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Description

JOSÉ MARÍA SERT BADIA (Barcelona, 1874 - 1945). Untitled, sketch for the Salon of the Bucraneans at Kent House, London, 1913. Oil on panel. Presents xylophages in the frame. Size: 42 x 53 cm; 44 x 55 cm (frame). The work presented here is an oil on panel sketch that Sert made in 1913 as part of the decoration project for the London residence of Sir Saxton Noble, known as Kent House. The paintings were intended for the ornamentation of two adjoining rooms separated by an Ionic-style colonnade, one used as a music room and the other as a ballroom. According to the book "José María Sert: His Life and Work", by Alberto del Castillo, this work would have decorated the fireplace room (which should correspond to the music room). He states that "the decoration of the adjoining room, the fireplace room, is like a journey to a dreamland". He continues: "The panel on the right - which would correspond to the final work of the work under tender - represents a fantastic port of the Orient, evoking Parnassian poetry. A foreground with coloured brick paving, a canal full of boats in the background, this is a Venetian theme in the style of Bellini or Carpaccio, which Tiepolo still followed in his Embarkation of Cleopatra". Trained with Benito Mercadé and Pere Borrell, he was a member of the Círculo Artístico de Sant Lluc and later a disciple of A. de Riquer. In 1900 Torras i Bages commissioned him to paint a large mural decoration for Vic Cathedral, of which he presented sketches and preparatory canvases in 1905 and 1907 in Barcelona and Paris, of which this piece is an example. Through his exhibitions abroad, he soon acquired extraordinary prestige among the French and English aristocracy, for whom he produced sumptuous decorations. In 1908 he decorated the Sala de los Pasos Perdidos of the Palace of Justice in Barcelona, and in 1910 he presented the mural decoration of the ballroom of the Marquis of Alella (Barcelona) at the Salon d'Automne in Paris and decorated the music room of the Princess of Polignac in Paris. Two years later he exhibited an important group of works at the Salon in the French capital. In the following years he worked for Queen Victoria Eugenia (Santander) and for Robert Rotschild (Chantilly), and had solo exhibitions in London at the Agnew Gallery. In 1920 he married Maria Godebska, "Misia", a muse of the Parisian artistic scene, in Paris. He painted new murals for important houses in Park Lane (England), Buenos Aires, Palm Beach and Paris, and in 1926 he made, to great expectation, an exhibition of his works for the cathedral of Vic in the Jeu de Paume in Paris. In 1927, with the support of his friend and patron Francesc Cambó, he completed the main part of the cathedral's decoration, which was completed with the construction of the lunettes between 1928 and 1929. In 1930 he was made a member of the Academy of San Fernando, and in the following years he worked all over the world, painting important murals such as those in the Waldorf Astoria in New York, the chapel of the Palacio de Liria in Madrid and the Council Chamber of the League of Nations in Geneva. He was the most eminent decorative painter of his time, and his style was characterised by a great imagination at the service of a rhetorical language influenced by orientalism and Goya's expressionism, with a chromaticism almost exclusively based on gold and sepia tones.

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JOSÉ MARÍA SERT BADIA (Barcelona, 1874 - 1945). Untitled, sketch for the Salon of the Bucraneans at Kent House, London, 1913. Oil on panel. Presents xylophages in the frame. Size: 42 x 53 cm; 44 x 55 cm (frame). The work presented here is an oil on panel sketch that Sert made in 1913 as part of the decoration project for the London residence of Sir Saxton Noble, known as Kent House. The paintings were intended for the ornamentation of two adjoining rooms separated by an Ionic-style colonnade, one used as a music room and the other as a ballroom. According to the book "José María Sert: His Life and Work", by Alberto del Castillo, this work would have decorated the fireplace room (which should correspond to the music room). He states that "the decoration of the adjoining room, the fireplace room, is like a journey to a dreamland". He continues: "The panel on the right - which would correspond to the final work of the work under tender - represents a fantastic port of the Orient, evoking Parnassian poetry. A foreground with coloured brick paving, a canal full of boats in the background, this is a Venetian theme in the style of Bellini or Carpaccio, which Tiepolo still followed in his Embarkation of Cleopatra". Trained with Benito Mercadé and Pere Borrell, he was a member of the Círculo Artístico de Sant Lluc and later a disciple of A. de Riquer. In 1900 Torras i Bages commissioned him to paint a large mural decoration for Vic Cathedral, of which he presented sketches and preparatory canvases in 1905 and 1907 in Barcelona and Paris, of which this piece is an example. Through his exhibitions abroad, he soon acquired extraordinary prestige among the French and English aristocracy, for whom he produced sumptuous decorations. In 1908 he decorated the Sala de los Pasos Perdidos of the Palace of Justice in Barcelona, and in 1910 he presented the mural decoration of the ballroom of the Marquis of Alella (Barcelona) at the Salon d'Automne in Paris and decorated the music room of the Princess of Polignac in Paris. Two years later he exhibited an important group of works at the Salon in the French capital. In the following years he worked for Queen Victoria Eugenia (Santander) and for Robert Rotschild (Chantilly), and had solo exhibitions in London at the Agnew Gallery. In 1920 he married Maria Godebska, "Misia", a muse of the Parisian artistic scene, in Paris. He painted new murals for important houses in Park Lane (England), Buenos Aires, Palm Beach and Paris, and in 1926 he made, to great expectation, an exhibition of his works for the cathedral of Vic in the Jeu de Paume in Paris. In 1927, with the support of his friend and patron Francesc Cambó, he completed the main part of the cathedral's decoration, which was completed with the construction of the lunettes between 1928 and 1929. In 1930 he was made a member of the Academy of San Fernando, and in the following years he worked all over the world, painting important murals such as those in the Waldorf Astoria in New York, the chapel of the Palacio de Liria in Madrid and the Council Chamber of the League of Nations in Geneva. He was the most eminent decorative painter of his time, and his style was characterised by a great imagination at the service of a rhetorical language influenced by orientalism and Goya's expressionism, with a chromaticism almost exclusively based on gold and sepia tones.

Estimate 4 000 - 5 000 EUR
Starting price 2 000 EUR

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