas the Elder, he was the Spanish Romantic artist who best understood Goya's art. Trained in the neoclassicism of the Academy of San Fernando, he soon turned his training around and dedicated himself to the study of Velázquez and, above all, Goya, whose works he admired and copied in the Prado Museum. In Goya's painting, Lucas Velázquez found the starting point to develop an imaginative personal painting, of fantastic visions and unleashed passions, within the purest romantic style. He also took the subject matter from Goya, and painted scenes of the Inquisition, covens, pilgrimages and bullfights. He also painted, in 1850, the now disappeared ceiling of the Royal Theater of Madrid, and later he was named honorary chamber painter and knight of the order of Carlos III by Queen Isabel II. As a good romantic, he made several trips, among which his stays in Italy, Morocco and Paris stand out.

    Setdart Auction House
  • Attributed to EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). Untitled. Oil on canvas. Presents losses in the pictorial layer.
    May. 14, 2025

    Attributed to EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). Untitled. Oil on canvas. Presents losses in the pictorial layer.

    Est: €1,000 - €1,200

    Attributed to EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). Untitled. Oil on canvas. Presents losses in the pictorial layer. Measurements: 61 x 51 cm; 75 x 56 cm (frame). The author of this work offers us a work of clearly romantic heritage, starring a group of bandits resting inside a cave. The work is fully framed within the Spanish regionalist current, still firmly anchored in the aesthetics of the nineteenth century, where the vindication of the Spanish is not limited to the subject matter, but also affects the technical aspect: we see an impastoed and undone invoice, rich in matter and also in detail, which reflects the brightness of the fabrics in the same way that Diego Velázquez did, a great reference along with Francisco de Goya for a nineteenth-century Spanish school that rediscovers the modernity of its old masters. The piece is largely reminiscent of the production of Eugenio Lucas Velázquez. Referred to since the 19th century as Eugenio Lucas Padilla, or Eugenio Lucas the Elder, he was the Spanish Romantic artist who best understood Goya's art. Trained in the neoclassicism of the Academy of San Fernando, he soon turned his training around and dedicated himself to the study of Velázquez and, above all, Goya, whose works he admired and copied in the Prado Museum. In Goya's painting, Lucas Velázquez found the starting point to develop an imaginative personal painting, of fantastic visions and unleashed passions, within the purest romantic style. He also took the subject matter from Goya, and painted scenes of the Inquisition, covens, pilgrimages and bullfights. He also painted, in 1850, the now disappeared ceiling of the Royal Theater of Madrid, and later he was named honorary chamber painter and knight of the order of Carlos III by Queen Isabel II. As a good romantic, he made several trips, among which his stays in Italy, Morocco and Paris stand out. His works are characterized by the use of a spirited brushstroke and a casual style, without draftsmanship concerns, with a dense and impastoed matter of great chromatic richness and with the presence of strong chiaroscuro. He achieved great success as a painter of manners and scenes of fantastic and sinister character, although it is true that he was also an excellent landscape painter and portraitist. His work is well represented in the Prado Museum, and also in other centers such as the Bilbao Fine Arts Museum, the National Art Museum of Catalonia, the Lázaro Galdiano Museum, the British Museum, the Metropolitan Museum of New York and the Goya Museum in Castres (France). It presents losses in the pictorial layer.

    Setdart Auction House
  • EUGENIO LUCAS VELAZQUEZ Madrid (1817 / 1870) "Flirting at the Crosses of May" and "A Procession on May 2"
    May. 12, 2025

    EUGENIO LUCAS VELAZQUEZ Madrid (1817 / 1870) "Flirting at the Crosses of May" and "A Procession on May 2"

    Est: €1,800 - €2,400

    Pair of oil paintings on tin. On the back, old ink inscriptions on paper indicate that these scenes belong to a series of popular customs of Madrid. Measurements: 24 x 16.5 cm each

    Ansorena
  • EUGENIO LUCAS VELAZQUEZ Madrid (1817 / 1870) "Popular types of Madrid", 1856
    May. 12, 2025

    EUGENIO LUCAS VELAZQUEZ Madrid (1817 / 1870) "Popular types of Madrid", 1856

    Est: €1,200 - €1,600

    Oil on tin. Signed, dated and located in the lower left corner. On the back, labels from the Juanta de Inquisicion y Proteccion del Patrimonio Artistico: Inv. No. 4088 - provenance: Tamames). Measurements: 22 x 20.5 cm.

    Ansorena
  • EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Goyaesque scene". Ink on cardboard.
    May. 08, 2025

    EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Goyaesque scene". Ink on cardboard.

    Est: €800 - €1,000

    EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Goyaesque scene". Ink on cardboard. Measurements: 8,7 x 7,5 cm. Eugenio Lucas is considered the Spanish romantic painter who better knew how to understand Goya's art, becoming the most important and passionate follower of the Goyaesque universe after the death of the brilliant Aragonese, whose essence he managed to assimilate to the point of making difficult in certain occasions the correct attribution of some works. On this occasion he offers us a scene with a clearly Goyaesque heritage. Mentioned since the 19th century as Eugenio Lucas Padilla, or Eugenio Lucas the Elder, he was the Spanish Romantic artist who best understood Goya's art. Trained in the neoclassicism of the Academy of San Fernando, he soon turned his training around and devoted himself to studying Velázquez and, above all, Goya, whose works he admired and copied in the Prado Museum. In Goya's painting, Lucas Velázquez found the starting point to develop an imaginative personal painting, of fantastic visions and unleashed passions, within the purest romantic style. He also took the subject matter from Goya, and painted scenes of the Inquisition, covens, pilgrimages and bullfights. He also painted, in 1850, the now disappeared ceiling of the Royal Theater of Madrid, and later he was named honorary chamber painter and knight of the order of Carlos III by Queen Isabel II. As a good romantic, he made several trips, among which his stays in Italy, Morocco and Paris stand out. His works are characterized by the use of a spirited brushstroke and a casual style, without draftsmanship concerns, with a dense and impastoed matter of great chromatic richness and with the presence of strong chiaroscuro. He achieved great success as a painter of manners and scenes of fantastic and sinister character, although it is true that he was also an excellent landscape painter and portraitist. His work is well represented in the Prado Museum, and also in other centers such as the Bilbao Fine Arts Museum, the National Art Museum of Catalonia, the Lázaro Galdiano Museum, the British Museum, the Metropolitan Museum of New York and the Goya Museum in Castres (France).

    Setdart Auction House
  • Eugenio Lucas Velázquez (Madrid, 1817-1870) - Gallant Scene - Spanish School of the 19th Century
    Apr. 30, 2025

    Eugenio Lucas Velázquez (Madrid, 1817-1870) - Gallant Scene - Spanish School of the 19th Century

    Est: €3,000 - €3,500

    Oil on canvas, with elegant Baroque style frame in gilded wood, dimensions: 62 x 45 cm, dimensions with frame: 80 x 64 cm

    Templum Fine Art Auctions
  • ATTRIB. TO EUGENIO LUCAS VELASQUEZ (1817-1870). "The bandits".
    Apr. 10, 2025

    ATTRIB. TO EUGENIO LUCAS VELASQUEZ (1817-1870). "The bandits".

    Est: €2,000 - €4,500

    Oil on canvas. Signed "Eº Lucas", the E being apocryphal. The paint layer has interventions. 80 x 100 cm; 101 x 122 cm (frame).

    Subarna Subastas
  • ATTRIB. TO EUGENIO LUCAS VELASQUEZ (1817-1870). "Scene of Don Quixote and Sancho".
    Apr. 10, 2025

    ATTRIB. TO EUGENIO LUCAS VELASQUEZ (1817-1870). "Scene of Don Quixote and Sancho".

    Est: €2,000 - €4,500

    Oil on canvas. The canvas has visible restorations on the reverse and has been reinforced with bands. The paint layer has also been treated. 82 x 122 cm; 102 x 142 cm (frame).

    Subarna Subastas
  • Circle of EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870), 19th century. "Procession". Oil on panel. Frame of the nineteenth century.
    Mar. 19, 2025

    Circle of EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870), 19th century. "Procession". Oil on panel. Frame of the nineteenth century.

    Est: €350 - €400

    Circle of EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870), 19th century. "Procession". Oil on panel. Frame of the nineteenth century. Measurements: 24 x 41 cm; 30 x 47 x 3 cm (frame). The author of this panel, very much in the line of Eugenio Lucas Velázquez, offers us a sacramental scene starring a procession of Christ crucified with other steps and banners. The anecdotal aspect of the composition lies in the fact that the group of several altar boys, parish priests and faithful are surprised by an unexpected storm at dusk. Eugenio Lucas was the Spanish Romantic artist who best understood Goya's art. Trained in the neoclassicism of the San Fernando Academy, he soon turned his training around and devoted himself to studying Velázquez and, above all, Goya, whose works he admired and copied in the Prado Museum. From the master, Lucas will develop a personal and imaginative painting, of fantastic visions and unleashed passions. Apart from his Goyaesque themes, in 1850 he painted the now disappeared ceiling of the Teatro Real in Madrid, and later he was named honorary chamber painter and knight of the order of Carlos III by Queen Isabel II. As a good romantic, he made several trips, among which his stays in Italy, Morocco and Paris stand out. He achieved great success as a painter of manners and scenes of fantastic and sinister character, although it is true that he was also an excellent landscape painter and portraitist. His work is well represented in the Prado Museum, and also in other centers such as the Bilbao Fine Arts Museum, the National Art Museum of Catalonia, the Lázaro Galdiano Museum, the British Museum, the Metropolitan Museum of New York and the Goya Museum in Castres (France).

    Setdart Auction House
  • Attributed to EUGENIO LUCAS VELAZQUEZ (Madrid, 1817-1870) "Portrait of young lady with mantilla". Oil on canvas signed. It has damage in the frame. Presents traces of signature in the lower area.
    Mar. 19, 2025

    Attributed to EUGENIO LUCAS VELAZQUEZ (Madrid, 1817-1870) "Portrait of young lady with mantilla". Oil on canvas signed. It has damage in the frame. Presents traces of signature in the lower area.

    Est: €1,000 - €1,200

    Attributed to EUGENIO LUCAS VELAZQUEZ (Madrid, 1817-1870) "Portrait of young lady with mantilla". Oil on canvas signed. It has damage in the frame. Presents traces of signature in the lower area. Measurements: 67 x 53 cm; 78 x 63 cm (frame). Spanish school painting representing a lady with a rose in her hand. The painter does not try to idealize the young woman's dour countenance, achieving in the capture of her character a remarkable psychological strunio. Likewise, he uses the right shades and glazes to describe the pale flesh tones in contrast with the black of the dress. The aesthetics of the work invites us to think of the painting of Lucas Velázquez is, without a doubt, the Spanish Romantic artist who best understood the art of Goya, becoming the most important and passionate follower of the Goyaesque universe after the death of the brilliant Aragonese, whose essence he managed to assimilate to the point of making it difficult on certain occasions to correctly attribute some little-studied works. Mentioned since the 19th century as Eugenio Lucas Padilla or Eugenio Lucas el Viejo and as a native of Alcalá de Henares, he was actually born in Madrid on February 9, 1817. He began his artistic training as a student at the San Fernando Academy, although, dissatisfied with the cold classicism of the academic teachings, he preferred to study directly the great geniuses of Spanish painting and in the Prado Museum he copied on numerous occasions Velázquez and, above all, Goya, whose work would definitively mark the style and creative personality of this artist. Thus, Lucas found in Goya's compositions an extraordinary vein to develop an imaginative painting, of unleashed passions, fantastic visions and scenes of intense dramatism, within the most genuine romantic spirit, mainly in scenes of Inquisition, witchcraft, witchcraft, pilgrimages, manolas and bulls, all of them themes learned from Goya, and that constitute the most interesting core of his very fruitful artistic career. In addition, in 1850 he painted the ceiling, now disappeared, of the Royal Theater of Madrid, and later Queen Isabel II named him honorary chamber painter and knight of the order of Carlos III. Female portrait, half-length, on a neutral background. The lady, with her hair parted in the middle, wears a dark suit and long earrings. She holds a rose in her hands while looking directly at the viewer, thus making him participate. The whiteness of the portrait's flesh tones stands out against the dark-toned dress. In spite of being a portrait of great simplicity, without any type of ornamentation, the composition tends to be dynamic, thanks to the marked curved lines generated by the posture of the arm, and the disposition of the mantle that covers the lady. Remains of signature. Relined

    Setdart Auction House
  • EUGENIO LUCAS VELAZQUEZ (Madrid 1817 - 1870) - Family scene
    Feb. 20, 2025

    EUGENIO LUCAS VELAZQUEZ (Madrid 1817 - 1870) - Family scene

    Est: €9,000 - €12,000

    Oil on canvas. Dimensions: 73 x 67 cm (with frame). Study and certificate by Amadore Porcella included. Provenance: Ottavio Trigona Dargona

    Templum Fine Art Auctions
  • LUCAS VELASQUEZ Eugenio (1817 - 1870) Tableaux Huile sur toile marouf
    Feb. 18, 2025

    LUCAS VELASQUEZ Eugenio (1817 - 1870) Tableaux Huile sur toile marouf

    Est: €600 - €800

    LUCAS VELASQUEZ Eugenio (1817 - 1870) Tableaux Huile sur toile marouflée sur toile "Conversation avec la fileuse sur fond de paysage". Signé en bas à gauche Lucas Eug. pour Lucas Eugénio Velasquez. Ecole espagnole. Dim.:+/-33,3x38,8cm.

    Vanderkindere
  • EUGENIO LUCAS VELAZQUEZ (Madrid 1817 - 1870) - Family scene
    Jan. 23, 2025

    EUGENIO LUCAS VELAZQUEZ (Madrid 1817 - 1870) - Family scene

    Est: €9,000 - €12,000

    Oil on canvas. Dimensions: 73 x 67 cm (with frame). Study and certificate by Amadore Porcella included. Provenance: Ottavio Trigona Dargona

    Templum Fine Art Auctions
  • EUGENIO LUCAS VELAZQUEZ (Madrid 1817 - 1870) - The surprise
    Jan. 23, 2025

    EUGENIO LUCAS VELAZQUEZ (Madrid 1817 - 1870) - The surprise

    Est: €4,000 - €6,000

    Oil on canvas. Measurements: 75 x 63 cm.

    Templum Fine Art Auctions
  • Attributed to EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). Untitled. Oil on canvas. Presents losses in the pictorial layer.
    Jan. 15, 2025

    Attributed to EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). Untitled. Oil on canvas. Presents losses in the pictorial layer.

    Est: €1,400 - €1,600

    Attributed to EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). Untitled. Oil on canvas. Presents losses in the pictorial layer. Measurements: 61 x 51 cm; 75 x 56 cm (frame). The author of this work offers us a work of clearly romantic heritage, starring a group of bandits resting inside a cave. The work is fully framed within the Spanish regionalist current, still firmly anchored in the aesthetics of the nineteenth century, where the vindication of the Spanish is not limited to the subject matter, but also affects the technical aspect: we see an impastoed and undone invoice, rich in matter and also in detail, which reflects the brightness of the fabrics in the same way that Diego Velázquez did, a great reference along with Francisco de Goya for a nineteenth-century Spanish school that rediscovers the modernity of its old masters. The piece is largely reminiscent of the production of Eugenio Lucas Velázquez. Referred to since the 19th century as Eugenio Lucas Padilla, or Eugenio Lucas the Elder, he was the Spanish Romantic artist who best understood Goya's art. Trained in the neoclassicism of the Academy of San Fernando, he soon turned his training around and dedicated himself to the study of Velázquez and, above all, Goya, whose works he admired and copied in the Prado Museum. In Goya's painting, Lucas Velázquez found the starting point to develop an imaginative personal painting, of fantastic visions and unleashed passions, within the purest romantic style. He also took the subject matter from Goya, and painted scenes of the Inquisition, covens, pilgrimages and bullfights. He also painted, in 1850, the now disappeared ceiling of the Royal Theater of Madrid, and later he was named honorary chamber painter and knight of the order of Carlos III by Queen Isabel II. As a good romantic, he made several trips, among which his stays in Italy, Morocco and Paris stand out. His works are characterized by the use of a spirited brushstroke and a casual style, without draftsmanship concerns, with a dense and impastoed matter of great chromatic richness and with the presence of strong chiaroscuro. He achieved great success as a painter of manners and scenes of fantastic and sinister character, although it is true that he was also an excellent landscape painter and portraitist. His work is well represented in the Prado Museum, and also in other centers such as the Bilbao Fine Arts Museum, the National Art Museum of Catalonia, the Lázaro Galdiano Museum, the British Museum, the Metropolitan Museum of New York and the Goya Museum in Castres (France). It presents losses in the pictorial layer.

    Setdart Auction House
  • EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Holy Week in Cordoba", ca. 1850. Based on "Procession of Discipliners" by FRANCISCO DE GOYA (Fuendetodos, 1746 - Bordeaux, 1828). Oil on canvas. Signed and titled on the stretcher frame.
    Dec. 12, 2024

    EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Holy Week in Cordoba", ca. 1850. Based on "Procession of Discipliners" by FRANCISCO DE GOYA (Fuendetodos, 1746 - Bordeaux, 1828). Oil on canvas. Signed and titled on the stretcher frame.

    Est: €3,000 - €4,000

    EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Holy Week in Cordoba", ca. 1850. Based on "Procession of Discipliners" by FRANCISCO DE GOYA (Fuendetodos, 1746 - Bordeaux, 1828). Oil on canvas. Signed and titled on the stretcher frame. Measurements: 45 x 72,5 cm; 57,5 x 84,5 cm (frame). Eugenio Lucas, a great admirer of Goya, versions in this vibrant composition the painting of small format (conserved in the Real Academia de San Fernando), in which Goya represented the catholic fervor of the autoflagelantes during the Cordovan procession of Holy Week. The disciplinantes, with their naked torsoes, appear in the foreground, their bleeding backs visible. Behind them, crowds of people follow the steps of the Virgin of Solitude and Christ on the Cross. The effigies stand out above the heads, as well as the well-known display of banners, crosses and lanterns. Eugenio Lucas was the Spanish Romantic artist who best understood Goya's art. Trained in the neoclassicism of the Academy of San Fernando, he soon turned his training around and devoted himself to studying Velázquez and, above all, Goya, whose works he admired and copied in the Prado Museum. From the master, Lucas will develop a personal and imaginative painting, of fantastic visions and unleashed passions. Apart from his Goyaesque themes, in 1850 he painted the now disappeared ceiling of the Teatro Real in Madrid, and later he was named honorary chamber painter and knight of the order of Carlos III by Queen Isabel II. As a good romantic, he made several trips, among which his stays in Italy, Morocco and Paris stand out. He achieved great success as a painter of manners and scenes of fantastic and sinister character, although it is true that he was also an excellent landscape painter and portraitist. His work is well represented in the Prado Museum, and also in other centers such as the Bilbao Fine Arts Museum, the National Art Museum of Catalonia, the Lázaro Galdiano Museum, the British Museum, the Metropolitan Museum of New York and the Goya Museum in Castres (France).

    Setdart Auction House
  • EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Camp of gypsies". Oil on canvas. Signed in the lower margin.
    Dec. 12, 2024

    EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Camp of gypsies". Oil on canvas. Signed in the lower margin.

    Est: €5,000 - €6,000

    EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870). "Camp of gypsies". Oil on canvas. Signed in the lower margin. Measurements: 47 x 58 cm; 67 x 78,5 cm (frame). The thematic of the gypsies was frequently treated by Eugenio Lucas, following in it a romantic and folklorist style in a tenebrist and expressive line of Goyaesque roots. This is evident in this scene, rich in narrative and anecdotes developing in the different human groups. Eugenio Lucas was the Spanish romantic artist who best understood Goya's art. Trained in the neoclassicism of the Academy of San Fernando, he soon turned his training around and devoted himself to studying Velázquez and, above all, Goya, whose works he admired and copied in the Prado Museum. From the master, Lucas will develop a personal and imaginative painting, of fantastic visions and unleashed passions. Apart from his Goyaesque themes, in 1850 he painted the now disappeared ceiling of the Teatro Real in Madrid, and later he was named honorary chamber painter and knight of the order of Carlos III by Queen Isabel II. As a good romantic, he made several trips, among which his stays in Italy, Morocco and Paris stand out. He achieved great success as a painter of manners and scenes of fantastic and sinister character, although it is true that he was also an excellent landscape painter and portraitist. His work is well represented in the Prado Museum, and also in other centers such as the Bilbao Fine Arts Museum, the National Art Museum of Catalonia, the Lázaro Galdiano Museum, the British Museum, the Metropolitan Museum of New York and the Goya Museum in Castres (France).

    Setdart Auction House
  • EUGENIO LUCAS VELAZQUEZ Madrid (1817 / 1870) "Women", 1855
    Dec. 10, 2024

    EUGENIO LUCAS VELAZQUEZ Madrid (1817 / 1870) "Women", 1855

    Est: €900 - €1,200

    Watercolor on paper Signed and dated in the lower right corner Measurements: 24.5 x 15 cm

    Ansorena
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