Null View of Palma de Mallorca. Cardboard painted on canvas by Tito Citadini (Bu…

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View of Palma de Mallorca. Cardboard painted on canvas by Tito Citadini (Buenos Aires, 1886-Cala Mayor, Mallorca, 1960) Oil on cardboard, measurements: 27 x 22 cm, measurements with frame 62 x 50 cm

581

View of Palma de Mallorca. Cardboard painted on canvas by Tito Citadini (Buenos Aires, 1886-Cala Mayor, Mallorca, 1960) Oil on cardboard, measurements: 27 x 22 cm, measurements with frame 62 x 50 cm

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Estim. 50 - 100 EUR

STEREO photography Views of Paris, circa 1860. Five stereo views plus two half-views mounted on cardboard. Albumen paper. Primitive and high quality.

Estim. 25 000 - 30 000 EUR

CASIMIRO MARTÍNEZ TARRASSÓ (Barcelona, 1898 - 1980). "Sensitive creations", 1972. Oil on canvas. Signed in the lower right corner; titled and dated on the back. Measurements: 150 x 150 cm; 154 x 154 cm (frame). In this colorful and vibrant canvas, Tarrassó displays his usual skill to express hedonistic sensations through a unique chromatic and formal symphony. A large house and a palm tree occupy the center of a landscape that, despite being abstract, leads us to imagine a splendorous meadow bathed in bright light. With his palette dominated by glaucous and mauve tones, in contrast with warm yellow and earthy tones, he succeeds in provoking an emotional response in the viewer. Enveloping brushstrokes are entangled with each other to suggest cottony clouds, dense bushes and wooded landscapes. Using a swift and intuitive stroke, he explores the concomitances between colors of Fauve heritage, textures and emotions. Known simply as Tarrassó, he studied at the Escuela de La Lonja in Barcelona. He completed his studies in Paris, where he had first-hand knowledge of the Fauvist works that were shaking the Parisian artistic scene at the time. He was above all a brilliant landscape painter, with a style characterized by its violent and vivid colors, very luminous. He followed in the footsteps of the great Catalan landscape painters, especially Joaquín Mir, although with a clearly differentiated personality due in part to the impact that Fauvism had on his artistic thinking. He cultivated the still life and the Catalan and Majorcan landscapes. He held his first exhibition in 1928, at the Layetanas Galleries in Barcelona. Since then his exhibitions in Barcelona, Madrid, Palma de Mallorca and Bilbao followed one after the other. In 1935 he visited Mallorca for the first time, and from 1940 he had a studio there, specifically in Palma, where he lived for long periods and developed most of his artistic production. After the Civil War, during the forties, Tarrassó took part in several National Exhibitions of Fine Arts, in their editions of 1942, 1943 and 1950, and held many personal exhibitions in Barcelona, in galleries such as Augusta, Layetanas, Ars, etc., among them the one he held of Pyrenean landscapes in 1948, and the one of large canvases of Mallorcan landscapes that he presented in 1949. Although the landscape was always the center of his production, Tarrassó also made works such as the mural decoration of the church of Santa Maria de Badalona. In Mallorca he also carried out a singular undertaking, planting his easel in the Caves of Campanet to capture the stalactites and stalagmites of its stony cavities, developing a series of works that he presented at the Galerías Costa de Palma in October 1948. Throughout his career Tarrassó was awarded the Pollença Prize at the 1st International Painting Competition in 1962; the Santiago Rusiñol Prize in 1972; and the medals obtained in various editions of the Autumn Salons of Palma de Mallorca: first prize in 1967 and 1973, and honorary prize in 1970. Tarrassó's work is characterized by the great personality of his coloring. His obsession for chromatism determines a deeply sensorial, vitalist and intuitive painting. He is represented in various national and international private collections, as well as in the Museum and Artistic Fund of Porreras (Mallorca) and the Museum of Modern and Contemporary Art of Palma.

Estim. 250 - 300 EUR

CAMILO JOSÉ CELA (Iria Flavia, A Coruña, 1916 - Madrid, 2002) and RAFAEL ZABALETA (Quesada, Jaén, 1907-1960). "El Solitario y los Sueños de Quesada", illustrated by Rafael Zabaleta. 1963. Copy 170/299. Printer: Editorial Papeles de Son Armadans. Prince Don Juan Manuel Collection of C. J.C.'s Works. - III, Palma de Mallorca. Signed by Camilo José Cela. All leaves have watermark by R. Zabaleta. Measurements; 35.5 x 45 x 2.5 cm (book); 37 x 46 x 3 cm (box). Edition of "El solitario", by Cela, and "Los sueños de Quesada", by Zabaleta, belonging to the Príncipe Juan Manuel collection of Obras de Camilo José Cela, nº III, published in 1963 in Palma de Mallorca. Print run of 299 copies on paper specially made by L. Guarro Casas, with the artist's signature in watermark, numbered to press and signed by Cela.

Estim. 10 000 - 12 000 EUR

Majorcan school, circle of MIQUEL BESTARD (Palma de Mallorca, 1592 - 1633); second half of the 17th century. "The Martyrdom of Blessed Ramon Llull". Oil on canvas. It conserves its period frame. Measurements: 85 x 210 cm. In this landscape scene the author presents us with a numerous group of characters who are arranged to the sides of a saint situated in the centre of the scene, whose black clothes on the lighter tones used by the painter, show the preponderance of this figure. The artist accentuates the drama and commotion of the scene, which is clearly Flemish in origin, with a large number of figures, each captured individually, some of them showing forced foreshortening and exaggerated counterposts. Furthermore, the construction of the space in depth helps to enhance the dynamism that the author achieves in the foregrounds. The scene in general is treated with a descriptive and highly narrative language, typical of Bestard. Iconographically, the work depicts the martyrdom of Ramon Llull (c. 1232 - 1315/1316), who was a philosopher, theologian, poet, missionary and Christian apologist from the Kingdom of Mallorca. He invented a philosophical system known as the Art, conceived as a kind of universal logic to demonstrate the truth of Christian doctrine to interlocutors of all religions and nationalities. The Art consists of a set of general principles and combinatorial operations. In 1314, at the age of 82, Llull travelled again to Tunis, possibly motivated by correspondence between King James II of Aragon and al-Lihyani, the Hafsid caliph, indicating that the caliph wished to convert to Christianity. Although Llull had encountered difficulties during his previous visits to North Africa, this time he was allowed to operate without interference from the authorities due to improved relations between Tunisia and Aragon. The circumstances of his death remain unknown. He probably died sometime between then and March 1316, either in Tunis, on the ship on the return voyage, or in Mallorca on his return. From its formal characteristics we can attribute this work to Miquel Bestard, a Mallorcan painter trained in the Mannerist tradition and active in the early Baroque. His production can be grouped into two distinct blocks: religious painting on the one hand, executed for different Mallorcan churches and convents, and profane motifs on the other, which include views of Mallorca from the port, the fires of Troy and naval battles. The latter are large works, and earned the artist the nickname of "the mad painter" due to the fantasy and extravagance of his landscapes. He also produced works related to the figure of Ramon Llull, such as "Scenes from the life of Ramon Llull" (private collection), "Stoning of Ramon Llull" (Sant Francesc church, Palma), "Ramon Llull at the Council of Vienne" (idem) and "Ramon Llull" (Col-legi de la Sapiència, Palma). Within his religious production, his canvases dedicated to the Inmaculada de Can Vivot and the churches of Monti-Sion, Sant Francesc and San Alonso Rodríguez (Palma) are particularly noteworthy. On occasions, Bestard combined religious themes with landscape painting, generally in works of considerable size, including paintings such as "Martyrdom of Saints" (private collection, Palma) and "Mythological Fable" (idem). Bestard was, despite his early death, a successful painter, with abundant and ambitious commissions, as can be deduced from his use of monumental formats, and hence he was able to devote himself freely to such a varied subject matter, which included landscape and mythology as well as the religious themes typical of the period. He was even known outside Mallorca, as evidenced by several commissions from Catalonia. Property inventories of the period confirm that there were many works by his hand in Mallorca, probably part of a serial production that the painter easily sold.

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