CELSO LAGAR Ciudad Rodrigo (1891) / Seville (1966) "Port of Honfleur".
Oil on pa…

Description

CELSO LAGAR Ciudad Rodrigo (1891) / Seville (1966) "Port of Honfleur". Oil on panel Signed in the lower right corner. Work included in the Lagar archive Measurements: 31 x 41 cm

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CELSO LAGAR Ciudad Rodrigo (1891) / Seville (1966) "Port of Honfleur". Oil on panel Signed in the lower right corner. Work included in the Lagar archive Measurements: 31 x 41 cm

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Cities medals ORVIETO Medal by Girometti 1891 For the Reconstruction of the Cathedral of Orvieto - Opus: Girometti and Bianchi - AG (Ø 56 mm) Rare slab medal NGC MS 62 code 6635546-012. Exceptional patina - MS 62

Estim. 11 000 - 12 000 EUR

ANDRÉS CORTÉS Y AGUILAR (Seville, 1812 - Seville 1879). "Landscapes". Oil on canvas (x2). Preserves original canvas. They present restorations on the pictorial surfaces. They have frames of the XIX century. Signed in the lower right corner. Measurements: 63 x 83,5 cm (x2); 73,5 x 95 cm (frames, x2). Pair of idealized landscapes, with a harmonic composition and a division in several planes. In the center of each of the scenes there is a group of characters with an everyday appearance, dressed in traditional clothes, accompanied by animals. It is clear the relationship of the two works with one of the most important pictorial currents of nineteenth-century Spain as Costumbrismo, specifically the Andalusian current, characterized by a more vivid color than the Madrid, and a different theme (usually prefer to show traditional folk types of this area, with a clear predilection for bandits, following the taste for the "exotic" that had the Europeans who came to Spain or knew this theme by stories and news, often idealized and with a certain "romantic" sense). A painter with a prolific and very personal oeuvre, however, there is little precise information about his life. His father, Antonio Cortés, lived in France and had been a disciple of the landscape and animal painter Constantin Troyon (1810-1865), which undoubtedly must have marked from his first artistic steps, together with his father, the preference of Andrés Cortés for painting landscapes with herds; a genre in which he would become one of the most outstanding specialists of his time, and which defines a good part of his production. Present since 1840 in Seville, where he would live all his life and strengthen his career, he was a professor at the School of Fine Arts and a member of its Academy since 1862, soon achieving fame in the Sevillian artistic circles with his attractive panoramic views of the city populated with figures, for which he is best known today, and which gave him a notable reputation in his time among the clientele of the high society of Seville. Among them, the most famous are undoubtedly his versions of The Seville Fair; the first painted for the Count of Ybarra, promoter of this popular livestock fair, and the other, signed in 1852, which is preserved in the Museum of Fine Arts in Bilbao. Within the same genre, Andrés Cortés painted other Sevillian views of equally ambitious composition, attentive both to the description of buildings and monuments and to that of the types and clothing of the characters that populate them, with a vivid and bright coloring; aspects in which lies much of its appeal, highlighting among them the View of Seville from the Prado de San Sebastián, painted in 1866 (Seville, Javier Benjumea collection). However, most of the artist's best known paintings, and with which he must have maintained his career, due to their easy sale and their decorative picturesqueness, were rural landscapes with herds, almost always sheep or cow huts guided by their shepherds, of which the following are good examples: Camino de la Feria (Seville, Count of Aguiar), Paisaje con pastores y ganado (Palma del Condado, Cepeda Collection), Paisaje de fantasía (Madrid, Fundación Santamarca), and the landscapes with figures in the Carmen Thyssen-Bornemisza Collection. He also painted some discreet portraits, such as those of Nicolás Antonio (Seville, Biblioteca Colombina), signed in 1851; José María Ybarra (Seville, Count of Ybarra), a work from 1854; and that of Rodrigo Ponce de León, Marquis of Cádiz (Seville, City Hall), signed two years later. He was also an interesting type painter, a facet of which El tío Gamboa de Hinojos (private collection), painted in 1857, and El Leñador se cosiéndose la ropa (Seville, private collection) are good examples. We also know of some religious paintings by his hand, such as La caridad de las Hermanas de San Vicente de Paúl (Seville, City Hall; deposited in the Hogar de la Virgen de los Reyes), painted in 1847, and we also know of a large historical canvas painted by Cortés in 1848 representing Guzmán el Bueno arming his son as a knight, which had a certain echo in the Sevillian press of the time and was acquired by the Dukes of Montpensier. Participant in the exhibitions of Fine Arts that were held in the city, in 1858 he was awarded a silver medal for A Country, presenting in 1868 A Cabin. The recognition that he enjoyed in his city filled him with local honors and distinctions, becoming a founding member of the Archaeological Deputation of Seville, president of its Arts class, correspondent of the Royal Academy of Archaeology and Geography of Prince Alfonso and of that of Cordoba, and member of the Academy of Emulation and Promotion, as well as being decorated with several crosses. They present restorations on the pictorial surfaces.

Estim. 1 200 - 1 400 EUR

FRANCISCO HOHENLEITER DE CASTRO (Cadiz, 1889 - Seville, 1968). "Majos". Oil on panel (x2). Signed in the lower right area. Measurements: 31 x 20 cm (x2); 40 x 29 x 3cm (frames, x2). Francisco Hohenleiter began his training in El Puerto de Santa María, and in 1918 he moved to Seville, settling permanently in the city. An elegant, colourful painter, he soon became a leading figure in mural decoration and, above all, in posters, magazine illustration and book illustration. His works combine influences from different styles such as modernism, genre painting and romanticism. Through his posters in the 1920s he reinvented Holy Week in Seville, with works based on the use of colour and decorative lines. As a painter he focused on portraiture, landscape and the depiction of popular types, mainly majos, as well as genre scenes. He also produced nudes, church interiors and still lifes. Throughout his career he showed his work in various Spanish cities and also in Paris, with an outstanding exhibition at the Charpentier gallery in 1932. Francisco Hohenleiter's painting is rooted in that of Jiménez Aranda and García Ramos and is inspired by Goya and Alenza. He became the glosador of romantic Seville, the portraitist of the Andalusia set to music by Albéniz. His work is currently scattered all over Andalusia: murals, posters, hand programmes, etc. Today he is represented in various museums and private collections.

Estim. 9 000 - 10 000 EUR

ALEJO FERNÁNDEZ (Germany?, ca. 1470-Seville, 1545). "Nativity. Oil on panel. Measurements: 47 x 35 cm. The one we present here is a Nativity painted by Alejo Fernández, the most significant painter in Seville in the first decades of the 16th century. In it, the Italian influence can be appreciated, especially significant in the perspective, composed in a rigorous manner. The general drawing of the work, especially in the case of the Virgin, is very precisely drawn and at the same time delicately defined. The colour is equally harmonious. Despite his German origin, Alejo Fernández was the representative of the early Renaissance in Andalusia. According to Pilar Silva Maroto, an art historian specialising in Hispano-Flemish and early Renaissance painting, in her biography in the Museo del Prado, "He remained in Cordoba until 1508, when he moved to Seville with his brother Jorge to work in the cathedral, where he painted the beam of the main altarpiece. His prestige was firmly established in Seville from the outset, and as soon as he arrived in the city he received important commissions, such as the main altarpiece and the altarpiece for the chapel of Santiago in the Charterhouse of Santa María de las Cuevas, which he was commissioned to paint in 1509. Worthy of note are the altarpieces commissioned by the Burgos-born Sancho de Matienzo for Villasana de Mena (Burgos), which were destroyed in 1936, and the one he made for Rodrigo Fernández de Santaella of the Virgen de la Antigua for the chapel of Maese Rodrigo in Seville. From 1520 onwards the works contracted by Alejo Fernández were mostly done in collaboration with the workshop or with other painters, with exceptions such as the Virgin of the Navigators, destined for the Casa de Contratación in Seville (ca. 1531-1536). His style - which combines his Flemish training and his debt to Italian quattrocento art - was maintained in Seville until his death, when other artists who were familiar with Romanesque art, such as Pedro de Campaña, were already gaining ground in the city. He is currently represented in the Prado Museum, the Seville Museum of Fine Arts, the Brussels Museum, the Cordoba Museum of Fine Arts and other important institutions.

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