Description

Catalonia-Illustrators. "Els Dolços indrets de Catalunya: col-lecció de dibuixos de Torné Esquius". . Books . Prologue by Joan Maragall. Barcelona, Oliva, 1910. Folio minor landscape. XII + 39 color and b/w plates + 1 h. Illustrated cardboard period, deteriorated. Traces of rust and humidity.

2098

Catalonia-Illustrators. "Els Dolços indrets de Catalunya: col-lecció de dibuixos de Torné Esquius". . Books . Prologue by Joan Maragall. Barcelona, Oliva, 1910. Folio minor landscape. XII + 39 color and b/w plates + 1 h. Illustrated cardboard period, deteriorated. Traces of rust and humidity.

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Estim. 1 500 - 1 800 EUR

PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Harlequin's Head", 1928. Drypoint on laid paper, copy 9/12. Signed in plate: PG 28. With hand-painted period frame. Presents some lack of polychrome. Some stains on the paper. Measurements: 18 x 13 cm (plate); 22 x 17 cm (paper); 43 x 37 cm (frame). Rare print by the artist. Only one edition of 12 numbered copies was made of this work. The Pablo Gargallo Museum has the original plates of the only four drypoint engravings by Gargallo (Self-Portrait, Harlequin's Head, Female Nude and Ballerina). Pablo Gargallo is considered the precursor of iron sculpture, and learned the technique of forging from his father, who owned a blacksmith shop. In 1888 his family emigrated to Barcelona for economic reasons and there he began his artistic training, in the workshop of the sculptor Eusebio Arnau and in the School of La Lonja, with Venancio Vallmitjana as his main teacher. At the height of Modernism in Barcelona, Gargallo frequented the gatherings of "Els quatre Gats", establishing relationships with artists such as Nonell and Picasso. That is why his first works are influenced by Modernism, as is the case of the decoration of Barcelona buildings that he made in collaboration with the architect Domènech i Montaner, such as the Hospital de la Santa Cruz y San Pablo or the Palau de la Música. In 1903 Gargallo obtained a scholarship that allowed him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, his trips there would be frequent. In this city he found the aesthetic formulations of cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects, trying to find the authentic three-dimensional expression of the cubist postulates. During these years he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he made his first masks, pieces of great simplification made with cut sheet metal, linked to the cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and exalt the voids through the penetration of light into the interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. From this moment on his style acquires a very personal dimension, derived from his interpretation of cubism, based on the search for a formal synthesis of the figure in geometric planes always fluid, replacing conventional materials with wrought iron sheets, and introducing a new sculptural language by introducing the void as volume and giving his figures a great expressive dramatism. Pablo Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Museum of Modern Art in Paris and the Reina Sofia in Madrid, among many others.

Estim. 2 000 - 2 200 EUR

ANTONI SERRA (Barcelona, 1869-1932) and ENRIC CASANOVAS (Barcelona, 1882 - 1948). "Tirant l'art", c. 1904-1907. Porcelain. Poses mark on the base of the Fábrica de Porcellanes i Gres d'Art (Barcelona, 1904-1926). Measures: 21 x 20 cm (diameter). Entitled Tirant l'art this delicate porcelain vase is an example of the artistic quality achieved by Antoni Serra and Enric Casanovas, who collaborated together on several occasions. A similar example to the present one can be found in the collection of the Museu Nacional d'Art de Catlunya, due to the relevance of the work as a symbol of the Modernista period. The lineage of the Serra ceramists began with Antoni Serra Fiter (1869-1932), within the framework of Modernisme, who founded the first workshop specialising in ceramics and porcelain art in Spain. Serra Fiter was followed by his sons Antonio (1905-85), Josep (1906-89) and Enric (1908-86) Serra Abella, who began a new phase with a completely new orientation. Finally, Jordi Serra Moragas (1942), son of Josep Serra Abella, continues the family tradition. The sculptor Enric Casanovas began his training as a disciple of Josep Llimona, and then entered the La Lonja School in Barcelona. In 1900 he made his first trip to Paris, and on his return he exhibited his work at Els Quatre Gats. Between 1904 and 1913 he lived between Paris and Barcelona, in contact with Picasso, Maillol and Gargallo, among other artists. In 1920 he was given a special room at the Fine Arts Exhibition, and in 1922 he took part in the Catalan Artists' Exhibition in Amsterdam. Five years later he showed his work in Italy, and in 1929 he was awarded the gold medal at the Universal Exhibition in Barcelona. In 1932 he entered the Academy of Fine Arts of San Jorge, and in 1935 he was awarded the Campeny prize by the Generalitat de Catalunya. He is currently represented in the National Art Museum of Catalonia, the Municipal Museum of Tossa de Mar, the Jaume Morera Art Museum in Lleida, the Luis Perlotti Sculpture Museum in Buenos Aires and the MACBA in Barcelona.

Estim. 3 500 - 4 000 EUR

Joan Miró i Ferrà (Barcelona, 1893-Palma de Mallorca, 1983) Plat. Commemorative plate in glazed ceramic from the wedding of the critic and art professor Rafael Santos Torroella (1914-2002) with María Teresa Bermejo Hernández (1919-2013), in which Joan Miró acted as godfather. Name of the godmother, Anita Solà d'Imbert, and names of the godparents, Sixte Illescas, Victor Mª d'Imbert and Joan Prats, enameled on the seat. Signed and dated February 18, 1950 on the seat. Numbered 16/24 on the back. Bibliography: Reproduced in the book "Col-lecció Riera: anys 40: Centre d'Art Santa Mònica, del 22 de setembre al 31 de desembre de 1994", P. 75. Edited by Generalitat de Catalunya. Department of Culture. Barcelona, 1994, in digital format. Diam.: 22 cm.

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