José Villegas y Cordero Paintings & Artwork for Sale | José Villegas y Cordero Art Value Price Guide

Aug. 14, 2026
Jose Villegas y Cordero (Spanish/Italian, 1848-1921), "Market in July," H.- 14 1/4 in., W.- 20 1/4 in., Framed- H.- 17 3/4 in., W.- 23 1/2 in.
Est: $500 - $1,000
Jose Villegas y Cordero (Spanish/Italian, 1848-1921), "Market in July," oil on canvas, signed lower right "J. Villegas" and titled in Italian "mercado in Giulio", presented in a wood frame,
Crescent City Auction Gallery
Jul. 23, 2026
JOSÉ VILLEGAS CORDERO (Seville, 1844 - Madrid, 1921). "The Venetian Senate leaving the hall of the great council". Watercolor on paper. Signed and titled in the lower right corner. It presents...
Est: €1,400 - €1,700
JOSÉ VILLEGAS CORDERO (Seville, 1844 - Madrid, 1921). "The Venetian Senate leaving the hall of the great council". Watercolor on paper. Signed and titled in the lower right corner. It presents faults in the pictorial surface. Measurements: 30.5 x 45.8 cm; 37 x 52 cm (frame). In this watercolor, Jose Villegas Cordero recreates a scene of Venetian atmosphere, centered in the exit of the Venetian Senate of the room of the Great Council. The composition brings together a group of figures dressed in historical costumes, highlighting the contrast between the sober black clothes of the senators and the chromatic accents of the character dressed in reddish and orange tones. The artist, a great connoisseur of history painting and Italian evocative themes, here combines narrative precision and technical freedom in an image of remarkable scenographic sense. José Villegas trained in Seville with José María Romero and Eduardo Cano, later completing his apprenticeship in Madrid with Federico de Madrazo and through the study of the masters of the Prado Museum. Linked to the circle of Rosales and Fortuny, he developed a painting of great technical virtuosity, focused on genre, orientalist, historical and Venetian themes. He lived for a long time in Rome, where he achieved great prestige among dealers and collectors, and was appointed director of the Academy of Fine Arts in Rome in 1898 and of the Prado Museum in 1901. He is represented in the Museo Nacional del Prado, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastian and the Bank of Spain Collection, among other institutions.
Setdart Auction House
Jun. 17, 2026
JOSE VILLEGAS CORDERO Seville (1848) / Madrid (1921) "Calvary", 1903
Est: €200 - €300
Gouache on paper Signed and dated at the bottom Measurements: 31 x 25 cm
Ansorena
Jun. 10, 2026
JOSÉ VILLEGAS CORDERO (Sevilla, 1848 - Madrid, 1921), Mosqu
Est: €850 -
JOSÉ VILLEGAS CORDERO (Sevilla, 1848 - Madrid, 1921) "Mosquetero". Acuarela sobre papel Firmado en el ángulo inferior izquierdo: J. Villegas". Incluye certificado de autenticidad firmado por Adrián Espí Valdés en 2002. Medidas:33 x 20 cm
Magna Art Auctions
May. 12, 2026
JOSE VILLEGAS CORDERO Seville (1848) / Madrid (1921) "Bridge in Venice", 1889
Est: €9,000 - €12,000
Oil on panel Signed, dated and located in the lower left. Provenance: - Sotheby's, "19th century European paintings, drawings and sculpture", London, June 12, 1996, lot 240 - Sotheby's, "Sporting Pictures, Animalier Bronzes and Other Selected Paintings", Billingshurst, West Sussex, July 29, 1997, lot 379 - Castellana Auctions, Madrid, April 3, 2000, lot 101 - Private collection, Madrid Bibliography: - "Jose Villegas Cordero (1844-1921)", Museum of Fine Arts of Seville and Caja Sur Museum Exhibition Hall, Cordoba. Exhibition catalog, Cajasur, Cordoba, 2001, p. 357, no. 128 (reproduced) Dimensions: 41.5 x 63 cm
Ansorena
Dec. 17, 2025
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Landscape". Oil on canvas. Attached certificate of authenticity issued by Don Angel Castro. It presents faults in the pictorial surface. Signed in the lower right corner.
Est: €4,000 - €5,000
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Landscape". Oil on canvas. Attached certificate of authenticity issued by Don Angel Castro. It presents faults in the pictorial surface. Signed in the lower right corner. Measurements: 46 x 100 cm. This work of José Villegas Cordero represents a costumbrista scene outdoors, probably in a rural landscape of the south of Spain or Italy, places that the artist frequented and portrayed with great sensitivity. The painting depicts a river or stream of calm waters, surrounded by a wide bank of sand and stones. In the foreground, a group of women lean by the water, washing clothes or performing some traditional domestic work. Their figures are rhythmically distributed, bringing movement and life to the composition. Further in the background, other people walk or converse, while dense vegetation and trees delimit the horizon. The sky occupies a large part of the canvas, with a light blue tone and golden hues, conveying a sense of serenity and spaciousness. The light, soft but clear, bathes the landscape with a naturalistic realism that characterizes Villegas' style. The artist demonstrates here his mastery of plein air painting and his interest in everyday subjects, capturing a simple moment of rural life with a poetic and balanced atmosphere. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Pequeña filósofa" to the Sevillian Exhibition of 1860, which was sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Niñas pidiendo limosna", highly praised by the critics, and "Colón en la Rábida", acquired by the Dukes of Montpensier. He then traveled to Madrid, where he went to the studio of Federico de Madrazo. There he befriended Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant color. Seduced by the orientalist work of Fortuny, Villegas returned to Seville and visited Morocco, from where he brought back some paintings and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended night classes at the Chigi Academy and shared his studio with other colleagues, until he moved to Rosales' workshop. His work, at this time, focused on costumbrista themes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also allowed him to satisfy the demand of an international clientele that, after Fortuny, demanded Arab fantasy themes. Thus, Villegas took advantage of his sketches taken in Morocco, without forgetting the themes of genre and "casacones". In the mid-seventies he returned to Seville and visited Morocco again. Back in Rome from 1876, he picks up the torch bequeathed by Fortuny and becomes the most admired and quoted painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes, and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. Also, in the mid-eighties he focused on paintings directly inspired by Italian Renaissance art, his culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited with great success in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible framework for the setting of his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Prado Museum and in 1903 academician of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastian and the Collection of the Bank of Spain, among other important institutions, both public and private. Attached certificate of authenticity issued by Mr. Ángel Castro. It presents faults in the pictorial surface.
Setdart Auction House
Dec. 16, 2025
JOSE VILLEGAS CORDERO (Seville, 1844 - Madrid, 1921) "Lady in blue"
Est: €550 - €600
JOSE VILLEGAS CORDERO (Seville, 1844 - Madrid, 1921) "Lady in blue" Watercolour on paper Signed 31,5 x 22,5 cm 550 - 600 €
Bayeu Subastas
Nov. 04, 2025
JOSE VILLEGAS CORDERO Seville (1848) / Madrid (1921) "The massacre of the Abencerrajes", c. 1886
Est: €12,000 - €16,000
Oil on canvas Signed in the lower right corner. Bibliography: - "Jose Villegas Cordero (1844-1921)", Museum of Fine Arts of Seville and Caja Sur Museum Exhibition Hall, Cordoba. Exhibition catalogue, Cajasur, Cordoba, 2001, p. 348, no. 100 Dimensions: 98 x 133 cm
Ansorena
Sep. 28, 2025
José VILLEGAS Y CORDERO (1844/48-1921)., L’élégante à la robe noire., Huile sur panneau d'après Edouard Manet signée en rouge Villegas 1907 en bas à droite., Dimensions : 30 x 49 cm.
Est: €2,000 - €3,000
José VILLEGAS Y CORDERO (1844/48-1921). L'élégante à la robe noire. Huile sur panneau d'après Edouard Manet signée en rouge Villegas 1907 en bas à droite. Dimensions : 30 x 49 cm.
MJV Soudant
Sep. 09, 2025
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Portrait of a lady. Oil on canvas. Signed and located in Rome in the lower right area.
Est: €1,400 - €1,600
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Portrait of a lady. Oil on canvas. Signed and located in Rome in the lower right area. Measurements: 52,5 x 42 cm; 70 x 59 cm (frame). José Villegas began his apprenticeship with José María Romero, under whose direction he studied for two years. Then he entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Pequeña filósofa" to the Sevillian Exhibition of 1860, which was sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Niñas pidiendo limosna", highly praised by the critics, and "Colón en la Rábida", acquired by the Dukes of Montpensier. He then traveled to Madrid, where he went to the studio of Federico de Madrazo. There he befriended Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant color. Seduced by the orientalist work of Fortuny, Villegas returned to Seville and visited Morocco, from where he brought back some paintings and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended night classes at the Chigi Academy and shared a studio with other artists, until he moved to Rosales' studio. His work, at this time, focused on costumbrista themes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also allowed him to satisfy the demand of an international clientele that, after Fortuny, demanded Arab fantasy themes. Thus, Villegas took advantage of his sketches taken in Morocco, without forgetting the themes of genre and "casacones". In the mid-seventies he returned to Seville and visited Morocco again. Back in Rome from 1876, he picks up the torch bequeathed by Fortuny and becomes the most admired and quoted painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes, and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. Also, in the mid-eighties he will focus on paintings directly inspired by Italian Renaissance art, being his culminating work within this style "The Triumph of the Dogaresa", painted in 1892 and exhibited with great success in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible framework for the setting of his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Prado Museum and in 1903 academician of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastian and the Collection of the Bank of Spain, among other important institutions, both public and private.
Setdart Auction House
Jul. 17, 2025
José Villegas Cordero (Seville, 1844 - Madrid, 1921) - Portrait of a noble lady
Est: €2,000 - €3,000
Oil on canvas. Measurements: 79 x 69 cm.
Templum Fine Art Auctions
Jun. 05, 2025
José Villegas y Cordero (1844/48-1921), An Andalusian woman
Est: €3,000 - €5,000
José Villegas y Cordero (1844/48-1921) An Andalusian woman Oil on canvas Signed 85 × 62.5 cm
Veritas Art Auctioneers
May. 22, 2025
José Villegas Cordero (Seville, 1844 - Madrid, 1921) - Portrait of a noble lady
Est: €2,000 - €3,000
Oil on canvas. Measurements: 79 x 69 cm.
Templum Fine Art Auctions
May. 12, 2025
JOSE VILLEGAS CORDERO Seville (1848) / Madrid (1921) "Swordsman"
Est: €450 - €600
Inks on paper Measurements: 12.5 x 8 cm
Ansorena
Apr. 22, 2025
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Country of fan". Oil on silk. Attached certificate of authenticity issued by Don Angel Castro. It presents damages in the frame. Signed in the lower right corner.
Est: €500 - €600
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Country of fan". Oil on silk. Attached certificate of authenticity issued by Don Angel Castro. It presents damages in the frame. Signed in the lower right corner. Measurements: 32 x 65 cm; 40 x 71,5 cm (frame). José Villegas began his apprenticeship with José María Romero, under whose direction he studied for two years. Then he entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Pequeña filósofa" to the Sevillian Exhibition of 1860, which was sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Niñas pidiendo limosna", highly praised by the critics, and "Colón en la Rábida", acquired by the Dukes of Montpensier. He then traveled to Madrid, where he went to the studio of Federico de Madrazo. There he befriended Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant color. Seduced by the orientalist work of Fortuny, Villegas returned to Seville and visited Morocco, from where he brought back some paintings and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended night classes at the Chigi Academy and shared his studio with other colleagues, until he moved to Rosales' workshop. His work, at this time, focused on costumbrista themes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also allowed him to satisfy the demand of an international clientele that, after Fortuny, demanded Arab fantasy themes. Thus, Villegas took advantage of his sketches taken in Morocco, without forgetting the themes of genre and "casacones". In the mid-seventies he returned to Seville and visited Morocco again. Back in Rome from 1876, he picks up the torch bequeathed by Fortuny and becomes the most admired and quoted painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes, and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. Also, in the mid-eighties he focused on paintings directly inspired by Italian Renaissance art, his culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited with great success in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible framework for the setting of his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Prado Museum and in 1903 academician of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastian and the Collection of the Bank of Spain, among other important institutions, both public and private. Attached certificate of authenticity issued by Mr. Ángel Castro. It presents damages in the frame.
Setdart Auction House
Apr. 02, 2025
JOSE VILLEGAS CORDERO Seville (1848) / Madrid (1921) "Study of female heads and hats"
Est: €1,200 - €1,600
Oil on canvas. Signed in the lower right corner. Dimensions: 22 x 35 cm.
Ansorena
Mar. 19, 2025
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Pastel on paper. It has slight damage to the frame. Signed in the upper right corner.
Est: €1,500 - €1,800
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Pastel on paper. It has slight damage to the frame. Signed in the upper right corner. Measurements: 53 x 38 cm; 57 x 41 cm (frame). José Villegas began his apprenticeship with José María Romero, under whose direction he studied for two years. Then he entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Pequeña filósofa" to the Sevillian Exhibition of 1860, which was sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Niñas pidiendo limosna", highly praised by the critics, and "Colón en la Rábida", acquired by the Dukes of Montpensier. He then traveled to Madrid, where he went to the studio of Federico de Madrazo. There he befriended Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant color. Seduced by the orientalist work of Fortuny, Villegas returned to Seville and visited Morocco, from where he brought back some paintings and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended night classes at the Chigi Academy and shared his studio with other colleagues, until he moved to Rosales' workshop. His work, at this time, focused on costumbrista themes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also allowed him to satisfy the demand of an international clientele that, after Fortuny, demanded Arab fantasy themes. Thus, Villegas took advantage of his sketches taken in Morocco, without forgetting the themes of genre and "casacones". In the mid-seventies he returned to Seville and visited Morocco again. Back in Rome from 1876, he picks up the torch bequeathed by Fortuny and becomes the most admired and quoted painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes, and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. Also, in the mid-eighties he focused on paintings directly inspired by Italian Renaissance art, his culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited with great success in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible framework for the setting of his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Prado Museum and in 1903 academician of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastian and the Collection of the Bank of Spain, among other important institutions, both public and private. Slight damage to the frame.
Setdart Auction House
Feb. 25, 2025
JOSÉ VILLEGAS CORDERO Seville (1848) / Madrid (1921) "The massacre of the Abencerrajes", c. 1886
Est: €22,500 - €30,000
Oil on canvas. Signed in the lower right corner. Bibliography: "José Villegas Cordero (1844-1921)", Museum of Fine Arts of Seville and Caja Sur museum exhibition hall, Córdoba. Exhibition catalogue, Cajasur, Córdoba, 2001, p. 348 No. 100 Dimensions: 98 x 133 cm
Ansorena
Dec. 19, 2024
José Villegas Cordero (Seville 1848 - Madrid 1921) “Portrait of seated lady with feathered hat”
Est: €3,000 - €4,000
José Villegas Cordero (Seville 1848 - Madrid 1921) “Portrait of seated lady with feathered hat” Oil on canvas Signed 190 x 131 cm 3.000 - 4.000 €
Greco Subastas
Dec. 18, 2024
JOSE VILLEGAS CORDERO (Seville 1848 - Madrid 1921) "Arab character"
Est: €550 - €700
JOSE VILLEGAS CORDERO (Seville 1848 - Madrid 1921) "Arab character" Watercolour on paper Signed in Rome and dated 1878 54 x 36 cm 550 - 700 €
Bayeu Subastas
Oct. 23, 2024
José Villegas Cordero (Seville 1848 - Madrid 1921) “Veiled Lady”
Est: €2,500 - €3,000
José Villegas Cordero (Seville 1848 - Madrid 1921) “Veiled Lady” Oil on canvas Signed in Rome 52 x 41 cm 2.500 - 3.000 €
Greco Subastas
Jun. 25, 2024
JOSE VILLEGAS CORDERO Seville (1848) / Madrid (1921) "The blind musician"
Est: €675 - €900
Watercolor on paper Signed and located "Seville" in the lower left corner Measurements: 32 x 22 cm
Ansorena
Jun. 11, 2024
JOSÉ VILLEGAS Y CORDERO (Seville, 1848 - Madrid, 1921). "Female portrait". Watercolor on paper glued to cardboard. Signed in the lower right corner.
Est: €500 - €600
JOSÉ VILLEGAS Y CORDERO (Seville, 1848 - Madrid, 1921). "Female portrait". Watercolor on paper glued to cardboard. Signed in the lower right corner. Measurements: 35,5 x 28 cm. José Villegas began his apprenticeship with José María Romero, under whose direction he studied for two years. Then he entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Pequeña filósofa" to the Sevillian Exposition of 1860, which was sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Niñas pidiendo limosna", highly praised by the critics, and "Colón en la Rábida", acquired by the Dukes of Montpensier. He then traveled to Madrid, where he went to the studio of Federico de Madrazo. There he befriended Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant color. Seduced by the orientalist work of Fortuny, Villegas returned to Seville and visited Morocco, from where he brought back some paintings and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended night classes at the Chigi Academy and shared his studio with other colleagues, until he moved to Rosales' workshop. His work, at this time, focused on costumbrista themes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also allowed him to satisfy the demand of an international clientele that, after Fortuny, demanded Arab fantasy themes. Thus, Villegas took advantage of his sketches taken in Morocco, without forgetting the themes of genre and "casacones". In the mid-seventies he returned to Seville and visited Morocco again. Back in Rome from 1876, he picks up the torch bequeathed by Fortuny and becomes the most admired and quoted painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes, and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. Also, in the mid-eighties he focused on paintings directly inspired by Italian Renaissance art, his culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited with great success in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible framework for the setting of his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Prado Museum and in 1903 academician of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastian and the Collection of the Bank of Spain, among other important institutions, both public and private.
Setdart Auction House
Jun. 11, 2024
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Portrait of a girl. Oil on canvas. Signed in the lower right corner.
Est: €1,000 - €1,200
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Portrait of a girl. Oil on canvas. Signed in the lower right corner. Measurements: 41 x 33 cm; 50 x 42 cm (frame). José Villegas began his apprenticeship with José María Romero, under whose direction he studied for two years. Then he entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Pequeña filósofa" to the Sevillian Exhibition of 1860, which was sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Niñas pidiendo limosna", highly praised by the critics, and "Colón en la Rábida", acquired by the Dukes of Montpensier. He then traveled to Madrid, where he went to the studio of Federico de Madrazo. There he befriended Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant color. Seduced by the orientalist work of Fortuny, Villegas returned to Seville and visited Morocco, from where he brought back some paintings and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended night classes at the Chigi Academy and shared a studio with other artists, until he moved to Rosales' studio. His work, at this time, focused on costumbrista themes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also allowed him to satisfy the demand of an international clientele that, after Fortuny, demanded Arab fantasy themes. Thus, Villegas took advantage of his sketches taken in Morocco, without forgetting the themes of genre and "casacones". In the mid-seventies he returned to Seville and visited Morocco again. Back in Rome from 1876, he picks up the torch bequeathed by Fortuny and becomes the most admired and quoted painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes, and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. Also, in the mid-eighties he focused on paintings directly inspired by Italian Renaissance art, his culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited with great success in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible framework for the setting of his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Prado Museum and in 1903 academician of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastian and the Collection of the Bank of Spain, among other important institutions, both public and private.
Setdart Auction House
Jun. 11, 2024
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). No title. Oil on canvas. Attached certificate issued by Don Ángel Castro. It has faults and losses. Signed in the lower right corner.
Est: €3,500 - €4,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Oil on canvas. Attached certificate issued by Don Ángel Castro. With faults and losses. Signed in the lower right corner. Measurements: 88 x 47 cm. Intimate portrait in which the author collects the effigy of a young girl. The author does not portray the protagonist in the foreground, but moves her figure towards the interior, and partially hides her body behind the furniture. In this way he portrays not only a young girl, but also her innocence, candour and shyness. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work centred on genre subjects, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demands of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting the genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
May. 21, 2024
JOSÉ VILLEGAS CORDERO Seville (1848) / Madrid (1921) "The economics student"
Est: €9,000 - €12,000
Oil on canvas Signed in the lower left corner Measurements: 95.5 x 55.5 cm
Ansorena
Feb. 29, 2024
José Villegas Cordero (Seville, 1848 - Madrid, 1921) "Girl's head with braids"
Est: €2,000 - €2,500
José Villegas Cordero (Seville, 1848 - Madrid, 1921) "Girl's head with braids" Oil on cardboard Signed 31 x 27 cm 2.000 - 2.500 €
Greco Subastas
Nov. 07, 2023
JOSE VILLEGAS CORDERO Seville (1848) / Madrid (1921) "The Barber of Seville", 1913
Est: €3,750 - €5,000
Oil on canvas Signed and dated in the lower left part Measurements: 48.5 x 74 m
Ansorena
Oct. 18, 2023
José Villegas Cordero (Seville, 1848 - Madrid, 1921) "Flowers"
Est: €500 - €700
José Villegas Cordero (Seville, 1848 - Madrid, 1921) "Flowers" Oil on silk Fan leaf Signed 32 x 65 cm 500 - 700 €
Greco Subastas
Oct. 18, 2023
José Villegas Cordero (Seville, 1848 - Madrid, 1921 "Girl in a red dress"
Est: €2,000 - €2,500
José Villegas Cordero (Seville, 1848 - Madrid, 1921 "Girl in a red dress" Oil on canvas Signed 69 x 55 cm 2.000 - 2.500 €
Greco Subastas
May. 24, 2023
JOSÉ VILLEGAS Y CORDERO (SEVILLE 1848-1921 MADRID) The Andalusian Fates oil on canvas 61 5/8 x 56 3/4 in. (156.4 x 144.2 cm.) 75
Est: $60,000 - $80,000
JOSÉ VILLEGAS Y CORDERO (SEVILLE 1848-1921 MADRID) The Andalusian Fates oil on canvas 61 5/8 x 56 3/4 in. (156.4 x 144.2 cm.)
Christie's
May. 18, 2023
José Villegas Cordero (Seville, 1848 - Madrid, 1921) “Young girl with a blue headband”
Est: €3,000 - €4,000
José Villegas Cordero (Seville, 1848 - Madrid, 1921) “Young girl with a blue headband” Oil on canvas 49 x 50 cm 3.000 - 4.000 €
Greco Subastas
Mar. 23, 2023
José Villegas Cordero (Seville, 1848 - Madrid, 1921) "Odalisque"
Est: €4,000 - €5,000
José Villegas Cordero (Seville, 1848 - Madrid, 1921) "Odalisque" Oil on canvas Signed 94 x 135 cm 4.000 - 5.000 €
Greco Subastas
Mar. 23, 2023
José Villegas Cordero (Seville, 1848 - Madrid 1921) "Biarritz"
Est: €900 - €1,200
José Villegas Cordero (Seville, 1848 - Madrid 1921) "Biarritz" Watercolor Signed 25 x 48 cm 900 - 1.200 €
Greco Subastas
Jan. 25, 2023
Jose Villegas y Cordero. Untitled
Est: -
Oil on canvas. Signed and dedicated [to my very dear friend Manuel del Palaci?] in the lower right corner. With paint loss in the lower right corner.
Duran Arte y Subastas
Nov. 08, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). Seville Bridge. Oil on board.
Est: €2,000 - €2,500
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Bridge of Seville". Oil on panel. Attached certificate of authenticity issued by Don Ángel Castro Martin, Doctor of Art History. Stamp on the back. Signed and located (Seville), in the lower right-hand corner. Measurements: 10 x 16 cm; 29 x 35,5 cm (frame). View of the Guadalquivir with the Torre del Oro in the background, this work certified by Don Ángel Martín, shows a small landscape of the city of Seville, which due to its technical characteristics belongs to the eighties. During this period, although Villegas was in Rome, he spent some time in Seville. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Oct. 06, 2022
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). No title. Oil on canvas. Attached certificate issued by Don Ángel Castro. It presents slight repainting and damage in the frame.
Est: €7,000 - €8,000
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Oil on canvas. Attached certificate issued by Don Ángel Castro. It presents slight repainting and damages in the frame. Measurements: 46 x 99 cm; 80 x 133 cm (frame). José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Oct. 06, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). No title. Oil on canvas. Attached certificate issued by Don Ángel Castro. It has faults and losses. Signed in the lower right corner.
Est: €4,000 - €5,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Oil on canvas. Attached certificate issued by Don Ángel Castro. With faults and losses. Signed in the lower right corner. Measurements: 88 x 47 cm. Intimate portrait in which the author collects the effigy of a young girl. The author does not portray the protagonist in the foreground, but moves her figure towards the interior, and partially hides her body behind the furniture. In this way he portrays not only a young girl, but also her innocence, candour and shyness. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work centred on genre subjects, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demands of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting the genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Aug. 31, 2022
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). No title. Oil on canvas. Attached certificate issued by Don Ángel Castro. It presents slight repainting and damage in the frame.
Est: €7,000 - €8,000
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Oil on canvas. Attached certificate issued by Don Ángel Castro. It presents slight repainting and damages in the frame. Measurements: 46 x 99 cm; 80 x 133 cm (frame). José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Aug. 31, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). No title. Oil on canvas. Attached certificate issued by Don Ángel Castro. It has faults and losses. Signed in the lower right corner.
Est: €5,000 - €6,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). Untitled. Oil on canvas. Attached certificate issued by Don Ángel Castro. With faults and losses. Signed in the lower right corner. Measurements: 88 x 47 cm. Intimate portrait in which the author collects the effigy of a young girl. The author does not portray the protagonist in the foreground, but moves her figure towards the interior, and partially hides her body behind the furniture. In this way he portrays not only a young girl, but also her innocence, candour and shyness. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work centred on genre subjects, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demands of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting the genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Jul. 13, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). "Child Portrait". Oil on canvas. Attach certificate of Don Ángel Castro. It presents slight restorations. It has wax seals on the back. Signed in the middle left area.
Est: €1,500 - €2,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Child Portrait". Oil on canvas. Attached certificate of Don Ángel Castro. It has slight restorations. It has sealing wax seals on the back. Signed in the intermediate left zone. Measurements: 58 x 48 cm; 70 x 58 cm (frame). The composition represents an infantile model whose face, of wide faces, stands out on the opaque background, showing the fully delineated outline. The author creates a simple and balanced image with the right chromatic notes that add volume to the work. It should be mentioned that the oval format was characteristic of Villegas's work, which he sometimes used for his most direct relatives, as in the case of the portrait of his sister, Eloísa Villegas. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Jul. 13, 2022
JOSE VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). Biarritz beach, c.1910. Watercolor on paper. Attached certificate issued by Don Ángel Castro. Signed in the lower left corner.
Est: €1,500 - €2,000
JOSE VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Biarritz Beach", c.1910. Watercolour on paper. Attached certificate issued by Don Ángel Castro. Signed in the lower left corner. Measurements: 25 x 48 cm; 39 x 31 cm (passe-partout). Among the various summer trips that Villegas, already director of the Prado Museum, would make along the Cantabrian coast at the beginning of the 20th century, his numerous visits to San Sebastian stand out, a city in which he was very much appreciated and which he would not fail to capture in various compositions, Biarritz and San Juan de Luz being two of his favourite places. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demands of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre themes and "casacones". In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Jul. 13, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). “Villa d´ Este, the 1000 fountains (Rome)”. Watercolor on paper. Attach certificate of Don Ángel Castro. Signed and located in the lower left corner.
Est: €1,500 - €2,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Villa d' Este, the 1000 fountains (Rome)". Watercolour on paper. Attached certificate issued by Don Ángel Castro. Signed and located in the lower left corner. Measurements: 35 x 53 cm; 38,5 x 57 cm (frame). The artists of the Spanish colony in Rome, Villegas among them, finding in the gardens of Villa d'Este in Tivoli, one of the favourite places to escape during the summer. in this case the author represents the fountain of the hundred spouts, which he had already painted in a work of the year 1896. although in this case he does not introduce any human presence, but focuses his attention on the landscape. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Jul. 13, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). "Villa d'Este". Watercolor on paper. Attach certificate of Don Ángel Castro. It has a stamp on the back. Signed and located in the lower left corner.
Est: €1,500 - €2,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Villa d' Este". Watercolour on paper. Attached certificate issued by Don Ángel Castro. With stamp on the back. Signed and located in the lower left corner. Measurements: 54 x 35,5 cm. In this work the artist presents us with a frontal view of the palace of the villa d'Este, situated in Tivoli, on the outskirts of Toma. This viewpoint offered by the artist allows the dense and slender trees that frame the main path surrounding the staircase to be realised, treating the architectural construction as a backdrop and giving great prominence to the landscape. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Jun. 09, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). Seville Bridge. Oil on board.
Est: €3,000 - €4,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Bridge of Seville". Oil on panel. Attached certificate of authenticity issued by Don Ángel Castro Martin, Doctor of Art History. Stamp on the back. Signed and located (Seville), in the lower right-hand corner. Measurements: 10 x 16 cm; 29 x 35,5 cm (frame). View of the Guadalquivir with the Torre del Oro in the background, this work certified by Don Ángel Martín, shows a small landscape of the city of Seville, which due to its technical characteristics belongs to the eighties. During this period, although Villegas was in Rome, he spent some time in Seville. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
Jun. 09, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). "Portrait Pepe, nephew of the painter", 1895. Oil on canvas. Preserves period frame. Signed, dated and titled in the lower area.
Est: €7,500 - €8,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Portrait of Pepe, the painter's nephew, 1895. Oil on canvas. It retains its period frame. Signed, dated and titled in the lower area. Measurements: 135,5 x 70 cm; 164 x 98,5 cm (frame). Child portrait in which the author presents us with a spontaneous image of a young man, who, as can be seen in the dedication, is the author's own nephew. The softening of the features, together with the posture of the subject, show us the closeness between the painter and his nephew. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work centred on genre subjects, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
May. 11, 2022
JOSÉ VILLEGAS CORDERO (Seville, 1848 – Madrid, 1921). “Urban landscape”. Watercolor on paper on cardboard. Signed in the lower right corner.
Est: €900 - €1,000
JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921). "Urban landscape". Watercolour on paper adhered to cardboard. Signed in the lower right corner. Measurements: 36 x 26 cm. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. Then he entered the School of Fine Arts, where he was a disciple of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demands of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre themes and "casacones". In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House
May. 11, 2022
JOSÉ VILLEGAS Y CORDERO (Seville, 1848 – Madrid, 1921). "Study of anatomy", 1887. Oil on canvas. Signed and dated in the lower left corner.
Est: €2,500 - €3,000
JOSÉ VILLEGAS Y CORDERO (Seville, 1848 - Madrid, 1921). "Study of Anatomy", 1887. Oil on canvas. Signed and dated in the lower left corner. Measurements: 90 x 60 cm; 108 x 78 cm (frame). This type of scenes were common during the 19th century, in which there was a strong academicist influence in the artistic development of the country. In this work the author presents us with the nude body of an old man. It is represented from a sober perspective, showing the protagonist with great dignity, although in a certain way idealised, as his body does not correspond in its totality to that of an old man. José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Pequeña filósofa ("Little Philosopher") to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he made friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.
Setdart Auction House