José Llull Cantó (Valencia, 1933)
When the priest is not there.
Oil on canvas. …

Description

José Llull Cantó (Valencia, 1933) When the priest is not there. Oil on canvas. Signed. Titled, signed and dated 2006 on the back. 65 x 54 cm.

1084

José Llull Cantó (Valencia, 1933) When the priest is not there. Oil on canvas. Signed. Titled, signed and dated 2006 on the back. 65 x 54 cm.

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Jules Jacques Veyrassat (1828-1893). Set of 3 engravings. -Le goûter des moissonneurs. -Scene of plowing, on Japon paper, dry stamp. -Promenade du curé.

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JOSÉ PÉREZ SANLEÓN (Catarroja, Valencia, 1953). Untitled, 1999. Oil on aluminium. Provenance: Important Spanish Collection. Size: 27 x 41 cm. Over the years, the work of José Pérez has undergone an evolution from lyrical abstraction to conceptual art. In his most recent works, in which we can see a greater intervention of chance, he uses new materials, such as iron sheets. With a style that shows a great predilection for colour and finishes on the support, his expressionist gesture stands out, profuse and rich in material, often applied to figurative themes. One of the most important abstract artists in the renewal of the Valencian and Spanish art scene in the eighties, José Sanleón began his career in the seventies, and in 1978 and 1979 he was one of the first winners of the Bancaja Painting Prize, in what was then known as the Salón de Primavera (Spring Salon). That same year, 1979, he took part in the exhibition "Perspectiva 80", and in 1986 he was part of the group exhibition "Plástica valenciana contemporánea". That same year he held an outstanding exhibition in Paris, at the Antiope France gallery, and in 1995 he exhibited at the Valencian gallery Parpalló. Mainly a painter but also a sculptor, Sanleón has carried out projects in the latter field, such as the sculptural installation at the main entrance to the Lauria building in Valencia (2008). In 2007 he was the subject of a major retrospective exhibition at the IVAM in Valencia, an institution that will devote another exhibition to him in 2010. Two years later, in 2012, the Bancaja Foundation held an extensive exhibition of his recent work. Sanleón is currently represented in the IVAM in Valencia, the Bancaja Foundation, the Argentaria and other collections, both public and private.

Estim. 8 000 - 10 000 EUR

JOSÉ BENLLIURE GIL (Valencia, 1855 - 1937). "Exit of mass". Oil on panel. Signed in the lower right corner. Measurements: 68 x 57 cm; 90 x 82 cm (frame). José Benlliure began his artistic studies with Francisco Domingo in Valencia, and then continued his training in Madrid, where he settled in 1869. From an early age he enjoyed the patronage of the King of Savoy and in 1879 he moved to Rome, where he was discovered by the important art dealer Martin Colnaghi, who financed his studies in the city. In 1897 he made several trips to Tangier, Algeria and Morocco where he approached through a realistic, luminous and loose painting to the daily world of the places visited. From 1900 onwards his work depicts popular themes. He took part in the National Exhibitions of Fine Arts, obtaining third medals in the editions of 1876 and 1878 and first in the one of 1887. He belonged to the Academies of San Fernando (Madrid), San Lucas (Rome), San Carlos (Valencia), Brera (Milan) and Munich. Between 1904 and 1912 he directed the Spanish Academy in Rome. The most important part of his production is preserved in Valencia, in his House Museum and in the Museum of Fine Arts San Pío V. He is also represented in the Prado Museum, the Thyssen-Bornemisza and the Palace of Charles V in Granada, among others.

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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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