Null VALES Edmond, 1918-2001
Oasis in front of Ksar Es Souk, Morocco
oil on isor…

Description

VALES Edmond, 1918-2001 Oasis in front of Ksar Es Souk, Morocco oil on isorel (yellowed and glittery varnish) signed and located lower left, signed and located on the back 46.5 x 122 cm

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VALES Edmond, 1918-2001 Oasis in front of Ksar Es Souk, Morocco oil on isorel (yellowed and glittery varnish) signed and located lower left, signed and located on the back 46.5 x 122 cm

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Estim. 10 000 - 15 000 EUR

λ SIR KYFFIN WILLIAMS (WELSH 1918-2006), SEA MIST, RHOSNEIGR

Estim. 3 000 - 4 000 EUR

GEORGE OWEN WYNNE APPERLEY (Ventnor, Isle of Wight, England, 1884 - Tangier, Morocco, 1960). "Bacchante," 1942. Oil on canvas. Presents damage to the frame. Signed in the lower right corner. Measurements: 63,5 x 53,5 cm; 90 x 78 cm (frame). The painting of George Owen, always had as protagonist the woman, in many occasions it was Andalusian women, although he also dealt extensively with the genre of the nude. In this case the author presents us with an idyllic image, and at the same time sensual, starring a half-naked young woman immersed in nature. The woman, with a haughty gesture and a half-smile, covers her body with a leopard skin. Next to her are some vine leaves, indicating that this is the representation of a woman of the court of the god Bacchus, since both attributes allude to the iconography of the god of wine. The use of a Bacchante as the protagonist reveals a carefree young woman, devoted to pleasure and in turn follows the portrait tradition that began in the eighteenth century, in which the ladies of the court were portrayed with attributes of saints or goddesses of the classical pantheon, although in this case the artist goes further, in search of what under his own eyes symbolizes the woman in his time. George Owen Wynne Apperley belonged to an aristocratic Welsh family, which allowed him a comfortable economic situation. From an early age he was attracted to painting and, opposing his family, he enrolled at the Herkomer Academy. His training was broadened by his trip to Italy, where he was captivated by the Mediterranean light and produced works on genre and landscape themes. After marrying secretly in 1907, he moved with his wife to Lugano (Switzerland), then returned to London. In 1914 he traveled to Spain, and settled permanently in Madrid two years later, to go a year later to Granada, where he settled, where he met local painters such as Francisco Soria Aedo and Lopez Mezquita. When the Second Republic was proclaimed, he moved to Tangier (Morocco), where he became interested in new orientalist themes, and where he died. His work could be contemplated in the different countries where he lived, being especially important an exhibition in 1918 inaugurated by King Alfonso XIII and Victoria Eugenia de Battemberg, moment from which his prestige increased. His work is preserved in important private collections and institutions such as the Victoria & Albert Museum in London, the Museum of Malaga, the Palace Art Museum in Brussels, the Municipal Museum of Fine Arts of Tandil in Buenos Aires (Argentina), the Sydney Museum (Australia), etc. It presents damages in the frame.

Estim. 1 100 - 1 200 EUR

JOAN ABELLÓ PRAT (Mollet del Vallés, Barcelona, 1922 - Barcelona, 2008). "A las puertas del establo", 1963. Oil on canvas. Signed and dated in the upper left corner. Signed, dated and titled on the back. Measurements: 54 x 64,5 cm; 75 x 85 cm (frame). Painter and engraver, Joan Abelló begins his formation in a self-taught way, having in his first paintings a great influence the works that Joaquín Mir realized in Mollet. He then studied at the Baixas Academy and at the Royal Artistic Circle of Barcelona (1941), and later became a disciple of Pere Pruna, working for two years in his studio (1944-46). Pruna taught him mural and engraving techniques, and he also learned restoration in Miracle's studio. In 1945 he exhibited his work in Barcelona for the first time, and the following year he began working in the studio of Carlos Pellicer, with whom he worked for fourteen years. He completed his studies with trips to London, Belgium, Paris and the Isle of Man, among other places. In the sixties he returned to his native town, where he again became interested in the landscapes of the Vallés and the Mediterranean, although he did not abandon his extensive travels through Europe, Africa, the Ivory Coast, Morocco and Brazil. An outstanding collector, in 1996 he donated his art collection to the City Council of Mollet, which created the Joan Abelló Municipal Museum three years later. Attached to the museum is the artist's birthplace, which since 2002 has housed a restoration workshop and center for artistic studies. Abelló began his career developing a certain impressionist tendency, to start in the late forties in post-impressionism without losing links with his initial language, always with an explosion of colors applied with violent brushstrokes. Years later his style will evolve, practicing a more material painting under the influence of informalism, and accentuating his expressionism without ever leaving figuration. From 1940, the year in which he held his first exhibition in his hometown, even before moving to Barcelona to study, Abelló held exhibitions in Spain, London, Paris, New York and Moscow. In 2002 he was appointed member of the Royal Academy of Fine Arts of Sant Jordi. He is represented in the Museum that bears his name, as well as in the MACBA in Barcelona, the Courtauld Collection in London, the Ashmolean Museum in Oxford, the Vatican Museum, the Poldersmuseum in Belgium and the Francesc Galí Legacy.

Current bid 20 EUR

Set of three oils on canvas: Ecole du XXe siècle: Femme orientale, Oil on canvas, dated and signed lower right, 74.5 x 48.5 cm Nel Vallée (XXe-XXIe siècle), Femme du Yemen, 2009, Oil on canvas, titled, dated and marked on back, 50 x 50 cm Nel Vallée (XXe-XXIe siècle), Femme au Maroc, Oil on canvas, signed lower right, titled and marked on back, 46 x 33 cm

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