23rd April - 19th & 20th century classics

Lot 1 - RAMÓN CALSINA BARÓ (Barcelona, 1901 - 1992). "The shooting". Oil on canvas. Signed in the upper left corner. Presents restorations on the canvas. Measurements: 81 x 100 cm; 98 x 115 cm (frame). In what looks like the dilapidated interior of a neighborhood theater a group of picturesque characters have gathered: an actress with a dancer's costume about to recite her role, a director hidden behind his camera preparing to record it, a spectator seated in a box and a circus musician. The penumbra in which the scene takes place increases the enigmatic sensation of the atmosphere, with which Ramón Calsina recreates one of his particular mysterious worlds, touched by a sweet melancholy with which he is accustomed to impregnate his endearing human landscapes. After beginning his training at the Baixas Academy in Barcelona, Calsina entered the La Lonja School in 1920, where he was a disciple of Feliu Mestres. He made his individual debut in 1930 at the Sala Parés, and the following year he exhibited his works in Paris. Of special importance were the anthologies he held in Barcelona in 1957 and 1966. His style, close to magical realism, is precise and stylized, often ironic and full of unusual or fantastic details. It also reveals certain influences of Goya, Daumier and Hogarth. As a draughtsman, he created illustrations, posters and stained glass windows. He designed the costumes and scenery for the play "El casament de la Xela", by Xavier Berenguel (1938). Between 1931 and 1933 he collaborated with the German magazine "Der Querschnitt". He also illustrated novels, such as "Don Quixote" and the works of Edgar Allan Poe. In 1964 he won the Ynglada-Guillot international drawing prize, and in 1990 he was awarded the Cross of Sant Jordi. In 1984 a large group of poets, writers, artists and intellectuals made a social appeal for the recognition of Calsina, as a result of which the Caja de Ahorros de Barcelona, with the collaboration of the Generalitat de Catalunya, dedicated an anthological exhibition to him. In 1990 another one was held at the Centro Conde Duque in Madrid, with the collaboration of the City Council. He is represented in several Spanish museums, as well as in important private collections. In 2009 the Ramón Calsina Foundation was created, promoted by his heirs.

Estim. 5 000 - 6 000 EUR

Lot 2 - RAFAEL ZABALETA FUENTES (Quesada, Jaén, 1907 - 1960). "Still life of the fruit vendor", 1941. Oil on canvas. Signed in the lower left corner. This work appears in a photograph of Cesáreo Rodríguez-Aguilera (friend and biographer of Zabaleta) taken in his house in Barcelona. Work verified by the Zabaleta Museum. Work referenced in Rafael Zabaleta's autographic relation where it is even indicated to whom it is sold. Exhibitions: - Biosca, Madrid, 1942, number 1. - Argos, Barcelona, 1947, number 12. Bibliography: - Guzmán, M. "Catalogación...", n. 78, pp. 107-108. - Guzmán, M. "La pintura de R. Zabaleta", p. 304. Measurements: 50 x 61 cm; 70 x 81 cm (frame). Rafael Zabaleta was an extremely versatile painter, capable of developing in parallel a work of cubist heritage in which the image is fragmented evoking colorful stained glass windows and, at the same time, an apparently traditional style but in which the avant-garde legacy can be appreciated. This second case occurs in the painting we are bidding for, of which María Guzmán Pérez, the greatest expert in Zabaleta's pictorial work, states that "it lacks all perspective, whose superimposed objects totally cover the pictorial space. The primary scheme is built by an oval and a rhombus, making the axes of both coincide. The drawing is very simple, the forms being insinuated by a dark line that draws them, with no other purpose than to make them recognizable". Born into a well-to-do family, Rafael Zabaleta showed his love for painting as a child, so after finishing his high school studies he moved to Madrid and entered, in 1925, 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. That same year he participates in the Biennial of the Mediterranean held in Alexandria, and holds a solo exhibition in Bilbao. During his last years Zabaleta will be an artist already fully recognized, invited to the most important exhibitions and salons both in Spain and in foreign cities of the importance of Paris.

Estim. 18 000 - 20 000 EUR

Lot 3 - JOHN BRADFORD (United States, 1949). "David Hume reading An Enquiry Concerning the Principles of Morals to his friends," 2017. Acrylic on canvas. Signed in the lower right corner. Label of the Anna Zorina Gallery, New York, on the back. Measurements: 122 x 152 cm; 127 x 158 cm (frame). As the title of this unique composition reads, David Hume reads his mythical writing "Inquiry into the Principles of Morals" to a close circle of friends and relatives. The subject, however, is almost an excuse for John Bradford. The artist employs a wide range of formal techniques honed over 50 years of experience, combining scraping with palette knife, generous dabs of paint, applied with brush and fingers... the result being an almost dreamlike, yet realistic atmosphere. He plays with the ephemeral nuances of air and light. John Bradford was born in Wilmington, Delaware. He received a BFA from Cooper Union in New York in 1971 and an MFA from Yale University School of Art in New Haven, Connecticut, in 1978: Anna Zorina Gallery, New York; Claryville Art Center, New York; Bowery Gallery, New York; and 55 Mercer Gallery, New York; among others. Bradford is the 2011 recipient of the prestigious American Academy of Arts and Letters Painting Award. Bradford's work has been reviewed in The New York Times, New York Magazine, New Criterion, ArtNews, Village Voice, The Jewish Press and Hudson Review.Bradford lives and works in Leonia, New Jersey. Anna Zorina Gallery in New York currently has a solo exhibition of the artist's work (opening April 18, 2024).

Estim. 5 000 - 7 000 EUR

Lot 4 - ELISEO MEIFRÈN ROIG (Barcelona, 1859 - 1940). "Cadaqués". Oil on panel. Signed in the lower right corner. Measurements: 53 x 62 cm; 71 x 80 cm (frame). Painter of landscapes and seascapes, Eliseo Meifrèn is considered one of the first introducers of the impressionist movement in Catalonia. He began his artistic training at the School of Fine Arts in Barcelona, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to create romantic landscapes of academic style. After finishing his studies, in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he got to know first hand the painting "à plen air", which would influence him powerfully in his Parisian landscapes of those years. Likewise, in Paris he coincided with the public beginning of impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome; there he made contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he participated in the Regional Exhibition of Valencia, and won a gold medal. Once back in Barcelona, in 1880 he made his individual debut in the Sala Parés in Barcelona, where he continued to exhibit regularly since then. During these years he was part of the modernist group, and frequented Els Quatre Gats. In 1883 he returned to Paris, where he made numerous drawings and watercolors with views of the city and its cafés, which earned him a warm welcome from French critics and the French public. At the end of the eighties he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centro de Acuarelistas. Also, in 1888 he was a member of the jury of the Universal Exhibition held in Barcelona. In 1890 he returned for the third time to the French capital, where he participated in the Salon des Beaux-Arts and in the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group a year earlier. In the following years Meifrèn would send his works to numerous official exhibitions and competitions, among them the National Exhibitions of Madrid and Barcelona, and was awarded the third medal at the Paris Universal of 1889 and 1899, silver medal at the Brussels Universal of 1910, grand prize at the Buenos Aires Universal of the same year, medal of honor at the San Francisco International of 1915 and grand prize at the San Diego International of the following year. He also won the Nonell Prize of Barcelona in 1935. In 1952, the Barcelona City Council dedicated a retrospective exhibition to him, held at the Palacio de la Virreina. His initial landscapes, characterized by an academic and romantic concept, would later evolve towards an impressionist language; abandoning the Roman preciosism, his would be a technique of loose brushstrokes and clear palette, in which the luminous conception approaches symbolist budgets, within the orbit of Modesto Urgell. He is currently represented in the Prado Museum, the National Art Museum of Catalonia, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.

Estim. 8 000 - 10 000 EUR

Lot 5 - HOLGER HVITFELDT JERICHAU (Copenhagen, 1861-1900). "Two Men in Benares". 1884. Oil on canvas. Signed, located and dated in the lower left corner. Preserves period frame. It presents some faults in the golden frame. Measurements: 60 x 40 cm; 82 x 62 cm (frame). Holger Hvidtfeldt Jerichau lived in several Asian countries, especially in India. His travel paintings transcend the orientalist anecdote, as can be seen in this canvas. Two natives soak their feet in the Ganges, and the sacredness of the Hindu river is contagious in the clarity of the atmosphere, limpid and calm. Their dark complexion contrasts with the whiteness of the drapery. Slender palm trees prop up the sky, and their canopies paint the turquoise blue with their greenery. The warm luminosity of the sky is reflected in the transparent surface of the crystalline water, as well as the masculine silhouettes reverberate in it, melting in chromatic myriads that glide in rhythmic swaying. The huts huddle together on the slope, completing a picture that conveys an idyllic and romantic vision of this Indian landscape. Holger Hvidtfeldt Jerichau was a Danish landscape painter. His brother, Harald Jerichau, was also a well-known painter of the same genre. He was the son of sculptor Jens Adolf Jerichau and his wife, painter Elisabeth Jerichau Baumann. He was initially apprenticed as a merchant in Germany and Italy, but showed little aptitude for that career. He therefore chose to follow in his parents' footsteps. He received most of his training from his mother, but also studied with tutors abroad. He never attended art school. From 1884 he exhibited landscapes with Italian motifs. He lived abroad most of his life, mainly in Italy, but also in southern Russia and Asia, including a year in India (1893-94). Most of his Danish landscapes date from 1885 and 1886, when he lived near Hørsholm and married Anna Frederikke Birch, daughter of the local registrar. Their son, Jens Adolf, a promising expressionist painter, committed suicide at the age of twenty-five. Much of his work is today described as superficial, and obviously aimed at the tastes of the widest possible public. Despite the cultural diversity of the places where he lived and visited, his choice of subjects is often banal and the colors very simple. He died at Christmas 1900, and is buried in Hørsholm cemetery. Although he was only thirty-nine years old, his total output was considerable.

Estim. 6 000 - 8 000 EUR

Lot 6 - GODOFREDO ORTEGA MUÑOZ (San Vicente de Alcántara, Badajoz, 1899 - Madrid, 1982). "Landscape of Lake Maggiore", ca.1920-30. Oil on cardboard. Provenance: -Private collection, Massimo Uccelli, Italy. Inherited from his grandparents, in turn, received it from the painter while he lived in his house in Via Antonio Rosmini, in Stresa, near Lake Maggiore (Italy). -Private collection, Turin. With certificate of the Ortega Muñoz Foundation. With export permit from Italy and Spain. Measurements: 51 x 60 cm. Ortega Muñoz lived in this area of northern Italy, close to the Swiss border, so he represented it on numerous occasions, showing a great handling of the shades and lights of this cold and limpid border region. Ortega, heir to the school of Vallecas, often prioritized this type of stark landscapes, realistic but far from academic, that take us into wide and lonely spaces that awaken our genuine emotionality. The trees with bare branches occupy a first line behind which the mountainous landscape of Lake Maggiore opens up, outlined in the background by bluish specks of snowy peaks. Ortega Muñoz was one of the great creators of the contemporary Spanish landscape. He started in art when he was still a child, in a self-taught way, and despite his father's advice, in 1919, when he was twenty years old, he decided to move to Madrid to devote himself to painting. There he will dedicate himself from the first moment to making copies of the great masters in the Prado Museum and in the old Museum of Modern Art. He continued his self-taught training and began to paint outdoors in the surroundings of the Dehesa de la Villa, accompanied by other young artists such as the Filipino Fernando Amorsolo. A year later he decided to move to Paris, where he met his lifelong friend, the poet Gil Bel. In Paris he also got to know the work of Van Gogh, Gauguin and Cézanne, but at the same time he experienced the formal and ideological crisis that was developing in this interwar period, which would lead him to leave France to travel south, to Italy, where he would find in the masters of the past more authentic values of spirituality, simplicity and purity. Ortega Muñoz will travel through Italy from North to South between 1921 and 1922, and in Lago Maggiore he meets the English painter Edward Rowley Smart, with whom he will spend a short period of apprenticeship. With him Ortega Muñoz comes to the conclusion that, in the face of the apparent unreasonableness of contemporary art, it is necessary to return to nature and return to are the authenticity of spiritual truths and simple emotions. In 1926 he returned to Spain, where he was the protagonist of one of the founding excursions of the Vallecas School. Shortly afterwards, in 1927, he held his first exhibition at the Círculo Mercantil in Zaragoza. Then he leaves Spain again, and this time he travels through Central Europe, passing through Zurich, Brussels and several German cities. In 1928, in Worpswede, he comes into contact with a colony of artists of expressionist language, interested in landscapes and peasant life, as a reaction against the sophisticated artifices and refinements of the avant-garde. Notably influenced by his experience in Worpswede, Ortega Muñoz returns to France in 1928, and between 1930 and 1933 he continues to travel between Central Europe and Northern Italy; he finally arrives in Cairo in 1933, a date at which his skills as a portraitist have provided him with a comfortable lifestyle and important contacts. He exhibits in Alexandria with an enormous success, which will lead him to repeat the experience a year later, presenting an almost anthological exhibition in which his love for nature, the balance between color and mood, and the atmosphere of stillness and sadness characteristic of his language can already be appreciated. In 1935 he returns to Spain and the following year he presents an exhibition at the Círculo de Bellas Artes in Madrid. However, the Civil War forced him to leave Spain; after the war he returned to his hometown, and finally reunited with the silent and lonely expanse of his landscape and with the close reality of that world that he felt as authentically his own.

Estim. 25 000 - 28 000 EUR

Lot 7 - JOSÉ VELA ZANETTI (Milagros, Burgos, 1913 - Burgos, 1999). "Our bread", 1979. Oil on canvas. Signed and dated in the lower left corner. Signed, dated and titled on the back. Measurements: 57 x 76 cm; 72 x 92 cm (frame). Following the words of the Vela Zanetti Foundation "One of the themes of the small format painting would be the still lifes, very particular of Vela Zanetti, because they have the characteristic of being rural and rough. It is his interpretation of the Castilian still life and the fact of putting things of second order as protagonists what makes these works so valuable. The objects he represents are those typical of the countryside, as in this case the loaf of bread, the keys, the water jug or a lemon. In the background, a peeling wall meticulously done, emphasizes the color and amplifies the nuances." Born in Milagros, in the province of Burgos, he moved to León with his family when he was a child. There he held his first exhibition in 1931. Supported by his father, after finishing high school he travels to Madrid for a few months to see exhibitions and visit the Prado Museum. Shortly afterwards he obtained a scholarship to visit Italy, granted by the Provincial Council of León. As a consequence of the Spanish Civil War he went to the Dominican Republic, where he remained until 1960. In Santo Domingo he started, together with other exiled artists, the National School of Fine Arts. During this period he had exhibitions and projects in Mexico, Colombia, Puerto Rico and the United States. In 1951, the John Simon Guggenheim Foundation of New York awarded him a grant for a singular project: the creation of a large-scale mural for one of the main spaces of the United Nations headquarters, in commemoration of the 50th anniversary of the Universal Declaration of Human Rights. This project definitively catapulted the master from Burgos, and is today considered his most important work both for its symbolic relevance and for its expressiveness and artistic quality. He himself said of this work: "I hope that those who contemplate this mural will realize that peace must be won, not once and forever, but every day, remembering the sufferings of the past and making real what men aspire to for the future". Vela Zanetti also painted other important murals, such as those on historical themes for the Provincial Council of Burgos or the frescoes of the old Ercilia Theater in Barahona, Dominican Republic. He was an academician of San Fernando, and Doctor Honoris Causa by the University of Burgos. The Centro Cultural de la Villa de Madrid held in 2001, under the title "Antológica", a retrospective exhibition on the work of Vela Zanetti, the most important to date. In 2009 an exhibition commemorating the tenth anniversary of his death was held at the Ángeles Penche gallery in Madrid. Soon, an important exhibition dedicated to the work of Vela Zanetti was held at the Fórum Evolución in Burgos, commemorating the centenary of his birth and the most complete anthology of this painter held to date. His works are currently preserved in the collections of the Caja Rural de Burgos and the Vela Zanetti Foundation in León, as well as murals in various cities in Spain, Santo Domingo, the United States, Colombia and Switzerland.

Estim. 5 500 - 6 000 EUR

Lot 8 - MANOLO DE LA VEGA (Andalusia, late nineteenth century). "Tavern scene". Oil on canvas. Signed "M. de la Vega". Presents lack of polychrome in the gilding of the frame. Measurements: 118 x 163 cm; 137 x 182 cm (frame). Costumbrista scene impregnated of picaresque, results with a bold and juicy language. In the interior of a popular restaurant, two women wrapped in shawls of fine lace laugh under their breath when the man of the family reads the bill. His open mouth and wide eyes reveal that he was not expecting such a large sum. On an unconscious impulse, he clenches his fist around the handle of the dessert knife, while his daughter covers her mouth with her napkin to hide her glee and her mother fans herself, pretending to be absent-minded. The waiter, meanwhile, leans against the stone archway of the tavern's interior, and watches the scene suspiciously. In the background, by the fireplace, a group of strolling actors, one of them dressed as a harlequin, clink their wine glasses.

Estim. 5 000 - 6 000 EUR

Lot 9 - JULIÁN GRAU SANTOS (Canfranc, Huesca, 1937). "Cupboard".1970. Oil on canvas. Signed and dated in the lower right corner. Measurements: 75 x 62 cm. Son of Emilio Grau Sala and Ángeles Santos Torroella, he is formed in Barcelona. In 1949 he makes several trips to Paris, where he has the opportunity to contemplate first hand works of Sisley, Van Gogh and diverse impressionists and postimpressionists. He held his first individual exhibition at the Sala Libros in Zaragoza in 1957. Since then he has held personal exhibitions in the Syra, Rovira and Vayreda galleries in Barcelona; Alas, Abril, El Cisne, Collage and Biosca in Madrid; Justin Lester in Los Angeles, Art Roman in Tokyo, etc. Since 1966 he regularly exhibits individually at the Sala Parés in Barcelona, and in 1968 he participated in the Salon des Artistes Français at the Grand Palais in Madrid. His work, linked to expressionism and very much based on color, is characterized by a very elaborate technique and a deep knowledge of drawing. He also made numerous drawings, which were published in various newspapers and magazines. His awards include the La Rambla Prize (Barcelona, 1961), the Ramón Rogent Medal (Salón de Mayo, Barcelona, 1962), medal of the Fine Arts Exhibition (Madrid, 1961), III Sant Jordi Prize and Van Gogh Prize (Barcelona, 1963), City of Barcelona Medal (1965), Huesca Painting Biennial Prize (1976), Condesa de Barcelona Medal (Madrid, 1983) and Medal of Honor in the BMW Competition (Madrid, 1987). In recent years he has participated in the ARCO fairs in Madrid and ARTEXPO in Valencia, Barcelona, Basel, New York, Chicago, Miami and Hong Kong. In 1993 the Mapfre Vida Foundation in Madrid dedicated a retrospective exhibition to him.

Estim. 1 500 - 2 000 EUR

Lot 10 - JULIÁN GRAU SANTOS (Canfranc, Huesca, 1937). "Sant Pere de Ribas", 1975. Oil on canvas. It has a label of the Parés room (Barcelona). Signed and dated in the lower left corner. Signed and titled on the back. Measurements: 50 x 61 cm; 78 x 67 cm (frame). Son of Emilio Grau Sala and Ángeles Santos Torroella, he is formed in Barcelona. In 1949 he makes several trips to Paris, where he has the opportunity to contemplate first hand works of Sisley, Van Gogh and diverse impressionists and postimpressionists. He held his first individual exhibition at the Sala Libros in Zaragoza in 1957. Since then he has held personal exhibitions in the Syra, Rovira and Vayreda galleries in Barcelona; Alas, Abril, El Cisne, Collage and Biosca in Madrid; Justin Lester in Los Angeles, Art Roman in Tokyo, etc. Since 1966 he regularly exhibits individually at the Sala Parés in Barcelona, and in 1968 he participated in the Salon des Artistes Français at the Grand Palais in Madrid. His work, linked to expressionism and very much based on color, is characterized by a very elaborate technique and a deep knowledge of drawing. He also made numerous drawings, which were published in various newspapers and magazines. His awards include the La Rambla Prize (Barcelona, 1961), the Ramón Rogent Medal (Salón de Mayo, Barcelona, 1962), medal of the Fine Arts Exhibition (Madrid, 1961), III Sant Jordi Prize and Van Gogh Prize (Barcelona, 1963), City of Barcelona Medal (1965), Huesca Painting Biennial Prize (1976), Condesa de Barcelona Medal (Madrid, 1983) and Medal of Honor in the BMW Competition (Madrid, 1987). In recent years he has participated in the ARCO fairs in Madrid and ARTEXPO in Valencia, Barcelona, Basel, New York, Chicago, Miami and Hong Kong. In 1993 the Mapfre Vida Foundation in Madrid dedicated a retrospective exhibition to him.

Estim. 1 200 - 1 400 EUR

Lot 11 - MODEST URGELL ANGLADA (Barcelona, 1839 - 1919). "Landscape. Oil on panel Signed in the lower right corner. Measurements: 36 x 25 cm; 61 x 52 cm (frame). Modest Urgell began his career as a theatrical actor, but the family prohibition to follow that path led him to devote himself to painting. He studied at the Escuela de La Lonja in Barcelona, where he was a disciple of Ramón Martí Alsina, and later spent some time in Paris, where he met Gustave Courbet and became attached to realism. During the sixties, his works were rejected in the official exhibitions of Madrid and Barcelona. In 1870 he moved to Olot, where he became acquainted with Joaquín Vayreda, creator of the local landscape school. From then on, Urgell decided to devote himself fully to landscape painting. His work will focus on solitary natures and seascapes, often starring hermitages and cemeteries, marked by a twilight, desolate and mysterious atmosphere. From 1896 he taught landscape painting at the School of Fine Arts of Sant Jordi in Barcelona, being appointed academician in 1902. He was also founder of the Artistic and Literary Society of Catalonia, as well as the Artistic and Archaeological Museum of Girona. He took part in all the editions of the National Exhibition of Fine Arts, in Madrid, from 1864 until a year before his death, and was awarded the second medal in 1876 and 1892. He also sent his paintings to the exhibitions of Barcelona, as well as to the Universal Exhibition of Paris and the International Exhibitions of Munich, Brussels, Berlin, Philadelphia and Chicago. In 1892 he was awarded in all the contests in which he participated, among them the one in Brussels, in which he was the only Spanish winner. He also devoted himself to literature, with a special interest in theater. The sum of his two passions, art and literature, are expressed in his album "Catalunya" (1905), made up of more than one hundred drawings accompanied by texts written by himself. His landscapes have an atmosphere, a color and themes that deny the stereotype of the Mediterranean landscape, based on warm and friendly natures, of brilliant chromatism, like open windows to the southern sensuality. His paintings, on the contrary, speak of melancholy and loneliness, and time and again recreate a desolate and sad Catalonia to which, years later, the poet Salvador Espriu would also be sensitive. His language rejects any fanciful or picturesque theme, picking up current issues without trying to ennoble or idealize them, but seeking to provoke moods in the viewer through twilight lights that dissolve, for brief moments, in harmony of reds, or his desolate cemeteries and severe seascapes, naked and stripped. Urgell is represented in the Prado Museum, the National Art Museum of Catalonia, the Maritime Museum of Barcelona, the Kunsthalle of Hamburg, the Víctor Balaguer Museum of Vilanova i la Geltrú, the Art Funds of the Caixa Sabadell and the Caixa d'Estalvis de Terrassa, the Dalí Museum in Figueras and the Provincial Museums of Gerona, Palma de Mallorca and Lugo, among many other centers and institutions.

Estim. 1 000 - 1 200 EUR

Lot 12 - MODEST URGELL ANGLADA (Barcelona, 1839 - 1919). "Boat on the beach". Oil on board Signed in the lower right corner. Measurements: 36 x 25 cm; 61 x 52 cm (frame). Modest Urgell began his career as a theatrical actor, but the family prohibition to follow that path led him to devote himself to painting. He studied at the Escuela de La Lonja in Barcelona, where he was a disciple of Ramón Martí Alsina, and later spent some time in Paris, where he met Gustave Courbet and became attached to realism. During the sixties, his works were rejected in the official exhibitions of Madrid and Barcelona. In 1870 he moved to Olot, where he became acquainted with Joaquín Vayreda, creator of the local landscape school. From then on, Urgell decided to devote himself fully to landscape painting. His work will focus on solitary natures and seascapes, often starring hermitages and cemeteries, marked by a twilight, desolate and mysterious atmosphere. From 1896 he taught landscape painting at the School of Fine Arts of Sant Jordi in Barcelona, being appointed academician in 1902. He was also founder of the Artistic and Literary Society of Catalonia, as well as the Artistic and Archaeological Museum of Girona. He took part in all the editions of the National Exhibition of Fine Arts, in Madrid, from 1864 until a year before his death, and was awarded the second medal in 1876 and 1892. He also sent his paintings to the exhibitions of Barcelona, as well as to the Universal Exhibition of Paris and the International Exhibitions of Munich, Brussels, Berlin, Philadelphia and Chicago. In 1892 he was awarded in all the contests in which he participated, among them the one in Brussels, in which he was the only Spanish winner. He also devoted himself to literature, with a special interest in theater. The sum of his two passions, art and literature, are expressed in his album "Catalunya" (1905), made up of more than one hundred drawings accompanied by texts written by himself. His landscapes have an atmosphere, a color and themes that deny the stereotype of the Mediterranean landscape, based on warm and friendly natures, of brilliant chromatism, like open windows to the southern sensuality. His paintings, on the contrary, speak of melancholy and loneliness, and time and again recreate a desolate and sad Catalonia to which, years later, the poet Salvador Espriu would also be sensitive. His language rejects any fanciful or picturesque theme, picking up current issues without trying to ennoble or idealize them, but seeking to provoke moods in the viewer through twilight lights that dissolve, for brief moments, in harmony of reds, or his desolate cemeteries and severe seascapes, naked and stripped. Urgell is represented in the Prado Museum, the National Art Museum of Catalonia, the Maritime Museum of Barcelona, the Kunsthalle of Hamburg, the Víctor Balaguer Museum of Vilanova i la Geltrú, the Art Funds of the Caixa Sabadell and the Caixa d'Estalvis de Terrassa, the Dalí Museum in Figueras and the Provincial Museums of Gerona, Palma de Mallorca and Lugo, among many other centers and institutions.

Estim. 1 200 - 1 500 EUR

Lot 13 - RAMÓN CALSINA BARÓ (Barcelona, 1901 - 1992). "Still life with an oilcan". Oil on canvas. Signed in the lower left corner. Measurements: 60,5 x 72 cm; 77 x 90,5 cm. (frame). After beginning his training at the Baixas Academy in Barcelona, Calsina entered the La Lonja School in 1920, where he was a disciple of Feliu Mestres. He made his individual debut in 1930 at the Sala Parés, and the following year he exhibited his works in Paris. Of particular importance were the anthologies he held in Barcelona in 1957 and 1966. His style, close to magical realism, is precise and stylised, often ironic and full of unusual or fantastic details. He also reveals certain influences of Goya, Daumier and Hogarth. As a draughtsman, he produced illustrations, posters and stained-glass windows. He designed the costumes and set design for the play "El casament de la Xela", by Xavier Berenguel (1938). Between 1931 and 1933 he collaborated with the German magazine "Der Querschnitt". He also illustrated novels, such as "Don Quixote" and the works of Edgar Allan Poe. In 1964 he won the Ynglada-Guillot International Drawing Prize, and in 1990 he was awarded the Sant Jordi Cross. In 1984 a large group of poets, writers, artists and intellectuals made a social appeal for recognition of Calsina, as a result of which the Caja de Ahorros de Barcelona, with the collaboration of the Generalitat de Catalunya, dedicated an anthological exhibition to him. In 1990 another was held at the Centro Conde Duque in Madrid, with the collaboration of the City Council. He is represented in various Spanish museums, as well as in important private collections. In 2009 the Ramón Calsina Foundation was created, promoted by his heirs.

Estim. 1 500 - 1 800 EUR

Lot 14 - FRANCISCO PRADILLA ORTIZ (Villanueva de Gállego, Zaragoza, 1848 - Madrid, 1921). "The entrance". Oil on panel. Signed in the lower right corner. Measurements: 18 x 12 cm; 29 x 22 cm (frame). Francisco Pradilla begins his formation as apprentice of Mariano Pescador, painter scenographer, and in the School of Fine Arts of San Luis de Zaragoza. In 1868 he continued his studies at the San Fernando School of Fine Arts in Madrid, where he was a disciple of Federico de Madrazo, Carlos de Haes, Carlos Luis de Ribera and Ponciano Ponzano. He completed his training in these years by copying works of the great masters of the Prado Museum. In 1874 he won the Drawing Prize of the "Spanish and American Enlightenment", and obtained a scholarship to study in Rome, where he lived for twenty-three years, until his appointment as director of the Prado in 1897. In 1878, he took part in the National Exhibition in Madrid and won the Medal of Honor, the same distinction he won that same year at the Universal Exhibition in Paris. As a result of these successes he received numerous commissions not only from Spain and France, but also from America and other European countries. He travels around Spain and is interested in capturing scenes full of grace and color, always supported by an exceptional mastery of drawing, although he did not have solo exhibitions, his works were part of exhibitions and competitions in cities around the world, such as London, Paris, Berlin, Sao Paulo and Buenos Aires. He was director of the Spanish Academy in Rome, and a member of the Royal Academies of San Fernando and San Luis, the French Academy and the Hispanic Society of New York. He was awarded, among other decorations, the Cross of Isabella the Catholic and the Legion of Honor.of the pictorial genres he cultivated, including graphic illustration for literary publications, we must highlight the history painting, which was the one that brought him more fame. As a portrait painter, his activity was more restricted and his results were uneven when he had to deal with effigies of deceased people, but in front of living models he achieved portraits of serene expressiveness and studied and intoned workmanship. He also dedicated himself to genre painting, either of Italian popular inspiration or of matters of Madrid customs or of Galicia, his wife's place of origin and where he used to spend some seasons. Both in the history paintings and in these, Pradilla shows a clear inclination for outdoor settings, organizing the compositions in wide panoramic perspectives with a multitude of figures and motifs, interpreted with a very refined technique. However, the most outstanding aspect of his language is the sense of light and atmosphere, under which the tight drawing is softened and blended with the luminous background through small brushstrokes of a color rich in nuances and paste.Francisco Pradilla's work is present in the Prado Museum, the Fine Arts Museums of Bilbao, Buenos Aires, Havana and Sao Paulo, the MACBA in Barcelona, the Christchurch Art Gallery in New Zealand and the Romantic Museum in Madrid, among others.

Estim. 1 500 - 1 600 EUR

Lot 15 - ANTONIO TORRES FUSTER (Tarragona, 1874 - Barcelona, 1945). "Female portrait. Oil on canvas. Signed in the lower right corner. Presents some lack in the frame. Measurements: 62 x 50 cm; 86 x 72 cm (frame). Bust of lady resolved with warm shades that blur the contours, thus enhancing the enigmatic bearing of the young woman with big eyes and pensive countenance. Painter and draftsman, Antonio Torres Fuster specialized in the genre costumbrista, with a predilection for the female figure, specifically "bailaoras", gypsies and cupletistas. He participated in various collective exhibitions and artistic competitions such as the Barcelona Exhibitions of 1894, 1896 and 1919, or the Art Exhibition held in Vilafranca del Penedés in 1926. He also exhibited his works at the 17th Annual Extraordinary Exhibition of the Sala Parés in 1900. Antonio Torres Fuster is represented in the Museum of Modern Art of Tarragona, as well as in important Spanish private collections.

Estim. 1 500 - 2 000 EUR

Lot 16 - RICARD CANALS LLAMBÍ (Barcelona, 1876 - 1931). "Port". Oil on panel. Signed in the lower right corner. Measurements: 26 x 34 cm; 41 x 50 cm (frame). Canals was a painter, draftsman and engraver, member of the "Colla del Safrà" (Saffron Group, so called because of its peculiar chromatic palette) together with the painters Nonell, Mir, Pichot and Vallmitjana. He began his studies at the Escuela de La Lonja in Barcelona, but abandoned them soon after to continue painting in the street. A friend of Isidre Nonell, in 1896 they traveled together to Caldes de Boí, and the following year they moved to Paris. In the French capital they both exhibited at the gallery Chez Dosbourg with great success. Nonell returned to Barcelona and Canals stayed working for the art dealer Durand-Ruel, the dealer of the Impressionists, representing artists such as Corot, Monet and Pissarro. He was a personal friend of Picasso at this time, who portrayed his wife. He participated in the French Salons of 1897 and 1898, as well as in the exhibition held in 1902 at the Durand-Ruel Gallery in New York. In 1907 he returned definitively to Barcelona, where he presided over the association Las Artes y los Artistas. From then on he made several trips around Spain, visiting Madrid, Seville and Granada. From then on his works had a distinctly Spanish flavor, combined with his modern language. It was precisely this Spanish theme that brought him his greatest success in Paris, although in his later years he evolved towards a painting closer to noucentisme. He also distinguished himself as a portraitist. His last important work, before his untimely death, was the decoration of the ceiling of one of the rooms of the Barcelona City Hall. In 1933, two years after his death, the Sala Parés in Barcelona dedicated a large homage exhibition to him. Much of his work is preserved in the National Art Museum of Catalonia, but it is also present in the collections of the Abbey of Montserrat, the Thyssen-Bornemisza Museum and the National Museum of Fine Arts in Chile.

Estim. 1 400 - 1 800 EUR

Lot 17 - French school, ca.1935. "Les Demi-vierges". Lithograph poster. Measurements: 159 x 233 cm; 162,5 x 236,5 cm (frame). Great lithographic poster destined to the promotion of the film "Les Demi-vierges", a clear reference of the French cinema of the 40's released for the first time in France in 1936, from the original novel by Marcel Prévost. It shows the stylistic and conceptual affiliation with Art Deco, in vogue in the avant-garde of the 1930s, although without reaching the schematic simplification of the exponents of this artistic movement. Highly decorative and original, this poster shows how the early cinematographic films, together with the French theatre and the Russian ballet, marked the development of the Art Deco style. The slender figures, graceful movement and dynamic composition of the leading ladies make this piece a clear example of this distinguished and popular style. Art Deco was an artistic style that emerged in 1920 and whose influence continued until the middle of the 20th century in some countries. It sought to renew all disciplines, defending the value of the technological progress of the time and the new sciences of the day. The film "Les Demi-vierges", for its part, narrates the damage that Paris and modern education, at the end of the 19th century, did to young French girls. The term demi vierge, which eventually found its way into common parlance, signified at the time the condition of a liberated but still virgin girl.

Estim. 2 000 - 2 500 EUR

Lot 18 - 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

Lot 19 - 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

Lot 20 - Italian school of the 19th century. "Allegory to summer and autumn". Pair of oil paintings on canvas of circular format. One of them signed with initials "F.S". Measurements: 60 cm (diameter of the canvas); 62 cm (diameter with frame). In this pair of portraits the stylistic imprint of the Italian school of the 19th century can be appreciated. Both canvases show the physiognomy of a lady characterized with verism and detailed brushstroke, with a miniaturist's pulse. The ears of corn held by one of the protagonists indicate that it is an allegory of summer, while the grapes and vine leaves of her companion allude to autumn. These are two works full of color, delicacy and charm.

Estim. 2 000 - 3 000 EUR

Lot 21 - JOAN LLIMONA BRUGUERA (Barcelona, 1860 - 1926). "Portrait. Oil on canvas. Signed in the lower right corner. Measurements: 44 x 35 cm; 53 x 44 cm (frame). Joan Llimona was born in the bosom of a family of artists, being his brother Josep a famous sculptor also within the modernism. He began studying architecture and engineering, but soon abandoned them for painting, which he perfected at the School of La Lonja, in Barcelona, and later in Rome, where between 1880 and 1882 he accompanied his brother, who had won a scholarship to study sculpture in that city. As early as 1882 he participated in some group exhibitions in Barcelona, which culminated in 1890 in a personal exhibition at the Sala Parés, which was extraordinarily well received. Deeply influenced by his militant Catholicism, which led him to a confrontation with the writer Raimon Casellas, he painted numerous works of religious content, including the vault of the Monastery of Montserrat. Llimona headed the Catholic split within the modernist movement, which materialized in the founding of the Círculo de Sant Lluc in 1893. In 1896 he won a first medal at the Fine Arts Exhibition in Barcelona. Towards 1905 his work was influenced by symbolism, always with religious roots, which is reflected, for example, in the painting of the dining room of the Casa Recolons in Barcelona. An excellent draughtsman, he oriented his work towards a religious mysticism of great sentimental charge, of careful form and contained expressiveness, deeply evocative. He published several articles in Barcelona magazines and newspapers such as "La veu de Catalunya", "La barretina", "Catalunya social" and others, almost always on aesthetic issues related to his rigid concept of morality and against blasphemy. He was a member of the Lliga del Bon Mot (literally, League of the Good Word), and of Foment de la Pietat Catalana, both associations defending a conservative concept of morality. He carried out important mural commissions for several Catalan churches, and is currently represented in the Museum of Contemporary Art of Barcelona and in the Archive-Museum of Ripoll, as well as in important private collections.

Estim. 1 200 - 1 500 EUR

Lot 22 - 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

Lot 23 - MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945). "Oxen in the stable". Relief in bronze. The terracotta version has been published in the catalog of the exhibition "Manolo Hugué" of 1990, in the Museum of Modern Art of the Ciutadella of Barcelona, page 209. Measurements: 33 x 33 x 3 cm. In the catalog raisonné on Manolo Hugué, written by Montserrat Blanch, several works are reproduced (preparatory drawings, bas-reliefs in terracotta, but also in stone) whose subject matter are oxen (generally represented in pairs), of which the piece in question is part. It is a production made between 1917 and 1923, years in which the sculptor breathes new thematic and formal suggestions into terracotta. Back in Ceret, after his Parisian period, he devoted himself to the study of cadences, rhythms, archaic-inspired essentialism... a sum of strategies to escape from all stagnation and renew the sculptural language without ceasing to dialogue with the classics. In this relief, a serene energy palpitates like an invisible force through the bodies, through the rounded profiles and alternating with geometric incisions. The front legs of the recumbent ox flex to adapt to the angle, seeking a certain conceptual tension between the volumes and their enclosure in a precise quadrangular limit. In doing so, he emulated the Greek art developed in the metopes. The spatial indication is brief and synthetic: a few schematic elements outline the idea of a stable. Manuel Martínez Hugué, Manolo Hugué, was trained at the Escuela de la Lonja in Barcelona. A regular participant in 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 avant-garde theorists 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 kept 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. 2 500 - 2 800 EUR

Lot 24 - Russian school, early 20th century. "Heroic resistance". Oil on canvas. Signed in Cyrillic Measurements: 40 x 53 cm. Group portrait of a clique of Russian fighters parapetados with rifles and pistols, including a woman wearing a fur cap. They adopt a variety of attitudes, all of which are feisty and vigilant. The figure holding the flag assumes a mystical expression, as if asking for help from heaven. Each of the figures has been characterized with psychological depth, making the whole an epic and realistic picture.

Estim. 1 800 - 2 400 EUR

Lot 25 - JOSEP LLIMONA BRUGUERA (Barcelona, 1864 - 1934). "Modèstia", 1891. Polychrome stucco. Signed. Stamped Esteva & Cia, Barcelona. Work cataloged in "Una passejada per l'obra de Josep Llimona, 150 anys", MEAM, 2015, p. 104. Measurements: 42 x 34 x 15 cm. The sculpture "Modèstia" evidences the most personal characteristics of Josep Llimona: the naturalistic idealism, the inclination towards the kind side of reality and, above all, a great delicacy and beauty in his female figures, always slender and innocent, wrapped by a veil of mystery. Josep Limona is remembered as the most important Catalan sculptor of modernism. Trained at the Llotja School in Barcelona, he obtained the pension to go to Rome in 1880. During his stay in Italy he was influenced by Florentine Renaissance sculpture. With the works he sent from there he obtained prizes (gold medal at the Universal Exhibition of Barcelona in 1888), as well as a great reputation. With his brother Joan he founded the Círculo Artístico de Sant Lluc, a Catalan artistic association of religious character (the two brothers were deep believers). Towards the middle of the 90's his style already drifts towards full modernism. He received the prize of honor at the International Exhibition of Fine Arts held in 1907 in Barcelona. From 1900 he focused on his famous female nudes, and in 1914 he created, in collaboration with Gaudí, his impressive "Resurrected Christ". His artistic genius also manifested itself in large public monuments such as the equestrian statue of St. Jordi in Montjuic Park in Barcelona, as well as in works of funerary imagery, such as the pantheons he created for several cemeteries. In addition to exhibiting in Barcelona and other Catalan cities, he exhibited his work in Madrid, Brussels, Paris, Buenos Aires and Rosario (Argentina). He was president of the Board of Museums of Barcelona between 1918 and 1924, and again from 1931 until his death in 1934. Throughout his life he received numerous decorations, including those awarded by the governments of France and Italy. He also received the Gold Medal of the City of Barcelona in 1932, in recognition of his extraordinary work in the development of museum activity. Llimona's work is preserved in the Monastery of Montserrat, the National Art Museum of Catalonia and the Reina Sofia Museum, among others.

Estim. 1 500 - 1 800 EUR

Lot 26 - 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

Lot 27 - ROMÁN RIBERA CIRERA (Barcelona, 1848 - 1935). "The painter". Oil on canvas. Signed in the right margin. Measurements: 48 x 33,5 cm; 67,5 x 53 cm (frame). Catalan painter, Roman Ribera studied drawing at the School of La Lonja in Barcelona, and painting at the academy of Pere Borrell. He furthered his studies in Rome, between 1873 and 1976, and traveled and exhibited in London. In the Italian capital he attended the Chigi Academy and dedicated himself to painting, but avoiding the contagion of the academicist mannerism of the Roman school. In 1877 he went to Paris, under the guidance of the art dealer Adolphe Goupil, who had acquired the rights to reproduce all his work. There he continued his training, this time directly studying scenes of Parisian street life. A year later, he took part in the Universal Exhibition in Paris, where he obtained a decisive success thanks to the three works he presented. In 1881 he took part in the National Exhibition in Madrid precisely with the aforementioned work of baroque setting, and in 1883 he was awarded the Encomienda de Isabel la Católica. After twelve years in Paris he returned to Barcelona, where he had already exhibited at the Centro de Acuarelistas (1885) and at the recently inaugurated Sala Parés. He then showed his work at the Artistic and Literary Association and at the Parés and Rovira halls, as well as at the Universal Exhibition of 1888 and the Fine Arts Exhibition of 1894, obtaining great critical and public success, soon gaining the favor of the wealthy Catalan bourgeoisie. In 1893 he presented two paintings to the Exhibition organized by the Ateneo de Barcelona: "Inocencia" and "Incógnitca". Individually Cirera showed his work regularly in the Rovira room and, as a group, he was a member of the Artistic and Literary Society of Catalonia. He was part of several official juries, and also of the Board of Museums of Barcelona, in 1901. In 1915 he was named Member of Merit of the Artistic Circle of Barcelona. On his return to Spain, Ribera continued to depict the life of the upper classes, the luxury of their homes, the richness of their party dresses, etc., becoming a faithful portraitist of the Catalan high bourgeoisie of the Restoration, as he had already been of the French bourgeoisie of the Third Republic. He worked mainly in Barcelona, but also traveled to Madrid and held exhibitions of his work there. His work is currently conserved in the MACBA in Barcelona, the Museu d'Art de Girona, the Museu de Montserrat, the Biblioteca Víctor Balaguer and in various important private collections.

Estim. 2 000 - 2 400 EUR

Lot 28 - ROMÁN RIBERA CIRERA (Barcelona, 1848 - 1935). "Scene of casacón", ca. 1890. Oil on canvas. Signed in the lower margin. Measurements: 94 x 108 cm; 120 x 1333 cm (frame). Flemish interior scene, set in a Dutch or Belgian tavern of the eighteenth century. In this type of paintings of casacón, Román Ribera exhibited a notable skill to plamar with verismo and literary flavor the clothes and the human types. The wise use of glazes in the crystal glasses and in the smoothness of the fabrics is combined with the naturalistic characterization of the faces and attitudes. A young maid wearing a bonnet and two men in traditional costumes, one of them a drummer, occupy this Spartan interior, worked with warm and welcoming lights. Catalan painter, Román Ribera studied drawing at the School of La Lonja in Barcelona, and painting at the academy of Pere Borrell. He furthered his studies in Rome, between 1873 and 1976, and traveled and exhibited in London. In the Italian capital he attended the Chigi Academy and dedicated himself to painting, but avoiding the contagion of the academicist mannerism of the Roman school. In 1877 he went to Paris, under the guidance of the art dealer Adolphe Goupil, who had acquired the rights to reproduce all his work. There he continued his training, this time directly studying scenes of Parisian street life. A year later, he took part in the Universal Exhibition in Paris, where he obtained a decisive success thanks to the three works he presented. In 1881 he took part in the National Exhibition in Madrid precisely with the aforementioned work of baroque setting, and in 1883 he was awarded the Encomienda de Isabel la Católica. After twelve years in Paris he returned to Barcelona, where he had already exhibited at the Centro de Acuarelistas (1885) and at the recently inaugurated Sala Parés. He then showed his work at the Artistic and Literary Association and at the Parés and Rovira halls, as well as at the Universal Exhibition of 1888 and the Fine Arts Exhibition of 1894, obtaining great critical and public success, soon gaining the favor of the wealthy Catalan bourgeoisie. In 1893 he presented two paintings to the Exhibition organized by the Ateneo de Barcelona: "Inocencia" and "Incógnitca". Individually Cirera showed his work regularly in the Rovira room and, as a group, he was a member of the Artistic and Literary Society of Catalonia. He was part of several official juries, and also of the Board of Museums of Barcelona, in 1901. In 1915 he was named Member of Merit of the Artistic Circle of Barcelona. On his return to Spain, Ribera continued to depict the life of the upper classes, the luxury of their homes, the richness of their party dresses, etc., becoming a faithful portraitist of the Catalan high bourgeoisie of the Restoration, as he had already been of the French bourgeoisie of the Third Republic. He worked mainly in Barcelona, but also traveled to Madrid and held exhibitions of his work there. His work is currently conserved in the MACBA in Barcelona, the Museu d'Art de Girona, the Museu de Montserrat, the Biblioteca Víctor Balaguer and in various important private collections.

Estim. 5 000 - 6 000 EUR

Lot 29 - 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

Lot 30 - GUIDO GRIMANI (Italy, 1871-1933). "Coastal scene with fishermen". Oil on canvas. Signed. It presents a visible restoration on the back. Measurements: 38 x 62 cm; 63 x 76,5 cm, (frame). Grimani was born in Trieste. He developed a landscape painting indebted to romanticism, but already close to the aesthetics of the end-of-century decadence. Here we show a sunset on a fishermen's beach, with the figures silhouetted against the light. The orange-tinted sky picks up the last rays of a faint but intense sun, and the waves break on the shore in rhythmic cadences, making an infinite number of reflections on the sand glitter like in a mirror. A restoration is visible on the back.

Estim. 2 000 - 3 000 EUR

Lot 31 - ALBERT RÀFOLS I CULLERÉS (Barcelona, 1892 - 1986). "Son de guitarra". Oil on canvas. Signed in the right margin. Measurements: 102 x 73 cm ; 114 x 87 cm (frame). Albert Ràfols Culler was formed in the School of La Llotja with Lluís Labarta and Albert Mas i Fondevila as teachers. Later he extended his studies in Madrid thanks to a pension. He became known in his native Barcelona at the beginning of the century, holding his first exhibitions in the Galerías Laietanas (1917) and in La Pinacoteca. From his language, both his photographic framing, of great expressive power, and his personal sketchy workmanship have been highlighted. These characteristics acquire special relevance mainly in his interiors, although the importance of his portraits and landscapes should also be noted. He supported his son, Albert Ràfols Casamada, so that he could devote himself fully to the plastic arts, allowing him to abandon his architectural studies. In fact, Ràfols Casamada was initiated in the world of drawing and painting with his father.

Estim. 2 500 - 2 800 EUR

Lot 32 - OSSIP ZADKINE (Vitebsk, Belarus, 1888 - Paris, 1967). "Character with guitar", 1950. Thick pencil on paper. Signed and dated. Measurements: 31.5 x 24 cm; 42 x 31.5 cm (frame). A Russian sculptor who worked in a largely cubist style, Ossip Zadnike moved to London in 1906, at the age of 18. There he enrolled at Regent Street Polytechnic while working as a wood trim carver. He returned to Russia two years later and made his first sculptures. In 1909, Ossip traveled to Paris and studied briefly at the Ecole des Beaux-Arts. He began to create Cubist-style artworks following his association with French avant-garde artists. In the French capital he exhibited his works at the Salon d'Automne, the Allied Artists Association and the Salon des Independants. He moved to the United States in 1939 and taught at the Arts Students League in New York. Ossip returned to France in 1945 and continued to exhibit. He was awarded the Grand Prize for Sculpture at the Venice Biennale.

Estim. 2 500 - 2 800 EUR

Lot 33 - HIPPOLYTE PETITJEAN (Mâcon 1854 - Paris, 1929) . "Bouquet de Fleurs". Watercolor on paper. With exhibition labels on the back. Signed in the lower left corner. Measurements: 36 x 29 cm; 52 x 44 cm (frame). The artist of this work configures a scene of popular character through small touches of brush, which reveal a composition where the colorful and vibrant movement of the scene is faithfully reflected. During the 19th century, France experienced a strong industrialization and urban development that brought great changes in society. This fact caused artists to look beyond their workshops, drawing inspiration from nature and everyday life, from its details. Hippolyte Petitjean received an academic artistic training in Mâcon, France, later obtaining a scholarship from that city to study at the École des Beaux-Arts in Paris, where he was a student of Alexandre Cabanel and Pierre Puvis de Chavannes. He made his debut at the Salon in 1880, where he exhibited until 1891. In 1884 he met Georges Seurat, whose optical theories influenced his style, which became successively academic, symbolist, impressionist and pointillist. In 1891, he exhibited at the Salon des Indépendants and at the art gallery Le Barc de Boutteville with Symbolist and Impressionist artists, and in Brussels at the Salons du Groupe des XX and de la Libre Esthétique. Exhibition labels on the back.

Estim. 1 600 - 1 800 EUR

Lot 34 - ZACARÍAS GONZÁLEZ (Salamanca, 1923 - Alicante, 2003). "The soprano". Oil on board. It has a scratch in the upper right area. Signed in the lower right corner. Measurements: 70 x 55 cm; 85 x 69 cm (frame). Painter of precocious talent, Zacarías González was professor of drawing in the School of Nobles and Fine Arts of San Eloy, although later he moved to the School of Fine Arts of San Fernando, in Madrid. He developed a first figurative stage from the forties, where he showed the influence of Picasso, Cézanne and Gutiérrez Solana. Later he evolved towards a predominantly abstract language, between the fifties and sixties, a period in which González achieved international recognition and was awarded the Biosca Prize. At this stage he delves into material experimentation, using metals, wrought iron, wood and large amounts of paint. Finally he will return to figuration already with a fully mature language, and will focus on classic themes such as still life, the figure (especially harlequins and other types that he repeats) and landscape, generally urban. In 2012 an important retrospective exhibition was dedicated to him at the Palacio de San Boal in Salamanca, organized by Caja Duero. Today most of his work and legacy is collected in La Casa Museo Zacarías González in Salamanca. It has a scratch in the upper right area.

Estim. 2 000 - 2 500 EUR

Lot 35 - LLUIS GRANER ARRUFÍ (Barcelona, 1863 - 1929). "Landscape. Oil on canvas. Signed in the lower right corner. It has a slight tear in the canvas (lower left margin), and slight damage to the frame. Measurements: 60 x 100 cm; 78 x 128 cm (frame). An abandoned cabin and two haystacks next to a pond are outlined under a wide sky. In this desolate and poetic landscape, Graner shows his compositional skills and his singular capacity to recreate the lyricism of natural environments. Luis Graner trained at the La Lonja School in Barcelona, where he was a disciple of Benito Mercadé and Antonio Caba, and in 1886 he moved to Paris thanks to a scholarship from the Diputació de Barcelona. During his five years in the French capital he obtained two third medals in the Universal Exhibitions of Barcelona (1888) and Paris (1889). Settled again in Barcelona in 1891, he continued to participate in important international exhibitions, such as those of Berlin (1891), Munich (1892), Dusseldorf (1904). He also sent works to the National Fine Arts Exhibitions, obtaining a third medal in 1895 and 1897, second in 1901 and a decoration in 1904. That same year Graner created the Sala Mercè, designed by Gaudí, where he organized his "musical visions", shows that combined poetry with music, scenography with cinema. Finally, ruined, he moved to America. He arrived in New York in 1910, and that same year held a solo exhibition at the Edward Brandus Gallery. The success of this exhibition brought Graner important commissions, among them the portrait of the tycoon Carlos B. Alexander. After spending five months in Barcelona, Graner left again for New York, his final destination being Havana. In 1911 he left Cuba for New Orleans, and shortly thereafter he was already in San Francisco. There he inaugurated an exhibition of seventy-six paintings, held at the California Club, which was the largest solo show ever held to date in the city. During this same period he painted several tapestries for the film director David W. Griffith. Before the end of the year he is back in New York, where he again exhibits individually with great success. He continues to paint portraits of important national figures, and in 1912 he holds another key exhibition, this time at The Ralston Galleries (New York). In the following years he will continue with his brilliant international career in Brazil and Chile, to finally return to the United States, where he will remain due to the outbreak of the Great War, passing through New York, New Orleans, Chicago and other cities, always exhibiting his painting with great success. In the twenties he traveled to Argentina, Uruguay and Cuba, and finally in New Orleans he was prostrated by a serious illness that irreparably damaged his mind, also transforming his work, which lost the strength and transcendence of his previous stages. Broke and ill, unable to find a market for his paintings, he finally returned to Barcelona in 1928, shortly before his death, after eighteen years of glory that ended in hardship. That same year he exhibited individually at the Ritz Hotel and at the Layetanas Galleries in Barcelona, and at the end of the year he held an important retrospective at the Sala Parés, before finally passing away in May 1929 at the age of sixty-six. His work is present in the Prado Museum, the MACBA of Barcelona, the National Art Museum of Catalonia, the Hispanic Society of New York and the Balaguer Museum of Vilanova i la Geltrú, among others, as well as in important Catalan private collections. It has a slight tear in the canvas (lower left margin), and slight damage to the frame.

Estim. 3 000 - 4 000 EUR

Lot 36 - GENARO LAHUERTA LÓPEZ (Valencia, 1905 - 1985). "Landscape", 1949. Oil on canvas. It presents faults in the pictorial surface. Signed and dated in the lower right area. Signed and dated on the back. Measurements: 60 x 74 cm; 75 x 88 cm (frame). Lahuerta began his studies at the School of Arts and Crafts of Valencia, to later enter, in 1919, in the School of Fine Arts of San Carlos. After completing his training, he began his career as an illustrator for various publications of the time. In 1928 he made his individual debut at the Sala Blava in Valencia, and the following year he organized his first individual exhibition in Barcelona, at the Sala Parés. In 1932, after winning a third medal at the National Exhibition of Fine Arts, he received a scholarship for a study trip to several European countries. In 1943 he won a second medal at the National Exhibition, and five years later a first medal, consolidating his success both with critics and the public. In 1953 the General Directorate of African Plazas granted him a scholarship to paint in the Spanish Sahara. Throughout his life, he was a member of the academies of San Carlos in Valencia, San Jorge in Barcelona, Santa Isabel de Hungría in Seville and San Fernando in Madrid. Among other distinctions, he was awarded the Gold Medal of the Academy of Arts, Sciences and Letters of Paris, and in Spain the Ministry of Education and Science awarded him the Medal of Merit in Fine Arts. He is currently represented in the Reina Sofía Museum, the Fine Arts Museums of Bilbao and Asturias, the Ateneo de Madrid, the City Hall of Valencia and in various Spanish private collections, such as that of the Bank of Spain. It presents faults in the pictorial surface.

Estim. 1 700 - 1 900 EUR

Lot 37 - RICARDO URGELL CARRERAS (Barcelona, 1874 - 1924). "Boats on the beach". Oil on canvas. Signed in the lower right corner. Measurements: 60 x 104 cm; 76 x 120 cm (frame). Son and disciple of the landscape painter Modesto Urgell, Ricardo Urgell Carreras studied at the School of La Lonja in Barcelona, where he was taught by Antonio Caba. From a very young age he stood out for his facility in composition and coloring. In addition, together with his partner Anglada Camarasa, he explored the possibilities of artificial light, installing in his studio in Gràcia a complete battery of electric lighting for painting. His style went through impressionism and post-impressionism in an aestheticist line, and his works are of good workmanship and rich palette. His main themes were taken from everyday life: theaters, cabarets, markets, etc., which he captured as realistic snapshots. He also dealt with landscapes and, in his early years, figures and portraits. Ricardo Urgell was a professor at the School of Fine Arts in Barcelona from 1902, and was fully integrated in the Artistic and Literary Society of Catalonia, which had been founded in 1900 by his father, Luis Graner and Enrique Galwey. This fact, together with his enmity with the painter Isidro Nonell, meant that he remained on the fringes of the post-modernist renovationist groups, even though his way of painting made him a renovator in his own right. In 1899 he held his first individual exhibition at the Sala Parés, where he held another personal exhibition again in 1917. Throughout his career he also took part in official competitions, being awarded in the General Exhibitions of Fine Arts of Barcelona in 1896 and 1907, in the National Exhibitions of Madrid in 1897, 1910, 1917 and 1920, in Buenos Aires in 1910 and in the International Exhibitions of Brussels (1909) and Barcelona (1911), obtaining in the latter a first medal. Likewise, at the 1923 Barcelona Art Exhibition he was given a room of honor. Ricardo Urgell is currently widely represented at the MACBA.

Estim. 2 400 - 3 000 EUR

Lot 38 - SEGUNDO MATILLA MARINA (Madrid, 1862 - Teià, Barcelona, 1937). "Marina". Oil on canvas. Signed in the lower right corner. Measurements: 60 x 100 cm; 76 x 116 cm (frame). Although he was born in Madrid, Matilla was formed and developed his career in Barcelona. He studied at the School of Fine Arts in Barcelona, under the direction of Antonio Caba. He participated in numerous exhibitions, such as the International Exhibition of Barcelona in 1891, 1894, 1896 and 1898 (honorable mention in 1891), the Art Exhibitions of the same city in 1918 and 1919, and in the Paris Salon of 1897. That same year he obtained an honorable mention at the National Exhibition of Fine Arts in Madrid. Among his individual exhibitions were those held at the Salón Vilches in Madrid (1915) and, in Barcelona, at the Sala Parés (1914) and the Pallarés Galleries (1942), the latter a posthumous tribute. Several of his works exhibited there were bought by the Museum of Modern Art in Madrid, and many others were exported to America. He achieved great public and critical success thanks to his landscapes of the Empordà, Camprodón, Port de la Selva and Cadaqués. A painter endowed with astonishing skill, a marked personality full of sensitivity, with a mastery of drawing and painting technique and an overflowing capacity for work, Segundo Matilla was an excellent painter who cultivated absolutely all genres, being a great landscape painter and sailor, painting portraits of great quality, especially of people from the world of show business, and his flower paintings and still lifes were also highly appreciated. His paintings of bullfighting themes, painted with great spontaneity and full of movement, demonstrate his great fondness for the art of Cúchares. He always painted in a totally intelligible way and without reflexive complications of any kind, ignoring absolutely all the artistic currents of his time. His work can be found in various museums, such as the aforementioned Museum of Contemporary Art in Madrid, the Prado Museum, the Pablo Gargallo Museum in Zaragoza and the National Art Museum of Catalonia, as well as in important international private collections.

Estim. 2 400 - 2 800 EUR

Lot 39 - JOSÉ MARÍA SERT (Barcelona, 1874 - 1945). "The Ascension. Oil on panel. Measurements: 60 x 48 cm; 73 x 64 cm (frame). Trained with Benito Mercadé and Pere Borrell, Sert was a member of the Artistic Circle of Sant Lluc. In 1908 he decorated the Sala de los Pasos Perdidos of the Palace of Justice in Barcelona, and in 1910 he presented at the Salon d'Automne in Paris the mural decoration of the ballroom of the Marquis of Alella (Barcelona) and decorated the music room of the Princess of Polignac in Paris. In the following years he worked for Queen Victoria Eugenia (Santander) and for Robert Rotschild (Chantilly). He made new murals for important houses in Park Lane (England), Buenos Aires, Palm Beach and Paris, and in 1926 he made, before a great expectation, an exhibition of his works for the cathedral of Vic in the Jeu de Paume in Paris. In 1927, with the support of his friend and protector Francesc Cambó, he completed the main part of the cathedral's decoration, which was completed with the construction of the lunettes between 1928 and 1929. In 1930 he was named a member of the Academy of San Fernando, and in the following years he worked all over the world, creating important murals such as those at the Waldorf Astoria.

Estim. 2 400 - 2 800 EUR

Lot 40 - ELISEO MEIFRÈN ROIG (Barcelona, 1859 – 1940). “Boats on the shore.” Oil on canvas. Signed in the lower right corner. The frame has small tears in the lower margin. Presents restoration. Measurements: 50.5 x 60 cm; 67 x 77 cm (frame). A disciple of Antonio Caba at the La Lonja School in Barcelona, after completing his studies he spent time in Paris, where he coincided with the public beginning of Impressionism and learned about “à plen air” painting. He returned to Barcelona in 1879 and, that same year, obtained the gold medal at the Valencia Regional Exhibition. The following year he made his individual debut at the Parés room in Barcelona, where he will continue to exhibit regularly since then. He was part of the modernist group, and frequented Els Quatre Gats. Although he also dedicated himself to portraiture, Meifrèn was eminently a landscape and marinist. He was one of the discoverers of the pictorial possibilities of Cadaqués, and also used to paint Majorcan landscapes (he was director of the School of Fine Arts of Palma). He made various trips in search of new landscapes, especially to France but also to the Canary Islands, Belgium, Italy and the United States. He held exhibitions in Barcelona, Madrid (1881), Chicago (1893), Paris (1899), Brussels (1910), Santiago de Chile (1910), Buenos Aires (1910), Amsterdam (1912) and San Francisco (1915), among many other cities around the world. His style started from the detailed realism that dominated the Catalan school at the end of the 19th century, gradually evolving towards impressionism, a language that would not be completely evident in his work until his final years. Throughout his career he obtained many awards, including the first medals at the National Exhibition of Fine Arts in Madrid (1906) and in Barcelona (1896), the Nonell prize from Barcelona (1935), the bronze medal at the Paris Universal Exhibition (1888) and the grand prizes at the International Expositions of Buenos Aires (1910) and San Diego (1916). In 1952, the Barcelona City Council dedicated a retrospective exhibition to him, held in the Palacio de la Virreina. He is represented in the Prado Museum, the National Art Museum of Catalonia, the Contemporary Art Museum of Barcelona and the Thyssen-Bornemisza, among many others.

Estim. 3 500 - 3 800 EUR

Lot 41 - Spanish school of the early nineteenth century. "The Infante Francisco de Paula". Pastel on paper. Presents faults in the frame. Measurements: 63 x 36 cm; 85 x 58 cm (frame).

Estim. 2 000 - 2 400 EUR

Lot 42 - French school of the 20th century. After MARIE LAURENCIN (Paris, 1883-1956). "Young people with guitars and flutes". Oil on canvas. With signature "Marie Laurencin" and date in the lower left corner. Measurements: 90 x 130 cm; 122 x 162 cm (frame). French painter, engraver and theatrical designer of the cubist group linked with the group Section d'Or. Marie Laurencin began as a porcelain painter in Sèvres in 1901. She would later move to Pays to take drawing classes at the Paris municipal art school and at the Académie Humbert (1903-1904), where she met Georges Braque. She exhibited for the first time in 1907 at the Salon des Indépendants, after which the art dealer Clovis Sagot introduced her to Pablo Picasso3 and the group of artists of the Bateau-Lavoir de Montmartre. That same year, Picasso introduced her to Guillaume Apollinaire, with whom she would maintain a relationship that would last until 1912 and in which they both influenced each other artistically and intellectually. Although she was initially interested in Fovism, Marie Laurencin began to simplify the forms in her painting influenced by Cubism, although she never ascribed to this stylistic current.4 She was also inspired by Persian miniatures and Rococo art.1 From 1910 her most used tones would be grays, pinks and other pastels.2 She took part in group exhibitions at the Salon des Indépendants (1910-1911) and the Salon d'Automne (1911-1912). In 1912 she held her second major exhibition at the Barbazanges Gallery, which was the first solo exhibition by a woman artist. Associated with Sonia and Robert Delaunay thanks to a meeting organized by Francis Picabia, Marie Laurencin composed several poems for art magazines during the year 1917. In 1920, she had another exhibition at the gallery of P. Rosenberg. In 1921, after separating from her husband, she returned permanently to Paris where Paul Guillaume, whom she met thanks to Apollinaire, served as her art dealer. At that time Marie Laurencin began to draw ethereal female figures again in pastel tones. Her pictorial style included the use of fluid and soft colors, the simplification of the composition and the predilection for elongated female forms that allowed her to occupy a privileged place in the Paris of the 1920s. She illustrated works by André Gide, Max Jacob, Saint-John Perse, Marcel Jouhandeau, Jean Paulhan and Lewis Carroll's Alice in Wonderland, among others. She became the official portraitist of the world of women's styling, portraying women such as Nicole Groult, Helena Rubinstein, Colette and Coco Chanel. From 1920, Marie Laurencin also worked as a decorator and costume designer for the ballet The Hinds (1924), by Francis Poulenc, and also for the companies of the Opéra-Comique, the Ballets Russes, La Comédie Française and the ballets of Roland Petit at the Théâtre des Champs Elysées. In the 1930s, due to the economic crisis resulting from the Great Depression, Marie Laurencin worked as an art teacher in a private academy. She lived in Paris until her death in 1956. In 1983, the Marie Laurencin Museum in Nagano, Japan, which houses more than 500 of the artist's works, was opened to the public. Laurecin's works include paintings, watercolors, drawings and prints. Although she did not consider herself a cubist, today she is known as one of the few women who integrated this movement, among them Sonia Delaunay, Marevna Vorobev and Franciska Clausen.

Estim. 2 500 - 3 000 EUR

Lot 43 - RAMÓN SANVICENS MARFULL (Barcelona, 1917-1987). "Vinyes i oliveres", 1983. Oil on canvas. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 90 x 118 cm; 108 x 138 cm (frame). Painter recognizable by the joy of his palette and a liberated brushstroke, both characteristics developed after digesting in a singular way the Parisian avant-gardes, Sanvicens developed a work of post-impressionist character to later, evolve towards a very personal fauvism with nuances of expressionist character, as we see here. Painter, draftsman and engraver. After studying at the Escuela de Artes y Oficios del Clot (Barcelona) he entered the Escuela de Artes y Oficios Llotja, where he was a disciple of Lluís Muntané. After the Civil War he entered the School of Sant Jordi, where his teachers were E. Santasusagna, F. Labarta and E. Monjo. In 1944 he had his first individual exhibition in the Spanish Galleries of Barcelona and in 1945 he resided in Paris, where he studied the works of Van Gogh, Cézanne, Gauguin and Bonnard. In 1946 he obtained the pension El Paular and lived in Holland, where he studied Rembrandt, Vermeer and Franz Hals. In 1957 he was appointed Professor of Painting at the School of Fine Arts of Sant Jordi. In 1986 the last exhibition of the painter's life was held, organized by the Fundació La Caixa in Barcelona, an exhibition that was moved to Madrid. A month after his death a tribute was dedicated to him at the Cercle Artístic de Sant Lluc.

Estim. 3 000 - 3 200 EUR

Lot 44 - RAMÓN SANVICENS MARFULL (Barcelona, 1917-1987). "Bellmunt del Priorat", 1983. Oil on canvas. Signed in the lower right corner. Signed, dated and titled on the back. Measurements: 74 x 93 cm; 93 x 115 cm (frame). Painter recognizable by the joy of his palette and a liberated brushstroke, both characteristics developed after digesting in a singular way the Parisian avant-garde, Sanvicens developed a work of post-impressionist character to later, evolve towards a very personal fauvism with nuances of expressionist character, as we see here. Painter, draftsman and engraver. After studying at the Escuela de Artes y Oficios del Clot (Barcelona) he entered the Escuela de Artes y Oficios Llotja, where he was a disciple of Lluís Muntané. After the Civil War he entered the School of Sant Jordi, where his teachers were E. Santasusagna, F. Labarta and E. Monjo. In 1944 he had his first individual exhibition in the Spanish Galleries of Barcelona and in 1945 he resided in Paris, where he studied the works of Van Gogh, Cézanne, Gauguin and Bonnard. In 1946 he obtained the pension El Paular and lived in Holland, where he studied Rembrandt, Vermeer and Franz Hals. In 1957 he was appointed Professor of Painting at the School of Fine Arts of Sant Jordi. In 1986 the last exhibition of the painter's life was held, organized by the Fundació La Caixa in Barcelona, an exhibition that was moved to Madrid. A month after his death a tribute was dedicated to him at the Cercle Artístic de Sant Lluc.

Estim. 2 000 - 2 200 EUR

Lot 45 - RAMÓN CALSINA BARÓ (Barcelona, 1901 - 1992). "Interior with figure". Oil on canvas. Signed in the lower right corner. Measurements: 100 x 81 cm; 114 x 95 cm (frame). In this work Calsina captures an intimate interior, bathed by a filtered light. It is characteristic of his pictorial work to enter into poetic environments, of timeless cadence, which communicate a state of mind. In this case, the letter left on the floor while the young woman searches and rummages through the drawers, in a room with a skewed perspective, conveys an image of uneasiness and existential breakdown. The synthetic drawing, as well as the warm and velvety tones, awaken our tenderness towards the character. After beginning his training at the Baixas Academy in Barcelona, Calsina entered the La Lonja School in 1920, where he was a disciple of Feliu Mestres. He made his individual debut in 1930 at the Sala Parés, and the following year he exhibited his works in Paris. Of special importance were the anthologies he held in Barcelona in 1957 and 1966. His style, close to magical realism, is precise and stylized, often ironic and full of unusual or fantastic details. It also reveals certain influences of Goya, Daumier and Hogarth. As a draughtsman, he created illustrations, posters and stained glass windows. He designed the costumes and scenery for the play "El casament de la Xela", by Xavier Berenguel (1938). Between 1931 and 1933 he collaborated with the German magazine "Der Querschnitt". He also illustrated novels, such as "Don Quixote" and the works of Edgar Allan Poe. In 1964 he won the Ynglada-Guillot international drawing prize, and in 1990 he was awarded the Cross of Sant Jordi. In 1984 a large group of poets, writers, artists and intellectuals made a social appeal for the recognition of Calsina, as a result of which the Caja de Ahorros de Barcelona, with the collaboration of the Generalitat de Catalunya, dedicated an anthological exhibition to him. In 1990 another one was held at the Centro Conde Duque in Madrid, with the collaboration of the City Council. He is represented in several Spanish museums, as well as in important private collections. In 2009 the Ramón Calsina Foundation was created, promoted by his heirs.

Estim. 3 000 - 3 500 EUR

Lot 46 - JEAN MICHEL RUYTEN (Antwerp 1813-1881). "Singers of the choir", 1857. Oil on canvas. Relined. Signed and dated in the lower margin. Measurements: 68 x 55 cm; 85 x 72,5 cm (frame). Animated scene of interior of church, with two clergymen occupying the central space of the choir, singing before a great book opened on the lectern, showing the score of the hymn. They are joined in their intonation by the canons seated on the upper level of the choir stalls. They hold missals in their hands. Two cellists accompany the voices. In the background, another cleric can be seen teaching chant to a choirboy. Occupying the first level of the stalls, the parishioners withdraw into their thoughts. A bronze candelabra gleams on a table covered with a red felt tablecloth. This is a descriptive painting with a bold play of light. Jan Michiel Ruyten was a Belgian Romantic painter, draughtsman and engraver known for his genre paintings, urban landscapes, landscapes with figures and history paintings. He was influenced by Dutch Romantic painting. Ruyten was born in Antwerp, where he received his early artistic training from Ignatius Josephus van Regemorter. From an early age he began to contribute his works to the salons of Ghent, Brussels and Antwerp. Ruyten became a member of the Antwerp Academy in 1840. The marine and city painter Hendrik Frans Schaefels worked as Ruyten's assistant between 1842 and 1844. He left Belgium for the Netherlands in the 1840s. He is known to have contributed a painting to the Hague exhibition in 1845. It is presumed that he lived and worked in The Hague until 1870. In the Netherlands he became acquainted with the work of Andreas Schelfhout and that artist's pupil, Wijnand Nuijen, who had a great influence on his choice of subjects. Schaefels exhibited in his native Belgium, as well as in Vienna and London, and received numerous awards. Among Ruyten's pupils were Florent Crabeels, Alexander Josephus Thomas Wittevronghel and Laurent Herman Redig. Although he initially painted cityscapes, during his residence in the Netherlands he was inspired by the work of Andreas Schelfhout and Wijnand Nuijen to begin painting river views, harbors, and ice scenes. Despite the Dutch influence in these works, he was able to maintain his originality. After 1870 he returned to painting city and market scenes. Jan Michiel Ruyten was of the same generation as the prominent Belgian history painter Henri Leys and to some extent was influenced by that artist. Ruyten was one of the first artists to use the newly invented photography for his cityscapes.

Estim. 3 000 - 4 000 EUR

Lot 47 - JOSEP AMAT PAGÈS (Barcelona, 1901 - 1991). "Corner of San Gervasio". Oil on canvas. Presents label of the Parés room (Barcelona). It has faults in the frame. Signed in the lower right corner. Measurements: 50 x 65 cm; 71 x 86 cm (frame). Josep Amat was formed in the School of La Llotja of Barcelona, and was a favorite disciple of Joaquim Mir. In 1922 he participated for the first time in a group exhibition, and sold his first landscape. Six years later, in 1928, Amat made his individual debut with an exhibition of twenty-eight works held in the Dalmau room. From then on he exhibited individually in the most important galleries of Barcelona. In 1933 he participates in the Spring Salon, being awarded in that edition and also in those of the following two years. That same year he travels for the first time to Paris, where he will be known in 1936 in a collective exhibition. In 1940 he exhibited for the first time at the Sala Parés, where from then on he would frequently repeat his exhibitions until 1987. During these years he participates in the Spring Salon of Barcelona, being awarded in 1932, 1933 and 1935. He also took part in the National Exhibitions, being distinguished in Madrid with a third medal in 1941, and in Barcelona with a medal in 1934, diploma in 1942 and Diputación prize in 1944. In 1943 he exhibited for the first time in Madrid, in the Sala Vilches, and in 1949 he settled for a time in Paris, where he developed an intense pictorial work. Already fully consolidated, Amat held exhibitions in Spain, Paris, Brussels and Havana. At the beginning of the Civil War, he was forced to abandon plein air painting and began a period focused on figures and interiors. In addition to his awards in national competitions, he received the José Ramón Ciervo prize at the Second Hispano-American Art Biennial in Havana in 1953. Other mentions he received were the Gran Premio Sant Jordi (1955), the Ynglada Guillot Drawing Prize (1963) and the Gold Medal of the International Painting Fund of Barcelona (1981). Between 1942 and 1970 he taught landscape painting at the Escuela Superior de Bellas Artes de Barcelona. He entered the Royal Catalan Academy of Fine Arts of Sant Jordi in 1981, with a speech entitled "History of Landscape". This painter is remembered as the main exponent of 20th century Catalan impressionism, and has been honored with several exhibitions, among them the one organized by the Barcelona City Council in the Espai Pruna in 2001, on the occasion of the centenary of his birth, as well as with the Cross of Sant Jordi (1988). His work is represented in the Thyssen-Bornemisza Museum, the Museum of Montserrat and the National Art Museum of Catalonia. It has faults in the frame.

Estim. 2 500 - 3 000 EUR

Lot 48 - JOSEP ROCA SASTRE (Terrassa, 1928 - Barcelona, 1997). "Interior". Oil on canvas. Signed in the lower right corner. Presents label of the Sala Parés on the back. Size: 118 x 57 cm; 120 x 60 cm (frame). Formed in Barcelona, from the sixties Roca initiates a personal, independent style, and creates his own language. His proposal focused on recovering the look of the close and the everyday, the known. He exhibited for forty years in the Sala Parés in Barcelona, and also showed his work in other Spanish cities, as well as in the United States. In 1966 he was awarded the Sant Jordi prize by the Diputació de Barcelona, and two years later the medal of honor at the Salon des Artistes Français in Paris. In 1980 he became a member of the Royal Academy of Fine Arts of Sant Jordi, and in 1993 he was awarded the Quadern Prize of the Fundació Amics de les Arts i de les Lletres de Sabadell. Roca Sastre developed a figurative style of intimate themes, applying a personal and subjective look to his interior scenes as well as to his urban and natural landscapes. Since his death, retrospectives of Josep Roca's work have been held at La Pedrera and the Muncunill (Terrassa), Oriol (Barcelona) and Juan Oliver Maneu (Palma de Mallorca) galleries. His work is preserved in the National Museum of Art of Catalonia.

Estim. 2 200 - 2 600 EUR

Lot 49 - GUILLAUME VAN STRYDONCK (Namsos, 1861- Saint-Gilles, 1937). "At the ball".1914-1915. Oil on canvas. Signed and dated in the lower right corner. Presents wear on the frame and faults. Measurements: 100 x 74 cm; 113 x 87 cm (frame). This painting expresses the particular luminist style of Van Strydonck, a painter who began as an academic in his realism and whose style evolved towards an impressionism of flaming palette. The sequined ball gowns of these two women denote a deft handling of color. Van Strydonck was born in Norway, where her father worked for a Belgian company, but left at an early age. At the age of twelve he began taking drawing lessons from Edouard Agneessens. From 1876 he enrolled at the Académie Royale des Beaux-Arts, where he studied with Jean-François Portaels. Later, he studied with Jean-Léon Gérôme at the École nationale supérieure des beaux-arts in Paris. In 1883, he became one of the founding members of the secessionist group Les XX. At this time, his pictorial style began to rely more on color and the use of light to express fleeting moods, and he is considered one of the creators of a style that came to be called luminism. In 1884 he received the Godecharle Prize. In 1886, he traveled to Florida and lived in India from 1891 to 1896. On his return to Belgium, he settled in Weert, on the banks of the Schelde River, making the Belgian countryside his main subject. He was a professor at the Royal Academy from 1900 to 1931.

Estim. 4 500 - 5 000 EUR

Lot 50 - ROBERTO DOMINGO FALLOLA (Paris, 1883 - Madrid, 1956). "Removing the boats". Oil on canvas. Signed in the lower left corner. Signed and titled on the back. Measurements: 76 x 100 cm; 90 x 114 cm (frame). Judging by the faint incision of the light in the scene, the author places us in a twilight moment in which a group of characters tie a group of oxen to their boats, with the intention that, as Roberto Domingo himself indicates in the title, they withdraw the boats, thus delivering the material fished that day. The masterly plastic exercise deployed by the artist is reflected in the use of a quick brushstroke, whose spontaneity and dynamism is evident in the swollen sails of the boats. All this is framed in a longing and melancholic atmosphere in which the author uses tonal ranges that veer between blues and grays, although the artist also dares to introduce reddish and violet tones in the characters located in the foreground. Domingo began his artistic training in Paris with his father, the painter Francisco Domingo Marqués. There he also learned first-hand about French impressionism. In 1906 he moved to Madrid and entered the San Fernando Academy of Fine Arts, where he was a disciple of Antonio Muñoz Degraín. He took part in national and foreign exhibitions, obtaining the third medal in the National Exhibition of Fine Arts of 1908, second in the edition of 1910 and first in 1915. In 1911 he had a solo exhibition in Rome, at the Fine Arts Pavilion. He also showed his work continuously in several Spanish and London galleries, such as Baillie and Tooth. A costumbrist painter, he specialized in bullfighting themes, which brought him great fame and prestige. His work is characterized by the expressiveness of the stain and the stroke, capturing the reality through a sensitivity that connects with the tradition of Goya, Lucas and Alenza. The spontaneity, fluidity and dynamism of his work is largely due to his ability to memorize reality in his retina and then transfer it to the painting with his own nuance, simplifying the lines and diluting the colors. This vibrant emotion was also appreciated by great international artists of the time, such as John Singer Sargent and Gerald Kelly, who were among his clients. Roberto Domingo is represented in the Prado Museum, the Fine Arts Museum of Granada, the Provincial Museum of Cadiz, the Municipal Museum of Madrid, the Bullfighting Museum of Las Ventas in Madrid, La Maestranza in Seville, Valencia and Viana de Cega (Valladolid), the Drawing Museum of Castillo de Larrés (Huesca) and the Havana and Hemingway Museums of Cuba, among many others.

Estim. 3 500 - 4 000 EUR

Lot 51 - JOSÉ CUSACHS Y CUSACHS (Montpellier, France, 1851 - Barcelona, 1908). "Male portrait". Oil on canvas. Signed in the lower right corner. Presents restorations on the back, and slight loss in the left margin. Measurements: 80 x 48 cm, 76 x 64 cm (frame). Oval portrait resolved in realistic language and naturalistic intention. It emphasizes the capacity of Cusachs to enter in the psychology of the personage. Jose Cusachs entered the Artillery Academy to make the military career, but asked for retirement in 1882 to devote himself to painting, leaving behind a brilliant career in the Army. Trained in Barcelona under the direction of Simón Gómez, he completed his artistic studies with a stay in Paris, in the studio of Eduardo Detaille, one of the greatest experts in military themes, a genre that would be Cusachs' favorite. In 1880 he settled in Barcelona and began an extensive production of military studies, which were reproduced in the work of F. Barado entitled "La vida militar en España" (Military life in Spain). In 1887 he obtained a notable success in the National Exhibition of Fine Arts of Madrid with three paintings, one of which was acquired by the regent María Cristina ("En el campo de maniobras"). In 1891 he participated in the Berlin Exhibition and won the Gold Medal for his work "Maneuvers of division". Cusachs also stood out as a famous military portraitist, and painted, among others, General Prim, King Alfonso XIII in military uniform and Mexican President Profirio Díaz. Other notable works by his hand are "The Flight into Egypt" from the Monastery of Montserrat, one of his few religious canvases, and "Abnegation" and "Far Thought". The bulk of his work is collected in the Museum of Modern Art in Madrid and the National Art Museum of Catalonia, as well as other centers such as the Museum of Montserrat, the National History Museum, the Captaincy General of Valencia, the Artillery Headquarters of Valladolid, the Gallery of Illustrious Captains of the City of Barcelona and prominent private collections, such as the Santiago Gramunt.

Estim. 3 500 - 4 000 EUR

Lot 52 - FRANCISCO MASRIERA MANOVENS (Barcelona, 1841 - 1912). "Orientalist portrait", 1860. Oil on canvas. Signed and dated in the lower right corner. Measurements: 101 x 65 cm. The protagonist of this female portrait wears a strapless dress that matches the jewelry and headdress that adorns her hair. She holds a handmade object in her hands while she stares at the viewer in a serious and concentrated gesture. The work demonstrates the attraction that the orientalist world professed in Spanish painters. Painter and silversmith, he began his artistic training in the workshop of his father, Josep Masriera Vidal. He then entered the School of Fine Arts of La Lonja in Barcelona, where he was influenced by the landscape painter Luis Rigalt, to finally complete his studies in Paris. As a painter he dedicated himself to detailed landscapes, usually inspired by the surroundings of San Andrés de Llavaneras, in the province of Barcelona. He participated in exhibitions in Barcelona, Madrid, Zaragoza, Munich, Berlin and many other cities. His successive trips to Paris brought him into contact with the different tendencies of French landscape painting, and he soon achieved success thanks to the works he presented at the International Exhibition in Paris (third medal) and at the National Fine Arts Exhibitions in Madrid (third medal in 1878 and 1897) and in Barcelona (first medal in 1909). He was an academician of Sciences and Arts (1873) and of the Fine Arts of Sant Jordi, and presided over the Artistic Circle. He published biographies of Catalan artists of the generation before his own, such as Luis Rigalt, Claudio Lorenzale and Francisco Miquel, as well as works on aesthetics such as "Influencia del estilo japonés en las artes europeas" (1885). He is represented in the Museo Nacional de Arte de Cataluña and the Museo del Prado among others, as well as in important international private collections.

Estim. 3 200 - 3 500 EUR

Lot 53 - 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

Lot 54 - BENJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980). Untitled, 1967. Mixed media on cardboard. Signed and dated in the lower right corner. Measures: 44 x 36 cm; 70 x 61 cm (frame).

Estim. 1 500 - 2 000 EUR

Lot 55 - 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

Lot 56 - 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

Lot 57 - RAMÓN PARADA JUSTEL (Esgos, Orense, 1871-1902). "Still life in front of the port". Oil on panel. Signed in the upper right corner. Measurements: 20 x 25 cm; 42 x 47 cm (frame). The artist represents a still life made up of seafood, among which the presence of fish, octopus, lobsters or shells can be observed. Strategically arranged in the foreground, the still life is placed in front of a marine port, through which the artist gives narrative to the scene. Thus, in front of the still life in the foreground is a deep scene, open on the left side in a vast area of water, while on the right side of the composition there are high hills crowned by a building that could well be a castle judging by its avenues. In this way, Parada Justel reinterprets the still life genre, adapting it to the marine environment, seeking maximum harmony between the food represented. The copper bowl in the lower right part of the composition also stands out, an element that allows the artist to recreate the different materials, with special interest in the tonality and brightness of the metal. In this way, we are faced with a small format work of one of the most significant artists of the plastic ourensana, a tremendously relevant personality of the Galician artistic transition from the nineteenth to the twentieth century. Ramón Parada Justel was trained at the San Fernando School in Madrid, where the imprint of Carlos de Haes would define his evolution. He expanded his aesthetic references in Rome, where he traveled thanks to a scholarship from the Diputación de Orense. His short life passes between his homeland and Madrid. He took part in several National Exhibitions and won third class medals on two occasions, 1899 and 1901. He is inscribed in eclecticism, adopting the most diverse techniques and themes, a style shared with Galician painters of his generation as Jenaro Carrero or Joaquín Vaamonde. Justel will be, together with these authors, one of the members of the mythical Xeracion Doente (Sorrowful Generation), a denomination promoted by Bello Piñeiro to define the group of painters who lived during the last three decades of the 19th century and who became a link between the pictorial tradition of the 19th century and the artistic renovation that would arrive with the new century. His interest in the landscape will be a constant, evolving from academicism to a free and spontaneous style, product of the direct capture of nature. His stains of color denote a light impasto and an instinctive brushstroke. He captures the light effects that build the different planes of depth. He used to paint the surroundings of Madrid. He also practiced the orientalist genre, the nude and the portrait. He was commissioned to decorate the altar of San Antonio de Padua in the Cathedral of Orense. Justel died of tuberculosis, the same disease that killed other important painters such as Jenaro Carrero Fernández, Ovidio Murguía de Castro and Joaquín Vaamonde Cornide. He is represented in the Archaeological Museum of Orense.

Estim. 1 500 - 1 800 EUR

Lot 58 - RAMÓN PARADA JUSTEL (Esgos, Orense, 1871-1902). "Scene of the Comedy with Virgil and Dante", 1996. Oil on canvas. Signed and dated in the upper right corner. Measurements: 32 x 40 cm; 50 x 59 cm (frame). Ramón Parada Justel is formed in the School of San Fernando of Madrid, where the imprint of Carlos de Haes will be definitive of his evolution. He expanded his aesthetic references in Rome, where he traveled thanks to a scholarship from the Diputación de Orense. His short life was spent between his homeland and Madrid. He took part in several National Exhibitions and won third class medals on two occasions, 1899 and 1901. He is inscribed in eclecticism, adopting the most diverse techniques and themes, a style shared with Galician painters of his generation as Jenaro Carrero or Joaquín Vaamonde. Justel will be, together with these authors, one of the members of the mythical Xeracion Doente (Sorrowful Generation), a denomination promoted by Bello Piñeiro to define the group of painters who lived during the last three decades of the 19th century and who became a link between the pictorial tradition of the 19th century and the artistic renovation that would arrive with the new century. His interest in the landscape will be a constant, evolving from academicism to a free and spontaneous style, product of the direct capture of nature. His stains of color denote a light impasto and an instinctive brushstroke. He captures the light effects that build the different planes of depth. He used to paint the surroundings of Madrid. He also practiced the orientalist genre, the nude and the portrait. He was commissioned to decorate the altar of San Antonio de Padua in the Cathedral of Orense. Justel died of tuberculosis, the same disease that killed other important painters such as Jenaro Carrero Fernández, Ovidio Murguía de Castro and Joaquín Vaamonde Cornide. He is represented in the Archaeological Museum of Orense.

Estim. 4 000 - 5 000 EUR

Lot 59 - 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

Lot 60 - MODEST URGELL ANGLADA (Barcelona, 1839 - 1919). "Twilight landscape". Oil on canvas. Signed in the lower right corner. Measurements: 55 x 100 cm; 71 x 116 cm (frame). Modest Urgell began his career as a theatrical actor, but the family prohibition to follow that path led him to devote himself to painting. He studied at the Escuela de La Lonja in Barcelona, where he was a disciple of Ramón Martí Alsina, and later spent some time in Paris, where he met Gustave Courbet and became attached to realism. During the sixties, his works were rejected in the official exhibitions of Madrid and Barcelona. In 1870 he moved to Olot, where he became acquainted with Joaquín Vayreda, creator of the local landscape school. From then on, Urgell decided to devote himself fully to landscape painting. His work will focus on solitary natures and seascapes, often starring hermitages and cemeteries, marked by a twilight, desolate and mysterious atmosphere. From 1896 he taught landscape painting at the School of Fine Arts of Sant Jordi in Barcelona, being appointed academician in 1902. He was also founder of the Artistic and Literary Society of Catalonia, as well as the Artistic and Archaeological Museum of Girona. He took part in all the editions of the National Exhibition of Fine Arts, in Madrid, from 1864 until a year before his death, and was awarded the second medal in 1876 and 1892. He also sent his paintings to the exhibitions of Barcelona, as well as to the Universal Exhibition of Paris and the International Exhibitions of Munich, Brussels, Berlin, Philadelphia and Chicago. In 1892 he was awarded in all the contests in which he participated, among them the one in Brussels, in which he was the only Spanish winner. He also devoted himself to literature, with a special interest in theater. The sum of his two passions, art and literature, are expressed in his album "Catalunya" (1905), made up of more than one hundred drawings accompanied by texts written by himself. His landscapes have an atmosphere, a color and themes that deny the stereotype of the Mediterranean landscape, based on warm and friendly natures, of brilliant chromatism, like open windows to the southern sensuality. His paintings, on the contrary, speak of melancholy and loneliness, and time and again recreate a desolate and sad Catalonia to which, years later, the poet Salvador Espriu would also be sensitive. His language rejects any fanciful or picturesque theme, picking up current issues without trying to ennoble or idealize them, but seeking to provoke moods in the viewer through twilight lights that dissolve, for brief moments, in harmony of reds, or his desolate cemeteries and severe seascapes, naked and stripped. Urgell is represented in the Prado Museum, the National Art Museum of Catalonia, the Maritime Museum of Barcelona, the Kunsthalle of Hamburg, the Víctor Balaguer Museum of Vilanova i la Geltrú, the Art Funds of the Caixa Sabadell and the Caixa d'Estalvis de Terrassa, the Dalí Museum in Figueras and the Provincial Museums of Gerona, Palma de Mallorca and Lugo, among many other centers and institutions.

Estim. 3 000 - 3 500 EUR

Lot 61 - SEBASTIÁN JUNYENT SANS (Barcelona, 1865 - 1915). "The musician. Oil on canvas. Signed and dedicated in the lower left corner. Measurements: 66 x 48 cm; 78 x 60,5 cm (frame). An old man with a long gray beard carries his guitar and advances through an urban square that at that moment is crossed by a couple of passers-by. However, the painter leaves them in the background, reducing them to quick sketches in order to focus our attention on the endearing musician with a cane. He achieves a truthful and spontaneous characterization, using only a few details. Sebastián Junyent was trained at the School of Fine Arts of Sant Jordi in Barcelona, specializing in genre and landscape painting, also cultivating the tapestry technique mainly during his early years. A great friend of Pablo Picasso, with whom he shared his artistic interests, around 1900 he published several articles on aesthetic themes in the magazine "Joventut", one of the main magazines of the modernist movement in Catalonia. Throughout his career he held several individual exhibitions and participated in artistic contests and competitions such as the National Exhibition of Fine Arts of 1899, where he exhibited his canvas "Ex voto", or the Barcelona Exhibitions of 1894, 1896 and 1898, among others. Among his works it is worth mentioning the following, all of them presented in official exhibitions: "Un pregón en un pueblo del Montseny" (1894), "Matinada" (1896), "Una vegada era un rei" (1898), "Prometença", "Clorosi", "Mater dolorosa" (1904), "Cazador", "Bosquet de Vallvidrera" (1904), "Cabeza de estudio" and "Anunciación" (1901), among others.

Estim. 4 000 - 5 000 EUR

Lot 62 - JOSEP DE TOGORES LLACH (Cerdanyola del Vallès, 1893 - Barcelona, 1970). "Una noia". Oil on canvas. Signed in the lower right corner. Titled on the back. Measurements: 73 x 58 cm; 90 x 75 cm (frame). Missing in the frame. Born in the bosom of a well-to-do and cultured family, that frequents the intellectual circles, his interest for the painting is born at the age of thirteen, when he loses the ear by a meningitis. He traveled to France and Belgium, where he discovered the paintings of Rembrandt, and at the 1907 International Art Exhibition in Barcelona, he was fascinated by the work of Monet. At the age of eighteen he is already an important artist in Barcelona, and in 1913 he is commissioned to decorate the chapel of Anna Girona in Poblet. With a scholarship from the city council of Barcelona, he moved to Paris to study, where he became acquainted with the painting of Cézanne, who would be a decisive influence on his work from then on. In 1917 he meets Picasso, and comes into contact with cubist theories and circles. In the 1920s he began his relationship with the gallery owner Kahnweiler, who would later become Picasso's dealer. He worked exclusively with him between 1921 and 1931, when his painting went through its most experimental period, approaching automatism and surrealism. Under Kahnweiler's guidance he became an enormously successful artist. In 1932 his painting takes a new turn, a return to figuration. He moves to Barcelona and works with a new dealer, Francesc Cambó. During this period he painted many portraits of the most important people in Catalan society, and became one of the most sought-after painters of the time. During the Civil War he moved to France, but returned in 1939, where he continued to work, without having lost any of his prestige. His work is present in the Museo Patio Herreriano in Valladolid, the Museo Nacional Reina Sofía, the Museo Nacional del Arte de Cataluña, the Getty Museum (Los Angeles), the Museo de Arte de Sabadell, the Städtisches Gelsenkirchen Museum (Germany), the Thyssen-Bornemisza Museum (Madrid), the Palacio Nacional de Montjuic and the Centre Georges Pompidou (Paris), among others.

Estim. 3 000 - 3 500 EUR

Lot 63 - JOSÉ MIRABENT GATELL (Barcelona, 1831 - 1899). "Still life of fruit". Oil on canvas. Signed in the lower right corner. Size: 80 x 107 cm; 99 x 125 cm (frame). In this canvas José Mirabent offers us a magnificent still life of fruits, of delicate elegance and accentuated naturalism. He captures the grapes, plums and peaches with great precision, and the vine leaves with botanical precision, recreating the details, but without neglecting the light and atmosphere, demonstrating a great mastery of colour and glazes. José Mirabent studied at the La Lonja School in Barcelona, where he was a pupil of Pablo Milá Fontanals, Claudio Lorenzale and Segismundo Ribó, from whom he was influenced by the Nazarene aesthetic. In 1855 he joined the aforementioned school as an assistant and in 1872 became a teacher of decorative painting, textiles and prints. In his early years he can be considered a Romantic painter in the Nazarene style of his masters and painted mainly portraits and still lifes with flowers and fruit. He later specialised in interior decoration, an activity in which his works for the Gran Teatre del Liceu and the University of Barcelona, the Balaguer Museum in Vilanova i la Geltrú and the churches of Buen Suceso, the Salesas Reales and the convent of the Madres Reparadoras in Madrid are particularly noteworthy. With his paintings of flowers and fruit he took part in the National Exhibitions of Fine Arts in Madrid and won several prizes: honourable mention in those of 1856 and 1858, third medal in those of 1860 and 1867, and a decoration in 1871. He was also awarded a gold medal at the Universal Exhibition in Barcelona in 1888. As a portrait painter he portrayed Pablo Piferrer, Ramón Anglasells and Joaquín Rey Esteve, among others. In 1892 he took part in the First Modernist Festival. He is widely represented in the MNAC, as well as in the Museo del Prado, the Museo de Arte Moderno and the Museo Romántico in Madrid, the Real Academia de Sant Jordi, the Ateneo and the Galería de Catalanes Ilustres in Barcelona, etc.

Estim. 6 000 - 8 000 EUR

Lot 64 - JOSE NAVARRO LLORENS (Valencia, 1867 - 1923). "Marina". 1892 Oil on canvas. Restorations visible on the back. Signed and dated in the lower right corner. Measurements: 99 x 189 cm; 117 x 205 cm. José Navarro Llorens was directed very soon to the painting, and he studied at the School of Fine Arts of San Carlos, in his native city. After his student period we lose track of him, and we will not find him again until 1895 when, according to Pantorba, he participated for the first and only time in the National Exhibition of Fine Arts, obtaining an honorary mention. That same year was the year of the consecration of Joaquín Sorolla, who unanimously won the first medal in that contest. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to make a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local scope, as can be deduced from the fact that, in his early years, he devoted himself to painting costumbrista and gallant scenes for fans. Nevertheless, his early works show a certain influence of the style of Mariano Fortuny, whom Navarro admired, and from whose example he may have been inspired to travel to Morocco in a second stage. This trip must have taken place shortly after finishing his studies, and he devoted himself to painting local, North African and Orientalist themes. At the beginning of the 20th century he was hired to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked with such a destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. In the Brazilian city he continued to work and held an exhibition that was widely celebrated. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, settling permanently in Godella. There he lived the rest of his life in a simple and humble way, giving painting classes at the town's Academy and painting tirelessly. His style draws from various influences, such as Fortuny, Domingo Marqués or Levantine luminism, but always manifested itself deeply personal, linked to Navarro's own way of understanding the world. His painting refers to Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous and vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Carmen Thyssen Museum in Malaga and in the Gerstenmaier collection, among other public and private collections.

Estim. 8 000 - 10 000 EUR

Lot 65 - EMILIO GRAU SALA (Barcelona, 1911 - Paris, 1975). "Les chevaux de Luxembourg". Paris, ca.1960's. Oil on canvas. Signed in the lower left corner. Signed and titled on the reverse. On the back, a label mentions that the painting would be reproduced in the catalog "Peintres témoins de leurs temps" (1975). Measurements: 50 x 50 cm; 65 x 65 cm (frame). A boy and his mother contemplate the passage in circle of the horses of a carrousel, in the mythical amusement park of the Parisian garden of Luxembourg. The themes of festive life, such as circuses and funfairs, were treated by Grau Sala in a particularly endearing way. Magic and joie de vivre are combined in this painting with a certain nostalgic or melancholic bias, resulting in a bittersweet cocktail characteristic of Grau Sala's work. The fine line drawing that endows the figures with great elegance is combined with a palette in which the colors seem to struggle to free themselves from the objects that contain them, given their Fauvist intensity and variety of patterns. This is a painter who took decorativism to the highest artistic level. Grau Sala was trained at the School of Fine Arts in Barcelona, an apprenticeship that he combined with an essentially self-taught training. In 1930 he held his first exhibition at the Badriñas gallery in Barcelona. When the Civil War broke out, he moved to Paris, and that same year, 1936, he won the first Carnegie Prize. In the twenty-five years that he remained in the French capital he was closely acquainted with the avant-garde, although he always opted for a colorist figuration, derived from impressionism and fauvism. In fact, he soon became known in Paris as a successor of the Impressionist spirit and values, directly related to Bonnard and Vuillard. The success of his style led Grau Sala to devote himself also to graphic work and scenography. The grace and finesse of his characters, the vivacity of the colors and the elegant atmosphere of the environments that he captured made him reap great success and recognition all over the world. He held several solo exhibitions, mainly in Barcelona and Paris, but also in cities such as New York, Toulouse, London and Los Angeles. In 1963 he returned to Barcelona, when the stagnant figuration of Franco's Spain began to be challenged by Oteiza, Chillida, Tàpies and the collective "El Paso". However, he remained faithful to his style, and until his death in 1975 he worked within his own personal line, centered on his favorite themes, female figures, interiors and landscapes, in a vaguely classical, nostalgic time setting of the nineteenth century. After his death, and for more than a decade, Grau Sala was overshadowed by the multiple novelties that were emerging in democratic Spain, but from the 1990s onwards, the new boom in mid-level collecting relaunched Grau Sala, as he was understood as an interpreter of Impressionism in a Spanish key. Works by Emilio Grau Sala are kept in the National Museum of Art of Catalonia, the Esteban Vicente Museum of Contemporary Art and the Óscar Domínguez Institute of Contemporary Art and Culture.

Estim. 6 000 - 7 000 EUR

Lot 66 - JOSÉ MASRIERA MANOVENS (Barcelona, 1841 - 1912). "Landscape with figures". Oil on canvas. Signed in the lower right corner. Measurements: 93 x 150 cm; 140 x 198 cm (frame). José Masriera offers us a spring landscape, starring a lush vegetation of great tonal richness and subtlety in the chromatic treatment. Formally, the scene is structured around a central path that emerges from the very edge of the painting, guiding our gaze towards the forest that occupies the right side. On its sides is the figure of a donkey that carefully observes a young lady who, with her back to the viewer, directs her hands to her head, taking off the scarf that has accompanied her during the long day. The painter rigorously organizes the composition, clearly separating the foreground from the background. Thus, we find in the foreground the road. In its center, the space develops in depth, being closed in the background by the mountains. Painter and silversmith, he began his artistic training in the workshop of his father, Josep Masriera Vidal. He then entered the School of Fine Arts of La Lonja in Barcelona, where he was influenced by the landscape painter Luis Rigalt, to finally complete his studies in Paris. As a painter he dedicated himself to detailed landscapes, usually inspired by the surroundings of San Andrés de Llavaneras, in the province of Barcelona. He participated in exhibitions in Barcelona, Madrid, Zaragoza, Munich, Berlin and many other cities. His successive trips to Paris brought him into contact with the different tendencies of French landscape painting, and he soon achieved success thanks to the works he presented at the International Exhibition in Paris (third medal) and at the National Fine Arts Exhibitions in Madrid (third medal in 1878 and 1897) and in Barcelona (first medal in 1909). He was an academician of Sciences and Arts (1873) and of the Fine Arts of Sant Jordi, and presided over the Artistic Circle. He published biographies of Catalan artists of the generation before his own, such as Luis Rigalt, Claudio Lorenzale and Francisco Miquel, as well as works on aesthetics such as "Influencia del estilo japonés en las artes europeas" (1885). He is represented in the Museo Nacional de Arte de Cataluña and the Museo del Prado among others, as well as in important international private collections.

Estim. 4 500 - 5 000 EUR

Lot 67 - JULIO BORRELL PLA (Barcelona, 1877 - 1957). "The letter". Oil on canvas. Signed in the lower corner. Measurements: 181 x 103 cm. Two young women read a letter. The emotion is revealed in their pearly smiles and in the brightness of their eyes. Julio Borrell captures with ingenuity the vivacity of the expressions and describes with skill the pleats and laces of the folkloric garments. Son and disciple of Pere Borrell del Caso, Julio Borrell was trained at the School of Fine Arts of Sant Jordi in Barcelona. From his father he was influenced by the Nazarenes Claudio Lorenzale and Pablo Milà i Fontanals. In 1888, at the age of eleven, he participated with a canvas in the Barcelona competition of the Universal Exposition, together with his brother Ramón, also a painter. From 1894 he took part in almost all the official exhibitions held in Barcelona and Madrid, being awarded with honorable mention in 1897. That same year he won a second medal at the exhibition in Arcachon, France. His name had a special resonance throughout his exhibitions at the Sala Parés in Barcelona, between 1915 and 1920. His wide production includes works in oil as well as in pastel, and covers a wide range of themes. The theme he most cultivated was that of the classic Spanish maja, the women with mantilla and comb, depicted in his personal sensorial style, with extraordinary skill and great mastery of drawing. Among his many paintings, some of which have been widely reproduced, it is worth mentioning "El viático al Liceo", "Lavapiés en Jueves Santo", "Bodas reales" (Royal Wedding), which he painted for King Alfonso XIII, "Luna de miel" (Honeymoon), "El triunfo del cristianismo" (The Triumph of Christianity), etc. He also dedicated himself to decorative painting, creating religious murals for the church of San Francisco in Buenos Aires and the dome of the Basilica de la Merced in Barcelona, which was destroyed in 1936. Throughout his career, Borrell held numerous solo exhibitions in various Barcelona galleries, and participated in group exhibitions and competitions. Many of his works are exhibited at the MACBA, as well as at the National Art Museum of Catalonia and others.

Estim. 6 000 - 7 000 EUR

Lot 68 - MANUEL PESQUEIRA (Paredela, Meis 1911- 1988). "Peasant women". Oil on canvas. Signed in the lower right corner. Size: 48 x 41 cm; 69 x 61 cm (frame). Two women carry on their heads a big basket overflowing with fruits. We see them in profile, advancing firmly in front of a sown field. Their faces convey character. Their large hands and strong calves reveal the hardened life of the countryside. The brushstroke is energetic, the line thick and an atmosphere of greys and blues envelops them with its careful composition and expressive power. As we can see in this suggestive painting, Manuel Pesqueira invented his own language with which to speak of his people, which is why he resorted to an archaism that is nevertheless fully modern. Galician painter. While he was studying to become a teacher in Pontevedra he came into contact with Castelao and began to form part of the cultural and political environment of Galicia thanks to his participation in the newspaper A Nosa Terra, where he became the author of many of the articles published. It was in 1933 when he held his first exhibition entitled Paisajes humanos del rural de O Salnés. Years later, in 1950, after the Civil War, he exhibited in Vigo, Santiago de Compostela and Pontevedra and in 1951 in the Centro Galego in Buenos Aires. In 1960 he took part in the First Anthological Exhibition of Galician Painting, held at the Círculo de las Artes in Lugo. It was the collective exhibition at the Sala Quixote in Madrid in 1967 that led the critics in Madrid to call him the "most racially Galician painter". His wide national recognition meant that his painting was of interest to international art centres, which is why in 1984 he exhibited in Paris at the Centre International d'Art Contemporain, first in a group show and later as a solo artist. His style is characterised by an intense primitivism in which sculpture is very present. In which the portraits acquire great monumentality. His paintings frequently allude to Galician tradition, showing different facets of the rural world from a pictorial perspective based on the avant-garde.

Estim. 6 500 - 7 000 EUR

Lot 69 - RAMÓN MARTÍ ALSINA (Barcelona, 1826 - 1894). "Female nude".1877. Oil on canvas. Signed in the lower margin. Attached to the back label of the Parés room in Barcelona. Measurements: 182 x 89 cm. In his female nudes, Martí Alsina was categorically anti-academic. He scrutinized the anatomical details with frankness and without any idealization, nevertheless managing to enhance the sensuality of the bodies. In this painting of generous dimensions, the woman occupies a large part of the frame, assuming real proportions. She turns her back to us while holding a towel in both hands, as if she were a free and casual version of Venus coming out of the bath. The fleshly body, with swaying hips, is masterfully modeled by the light. We see the sole of the foot with the heel raised and this subtle gesture imprints a soft movement to the whole body, making the lights and shadows play on the back and the shapely legs. Seated on cushions upholstered in silk and trimmings, a woman with swaying hips and turgid flesh takes on a sculptural presence, silhouetted against a dark background. She adopts a modest gesture that accentuates her attractiveness. She tilts her head and her black eyes give off a melancholic glow. The nude seems to be based on baroque models, but Martí Alsina counterbalances the carnal charge with an intimate look, inscribed in modernity. The silky qualities of the hair, the luminous modeling of the forms, the soft cushions, etc. bear the mark of a master. Considered today as the most important figure of Spanish realism, Martí Alsina is part of the European avant-garde of the time. He revolutionized the Spanish artistic panorama of the 19th century, was a pioneer in the study of life drawing and the creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell and Torrescassana. He began his studies in Philosophy and Literature, alternating them with night classes at the School of Fine Arts in Barcelona until 1848. Once he finished this first apprenticeship and decided to take up painting, he took his first steps in the Maresme region, where he began to earn his living by painting naturalistic portraits and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession to the throne of Amadeo de Saboya. In 1853 he traveled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French romanticism. Later he would become acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was named corresponding academician of the Academy of Fine Arts of Sant Jordi in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From that moment on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exposition of the French capital in 1889. Among his prizes, the medals obtained in the National Exhibitions of Madrid stand out, third in 1858 with the work "Last day of Numancia" and second in 1860 with his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with a brushstroke close to impressionism. Among his themes we find numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. On few occasions he dedicated himself to still life, although he also painted some of them. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza, the National Museum of Art of Catalonia, the Museum of Contemporary Art of Barcelona, the Museum of the Abbey of Montserrat and the Museum of l'Empordà, in Figueras.

Estim. 6 000 - 8 000 EUR

Lot 70 - RAMON MARTÍ ALSINA (Barcelona, 1826 - 1894). "Landscape", 1891. Oil on panel. Signed and dated in the lower right corner. Measurements: 25 x 38 cm; 41 x 56 cm (frame). Considered today as the most important figure of Spanish realism, Martí Alsina is framed within the European avant-garde of the time. He revolutionized the Spanish artistic panorama of the 19th century, was a pioneer of the naturalistic study, and creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell or Torrescassana. He began his studies in Philosophy and Literature, alternating them with night classes at the School of Fine Arts in Barcelona until 1848. Once he finished this first apprenticeship and decided to take up painting, he took his first steps in the Maresme region, where he began to earn his living doing naturalistic portraits and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession to the throne of Amadeo de Saboya. In 1853 he traveled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French romanticism. Later he would become acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was appointed corresponding academician of the Academy of Fine Arts of Sant Jordi in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From that moment on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exposition of the French capital in 1889. Among his prizes, the medals obtained in the National Exhibitions of Madrid stand out, third in 1858 with the work "Last day of Numancia" and second in 1860 with his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with a brushstroke close to impressionism. Among his themes we find numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. On few occasions he dedicated himself to still life, although he also painted some of them. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza, the National Museum of Art of Catalonia, the Museum of Contemporary Art of Barcelona, the Museum of the Abbey of Montserrat and the Museum of l'Empordà, in Figueras.

Estim. 1 000 - 1 200 EUR

Lot 71 - RAMON MARTÍ ALSINA (Barcelona, 1826 - 1894). "Landscape", 1891. Oil on panel. Signed and dated in the lower right corner. Measurements: 25 x 38 cm; 41 x 56 cm (frame). Considered today as the most important figure of Spanish realism, Martí Alsina is framed within the European avant-garde of the time. He revolutionized the Spanish artistic panorama of the 19th century, was a pioneer of the naturalistic study, and creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell or Torrescassana. He began his studies in Philosophy and Literature, alternating them with night classes at the School of Fine Arts in Barcelona until 1848. Once he finished this first apprenticeship and decided to take up painting, he took his first steps in the Maresme region, where he began to earn his living doing naturalistic portraits and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession to the throne of Amadeo de Saboya. In 1853 he traveled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French romanticism. Later he would become acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was appointed corresponding academician of the Academy of Fine Arts of Sant Jordi in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From that moment on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exposition of the French capital in 1889. Among his prizes, the medals obtained in the National Exhibitions of Madrid stand out, third in 1858 with the work "Last day of Numancia" and second in 1860 with his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with a brushstroke close to impressionism. Among his themes we find numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. On few occasions he dedicated himself to still life, although he also painted some of them. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza, the National Museum of Art of Catalonia, the Museum of Contemporary Art of Barcelona, the Museum of the Abbey of Montserrat and the Museum of l'Empordà, in Figueras.

Estim. 1 000 - 1 500 EUR

Lot 72 - PERE PRUNA OCERANS (Barcelona, 1904 - 1977). "Composition", 1954. Oil on canvas. Signed and dated in the lower margin. It presents losses of polychrome in the frame. Measurements: 73 x 92 cm; 90 x 110 cm (frame). Mainly self-taught artist, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he traveled to Paris in 1921, where he was helped and guided by Picasso. In the French capital he held a successful solo exhibition at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also proposed him to create the sets and costumes for the ballet "Les matelots" in 1925. Since then he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he obtained the second absolute prize in the exhibition of the Carnegie Institute of Pittsburg and later, on his return to Barcelona, he obtained other awards such as the competition "Montserrat seen by the Catalan artists" (1931) or the Nonell Prize (1936). Following the outbreak of the Civil War, Pruna continued with his international exhibition activity, highlighting his exhibition organized in London in 1937. After the war, he combined his easel painting exhibitions with mural painting, a genre in which his works in the Monastery of Montserrat were especially celebrated. In 1965 he won the City of Barcelona award, and three years later he was named academician of the Far de Sant Cristòfor. His style, centered on a graceful and stylized female figure, is based on the clear delicacy of the pink and "neoclassical" Picasso, and reveals a certain parallelism with the Italian Novencento, fully framed in the classicist current that appeared in Western art after the first wave of avant-garde, and of which his friend Cocteau was the driving force. Pruna focused on portraiture and especially on the female figure, capturing images marked by great delicacy and sober distinction. His representations are characterized by a stylized and diaphanous line, and are in tune with the return to order after the rupture that cubism meant in France, thus linking directly with the avant-garde. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space with his name, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.

Estim. 1 600 - 2 000 EUR

Lot 73 - PERE PRUNA OCERANS (Barcelona, 1904 - 1977). "Recumbent Bullfighter", 1937. Oil on canvas. Signed in the lower right corner. Patch on the back With labels of the Sala Parés and the Artur Ramon Gallery, Barcelona, on the back. Measurements: 70 x 115 cm; 92 x 135,5 cm (frame). Pere Pruna manages to transmit the serene beauty of the recumbent bullfighter using a palette of very few colours but endowing them with a rich tonal variety, at the same time as he handles a synthetic stroke that condenses the enigmatic palpitation of a repose that could be eternal. Solid lights build the features, softly modelling the oval and the curved line of the closed eyelids. The sequins and jewels of the costume sparkle with nuanced silver glints that continue on the side band of the long legs sheathed in a red stiletto. The red of the trousers and the sheen of the black leather of the shoes interrupt the rich range of silver tones that dominate the lyrical atmosphere. A mainly self-taught artist, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he travelled to Paris in 1921, where he was helped and guided by Picasso. In the French capital he held a successful one-man show at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also asked him to create the sets and costumes for the ballet "Les matelots" in 1925. From then on, he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he won second prize in the Carnegie Institute exhibition in Pittsburg and later, on his return to Barcelona, he won other awards such as the "Montserrat seen by Catalan artists" competition (1931) and the Nonell Prize (1936). The latter was surrounded by controversy, because Pruna won it for his oil painting "El vi de Chios", for which he used a photograph published in a Parisian pornographic magazine as a model. In response to the uproar, Pruna withdrew the prize, but the jury upheld its decision. Following the outbreak of the Civil War, Pruna settled in Paris and continued his international exhibition activity, most notably the exhibition organised in London in 1937. At the same time he worked for Ridruejo's propaganda services, with works such as the poster commemorating the promulgation of the Labour Force, and Eugenio d'Ors, National Head of Fine Arts, introduced him to the Spanish representation at the Venice Biennale in 1938. After the war he combined easel painting exhibitions with mural painting, a genre in which his work in the Monastery of Montserrat was particularly celebrated. In 1965 he won the City of Barcelona Prize, and three years later he was appointed academician of the Far de Sant Cristòfor. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space named after him, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.

Estim. 7 000 - 9 000 EUR

Lot 74 - VILHEM JACOB ROSENSTAND (Copenhagen, 1838-1915). "Tavern interior". Oil on canvas. Signed in the lower right corner. It presents some faults in the golden frame. Measurements: 60 x 48 cm; 85 x 72 cm (frame). In the scenes of genre and tavern Vilhem Rosenstand was especially skillful, developing great ingenuity for the psychological and anthropological capture. This is demonstrated in this tavern interior scene, in which the crackling fire of the hearth lends a warm and cozy atmosphere. Two individuals dressed in regional costumes, their jackets adorned with embroidery on black velvet and their legs sheathed in wide bloomers, have faces similar to each other with their bushy mustaches but show very different attitudes. One stares dazzled at the young woman seated on the table, while his companion looks at the wood of the table. She wears an amethyst stone on her chest, and her bust is enhanced by the tight sweater. Local concerts are advertised on several posters on the back wall. Vilhelm Jacob Rosenstand was a Danish painter and illustrator. His best known work is a mural that decorates the banquet hall of the University of Copenhagen. Born in Copenhagen, Rosenstand attended the Royal Danish Academy of Fine Arts from 1858 and was tutored by his teacher Wilhelm Marstrand. He also studied at the school of Léon Bonnat in Paris (1881-82)[2] He first exhibited in Charlottenborg in 1861 with Genrebillede fra Vendsyssel before serving as a lieutenant in the Second Schleswig War in 1864. His war experiences are reflected in works such as Fra Saxarmen ved Dannevirke. Morgen efter Bustrup-Fægtningen, for which he received the Neuhausen Prize (De Neuhausenske Præmier) in 1865. In 1869, on a scholarship from the Academy, he traveled to Rome, where he spent several years. At the Vienna Universal Exhibition of 1873 he was awarded a prize for his work En Campagnuol og hans Hustru. In Italy he produced several genre works, such as Ved Kirkedøren (At the Church Door, 1876), En Landsbyfrisør (The Village Hairdresser, 1878) and Forlegenhed (Shame, 1880). From Rome he moved to Paris in 1881, where he painted genre works depicting everyday scenes, such as Udenfor et Brasserie i Paris. Moder og Søn ved Pousse-Caféen (Outside a Brasserie in Paris. Mother and Child at the Café Pousse, 1882), for which he received the Thorvaldsen Medal.

Estim. 8 000 - 10 000 EUR

Lot 75 - PEDRO BORRELL DEL CASO (Puigcerdà, 1835 - Barcelona, 1910). "In the painter's studio". Oil on panel. Signed in the upper right corner. Measurements: 60 x 73 cm; 85 x 98 (frame). Painter, draftsman, watercolorist and pedagogue, Pere Borrell was formed in the School of La Lonja of Barcelona, and developed a work centered in the landscape and inspired directly in the nature. A militant realist, he transmitted to his disciples his way of conceiving art and his technique of painting from life. He twice refused a professorship at La Lonja and finally, in 1868, founded his own private academy, where for more than thirty years artists of the stature of Román Ribera, Ricard Canals, Josep Maria Sert, Adrià Gual, Mariano Pidelaserra and Xavier Nogués, among many others, were trained. Borrell participated in numerous group exhibitions in Barcelona, Madrid and Paris. A great portraitist, sober and direct, he also cultivated landscape, religious and genre painting, with a style influenced by the Nazarenes. He is currently represented in the Bank of Spain Collection, the MACBA and the Cerdà de Pugicerdà.

Estim. 6 000 - 7 000 EUR

Lot 77 - DIONÍS BAIXERAS VERDAGUER (Barcelona, 1862 - 1943). "Shepherds". Oil on canvas. Signed in the lower corner. Attached to the back a label of the Parés room in Barcelona. Measurements: 138 x 198 cm. In this country scene, Baixeras offers us a costumbrista image devoid of all folkloric eagerness. On the contrary, he captures the daily moment charged with simplicity, but also with poetry. A couple of peasants are immersed in the sacred calm of the sunset, in a magical silence that seems to be palpable and is only interrupted by the course of the river. All of this is resolved with his characteristic round and thick brushstrokes. A disciple at the Escuela de la Lonja of Martí Alsina and, above all, of Antonio Caba, during his student years Baixeras received the nickname of "the medal winner", due to his ease in winning competitions. He exhibited for the first time in 1882, at the Sala Parés in Barcelona, and four years later he traveled to Paris, where he was enthusiastic about the peasant-themed realism of Millet and Bastien-Lepage. During these years he won awards at the Fine Arts Exhibitions of Madrid (1884, third medal) and Paris (1886, honorable mention). Back in Barcelona he made great compositions of historical character, like those of the auditorium of the university (1888), those of the seminary (1904, destroyed in 1936) and those of the dome of the hall of Sant Jordi of the Generalitat (1928). In 1907 he made a series of drawings of documentary type, focused on the representation of the corners of Barcelona that would disappear with the construction of the Via Layetana, which earned him a prize from the City Council. In 1926 he joined the Royal Academy of Fine Arts of Sant Jordi, and was linked to the Artistic Circle of Sant Lluc since its foundation. During his last years he wrote some interesting memoirs, the original manuscript of which is currently preserved in the Academy of Sant Jordi. Baixeras devoted himself mainly to naturalistic painting, with marine or rural themes, in works that show a certain influence of the school of Olot. He meticulously elaborated his works in the workshop, so his previous drawings have much more freshness and interest. In 1908 he made a collection of drawings, of great documentary value, of places in old Barcelona that were to disappear during the construction of the Via Layetana. His work is preserved in the Metropolitan of New York, the Museum of Art and Industry of Roubaix (France) and the MACBA, among others.

Estim. 8 000 - 9 000 EUR

Lot 78 - ELISEO MEIFRÈN ROIG (Barcelona, 1859 - 1940). "Village street". Oil on canvas. Signed in the lower right corner. Measurements: 65 x 52 cm; 82 x 70 cm (frame). Painter of landscapes and seascapes, Eliseo Meifrèn is considered to be one of the first introducers of the impressionist movement in Catalonia. He began his artistic training at the School of Fine Arts in Barcelona, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to create romantic landscapes of academic style. After finishing his studies, in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he got to know first hand the painting "à plen air", which would influence him powerfully in his Parisian landscapes of those years. Likewise, in Paris he coincided with the public beginning of impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome; there he made contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he participated in the Regional Exhibition of Valencia, and won a gold medal. Once back in Barcelona, in 1880 he made his individual debut in the Sala Parés in Barcelona, where he would continue to exhibit regularly from then on. During these years he was part of the modernist group, and frequented Els Quatre Gats. In 1883 he returned to Paris, where he made numerous drawings and watercolors with views of the city and its cafés, which earned him a warm welcome from French critics and the French public. At the end of the eighties he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centro de Acuarelistas. Also, in 1888 he was a member of the jury of the Universal Exhibition held in Barcelona. In 1890 he returned for the third time to the French capital, where he participated in the Salon des Beaux-Arts and in the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group a year earlier. In the following years Meifrèn would send his works to numerous official exhibitions and competitions, among them the National Exhibitions of Madrid and Barcelona, and was awarded the third medal at the Paris Universal of 1889 and 1899, silver medal at the Brussels Universal of 1910, grand prize at the Buenos Aires Universal of the same year, medal of honor at the San Francisco International of 1915 and grand prize at the San Diego International of the following year. He also won the Nonell Prize of Barcelona in 1935. In 1952, the Barcelona City Council dedicated a retrospective exhibition to him, held at the Palacio de la Virreina. His initial landscapes, characterized by an academic and romantic concept, would later evolve towards an impressionist language; abandoning the Roman preciosism, his would be a technique of loose brushstrokes and clear palette, in which the luminous conception approaches symbolist budgets, within the orbit of Modesto Urgell. He is currently represented in the Prado Museum, the National Art Museum of Catalonia, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.

Estim. 7 000 - 9 000 EUR

Lot 79 - EMILIO GRAU SALA (Barcelona, 1911 - Paris, 1975). "La reússite". Barcelona, 1964. Oil on canvas. Signed in the lower left corner. Signed, dated and titled on the back. Measurements: 60 x 73 cm. The title of this painting refers to the good fortune that the tarot reader reads in the cards that she casts to the young woman seated in front of her. The fortune-teller, dressed in black and wearing a lace scarf, appears to us as a beautiful and enigmatic woman. In this work, Grau Sala's singular colorfulness is expressed in all its essence, with his very personal reinterpretation of the fauve palette. He interweaves abstract patterns, contrasted textures, finely traced contours to define the delicate faces? He wisely balances cold and warm tones, prioritizing a luminous, decorative and anti-classical result. Grau Sala studied at the School of Fine Arts in Barcelona, an apprenticeship that he combined with an essentially self-taught training. In 1930 he held his first exhibition at the Badriñas gallery in Barcelona. When the Civil War broke out, he moved to Paris, and that same year, 1936, he won the first Carnegie Prize. In the twenty-five years that he remained in the French capital, he was closely acquainted with the avant-garde, although he always opted for a colorist figuration, derived from impressionism and fauvism. In fact, he soon became known in Paris as a successor of the Impressionist spirit and values, directly related to Bonnard and Vuillard. The success of his style led Grau Sala to devote himself also to graphic work and scenography. The grace and finesse of his characters, the vivacity of the colors and the elegant atmosphere of the environments that he captured made him reap great success and recognition all over the world. He held several solo exhibitions, mainly in Barcelona and Paris, but also in cities such as New York, Toulouse, London and Los Angeles. In 1963 he returned to Barcelona, when the stagnant figuration of Franco's Spain began to be challenged by Oteiza, Chillida, Tàpies and the collective "El Paso". However, he remained faithful to his style, and until his death in 1975 he worked within his own personal line, centered on his favorite themes, female figures, interiors and landscapes, in a vaguely classical, nostalgic time setting of the nineteenth century. After his death, and for more than a decade, Grau Sala was overshadowed by the multiple novelties that were emerging in democratic Spain, but from the 1990s onwards, the new boom in mid-level collecting relaunched Grau Sala, as he was understood as an interpreter of Impressionism in a Spanish key. Works by Emilio Grau Sala are kept in the National Art Museum of Catalonia, the Esteban Vicente Museum of Contemporary Art and the Óscar Domínguez Institute of Contemporary Art and Culture.

Estim. 8 000 - 9 000 EUR

Lot 80 - ANTONI DE FERRER CORRIOL (Vic, Barcelona, 1849 - Barcelona, 1909). "Les camarellas", 1884. Oil on canvas. Relined. Signed and dated in the lower right corner. Measurements: 130 x 95 cm; 160 x 125 cm (frame). Antoni De Ferrer immortalized festivities and customs of the rural Catalonia of his time. This magnificent painting (one of his most celebrated works) illustrates a peculiar Easter tradition rooted in some northern regions. During the Caramelles, people danced and sang, parades were held and hen eggs were given as gifts. These were given to the lucky men and women in decorated baskets like the one we see approaching the window of this stone house. A young girl looks out and takes the small fowl egg with pleasure, while at street level the villagers, wearing barretinas, sing, laugh and chatter animatedly. The psychological characterization of each one of them stands out, their expressive faces, sparkling eyes and toasted skins from a life spent in the open air. Catalan painter and architect of the second half of the 19th century, Antonio de Ferrer was trained as a disciple of José Serra y Porson at the School of Fine Arts of Sant Jordi, in Barcelona. From 1878 he showed his work regularly in the official exhibitions of Fine Arts, obtaining honorable mention in 1895 and 1904 and a medal in the Architecture Section of the Universal of Barcelona in 1888. At the National Fine Arts Exhibitions he presented "Episodio del Bruch" (1881), "Fiestas populares de Cataluña" (1884), "Las camarellas" (1884) and "La parada" (1887). He also participated in the International Exhibitions of Berlin in 1891 and 1896. We also know that he made an altarpiece for the Sanctuary of Rocaprevera in Torelló (Barcelona). An artist faithful to academic standards, he cultivated genre themes, focusing mainly on Catalan customs. He is currently represented in the Museum of Girona, as well as in various private collections.

Estim. 10 000 - 12 000 EUR

Lot 81 - CELSO LAGAR ARROYO (Ciudad Rodrigo, Salamanca, 1891 - Seville, 1966). "Tibidabo", 1921. Oil on canvas. Signed in the lower right corner. Size: 53 x 65 cm; 74 x 85 cm (frame). Celso Lagar began his training in the field of sculpture with Miguel Blay in Madrid. His teacher advised him to travel to Paris to complete his studies and, after spending a year in Barcelona, he traveled to the French capital for the first time in 1911. Lagar's career, both personally and artistically, can be divided into four distinct stages, marked by the two World Wars. The first of these periods is that of apprenticeship, in Madrid, Barcelona and Paris, in contact with artists such as Amadeo Modigliani. This stage comes to an end when he is forced to leave Paris at the outbreak of the Great War. He settled in Barcelona but held several exhibitions in the French capital, which served as a letter of introduction upon his return to the city after the war, in 1919. By then Lagar is already a consolidated artist, and settles definitively in Paris. He regularly exhibited in the best Parisian galleries (Berthe Weil, Percier, Zborowski, Barreiro, Brouant, Druet), his style reached its personal maturity and he devoted himself fully to painting, leaving sculpture behind. He will develop a painting focused on very specific themes: still lifes, Spanish themes, landscapes and circus scenes. After the period of avant-garde influences (cubist, fauvist, etc.), Lagar reached his own style, marked by the influences of Goya and Picasso. Gradually his palette cools down, but his favorite themes remain the same, and his recognition by the public and critics increases. The beginning of World War II marked the end of Lagar's golden age. He emigrated to the French Pyrenees, and his return to the recently liberated city of Paris did not have the repercussions he had hoped for, as the collecting public demanded new contents and modes. After his wife fell ill in 1956, Lagar fell into a deep depression and was admitted to a psychiatric hospital. He definitively stopped painting and in 1964 he returned to Spain, spending his last years at his sister's house in Seville. Lagar is represented in the Museum of Contemporary Art in Madrid, the Museum of Art Nouveau and Art Deco Casa Lis, the Patio Herreriano in Valladolid, the Petit Palais in Geneva, the Fine Arts of La Rochelle, Castres and Honfleur (France) and in prestigious collections such as Crane Kallman (London), the Zborowski (Paris) or the Mapfre (Madrid).

Estim. 7 000 - 9 000 EUR

Lot 82 - 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. Size: 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 Granada painter's protector. De la Serna's style will be, 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 found in his sensual reading of the forms of cubism, based on the relevance of a drawing of sinuous and very decorative line, combined with strong chromatic contrasts. With a marked spatial sense and without ever abandoning figuration, De la Serna mainly represented still lifes, where he accentuated the sensory aspect 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.

Estim. 7 000 - 9 000 EUR

Lot 83 - JOSEP CUSACHS (Montpellier, France, 1851 - Barcelona, 1908). "Military".1885. Oil on canvas. Signed, dedicated and dated in the lower right corner. Exhibitions: "100 years of painting in the Barcelona collections", October 1968. Measurements: 73 x 45 cm; 88 x 60 cm (frame). José Cusachs was born accidentally in France, since his parents were there on a trip, but his art and his life were always linked to two localities: Barcelona and Mataró. In 1865, after passing a competitive examination, he entered the Artillery Academy to pursue a military career. However, in 1882, after a brilliant career that led him to be Captain of the Army for war merits, he asked for retirement to devote himself to painting. Trained in Barcelona under the direction of Simón Gómez, he completed his artistic studies with a stay in Paris, in the studio of Édouard Détaille, one of the greatest experts in military themes, a genre that would be Cusachs' favorite. Within the military themes, this artist was especially inclined to 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 the work of F. Barado 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 condition. It was precisely the success of these early works that prompted him to finally abandon his previous career to focus on art. During these years he would make his work known through individual exhibitions, such as the ones he held regularly from 1884 at the Sala Parés in Barcelona, always obtaining great success in sales and critics. In 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 participated in official competitions; in 1887 he obtained a notable recognition at the National Exhibition of Fine Arts in Madrid. In 1891 he participated in the Berlin Exhibition and won the Gold Medal for his work "Maneuvers of Division". Cusachs also stood out as a famous military portraitist, and painted, among others, General Prim, King Alfonso XIII in military uniform and Mexican President Profirio Díaz. Other notable works by his hand are "The Flight to Egypt" (1904) from the Monastery of Montserrat, one of his few religious canvases, and "Abnegation" and "Distant Thought". Stylistically, Cusachs was a man open to innovation, although his work was always filtered through the filter of evaluation, study and meditation. Thus, he adopted those aspects he considered of value, and discarded the rest. The bulk of his work is collected in the Museum of Modern Art in Madrid and the National Art Museum of Catalonia, as well as other centers such as the Museum of Montjuïc de Montjuïc.

Estim. 10 000 - 12 000 EUR

Lot 84 - JOSEP CUSACHS (Montpellier, France, 1851 - Barcelona, 1908). "Military".1885. Oil on canvas. Signed and dated in the lower left corner. Exhibitions: "100 years of painting in the Barcelona collections", October 1968. Measurements: 73 x 45 cm; 88 x 60 cm (frame). José Cusachs was born accidentally in France, since his parents were there on a trip, but his art and his life were always linked to two localities: Barcelona and Mataró. In 1865, after passing a competitive examination, he entered the Artillery Academy to pursue a military career. However, in 1882, after a brilliant career that led him to be Captain of the Army for war merits, he asked for retirement to devote himself to painting. Trained in Barcelona under the direction of Simón Gómez, he completed his artistic studies with a stay in Paris, in the studio of Édouard Détaille, one of the greatest experts in military themes, a genre that would be Cusachs' favorite. Within the military themes, this artist was especially inclined to 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 the work of F. Barado 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 condition. It was precisely the success of these early works that prompted him to finally abandon his previous career to focus on art. During these years he would make his work known through individual exhibitions, such as the ones he held regularly from 1884 at the Sala Parés in Barcelona, always obtaining great success in sales and critics. In 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 participated in official competitions; in 1887 he obtained a notable recognition at the National Exhibition of Fine Arts in Madrid. In 1891 he participated in the Berlin Exhibition and won the Gold Medal for his work "Maneuvers of Division". Cusachs also stood out as a famous military portraitist, and painted, among others, General Prim, King Alfonso XIII in military uniform and Mexican President Profirio Díaz. Other notable works by his hand are "The Flight to Egypt" (1904) from the Monastery of Montserrat, one of his few religious canvases, and "Abnegation" and "Distant Thought". Stylistically, Cusachs was a man open to innovation, although his work was always filtered through the filter of evaluation, study and meditation. Thus, he adopted those aspects he considered of value, and discarded the rest. The bulk of his work is collected in the Museum of Modern Art in Madrid and the National Art Museum of Catalonia, as well as other centers such as the Museum of Montjuïc de Montjuïc.

Estim. 10 000 - 12 000 EUR

Lot 85 - EMILIO SÁNCHEZ PERRIER (Seville, 1855 - Granada, 1907). "View of the Cartuja Factory from the Guadalquivir". Oil on canvas. Signed in the lower right corner. Measurements: 44 x 75 cm. The theme of the city of Seville interviewed in the distance from the waters of the Guadalquivir was taken in numerous occasions by Emilio Sanchez Perrier. In this magnificent painting, the profile of the towers of La Cartuja are outlined in front of a softly iridescent sky, under the lights of the sunset. The waters of the river flow in harmonious counterpoints of gray and glaucous. Sánchez Perrier's work focuses on painting landscapes and aquatic scenes. His style evolved from the mystical post-romanticism of the Andalusian school of the early 19th century to the more luminous realism of Barbizon and the early impressionists. Together with the Sevillian Luis Jiménez Aranda, whom he visited when he settled in Pontoise, they were the main Spanish landscape painters active in Paris in the eighties. In the work shown here, the influence of the Barbizon School can be felt, although his technique is more meticulous and his atmosphere more luminous. Painter and watercolorist, his favorite subjects were landscapes and orientalist themes. He began his training at the School of Fine Arts in Seville, where he was a disciple of Joaquín Domínguez Bécquer and Eduardo Cano, as well as Carlos de Haes, and later at the San Fernando School in Madrid. Later he moved to Paris to broaden his knowledge, and entered the workshop of Auguste Boulard. He came into contact with the Barbizon school, and used to frequent the workshops of Jean-Léon Gérôme and Felix Ziem. He dedicated himself to painting from life the landscapes of Fontainebleau and Barbizon, and exhibited at the Royal Academy in London and at the Paris Salon. He returns to Spain in 1890, and founds a colony of landscape painters in Alcalá de Guadaira, province of Seville. He traveled frequently to Granada, where he worked with Martín Rico. He was a Commander of the Order of Isabella the Catholic, a member of the French General Society of Fine Arts and of the Academy of Fine Arts of Seville. He participated in numerous exhibitions and won several awards, including the honorable mention at the Paris Salon of 1886, the gold medal at the Cadiz Exhibition of 1879, and second medal at the National Exhibition of 1890 and the Universal Exhibition of Paris in 1889. He is represented in the Prado Museum, the Fine Arts Museums of Malaga and Seville, the Boston Harbor Museum, the National Museum of Art of Catalonia, the Camille Pissarro of Pontoise (France), and in collections such as the Carmen Thyssen-Bornemisza, the Antonio Plata, the Mariano Bellver, the Valentín Carrasco, El Monte and the London M. Newman and MacConnal-Mason, among many others.

Estim. 12 000 - 15 000 EUR

Lot 86 - JOAQUIN AGRASOT (Orihuela, Alicante, 1837 - Valencia, 1919). "Playing cards". Oil on board. Signed in the lower right corner. Measurements: 90 x 53 cm; 123 x 86 cm (frame). The portraits and genre scenes were very popular among the Spanish bourgeois clientele of the 19th century, within a context still inherited from romanticism, which sought in the idealized recreation of the past an escape from everyday reality. Many painters of the time worked along these lines, seeking to capture scenes of the past with the greatest possible verism, recreated with precise attention to detail, worked with a language of academic roots or, as in the case of this panel, with a distinctly modern language, especially sensitive to light and atmosphere. This type of scenes starring everyday characters are framed within the genre of genre painting, scenes worked with a special narrative and descriptive eagerness, which in Spain will have as main formal reference Velázquez and his contemporaries. Agrasot began his training in his native Orihuela, where he was granted a pension from the Diputación de Alicante to study at the Escuela de Bellas Artes de San Carlos in Valencia. A disciple there of Francisco Martínez Yago, in his early years he won awards such as the gold medal at the Provincial Exhibition of Alicante in 1860. In 1863 he was granted a new pension, this time to travel to Rome, where he came into contact with Rosales, Casado del Alisal and Fortuny. With the latter he established close ties of friendship, and his painting was deeply influenced by the style of the Catalan painter. He periodically sent canvases to the National Exhibitions of Fine Arts, in which he obtained third medal in 1864 and second in 1867. Agrasot remained in Italy until 1875; after Fortuny's death he returned to Spain, already a painter of recognized prestige, was a member of the Academies of San Carlos and San Fernando, and participated as a juror in several artistic exhibitions. In 1886 he received the art medal at the Universal Exposition of Philadelphia, and in 1888 the second medal at the International Exposition of Barcelona. Agrasot's style is framed within realism, being especially interested in genre themes and regional costumbrismo. However, he also worked on nudes, oriental themes and portraits. He is represented in the Prado Museum, the Museum of Fine Arts in Valencia, the MUBAG in Gravina (Alicante) and the Academy of San Carlos in Valencia.

Estim. 10 000 - 12 000 EUR

Lot 87 - MODEST URGELL INGLADA (Barcelona, 1839 - 1919). "Landscape with village". Oil on canvas. Signed in the lower corner. The frame is damaged. Measurements: 97 x 189 cm; 110 x 200 cm (frame). Modest Urgell privileged landscape formats like the one that occupies us, to overturn in wide skies and villages impregnated with sunset his masterful plastic gifts. The fading sun fades at the edges, but before disappearing completely, it tints the sky with lavender. A village street welcomes black silhouettes of old people returning home. A haystack looms at the side of the road. Urgell's style was unclassifiable, as we see in this evocative sunset, halfway between romantic and impressionist landscape painting. Modest Urgell began his career as a theatrical actor, but the family's prohibition to follow that path led him to devote himself to painting. He studied at the Escuela de La Lonja in Barcelona, where he was a disciple of Ramón Martí Alsina, and later spent some time in Paris, where he met Gustave Courbet and became attached to realism. During the sixties, his works were rejected in the official exhibitions of Madrid and Barcelona. In 1870 he moved to Olot, where he became acquainted with Joaquín Vayreda, creator of the local landscape school. From then on, Urgell decided to devote himself fully to landscape painting. His work would focus on solitary natures and seascapes, often featuring hermitages and cemeteries, marked by a twilight, desolate and mysterious atmosphere. From 1896 he taught landscape painting at the School of Fine Arts of Sant Jordi in Barcelona, being appointed academician in 1902. He was also founder of the Artistic and Literary Society of Catalonia, as well as the Artistic and Archaeological Museum of Girona. He took part in all the editions of the National Exhibition of Fine Arts, in Madrid, from 1864 until a year before his death, and was awarded the second medal in 1876 and 1892. He also sent his paintings to the exhibitions of Barcelona, as well as to the Universal Exhibition of Paris and the International Exhibitions of Munich, Brussels, Berlin, Philadelphia and Chicago. In 1892 he was awarded in all the contests in which he participated, among them the one in Brussels, in which he was the only Spanish winner. He also devoted himself to literature, with a special interest in theater. The sum of his two passions, art and literature, are captured in his album "Catalunya" (1905), made up of more than one hundred drawings accompanied by texts written by himself. His landscapes have an atmosphere, a color and themes that deny the stereotype of the Mediterranean landscape, based on warm and friendly natures, of brilliant chromatism, like windows open to the southern sensuality. His paintings, on the contrary, speak of melancholy and loneliness, and time and again recreate a desolate and sad Catalonia to which, years later, the poet Salvador Espriu would also be sensitive. His language rejects any fanciful or picturesque theme, picking up current issues without trying to ennoble or idealize them, but seeking to provoke moods in the viewer through twilight lights that dissolve, for brief moments, in harmony of reds, or his desolate cemeteries and severe seascapes, naked and stripped. Urgell is represented in the Prado Museum, the National Art Museum of Catalonia, the Maritime Museum of Barcelona, the Kunsthalle of Hamburg, the Víctor Balaguer Museum of Vilanova i la Geltrú, the Art Funds of the Caixa Sabadell and the Caixa d'Estalvis de Terrassa, the Dalí Museum in Figueras and the Provincial Museums of Gerona, Palma de Mallorca and Lugo, among many other centers and institutions.

Estim. 10 000 - 11 000 EUR

Lot 88 - 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

Lot 89 - ISAAC DÍAZ PARDO (Santiago de Compostela, 1920 - Coruña, 2012). "Nude characters", 1950. Oil on canvas. Signed and dated in the lower left corner. Measurements: 48 x 80 cm; 67 x 100 cm (frame). The specialists define three stages within the painting of Isaac Diaz Pardo: the academic, another influenced by the renovators and the third called American. The one we are bidding here would correspond to the second stage, characterized by the influence of the group of the Galician Renovators, especially Maside and Colmeiro, as well as Renoir and Cezanne. Intellectual, painter, ceramist, designer, editor..., he was a rich and plural personality. In 2009, he received the Gold Medal for Merit in the Fine Arts of Spain. Son of the painter and set designer Camilo Díaz Baliño, in his house took place various meetings related to the Irmandades da Fala, of which Díaz Baliño was an active member and in which personalities such as Castelao, Vicente Risco, Otero Pedrayo, Ramón Cabanillas, Antón Villar Ponte, Eduardo Blanco Amor or Asorey participated. His father was shot by the rebels shortly after the beginning of the Spanish Civil War, which made Isaac had to hide at first at his uncle Indalecio's house, in La Coruña, and then to work as a sign maker in the same city. After the war, he obtained a scholarship from the Provincial Council of La Coruña, thanks to which he studied at the Real Academia de Bellas Artes de San Fernando, in Madrid, between 1939 and 1942. He then became a professor at the Real Academia Catalana de Bellas Artes de San Jorge in Barcelona and began to exhibit in Spain (La Coruña, Madrid and Vigo) and abroad (Europe and America). He later abandoned the plastic arts, turning to ceramics and founding with other partners the Cerámicas do Castro factory in Castro de Samoedo (Sada), testing with raw materials used in the primitive ceramics of Sargadelos (in Cervo, created in the 19th century by Antonio Raimundo Ibáñez Llano y Valdés), and obtaining high quality ceramics. In 1963, together with other prominent Galician artists, such as Luis Seoane, he set up the Laboratorio de Formas in Argentina, a precursor of other industrial and cultural activities such as the restoration of Sargadelos' ceramic production, in collaboration with Cerámicas do Castro (1963), the Carlos Maside Museum (1970), the Ediciós do Castro publishing house (1963), the restored Seminario de Estudos Galegos (1970), the Instituto Galego de Información, etc. It was the direction and administration of the Sargadelos Group, his best known facet and the one that would mark his last years. As a writer of essays and criticism, he wrote Xente do meu Rueiro, O ángulo de pedra, Galicia Hoy (together with Luis Seoane), Paco Pixiñas (with Celso Emilio Ferreiro), El Marqués de Sargadelos, Castelao, etc, as well as a large number of articles in newspapers, such as La Voz de Galicia.

Estim. 12 000 - 14 000 EUR

Lot 90 - GODOFREDO ORTEGA MUÑOZ (San Vicente de Alcántara, Badajoz, 1899 - Madrid, 1982). "Landscape of Lake Maggiore", ca.1920. Oil on cardboard. Provenance: -Private collection, Massimo Uccelli, Italy. Inherited from his grandparents, in turn, received it from the painter while he lived in his house in Via Antonio Rosmini, in Stresa, near Lake Maggiore (Italy). -Private collection, Turin. With certificate of the Ortega Muñoz Foundation. With export permit from Italy and Spain. Measurements: 34 x 43 cm. Ortega Muñoz immortalizes in this painting a wide panoramic view of the idyllic mountainous landscape of the Maggiore Lake, outlined in the background by bluish motañas of snowy summits. Ortega lived in this area of northern Italy, close to the Swiss border, so he portrayed it on numerous occasions, showing a great handling of the shades and lights of this icy region. Ortega, heir to the Vallecas school, often prioritized this type of stark landscapes, realistic but far from academic, a solitary space with which he sought to awaken the viewer's emotions. Ortega Muñoz was one of the great creators of the contemporary Spanish landscape. He started in art when he was still a child, self-taught, and despite his father's advice, in 1919, at the age of twenty, he decided to move to Madrid to devote himself to painting. There he will dedicate himself from the first moment to making copies of the great masters in the Prado Museum and in the old Museum of Modern Art. He continued his self-taught training and began to paint outdoors in the surroundings of the Dehesa de la Villa, accompanied by other young artists such as the Filipino Fernando Amorsolo. A year later he decided to move to Paris, where he met his lifelong friend, the poet Gil Bel. In Paris he also got to know the work of Van Gogh, Gauguin and Cézanne, but at the same time he experienced the formal and ideological crisis that was developing in this interwar period, which would lead him to leave France to travel south, to Italy, where he would find in the masters of the past more authentic values of spirituality, simplicity and purity. Ortega Muñoz will travel through Italy from North to South between 1921 and 1922, and in Lago Maggiore he meets the English painter Edward Rowley Smart, with whom he will spend a short period of apprenticeship. With him Ortega Muñoz comes to the conclusion that, in the face of the apparent unreasonableness of contemporary art, it is necessary to return to nature and return to are the authenticity of spiritual truths and simple emotions. In 1926 he returned to Spain, where he was the protagonist of one of the founding excursions of the Vallecas School. Shortly afterwards, in 1927, he held his first exhibition at the Círculo Mercantil in Zaragoza. Then he leaves Spain again, and this time he travels through Central Europe, passing through Zurich, Brussels and several German cities. In 1928, in Worpswede, he comes into contact with a colony of artists of expressionist language, interested in landscapes and peasant life, as a reaction against the sophisticated artifices and refinements of the avant-garde. Notably influenced by his experience in Worpswede, Ortega Muñoz returns to France in 1928, and between 1930 and 1933 he continues to travel between Central Europe and Northern Italy; he finally arrives in Cairo in 1933, a date at which his skills as a portraitist have provided him with a comfortable lifestyle and important contacts. He exhibits in Alexandria with an enormous success, which will lead him to repeat the experience a year later, presenting an almost anthological exhibition in which his love for nature, the balance between color and mood, and the atmosphere of stillness and sadness characteristic of his language can already be appreciated. In 1935 he returns to Spain and the following year he presents an exhibition at the Círculo de Bellas Artes in Madrid. However, the Civil War forced him to leave Spain; after the war he returned to his hometown, and finally reunited with the silent and lonely expanse of his landscape and with the close reality of that world that he felt as authentically his own.

Estim. 12 000 - 15 000 EUR

Lot 91 - GENARO LAHUERTA LÓPEZ (Valencia, 1905 - 1985) "The abduction of the Sabine women", 1940. Oil on canvas. Signed and dated in the lower left corner. Measurements: 150 x 180 cm; 165 x 193 cm (frame). Lahuerta began his studies at the School of Arts and Crafts of Valencia, to later enter, in 1919, in the School of Fine Arts of San Carlos. After completing his training, he began his career as an illustrator for various publications of the time. In 1928 he made his individual debut at the Sala Blava in Valencia, and the following year he organized his first individual exhibition in Barcelona, at the Sala Parés. In 1932, after winning a third medal at the National Exhibition of Fine Arts, he received a scholarship for a study trip to several European countries. In 1943 he won a second medal at the National Exhibition, and five years later a first medal, consolidating his success both with critics and the public. In 1953 the General Directorate of African Plazas granted him a scholarship to paint in the Spanish Sahara. Throughout his life, he was a member of the academies of San Carlos in Valencia, San Jorge in Barcelona, Santa Isabel de Hungría in Seville and San Fernando in Madrid. Among other distinctions, he was awarded the Gold Medal of the Academy of Arts, Sciences and Letters of Paris, and in Spain the Ministry of Education and Science awarded him the Medal of Merit in Fine Arts. He is currently represented in the Reina Sofía Museum, the Fine Arts Museums of Bilbao and Asturias, the Ateneo de Madrid, the City Hall of Valencia and in various Spanish private collections, such as that of the Bank of Spain.

Estim. 16 000 - 17 000 EUR

Lot 92 - FRANS VERVLOET (Belgium, 1795 - Venice, 1872). "St Mark's Square at Sunset, Venice", ca.1840. Oil on hardboard. Signed in the lower right corner. Size: 32 x 46 cm; 44,5 x 57 cm (frame). The iridescent lights of the sunset glimmer over San Marco square, giving an amber varnish to the architecture of the Ducal Palace and the imposing obelisks. Passers-by enjoy the coolness of the evening, with gallant groups and dock workers mingling at that magical hour. In this excellent painting, Frans Vervoloet has managed to combine the heritage of 18th-century Veduism with the contributions of the Posilippo group of landscape painters of which he was a member. In the style of Canaletto, he constructed a play of perspectives with particular emphasis on the panoramic, but he was not so much interested in the quasi cartographic detail of his predecessors as in working on lyrical values through a pictorialist lighting that flirts with Romanticism. The confluence of the pre-photographic precision of the Venetian Vedutists of the previous century with the Posilippo school's emphasis on conveying moods results in a highly evocative urban landscape. Frans Vervloet was a Belgian painter and printmaker. In 1809 he began studying at the Akademie voor Schone Kunsten in Mechelen, where he was also taught by his brother J. J. Vervloet (1790-1869), a genre painter and portraitist. During this early period, he produced both genre works and copies of old masters (including Peter Paul Rubens), although he concentrated mainly on architectural painting, such as the "Installation of Archbishop François Antoine de Méan in Mechelen". Following the great success of this painting, from 1817 onwards he devoted himself to painting church interiors. In 1822 he was awarded a scholarship to study in Italy, where he became more interested in landscape painting and where he spent most of his career. After two years in Rome, Vervloet travelled to Naples in 1824. There he was greatly influenced by the group of painters of the Posillippo School, whose members, in their reaction against the more academic approach to landscape painting of the late 18th century, favoured a more spontaneous approach with an emphasis on plein-air painting. Vervloet settled permanently in Venice in 1854. His work is now in the Museo Correale di Sorrento (NA), Collezione privata, Venice, Museo nazionale di San Martino di Napoli, among other public collections.

Estim. 15 000 - 20 000 EUR

Lot 93 - Attributed to FELIX GEORGES ZIEM (Beaune, France, 1821 - Paris, 1911). "View of Venice." Oil on panel. Apocryphal signature in the lower left corner. Measurements: 50 x 73 cm; 75 x 96 cm (frame). Although he had always been an amateur painter, Felix Ziem began his studies at the Dijon School of Architecture, practicing as an architect for a time. However, what at first the artist himself understood as a hobby, was forged as a passion after his visit to Italy in 1841. Specifically, Ziem was impregnated by the beauty of the canals of the city of Venice, a place that would become the source of many of his works throughout his artistic career. The painter also painted portraits and landscapes of places all over the world, such as Constantinople, Cagnes-sur-Mer and, of course, his native Burgundy. Félix Ziem exhibited in 1849 at the Paris Salon, moving in the 1960s to the Montmartre district of Paris. Today there is a museum with the artist's legacy in the town of Martingues in Provence (France), where the exceptional landscape views made throughout his career, heirs of French impressionism and Italian vedute that had conquered the French artist, are exhibited.

Estim. 30 000 - 40 000 EUR

Lot 94 - FRANCESC MIRALLES I GALAUP (Valencia, 1848 - Barcelona, 1901). "Scene in the Bois de Boulogne". Oil on canvas. Signed in the lower left corner. Exhibitions: "Francisco Miralles". Sala Parés, Barcelona, 1974. Bibliography: Rafael Santos Torroella "Francisco Miralles", Editorial RM, 1974. Measurements: 92 x 72 cm; 110 x 90 cm (frame). This painting is a magnificent example of Miralles' language, mainly focused on costumbrista themes of bourgeois life and fin-de-siècle high society: a bourgeois costumbrista scene, captured with an elegant style and marked atmospheric sensitivity, with a descriptive brushstroke in the textures and loose in the backgrounds, expressive and exuberant. Thus, we see a refined treatment of the environment that surrounds him, of the bourgeoisie with whom he lives, in a work marked by the precious treatment of the material, the grace of his drawing and the delicacy of his lighting. Francisco Miralles was trained in Barcelona in the workshop of Ramón Martí Alsina, where he was a fellow disciple of the members of the first generation of Catalan realists. Little is preserved of Miralles' production in this first stage, although the dozen paintings that we have tell us of a young painter who quickly learned to treat the figure with mastery, still little interested in the landscape. Settled in Paris since the mid-1860s (around 1865-66), it is possible that he studied with Courbet on the advice of Martí Alsina, who also trained with the French master. Due to these influences, his youthful style, until the late seventies, is still vigorously realistic. Later he evolved towards a style of feminine elegance, typically fin-de-siècle, with a Fortunyist-influenced technique. In Paris he popularized a refined style, centered mainly on costumbrist themes of bourgeois life and high society, mainly featuring female characters. In Paris Miralles lived a free and carefree life, at first depending economically on his family, and later sustaining himself by his own means, thanks to the sales of his paintings that he made through the most prominent dealer in Paris at the time, Goupil. At the same time, he participated in the Salon des Artistes Français between 1875 and 1896. He made several trips to Barcelona, and in fact he exhibited from 1877 at the Sala Parés in that city. After several years between Paris and Barcelona, he returned to Barcelona in 1893. Francisco Miralles is represented in the MACBA, the Abbey of Montserrat and the Círculo del Liceo de Barcelona, as well as in important private collections.

Estim. 35 000 - 40 000 EUR

Lot 95 - FRANCESC MIRALLES I GALAUP (Valencia, 1848 - Barcelona, 1901). "Peasants", 1889. Oil on wood. Signed and dated in the lower left corner. Measurements: 32 x 40 cm; 43 x 52 cm (frame). Francisco Miralles was formed in Barcelona in the workshop of Ramón Martí Alsina, where he was a fellow disciple of the members of the first generation of Catalan realists. Little is preserved of Miralles' production in this first stage, although the dozen paintings that we have tell us of a young painter who quickly learned to treat the figure with mastery, still little interested in the landscape. Settled in Paris since the mid-1860s (around 1865-66), it is possible that he studied with Courbet on the advice of Martí Alsina, who also trained with the French master. Due to these influences, his youthful style, until the late seventies, is still vigorously realistic. Later he evolved towards a style of feminine elegance, typically fin-de-siècle, with a Fortunyist-influenced technique. In Paris he popularized a refined style, centered mainly on costumbrist themes of bourgeois life and high society, mainly featuring female characters. In Paris Miralles lived a free and carefree life, at first depending economically on his family, and later supporting himself by his own means, thanks to the sales of his paintings that he made through the most prominent art dealer in Paris at the time, Goupil. At the same time, he participated in the Salon des Artistes Français between 1875 and 1896. He made several trips to Barcelona, and in fact he exhibited from 1877 at the Sala Parés in that city. After several years between Paris and Barcelona, he returned to Barcelona in 1893. Francisco Miralles is represented in the MACBA, the Abbey of Montserrat and the Círculo del Liceo de Barcelona, as well as in important private collections.

Estim. 6 000 - 8 000 EUR

Lot 96 - FRANCISCO MIRALLES GALUP (Valencia, 1848 - Barcelona, 1901). "Gentleman in interior. Oil on canvas. Signed in the lower right area. Measurements: 58 x 42 cm; 73 x 55 cm (frame). Francisco Miralles was formed in Barcelona in the workshop of Ramón Martí Alsina, where he was a fellow disciple of the members of the first generation of Catalan realists. Settled in Paris between 1863 and 1866, it is possible that he studied with Courbet on the advice of Alsina, who also trained with him. Due to these influences, his youthful style, until the end of the seventies, is still vigorously realistic. Later he evolved towards a style of feminine elegance, typically fin-de-siècle, with a Fortunyist-influenced technique. In Paris he popularized a refined style, centered mainly on costumbrist themes of bourgeois life and high society, mainly featuring female characters. He participated in the Salon des Artistes Français, in Paris, between 1875 and 1896, and exhibited from 1877 in the Sala Parés in Barcelona. After several years between Paris and Barcelona, he returned to Barcelona in 1893. Francisco Miralles is represented in the MACBA, the Abbey of Montserrat and the Círculo del Liceo de Barcelona, as well as in important private collections.

Estim. 2 000 - 2 400 EUR

Lot 97 - FRANCISCO RIBERA GÓMEZ (Madrid, 1907 - Málaga 1990). "Maternity", 1974. Oil on canvas. Signed and dated in the lower margin. Measurements: 160 x 230 cm; 180 x 248 cm (frame). In this painting of group, a young mother surrounded by her numerous children, the gifts of Francisco Ribera with the genre of the portrait are made patent. His style combines the romantic influence with naturalism and the themes that are contemporary to him. Son of the painter Ribera Blázquez, he studied at the San Fernando Academy. In the thirties he worked as a poster artist, and during the Civil War he worked as an advertising draughtsman. In 1945 he obtained the chair of Drawing from Life at Rest at the School of Fine Arts in Barcelona, of which he finally became director between 1964 and 1972. In 1946 he was named Honorary Member of the Spanish Association of Painters and Sculptors, and the following year he received the same appointment from the Círculo de Bellas Artes of Madrid, after winning the Ministry of National Education Award at the Salón de Otoño in the capital. Academic of San Fernando since 1967, he was also a member of the Academy of Santa Isabel de Hungría in Seville since 1971. He won several awards in national competitions, including the gold medal of the National of Madrid in 1950, and international, being awarded gold medals at the exhibitions in Brussels (1965) and Paris (1968).

Estim. 3 000 - 4 000 EUR

Lot 98 - FRANCISCO RIBERA GÓMEZ (Madrid, 1907 - Málaga 1990). "The drink", 1943. Oil on canvas. Signed and dated in the lower margin. Measurements: 93 x 117 cm; 110 x 132 cm (frame). Son of the painter Ribera Blázquez, he was formed in the Academy of San Fernando. In the thirties he dedicates himself to the poster, and during the Civil War he works as advertising draftsman. In 1945 he obtained the chair of Drawing from Life at Rest at the School of Fine Arts in Barcelona, of which he finally became director between 1964 and 1972. In 1946 he was named Honorary Member of the Spanish Association of Painters and Sculptors, and the following year he received the same appointment from the Círculo de Bellas Artes of Madrid, after winning the Ministry of National Education Award at the Salón de Otoño in the capital. Academic of San Fernando since 1967, he was also a member of the Academy of Santa Isabel de Hungría in Seville since 1971. He won several awards in national competitions, including the gold medal of the National of Madrid in 1950, and international, being awarded gold medals at the exhibitions in Brussels (1965) and Paris (1968).

Estim. 1 500 - 2 000 EUR

Lot 99 - FRANCISCO RIBERA GÓMEZ (Madrid, 1907 - Barcelona, 1996). "Chapel of Sorrows, Madrid", 1973. Oil on canvas. Signed and dated in the lower corner. Measurements: 46 x 55 cm; 65 x 73 cm (frame). Son of the painter Ribera Blázquez, he was formed in the Academy of San Fernando. In the thirties he dedicates himself to the poster, and during the Civil War he works as a draftsman of publicity. In 1945 he obtained the chair of Drawing from Life at Rest at the School of Fine Arts in Barcelona, of which he finally became director between 1964 and 1972. In 1946 he was named Honorary Member of the Spanish Association of Painters and Sculptors, and the following year he received the same appointment from the Círculo de Bellas Artes of Madrid, after winning the Ministry of National Education Award at the Salón de Otoño in the capital. Academic of San Fernando since 1967, he was also a member of the Academy of Santa Isabel de Hungría in Seville since 1971. He won several awards in national competitions, including the gold medal of the National of Madrid in 1950, and international, being awarded gold medals at the exhibitions in Brussels (1965) and Paris (1968).

Estim. 800 - 900 EUR

Lot 100 - FRANCISCO RIBERA GÓMEZ (Madrid, 1907 - Barcelona, 1996). "Street of Pals, Gerona", 1973. Oil on canvas. Signed and dated in the lower left corner. Measurements: 56 x 46 cm; 74 x 64 cm (frame). Son of the painter Ribera Blázquez, he was formed in the Academy of San Fernando. In the thirties he dedicates himself to the poster, and during the Civil War he works as advertising draftsman. In 1945 he obtained the chair of Drawing from Life at Rest at the School of Fine Arts in Barcelona, of which he finally became director between 1964 and 1972. In 1946 he was named Honorary Member of the Spanish Association of Painters and Sculptors, and the following year he received the same appointment from the Círculo de Bellas Artes of Madrid, after winning the Ministry of National Education Award at the Salón de Otoño in the capital. Academic of San Fernando since 1967, he was also a member of the Academy of Santa Isabel de Hungría in Seville since 1971. He won several awards in national competitions, including the gold medal of the National of Madrid in 1950, and international, being awarded gold medals at the exhibitions in Brussels (1965) and Paris (1968).

Estim. 800 - 900 EUR

Lot 101 - FRANCISCO RIBERA GÓMEZ (Madrid, 1907 - Barcelona, 1996). "Virgin with Child", 1942. Oil on canvas. Signed and dated in the lower margin. Measurements: 80 x 64 cm; 100 x 83 cm (frame). Son of the painter Ribera Blázquez, he was formed in the Academy of San Fernando. In the thirties he dedicates himself to the poster, and during the Civil War he works as advertising draftsman. In 1945 he obtained the chair of Drawing from Life at Rest at the School of Fine Arts in Barcelona, of which he finally became director between 1964 and 1972. In 1946 he was named Honorary Member of the Spanish Association of Painters and Sculptors, and the following year he received the same appointment from the Círculo de Bellas Artes of Madrid, after winning the Ministry of National Education Award at the Salón de Otoño in the capital. Academic of San Fernando since 1967, he was also a member of the Academy of Santa Isabel de Hungría in Seville since 1971. He won several awards in national competitions, including the gold medal of the National of Madrid in 1950, and international, being awarded gold medals at the exhibitions in Brussels (1965) and Paris (1968).

Estim. 600 - 800 EUR

23rd April - 19th & 20th century classics

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Lot 41 - Spanish school of the early nineteenth century. "The Infante Francisco de Paula". Pastel on paper. Presents faults in the frame. Measurements: 63 x 36 cm; 85 x 58 cm (frame).

Lot 54 - BENJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980). Untitled, 1967. Mixed media on cardboard. Signed and dated in the lower right corner. Measures: 44 x 36 cm; 70 x 61 cm (frame).