Null JULIÁN GRAU SANTOS. "Palomera". (d) Oil on canvas
Signed, titled and dated…

Description

JULIÁN GRAU SANTOS. "Palomera". (d) Oil on canvas Signed, titled and dated 1970 55x46 cm. In good condition. Frame in gilded wood, with defects.

672

JULIÁN GRAU SANTOS. "Palomera". (d) Oil on canvas Signed, titled and dated 1970 55x46 cm. In good condition. Frame in gilded wood, with defects.

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Estim. 300 - 400 EUR

Tsuguharu FOUJITA French-Japanese school (1886-1968). Color lithograph on paper: Rue de la santé et passage Prévost (1964). Signed: Foujita, marked "Épreuve d'artiste" ("Artist's proof"). Size: 45 x 60 cm.

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John D. Rockefeller and Henry M. Flagler Signed Standard Oil Trust Stock Certificate Partly-printed DS signed “John D. Rockefeller” and "H. M. Flagler," one page, 11.5 x 7.75, December 29, 1882. Stock certificate for 1460 shares in Rockefeller's Standard Oil Trust issued to Benjamin Brewster, signed at the conclusion by John D. Rockefeller as president, Henry M. Flagler as secretary, and Jabez A. Bostwick as treasurer. The original receipt remains affixed at the left edge. In fine condition. John D. Rockefeller (1839-1937) was a business magnate and philanthropist whose Standard Oil empire made him the wealthiest man in the world. Henry Flagler (1830-1913) was a real estate and railroad entrepreneur who also co-founded Standard Oil, remembered for his efforts to make Florida the 'Newport of the South' by providing extensive rail access and grand hotels to lure wealthy vacationers. Jabez Abel Bostwick (1830-1892) was a founding partner of Standard Oil, serving as the company's first treasurer. Benjamin Brewster (1828-1897) was an American industrialist, financier, and one of the original trustees of Standard Oil. Brewster was prominently associated with the building of the Manhattan Elevated Railway and was also a financial leader in many large railroad transactions, particularly the reorganization of the Chicago, St. Paul, Minneapolis and Omaha Railway. He served as vice president of the Chicago, Rock Island and Pacific Railroad and was a director of the Chicago and Eastern Illinois Railroad and the Delaware and Hudson Canal Company. He was also a director of the International Navigation Company, owner of the American Line of steamers. An important stock certificate that boasts a multitude of significant Standard Oil associations.

Estim. 50 - 80 EUR

CHOMEL Noël CHOMEL Noël Dictionnaire économique contenant divers moyens d'augmenter son bien, et de conserver sa santé. Paris, Jacques Estienne, 1732. Two volumes in folio

Estim. 5 500 - 6 500 EUR

EMILIO GRAU SALA (Barcelona, 1911 - 1977). "At the Hippodrome", Paris, 1963. Oil on canvas. Signed in the lower left corner. Signed, dated and located on the back. Measurements: 27 x 22 cm; 48,5 x 40 cm (frame). Grau Sala starts in this work from the natural model to build a dynamic composition characterized by the almost absolute freedom of color and by the expressive power of the textures. He applies his very personal chromatism of Fauve heritage, with planes of various tones applied in an expressive and free way, based on superimposed and dry brushstrokes, so that the colors do not cover each other. At the same time, they give the landscape a certain vibration that multiplies the reflections of the sun under a clear and uniform light, avoiding dense shadows and vividly illuminating the colors. Son of the draftsman Juan Grau Miró, Grau Sala combined his attendance at the School of Fine Arts in Barcelona with an essentially self-taught training. In 1930 he held his first exhibition at the Badriñas gallery in Barcelona. At the beginning of the Civil War, in 1936, he moved to Paris, where he settled in the Spanish artists' colony of Montparnasse. That same year he was awarded the first Carnegie Prize. In the twenty-five years he stayed there, he was closely acquainted with the avant-garde, although he always opted for a colorist figuration, derived from impressionism and fauvism. It was a path already taken by the commercial circuit, surpassed in terms of novelty by cubism and surrealism, but which was kept alive at a high level thanks to masters such as Bonnard, Chagall and Dufy. In fact, he soon became known in Paris as the successor of the Impressionist spirit and values, directly related to Bonnard and Vuillard. This stylistic choice of Grau Sala conditioned that of his wife, Ángeles Santos, who abandoned her singular surrealism for a more conventional landscape, a decision that critics did not hesitate to regret. The success of his style led Grau Sala to devote himself also to graphic work (engravings, lithographs, illustrations for novels, posters...), as well as theatrical sets. The grace and finesse of his characters, the liveliness of the colors and the elegant atmosphere of the environments that he captured made him reap great success and recognition all over the world. He held several solo exhibitions, mainly in Barcelona and Paris, but also in cities such as New York, Toulouse, London and Los Angeles. In 1963 he returned to Barcelona, when the stagnant figuration of Franco's Spain began to be challenged by Oteiza, Chillida, Tàpies and the collective "El Paso". However, he remained faithful to his style, and until his death in 1975 he worked within his own personal line, centered on his favorite themes, female figures, interiors and landscapes, in a vaguely classical, nostalgic time setting of the nineteenth century. After his death, and for more than a decade, Grau Sala was overshadowed by the multiple novelties that were emerging in democratic Spain, but from the 1990s onwards, the new boom in mid-level collecting relaunched Grau Sala, as he was understood as an interpreter of Impressionism in a Spanish key. Works by Emilio Grau Sala are kept in the National Museum of Art of Catalonia, the Esteban Vicente Museum of Contemporary Art and the Óscar Domínguez Institute of Contemporary Art and Culture.

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