Null MARIANO BENLLIURE Valencia (1862) / Madrid (1947) "Canto primaverile", 1894…

Description

MARIANO BENLLIURE Valencia (1862) / Madrid (1947) "Canto primaverile", 1894 Charcoal and clarion on paper. Signed, dated and titled. This beautiful song to spring was made in Rome, the city where Benlliure lived and had his studio since 1881. It represents a happy procession of children who sing and dance to the sound of different musical instruments to welcome the spring season. year in which nature is reborn. It is sketched with a safe and loose line in charcoal and clarion, with a strong contrast of chiaroscuro, which seems to hint at its future chiseling in relief using marble. Both this treatment of the drawing, as well as the theme and the composition, are related to two important works by the sculptor: the sarcophagus of the mausoleum of the tenor Julian Gayarre (1891-1895) and the allegory of music on the frieze of the music room of the Bauer Palace ( 1895-1898). These two groups, carved in Carrara marble, also feature similar groups of children singing and dancing. The work is dedicated to his friend and painter Jose Rico Cejudo (Seville, 1864-1939), who lived in Rome between 1888 and 1895, pensioned by the Seville City Council. We would like to thank the Mariano Benlliure Foundation and, in particular, Mrs. Lucrecia Enseñat Benlliure for the help provided in cataloging this lot. Measurements: 63 x 147 cm.

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MARIANO BENLLIURE Valencia (1862) / Madrid (1947) "Canto primaverile", 1894 Charcoal and clarion on paper. Signed, dated and titled. This beautiful song to spring was made in Rome, the city where Benlliure lived and had his studio since 1881. It represents a happy procession of children who sing and dance to the sound of different musical instruments to welcome the spring season. year in which nature is reborn. It is sketched with a safe and loose line in charcoal and clarion, with a strong contrast of chiaroscuro, which seems to hint at its future chiseling in relief using marble. Both this treatment of the drawing, as well as the theme and the composition, are related to two important works by the sculptor: the sarcophagus of the mausoleum of the tenor Julian Gayarre (1891-1895) and the allegory of music on the frieze of the music room of the Bauer Palace ( 1895-1898). These two groups, carved in Carrara marble, also feature similar groups of children singing and dancing. The work is dedicated to his friend and painter Jose Rico Cejudo (Seville, 1864-1939), who lived in Rome between 1888 and 1895, pensioned by the Seville City Council. We would like to thank the Mariano Benlliure Foundation and, in particular, Mrs. Lucrecia Enseñat Benlliure for the help provided in cataloging this lot. Measurements: 63 x 147 cm.

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Estim. 40 - 60 EUR

ANDREU (Mariano) & GAY (John). L'Opéra des gueux. The baggar's opera. Paris, Marcel Sautier, s.d. [1947]. In-8 on ff., illustrated cover, folder. Edition illustrated with 21 original lithographs by Catalan painter and illustrator Mariano ANDREU (1888-1977). Edition of 310 copies on vellum pur fil de Lana, this is one of 30 accompanied by a suite of lithographs in sanguine. Missing slipcase, otherwise a fine copy.

Estim. 50 - 80 EUR

ANDREU (Mariano) & GIDE (André). Thésée. Paris, nrf, 1947. In-folio in ff. with printed cover. Edition illustrated with lithographs by Mariano Andreu and containing an unpublished chapter (the ninth). Limited edition of 352 copies, this one on Lana vellum. Scattered spotting, mainly on the first and last pages. Mariano Andreu exhibited the lithographs from this edition at the Salon de la Société des Artistes Décorateurs in 1947.

Estim. 18 000 - 20 000 EUR

MANUEL FRANQUELO-GINER (Madrid, 1990). "Baby calf", 2017. Reticulated foam filled with wadding, hand-sewn plush lining and polished polyester eyes. Measurements: 200 x 80 x 80 cm. Manuel Franquelo Giner denounces from different disciplines the accelerated pace of industrial manufacturing, as well as food waste and the present monumental production of animals. Sustainability in all aspects is undoubtedly the leitmotiv in his production. In "Baby calf" Franquelo reflects on the oppression of animals by depicting a stuffed calf whose throat is slit in the slaughterhouse and from whose belly its entrails hang. The colourful viscera add a certain naïve touch to the crudeness of the image. Manuel Franquelo-Giner lives and works in Madrid. He studied? He studied Fine Arts at the UCM and currently collaborates with Factum Arte. He has participated in national and international contemporary art fairs such as ARCO, Estampa, Photobasel, ArtLima or Forosur, as well as in different exhibitions in public institutions such as the CSIC, Conde Duque and the Centro de Arte Alcobendas in Madrid, or the Centre del Carme in Valencia. His work is present in various national and international private collections such as DKV, Kells, Pilar Citoler and Josep Mari?a Civit, among others. He is also represented in national museums and contemporary art centres, such as the CAC in Ma?laga and the Centro de Arte Alcobendas in Madrid. He has been awarded grants such as the VII Encontro de Artistas Novos organised by Rafael Doctor and has collaborated with critics, curators and philosophers to write essays in relation to his artistic work.

Estim. 16 000 - 18 000 EUR

ESTEBAN VICENTE PÉREZ (Turégano, Segovia, 1903 - New York, 2001). Untitled, 1967. Ink on paper. Signed. Exhibitions: Madrid, Elvira González Gallery, "Esteban Vicente. Black and white", 17 March - 14 April 2000, page 33 (reprod.). Barcelona, Alejandro Sales Gallery, "Esteban Vicente", November 2006 (reprod.). Measurements: 48 x 70 cm; 70 x 90 cm (frame). Esteban Vicente enters, in 1921, in the School of Fine Arts of San Fernando, in Madrid, with the purpose of training as a sculptor, but soon decides to devote himself to painting. In 1928 he held his first exhibition, after which he went to Paris, where he remained until 1930. He returned to Spain and exhibited in Barcelona and Madrid, and after the outbreak of the Civil War he worked in hiding in the mountains surrounding the capital. However, the same year of 1936 he decides to go to New York, his wife's place of origin. There he exhibited for the first time at the Kleeman Gallery in 1937. Four years later he obtained the American nationality since, having been a supporter of the Republican side, he decided not to return to Spain. He carried out numerous commissions and exhibitions in the following years, and between 1947 and 1947 he was a professor of painting at the University of Puerto Rico. Upon his return to the United States he established a relationship with the nascent New York School, participating in his exhibitions at the Kootz Gallery (1950), the Ninth Street Art Exhibition (1951) and at the Sidney Janis and Egan Galleries. He was a founding member of the New York Studio School, where he taught for thirty-six years. From the eighties onwards his work began to be known in Spain, retrospectives were dedicated to him (Banco Exterior, 1987, and Museo Reina Sofía, 1997) and he was awarded mentions such as the Gold Medal for Merit in Fine Arts (1990) and the Great Cross of Alfonso X the Wise (1999). In 1998 the Esteban Vicente Museum of Contemporary Art was inaugurated in Segovia, where a large part of his work is preserved today. Vicente's works are kept in major contemporary art museums around the world, such as the Metropolitan, the Guggenheim and the MOMA in New York, the Museo Nacional Reina Sofia in Madrid, the Smithsonian in Washington D.C., the Withney Museum of American Art or the Indianapolis Museum of Art, among others.

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