JULIAN GRAU SANTOS Canfranc, Huesca (1937) "Woman in a garden".
Lithograph on pa…

Description

JULIAN GRAU SANTOS Canfranc, Huesca (1937) "Woman in a garden". Lithograph on paper Numbered "P/A" and signed in pencil at the bottom Measurements: Frame: 54 x 73.5 cm

702

JULIAN GRAU SANTOS Canfranc, Huesca (1937) "Woman in a garden". Lithograph on paper Numbered "P/A" and signed in pencil at the bottom Measurements: Frame: 54 x 73.5 cm

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Estim. 25 - 50 EUR

Valeria Prò Serafini, Attributed to, Interior of the Basilica of Santa Maria in Aracoeli Valeria Prò Serafini, Attributed to, Interior of the Basilica of Santa Maria in Aracoeli 1920 Watercolor on cardboard 28x19 cm, within frame signed and dated lower right

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.

Estim. 20 000 - 25 000 EUR

JUAN DE LA ABADÍA (documented in Aragon in the last third of the 15th century). "Saint John the Baptist led to prison". Oil on wood. Measurements: 111 x 69 cm. In this scene St. John the Baptist is represented entering the prison, a subject little represented that sometimes has a composition similar to that of the Prison of Christ. John the Baptist is depicted with his usual tributes: he is barefoot and covers his body with the characteristic camel's skin. He enters the prison where he was imprisoned by King Herod Antipas. The soldiers exchange impressions among themselves, showing a variety of attitudes towards the event. Spanish painter belonging to the Hispano-Flemish style in Aragon. Documented in Huesca, where he opened his workshop between 1469 and 1498, the date of his death. From 1489 onwards, his son Juan de la Abadía "el Joven" collaborated with him in the workshop and the two of them even contracted the altarpieces of Lastanosa (1490) and San Pedro de Biescas (1493). Gudiol establishes the hypothesis of the Catalan training of Juan de la Abadía "the Elder" and of his collaboration on some altarpieces in Barcelona with Pedro García de Benabarre, with whom the style of Juan de la Abadía "the Elder" shows points of contact, as well as with that of Jaume Huguet. The best known period of his activity corresponds to the last two decades of his life, from which a greater number of documented works are preserved, among them the "altarpieces of Sorripas", of El Salvador de Broto, Huesca (Museum of Zaragoza) or of "Santa Catalina" of the church of La Magdalena in Huesca (very scattered). The "Retablo de Santo Domingo" from the hermitage of Almudévar, Huesca (1490), which served as a starting point for Post in 1941 to designate this painter as Master of Almudévar, a few years before Ricardo del Arco made his identity known in 1945, also dates from those last years. From the earliest documented works in Huesca, such as the "Altarpiece of Santa Quiteria" in the church of the castle of Alquézar, we can see Juan de la Abadía's interest in representing the angular folds of the canvases, which are much harder in his later works, as is the more intense modelling. The painter shows the figures with a somewhat rough character, isolated and strongly modelled, with their realistic faces endowed with great expressiveness. His works are in the Museo del Prado.

Estim. 20 000 - 22 000 EUR

JUAN DE LA ABADÍA (documented in Aragon in the last third of the 15th century). "Saint John the Baptist preaching". Oil on wood. Measurements: 111 x 69 cm. This scene represents Saint John the Baptist preaching in the Palestinian desert. According to the gospel legend, the inhabitants of Judea went to him to listen to him and to be baptised. John the Baptist is depicted with his usual tributes: he is barefoot and covers his body with the characteristic camel's skin. The disciples and listeners exchange impressions among themselves, showing a variety of attitudes to John's words. Spanish painter belonging to the Hispano-Flemish style in Aragon. Documented in Huesca, where he opened his workshop between 1469 and 1498, the date of his death. From 1489 onwards, his son Juan de la Abadía "el Joven" collaborated with him in the workshop and the two of them even contracted the altarpieces of Lastanosa (1490) and San Pedro de Biescas (1493). Gudiol establishes the hypothesis of the Catalan training of Juan de la Abadía "the Elder" and of his collaboration on some altarpieces in Barcelona with Pedro García de Benabarre, with whom the style of Juan de la Abadía "the Elder" shows points of contact, as well as with that of Jaume Huguet. The best known period of his activity corresponds to the last two decades of his life, from which a greater number of documented works are preserved, among them the "Sorripas altarpieces" of El Salvador de Broto, Huesca (Museum of Zaragoza) or the "Santa Catalina" of the church of La Magdalena in Huesca (very scattered). The "Retablo de Santo Domingo" from the hermitage of Almudévar, Huesca (1490), which served as a starting point for Post in 1941 to designate this painter as Master of Almudévar, a few years before Ricardo del Arco made his identity known in 1945, also dates from those last years. From the earliest documented works in Huesca, such as the "Altarpiece of Santa Quiteria" in the church of the castle of Alquézar, we can see Juan de la Abadía's interest in representing the angular folds of the canvases, which are much harder in his later works, as is the more intense modelling. The painter shows the figures with a somewhat rough character, isolated and strongly modelled, with their realistic faces endowed with great expressiveness. His works are in the Museo del Prado.

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