JUAN BAYÓN SALADO BAY SALA - Tielve, Picos de Europa 81x100 cm

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JUAN BAYÓN SALADO BAY SALA - Tielve, Picos de Europa 81x100 cm

42

JUAN BAYÓN SALADO BAY SALA - Tielve, Picos de Europa 81x100 cm

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Estim. 1 000 - 1 200 EUR

JOAN SERRA MELGOSA (Lérida, 1899 - Barcelona, 1970). "Salardú", 1930. Oil on canvas. Signed in the lower left corner. Signed and located on the back. Published in "Juan Serra painter", plate XXII, by Juan Cortés, Edit. Argos. Barcelona, 1942. Measurements: 50 x 66 cm. Joan Serra Melgosa was formed in the School of the Fish market of Barcelona, where he was a disciple of Francesc Labarta. Member of the group The Evolutionists, he exhibits for the first time in 1918. In 1925 he traveled to Madrid, where he became especially interested in El Greco, and two years later he spent a few months in Paris. He was closely linked to the Sala Parés in Barcelona, where he exhibited regularly since 1927. He exhibited in the main Spanish capitals, in addition to participating in exhibitions in Paris, London, Pittsburgh, Buenos Aires, Montevideo and Caracas. His awards include the Barcelona City Council award in 1931 and the Jaume Morera gold medal in 1950. He is represented in the Museum of Contemporary Art of Barcelona and in the Museum of Fine Arts of Lérida.

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.

Starting price 20 EUR

POSTCARDS. DETACHABLE VIEW BOOKS. France: Saint Emilion, Brugnon-Agache, Noirmoutier, Font-Romeu, Vie de Jeanne d'Arc, Bayonne, Belfort, Vichy... (16 like-new notebooks in natural wood case).

Estim. 3 500 - 4 500 EUR

Patent of Nobility of Don Juan Nicolas de Sotomayor y Vallejo and Dona Josepha de Sotomayor y Vallejo, his sister. Manuscript, Spain, Andalusia, Seville, dated 1788-1790. Folio. 315x208 mm. Coeval red morocco binding with gold decorations, on plates, richly inlaid at small irons, elaborate concentric frames and central fleurs, raised 5-nerved spine with ornate gold compartments, marbled paper guard sheets, brass clasps. 7 blank sheets of paper, 3 illuminated vellum sheets, 225 unnumbered papers with the text of the Sotomayor family's patente di nobiltà, 2 illuminated sheets of paper, 10 unnumbered papers with the Vallejo family's patente di nobiltà, 7 blank sheets of paper. Stamped at the beginning and end of the text is the royal round seal with the inscription " Hispaniar Rex. Carolus IV"; at the end of the documents, signatures of the witnesses and figured engraved label of the " Colegio de escrivanos de Sevilla." The illuminated folios, three on vellum at the beginning of the first part, two on paper at the beginning of the second part, depict coats of arms and family trees and are protected by blue silk veils. Slight defects to binding, internally insignificant traces of use, good condition. Beautiful manuscript Patente di Noblesse, with five large miniatures, in magnificent original binding. The work contains the noble titles of two Galician families, Sotomayor and Vallejo, originally from Montrreal de Baiona, established in Seville in the 18th century. The illuminated compositions, ss are : Blason y armas de la ilustre casa de Sotomayor, Sotomayor family tree, Title inscribed in ornate frame, all on parchment ; Blason y armas de la casa del noble apellido de Vallejo, Arbol genologico de las ilustres casas de Don Juan Ignacio Vallejo.The third illuminated sheet of the first part contains the full title: "Copia a la Letra de la Real Carta Executoria de su mag. y ssres [señores] de la R[rea]l Chancilleria de Valladolid. Que obtubo en contradictorio juicio Gonzalo Raxo, hermano entero y lexitimo de Juan Rodriguez Ixoncoso y de Uxxaca Gomez vecinos naturales de la ville de Montereal de Bayona Reyno de Galicia, sextos Abuelos Paternos de Don Juan Nicolas de Sotomaior y Vallexo y Dona Josepha de Sotomaior y Vallexo su Hermana entera, Muger Legitima de Don Francisco de Obiedo y de la Espada Rendon y Saxmiento naturales y vecinos de esta ... Ciudad de Sevilla" Folio. 315x208. Contemporary binding in red morocco with gilt decorations, on the covers, richly inlaid with small tools, elaborate concentric frames and central fleurons, spine with 5 raised ribs with gilt decorated sections, marbled endpapers, brass clasps.7 blank sheets of paper, 3 illuminated parchment sheets, 225 unnumbered leaves with the text of the Sotomayor family Patent of nobility, 2 illuminated leaves of paper, 10 unnumbered leaves with the Vallejo family Patent of nobility, 7 blank sheets of paper. At the beginning and at the end of the text is stamped the round royal seal with the inscription " Hispaniar Rex. Carolus IV"; at the end of the documents, signatures of the witnesses and figurative engraved label of the "Colegio de escrivanos de Sevilla." The illuminated sheets, three on parchment at the beginning of the first part, two on paper at the beginning of the second part, depict coats of arms and family trees and are protected by blue silk tissue paper.Slight defects on the binding, internally insignificant signs of wear, good specimen. Beautiful handwritten License of Nobility, with five large miniatures, in a magnificent original binding. The work contains the noble titles of two Galician families, Sotomayor and Vallejo, originally from Montrreal de Baiona, who settled in Seville in the 18th century. The illuminated compositions are: Blason y armas de la illustrio casa de Sotomayor, Sotomayor family tree, Title inscribed in an ornate frame, all on parchment; Blason y armas de la casa del noble apellido de Vallejo, Arbol genologico de las illustres casas de Don Juan Ignacio Vallejo.The third illuminated folio of the first part contains the complete title: "Copia a la Letra de la Real Carta Executoria de su mag. y ssres [señores] de la R[rea]l Chancilleria de Valladolid. Que obtubo in contradictorio juicio Gonzalo Raxo, hermano entireo y lexitimo de Juan Rodriguez Ixoncoso y de Uxxaca Gomez natural vecinos de la ville de Montereal de Bayona Reyno de Galicia, sextos Abuelos Paternos de Don Juan Nicolas de Sotomaior y Vallexo y Dona Josepha de Sotomaior y Vallexo su Hermana entera, Muger Legitima de Don Francisco de Obiedo y de la Espada Rendon y Saxmiento naturales y vecinos de esta ... Ciudad de Sevilla."

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