Description

Galicia-Miniated manuscripts. DÍAZ Y DÍAZ, Manuel C. et al. "Los Tumbos de Compostela". . Books . Madrid, Edilán, 1985. Folio. 157 p. Color plates and photographs. Leather binding with embossing. Studies on the medieval text and its miniatures and XXXI color plates of the miniatures. Text in Spanish and Galician.

2152

Galicia-Miniated manuscripts. DÍAZ Y DÍAZ, Manuel C. et al.

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Estim. 12 000 - 14 000 EUR

ISAAC DÍAZ PARDO (Santiago de Compostela, 1920 - Coruña, 2012). "Nude characters", 1950. Oil on canvas. Signed and dated in the lower left corner. Measurements: 48 x 80 cm; 67 x 100 cm (frame). The specialists define three stages within the painting of Isaac Diaz Pardo: the academic, another influenced by the renovators and the third called American. The one we are bidding here would correspond to the second stage, characterized by the influence of the group of the Galician Renovators, especially Maside and Colmeiro, as well as Renoir and Cezanne. Intellectual, painter, ceramist, designer, editor..., he was a rich and plural personality. In 2009, he received the Gold Medal for Merit in the Fine Arts of Spain. Son of the painter and set designer Camilo Díaz Baliño, in his house took place various meetings related to the Irmandades da Fala, of which Díaz Baliño was an active member and in which personalities such as Castelao, Vicente Risco, Otero Pedrayo, Ramón Cabanillas, Antón Villar Ponte, Eduardo Blanco Amor or Asorey participated. His father was shot by the rebels shortly after the beginning of the Spanish Civil War, which made Isaac had to hide at first at his uncle Indalecio's house, in La Coruña, and then to work as a sign maker in the same city. After the war, he obtained a scholarship from the Provincial Council of La Coruña, thanks to which he studied at the Real Academia de Bellas Artes de San Fernando, in Madrid, between 1939 and 1942. He then became a professor at the Real Academia Catalana de Bellas Artes de San Jorge in Barcelona and began to exhibit in Spain (La Coruña, Madrid and Vigo) and abroad (Europe and America). He later abandoned the plastic arts, turning to ceramics and founding with other partners the Cerámicas do Castro factory in Castro de Samoedo (Sada), testing with raw materials used in the primitive ceramics of Sargadelos (in Cervo, created in the 19th century by Antonio Raimundo Ibáñez Llano y Valdés), and obtaining high quality ceramics. In 1963, together with other prominent Galician artists, such as Luis Seoane, he set up the Laboratorio de Formas in Argentina, a precursor of other industrial and cultural activities such as the restoration of Sargadelos' ceramic production, in collaboration with Cerámicas do Castro (1963), the Carlos Maside Museum (1970), the Ediciós do Castro publishing house (1963), the restored Seminario de Estudos Galegos (1970), the Instituto Galego de Información, etc. It was the direction and administration of the Sargadelos Group, his best known facet and the one that would mark his last years. As a writer of essays and criticism, he wrote Xente do meu Rueiro, O ángulo de pedra, Galicia Hoy (together with Luis Seoane), Paco Pixiñas (with Celso Emilio Ferreiro), El Marqués de Sargadelos, Castelao, etc, as well as a large number of articles in newspapers, such as La Voz de Galicia.

Estim. 3 500 - 4 000 EUR

DANIEL VÁZQUEZ DÍAZ (Nerva, Huelva, 1882 - Madrid, 1969). "The bathers". Oil on canvas. Signed in the lower right margin. Measurements: 57,5 x 68,5 cm; 70 x 82 cm (frame). This painting belongs to the Parisian stage of Daniel Vázquez Díaz, initial period of his career in which he knows the main protagonists of the avant-garde. However, he remains faithful to himself. He seeks his own heartbeat in the reality that surrounds him. The joy of living, the sensuality of young bodies harmonizing with nature, are themes that interest him at that time because they express his own feelings. The bathers by the river of crystalline waters have been resolved with a precise drawing, conjugated with luminous ranges. Daniel Vázquez Díaz began to paint in his student years, after discovering the work of Zurbarán and El Greco. In 1903 he moved to Madrid to focus on painting and copy the masters of the Prado, and there he became friends with Juan Gris, Solana and Dario de Regoyos. Three years later he settled in Paris, where he worked with the sculptor Antoine Bourdelle and met Picasso, Braque, Modigliani and Max Jacob, among others, and assimilated a certain avant-garde spirit. During these years he began to develop his personal style, which mixed the constructive brushstrokes of Cézanne with the geometric structure and planes of cubism. Upon his return to Spain in 1918, he began teaching, first in his studio and later at the San Fernando School of Fine Arts, where he obtained the chair of mural painting in 1932. Through his classes, Vázquez Díaz will spread a cubism of architectural monumentality, and that serves as a bridge to the young artists with the trends that were developing in the rest of Europe. In addition to being an excellent landscape painter, Vázquez Díaz stood out as an illustrator and portraitist of some of the most important figures of his time. Among his mural works, it is worth mentioning those made for the monastery of La Rábida in Huelva, between 1927 and 1930, which consecrated him as a painter. In 1968, a year before his death, he was appointed member of the Academy of San Fernando. He is currently represented in the Reina Sofía National Museum, the museum that bears his name in Nerva, the Patio Herreriano in Valladolid, the Telefónica Foundation and the Fine Arts Museums of Bilbao and Seville, among others.

Estim. 1 500 - 2 500 EUR

Narcisse Virgilio Díaz de la Peña Narcisse Virgilio Díaz de la Peña (Bordeaux 1807-Mentone 1876) - Storm oil on canvas 25.6 x 31.6 cm signed lower right: N. DIAZ

Estim. 110 - 150 EUR

Elízaga, Lorenzo - Querétaro: Memoria de un Oficial del emperador Maximiliano - Mexico - Imprenta de F. Díaz de León y S. White - 1869 - 19 cm - hardcover Number of pieces: 1 Pages: 227 + 51 pp. - Bound in the same book: E. B. de B. Querétaro: apuntes del diario de la princesa Inés de Salm Salm Mexico: Establecimiento tipográfico de Tomas F. Neve, 1869. Exlibris by H.A. Monday.

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