Jordi Baget Ballester (Barcelona, 1930)
Cervantes rose garden.
Oil on canvas. S…

Description

Jordi Baget Ballester (Barcelona, 1930) Cervantes rose garden. Oil on canvas. Signed. Titled and signed on the back. 38 x 46 cm.

437

Jordi Baget Ballester (Barcelona, 1930)

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Starting price 400 EUR

Jordi ROCA (1929-2018). Composition- circa 1965. Oil on panel. Signed lower right. 90 x 70 cm. Note : On the back, a view of Venice

Starting price 300 EUR

Jordi ROCA (1929-2018). Composition- circa 1970. Oil on panel. Signed lower right. 65 x 50 cm.

Estim. 600 - 800 EUR

JOSEP ROCA SASTRE (Terrassa, 1928 - Barcelona, 1997). "Façade". Oil on táblex. Signed in the lower left corner. Measurements: 84 x 34 cm; 98,5 x 48 cm (frame). Formed in Barcelona, from the sixties Roca initiates a personal, independent style, and creates his own language. His proposal focused on recovering the look of the close and the everyday, the known. He exhibited for forty years in the Sala Parés in Barcelona, and also showed his work in other Spanish cities, as well as in the United States. In 1966 he was awarded the Sant Jordi prize by the Diputació de Barcelona, and two years later the medal of honor at the Salon des Artistes Français in Paris. In 1980 he became a member of the Royal Academy of Fine Arts of Sant Jordi, and in 1993 he was awarded the Quadern Prize of the Fundació Amics de les Arts i de les Lletres de Sabadell. Roca Sastre developed a figurative style of intimate themes, applying a personal and subjective look to his interior scenes as well as to his urban and natural landscapes. Since his death, retrospectives of Josep Roca's work have been held at La Pedrera and the Muncunill (Terrassa), Oriol (Barcelona) and Juan Oliver Maneu (Palma de Mallorca) galleries. His work is preserved in the National Museum of Art of Catalonia.

Estim. 7 000 - 8 000 EUR

CERVANTES SAAVEDRA, Miguel De. El ingenioso hidalgo Don Quixote de la Mancha ... Nueva edicion por la Real Academia Espanola. Madrid, Joaquin Ibarra, 1780. 4 volumes in small folio, 239x215 mm. Coeval marbled leather binding, backs with titles on gilt gussets and decorations, marbled endpapers, gilt edges. Vol. I: Allegorical frontispiece engraved by Selma, Frontispiece, pp. XIV, 2, portrait of Cervantes engraved by Manuel Salvador y Carmona, pp. CCXXIV, fold-out map outside text, 199, 1 blank, 6 plates outside text engraved in copper by Carmona, Gil. Selma and Moles. Vol. II: Antiporta engraved by Selma, pp. 4, 418, 9 plates out of text engraved by Fabregat, Ballester, Carmona and Selma. Vol. III: Antiporta engraved by De la Cruz, pp. 2, XIV, 306, 7 plates out of text engraved by Barcelon, Selma, Ballester and Fabregate. Vol. IV: Antiporta engraved by De la Cruz, pp. 4, 346, 9 plates outside text engraved by Ballester, Muntaner, Fabregat and Selma. Intaglio headpieces, initials and endpapers. Overall, 4 frontispieces, 1 portrait, 31 plates outside text and a geographic map folded several times, all copper-engraved. RM monogram engraved in gold on backs. Traces of use to binding, minor loss to headpiece of volume four, internally sporadic foxing and a few traces of use, slight moisture glazing to first and fourth volumes, overall good copy in its original binding. The most famous edition of Don Quixote in Spanish, a true masterpiece of typographic art. Printed by Ibarra for the Real Academia, this edition represents the highest example of Spanish craftsmanship lavished on the nation's greatest literary work. Palau: "magnificent, superior in artistic beauty to all others produced in Spain or abroad." Updike: ""the finest edition of Don Quixote that has ever been printed."" The work excels in the beauty of its characters, paper, layout, and iconographic apparatus, and presents a carefully correct text. The illustrations and fine ornaments engraved in the text are produced by the best Spanish artists of the time: both the paper and the typefaces were created especially for this edition. The illustrations, designed by Carnicero, Barranco, Brunette, Del Castillo, Ferro and Gil, are engraved by Ballester, Barcelon, Fabregat, Gil, Mol, Muntaner, Salvador y Carmona and Selma. It contains the first map describing the route taken by Don Quixote and Sancho Panza through Spain. This edition was chosen by the Fathers of Seville as a symbol of gratitude after the defeat of Napoleon by the British. The choice of this edition as a gift of thanks for saving Spain from Napoleon's assault is of the utmost importance and testifies to the esteem in which it was held by the Spanish people. THE English bibliophile William Davis wrote in 1821:" the celebrated Ibarra edition is so well known, that I need only refer to M. Paris's sale, 1791, where a copy sold for £16, 16 shillings, and Col. Stanley's, where a copy sold for £17, 6 shillings, 6 pence." Brunet, I, 1749.. Cat. Salvà, 1564. Cat. Heredia, 1208. Ruiz Lasala, Juaquin Ibarra y Marin, p. 162; Palau III.52024; Cohen Ricci 218-19 ; Updike, Printing types, II, p. 73. William Davis, A Journey Round the Library of a Bibliomaniac. 4 volumes in small folio, 239x215 mm. Contemporary binding in marbled leather, spines with titles on labels and gold decorations, marbled endpapers, gilt edges. Vol. I: Allegorical Frontispiece engraved by Selma, Titlepage, pp XIV, 2, portrait of Cervantes engraved by Manuel Salvador y Carmona, pp. CCXXIV, Geographical map folded out of text, pp. 199, 1 blank, 6 copper plates engraved by Carmona, Gil. Selma and Moles. Vol. II: Allegorical Frontispiece engraved by Selma, pp 4, 418, 9 plates engraved by Fabregat, Ballester, Carmona and Selma. Vol. III: Allegorical Frontispiece engraved by De la Cruz, pp 2, XIV, 306, 7 plates engraved by Barcelon, Selma, Ballester and Fabregate. Vol. IV: Allegorical Frontispiece engraved by De la Cruz, pp 4, 346, 9 plates engraved by Ballester, Muntaner, Fabregat and Selma. Engraved Initials, Head and Tailpieces. Overall, 4 Frontispieces, portrait of the author, 31 plates after Carnicero, Barranco, Brunette, Del Castillo, Ferro and Gil, engraved by various artists, and 1 double-page map, all engraved in copper. RM monogram engraved in gold on the spine. Traces of use on the binding, small losses on the cap of the fourth volume, sporadic foxing internally and some traces of use, slight dampness on the first and fourth volumes, overall a good copy in its original binding. The most famous edition of Don Quixote in Spanish, a true masterpiece of typographic art. Printed for La Real Academia Española (the Spanish Royal Academy) by Joaquín Ibarra y Marín, this edition was prepared at great expense over the course of seven years for the Real A

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