GRAU SANTOS, JULIÁN (1937)
Lot consisting of two ink drawings on cardboard. Both…

Description

GRAU SANTOS, JULIÁN (1937) Lot consisting of two ink drawings on cardboard. Both signed and dated (79 and 81). One of them dedicated to the back. 11.5 x 18.5cm and 16 x 10.5cm

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GRAU SANTOS, JULIÁN (1937) Lot consisting of two ink drawings on cardboard. Both signed and dated (79 and 81). One of them dedicated to the back. 11.5 x 18.5cm and 16 x 10.5cm

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Estim. 80 - 120 EUR

Josef Burger, "Julische Alpen" Mountain lake with rocky shore against the imposing backdrop of the Julian Alps, impasto landscape study with characterful application of colour, oil on textured cardboard, mid-20th century, signed "J. Burger" lower right and with annotation concealed by the framing, on the reverse illegibly titled in lead "Julische Alpen" and on label with detailed annotations on the work and artist, on the stretcher further illegible annotations in lead, minor retouching in the upper centre of the picture in the area of the sky and on a mountain, on the reverse the painting support backed in one place, framed in magnificent stucco moulding, rebate dimensions approx. 60 x 80 cm. Artist information: German landscape and flower painter (1887 Munich to 1966 Munich), also active as a restorer, pupil of Leo Putz, from 1937 onwards he organised exhibitions at the Munich Haus der Kunst, member of the "Feldgrauer Künstlerbund" and the Munich artists' cooperative, active in Munich, source: Vollmer, Dressler and Internet.

Estim. 150 - 200 EUR

PUGIN (Auguste) & WILSON (E. J.). Examples of Gothic Architecture; Selected From Various Antient Edifices in England, Consisting of Plans, Elevations, Sections, and Parts at Large; Calculated to Exemplify the Various Styles and the Practical Construction of this Admired Class of Architecture [...] Second edition, with corrected plates. London, Henry G. Bohn, 1838-1840. 3 vols. in-4, brown half-maroquin with corners, ornate ribbed spine, gilt title and tomaison, date on tail (rel. post.). xviii, 66 pp. and 75 engraved plates (some in color); xxiv, 63 pp. and 73 engraved plates; xvii, 93 pp. and 76 engraved plates. Second edition illustrated with 223 plates. Minor foxing, paper very slightly browned, otherwise a very fine copy. Engraved bookplate of the Duke and Duchess of La Rochefoucauld with wet stamp of the Roche Guyon library.

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.

[LOT OF 2 BOOKS ON FAIENCES] - HAUG (Hans)-Les faïences et porcelaines de Strasbourg. Gyss, 1979, publisher's hardback. FIOCCO-GHERARDI-SFEIR-FAKHRI-Majoliques italiennes du musée des arts décoratifs de Lyon. Faton, 2001, publisher's binding with dust jacket.

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