Pere Navarro Escuder (Barcelona, fles. Of s.XIX-ppios. Of s.XX)
Landscape with …

Description

Pere Navarro Escuder (Barcelona, fles. of s.XIX-ppios. of s.XX) Landscape with figure. Pere Navarro Escuder (Barcelona, fles. of the XIX century-ppios. of the XX century) Landscape with figure. Oil on canvas. Signed. 59,5 x 100 cm. Presents damage.

218

Pere Navarro Escuder (Barcelona, fles. of s.XIX-ppios. of s.

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Estim. 1 500 - 2 000 EUR

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983). "Homage to Gaudí". Attached book of studies and art book with reproductions of the 21 engravings that Joan Miró made in his Homage to Gaudí, with texts created by Pere Gimferrer. Limited edition, copy 981/998. Unique edition Editorial Planeta. In wooden case. Measurements: 50 x 70 cm (art book); 27 x 37,5 cm (study book); 56 x 76 x 8 cm (case) 86 x 69 x 16 cm (box). The reproduction, 80% of the original, has been made from the collection deposited at the Fundació Joan Miró in Barcelona. The reproductions have been printed on Fedrigoni Stucco Tintoretto paper of 220 g, and glued by hand on black cardboard Tintoretto Ceylon Black Pepper of 200 g.Limited edition of 998 copies, numbered from I to X the first ten and from 1 to 988 the remaining ones, according to the notarial deed.Joan Miró is formed in Barcelona, and debuts individually in 1918, in the Dalmau Galleries. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of surrealist poets and painters, he matures his style; he tries to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris, in 1928, was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum dedicated a retrospective to him that would be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes of the Venice Biennale and the Guggenheim Foundation, the Carnegie Prize for Painting, the Gold Medals of the Generalitat de Catalunya and the Fine Arts, and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, as well as at the Thyssen-Bornemisza Museum, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

Estim. 8 000 - 10 000 EUR

PERE PRUNA OCERANS (Barcelona, 1904 - 1977). "Female nude", 1956. Oil on canvas. Signed and dated in the lower right corner. Measurements: 115 x 86 cm; 126 x 97 cm (frame). A young woman of stylized figure leans on the railing with one hand while with the other she holds a transparent veil that covers her head. Behind her, a landscape opens up with a first line of tall cypress trees between whose long canopies a country house can be seen. The girl responds to the prototype of the melancholic and fragile woman, mysterious and subtle in her movements, which Pere Pruna forged by placing his female models in calm settings, charged with metaphysical resonances. Pruna focused on the portrait and the female figure, endowing it with elegance and delicacy. This painting is in tune with the return to order championed by the avant-garde (including Picasso) in the thirties and forties, after the cubist and fauve period. In fact, Cocteau, a great friend of Pruna's, was one of the promoters of this return to classicism, in which Pruna would find his most authentic expression in the following decades. This canvas takes us into a suggestive, sensual and intimate atmosphere. A mainly self-taught artist, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he traveled to Paris in 1921, where he was helped and guided by Picasso. In the French capital he held a successful solo exhibition at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also proposed him to create the sets and costumes for the ballet "Les matelots" in 1925. Since then he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he obtained the second absolute prize in the exhibition of the Carnegie Institute of Pittsburg and later, on his return to Barcelona, he obtained other awards such as the competition "Montserrat seen by the Catalan artists" (1931) or the Nonell Prize (1936). The latter was surrounded by controversy, because Pruna obtained it for his oil painting "El vi de Chios", for which he used as a model a photograph published in a Parisian pornographic magazine. In view of the commotion caused, Pruna renounced the prize, but the jury ratified its decision. Following the outbreak of the Civil War, Pruna settled in Paris and continued his international exhibition activity, with an exhibition organized in London in 1937. At the same time he worked for Ridruejo's propaganda services, with works such as the poster commemorating the promulgation of the Labor Force, and Eugenio d'Ors, National Head of Fine Arts, introduced him to the Spanish representation at the Venice Biennale in 1938. After the war he combined easel painting exhibitions with mural painting, a genre in which his work in the Monastery of Montserrat was especially celebrated. In 1965 he won the City of Barcelona award, and three years later he was named academician of the Far de Sant Cristòfor. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space with his name, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.

Estim. 6 000 - 7 000 EUR

JULIO BORRELL PLA (Barcelona, 1877 - 1957). "The letter". Oil on canvas. Signed in the lower corner. Measurements: 181 x 103 cm. Two young women read a letter. The emotion is revealed in their pearly smiles and in the brightness of their eyes. Julio Borrell captures with ingenuity the vivacity of the expressions and describes with skill the pleats and laces of the folkloric garments. Son and disciple of Pere Borrell del Caso, Julio Borrell was trained at the School of Fine Arts of Sant Jordi in Barcelona. From his father he was influenced by the Nazarenes Claudio Lorenzale and Pablo Milà i Fontanals. In 1888, at the age of eleven, he participated with a canvas in the Barcelona competition of the Universal Exposition, together with his brother Ramón, also a painter. From 1894 he took part in almost all the official exhibitions held in Barcelona and Madrid, being awarded with honorable mention in 1897. That same year he won a second medal at the exhibition in Arcachon, France. His name had a special resonance throughout his exhibitions at the Sala Parés in Barcelona, between 1915 and 1920. His wide production includes works in oil as well as in pastel, and covers a wide range of themes. The theme he most cultivated was that of the classic Spanish maja, the women with mantilla and comb, depicted in his personal sensorial style, with extraordinary skill and great mastery of drawing. Among his many paintings, some of which have been widely reproduced, it is worth mentioning "El viático al Liceo", "Lavapiés en Jueves Santo", "Bodas reales" (Royal Wedding), which he painted for King Alfonso XIII, "Luna de miel" (Honeymoon), "El triunfo del cristianismo" (The Triumph of Christianity), etc. He also dedicated himself to decorative painting, creating religious murals for the church of San Francisco in Buenos Aires and the dome of the Basilica de la Merced in Barcelona, which was destroyed in 1936. Throughout his career, Borrell held numerous solo exhibitions in various Barcelona galleries, and participated in group exhibitions and competitions. Many of his works are exhibited at the MACBA, as well as at the National Art Museum of Catalonia and others.

Estim. 300 - 400 EUR

PERE COSP (Barcelona, 1907-2007). Pair of shoehorn chairs, 1948-1949. Walnut wood. Marks of use. Upholstery damaged and soiled. In need of refinishing. Old xylophages. Provenance: House in Llavaneras (Barcelona) with interior designed entirely by Pere Cosp in 1948-1949, referenced on the website dedicated to the author, perecosp.wordpress.com, which lists the most important interior designs he made for individuals and companies. Measurements: 72 x 43 x 47 cm. Pair of shimming chairs designed by Pere Cosp, with sabre back legs and openwork backrest. The handcrafted finish is combined with a modern concept, characteristic of the author. Pere Cosp was an interior designer from Barcelona. With a largely self-taught background, Pere Cosp redirected the family craft workshop towards interior design and integral decoration. The profession served him to give free rein to his creative talent, intentionally distanced from the fashions and trends of the time. Proof of the non-conformist and restless personality that defined him are the designs of his furniture, which still retain an innovative and transgressive spirit. Cosp attended the Escuela de Artes y Bellos Oficios (School of Arts and Crafts), as well as the perspective classes of Professor Arola. But more important for him was the practical part: entering the family workshop and experiencing at first hand all the trades that were carried out there: gilding, mouldings and all kinds of restoration work. He also worked with the furniture maker Alonso and the decorator Parcerises. Pere Cosp was a pioneer in the use of materials that could be called humble, such as pine wood, chipboard, raffia, etc., which he elevated to a higher level through their treatment and use. He often collaborated with other trades: in the field of metal, he worked with Biosca y Botey and Pere Peronella. In this line of collaborations, he produced screen feet, wall sconces, outdoor furniture for gardens, an extensive collection of knobs and handles. The decoration of these elements or the final finishing was always done in the workshop. He carried out combinations of great beauty: stone, marble - Terra Passani was the main supplier - mosaic, in collaboration with Bru, glass, Granell, enamel, Morató, lacquers. Over the course of his 50-year career, he transformed around a hundred private homes into modern dwellings, often ahead of their time. His personal stamp impregnated every corner of the home: he distributed spaces, designed the furniture and decided even the smallest decorative detail.

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