Georges DELOY (1856-1930) Characters on a path in front of a farm entrance.

Oil…

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Georges DELOY (1856-1930)

Characters on a path in front of a farm entrance. Oil on panel. Signed lower left. 27 x 41 cm. Veiled panel.

95

Georges DELOY (1856-1930)

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Estim. 18 000 - 20 000 EUR

ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005). "Hommage a Doménikos Theotokópoulos", 1964. Oil on adhered paper. Provenance: Sala Gaspar in Barcelona / Tamenaga Gallery in Tokyo. With labels of both galleries on the back. Measurements: 110 x 75 cm; 125 x 90 cm (frame). The figure of El Greco occupies a decisive place in the work of Antoni Clavé. It was not a mere homage what he carried out in drawings, engravings and in a series of paintings of the sixties of which the excellent oil painting that occupies us is part, but a path of plastic and conceptual self-exploration. "The gentleman with his hand on his chest" and "Portrait of a painter" seem to be the referents of this painting. The character appears here transfigured to the highest degree, and yet the essence of El Greco is very present. The author preserves the Cretan painter's range of blacks and ochers, and the silhouette continues to face us. In his hand he seems to hold a brush as in the portrait of Jorge Manuel Theotocópuli, who in El Greco's painting holds the palette with the other. The ruff has been transformed into a sort of pale garland that haloes the entire head. The whole suggests a spectral presence, which can be translated as a tribute to an artist who left an indelible mark on future generations. Antoni Clavé is one of the most relevant figures of Spanish contemporary art. Trained at the Escuela de Bellas Artes de San Jordi in Barcelona, Clavé was initially dedicated to advertising graphics, illustration and decorative arts. In 1936 he took an active part in the Civil War, in the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibits the drawings he made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. He already enjoyed great international prestige at the time when he began to be recognized in Spain, after his exhibition at the Gaspar Gallery in Barcelona in 1956. At the same time, he made illustrations for the work "Gargantua and Pantagruel", which led him to become familiar with medieval iconography. He received awards at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the International Biennial in Tokyo in 1957. In 1984 the Spanish State recognized his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Fine Arts Museum in Bilbao, the Tate Gallery, the Museum of Modern Art in Paris, the British Museum in London, the Museum of Modern Art in Tokyo and the Reina Sofía Museum in Madrid.

Estim. 24 000 - 26 000 EUR

JOSÉ MONGRELL TORRENT (Valencia, 1870 - Barcelona, 1937). "Waiting for Fishing", 1921. Oil on canvas. Signed and dated in the lower left corner. It has a small patch in the central right area. Measurements: 130 x 104 cm; 148 x 120 cm (frame). José Mongrell studied at the School of Fine Arts of San Carlos in Valencia, where he was a disciple of Ignacio Pinazo and Joaquín Sorolla. He gained artistic renown thanks to his participation in numerous competitions and exhibitions in Madrid and Barcelona. In 1897 he produced, with great success, the bullfighting poster for the Feria de San Jaime in Valencia, and in fact his poster for the Valencia July Fair of 1912 was reissued in 1971 on the occasion of the centenary of these festivities. He obtained a teaching post at the San Jorge School of Fine Arts in Barcelona, where he lived for the rest of his life. Of particular note from this period is the work he did for the Palace of the Generalitat de Catalunya, in charge of the Diputació de Barcelona, as well as his portrait of King Alfonso XIII. He also produced mosaics in the Art Nouveau style, such as those for the great arch of the Mercado de Colón and the façade of the Estación del Norte, both in Barcelona. Mongrell devoted himself to genre scenes, portraits and landscapes, and was a master of capturing the instant, giving his scenes vitality and dynamism through bright, naturalistic colours and light. Traditionally pigeonholed as a disciple of Sorolla, Mongrell, however, only learned from the master that which helped him to extend his art. The painter developed his work somewhere between regionalism and modernism, but a certain French-influenced symbolism can also be seen in his work. In fact, Mongrell was characterised by his emphasis on content, attributing to the image a meaning that went beyond pure appearance. At a time when grand, idealistic and dramatic historical compositions prevailed, Mongrell developed a style of painting concerned with depicting the past and present from an everyday, gentle and picturesque perspective, generally far removed from the grandiloquence and theatricality of academic history painting. Despite his technical mastery, Mongrell did not, like others, fall into a refined mannerism at the service of an inconsequential subject matter, but developed a fully personal language, characterised by its dynamism and expressive freedom. José Mongrell is currently represented in the Museo de Bellas Artes San Pío V and the Museo Nacional de Cerámica y de Artes Suntuarias González Martí in Valencia, the Museo de Bellas Artes in Asturias, Badajoz and Pontevedra, the Museo Nacional de Arte de Cataluña, the Rijksmuseum in Amsterdam, the Museo de La Habana and the Museo de Bellas Artes in Buenos Aires, among others. The mastery of Mongrell's luminism, a key painter for understanding Valencian Impressionism, is demonstrated in the present canvas. In it the artist gives us one of his favourite themes, the costumbrista, which unites a coastal landscape with everyday scenes of daily life, featuring two popular women captured with a dignity that puts them on a par with the ancient classical heroes. This is perfectly visible in the present work, in which our gaze is irremediably caught by the magnetic expression of what appears to be a mother and daughter depicted in Mongrell's humble style. The mother, dressed in the folk costume of Valencian fishermen, gazes into the distance, waiting for the catch, while the daughter is inside the boat, waiting for her mother's orders. The figures appear in the foreground, occupying most of the pictorial surface, standing out against a magnificently worked beach landscape, the tones of which seem to echo the colours of the figures' clothes.

Estim. 18 000 - 20 000 EUR

Brussels tapestry, mid-16th century. Technical characteristics : Wool and silk. Dimensions: Height: 280cm; Width: 430cm. Probably part of a 12-panel tapestry, "Fabulous Animals", after cartoons by Pieter Coecke van Aelst le Jeune. Brussels tapestry from 1550-1560, part of an exceptional hanging of "Fabulous Animals" probably woven from cartoons by Pieter Coecke van Aelst le Jeune; to be compared with the 8 panels (by Jean Tons II) of the hanging in the collections of the Château de Serrant (France); the panel (by Jean Tons II), bearing the mark of the merchant Catherine van den Eynde, in the Palazzo Savelli Orsini, seat of the Sovereign Order of Malta, in Rome (Italy); and the 3 Jagellonian hangings, totaling 44 panels (by William Tons), in the Wawel Castle in Krakow (Poland). Woven in Brussels in the second half of the 16th century, the tapestry is more like a bestiary, combining local animals with fantastical and exotic ones in an exuberant, wild composition. The 16th century was a time of religious wars and great discoveries. Artists (English, French, Portuguese, Dutch, Flemish) set off for Italy, returning with new ideas and techniques. Charles V and Francis I alternated periods when they fought each other with periods when they peaceful rivalry through their shared passions: hunting and tapestries. In this century of turbulence, when religious schisms were tearing Europe apart, people were trying to find new explanations for the world and for myths, in often symbolic descriptions of nature. Thus, beyond the simple representation of marvelous landscapes, inspired by the zoology plates in vogue, Flemish weavers wanted to illustrate moral stories. Sometimes, these animals are engaged in a battle that has to do with Christ or the human soul. Thus : Good and Evil, God and Devil, weak and strong, are incarnated in the guise of real, exotic, mythological or sometimes monstrous animals. Here, the tapestry is more fabulous than the 8 panels of the Serrant Castle hanging or even the 44 panels of the 3 Jagiellonian hangings at the Wawel. The luxuriantly vegetated landscape, where tree ferns grow alongside palms and other plants, features a dragon fighting a phoenix in the foreground on the left, suggesting the devil's battle against Christ, who will rise from the dead (coinciding with Easter and the astrological sign of Aries, March 21-April 20). This fight takes place under the gaze of an elephant bird (Aepyornis Maximus, actually measuring 2.50m in height), a fabulous animal, now extinct, that lived in Madagascar and whose discovery by the Portuguese in 1500 undoubtedly impressed the European populations of the time. Just to his right, a red ibis, a firebird par excellence, seeks its pittance in a marsh on the edge of which a moorhens defends its nest against a varan. On the far right, a ram appears to represent the astrological sign to which this panel is attributed. In the background, in the undergrowth, we see a marsupial - a strange animal for the inhabitants of Flanders at the time - and across the entire width to the left, a number of more "common" animals: ducks, deer, unicorn, owl, squirrel, wild boar, lynx, deer, lion, heron, wolf, rabbit and even an aurochs to signify that this is the world we live in. Just to be sure, a horseman can be seen a little above the dragon, looking like a prince, to confirm that man is indeed evolving among all these creatures. In the rich borders, which cleverly spill over onto the main panel, grotesques, birds and other animals and characters, fruits and flowers, each more extraordinary than the last, and astrological signs appear. No doubt the author of these cartoons, probably William Tons, wanted to blend old pagan symbols with Christian values, omnipresent at the time, inspired by the cruelty of the world here below and the hope to which David's hymn calls ("The lion and the lamb will live together"), in order to deliver different messages about creation and the future of mankind. Sources: Les tapisseries Flamandes au château du Wawel à Cracovie, Fonds Mercator, Anvers/Belgium-1972. Les routes de la Tapisserie en Val de Loire, Edwige Six and Thierry Malty, Hermé, Paris/France-1996. Flemish Tapestry, Iannoo,

Starting price 500 EUR

Paul GAUDIN (1858-1921, engineer and archaeologist, an important figure in the history of the Chemin de Fer and one of the Louvre Museum's greatest donors of archaeological works) / Important collection of over 300 drawings and "crobars" by Paul Gaudin, in all formats, mostly on reused paper, Some of his sketchbook pages date from the 1860s, and are early drawings (in the 1870s, he was at the Lycée Saint-Louis in Paris, and was already enjoying sketching his classmates and teachers; later, as a young engineer, At the end of the 1870s, he joined the Chemins de Fer de l'Ouest, in Rambouillet and Epernon, then in the 1880s, at the Alençon railway station, he applied himself, as a dilettante, to sketching all the people around him, He was a good portraitist, and it's easy to see why his mastery of drawing later enabled him to produce invaluable archaeological records - some of his portraits are on the back of his visiting cards, another on the back of a British South Coast Railway ticket, and many are by name (Alba, Cherbourg stationmaster, Buhon, mechanic of the Courville rotting machine, Mr. Yvart notary in Alençon, etc.).), he likes to caricature the politicians of his time (Jules Ferry, Grévy, etc.), and draws scenes of magic lantern projections (one is reused on a fragment of a letter addressed to Fulgence Bienvenüe), all very lively.

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