Rogelio de Egusquiza

Sale: Sotheby Parke Bernet, London, 24 November 1982, lot 40

Santander, Museo de Bellas Artes, Fundación Marcelina Botín, Rogelio de Egusquiza, 1845-1915, 1995, illustrated in the catalogue

The canvas has been relined. Ultraviolet light reveals a few scattered minor spots of retouching in the background, and no visible signs of retouching to the figure. This painting is in good condition and ready to hang. Presented in a decorative carved wood frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Painted in 1876, Josefa de Ochoa was the daughter of Eugenio de Ochoa (1815-1872), intellect, man of letters and Secretary to Queen Isabel II of Spain. Josefa's sister Eugenia married their first cousin, the painter Raimundo de Madrazo, who shared a studio in Rome together with his brother Ricardo and Rogelio de Egusquiza. It was almost certainly as result of this connection that Josefa was introduced to Egusquiza and sat for the present work.  

Josefa's strikingly sophisticated pose reflects both her intellectual upbringing as well as Egusquiza's training in Paris, where he was a pupil of Léon Bonnat, an artist who had in his time been a pupil of Federico de Madrazo, father of Raimundo and Ricardo.