Retrato de Carlos Pomar Margrand

Painted in 1851 and housed at the Museo de Bellas Artes de Sevilla, this portrait of Carlos Pomar Margrand was produced a year before several of Esquivel's other surviving late works. The Pomar family name is associated with various professional and commercial families in nineteenth-century Spain, and the portrait likely represents a commission from the Sevillian or Andalusian bourgeoisie that maintained connections to the city's cultural institutions. That the work is held in Seville rather than Madrid reflects the enduring connections between Esquivel — Sevillian-born though Madrid-based — and the city of his formation. His Sevillian patrons and their families continued to commission portraits throughout his career, and the Seville museum holds a significant number of his works as a result. This portrait represents Esquivel's late style applied to a subject probably considerably younger than the sitter, judging by a name that suggests a mid-career professional.

Esquivel's 1851 portrait technique shows the full maturity and slight mellowing of his late manner: warm, enveloping backgrounds, smooth tonal transitions in the face, and confident costume rendering with a lean economy of means. The portrait achieves character and dignity without the dramatic tonal contrasts of his earlier work, reflecting both stylistic evolution and the quieter ambitions of a private rather than public commission.