JOSE MIGUEL PARDO ORTIZ Astorga (1936) "Still life", 1971
Oil on panel Signed an…

Description

JOSE MIGUEL PARDO ORTIZ Astorga (1936) "Still life", 1971 Oil on panel Signed and dated in the lower right corner Measurements: 81 x 100 cm

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JOSE MIGUEL PARDO ORTIZ Astorga (1936) "Still life", 1971 Oil on panel Signed and dated in the lower right corner Measurements: 81 x 100 cm

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Estim. 800 - 1 200 EUR

Miguel Ortiz Berrocal, "Otto" and "Ottra" 1987, signed on the base, copyright mark, numbered 691/999, lettering venturi arte and Die Galerie, bronze, each asymmetrically composed torsos in several parts, one male and one female torso, on dark patinated bronze bases, slight signs of age, h torsos 9 cm each, h total 12.5 cm each. 1987, signed on the base, copyright mark, numbered 691/999, lettering venturi arte and Die Galerie, bronze, each asymmetrically composed torsos in several parts, one male and one female torso, on dark patinated bronze bases, slight signs of age, h torsos 9 cm each, h total 12.5 cm each. Artist info: Spanish sculptor (1933 in Algaidas, province of Málaga, Andalusia until 2006 Antequera, Spain), known for his abstract puzzle sculptures of various formats, which can usually be divided into many equally abstract parts and often also contain jewellery, studied architecture in Madrid, attended the Academia de Bellas Artes de San Fernando, the Escuela de Artes Graficas and the evening school Escuela de Artes y Oficios, was very interested in analytical geometry, exhibited worldwide and practised his art until his sudden death. Source: Internet.

Estim. 250 - 300 EUR

CAMILO JOSÉ CELA (Iria Flavia, A Coruña, 1916 - Madrid, 2002). "The family of Pascual Duarte", 1964. With forty-one woods chosen by Jaume Pla. Copy 33/210. Printer: Editorial Papeles de Son Armadans. Prince Don Juan Manuel Collection of Works of C. J.C.-IV- Palma de Mallorca. Measurements: 35,5 x 25,5 cm. Camilo José Cela was a writer, novelist, journalist and member of the Royal Spanish Academy. He was born in the parish of Iria Flavia, in the province of La Coruña. In 1925 his family moved to Madrid and, years later, in 1934, he entered the Faculty of Medicine at the Complutense University. However, the Contemporary Literature classes taught by the poet Pedro Salinas, which he attended as a listener, provoked in him a change of direction towards his literary vocation. His first work was a book of poems entitled "Pisando la dudosa luz del día", published in the middle of the Civil War. In 1940 he resumed his literary work and two years later published his first novel, "La familia de Pascual Duarte". Since then, he wrote more than a dozen novels, as well as numerous short stories, fables, short novels and articles for newspapers and magazines. Among his novels are "La colmena" (1951), "El molino de viento" (1956), "San Camilo 1936" (1969), "Cristo versus Arizona" (1988) and "Madera de boj" (1999). Cela also cultivated poetry and published, among other titles, "El monasterio y las palabras" (1945), "Cancionero de la Alcarria" (1948), "Tres poemas gallegos" (1957) and "Reloj de arena, reloj de sol, reloj de sangre" (1989). He also wrote three plays: "María Sabina" (1967), "Homenaje a El Bosco I. El carro del heno o el inventor de la guitarra" (1969) and "Homenaje a El Bosco II. The extraction of the stone of madness or the invention of the garrote (1999)". Cela received notable distinctions throughout his career, such as the Prince of Asturias Award for Literature (1987), the Nobel Prize for Literature (1989) and the Miguel de Cervantes Award (1995).

Estim. 250 - 300 EUR

CAMILO JOSÉ CELA (Iria Flavia, A Coruña, 1916 - Madrid, 2002). "Chronicle of the Cipote de Archidona", 1977. Illustrations by Lorenzo Goñi with 4 etchings. Copy 210/250. The etchings are signed and justified in pencil. It has a hessian binding. Printer: Gisa Ediciones, Madrid. Measurements: 36 x 27 x 2 cm (book). Camilo José Cela was a writer, novelist, journalist and member of the Royal Spanish Academy. He was born in the parish of Iria Flavia, in the province of La Coruña. In 1925 his family moved to Madrid and, years later, in 1934, he entered the Faculty of Medicine at the Complutense University. However, the Contemporary Literature classes taught by the poet Pedro Salinas, which he attended as a listener, provoked in him a change of direction towards his literary vocation. His first work was a book of poems entitled "Pisando la dudosa luz del día", published in the middle of the Civil War. In 1940 he resumed his literary work and two years later published his first novel, "La familia de Pascual Duarte". Since then, he wrote more than a dozen novels, as well as numerous short stories, fables, short novels and articles for newspapers and magazines. Among his novels are "La colmena" (1951), "El molino de viento" (1956), "San Camilo 1936" (1969), "Cristo versus Arizona" (1988) and "Madera de boj" (1999). Cela also cultivated poetry and published, among other titles, "El monasterio y las palabras" (1945), "Cancionero de la Alcarria" (1948), "Tres poemas gallegos" (1957) and "Reloj de arena, reloj de sol, reloj de sangre" (1989). He also wrote three plays: "María Sabina" (1967), "Homenaje a El Bosco I. El carro del heno o el inventor de la guitarra" (1969) and "Homenaje a El Bosco II. The extraction of the stone of madness or the invention of the garrote (1999)". Cela received notable distinctions throughout his career, such as the Prince of Asturias Award for Literature (1987), the Nobel Prize for Literature (1989) and the Miguel de Cervantes Award (1995).

Estim. 55 000 - 60 000 EUR

GIL DE ENCINAS (Zamora, active late 15th-early 16th century). "Saint Bartholomew, Saint Jerome, Saint Sebastian and Saint Catherine". Set of four panel paintings. It will be accompanied by a report issued by Dr. Irune Fiz Fuertes, a specialist in 16th century Zamora painting. Provenance: - Pellisson Collection. On a label attached to the frame of the panels, handwritten inscription in blue ink: Mr George Pelisson. Each panel has a number which may correspond to the sales catalogue of this collection. All these works belonged to the same large altarpiece of which the elements of the predella undoubtedly formed part. Exportable. They show repainting and treated xylophages. With lack of polychromy and flaws in the wood of some of the frames. Some parts of the frames have been restored. The frames are made of gilded wood and have inscriptions in classical letters drawn in sgraffito on the background in gold leaf. Measurements: 58 x 43 cm; 72 x 52 cm (frame). This exceptional set of four panels attributed to Gil de Encinas represents each saint standing in front of a low wall decorated with a portico. Each image opens onto a lake or mountain landscape and is recognisable by its physical type or attributes, described according to Jacques de Voragine's Golden Legend: the knife and the devil in chains for Saint Bartholomew, the cardinal's habit and lion for Saint Jerome, the arrows of Saint Sebastian's martyrdom and the princess's diadem, the wheel and sword of Saint Catherine's martyrdom. The upper part of each panel is adorned with an ornamental arch surrounding the figures, carved in gilded wood and decorated with tracery that tops the image of each saint. Scholars of the artist link Gil de Encinas, a painter from Zamora whose biography is scarcely known, with the prolific school of the Master of Astorga, especially with his production in Zamora. The Master of Astorga is considered one of the leading artists of Renaissance Castile. It is true that not much biographical information is known about the artist, so that his name is unknown, although he was active in León at the beginning of the 16th century. He painted the Altarpiece of Saint Michael in Astorga cathedral, the Nativity of Christ with Saint Dominic and Saint Lawrence and the History of Saint James in the collection of the Museo Lázaro Galdiano and the five panels in the collection of the Museo del Prado in Madrid. The panel of the Nativity with Saint Dominic and Saint Lawrence (Madrid, Museo Lázaro Galdiano) is particularly noteworthy as a valid point of comparison. There seems to be an eloquent comparison with the Nativity, an element of the Torre de Luzea triptych (Zarauz, Guipúzcoa, Banco Hispano Americano) by the Master of Zamora or working in the first third of the 16th century, where we find numerous points in common: the same setting, the same situation of the figures within the architecture and landscape, identical oblong and well-characterised faces of the figures and similar treatment of the clothing.

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