QUAGLINO MASSIMO
Refrancore (AT) 1899 - 1982 Turin
"Cherasco"
21x28 mixed media …

Description

QUAGLINO MASSIMO Refrancore (AT) 1899 - 1982 Turin "Cherasco" 21x28 mixed media on paper Work signed at lower right, titled at lower left

275

QUAGLINO MASSIMO

Auction is over for this lot. See the results

You may also like

Estim. 10 000 - 12 000 EUR

GODOFREDO ORTEGA MUÑOZ (San Vicente de Alcántara, Badajoz, 1899 - Madrid, 1982). "Landscape of Lake Maggiore", ca.1920. Oil on cardboard. Provenance: -Private collection, Massimo Uccelli, Italy. Inherited from his grandparents, in turn, received it from the painter while he lived in his house in Via Antonio Rosmini, in Stresa, near Lake Maggiore (Italy). -Private collection, Turin. With certificate of the Ortega Muñoz Foundation. With export permit from Italy and Spain. Measurements: 34 x 43 cm. Ortega Muñoz immortalizes in this painting a wide panoramic view of the idyllic mountainous landscape of the Maggiore Lake, outlined in the background by bluish motañas of snowy summits. Ortega lived in this area of northern Italy, close to the Swiss border, so he portrayed it on numerous occasions, showing a great handling of the shades and lights of this icy region. Ortega, heir to the Vallecas school, often prioritized this type of stark landscapes, realistic but far from academic, a solitary space with which he sought to awaken the viewer's emotions. Ortega Muñoz was one of the great creators of the contemporary Spanish landscape. He started in art when he was still a child, self-taught, and despite his father's advice, in 1919, at the age of twenty, he decided to move to Madrid to devote himself to painting. There he will dedicate himself from the first moment to making copies of the great masters in the Prado Museum and in the old Museum of Modern Art. He continued his self-taught training and began to paint outdoors in the surroundings of the Dehesa de la Villa, accompanied by other young artists such as the Filipino Fernando Amorsolo. A year later he decided to move to Paris, where he met his lifelong friend, the poet Gil Bel. In Paris he also got to know the work of Van Gogh, Gauguin and Cézanne, but at the same time he experienced the formal and ideological crisis that was developing in this interwar period, which would lead him to leave France to travel south, to Italy, where he would find in the masters of the past more authentic values of spirituality, simplicity and purity. Ortega Muñoz will travel through Italy from North to South between 1921 and 1922, and in Lago Maggiore he meets the English painter Edward Rowley Smart, with whom he will spend a short period of apprenticeship. With him Ortega Muñoz comes to the conclusion that, in the face of the apparent unreasonableness of contemporary art, it is necessary to return to nature and return to are the authenticity of spiritual truths and simple emotions. In 1926 he returned to Spain, where he was the protagonist of one of the founding excursions of the Vallecas School. Shortly afterwards, in 1927, he held his first exhibition at the Círculo Mercantil in Zaragoza. Then he leaves Spain again, and this time he travels through Central Europe, passing through Zurich, Brussels and several German cities. In 1928, in Worpswede, he comes into contact with a colony of artists of expressionist language, interested in landscapes and peasant life, as a reaction against the sophisticated artifices and refinements of the avant-garde. Notably influenced by his experience in Worpswede, Ortega Muñoz returns to France in 1928, and between 1930 and 1933 he continues to travel between Central Europe and Northern Italy; he finally arrives in Cairo in 1933, a date at which his skills as a portraitist have provided him with a comfortable lifestyle and important contacts. He exhibits in Alexandria with an enormous success, which will lead him to repeat the experience a year later, presenting an almost anthological exhibition in which his love for nature, the balance between color and mood, and the atmosphere of stillness and sadness characteristic of his language can already be appreciated. In 1935 he returns to Spain and the following year he presents an exhibition at the Círculo de Bellas Artes in Madrid. However, the Civil War forced him to leave Spain; after the war he returned to his hometown, and finally reunited with the silent and lonely expanse of his landscape and with the close reality of that world that he felt as authentically his own.

Estim. 3 200 - 3 500 EUR

RAMÓN PARADA JUSTEL (Esgos, Orense, 1871-1902). "Still life in front of the port". Oil on copper. Signed in the upper right corner. Measurements: 16 x 24 cm; 42 x 47 cm (frame). The artist represents a still life made up of seafood, among which the presence of fish, octopus, lobsters or shells can be observed. Strategically arranged in the foreground, the still life is placed in front of a marine port, a resource used by Parada to give narrative to the scene. Thus, in front of the still life in the foreground is a deep scene, open on the left side in a vast area of water, while on the right side there are high hills crowned by a building that could well be a castle, judging by its avenues. In this way, Parada Justel reinterprets the still life genre, adapting it to the marine environment, seeking maximum harmony between the food represented. The copper bowl in the lower right part of the composition also stands out, an element that allows the artist to recreate the different materials, with special interest in the tonality and brightness of the metal. In this way, we are faced with a small format work of one of the most significant artists of the plastic ourensana, a tremendously relevant personality of the Galician artistic transition from the nineteenth to the twentieth century. Ramón Parada Justel was trained at the San Fernando School in Madrid, where the imprint of Carlos de Haes would define his evolution. He broadened his aesthetic references in Rome, where he traveled thanks to a scholarship from the Diputación de Orense. His short life was spent between his homeland and Madrid. He took part in several National Exhibitions and won third class medals on two occasions, 1899 and 1901. He is inscribed in eclecticism, adopting the most diverse techniques and themes, a style shared with Galician painters of his generation as Jenaro Carrero or Joaquín Vaamonde. Justel will be, together with these authors, one of the members of the mythical Xeracion Doente (Sorrowful Generation), a denomination promoted by Bello Piñeiro to define the group of painters who lived during the last three decades of the 19th century and who became a link between the pictorial tradition of the 19th century and the artistic renovation that would arrive with the new century. His interest in the landscape will be a constant, evolving from academicism to a free and spontaneous style, product of the direct capture of nature. His stains of color denote a light impasto and an instinctive brushstroke. He captures the light effects that build the different planes of depth. He used to paint the surroundings of Madrid. He also practiced the orientalist genre, the nude and the portrait. He was commissioned to decorate the altar of San Antonio de Padua in the Cathedral of Orense. Justel died of tuberculosis, the same disease that killed other important painters such as Jenaro Carrero Fernández, Ovidio Murguía de Castro and Joaquín Vaamonde Cornide. He is represented in the Archaeological Museum of Orense.

Estim. 10 - 20 EUR

COMUS (J.) - Historical and literary talk on gastronomy. Épinal, Société Littéraire d'Épinal, 1867; in-8, 40 pp. paperback, waiting cover. Offprint from a Lorraine magazine. LE DIVELLEC (Jacques), VENCE (Céline) - La cuisine de la mer. Paris, Robert Laffont, Collection "Les Recettes Originales", 1982; in-8, 447 pp. in publisher's printed boards. DURANDEAU (Mme C.) - Guide de la bonne cuisinière. Paris, Administration de l'Almanach-Vermot, 1887; in-12, IV-424 pp. full publisher's red cloth binding, smooth spine. Numerous illustrations in the text. REDIGÉE PAR UNE RÉUNION DE PROFESSIONNELS. La Cuisine moderne illustrée. Paris, Librairie Aristide Quillet, 1935; in-8, 612 pp, publisher's bottle-green binding, smooth spine, waffle boards and spine. This book is packed with recipes, arranged in the order of the meal (from appetizer to dessert) - the recipes are not quantified, which means you'll need to know a little about them to get the most out of this book. The back of the book is packed with cooking techniques, gastronomic culture, menus and cocktails. The table of contents is particularly detailed. Contains color hors-texts. Very good condition.

Online payments are secured by Ingenico and encrypted transactions.

Each lot has been authenticated and appraised by an Auction House.

Consult our FAQ or contact us

Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.

More about Drouot

Drouot certified auction houses

Contacts

HÔTEL DROUOT

9, rue Drouot 75009 Paris, France

+33 (0)1 48 00 20 00

[email protected]

DROUOT.com

[email protected]