MARSILLACH CODONY, JOAQUÍN (1905 - 1986)
Oil on canvas. Signed in the lower righ…

Description

MARSILLACH CODONY, JOAQUÍN (1905 - 1986) Oil on canvas. Signed in the lower right corner. 53x72cm

277

MARSILLACH CODONY, JOAQUÍN (1905 - 1986) Oil on canvas. Signed in the lower right corner. 53x72cm

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Estim. 20 - 40 EUR

Lot of 20 studies on Balzac: Barbéris, Mythes balzaciens. Paris, Colin, 1972. Chul Lee, Les scènes de la vie de campagne d'Honoré de Balzac. ANRT diffusion, 1995. Noahisa Usa, La Madone dans l'oeuvre d'Honoré de Balzac. ANRT Diffusion, 1996. Baron, Balzac occulte. L'âge d'homme, 2012. With dispatch from the author. Boussel, Les restaurants dans la comédie humaine. La Tournelle, 1950. Gillot, Balzac d'après sa correspondance avec l'Etrangère. Grenoble, Aubert, 1924. Houssa, Balzac and Colette. Extract from Revue d'histoire littéraire de la France, 1960. La Rabouilleuse with a preface by Bouteron. Boivin, sd. Gadenne, Trois préfaces à Balzac. Le temps qu'il fait, 1992. On fine paper. Didi-Huberman, La peinture incarnée followed by Le chef-d'oeuvre inconnu. Editions de Minuit, 1985. Kempf, Balzac Baudelaire Barbey d'aurevilly - sur le dandysme. Collection 10/18 Honoré de Balzac - A Paris. Editions complexe, 1993. Preface by Caillois. Barthes, S/Z. Editions du Seuil. Savant, Le vrai Vidocq. Hachette, 1957. Le Père Goriot, text and contexts. Magnard, 1986. Brunetière, Honoré de Balzac. Sd (Nelson editions). Bozzi, Balzac et les médecins dans la Comédie humaine. 1932. Yücel, Figures and messages in La Comédie humaine. 1972. Vacarie, La vertueuse faillite de César Birotteau. 1928. Honoré de Balzac, literary criticism. 1912. Lot of 7 books: Balzac en sa Touraine. CLD Normand & Cie, 1975. Unique edition of 1,200 numbered copies, full publisher's cloth, dust jacket. René Guise, Balzac - 1 la société. Hatier, 1972. René Guise, Balzac - 2 l'individu. Hatier, 1973. Balzac, Une ténébreuse affaire. Presses pocket, 1993. Commentary by Gérard Gengembre. Balzac, monographie de la presse parisienne. Paris, Pauvert, 1965. Jean Forest, Des femmes de Balzac. Universités de Montréal et Sherbrooke, 1984. Honoré de Balzac, mémoire de la critique. Paris-Sorbonne, 1999. Prefaces and notes by Stéphane Vachon. Lot of 12 books: G Jacques, "Le doigt de Dieu" by Honoré de Balzac. Louvain, 1970. L Frary, Selon Balzac. Paris, Nilsson, sd [imp. Arrault à Tours]. Half-percaline. Kurt Sulger, La cousine Bette, essay on Honoré de Balzac. Zurich, Ruegg, 1940. Franco Simone, Un romanzo esemplare di Balzac: Les Paysans. Firenze, Olschki, 1956. P Louis, Les types sociaux chez Balzac et Zola. Paris, éditeurs associés, 1925. Notes on Le Père Goriot. Longman York Press, 1984. G Gengembre, Honoré de Balzac, Le Lys dans la vallée. PUF, 1994. E Deschanel, Le mal qu'on a dit des femmes. Paris, Levy, 1858. Half-percaline. Prophetic, picturesque and useful almanac (for 1842?). Copy incomplete of the first leaf. Contains "Balzac et la chiromancie" by Adolphe Desbarrolles. L'épée et la plume, exhibition at Château de Saché in 2004. Set of 7 volumes: Autour du chef d'oeuvre inconnu de Balzac. Ecole nationale supérieure des arts décoratifs, 1985. Rodin's Balzac. Catalog of the exhibition at Saché, 1999. Littérature et société, collection of studies in honor of Bernard Guyon. DDB, 1973. 6 studies on Balzac. Marc Blanchard, La campagne et ses habitants dans l'oeuvre de Balzac. Paris, Champion, 1931. Doctoral thesis. Envoi de l'auteur à "Miss Hollingworth". Histoire véritable de la bossue courageuse [Francis Lacassin]. Ecrits sur le roman, anthology.

Estim. 100 - 200 EUR

Uncle Sam Oil Company Stock Certificate Stock certificate for 1000 shares in the Uncle Sam Oil Company, one page, 10.25 x 8, December 18, 1905, issued to Darius Lucas and signed in ink by the firm's vice president and secretary. Nicely cloth-matted and framed with a plaque to an overall size of 17.5 x 21.5. In fine condition.

Estim. 10 000 - 11 000 EUR

MODEST URGELL INGLADA (Barcelona, 1839 - 1919). "Landscape with village". Oil on canvas. Signed in the lower corner. The frame is damaged. Measurements: 97 x 189 cm; 110 x 200 cm (frame). Modest Urgell privileged landscape formats like the one that occupies us, to overturn in wide skies and villages impregnated with sunset his masterful plastic gifts. The fading sun fades at the edges, but before disappearing completely, it tints the sky with lavender. A village street welcomes black silhouettes of old people returning home. A haystack looms at the side of the road. Urgell's style was unclassifiable, as we see in this evocative sunset, halfway between romantic and impressionist landscape painting. Modest Urgell began his career as a theatrical actor, but the family's prohibition to follow that path led him to devote himself to painting. He studied at the Escuela de La Lonja in Barcelona, where he was a disciple of Ramón Martí Alsina, and later spent some time in Paris, where he met Gustave Courbet and became attached to realism. During the sixties, his works were rejected in the official exhibitions of Madrid and Barcelona. In 1870 he moved to Olot, where he became acquainted with Joaquín Vayreda, creator of the local landscape school. From then on, Urgell decided to devote himself fully to landscape painting. His work would focus on solitary natures and seascapes, often featuring hermitages and cemeteries, marked by a twilight, desolate and mysterious atmosphere. From 1896 he taught landscape painting at the School of Fine Arts of Sant Jordi in Barcelona, being appointed academician in 1902. He was also founder of the Artistic and Literary Society of Catalonia, as well as the Artistic and Archaeological Museum of Girona. He took part in all the editions of the National Exhibition of Fine Arts, in Madrid, from 1864 until a year before his death, and was awarded the second medal in 1876 and 1892. He also sent his paintings to the exhibitions of Barcelona, as well as to the Universal Exhibition of Paris and the International Exhibitions of Munich, Brussels, Berlin, Philadelphia and Chicago. In 1892 he was awarded in all the contests in which he participated, among them the one in Brussels, in which he was the only Spanish winner. He also devoted himself to literature, with a special interest in theater. The sum of his two passions, art and literature, are captured in his album "Catalunya" (1905), made up of more than one hundred drawings accompanied by texts written by himself. His landscapes have an atmosphere, a color and themes that deny the stereotype of the Mediterranean landscape, based on warm and friendly natures, of brilliant chromatism, like windows open to the southern sensuality. His paintings, on the contrary, speak of melancholy and loneliness, and time and again recreate a desolate and sad Catalonia to which, years later, the poet Salvador Espriu would also be sensitive. His language rejects any fanciful or picturesque theme, picking up current issues without trying to ennoble or idealize them, but seeking to provoke moods in the viewer through twilight lights that dissolve, for brief moments, in harmony of reds, or his desolate cemeteries and severe seascapes, naked and stripped. Urgell is represented in the Prado Museum, the National Art Museum of Catalonia, the Maritime Museum of Barcelona, the Kunsthalle of Hamburg, the Víctor Balaguer Museum of Vilanova i la Geltrú, the Art Funds of the Caixa Sabadell and the Caixa d'Estalvis de Terrassa, the Dalí Museum in Figueras and the Provincial Museums of Gerona, Palma de Mallorca and Lugo, among many other centers and institutions.

Estim. 900 - 1 000 EUR

MODEST URGELL INGLADA (Barcelona, 1839 - 1919). "Resting in the countryside". Oil on canvas adhered to board. Signed in the lower right corner. Measurements: 24 x 31 cm; 34 x 41 cm (frame). Modest Urgell began his career as a theatrical actor, but the family prohibition to follow that path led him to devote himself to painting. He studied at the Escuela de La Lonja in Barcelona, where he was a disciple of Ramón Martí Alsina, and later spent some time in Paris, where he met Gustave Courbet and became attached to realism. During the sixties, his works were rejected in the official exhibitions of Madrid and Barcelona. In 1870 he moved to Olot, where he became acquainted with Joaquín Vayreda, creator of the local landscape school. From then on, Urgell decided to devote himself fully to landscape painting. His work will focus on solitary natures and seascapes, often starring hermitages and cemeteries, marked by a twilight, desolate and mysterious atmosphere. From 1896 he taught landscape painting at the School of Fine Arts of Sant Jordi in Barcelona, being appointed academician in 1902. He was also founder of the Artistic and Literary Society of Catalonia, as well as of the Artistic and Archaeological Museum of Girona. He took part in all the editions of the National Exhibition of Fine Arts, in Madrid, from 1864 until a year before his death, and was awarded the second medal in 1876 and 1892. He also sent his paintings to the exhibitions of Barcelona, as well as to the Universal Exhibition of Paris and the International Exhibitions of Munich, Brussels, Berlin, Philadelphia and Chicago. In 1892 he was awarded in all the contests in which he participated, among them the one in Brussels, in which he was the only Spanish winner. He also devoted himself to literature, with a special interest in theater. The sum of his two passions, art and literature, are expressed in his album "Catalunya" (1905), made up of more than one hundred drawings accompanied by texts written by himself. His landscapes have an atmosphere, a color and themes that deny the stereotype of the Mediterranean landscape, based on warm and friendly natures, of brilliant chromatism, like open windows to the southern sensuality. His paintings, on the contrary, speak of melancholy and loneliness, and time and again recreate a desolate and sad Catalonia to which, years later, the poet Salvador Espriu would also be sensitive. His language rejects any fanciful or picturesque theme, picking up current issues without trying to ennoble or idealize them, but seeking to provoke moods in the viewer through twilight lights that dissolve, for brief moments, in harmony of reds, or his desolate cemeteries and severe seascapes, naked and stripped. Urgell is represented in the Prado Museum, the National Art Museum of Catalonia, the Maritime Museum of Barcelona, the Kunsthalle of Hamburg, the Víctor Balaguer Museum of Vilanova i la Geltrú, the Art Funds of the Caixa Sabadell and the Caixa d'Estalvis de Terrassa, the Dalí Museum in Figueras and the Provincial Museums of Girona, Palma de Mallorca and Lugo, among many other centers and institutions.

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