Pablo TILLAC (1880-1969)
Pleure et rugis Maghreb père des lions roux
Painting on…

Description

Pablo TILLAC (1880-1969) Pleure et rugis Maghreb père des lions roux Painting on cardboard, signed Pablo Tillac invenit lower right and captioned Pleure et rugis Maghreb père des lions roux Leconte de Lisle Poèmes tragiques in a cartouche lower left. 123 x 97 cm

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Pablo TILLAC (1880-1969) Pleure et rugis Maghreb père des lions roux Painting on cardboard, signed Pablo Tillac invenit lower right and captioned Pleure et rugis Maghreb père des lions roux Leconte de Lisle Poèmes tragiques in a cartouche lower left. 123 x 97 cm

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Estim. 600 - 800 EUR

PABLO PICASSO (Malaga,1881-Mougins,1973). "La Celestina" illustrated by Pablo Picasso. Enclosed book of "La Celestina" and book of studies. Limited edition, copy 2370/2998. With aluminum cover. Publisher: Artika Measurements: 33 x 33 cm (La Celestina); 33 x 33 cm (study book); 35,5 x 35,5 cm (aluminum case); 44,7 mx 44,7 cm (case). This is a limited edition that includes the 66 original "artist's proofs", approved by Picasso, of Suite 347 preserved in the Bancaja Foundation collection. Bound in soft cardboard wrapped in silk paper. It is accompanied by the book of studies, which opens the doors to the enjoyment and knowledge of two beautiful artistic compositions: the tragicomedy of the sixteenth century and the engravings of the twentieth century. The extraordinary literary work attributed to Fernando de Rojas is treated by Antonio Prieto in an article illustrated with reproductions of the woodcuts that accompanied the Valencia edition of 1514, thanks to the collaboration of the National Library of Spain, Madrid, which preserves the originals. The engravings of this edition, and with them the gigantic figure of its creator and his work throughout a turbulent 20th century, show all their value in the hands of specialists such as Pere Gimferrer, Brigitte Leal, Kosme de Barañano and Lourdes Cirlot, who open our eyes with their detailed comments on each of the 66 engravings of the edition. Both the copy of La Celestina and the book of Studies are kept in an aluminum case, which in turn is kept in a blue cloth box-case, with a photo of the brilliant artist inside.

Estim. 6 000 - 7 000 EUR

JULIO BORRELL PLA (Barcelona, 1877 - 1957). "The letter". Oil on canvas. Signed in the lower corner. Measurements: 181 x 103 cm. Two young women read a letter. The emotion is revealed in their pearly smiles and in the brightness of their eyes. Julio Borrell captures with ingenuity the vivacity of the expressions and describes with skill the pleats and laces of the folkloric garments. Son and disciple of Pere Borrell del Caso, Julio Borrell was trained at the School of Fine Arts of Sant Jordi in Barcelona. From his father he was influenced by the Nazarenes Claudio Lorenzale and Pablo Milà i Fontanals. In 1888, at the age of eleven, he participated with a canvas in the Barcelona competition of the Universal Exposition, together with his brother Ramón, also a painter. From 1894 he took part in almost all the official exhibitions held in Barcelona and Madrid, being awarded with honorable mention in 1897. That same year he won a second medal at the exhibition in Arcachon, France. His name had a special resonance throughout his exhibitions at the Sala Parés in Barcelona, between 1915 and 1920. His wide production includes works in oil as well as in pastel, and covers a wide range of themes. The theme he most cultivated was that of the classic Spanish maja, the women with mantilla and comb, depicted in his personal sensorial style, with extraordinary skill and great mastery of drawing. Among his many paintings, some of which have been widely reproduced, it is worth mentioning "El viático al Liceo", "Lavapiés en Jueves Santo", "Bodas reales" (Royal Wedding), which he painted for King Alfonso XIII, "Luna de miel" (Honeymoon), "El triunfo del cristianismo" (The Triumph of Christianity), etc. He also dedicated himself to decorative painting, creating religious murals for the church of San Francisco in Buenos Aires and the dome of the Basilica de la Merced in Barcelona, which was destroyed in 1936. Throughout his career, Borrell held numerous solo exhibitions in various Barcelona galleries, and participated in group exhibitions and competitions. Many of his works are exhibited at the MACBA, as well as at the National Art Museum of Catalonia and others.

Estim. 800 - 1 000 EUR

MIQUEL VILLÀ I BASSOLS (Barcelona 1901-1988). "Landscape of Masnou". Oil on board. Signed and located on the back. Measurements: 28 x 38 cm; 40 x 50 cm (frame). The work presented here is a clear example of the particular and characteristic style of Miquel Villá. In it, the painter rigorously organizes the composition, clearly separating the foreground from the background. Thus, we find in the foreground the road, which emerges from the very edge of the painting, guiding our gaze towards the houses that occupy the background. However, despite this compositional exercise of classical character, the artist treats the work from a new plastic language. For this he uses a blurred brushstroke that provides a volumetric sensation and also does not delimit the spaces, but combines them with each other. Miquel Villà i Bassols was a Spanish painter, and one of the main representatives of Fauvism in Spain. At the age of 13 his father, a wine merchant, took him with him to Colombia (Bogota). There he attended the school of fine arts until 1918. In 1920 he discovers Paris, which will be his habitual residence until 1930. In Paris he attends the Colarossi Academy. He befriends Jean Fautrier, Marcel Duchamp, Togores, Pancho Cossío and the sculptor Pablo Gargallo, who will greatly influence his artistic career. His main influences were Cezanne and, at the beginning of his artistic career, Maurice de Vlaminck. He receives notorious influences from the last period of Rembrandt. From 1930 he resides mainly in Catalonia: Barcelona, Masnou, Puebla de Segur, and spends some time in Ibiza. In 1985 he was distinguished by the Generalitat de Catalunya with the Cross of Sant Jordi.

Estim. 3 500 - 4 500 EUR

Neapolitan school; circa 1700. "The Resurrection of Lazarus". Oil on canvas. Re-coloured. It presents faults and repainting. Measurements: 100 x 156 cm; 110 x 165 cm (frame). There is in this image a dramatic effect generated by the illumination of tenebrist heritage and by the composition that the artist has used to narrate the theme of the resurrection of Lazarus. Based on a classical frieze-like structure, the artist cuts down the format, focusing only on the busts of the figures and eliminating any anecdotal elements or unnecessary depth that would distract the viewer from the subject. It is true that the figure of Christ stands out for the tonalities with which he has been portrayed, but the indisputable protagonist of this work is Lazarus and his exasperating body, marked by a musculature that reveals his bony structure, revealing how the flesh is consumed by death. The author takes the anatomy of this religious figure to the extreme and is heir to the form of Neapolitan Baroque painting. The theme of the resurrection of Lazarus can be identified iconographically in this work. In the Bible according to John 11: 1-44, Jesus receives a message that Lazarus is sick and his two sisters are looking for his help. Jesus tells his followers: "This sickness will not end in death. No, it is for the glory of God so that the Son of God may be glorified through it".Jesus then delays his departure for two days. The disciples are afraid to return to Judea, but Jesus says, "Our friend Lazarus is asleep, but I am going to wake him up." When the apostles don't understand, he clarifies: "Lazarus is dead, and for your sake, I'm glad I wasn't there so you can believe. When they arrive in Bethany, Lazarus has been dead and buried for four days. Before they enter the village, Martha, Lazarus' sister, meets Jesus and says, "If you had been here, my brother would not have died". Jesus assures Martha that her brother will rise again and says, "I am the resurrection and the life. He who believes in me will live, even if he dies; and he who lives and believes in me will never die. Do you believe this?" Martha's affirmation that she really believes: "Yes, Lord. I believe that you are the Messiah, the Son of God, who is to come into the world," is only the second time (after Nathanael) that someone declares Jesus to be the Son of God and the first time that someone compares him as 'Messiah' and 'Son of God' together. The only other time this happens in the whole Gospel is in the explanation the author of the Gospel gives for writing his Gospel at the end. On entering the village, Jesus meets Mary and the people who have come to comfort her. Seeing her pain and weeping, Jesus is deeply moved. After asking where he was buried, the shortest verse of the four Gospels is found and the scripture says: Jesus wept. After that, Jesus asks for the stone to be removed from the tomb, but Martha insists that there will be a smell. To which Jesus replies, "Didn't I tell you that if you believe, you will see the glory of God?". Then Jesus looked up and said, "Father, I thank you for listening to me. I knew that you always listen to me, but I said this for the sake of the people who are here, so that they may believe that you sent me." When he had said this, Jesus cried out in a loud voice, "Lazarus, come out!" Then Lazarus came out, with his hands and feet wrapped in strips of linen and a cloth around his face. Jesus said to them, "Take off your bandages and let him go. "Lazarus is mentioned again in chapter 12 of John's Gospel. Six days before the Passover in which Jesus is crucified, Jesus returns to Bethany and Lazarus attends a dinner at which Martha, his sister.

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