EUSTAQUIO MARÍN RAMOS (Seville, 1873 - San Sebastian, 1948).

"Castellana", 192…

Description

EUSTAQUIO MARÍN RAMOS (Seville, 1873 - San Sebastian, 1948). "Castellana", 1928. Watercolor on paper. Signed, titled and dated in the lower left area. Measurements: 12,5 x 9 cm; 30 x 29 cm (frame). In a self-taught way Eustaquio Marín approached painting, at first through a figurative language, influenced by the folklore of his native land. However, later he approached a more expressionist painting, where the brushstroke and the materiality became very important.

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EUSTAQUIO MARÍN RAMOS (Seville, 1873 - San Sebastian, 1948).

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Estim. 1 200 - 1 400 EUR

FRANCISCO HOHENLEITER DE CASTRO (Cadiz, 1889 - Seville, 1968). "Majos". Oil on panel (x2). Signed in the lower right area. Measurements: 31 x 20 cm (x2); 40 x 29 x 3cm (frames, x2). Francisco Hohenleiter began his training in El Puerto de Santa María, and in 1918 he moved to Seville, settling permanently in the city. An elegant, colourful painter, he soon became a leading figure in mural decoration and, above all, in posters, magazine illustration and book illustration. His works combine influences from different styles such as modernism, genre painting and romanticism. Through his posters in the 1920s he reinvented Holy Week in Seville, with works based on the use of colour and decorative lines. As a painter he focused on portraiture, landscape and the depiction of popular types, mainly majos, as well as genre scenes. He also produced nudes, church interiors and still lifes. Throughout his career he showed his work in various Spanish cities and also in Paris, with an outstanding exhibition at the Charpentier gallery in 1932. Francisco Hohenleiter's painting is rooted in that of Jiménez Aranda and García Ramos and is inspired by Goya and Alenza. He became the glosador of romantic Seville, the portraitist of the Andalusia set to music by Albéniz. His work is currently scattered all over Andalusia: murals, posters, hand programmes, etc. Today he is represented in various museums and private collections.

Estim. 2 500 - 3 500 EUR

MANUEL GARCÍA Y RODRIGUEZ (Seville, 1863 - 1925). La carreta" ("The Cart"), 1901. Oil on canvas. With restorations. Signed and dated in the lower right corner. Measurements: 50 x 90 cm: 58 x 105 (frame). Manuel García y Rodríguez executes this work with a wide and doughy brushstroke, applying spots of colour. The treatment of the figures and the contrast between the shaded and sunny areas stand out. He uses a palette rich in polychromy, in which greens predominate in all their shades. García y Rodríguez began his training with José de la Vega Marrugal and then moved on to the Seville School of Fine Arts, where he was a pupil of Eduardo Cano and Manuel Wssel. At first he devoted himself to the figure, but certain circumstances, including the influence and fascination exerted by Marín Rico and Fortuny on young Sevillian artists and the commercial successes of Sánchez Perrier's first trips abroad, led him to turn his attention to landscape painting, which became practically his only subject from that time onwards. He regularly took part in the National Exhibitions of Fine Arts, winning a third medal in 1887 for his work "Orillas del Guadalquivir" ("Shores of the Guadalquivir"). He also won second medals in 1890 for "La tarde" and in 1895 for "Tarde de otoño". He also took part in the Fine Arts Exhibitions in Seville from 1921 until his death. In 1888 he took part in the Universal Exhibition in Barcelona, and the following year in the Universal Exhibition in Paris. In 1891 his work "Entrance to an Orchard in Seville" was acquired by the Barcelona Museum at the 1st General Exhibition of Fine Arts; that same year the State of Prussia acquired his work "Seville" at the Berlin International Exhibition. During the following years he also showed his works at exhibitions in Chicago and Munich. Around 1893 he made a visit to Morocco, recently visited by other Sevillians such as Sánchez Perrier and Gonzalo Bilbao, where he returned in 1904. In 1889 he was appointed a member of the San Fernando Academy in Madrid, and between 1902 and 1903 he was an active member of the Fine Arts Centre of the Seville Athenaeum. He was an illustrator as well as a painter, and in this discipline he collaborated with the weekly magazine "Blanco y Negro" and also with "La Ilustración Artística". García y Rodríguez is currently represented in the Prado Museum (his work is on deposit at the Municipal Museum of Málaga), the National Museum of Havana, the Fine Arts Museum of Seville and the Thyssen-Bornemisza Museum, among others.

Estim. 7 000 - 8 000 EUR

DOMINGO RAMOS ENRÍQUEZ (Cuba, 1894 - 1956). "Landscape with road". Oil on canvas. Signed in the lower margin. It presents damages in the frame. Measurements: 91 x 55 cm; 107 x 70 cm (frame). Domingo Ramos Enríquez was born in Güines. From early ages he manifested his vocation for painting and had the opportunity to study in Havana, in the Academy of San Alejandro. He became popular after a contest organized by Bohemia magazine in 1912; later he received a pension from the Cuban government to continue his studies in Madrid, at the San Fernando Academy. He perfected his art from the classes he received at the Academy and from an extensive tour of Europe and its network of pictorial trends, and in 1919 he exhibited in Barcelona several landscapes of the Spanish geography, very well received by the public. In 1921 he was back on the Island, where he presented an exhibition of 41 paintings, remarkable in their execution. Although he was a painter of international projections, as a landscape painter he did not cease to capture the autochthonous; in this sense, during all his artistic growth, he would be accompanied by the peculiar Pinar del Río geography, as exemplified by pieces such as El valle de Viñales, Nocturno, Mogotes de La Costanera, Siembra de Viñales, La sierra principal, Ensenada de Palmarito, Las dos hermanas and Sierra del Cuajaní. In turn, the Havana landscape would be reflected in the paintings El río Almendares, El bosque, Habana, Alrededores de Puentes Grandes, Río Piloña de La Habana and Los Colosos, among others. Shortly after, in 1923, an exhibition of thirty-eight works by Domingo Ramos was shown in a local of the Diario de la Marina, among these were some also inspired by the western landscape of the Island, the Pinar and Havana pictorial: Afternoon in the Valley, Autumn in Viñales, Sunset, Peñas de Viñales, Cueva del Espejo, Remanso del río San Vicente, Lomas de Santo Tomás and Golden Afternoon. This exhibition contributed to consolidate his prestige as a creator. In 1838, one of his large landscapes presided over the Cuban exhibit presented at the New York Fair. The mogotes of the Sierra de los Órganos, in full sunset, were captured by the artist with particular mastery and creative emotion, on the occasion of this international event. It is said that the painting was one of the most attractive for the public that attended the event, dazzled by the exuberance of Cuban nature. Domingo Ramos' rural landscapes would mark a milestone in Cuban plastic art and in the later projections of many of our artists.

Estim. 300 - 500 EUR

Spencer Tunick, American b.1967- San Sebastian, Spain 1; colour photo on Kodak professional paper, signed on a label on the reverse, sheet: 25.5 x 20.5 cm, (unframed)

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