RAFAEL RUIZ BALERDI BALERDI - Composition 273 165x110 cm This work appears in th…

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RAFAEL RUIZ BALERDI BALERDI - Composition 273 165x110 cm This work appears in the Catalogue Raisonné of Javier Viar. It was the cover of the catalog of the exhibition Así pinta.... Rafael Ruiz Balerdi in the San Prudencio Hall of Vitoria-Gasteiz, 1985.

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RAFAEL RUIZ BALERDI BALERDI - Composition 273 165x110 cm This work appears in the Catalogue Raisonné of Javier Viar. It was the cover of the catalog of the exhibition Así pinta.... Rafael Ruiz Balerdi in the San Prudencio Hall of Vitoria-Gasteiz, 1985.

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Estim. 2 200 - 2 500 EUR

ARMANDO CARDONA TORRANDELL (Barcelona, 1928 - Sant Pere de Ribes, Barcelona, 1995). Untitled, 1957. Acrylic on board. Signed and dated on the back. Measurements: 38x 46 cm; 43 x 51 cm (frame). Cardona Torrandell began his training in the humanities, to later delve into painting. His work, plastic testimony of the current world, is characterized by variegated compositions, full of human faces, calligraphic elements and inscriptions, which define his personal iconography. He organized his work in cycles: "Retablos de la gente" (1956), "Barcas" (1956), "Máquinas" (1957), "Paisajes Concretos" (1960), "Universo concentracional" (1965), "Numancia" (1972), "Naufragios" (1979), etc. He also dedicated some tribute works to Sartre, Antonio Machado, Ungaretti and Lluís Companys. In 1965 he did the scenography for "Ronda de muerte a Sinera", by Espriu-Salvat, and the following year for "La buena persona de Sezuan", by Brecth. He also collaborated with the Sitges Theater Festival. He was associated with the Parpalló Group, and was part of Crónica de la Realidad and Intrarealismo. In 1971 he was awarded the Ynglada-Guillot drawing prize. Cardona Torrandell is currently represented in the Victor Balaguer Museum in Vilanova i la Geltrú, the Vila Casas Foundation, the Rafael Zabaleta Museum and other public and private collections.

Estim. 1 500 - 1 800 EUR

FERNANDO CARRERA (Alcoy, 1866-1937). "Landscape. Oil on canvas. Signed in the lower right corner. It has some flaws in the golden frame. Measurements: 39 x 47 cm; 54 x 61 cm (frame). In this composition, the author offers a partial view of a leafy landscape framed by the whitewashed pilasters of a patio. The earthy colors in the shade of the covered veranda contrast with the emerald greens of the treetops and the lime green of the undergrowth. Flowering vines hang like a canopy from the roof. The meadow escapes into a bright blue spring sky. The human absence emphasizes the poetic charge of the landscape. Fernando Cabrera Cantó was a Spanish painter and sculptor. He began his artistic training at the Royal Academy of Fine Arts of San Carlos in Valencia, where he was a disciple of the Alcoyano painter Lorenzo Casanova Ruiz, completed them in Madrid with Casto Plasencia and in Italy, a country to which he was able to travel thanks to a pension granted by the Provincial Council of Alicante. He collaborated with the architect Vicente Pascual Pastor in the decoration of the Casa del Pavo, one of the most outstanding works of modernism in Alcoy. In the back of this building he located his painting studio. In the National Exhibition of Fine Arts in 1890 he won the silver medal with a canvas entitled Orphans, and in the one held in 1906 he won the gold medal with the work Al abismo (To the abyss). His work is very influenced by the nineteenth century, mainly by the painters Mariano Fortuny, Ignacio Pinazo Camarlench and Eduardo Rosales, with modernist connections. His work is preserved in the Museum of Fine Arts in Valencia.

Estim. 2 000 - 2 500 EUR

Italian school of the first half of the 19th century. After RAFAEL SANZIO (Italy, 1483 - 1520). "The Holy Family of Francis I/The Large Holy Family". Oil on canvas. Measurements: 104 x 137 cm; 122 x 150 cm (frame). This work is a faithful continuation of the one painted by Raphael Sanzio in 1518, an oil on panel transferred to canvas now in the Louvre Museum in Paris. Raphael depicted in this canvas the Holy Family accompanied by St. John the Baptist as a child and his mother, St. Elizabeth. The placement of the different figures reflects the hierarchy of the characters in this iconography. Thus, we see St. Joseph behind almost hidden in the shadows, while the two women and the two children remain in the foreground, directly illuminated. These four figures form a typically Raphaelesque pyramidal scheme, much imitated by his followers, clearly classical, which anchors the composition and balances it. In addition, this scheme serves to focus attention on the two main characters: Jesus and Mary. Regarding the subject matter, the iconography that introduces the figure of St. John the Baptist in scenes of the Holy Family or Mary with the Child is not only due to the saint's condition as a relative of Jesus, but also has a theological meaning. These images present St. John the Baptist as a prophet who announces the redemptive mission of Christ, and that is why, despite the fact that he is represented as a child, before his retreat to the desert, he appears with the skin of a lamb or camel and, generally, accompanied by the usual iconographic attributes in his images, which allude to the Passion of Christ. However, unlike what happens in other paintings, both by Raphael and other authors, here the children appear oblivious to the dramatic fate of Jesus. Only the two women show a certain pain contained in their expressions that lets us guess the sorrow with which they contemplate the children's games.

Estim. 100 - 150 EUR

Giuseppe CANTARELLI (18th c.) San Apollinare consacrato da san Pietro, da Ercole Graziani (Saint Apollinaire consecrated by Saint Peter 1739, after Graziani) Copper engraving. Nice proof on laid paper, cut at the edge of the composition. H. 58 cm - L. 37 cm Slight dusting on the recto in the unengraved corners of the print. Attached: -Two large engravings by Audran after Le Dominiquin and Le Sueur, a massacre scene and a martyrdom scene H. 72 cm - L. 43 cm Upper and lower margins completely faded, tears, wetness, foxing. - La Vierge apparaissant à Saint Gérôme, by Olivier Galimard after de Troy, fine proof on laid paper despite heavy dusting -The Virgin, Jesus and John the Baptist after Raphael (defects) -A plate of the Education of the Virgin with Saint Anne and Mary reading with two putti (proof cut at the border of the composition)

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