Null Exceptional Hispanic Muslim Capital called honeycomb, Islamic work Hispanic…

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Exceptional Hispanic Muslim Capital called honeycomb, Islamic work Hispanic Arab Umayyad period 12th to 13th centuries In carved stone and measures 30 x 23 x 23 cm. Provenance: important private collection, Madrid.

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Exceptional Hispanic Muslim Capital called honeycomb, Islamic work Hispanic Arab Umayyad period 12th to 13th centuries In carved stone and measures 30 x 23 x 23 cm. Provenance: important private collection, Madrid.

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Estim. 900 - 1 000 EUR

MIQUEL BARCELÓ ARTIGUES (Felanitx, Mallorca, 1957). "Chauvet. Cahier de félins". Art book, artist's book and numbered plate signed by the artist. Copy 423/2998. Publisher: Artika Maple wood case. Measurements: 43 x 33 cm (art book and study book); 88 x 33 cm (folder with plate); 49 x 37 x 5,5 cm (box). "Cahier de félins" is a tribute to the Chauvet caves. Unique edition, limited and numbered to 2998 copies, this being the number 1932 signed by the artist. The work consists of a maple wood case with a reproduction of an original by Miguel Barceló in pyrography technique, a facsimile reproduction of the Cahier de félins owned by the artist, a book about the discovery of the Chauvet cave and a numbered plate with a reproduction of one of the felines from the Cahier. Tintoretto Gesso paper of 200 gr.Cover in cotton canvas with an original printed exclusively by Barceló. Painter and sculptor, Barceló began his training at the School of Arts and Crafts in Palma de Mallorca, where he studied between 1972 and 1973. In 1974 he made his individual debut, at the age of seventeen, at the Picarol Gallery in Mallorca. That same year he moved to Barcelona, where he enrolled at the Sant Jordi School of Fine Arts, and made his first trip to Paris. In the French capital he discovers the work of Paul Klee, Fautrier, Wols and Dubuffet, as well as the "art brut", a style that will exert an important influence on his first paintings. During these years he reads extensively, and enriches himself with works as diverse as the writings of Breton and the surrealists, the "White Manifesto" by Lucio Fontana or the "Social History of Literature and Art" by Arnold Hauser. In 1976 he holds his first solo exhibition in a museum: "Cadaverina 15" at the Museum of Mallorca, consisting of a montage of 225 wooden boxes with glass lids, with decomposing organic materials inside. That same year, back in Mallorca, he joined the Taller Lunàtic group and took part in its social, political and cultural events. In 1977 he makes a second trip to Paris, and also visits London and Amsterdam. That same year he exhibits for the first time in Barcelona, and meets Javier Mariscal, who will become one of his best friends in the city. Together with him and the photographer Antoni Catany he participates, as a member of the group "Neón de Suro", in exhibitions in Canada and California, and collaborates with the publication of the magazine of the same name. It was also in 1977 when he received his first large-format pictorial commission: a mural for the dining room of a hotel in Cala Millor, Mallorca. The following year, at the age of twenty-one, he sells his first works to some collectors and galleries, and finally moves to Barcelona. His international recognition began in the early eighties, giving a definitive boost to his career after his participation in the São Paulo Biennial (1981) and the Documenta in Kassel (1982). In 1986 he was awarded the Premio Nacional de Artes Plásticas, and since then his work has been recognized through the most outstanding awards, such as the Premio Príncipe de Asturias de las Artes (2003) or the Sorolla Prize of the Hispanic Society of America in New York (2007). Barceló is currently represented in the most important contemporary art museums in the world, such as the MoMA in New York, the Centre Pompidou in Paris, the Guggenheim in Bilbao, the Marugami Hirai in Japan, the Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the CAPC in Bordeaux, the Carré d'Art in Nimes, the Museum of Contemporary Art in Caracas and the Museum of Fine Arts in Boston, among others.

Estim. 2 200 - 2 500 EUR

LUIS GRANER ARRUFÍ (Barcelona, 1863 - 1929). "Dock of the Barceloneta". Oil on canvas. Signed in the lower left corner. With remains of labels on the back. Measurements: 50 x 82 cm; 58,5 x 91,5 cm (frame). Luis Graner was formed in the School of La Lonja of Barcelona, where he was a disciple of Benito Mercadé and Antonio Caba, and in 1886 he moves to Paris thanks to a scholarship of the Diputación de Barcelona. During his five years in the French capital he obtained two third medals in the Universal Exhibitions of Barcelona (1888) and Paris (1889). Settled again in Barcelona in 1891, he continued to participate in important international exhibitions, such as those of Berlin (1891), Munich (1892), Dusseldorf (1904). He also sent works to the National Fine Arts Exhibitions, obtaining a third medal in 1895 and 1897, second in 1901 and a decoration in 1904. That same year Graner created the Sala Mercè, designed by Gaudí, where he organized his "musical visions", shows that combined poetry with music, scenography with cinema. Finally, ruined, he moved to America. He arrived in New York in 1910, and that same year held a solo exhibition at the Edward Brandus Gallery. The success of this exhibition brought Graner important commissions, among them the portrait of the tycoon Carlos B. Alexander. After spending five months in Barcelona, Graner left again for New York, his final destination being Havana. In 1911 he left Cuba for New Orleans, and shortly thereafter he was already in San Francisco. There he inaugurated an exhibition of seventy-six paintings, held at the California Club, which was the largest solo show ever held to date in the city. During this same period he painted several tapestries for the film director David W. Griffith. Before the end of the year he is back in New York, where he again exhibits individually with great success. He continues to paint portraits of important national figures, and in 1912 he holds another key exhibition, this time at The Ralston Galleries (New York). In the following years he will continue with his brilliant international career in Brazil and Chile, to finally return to the United States, where he will remain due to the outbreak of the Great War, passing through New York, New Orleans, Chicago and other cities, always exhibiting his painting with great success. In the twenties he traveled to Argentina, Uruguay and Cuba, and finally in New Orleans he was prostrated by a serious illness that irreparably damaged his mind, also transforming his work, which lost the strength and transcendence of his previous stages. Broke and ill, unable to find a market for his paintings, he finally returned to Barcelona in 1928, shortly before his death, after eighteen years of glory that ended in hardship. That same year he exhibited individually at the Ritz Hotel and at the Layetanas Galleries in Barcelona, and at the end of the year he held an important retrospective at the Sala Parés, before finally passing away in May 1929 at the age of sixty-six. His work is present in the Prado Museum, the MACBA of Barcelona, the National Art Museum of Catalonia, the Hispanic Society of New York and the Balaguer Museum of Vilanova i la Geltrú, among others, as well as in important Catalan private collections.

Estim. 900 - 1 000 EUR

JOAQUÍN SOROLLA Y BASTIDA (Valencia, 1863 - Cercedilla, Madrid, 1923). Artist's book "Los paisajes de Sorolla" with two plates. Facsimile with Old Mill Bianco paper, 100g. Copy 1804/2998. Attached study book. ARTIKA Publisher. Measurements: 35,3 x 45,5 cm cm (book), 35,3 x 45,7 cm (plates, x2); 41 x 53 x 12,5 cm (case). Unique editions with facsimile reproductions of 73 drawings by Joaquín Sorolla, belonging to the Sorolla Museum and the Sorolla Museum Foundation in Madrid. Joaquín Sorolla (Valencia, 1863 - Cercedilla, Madrid, 1923) showed his fondness for drawing and painting, attending drawing classes in the afternoons given by the sculptor Cayetano Capuz at the School of Artisans. Awarded upon finishing his preliminary studies at the Escuela Normal Superior, he entered the prestigious Escuela de Bellas Artes de San Carlos in Valencia in 1879. Also, during his visits to Madrid in 1881 and 1882, he copied paintings by Velázquez, Ribera and El Greco at the Prado Museum. Two years later he obtained a great success at the National Exhibition of Fine Arts with a history painting, which stimulated him to apply for a scholarship to study at the Spanish Academy of Fine Arts in Rome. Having achieved his goal, in 1885 Sorolla left for Rome, staying in Paris for several months before arriving. In the French capital he was impressed by the paintings of the realists and the painters who worked outdoors. At the end of his years in Rome he returned to Valencia in 1889, settling in Madrid the following year. In 1892 Sorolla showed a new concern in his art, becoming interested in social problems by depicting the sad scene of "¡Otra Margarita!", awarded a first class medal at the National, and the following year at the International in Chicago. This sensitivity will remain in his work until the end of the decade, in his performances on the Valencian coast. Gradually, however, the Valencian master will abandon the themes of unhappy children that we see in "Triste herencia", which had been awarded a prize at the Universal Exhibition in Paris in 1900 and at the National in Madrid a year later. Encouraged by the success of his resplendent images of the Mediterranean, and stimulated by his love of the light and life of its sunny beaches, he focused on these scenes in his works, more cheerful and pleasant, with which he would achieve international fame. In 1906 he held his first individual exhibition at the George Petit Gallery in Paris, where he also demonstrated his skills as a portraitist. In 1908 the American Archer Milton Huntington, impressed by the artist's exhibition at the Grafton Gallery in London, sought to acquire two of his works for his Hispanic Society. A year later he himself invited Sorolla to exhibit at his institution, resulting in an exhibition in 1909 that was a huge success. The relationship between Huntington and Sorolla led to the most important commission of the painter's life: the creation of the immense canvases destined to illustrate, on the walls of the Hispanic Society, the regions of Spain. Trying to capture the essence of the lands and people of his country, Sorolla traveled throughout Spain between 1911 and 1919, while continuing to hold exhibitions. Incapacitated by an attack of hemiplegia in 1921, Sorolla died two years later, without seeing his great "Vision of Spain", which would not be installed until 1926. He is currently represented in the Prado Museum and the one that bears his name in Madrid, the Metropolitan Museum in New York, the Orsay Museum in Paris, the J. Paul Getty Museum in Los Angeles, the Fine Arts Museums of Bilbao and Valencia, the National Portrait Gallery in London and many others.

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