Description

Tomás Sánchez, Cuban b. 1948- En el paisaje interior, 2022; full bleed archival pigment print on 305gsm Hahnemühle Photo Rag Ultra Smooth paper, signed, dated and numbered from the edition of 625 in white pen, published by Avant Arte, sheet: 60 x 45 cm, (unframed)

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Tomás Sánchez,

Estimate 800 - 1 200 GBP
Starting price 550 GBP

* Not including buyer’s premium.
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For sale on Wednesday 04 Sep - 10:00 (BST)
london, United Kingdom
Roseberys
+442087612522
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EDUARDO SÁNCHEZ SOLÁ (Madrid, 1869 - Granada, 1949). "Altar boys". Oil on canvas. Preserves period frame. Measurements: 70 x 100 cm; 99 x 127 cm (frame). In this work we see a theme very much to the taste of the Spanish bourgeoisie of the second half of the XIX century and the beginning of the XX century, the costumbrista scenes, cheerful and narrative, starring mischievous altar boys. Most commonly, these scenes were treated as we see here, with a precise and descriptive drawing and special attention to detail, both in gestures, expressions and clothing as well as in the scenery surrounding the boys, usually interiors such as the one depicted here, a richly decorated room of the church. Sánchez Solá was trained at the San Fernando School of Fine Arts, where his teachers were Alejandro Ferrant and Luis Taberner. Later he was a professor at the School of Arts and Crafts in Granada, and a contributor to the art magazine "La Ilustración Española y Americana". He participated assiduously in the National Exhibitions of Fine Arts, being awarded with honorable mention in 1895; medal of third class in 1897 for the canvas "Tristes noticias" and in 1899 for "El destete"; decoration in 1901 and honorable mention in Decorative Art in 1904. He also exhibited in the Regional of Modern Art of Granada, in the one of the Artistic Center in 1942 and in the one of Linares in 1943. Sánchez Solá specialized in oil paintings where he reflected scenes of games of the altar boys of the time, in the interior of Andalusian churches. In them, the artist was able to capture the expressiveness and movement of the children, who generally appear concentrated in a game. That is why he is known as "the painter of the altar boys", preserving works of this genre as "Short and tight", "Do what you want", "Mischief", etc.. He was also known as a painter of portraits and landscapes. Sánchez Solá is currently represented in the Prado Museum and the Provincial Museum of Lugo, as well as in several private collections.

DOMINGO RAMOS ENRÍQUEZ (Cuba, 1894 - 1956). "Landscape with road". Oil on canvas. Signed in the lower margin. It presents damages in the frame. Measurements: 91 x 55 cm; 107 x 70 cm (frame). Domingo Ramos Enríquez was born in Güines. From early ages he manifested his vocation for painting and had the opportunity to study in Havana, in the Academy of San Alejandro. He became popular after a contest organized by Bohemia magazine in 1912; later he received a pension from the Cuban government to continue his studies in Madrid, at the San Fernando Academy. He perfected his art from the classes he received at the Academy and from an extensive tour of Europe and its network of pictorial trends, and in 1919 he exhibited in Barcelona several landscapes of the Spanish geography, very well received by the public. In 1921 he was back on the Island, where he presented an exhibition of 41 paintings, remarkable in their execution. Although he was a painter of international projections, as a landscape painter he did not cease to capture the autochthonous; in this sense, during all his artistic growth, he would be accompanied by the peculiar Pinar del Río geography, as exemplified by pieces such as El valle de Viñales, Nocturno, Mogotes de La Costanera, Siembra de Viñales, La sierra principal, Ensenada de Palmarito, Las dos hermanas and Sierra del Cuajaní. In turn, the Havana landscape would be reflected in the paintings El río Almendares, El bosque, Habana, Alrededores de Puentes Grandes, Río Piloña de La Habana and Los Colosos, among others. Shortly after, in 1923, an exhibition of thirty-eight works by Domingo Ramos was shown in a local of the Diario de la Marina, among these were some also inspired by the western landscape of the Island, the Pinar and Havana pictorial: Afternoon in the Valley, Autumn in Viñales, Sunset, Peñas de Viñales, Cueva del Espejo, Remanso del río San Vicente, Lomas de Santo Tomás and Golden Afternoon. This exhibition contributed to consolidate his prestige as a creator. In 1838, one of his large landscapes presided over the Cuban exhibit presented at the New York Fair. The mogotes of the Sierra de los Órganos, in full sunset, were captured by the artist with particular mastery and creative emotion, on the occasion of this international event. It is said that the painting was one of the most attractive for the public that attended the event, dazzled by the exuberance of Cuban nature. Domingo Ramos' rural landscapes would mark a milestone in Cuban plastic art and in the later projections of many of our artists.