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Thu 23 May

[NOVEL LITERATURE] Lot of 19 books including: - LE SAGE (Alain René), Histoire de de Gil Blas. Paris, A. Everat (accident to binding, tears to pages). - Rudyard KIPLING, Kim, Paris, Delagrave. Illustrations by Ch. Fouqueray. Large and strong in-4 ½ blond marbled calf, smooth spine decorated, gilt title (wear to binding, insolate, very light scattered foxing). - Remy de GOURMONT, Sixtine. Paris, Albert savine, 1890. 1 volume. - Ferdinand OSSENDOWSKI, Bêtes hommes et Dieux. Paris, Plon, 1924. - Sophie GAY, Le Moqueur Amoureux. Paris Michel Lévy, 1863. - J. L. de la Marsonnière, Un drame au logis de la Lycorne. Paris, H. Oudin, 1883. Ex-Libris De Martignac. - Claude Farrère, Mademoiselle Dax, jeune fille. Paris, Henri Jonquières et cie, 1922. Edition illustrated with fourteen compositions by L. Schulz. - J. Fenimore COOPER, The pathfinder or, the inland Sea. Paris, Baudry's european library, 1840. in English. - Edmond JALOUX,Fumées dans la campagne. Paris, La renaissance du livre. - Charles DICKENS, Les temps difficiles. Paris, Hachette, 1859. - Alfred DE VIGNY, Stello, théâtre, servitude et grandeur militaires. Paris, Bibliothèque Larousse. - A. De Vigny, servitude et grandeurs militaires. Paris, Alphonse Lemerre. - A. De Vigny, Cinq-mars ou une conjuration sous Louis XIII. Paris, Alphonse Lemerre. - Marquis de Foudras, Le bonhomme Maurevert. Paris, E. Noury. - Ch. De Brosses, Lettres familières. Paris, Librairie académique, p. Didier et cie, 1869. - A.Maurois, Les discours du docteur O'Grady. Paris, Grasset, 1922. Edition on vellum ragpaper numbered 609. - Pol NEVEUX, La douce enfance de Thierry Seneuse. Lyon, Lardanchet, 1925. - Le seigneur de BRANTOME, Vies des dames galantes. Paris, Garnier Frères, 1857. - WILLY,Suzette veut me lâcher, illustrations by Supparo. Paris, Albin Michel. (not collated, wear)

Estim. 40 - 60 EUR

Thu 23 May

MENCHU GAL (Irun, 1918 - 2008). Untitled. Watercolor on paper. Attached certificate issued by the Menchu Gal Foundation. Measurements: 33 x 44 cm; 49 x 64 cm (frame). This work by Menchu Gal, offers a version of the world from a naive perspective, in which the joy of living is optimized. A pictorial space conceived and dedicated to leisure, where the characters develop freely, immersed in an open landscape, in contact with nature. The chromatic range supports these concepts, as the artist uses a palette of bright shades, where blue becomes the undisputed protagonist. One of the great Spanish painters of the 20th century, Menchu Gal mainly cultivated landscapes, although she also painted portraits, always with her personal language of extreme color, almost expressionist. In 1959 she won the National Painting Prize, becoming the first woman to receive this prestigious award. She also received the Gold Medal of Guipuzcoa (2005), the Medal of Irun (2006) and the Manuel Lecuona Prize of Eusko Ikaskuntza (2006). Gal began painting in her native Irun, where she was a disciple of Gaspar Montes Iturrioz. She was awarded in the Contest of New Artists of Guipuzcoa in 1932, and before she was fifteen years old she moved to Paris in order to broaden her artistic studies. There she received classes from the master of cubism Amédée Ozenfant, and discovered Matisse and Fauvism. On his return to Spain he continued his training at the San Fernando School of Fine Arts in Madrid, where he was taught by Aurelio Arteta and Vázquez Díaz, among others. After fleeing to France as a result of the Civil War, he returned to Irun and held his first solo exhibition in San Sebastian (1942). In 1943 he settled in the Spanish capital, where he was part of the so-called Madrid School. That same year he participated in a group exhibition held at the Clan gallery with Gutiérrez Solana, Vázquez Díaz, Cossío, Zabaleta, Palencia and others. From then on, her landscapes of La Mancha and Bidasoa would become her hallmark, establishing herself as one of the leading artists of the post-war period. In 1950 she held a solo exhibition at the National Museum of Modern Art in Madrid. An outstanding architect of the renovation of Spanish painting in the forties, valued and recognized in the difficult world of painting since her youth, Menchu Gal was characterized by her free, heterodox and independent spirit, ahead of her time. Throughout her career she starred in a multitude of exhibitions, both in Spain and abroad, in cities such as Venice, Brussels and New York. Particularly noteworthy were the exhibitions he held at the Gulbenkian Foundation in Lisbon in 1971 and at the Conde Duque Cultural Center in Madrid in 1990. In 1992 the Kutxa Foundation dedicated a retrospective exhibition to him, which was published in a catalog that included an in-depth study of his life and work. She also participated in three editions of the Venice Biennale. Menchu Gal is currently represented at the Reina Sofía Museum in Madrid and the Bilbao Fine Arts Museum, among others. In January 2010 an exhibition hall bearing her name was inaugurated in Irun, the first step of the future Museum of Painters of Bidasoa. Attached is a certificate issued by the Menchu Gal Foundation.

Estim. 1 000 - 1 200 EUR

Thu 23 May

MENCHU GAL ORENDAIN (Irun, 1918 - 2008). Untitled. Mixed media on paper. It has slight damage to the frame. Signed in the lower right corner. Measurements: 64 x 45 cm; 85 x 65 cm (frame). One of the great Spanish painters of the XX century, Menchu Gal cultivated mainly the landscape, although she also made portraits, always with her personal language of extreme colorful, almost expressionist. In 1959 she won the National Painting Prize, becoming the first woman to receive this prestigious award. She also received the Gold Medal of Guipuzcoa (2005), the Medal of Irun (2006) and the Manuel Lecuona Prize of Eusko Ikaskuntza (2006). Gal began painting in her native Irun, where she was a disciple of Gaspar Montes Iturrioz. She was awarded in the Contest of New Artists of Guipuzcoa in 1932, and before she was fifteen years old she moved to Paris in order to broaden her artistic studies. There she received classes from the master of cubism Amédée Ozenfant, and discovered Matisse and Fauvism. On his return to Spain he continued his training at the San Fernando School of Fine Arts in Madrid, where he was taught by Aurelio Arteta and Vázquez Díaz, among others. After fleeing to France as a result of the Civil War, he returned to Irun and held his first solo exhibition in San Sebastian (1942). In 1943 he settled in the Spanish capital, where he was part of the so-called Madrid School. That same year he participated in a group exhibition held at the Clan gallery with Gutiérrez Solana, Vázquez Díaz, Cossío, Zabaleta, Palencia and others. From then on, her landscapes of La Mancha and Bidasoa would become her hallmark, establishing herself as one of the leading artists of the post-war period. In 1950 she held a solo exhibition at the National Museum of Modern Art in Madrid. An outstanding architect of the renovation of Spanish painting in the forties, valued and recognized in the difficult world of painting since her youth, Menchu Gal was characterized by her free, heterodox and independent spirit, ahead of her time. Throughout her career she starred in a multitude of exhibitions, both in Spain and abroad, in cities such as Venice, Brussels and New York. Particularly noteworthy were the exhibitions he held at the Gulbenkian Foundation in Lisbon in 1971 and at the Conde Duque Cultural Center in Madrid in 1990. In 1992 the Kutxa Foundation dedicated a retrospective exhibition to him, which was published in a catalog that included an in-depth study of his life and work. She also participated in three editions of the Venice Biennale. Menchu Gal is currently represented at the Reina Sofía Museum in Madrid and the Bilbao Fine Arts Museum, among others. In January 2010 an exhibition hall bearing her name was inaugurated in Irun, the first step of the future Museum of Painters of Bidasoa.

Estim. 1 400 - 1 800 EUR

Thu 23 May

MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Study of characters". Pencil on paper. Signed in the lower right corner. Work referenced in Montserrat Blanc, page 27. Presents on the back labels of the Joan Prats Gallery and Francesc Mestre. Measurements: 22 x 17 cm; 40 x 34 cm (frame). Manuel Martínez Hugué, Manolo Hugué, was formed in the School of the Fish market of Barcelona. Regular participant of the gatherings of "Els Quatre Gats", he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other theorists of the avant-garde such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewelry and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, completely dedicated to sculpture, he worked in Ceret, where he gathered a heterogeneous group of artists among whom Juan Gris, Joaquín Sunyer and, again, Picasso stood out. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually represented peasants, although he also depicted bullfighters and dancers -as can be seen on this occasion-, always portrayed with a level of detail and an appreciation of the textures that reveal his former training as a goldsmith. In his artistic production coexist the Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia, with the European avant-garde that he assimilated and knew firsthand, specifically Matisse's Fauvism and Cubism. Works by Hugué are preserved in the MACBA, the Georges Pompidou Center in Paris, the National Art Museum of Catalonia and the Reina Sofia National Museum and Art Center, among many others.

Estim. 1 800 - 2 000 EUR

Thu 23 May

MONTSERRAT GUDIOL COROMINAS (Barcelona, 1933 - 2015). "Girl watching", 1983. Watercolor and graphite on paper. Presents on the back label of the Gavar Gallery (Madrid). Signed in the lower right corner. Measurements: 41 x 21 cm; 60 x 41 cm (frame). Montserrat Gudiol begins in the world of art in the family study of restoration of medieval painting, and from 1950 is dedicated to the painting on board and on paper. That same year she had her first individual exhibition at the Casino of Ripoll (Girona). In 1953 he took part in the collective exhibition "Current Portrait", at the Artistic Circle of Barcelona, and the following year he made his debut abroad with a solo exhibition of drawings held at the Museum of Miami (United States). That same year she takes part in the collective exhibition "Pintura femenina" (C.I.C.F. of Barcelona), she obtains the First Prize of the Diputación de Barcelona and the Second Prize San Jorge of the same entity. In 1960 she participates in the National Exhibition of Fine Arts held in Barcelona, where she wins a third medal, and also takes part in the International Drawing Exhibition of the Ynglada Guillot Foundation (Barcelona), being awarded the First Prize. In 1962 she held an important individual exhibition at the Sala Gaspar in Barcelona (a gallery where she would repeat her presence from then on), and that same year she took part in a collective exhibition held at the Casón del Buen Retiro, in Madrid. Since then he has continued to hold individual exhibitions and to participate in group shows, both in Spain and in Germany, South Africa, Czech Republic, China, France, Japan, United States, Russia and Canada. Among his personal exhibitions are those held at the Pieter Wenning Gallery in Johannesburg (1967), Tamenaga Gallery in Tokyo (1974), Au Molin de Vauboyen in Paris (1978), the Exhibition Hall of the Union of Painters of the USSR in Moscow (1979), the Dreiseitel Gallery in Cologne (1981) and the Walton-Gilbert Gallery in San Francisco (1984). In 1980 she made an important monumental work for the Abbey of Montserrat, a representation of St. Benedict. In 1981 she was the first woman to join the Royal Catalan Academy of Fine Arts of Sant Jordi, and in 1998 the Generalitat de Catalunya awarded her the Cross of Sant Jordi. Possessing a personal and sincere language, far from fashions or preconceived styles, Gudiol creates works characterized by a theme and an atmosphere that show a marked taste for fantasy and introspection. His colors and figures form a world of mystery, populated by stylized and blind characters, and scenes of motherhood. Her oil paintings and drawings transmit the strong personality of the author, as well as her idea of a true art. Gudiol embraces the extreme problems of the human being, with compositions characterized by a background of deep, mysterious and disturbing silences, where affection and emotion enter into dialogue with the anxiety and anguish of the human being. She is currently represented at the MACBA, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes de Bilbao, the Museums of Modern Art in Johannesburg, San Diego, Miami and Flint (USA), the Joseph Cantor Foundation in Indianapolis (USA), the International Olympic Committee in Lausanne (Switzerland), the Monastery of Montserrat and the Royal Academy of Fine Arts of Sant Jordi.

Estim. 1 400 - 1 600 EUR

Thu 23 May

JOSEP CUSACHS (Montpellier, France, 1851 - Barcelona, 1908). "Study for a Battle Scene. Paris, ca.1900. Watercolour on paper. Signed and located in the lower right corner. Size: 11 x 20 cm; 36 x 45.5 cm (frame). In the heat of the battle, the rearing horses stand out in this composition by Cusachs, a sketch or preparatory study in which, with his characteristic swift and resolute stroke, he superimposes wounded bodies on the ground with energetic equine foreshortenings and galloping soldiers. José Cusachs was accidentally born in France, as his parents were travelling there, but his art and his life were always linked to two places: Barcelona and Mataró. In 1865, after passing a competitive examination, he entered the Artillery Academy for a military career. However, in 1882, after a brilliant career that led him to become a captain in the army for war merits, he asked for retirement to devote himself to painting. Trained in Barcelona under the guidance of Simón Gómez, he completed his artistic studies with a stay in Paris at the studio of Édouard Détaille, one of the greatest experts in military themes, a genre that Cusachs favoured. Among military themes, this artist was particularly fond of cavalry, due to his passion for horses. In 1880 he settled in Barcelona and began an extensive production of military studies, which were reproduced in F. Barado's work entitled "La vida militar en España" ("Military Life in Spain"). Previously, before leaving the army, he had worked as a caricaturist and chronicler of a Spain immersed in a maelstrom of political events, in which he was immersed due to his military status. During these years he made his work known through solo exhibitions, such as those he held regularly from 1884 onwards at the Sala Parés in Barcelona, which were always a great success with both sales and critics. By 1890 he was already a regular exhibitor at the gallery, where he showed new works every week. The bond between Cusachs and the Sala Parés was so deep, in fact, that after the painter's death the gallery fell into a period of absolute decadence. Cusachs also took part in official competitions; in 1887 he obtained notable recognition at the National Exhibition of Fine Arts in Madrid with three paintings, one of which was acquired by the regent Maria Cristina ("En el campo de maniobras" ("On the Manoeuvre Field"). In 1891 he took part in the Berlin Exhibition and won the Gold Medal for his work "Division Manoeuvres". The bulk of his work is in the Museo de Arte Moderno in Madrid and the Museo Nacional de Arte de Cataluña, as well as other centres such as the Museo de Montserrat, the Museo Nacional de Historia, the Capitanía General de Valencia, the Jefatura de Artillería in Valladolid, the Galería de Capitanes Ilustres in Barcelona City Hall and important private collections, such as the Santiago Gramunt collection.

Estim. 1 500 - 2 000 EUR

Thu 23 May

LEONETTO CAPPIELLO (Livorno, 1875 - Cannes, 1942). "Portrait of Henri Lavedan", ca. 1902. Ink and charcoal on paper. Signed in the upper margin. Size: 30 x 34 cm. In this ingenious portrait of his friend the French playwright Henri Lavedan, the draughtsman Leonetto Cappiello brings together his passion for the Japanese style, appreciable in the serpentine stylisation, and a refined humour, Leonetto Cappiello is considered one of the fathers of modern advertising. He was an Italian publicist, illustrator and caricaturist. Based in Paris at the turn of the 19th century, he became a naturalised French citizen in 1930. After studying in Livorno, he published his first album of caricatures at the age of twenty. Settling in Paris in 1898, where he began his career as a cartoonist, he worked for many newspapers, including Le Rire, Le Sourire, L'Assiette au Beurre and Le Cri de Paris. A year later, he achieved great success with the release of a portrait album published by La Revue Blanche in 1899, and his career as a poster artist began the following year and continued until 1930. He remained loyal to the Vercasson printing house until the early 1920s, while working regularly for the Devambez publishing house. Cappiello is also known for his illustrations for books such as Voltaire's The Princess of Babylon and Apollinaire's The Assassinated Poet, and for his portraits, including those of Henri de Regnier and his brother-in-law Paul Adam. Among his most famous posters are: Cachou LAJAUNIE (1900), La Rose Jacqueminot de Coty Perfume (1904), Klaus Chocolate (1905), Thermogen (1909), Cinzano (1910), Bouillon Kub (1911), JOB cigarette paper (1912), Savour the Savour (1930), Bally Shoes (1931), Bouillon Kub (1931), Dubonnet (1932).

Estim. 4 000 - 5 000 EUR

Thu 23 May

BEJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980). Untitled. Watercolor on paper. Presents handwritten texts by the artist. Certificate of authenticity issued by the Benjamín Palencia Archive can be issued at the buyer's expense. It has damages in the frame. Signed in the lower right area. Measurements: 31 x 47,5 cm; 53,5 x 71 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 typical 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 Prado Museum, since he always rejected the official teachings of the Royal 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, when the Civil War broke out Palencia remained in Madrid, suffering a period of deep crisis like his generation mates. 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 was awarded the medal of honor at the National Exhibition, although he renounced it to facilitate its concession to José Gutiérrez Solana. A certificate of authenticity issued by the Benjamín Palencia Archive can be issued at the buyer's expense.

Estim. 1 800 - 2 000 EUR

Thu 23 May

BENJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980). Untitled, 1948. Mixed media on paper. Certificate of authenticity issued by the Benjamín Palencia Archive can be issued at the buyer's expense. It has slight damage. Signed and dated in the lower right corner. It has museum glass. Measurements: 50 x 70 cm; 71 x 91 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 typical 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 Prado Museum, since he always rejected the official teachings of the Royal 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, when the Civil War broke out Palencia remained in Madrid, suffering a period of deep crisis like his generation mates. 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 was awarded the medal of honor at the National Exhibition, although he renounced it to facilitate its concession to José Gutiérrez Solana. Slightly damaged. Signed and dated in the lower right corner. It has museum glass.

Estim. 3 000 - 4 000 EUR

Thu 23 May

JULIO GONZÁLEZ PELLICER (Barcelona, 1876 - Arcueil, France, 1942). "Le repos sour les saules (Resting under the willows)", 1924. Watercolor on paper. Signed with initials and dated in the lower right corner. Measurements: 17 x 25 cm; 31 x 39,5 cm (frame). Julio González is not only considered an important figure within the artistic panorama of the 20th century for his sculptures in iron, but also for his excellent, although less known, facet as a draftsman. Gonzalez's drawings are inspired by the work of Pablo Picasso due to the relationship he had with the painter from Malaga, a collaboration that began in 1928 and culminated with the execution in wrought bronze of the sculpture "Femme au jardin". Thanks to his drawings it is possible to delve into the exciting world of González, with female figures captured with enormous skill and delicacy, or with the sketches prior to his iron sculptures, which demonstrate his exceptional and unlimited artistic capacity. Julio González was born into a family of goldsmiths, learning the trade as a child. Later he studied Fine Arts at La Lonja in Barcelona. In 1900 he went with his family to Paris, where he frequented the artistic circles and maintained contact with Picasso, Gargallo and Brancusi, among others. Around 1910 he began to work with embossed metal masks, with a style marked by naturalistic and symbolist features, as well as by a new conception of the human figure, with synthesized volumes and lines. During these years, Gonzalez began his participation in the Parisian salons, specifically in the Salon d'Automne, the Salon des Indépendants and the Salon de la Société Nationale des Beaux-Arts. In 1920 he opened his own forge workshop, and two years later he made his individual debut at the Povolovsky Gallery in Paris. At the end of the 1920s he began to develop his first sculptures in wrought iron, a material that until then was considered merely decorative. During the thirties his work became more abstract, and the first spatial constructions appeared. After a long list of participations in solo and group exhibitions such as Spanish Art at the Jeu de Paume Museum (1936) or the Spanish Pavilion at the Universal Exhibition in Paris (1937), at the beginning of World War II his work, as a result of the shortage of iron, focuses on a new material, plaster, and on drawings with war themes. González is represented at the Georges Pompidou Center in Paris, the Reina Sofía in Madrid, the IVAM in Valencia and the MoMA in New York, among many others.

Estim. 5 000 - 5 500 EUR

Thu 23 May

JOAQUIN SUNYER DE MIRO (Sitges, Barcelona, 1874 - 1956). "Naked woman". Pastel on paper adhered to cardboard. Signed in the lower right corner. Measurements: 91 x 61 cm; 102 x 73 cm (frame). Considered one of the maximum representatives of the noucentista style, Sunyer was nephew of the also painter Joaquim de Miró i Argenter, with whom he began in the painting. Within his work, his landscapes and female nudes stand out, as well as his portraits, totally distant from traditional painting. His compositions are an example of balance, always looking for the evocative power of images, figures and atmospheres. After studying at La Lonja School in Barcelona, Sunyer began his career as an illustrator of popular scenes in "La Vanguardia" in 1896. That same year he took part in the Fine Arts Exhibition. Shortly after, he settled in Paris, where he specialized in street scenes and intimate interiors, which he treated in a style influenced by prostimpressionism. In Paris he befriended Picasso and Hugué, and exhibited in the Salons. During his Parisian period he worked with real dedication, evolving towards a post-impressionist language. Between 1905 and 1906 he traveled through Castile, on the initiative of the art dealer Henri Barbazanges, who wanted Spanish themes. He returned to Paris in 1907, and held several exhibitions in the French capital and Liège. He settles in Sitges in 1910, at a time when his style has been losing the post-impressionist influences and approaches the Mediterranean themes and the simplified canon figures of Cézanne. In these years a great change will occur in his painting, becoming a leading figure in the Noucentisme. His new language, based on an essential composition of clear structures and sober and transparent colors, clearly Mediterranean, would create a school within Catalan art. The following year, in 1911, Sunyer organizes a personal exhibition in the Faianç Catalá that placed him, after Nonell's death, at the head of the Catalan painting of the moment. During the following years he travels and exhibits in Europe, but returns to Catalonia at the outbreak of the First World War. Settled in Sitges, he nevertheless took part in the Paris and Barcelona Salons. After fleeing Spain because of the Civil War, he returned to Spain and settled in Barcelona in 1942. In 1949 he was awarded the Legion of Honor, and later special rooms were dedicated to him at the Hispano-American Art Biennials in Barcelona. At the Havana Biennial in 1954, he was awarded the Grand Prize for a lifetime of work. An anthological exhibition was also held in Madrid in 1974, commemorating the centenary of his birth. Joaquín Sunyer is currently represented at the MACBA, the Bilbao Fine Arts Museum, the Georges Pompidou Center in Paris and the Reina Sofía National Art Center in Madrid.

Estim. 9 000 - 10 000 EUR

Thu 23 May

RAFAEL ZABALETA FUENTES (Quesada, Jaén, 1907-1960). Untitled, 1955. Ink on paper. Presents informative label of the Biosca Gallery (Madrid) on the back. It has paper tear in the middle of the right side. Signed, dated and dedicated to Campoy. Measurements: 49 x 34 cm; 68 x 57 cm (frame). Born in the bosom of a wealthy family, Rafael Zabaleta already manifests since childhood his fondness for painting, so after finishing his high school studies he moves to Madrid and enters, in 1925, in the Escuela Superior de Bellas Artes de San Fernando. There he will have as teachers Lainez Alcalá, Cecilio Pla and Ignacio Pinazo, and in 1932 he participates for the first time in a group exhibition, that of the students of San Fernando. One of his works, entitled "La pareja," was selected to illustrate the critical review that Manuel Abril made for the magazine "Blanco y Negro". Three years later Zabaleta made his first trip to Paris, where he met and studied the works of the masters of contemporary painting. In 1937 he was appointed delegate of the National Artistic Treasure, and also around this time he began a series of drawings on the Civil War. At the end of the war he was denounced, and briefly spent time in the concentration camp of Higuera de Calatrava and in Jaen prison, where his two albums of drawings made during the war were seized. Finally freed, in 1940 he settles in Madrid, where he attends the gatherings at the Café Gijón and draws and paints at the Círculo de Bellas Artes. Two years later he visits Aurelio Biosca, director of the Madrid gallery Biosca, with a letter of introduction from the sculptor Manolo Hugué. There he held his first individual exhibition that same year, after being rejected at the National Exhibition of Fine Arts. However, the following year he participates in the First Salón de los Once and becomes a member of the Academia Breve de Crítica de Arte de Eugenio d'Ors, to which Biosca also belonged. Zabaleta will take part in most of his Salones de los Once and anthological exhibitions. In 1945 Zabaleta participates in the group show "Floreros y bodegones" held at the National Museum of Modern Art, while he continues to exhibit individually and collectively in galleries in the capital. In 1947 he holds his first personal exhibition in Barcelona, at the Argos Gallery, and his first monograph is published. Two years later he travels again to Paris, coming into contact with Picasso, Óscar Domínguez, M. Ángeles Ortiz and others. The year of his definitive consecration will be 1951, when he holds a solo exhibition at the Museum of Modern Art in Madrid. In 1955 he was awarded the UNESCO Prize at the Hispano-American Biennial in Barcelona. It has a paper tear in the middle of the right side.

Estim. 1 000 - 1 400 EUR

Thu 23 May

JEAN BURKHALTER (France, 1895 -1982). "Landscape," 1930. Watercolor on paper. Signed and dated in the lower right corner. Measurements: 31 x 48 cm. Born in Auxerre, Jean Burkhalter came from a well-to-do background, but when he lost his father in 1912 and his mother in 1915, he left for Paris at the age of 18. He enrolled in 1915 at the École nationale supérieure des arts décoratifs, where he continued his studies until 1919. He then worked for several decoration houses, specializing in different fields: fabrics and carpets, creation and edition of printed canvases, and goldsmithing, which allowed him to participate for the first time in the Salon des artistes décorateurs. In 1920, he exhibited paintings at the Galerie des artistes modernes, and at the Salon d'Automne and the Salon de la Société nationale des beaux-arts in 1921.He participated in the fiftieth anniversary of the 1925 Exhibition at the Musée des Arts décoratifs in Paris, October 15, 1976. In one of his manuscripts, entitled "Ligne, surface, volume" (Line, surface, volume), never published but quoted in the work of Laure Guillier et al, Jean Burkhalter wrote "Art, taken in its most general sense, is a more or less cerebral game, but it is a game", and it is indeed on a large number of supports that he played. His works, most of which belong to private collections, are so numerous and varied (watercolors, red chalk, oils, etc.). Le port de Sormiou (Provence) was acquired by the State, 1932, initially registered at the Musée du Luxembourg, 1934, but currently unlocated.

Estim. 1 000 - 1 200 EUR

Thu 23 May

JULES CHÉRET (Paris, 1836 - 1932). "Character from the Commedia dell'Arte". Red chalk and gouache on paper. Signed. Size: 35.5 x 23.5 cm; 48 x 35.5 cm (frame). Jules Cheret was a French painter and lithographer who was to become a master of poster art. Self-taught, he studied the techniques of various artists, ancient and modern, by visiting the museums of Paris. Although some of his paintings enjoyed recognition, it was his work as a poster artist that would bring him the greatest fame and for which he would be remembered. Influenced by the frivolous scenes depicted in the works of Jean-Honoré Fragonard and other rococo artists such as Antoine Watteau, Chéret recreated vivid posters for cabarets, variety theatres and theatres such as the Eldorado, the Paris Olympia, the Folies Bergère, the Opera House, the Alcazar d'Ete and the Moulin Rouge. Due to high demand, he expanded his business to provide advertisements for touring company performances, municipal festivals and then for beverages and spirits, perfumes, soaps, cosmetics and pharmaceuticals. Eventually he became a major advertising force, adding railway companies and a number of manufacturing businesses to his client list. In 1895, Chéret created the Maîtres de l'Affiche collection, a significant publication of smaller classified art reproductions featuring the best works of nineteen Parisian artists. Its success inspired an industry that saw the emergence of a new generation of designers and poster painters such as Charles Gesmar and Henri de Toulouse-Lautrec. One of his pupils was Georges de Feure (1868-1943). In his old age, Jules Chéret retired to the balmy climate of the Côte d'Azur in Nice. He died in 1932 at the age of 96 and was buried in the Saint-Vincent cemetery in the Montmartre district of Paris. In 1933 he was honoured with a posthumous exhibition of his works at the prestigious Salon d'Automne in Paris. Over the years, Chéret's posters have become highly sought after by collectors around the world. The Jules Chéret Museum of Fine Arts was opened in Nice.

Estim. 600 - 800 EUR

Thu 23 May

JULES CHÉRET (Paris, 1836 - 1932). "Seated Lady. Red chalk on paper. Signed. The paper has damp stains. Size: 38 x 23 cm; 51 x 35 cm (frame). Jules Cheret was a French painter and lithographer who was to become a master of poster art. Self-taught, he studied the techniques of various artists, ancient and modern, by visiting the museums of Paris. Although some of his paintings enjoyed recognition, it was his work as a poster artist that would bring him the greatest fame and for which he would be remembered. Influenced by the frivolous scenes depicted in the works of Jean-Honoré Fragonard and other rococo artists such as Antoine Watteau, Chéret recreated vivid posters for cabarets, variety theatres and theatres such as the Eldorado, the Paris Olympia, the Folies Bergère, the Opera House, the Alcazar d'Ete and the Moulin Rouge. Due to high demand, he expanded his business to provide advertisements for touring company performances, municipal festivals and then for beverages and spirits, perfumes, soaps, cosmetics and pharmaceuticals. Eventually he became a major advertising force, adding railway companies and a number of manufacturing businesses to his client list. In 1895, Chéret created the Maîtres de l'Affiche collection, a significant publication of smaller classified art reproductions featuring the best works of nineteen Parisian artists. Its success inspired an industry that saw the emergence of a new generation of designers and poster painters such as Charles Gesmar and Henri de Toulouse-Lautrec. One of his pupils was Georges de Feure (1868-1943). In his old age, Jules Chéret retired to the balmy climate of the Côte d'Azur in Nice. He died in 1932 at the age of 96 and was buried in the Saint-Vincent cemetery in the Montmartre district of Paris. In 1933 he was honoured with a posthumous exhibition of his works at the prestigious Salon d'Automne in Paris. Over the years, Chéret's posters have become highly sought after by collectors around the world. The Jules Chéret Museum of Fine Arts was opened in Nice.

Estim. 600 - 800 EUR

Thu 23 May

JULES CHÉRET (Paris, 1836 - 1932). "Seated Woman". Charcoal on paper. Size: 37 x 25 cm. Jules Cheret was a French painter and lithographer who was to become a master of poster art. Self-taught, he studied the techniques of various artists, ancient and modern, visiting the museums of Paris. Although some of his paintings enjoyed recognition, it was his work as a poster artist that would bring him the greatest fame and for which he would be remembered. Influenced by the frivolous scenes depicted in the works of Jean-Honoré Fragonard and other rococo artists such as Antoine Watteau, Chéret recreated vivid posters for cabarets, variety theatres and theatres such as the Eldorado, the Paris Olympia, the Folies Bergère, the Opera House, the Alcazar d'Ete and the Moulin Rouge. Due to high demand, he expanded his business to provide advertisements for touring company performances, municipal festivals and then for beverages and spirits, perfumes, soaps, cosmetics and pharmaceuticals. Eventually he became a major advertising force, adding railway companies and a number of manufacturing businesses to his client list. In 1895, Chéret created the Maîtres de l'Affiche collection, a significant publication of smaller classified art reproductions featuring the best works of nineteen Parisian artists. Its success inspired an industry that saw the emergence of a new generation of designers and poster painters such as Charles Gesmar and Henri de Toulouse-Lautrec. One of his pupils was Georges de Feure (1868-1943). In his old age, Jules Chéret retired to the balmy climate of the Côte d'Azur in Nice. He died in 1932 at the age of 96 and was buried in the Saint-Vincent cemetery in the Montmartre district of Paris. In 1933 he was honoured with a posthumous exhibition of his works at the prestigious Salon d'Automne in Paris. Over the years, Chéret's posters have become highly sought after by collectors around the world. The Jules Chéret Museum of Fine Arts was opened in Nice.

Estim. 600 - 800 EUR
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