Piero Dorazio
-
Piero Dorazio
(Rome 1927-Perugia 2005)
Untitled (Reticulum) 1959
Charcoal, pencil, pastels and tempera on paper cm 86x59 - framed cm 100x80 On the back it bears undeciphered stamps. Label Galleria L'Isola, Rome Work in archive at the Piero Dorazio Archive
Coll. Carla Panicali, Rome
Coll. Corrado Rava, Rome
'Certificate of authenticity issued by the Piero Dorazio Archive, Milan'. Signed and dated at bottom
Pericle Fazzini
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Pericle Fazzini
(Grottammare 1913-Rome 1987)
Seated figure 1933 Charcoal on paper 143.5x99 cm - in frame 146.x5x102 cm Signature and date lower left "Pericle Fazzini Roma 1933". On the reverse it bears the label of the Galleria L'Isola, Rome
Giacomo Manzù
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Giacomo Manzù
(Bergamo 1908-Rome 1991)
Inge 1976 Charcoal on paper 48x34 cm Signature and date on the front "Manzù 1976" Certificate of authenticity issued by the Giacomo Manzù Archive edited by Giulia Manzoni
Luigi Bartolini
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Luigi Bartolini
(Cupramontana 1892-Rome 1963)
Poet in the woods 1962 Charcoal and markers on paper 26.5x30 cm Signature and date "Bartolini 1962"
Pietro Annigoni
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Pietro Annigoni
(Milan 1910-Florence 1988)
Christ in the Garden of Gethsemane Waxy pastels, charcoal and watercolor on paper applied on panel 79x58 cm - in frame 100x79 cm Signature bottom right "Pietro Annigoni" Certificate of authenticity issued by the Archive of the Work of Pietro Annigoni
Ludwig Hohlwein
-
'Hermann Scherrer Sporting and Ladies Taylor, München', 1908
Color lithograph on paper. 104.5 x 86 cm (plate). 128.5 x 94.5 cm (in total). Signed in the plate: LUDWIG HOHLWEIN. Inscribed below the representation: VEREINIGTE DRUCKEREIEN & KUNSTANSTALTEN vorm. Schön & Maison GmbH MÜNCHEN. Glass frame.
Not de-framed.
Exh. cat. Ludwig Hohlwein, Munich City Museum, Munich 1996, p. 130, no. 106.
HERMENEGILDO ANGLADA CAMARASA (Barcelona, 1871 - Pollença, Mallorca, 1959).
Untitled.
Charcoal on paper.
Signed in the lower margin.
Work published in the catalog "Anglada-Camarasa" of Fontbona and Miralles.
Measurements: 13 x 9,5 cm; 38 x 34 cm (frame).
Charcoal drawing by Anglada Camarasa, resolved with agile and sketchy stroke that dilutes the forms, similar to how in the author's paintings the colors diluted the matter in a new way. It could be a preparatory study for a painting of a nocturnal urban theme, in the light of the street lamp. A mysterious female figure occupies the foreground, while in the background, some male silhouettes are waving in front of the arcades of what looks like a theater.
Anglada Camarasa is one of the leading names in modern Catalan art, and undoubtedly the most internationally important of Spanish Post-Impressionism. He was the youngest painter of the second modernist generation, and is considered an outstanding representative of post-impressionism. He began his training with Tomás Moragas, and later continued at the School of La Lonja in Barcelona as a disciple of Modesto Urgell, whom he always proclaimed as his great master, even though his mature style was very different from Urgell's. During this period of training his work was very different from that of Urgell. In this formative period, Anglada Camarasa's work shows a clear interest in landscape and the human figure. After a brief contact with the group of "Els Quatre Gats", in 1894 he moved to Paris, where his style was influenced by Degas, Toulouse Lautrec, Fauvism and Orientalism. In the French capital he continued his training in the academies of Julian and Colarossi, where he received classes from Laurens, Constant and Girardot. France was for Anglada Camarasa the platform for his international launching. His solo exhibition at the Sala Parés in Barcelona in May 1900, and his time at "Els Quatre Gats", gave Catalan modernism a direct knowledge of what was the most modern painting in Paris, a circumstance that was decisive in the young Picasso's turn towards plastic modernity. Still in Paris, Anglada Camarasa joined the Société Nationale des Beaux-Arts in 1904, of which he would be a very active member, participating assiduously in its exhibitions. During this period his international activity multiplied and he participated in the Venice Biennials of 1903, 1905 and 1907, receiving the Gold Medal in the latter year, a prize he also won in the Buenos Aires Biennial of 1910. He had an individual exhibition at the 1929 Barcelona International Biennial. He was named Honorary Academician of the Royal Academy of San Fernando in 1954, and three years later he was awarded the art prize of the March Foundation. Anglada Camarasa was the protagonist of some of the most important moments in the history of art in the first half of the 20th century, and his success from 1900 onwards made his name an international reference. His work was exhibited all over Europe, from Rome to Prague and from Paris to Moscow, and attracted important collectors in the main European capitals, as well as in the United States.
RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966).
"Miquel Utrillo".
Charcoal on paper.
Signed with an anagram in the lower left corner.
Dedicated in the lower right-hand corner: "Miquel Utrillo, l'amic de la Susanne Valadon, pare adoptiu del pintor Utrillo".
Measurements: 53 x 39 cm; 88 x 71 cm (frame).
Portrait of the painter Miquel Utrillo, an emblematic figure of modernist Barcelona, who introduced Opisso to the Barcelona circle of the Quatre Gats. Utrillo was then the lover of Suzanne Valadon (as the dedication says), whose son, the also famous painter Maurice Utrillo, Miquel would recognise as his own. Opisso was a great portraitist. He captured with great formal economy the character of the sitter, who often belonged to his most intimate environment.
Opisso was a painter, draughtsman and cartoonist. In his youth he took part in Barcelona's modernist environment, and in 1894 he began to work as an apprentice with Antoni Gaudí on the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. At the end of the 19th century and the beginning of the 20th century he made a trip to Paris, where Picasso and Hugué were already there. Throughout his career Opisso worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to Art Nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy.
JOAN CARDONA I LLADÓS (Barcelona, 1877-1957).
"Couple in a Café", ca.1900.
Pencil, charcoal and gouache on paper.
Signed in the lower left corner.
Small damage in the upper right margin.
Size: 40 x 30 cm; 77 x 66 cm (frame).
In this scene of interior of coffee, a gentleman tries to conquer with smiles and gallantries to a lady. Joan Cardona's sinuous, stylised line helped to define the Belle Èpoque aesthetic, with glamorous Parisian scenes such as this one. Trained at the Escola de Belles Arts de la Lonja and the Baixeras Academy in Barcelona, he furthered his studies in Paris, where he settled for several years. In the French capital he formed a group with the best illustrators of the time, such as Cappiello, Sem, Steinlen and Roubille. A painter and draughtsman, he developed an important activity in the field of illustration, collaborating with Spanish magazines such as "El Gato Negro" and "Hispania", and in the French magazines "Le Rire" and "Simplicissimus". His collaboration with "Jugend", the flagship magazine of Viennese modernism, the Jugendstil, stands out. During his Parisian period Cardona achieved international fame thanks to his pen drawings, characterised by the sharpness of the line and strong expressive values. On the contrary, in his painting he subordinates line to colour, with warm tones in his early years and cold ranges in his maturity. His paintings, of great expressive force and dense impasto, define the prominence of the woman, who is outlined against vibrant, almost abstract backgrounds, in a style that brings him close to Anglada Camarasa. In 1897 he was awarded a prize in the competition organised by the Mariana Academy of Lleida. He exhibited in Paris at the Salons d'Automne and the Salons de la Societé Nationale, obtaining the title of "societaire" at both. He took part in the International Fine Arts Exhibitions in Barcelona in 1907 and 1929. He is represented in the Musée du Luxembourg in Paris.
JUAN ANTONIO GONZALEZ JIMÉNEZ (Chiclana de la Frontera, Cádiz, 1842 - Paris, after 1914)
"Portrait of a woman.
Pastel on paper.
Damage to the frame.
Signed in the lower right corner.
Size: 120 x 80 cm; 156 x 115 cm (frame).
Feminine portrait in which the author, arranges a woman elegantly dressed in full body, seated on a chair. The artist places the figure in an interior, and also adds a certain distance from the viewer. This is achieved by placing the lady slightly turned three-quarters of the way towards the viewer. The lady looks directly at the viewer with a certain degree of curiosity or reflection in her gesture.
A painter who settled in Paris in the second half of the 19th century, Juan Antonio González Jiménez trained as a pupil of the painter Rodríguez and took part in official exhibitions such as the Provincial Exhibition in Cadiz in 1879, where he was awarded a gold medal. He later furthered his studies in Paris with M. Pils. He specialised in casacone themes, known as "de tableautin" in France, with works characterised by a personal chromatic delicacy, a special atmospheric sense, rigorous draughtsmanship and careful attention to detail. He also tackled other themes typical of the period, very much to the taste of the bourgeois clientele of the late 19th and early 20th centuries, such as flower painting, portraits of majas and Spanish types, some of which were inspired by portraits of the Baroque period. He also excelled as a portraitist and painted a number of fans. Throughout his career Juan Antonio González held exhibitions and took part in the Paris Fine Arts Exhibition and the Cadiz Provincial Exhibition of 1879, where he was awarded a gold medal for a navy. He is currently represented in the Museum of Chiclana, as well as in private collections both in Spain and abroad.
BENJAMIN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980).
"At the Philharmonic", 1923.
Charcoal on paper.
Signed in the lower right corner.
Provenance: Ignacio Lassaletta gallery.
Measurements: 12 x 9 cm; 29 x 26 cm (frame).
Founder of the School of Vallecas together with Alberto Sánchez, sculptor, Benjamín Palencia was one of the most important heirs of the poetics of the Castilian landscape characteristic of the Generation of 98. With only fifteen years Palencia leaves his native town and settles in Madrid to develop his formation through his frequent visits to the Museum of the Prado, since he always rejected the official teachings of the Real Academy of Fine Arts of San Fernando. In 1925 he participates in the Exhibition of Iberian Artists held at the Retiro Palace in Madrid, and in 1926 he travels for the first time to Paris. There he met Picasso, Gargallo and Miró and came into contact with the collage technique, which he would later apply to his work, incorporating new materials such as sand or ashes. It will be from this Parisian stay when Palencia's work acquires a surrealist tone, evidenced in an increasingly greater expressive freedom that will reach its fullness in his period of maturity. On his return to Madrid he founded the Vallecas School (1927), and made his individual debut at the Museum of Modern Art (1928). Palencia will gradually abandon still lifes to take up again the Castilian landscape, capturing it through a magnificent synthesis between tradition and avant-garde. This personal aesthetic of the landscape will reach its culmination in the School of Vallecas and, after a brilliant surrealist incursion in the early thirties, at the outbreak of the Civil War Palencia remains in Madrid, suffering like his peers of his generation a period of deep crisis. After the war, between 1939 and 1940 his painting took a radical turn; he abandoned the cubist and abstract influences and even the surrealist aspects, in search of an art of strong chromatic impact, linked to Fauvism. Focused on his work as a landscape painter, in 1942 Palencia takes up again the experience of the Vallecas School together with the young painters Álvar Delgado, Carlos Pascual de Lara, Gregorio del Olmo, Enrique Núñez Casteló and Francisco San José. His work will gather images of the Castilian countryside and its peasants and animals; his painting becomes a testimony of the rough, the coarse and the rural, of the subtle expressiveness of the Castilian sobriety. Already fully consolidated, in 1943 he obtained the first medal at the National Exhibition of Fine Arts and in 1944 he was selected to participate in the Salón de los Once de Eugenio D'Ors in Madrid. The following year he is awarded the medal of honor at the National Exhibition, although he renounces it to facilitate its concession to José Gutiérrez Solana, who died a few days before the jury's decision. From this decade on, his exhibitions in art centers and galleries such as the Círculo de Bellas Artes in Madrid or the Estilo gallery, and in 1946 he was once again selected for the Salón de los Once. He also began to participate in international exhibitions, such as those of Spanish Contemporary Art held in 1947 in Buenos Aires, Rio de Janeiro and Sao Paulo. He was also awarded the Grand Prize at the Hispano-American Biennial in Madrid (1951) and exhibited at the Museum of Modern Art in Paris (1951), the Venice Biennial (1956), the Princess of Paravinci's Palace in Rome (1965), etc. In 1973 he was appointed member of the Royal Academy of Fine Arts of San Fernando, and in 1978 he joined the Academy of San Jorge in Barcelona. That same year he was awarded the Gold Medal for Merit in Fine Arts. Benjamín Palencia is currently represented in the Reina Sofía National Museum, in the Patio Herreriano in Valladolid and in the Fine Arts Museums of Valencia and Albacete, among many others.
RENÉ LOUIS PÉAN (Paris, 1875 - Ermont, France, 1945).
"Young man with mask".
Charcoal on paper.
Signed in the lower right margin.
Measurements: 57 x 47 cm; 70 x 60 cm (frame).
French painter, poster artist and illustrator, René Louis Péan was a student of Jules Chéret, one of the masters of French poster art. René furthered his studies at the School of Decorative Arts in Paris. Throughout his career as an artist, he exhibited at the Salon des Indépendants (1921-1949), at the Salon de Lyon (1921-1925), at the Salon de Hivern (1944-1946) and at Georges Petit's gallery (1909-1933). Most of the time, his works are starring elegant young women, as well as perfectly detailed landscapes and monuments. Two of his productions were reproduced in the plates of the "Maîtres de l'affiche: À la place Clichy" (1898) and in "Aux trois quartiers" (1899). After fighting in the war in 1914, his production showed a decline, leaving aside the posters and focusing on the realization of chromolithographic advertising works, in which three-quarter length female portraits are represented, whose clothes and hairstyles vary depending on the composition.
Jean COCTEAU (1889-1963): "Faune" or "Chèvre-pied bleu, profil gauche", partially enameled terra cotta dish with grease pencil and pastel mark, signed "Jean Cocteau" with star mark, dated 1958, annotated on the back "Edition originale de Jean Cocteau, atelier Madeline Jolly Villefranche, 4/30" with small pencil drawing in the form of a flower on the back. Villefranche-sur-Mer. Diam. 37 cm.
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