Null RAMON GAYA Murcia (1910) / Valencia (2005) "Untitled", 2003
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RAMON GAYA Murcia (1910) / Valencia (2005) "Untitled", 2003 Screenprint on paper Signed, dated and justified 12/75 at the bottom Measurements: 47 x 61.5 cm

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RAMON GAYA Murcia (1910) / Valencia (2005) "Untitled", 2003 Screenprint on paper Signed, dated and justified 12/75 at the bottom Measurements: 47 x 61.5 cm

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Estim. 20 - 40 EUR

Set of 4 studies on Balzac: Jean Paris, Balzac. Paris, Balland, 1986, 356p, paperback. Léon Levrault, Le Roman (évolution du genre). Paris; Delaplane, sd, 118p, paperback. Ferdinand Brunetière, Honoré de Balzac. Nelson, 1907, 283p, half-basane with corners, spines rubbed. Joelle Gleize, Honoré de Balzac - bilan critique. Paris, Nathan, 1994, 128p, paperback. Set of 5 studies on Balzac, published by GIRB (Groupe International de Recherches Balzaciennes): Balzac et la crise des identités. Edited by Emmanuelle Cullmann, José-Louis Diaz, Boris Lyon-Caen. 2005, 197p. Balzac avant Balzac. Edited by Claire Barel-Moisan and José-Luis Diaz. 2006, 197p. Balzac et le politique. Edited by Boris Lyon-Caen and Marie-Ève Thérenty. 2007, 235p. Balzac, l'aventure analytique. Edited by Claire Barel-Moisan and Christèle Couleau. 2009, 272p. Thinking with Balzac. Edited by José-Luis Diza and Isabelle Tournier. 2003, 350p. Paperback set, soft covers. New condition. Set of 8 studies on Balzac: Olli Vâlikangas, Les termes d'appellation et d'interpellation dans la Comédie humaine d'Honoré de Balzac. Helsinki, Société néophilologique, 1965. Lucien Maury, Opinions sociales et politiques de Balzac. Paris, Stock, 1941. F Vial & L Denise, Idées et doctrines littéraires du XIXe. Paris, Delagrave, 1918. Comte de Gobineau, Etudes critiques (1841-1848). Paris, Kra, 1927. Exemplaire HC sur rives. Georges Grappe, Dans le jardin de Sainte-Beuve. Paris, Jonquière, 1929. N°115 on riverbanks. Ramon Fernandez, Balzac. Paris, Stock, 1943. Hélène Altszyler, La Genèse et le plan des caractères dans l'oeuvre de Balzac. Paris, Alcan, 1928. Andrew Oliver & Stéphane Vachon, Réflexions sur l'autoréflexivité balzacienne. Center d'études du XIXe siècle, 2002.

Starting price 5 EUR

[HISTORY] HARTOY (Maurice De). Ramon Fernandez Mato Trujillo, or the Transfiguration of a People. Published by the Comité Français des Amis de la République Dominicaine in 1910. In-4 format, paperback. Frontispiece, numerous black illustrations out of text. Some foxing. Good condition.

Estim. 8 000 - 10 000 EUR

ELISEO MEIFRÈN ROIG (Barcelona, 1859 - 1940). "Cadaqués". Oil on panel. Signed in the lower right corner. Measurements: 53 x 62 cm; 71 x 80 cm (frame). Painter of landscapes and seascapes, Eliseo Meifrèn is considered one of the first introducers of the impressionist movement in Catalonia. He began his artistic training at the School of Fine Arts in Barcelona, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to create romantic landscapes of academic style. After finishing his studies, in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he got to know first hand the painting "à plen air", which would influence him powerfully in his Parisian landscapes of those years. Likewise, in Paris he coincided with the public beginning of impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome; there he made contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he participated in the Regional Exhibition of Valencia, and won a gold medal. Once back in Barcelona, in 1880 he made his individual debut in the Sala Parés in Barcelona, where he continued to exhibit regularly since then. During these years he was part of the modernist group, and frequented Els Quatre Gats. In 1883 he returned to Paris, where he made numerous drawings and watercolors with views of the city and its cafés, which earned him a warm welcome from French critics and the French public. At the end of the eighties he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centro de Acuarelistas. Also, in 1888 he was a member of the jury of the Universal Exhibition held in Barcelona. In 1890 he returned for the third time to the French capital, where he participated in the Salon des Beaux-Arts and in the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group a year earlier. In the following years Meifrèn would send his works to numerous official exhibitions and competitions, among them the National Exhibitions of Madrid and Barcelona, and was awarded the third medal at the Paris Universal of 1889 and 1899, silver medal at the Brussels Universal of 1910, grand prize at the Buenos Aires Universal of the same year, medal of honor at the San Francisco International of 1915 and grand prize at the San Diego International of the following year. He also won the Nonell Prize of Barcelona in 1935. In 1952, the Barcelona City Council dedicated a retrospective exhibition to him, held at the Palacio de la Virreina. His initial landscapes, characterized by an academic and romantic concept, would later evolve towards an impressionist language; abandoning the Roman preciosism, his would be a technique of loose brushstrokes and clear palette, in which the luminous conception approaches symbolist budgets, within the orbit of Modesto Urgell. He is currently represented in the Prado Museum, the National Art Museum of Catalonia, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.

Estim. 800 - 900 EUR

ELISEO MEIFRÈN ROIG (Barcelona, 1857 - 1940). "Marina". Oil on panel. Signed and dated in the lower right corner. The frame in gilded wood has slight flaws. Measurements: 32 x 26 cm; 52 x 42 cm (frame). We see in this panel a peaceful scene starring the swell of an active sea, absolutely protagonist, which seems an echo of the ominous sky full of clouds. The composition is simple, avoiding anecdotal details that could break the atmosphere and the narrative, and the natural elements -the sea and the sky- are the absolute protagonists. A painter of landscapes and seascapes, Eliseo Meifrèn is considered one of the first introducers of the Impressionist movement in Catalonia. He began his artistic training at the School of Fine Arts in Barcelona, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to create romantic landscapes of academic style. After finishing his studies, in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he got to know first hand the "plen air" painting, which would influence him powerfully in his Parisian landscapes of those years. Likewise, in Paris he coincided with the public beginning of impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome; there he made contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he participated in the Regional Exhibition of Valencia, and won a gold medal. Once back in Barcelona, in 1880 he made his individual debut in the Sala Parés in Barcelona, where he continued to exhibit regularly since then. During these years he was part of the modernist group, and frequented Els Quatre Gats. In 1883 he returned to Paris, where he made numerous drawings and watercolors with views of the city and its cafés, which earned him a warm welcome from French critics and the French public. At the end of the eighties he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centro de Acuarelistas. Also, in 1888 he was a member of the jury of the Universal Exhibition held in Barcelona. In 1890 he returned for the third time to the French capital, where he participated in the Salon des Beaux-Arts and in the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the pictorial group of Sitges a year earlier. In the following years Meifrèn would send his works to numerous official exhibitions and competitions, among them the National Exhibitions of Madrid and Barcelona, and was awarded the third medal at the Paris Universal of 1889 and 1899, silver medal at the Brussels Universal of 1910, grand prize at the Buenos Aires Universal of the same year, medal of honor at the San Francisco International of 1915 and grand prize at the San Diego International of the following year. He also won the Nonell Prize of Barcelona in 1935. In 1952, the Barcelona City Council dedicated a retrospective exhibition to him, held at the Palacio de la Virreina. His initial landscapes, characterized by an academic and romantic concept, would later evolve towards an impressionist language; abandoning the Roman preciosism, his would be a technique of loose brushstrokes and clear palette, in which the luminous conception approaches symbolist budgets, within the orbit of Modesto Urgell. He is currently represented in the Prado Museum, the National Art Museum of Catalonia, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.

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