Pedro Sobrado (Torrelavega, Cantabria, 1936)
Carnival.
Pedro Sobrado (Torrelaveg…

Description

Pedro Sobrado (Torrelavega, Cantabria, 1936) Carnival. Pedro Sobrado (Torrelavega, Cantabria, 1936) Carnival. Oil on táblex. Signed. Titled on the back. 73 x 60 cm.

484

Pedro Sobrado (Torrelavega, Cantabria, 1936)

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Estim. 4 000 - 4 500 EUR

JAVIER TERCERO (Valdepeñas, Ciudad Real, 1970). Untitled. Cyclic Universes Series V, 2022. Acrylic and aerosol on canvas. Attached catalog of the author. Signed, dated and titled on the back. Measurements: 181 x 120 cm. Javier Tercero, Valdepeñas studied Technical Design and Plastic Arts, specializing in "Artistic Photography", in EASDAL of Tomelloso (C. Real). He has had solo exhibitions in: Cultural Center "Cecilio Muñoz Fillol", Municipal Museum and Exhibition Center La Confianza de Valdepeñas; Exhibition Hall-Primavera-Casa del Reloj, Madrid; Centro de las Artes, Alcorcón (Madrid); IES Ramón Giraldo de Villanueva de los Infantes and EASDAL Antonio López, Tomelloso. He has also participated in other collective works, of which we highlight: IX Gregorio Prieto National Contest, Valdepeñas and Museum of the city of Madrid; X Contest of Plastic Arts Ángel Andrade of Ciudad Real; LXII National Exhibition of Plastic Arts of Valdepeñas; VI Contest Art and Energy Union Fenosa; IX National Contest Vela Zanetti (Burgos); Paloma Sanz Gallery (Madrid); International Contest of Photography PHOCO; Jesús Bárcenas Prize of Painting Municipal Museum of Valdepeñas and López Villaseñor of Ciudad Real. His works are in numerous collections of great artistic relevance among which include the collection of the Junta de Comunidades de Castilla la Mancha, the Fernando Zóbel Institute Collection. Cuenca, the Provincial Council of Ciudad Real, the City Council of Manzanares, the Contemporary Art Collection of UNION FENOSA. Museo de Pintura Hispanoamericana de Palacio de Losada and the City Council of Torrelavega, Cantabria. Among many other collections. The author's catalog is attached.

Estim. 2 800 - 3 000 EUR

SANTIAGO MONTES LUENGAS (Villa de Laredo, Cantabria, 1911 - 1954). "Composition". Oil on canvas. Signed Measurements: 81 x 65 cm.; 103 x 86 cm.(frame). Santiago Montes Luengas was a Spanish painter recognized for his original works and as a copyist of the Prado Museum. During the Spanish Civil War, he faced the challenge of remaining in hiding for eight years, followed by subsequent imprisonment. In Yeserías prison in Madrid, he painted portraits of several of his fellow prisoners, including Cipriano Rivas Cherif, Manuel Azaña's brother-in-law. Coming from a family of fishermen with seven brothers, Santiago experienced the pain of losing his brother Ángel, shot in the Dueso prison as a result of the same conflict. With the arrival of the Civil War, Montes, who fought on the side of the Republican Government, and just before the capture of Santander by the rebels in 1936, tried unsuccessfully to flee to France by boat. Failing all attempts at voluntary exile, he decided to hide, according to common practice, in his own house, in a camouflaged hiding place in the attic, which only he and his wife knew about, and which they kept hidden from their four children to prevent them from unwittingly betraying him. During the forced confinement Montes painted and drew obsessively. At the end of World War II in 1945, coinciding with an amnesty of the Franco regime, Montes decided to come out of hiding and surrender to the authorities, who kept him in prison for almost a year while waiting for the application of the amnesty. During his stay in the prison for political prisoners of Yeserías in Madrid, as well as in Santander, he made numerous portraits of his fellow prisoners, such as that of Cipriano Rivas Cherif, brother-in-law of Manuel Azaña, President of the Second Spanish Republic. In 1946, having gathered enough evidence to clear him of serious crimes, he was released and began a new professional and creative stage that led him to become the official copyist of the Prado Museum, making copies of Mantegna, Van Der Weyden, or Murillo so good that even experts find it difficult to differentiate them from the originals. Parallel to the numerous commissions for copies, almost all of them from foreign tourists visiting the museum, Montes produced his own personal pictorial work in an artistic career that was abruptly interrupted in 1954 by his premature death at the age of forty-three.

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. 9 000 - 10 000 EUR

ALEJO FERNÁNDEZ (Germany?, ca. 1470-Seville, 1545). "Nativity. Oil on panel. Measurements: 47 x 35 cm. The one we present here is a Nativity painted by Alejo Fernández, the most significant painter in Seville in the first decades of the 16th century. In it, the Italian influence can be appreciated, especially significant in the perspective, composed in a rigorous manner. The general drawing of the work, especially in the case of the Virgin, is very precisely drawn and at the same time delicately defined. The colour is equally harmonious. Despite his German origin, Alejo Fernández was the representative of the early Renaissance in Andalusia. According to Pilar Silva Maroto, an art historian specialising in Hispano-Flemish and early Renaissance painting, in her biography in the Museo del Prado, "He remained in Cordoba until 1508, when he moved to Seville with his brother Jorge to work in the cathedral, where he painted the beam of the main altarpiece. His prestige was firmly established in Seville from the outset, and as soon as he arrived in the city he received important commissions, such as the main altarpiece and the altarpiece for the chapel of Santiago in the Charterhouse of Santa María de las Cuevas, which he was commissioned to paint in 1509. Worthy of note are the altarpieces commissioned by the Burgos-born Sancho de Matienzo for Villasana de Mena (Burgos), which were destroyed in 1936, and the one he made for Rodrigo Fernández de Santaella of the Virgen de la Antigua for the chapel of Maese Rodrigo in Seville. From 1520 onwards the works contracted by Alejo Fernández were mostly done in collaboration with the workshop or with other painters, with exceptions such as the Virgin of the Navigators, destined for the Casa de Contratación in Seville (ca. 1531-1536). His style - which combines his Flemish training and his debt to Italian quattrocento art - was maintained in Seville until his death, when other artists who were familiar with Romanesque art, such as Pedro de Campaña, were already gaining ground in the city. He is currently represented in the Prado Museum, the Seville Museum of Fine Arts, the Brussels Museum, the Cordoba Museum of Fine Arts and other important institutions.

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