José Villegas Seville 1848-Madrid 1921

Acquired by the family of the present owner circa 1920

Buenos Aires, X Exposición de Pintura Española, 1911
Buenos Aires, Exposición Pinelo, 1911
Paris, Exposición de Arte Español Contemporáneo, 1919, no. 248

 

La Ilustración Española y Americana, 1912, p. 123
La Ilustración Artística, Barcelona, 1912, p. 275
Blanco y Negro, 1919, no. 1460, mentioned
Mariano Madrazo, La Pintura Española en los Siglos XIX y XX, Madrid, 1945, p. 27, mentioned
Angel Castro Martín, José Villegas, Seville, 2001, p. 412, illustrated

This condition report has been provided by Hamish Dewar, Hamish Dewar Ltd. Fine Art Conservation, 14 Masons Yard, Duke Street, St James's, London SW1Y 6BU. Examination report unconditional and without prejudice Jose Villegas Patio de Lindaraja (Lindaraja Court Yard, Alhambra) Oil on canvas Structural Condition The canvas is unlined on what would appear to be the original stretcher. The canvas is generally sound but there are some areas of raised craquelure, particularly in the sky in the upper left of the composition. Lining would certainly not be required. Paint Surface The paint surface would benefit from cleaning as the varnish layers have discoloured and there are some very fine lines of craquelure which could be filled if found to be visually distracting. There is an area in the lower right of the composition where the figure of a woman has been painted out by the artist. Further research and analysis is required prior to cleaning to ascertain whether all the layers have been applied by the artist or whether the original painting out by the artist have subsequently been retouched as the pentimenti had become visible. I am confident that which ever is the case a suitable compromise could be achieved and the overall appearance considerably improved. Summary The painting does therefore require attention but should respond extremely well to cleaning, restoration and revarnishing.
"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."

The tranquil gardens of the Lindaraja within the walls of the Alhambra palace have long captured the imagination of writers, poets and painters alike.

Washington Irving (1783-1859), the American diplomat, historian, and travel writer lived for several months in the Alhambra palace itself, the inspiration for his seminal romantic book Tales of the Alhambra.  

Irving's rooms overlooked the Lindaraja courtyard, his description of which in the chapter titled 'The Author's Chamber' captures the atmosphere of Villegas's visual interpretation:

'That garden carried my thoughts still further back to the period of another reign of beauty, to the days of the Moorish sultanas.

"How beauteous is this garden!" says an Arabic inscription, "where the flowers of the earth vie with the stars of heaven! What can compare with the vase of yon alabaster fountain, filled with crystal water? Nothing but the moon in her fullness, shining in the midst of an unclouded sky!"

'Centuries had elapsed, yet how much of this scene of apparently fragile beauty remained! The garden of Lindaraxa was still adorned with flowers, the fountain still presented its crystal mirror; it is true, the alabaster had lost its whiteness and the basin beneath, overrun with weeds, had become the nesting-place of the lizard, but there is something in the very decay that enhanced the interest of the scene, speaking, as it did, of that mutability which is the irrevocable lot of man and all his works.'