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FEDERICO GARCÍA LORCA (Fuente Vaqueros, Granada, 1898-Víznar a Alfacar, Granada, 1936) and RAFAEL ALBERTI (El Puerto de Santa María, Cádiz, 1902 - 1999). "Romancero Gitano", 1977. Contains 19 color lithographs by Rafael Alberti. Copy 396/1500. Edited by: Filigrana sociedad anonima de ediciones limitadas. Hand signed by Rafael Alberti and numbered. Measurements: 41 x 33 x 4 cm. Lorca has gone down in history as one of the great poets of the 20th century, but his creative activity included theater, prose, music, painting and drawing. Ascribed to the Generation of '27, he was the most influential and popular poet of 20th century Spanish literature. As a playwright, he is considered one of the greatest Spanish playwrights of the 20th century, along with Valle-Inclán and Buero Vallejo. He was shot to death by Franco's authorities one month after the coup d'état that marked the beginning of the Spanish Civil War.

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FEDERICO GARCÍA LORCA (Fuente Vaqueros, Granada, 1898-Víznar a Alfacar, Granada, 1936) and RAFAEL ALBERTI (El Puerto de Santa María, Cádiz, 1902 - 1999). "Romancero Gitano", 1977. Contains 19 color lithographs by Rafael Alberti. Copy 396/1500. Edited by: Filigrana sociedad anonima de ediciones limitadas. Hand signed by Rafael Alberti and numbered. Measurements: 41 x 33 x 4 cm. Lorca has gone down in history as one of the great poets of the 20th century, but his creative activity included theater, prose, music, painting and drawing. Ascribed to the Generation of '27, he was the most influential and popular poet of 20th century Spanish literature. As a playwright, he is considered one of the greatest Spanish playwrights of the 20th century, along with Valle-Inclán and Buero Vallejo. He was shot to death by Franco's authorities one month after the coup d'état that marked the beginning of the Spanish Civil War.

Estimate 600 - 700 EUR
Starting price 400 EUR

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Lorca, Federico GarcíaChant funèbre pour Ignacio Sanchez Mejias. With 10 text lithographs after Picasso in black and white in the text, 4 embossed prints after Picasso by Guy Descouens and 4 full-page color lithographs after Picasso. Paris, (Bièvres en Essone), Pierre de Tartas, 1976. 71 p., 2 fol. Folio. Loose double sheet in original cardboard with embossed print after Picasso. In black OL linen case (rubbed in places). Picasso, Pablo Lorca, Federico García Chant funèbre pour Ignacio Sanchez Mejias. With 10 text lithographs after Picasso in black and white in the text, 4 embossed prints after Picasso by Guy Descouens and 4 full-page color lithographs after Picasso. Paris, (Bièvres en Essone), Pierre de Tartas, 1976. 71 p., 2 fol. Folio. Loose double sheet in original cardboard with embossed print after Picasso. In black OL linen case (rubbed in places). Monod 7276 - "5 empreintes gravées et compositions en couleurs et au lavis gravés sur bois". One of 220 numbered copies on Grand Vélin d'Arches (GA 300 copies). Imprint signed by the publisher. "Sanchez Mejias was a famous bullfighter, writer and passionate lover of literature. He and Lorca were destined to become friends, and did so through a mutual friend, Encarncion Lopez Julvez, who was a famous dancer and singer and was also known as 'La Argentinita'. Sanchez Mejias was her manager, and it was to her that Lorca dedicated the poem. On August 11th, 1934 at the age of 43, Sanchez Mejias re-entered the bullring at the request of another bull fighter who was injured. At this time Lorca was in the town of Santander. This seems to come across in the narrative style of the Lament, that Lorca has shown up sometime after the tragic event to see Mejias lying dead. Lorca used the lyrical devices learnt in his earlier poems and combined them with the narrative style of the historical ballad. Overall, the poem uses the rhythm of a 'gypsy lament' which carries the emotional impact of the tragedy. - The lithographs and embossed prints signed by Picasso in the plate. Minor flaking in places, otherwise a very clean and well-preserved copy. With 10 text lithographs in black and white in the text, 4 embossed prints after Picasso by Guy Descouens and 4 color full-page lithographs after Picasso. The lithographs and embossed prints in the plate signed by Picasso. - One of 220 numbered copies on Grand Vélin d'Arches (GA 300 copies). Printed note signed by the publisher. - In places with minor darkening, otherwise very clean and well-preserved copy.

ISMAEL GONZÁLEZ DE LA SERNA (Guadix, Granada, 1898 - Paris, 1968). "Village in misery", 1951. Tempera and collage on wood. Signed on the lower right side. Work published in: "De la Serna", Cesáreo Rodriguez Aguilera, Num. 277. Measurements: 105 x 80 cm; 125 x 100 cm (frame). Ismael Gonzalez de la Serna begins his art studies in Granada and concludes them in Madrid, in the School of Fine Arts of San Fernando. In his early years he developed an eclectic pictorial style, which draws from impressionist, symbolist and modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what would be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo de Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the protector of the painter from Granada. De la Serna's style was, in this period, permeable to the influences of the avant-garde, mainly cubism and expressionism, which he worked in a very personal way. Likewise, the initial influence of impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong projection of his work, which began with the solo exhibition that the painter held at the influential Parisian gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition is to be found in his sensual reading of the forms of cubism, based on the relevance of a drawing of sinuous and highly decorative lines, combined with strong chromatic hallmarks. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly represented still lifes, where he accentuated the sensory side of his painting with metaphorical sensory references, such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating with a solo exhibition the activities of the Association of Iberian Artists in Madrid in 1932, the painter embarked on new paths of plastic experimentation that would lead, after the Second World War, to a more schematic and simplified painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM, etc.

ISMAEL GONZÁLEZ DE LA SERNA (Guadix, Granada, 1898 - Paris, 1968). Untitled. 1929. Oil on hard cardboard. Signed and dated in the lower right corner. Measurements: 63 x 48 cm; 87 x 74 cm (frame). In the transition from the twenties to the thirties, De la Serna's painting evolves towards a geometric abstraction that moves away from his post-cubist beginnings. The work shown here belongs to this second creative stage. The palette prioritizes brown and gray tones in contrast with the whites, developing in superimposed chromatic planes that seem to confer volume to the surface. De la Serna thus boldly employs color, organizing it in compositions that are balanced and dynamic at the same time. Ismael González de la Serna began his art studies in Granada and concluded them in Madrid, at the San Fernando School of Fine Arts. In his early years he developed an eclectic pictorial style, which draws from impressionist, symbolist and modernist sources. One of the first examples of his youthful language can be found in the illustrations he made for his childhood friend Federico García Lorca, in what would be his first book, "Impresiones y paisajes" (1918). That same year, Ismael de la Serna held his first exhibition in Granada, and shortly afterwards he presented his works at the Ateneo de Madrid. In 1921 he moved to Paris in order to broaden his artistic horizons, joining the circles of the School of Paris. Among his Parisian friends was Pablo Picasso, who influenced his work but was, above all, the protector of the painter from Granada. De la Serna's style was, in this period, permeable to the influences of the avant-garde, mainly cubism and expressionism, which he worked in a very personal way. Likewise, the initial influence of impressionism was always evident in his work. The year 1927 marked the beginning of a period of strong projection of his work, which began with the solo exhibition that the painter held at the influential Parisian gallery of Paul Guillaume. This exhibition was followed by many others, both in Paris and in Berlin, Brussels, Copenhagen, Granada and Mexico. In 1928 he was commissioned by the director of "Cahiers d'Art", Christian Zervos, to illustrate a special edition of twenty sonnets by Góngora. The key to his recognition is to be found in his sensual reading of the forms of cubism, based on the relevance of a drawing of sinuous and highly decorative lines, combined with strong chromatic hallmarks. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly represented still lifes, where he accentuated the sensory side of his painting with metaphorical sensory references, such as music, fruit or open windows. He also worked on landscapes and portraits. After inaugurating with a solo exhibition the activities of the Association of Iberian Artists in Madrid in 1932, the painter undertakes new ways of plastic experimentation that will lead, after the Second World War, to a more schematic and simplified painting, close to contemporary abstract solutions. Ismael de la Serna is represented in the Patio Herreriano Museum in Valladolid, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Granada and Seville, the ARTIUM, etc.